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Digitized by the Internet Archive 
 
 in 2010 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/cyclopaediaofworOOIong 
 
This Edition is limited to five hundred copies, 
 of which fifty are to be sold exclusively in 
 England 
 
 This copy is No.sJJiA 
 
A CYCLOP/EDIA OF WORKS OF 
 
 ARCHITECTURE 
 
 IN 
 
 ITALY, GREECE, AND THE LEVANT 
 
CONSTANTINOPLE— INTERIOR OF ST A. SOFIA 
 
CYCLOPAEDIA OF WORKS OF 
 
 ARCHITECTURE 
 
 IN 
 
 ITALY, GREECE, AND THE LEVANT 
 
 EDITED BY 
 
 WILLIAM P. P. LONGFELLOW 
 
 HONORARY MEMBER AND LATE FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS 
 
 NEW YORK 
 
 CHARLES SCRIBNER'S SONS 
 M DCCC XCV 
 
Copyright, i8g^, by 
 Charles Scrihiier's Sons 
 
 
PREFACE 
 
 THE purpose of this volume is to give a conspectus of tlie archi- 
 tecture of Italy, Greece, and the Levant, arranged for easy I'ef- 
 erence, which shall be sufficient for the general reader or the 
 traveller, and at the same time furnish the student of architecture a 
 fairly adequate account of the important monuments and give him finger- 
 posts for guidance in further investigation. It was at first proposed to 
 record the historical and literary associations of the buildings; but it 
 was found that this must swell the book beyond reason, or else exclude 
 the fulness of description which the architectural student had a right 
 to expect; the historical accounts are therefore limited to a statement 
 of the most important facts. 
 
 The selection of examples has been a difficult work, and often a 
 doubtful one. Italy is pre-eminently the land of architecture ; her medi- 
 aeval churches and palaces count by thousands, and her later buildings of 
 importance are much more numerous ; Greece and Asia INIinor and Syria 
 are strewn with the remains of classic architecture. Near the line of 
 exclusion the choice often lay between Iniildings of practically equal im- 
 portance, among which sometimes the chief determining influence was the 
 necessity of deciding. Ai-chitectural interest first and historical second 
 were the obvious tests, and so, while some large and conspicuous build- 
 ings are omitted, many less conspicuous are included on account of some 
 quality of form or importance in the line of ev^olutiou, or occasionally for 
 some historical association that makes tliem objects of common inquiry. 
 The same reason led at times to what will be considered disproportion in 
 fulness of treatment; but this is as often conditioned V)y the accessible 
 
PRE FA CE 
 
 iiiforinatiou, which is singularly unequal. Antiipiity also gives not onl)- 
 interest, but exemj)lary value ; and so, while the classical part of the book 
 is fullest, the fulness natui-ally diminishes with the increasing centu- 
 ries; as a rule the buildings of the nineteenth century are excluded. 
 It is hardly to be expected that any one seai'ching examiner will absolutely 
 approve the selection made by another person, but it is hoped that the 
 book may be estimated rather by the value of what it contains than by 
 the desirability of what it omits. 
 
 Historical controversies are obviously out of place in such a book, and 
 there has been no attempt to decide them. Whoever has studied archi- 
 tectural history knows the unevenuess and uncertainty of the authorities ; 
 and the assumption of minute accuracy in points where such accuracy is 
 not attainable has been avoided. The reader may be surprised at an ap- 
 pearance of looseness in the statement of dates and oftener of measures. 
 This is from a set purpose to put him on his guard against a delusive 
 precision. It is safe to say that no one knows the precise measures of 
 many of the buildings that ai'e given in the books, though they be stated 
 with great minuteness ; nor is this important for general purj)oses, pro- 
 vided they are true in the rough. In classic buildings, which are studies 
 of minute proportion, archaeologists have made a great efEort at exactness, 
 and the measures are given with corresponding minuteness; but in later 
 architecture the reader should wittingly share the uncertainty in which 
 the investigator is left. There is tlie same difficulty with dates. Often 
 a building can be referred only to a particular reign or lifetime ; often it is 
 not clear to what part of it a recorded date refers. Frequent aliases and 
 changes of name in both men and buildings are a further obstacle to in- 
 vestigation. Moreover, buildings, especially those which are in use, are 
 subject to removal and alteration. A good deal of pains has ])een taken, 
 up to the last moment, to revise the descriptions by personal examina- 
 tion ; but this has not always been possible, and renewal is continual : 
 doubtless, then, in particular cases, restoration or decay has changed de- 
 tails Avliich are here recorded. It can only be hoped that the pains 
 which has been taken has made the l)Ook on the whole trustworthy and 
 adequate. 
 
PRE FA CE 
 
 The (question of orthograpliy is another dilliculty, especially in class- 
 ical names. The sj^stems oi transliteration that have been lately devised 
 l)y classical students are so inchoate and so far from consistent in them- 
 selves, that a reaction against them seems to Ije already setting in. For 
 the necessary choice among rival inconsistencies that one which is sim- 
 plest and most familiar has been preferred, and when a Latin form has 
 gained currency in English it has been chosen, rather than the transliter- 
 ated Greek. AVith modern names the case is different. Italian names at 
 least are now reasonably familiar to educated people, and it is only for 
 such inveterate misnomers as Florence and Leghorn, or such familiar 
 names as St. Peter's, that the English form is used ; it has been thought 
 best, liowevei', to give in the titles not only the real names of towns, but 
 the transcriptions and corruptions of them that are most current in for- 
 eio:u languages. 
 
 Much care has been given to the illustrations : they are as full as 
 they could well be without taking too naucli space from the text. The 
 editor has tried to show familiar monuments in new aspects as far as was 
 practicable. Some well-known subjects have V)een omitted in favor of 
 others which it is less easy for the reader to find elsewhere, and many 
 less conspicuous monuments are presented for the sake of some artistic 
 interest or of their significance in the secpienee of architectural forms. 
 Tile illustrations have been made directly from photographs Avhen this 
 could be done, or have Ijeen drawn for use here : very few are repro- 
 ductions of other illustrations, and for these credit is given. \\\ two im- 
 portant instances special effort has been made to show what has hereto- 
 fore been neglected : — the drawing of the rear of St. Peter's, carefully 
 constructed from photographs and measured plans, gives the church as it 
 would appear if the houses that crowd about its lower parts were pulled 
 away, and shows it therefore as Michael Angelo intended it to appear, 
 but as it is never seen. Tiie photogravure of the interior of Sta. Sofia 
 was prepared because the composite photographs that are in cir- 
 culation show this noV)le interior with broken lines and distorted propor- 
 tion, and the only published drawings which give an adequate impression 
 of it, those of Fossati, are unsuited for reproduction. 
 
rREFACE 
 
 The classical part of the book is the work of Mr. Thomas W. 
 Ludlow, whose death before its publication not only is a great personal 
 loss to his associates, but has deprived it of the last revision wliieli he 
 had hoped to give while it passed through the press. The editor's 
 office has not gone beyond such modifications of form as were necessary 
 to adapt it to the limitations of the Vjook, and the occasional correction 
 of an oljvious clerical error : he trusts that Mr. Ludlow's scholarship and 
 industry have made other alteration superfluous. The bibliography of 
 this ])art, which ^iv. Ludlow had not an opportunity to arrange, has 
 been j)rovided l)y Professor Harold N. Fowler. The greater number of 
 the articles on tlie medi;eval and later architecture of Italy was furnished 
 by Mr. Charles A. Cummings, to whose co-operation a great part of the 
 value of the book will be due. Some special ai'ticles, particularly on the 
 Gothic and Romanesque churches of middle Italy, are contribiited by 
 Pi'ofessor A. L. Frothingham, Jr., and arc distinguished by his initials, 
 being the unpublished record of his personal study of the monuments 
 themselves. 
 
 W. P. P. L. 
 
LIST OF ILLUSTRATIONS 
 
 FULL- PAGE PHOTOGRAVURES 
 
 CONSTANTINOPLE— INTERIOR OF STA. SOFIA Frontispiece 
 
 From a iiraiving by the Editor 
 
 To Face 
 Page 
 
 ATHENS— THE ACROPOLIS 48 
 
 ATHENS-CHORAGIC MONUMENT OF LYSICRATES . 96 
 
 BAALBEK— TEMPLE OF JUPITER, NORTH FRONT . 144 
 
 CONSTANTINOPLE— MOSQUE OF SULEIMAN 
 
 FLORENCE— CATHEDRAL AND CAMPANILE . . 240 
 
To face 
 Page 
 
 MILAN— PIAZZA DEI MERCANTI 288 
 
 MURANO— S. DONATO 336 
 
 PISA— GENERAL VIEW 384 
 
 PISTOIA— CATHEDRAL SQUARE . • . . .432 
 
 SIENA— INTERIOR OF THE CATHEDRAL . . .480 
 
 VENICE— S. MARCO, CENTRAL PORTAL . . . ^12 
 
ILLUSTRATIONS IN THE TEXT 
 
 FIOtntE 
 
 1 
 
 4. 
 
 5. 
 C. 
 
 9. 
 10. 
 11. 
 la. 
 13. 
 
 14. 
 
 l.i. 
 10. 
 
 ir. 
 
 18. 
 
 19. 
 
 20. 
 21. 
 22. 
 23. 
 24. 
 
 25. 
 
 Abbiategrasso, Clmrch, after 
 
 iliintz 1 
 
 Adrianople, Great ^losquo 3 
 
 Albe, S. Pietro 6 
 
 Alinermo, S. Tommaso in Li- 
 mine, after Dartein S 
 
 Altanuira, Catliedral, matroneo. 9 
 
 Altaniura, Cathedral, porcli .... 9 
 
 Amalfi, Cathedral 10 
 
 Ancona, Trajan's Arch 11 
 
 Ancona, Cathedral, plan 12 
 
 Ancona, Cathedral 13 
 
 Aosta, Arch of Augustus 14 
 
 Aquila, S. M. di Collemaggio . . . IG 
 Aquileja, Cathedral, interior, af- 
 ter Jackson 17 
 
 Arezzo, S. M. della Pieve and 
 
 Fraternita 18 
 
 Asjjendos, Theatre, from Durm. 22 
 
 Assisi, S. Francesco, section... 23 
 Assisi, S. Francesco, lower 
 
 church, interior 24 
 
 Assisi, S. M. degli Angeli, plan, 
 
 after Laspej'res 25 
 
 Assos, Temple, after J. T. 
 
 Clarke 27 
 
 Athens, Acroiiolis, p)lan 29 
 
 Athens, Acropolis 30 
 
 Athens, St. Theodore 31 
 
 Athens, Erechtheum 32 
 
 Athens, Horologium of Audroni- 
 
 cus, or Tower of the Winds . 34 
 
 Athens, Parthenon 38 
 
 FIGITIE PAGE 
 
 20. Athens, Temple of Nike Apteros. 42 
 
 27. Athens, Theatre of Dionysos, 
 
 front of stage 44 
 
 28. Athens, Theseiim 45 
 
 29. Baalbek. Roman ruins, plan .... 40 
 
 30. Hai-i, S. Niccolo 51 
 
 31. Barletta, S. M. Maggiore 52 
 
 32. Benevento, Trajan's Arch 54 
 
 33. Bethlehem, Church of the JSJa- 
 
 tivity, plan 56 
 
 34. Bitetto, Cathedral 57 
 
 35. Bitonto, Cathedral, pulpit 58 
 
 30. Bologna, Madonna di S. Luca.. GO 
 
 37. Bologna, Madonna di 8. Luca, 
 
 jilan, after Gurlitt GO 
 
 38. Bologna, La Mercanzia 01 
 
 39. Bologna, Palazzo Bevilacqua . . . 02 
 
 40. Bologna, Palazzo Fava, court . . 02 
 
 41. Bologna, S. Petronio 03 
 
 42. Bologna, S. Sepolcro 04 
 
 43. Bologna, S. Stefano, plan 05 
 
 44. Caprarola, Castle, plan 72 
 
 45. Casamari, Convent Church .... 74 
 40. Caserta Nuova, Royal Palace, 
 
 stairway 75 
 
 47. Chiaravalle, Abbey Church .... 80 
 
 48. Cividale di Friuli, S. M. in 
 
 Valle, interior 82 
 
 49. Civita-Castellana, Cat lied i-al, 
 
 porch 83 
 
 50. Como, Broletto. 84 
 
 51. Como, S. Fedele, apse, after Dar- 
 
 tein 87 
 
ILr.VSTHATIOXS JX THE TEXT 
 
 53. 
 54. 
 55. 
 
 5G. 
 
 57. 
 58. 
 
 50. 
 
 (il. 
 
 ca. 
 
 63. 
 G4. 
 G5. 
 
 00. 
 
 08. 
 00. 
 
 70. 
 71. 
 
 74. 
 
 75. 
 70. 
 
 78. 
 79. 
 80. 
 81. 
 83. 
 83. 
 84. 
 85. 
 
 80. 
 
 ! TAUE FIGURE 
 
 Constantinople, ]\ro.sr|iie of All- 87. 
 
 med 80 
 
 Constantinople, .St. Irene 02 88. 
 
 (,'oustaiitinoi)le, Sta. Sofia 04 80. 
 
 Constantinople, Sta. Sofia, plan, 
 
 after Fossati 05 00. 
 
 Corneto, S. M. in Casteliu, inte- 
 rior 08 01. 
 
 Crema, S. JI. della Croce 100 
 
 Cremona, Cathedra], porcli, fnnn O'-i. 
 
 Eitelberger 101 03. 
 
 Cremona, Palace of the Juris- 
 consults 102 04. 
 
 Damascus, Great Mosque 104 
 
 Daphne, Convent Church 105 
 
 Famagusta, Cathedral 123 05. 
 
 Ferrara, Castello ^\>cchi() 124 
 
 Ferrara, Cathedral 125 00. 
 
 Florence, Baptistery 128 07. 
 
 Florence, Cathedral and ('ani2)a- 
 
 nile 120 08. 
 
 Florence, Cloister of Sta. Croce O'J. 
 
 and Capella I'azzi 130 
 
 Florent'e, Catliedral, east end . . 132 luo. 
 
 Florence, Cathedral, plan, from 101. 
 
 Boito 133 103. 
 
 Florence, Loggia dei Lanzi .... 135 103. 
 
 Florence, Palazzo Guadagni ... . 137 104. 
 
 Florence, Palazzo Pitti, rear cor- 105. 
 
 ner 130 100. 
 
 Florence, Palazzo del Podesta 107. 
 
 (Bargello) loggia 140 108. 
 
 Florence, Palazzo Riccardi 140 
 
 Florence, Palazzo Vecchio 143 100. 
 
 Florence, Sta. Croce, interior .. 144 11 n. 
 
 Florence, S. Lorenzo, \)hu\. af- 
 ter Laspeyres 140 111. 
 
 Florence, Sta. ilaria Xovella. . . 147 
 
 Florence, S. Miniato 140 112. 
 
 Florence, S. Spirito 150 113. 
 
 Fossanova, Abbey Church 152 114. 
 
 Genoa, Cathedral, porches 150 
 
 Genoa, Cathedral, interior 157 115. 
 
 Genoa, Palazzo Doria-Tursi. . . . 158 
 
 (ienoa, Palazzo ]!)oria - Tursi, 110. 
 
 court, from Gurlitt 158 117. 
 
 Genoa, Palazzo Durazzo 150 lis. 
 
 Genoa, Palazzo Durazzo, stair- 
 way 100 
 
 Genoa, Sta. Aununziata, interior. 101 
 Genoa, Sta. ilaria di Carignano, 
 
 plan 102 
 
 Genoa, S. Siro, interior, after 
 
 Gurlitt 163 
 
 Girgeuti, Temple of Castor and 
 
 "Pollux 100 
 
 (iubbio, Palazzo dei Consoli. ... liO 
 Jerusalem, Church of Holy Sep- 
 ulchre, transept 178 
 
 .Jerusalem, Church of Holy Seji- 
 ulchre, plan, after De 
 
 Vogii6 180 
 
 Jerusalem, Church of Holy Se^)- 
 
 ulchre, dome 181 
 
 Jerusalem, Dome of the Kock. . 182 
 Jerusalem, Temple Terrace, 
 
 plan 187 
 
 Kalat Sinum, Church, plan. .. . 100 
 Kalb-Luzeh, Church, jilan, af- 
 ter De Vogue 101 
 
 Kalb-Luzeh, Church, interior . . 101 
 Loreto, Church of Santa Casa.. 195 
 
 Loreto, Santa Casa 100 
 
 Lucca, Cathedral 108 
 
 Lucca, S. Frediano, apse 199 
 
 Mantua, S. Andrea 304 
 
 Mantua, S. Andrea, interior . . . 305 
 
 Matera, Cathedral 307 
 
 i\Iilan, Cathedi'al and Tower of 
 
 S. Gottardo 214 
 
 Milan, Cathedral, interior 215 
 
 Milan. Ospedale (frande, court- 
 yard 210 
 
 ^lilaii, Palazzo degli Osii and 
 
 Scuole Palatine 217 
 
 Milan, S. Ambrogio 219 
 
 Milan, S. Ambrogio, interior.. . 320 
 Milan, S. Ambrogio, plan, after 
 
 Eitelberger 220 
 
 Milan, S. Eustorgio, Chajiel nf 
 
 St. Peter Martyr 321 
 
 .Milan, S. Lorenzo 333 
 
 Milan. Sta. Maria delle Grazie. 335 
 .Milan, S. Satiro, sacristv 23G 
 
ILLUSTRAT10X8 IN THE TEXT 
 
 \v^. 
 
 120. 
 
 m. 
 
 m. 
 in. 
 
 lU. 
 125. 
 136. 
 127. 
 
 128. 
 129. 
 
 130. 
 131. 
 132. 
 1.33. 
 134. 
 135. 
 
 136. 
 137. 
 
 138. 
 139. 
 140. 
 141. 
 143. 
 143. 
 144. 
 145. 
 140. 
 147. 
 
 148. 
 149. 
 
 150. 
 151. 
 
 152. 
 153. 
 154. 
 155. 
 
 ilolfetta. Cathedral, interior... 
 
 Moureale, Cathedral, interior . . 
 
 Moutepulciano, Madonna di S. 
 Biagio, plan after Laspeyres. 
 
 Jlonza, Sta. Maria in Strada 
 
 ^lycenaj. Lion Gate 
 
 Xaples, Alfonso's Arch 
 
 Xaples, Cathedral, interior 
 
 Naples, S. Martino, cloister 
 
 Xazareth, Church of the Annun- 
 ciation, interior 
 
 Nicosia. St. Sophia 
 
 Olymjjia. plan of excavations, af- 
 ter Baedeker 
 
 Orvieto, Cathedral, central gable. 
 
 Padua, S. Antonio, rear 
 
 Padua, S. Antonio, plan 
 
 Paestum, Temple of Neptune. . . 
 
 Palermo, Cathedral, east end . . 
 
 Palermo, Palatine Chapel, inte- 
 rior 
 
 Palmyra, Street Colonnade .... 
 
 Parenzo, Cathedral, interior, af- 
 ter Jackson 
 
 Pavia, Cathedral, plan 
 
 Pavia, Certosa 
 
 Pavia, Certosa, cloister 
 
 Perugia, Fonte Maggiore 
 
 Perugia, S. Bernardino 
 
 Perugia, Palazzo Piibblico 
 
 Perugia, S. Pietro, interior .... 
 
 Pisa, Cathedral and Tower 
 
 Pisa, Cathedral, across transept. 
 
 Pisa, Cathedral, Baptistery, 
 Campanile and Campo San- 
 to, plan, after Rohault de 
 Fleury 301 
 
 Sta. Caterina 302 
 
 Pistoia, Madonna del Umilta, 
 plan, after Lasjieyres 306 
 
 Pomjieii, Forum 312 
 
 Pompeii, House of Cornelius Ru- 
 
 fus 313 
 
 Pompeii, House of the Faun . . . 314 
 
 Pompeii, House of Pausa, plan . 315 
 
 Pompeii, Temple of Isis 319 
 
 Prato, Cathedral 325 
 
 PAGE 
 
 229 
 230 
 
 233 
 235 
 238 
 240 
 241 
 243 
 
 245 
 
 247 
 
 251 
 259 
 264 
 264 
 266 
 268 
 
 270 
 273 
 
 276 
 279 
 280 
 281 
 289 
 289 
 290 
 291 
 298 
 300 
 
 FIGLKE 
 
 156. Raveniui, Baptistery, interior . . 
 
 157. Eavenna, S. Aj)olliuare in Classe, 
 
 interior 
 
 158. Ravenna, S. Apolliuare Nuovo, 
 
 interior 
 
 159. Ravenna, S. Vitale, interior .... 
 
 160. Ravenna, S. Yitale, plan 
 
 101. Ravenna, Theodoric's Tomb . . . 
 
 162. Rimini, S. Francesco 
 
 163. Rome, Arch of Constantiue 
 
 164. Rome, Basilica of Constantino, 
 
 and SS. Cosmo e Damiano. . 
 105. Rome, Cancellaria, court 
 
 166. Rome, Caj)itol Hill, plan 
 
 167. Rome, Capitol and Steps 
 
 168. Rome, Castle of S. Angelo 
 
 169. Rome, Column of Marcus Aure- 
 
 lius 
 
 170. Rome, Fontana Paolina 
 
 171. Rome, Forum Romanum 
 
 172. Rome, Forum Romanum, jilan. 
 
 173. Rome, Forum of Trajan 
 
 174. Rome, Palazzo Borgliese, court. 
 
 175. Rome, Palazzo Farnese, loggia. 
 
 176. Rome, Palazzo di Venezia, court. 
 
 177. Rome, Pantheon, jjlau 
 
 178. Rome, Pantheon 
 
 179. Rome, Sta. Agnese fuori le 3Iu- 
 
 ra 
 
 180. Rome, S. Clemeute, interior . . . 
 
 181. Rome, Sta. Costauza, interior . . 
 
 182. Rome, S. Giorgio in Velabro, and 
 
 Arcus Argentarius 
 
 183. Rome, S. Giovanni in Fonte, 
 
 Baptistery of Constantine, 
 interior 
 
 184. Rome, S. Giovanni inLaterano. 
 
 185. Rome, S. Giovanni in Laterano, 
 
 interior 
 
 186. Rome, S. Lorenzo fuori, interior. 
 
 187. Rome, Sta. Maria degli Angeli . 
 1.S8. Rome, Sta. Maria in Araeeli, in- 
 terior 
 
 189. Rome, Sta. Maria in Cosmedin, 
 
 interior 
 
 190. Rome, Sta. Maria Maggiore, 
 
 rear 
 
 330 
 
 332 
 
 333 
 335 
 
 335 
 337 
 339 
 341 
 
 343 
 345 
 346 
 347 
 348 
 
 350 
 351 
 352 
 353 
 354 
 359 
 361 
 369 
 370 
 371 
 
 374 
 379 
 380 
 
 383 
 
 385 
 386 
 
 387 
 391 
 393 
 
 394 
 
 395 
 
 397 
 
JLLUSr/.'.iTIOXS f.V 771 E TEXT 
 
 FIGURE 
 
 191 
 
 192. 
 
 193. 
 
 194. 
 
 197. 
 
 198. 
 199. 
 200. 
 
 204. 
 
 205. 
 206. 
 207. 
 208. 
 209. 
 
 213 
 213 
 214 
 215 
 
 Mtu'iit ilellii Piice. 
 jiolo, Sforzii 
 'I'rastovere, 
 
 Kome, Sta. Maria .Maggioiv, iu- 225. 
 
 terior 398 220. 
 
 Ixome, Sta, 
 
 cloister 
 
 Homo, S. .M. del l'( 
 
 MomuuL'Ut .... 
 Rome, St. Maria in 
 
 choir 
 
 195. Rome, S. Paolo fuori, interior.. 
 
 196. Kome, S. Paolo fuori, cloister . . 
 Rome, St. Peter's with its colon- 
 nades, plan, after Fontaua. 
 
 Rome, St. Peter's, front 
 
 Rome, St. Peter's, rear 
 
 Rome, St. Peter's, iutei'ior 
 
 201. Rome, Sta. Prassede. interior . . 
 
 202. Rome, S. Stefano Rotondo, iilan. 
 
 203. Rome, Vatican. ]ilan 
 
 Rome, Vatican, Ilall of Statues 
 
 in the Belvedere 
 
 Salerno, Cathedral, pulpit 
 
 Salonica, St. Demetrius, interior. 
 
 Salonica, St. George 
 
 Segesta, Temple 
 
 Siena, Cathedral 
 
 210. Siena, Cathedral, plan 
 
 211. Siena, Palazzo Pubhlico 
 
 Taormina, Ancient Theatre .... 
 Todi, S. il. della Consolazione. 
 Torcello, Cathedral, interior . . . 
 Toscanella, Cathedral 
 
 216. Toscanella, Sta. Maria Maggi- 
 
 ore, interior 
 
 217. Trani, Cathedral, doorway 
 
 218. Troja, Catliedral, front 
 
 219. Turin, Palazzo Madania 
 
 220. Turin, La Superga 
 
 221. Turin, La Superga, \)\m\, from 
 
 Gurlitt 
 
 222. L^rbiuo, Ducal Palace 
 
 223. Venice, Ca' d'Oro 
 
 224. Venice, Library and Loggia of 
 
 Campanile 498 256. 
 
 400 
 
 227 
 
 
 228 
 
 401 
 
 229 
 
 
 230 
 
 402 
 
 231 
 
 406 
 
 232 
 
 407 
 
 233 
 
 
 234 
 
 410 
 
 235 
 
 411 
 
 236 
 
 412 
 
 
 414 
 
 237 
 
 417 
 
 
 421 
 
 238 
 
 431 
 
 239 
 
 432 
 
 240 
 
 438 
 
 
 440 
 
 241. 
 
 441 
 
 
 450 
 
 242. 
 
 458 
 
 243. 
 
 459 
 
 
 462 
 
 244. 
 
 473 
 
 245. 
 
 480 
 
 
 481 
 
 246. 
 
 483 
 
 247. 
 
 
 248. 
 
 484 
 
 249. 
 
 486 
 
 250. 
 
 490 
 
 251. 
 
 491 
 
 
 492 
 
 252. 
 
 
 253. 
 
 493 
 
 254. 
 
 495 
 
 
 497 
 
 255. 
 
 \'enice, I'alazzo Cavalli 
 
 Venice, Palazzo Corner Ca' 
 Grande 
 
 \'enice, Palazzo Dario 
 
 Venice, Ducal Palace 
 
 Venice, Palazzo Foscari 
 
 Venice, Palazzo Loredan 
 
 Venice, Palazzo Pe:^a^) 
 
 Venice, Palazzo Rezzonico 
 
 Venice, Palazzo Vendramiui . . . 
 
 Venice, S. Ciorgio Maggiore. . . 
 
 Venice, Piazza S. Marco, plan . . 
 
 Venice, St. Mark's and Ducal 
 Palace 
 
 Venice, St. jMark's, plan, after 
 Mothes 
 
 \'enice, St. Mark's, interior. . . . 
 
 Venice, S. M. dei Gesuiti. in- 
 terior 
 
 \'enice, S. M. (ilorio.sa dei Frari, 
 apse 
 
 Venice, S. il. dei Miracoli, 
 choir 
 
 Venice, S. M. della Sahite 
 
 Venice, S. M. della Salute, 
 l)lan 
 
 Venice, S. Zaccaria, \Aau 
 
 Venice, Scuola S. Giovanni, in- 
 terior 
 
 A'enice, Scuola S. Marco 
 
 Vercelli, S. Andrea, plan 
 
 Verona, Arena (amphitheatre). . 
 
 Verona, Cathedral 
 
 Verona, Palazzo del Consiglio . . 
 
 Verona, S. Fermo Maggiore, in- 
 terior 
 
 Verona, S. Zeno, interior 
 
 Vicenza, Basilica 
 
 Vicenza, Theatro Olympico, in- 
 terior, after Gurlitt 
 
 Vicenza, Theatro Olympico, 
 2)lan. after Gurlitt 
 
 Vicenza, Villa Capra 
 
 PAGE 
 
 502 
 
 503 
 504 
 507 
 508 
 509 
 510 
 511 
 512 
 514 
 517 
 
 518 
 
 519 
 520 
 
 J21 
 
 Vi-Z 
 
 523 
 524 
 
 524 
 .526 
 
 527 
 528 
 530 
 531 
 532 
 533 
 
 535 
 537 
 539 
 
 540 
 
 541 
 541 
 
BIBLIOGRAPHY 
 
 To have attached memoranda of aiitlioiities 
 to the separate articles would Lave greatly 
 crowded or increased the following pages, and 
 led to endless repetition. The list here given, 
 with titles somewhat abridged, is selected from 
 the embarrassingly abundant literature of the 
 subject with the hope of leading the reader 
 and the student to such further information as 
 they may require. A complete bibliography 
 has, so far as the editor knows, never been 
 made out, nor the authorities brought together 
 in any collection. They are but inadequately 
 represented in the libraries of the United 
 States, public or private. It is impossible to 
 know them all, and some are here cited of 
 which it is not possible to speak from iiersonal 
 knowledge. 
 
 It is hardly necessaiy to tabulate in detail 
 the well-kuowu histories and hand-books of 
 Fergusson, Kugler, Liibke, Schnaase, Kamee, 
 D'Agincourt, Durm, Adamy, Gailhabaud, Per- 
 rot aud Chipiez ; the biographical works of 
 Milizia, Vasari, De Quincy ; the treatises of Yi- 
 truvius and the great architects of the Eenais- 
 sance ; the serials, too many for mention, of 
 the archiBological societies, English, Ameri- 
 can, German, French, Greek, and Italian ; the 
 dictionaries of classical antiquities of Smith, 
 D'Aremberg and Saglio, and Baumeister ; or 
 the various architectural journals, English, 
 French, German, and sometimes American. 
 Meyer's (Gsell-Fels and others) and Jlurray's 
 guide-books, also the Guides Joanne, and 
 Baedeker's Greece, contain much information, 
 more valuable and trustworthy than they are 
 often credited with. 
 
 To these may be added the following general 
 treatises : 
 
 Botticher. Tektonik der Hellenen. 
 Chipiez. Histoire critique des origiues de la 
 formation des ordres grecs. 
 
 Choisy. L'Art de batir chez les Byzantins. 
 Choisy. L'Art de biltir chez les Ilomains. 
 Dehio und von Bezold. Christliche Baukunst 
 
 des Abendlandes. 
 Dohme. Barock und Rococo Architektur. 
 Donaldson. The Theatre of the Greeks. 
 Haigh. The Attic Theatre. 
 Hauser. Styllehre der architektonischen For- 
 
 men des Alterthums. 
 Hiibsch. Altchristliche Kirchen. 
 Isabelle. Les edifices circulaires et les domes. 
 Krell. Geschichte des dorisohen Stils. 
 Lange. Das antike griechisch-rumische Wohn- 
 
 hans. 
 Jliintz. Histoire de I'Art i^endant la Renais- 
 sance. 
 Penrose. An Investigation of the Principles 
 
 of Athenian Architecture. 
 Eeber. Geschichte der Baukunst im Alter- 
 
 tum. 
 Wiebeking. Biirgerliche Baukunde. 
 Winckler. Die Wohnhuuser der Hellenen. 
 Zestermann. Uebor die antiken und christ- 
 
 lichen Basilikeu. 
 
 And the following : 
 
 A — Classical Architecture. 
 /. Works Embracing ^]llole Regions. 
 
 Aiusworth. Travels and Researches iu Asia 
 
 Minor, Mesojiotamia, etc. 
 Arundell. Discoveries in Asia Minor. 
 Blouet. Expedition scientifique en Mor6e. 
 Bursian. Geographie von Griechenland. 
 Cesuola. Cyprus, its Ancient Cities, Tombs, 
 
 and Temples. 
 Chandler, Bevett, and Pars. Antiquities of 
 
 Ionia. 
 Chandler. Travels into Greece. 
 Choiseul-Gouffier. Voyage pittoresque dans 
 
 I'empire Ottoman, en Grece, etc. 
 
BIBLIOGRAPHY 
 
 Curtius. relopoiinesos. 
 
 Deunis. The Cities ami Cemeteries of Etruriii. 
 Diehl. Excursions in Greece, 
 Fellows. Journal Written during an Excur- 
 sion iu Asia Minor. 
 Fellows. Travels and Researches in Asia 
 
 Minor. 
 Gardner, Hogarth, James, and Sraitli. Exca- 
 vations in Cyprus (Hellenic Studies). 
 Hamilton. Re.scarches in Asia Minor, Pontos, 
 
 and Armenia. 
 Hittorff. Arcliitecture antique de la Sicile. 
 Inghirami. Monumonti Etrnsclii. 
 Isambert. Itinerairo descviptif, liistoriquo ct 
 
 areliC-ologique de I'Orient. 
 Lanckoronski. Stadte Pamijhvliens nnd Pisi- 
 
 diens. 
 Leake. Peloponnesiaca. 
 Leake. Travels in the Morea. 
 Leake. Travels in Northern Greece. 
 Le Bas and Waddington. Voyage archeolo- 
 
 gique en GrCce et Asio Mineure. 
 Lenormant. La Grande-Greee. 
 Miller. Le Mont Atlios, Vatopodi, et I'ile de 
 
 Thasos. 
 Munro and Tuhbs. Excavations iu Cyprus, 
 
 1889 (Journal of Hellenic Studies). 
 Porrot, Guillaumo, and Dechat. Exploration 
 
 archCologiquo do la Galatie. 
 Perrot. L'ilo do Crfete. 
 Prokesch vou Osten. Denkwi'irdigkeitcn und 
 
 Erinnerungon a\is dem Orient. 
 Koss. Keiseu auf den griechischeu Inscln des 
 
 iigaisclien Meeres. 
 Serradifalco. Le Antichita di Sicilia. 
 Society of Dilettanti. Tlie Unedited Anticpii- 
 
 ties of Attica. 
 Spon and Whelor. Voyage d'ltalie, de Dal- 
 
 matie, de GrCce, et du Levant. 
 Spratt. Travels and Researches in Crete. 
 Texier. Description de I'Asie Mineure. 
 Texier and Pullan. The Principal Ruins of 
 
 Asia Minor. 
 Wheler. Journey into Greece, 1C82. 
 Wilkius. The Antiquities of Magna Gra;cia. 
 
 //. Special ^y()|■kfi and Monographs. 
 (Arranged in orcU'r of town!*,) 
 
 Akgae. — Bohn and Schiichhardt. Altcrtiimer 
 
 vou Aogao. 
 .SjGlN.i. — Cockerell. TIk; Temple of Jupiter 
 
 Panhellenius at ^?5gina and of Apollo 
 
 Epicurius at Bassic. 
 
 Gamier. Le Temple do Jupiter Panlicl- 
 
 lenien. 
 AfiiiiOENTrji. — Klenze. Der Tempel des olymp- 
 
 ischen Jupiter zu Agrigent. 
 AxcoNA. — Morelli. Guida di Aucona e de' suoi 
 
 dintorni. 
 AosTA. — Aubert. Aoste. 
 
 Promis. Le Antichita di Aosta. 
 Abgos. — Waldstein. Excavations of tlie .\raeri- 
 
 can School of Athens at Argos. 
 Assos. — Clarke. Report on the Investigations 
 
 at Assos (Papers of the Arch. Inst, of 
 
 America). 
 
 Athens. 
 
 Adler. Die Stoa des Attalos (Berlin, Winckcl- 
 maunsprogramm, 1874). 
 
 Bevier. The Olympieion at Athens (Papers of 
 the Amer. School of Class. Stud, at Athens). 
 
 Bolin. Propylaeen der Akrojjolis vou Atheu. 
 
 Biittieher. Die Akropolis vou Atheu. 
 
 Clioisy. L'Erechtheion. 
 
 Curtius. Die Stadtgeschichte vou Atheu. 
 
 Doerpfeld. Many papers ou the Acropolis and 
 its buildings in the Mitth. d. k. d. arch. 
 Inst. Athen. 
 
 Dyer. Ancient Athens. 
 
 Fergussou. The Parthenon. 
 
 Fowler. The Erechtheion at Athens (Papers 
 of the Amer. School at Atheu.s). 
 
 Fowler. The Temple ou the Acropolis Burnt 
 by the Persians (Amer. Journ. of Archa!ol.). 
 
 Frazer. The Pre -Persian Temi^le on tlie 
 Acropolis (Journ. Hellen. Studies). 
 
 Girard. L'Asclepieion d'Athbnes. 
 
 Harrison and Verrall. Mythology and Monu- 
 ments of Ancient Athens. 
 
 Inwood. Tlie Erechtheion at Athens. 
 
 Micliaelis. Der Parthenon. 
 
 Penrose. On the Ancient Hecatompedou 
 wliich Occupied the Site of tlie Parthenon 
 (Journ. Helleu. Studies). 
 
 Ross, Schaubert, and Hansen. Die .\kropolis 
 vou Athen nach den neuesten Ausgrabung- 
 en. I., Der Temjiel der Nike Apteros. 
 
 Schillbaeh. ITeber das Odeum des Herodes 
 Attieus. 
 
 Stuart aud Revolt. Antiquities of Athens. 
 
 Tuckermann. Das Odeum des Herodes Atti- 
 eus und der Regilla restaurirt. 
 
 Wachsmuth. Die Stadt Atheu im Altertuni. 
 
 AVheeler. The Theatre of Dionysus (Papers 
 of the Amer. School at Athens). 
 
Bl I'.LIUC RAP IIY 
 
 Bass^. — Cockeiell. The Temples of Jupitei' 
 Panhelleuius at ^giiia and uf Apollo 
 Epicurius at Bassie. 
 Stackelbeig. Der Apollotempel zu Bass.-o 
 iu Arkadieu. 
 Benevexto. — JVIeomartiuo. I monumenti e le 
 Opeie iVArte della Citta di Beueveuto. 
 Peterseu. L'Aroo di Tiaiaiio a Beueveuto 
 (Mitth. d. k. d. arch. Inst. Rom.). 
 Ckotoxa. — Clarke. Letters on Croton An- 
 nual Reports of the Archicol. Inst, of 
 America. 
 ClRENE. — Smith and Porcher. History of the 
 
 Recent Discoveries at Cyi'ene. 
 DEiiOS. — HomoUe. Les Fouilles de Delos. 
 
 Lebigne. Recherches sur Delos. 
 DoDONA. — Canxpauos. Dodoue et ses ruines. 
 Ephesus. — Falkener. Ephesus aud the Tem- 
 ple of Diana. 
 Murray. Remains of Archaic Temple of 
 Artemis at Ephesus (Journ. Helleu. 
 Stud.). 
 Weber. Guide dii voyageur ii £ph6se. 
 Wood. Discoveries at Ephesus. 
 Epidaurus.— Dumou. Le Theatre de Poly- 
 clete. 
 Kal)badias. Fouilles d'tpidaure. 
 Eketria. — Fossum and Brownsou. Excava- 
 tions in the Theatre at Eretria (Amer. 
 Jour. Archieol.). 
 Fiesole. — Inghirami. Guida di Fiesole. 
 Gjolbaschi. — Benudorf and Neumann. Das 
 
 Heroon von Gjolbaschi. 
 GoBTYSA. — Halbherr. Tempio di Apollo a 
 Gortyua (Museo Italiano, ii. ; Monu- 
 menti Antichi, i.). 
 Halicabn'assus. — Falkener. On the Mauso- 
 leum or Sepulchre of Mausolus at Hali- 
 caruassus (Museum of Classical An- 
 tiquities). 
 Fergusson. The Mausoleum at Halicar- 
 
 nassus Restored. 
 Newton. A History of Discoveries at 
 Halicarnassus, Cnidus, and Brauchida!. 
 Petersen. Das Mausoleum. 
 Hercul.\neum. — Carcaui and others. Le Auti- 
 chita di Ercolano. 
 David. Les autiquites d'Erculanum. 
 Gori. Admiranda antiquitatum Hercu- 
 
 lanensium. 
 Piroli and Piranesi. Antichita di Erco- 
 lano. 
 Magnesia. — Hiller v. Gaertringen, Kern, aud 
 
 Doerpfeld. Ausgrabungen im Theater 
 von Magnesia (Mitth. d. k. d. arch. Inst. 
 Athen). 
 MEGAiiOPOLis.— Gardner, Loring, Richards, and 
 Woodhouse. Excavations at Megalopo- 
 lis. 
 MiLETiis. — Rayet and Thomas. Milot ct la 
 Golfe Latmiquo, Tralles, etc. 
 Rayet. Lo Temple d'Apollou Didymeeu. 
 MvcEXiE. — Schliemaun. Myken;e. 
 Neasdria. — Koldewey. Neaudreia (51st Berlin 
 
 Wiuckelmannsprogr.). 
 Olyjipia. — Botticher. Olympia, das Fest nnd 
 seine Stiitte. 
 German Government (Adler, Curtius, and 
 
 others). Ausgrabungen von Olympia. 
 Gorman Government. Fuude von Olym- 
 
 jiia. 
 German Government. Olympia. Die Er- 
 gebnisse der . . . Ausgrabungen. 
 Orchomentjs. — Schliemann. Orchomenos. 
 OsTiA. — Canina. Indicazione delle Rovine di 
 
 Ostia e di Porto. 
 Paestcm. — Delagardette. Les ruines do Paes- 
 tum ou Posidonia. 
 Labrouste and Dassy. Les temples de 
 
 Paestum. 
 !Major. The Ruins of Paestum or Posi- 
 donia. 
 Piranesi. Opere, vol. xv. (Paestum). 
 Pergamon. — Bohn. Der Tempel des Dionysos 
 zu Pergamon (Preuss. Akad., 1885). 
 Couze, Humann, and others. Die Ergeb- 
 
 nisse der Ausgrabungen zu Pergamon. 
 Thiersch. Die Konigsburg von Perga- 
 mon. 
 PoLA. — Allason. Picturesque A'iews of Pola iu 
 Istria. 
 Sancovich. Dell' Aufiteatro di Pola. 
 Stuart and Revett. Antiquities of Athens. 
 PoMPEn. — Donaldson. Pompei Illustrated. 
 Dyer. Pompei. 
 Gell and Gandy. Pompeiana. 
 Mau. Pompeianische Beitriige. 
 Mazois. Les ruines de Pomjiei. 
 Overbeck. Pompeji in seinen Gebauden, 
 
 etc. 
 Von Duhn and Jacobi. Der griechische 
 Tempel in Pompei. 
 Priexe. — Pullan. Priene and Teos. 
 Rimini. — Toniui. Dell' Aufiteatro di Rimini. 
 Tonini. Rimini avauti el Principio dell' 
 Era Volgare. 
 
 xvii 
 
BIBLIOGRAPJl y 
 
 Adlcr. Das Pantheon zu Kom. 
 
 Blavette. litnde snr le Pantheon de Eomo 
 (Melanges archeologiqnes, 1885). 
 
 Borsari. II Foro di Augusto ed il Tempio di 
 Malta Ultore. 
 
 Burn. Rome and the Campagna. 
 
 Fea. La Basilica di Constantino sbandita 
 della Via Sacra. 
 
 Fontana. L'Aufiteatro Flavio descritto ed il- 
 lustrate. 
 
 Frohner. La Colonue Trajane. 
 
 Gilbert. Gescbichte und Topograjihie der 
 Stadt Rom. 
 
 Hiilsen. Das Pantheon (in Jahresbericht, 
 Mitth. d. k. d. arch. Inst. Kom. 1893, p. 
 305). 
 
 Hiilsen. Das Septizonium des Severus. 
 
 Hiilsen. Die Regia (Jahrb. d. arch. Inst.}. 
 
 Jordan. Topographic der Stadt Rom. 
 
 Lanciani. Ancient Rome in the light of re- 
 cent discoveries. 
 
 Lanciani. II Pantheon e le Terme di Agrippa 
 (Not. d. Scav., 1881, 1882). 
 
 Lanciani. L'Atrio di Vesta. 
 
 Lanciani. Pagan and Christian Rome. 
 
 Lesueur. La Basilique Uipienne. 
 
 Middleton. Remains of Ancient Rome. 
 
 Nibby. Del Tempio della Pace e della Basili- 
 ca di Constantino. 
 
 Nichols. The Regia, the Atrium Vesta-, and 
 the Fasti Capitolini. 
 
 NichoLs. The Roman Forum. 
 
 Piale. Del TemjMO di iSIarte Ultore e dei tre 
 Fori di Cesare, d'Augusto, e di Nerva. 
 
 Piranesi. L'Antichita Romana. 
 
 Piranesi. La Magniticenza dei Romani. 
 
 Plainer, Bunsen, Gerhard, and others. Die 
 Beschreibimg der Stadt Rom. 
 
 Reinach. La Colonne Trajane. 
 
 Richter. Die Angnstnsbauten auf dem Forum 
 (Jahrb. d. arch. Inst.). 
 
 Richter. Tnpographie vou Rom. 
 
 Richter and Griti. II Ristauro del Foro 
 Traiano. 
 
 S.A.HNrs. — Hittorft' and Zanth. Rocueil des 
 monuments de SCgcste et de Selinonte. 
 
 S.VMOTHRACE. — Couzc, Hauser, and Neumann. 
 Arch;iologische Untersuchungen auf Sa- 
 motbrake. 
 Conze, etc. Neuo Archi'iologische Unter- 
 suchungen auf Samothrake. 
 
 SiCYON. — McMurtiT and Earle. Excavations 
 
 at the Theatre of Sicyou (Amer. Journ. 
 
 of Arch.). 
 Sp.vl.\to. — Adam. Ruins of the Palace of the 
 
 Emperor Diocletian at Spalatro. 
 Hauser. Spalato und die romischeu Monu- 
 
 mente Dalmatiens. 
 SrNiini. — Doerpfeld. Der Temi^el von Suuiou 
 
 (Mitth. d. k. d. arch. Inst. Athen, is.., p. 
 
 324). 
 SriiAcr.sE. — BeuK-. Les temples de Syracuse. 
 Cavallari and Holm. Topografia arche- 
 
 ologica di Siracusa. 
 Thoricus. — Miller and Gushing. The Theatre 
 
 of Thoricus (Papers of the Amer. School 
 
 at Athens). 
 TniYNS. — Schliemann. Tiryns. 
 Tk.^lles. — Humann and Doerpfeld. Ausgra- 
 
 bungeu in Tralles (Mitth. d. k. d. arch. 
 
 Inst. Athen). 
 Troy. — Schliemann. Bericht iiber die Aus- 
 
 grabuugen in Troja im Jahre 1890. 
 Schliemann. Ilios. 
 Schliemann. Troja. 
 Verona. — Mallei. Descrizione dell" Anfiteatro 
 
 di Verona. 
 Mafl'ei. Verona illustrata. 
 Xaxthus. — Fellows. Account of the Ionic 
 
 Trophy-monumeut Excavated at Xan- 
 
 thus. 
 
 B — Italian Architecture. 
 
 /. General Works. 
 
 Bindi. Jlonumeuti, etc., degli Abruzzi. 
 Boito. xVrcliitettura del Medio Evo in Italia. 
 Burckhardt. Geschichte der Renaissance iu 
 
 Italien. 
 Callet and Lesueur. Architecture septen- 
 
 trionale italionne. 
 Capeletti. Le cliiese d'ltalia. 
 Cattaneo. L'Architettura iu Italia dal Secolo 
 
 VI. al mille circa. 
 Chapuy. L'ltalie nionumentale et pittoresque. 
 Choisy. L'art de batir choz les Byzantins. 
 Clericetti. Ricerche sull' architettura lom- 
 
 barda. 
 Cordero. Dell' architettura Italiana durante 
 
 la dominazione longobarda. 
 Cresy and Taylor. Arcliitecture of the Jliddle 
 
 Ages in Italv. 
 
lilBLKXrHA PUT 
 
 Dauticr. L'ltalie. 
 
 Dartein. Etude sur rarcliiteotui-e lombarcle. 
 
 Do Luynes. Jlonasteies cles Normands dans 
 
 l'ltalie uieridioiiale. 
 Di Marzo. Delle belle arti iu Sicilia. 
 Eulavt. Oiigiues t'raiigaises do rarchitecture 
 
 gotliique en Italie. 
 Foerster. Bauweike der Reuaissanco in Tos- 
 
 cana. 
 Galland and Koseuorauz. Gescliichte der 
 
 Italianischcn Renaissance. 
 Gally-Kuiglit. Ecclesiastical Architecture of 
 
 Italy. 
 Gally-Kuiglit. Saracenic and Norman remains 
 
 iu Sicily. 
 Gally-Kuiglit. The Normans in Sicily. 
 Garucci. Storia della arte cristiaua nei primi 
 
 otto secoli della chiesa. 
 Geymiiller and Widraann. Architektur der 
 
 Renaissance in Toscaua. 
 Grandjean de Montigny and Famin. Archi- 
 tecture toscauo. 
 Griiner. Terra-cotta Architecture of Northern 
 
 Italy. 
 Gurlitt. Geschichte des Barockstyls in Ital- 
 
 ion. 
 Hittorff and Zanth. Architecture moderne 
 
 de la Sicile. 
 Isabelle. Italia mouumentale. 
 Lsalielle. Renaissauce Italieune. 
 Laspeyres. Bauwerke der Renaissance in 
 
 Umbrien. 
 Laspeyres. Kirchen der Renaissauce in Ital- 
 
 ien. 
 Lenormaut. A travcrs I'Apulie et la Lucauie. 
 Mella. Elementi dell' architettura romano-bi- 
 
 zantina, detta lombarda. 
 Mitteliilterliche Kunstdenkmiiler des Oester- 
 
 reichischen Kaiserstaates (by Heider, Ei- 
 
 telbnrger, and others). 
 Mothes. Baukunst des Mittelalfers in Italien. 
 Norton. Church Buihliiig iu the Middle Ages. 
 Osten. Bauwerke in der Lombardei. 
 Paravicini. L'architecture de la Renaissance 
 
 en Lombardie. 
 Pareto. Italie mouumentale. 
 Peyer im Hot. Renaissance Architektur Ital- 
 
 iens. 
 Planat. Encyclopedic de l'architecture et do 
 
 la construction. 
 Pullan. Eastern Cities and Italian Towns. 
 Quast. Sammlung der vorziiglichsteu Denk- 
 
 maler der Architektur in Italien. 
 
 Quicherat. Melanges d'archeologie et d'his- 
 toiro. 
 
 Redtenbacher. Die Architektur dor Ifalion- 
 ischen Renaissance. 
 
 Ricci. Storia dell' architettura in Italia. 
 
 Rohault de Fleury. La Toscano au Jloyen 
 Age. 
 
 Ruhl. Denkmaler der Baukunst in Italien. 
 
 Ruhl. Kirchen, Paliiste und Khister in Ital- 
 ien. 
 
 Rumohr. Italieuische Forscliungen. 
 
 Runge. Backstein Architektur in Italien. 
 
 Runge and Rosengarten. Architektouische 
 Mittheilungen liber Italien. 
 
 Salazaro. L'Arte romana al medio evo. 
 
 Salazaro. Sicilia artistica o archaelogica. 
 
 Salazaro. Studi .sui monumenti dell' Italia 
 meridiouale. 
 
 Schulz. Denkmaler der Kunst des Mittelal- 
 ters in Unter-Italien. 
 
 Schlitz. Die Renaissance in Italien. 
 
 Solvatico. Le arti del discgno in Italia. 
 
 Serradifalco. Le antichita della Sicilia. 
 
 Serradifalco. Vedute pittoresche dei monu- 
 menti di Sicilia. 
 
 Strack. Central und Ktippelkirchen der Re- 
 naissance in Italien. 
 
 Strack. Ziegelbauwerke der Renaissance in 
 Italien. 
 
 Street. Brick and Marble in the Jliddle Ages. 
 
 Yitet. Architecture lombarde. 
 
 Wiebeking. Burgerlicher Baukunde. 
 
 Willis. Remarks on the Architecture of the 
 Middle Ages, especially of Italy. 
 
 //. Speciid Works and Monnrjraphs. 
 (ArraDj:ed iu order of to\\'US.) 
 
 A.SSISI. — Fratini. San Francesco. Assisi. 
 
 Perilli. Relazione storica della basilica 
 
 degli Angeli presso Assisi. 
 Brescia. — Odorici. Antichita cristiane di 
 
 Brescia. 
 Zaniboui. Pubbliche fabbriche piu iu- 
 
 signe di Brescia. 
 C.u>R.\RoLA. — Maccari. II Palazzo di Caprarola. 
 Caseuta. — Vauvitelli. Dichiarazione dei di- 
 
 segni del reale Palazzo di Caserta. 
 Chi.\r.\v.\lle. — Cafti. Dell' Abbazia di Chiara- 
 
 valle in Lombardia. 
 Crv'iDALE. — Eitelberger. Cividale iu Friaul und 
 
 seine Mouumente. 
 
BIP.LloaUA ruY 
 
 Florexce. — Castelluzzi. II Palazzo dotto di 
 
 Or San Michele. 
 Cellesi. Sei Fabbiiche di Firenze. 
 Dnrm. Die Domkuppel iu Florenz und 
 
 die Kuppel der Peterskirche zu Kom. 
 Francescliiiii. Santa Maria del Fiore. 
 Frey. Die Loggia dci Lauzi zu Florenz. 
 Guasti. Santa jNIaria del Fiore. 
 Guasti. La Cupola di Santa Maria del 
 
 Fiore ilhistrata. 
 Molini. La nietropolitana tiorentiua. 
 Moro. La faeeiata di Santa Maria did 
 
 Fiore. 
 Ozauam. Saint Croix a Florence. 
 Richa. Notizie istoriclie delle cbiese di 
 
 Firenze. 
 Reinliardt and Rasclidorfl". Palast-Archi- 
 
 tektur von Ober-Italien nnd To.scana 
 
 (Tuscany by Kascbdorii). 
 Kunge. Glockeutburm des Doms zu 
 
 Florenz. 
 Genoa. — Gautbier. Les plus beaux editices de 
 
 la ville de Gene.s. 
 Reinbardt and Rascbdorft' Palast-Arcbi- 
 
 tektur von Ober-Italien und Toscaua 
 
 (Genoa by Reinliardt). 
 Rubens. Palazzi antichi e moderui di 
 
 Gen ova. 
 GuBBlo. — Mella. Palazzo municipale di Gub- 
 
 bio. 
 Lucca.— Schmarsow. San Martino von Lucca. 
 
 Scbmarsow. San Micbele von Lucca. 
 Messina.— Roux Aim'. Charpente de la catlie- 
 
 drale de Messina. 
 MiL.vN.— Aunali della Fabbrica del Duomo di 
 
 Jlilano. 
 Artavia. II Duonio di Milano. 
 Beltrami. II Castello di Milano sotto il 
 
 dominio degli Sforza. 
 Boito. II Duomo di Milano. 
 Calli. Cbiesa di San Eustorgio. 
 Cassina. Le I'abbriclie piii eospicue di 
 
 Milano. 
 Landriani. La basilica ambrosiaua di 
 
 Milano. 
 Paravicini. II Palazzo Marino di Mi- 
 lano. 
 Salte. Auticlie basiliche di Milano. 
 Villardi. Le dome de !MiIau (en 70 
 
 Plancbes). 
 MoDENA. — Roncaglia. La Cattodiale di ^lo- 
 
 dena. 
 MosREALE — Gravina. 11 Duomo di Jlonreale. 
 
 Serradifalco. Del Duomo di Monreale e 
 di altri eliiese Sicolo-Xormano. 
 Monte Cassino. — Tosti. Storia della Badia di 
 
 Monte Cassino. 
 MoNTEi'ULCiANO. — Lambert. Madonna di S. 
 
 Biagio, Montepulciauo. 
 Orvieto. — Benois. Mouograpbie de la eatlu'- 
 drale d'Orvieto. 
 Della Valle. Storia del Duomo di Orvieto. 
 Fumi. II Duomo di Orvieto. 
 Luzi. II Duomo di Orvieto. 
 Padua. — Ghislandi. La Basilica di San An- 
 tonio di Padova. 
 Gouzati. La Basilica di San Antonio di 
 Padova. 
 PAliEKJio. — Becker and Forster. Die Catlie- 
 drale zu Palermo. 
 Buscemi. La Ijasilica di S. Pietro (Capclla 
 
 Regia) Palermo. 
 Debli and ('bamberlain. Norman Monu- 
 ments of Palermo and Environs. 
 Pakenzo. — Lolide. Der Dom zu Pareuzo. 
 Pakma. — Lopez. II battistero di Parma. 
 
 Odorici. La Cattedrale di Parma. 
 Pa VIA. — Beltrami. La Certosa di Pavia. 
 
 Deir Acqua. La basilica di S. Michele 
 
 Maggiore, Pavia. 
 Duvilli. La Certosa di Pavia. 
 Noack. Die Certosa bei Pavia (Photo- 
 graphs). 
 PiENZA. — Holzinger. Pienza. 
 
 Mayreder and Benda. Pienza aufgenom- 
 men und gezeichnet. 
 Pisa. — Cresy and Taylor. Architecture of the 
 Middle Ages in Pisa. 
 Grassi. Fabbriche principale di Pisa. 
 Martini. Les grandes editices de Pise. 
 
 Notes by Lejeal. 
 Rohault de Fleury. Monuments de Pise 
 au moyen age. 
 R.iVENNA. — Qnast. Altchristliche Bauwerke 
 
 von Ravenna. 
 Rimini. — Fossati. Le Temple de Malatesta a 
 Rinuni. 
 
 Armellini. Chiese di Roma dal Secolo IV. al 
 
 XIX. 
 Baltard. Villa Mcdicis at Academie de France 
 
 u Rome. 
 Barbault. Les plus beaux edifices de Rome 
 
 nioderne. 
 Barbier. Les Eglises de Rome. 
 
Ill ULIOGUAP II Y 
 
 Boiuinui. Templi Vatioaiii historia. 
 
 Bouchet. La Villa ria. 
 
 (Jampiui. Churches of Constantine. 
 
 Oauiua. Editizii di Eoma. 
 
 Caterbi. La chiesa di San Onofrio. 
 
 Cresciboiii. Basilica di S. M. in Cosmedin. 
 
 Dj Augelis. Bdsilicae S. Maiiae Majoris . . . 
 
 desci'iptio. 
 Diu-ni Die Domkiiche in Florenz tmd die 
 
 Petersldrche zu Rom. 
 FeiTeiio. Palazzi di Eoma de' piu colebri ar- 
 
 chitetti. 
 Foutaua. Kaccolta delle chiese di Roma. 
 Fontana. Templum Vaticanum. 
 Gerardi. La patriareale basilica liboriaua. 
 GeymiUler. Ui'.si.)runc;liclio Eutwiirfo fiir die 
 
 Peter.skirche zu Rom. 
 Gutensohn and Kuapp. Basiliken des Christ- 
 lichen Roms. (Text by Bun.seu.) 
 Jovanovitz. Forschungeu fiber den Bau der 
 
 Peterskirclie zu Rom. 
 Letarouilly. Edifices de Rome moderne. 
 Letarouilly. Le Vatican at la basilique de S. 
 
 Pierre, etc., Rome. 
 Montelatici. Villa Borghese. 
 Mullooly. San Clemente. 
 Muutz and Frothingham. Te.soro della basil 
 
 lea S. Pietro. 
 Nicolai. Basilica di S. Paolo. 
 Parasachi. Racolta delle principale fontaue 
 
 di Roma. 
 Percier and Fontaine. Maisons de jilaisance 
 
 de Rome et de ses environs. 
 Percier and Fontaine. Palais, maisons, et au- 
 
 tres edifices dessinds a Rome. 
 Perrot. Les Catacombes de Rome. 
 Pistolesi. II Vaticano descritto et illustrato. 
 Platner, Biiuseu, and als. Beschreibuug der 
 
 Stadt Rome. 
 Righetti. Descrizione del Carapidoglio. 
 Rohault do Fleury. Le Lateian au moyen 
 
 age. 
 Rondelet. Etude sur la coupole du Panthfion 
 
 de Rome. 
 Rossi. Basilica di San Stefano Rotoudo, 
 
 Roma. 
 Rossi. Chiese di Roma. 
 Rossi. Fabbricbe di Roma. 
 Rossi. La basilica di S. Stefauo Rotondo. 
 Rossi. Roma Sotteranea. 
 Rossini. I monumenti i piu interessanti di 
 
 Roma. 
 Strack. Baudenkmiiler Roms. 
 
 Suardi. Rovino di Roma nel XVI. Secolo. 
 Suys and Handebourg Palais Massimi a, 
 
 Rome. 
 Suys. Description historiqnc du Panthc'ou do 
 
 Rome. 
 Uggeri. Basilica di S. Paolo. 
 Valentini. La patriarcale basilica lateranensa. 
 Valentiui. La basilica liberiana. 
 Valeufini. La basilica vaticamc. 
 ToDi. — Laspeyres. S. M. della Consolazione 
 
 zu Todi. 
 Turin. — Anderisio. La reale basilica di Su- 
 perga. 
 Paroletti. Description historiquo do la 
 basilique de Superga. 
 Urbino. — Arnold. Herzogliche Palast von Ur- 
 
 bino. 
 Venice. — Boito. La basilica di S. Marco in 
 Venezia. (See Ongania.) 
 Cadorin. II palazzo ducale. 
 Cicognara. Le fabbriclie piu cospieue di 
 
 Venezia. 
 Fontana. Cento palazzi vcneziani. 
 Giorni. II tempio di SS. Giovanni e Paolo 
 
 in Venezia. 
 Mothes. Baiikunst iiud Bildhauerei des 
 
 Mittelalteis in Venedig. 
 Nicoletti. Chiesa e Scuola San Rocco. 
 Ongania. Les princiiiaux monuments de 
 
 Venise. 
 Ongania. S. Marco. (Text by Boita.) 
 Peyer im Hof. La basilica di S. Marco. 
 Qnadri. La Piazza S. Marco. 
 Rondelet. Essai historique sur le Pout du 
 
 Rialto. 
 Ruskin. Stones of Venice. 
 Selvatico. Architettura e Scultura in Ve- 
 nezia. 
 Zanotto. II palazzo ducale di Venezia. 
 Veron.\. — Essenwoin. Die Kirche Sta. Auas- 
 tasia zu Verona. 
 Manara. Antica basilica di S. Zenone, 
 Verona. 
 VicENZ.v. — Boni. Vicenza medievale. 
 
 Magrini. Sull architettura in Vicenza. 
 Magrini. II teatro olimpico in Vicenza. 
 Scamozzi. L'Accademia Olimpica di Vi 
 cenza. 
 
 C — Countries E.\st of Itaia'. 
 
 Couchand. Eglises byzantines en Grece. 
 De Vogiie. Syrie Centrale. 
 
BIB Lloa t! A BUY 
 
 De Vogiie. Eglisos de la Terre Sainte. (Cou- L'Aicliitocture Ottomann. 
 
 suit also, for the buildings at Jerusalem, Letbaby and Swainsou. Sancta Sofia. 
 
 the mouograplis of Willis, Fergusson, Ad- Pulgbcr. Les auciennes Sglises byzantincs 
 
 ler, >Soi)p.) de Constantinople. 
 
 Eitelberger. MittelalterlicheKunstdenkmuler Pullan. Italian cities and Eastern towns. 
 
 Dalmatiens. Salzeubcrg. Altcliristlicbe Baudenlsmiiler 
 Fossati. Aya Sofia, ConstantiuoiJle. Constantinopcls. 
 
 Jackson. Dalmatia, Quarano and Istria. Scbultz, R. W. Byzantine Arcliitecture in 
 Kanitz. Serbien's Byzantiuische IMouiamente. Greece. 
 
 Labarte. Palais imperial de Constantinople. Texier and Pnllau. Byzantine arcbitecture. 
 
GLOSSARY 
 
 [Architectural terms are used by cUfFerent writers with much latitude, and variety of meaning. The 
 glossary does not assume to record all the meanings that are given to the words that are cited, but only 
 such as are used in this book.] 
 
 Abacus — a flat slab which forms the 
 top of a capital and receives its load. 
 
 AcROLiTHiC — said of a statue which has 
 head and extremities of marble, but ex- 
 cept these is made of other material. 
 
 AcuoTERiuM — au upright terminal or- 
 nament placed at tiie vertex or the foot of 
 a pediment. 
 
 Adyti'm — a shrine. 
 
 Agora — -market square or fcu'um. 
 
 Aisle — a long division of a building, 
 bordered by columns or piers. 
 
 Alm — wings. 
 
 Ambo (plural amboues) — a pulpit or 
 reading-desk ; one of a jiair set on each 
 side of the choir of an early church. 
 
 Ambulatory — the aisle that makes the 
 circuit of the apse of a church. 
 
 Ajiphiprosty'LE — having a colonnade 
 at each end. See Temple. 
 
 Analemjiata — the wing walls which 
 flank the stage of a Greek theatre, and 
 against which the end seats of the audi- 
 torium abut. 
 
 AxT.ii — pilasters at the ends of the 
 lateral walls of a Greek temple on each 
 side of an opening. See Temple. 
 
 AxTEFix^ — ornaments set along the 
 upper member of a classic cornice, com- 
 monly in the form of anthemions. 
 
 AsTHEMiox — a radiating leaf ornament 
 in classic art, also known as palmetto and 
 honey-suckle ornament. 
 
 Apodyterium — dressing-room. 
 
 Apophyge — the outward curve at the 
 top or bottom of a classic shaft where it 
 Joins the base or capital. Called also 
 conge. 
 
 Apse — a recess in the wall of a build- 
 ing, larger than a niche and showing in a 
 projection outside. It is a common ad- 
 junct to churches. It is better to limit 
 the word to round or polygonal recesses, 
 though sometimes a square projecting bay 
 is called an apse. A Byzantine apse is 
 round within and polygonal without. 
 
 Arch — a round arch is a semicircle ; a 
 segment arch, less than a semicircle ; a 
 horseshoe arch, greater. A depressed arch 
 is a curve lower than a semicircle ; a stilt- 
 ed arch is raised by continuing its lines 
 downward vertically so that it is higher 
 than a semicircle. Two arcs meeting in a 
 point at the crown make a pointed arch. 
 A ramjHiig arch has one foot higher than 
 the other. A bearing-arch, discharging- 
 arch, or relieving-arcli, is an arch built 
 over another arch or a lintel to relieve it 
 of its load. 
 
 Architrave — the beam of wood or 
 stone which spans the interval between 
 columns, and hence the lower member of 
 a classic entablature even when it is sup- 
 ported by a wall instead of columns. (See 
 Entablature.) It is crowned by a mould- 
 ing, and sometimes divided into bands. 
 
GLOSSARY 
 
 A similar biiiid and moulding carried 
 round a classic door or window repeivcs 
 the same name. Sec Order. 
 
 Akchivolt — an architrave bent round 
 an arch. 
 
 xVitcosoLii'M — an arched nielie fen- a 
 sarcophagus in a burial chamber. 
 
 Ashlar — masonry of squared stones 
 dressed to uniform sizes, uniformly bond- 
 ed and faced. 
 
 AsTR.iGAii — a small round moulding, 
 called also a bead. 
 
 Atrium — an open space surrounded by 
 a colonnade or arcade, before a church or 
 within a classic house. 
 
 Attic Base — a classic base for a col- 
 umn, consisting of two toruses with a sco- 
 tia between, separated l)y small fillets. 
 
 Baldacciiixo — a canopy over an altar. 
 See also Cihorium. 
 
 Baroco. See Renaigmnce. 
 
 Barrel-vault. See Vaults. 
 
 Basilica — in its earliest known form 
 a Roman building used as an exchange, 
 and for magistrates' courts. It commonly 
 consisted of a large nave enclosed on two 
 sides, and sometimes on all four, by 
 colonnaded aisles. The aisles were some- 
 times in two stories : the nave, which was 
 always in one, rose above them and was 
 lighted by a clerestory. There was often 
 an iv^se at one end, where the magistrate 
 sat, and rarely there was a transept. The 
 Christian Church promptly adopted the 
 basilica as the typical form of its churches. 
 The colonnades became arcades, the side 
 aisles were sometimes doubled. The 
 doors were set in the end, usually the 
 west end ; the more important basilicas had 
 at the other end a transept with raised 
 floor set apart for the clergy ; the apse was 
 lined with seats for the higher clergy, the 
 bishop's throne in the middle, and before 
 it was the high altar ; transept and nave 
 were separated by a great ar(di (;alled the 
 Triiimplial Arch. The name basilica ad- 
 heres as a title to some of tlie more im- 
 
 portant churches of Rome which have lost 
 their basilican form, as St. Peter's, St. John 
 Lateraii, and several others. 
 
 Bay — a vertical division or slice, as it 
 were, of an architectural composition, 
 marked oil by jiillars, buttresses, piers, 
 or other indications, as the bays of a 
 mediaeval church. The Lombard churches 
 developed a system of double bays in 
 whicJi two bays in the aisles correspond to 
 one in the nave. 
 
 Bearing-arch. See Arch. 
 
 Bed Mouldixg. See Order. 
 
 Bema — a tribune for public notices or 
 sjjeeches ; also the sanctuary or place re- 
 served for the celebration of the service in 
 a Greek or early Latin church. 
 
 Bouleteriox — council-house (or cham- 
 ber). 
 
 Broach — originally a spire set on a 
 tower without intervening parapet or pin- 
 nacle. A broach-spire has come to signify 
 an octagonal spire set on a square tower 
 where the angles of the tower are cov- 
 ered by triangular pyramids leaning back 
 against the diagonal faces of the sjiire. 
 
 Broletto — a North-Italian town-hall. 
 
 BucRAXiA — ox -skulls carved on the 
 frieze of a temple. 
 
 Byzaxtixe — the style of art devel- 
 oped under the Greek Empire from tiie 
 V cent, to the xiv. The most conspicu- 
 ous feature of its architecture is the dome 
 on pcndcntives over a square area, of which 
 the most important example is Sta. Sofia 
 at Constantinople. This style substituted, 
 like the Romanesque, the arcade for the 
 colonnade, affected the Greek cross in its 
 cluirch jjlans, and perfected and used in 
 great profusion the decoration of walls 
 and vaults with pictorial mosaic. 
 
 Cald.vrium — the hot room or sweating- 
 room of a Roman bath. 
 
 Ca.mpaxile — an Italian bell-tower. 
 
 Capital. For classic capitals see Or- 
 der. A Composite capital (witli a capital 
 letter) is a capital of the Composite order; 
 
GLOSSARY 
 
 Ijut ;i c"4)il;il is S()inelimi!S called composite 
 when it is classical in style, yet cannot be 
 assigned to any order. The cubic capital 
 is of Lombard origin, a cubical block, 
 with its lower corners usually rounded off 
 to meet the shaft. A cushion-capital is 
 the same capital more cut away from its 
 shape at the bottom, and more decorated. 
 A crocket-capital is one whose bell is dec- 
 orated with crockets, and is the Gothic 
 analogue of the Corinthian. 
 
 Cavea — the auditorium of a Ivonian or 
 Greek theatre, forming part of a circle or 
 oval, and hollowed to a funnel shape, 
 whence its name. 
 
 Cell A — the enclosed p;irt of a Greek 
 or Roman temple. 
 
 Channels — longitudinal hollows cut 
 in the surface of a Doric column. They 
 differ froni flutes [q. v.) in not having any 
 fillets or flat strips between them. 
 
 Che VET — the French name for the 
 chancel or sanctuary at the east end of a 
 church. The French chevet usually but 
 not always consists of a round or poly- 
 gonal apse girt with an aisle and a series 
 of radiating chapels. 
 
 Choir — the space, usually enclosed, 
 which is reserved for the celebration of the 
 service in a church. 
 
 CiBORiUM — a canojjy over a high altar 
 of a church, later called a baldacchiuo. 
 
 CixcjuEFOiL. See Foil. 
 
 Clekestoky — the upper part of a wall 
 or nave when it rises above aisles or wings 
 and is lighted by windows. 
 
 Cloistek — an open court lined with 
 arcaded galleries in a convent. The name 
 is often given to the galleries themselves. 
 
 Cloistered Vault. See Vaults. 
 
 Coffer — a deep sunken panel in a vault 
 or ceiling. 
 
 Composite. See Order. 
 
 Conch — a semi-dome over a niche or 
 apse. 
 
 CoNFESsio — a recess under the higli 
 altar of an early chui'ch to receive the body 
 or relics of a saint. 
 
 Cuubel — a solid bracket supporting a 
 ccn-nice, string-course, shaft, or other feat- 
 ure in mediaeval architecture. 
 
 Cokintuian. See Order. 
 
 CoRNicciONE — a principal cornice at 
 the top of a facade. 
 
 Cortile — a courtyard or interior court 
 in Italian architecture. 
 
 Cove — a half- vault, leading up into a 
 flat ceiling. 
 
 Ckepidoma — the platform or stereobate 
 of a temple. 
 
 Cressets — iron baskets set up to hold 
 lights, as for beacons. 
 
 Crocket — an upright Gothic leaf, 
 curling outward at the tip, and ending in 
 a knob or bunch of leaflets. It is used 
 on capitals, and ou the ascending ribs of 
 pinnacles, gables, etc. 
 
 Cross-rib. See Vault.'!. 
 
 C'ROWN-MorLDixr;. See Order. 
 
 Cruciform Church — one in which the 
 nave and transejjt intersect, making a 
 four-armed cross, in which all four arms 
 are usually marked off by arches. 
 
 Cunei — the wedge-shaped groups into 
 which the seats of a theatre or amphi- 
 theatre are divided by radiating passages. 
 
 Cushion-capital. See Ciipifal. 
 
 Cusp — the sharp angle of two meeting 
 curves. See Foil. 
 
 Cyma — a reversed curve or wave-line, or 
 a moulding in that form. The Cyma 
 Recta is horizontal at top and bottom, the 
 Cjmia Reversa, called also the Lesbian 
 Cyma or talon, is vertical at top and bot- 
 tom. 
 
 Cymatium. See Order. 
 
 Decastyle. See Temple. 
 
 Dentils — small square blocks used in 
 a series as decorations for a cornice or 
 string-course. 
 
 Diaconicon — one of the two small 
 chambers which flank the chief apse of a 
 Greek church. See also Prothesis. 
 
 DiAGONAL-RiB. See Vaults. 
 
 DiAZOJi.^ — the Greek term for a hori- 
 
GLOSSARY 
 
 zontal encircling passiifrc between the scuts gatiiicr tlie shaft of a column. difTcring 
 of a theatre — a jjreciuction. 
 
 Dipteral. See Temple. 
 
 DiscnARGiXG-ARrir. See Arch. 
 
 DoKic See Order. 
 
 Dkomos — a straight entrance-passage, as 
 for the runners in a stadium. 
 
 Drum — the ring-wall on which a, dome 
 stands. 
 
 DroMo — an Italian name for a cathe- 
 dral. 
 
 EcHEA — acoustic vessels, described by 
 Vitruvius. and set about the auditorium 
 of a theatre. 
 
 EcHiXL'.s — the convex moulding which 
 supports the abacus of a Doric capital. 
 See Order. 
 
 Edicule — a little building. 
 
 Empor — the German name for an up- 
 per aisle or gallery in an early church, 
 afterward replaced by the triforium. 
 
 Engaged Columns — columns set 
 against a Avall or })ior so as to seem par- 
 tially embedded. 
 
 ExTABLATUKE. See Order. 
 
 Entasis — the convexity or swelling in 
 the middle of the shaft of a classic column. 
 
 from tlie chancel of a Doric column only 
 in being separated from its neighli(jr liv a 
 fillet. 
 
 Foil — the lobe of a cusped circle or 
 jianel. A figure of three lobes (like a 
 clover leaf) is called a trefoil, of four a 
 quatrefoil, of five a cinquefoil, etc. 
 
 Foliated — decorated with leaves. 
 
 Fret. See Meander. 
 
 Frieze — the member between the archi- 
 trave and cornice of an entablature. See 
 Order. 
 
 (ioTiiii' — this word is sometimes u.sed 
 to cover the whole of mediaeval architec- 
 ture. In this book it is used in its com- 
 moner and narrower meaning, of the 
 pointed style, so-called, which prevailed 
 in Europe from the xiii cent, to the xvi 
 cent., expanding and developing the forms 
 of the Romanesque, chiefly by means of 
 the ribl)ed vault, the jiointed arch, and a 
 different style of decorative detail. It was 
 brought into Italy in its earlier and purer 
 forms by the Cistercian monasteries of 
 central Italy, and in its later by German 
 influence iu northern Italy, where, espe- 
 
 Epinaos — the rear vestibule of a tem- cially in Venice, it took on a shajje quite 
 
 pie. Cf. ophfJioddiiins. 
 
 Epistyle — the Greek name for an ar- 
 chitrave over columns. 
 
 Exedr.\. — originally a council-room. 
 Then a seat carried round a central sjiace 
 as if for council, and for monumental uses 
 a seat lining an apse or niche. 
 
 EXTR.A.DOS — the upper convex surface 
 of an arch, usually loadiMl with masonry. 
 Cf. Infrndo.i. 
 
 Facade — the main front of a building. 
 
 Fa.scia — a flat band among mouldings, 
 wider than a fillet. 
 
 Fauces — a narrow eiitiMuce inissage or 
 connecting passage in a building. 
 
 Fillet — -a flat sijuare-edged strip used 
 among mouldings, called also a listel. 
 
 Flute — a, loniritudinai hollow corru- 
 
 different from the original. 
 
 (iRADiNATA — the steps or benches in 
 the auditorium of a theatre or amiijii- 
 theatre. 
 
 Groin. See Vaiillx. 
 
 GuiLLOCiiE — a continuous flat orna- 
 ment, formed of interwoven bands of fil- 
 lets leaving round interstices which are 
 usually filled with rosettes. 
 
 GuTT.E (drops) — small protuberances, 
 like jiegs driven up into the mutules 
 or reguliB of the Doric entablature. See 
 Order. 
 
 (i VN.ECKUM — the women's quarters in 
 a Greek house. A woman's gallery in an 
 early chuiTJi. Cf. Einpor. 
 
 IIkaders — bricks or stones laid across 
 a wall so tiiat onlv tlic cuds show. 
 
GLOSSARY 
 
 IIkxastylk. See Temple. 
 
 Hood Moulding — a raised moulding 
 encircling the outside of an arch or arched 
 window. 
 
 IlYi'-ETHRUM — that part of the inte- 
 rior of a temple or other classic building 
 wliifh was open to the sky, or lighted 
 directly from it. A hypa^tliral temj^Ie 
 was one which had a hyi3a3thrum ; but 
 there is much conflict among archaeolo- 
 gists as to how this was arranged; or even 
 whether there were any such. 
 
 Uypocau-stum — a space contrived for 
 heating the under side of a floor. 
 
 Hyposcexiox — the front of a stage- 
 platform in a theatre. 
 
 IcONOSTASis — a close screen before the 
 choir in a Greek church, corresjjonding to 
 the rood-screen of an English church and 
 the jube of a French church. 
 
 Imi'LUVIL'M — a depression to receive 
 rain-water in the court of a Greek or 
 Koman house. 
 
 Impost — the level where an arch rests 
 on its vertical support. It is usually 
 marked by a block, plain or moulded, and 
 this block is itself often called the impost. 
 
 Intrados — the under concave surface 
 or soffit of an arch. Cf. Extrados. 
 
 loxic. See Order. 
 
 LsoDOMic — built of uniform stones, and 
 bonded like a common brick wall of 
 stretchers. 
 
 JoGOLED — notched together to prevent 
 slipping. 
 
 Jibe — the rood - screen in a French 
 church. Cf. Iconostasis. 
 
 Label— a projecting moulding which 
 surrounds the upper part only of a door 
 or window opening, a hood-moulding. 
 
 Lacoxicum — a hot-batli chamber. 
 
 LACuifAR — a coffer in a ceiling. 
 
 Lancet — a tall narrow pointed window. 
 
 Lararitji — a chapel or shrine in a 
 
 Ivomau house containing the effigies of 
 the Lares or household divinities. 
 
 Latin — the Latin form of church is 
 tlie early basilican, developed in the time 
 of Constautine (beginning of the iv cent.) 
 or earlier, and used in and about Rome till 
 the XII. It is not properly cruciform, 
 but T-shaped, having no eastern arm ; the 
 nave does not penetrate tlie transejit, but 
 abuts against it. 
 
 Lintel — a horizontal beam covering 
 an opening. 
 
 LocuLUS— a recess in a wall. 
 
 LoGEiON — a box of a classic theatre. 
 
 Loggia — a recessed gallery. 
 
 Lombard — the style of the early 
 churches of northern Italy, so called be- 
 cause it was believed to have been intro- 
 duced and develojjed under the Lom- 
 bard kingdom, but really later than that 
 kingdom. It was a form of Romanesque, 
 characterized by cruciform plans, the early 
 application of vaulting, clustered piers, 
 the system of double bays in which the 
 two bays of the aisles corresijond to one of 
 the nave, and an exterior decoration with 
 jjilaster-strips, arched corbel-tables, eaves- 
 galleries, and vaulted porches borne by 
 lions. It owed its character to German 
 influences, and was much the same as the 
 monastic style which was developed simul- 
 taneously in mid-Germany. 
 
 Lunette — a wall-arch cutting into a 
 vault or cove, and often filled with a half- 
 round window. Such a window is some- 
 times called a lunette. 
 
 Machicolations — holes between brack- 
 ets in the soffit of an overhanging cornice, 
 left open for the i^urpose of dropjjing mis- 
 siles, hot pitch, or the like, upon an at- 
 tacking enemy. The term is sometimes 
 confusedly ai)plied to the brackets which 
 support the cornice. 
 
 Matroneo — a woman's gallery. Cf. 
 Gi/iueceiim. 
 
 Meander — a wavy lino or scroll, con- 
 tinuallv reversing;, in (J reek decoration ; 
 
GLOSSARY 
 
 ■when the loops of tlie meander are made 
 of broken straight lines it is called a 
 fret ; the words are often carelessly inter- 
 changed. 
 
 Merloxs — the solid ujiriglit t-labs of a 
 battlemented parajiet. 
 
 Meta — the monument which marked 
 the goal or turning point of the race- 
 course in a circus. It was commonly an 
 obelisk or group of obelisks set on the 
 spina. 
 
 Metope. See Order. 
 
 Mezzaxixe — a half-story between two 
 full stories, loosely applied also to a half- 
 story above a full story. 
 
 MiUKAB — a prayer-niche in a mosque. 
 
 MiJiBAR — a pulpit in a mosque. 
 
 MoDiLLiON — tlie liraeket of a Corin- 
 thian cornice. 
 
 MuLLiOX — an npriglit bar, often a 
 sliaft, dividing a window. 
 
 Mutule. See Order. 
 
 Xarthex — a porch or autc-room across 
 the front of a church, used in the early 
 Church by the catechumens or others 
 who were not allowed to enter the body 
 of the church. 
 
 Naumacuy— a mock naval battle ; also 
 the arena in which such a battle was held. 
 
 Xave — the chief and central aisle of a 
 church, wider than the rest and usually 
 liigher. 
 
 Nook-shaft — a shaft set in a rectan- 
 gular recess or nook. 
 
 Nymph .iu"M — a shrine or chamber, fre- 
 quently subterranean or lialf subterranean. 
 dedicated to nymphs and suj)plicd witii 
 running water. 
 
 OcTOSTYLE. See Tinnplc. 
 
 OcuLUS — a small round window. 
 
 Odeum — a small theatre under roof, for 
 music. 
 
 CEcus — the state chamber of a Honum 
 house. 
 
 Ogee — a reversed curve. See Ci/nia. 
 
 OiiPHALos — u sacred stone in the 
 
 temple of Apollo at Delphi, believed to 
 mark the centre of the world. 
 
 Upisthodojios. See Temple. 
 
 Opus Alexaxdrinum — mosaic made 
 of pieces of natural marble or stone cut to 
 shape and laid in a decorative pattern ; 
 called also ojius sectile, used almost exclus- 
 ively for floors. 
 
 Opus Incertum — uiuoursed masonry 
 or rubble. 
 
 Opus (^uadkatum — squared masonry. 
 
 Opus Reticulatum — masonry faced 
 with small squared stones set cornei--wise 
 so as to show diagonal joints. 
 
 Opus Sectile. See Opux Alexandri- 
 niiiii. 
 
 Opus Sigxixum — a strong h3draulic 
 cement used for lining aqueducts and 
 other like jjurposes. 
 
 Order — the unit of classic architec- 
 ture, comprising the column audits entab- 
 lature, and called Tuscan, Doric, Ionic, Co- 
 rinthian, or Composite, according to its 
 details. The column consists of base, 
 shaft, and capital. The entablature com- 
 prises the Architrave or lintel, which rests 
 upon the columns and is cut in one, two, 
 or three flat bands, its toji marked by a 
 projecting moulding ; the Frieze, a high 
 baud either plain or decorated ; and the 
 projecting Cornice, sujjported by its Bed- 
 moulding and sometimes by brackets, and 
 ending in a Cymatium or Crown-mould- 
 ing. The Doric, Ionic, and Corinthian 
 orders are both Greek and Roman, though 
 the Corinthian was fully dcvelojjed only 
 under Roman influence. The (ireek 
 Doric is heavy and nuissive : it has no 
 base, a channelled shaft, and a capital 
 with a heavy square al)acus supporteil 
 liy an oval moulding called the Echi- 
 nus. Its frieze is decorated with flat 
 cluiunelled blocks called Triglyphs, whose 
 feet seem to overhang the architrave in 
 small horizontal liars called Reguhv, dec- 
 orated with drops or Guttse, and between 
 wliii-h are square panels called Metopes, 
 often charged with scu^jture. The over- 
 
GLOSSAKY 
 
 hang of the coruice carries a Hat block 
 called a ilutule over each triglyjih, whose 
 surface is studded with Guttie. The 
 Roman Doric is lighter. The columns 
 have a base ; the architrave is lower 
 and the frieze higher. The Ionic has a 
 fluted column and a capital with large 
 scrolls or Volutes at the corners and an 
 echinus under them, a frieze plain or 
 charged with continiious sculpture, and a 
 cornice ixsually with dentils. The Corinth- 
 ian has a fluted column, a high capital sur- 
 rounded by two ranges of acanthus leaves 
 with small volutes at the corners, a frieze 
 like the Ionic, and a cornice enriched with 
 dentils, brackets called Modillions, and 
 carved mouldings. The Tuscan and Com- 
 posite are Roman only. The first is a sim- 
 plified Doric, without channels, triglyphs, 
 or mutules ; the second a somewhat sim- 
 plified Corinthian, its heavier capital car- 
 rying larger volutes and an echinus like 
 the Ionic. Often an order stands on a 
 pedestal-course or stylobate. (See Figs, 
 ■i-i, 'Jl, 133, 18-i.) 
 
 Palestra — a place for wrestling — a 
 wrestling-school. 
 
 Pallauiax window — a group of three 
 openings separated by columns or pilas- 
 ters, the middle one arched and the lateral 
 ones square-headed. This has been called 
 also the Palladian Motive. 
 
 Pakodoi — side entrances to the audi- 
 torium of a Greek theatre, nest the stage. 
 
 Parvis — an open space or yard in front 
 of a church. 
 
 Patera — a round, flat, carved flower, 
 used as an architectural ornament. 
 
 Pedimext — the gable of a classical or- 
 der or building. It has invariably a hor- 
 izontal cornice joining the feet of the rak- 
 ing cornices. 
 
 Pendejttive — a kind of cove cover- 
 ing the corners of a square area, so as to 
 leave only a circular or polygonal space 
 unroofed. It is commonly a piece of 
 vaulting, in shajie a sjiherical triangle. 
 
 resting on the flanks of two arches on 
 adjoining sides of the square, and lead- 
 ing u^i from the angle to a ring which, 
 supported by the four pendentives carries 
 a dome (or its drum) that covers the 
 central circle, so that the whole may be 
 borne on four piers at the corners. {See 
 Fig. 106.) 
 
 Peperixo — a hard granular volcanic 
 stone. 
 
 Pergola — the groups of windows, or 
 arcade, opening on a Ijalcony, which forms 
 the central feature in the fronts of most 
 Venetian palaces. 
 
 Peribolos — the walled court in wliich 
 a temjile stands. 
 
 Peripteral. See Temple. 
 
 Peripteros — a colonnade surrounding 
 a building. 
 
 Peristyle — a colonnade about a build- 
 ing or a court. 
 
 PiAXO xobile — the chief story. 
 
 Pilaster — a rectangular pillar in clas- 
 sic style, usually engaged in a wall. 
 
 PisciXA— a basin. 
 
 Plixth — the lower flat upright mem- 
 ber of a group of mouldings at the base of 
 a column or wall. 
 
 Podium — the lower division of a wall, 
 or basement. 
 
 Precixctiox — a horizontal passage or 
 circuit among the seats of a theatre or 
 amphitheatre, the Greek diazoma. 
 
 Presbytery — that ijart of a church 
 which is occupied by the priests during ser- 
 vice — usually applied to the early churches. 
 
 Proxaos. See Temple. 
 
 Propyl^tm (plural, Projiylaja) — a 
 monumental colonnaded gateway, as, for 
 instance, that of the Acropolis at Athens. 
 
 Propylox — an advancing structure cov- 
 ering or flanking a gateway. 
 
 Prostyle — applied to a temple which 
 has a portico at one end. See Temple. 
 
 Prothesis : One of the two small rooms 
 like sacristies that flank the main aj)se of 
 an early Byzantine church. See also Dia- 
 conicon. 
 
GLOSSARY 
 
 Pteroma — tlio colonnaded gallerv that site, as in aisles of clmrrhes ; hence its 
 
 surronnds the cella of a peripteral temple. 
 
 Purlin — a horizontal cross - timber 
 which supports the rafters of a roof. 
 
 Pycxostyle — having columns set very 
 near together. 
 
 Pylox — a gate-house. 
 pylon. 
 
 Py'rgos — a bastion. 
 
 See also Tetra- 
 
 QuATREFOiL. See Foil. 
 
 Quoixs — contrasting cut stones which 
 form the angle of a wall of brick or stone. 
 They are often simulated in brickwork. 
 
 Ea.mp — an ascending line of stairway. 
 
 Eegul.e. See Order. 
 
 Renaissance — the name given to the 
 revival of classic forms in art which fol- 
 lowed the revival of classic literature, and 
 in the course of the xv and xvi cents, 
 changed the whole aspect of art in Eu- 
 rope. The Kenaissance in architecture 
 began in Italy, in the middle of the xv 
 century. In its earliest phase, which is 
 sometimes sjioken of 7J«r excellence as the 
 Renaissance, it showed itself in the free 
 application of classic detail to mediaeval 
 forms. In the xvi cent., the period of 
 what Germans liave called the High Re- 
 naissance, there was a minute study and 
 loyal adaptation of all tlie forms of Roman 
 architecture to new buildings, which be- 
 came purely classical in proportions and 
 detail. By the middle of the xvii cent.. 
 Renaissance arcliiteeture had degenerated 
 into what is called baroco, or baroque, in 
 which purity of form and detail is sacri- 
 ficed to picturescpie eifect ; and in the 
 course of half a century more this had 
 passed into the so-called rococo, in which 
 there prevailed a wild perversion and cor- 
 ruption of architectural features, small 
 and great. 
 
 Reredos — an architectural screen, or 
 facing of a wall, behind an altar. 
 
 Respond — a half pillar set against a 
 wall, corresponding to a ])illar oppo- 
 
 name. 
 
 Reticulated. Of. Opua ReticHlatum. 
 
 Revet — to encase a rough wall with a 
 smooth facing of masonry or slabs. 
 
 Rib. See Vaults. 
 
 Ringhiera — an outside balcony used 
 for public proclamations. 
 
 Rococo. See Eenaissance. 
 
 Romanesque — a name given to the 
 style of architecture which in western 
 Europe followed the decay of the classic 
 styles, beginning obscurely in the vi or 
 vii century. It abandoned the classic 
 orders, substituted the arcade for the col- 
 onnade, and was the nurse of the typical 
 mediajval forms of church-building in the 
 west, which it developed out of the Roman 
 basilica, evolving a consistent system of 
 vaulting, and furnishing most of the feat- 
 ures which in altered shape were charac- 
 teristic of the Gothic architecture that 
 followed it in the xiii century. 
 
 Rood Screen — the English mime for a 
 screen which cut off the choir of a church 
 from the nave, and which carried a raised 
 cross called the Rood. It corresponds to 
 the Greek Iconostasis. 
 
 Roundel — a round panel, usually con- 
 taining sculpture. 
 
 Rustic or rusticated masonry is cut in 
 squared projecting blocks, whether smooth 
 or rough -faced, with the joints deeply 
 channelled. 
 
 Scotia — a hollow moulding whose sec- 
 tion is the half or more of a circle or oval. 
 
 Sekos — the inner chamber or sanctu- 
 ary of a Greek temple. 
 
 Sgraffito — an ornament wrought in 
 plaster, after the manner of a cameo, cut- 
 ting through or scraping off an outer layer 
 and exposing an inner layer of a different 
 color. 
 
 Soffit — the under side of an arch, 
 beam, or horizontal member. 
 
 Spandrel — the triangular sjiace over 
 the Hank of an arch. 
 
GLOSSARY 
 
 SriiESDONK — the spinicirciilar piid oi' 
 a stadium or circus. 
 
 Spiieuistekiox — a court for hall-play- 
 iuj;'. 
 
 Spin'.x. — tlie longitudinal wall which 
 divides the direct course from the return 
 course in a hippodrome, circus, or sta- 
 dium. 
 
 Squixciies — arches which bestride the 
 corners of a square, cutting it down to an 
 octagon, to carry a dome or drum. 
 
 Stadium : A course for runners. 
 
 Stele — an upright slab, commonly used 
 for a funeral monument, and carved. 
 
 Stereobate — the foundation -jjlatform 
 of a temple or other classical building. 
 
 Stilt-block — a block, usually mould- 
 ed, set between the abacus of a column 
 and the arch which it bears. 
 
 Stoa — an open colonnaded poi'tieo. 
 
 Stketcheks — bricks or stones laid 
 lengthwise in a wall. 
 
 Stking-coukse — a carved or moulded 
 course which divides a wall horizontally. 
 
 Styloisate — the architectural member 
 on which a colonnade rests ; thus, in Greek 
 architecture the upper step of the stereo- 
 bate of a tem^ile ; later, a low wall carrying 
 a colonnade, and usually finished with a 
 moulded base and caiJjjing ; still more gen- 
 erally, by analogy, the lower division of a 
 wall, finished like the stylobate of a colon- 
 nade. 
 
 Sudatorium — the heated room of a 
 bath, used for sweating. Cf. Caldarium. 
 
 Tablixum — the family-room of a Ro- 
 man house, where family records and por- 
 trait busts were kept. 
 
 Tambour — the drum which carries a 
 dome. 
 
 Temexos — the sacred enclosure about 
 a Greek temple or temples. 
 
 Temple — The usual plan of a classical 
 temple was an oblong rectangle. It con- 
 sisted of a closed building called the cella, 
 more or less surrounded by jjorticoes. 
 The heart of the cella was the Naos ; at the 
 
 front end was usually an ojien vestibule 
 called the Pronaos, and in the rear often 
 a small corresponding room, sometimes 
 accessible only from without, called the 
 Opisthodomos, or Posticum. The project- 
 ing ends of the side walls of the cella were 
 faced with jjilasters called Antaj, and col- 
 umns set between these are said to be hi 
 ant is, a designation which is often extended 
 to the temple so built itself. The temjiles 
 commonly fronted east with the long sides 
 facing north and south. They were always 
 roofed with a ridge, and crowned at each 
 end with pediments, which commonly 
 overhung at one end at least, supported 
 by colonnades and forming open porticoes. 
 A temple with a portico at one end was 
 called prostyle ; at both, am^jhiprostyle. 
 One surrounded by a colonnade was perip- 
 teral, and the colonnade became a peri- 
 style. When the columns were in a double 
 range all round, the temple was dipteral ; 
 it was pseudo-dipteral when the columns 
 were spaced as for a dif)teral tem23le, but 
 with the inner range suppressed, and 
 pseudo-peripteral when the peristyle was 
 engaged in the side walls of the cella. 
 There were also round temples, surround- 
 ed by a colonnade. AV hen these had a 
 cella they were peripteral : when they 
 were open they were moiiopteral. Tem- 
 ples are also classed according to the num- 
 ber of columns in the end iiorticocs ; when 
 these are four, the temple is tetrastyle ; 
 when six, hexastyle ; when eight, octo- 
 style ; when ten, decastyle, the number 
 being always even, except in very rare in- 
 stances. 
 
 Tepidarium — a warm room of a bath. 
 
 Tetrapylox — a gate- way penetrated 
 by two intersecting passages, and showing 
 arches on four faces. 
 
 Therm-E — public baths. 
 
 Tholos — a small round building in 
 Greek architecture. 
 
 Thymele — a small altar to Dionysos in 
 the middle of the orchestra of a Greek 
 theatre. 
 
GLOSSARY 
 
 TORl'S — an anniiLir moulding of semi- 
 circular section ; a roll moulding. 
 
 Tkacery — the open-work filling of a 
 window, archway, or otlier opening. It is 
 usually composed of intersecting bars of 
 stone or other material ; but sometimes is 
 a perforated slab, in which case it is called 
 plate -tracery. In most cases it is con- 
 fined to the arch itself, or the upper part 
 of the opening, and supported below by 
 upright bars called mullions. 
 
 Transept — the cross-wing of a basilica 
 or church. The two arms constitute one 
 transept, but are often spoken of as north 
 and south transepts. Tliere are a few 
 clinrches which have actually two tran- 
 septs. 
 
 TRAXS05I — a horizontal bar across a 
 window. 
 
 Trefoil. See Foil. 
 
 Triclinium — the dining-room of a 
 Greek or Roman house. 
 
 Triforrtm — an arcade pierced in the 
 nave wall of a church above tJie principal 
 arcade and below the clerestory. In cer- 
 tain churches an open gallery takes the 
 place of a triforium. See Emjior and 
 (ii/)i(pccuin. 
 
 TRiciLYi'H. See Order. 
 
 Tdnnel-vault. See Vaults. 
 
 Tympani'm — the flat piece of wall tliat 
 fills an arch or pediment. 
 
 Vaulth — A Barrel-vault is a half cyl- 
 inder ; when it forms a ring, or part of 
 one, it is an Annular vault. It is a com- 
 raou form of Roman vault, and is then 
 usually a solid shell of concrete, sometimes 
 
 strengthened by chains of brickwork, but 
 is occasionally of cut stone. A Tunnel- 
 vault is the same as a barrel - vault, but 
 is sometimes pointed iu section. Groined 
 vaults, or cross-vaults, are vaults which 
 intersect, forming salient edges called 
 groius, as when two aisles or galleries 
 cross. A Cloistered vault is a square dome, 
 or a vault over a rectangular room, closed 
 in on all sides. Projecting Ribs strengthen 
 the angles or soffits of vaults. The rib 
 against the wall that closes the end of a 
 vault is called the Wall-rib ; those that 
 strengthen the groins are Diagonals ; 
 tho.se tliat simply cross the soffits are 
 Transverse ribs. Only transverse ribs are 
 found in Roman vaults, and these rarely. 
 Ribs came into use in later Romanesque 
 vaults, and are universal in Gothic. A 
 Ijand wliieh does not project is not a rib. 
 
 Vaulting-shaft — an engaged column 
 which supports the ribs of a vault and 
 springs sometimes from the ground, some- 
 times from a capital or corbel above it. 
 
 A'elum — an awning. 
 
 Venetian window — same as I'alhi- 
 dian window. 
 
 Volute — a spiral banded ornament 
 used on the corners of Ionic or Corin- 
 tliian capitals, on the sides of nindillions, 
 and in some other j^laces. 
 
 Vomitoria — exit passages in a tbeati'e 
 or ampliitlieatre, descending under the 
 seats. 
 
 VoussoiRS — the wedge-shaped stones of 
 an arch or vault. 
 
 Wall-kib. See VuuUs. 
 
 zzxU 
 
A CYCLOP/EDIA OF WORKS OF 
 
 ARCHITECTURE 
 
 IN 
 
 ITALY, GREECE, AND THE LEVANT 
 
A CYCLOP/EDIA OF 
 
 WORKS OF ARCHITECTURE 
 
 IN ITALY, GREECE, AND THE LEVANT 
 
 ABlilATEGKASSO, near Milan, Italy. 
 
 Sta. Maria is a plain old church, whicli 
 is conspicuous for the fine porch added by 
 liramante, it is said, in the xv ceut. ; it 
 stands in the corner of an open space, like 
 an atrium, which is lined with an arcade, 
 and adjusted in its design to tlie church 
 
 Fig. 1. — Abbiategfasso, Chutch. 
 
 facade. Against the plain brick front of 
 the XIV cent., with a single great gable 
 covering both nave and aisles, is built a 
 projecting jjorch to the full height of the 
 nave, which it covers. It is a huge arch. 
 two stories in height, borne on advancing 
 walls which are faced witb two sujierposcd 
 orders of coupled Corintliian columns. 
 
 The side walls, jjicrced with arches into 
 the adjoining arcades, are jianelled with 
 reliefs, and tlie orders are continued in 
 pilasters which flank and surmount the 
 door of tlie nave at tlie back of the arch, 
 with niches and reliefs in their inter- 
 columniations. The porch, which bears 
 the character of Bramante"s work in and 
 about Milan, was built by him, according 
 to M. Geymuller. in 1-177, according to 
 others, later. (Sec Fig. 1.) 
 ABU-GOSH (anc. Kirjath Jearim), near 
 Jerusalem, Palestine. 
 St. .Terejiiaii, a Crusaders' cliurch 
 now in possession of tlie Latins, and ap- 
 ])arently of the xii cent., is remarka- 
 bly well preserved. It is a rectangle 
 ■")7 ft. by 86 ft. outside, and consists of 
 a nave and aisle of four bays, ending in 
 three apses hollowed out of the thick, 
 straight eastern wall. Its architecture has 
 many Eastern ^peculiarities. The nave 
 and aisles are of nearly equal breadth and 
 height, tlie bays almost square ; the pointed 
 arch, used throughout, is broad and low, 
 the groined vaulting of singularly low 
 pitch, the aisle roofs Hat, leaving room for 
 small clerestory Avindows in the lunettes 
 of the nave : the plain jiiers square and 
 slender, without capitals or moulded liases. 
 The exterior is very plain. Tiiere is a 
 vaulted crypt, or rather under-church, ar- 
 ranged on the same plan as that above, and 
 ajijiarently underlying the whole. I'pper 
 and lower churcli were once decorated with 
 
ACERENZA 
 
 painting, of which traces still remain. 
 The earliest mention of the church is in 
 the XVI cent., when it was in the hands 
 of Franciscan monks. The ruins of their 
 convent adjoin it. 
 ACERENZA, Italy. 
 
 The Cathedral, dedicated to Sta. Maria 
 Assiinta, is au ancient Romanesque church 
 founded about 1050, but probably rebuilt 
 later. It lias a length of about :i'3o ft. 
 and a breadth across transept of 135 ft. 
 Its plan is more like that of the French 
 Romanesque churches of Auvergne than is 
 common in Italy. It enters tlirough a 
 porch or narthex between two angle towers. 
 The nave and aisles are covered by wooden 
 roofs and are separated by arcades of five 
 round arches springing from square piers, 
 the aisles being divided by transverse arches 
 into square bays. The transept is long, 
 witli square ends, an<l each arm has a small 
 flat eastern apse and a stair-turret in the 
 angle with the choir wall. The choir, 
 raised high above the nave, is in a single 
 square groined bay with a round aj)se and 
 encircling aisle, with three aj)sidal chapels 
 at the circumference. Beneath is a small 
 ci'vpt vaulted on four marble columjis, and 
 rebuilt early in the xvi cent. The ex- 
 terior shows Lombard influence ; the win- 
 dows are round-arched, the walls of choir 
 and apses broken by pilaster strips ending 
 in arched corbel-tables. The west front 
 had originally three doorways. Only the 
 central one remains ; it has a round bear- 
 ing-arch formerly capped Ijy a gable, and 
 angle shafts carried on strongly projecting 
 corbels with grotesque carving. The joints 
 of the doorway are oriuimented with gi'ace- 
 ful foliage in relief, having a toucli of 
 Byzantine character. Over the doorway 
 is a fine rose window, with simple forms, 
 tiie original columns now replaced with 
 iron shafts. Of the two flanking towers, 
 only the southern was finislied. 
 AD'aU.VSAR, Asia Minor. 
 
 HunxiH OF SoiMiox. built in 5i;i by 
 the Empci'Dr .lusliuian, and rciiKiiiiing 
 
 in almost jierfect preservation. It crosses 
 the bed of the JSangarios, now dry, is 1.400 
 ft. long, and has eight arches, each with 
 a span of 75 ft. and witli small arcades 
 on each side. 
 APAM-KLISSI(Dobrudscha),Roumaiiia. 
 
 Tkophy of Trajan, a massive circular 
 tower of masonry, commemorating vic- 
 tories over the Dacians, standing near a 
 small Turkish village about twenty miles 
 from Medjidie, and ten from the Danube. 
 The sculptures are rough in character, 
 but represent scenes from the camjjaigns 
 of Trajan and give points of comparison 
 with the reliefs of the Column of Trajan 
 at Rome. The i^robable date is 10!l a.d. 
 ADRIANOPLE. Roumelia. Turkey. 
 
 The Mosque of Seliji, the work of 
 the famous architect Siuan, was built bv 
 the Sultan Selim II (15GG-74). It is a 
 building about 190 ft. wide by 100 ft. 
 deep, ju'eceded by a court-yard of nearly 
 the same size which is surrounded by 
 arcaded galleries on all sides, and has the 
 usual fountain in the middle, under a 
 marble kiosk. The galleries, with col- 
 umns of rich stone and marble, are groin- 
 vaulted, and across tlie front of the 
 mosque proper form a iiorch l)r()kcn liy 
 three high pointed arches. The main feat- 
 ure of the mosque, tlie great central dome 
 of some 00 ft. span, and higher, it is 
 said, than the dome of Sta. Sophia, rests 
 on eight great octag(nial jiorphyry ])iers. 
 The entrance porch, and a large jiroject- 
 ing sanctuary, in the back of whicli is 
 the mihrab, or prayer niche, serve to 
 liuttress the dome in front and rear, while 
 the huge side buttresses inclose rooms, 
 and with the side piers sujiport lateral 
 galleries for the sultan and his suite, and 
 for women. The interior is lavishly dec- 
 orated with painted tiles, colored glass, 
 and polychrome. A high miiuiret with 
 galleries or balconies is set on each corner 
 of the building, and various dcjiendcncics. 
 schools. hos])itals. aiul others, are groujted 
 about it. {Sec Fi;/. .'.) 
 
^GAE 
 
 ^EGAE (Aigai, Nimroud-Kalcssi), ^Eolia, 
 Asia Elinor. 
 
 EoKTiFiCATioxs. The walls bear wit- 
 ness to repeated enlargements of the city. 
 The nucleus is a triangle, on the highest 
 part of the hill, with traces of an acropo- 
 lis at the southern angle. The 
 masonry is of rough polygonal 
 blocks with gates and towers. 
 The wall on the S. W.. in places 
 exposed to attack, is strength- 
 ened by a Hellenistic facing-wall 
 placed some feet in front of it, 
 built of very careful rectangular 
 masonry in large blocks. Still 
 later walls on the S. W. are 
 strengthened with circular tow- 
 ers from 20 ft. to 27 ft. in diam- 
 eter. 
 
 Market House, on the X. E. 
 side of the highest terrace. The 
 length of the main faQade is 270 
 ft. : that of the northern fa9ade. 
 where there is an L. 88 ft. : and 
 the width of the building, 37 ft. 
 The main wall in three stories 
 still rises to a height of 33 ft. 
 and is of Hellenistic date, of ad- 
 mirable execution. The lowest 
 story is divided into a double se- 
 ries of chambers, about l-t ft. square, with 
 doors and windows contracting toward the 
 top. The front chambers toward the 
 north, over the precipice, have merely 
 very small rectangular openings for light 
 high up in the wall. The middle story 
 appears to have had a line of arches run- 
 ning down the middle, and was lighted 
 by small and sparse openings in the wall 
 between the ceiling beams. The upjier- 
 most story was essentially an open jjortico, 
 with a range of Doric columns and entab- 
 lature. On this side the ground lay much 
 higher, and there was immediate access to 
 the portico from the open air by steps. 
 The roof was supported by an interior 
 range of columns spaced at double the iu- 
 tercolumniation of the outer range. The 
 
 front wall and the lower parts of the build- 
 ing seem due to the iii cent. B.C., while 
 the upper portico was a restoration of Ivo- 
 man imperial date. 
 
 Stadium, forming a terrace by itself S. 
 W. of the theatre and further down the 
 
 Fig. 2. — Adrianople, Great Mosque. 
 
 slope. The level area is about 740 ft. long 
 and 05 ft. wide. The west side is sup- 
 ported by a massive retaining- wall of polyg- 
 onal style but built of large blocks very 
 nearly quadrangular and carefully titted. 
 
 Stoa or portico on the west side of the 
 agora terrace, opposite the market. It was 
 about 37 ft. deep and had an inner range 
 of columns with curious capitals formed of 
 hanging tongue-shaped leaves. The en- 
 tablature is remarkable for a widely pro- 
 jecting cornice with panelled soffits, and 
 has on the inner side corbels cut in the 
 form of ox-heads to receive the roof-beams. 
 
 Temple, at the western extremity of the 
 inner triangle of the city, on a terrace above 
 the theatre. The foundations of the cella 
 .show that it either was double or had a 
 
illGINA 
 
 veiT deoji proiiaos. The temple was Doric 
 and of late date, with ]irobal)ly six eolnmiis 
 on the fronts and twelve on the flanks. 
 The terrace was skirted on the N. E. and 
 S. E. sides by a large two-storied portico 
 about il ft. deep, with Doric colnmns l)c- 
 low and Ionic above. The angles of junc- 
 tion, both above and below, were occupied 
 by square j)illars with the sharp edge 
 turned toward the interior, and with two 
 semi-columus engaged in the faces corre- 
 sponding to the exterior columns. The uj)- 
 per story liad a jnirapet of panelled slaljs. 
 
 Temple of Apollo Chkesterios (ren- 
 dering oracles), dedicated about 40 b.c. l)y 
 the Proconsul P. Servilius Isauricus. It 
 was Ionic, with fluted columns about 24 
 ft. high and an inner range of smaller 
 columns before the cella. Tlie frieze was 
 ornamented with carved garlands and 
 bucrania : the dentilled cornice was richly 
 moulded. The great doorway of the cella, 
 formed of three monolithic blocks and 
 over 20 ft. high, still stands. 
 
 TiiEATKE, on the slope S. W. of the 
 inner triangle of the city. There are but 
 scanty remains of the seats of the cavea, 
 which is less than a quadrant ; the wings 
 are supported upon very nnissive and care- 
 fully executed vaulted substructions, which 
 are so carefully flnished as to indicate that 
 the public had access to them, perhaps as 
 an entrance to the diaxoma or horizontal 
 jiassage of the cavea. The chief wall of 
 the stage-structure is still standing ; it 
 is 73 ft. in. long, pierced symmetrical- 
 ly with three doors, and had decorative 
 pilasters, columns, and entablatures of 
 marble. Behind the wall there was a hall 
 which may have been subdivided. The 
 stage-structure issupjiortcd upon extensive 
 vaults, owing to tlie slope of the ground. 
 .(EGINA (Aigina), Greece. 
 
 The Temple of Aphhouite (Venus), 
 near the harbor, was larger than the Tem- 
 ple of Athena, the stylobate being about I'ri 
 ft. by 1 14 ft. It was Doric and iiexastyle : 
 the columns arc li^ ft. in <li:nnctcr. and 
 
 25 ft. (nearly six diameters) high. One 
 only is now in place, though in Chand- 
 ler's time two, with a piece of architrave, 
 were still standing. They have twenty 
 channels, and capitals almost identical 
 with tliose of the Temple of Athena. The 
 material is a friable yellowish limestone. 
 
 The Temple of Athex\ (Minerva) is 
 situated near the sea. on a hill at the 
 N. E. end of the island. It was probably 
 not finished earlier than the first quarter 
 of the V cent. B.C., and was formerly 
 supposed to be that of Zeus Panhellcn- 
 ios. In 1811 some English and German 
 architects — Cockercll, Foster, Linkh, and 
 Ilaller — made excavations which discov- 
 ered the famous ^Eginetan marbles, at 
 least eleven in number, now in the Glyp- 
 tothek, Munich, and restored by Thorwald- 
 sen. They arc. though archaic, among 
 the most valuable rennuns of (ircek sculpt- 
 ure. The temj)le was built of soft jwrox 
 stone, covered with a thin layer of stucco ; 
 it is Doric, hexastyle, j^eripteral, on a stylo- 
 bate of three stejis, with twelve columns 
 in each flank and two between anta' in 
 the pronaos aiid ojiisthodomos. The sty- 
 lobate is 94 ft. by 45 ft. : the cella, raised 
 on two steps, 73 ft. by 2(i ft. outside. 
 Columns, with twenty channels, have a 
 lower diameter of 3 ft. 2 in. and a height 
 of 17 ft. 3 in. The columns are inclined 
 inward toward the cella : their taper is 
 marked and they show but little entasis. 
 The capitals, like the mouldings and all 
 the architectural members, are somewhat 
 heavy in proportion. The entablature is 
 f) ft. 9 in. The cella is divided into 
 three aisles by double ranges of five col- 
 umns each ; diameter of lower range at 
 the base, 2 ft. 3 in.: height, 12 ft. 1 in. 
 The two ranges of columns were sepa- 
 rated by an architrave bearing the usual 
 D(n-ic taniia with its regular and gutta^, 
 but no frieze. The floor ))avement was 
 covered with red stucco. The architraves 
 bear traces of red color, the tym])ana were 
 paintc-cl sky-blue, ami the triglyplis in the 
 
^SERNIA 
 
 same color; the marble cymn l)(ire the 
 sea-lily ornament painted in red, bine, and 
 yellow. The platform on which the tem- 
 ])le stands is terraced on all sides. The 
 spaces between the ijcristyle columns were 
 closed by a grating of metal. Beneath is 
 a cave, which may extend under the cella. 
 /ESEIJNIA. See Isrniiu. 
 /EZANl (Aizanoi). Phrygia, Asia Minor. 
 
 Axc'iE.vT Jewish Temple, consisting 
 of a great cloistered or colonnaded en- 
 closure, similar in disjiosition to that of 
 Jerusalem, and within this a shrine in the 
 form of a small IJoman peristylar temple. 
 
 Temple of Zei^s Panhellexios (Ju- 
 piter of all the Greeks). The remains 
 comprise twelve columns on the north and 
 six on the west, standing, and a large part 
 of the cella. The temjjle stood on a sty- 
 lobate of fi'"e steps in the middle of a 
 quadrilateral terrace, 520 ft. by 4S5 ft. 
 surrounded by a splendid Corinthian col- 
 onnade, about 270 ft. by 190 ft., the col- 
 umns of which were IT ft. 8 in. high, by 'Z 
 ft. i in. through. It was Ionic, octastyle, 
 pseudo-dipteral, with iifteon columns on 
 each Hank ; its stylobate was Vil ft. by 72 
 ft., the cella 7'J "ft. by 35 ft. The cella 
 bad two composite columns Ix'tween anta> 
 at each end, and under it, reached by a 
 stairway in the opisthodomos, is a subter- 
 ranean hall or crypt .30 ft. h\ 50 ft. 
 
 TiiE.YTUE, in the southern part of the 
 town, in part excavated from a hill, and 
 facing S. W. It is a Roman building, 
 though with Greek features. The lower 
 division of scats (sixteen tiers) up to the 
 (liazoma or Inirizontal passage survives ; 
 the seats of the upper division are gone, 
 but the enclosing-wall and other founda- 
 tions remain. The exterior diameter is 
 .380 ft. ; that of the orchestra, 128 ft. ; 
 the dej)th from the front of the prosceni- 
 um to the back of the cavea, 178 ft. ; the 
 length of the stage-structure, 150 ft. The 
 main wall of the stage-structure was deco- 
 rated with six pairs of coupled Ionic 
 columns supporting a rich entablature. 
 
 iichiml the high back wall or coping of 
 the diazoma is a series of chambers sepa- 
 rated by coupled niches ; it is conjectured . 
 that these were for the echea or acoustic 
 vessels described by \'itruvius. The 
 upper border of the cavea was surrounded 
 by a portico. The material is white mar- 
 ble ; the foundations of the proscenium 
 are limestone encased in marble. 
 AGLASOUN. See Saycdassos. 
 AGLIATE, Italy. 
 
 The Church is an ancient Lombard 
 basilica of the Latin type, said to have 
 been built by Anspertus, Archbishop of 
 Milan, about 881. with nave and aisles 
 covered with wooden roofs, the nave 
 about 80 ft. long and 2G ft. broad, with six 
 simjile round arches on either side carried 
 on columns of which all but that nearest 
 the choir have moulded capitals like in- 
 verted bases with stilt-blocks. On each 
 side the easternmost arch is of double width, 
 giving somewhat the effect of a transept, 
 as in S. Vincenzo ed Ana.stasio at Rome. 
 This may be an early alteration. The nave 
 ends in a raised choir with a single oblong 
 bay covered by a barrel-vault and a round 
 apse, and the aisles end in a similar way. 
 Beneath the choir is a fine crypt with three 
 aisles, separated by columns and arches into 
 vaulted bays. The exterior is verj' simjile, 
 and the walls are of rude stone rubble. 
 
 To the south of the church stands a 
 Baptistery of rude construction and de- 
 sign of which tlie plan is an irregular poly- 
 gon of nine sides, from the eastern two of 
 which ])roJects a semicircular apse with 
 an altar. 
 
 AGRIGEXTUM. See Girgenti. 
 AGYLLA. See Cerveiri. 
 AIGAI. See JE(/ae. 
 AIGIXA. See .%/««. 
 AIX IIERSIIA, Syria. 
 
 Roman Temple, almost complete ex- 
 cept the roof. It is 30 ft, by 2(5 ft., in 
 anils, on a basement which on the west 
 side is 7 J ft. high. The height from base- 
 ment to cornice is l'.J ft. The cella is sur- 
 
AIZANOI 
 
 round od in the interior by a cornice, iind 
 lias four Ionic columns with Attic bases 
 engaged in its west wmII. 'I'he door is 
 beautifully ornamented. 
 AlZAXOi. ^ee^JiJumi. 
 AKKAGAS. See Girqenfi. 
 AKRAIPITIAI. See Moinit rtnbn. 
 A LATHI (anc. Alatrium), Italy. 
 
 The FoKTiFicATioxs (pre-Roman) are of 
 large polygonal blocks, massive and im- 
 posing. At the summit of the hill there 
 is an oblong acropolis, about 2,000 ft. in 
 circuit, with polygonal walls which at the 
 S. E. angle rise to a height of 50 ft. 
 
 Tuscan Temple, the foundations of 
 which survive at about a kilometre beyond 
 the P(n'ta San Pietro. The small temple 
 was prostyle, with two columns before tlie 
 antfe. The capital of one of the columns, 
 of an nncanonical Tuscan profile, survives, 
 having served near by as a millstone ; ami 
 both column-bases of the pronaos remain 
 in position. A posticum appears to have 
 been added at a later date, which copied 
 closely the dimensions and details of the 
 pronaos. 
 
 ALBA FUCENTIA. See Alhe. 
 ALBANO (anc. Albanum), Latium, Italy. 
 
 Temple of Mixerva, 
 identified in the round 
 li n i 1 d i n g , now the 
 Cliui-ch of Sta. Maria 
 del la IJotonda, at the 
 west angle of the pnw- 
 torian camp. There are 
 carved acanthus leaves 
 on the door-jambs, part 
 of a fine frieze, and 
 some niches, wbieli are 
 certainly ancient. 
 
 Tom I! 01' AiU'xs, so- 
 called, near the city gate. 
 It consists of a base nf 
 masonry 49 ft. sqn;ire 
 and 24 ft. high, willi 
 basement and dentil- 
 cornice, s u p )) o r t i n g 
 a cone of niasonrv '-.'li ft. 
 
 in diameter in the middle and four smaller 
 cones at the angles. The cones and one 
 side of the base are now in part ruined. 
 From the mouldings it appears, desjiite 
 its sujjerficially Etruscan character, to 1)0 
 of somewhat advanced Roman date. 
 
 Albano still shows many remains of 
 the villa of Ddinitian, which was built 
 there, on the ruins of that of Pomjiey, 
 including those of the aniphitheati-e. prie- 
 torian camp, and baths about it. 
 ALRE (anc. Alba Fucentia). 
 
 The Basilica of S. Pietro is oiu' df 
 the finest monuments of early Christian 
 architecture outside of Home. Its site 
 was first occupied by a Pelasgic temple 
 whose foundations, perhaps contemporary 
 to the foundation of Konie, or anterior, 
 are foundations of the church. The 
 Pelasgic ojien-air temple was succeeded 
 l>y a Roman temple, of a good imperial 
 })eriod and style, which was in its 
 turn converted early in the v cent, into 
 a Christian basilica. The cella walls 
 and the columns of the pronaos were 
 used, and the columns of the nave were 
 brought from the ruins of som(> other 
 pagan structure. This early church. re- 
 
 Fig, 3,-Albe. S. Pietro. 
 
ALEXAKDKIA-TIJOAS 
 
 stored :it various times in tiie Xi, XII, ;uul 
 XIII cents., is now a simple basilica with a 
 porch, three aisles, no transept, and a sin- 
 gle ajjse. Its interior measures 75 ft. by 
 35 ft. The width of the nave is nearly 
 15 ft., that of the aisles Vi ft. The six- 
 teen columns bearing round arches that 
 divide the nave from the aisles are fine 
 lofty examples of Koman Corinthian in al- 
 most perfect preservation. Their great 
 height has led to the very unusual arrange- 
 ment of having no clerestory, the aisles be- 
 ing nearly as high as the nave, whose flat 
 wooden roof is but little above the main 
 arches. The result is a hall-church which 
 must have been very effective when the 
 walls were covered with the fine frescoes 
 of which a number still remain. The 
 choir was raised in the xii-xiii cents. 
 and the front of its steps decorated with 
 a marble choir-screen inlaid with mosaics. 
 At the same time the present ajjse was 
 built of fine stone-work, and the adjacent 
 outer walls rebuilt in the same manner, 
 contrasting with the original Roman brick- 
 work toward the front, which still re- 
 mains. Tlie porch and the carved door- 
 way with its doors of sambuco wood 
 covered with low reliefs remain from the 
 XI cent., although the porch and fa(,^ade 
 were remodelled during the Renaissance. 
 {See Fir/. 3.) [A. L. F., Jr.] 
 
 The extensive Fortificatiox Walls 
 are among the most perfect examples of 
 such ancient works in Italy. They show 
 different epochs, the greater part being of 
 massive but somewhat rough polygonal 
 masonry, while the remainder consists 
 of a facing of very careful polygonal work, 
 with a rubble filling. There are several 
 towers, also ruins of an amishitheatre, a 
 theatre, baths, a basilica, temjiles, etc. 
 ALEXAXDRIA-TROAS, Asia Minor. 
 
 Baths, erroneously identified by Tex- 
 ier, in the Ionian Antiquities, by Durm, 
 etc., as a gymnasium. The building. -^TO 
 ft. by 405 ft., is divided into a series of long 
 halls on three sides, enclosing a number 
 
 of smaller i-haml)ers. Tliere was a monu- 
 mental entrance in the middle of the east 
 front. The outer M'alls were in large 
 blocks of shell-limestone ; the inner walls, 
 in ojnis incertum of small stones and 
 mortar, were clothed with thin slabs of 
 various-colored marbles. The vaults were 
 decorated with glass mosaics, and tbe 
 pavements with pebble mosaics. In their 
 plan these baths seem to fall between 
 the simple Greek baths and the more 
 elaborate Roman therma;. The character 
 of the masonry and ornament, resembling 
 that of the Odeum of llerodes at Athens, 
 seems to fix their date as the time of Had- 
 rian. 
 
 Much of the AValls remains, and the 
 ruins of the city are spread over a large 
 space. The ruins of the Koman thermre 
 are important, as are also those of an aque- 
 duct built by Hadrian to bring water from 
 Mount Lla. 
 
 ALINDA (Demirdji-Deressi), Caria, Asia 
 Minor. 
 
 Mauket-iiouse, on the west side of the 
 terrace which constituted the ancient 
 Ago'-a. It is in plan 320 ft. by 34 ft., 
 asid had three stories, the lowest divided 
 into a front and a rear range of chambers. 
 The middle story was lighted by a double 
 series of small horizontal and vertical slits 
 cut in the wall near the ceiling, which 
 was supported in the middle by a central 
 range of square piers with a Doric semi- 
 column on each side. The uppermost 
 story, on a level with the Agora, formed 
 a portico, open certainly toward the Ago- 
 ra, and perhaps on both sides. It had 
 a central longitudinal range of unfluted 
 columns. This building is to be com- 
 pared with the similar market-house of 
 ^Egae. 
 
 Theatre, in admirable preservation. 
 The auditorium is practically complete ; 
 it terminates above in a passage surrounded 
 by a plain wall. Tlie diameter is about 
 225 ft. There are remains of the stage- 
 structure, including low piers, which 
 
ALMENNO 
 
 appear in liavc supportcil a. stage nf 
 
 wood. 
 
 ALilENNO. Italy. 
 
 8. ToM.MAso ]N LiMiN'E, a Small but 
 interesting Lombard tdiurcb just north 
 
 of Bergamo. It is rii-ciilar. with a lung 
 projecting clmii' ending in an a])se. The 
 exterior shows u high cireuhir aisle, above 
 the roof of whicli rises the clerestory of 
 the central division. The walls are di- 
 vided by numerous slender engaged col- 
 umns, ending in an arched corbel -table 
 under the cornice and with round-headed 
 windows between them. 'I"he interior luis 
 a central domed nave, and the aisle is in 
 two vaulted stories, separated from it by 
 simple round arches, resting on eight col- 
 umns in each story. Authorities differ 
 widely as to the tlate of this church, the 
 local anti(|uaries assigning to it an origin 
 as early as the v cent., while Osten con- 
 siders it as belonging to the XI cent., and 
 Mothes to the l\. (Si'f Fi'J. J,.) 
 ALTA:\irHA, Italy. 
 
 'I'lic ('atiikI)HAI,. dedicated to Sta. 
 Maria, .\ssunta, is an interesting mm 
 cent. lioniancs(|nc clnircli about li.') 11. 
 long, with nave and aisles leadini; to a 
 
 transept which does not project beyond 
 the aisle walls. The nave is divided into 
 three compartments by grouped ])ilasters 
 and columns, between one paii- of which 
 a round arch spans the nave. Of these 
 compartments the first and third contain 
 each two, the middle compartment three, 
 high round arches carried on stout shafts, 
 with well - developed foliage eajiitals. 
 Above the arches is a triforium, here 
 called the matrvncu, or women's gallery, 
 with round bearing arches answering to 
 tlu' arches of the nave, and each enctlosing 
 three narrow horseshoe arches on small 
 shafts with very large carve(l capitals. 
 Over each group is a small, round-arclu'd 
 clerestory window, higli in the wall, 
 under the flat nave roof. The line of 
 nave columns is continued by a single 
 i-ound ai-ch on each side spanning the 
 li'ansept. The west front has a central 
 doorway of great beauty with a pointed 
 and gabled arch springing from two col- 
 umns on each side, of which the outer 
 ones rest on the backs of lions. All tlu' 
 parts are enriched with .sculpture of much 
 excellence, somewhat Byzantine in feel- 
 ing and with a touch of Saracenic influ- 
 ence. Over the doorway is a line rose 
 window. The church was foundcil by 
 the Kmjieror Frederick II shortly after 
 his coronation in 1220, and was linisheil 
 about Vi'^'l. It was much altei'ed Ijctwecn 
 130!) and 1:543 — to whicli jieriod belong 
 the great west doorway and the rose win- 
 dow over it. {Sec Fii/s. ■'> mid '/.) 
 AiMALFl, Italy. 
 
 The ('atiii:I)I!AL (S. Andrea), founded 
 in the middle of the IX cent., restored 
 in the Mil cent. — when the liones of 
 St. .\udrew were lirought thither — and 
 finished in 12iii. is a (iolhic (diurch with 
 some singular features, from a \aulleil 
 porch or narthex approached liy a broad 
 ami high lliglit of steps, and extending 
 i|nilc aiross the whole front of I lie churi'h. 
 three iloorways enter the iia\c and aisles. 
 The aisles were ori^inallv douhic on eilhei' 
 
A.MALFl 
 
 Fig. 5— Altamura, CarhoHral, Matmr.pn. 
 
 silk', but the outer southern aisle luis 
 disappeared and the northern is now sep- 
 arated from the churcli, or rather is re- 
 phiced by a distinct church, called S. Cro- 
 cefisso. The inner aisles are sejiarated 
 from the nave by round arches on each 
 side springing from square piers which in 
 the XVIII cent, enclosed the fine ancient 
 marble columns. The nave and aisles 
 open into a transept with three Eastern 
 apses. The flat ceiling is carved and 
 gilded and decorated with paintings l)y 
 Andrea d'Asti. Several interesting ex- 
 amples of ancient art still remain in the 
 churcli, including some sarcophagi with 
 bas-reliefs, and a noble vase of ])orphyry, 
 now used as a font. A crypt extends 
 under the whole transept with five aisles. 
 On the north flank is a cloister with pointed 
 arches carried on coupled columns. The 
 west front has been entirely rebuilt since 
 18T0 from a design by Alvino. in the early 
 Italian (Jothic style, of white, black, and 
 red marbles, and profusely adorned with 
 Venetian gold mosaic. The open arcaded 
 porch or narthex above mentioned, raised 
 on a high basement, is divided liy a line 
 of renewed columns into two transverse 
 groined aisles. Of the three doorways 
 opening from the porch into the cluin-b 
 the central one is closed by a remarkabli' 
 pair of bronze doors dating from lOlio. 
 
 The jambs, lintel, and tympa- 
 num are decorated with rude 
 but spirited Arid)io carving. 
 Above the porch the outline 
 of the fa9ade follows that of 
 the inner aisles, but the centre 
 is carried up in a high gal)le 
 far above the nave roof, and 
 is filled by a great picture in 
 mosaic of Christ enthroned, 
 with kings and the emlilems 
 of the evangelists. At tlie 
 northern extremity is a square 
 tower, surmounted by a sin- 
 gular round belfry, witli do- 
 mical roof and angle turrets. 
 The tower dates from 1:270, but was re- 
 stored in 1708. {Scr Fig. 7.) 
 
 Fig. 6.— Aiu. 
 
AM AT 1 1. \ 
 
 A.MATIIA. Soc Uammch. 
 AMELIA, Italy. 
 
 ThcC'ATHKniiALisaRoiiaissaiicc cliurcli. 
 bnilt in iri4(i ii|i(in the I'uiiis nf tlic iiicd- 
 
 Fig. 7.— Amalfl, Cathedral. 
 
 iajval cliurcli wliich had hecn liunicd. Its 
 plan is a Latin cross, about 17(i ft. lonsi; 
 and 1-iO ft. broad across the transcjtt. Its 
 uave, about ^-l ft. wide, without aisles, 
 is flanked by five rectangular chapels on 
 each side, and opens into a long, narrow 
 transept divided into three bays, of which 
 those at the ends are covered each by a high 
 hemispherical dome on a diuni lighted by 
 large windows. The choir is a single oblong 
 bay. with a flat, ellijitical ajise, and flanked 
 by sipiare sacristies. The twelve-sided bell- 
 tower of the ancient church still stands de- 
 lachc(l on the south side of the nave. 
 
 AMMAN (anc. Eabbath .Vnimon and I'hil- 
 adelphia), Palestine. 
 (»i)F,ri[, a small covered theatre just in 
 front of the large theatre. ( )ver a side door 
 is a frieze sculptured 
 witli Romulus and Re- 
 1 inus and the wolf. Ik'- 
 tween the odeum and 
 the theatre extends a 
 large rectangular sjiace 
 (tigora or forum ?) bor- 
 dered originally b}' 
 about fifty Corinthian 
 columns, twelve of 
 which still stand. 
 
 Roman Baths, on 
 the right side of the 
 iirook. There is a fine 
 ajisc. with two lateral 
 apses. The high walls 
 liave richly decorated 
 niches, and holes in 
 the stones point to the 
 original presence of 
 metallic ornamc n t . 
 Vjirtf] 'j^ Some columns are 
 Upl[ -:''^^ standing, without cap- 
 itals. 
 
 Theatre, in excel- 
 lent preservation, the 
 auditorium excavated 
 from the h i 1 1 -s i d e. 
 There are two dinzo- 
 iiKilii or longitudinal 
 ]iassages, dividing the auditorium into 
 three sections, the lowest with fourteen, 
 the second with sixteen, and the highest 
 with eighteen tiers of seats. Above the 
 highest section there is a gallery, in the 
 middle of which is a decorated "box," 
 witli ))ediment and niches. The stage- 
 structure is ruined to the foundations, 
 1)11 1 ])ortionsof adouble colonnade survive, 
 ill front of it. The diameter of the the- 
 atre is not far from ;i(j(i feet. 
 AM KITH (anc. .Marathos). Syria. 
 
 .Maaiii;i) or Ti:mi'i,i;, the most impor- 
 tant of tlie few remaining religious struct- 
 
 10 
 
ANAGNI 
 
 ures of rha>niciii. It is virtually :i 
 miniature and simplified Egyptian temple, 
 with its cella for the image of the divinity 
 enclosed on three sides by upright slabs of 
 stone. The third side was never closed, 
 unless by a curtain. The roof is a mono- 
 lithic slab with moulded edges ; it projects 
 over the open side of the tabernacle, and 
 is hollowed in the interior in the form of 
 a flat vault. The tabernacle stands free 
 on a rock-hewn base. There was a court 
 around the tabernacle, doubtless girt 
 with a portico, but all here is comiJlete- 
 ly ruined. 
 
 Ph(exician " Monolithic " House, 
 a rock-hewn dwelling, isolated by the 
 cutting away of the rock at the back. 
 The interior contains three rooms, sepa- 
 rated by thin partitions left standing in 
 the natural rock. The doors and win- 
 dows are distributed irregularly. 
 
 Phcexiciax Tomis called the Burdj 
 el-Bezzak, built entirely above ground, 
 in regular masonry of enormous blocks, 
 some of them over 10 ft. long. It is 
 square, with a projecting basement, and 
 a simple heavy cornice. It was finished 
 above with a pyramid, now thrown 
 down. Inside are two superposed cham- 
 bers, each with a narrow ojiening to the 
 outside, and with niches for bodies cut 
 in the walls, separated by partitions left 
 in the stone. 
 
 To.MH, consisting of a square base 
 from which rises a circular die, above 
 which are two circular drums, each 
 smaller than the member next below, 
 and a crowning member of domical shape. 
 At the four corners of the base four lions 
 of rude design issue from the die, facing 
 outward. 
 ANAGXI, Italy. 
 
 The Cathedral (St. Magnus) is a 
 Komanesque basilica rebuilt by the Em- 
 peror ilichael about 10T5 and consecrated 
 in 11G7. The interior is simple ; the nave 
 and aisles, separated by arcades of round 
 arches on piers with rude grotesque capi- 
 
 tals, are covered by barrel - vaults, and 
 each ends in an ajise. .\ fine pavement of 
 (tpus Alcrandriniiin covers the whole floor 
 of the church. The exterior is interesting, 
 the west front decorated with old bas-reliefs 
 on each side of the simple round-arched 
 doorway. Near the fapade is a square 
 detached bell-tower, witli battering walls 
 and two-light arched windows. The jjreat 
 south doorway is ruined ; above it is the 
 statue of Pope Boniface sitting on a 
 
 throne. The present entrance is on the 
 north flank. The middle one of the three 
 eastern apses has a dwarf iircade of arches 
 supported alternately on columns and 
 grotesque corbels. A three-aisled crypt 
 is under the choir, with stilted round 
 arches on columns with shafts and capitals 
 of various design. It is decorated with 
 early paintings of scenes from the life of 
 -St. ilagnus, whose remains were trans- 
 ferred hither in 1231. 
 
AXCOXA 
 
 AXC'OXA. Italy. 
 
 Ancii OK Tka.iax. Tlie Komaii re- 
 mains comprise the mole built by Tra- 
 jan, on whieli stands the beautiful tri- 
 uinjilial areh in white marble, erected 
 .\.ii. IVi, in honor of that emperor, and 
 an amphitheatre. The arch is very light 
 and elegant in its proportions, and is iu 
 remarkably good preservation. It has a 
 single opening with a very heavy key- 
 stone, four Corinthian semi-columns on 
 each face, and a high panelled attic above 
 the entablature. {See Fig. 8.) 
 
 The Cathedral (S. Ciriaco). An xi 
 cent. Romanesque church, situated on the 
 height of the promontory outside the 
 present town, on the site of an ancient 
 temple of Venus which stood in the 
 centre of the original Greek cit}'. It was 
 at first a Greek cross, and has aisles on 
 all the four arms, the transept terminated 
 by semi-circular apses ; the east end square, 
 probably replacing an earlier ajjse, and a 
 pointed dome over the crossing, sjjringing 
 from a low twelve-sided tambour. All 
 the cornices have arched corbel-tables, 
 and the walls are divided by thin pilaster- 
 strips and half columns. The windows, 
 few and small, are either round-headed 
 or circular. The west front has a fine 
 deep projecting porch, added in the xiii 
 cent., with several orders of columiis and 
 pointed arches in the jambs, surmounted 
 by a gable. Of the columns the outer 
 pair are octagonal and rest on lions. The 
 south door is covered by a simple round- 
 arched porch of sliglit projection built 
 in 1184. Within, the nave and transept 
 have each three round pier arches rest- 
 ing on columns of red Verona marble, 
 presumed to liave been those of the an- 
 cient temple : the capitals rude Ionic and 
 Corintliian. The choir, originally of the 
 same length as the nave and transept, but 
 with four arches instead of three, has 
 been ])rolonged by a single square com- 
 partment fianked by two chaiiels. All the 
 aisles are covered with four-part vaulting. 
 
 Xave, choir, and transepts are flat-ceiled. 
 The central dome is carried by squiiiches 
 on four massive piers, joined by veiy 
 slightly pointed arclies. The floor in both 
 transepts, high above that of the nave, 
 is reached by l)road steps, and under each 
 is a high crypt, of which the northern has 
 a highly decorated chapel containing the 
 tomb of St. Ciriacus, whose remains are 
 preserved in a glass sarcojihagus. The 
 detached square campanile is of later date. 
 {See Fiys. 9, 10.) 
 
 Sta. Maria della Misericordia has a 
 gorgeous Renaissance facade, and an inter- 
 esting interior of pure transitional (iothic, 
 which must date from the xiii cent. Al- 
 though in ground-plan it is basilical with 
 a nave and aisles, no projecting transept 
 and one shallow eight-sided apse, yet in 
 elevation it shows a resemblance to a 
 Greek cross with central dome, thus show- 
 ing tlie influence of 8. Ciriaco. The nave 
 proper consists of three bays, whose cen- 
 tral compartment is covered with an ob- 
 long ribbed octagonal dome ; all the rest 
 of the comjiartments in the church have 
 simple ribbed cross-vaults. The base and 
 capital of the piers are still of a rude Lom- 
 
 Fpg. 9. — Ancona, Cathedfal. plan, Scale of 100 feet. 
 
 bard tyjie. The octopartite choir resem- 
 bles that of the catliedral of Xarni. [A. 
 L. F., Jr.] 
 
 Sta. .Makia heli.a 1'iazza is remark- 
 
 is 
 
ANCYRA 
 
 able Un- its ricli fumade ilatcil l-^ln. This is 
 curiously built in superposed arciides, lujt 
 separated by strin,<j:-c()urs('s, the eolumns 
 of each areade resting in the spandrels of 
 that beneath. The interior consists of 
 live bays, with round arches supported by 
 octagonal piers built up of stone, the arch 
 near the single apse being higher tluin the 
 rest. All the compartments are covered 
 with cross-vaults, those over the side-aisles 
 being alone original. The transverse 
 arclies in the nave are 
 r () u n d : in the ai-sles, 
 pointed. The capitals 
 are of simple cubic form. 
 [A. L. F.. Jr.] 
 ANCYKA (Angora). 
 Asia Minor. 
 CoLVMX OF Jovian. 
 in the lower part of the 
 city. The pedestal, a 
 single block of grayish- 
 white mai'ble. has never 
 had any inscription. The 
 shaft is formed of nine 
 drums, each one of wiiich 
 is cut with singular and 
 sinnlar horizontal flutes 
 or mouldings, as in some 
 Persian monuments. 
 The capital has a Byzan- 
 tine appearance ; at the four angles are 
 four palms surrounding, on each face, four 
 medallions or shields, each one of which is 
 pierced with four holes, probably for hold- 
 ing a bronze eagle. The total height is 
 about 45 ft., that of the capital 5 ft. :5 
 in., of the pedestal 9 ft. 3 in. 
 
 Temple of AuursTrs Axn Rome, 
 dedicated by Pyliemenes, son of King 
 Amyntas of Galatia. It was changed 
 early into a Christian church : in the xiii 
 cent, a mosque was built on the north 
 side by the architect Sinan. The gate of 
 the temple was carried to Bagdad by 
 llaroun al Rashid. The remains consist 
 of the lateral walls of the cella, with ant;^ 
 terminated liy pilasters, and the front 
 
 wall witii its doorway. The white marble 
 temjsle was Corinthian, hexastylo, peript- 
 eral, but the peristyle is gone. Tlie ca])- 
 itals of the pilasters are formed of a well- 
 sculptured winged N'ictory, amid acanthus 
 foliage, and the frieze adorned with a run- 
 ning acanthus ornament. The door of 
 the cella has a cap on nuirble consoles. 
 On the interior of the pronaos wall is the 
 celebrated inscription called the Monit- 
 mcntum Aitrjjraiinm, containing in both 
 
 Fig. 10.— Ancor.a, Ctiiedii:. 
 
 Greek and Latin the political testament of 
 Augustus, or the record of his acts, from 
 the emperor's will. 
 ANDRIA, Italy. 
 
 The Cathedral, datiiigoi'iginally iVoui 
 the middle of the xi cent, has been 
 greatly changed by repeated restorations, 
 it has a nave and aisles of nearly equal 
 breadth, separated by arcades of seven 
 arches, once pointed, now rouiul, and 
 opening by pointed arches into the broad 
 rectangular transept, which does not pro- 
 ject beyond the aisle walls, and in which 
 the straight eastern wall shows traces of 
 three apses which have now disappeared. 
 About 1228 a line of seven chapels was 
 added to each aisle. 
 
AXDROS 
 
 ANDKOS, Cyclades, Greece. 
 
 Tower or donjon, dating from about 
 tlic time of Epaminondas, in the locality 
 called Pyrgos, close to the ruins of the 
 ancient city of Andros. Tlie Inisement 
 story is vaulted by corbelling out ; there 
 are five stories above this. The door and 
 windows contract upward. Tlie tower. 
 30 ft. in diameter, survives to 
 a height of nearly 70 ft. The 
 masonry of tlie basement is poly- 
 gonal with horizontal beds ; of 
 the superstructure, good Hellenic 
 with many of the vertical joints 
 inclined. In some of tlie stories 
 the stairs remain. 
 ANGORA. See Anci/ra. 
 ANSEDONIA (knc. Cosa), 
 Italy. 
 
 The ancient Etruscan coast city 
 was abandoned in the v cent. Its 
 Walls, forming an irregular 
 quadrangle over a mile in circum- 
 ference, are admirably jireserved. 
 They are built of enormous blocks 
 of limestone in an irregular poly- 
 gonal style, but with remarkably e.xact 
 joints, and the outer face finished perfect- 
 ly smooth. They are strengthened with 
 projecting square towei-s. 'I'hcrc aiv three 
 double gates, not arched. 
 ANTIPHELLOS,Lycia, Asia Minor. 
 
 Xecropoli.s of rock-cut tombs, whose 
 fa(;ades ajipear in the face of the cliff. 
 These faQadcs imitate exactly a construc- 
 tion framed in square wooden beams, 
 witli panelled doors and windows and ceil- 
 ings of round poles laid closely side by 
 side. Even the heads are shown of the 
 tree-nails used to secure the dove-tailed 
 and mortised beams. Some of the roofs 
 are flat, others gabled in the form of a 
 Greek pediment. The forms evidently 
 reproduce in all their details the exteriors 
 of the wooden dwellings of the natives, 
 and this imitation is in some cases extend- 
 ed to the interior chambers. 
 ANXANUM. See Lanciano. 
 
 AOSTA (anc. Augusta Pra>toria). Italy. 
 
 'I'he Triumphal Arch is a massive 
 structure about -tO ft. by 85 ft., pierced 
 by a single arch 30 ft. wide and nearly 
 40 ft. high. It is surrounded by ten 
 Corinthian columns, standing on a high 
 stvlobate and supporting a Doric entab- 
 lature. An order of stumpy composite 
 
 ^ji'iM^^-'^ - 
 
 »•»<-.- ^rS—^.JSi^V. -V 
 
 Fig. 11, — Aosta, Arch of Augustus. 
 
 pilasters bears on its entablature the 
 wide archivolt. The attic which probably 
 crowned it has disappeared, and witli it 
 the inscription, but the arch is believed to 
 have been built by Terentius Varro to the 
 honor of Augustus, in commemoration 
 of his victory over the Salassi in '17^ n.c. 
 {See Fig. 11.) 
 
 The Cathedral (S. Gratus and 8. 
 .Tocundus) is a Romanesque chundi of 
 doul)tful date, variously assigned to the 
 XI and XIV cents., with a Renaissance 
 fac>ade which was added in Vyi'i. The 
 bi-oad apse is flanked by two massive 
 square towers, evidently of early date, and 
 on the north side is a cdoister dating from 
 14.50 with round arches on grouped piers. 
 The interior is sim^ilc and severe, with 
 nave and aisles divided by arcades whose 
 round arches spring from plain square 
 ])iers. The choir has a line mosaic jiave- 
 nient and inlaid stalls dating from the 
 
ArAMEIA 
 
 eutl of the xv cent. An ancient crypt of 
 Romanesque character with columns fitted 
 with chissic capitals lies under the choir. 
 
 St. OrKS is a very old church, which 
 has been dated back to the viii cent. 
 Tiie interior is modernized, but has 
 some handsome stalls ; the front shows a 
 late Gothic doorway with a gable over it. 
 The Komanesque cloister is interesting. 
 It has single columns of black marble, 
 with capitals rudely carved in figure-sub- 
 jects from Bible history, whicli carry 
 rough round arches, and a roof covered 
 with stone. The high square bell-tower, 
 standing apart, is also late Romanesque, 
 with a more recent jjyramidal roof. Xear 
 by is another tower, of later date, octag- 
 onal, with broad-windowed belfry story, 
 deep corbelled cornice and spire-like roof. 
 
 PoKT-V Pu.EVOKiA, the chief gate of tlie 
 ancient Roman city, now called the Porta 
 della Trinita. The gate has a triple arch 
 in each face, the middle arch being 37 ft. 
 wide, those on the sides 71 ft. The dis- 
 tance between tlie two faces is -iO ft. — the 
 longest kno^vn in such Roman construc- 
 tions. Over the arches there was a frieze 
 and consoles, which remain in part. 
 
 The RoMAX Walls, enclosing a rectan- 
 gular area 790 by 020 yds., remain through- 
 out their extent, together with some of 
 their square towers. Several of these 
 were in course of time altered into medi- 
 aeval fortresses. The facing is of hewn 
 stones. ai\d has been in part torn away as 
 building material. There is an impres- 
 sive piece of the straiglit back wall of a 
 tiieatre over 70 ft. high, in four stories, 
 witli windows, and scanty remains of an 
 amphitheatre, in plan 2S2 ft. by 243 ft. 
 Eight arcades of the exterior facing re- 
 main with Doric semi-columns. Without 
 the town there is a fine Roman bridge of 
 a single arch of large stones. 
 APA:\rEIA (Kalat el-Mudik). Syria. 
 
 Portions remain of the ancient walls, 
 and of the chief gate on the north. 
 From this gate a street 140 ft. wide. 
 
 of about 1,800 columns, 33 ft. high, ran 
 southward ; some of them remain stand- 
 ing ; a great number lie as they have 
 been overthrown by eartluiuakes. Back 
 of the colonnades were walls with niches ; 
 a number of the portals still stand. 
 APllRODISIAS, Caria, Asia Minor. 
 
 The Stadium, in the N. W. part of tlic 
 city, forms a part of the walls, like the 
 Amphitheatrum Castrense in Rome. It is 
 semicircular at each end and 920 ft. long 
 by 270 ft. wide. The arena, 100 ft. by 7-50 
 ft., is surrounded by twenty-six tiers of 
 seats, divided on each side into thirty 
 cunei or sections, separated by flights of 
 steps. Above the seats was a gallery 18 ft. 
 wide, covered by an arcaded portico, nu- 
 merous fragments of which still remain. 
 The grand entrances were through arched 
 gateways at eacli extremity. 
 
 Temple of Aphrodite (Venus), prob- 
 ably of Roman date ; the town enjoyed the 
 protection of the Caesars, who claimed de- 
 scent from Venus. The tensile is one of 
 the best preserved in Asia Minor ; sixteen 
 of its columns are standing, and bases of 
 otherc are in place. It stood in the middle 
 of an enclosure 370 ft. by 190 ft., adorned 
 on the interior with coupled Corinthian 
 columns 19 ft. high, supporting pedi- 
 ments alternately curved and triangular. 
 Between the columns were niches with pi- 
 lasters. The tenij)le was Ionic, octastyle, 
 pseudodipteral, with fifteen columns in 
 each flank ; the ground-plan is 119 ft. by 
 00 ft. ; the cella is destroyed. It w;is 
 clianged into a church, the columns of 
 the front being removed and ranged with 
 those on the sides, and external walls 
 built outside of the columns so as to form 
 a nave with aisles, and an ajise. 
 MiVJE CUTILLE. See Cittadumlc. 
 AQUILA, Italy. 
 
 S. Berxardixo. a XIII cent. Gothic 
 church, many times rebuilt, of which 
 tlie interior was partly destroyed by the 
 earthquake of 1703, and much changed in 
 the rebuilding. The aisles are vaulted ; 
 
AQUILEJA 
 
 tlio nave has a flat ceiling, and is bonleri'd 
 by arcades of five arches each on cohunns. 
 The crossing is covered by a dome and 
 at the east end is a central apse. The 
 Kenaissance west front by Cola dell' Anui- 
 trice, dating from 1525, is the most con- 
 siiicuons feature of the church. 
 
 St A. Makia in C'olle.maggio. A re- 
 mai'kable Romanesque church of the 
 XIII cent., which has been much injured 
 by earthquakes and degraded by restora- 
 tions, the interior being entirely modern- 
 ized. The west front, square like others 
 in Aquila, retains most of its original 
 features. It is about 100 ft. broad, in 
 two stories, separated by a niodillioned 
 cornice of classic form, with pilaster-strips 
 at each angle. The first story has three 
 round-arched doorways with square open- 
 ings. In the second story a window over 
 the central doorwav, large and rich, is 
 
 F _■ T — Aqij''i S M di Collemaggio. 
 
 the only ojiening. 'i'iu' whulc wall is 
 faced with small blocks of white and red 
 marble, forming ;i regular tile pattern, 
 and the front is finished with a horizontal 
 cornice of Renaissance monldings. At 
 the south angle of the west front is a low 
 octagonal l)ell-tower witb heavy macchico- 
 lated cornice, 'i'lic cliun'h was founded 
 in 1287. in edujimction with a Benedir- 
 
 tine monastery, and was occupied in 121)4, 
 in which year Pope Celestine V. was here 
 crowned. {See Fiy. i~.) 
 Al^UILEJA, Venetia, Italy. 
 
 The Cathedral, a great basilica, sub- 
 stantially of the XI cent., but much 
 altered later. It has a nave and aisles, 
 transept, and three eastern ajjses. The 
 nave is about 40 ft. wide, and the inside 
 width across the aisles 85 ft., the whole 
 length about 230 ft. The jjillars which 
 carry the fourteen pointed arches in each 
 arcade are probal)ly Eomau, varying in di- 
 ameter and height ; but their capitals seem 
 to date from the rebuilding of the church 
 in the first half of the xi cent, by the 
 patriarch Poppo. The pointed arches 
 are probably due to a restoration after an 
 earthquake in the second half of the xiv 
 cent. (1305-81). The ceiling is of wood 
 and cinquefoiled in cross section, like 
 some in Venice and Padua. 
 The choir is raised over a cr\Y>t 
 which, like the transej)t, is 
 probably of the xi century. It 
 has a handsome bahistraded 
 podium, reached by a double 
 flight of steps, which encloses 
 a rich pulpit, all of early Re- 
 naissance design, and giving 
 tine effect to an otherwise hare 
 church. At the middle of the 
 jn-ineipal apse is the patriarch's 
 throne of inlaid marble, prob- 
 ably reconstructed in the xiv 
 cent, out of an older Byzantine 
 example. (Sec Fiy. 13.) 
 
 In front an open porch of 
 Lombard architecture connects 
 with an old vaulted building known as 
 the CiiiKSA DEI Pagaxi. This has three 
 bays of plain cross-vaulting and niches in 
 the side walls. It leads to an old ruined 
 baptistery, octagoiuil in ])lan. and contain- 
 ing a tank for immersion, a]>iiarently hex- 
 agonal, and surrounded by an arcade con- 
 nected with the outer wall by cross arches. 
 The high camiwnile, begun by the jiatri- 
 
AIJAK-KL-MONYEII 
 
 iiroli l'()])))(). ami fiiiislu'il in the xiv or 
 XV coiit.. is ;i ian(liii:iri\ in tiic country. 
 Inside the eiiurch in the noi'lh aisle is a 
 
 
 ill Mi 
 
 Fig 13. — Aquileja, Cathedral, 
 
 eurious litth' detaeiieij rouml hnihlinir. of 
 wiiieh the purjiose is forgotten. It has 
 a west door, a cohjnnaded attic, and a 
 pointed roof. 
 AHAK EL-MONYKII, I'ah'stine. 
 
 Rociv-niAMHEiis, excavated in tlie soft 
 limestone. The entrance is bv a large 
 door of good workmanship, cut in the 
 rock. Tliis leads into a series of large 
 and lofty chambers of beehive shape, one 
 of which is nearly 100 ft. in diameter. 
 The walls are ornamented with sculiJtured 
 cornices, and with shallow niches in paraUel 
 rows. It is probalile that these curious 
 works, with the others like them in this re- 
 gion, date back to the primitive inhabitants, 
 prior to the Edomite occu]>ation. There 
 are some Cufie inscrijitions cut in tiie rock. 
 ARBE, Dalmatia. 
 
 Campanile, or bell-tower, one of the 
 finest in Dalmatia. It stands eons])icu- 
 
 ously apart from the cathedral, near the 
 edge of a clill. It is 20 ft. square and 
 1)0 ft. high to its parapet, is built in live 
 stories, with coui>le(l windows, expanding 
 from story to story in Komanesque fash- 
 ion, and a line belfry-stage with four-light 
 openings and coupled shafts, tiie whole 
 crowned with an ai'caded parapet, aiul 
 above this an octagonal spire. Eitel- 
 lierger finds mention of it in I'^l'-i. 
 
 The Cati[i:i)KAL. a three-aisled basilica, 
 had originally three apses, of which tiie 
 southern has disappeared : the middle 
 one, round within, is octagonal without. 
 T'he nave is of six round-arched bays, 
 carried on round shafts with Byzantine 
 capitals and stilt-blocks above them as 
 in the Kavenna churches. The inlci'ior 
 is ciinsidcraljly modernized. It contain.s' 
 a remarkable hexagoiud baldai'chino or 
 ciborium, Byzantine in style, richly or- 
 namented, and carried on eohunns of 
 cipollino. The carved stalls ari' hand- 
 some and bear date l-tl."). The church as 
 it stands is probably due to the reliuild- 
 ing of 1287, which is recorded in an in- 
 scripiiou. 
 
 S. (JiovAXS'i Battista. now ruined, 
 was a Benedictine monastic church — an 
 aisled basilica of eight bays. The east 
 end, which alone still stands, is a singular 
 departure from Dalmatian or Byzantine 
 ways of building. It has a round apse, 
 and an ambulatory about it which is 
 covered with barrel- vaults, resting on 
 cross arches, and ex2)anding outward to 
 suit the radiating bays. 
 AKBELA (Irbiii), Galilee, I'alestine. 
 
 Caverns, fortified by Josephus in the 
 I cent., on the south side of the gorge of 
 AVady el-IIamam. A broad (light of stei)S 
 at the top of a steep sloj)e leads to the 
 caverns, which are in several tiei's con- 
 nected by winding stairs. Many galleries, 
 cisterns, and cham])ers are wholly artifi- 
 cial and of excellent workmanship. The 
 mouths of the caverns are closed by loop- 
 lioled walls. The chief entrance is sur- 
 
AKBONA 
 
 nionntnl liy an excellt'iit relief nf two 
 lions. Under Hen id the (trout these eav- 
 eriis were a stronjihold of hrifjands. 
 AHHOXA. See S/n. J/nrifi <!' Arl,i,)in. 
 AHKZZO. Italy. 
 
 'riio l?.vr)[.v. A J\enaissaneeehureh. at- 
 tached to the Monastery of the Cassinensi 
 and dating from about 1550. The design 
 is attributed to Vasari. Its plan is a rect- 
 angle, about 75 ft. by 1G5 ft., with five 
 square bays, separated l)y transverse round 
 arches and covered alternately by barrel- 
 vanlts and round domes. The easternmost 
 bay forms the choir and is enclosed by 
 solid walls, the others open into the aisles 
 — the domed bays by high arches spring- 
 ing from square pilasters, the others by 
 lower openings in the form of a triumjihal 
 arch on small Doric columns. 
 
 The Cathedral (S. Pietro). An in- 
 teresting example of the Gothic style of 
 North Italy. Its exterior is unimportant, 
 
 iinmmiiiiii 
 
 E^%,i: 
 
 Fig. 14 — Arezzo, Sta Maria detia Pieve and Fratefnita. 
 
 and I lie fa(;ade. in which is a line I'ose 
 window with good painted glass, was never 
 completed. Its interior is divided into 
 a long nave of six bays and two narrow 
 ai.sles. with a choir as wide as the nave, 
 ending in a half octagon, but no transept. 
 
 The nave-])iers are composite, bearing 
 pointed arches and faced with vaulting 
 shafts. Over each arch the wall is ])ierced 
 with a round window filled with good 
 ghuss of the xvi cent, by a French artist. 
 The church itself dates from the later lialf 
 of the XIII cent., having replaced an 
 older building which was pulled down in 
 1377. The high altar has been ascribed, 
 without much reason, to Giovanni Pisano. 
 The Fraterxita ijella JIiseiucor- 
 DIA has a tayado on the Piazza Vasari 
 which is a picturesque example of tran- 
 sitional architecture. The lower story 
 is characteristically (iothic. with a round- 
 arched door between two jiointed win- 
 dows, their splayed jambs beset with slen- 
 der columns, straight and twisted, and 
 profuse foliage. The second story. K'e- 
 luussancc, is decorated with niches and 
 sculpture in the intervals of an ordci- of 
 delicate pilasters. Above this a pictu- 
 res(jne wooden loggia is 
 corbelled out under a 
 lioldly ]irojecting roof, 
 from which rises an 
 ugly trijile l)ell-cote of 
 later date, ^'asari says 
 that the fa(;ade was the 
 wink of Niccolo di 
 Piero in 1383. a date 
 which is too early for 
 anyt liing but the lower 
 story. On the adjoin- 
 ing si(h' of the piazza 
 is the loggia, designed 
 liv \'asari. [See Fi<j. 
 
 Sta. iMakia An- 
 xtxziATA. known also 
 as tlie Madonna delle 
 Lagrinic. A lienais- 
 sance cliiirch nf plain bri(d\ exterior, be- 
 gun about 14<;ti by Hartolloneo della 
 Gatta, and finished by Antonio San Gallo. 
 Its |ilan is a rectangle, about 85 ft, broad 
 and l(i5 ft. long, of which length about 
 30 ft. is given to a closed jiorcli or vcsti- 
 
 18 
 
AT^GOS 
 
 bulo divideil hy C'oriiitlii;in rolimnades in- 
 to three triiiisvei'.se l>;i_vs. liound arches 
 from tlie thive bays enter the nave and 
 aiiiles, whicli are sejiarated hy arcades of 
 three round arches on each side, springing- 
 in Roman style from square jiiers faced 
 with Corinthian pihisters with an entabla- 
 ture. alio\e which is a clerestory witii 
 three round-arclied windows, anil a cornice 
 from which springs the barrel-vault of the 
 uave. The aisles are divided by transverse 
 arches into square bays, each with an altar 
 recess. The transept arms and choir are 
 barrel-vaulted : the crossing is covered by 
 a hemispherical dome. 
 
 St.\. Maria delle (Jkazie is a small 
 (tothic building witlujnt aisles, aliout 30 ft. 
 wide and 70 ft. long, divided into two square 
 bays covered by groined vaults, and an 
 octagonal apse. A graceful early Renais- 
 sance portico ascribed to Benedetto da Ma- 
 jano is swung across the west front, com- 
 posed of an open iircade of round arches 
 on Corinthian columns with blocks of en- 
 tablature, with a whole entablature above, 
 of which the frieze, as well as the spandrils 
 of the arches, is richly decorated with lias- 
 reliefs. A raised terrace with balustrade 
 surrounds the church on three sides. 
 
 Sta. Maria ueli.a Pieve. An an- 
 cient church of somewhat uncertain style, 
 said to date originally from the vii cent., 
 but rebuilt in the xiii cent. Its west 
 front is perhaps unique, and little like a 
 church. It consists of four stories with a 
 horizontal cornice. The first story is an 
 arcade of five round arches with doors in 
 the middle and at the ends. The other 
 three stories consist of ojien galleries with 
 columns, the second and third being 
 arcades, the fourth a mere stockade of 
 columns. The columns are round, poly- 
 gonal, twisted, some classical, some By- 
 zantine, some Gothic, the capitals and 
 bases evidently collected from the ruins of 
 older buildings, and used without regard 
 fin- uniformity of size or design. At the 
 angle of this singular front is a very high 
 
 square canijianile, with five similar stories 
 of two-light semicircular windows. The 
 east end abuts on a i)icturesque square, 
 aiul presents a central apse in three 
 stages : the second with an ojien gallery of 
 tall round arches on columns, the third a 
 gallery of slender columns with square 
 lintels. The interior has a nave and side 
 aisles divided into four bays ; ])lain round 
 columns with high foliage capitals and 
 square plinths, carrying pointed arches ; 
 transepts which do not project beyond the 
 aisle walls ; a choir of two bays with round 
 arches and an apse : and a circular lantern 
 above the crossing, with an arcade under 
 the cornice. The choir has a triforium of 
 square openings with columns. The roofs 
 are all of wood, except those of the choir 
 aisles, whicli are vaulted. The aisles are 
 lighted by small single-light windows high 
 in the wall. The apse is thought to have 
 undergone little alteration since the end of 
 the X cent., but the greater jsart of the 
 church was rebuilt about 121(3 by ^larclii- 
 onni, a local architect. The canijjanile 
 dates from 1330. (See Fig. U.) 
 
 There are remains of a Romax Amimii- 
 THEATRE in the garden of the church of 
 S. Bernardo. The walls are of reticulated 
 work. 
 ARCiOS. Greece. 
 
 Her.kum, or sanctuary of Hera, one 
 of the most noted sanctuaries of Greece. 
 The sanctuary occupied three terraces, 
 on Mt. Euboia, about two miles from My- 
 ccnif, and was undoubtedly of Mycena'au 
 foundation. Besides the Temple of Hera, 
 it (contained stoas. lodgings for temple- 
 servants, and other structures. The old 
 Temi>le of Hera built, in part at least, of 
 unburnt brick, occupied the highest ter- 
 race. It was burned in 423 B.C., and was 
 rebuilt by the architect Eupolemos on the 
 middle terrace. The latest excavations, 
 begun in 1892 by the American School at 
 Athens, are still (1894-) incomplete. The 
 new temple, Doric, hexastyle, had twelve 
 columns on the flanks, and a cell.i with 
 
ARICCIA 
 
 imiiuios and cpiiiaos. In the intcridr <ir 
 the cella were two ranges of live ((ihiinns. 
 The exterior dimensions of l\w founda- 
 tions are 05^ ft. by 130 ft., making the 
 temple somewhat larger than the so-calk-d 
 'I'hrst'um at Athens : the ))r()naos was '-ii 
 ft. wide antl 15 ft. deep. 'The widlh of 
 the portieo in front of the pi'onaos was 
 from 10 ft. to 13 ft., on the Hanks -l ft. 
 less, and in the real- pniliahly alioiil T ft. 
 more. One peristyle capital has been 
 found. It has twenty channels, and the 
 curve of the echinus is very graceful. 
 .Several interesting pieces of sculpture have 
 been found, among them a line head nf 
 abont life-size and Polycletan type, whicii 
 has been identilied as a Ilera. A very 
 large and valuable find has been made nf 
 archaic terra-cottas and .Myccna'an pot- 
 tery. Ill the newer tenqilc was placed 
 the colossal chryselepliaiitine statue of 
 Hera by Folycletus, one of the famous 
 works of antiquity. 
 
 'rHEATKi:. on the east side of city, at 
 south foot of the Acropolis. The scats 
 are mostly excavated from the solid rock ; 
 the ends of the rdirn. as restored by 
 the Romans, were foniietl of large masses 
 of rude stones and mortar, faceil with reg- 
 ular masonry, but are now slia))elcss heaps 
 of rnbiiish. The excavated part shows 
 sixty-two surviving tiers of scats separat- 
 ed by two jn-ecinetions or iliazomnin into 
 three ranges. Greater diameter •l.'iO ft., 
 orchestra 200 ft. ; seating capacity ir>.000 
 to 20,000. The excavations of 1801 dis- 
 clo.sed remains of a Roman hif/fioii or stage. 
 An uiulerground passage leads from be- 
 hind the i)ro.scenium to the orchestra, as 
 at Kretria, Sicyoii. ^Magnesia, and Trallcs. 
 AlJIfCIA (La Kiccia)", Italy. 
 
 AxoiEXTCAf.sEWAY, by whicli the Via 
 Appia crosses the Vallariccia. It is a truly 
 impressive work, 700 ft. long and about 
 40 ft. high where the valley is deepest. 
 It is built of excellent ashlar in ;;(>/;«•/;( o, 
 and is traversed by three arcjiways for the 
 How of water. Tlie width is about 40 ft. 
 
 St A. .Mahia AssrxTA. A Renaissance 
 church built liy Alexander \'ll. in 1CG4 
 from the designs of Bernini. Its j^lan 
 is a circle with a projecting arcaded 
 portico covered by a gable and flanked 
 by two wings faced with coujiled col- 
 umns. Oil the interior tiie wall surface 
 has an order of Corinthian pilasters with 
 arches in the intervals, above which is a 
 dome decoraleil witli reliefs liy Antonio 
 Raggi. 
 
 ARLMINUM. Sec Niwini. 
 ARPIXO (anc. Arpinum). Italy. 
 
 Walls. The Cyclopean fortification- 
 walls of the citadel, in large irregular 
 blocdvs. arc among the most remarkable 
 extant spccinn'iis of tliis construction in 
 Italy. Ill the stretch of wall descend- 
 ing from the citadel there is a gate about 
 'iO ft. \yu\v. closed in by corbelling the 
 suiierimposed courses, and cutting the 
 oj)eiiing left to the shape of a jiointed 
 arch. This gate is almost identical with 
 the gate at Thoricus in Attica, but is 
 larger. It is now called the Porta dell' 
 Areo. A Roman arch of fine construc- 
 tion now serves as one gate of the citv. 
 ARRKTIUM. He.cArezzo. 
 ARSAGO. Italy. 
 
 8. ViTTOiiio. tlic ancient church, is a 
 simple brick basilica with iia\c ami aisles 
 separated by alternate columns ;ind sipiare 
 piers, with roiiiul arches, and a high 
 clerestory. NaA'c and aisles are roofed 
 with wood and each ends in an eastern 
 a]ise. The whole design and construc- 
 tion are extremely sini])le. The Baptis- 
 tery stands directly in front of the west- 
 ern facade of the cliiircli. with a central 
 octagon about 2') ft. in dianicter, en- 
 closed by two stories of roiiiid - an-licd 
 arcades with columns. The arches of the 
 first story open into barrel-vaulted niches. 
 except in the ca.se of the eastern niche, 
 which is round and has a semidome. In 
 the second story is a surroumling gallery, 
 vaulted in trajiezoidal bays, and the clere- 
 story wall is carried up as a sixteen-sided 
 
AftCOLl 
 
 polygon covered hy a full-eentrccl dome, 
 also with sixteen sides. The exterior is 
 simple. Small coupled windows light the 
 upper gallery, and arched corbel-tables 
 finish all the eaves, and the roofs are of 
 stone. The clerestory appears as an ar- 
 cade of sixteen round arches. The date 
 of the building is unknown. 
 ASCULI (anc. Asculum). Italy. 
 
 The C.\TiiEi)UAL of S. Emidio, built of 
 travertine. The nave and aisles date, ac- 
 cording to an inscription, from 14S1. but 
 the greater part of the church, including 
 the Renaissance fa5ade, attributed to Nic- 
 ola Filotesio. better known as Cola dell' 
 Anuitrice, is of the xvi cent. This fayade 
 is rigidly symmetrical, the angles and the 
 lines of the nave piers marked by flat 
 pilasters with engaged three-quarter Co- 
 rinthian columns carrying an entablature 
 and balustrade, which finishes the front. 
 In the central division is a great doorway 
 with small grouped windows al)ove, and in 
 each side a round niche and a square pan- 
 el. The two towers are, however, of the 
 early church. One is unfinished. The 
 crossing is covered by a dome. The nave 
 and aisles are simple and heavy, the ar- 
 cades resting on plain s(|uare piers. The 
 most interesting feature of the church 
 is the crypt, which extends under the 
 choir aud transept, and is divided by 
 small columns and arches into square 
 groined bays. The columns of granite 
 and marble are disposed in eleven rows 
 leugtinvise of the church ; their cubic 
 capitals are rudely ornaniente<l. 
 
 S. Francesco. A Gothic church, per- 
 haps of the XIV cent., about 200 ft. long 
 and 80 ft. wide, the nave and aisles of 
 vaulted bays separated by five octagonal 
 piers on each side, with j)ointed arches. 
 There is no clerestory, the aisles being 
 nearly as high as the nave. The cro.ssing 
 is covered l\v an octagonal dome carried on 
 four pointed arches, with squinches in the 
 angles. The whole transept is raised five 
 steps above the nave, and only divided by 
 
 single broad-pointed arches in the line of 
 the nave arcades into tiirce vaulted bays. 
 It has two vaulted semicircular apses cm 
 each end and three on the east wall, rising 
 as high as the walls. The square west front 
 has a pointed doorway and three square- 
 headed windows above. The flanks are di- 
 vided by slender, flat pilaster-strips, with 
 narrow pointed windows between. The 
 southern porch in two stories has a pointed 
 arched opening below, and above is a Re- 
 naissance niche with a statue of Pope Ju- 
 lius II. The eastern apses are flanked by 
 two high stone turrets with spire roofs. 
 On the north flank is a cloister with 
 groined corridors and jjointed arches. 
 
 S. Giovanni Battlsta is a .small bap- 
 tistery — an octagon rising out of a square, 
 and roofed with a high octagonal dome 
 and stone lantern. The corners are occu- 
 pied by niches, and covered externally 
 by broach roofs. There are plain door- 
 ways on two sides, and above, in each face, 
 is a blind triple arcade, on slender en- 
 gaged shafts. It was probably an ancient 
 Roman building. 
 
 There are important remains of the an- 
 cient WALLS, with a britlge. and a note- 
 worthy gate on the west side of the town. 
 There are also ruins of a theatre and an 
 amphitheatre. The cathedral stands on 
 the foundation, still recognizable, of an 
 ancient temple, said to be of Hercules. 
 ASIX KALESSI. See /r/.w. 
 ASPENDOS, Pamphylia, Asia Minor. 
 
 Roman Aqueduct, crossing the jdain on 
 a long series of arches, much of which sur- 
 vives. It presents a noteworthy feature in 
 the interruption of the course by two lofty 
 siphons, supported on curious combina- 
 tions of arches of different heights, with 
 tower-like structures in the middle to af- 
 ford means of ascent. Tiie object of these 
 siphons may have been to break the swift- 
 ness of a descending current. 
 
 Theatre, the best jjreserved of amient 
 theatres, and the finest in Asia Minor. 
 
 nothing being wanting but the columns 
 
 21 
 
ASSIST 
 
 aixl roiif of the .st<ige-striicl\iri-. It was 
 liiiilt (liiriiii; tlio roijjiis of Antoninus I'ius 
 anil Ijia-ius W'riis. Iiv the iiiTliitect Zeno. 
 
 ami eighteen in the upper. There is a 
 irallerv above the eavea. with an arcade of 
 fiftv-three arches. Behind the stage is a 
 
 Fig. 15. — Aspendos, Theatte. 
 
 Tlie exterior diameter is 'MO ft., orchestra 
 8.") ft., dejith from inner facade of stage- 
 structure to back wall of cavea, 313 ft. 
 The massive castle-like outer fa5ade of the 
 stage-building, of large blocks of breccia, 
 with rough-hewn faces, has its chief door, 
 with a jirojecting porch, in tlie middle, 
 anil three superimj)osed ranges of windows 
 above. At each end of the stage-liuilding 
 a wing projects inward, with a door U'ad- 
 ing upon the stage, and cominunieation 
 from without by a vaulted passage with 
 the orchestra. The inner fayade of the 
 stage-building has five doors, and was 
 decorate(l by two ranges of coupled col- 
 umns or pedestals, the lower range Imiic. 
 the ujiper Corintliian. All the interioi' dec- 
 orations were of wiiito marble. The seats 
 are all intact, and the eavea is divided hor- 
 izontally by a single preeinction ; there 
 are twenty-one tiers in the lower division. 
 
 large hall, above which are two galleries : 
 at each end of the hall is a stair leading 
 to the u])])er stories, in which are several 
 rooms with painted walls. (<sVr Fit/. 15.) 
 ASSISI (anc. Assisium), Italy, 
 
 The Catiikdh.vl. dedicated to S. liufo. 
 or Hufino, martyr, of a.d. 38(1, is an early 
 Gothic church, fiuindcd bcfoi-c I 150, with- 
 out transept, with nave aiul aisles of five 
 bays, tluise of the aisles s(|uarc and groined, 
 those of the nave oblong, with liai rcl vaults 
 crossed by transverse arches. .\t the east 
 end is a large. octagon-<lonicil chuir, a 
 square cha|)cl with rouud ajise opening from 
 its eastei'u side. A large clia|)el dedicatcil 
 to the I loly Saci'auK'iit opens fi'om the west 
 end of the south aisle. The whole interior 
 was modernized in the xvi cent, by (ia- 
 leazzo .Vlessi. 1'he west front is in two 
 stages, covered by a high plain gal)le en- 
 closing a blauk-iiointed arch. The pan- 
 
ASSIST 
 
 clleil lower stage has three rouiul-urelieil 
 doorways witli reliefs in the tympana. A 
 blind arcade of small round arelies separ- 
 ates it from the seeoiid story. The cam- 
 panile is square, with a plain wall, ending 
 in two stories of small, round -arched 
 openings. Under the cliureh is a cry2)t, 
 believed to be as old as 1028. 
 
 S. FK.vscESf'o (St. Francis). One of 
 the most interesting churches in Italy, 
 and perliajjs that iu which the Uothic 
 spirit may be said to have most comi)letely 
 governed the design, and in which iiying 
 buttresses — a very unusual feature in Ital- 
 ian architecture — were used to meet the 
 thrust of the vaults. It consists of two 
 churches, one above another, 2.30 ft. long 
 
 fine tracery. In the gable is a smaller cir- 
 cular window, without tracery. This front 
 is a mask, having no relation to the interior 
 disposition of the (diurch. On the south 
 side ri.ses a square campanile iu four stages, 
 the upper stage being a plain open belfry. 
 Within, the upper church is a long Latin 
 cross, consisting of a nave, without side- 
 aisles, about 30 ft. wide and (i() ft. high, 
 ending in a choir with a round apse of 
 equal width, and a transejjt of a single 
 square bay on eai'h side. The walls of the 
 nave are broken by grouped shafts with 
 foliated cajntals into four square bcf\'s, in 
 each of which is a narrow pointed two-light 
 window with very early painted glass. 
 The trausejits liave grouped windows with 
 
 Fig. 16. — Assisi, S. Francesco. 
 
 ami I mi ft. across the transej)t. rising from 
 the steep hillside at the to}) of which the 
 town is built. The upper church has a 
 simple front with a single gable of medi- 
 um pitch, a deep-splayed doorway of two 
 pointed and cus])ed arches, under an en- 
 closing arch, and a rich rose window with 
 
 four j)ointed o])euings. Nave and trauscjit 
 are vaulted, and the thrust of the nave 
 vault is met by turret -like buttresses 
 on the outside of the clerestory, and flying 
 buttresses. Walls and vaults are covered 
 with frescoes of the earliest jiei'iod of Ital- 
 ian art, still in tolerably good preservation. 
 
ASSIST 
 
 some of them attrilmti'il to ( 'iiiialinc. 'I'lu' 
 side walls arc thiiiiu'i] at a ]i(>iiit just l)i'lo\v 
 till' s])rint; of the vault, L,nviug rooui for a 
 iiari'ow jiassage from end to cud of the 
 cliurcli. The choir is surrouiuled hy a 
 ranjje of stalls by Saiisoviuo (ladl). uitli 
 ir d)led ('aiioi)iesof late style. (Scr l-'iij. I'i. 
 Seeliou.) 
 
 rior ilail<. At tl ud of each trafisept is 
 
 a small i)olyf;oual cliapel ; a similar chapel 
 opens fnjin tlu^ south end of the narthex. 
 These chajiels, as also the north aisle and 
 perhaps the tower on the south side, 
 were built later by Filippo di Canipello. 
 As in the uj)per church, the walls ami 
 vaults are covered with frescoes by the 
 
 Fig. 17. — Assisi, S. Francesco, Lowe* Church. 
 
 The terrace before the church is hounded 
 by a retaining wall, at the foot of which 
 is a lower terrace, from which the lower 
 church is cTitered by a richly decorated 
 (iotliic doorway under a projectinir round- 
 arched porch, opening into a long vesti- 
 bule or narthex across the front. Its plan 
 is substantially the same, with the addition 
 of a narthex crossing the front and a line 
 of chapels on either side the na\c. The 
 vaults are low, the windows small, the inte- 
 
 eai'ly Italian ma.sters. including Giotto. 
 wlio.se [laintings on the vault over the high 
 altar (which stands over the spot where 
 the supposed body of St. Francis was dis- 
 coverc(l. in ISIS), representing the gloriti- 
 cation of the saint, and the virtues of pov- 
 erty, chastity, and obedience, are esteemed 
 among the finest of his works. After this 
 discovery, an ornate crypt was construct- 
 ed about the spot, extending under the 
 nave and choir, in the form of a cross, 63 
 
 n 
 
ASSOS 
 
 ft. widf and lOS ft. long, in the Doric 
 st;_vl(!. Tliu building of these chnrclies 
 beg;in in 1228. Tlie lower cluucli was 
 finislied in four years ; the upjier was 
 dedicated by Pope Innocent IV. in 1253. 
 The first architect was a German, Jacob 
 of Meran, in the Tyrol. He was followed 
 by Filippo di C'ampello, wlio apj)ears to 
 liave been a monk attaclied to the convent 
 of St. Francis at Assisi. On account of 
 its position the church fronts eastward 
 toward the town ; it overluings the west- 
 ern declivity. {See Fiij. 17.) 
 
 Convent of S. Fhaxcesco. A vast 
 and irregular mass of buildings surround- 
 ing the church on the south and west, and 
 built uji from tlie descending hillside on a 
 basement oi tall round arches, 'i'lio build- 
 ings are jiartiuUy suri-duniled by an njien 
 vaulted arca.le, and enclose two cloistei's. 
 A larger court lies to the southeast of the 
 church, enclosed by open arcades, and con- 
 nected by a staircase with the terrace from 
 which the upper church is entered. The 
 buildings of the convent grew gradually 
 abdut the church, and the earlier portions 
 are nearly contemporary with it. 
 
 Sta. Makia ])E(ii,r AN(ii;i.i. A Renais- 
 sance church, built outside the town by 
 Pojie Pius V. about 1.569, to replace a 
 smaller church of the xiii cent, which 
 had become too small for the increasing 
 crowds of pilgrims who gathered every 
 year at the festival of St. Francis. The 
 church is of great size, its plan being a 
 rectangle about 185 ft. wide and 375 ft. 
 long. The nave, nearly GO ft. wide, is 
 covered by a barrel vault and separated by 
 five round arches on each side from the 
 aisles, which are in square domed bays, 
 from each of which opens a square chapel. 
 The nave and aisles open by round arches 
 into the transept, which is barrel-vaulted 
 like the nave, while the crossing is cov- 
 ered by a very high dome 66 ft. in diam- 
 eter, raised on a drum encircled within 
 and without by an order of coujjled Corin- 
 thian ])ilasters. From the crossing oj)ens a 
 
 barrel-vaulted choir with a round apse. 
 Under tlie great dome stands the Porzitai- 
 cula, so called, the oratory or dwelling of 
 St. Francis, in the form of a small chape! 
 
 Fig 18- — Assisi. S M. degli Angeii. 
 
 about 20 ft. by 37 ft., with a gablcil niiif. 
 and a round apse at the east. The choir 
 is Hanked by two rather low square tow- 
 ers with whimsical belfries. The design 
 of the church is believed to be by V'ignoia, 
 but the name of Galeazzo Alessi is also 
 connected with it. The church was much 
 damaged by repeated earthquakes in IS.'il- 
 32, but was restored in 1840. {Sec Fig. 
 18.) 
 
 Temple. The liexnstyle portic'o of a 
 Eoman temple of Minerva, with its pedi- 
 ment, survives in good jireservation, witli 
 beautiful fluted Corinthian columns of 
 travertine. It serves now for the church 
 of Sta. Maria della ilinerva. It is of the 
 time of Augustus, and is the best jjreserved 
 temple-front in Italy, elegant in propor- 
 tions and details. The cella. more or less 
 altered, forms the body of the church. 
 ASSOS (modern Behram), Asia Minor. 
 
 B.\THS, the most purely Greek example 
 
ASSOS 
 
 klliiwil. nil tlic ti'lTMCf next liclnw llie 
 
 ajjoni. The lowi'st story coiiiprisLMl tliirtet'ii 
 I'huinbers. each witli a basin and a ivscr- 
 voir for water. The floors were eemeiiteil, 
 and the clianiliei's encrusted with niarl)Ie. 
 In front, lower down the slo2)e, were Ro- 
 man baths. 
 
 BoiLErTEUiiiN'. or Senate llou.-je. It 
 was a large sijuarc luiilding with a portico 
 of live eoliunns in fi'ont, the ceiling suji- 
 ]K>rted upon four columns, widely sjiaced. 
 In front of it there is a rostrum for pub- 
 lic speaking. 
 
 BuiDGE, one of the very few surviving 
 Greek bridges, ei'o.ssing the river Satnio- 
 ei.s (modern Tongla). on the Alexandria 
 'I'roas road. A number of the piers sur- 
 vive, of elongated diamond shape, 11 ft. 10 
 in. long, in large blocks carefully fitted 
 together with joggles. Ijetter to resist the 
 current. They staml about 10 ft. from 
 centre to centre. The idatform of the 
 bridge was formed of four lintels, side by 
 side, bonded together by swallow-tailed 
 wooden dowels. The lintels remain upnii 
 three of the piers. 
 
 FOKTIFICATIOX Wai.i.s. among the 
 most perfect and instructive examples of 
 CJreek works of this class. They can be 
 followed along the greater part of Ihcii' 
 extent of about two miles, and in manv 
 places are jiractically |icirert ami rise to 
 a height of (50 ft. The latest walls, built 
 by Lysimachos in the IV cent. is.c. are 
 in rectangular blocks closely jointed. In 
 some places polygonal walls are enclosed 
 in this regular masonry. The walls 
 seem to be of stone throughout. In one 
 of the towers a true vault occurs ; Ijut 
 in some of the gates round m- pniiilcd 
 arches are cut from horizontal courses. 
 Other gates have their sides coi'bcUed out 
 to receive the lintel. The chief gate- 
 way, on the western side, on the ancient 
 road to Alexandria Troas. is flanked liy 
 great square towers. 
 
 Gymxasium, a rectangular walled en- 
 closure of considerable extent, with por- 
 
 ticoes on at least two sides, and a pro- 
 jecting apse, jxilygonal on the exterior 
 and semicircular within, near the eastern 
 angle of the wall. Next the apse, and be- 
 longing to a building connected with it, is 
 an elaborate and careful marble mosaic, in 
 colors, including yellow, red. blue, white, 
 ami orange. It covered at least :iOO 
 square yards. The building was a I4v- 
 zantine basilica of early date. 
 
 IIhkoox or chapel, at the western end 
 of the baths, containing the sarcophagi of 
 three heroes — C'allisthenes, Aristias, and 
 Callisthenes. On the lintel are inscribed 
 the thanks of the people to the heroes. 
 The little building was Doric, prostyle, 
 tetrastylc. with three steps. 
 
 Xeckoi'oli.s, extending beneath the 
 walls for a long distance along the i-oad to 
 Alexandria Troas, outside of the princi- 
 pal gate. jMost of the tombs are arranged 
 along the terraces, between the walls and 
 road. Many are sculptured sarcophagi 
 of graceful proportions ; others are archi- 
 tecturally disposed vaults of some size, 
 with benches carried around their walls ; 
 still others are built-up mausolea. The 
 tombs range in date from early Greek 
 d;iys to the late Komau. it is interesting 
 to note that the Assian stone — la/iis J.v- 
 siHK — was much s(Higlit after in anti(|uitv 
 tor purposes of burial, and that to the 
 supposed property of this stone of con- 
 suming the flesh of the body, is due the 
 Word sarrnphagux (fle.sh-cating), as applied 
 to a stone chest to receive a dead body. 
 
 Stoa, fronting on the agora terrace, on 
 thesouthern slope of the .Vcropolis. It was 
 IS'.'T ft. long and two stories high. The 
 lower order was Doric, resting on rmir 
 stej)s. The intei'ior range of columns was 
 very widely sjiaced, showing that all the 
 ceilings were in wood, and holes for the 
 ends of the ceiling-beams remain. 
 
 Tempee (of Athena ?). on the Acroji- 
 olis. It was Doric, hexastyle, ])eriii- 
 ti'ral. and had thirteen columns on the 
 flanks, on a stylobate of two steps. The 
 
AS'l'I 
 
 cellii had two eohimns in an/is in tlie expedition, most arc now in the Museum 
 
 pronaos, and no opisthodomos. The ste- at Constantinople, tliough some of the 
 
 reobate was formed in places by smootli- cliief pieces are in the iluseum of Fine 
 
 injj off the natural rock. The blocks of Arts in Boston. They are important 
 
 tlie stylobate steps were secured by iron not only as a connected series of archaic 
 
 clamps set in lead. Part of the interior work, but for exhibiting the influence 
 
 of the cella was paved with a mosaic 
 
 in cubes of lilack and white marble. ...^i^^^:i<jx,^"^^ ■ . 
 
 The columns liad no entasis. In the 
 
 pronaos tJiey had eigliteen cliannels, 
 
 in the peristyle sixteen, so placed 
 
 that arrises lay in the axes of the 
 
 plan, instead of channels as is usual. 
 
 The capitals are wide-spreading, l)ut 
 
 of vigorous outline, with three aji- 
 
 proximately rectangular annulets, 
 
 and an incision at the junction with 
 
 the shaft, the epistyle-beams triple. 
 
 'I'lic frieze and cornice present some 
 
 archaic di.si3ositions of design and 
 
 construction. Neither mutules nor 
 
 ulaj bore gutta?. The 
 
 Fig. 19. — Assos, Temple. 
 
 of Oriental elements upnu Hellenic mo- 
 tives, as in the two affronted sphynxes on 
 each facade. (Sre Fir/. UK) 
 
 The.vtke. All the uj)j)er part of the 
 auditorium has perished. The lower .seats 
 are in place, also the foundations of the 
 stage-structure. The orchestra is unj)aved, 
 and is surrounded by a balustrade. The 
 theatre had two (liazfDintht or horizontal 
 passages, and a gallery around the to]). 
 In plan it is less than a semicircle. 
 ASTI, Italy. 
 
 B.VPTiSTERY. A characteristic exami)le 
 of the detached baptisteries of northern 
 Italy. The building is twenty-four sided, 
 of brick, with a diameter of about ^yi. 
 ft. In the centre is a ring of eight low 
 columns carrying stilted rouiul arches, 
 upon which is a plain unbroken wall 
 about ;52 ft. high, bearing a hemispherical 
 provincial position, it must be distinctly vault, covered by a wooden roof. x\gainst 
 older ihan the temple of .Egina. this wall al)uts the encircling roof of tin; 
 
 A notable feature of this temple is the round aisle, which is vaulted in trajie- 
 highly archaic sculpture of its front and zoidal compartments. The architectural 
 rear epistyle and metopes. Seventeen details, wrought on sandstone, are very 
 f I'agments of this sculpture have been in simple and early in character. It is likely 
 the Louvre. Paris, since 1838 ; of eleven that the central octagon was an independ- 
 new fragments, found by the American ent structure of the Lombards about which 
 
 27 
 
 reg- 
 cymatium at the 
 corners of the pediments was adorned 
 with lion -heads of archaic tvise. Over 
 the cornices of the sides were terra-cotta 
 antetixes glazed red and black. The 
 roofing -tiles were in terra-cotta, glazed 
 black. The temple, built of rough na- 
 tive trachyte, was primed with stucco. 
 The stylobate of the temple is -46 ft. liy 
 100 ft. on the upper step ; the cella, "Jfj 
 ft. by i;} ft. ; the columns, 3 ft. in diam- 
 eter, are 8 ft. to 9 ft. from centre to cen- 
 tre ; their height is 1.") ft. 8 in. ; that of the 
 whole order, 23 ft. 3 in. In dimensions 
 on the plan, it is almost exactly the same 
 as the so-called Theseum at Athens. In 
 date, though it can safely be assigned to 
 the VI cent. R.v., Mr. J. T. Clarke places 
 it later; making every allowance for its 
 
ATHENS 
 
 the outer aisle was built, tlie coiitral part 
 being also carried up consiiU'rabiy later, 
 jjeriiaps in the x or xi century. 
 
 The Cathedral is a xiii cent, diurcli, 
 about 88 ft. wide and 270 ft. long, of 
 mixed Iloniancsque and (Jotliic design, 
 with some peculiar features. The interior 
 IS divided into a nave and aisles of seven ba y.s 
 each, oblong in the nave and square in the 
 aisles, with clustered ]iiers carrying point- 
 ed arches. The choir has two rectangular 
 groined bays and a jidlygonal buttressed 
 apse, the aisles end in round apsidal chap- 
 els, the transejit-arms consist each of a .sin- 
 gle bay with a projecting five-sided apse. 
 Over tlie crossing, which is the fourth bay 
 of the nave, is an octagonal lantern with a 
 low roof. The west front is divided l)y 
 octagonal buttresses into three compart- 
 ments, with three pointed doorways con- 
 nected by a blind arcade of tall pointed 
 arches. Over each doorway is a wheel 
 window, and above all is a low broken 
 gable with arelied corbel-table. On the 
 south wall is a tine late enclosed porch 
 with a single pointed doorway flanked by 
 grouped columns, carrying arched cano- 
 l)ies with statues. A detached campanile 
 stands on the south side east of the tran- 
 sept, with live stories of round-arched win- 
 dows in ])airs and arcaded string-courses. 
 The jiresent church was l)uilt mainly in 
 the first quarter of the xiii cent, on the 
 site of an older (\r cent.) church, some 
 fragments of which it embodies. Tiie 
 ])(iinteil vaults replace those whicli fell in 
 i;!"i:i. Tlie .south p)orch dates from l.")0"-i. 
 The details of the interior show inai-ks of 
 the transition from the round-andicd to 
 the pointed style, while on the exterior 
 the two styles are intimately mingled. 
 
 8. 8HC0XDO. A throe-aisled cruciform 
 Gothic church, much like the Cathedral 
 in plan, but smaJhM-. l)nilt in the first half 
 of tlie XIII cent nry. Tiie west front is a 
 screen with a broad single gable covering 
 Jiave and ai.slcs, and divided by ]»iers or 
 buttresses into compartuients which are 
 
 lilii'd with l)lind arches. The aisles are 
 lined with polygonal chapels. 
 ATHENS, Greece. 
 
 The Acropolis, or ancient citadel, is a 
 flat-topped hill on the southei'u margin of 
 the modern city. It is a platform of lime- 
 stone about 200 ft. high, l.doii I't. long 
 east and west, and less than half as wide 
 north and south, inaccessible on all sides 
 except tlie western, wdiere the approach is, 
 and guarded liy a massive wall, of which 
 the northern half is ascribed to Themis- 
 tocles and the southern to Cimon. On it 
 stand the most famous of the buildings 
 of Athens, tlie Parthenon and the Erec- 
 tlieum, anil tlie remains of the older tem- 
 ple of Athena, while the western approach 
 is guarded liy the Propyhva. At the foot 
 of the southern slo])e of the hill, less steep 
 than the north, and under the wall of 
 Cimon are, at the east end, the Theatre of 
 Dionysos, and at the west the Odeum of 
 Ilerodes Atticus or of Kcgilla, connected 
 by the long stoa of Eunicnes (,s'(r Figx. ;K>. 
 '.'1). The southern wall serves in great 
 part as a retaining-wall tVir artificial fill- 
 ing, and corrects the lack of natural stce]i- 
 ness on this side of the Acropolis. On 
 the face of this wall, immediately over the 
 theatre, Antiochus IV., Epiphanes, dedi- 
 cated a gilded (iorgon's head resting on 
 tlie ^Egis. Above the theatre, where the 
 wall is highest, it is strengthened by eight 
 square projecting buttresses of later con- 
 struction. TIk' north wall, or wall of 
 Themistoclcs, contains column-drums of 
 Poros. and portions of an entablature in 
 Poros except the metopes, uhieli are of 
 marble, all these architectural fragments 
 coming from the old temple of Athena 
 thrown dow n by the Persians ; and nntin- 
 ished column-dnmis of marlile, intended 
 for the first Parthenon, begun by Cimon. 
 'i'lie portions of tire wall containing the 
 older temple-reniains were undoubtedly 
 built by Cinion. 
 
 AKcir oj- IIadkiax, east of the Acro]i- 
 olis and close to the temple of Olyni- 
 
 23 
 
ATHENS 
 
 pi.ui Zeus. It is not mentioned by P;ai- 
 siiuias. and niuy have been built after his 
 visit, or even by one of Hadrian's suc- 
 cessors, and it bears inscrijttions ('oni- 
 nieniorating tlie founchitiou l)y Hadrian 
 of tiie suburb beyond it mi the cast. 'I'he 
 nionumeut is -li ft. .'! in. broad and .j'.l 
 ft. higii. Tlie arcli of the L;at<'\vay Inis a 
 span of 20 ft. On citiu'r side of tlio road- 
 way tlie areli was adorned with a detached 
 t'orintluan column. These have now dis- 
 appeared, but their bases and the por- 
 
 lis, was occupied by the lonjr stoa or 
 porch in which were received the sick 
 who sought the aid of the god. In the 
 front part of the terrace, some remains of 
 the two temples can bo traced. The re- 
 maining s])ace is shown by inscriptions to 
 have been occupied by votive otl'eriugs, 
 altars, and trees. The stoa at the Ixick, 
 extending along the wdiole length of the 
 terrace, was about ;itj ft. deep. Evidence 
 appears of its remodelling, both structures 
 being Doric. In the interior of tlie stoa 
 
 1. Partlienon. 5. Athena ProraacliO!i. 
 
 2 Proiivhea. 6. Odeum. 
 
 3. Temple of Nike Aptcros. 7. Theatre of Dionysos 
 
 4. Erectheum. 8. Stoa of Eumeues. 
 
 ^ 
 
 Fig. 20. — Athens, Acropolis. 
 
 tions of entablature which rested on them 
 survive in great part. Above the arch- 
 way is an attic showing three rectangu- 
 lar openings, of which that in the middle 
 is surmounted by a pediment. 
 
 AscLEPiEUjr or Sanctuauy (if Askle- 
 I'los (^Esculapius). immedititely adjoining 
 the IMonysiac Theatre on the west. The 
 peribolos, which contained two temples, 
 in one of which was an ancient statue 
 of the god. occnpied the eastern and 
 lower one of two terraces, about lli4 ft. 
 by 8'.t ft. The northern portion of the 
 terrace, against the rock of the Acroiio- 
 
 foundation-piers remain of tlie inner lon- 
 gitudinal row of columns, with a double 
 intercolumniation. 
 
 Beule's Gate, discovered by him in 
 1853 between two projecting towers at 
 the foot of the incline sloping from the 
 Propylsea on the west, is now the main 
 entrance to the Acropolis. These towers 
 were probably built in the first century, 
 when the slope was covered with a broad 
 flight of roughly worked inarlile steps, 
 to form an approach more in accord with 
 Roman ideas of magniticcnce tlum the 
 old winding Hellenic way. I'lider the 
 
 aa 
 
ATHENS 
 
 Fniiikisli rule the ])resent connecting wall puintod witli figures of tlie prophets and 
 
 was built (if ancient materials. (■ons])ifiions evangelists, and scenes from the life of 
 
 among which is the entablature of a !)oric Christ. 
 
 building, u.sed as a friez(! across the front. 'i'lie New C'ATHKDiiAL. much larger, 
 
 The Old Catiiedkal, called also the and built at the middU' of this century, is 
 
 Catholicon. is a very small Byzantine basilican in ]dan. embodying the remains 
 
 cliurcii. whose unrecorded date has been of various older buildings, but is notable 
 
 Fig 21. — Athpns. Acropolis. 
 
 variously a,ssigned to the xi. xii. and xiti 
 centuries. It is a parallelopiped of white 
 marlile. 2h ft. by 40 ft., from the middle 
 of which rises an octagonal lantern with 
 a round donii>. Tiie cruciform j)lan is 
 marked liy the roofs of the nave aiul 
 transept, rising above the main cornice. 
 and ending in fonr gables. Slender twin 
 windows, filled with ]ierforated nuirl)le. ,ire 
 set in these gables, and single ones in the 
 faces of the lantern. ( >\cr I he doors are 
 arches and tympana on heavy lintels in the 
 Italian fasliion. Above the lintel-e((nrse 
 the up])er wall is built of interesting ffag- 
 nients of aiitique (ireek and early l^vzan- 
 tine reliefs ammged in panels. W ithin. 
 a vaulted narthex takes a third of the 
 church. The short nave and aisles, also 
 tunnel - vaulted, arc separated by |ilain 
 s(iuarc jiiers, though originally four great 
 columns su])])orted the dome. There are 
 three round eastern apses, of whicdi only 
 the middle one projects outwardly in a 
 half hexagon, ami the whole interior is 
 
 chiefly for the richness of its interior 
 decoration. 
 
 Choragic Monument oi- LvsiciiATES, 
 erected in honor of the victory at the 
 Dionysia in :):i.">-;);5-t R.r. of the chorus of 
 boys supporlc<l by him. sometimes called 
 the Lamj) of Diogenes. It consists of 
 a sr|uare foundation of I'iraic stone, su]i- 
 ]iorting a circular edifice of Pentelic niai'- 
 ble. The roof, conical and slightly dome- 
 shaped, is cut from a single block of 
 marble, jind liears an elegant tri]iartite 
 acroterium formed of gr;iceful coudiiiui- 
 tions of acanthus, dcsigneil to sn]i]ioi't the 
 votive tripod awarde(l as the prize in the 
 Dionysiac contest. The frieze of the en- 
 tablature bears, delicately carved in very 
 low relief, the ]iimislnuent l)y Dionysos of 
 file Tyrrhenian pirates, who are chastised 
 by the god's attendant satyrs, and finally 
 changed into dolphins. The entablature 
 is sup])orted by six Corinthian engaged 
 columns, of which the <'aiiitals are treated 
 with great refinement, and the attic bases 
 
 so 
 
ATHENS 
 
 have no plinth. The intercohimniations 
 were closed by thin slabs of marble, reach- 
 ing to the capitals. The remaining sjjace, 
 up to the architrave, was lilled by a band 
 of tripods of simple design, sculjjtured in 
 low relief. The whole of the sujjerstruct- 
 ure is much broken ; nevertheless the 
 monument is the oldest example of the 
 Corinthian order which survives in a state 
 approaching completeness. The height 
 of the foundation is about 13 ft., that of 
 the circular superstructure. 21 ft. -1 in.; 
 the diameter of the latter is 9 ft. 2 in. 
 
 CrtORAGIC MONUMEXT OF XlCIAS, OU 
 
 the south or S. W. slope of the Acropolis, 
 restored (188.")) liy Doritfeld from frag- 
 ments in and near the Beule Gate of the 
 Acropolis. A number of architrave- 
 blocks, with metopes and pieces of the 
 cornice in Pentelic marble, and triglyphs 
 in Poros limestone, were employed in. the 
 construction and decoration of this gate. 
 The building was erected in 319 B.C., by 
 Nicias, son of Xicodemus, in commem- 
 oration of his victory with a eliorus of 
 boys. It was in the form of a Doric j)ro- 
 style temple, with si.x: columns in front. 
 and one, with probal)ly an anta. 
 in each flank. The workman- 
 ship comijares well with that of 
 the Periclean buildings. The 
 monument is to be distin- 
 guished from the choragic 
 monument mentioned by Plu- 
 tarch as dedicateil by the cele- 
 brated general Nicias, within 
 the Dionysiac jjeribolos. It is ^ ^ 
 important for the study of ar- 
 chitectural polychromy, as it 
 sui)plies evidence, according 
 with that gained at Olympia, 
 that the triglyph was the only 
 member iisually painted in a 
 uniform color. In the present 
 case, the triglyphs alone were 
 made of the cheap Poros stone, colored 
 blue. The mutules also were painted 
 blue ; the spaces between them, brilliant 
 
 red ; and the upper moulding of the in- 
 side of the architrave, red. 
 
 The Chouagic Moximext of Tiika- 
 svLLis, dating from B.C. 3"-i0, destroyed 
 by the Turks in 182(;, consisted of an 
 entablature borne upon three Doric pil- 
 asters, which rested on a stereobate of two 
 steps. The architrave bore a dedicatory in- 
 scription ; the frieze was ornamented with 
 eleven ivy-wreaths in relief. Above the pro- 
 jecting cornice there was an attic of three 
 steps, upon which was placed a seated fig- 
 ure clad in a chiton and himation, with a 
 skin about the shoulders — probably Diony- 
 sos. On either side stood a metallic tripod. 
 
 The Church of St. Theodore is a small 
 Byzantine church of picturesque exterior, 
 and the plan wliicli characterizes the later 
 Byzantine churches of Greece — a Greek 
 cross enclosed in a square, with the arms 
 of the cross showing in the ridged roofs of 
 nave and transejjt. Over the crossing, on 
 four piers, is an octagonal drum with shaft- 
 ed twin windows, carrying a dome with- 
 out a cornice. The three eastern apses 
 are round within, and polygonal without. 
 (S,-c Fiy. -^.) 
 
 Fig 22 —Athens, St. Theodore. 
 
 St. Nicomedes is another Byzantine 
 church similar in character and plan to St, 
 Theodore and the C'atholicon, 
 
 31 
 
ATITETs^S 
 
 Dii'Vi.ON (iATi;, tlic l>e.<t ])rc'soi-veil of bt'autii'nl tciiijile. From its urcliitcctural 
 
 tlie. aiifii'iitiratos of the city, iiiul the chief details, its inception iiiusl date from tlie 
 
 gate on the west side and for tlie rejrion later years of tlie Age of I'ericles. It nn- 
 
 on the S. W., including the I'ira-iis. douhtedlv took the place of an ancimt 
 
 er^i, Er'>ctheum. 
 
 Through it passed the sacred way to 
 Eleusis. The city walls here are double, 
 the two lines being al)0ut in ft. a})art. 
 The outer wall is about 14 ft. thick, the 
 inner, which is identified as the wall of 
 Thenustocles. only 8 ft. 15oth walls are 
 faced on both sides with masonry, and 
 have a filling of rubble. Tlu' inner wall 
 is partly faced with j)olygonal masonry ; 
 the outer is less old, and is built of quad- 
 rangular blocks of conglomerate. The 
 gate itself has an exteiuled enclosed 
 court, more than 13(1 ft. long, which 
 could be barred at both ends, and was 
 flaidvcd by towers. The passage is divided 
 at both extremities by a massive ]>ier. 
 
 'i'he EuiociiTiiEfM, or Te.mi'le ok 
 EuKciiTHErs, the seat, at least after the 
 old Temple of Athena had lost its preemi- 
 nence, of the oldest and most intinuiti^ 
 cult of Athena in her capacity as the es- 
 pecial protectress of Athens. Very little 
 is known regarding the building of this 
 
 temjilc destroyed by the Persians, and 
 very probably succeeded the old Parthe- 
 non, which, as is now believed, stood im- 
 mediately beside it to the soutli, as the 
 honu' of Athena the local goddess, while 
 the new Parllieiuiu was the cerenu)nial 
 temj)le of Athena as the personification of 
 .Vthens victoi'ious abroad, and become the 
 administratrix of a realm. Inscriptions 
 show that in 408-7 n.c, the temjile was 
 still nnfinished, and that in 4i).")-4 B.C., 
 the west end was damaged by a tire. 
 Other inscriptions of about the same date 
 relate to various details of architecture 
 and sculpture. {Sro Fif/. ~S.) In plan, 
 the ti'mi)le is an oblong rectangU'. with its 
 chief or front end turneil toward the east, 
 with porches, in the form of smaller rect- 
 angles, joined to it on both north and south 
 sides, adjoining the west end. The east 
 and south faces are on a level about 10 
 ft. higher than the north and west faces. 
 T'he east front consisted of a portico of 
 
ATIIE^■,S 
 
 six Ionic columns, resting on a stylobiite 
 of three stejis, wliicli are contimieil 
 around the entire Liiildinir. The nortli 
 angle coliimu was carried off iu the be- 
 ginning of the century by Lord Elgin. 
 The five remaining columns preserve their 
 architraves and two blocks of the frieze 
 of black Eleusiuian marble. The porch 
 on the south side is the famous Porch 
 of Caryatids, of which the entablature, 
 lightened of its frieze, but with enriched 
 cornice, is sujjported on the heads of six 
 sculptured maidens, majestically draped 
 — four in front, and one on either side. 
 The Caryatids stand on a jjarapet or 
 balustrade 8 ft. U in. high. The parapet 
 was interrupted next the wall on the east 
 side, to give access to a flight of steps 
 leading to the westernmost division of the 
 interior. The north side of the temijle 
 is approached from the east by a flight of 
 twelve steps in the open aii\ The deep 
 north porch was supported by six great 
 Ionic columns, larger than those of the 
 east front and placed, like the Caryatids, 
 four in front and one on either side. The 
 western hall of the temjole is entered from 
 this jjorcli l)y a door of large size fa- 
 mous for its admirable design. A small- 
 er door in its back wall leads into a space 
 whi(di was in antiquity an enclosed court, 
 in which grew the sacred jirimeval olive 
 of Athena, and where were lodged the 
 two noble maidens who succeeded their 
 predecessors every year in the service of 
 the goddess. The west face of the tem- 
 ple had four Ionic engaged columns stand- 
 ing on a high wall between pilasters at 
 the angles, the intercolumniations being 
 closed by a wall and the three middle 
 ones jiierced ))y windows with slightly 
 converging jamJjs. Tiie plain walls of 
 the building are surrounded beneath the 
 architrave bj' an anthemion moulding, con- 
 tinued, as a necking, on the pilastei's and 
 around the columns. The ornamental 
 mouldings throughout the temple are at 
 once elaborate and of the utmost refine- 
 
 ment. The material of the temple 
 throughout is Pentelic marble, with the 
 exception of the Ijlack marble frieze and 
 the Piraic limestone of the substructions. 
 The interior has been entirely ruined by the 
 violence of Christian and Turk and the 
 fortune of war ; but approximate certainty 
 has now been attained as to its arrange- 
 ment. It comprised three main divisions : 
 the eastern cella, which was the temple 
 proper of Athena Polias, and contained lier 
 heaven-given image, before which burned 
 the eternal fire in the golden lamp of Cal- 
 limachus ; a middle division, also a cella, 
 sacred to Poseidon and Erechtheus, with 
 whom were associated other divinities and 
 heroes ; and the western hall, which was 
 entered from the south by the caryatid 
 porch and served as a vestibule, was prob- 
 ably divided from the central cella by 
 some kind of screen which admitted the 
 light of the west windows. This cella 
 communicated with the east cella by 
 a stairway ; and under its north side 
 was a cryp)t, presumably the home of 
 the Erichtlionios serpent, communicating 
 with a recess beneath the pavement of 
 the north porch, at the bottom of which, 
 in the living rock, still appears the 
 mighty trident-stroke which evoked the 
 sea-spring of Poseidon. ]5ut little re- 
 mains, apart from the Caryatids, of the 
 plastic decoration of the Erechtheum. 
 The pediments were never filled with 
 sculpture ; but an extensive series of re- 
 liefs cut in Pentelic marble was fixed upon 
 the black ground of the frieze. Interest- 
 ing details of the cost of these reliefs are 
 j)reserved in inscriptions, and a number of 
 fragments of them have been found, and 
 are now in the Acropolis Museum. The 
 dimensions of the temple are small, the 
 body of the temple being only 37 ft. by 
 CG| ft., and the cohunns of the east portico 
 22 ft. 4 in. high, with a lower diameter of 
 2 ft. 5^ in. 
 
 FouNTAix Klepsydua, at the K. W, 
 foot of the Acropolis beneath the Projiy- 
 
 B3 
 
ATHENS 
 
 la>;i. It is apiiriiaclK'il IVdiii alinvc l)y of iiiarlilc octaironal in jijaii. 'i>'i I't. in 
 
 sixty - nine sU'ps, partly rt'stoivd . and dianictcr, and 4-,' ft. in lieij,dit. iiielndini; 
 
 ])artiy rock-cut. Tlicso steps lead to the the stereobate of tliree steps, to the top of 
 
 Hyzantine Chapel of tiie Twelve Apostles, flie coriiiee decorated with lion - jieads. 
 
 about l.'J ft. lonji ami ft. (i in. wide, with 'i'here are doors on the X. W. and .\. K. 
 
 dilapidated wall-jiaintings. In the S. W. sides, originally with porches of two 
 
 corner of the chapel a small circular well- Coi'inthian t'olunins. of which ca])itals, of 
 
 hole about ;33 ft. deep gives access to the highly siini)lified form, survive. On tlio 
 
 Mar- 
 
 up[>er i)art or frieze of each of the eigiit 
 sides, is a relief, of bold but rather coarse 
 design, of a winged figure representing the 
 
 fountain, of which the ancient rectangular 
 basin is enclosed with marble slabs. 
 
 G.\TE OF THE NkW A(iOUA, or Ui 
 ket. dedicated to .\theua Arclio- 
 getis (the Foundi'r or Kuler). 
 Tlu' portion that survives is of 
 marble, and consists of four 
 Doric colunms sujiporting i;u 
 architrave and triglyph -frieze, 
 and a pedinu'ut which is almost 
 com [lie te, t<igethcr with tlie 
 southernmost of the four ant;e 
 which originally formed three 
 doorways within the portico. 
 The width of the portii'o is .'!(i 
 ft. <i in. The roliimns. which 
 are foi'ined of si.K drums ami 
 have twenty chaniu'ls. are 'i'l ft. 
 
 10 in. high, and -1 ft. in diam- 
 eter at the base. The middle opening is wiiul of the corresponding cpuirter of (lie 
 
 11 ft. 2 in., to admit of tlie passage of horizon, the nanu>s being incised beside 
 vehicles, while the side intercolumniations the figures. ]?eneath the reliefs aie cut 
 are 4 ft. S in. The nujnument is shown lines for sun-dials of twelve hours. Tlie 
 ])y an insci-iption on the architrave to have i)yramidal roof is formed of marble vous- 
 beeu built in the time of Augustus from soirs with a cii'cular keystoiu'. On this 
 
 HorologtuFIl ot Atidronicus, or Tower o< in.? 
 
 gifts made to the city l)y Julius Casar and 
 Augustus. On the k'ft of the middle 
 passage, a massive slab of marble still 
 stands in its origiiud jilace, l)earing an 
 
 once stood a brass figure of a Triton 
 holding a statT. which served as a wiiid- 
 v.'inc'. On tlu' south side i)i'oiccts a tur- 
 ret of semi<'ircular plan which contained 
 
 edict of Hadrian regulating the prices of a water-tank, sn])plied by a covered con- 
 oil and salt, and various other nuitters. duit. This served for the water-clock. 
 Remains survive of the ranges of columns, of uncertain construction, which was con- 
 in blue llynu'ttian marble without flutes, nected with the building. {Sec Fit/. 2//.) 
 with Ionic capitals in I'entelic, which once Close to the llorologium. two arches and 
 skirted this agora. From the position of a fragment remain, with fountlations in- 
 these columns the agora must have been dicating tlie presence of a hall or porch of 
 about 3-.i.i ft. long and 200 ft. wide. i.'omaii construction. Inscriptions ujjon 
 
 ]l<)I!OI.()(iIfM0F;\NI»l!0NI(rs. common- 
 ly called Tower of the Winds, 'i'liis build- 
 ing, erected in tlie first ceiiturv li.c. is 
 
 fragments of the frieze show that the 
 liuildiiig, like the gate of the New Agora, 
 was dedicated to .\tliena Archeiretis, to- 
 
 34 
 
ATHENS 
 
 gether with members of tlie Roman im- 
 perial family. 
 
 MOXCMENT OF AXTIOCHUS PhILOPAP- 
 
 Pi"S, grandson of Antioclius IV., Ejji- 
 l)lianes, king of Syria, erected between 
 11-t and 111) A.D., on the summit of the 
 Museum Hill. The facade, turned tow- 
 ard the Acropolis, is slightly concave, the 
 original length of its chord being about 
 3.'5 ft., of which about two-tliirds remain. 
 The total height is al)out 41 ft. The 
 base is formed of live courses of Piraic 
 limestone, on which is a band of Hymet- 
 tiiiu aii<l Pcnteli(^ marble, over whicli. 
 again, is a frieze of marble, 9 ft. 2 in. 
 high, bearing a badly damaged n-licf rep- 
 rcst-nting Philopajjpus in triumi)h on a 
 quadriga, and extending the whole width 
 of the miintiincnt. At either side was a 
 pilaster, and above is a cornice of bold 
 projection. Tlu' upper portion of the 
 monument was divided into three niches, 
 of which the outer two were quadran- 
 gular, and the middle one round. The 
 two surviving niches on tlw3 left contain 
 statues of male vested figures. Inscrip- 
 tions record the titles and qualities of 
 Philojiappus, and of the kings, his ances- 
 tors. The rear of the monument is in a 
 ruinous condition ; it probably included 
 a quadrangular structure containing the 
 place of sei)ulturc. 
 
 Odeim of RmuLLA or Theatre of 
 Hf.kodes, at the S. W. angle of the Acrop- 
 olis. Pausanias does not mention it 
 in his account of Athens, and says else- 
 where that it was not begun at the time 
 of his visit. It was considered the finest 
 building of the kind in Greece, was entire- 
 ly roofed with cedar, and was erected by 
 Ilerodes Atticus between 100 and ITO 
 A.I)., in memory of his deceased wife 
 Kegilla. Its massive remains were gener- 
 ally considered, down to the time of 
 Chandler, to be the Theatre of Dionysos, 
 an error adopted even by Stuart. The 
 interior was excavated in 1857. Its great- 
 est diameter within the walls is about 2()2 
 
 ft. Its capacity is reckoned at 10,000 
 spectators. Its seats were divided by one 
 precinctiou {diazoina) ; the lower tier had 
 twenty rows divided into five cunei, the 
 upper, which is in great part destroyed, 
 about thirteen, divided into ten cunci. 
 The height of the seats is 1 ft. 5 in., and 
 in profile they resemble those of the Dio- 
 nysiac theatre. The seats of the lower 
 tier were seats of honor, with backs. A 
 gallery ran round the top, enclosed by a 
 massive semicircular wall of Piraic stone, 
 on which the roof rested. The orchestra, 
 rather more than a half circle, is paved 
 with rectangular slabs of dili'erent colored 
 marbles. At either side are exit-passages 
 (paroi/oi) along the stage- wall, leading 
 down by easy steps to doorways opening 
 upon vestibules through which one can 
 pass out to the south. The stage is about 
 11.5 ft. long and ;2U ft. deep, and is raised 
 5 ft. above the orchestra, with which it 
 conunnnicated by two flights of steps. 
 The front wall of the stage was ornamented 
 with slabs and mouldings of nuirlde. In 
 the rear wall of the stage are three doors, 
 the side doors flanked by arched niches for 
 statues. A row of columns about 17 ft. 
 high ran across the width of the stage. 
 Uj^o'i their entablature jirobably stood a 
 second row of smaller columns, in front 
 of the seven arched windows of the sec- 
 ond storj'. Above, some remains survive 
 of a third story, also with windows. In 
 each wing of the building in the second 
 story are two vaulted rooms, communi- 
 cating with the orchestra, the stage, and 
 tlie precinction of the auditorium. The 
 most eastern of these rooms ojiened direct- 
 ly upon the great stoa or portico connect- 
 ing the Odeum and the Dionysiac Theatre. 
 The exterior face of the back wall of the 
 stage bears also six niches for statues. 
 The exterior wall of the two wings is 
 jilain below, and shows two upper tiers of 
 arched openings, as high as the ujiper- 
 most seats of the auditorium. The 
 masonrv of tlie building is very fine and 
 
 85 
 
ATHENS 
 
 massive, the stone blocks large, ami ihv 
 joints carefully cut and iittcd. 
 
 Olympiet-M. Sec TcnijAc of Zeus 
 Olyiiipios. 
 
 'i'llC rAXATIIEXAIcST.VDILM, Oil tllC left 
 
 bank of the Ilissus, S. E. of the city, was 
 completely excavated by Zillir in ISOii- 
 ?0. The natural confornialion of the 
 ground, a valley open toward the Ilissus, 
 was exactly suited for a stadium. Lycur- 
 gus, the orator and treasurer of Athens in 
 the middle i)f the iv cent. is.c. surrounded 
 the stadium witli a stone coping. Five 
 centuries later Hcrodes Atticus provided 
 it throughout witii marble seats and 
 built several costly buildings on the sur- 
 rounding heights — among them, a tem- 
 ])lc of Tyehe (Fortune), in which was 
 placed a statue of the goddess in ivory. 
 The whole was a subject of wonder to his 
 contemporaries, and when he died, he was 
 buried by the city within the stadium 
 itself. All of Ilerodcs's marblework has 
 srone to feed neiuhborinir lime-kilns. The 
 whole length of the level course of the 
 stadium, from the enclosing- wall at the 
 north end to the arc of the terminating 
 half-circle, or xphotiloHi. ojipositc. is OTtt 
 ft.: the breadth is II o ft. The goal stood 
 at the centre <if the half-circle forming 
 the southern end. The foundations and 
 some slabs of the marble barrier which 
 enclosed the course still exist at the 
 innermost end, and traces ajipcar of a 
 metal grating surmounting the barrier — 
 no doubt for the security of the spectators 
 during the animal-shows which were in- 
 stituted here by the Kiuiiuiis. The tiers 
 of seats were over fifty in number, and 
 could receive from 40,()()0 to 50. 000 spec- 
 tatoi-s. Traces survive, in front of the 
 north end. of a jiortico and of buildings 
 intended, no doubt, for gymnastic exer- 
 cises. 
 
 The 1'aktiiexox. or Temple of Athena 
 Parthenos (Pallas the Virgin), occupies the 
 highest part of the Acropolis, toward the 
 south side. It was built bv Pericles, un- 
 
 der the supreme artistic direction of 
 Phidias, with Ictinus and Callicrates as 
 architects. The exact dates of the con- 
 struction are not finally determined ; but 
 the work extended from between 454 and 
 44? B.C. to 434. The Parthenon took the 
 jdace. with somewhat altered projiortions, 
 of a teni])le begun on the same site by 
 C'imon. after the Persian wars. As to 
 its later history, there is a record of re- 
 pairs in 341 li. c. and at various other 
 times ; in 304 the Macedonian general 
 Demetrius apjn'ojjriated the rear-chamber, 
 or treasury, as a dwelling for himself; 
 in the v (n- vi cent. A.u. it became a 
 Church of the Heavenly Wisdom, later of 
 the Theotokos (Mother of God) ; in ViW, 
 it was consecrated under the Latin rite; 
 in 1400 it was converted into a mosque ; 
 in IGSr a licinib thrown by the Venetians 
 under the caj)tain - general and future 
 Doge j\Iorosini and the Dane Kcenigs- 
 marck fell in a powder magazine estab- 
 lished in the temple, and destroved the 
 middle portion of it : and in the begin- 
 ning of the present century it was further 
 daiiuiged by Lord Elgin, who shattered 
 and threw down blocks of the cornice 
 in order to carry nlf the metopes, and did 
 other injuries. When the temple was ap- 
 propriated as a church, it suffered mu- 
 tilation in the transfer of its chief en- 
 trance to the west end, the construction 
 of an apse in the pronaos. and the altera- 
 ticiu of the roof and the interior columns 
 of the cella. The Turks, in turn, built a 
 minaret in the southern side of the west- 
 ern inner portico. The Parthenon is 
 Doric, octastyle, jK'ripteral, with seventeen 
 columns on the Hanks, enclosing a cella 
 which is anii)hij)rostyle hexastyle. The 
 interior of the cella was divided into three 
 aisles by two rows of nine small Doric 
 ciilumns with a ])ier at tlie west end of 
 each row, and a transverse row of three 
 columns l)ctweeu the piers. These col- 
 umns supported galleries over the side- 
 aisles, and were surmounted by a second 
 
 8H 
 
ATHENS 
 
 range of oolumus. Tlie ceiling of the eel- 
 la was of wood. The base for the great 
 ehrvselepliantine statue liv Phidias stood 
 in a line with tlie seventh and eighth in- 
 terior columns counted from the east. The 
 treasure-chamber, or Parthenon proper, 
 behind tlie cella had a coffered ceiling of 
 marble, supported by four Ionic columns. 
 The building was entered by great double 
 doors, probably of metal, opening on the 
 pronaos and epinaos. or rear vestibule. 
 The entire temple was of Pentelic marble, 
 with the exception of the roof-tiles of 
 Parian. It represents the final develoji- 
 ment of Doric architecture, temjjered 
 with graceful Ionic decorative motives. 
 All the horizontal lines are slightl}' con- 
 vex upward ; the columns are all inclined 
 slightly inward, and while decreasing in 
 diameter from base to neck, show in out- 
 line a slight swelling (entasis), which is 
 greatest at about one-third of the height. 
 The intercolumniations next the angles 
 are a little narrower than the others, and 
 the angle-columns are a very little heavier 
 than the others. The joints of the stones 
 are so perfect that, where they renuiin un- 
 disturbed, in no jilace can the finest knife- 
 blade be inserted in them ; and frequently 
 they are actually invisible. The manner 
 in which the temple was lighted is a sub- 
 ject of controversy. It is hardly probable 
 that the cella received its only natural light 
 by the east door. The advocates of the 
 hyjia'thral theory hold that a large section 
 of the roof was omitted in the middle. A 
 plausilile theory is that comparatively nar- 
 row channels were left open in the roof 
 over the galleries, which would admit 
 light with excellent effect, while what 
 water might penetrate would be com- 
 paratively easy to deal with. The plastic 
 decoration of the Parthenon consisted 
 of : 1. The sculptures in the round of 
 the pediments. 2. The metopes. 3. The 
 frieze of the exterior of the celia. 4. 
 The chryselephantine statue of Athena 
 Parthenos — the tutelarv goddess of Ath- 
 
 ens. What remains of the pediment 
 statues ranks as the ideal of sculpture. 
 The group in the east or chief pediment 
 represented the birth of Athena, among 
 the assembled gods of Olympus. That in 
 the west jjcdiment exhibited the dis])ute 
 between Athena and Po.seidon for suprem- 
 acy in the land of Attica. There were 
 seventy-eight metopes — fourteen on each 
 end, and thirtj'-two on each side of the 
 temple — carved with figures in very high 
 relief, in general two figures on every 
 metope. The subjects comprise : the 
 Gigantomachy, or contest between gods 
 anil giants ; the fight between Centaurs 
 and Lapiths ; the war between the Athen- 
 ians and the Amazons, and the destruction 
 of Troy. The frieze surrounds the whole 
 of the cella with a continuous scene in 
 very low relief, representing the solemn 
 Panathenaic pageant, beginning at the 
 S.W. angle and advancing simultaneously 
 along the west and north and the south 
 sides to culminate in the presence of the 
 assembled gods on the east front. The re- 
 lief is wrought with the greatest delicacy, 
 its extreme projection being only about 
 two inches. The gold and ivory statue 
 by Phidias, represented Athena standing, 
 wearing the helmet and regis, holding with 
 her left hand her spear and shield resting 
 on the ground, and bearing in her right 
 hand a winged Mctory turned partly toward 
 her and extending a garland. Behind the 
 shield was coiled the autochthonous ser- 
 pent of Athens, Erichthonios. The prin- 
 ciples of polychromy were applied in the 
 Parthenon. The remains of the colors 
 are too faint and partial to admit of a re- 
 constitution of the entire system ; but it 
 is at least safe to assume that the tri- 
 glyphs were painted blue, and the field of 
 the metopes and the tympana of the ped- 
 iments red. Elaborate frets and other 
 designs still appear painted on various 
 members of the architecture, though the 
 colors have faded ; and there is no doubt 
 that the sculptiares were colored in more 
 
ATHENS 
 
 11 ill. 
 
 The heiglit of tliL^ culuiiiiis is then 
 
 lud 3^ times 
 
 or fewer details. But it is still a matter 
 
 of dispute what portions of the monument, very nearly .j| diameter 
 
 if any, were left of the natural hue of the that of the entablature. The metopes, as 
 
 spotless I'entelie marlde. or were merely high as the frieze, are nearly square, ln-iiii; 
 
 faintly tinted ill monochrome. In its mar- 4 ft. v' in. broad on the averauc : tbr 
 
 vellous subtlety, refinement, and sc-ieiice sruliitured frieze of the eella is:) It. :! in. 
 
 ^^^t!l5*^^ 
 
 Fig. 25. — Athens, Parthenon. 
 
 of propoi'lions, its unapproaelu'd iierfec- 
 tion of e.xeeution, and the magnitieence, 
 yet unerring suliordination to general ef- 
 fect, of its decoration, the {'ui-tlieiioii was 
 the supreme work that (irei'k genius cre- 
 ated. Its scnl]itures to-day, fragmentary 
 and iiiuriiated as the violence of men has 
 left tliem, exhibit the consummation of 
 art. Tliey have never been eijualled ; and 
 it is not possible to conceive tliat they 
 can be surpassed. Its principal dimen- 
 sions are these, omitting insignificant 
 fractions : — The top of the platform, or 
 erepidoma, is 101 ft. by v'-.'S ft., its three 
 steps are each "^I in. high. The average 
 lieight of the columns of tlie peristyle is 
 34 ft. 2 in., their average diameter at the 
 base fi ft. 3 in., at the neck 4 ft. Hi in., 
 the interval between tiiem ', It. 4 in. 
 on the fronts, and 8 ft. 2 in. on the 
 flanks. The main entalilature is 10 ft. it 
 in. high, of wliicli the architrave and 
 frieze are each 4 ft. ."> in., the eoriiice 1 ft. 
 
 high and its whole lengtli 't'i'.i ft. 'I'he 
 height of the statue of Athena, with its 
 pedestal, is estimated at 40 ft. (Sec Firj. 
 
 [XoTE. — An exainiiiation of the founda- 
 tions of the I'arthenon in liS3."> bv l\oss 
 showed that the present teiiiple liad taken 
 the ]ilace of an older one liuilt of I'oros 
 stone, anil arcliaiologists accejited his 
 conclusions that the original temjile of 
 Athena had stood in the place of the 
 Parthenon, had been destroyed by the 
 Persians, and then replace<l by the Par- 
 thenon. Hut in 188.5-87 Dr. Dorpfeld 
 and .Mr. Kavvadias excavated and exam- 
 ined old foundations -and remains between 
 the Parthenon ami the Krechtheum, by 
 which Dr. I)or])fcld was led to the follow- 
 ing conclusions: that an archaic Doric 
 temple of ,\tliena was built in tjiat posi- 
 tion before the time of I'isistratus. and 
 consisted of a cella and opisthodoiiios in 
 iiiilis; that Pisistratus adih'd a |ierislyle 
 
ATHENS 
 
 to it, and adorned it with sculptured 
 i)edinient and metopes ; tliat this tenijile 
 was destroyed by the Persiaus, and at 
 once rcl.iuilt in its simple older form ; that 
 then a new temple of Poros was begun 
 beside it under C'imon, which was the 
 predecessor of tlie present Parthenon, and 
 the one of which indications were discov- 
 ered by Ross, but that before it was fin- 
 islied this was removed as inadequate, to 
 make room for the more splendid temple 
 built by Pericles ; and finally that mean- 
 while the Erechtheum was built close 
 against the old temi)le, to receive the 
 images and relies which it held, when it 
 should be jnilled down, as was then in- 
 tended, but that the old temple was pre- 
 served, presumably througli intercession 
 of the priests, for the worship of Atliena, 
 after the later temples were built. Later, 
 Mr. Penrose has examined the site, and 
 has pulilished (in 1,S!):2) his conclusion that 
 the original temple of Athena occupied 
 the site of the Parthenon, was built and 
 finished before the Persian war and de- 
 stroyed by the Persians, as had been be- 
 fore believed ; and that its remains survive 
 in the Doric fragments which are assigned 
 by ]^r. Dorpfeld to the archaic temple ad- 
 joining the Erechtlieum. Here the ques- 
 tion rests at jiresent, but with a prepon- 
 derating belief of archaaologists in favor 
 of Dr. Dorpf eld's theory.] 
 
 The Propyl.ea. or monumental gate- 
 way of the Acropolis, was built under the 
 administration of Pericles by Mnesicles. 
 AVork on the Iniilding was interrupted in 
 43"2 B.C., by the preliminaries of the 
 Peloponnesian war, and it was never re- 
 sumed ; the design was thus only in jiart 
 carried out, and the portions completed 
 never received the finishing touches. The 
 Propyla?a includes the gate proper, flanked 
 by two wings on the south and north, pro- 
 jecting toward the west, and the advancing 
 porticoes from which it gets its name. It 
 occupies the entire width of the slope by 
 which the Acrojjolis is accessible from the 
 
 west, from tlie Nike bastion on the soutli to 
 tlie steep clitf on the north. The west side 
 is supported on considerable substruction.s 
 of masonry, mostly increasing in lieiglit 
 toward the north. The entrance })i'oper 
 consists of a jiortico of six Doric columns, 
 on a stylobate of four steps, which is in- 
 terrupted in the nuddle to afford a passage 
 for the inclined roadway by which sacrifi- 
 cial victims and perhajjs chariots made 
 the ascent in antiquity. The middle in- 
 tercolumniation has an interval of two 
 triglyphs, in order to give space for this 
 passage. On either side of the portico 
 there is a plain wall, and in the middle, 
 bounding the inclined roadway, thive tall 
 slender Ionic columns on both the north 
 side and the south, the cajjitals being of 
 noteworthy purity of design. The back 
 or east wall of the ])ortico, raised on five 
 steps, is jjierced with five doorways corre- 
 sponding to the intercolumniations of tlie 
 front, the middle one being the highest 
 and widest, and those on either side de- 
 creasing. These doorways open into the 
 east portico, which is of less depth than 
 that on the west, and has a front with six 
 great Doric columns very similar to those 
 of the west portico. The wings have each 
 a Doric portico of three columns, facing 
 each other at right angles to the main 
 west portico, the proportions being har- 
 moniously' reduced from those of the lat- 
 ter. The north wing has behind tlie 
 portico a rectangular room with a door 
 flanked by two windows, identified with 
 the ancient Pinacotheca, or hall of paint- 
 ings. The south wing is much shallower, 
 and has no partition ; it is probable that 
 it was designed to correspond more closely 
 with the north wing, and that it must 
 have been curtailed from opposition of 
 the priests to further interference with 
 the adjoining consecrated sites. The 
 Propylffia seems to have been entirely 
 devoid of carved ornament, beyond a 
 few simple mouldings, and the indispen- 
 sable elements of the orders era])loyed. 
 
 3a 
 
ATHENS 
 
 'I'luTo \v;is never any sriilptni-c in the pedi- 
 ments, but tlie ])eri'eetion of exeeution 
 and tlie relinenient of projiortions tlirough 
 every detail of tlie building have never 
 been surpassed, and probably only once or 
 twice equalled. The material is Pentelic 
 marble, with a band of black Eleusinian 
 marble beneath the windows of the north 
 wing, the same material being used in the 
 door-sills, and for the base of the walls of 
 the main building. The foundations are 
 of riraic limestone. The cotfers of the 
 ceiling were painted blue, with stars or 
 anthemia in gold. A stone seat is carried 
 around the walls of the porticoes. The 
 ceiling of tlu^ I'inacotheea was of wood. A 
 uoteworthy peculiarity is that the metojies 
 and triglyphs of the frieze are carved on 
 the same block of marble, instead of being 
 as is usual before the decadence, fornuMl 
 of separate blocks. The Doric columns 
 all luive twenty channels, and the Ionic 
 columns twenty-four flutes. On the east, 
 the original design provided stoas to ex- 
 tend from the central jim-tico north and 
 south to tiie walls of the Acropolis. The 
 antic for these stoas were built on either 
 side of the main i)ortico. as well as a por- 
 tion of the west wall of the northern stoa. 
 The southern stoa would liave covered a 
 consideralile portiim nf the temenos of 
 Artemis Braurouia. and necessitated the 
 removal of the old I'elasgic wall and othci- 
 venerated relics. It is therefore obvious 
 that the priests must have opposed its con- 
 struction, just as they must liave caused 
 the existing south wing to be mutilated in 
 its execution. The principal dimen.sions 
 are : height of columns, west portico, 20 
 ft., dianu'ter at base, .5 ft. 3 in., at neck 
 
 3 ft. 11 in. ; width of portico. .")!) ft. (i in.; 
 width of central passage, or ratup. Vi ft. 
 
 4 in., main doorway over it. i:! II. It in. by 
 24 ft. 2 in. The edlunins of the Ionic 
 order are ISo ft. '.i in. higli, their diameter 
 at base o ft. 2 in., tiu'ii' architrave 2 ft. 
 10 in. 
 
 Some fuundatidiis nf tlie older I'ropy- 
 
 hea and an auta remain behind the south 
 wing of the jjresent. The old entrance 
 appears to have had the form, usual in 
 Greek fortifications, of an outer and an 
 inner gate, with a court between tliem. 
 It entered from the southwest. 
 
 SiiU'-iiorsES in the Pirajus excavated 
 in 188.3-1880, on the shore of the S. E. 
 harbor (Zea or Munychia) near the east 
 side of its entrance. The I'ciuains of 
 eleven of these houses have been in |iai-t 
 explored. They were arranged side liy 
 side in pairs, every pair under one root or 
 shed, supported at the sides and in the 
 middle, between the two adjoining houses, 
 by i)arallel ranges of columns, and enclosed 
 on tiic land side by a massive wall. The 
 width of the houses varied slightly, but 
 was about 21 ft., and the back wall is at 
 an average distance of about 100 ft. from 
 tlie water. The central ]iortion of eac-h 
 was f)ccn]iied by an inclined plane, about 
 10 ft. wide, on which was drawn up the 
 galley which was housed there, and at 
 the laud end about 17 ft. above the water- 
 k'vel. Some of these inclined planes were 
 hewn in givat part from the rock ; others 
 were built up of masonry. The remains 
 extend out in the water of the harbor to a 
 distance which is not yet determined. 
 
 The St.vtue of Athena I'lfoMAciios 
 (Pallas, as Protectress, Fighting in Front), 
 in bronze, by Pliidias, from the spoils of 
 the [Vrsians, placed between the Frech- 
 theuni and the Propylsea, was of such 
 size that the gleaming point of the lance 
 which the goddess held resting on the 
 ground beside her formed a landniaik lie- 
 side the Parthenon for seamen a]i]iroacli- 
 ing from the direction of Sunium. 
 
 Stoa of Attalus, on the cast side of 
 the agora, built by Attains II. of Pergamon 
 ( l.")'.)-i;S8 H.r.). It was erroneously iden- 
 tified by Ijcakc. and others, witli tlie 
 (iymnasium of I'tolemy. Its iilciitily was 
 established liy thediscovcry of a jiart of the 
 dedicatory inscription on the Poric vpi- 
 style. The portico consisted of two stories. 
 
ATHENS 
 
 open ;iii(l su]i]iort(Ml niifoliimns on the side 
 toward the agora. The lower front range 
 was of thirty-five Dorie columns resting on 
 a stylobate of three stejis. There were two 
 inner ranges, also of thirty-five eohunns, 
 the outer one of these being Corinthian, 
 the inner Ionic. The colonnades of the 
 upper story were of similar plan, but 
 forined of rectangular pillars fliuiked by 
 seiui-colunms. Ik'liind the columns were 
 twenty-one chambers, serving probably as 
 shops or as places for storage. The entire 
 depth of the stoa was (io ft. 9 in. ; its 
 length was ;S87 ft. The north end-wall 
 has marble seats, arranged as a kind of 
 exedra. In front of the stoa the Eoman 
 generals erected a bema or tribune for the 
 promulgation of public notices. 
 
 Stoa of Eumexes, of two aisles, ex- 
 tending between the Theatre of Dionysos, 
 and the Odeum of Regilla. Along the 
 whole of the terrace at the foot of the 
 Acropolis is carried a retaining- wall, 
 strengthened by projecting buttresses con- 
 nected by arches. Immediately' in front 
 of this wall, and masking it, was the rear 
 wall of the stoa, Avliich was 53.5 ft. long 
 and about 53 ft. deep. The limestone 
 foundations of the front of the stereobate 
 remain in great part, as well as the quad- 
 rangular stone bases of an inner row of 
 columns, and portions of the side and rear 
 walls, which had a podium of liymettian 
 marble. The roof was of wood. The 
 wall of the stoa corresponds exactly with 
 the line of the chord of the cavea of the 
 Odeum of Kegilla. It had direct com- 
 munication with the Odeum by means of 
 a door, and may have been connected with 
 the upper part of the cavea of the Uiony- 
 siac Theatre by means of a flight of stairs. 
 The ret.uning-wall, from its construction, 
 was uiulouljtedly liuilt at the .same time 
 with the stoa, but must have replaced an 
 older wall. 
 
 Stoa of thf, Giaxts (so-called), with- 
 in the old area of the Agorsi, between the 
 Stoa of Attains and the so-called The- 
 
 seum. The remains are of late Roman 
 date, or even later. Four great founda- 
 tion-piers of very rude construction suj)- 
 port rectangular bases of marble, of 
 rough workmanship. The fronts of these 
 bases are carved each with a serpent en- 
 twined about an olive-tree. On the bases 
 stand pillars of some height, and on the 
 jiillars colossal male figures, the lower 
 2)art of the body of fantastically contorted 
 serpent-form. The heads are gone, and 
 the arms seem to have been raised to sup- 
 port an epistyle in the guise of Atlantes. 
 The figures are of much superior work- 
 manship, and doubtless of earlier date 
 than the rest. The three entrances be- 
 tween the four i)iers apparently led into 
 a rectangular hall with rooms opening 
 into it on either side. There are traces 
 of a fountain, and jierhaps of a bath. 
 
 Stoa of IIaduian, the modern name 
 for the ruin of which the most prominent 
 fragment is a high wall in front of which 
 stand seven monolithic Corinthian col- 
 umns of Karystos marble, 28 ft. high, op- 
 }M)site the modern bazar. It formed a 
 part of the Gymnasium of Hadrian, which 
 is now lost among the buildings of the 
 modern city. 
 
 Temple of Atiiena. See Prnihcnoii. 
 
 The Temple on the Ilissus, perhaps 
 to be identified as the Temple of Eukleia, 
 was destroyed by the Turks in 1780, in 
 Iniilding fortifications, fortunately not 
 until Stuart had measured and drawn it. 
 It was Ionic, amphiprostyle, on a crepi- 
 doma of three steps, with four columns in 
 front and rear. On the east side, the cella 
 walls were carried forward, forming a pro- 
 naos with antaj corresponding to the angle- 
 columns. At the west end there were 
 merely anta?, with no opisthodomos. The 
 temple was dedicated l)y tlie Christians as 
 a church. 
 
 The Temple of Nike Aptekos (the 
 Wingless Victory, or Athena as Goddess 
 of Victory), occupies the top of the bastion 
 or pyrgos in front of tlie south wing of 
 
ATHENS 
 
 till' l'ropvl;¥a. 'I'lic little temple, of Pen- less mark the position of llie ;iltai-. '{"lie 
 telie marble, is Ionic, aniphi]irostyle, tetra- architectural relations of the bastion with 
 style, ii]ion a crepiiloma of three steps, the the PropyUea, show that the plans for this 
 lowest projecting: less than '3 in. 'i'lic 
 stylobate is -27 ft. long and 17 ft. lo in. 
 
 wide. 'Die total hcijjht of the columns 
 is slisrhtlv over 13 ft.; thev are stout and 
 
 ta])erinir. their bases are hiijh. 
 somewhat archaic dcsii,ni. ami the 
 
 and of 
 
 capitals 
 
 temple must have been made before ilW 
 li.c, when work on the Propyhva was 
 closed. During the siege (jf the Aci-opolis 
 in 1087, the temple was entirely pulled 
 down by the Turks, and the materials 
 were used for the constiMictioii of a bat- 
 tery. Ju Ls;),") the (ier- 
 iiian architects, Schau- 
 bert and Hansen, recov- 
 ered almost all the 
 stones, and set uji the 
 temple again on its 
 ancient site, as it now 
 stands. The so-called 
 l)alustrade consisted of 
 slabs of marble placed 
 upright along the three 
 free sides of the temjjle 
 bastion, and bearing on 
 tiu' outer side sculpture 
 in high relief reiiresent- 
 ing sul)jects connected 
 with the cult of the god- 
 also arc large in jiroportion. The shafts de.ss N'ictory. One of these balustrade 
 have twenty-four flutes, and the inter- subjects is the famous Victory loosing her 
 colunmiation is ."> ft. 'i in. The archi- Sandal. The lack of simplicity in design, 
 trave is divided into three bands project- and the research of tran.sparency in the 
 ing one over the other. The frieze bears ilraperies. show that this balustrade is of 
 figures in high relief, and though much later date than the v cent. li.c. It proli- 
 damaged nearly all survives. Several of ably rei)laccd an earlier balustrade wliich 
 the sculjiturcd slabs are in the British was presumably without sculpture. A 
 .Museum, and arc now represented on the metal grating was li.xed on the top of it, 
 temple by casts. Tlu' subjects include an and was carried acro.ss from both sides on 
 assi'inbly of the (lods (east front), and the east, so as to eiudose the temple. (Sec 
 battles of foot-soldiers and cavalry, some Fi;/. -'''.) 
 
 of the combatants wearing the Persian Tkmim.i; oi' Zius Ui.'i .Mriu.-i (Olympian 
 
 dress. The pediments were not lillcd with .love), or the (JLYMPiEi'ir, S. E. (jf the 
 sculpture. The cella measures within Vi Acropolis, near the bank of the llissus and 
 ft. .") in. long and V-l ft. 'J in. wide. It is the Fountain of Callirrhoe. The site was 
 
 Fig. 26 —Athens, Temple nf Nike Apteros 
 
 not closed by a wiill on the front, but has 
 two |]icrs with a space 4 ft. 7 in. between 
 thcni for the door, anciently flanked liy 
 metallic gratings. It contained the statue 
 of .\theiui Nike. Hloeks of Poros st<ine 
 in the pavement before the temple doubt- 
 
 vcry iincientlv held sacred, as that wlici'c 
 Peucidion olTercd thanks to Zeus aflcl' the 
 IliKiil. The earliest temi)le hci-c of which 
 we have historic knowledge, foundi'd by 
 Pisistratus, about '>'.]0, was left unflnishcil 
 liy the expulsion of the Pisistratids in 
 
 4i! 
 
ATDENS 
 
 51i>. ami taken up again by Antioclius 
 I\'., Epiphanes, on a magnificent scale, 
 about 17-1 B.f., with tlie Roman Cossu- 
 tius as arcliitect. He built the Corin- 
 thian dipteros, and gave the temple its 
 definitive form. In 80 is.c. Sulla car- 
 ried off to Iicmie, for the C'apitoline tem- 
 j)le of Jove, some columns jiossibly from 
 the foundation of Pisistratus, or perhaps 
 copied- after those belonging to it. Final- 
 ly Hadrian undertook the completion of 
 the building in a style of lavish splen- 
 diii'. He gave the great chryselephantine 
 statue of Zeus, which was excelled in size 
 only by the colossi of Rhodes and Rome. 
 The temple, dedicated in 1-^9 or 130 A. I)., 
 had two ranges of columns on the fianks 
 and three on the ends, besides columns be- 
 tween the antffi of pronaos and opisthodo- 
 mos. It had eight columns in front and 
 rear, declared Dorpfeld in 188G ; con- 
 trary to the formerly received opinion 
 that it had ten columns on the ends, 
 ^fany authorities give the number of col- 
 umns on the flanks as twenty -one, but the 
 number twenty was determined by Revett 
 in 1T65. The Corinthian columns are of 
 Pentelic marble, with twenty -four flutes ; 
 height, o() ft. 7 in., including capital (G ft. 
 72 in.), and base (3 ft. 9| in.) ; diameter, 
 above base, a ft. 7 in., beneath capital. 4ft. 
 IO5 in. ; the entasis more marked than was 
 usual at the best time, the intercolumna- 
 tion, 9 ft. 7 in. The length of the temple 
 is given as 353 ft., its breadth as 13-1: ft. 
 Tlie temenos, G7fi ft. by 42G ft., was 
 adorned with a great number of statues of 
 Hadrian dedicated by many Grecian states, 
 together with other statues and monu- 
 ments. A statue of Hadrian was also 
 placed in the cella beside that of Zeus. 
 Sixteen columns of the temple survive, 
 with a great part of their architrave. The 
 capitals are cut from two blocks. Three 
 lilocks side by side form the architrave. 
 The temenos is supported on the side next 
 the Ilissus by a massive retainiug-wall 
 strengthened by buttresses and 15 ft. hisrh 
 
 at the east end. Tpon the establishment 
 of the Christian religion, this great temple 
 became a church of St. John. The time 
 and manner of its destruction are not 
 known. For four hundred and fifty years 
 it is known to have been substantially in 
 its present condition. 
 
 TiiEATKE OF DioXYsos (Racchus). on 
 the southern slope of the Acrojjolis, to- 
 ward the east end. It was founded in the 
 shape in which it now appears early in 
 the V cent. is.c. ; and was comjileted by 
 the orator Lycurgus about B.C. 329. The 
 stage and orchestra were" remodelled by 
 the Romans. The remains of the theatre 
 were excavated Ijetween 18G0 and 18G5. 
 and again in 1877. The plan of the cavea 
 is horse-shoe shajied, and covers two-thirds 
 of a circle. At one jilace, a segment of 
 the Acropolis cliff is cut away. The out- 
 line on the east side, though now in great 
 part destroyed, was manifestly very ir- 
 regular. Tlie cavea was divided into thir- 
 teen cunei by fourteen flights of steps 
 radiating from the orchestra. At about 
 two-thirds the distance to the top was a 
 horizontal passage formed by permitting 
 the old path skirting the Acropolis to 
 pass through the theatre, N'carly all the 
 seats, except the lowest tiers, have been 
 carried away. They were of Piraic stone, 
 about 1 ft. 2 in. high, and 2 ft. 8 in. 
 broad, hollowed out on the front face, and 
 with a depression at the back for the feet 
 of the sj^ectators next above. The lowest 
 row next to the orchestra was occupied by 
 thrones of Pentelic marble, sixty-seven in 
 all, fifty being still in place. The middle 
 one, that of the chief priest of Dionysos, 
 is richly carved : it dates from the early 
 Roman Emjiire. The others are older, 
 and are set apart, by inscriptions, for 
 priests and other dignitaries. Other 
 thrones are scattered among the ordinary 
 seats, as well as the bases of many statues 
 of poets, among them one of ilenander. a 
 number of Hadrian, and a large base be- 
 hind the throne of the Dionysiao priest. 
 
 43 
 
ATIIF.X8 
 
 wliieli may liave Ixhmi a ^ilaoo of state for 
 till' c'liipLTor himself. Tliu capacity of tlio 
 theatre was from 27,000 to 30,000 specta- 
 tors. The arrangement and remain.s of 
 the cavea belons; essentially to the v cent. 
 li.c. The orchestra remain.s in the form 
 given it by the llomans. Its length along 
 the existing stage wall is 78 ft. (i in. ; its 
 width, measured from the steps of the 
 .stage along the axis of the theatre, is 58 
 ft. (i in. It is paved with slabs alter- 
 nately of Pentelic and Ilymettian marblf, 
 the middle being occupied by a large 
 diamond-shaped figure of wliite, blue, and 
 reddish slabs. In the central slab is a 
 circular depression, probably intended to 
 receive the thymele. or altar of Dionysos. 
 Along the outer edge of the broad lowest 
 steji of the cavea is carried a barrier of up- 
 right marble slal)S, clamped firmly togeth- 
 er, 3 ft. 7 in. high. Its upjJer edge bear.s 
 marks of the preseiu'C of a metallic grating, 
 doubtless })laced there to ]irotect the spec- 
 
 about 3 ft. high, in high relief, represent- 
 ing sceiu^s from the early life and the 
 Attic cult of Dionysos. The sculptures 
 are good woi'k of the early Knipii'e. and 
 thus antedate the wall. Iiia<lcep uiclie 
 in the middle is a crouching Silenus. of 
 still earlier workmanship, the cornice of 
 the wall resting on his back. Among the 
 ruins behind the stage-wall of Pha^drns, 
 some vestiges of a portico connected with 
 an earlier lioman stage-wall ascribed to 
 the time of Nero can be traced, consist- 
 ing of a row of small columns supporting 
 arches; and extensive foundations of two 
 periods reuuun, with evidence that the 
 earlier does not antedate Lycurgus, 340 
 I5.C. The earliest stage was a rectangu- 
 lar hall about 01) ft. long, enclosed on 
 either side by projecting buildings, with a 
 long stoa at the back. The second ad- 
 vanced into the orchestra, and had a ju'o- 
 scenium-wall ornamented with pillars 
 10 ft. to 1-.' ft. high. {See Fi(j. ,';.) 
 
 ■- r-' ; * . - f- 4^-"-^' — i^M • '-■1.- -•- 'xt^anS^ 
 
 _! Cc.j^"J^!lfri Jii1Jt;i»*nMiiri*_- • jl-ilil ^Vlr. I— rntf ._^ '^"-'J\!-tSI!3L. 
 
 Fig. 27.— Athens, Theatre of Dionysos, Stage-wall. 
 
 tators, when the theatre came to be used, Tiieatrk of II kudues. See Odcvm. 
 
 under W an influence, for gladiatorial The Tiie.seim or Tein])le of 'i'hcscns 
 
 shows. 'I' he I I'dinans advanced the stage in- so-called, now idciitilic(l with prarlical cer- 
 
 to the orchestra, cutting olf entirely the side tainty as the ancient temple of Ilcpliaistos 
 
 ]>as.sages (mipoSoi) for both orchestra and (Vulcan), is the best preserved building 
 
 audience which existed in the earliei' plan, nf aiu'ienl (Iveece. It must have been 
 
 The stage, of which the western ludf sur- liegun very close to 4(10 n.c. The tem])le 
 
 vives, was iuiilt l)y I'luedrus. an Athenian is Doric, hexastylc. pcri))teral. with two 
 
 nuigistrate, ])robably in the ill ce'ut. a.d. columns between .-inta' in the pronaos and 
 
 A llight of live stops in the middle gives iipistliddinuos. and thirtei-n columns in 
 
 communication with the ondu'sti-a. The cadi Hank, resting i>n a styhibate of three 
 
 IVont is (U'nainented with gr(rLi]is of ligures steps, twn nf niarlile. suppoiicd on a suh- 
 
ATKI 
 
 sti'urtioii of Poros stone. Tlie inuterial 
 tlirougliout above the substruction is Peii- 
 telii; marble, whicli from age has assumed 
 a golden - brown tint. 
 The length on the up- 
 per step is 104 ft. G 
 in.: the breadth. 4.j ft. 
 a in. ; tlie height of the 
 columns, including 
 the capital (15 iu.), 19 ■','■-■'■ 
 
 ft. o| ill.; the diameter 
 of the columns at the 
 base. 3 ft. 3| in., at 
 the neck. 2 ft. 7^ in. 
 The entasis is very 
 slight; the columns 
 have twenty channels, 
 which (liiuinish in 
 dejith toward the top. 
 The space between the 
 columns approximates 5 ft. "2| in., exce]it 
 at the angles, where it is about 4 ft. 2 in. 
 The columns of the peristyle have a slight 
 inclination inward. I'he cella is 39 ft. 8 
 in. by "20 ft. .") in. The pronaos is recessed 
 I'i ft. 9| in. within the peristyle, the 
 opisthodomos 10 ft. G in. The depth of 
 the proiuios, which is greater than that 
 of the opisthodomos. is IG ft. o in. The 
 columns of the pronaos were removed at 
 an early date, when the temple was dedi- 
 cated as a church of St. George ; its 
 architrave is now supported by a wall. 
 The marble coffered ceiling of the por- 
 tico is the most complete surviving. The 
 pediments were filled with sculpture, whidi 
 is now entirely gone, though marks of 
 its placing remain. The metojjes were 
 sculptured only on the east front, together 
 with the four on eacli flank next to tliat 
 front. The subjects are the feats of Her- 
 cules and of Theseus. The cella frieze 
 was sculptured over both pronaos and 
 opisthodomos and at the eastern extrem- 
 ities of the flanks. Though much dam- 
 aged, these sculptures show excellent 
 design and workmanship. The subjects 
 are : at the east end, a battle, perhaps 
 
 of the Athenians against the Kleusinians 
 and Thracians, in presence of several of 
 the greater gods, represented above the 
 
 Fig. 28 —Athens, Thespiim. 
 
 antaj ; at the west end, the combat of the 
 Athenians and the Lajnths against the 
 Centaurs. The existing arched roof of 
 the cella is modern, as well as the small 
 entrance door on the south side. {See Fiq. 
 28.) 
 
 Tower of the Uinds. .See Horolwj- 
 ium. of AndroHicus. 
 ATEI, Italy. 
 
 The Cathedral, one of the character- 
 istic Gothic buildings of the Abruzzi, is 
 a three-aisled cIuhtIi with a single eastern 
 apse, built at the end of the xiri century. 
 The rectangular front, disguising the out- 
 line of the nave and aisles, and divided 
 by flat pilasters, is jjierced by a single 
 middle door, inscribed with the date 130."). 
 round-arched, but riclily decorated with 
 Gothic sculpture, angle-shafts, dog-tooth 
 and cable-mouldings. The high gal)le 
 over it, reaching to the cornice, contains 
 a wheel-wiiKhnv of similar style. A hori- 
 zontal trefoiled eaves-cornice finishes the 
 facade. On the south side is another 
 door somewhat similar in design, but 
 of finer proportion. The interior, with 
 pointed arcades and vaulted apse. ha<l a 
 flat wooden ceiling, but was vaulted in 
 
 45 
 
ATTIT'STA 
 
 18;]0. It was decorated with very iiiter- 
 estiiio; frescoes, «iiich have liceu obliter- 
 ated by whitewiish except in the walls and 
 vault of the apse, wliere tliey have l)eeH 
 elaborately restored. Tiie handsome bell- 
 tower is tall and square, with a two-storied 
 octagonal lantern which is pierced liy a 
 ranjre of broad i)ointed twin windows and 
 round windows above, and crowned by a 
 low spire with a group of jiinnacles. The 
 arcaded cornice of the front i 
 each story of the tower, and 
 the jiinnaeles. 
 
 AI'orSTA I'lLETORIA. Hee Aosfa. 
 A\'ERSA. Italy. 
 
 The C'ATIIEDKAI.. dedicated to S. Paolo, 
 is a great cruciform church of the xi 
 cent., about 90 ft. wide and 300 ft. long, 
 the length of transept about 150 ft. The 
 nave. 45 ft. wide and TO ft. high and 
 vaulted, is separated from the aisles l)y 
 arcades of five bays. Over the crossing 
 is an octagonal dome, of which the drum 
 is decorated by two ranges of arcades on 
 columns, and a corljcllcil 
 cornice. The highapsi- 
 dal choir is encircled by 
 a semicircular aisle in 
 nine groined bays with 
 three ajises opening from 
 it. The vault-ribs sjiring 
 from columns. 'I'lu' 
 tower attached to the 
 ilank of the church be- 
 longs to the XV cent.. 
 and consists of four stor- 
 ies with a small cupola. 
 AXI.\. See Cdstrl 
 
 d'Asai). 
 r.AALHKK (anc. Ilcli- 
 
 opolis). Syria. 
 
 ('ll{CfI.Alt 'I'kMPLE. 
 
 east of the Acropolis, in 
 the modern village. The 
 cella is surrounded by eight wide-spaced, 
 graceful, unfluted monolithic ('(n-intliian 
 columns, whose rich entablature is re- 
 cessed in semicircular arcs. In frcnit is a 
 
 tetrastyle portico, with a flight of steps be- 
 fore the door. Beneath the entablature 
 the cella is surrounded by a frieze of gar- 
 lands. Between the columns are well- 
 j)roportioned arched niches with shell- 
 sha[icd heads. In the intci'ior are live 
 niches, one with a triangular pediment, 
 on Ionic ])ilasters. This tenijile was for- 
 merly tised as a (ireek church. 
 
 Gkeat Temple, of Jupiter or of ;;11 the 
 repeated at gods of Heliopolis. It rose behind and iii 
 even round the axis of the propyhea and two fore- 
 courts. Six enormous Corinthian col- 
 umns of the south peristyle alone remain 
 standing, with their entablature. The 
 columns are unfluted, about 60 ft. high 
 and 7i ft. in diameter, the shafts formed 
 of only three drums, the cajiitals and the 
 details of frieze and entaldaturc of heavy 
 and unrefined design. The basement, in 
 massive masonry, rises about 50 ft. above 
 the surrounding plain. The temple had 
 nineteen columns in each flank and ten 
 in each front ; nine were still standing in 
 
 1. Great Temple. 2. Basilica. 3. Temple of the Sun. 
 
 Fig. 29— Baalbek, Roman Ruins. 
 
 -.'110 
 
 l^"il. Tlir plan measured IHO ft. hy 
 ft. {See Fkj. ;.'.'/.) 
 
 J'lJOl'YL.KA OF Tin: ClIKAT 'I'kMI'I.K. 
 The platronu (jT the exterior pculiro is a 
 
15AALHEK 
 
 rectniiglo about 2G0 ft. wide and 30 ft. 
 dec'ii. the tli)i)i- of which is I'.l ft. liigher tlian 
 the ground in front. It was no douljt aj)- 
 proached by a flight of steps, now gone. 
 It consisted of twelve columns in two rows, 
 the bases of which are still in place. On 
 two of the bases are inscriptions commem- 
 orating the dedication of the temple by 
 Antoninus Pius and Julia Domna. The 
 portico is flanked by tower-like buildings 
 with square chambers adorned with jiihis- 
 ters. In the wall behind the colonnade are 
 three portals, the largest 33 ft. wide and 
 the small ones 10 ft., which open into a 
 hexagtmal court about '-i-i'J ft. by 11)5 ft. ; 
 it was ornamented with niches and square 
 exedra;, now for tlie most part destroyed. 
 A triple portal afforded communication 
 between the hexagonal court and the 
 chief court before the temple, which was 
 440 ft. from east to west, and 370 ft. from 
 nortli to south. This court has recessed 
 covered exedra» on the north, east, and 
 south sides. Exedra? and walls are or- 
 namented with unfluted Corinthian pi- 
 lasters with their entablature, between 
 which are two tiers of niches, the ujiper 
 with triangular jiediments, and the lower 
 arched. In the middle of the court is a 
 large rectangular raised platform of ma- 
 sonry, perhaps the stereobate of a basilica. 
 The masonry of the court is in large 
 lilocks, and the decoration, though of 
 florid and debased stj'le, is rich in effect. 
 
 Temple of the Sux, the smaller of 
 the two chief temples, south of the Great 
 Temple, on a platform of its own, which 
 is lower than that of the Great Tem})le. 
 As usual with Roman temples, it stands 
 on a basement with a flight of stejis be- 
 tween piers in front. It is Corinthian, 
 with unfluted columns, octastyle, with fif- 
 teen columns on each flank, its peristyle 
 117 ft. by nr ft. Several columns of the 
 peristyle are standing, 10 ft. from the 
 walls of the cella on the sides, and 4l)i ft. 
 high. The ceiling was coffered with hex- 
 agons, rhomboids, and triangles, elaljo- 
 
 ratcly sculptured with busts of gods and 
 with foliage ornament. The j)ronaos, 25 
 ft. deep, had six fluted Corinthian columns 
 in front and one on eacli side before the 
 pilastered anta?. The ])ortal is well 
 known, with the huge central block of its 
 lavishly sculptured lintel slipped down 
 for half its height, and now supported by 
 a modern pier of masonry. On each side 
 of the door, spiral stairs ascend in the 
 thickness of the wall. The cella, origin- 
 ally vaulted, is about 87 ft. by 74 ft. ; its 
 walls remain especially perfect on the 
 north side, which has eight engaged, flut- 
 ed Corinthian semi -columns supporting 
 square projecting blocks of entablature. 
 The architrase is Corinthian, the frieze 
 has Doric triglyphs, and the cornice is of 
 the most florid and elaborate character. 
 Between the columns are two tiers of 
 niches, those of the upper tier with low 
 triangular pediments, those of the lower 
 arched. There is a raised platform or 
 sanctuary at the west end, with steps and 
 two massive pillars, and a vaulted crypt 
 beneath the cella. The portico is grace- 
 ful and well proportioned, though the 
 ornament of the building is much too 
 lavish. The material is a whitish or yel- 
 lowish granite except the decorative parts, 
 which are in white marble. As in the 
 normal Roman temple-plan, there is no 
 opisthodomos. 
 
 The Walls of the city are about four 
 miles in circuit, but are evidently for the 
 most part a hasty restoration roughly 
 built up of architectural fragments and 
 other incongruous materials. They now 
 stand from 10 ft. to 12 ft. high, and have 
 square towers at intervals. The gate on 
 the north side is the only one that is fine 
 or seems to preserve its original form. 
 The enclosing wall of the Acropolis on 
 the north, in front of the platform of the 
 (ireat Temple, is 10 ft. thick and contains 
 in its height of I'.i ft. nine courses of 
 blocks, each block about 30 ft. long. In 
 the western stretch of this same wall, at a 
 
 47 
 
I'.AALSAMIX 
 
 heiglit <ir I'.i ft., ari' the llnx'c fainoiis 
 great blocks, \o ft. liigli, and resjiectivcly 
 U4 ft., 0:51 ft., and H2 ft. long. Jt may 
 be from tliese three blocks that the tem- 
 ple liad its ei)ithet trUiflion (thrcc-.stoned). 
 The substructions of tlie wall arc squared 
 but not smooth-faced : the higher j)arts 
 are in drafted masourv. 
 BAALSAMIN, Hauran. Syria. 
 
 Temple, built in 'i'i li.f. It faces the 
 east, is 01 ft. dcej) and 0-1 ft. wide, with a 
 recessed entrance portico 31 ft. wide, be- 
 tween antffi. The outer division of the 
 interior, into which the jiortico opens, is 
 17 ft. deep. The temple stands in a 
 rectangular enclosure 107 ft. deep and 
 al)out half us wide, entered unsymmetri- 
 cally on the east side by a great door be- 
 tween towers or pylons. The door opens 
 on a paved square court before the temple, 
 which court is surrounded by porticoes on 
 all sides except that toward the temple. 
 This temple is to be compared in its dis- 
 position with the temple of Solomon at 
 Jerusalem. 
 BACOLI (anc. Rauli). Campania, Italy. 
 
 PiscrxA iliHABiLis, a great Roman 
 covered reservoir on the liill south of the 
 town. It measures 230 ft. by 80 ft., and 
 has a vaulted roof supported by forty-eight 
 roliust cruciform piers, in four ranks. It 
 is entered ])y two fliglits of forty steps, at 
 the two ends. The reservoir forms the ter- 
 mination of the Julian Aqueduct. There 
 are abundant remains by the shore of the 
 ancient Roman villas of this favorite im- 
 I)crial resort. The Cento Camerelle or 
 Carceri di Nci-one. a group of subterra- 
 nean vaulted chandjers on the height, in 
 reticulated masonry, are held to belong to 
 the lowest story of the villa of .lulius 
 Ca'sar and Augustus. 
 BA1.\ (anc. Baiae), Canqiania, Italy. 
 
 The Temple of Uiax.v. so-called, is a 
 large octagonal structure, circndar within, 
 witli a pointed dome ilO ft. in span, in 
 part fallen. There are four large niches in 
 the walls. Portions of the water-conduit 
 
 identify it as a bath. The u]U'ight por- 
 tion (if the wall is in opns i/ircrtiiiii encased 
 in alternate courses of Ijrick and tufa : 
 the dome is in small stones laid in hori- 
 zontal courses, bound togethci' and sus- 
 tained by their excellent niortar. Its 
 thickness is about 4 ft. 
 
 Temple of .Mercihv. so calli'd. The 
 main jiortion is a circular l)uilding 111 ft. 
 in diameter, with a domed roof which, 
 like that of the Panthe()n, has an open- 
 ing at the apex and four aridie<l niches in 
 the walls. It is undoubtedly tlu' frigi- 
 dariuni of a bath. With tlu^ I'otunda 
 conininnicate two other structures, both 
 rectangular and with Ijarrel-vaults. The 
 vault of the chief of these, no douljt the 
 apodyterium, or disrol)ing apartment, is 
 ornaiuentc'l with pleasing reliefs. 
 
 The Temple of \'eni'.s, so-called, is 
 octagonal withmit and circular within, 
 94 ft. in interior diainctci-. and has a 
 vaulted ceiling. It has eight windows in 
 the upper part, four doors below, and re- 
 mains of lateral chambers with fliglits of 
 stairs. It is evidently a portion of an 
 ancient bath. The ma.sonry is dj/iis in- 
 rcrfimi with casing of brick and iipiis ir- 
 ticuhthiiii. 'i'lie wall is strengtheiuHl with 
 buttresses one-tenth as deep as the s]ian 
 of the vault. 
 
 Many fragmentary foundations remain 
 of the sjjlendid Roman villas and baths. 
 The most conspicuous antiquities are three 
 considerable colonnades which belonged 
 to the ditTerent baths. 
 HAKl'SA, Syria. 
 
 The Cllllicll is a basilica of the Syrian 
 type (sec lliiiinin) W ft. long by Oil ft. 
 wide. .V narthex with a trijile archcil 
 entrance crosses the west front. It has a 
 nave and aisles of six bays, round-arclu'd 
 arcades on Corinthianesque columns, and 
 an eastern ajise recessed between the half- 
 gabled ends of the aisles, which are occu- 
 pied, as is usual in this region, by two 
 .square (duimbers. The roof was of wood ; 
 a close range of arched windows formed 
 
 48 
 
ATHENS- THE ACROPOLIS 
 
IS. 
 
 'ok 
 
 (1 
 
 
 I -*,:-f ! 1 * J- '-I - 
 
 :^^. 
 
i!ALiu)ri;A 
 
 the clcrostnry. ami I la- apse was decorated 
 with a niw nt coloiinettes on corbels close 
 under the cornice. Four gabled pondies, 
 each with a pair of columns, covered four 
 doors in the two aisles, as at Kuweiha 
 
 ('/•'•■)• 
 
 HALHOrHA (Katara). Asia Minor. 
 
 Theatre, on the soutli side of the 
 Acropolis hill. 'I'iie exterior diameter is 
 about 120 ft.: tiiere are sixteen tiers of 
 seats curiously interrupted in the centre 
 by a great mass of the solid rock of the 
 hill, the middle of which is hollowed out 
 as if for a chair or throne. There is no 
 trace of a raised stage, but there is a 
 platform on the same level with the or- 
 chestra, supported at the back by a high 
 wall of polygonal masonry, strengthened 
 by buttresses. There is a second ancient 
 theatre on the site, together with the 
 remains of several temjiles. and other 
 ruins. 
 BAKI, Italy. 
 
 The C'atiieokai,. dedicated to St. Sa- 
 binus. is an interesting Romanesque basi- 
 lica of T-shaped plan originally dating 
 from the IX cent., but much changed by 
 repeated restorations and partial rebuild- 
 iugs. Its breadth is about 9U ft. and its 
 length about 180 ft. The nave, some 
 '.i~ ft. wide, is separated from the aisles 
 by eight columns on each side, of uuir- 
 ble and granite, now concealed beneath a 
 covering of stucco, and supporting round 
 arches. The nave is covered with a 
 modern wooden ceiling, the aisles arc 
 vaulted each in nine groined oblong bays, 
 with a well-developed upper gallery or 
 gynwceum. The projecting transept is 
 divided by two great arches continuing 
 the line of the nave arches, into three 
 square bays, the central one covered by 
 a low octagonal lantern and backed by 
 a semicircular apse. A staircase at the 
 end of each aisle leads to a fine crypt, 
 or lower church, uiuler the transept, 
 divided by columns into nine aisles, each 
 of fiiiii' s(|iiai'c groitu'(l bays, with an 
 
 apse corresponding to that above. The 
 front, divided by Hat pilasters, follows 
 the (Hitline of the nave ami aisles ; the 
 central division has the renuiins of a great 
 rose window, and a jilain gable witli a 
 small rose al)ove. 'IMie side elevations are 
 perha[)s the most interesting portion of 
 tiic church. The aisle walls are high, 
 with a blind arcade of nine round arches 
 on thin pilasters, witli a plain doorway 
 under the middle arch, that on tiie soutli 
 side being covered by an open projecting 
 porch of three groined bays. Above the 
 blind arcade runs an eaves - gallery of 
 small round arclies in groups of six, di- 
 \ ided l)y slender shafts. The clerestory 
 has single round-headed decorated win- 
 dows, and a thin decorated cornice. The 
 transept ends have high gables — the blind 
 arcade of the aisles is carried througli in 
 smaller coupled arches uiulcr bearing 
 arches, and with two stories of two-light 
 arcaded windows above and a small deco- 
 rated rose in the gable. The windows of 
 the second story have i)rojecting sills 
 flanked by corbels bearing lions. The east 
 end is 2)erfectly flat, the apse being only 
 an interior feature, and the arcades and 
 windows of the transept are continued 
 here across the church. In the centre is 
 a single broad round - arched window, 
 lighting the apse, with jamb columns 
 resting on elephants. At each end of the 
 iiidjroken wall rose originally a lofty angle 
 tower about 21 ft. square, of which that at 
 the south w-as destroyed in Hii:! and has 
 not been rebuilt. The other is I'omplete ; 
 its height of about 212 ft. is divided into 
 six stories of arched windows variously 
 grouped in two, three, or four openings, 
 with a decorated cornice and battlement ; 
 and above, a smaller square lantern in 
 two stories with pyramidal roof. The 
 lantern at the crossing shows externally 
 as a high octagonal wall divided by slen- 
 iler shafts, with an arched corbel-taljle, 
 and a bi'oad. richly decorated frieze of 
 l>v/.antine churactei'. above which shows 
 
 i'J 
 
J5AKI 
 
 only a segment of the doiiK'. The original 
 clnirch. as old as the ix cent.. w;is j;u1i- 
 stiiutially rebuilt about lu:il. I'aitially 
 destroyed by the .Saracens it was again re- 
 built and eonseerated in llTl. anil again 
 in {■>'.>■>. A linal restoration in the tirst 
 hair of the xviii cent, left little of the 
 interior untmiehcd. Portions of the tran- 
 sept and (if the east end are believed to 
 behjng to the original construction. 
 
 S. GuKciOKio is an old Honianesqixe 
 cliurcli of the xi cent.. ))i'obably nearly con- 
 temporary with the two greater eiiurches 
 of tliat town. l)ut jierhaps souicwlr.it older. 
 Its j)lau is a rectangle about 4.') ft. by (i.j 
 ft., with three eastern apses; the nave is 
 covered Ijv a wooden roof and separated 
 from the aisles, which are groined in 
 square bays, by six narrow stilted round 
 arches on each side, sjiringing from sim- 
 ])le round columns, but divided by square 
 piers into two groups of three arches each. 
 Over the.se is a plain clerestory wall with 
 three small rouiul-arclied windows on each 
 side. 'L'he front, following the outline of 
 the interior section, and divided by flat 
 piliister-strips, has one high and simple 
 round-arched doorway, under three single 
 round-arched windows, and in the gable a 
 blind arch enclosing a square winilow over 
 an arcade and set about with grotesque 
 heads in the form of corbels. Each side 
 com part iiient has only one small round- 
 arched window, high up and filled with 
 pierced marble sial)s in a geometrical 
 pattern. 
 
 S. Xiiioi.n. ;i Iciiiiaiiescpie church of 
 striking design, believed to have been in 
 existence as early as the beginning of the 
 IX cent., but in its present form dating 
 from the end of the xr cent., when in 
 lOST-S'.l the crypt was ])repared to receive 
 tiie ijody of the saint, Nicholas of .Myra in 
 Lyeia. The u])i)er idiurch was finished 
 about IIiMi. It is about -^oii ft. long and 
 110 ft. broad, and in size and general plan 
 is much like tlic cathedral, liaving a nave 
 about 38 ft. wide, sejiarated from two- 
 
 storied aisles about 20 ft. wide by six 
 round arches on each side springing from 
 antique granite shafts with composite 
 ca])itals. The aisles are in six square 
 groined bays, with three rectangular chap- 
 els on each side, and two recessed porches. 
 Tiie upper aisles have tine high arcades 
 divided into groups of three round arches 
 on columns, under round bearing-arches, 
 above which is an arched corbel-table and 
 string-course, and a clerestory with snuill 
 single -arched windows niuler a ilat roof 
 of which the decoration is modern. 'J'he 
 disposition of thi' nave is peculiar, its 
 length being hal\cd by a great round 
 transverse arch, and the western half be- 
 ing bridged by two similar arches which 
 spring from cf)lumns set Just inside the 
 nave columns, but ri.se only to the aisle 
 galleries. The nave is separated from the 
 transept by a screen of three rouiul arches 
 on Corinthian eoluniiis, similar to those 
 of the nave, and the transept arms are 
 screened oflf by the choir stalls. The 
 crossing forms the choir, now modernized, 
 ending in a round vaulted ap.>;e. Its lloor 
 is raised by three steps above the nave, 
 and the altar is covered by a square 
 ciborium, in which four angle -columns 
 with figure -caj)itals carry an octagonal 
 canopy of two diminishing stories of 
 stunted shafts. The end walls of the 
 transept are flat, their upper parts 
 pierced with two stories of two- light 
 arclied windows. From the end of each 
 aisle a stiiir descends to a noble crypt ex- 
 tending under the whole transept, divided 
 l)y columns into square groined bays, 
 with four windows at each end. and a 
 round a])se in tiie middle unih'r the choir 
 a))se. Till' ea|iitals of the columns are 
 extremely varied and interesting, witii 
 remarkable Byzantine sculpture. Of the 
 exterior the facade is the most interesting 
 portion. It is divided by broad pilasters 
 into three comi)artments. corresponding 
 in outline to tlie nave and aisles, with a 
 central Liable and half-gables, all bor- 
 
 50 
 
BARLETTA 
 
 dercd by arcadcd eaves - cornices. The 
 eeutnil arelied doorway lias a gabled 
 porch borne by octagonal columns resting 
 on the backs of beasts wiiicli themselves 
 rest on corbels. Its sculpture is remark- 
 al)le, showing bands of Byzantine flat 
 ornament, figures of angels, and in the 
 tympanum the figure of a saint. A blind 
 arcailo of coupled arches crosses the front. 
 
 to have been founded before 900, but re- 
 liuilt in the xii cent., and enlarged at tiie 
 beginning of the xiv. A sharp dividing 
 line is drawn, jjarticularly in the interior, 
 between the architecture of tlie earlier 
 church and that of the addition. Tiie 
 lengtli of the two portions is nearly equal ; 
 the w'cstern half is Lombard in charac- 
 ter, with four i-()uiiil ai'ches on each side 
 
 Fig, 30 -Bari. S Niccoib. 
 
 Above, in each comjiartmeut. is a stand- 
 ing figure of a saint in a niche, and still 
 higher, two-light windows with muUion 
 shafts. The front is flanked by square 
 towers, both unfini-shed : the northerly 
 one in two stories, with plain, round- 
 arched doorway Ijelow and panels above, 
 arched corbel-table and horizontal cornice. 
 This church is the centre of the cult of 
 St. Xicholas. His body was pilfered 
 from ilyra in 1087 by Barian merchants, 
 and Urban II. came to deposit it in the 
 crypt in 1089. The council of 1008 was 
 held in the church. (See Fiq. 30.) 
 BARLETTA. Italy. 
 
 Sta. ilAiUA .Ma(;i;ioue, or del' Assun- 
 zione. the chief eliurch of the town, is an 
 ancient Romanesque building presumed 
 
 springing from anti<|uc columns of marble 
 witJi attic bases and medieval Corinthian 
 capitals with stilt-blocks. Above these is 
 an upper gallery with coupled round 
 arches, over which is a clerestory wall with 
 single small windows under a wooden 
 roof. The eastern half is distinctly Goth- 
 ic, w'itli groined nave and aisles separated 
 by four high pointed arches on each 
 side, of unequal lireadth, springing from 
 grouped piers, with vaulting shafts. 
 There is no triforium, and a single small 
 pointed window pierces the clerestory wall 
 in each bay. Tlie choir ends in an ajjse 
 with five pointed arches opening into as 
 many radiating vaulted chapels, and with 
 a single pointed window over each arch. 
 This apse is a very nnusnal instance in 
 
BAFLI 
 
 soutlu'i'ii Italy of the use of the iiDi-thei-ii ijuilt of aoocl masonry in basalt. The 
 (fotliic foi-tiis ami construction. 'i'hc interior passages and the outlets are well 
 fai;aih'. narrow ami high, following the piH'served. It is said to have recesses for 
 
 Fig 31 — Barletta, S M. Maggiore. 
 
 outline of the interior, is divided into 
 three conipartnients. each with an en- 
 trance doorway. Those of the side com- 
 partments are old. with grotesque sculpt- 
 ure, and over eai-li is a two-light shafted 
 window surrounded liy a triple horder 
 of decoration. Over the modci-n centi'al 
 doorway is a hirge early enriched window 
 with jaiid)-coluinns and a rose in thegahle 
 above. An arcaded cm-bcl - table follows 
 the rake of the cornice of the whole fi'ont. 
 The fine tower is of the mi cciitui'v. (Sec 
 Fir/. 31.) 
 
 l^ASSAK. See PhUjnlna. 
 HKin{A:\r. see ^.9,so.<r. 
 HKISAX (anc. lk>th-Shean). Palestine. 
 
 l\()M.\x '!'iri:.VTi!K. on the south side of 
 tlie hill. It is about ISO ft. in diameter, 
 and twelve tiers of seats are visible. The 
 cavea is supported on vaulted galleries 
 
 the ichvii or acoustic vesseLs described by 
 \"it ru\ ius. 
 
 The Ivomaii renniiiis are considerable, 
 and include, l)esides the theatre, portions 
 of the massive walls, with a tine arch 
 flankeil by ('orinlliian columns which 
 [ii'obahly hcloiigcd to one of the gates, 
 ami ruins of several temiiles with walls 
 and stereobates of basalt and marble col- 
 umns, aliout two do/cn of wliicli arc still 
 standing. To the \.E. of the hill is a 
 necri)[)olis with rock-tombs, some of them 
 closed by hinged stone doors and contain- 
 ing sareo])hagi. There is also a fine Ko- 
 maii liridge. 
 IJKLLA PAIS. Cyprus. 
 
 'I'he Hknkdktin'k ^loxAsTKin. though 
 ruined, is an interesting and solitary e.x- 
 ample of a monastery in this part of the 
 world. There remain the small (iothic 
 
 62 
 
BEXEVEXTO 
 
 cliurch ■with three sides of the cloister, 
 iu're set on the iiortli, j)n)l);ibly owing to the 
 ehanicter of the ground, and surrounded 
 by the conventual buildings. The Gothic 
 architecture is of the xiv cent, or later. 
 The churcli consists of a nave and aisles of 
 three bays, a short transept, and a square 
 chancel. Before the west door is an open 
 areaded porch. The transept arms are 
 covered with a bai'rel- vault, the other 
 vaults being groined. The cloister was 
 surrounded by broad arches with compli- 
 cated tracery. Against its eastern side were 
 a chapter-house and dormitory, and on the 
 north is a line vaulted hall, probably the 
 refectoi'v. 
 BEXEVEXTO. Italy. 
 
 The C.\THEi)UAL of Sta. Maria is one 
 of the most ancient of Lombard chnrehes 
 of South Italy, though repeated restora- 
 tions and rebuildings have left little of 
 the early architecture. The remains of a 
 colonnaded atrium are to be seen before 
 the front, wliicli is the most interesting 
 portion. It is in two stories of blind 
 arcades, seven round arches in each story, 
 those of the first story high, on broail flat 
 pilasters ; two of the arches having a loz- 
 enge in the head, after the Pisan manner. 
 There is a central doorway with pilasters 
 carrying a broad lintel and tympanuni 
 under a round bearing-arch, the whole cov- 
 ered with decoration of Byzantine char- 
 acter. The second story has a bolder ar- 
 cade carried on low columns with curious 
 capitals. The fine bronze doors with re- 
 liefs in the panels date from 1150, but were 
 restored in 1093. Above is a horizontal 
 Renaissance cornice, over which appears 
 the flat l)are face of the nave, with a low 
 gable. At the north angle of the front 
 stands a large square detached bell-tower, 
 jilaiu below, with a band of small anticpie 
 sruli)tured figures across the face, a strong 
 corbel-table, surmounted by a square bel- 
 fry with a single two-light arched opening 
 in each face. The interior is five-aisled, 
 a T-shaiu'il basilica in plan, with close-set 
 
 rows of fluted columns, fifty-four in num- 
 ber, with lionian Doric capitals, carrying 
 round arches and an entablature. The 
 clerestory wall is very corrupt in style and 
 is jjierced with round windows. The nave 
 is covered by a flat panelled ceiling, and 
 ends in a triumphal aixdi. The transejjt 
 does not project beyond the aisle walls, 
 and has a round central ajjse with semi- 
 dome. The interior was, with the excep- 
 tion of the arcades, completely modernized 
 in the xvii century. Two fine pulpits 
 about 10 ft. square, supported by columns 
 of black marljle and granite with decorated 
 shafts standing on monsters and with cap- 
 itals in which the leafage is varied liy fig- 
 ures and heads, date from the xiv cen- 
 tury. The original cathedral, founded as 
 early as the beginning of the vii cent, 
 and destroyed by an earthquake, was re- 
 built and finished in 1047. Parts of this 
 building still remain, notably the arcades 
 of the interior and the lower jjortion of 
 the front — the remainder of the exterior 
 belongs to the period between 1114 and 
 127'.). 
 
 Sta. Sofia is an early Romanesque 
 churcli. with a peculiar ])laii. consisting 
 of a circle about 75 ft. in diameter, of 
 which on the exterior the western third 
 is cut off by a long rectangular narthex 
 with a frontage of about 105 ft. Within is 
 a central hexagon formed Ijy six antic|ue 
 Corinthian columns supporting round 
 arches, from which rises a dome. The 
 space outside the central hexagon is di- 
 vided by a ring of ten columns into two 
 circular aisles, of which the bays are cov- 
 ered by vaults of various forms, trian- 
 gular, trapezoidal, and domical. At the 
 east ojjens a square tribune. The exte- 
 rior has much of the Lombard character. 
 The west front has a blind arcade, witli 
 lozenges in the arch-heads, and a central 
 door, flanked by Corinthian columns 
 carrying an architrave, over which is a 
 round bearing -arch with tympanum 
 charged with sculpture on a grcuind of 
 
 S! 
 
BERGAMO 
 
 irold iiiosair. 'I'hc hiiililitijr lias suflereil 
 miiuli from rciieatci) earthquukos and con- 
 sequent restorations. The c'liiirch be- 
 
 Fig. 32 — Benevento, Trajnn's Arch. 
 
 longed to a oonvent, first of nuns, then of 
 Benedictine monks. The adjacent cloister 
 lias an arcade of some sixty columns with 
 varied and partly grotesque capitals, most- 
 ly with stilt-blocks. 
 
 The Roman Triimi'IIal Aki ii. which 
 once spanned the \'ia Appia, now serves as 
 one of the gates of the city, and is com- 
 monly called the i'orta .\urea. It was l)uilt. 
 A.I). 114, in liiJiiiii- III' Ti'ajan, liv the Rm- 
 niaii Senate and jiuople, according to the 
 inscription on the attic? on both faces. It 
 is one of the finest and best preserved of all 
 ancient triumphal andies. The front is 
 48 ft. high by 30 ft. 4 in. broad, pieri'cd 
 by a single arrli 1(1 ft. 4 in. by '^(i ft. 'J in. 
 high, with two ('oi'inthian fluted columns 
 on each side supporting an elaborate en- 
 tablature ; above is an attic in three com- 
 partments, till' middle one iiiscribcil. 
 
 Kacli front is decorated with a frieze and 
 several superimposed Ijands of sculptures, 
 representing the Daciaii wars, the Em- 
 peror' s triumphs, etc. Tlu'se 
 sculjitures are not excelled by 
 any other extant specimens of 
 Iioman art. In the spandrels of 
 the arch are ^'ictories. The ma- 
 terial is white iiiai'lile. [Scr 
 /■/■//. .1.'.) 
 I'.ERCAMO. Italy. 
 
 The ]5kolett(), a small but 
 beautiful examjile of the niediiV- 
 val town -halls of North Italy. 
 It is a (iothic building of stone 
 supported wholly on detached 
 ])iers and columns with jiointed 
 arches, the first story being open 
 to the street on all sides, with 
 groined vaulting. The front on 
 the square presents three arches 
 springing from broad square 
 pit'rs with foliated capitals. The 
 second story \\all is pierced by 
 three largi' three-light windows, 
 the two at the sides with trac- 
 ei-y and mullion- shafts under 
 pointed ai'ches. The central 
 window, apparently rcl}uilt. is flanked by 
 Renaissance columns, with a rude order of 
 columns and entablature above. It has a 
 large balcony which marks it as the riii- 
 gliiera. from which the magistrates were 
 aeeustomed to address the iieople. The 
 building dates jirobalily from the xiii cent., 
 and groups jucturesquely with the church 
 III' Sta. ^laria ^[aggiore, the clock-tower 
 and an open staircase forming the ajiproach 
 to the upper stories of adjoining buildings. 
 ('APEi.r.A CoLl.EOXi, the Inirial chapel 
 ot the great C'ondottiere, dates from 147(1. 
 and stands on the north side of the church 
 of Sta. Maria Maggiore, to which it is 
 attached. It has aii extravagantly deco- 
 rated facade, incrusted with a mosaic of 
 marble in geometrical patterns and with 
 an open arcaded gallery at the summit of 
 the wall ; the whole surmounted li\ an 
 
 ;s--?iti. ^ 
 
BETHLEHEM 
 
 octagonal dome raised on a three-story 
 tambour. Tlie interior is decorated witli 
 frescoes, chiefly by Tiejidlu. ami contains 
 several notable monuments, among whicli 
 that of Bartolommeo Colleoni iiiniself, 
 profusely ornamented with bas-reliefs and 
 surmounted by his statue, aiul that of his 
 daughter Medea are the most renuirkaijlc. 
 
 Sta. ^Iakia Maiuuoue is an early Ho- 
 manesque church, cruciform in plan, and 
 of simple exterior, with high walls and flat 
 gables, windows small and plain, flat but- 
 tresses, corbel - tables under the cornices 
 and following the rake of the gables, a tall 
 s(iuare campanile at the angle of the 
 north transept witii the choir, and an oc- 
 tagonal lantern at the crossing. Tlie 
 church has undergone extensive altera- 
 tions and is now chiefly interesting on ac- 
 count of its two porches at the transept 
 doorways, very elaborate compositions, of 
 which that on the north is the more 
 remarkable. It consists of a broad and 
 lofty round barrel-vaulted projection su]i- 
 ]M)rted by two slender white marble col- 
 umns resting on lions. Above this is a 
 sort of loggia, with three pointed and 
 cusped arches. The loggia is groin-vault- 
 ed, and minutely decorated with panels 
 and inlay of black, red, and white mar- 
 bles ; under it are three statues, of which 
 the central one rej)resents the Duke Lu- 
 pus on horseback. Above is an inferior 
 third story, a squ;ire open niche, with a 
 higli pyramidal roof. Tlie interior of the 
 cliureh has been almost entirely modern- 
 ized. Its five apses, on choir, transept, 
 and aisles, still remain substantially in 
 tiieir original form. The church belongs 
 originally to the first half of the xii cent. ; 
 the porches are two centuries later — an in- 
 scription on one of the stones giving the 
 date of i:U!t-.iO, and the name of the 
 architect, Johannes di Campilio. 
 BET'lILEHEM, Palestine. 
 
 C'HriiCH OF THE NATIVITY, or of St. 
 
 ilary. The tradition is that this basilica 
 was built l.iy the Emi)ress Helena, mother 
 
 of Coustantine, over the jilace wher(! Clirist 
 was born. It lies on the northern slope 
 of the hill on which Bethlehem is built, 
 almost liuried between the Latin convent 
 on tlie north and the (rreek and Armenian 
 on tlu; south. In front of it is an opi'ii 
 paved square, on('i' ajiparcntly tlie atrium 
 of the basilica, fi-oni which the enclosing 
 colonnade has disappeared. The facade 
 is crossed by a low narthex or vestibule 
 below the plain gable of the nave. It is a 
 double-aisled basilica, with transept and 
 choir extended to the eastward, but diilers 
 from the Latin basilicas in having an apse 
 not only at the east of the choir, but at 
 each end of the transept. The uarthex 
 has been cut up into rooms, only the mid- 
 dle door being now open to the cluirch, and 
 that made as small as possible, f(3r defence 
 against wandering Arabs. Tlie interior 
 length is about 190 ft., but is blocked by 
 a hideous wall with a triangular-headed 
 opening which the Greeks built about fifty 
 years ago, to cut off the choir and transept 
 from the nave. The nave and aisles, 
 eleven bays long, are divided by four rows 
 of Corinthian columns 1'.) ft. high. Those 
 next the nave carry an architrave which 
 supports a high clerestory wall, [lierced 
 high up with round-arched windows, above 
 which is a rough open timbered roof of 
 the XVII century. The nave is about 'Si 
 ft. wide and 50 ft. high to the feet of the 
 rafters, and well lighted ; the aisles are 
 low and dark, being covered by a flat 
 ceiling whicli rests on the architrave over 
 the columns, and there is no triforium or 
 giillery. The whole of the wall has been 
 covered with rich mosaic on a gold 
 ground, provided during the occupation 
 of Palestine in the xii cent, by the Greek 
 Emperor Comnenos Porphyrogenetes. This 
 divided the unbroken part of the wall into 
 two bands, the lower occupied by half- 
 length figures of the ancestors of Clirist, 
 the upper by records of the early councils 
 of the Church in panels, and conventional 
 representations of the church - buildings 
 
1 IS 11 KAN 
 
 of tJR' cities wlieiT tlicv were held, sepa- 
 rated by elaborate ])aiiels of seroll foliage. 
 Between the elerestory window.s are figures 
 of angels. Much of this has disappeared, 
 but euougli remains to show the former 
 splendor of the building. The nave is as 
 wide as the two aisles on either side, and 
 the transept is as wide as the nave. 
 The aisles reappear in one bay beyond the 
 transept, and tlie order of columns is car- 
 ried about the choir and transept ; but 
 here it bears a complete Corinthian en- 
 tablature. From each side the choir ste])s 
 lead down to a large and rambling crypt, 
 where are shown, directly under the centre 
 of the choir, the cave or grotto in which, it 
 is said, Christ wiis born. Near by is the 
 manger in which he was laid. These parts- 
 of the crypt are lined with marble and 
 lavishly adorned. There is also, converted 
 into a chaioel, the chamber where St. .Je- 
 rome passed many years of seclusion and 
 composed most of his writings. There is 
 no one of the sacred buildings of the 
 Holy Land of wiiicli the history can be so 
 iininterruptt'dly tracrd, or which has been 
 
 Fig. 33.— Bethlehem, Ch of the Nativity. 
 Scale of 100 feet. 
 
 apparently so little changed. Eusebius 
 says that Helena, visiting the Holy Land, 
 decorated the ])laoe of the Xativity, and 
 that Constantine built there one of the 
 
 three splendid edifices that he raised in 
 Palestine. The early writers of the (.'hurch 
 and many pilgrims have left descriptions 
 which indicate its continued existence. In 
 the vm cent, appears for the first time a 
 story that the basilica was rebuilt by .Jus- 
 tinian. )Some mddeni authorities have 
 thought this verified by tlie triapsidal ar- 
 rangement of the choir, but examination 
 seems to show that the church is homoge- 
 neous, and that the colonnades of the nave, 
 and especially the treatment and execution 
 of the order that is carried rotrnd the choir, 
 cannot be so late as Justinian, or indeed 
 later tlian Constantine. (Sec Fig. o-l.) 
 BKTII-SIIKAX. See Bei.saii. 
 P>KT .liUKlX (jirobably anc. Eleuther- 
 opolis), Palestine. 
 
 The Roman remains are extensive, a 
 great i)art of the modern houses incorpo- 
 rating ancient walls, columns, etc. Parts 
 of the ancien.t walls survive. A fort on 
 the N. W. has towers at the angles. The 
 cliffs in the neighborhood are full of rock- 
 chambers, round, aiul vaulted, tlie vaults 
 being su]iported on detached pillars. They 
 are -.'(I ft. to :>.3 ft. in diameter and 30 ft. to 
 4ii ft. high, and lighted by a shaft from 
 above. These chambers were probably in- 
 tended for dwellings, for which purpose 
 and for staldes some of them now serve. 
 HI EDA (anc. Blera), Etruria, Italy, 
 
 AxciEXT Bridges. One, of a single 
 arch of 2-i ft. 3 in. span, in masonry of 
 large square blocks without mortar, part 
 in alternate courses of headers and 
 stretchers, the lowest courses drafted, is 
 Etruscan. This bridge is intere.sting in 
 tliat on one side the rock ri.ses to the 
 height of the impost and is hewn to the 
 form of a pier, while the pier on the oj)- 
 l>osite side, where the gi'ound is low, is 
 wholly of masonry. The other bridge, of 
 three arches, has Etru.«can ])iers, but the 
 arches are Roman. The original Etrus- 
 can bi-idge doubtless had a superstructure 
 of wood. The span of the largest (central) 
 arch is about 30 ft. 
 
 5(i 
 
lUELLA 
 
 Xechoi'olis. In tho cliffs bordering 
 the high tongue of hind on wliicii the un- 
 cieut town stood, tliere is an extensive 
 Etruscan necropolis hewn from tho rock. 
 There are numerous artificial caverns, in 
 terraces, with pedimentcd architectural 
 fa9ades of varied ilecoration ; many of 
 them imitate ancient habitations somewhat 
 in detail, and some fallen blocks 
 are hewn into the form \)t iso- 
 lated houses. It is usual in the 
 interior to find the square ridge- 
 l)eam of the roof and the rafters 
 carved in relief. Tliere is often 
 a window ou each side of the 
 door. 
 lUELLA. Italy. 
 
 The ]?APTisTERY is a singular 
 little building of historic inter- 
 est. Its plan is a square with a 
 semicircular domed apse on each 
 face, out of which the upper wall 
 rises, still square within but 
 with each side thickened in thi' 
 middle, so that it becomes oc- 
 fagonal without and supports, 
 with the help of' corbelling in 
 the angles, a hemispherical 
 dome, of which the crown is 
 about 34: ft. above the ))ave- 
 ment. The drum is tinisl)ed by 
 a large arched corbel-table and a 
 low roof over the dome, which, 
 as well as the roof of tlie apses 
 below, is covered by the stone tiles laid 
 directly on the masonry of the vaults, no 
 wood being used in the construction. This 
 building is almost identical in structure 
 with the little chapel of Ste. Croi.x: at 
 Montmajour near Aries. Count Jlella, in 
 the absence of authentic records, considers 
 it to belong to the viii or ix century. 
 HITETT(5, Italy. 
 
 The Cathedk.vl. founded early in the 
 IS- cent, and dedicated to St. ilichael, was 
 suljstantially rebuilt, according to an in- 
 scription on the facade, about Io;i.'). though 
 certain portions of the exterior jiroljably be- 
 
 long to an older construction. The facade, 
 which follows the outline of the nave and 
 aisles, has a rich pointed middle doorway, 
 consisting of a square-headed o})ening with 
 sculptured tympanum and decorated ar- 
 chivolts, borne by fiat pilasters and short 
 columns resting on grotesque beasts, with 
 fantastic cajiitals and with stilt - blocks. 
 
 Fig. 34— Bitetto, Cathedral. 
 
 Above is a round-arched two -light win- 
 dow, and in the gable a fine rose, be- 
 tween slender colonnettes on corbels car- 
 rying a broad decorated archivolt. The 
 side compartments have plain door -ways 
 with tympana, and two - light windows 
 above. At the left of the facade is a tall 
 modern tower with successive belfry stages, 
 leaning against the dome of a modern 
 chapel behind it. The interior has a nave 
 and aisles separated by arcades of mingled 
 round and pointed arches sjiringing from 
 square piers with a half column on each 
 side and an apsidal choir. TMie nave has a 
 
 57 
 
lU'l'dNTo 
 
 wooden ceiling: tlie aisles ure groiiieil in 
 s((Uiire Ikivs. (Sec Fiij. t>,J.) 
 BITUN'KJ, Italy. 
 
 The Cathedral, ileilicated t^ St. \'ul- 
 entine. is believeil to have l)e('ii t'diinilcMl in 
 
 two t^roiips ol' three l>v a ]iair of eoiiiiidiuul 
 piers. The chapel on each sitle next the 
 transept is rejilaeecl Ijy an open recessed 
 liorcli. The whole interior is modernized, 
 with tnnnel-vanlts in nave and transei)t. and 
 a great order of Corinthian pilas- 
 ters, all in stucco. A crvpt ex- 
 tends under the transept. The cx- 
 teridi- is (if great interest, and is 
 pcrhajis tlie liest existing example 
 of the miidilii-ation of the Lom- 
 liard fdi'uis in the suntli (if Ital\-. 
 The front shows a gaf>led nave 
 between two lean-to aisles, with 
 three doorways umlci- rduml an-h- 
 I's and tyni])ana. cnuplrd ai'chccl 
 windows DVci' thcin. and a haiid- 
 .somc ro.se in the central gable. 
 The central door is a richly deco- 
 rated [lortal. eni'losed in two 
 bands of foliage, between slender 
 shafts resting on lions, with tall 
 capitals sujijiortiiig grlHins. The 
 rose-wiiulow in the gable is flanked 
 by two slender columns on corbels 
 supporting figures of lions, from 
 which springs a sculi)tured hood- 
 nioulding. 'I'he Hanks of the 
 church are also interesting. The 
 aisle walls ha\c a blind arcade, 
 continued round the transept and 
 east end. with a single, narrow, 
 I'ounil - arched window in each 
 arch. At the top of the wall and 
 abo\e the eaves is an o])en arcadcd 
 screen with I'ound arches in groups 
 the 1\ ceid.. but in its ]iresent foi-ni is of six. on columns. The clerestory, di- 
 ])robably not older than the early part of vided by slender engaged shafts ending in 
 
 Fig 35 — Bttnr.to Cathedral P„'pit. 
 
 the xir century. Its plan is a rectangle 
 about SO ft. broad and 100 ft. long. Of 
 this length about one-third is given to the 
 undivided transe]it. of whicii the eastci-ii 
 wall is recessed in threi' flat apses, not 
 showing on the exterior. The remaining 
 length is divided into a nave and aisles 
 with two ranges of lateral cha])els. 'i'lie 
 nave is l)ordered by six arches on each side 
 supported by columns, and divided into a parallelo; 
 
 as 
 
 ail arched corliel-bible. had small roiind- 
 ai'che(l wiiKlows irregularly dis])oscd. uliicli 
 ari' now blocked up. {Sec Fi<j. -i'l.) 
 lU.HRA. See /.'W,^ 
 I'.OCIIAZ-KFXr (Pteria). Asia -Aliiior. 
 
 iliTTiTP: Palaci:. founded on an artifi- 
 cial terrace, and in other ways presenting 
 close analogies with Assyrian structures of 
 similar character, 'i'he foundations form 
 ram, ISi ft. by i;JS ft., of large, 
 
BULCASCUOE 
 
 irregulur blocks of stone, secured together 
 by iron cramps. The superstructure w:is 
 iu brick. Tlie disposition of the rooms is 
 of the usual oriental t\^ie. The cliief 
 gate is an independent structure or pylon 
 .5'J ft. deep ; two lion -heads project on 
 either side of the door above the lintel. 
 Xear the 2)alaceare remains of other build- 
 ings as well as of the city walls about two 
 miles in circuit, and the rock-reliefs called 
 lasili Ku'la. or the Inscribed Stone. The 
 Hittite art is not an original art ; it is de- 
 rived from the Assyrian, which it follows 
 more or less rudely and closely, modified 
 by influences akin to the Phooniciau, and 
 with local elements, such as the usual 
 high tiara and uj^turned shoe, and other 
 details of costume. Eemains of this art 
 abound in the northern half of Syria and 
 in southeastern Asia ilinor. 
 BOLOASCOOE (Bolkazkeui), Asia Mi- 
 nor. 
 
 RoJiAX TiiEATUE, remarkable for its 
 admiraijle preservation. At the top the 
 stone sockets for the awning-jjoles are still 
 in place. The interior is described as 
 practically perfect, together with the 
 vaulted substructions. The cavea is sur- 
 rounded above Ijy an arcaded gallery, 
 whose arches rest on brick columns coated 
 with stucco ; the columns have ornate cap- 
 itals. The wall at the back of the stage 
 stands entire, and is jn-ofusely ornament- 
 ed with rectangular niches, a balcony, 
 and other features, in white marble ; the 
 sculpture includes heads, masks, flowers, 
 dolphins, animals, and eagles. The faces 
 of the walls were coated with white stucco 
 bearing designs in red, marked out in 
 black ; the interior of the niches was light 
 blue, and color remains also on the masks. 
 BOLOGXA. Italy. 
 
 Baptistery. See S. Sfcfdiio. 
 
 Casa DEI Caracci. a small palace of 
 the XV cent, in Ijrick and terra-cotta, ])re- 
 snmed to have been occupied at one time 
 by the painters of that name, and remark- 
 able for some unusual features of design. 
 
 It has a high battering stone basement, 
 from the upper part of which project great 
 brackets bearing broad arches of l)rick 
 with decorated archivolts, which carry 
 the wall of the upper stories. Above the 
 arches a string-cmirse of terra-cotta bears 
 a range of round-arched two-light windows 
 with pilasters and decorated archivolt. 
 There is a low third story with round win- 
 dows in the frieze of a richly decorated 
 cornice. 
 
 CoRTE Di PiLATO. See S. Stcfaiiii. 
 
 Foiio DEI Mercanti. See Slercanzia. 
 
 Madoxxa ui Galliera. a .small 
 Kenaissance church of the xviiceut., with 
 a M urn stucco facade of much beauty. It is 
 in two stories, separated by an enriched 
 entablature which crosses the front, being 
 carried by Corinthian couided pilasters at 
 the corners, and broken over detached 
 columns by the great central door, whose 
 arch, flanked by decorated pilasters, rises 
 into the second story and is covered by a 
 pediment. In the second story the angles 
 are marked by two niches on each side, 
 one above another, bearing statues, and 
 tlie wall between is divided by slender 
 fluted jnlasters into three bays. The 
 facade ends in a very heavy and richly 
 decorated corniccione, beneath which is a 
 broad frieze Avith niches and half-length 
 statues. 
 
 Mauoxxa 1)1 S. LriA. An interesting 
 modern church, built in IT.'il from the de- 
 signs of Dotti. It stands on the summit 
 of a hill, the ilonte della Guardia, some two 
 miles from the town gate, and is ajiproached 
 from the foot of the hill by a continuous 
 arcade, rather more than a mile in length, 
 of six hundred and thirty-five arches, liuilt 
 between Wi^i and ITlid, and following the 
 conformation of the ground, with occa- 
 sional chajjels. The church has a singular 
 plan which may be described as a cross 
 inscribed within an ellipse. The centre is 
 bounded i)y four great arches which sup- 
 port a hemispherical dome raised on a 
 drum and surmounted by a cupola. The 
 
r.OLOCXA 
 
 Fig. 36. — Bologna, Madonna di S. Luca. 
 
 longer arms nf tlic cross are semicircular. The second stor}^, separated from the first 
 
 the shorter sciiii-clli]itical. From the ca^-t- 1)V a decorated .'^tring-course, lias two elah- 
 
 oratc jiointed and tracericd win- 
 dows divided by twisted shafts, 
 and enclosed in broad frames of 
 dec(ii';itc(l niouhlings. Between 
 these two windows is Mn octagonal 
 balcony or ri iKjIiii'm with tract'i'- 
 icd panels, covered by a polygonal 
 canopy with cnspcd arches under 
 gables anil a tiill ei'ock<'teil spire. 
 'I lie fa(;ade is linishcil bv :i rich 
 
 oji «rTT«rf3»— -"T- „ ■vTjj&wt.- , . , _'-»» ,' i coi'iiiee with (luati'cfoils cnelosiiii;' 
 
 (<i/%'^:, r,^^^^^gjg5*>«iKl^^^^^fc;, >^~: ^^|i,||j|ljL,j^,«^^- shields, with an :irehed eoi-bel- 
 
 t;il>lc bchiW it and forked liattle- 
 nients. ( Svr Fiij. .;.v. ) 
 
 l'.\LAZZO Bi;\ IL.U 1,11 A. A x\ 
 (■cut. Kenaissanue jialace of which 
 the architect is not known, with a 
 long and ratlier low fayade in sto- 
 ries of l)old rustic stonework, vari- 
 ously treated in different portions. 
 
 ern arm opens a square choir ending in an The first story has two round-arched door- 
 apse. At the west end of the church an ways, one with an order of decorated pilas- 
 
 ojjen portico descriljes a curious reversed 
 
 curve and terniinatcs in two open pen- 
 tagonal pa\ilions. from one of which the 
 
 arcaded staircase descends to the town. 
 
 The exterior view sliows the high elliptical 
 
 wall rising out of the niiilst of a sipuire 
 
 mass of sni-ronnding huildings, with alow 
 
 roof and the doine in the niiihlle. 'I'lie 
 
 a|)sidal choir projects fi'om the cast CMid, 
 
 flanked liy a low .squart^ tower, i^t^ve F'ujx. 
 
 36, 37.) " 
 
 La .MiCHfAXzrA (Hxchange). A small 
 
 building of bi-iek .-mil leri'a-c<itta built 
 
 ab(jut b.Mll :is an exchange anil called the 
 
 l''oro dei .Mei'eanti. The charactci'istic 
 
 ])ai-t is an addition (d' i:!s; and 1 i:!!), 
 
 analogous to the bi'oletti of Xortli Italv. 
 
 It consists of two stories, tiie first an open 
 
 loggia, groined, with two high poinleil 
 
 arches carrying the upper wall, and two on 
 
 the .sides of the ]ogi,da, sjiringing fr<Jin 
 
 groujiCMl piers with large foliage caps, 
 
 decorated archivolts. the spandrels orna- ters and semicircular pediment, the whole 
 
 mented with roundels con tainingscidpt lire, enriched with delicate bas-reliefs, and small 
 
 ilogna, 
 Scjie of 100 feet. 
 
BOLO(iXA 
 
 windows \vitli flat caps. The second-story 
 lias a range of round-arched two-light win- 
 dows under enclosing arclies, and separated 
 by columns. An enriched entablature runs 
 across the wliole front in each story, and 
 tlie upper cornice projects boldly on brack- 
 ets. Tile fine interior court has two stories 
 of vaulted roniiil-arched arcades with Com- 
 posite riihinins and entablatures, the up- 
 per arches being twice as many as those 
 licliiw. In tills palace met the Italian 
 
 umns, the upper arches one half tlie width 
 of those below. The palace dates presum- 
 ably from the xv cent., and is filled with 
 frescoes by the Caracci. (See Fig. JfO-) 
 
 Palazzo Isolaxi. An early Renais- 
 sance palace, jiroljably of the xv cent, 
 with a low fa(;adc in two stories, the first a 
 round arcade with six arches on Corinthian 
 columns, the second of six pointed arclied 
 windows, with fluted Corinthian jjilasters 
 and decorated archivolts. the arch-head di- 
 
 Fig. 38. — Bologna. La Mercanzia. 
 
 members of the Council of Tivnt iu 1.347, 
 after their schismatic adjournment to Bo- 
 logna, as appears from an inscription in 
 one of the rooms. (See Fi;/. -I'-i.) 
 
 Palazzo Fava. A fine example of the 
 brick and terra-cotta architecture of Xorth 
 Italy, with a fayade of three stories — the 
 first a high vaulted arcade of round arches 
 springing from srpiare piers witli engaged 
 columns on each side. Tlie second story 
 has a range of two - light windows with 
 broad ijilasters and round liearing arcli : a 
 very heavy and over -ornamented cornic- 
 cione crowns the facade. On the sides of 
 the interior court are two stories of round- 
 arched vaulted arcades on comjjosite col- 
 
 vidi'd into two delicate ogee ai'elics with 
 minute cusping, and with a roundel be- 
 tween, enclosing a head in high relief, 
 'i'he front is finished by a rich terra-cotta 
 cornice witli small deep arches on corliels, 
 each enclosing a liead. 
 
 Palazzo del Podesta. The old jjalace 
 of the magistrates dates from the early 
 ])art of the xiii cent., but its present 
 fa(;ade was built as late as 148.3. It is in 
 two stories, the first an open arcade of 
 round arches. s])ringing from square rustic 
 piers, faced with an order of engaged Co- 
 rinthian colunnis, the second an order of 
 flat Corinthian pilasters, and arched win- 
 dows between, witli jjilasters and monld- 
 
I'.OLOGXA 
 
 
 
 i 
 
 Fig. 39.— Bologna Pal Bevilacqua 
 
 C(l ai'cliiviilts. 'I'licrc i.s ;i low attii.- witli 
 rouiiil windows. The plain square me- 
 dianal tower rises out of the roof, ending 
 in a helfry with three-light and four-light 
 windows in the faces, under a bearing 
 arch, and crowned by square battlements. 
 The interior has a great hall, 75 ft. wide 
 and Kii ft. long, of which the original 
 character has wholly disaiiiieared under 
 successive changes. The palace was for 
 twenty years the prison of Ilcnsius, king 
 of Sardinia and natural son of the em- 
 peror Frederic II., from whom the great 
 hall is still called the '• Sala del Re Enzio." 
 S. FiivxcEsco. a brick church, one of 
 the largest of Bologna, and originally one 
 of the finest, dating probably from the 
 early part of the xiv cent., but in i;08 
 occupied as a Ciistoiii-housc. and now 
 much decayed and neglected. Its west 
 front has been greatly changed, but retains 
 its original doorway and the canopy over 
 it. The east end has aisles and exterior 
 chapels after the northern fashion, and the 
 thrust of the choir vaidt is met by great 
 flying-buttresses of rather awkward form. 
 Two campanili stand ur.ir together on 
 the south of the choir, of which the larger, 
 dating from tlu' XIII cent., has some gootl 
 Gothic features, anioni: oiIhts a liclfrv- 
 
 stage witli three-light windows with twisted 
 shafts for mullions and traceried heads. 
 The interior has a fine nave and aisles in 
 seven bays, separated by pointed arches 
 resting on. octagonal columns, all in brick. 
 The transept has been restored in the style 
 of the original. 
 
 S. (;iA<'O.MO M.ui(;ioi;i:. A Gotliic Mil 
 cent, church of brick, much modernized 
 in recent times. Its facade is substan- 
 tially unchanged and presents a single 
 broad gable divided by pilasters into three 
 divisions, the central one of which con- 
 tains a doorway flanked by columns of red 
 niarlilc resting on lions and supporting a 
 canojiy. Above the doorway an ugly 
 squari' window has rejjlaced the original 
 rose. In each side division is a elosed-up 
 window, <livided by a shaft and with .some 
 good plate-trai-ery in the head. The cor- 
 
 Fig. 40.— Bologna, Pal. Fava, Couit. 
 
B()L()(iXA 
 
 nices are mostly of brick with portions in 
 glazed terra-cotta. blue and j'reen. The 
 east end has a pol\'goual apse, each face 
 containing a large window with steep gable 
 over it flanked by pinnacles. To the S.E. 
 of the nave stands a higli (iothic eainiui- 
 nile of red brick, in stories of equal 
 Jieight, with unfinished Kenaissance bel- 
 fry. The interior is quite modernized, 
 but with line effect. Three large dome- 
 vaulted bays are separated by piers faced 
 with Composite pilasters, carrying Idocks 
 of a rudimentary entablature which bear 
 the great arches. These arches are HUc 1 . 
 eacii with a screen of three sub-arclu-. 
 borne on slight piers, and serving as the 
 entrances to side-chapels, 'i'he transept 
 is oidy simulated, and a dome covers the 
 crossing. The choir terminates in a po- 
 Ivgonal apse, and is surrounded by an 
 ambulatory with a circle <jf ciuipels. The 
 church was founded in VHu, and en- 
 larged in 14'.)^. but was never finished. 
 The campanile dates from Vi','i. 
 
 S. Petuoxio. This church, onr (jf 
 the largest (Jothic buildings in Italy, is 
 yet but a fragment of what it was meant 
 to be. The original design coiitem[)lated 
 a cruciform church some 7-")(» ft. long 
 and .■)()() ft. across the transept, covering 
 an area nearly as large as tliat of St. Pe- 
 ter's at Rome, and surmounted by a (h)iue 
 130 ft. in diameter. The project was too 
 vast for execution, and tiie existing church 
 represents tlie nave only of tiiis stupendous 
 cathedral. Even in its fragmentary state it 
 is, however, extremely imposing. Its ex- 
 terior is unfinished. The great facade 
 presents an immense surface of bald rough 
 brickwork, only the doorways being com- 
 pleted. These are rather elaborate com- 
 positions, much decorated with sculpture. 
 The flanks of the church are better, siu)w- 
 ing a noble high basement, above which 
 are fine, broad, lofty four-light windows 
 with traceried heads and giddes separated 
 by square buttresses. Within it is a five- 
 aisled church of six bavs. the outer aisles 
 
 being divided into chapels, two to each 
 bay, as in the Certosa at Pavia. The nave 
 piers are like those of the cathedral of 
 Florence — grouped, very low in proportion 
 to the height of the nave, with high caps, 
 and carrying extremely high ]iointed 
 
 Fig. 41. — Boiogna, S Petronio. 
 
 arches, above which in the clerestory are 
 small round windows, cu.sped, but with- 
 out tracery. Those members of the nave- 
 piers which front the nave are carried up 
 as vaulting-shafts to the spring of the 
 groined vault, which is high and simple. 
 The aisles are lighted by circular windows 
 in a low clerestory like those of the nave ; 
 but the outer walls of the chapels are 
 pierced with the large and beautiful win- 
 dows above mentioned. The scale of the 
 interior is prodigious, and was evidently 
 determined upon the same theory which 
 governed the design of the cathedral at 
 Florence, and which has destroyed the ef- 
 fect of that church, the theory that gran- 
 deur is obtained liv merelv increasing the 
 
 63 
 
B(»L(h;XA 
 
 size ol' all tin' j)arts (if a design withcmt 
 inultijjlying their number. The bays of 
 the nave of S. Petri)nio are rather more 
 than (io ft. s(|iiare. The nave, with only 
 six bays, is therefore abont o'ln ft. long, 
 while the breacltii of nave and aisles is 
 about ISO ft., and the erown of the nave 
 vault is nearly l.")(l ft. al)ove the floor. 
 Jlany famous names are associated with 
 the history of tliis remarkable church. 
 xVndrea Manfredi was summoned from 
 Florence in i:iS'^, and made the tirst de- 
 sign. In lii'.io. a model at one twelfth 
 full size W'us built from the plans of An- 
 tonio Vincenzi. jierhajis the largest archi- 
 tectural model ever nunle. and the corner- 
 stone was laid during the same year, in 
 the centre of the crossing, but the actual 
 work was begun at the west end. The 
 work was suliject to frc(|uent inter- 
 ru2)tions : I'ei'uzzi. (iiulio Honumo, ^'ig- 
 nola, and I'alladio were successively 
 brought in for service or consultation, 
 and the l)uilding was carried on until 
 1G.5!). (,sVr /•'/V/.'.J/.) 
 
 S8. PiETKo E Paolu. See S. Sti-fiiiio. 
 
 S. Sepolcku. See S. Sfr/i'iin. 
 
 S. Stefaxo. a most curious and in- 
 teresting grouj) of ecclesiastical buildings. 
 
 Fig. 42.— Bologna. S. Sepolcro (S. Stefano). 
 
 the oldest in Bologna, of which the ar- 
 rangement can best be understood from 
 the plan. They were built at widely dif- 
 
 ferent periods, as is evident not only from 
 the style but also from the varying levels 
 of the floors. The dimensions are nowhere 
 large, the whole groujj measuring about 
 •^.io ft. from east to west and 175 ft. from 
 north to south. In the centre is the Corte 
 di Pilato, so called, an open court or atrium 
 with an open vaulted arcade on two sides, 
 of [ilaiii i-ound arches cai'ricd on grouped 
 columns quatrefoil in plan, with simjile 
 lilock capitals. In the court stands an 
 aui-icnt fr)nt consecrated to the Lombard 
 Kings Luiti^rand and Hildel)rand, the 
 former of whom died in ',44. It has an 
 interesting inscription. From the east 
 end of this court opens the church of Sta. 
 Trinita. of which the easterly juii-t is per- 
 haj)s the oldest portion of the whole grouj), 
 and from the west end the octagonal 
 church or baptistery of S. Sepolcro, so 
 named from the tomb of S. Petronio which 
 was built within it in the Ml cent, in imi- 
 tation of the Holy Sepulchre at -lerusalem. 
 The faces of the octagon toward the court 
 ai'c unbroken e.\ce})t l>y a si)nj)le doorway 
 in eai-li face, and some small windows high 
 up in till' walls, but the walls are cov- 
 ered with a mosaic of lirick and stone of <i 
 great variety of patterns. The interior of 
 this l)uilding, which is as a whole the old- 
 est of all these churches, is very singular. 
 {Sff Fiji. Jf.!.) The central ])ortion is 
 I welve-sided. and the piers cai'rying the 
 clci'estory wall are partly large round piers 
 with am-ient caj)itals rude in design and 
 execution, and partly slender coupled col- 
 umns. They carry sim]ile round arches. 
 .■ibove which is the high clerestol'v wall 
 with three-fpnirter shafts in the angles, 
 resting on plain corbels and terminating in 
 a cornice of intersecting arches. The sur- 
 rounding aisle or arabnlatory is irregular in 
 shape and vaulted in compartments alter- 
 nately square and triangular, somewhat 
 sutfu'estiuir the Kotonda at Brescia and the 
 Miinster at Aix la Chapelle, The columns 
 at the angles are varied, mostly with eajii- 
 tals of more or less classic character. 
 
 64 
 
BOLOGNA 
 
 South of tlie jitrinm is a cloister of two 
 stories : the rude first story lias low round 
 arches supported partly by massive round 
 shafts, and partly by slender grouped 
 shafts set in a square and covered, like the 
 larger columns, by a jilain slab. The plain 
 i)rick wall above the arches bears a later 
 iircade of round arches on columns cou- 
 ])led in depth, with capitals of various and 
 often grotesque design. The spandrels 
 and the wall ab()ve are faced with a pattern 
 of colored bricks. The wall is finished 
 with a corbelled cornice. Adjoining the 
 cloister on the west are two churches, one 
 above another, of wliich the lower, called 
 the Confessione, is presumed to date from 
 the XI century. Its floor is below the level 
 of the surrounding buildings, and the 
 church, which was built above it in the 
 XVI cent., is now connected with the older 
 church of S. Giovanni west of it, to which 
 it serves as a choir, its floor being reached 
 by a broad ascending staircase. North of 
 the baptistery and of the atrium is the 
 church of SS. Pietro e Paolo, one of the 
 oldest portions of the group, a distinctly 
 Romanesque liuilding with short nave and 
 side aisles, three eastern apses, and a higli 
 clerestory. These divisions are plainly 
 expressed by the front, which has how- 
 ever been recently restored. The project- 
 ing central porch is in two stages, first 
 a round arch sjiringing from square en- 
 gaged piers with Byzantine capitals, and 
 above it a shelf or balcony, bearing a sit- 
 ting statue under a round arch on col- 
 umns, with a high gable, and half gables 
 on either side. The clerestory walls are 
 divided by pilaster-strips against which 
 are built strong triangular buttresses, with 
 single round-headed windows between. 
 The front of the baptistery has also been 
 restored, but the original character is well 
 preserved. The octagonal wall of the 
 ambulatory is in two stories, with three 
 round arches on each face below, and the 
 second story plain, with angle-shafts run- 
 ning up to an arcaded eaves-cornice. In 
 
 tJie middle face is a plain round-arched 
 door. Above rises the plain clerestory 
 wall with a diagonal pattern in brick, an 
 
 Fig. 43. — Bologna, S. Stefano, Plan. 
 Scale of 50 feet. 
 
 arched corbel-table under the eaves, and 
 a low polygonal roof. The church of 
 S. (iiovanni, called also II C'rocefisso, 
 whicli lies to the right of the baptistery 
 and i^rojects w'estward into the square, 
 is nuich dilapidated. It has an unbroken 
 gable covering the whole front, a low 
 pointed central doorway and a row of sin- 
 gle pointed arched windows above. On 
 the northern corner of the front is a cir- 
 cular pulpit sujiported on bold corbels. 
 Behind this church rises the high rude 
 gable of the modern choir already men- 
 tioned, and at the south side a plain 
 square brick campanile with two -light 
 openings in the belfry and a flat roof. 
 The history of tliis curious group of build- 
 ings is obscure. The earliest portions, 
 now comprised within the church of Sta. 
 Trinita, are believed to have been built on 
 tlie site and perhaps from materials of a 
 Roman temple of Isis. as early as the end 
 of the IV century. The baptistery, per- 
 haps first built in the iii cent., was 
 destroyed and rebuilt about 540. The 
 
BORGO 
 
 churches of Sta. Triiiitii. SS. Pietro e 
 Paolo, iuul S. (iiovaiini probably flate from 
 al)out Tr)(). Various rostoratioiis took jilace 
 early in the xi cent., and a century later 
 the buildings came into the hands of the 
 Benedictines, by whom the arcades of the 
 upjier cloister were built. (Sec Fij. J/-!.) 
 
 Sta. TiiiNiT.l. See S. S/cfann. 
 
 The Uxiv'ERSiTY occupies, with the Mu- 
 seum of Natural History, a Renaissance 
 palace built by Cardinal Poggi about 1570, 
 from the designs of Pellegrino Tibaldi, sur- 
 rounding three sides of a square court, of 
 which the architecture, designed by Bar- 
 tolommoo Triaechini, consists of two stor- 
 ies of coupled Doric and Ionic pilasters on 
 high pedestals, sujiporting continuous en- 
 tablatures. On three sides of the court the 
 intervals enclose blind arches, and windows 
 with pedimented caps; on the side toward 
 the entrance are broad open arches. Hanked 
 by square openmgs. The palace was 
 bought by the Senate of Bologna in 171 4 
 for the purposes of the University; several 
 of its halls are decorated with frescoes by 
 Tibaldi and Niccolo Abbate. 
 BORGO S. DOXINO, near Parma. Italy. 
 
 The Cathedral is an old church whose 
 present form dates from the end of the xi 
 century. The low broad front, of which 
 only the lower story is finished, contains 
 three deeply recessed and richly sculi)turcd 
 portals, with detached columns staiuling 
 on griffins or lions. Above is a blank wall 
 Hanked by two insignificant corner towers. 
 Tlie interior is of fine l)old Lombard design 
 with double hays, grouped piers, and cush- 
 ion capitals, and early pointed vaults. The 
 triforium has quadruple arcades under en- 
 closing arches, and the clerestory windows 
 arc c<iu|)h'd. 
 l'>()Zli.V (aiic. Bostra), llauran. Syria. 
 
 The Cathedral resembles in plan that 
 of Ezra, but is on twice the scale, and is 
 ruined. It is a circle of 120 ft. diameter, 
 in.scribed in a square of 125 ft., the corners 
 being filled by semicircular niches, and a 
 choir with a round apse projecting from 
 
 tlie east side flanked l)y two sacristies, and 
 these again l)y two small clnqtels with ap.ses 
 — an arrangement unparalleled in Syria. 
 The circle shows above the square in a 
 round drum j)ierced with windows. Prob- 
 ably there was an inner circle of arcaded 
 jiiers carrying an inner drum sui'inounted 
 by a dome, but they have disappeared, and 
 a small basilica has been built inside the 
 large church, continuing the lines of its 
 choir. The walls are pierced with a great 
 number of round-arched doors with tran- 
 soms, and windows. An inscrii)tion gives 
 the date 512 a.d. 
 
 Roman Buildixg, of rectangular plan, 
 on the main street. It has a portico of 
 two ranges of columns, the white marble 
 bases of which remain in sifii, and three 
 tiers of niches in the wall. The execution 
 and ornament are good. It is uncertain 
 whether it was a temple or a porch. 
 
 RoMAX Walls, surviving on the west 
 and south sides. The city was rectangular 
 in plan, except that the N.W. and ]S'.K. 
 corners were cut off. The west gate is 
 well preserved, displaying two arches, one 
 over the other, and near the gate shell- 
 shaped niches in the wall protected by 
 ti-iangular roof-canopies. The wall is 
 strengthened by many square towers. 
 
 The town was traversed by colonnaded 
 .streets, like many others in Syria. There 
 are abundant remains of ancient buildings, 
 exploration of which might lead to iden- 
 tification, some good Roman arches, and 
 particularly four excellent Corinthian col- 
 innns. about 47 ft. high, which belonged 
 to some public building. There are also 
 baths with extensive vaulted constructions. 
 
 Thkatrk, south of the town and fac- 
 ing north, over whieli is built a massive 
 ^Vrabian castle with many s(iuare towers. 
 Six tiers of the seats of the theatre ai'e vis- 
 ible in the court of the castle. Its diam- 
 eter is about 250 ft. Fliglits of steps 
 lead up from outside the auditorium to 
 the preeinction or horizontal gallery, and 
 there are arched passages in the substruc- 
 
 (se 
 
miANCIIID.E 
 
 tioiis oommunioatiiig witli vomitoriu. A 
 gallery witli Doric columns, of which some 
 still stand, surrounded the auditorium 
 above. The stage is about 25 ft. deej), 
 and has a wall about 100 ft. long in two 
 stories with decorative niches, and behind 
 it several rooms. 
 
 TuirMPiiAL Arch, of three openings, 
 the middle one about 41 ft. high, besides 
 a traiisverse ar(>h. It has pilasters, one of 
 which bears a Latin inscription. It stands 
 on a pedestal -11 ft. by 20 ft. 
 BRAXCHID^E (Didyma), Asia Minor. 
 
 Temple of Apollo Didymaios, a very 
 ancient foundation which was restored af- 
 ter the Persian wars and rebuilt at a late 
 time by the Milesians on so enormous a 
 scale that it was never finished. Two Ionic 
 columns with their architraves, and one 
 apart with shaft not yet fluted, are still 
 standing. The height of the columns is 
 63 ft., their diameter at the base. 6 ft. 6 in. 
 The temple is described as decast3'le, dip- 
 teral, with four columns between antfe in 
 the pronaos, and twenty-one columns ou 
 the flanks. Its dimensions were 168 ft. 
 by .302 ft. The material is white marble 
 with bluish markings. A Sacred Way led 
 from the sea to the temj)le. bordered on 
 either side with archaic seated statues, the 
 figure and the chair being carved from a 
 single block. 
 BKESCIA, Italy. 
 
 The BuoLETTO is probably the largest 
 of the medieval town-halls of North Italy. 
 It is an immense pile of buildings with 
 three fronts of irregular mixed design, 
 enclosing a large quadrangle, on two sides 
 of which are vaulted cloisters with simple 
 pointed arches, carried on plain square 
 piers. The external walls show for the 
 most part three stories of windows, square, 
 round-headed, and pointed, but are of 
 various heights, and evidently of various 
 dates. A tall rude bell-tower rises near 
 one of the angles, with four pointed arches 
 in the belfry, and crowned with forked 
 battlements. The chief interest of this 
 
 great building lies in its beautiful detail, 
 executed for the most part in moulded 
 brick. Some of the windows and cornices 
 are of great elaborateness and elegance. 
 Mothes gives 1187 as the date of the com- 
 mencement of the building, which was, 
 however, frequently interru^jted by donies- 
 tic disturbances and by foreign wars, so 
 that it cannot be supposed to have been 
 finished before the second half of the xiii 
 century. It has been much altered, and 
 now contains the Courts of Justice. The 
 tower was begun in 1213. 
 
 The New Cathedral (Duomo Xuo- 
 vo), S. Pietro, begun in 1609 by (iiov. 
 Batt. Lantana, is one of the most success- 
 ful churches of its time. In jilan it is a 
 Greek cross, with the eastern arm length- 
 ened into a deep choir, ending in an apse. 
 The arms of the cross are barrel-vaulted, 
 the re-entrant angles filled out to a square 
 by chapels with low interior domes, and 
 the crossing covered by a noble central 
 dome, 2T0 ft. high. A single Corinthian 
 order lines the interior, and the great 
 piers under the dome are so grouped, of sal- 
 ient pilasters and detached columns under 
 the main arches, as to give great animation 
 and buoyancy to the design. The fa(;ade, 
 added later, is inferior. The dome itself, 
 designed by Mazzoli, was not finished till 
 1S2.5. 
 
 The Old Cathedral (Duomo Vec- 
 cliio), also called La Rotonda, a remark- 
 able and very ancient circular church of 
 brick, adjoining the transept of the new 
 cathedral of S. Pietro. Its exterior, ex- 
 tremely simple, presents a low circular 
 aisle, the floor some ten or eleven feet be- 
 low the level of the street, with a low' roof, 
 above which rises the high clerestory wall, 
 or tambour, with five rude, round-headed 
 windows, doubtless modern, near the aisle 
 roof, and above them a series of thin, flat 
 pilasters, dividing the wall into panels and 
 ending in an arcaded cornice. In the jjauels 
 just under the cornice is a series of round- 
 arched blind windows. The roof-surface 
 
BIJESCIA 
 
 is of low pitch, and is covered with tiles 
 which lie directly on the dome beneath. 
 The interior is not less simple. The cen- 
 tral hall or nave has a diameter of about 
 G2 ft., and is surrounded by tlie aisle, 
 which is 18 ft. wide. Tliey are separated 
 by a circle of eight massive ])iers about 
 6 ft. sfjuare witliout base or capital, carry- 
 ing round arclies, above which rises the 
 clerestory wall without string or cornice, 
 supporting tlie hemispherical dome, of 
 which the crown is about 80 ft. above the 
 floor, with no lantern or other feature. 
 The floor of the surrounding aisle is raised 
 by foui- stejjs above that of the central por- 
 tidu. Tlie vaulting of the aisle is pecul- 
 iar, in compartments alternately rectangu- 
 lar and triangular, sei^irated by two round 
 arches carried across the aisle from each 
 pier, the rectangular compartments being 
 groined. Over tiie entrance doorway was 
 a square tower, which fell in 1708 and was 
 not rebuilt. The whole construction is 
 very massive, the w-alls of the aisle and the 
 clerestory being about (> ft. thick. In the 
 axis of the church beyond the wall of the 
 aisle, opposite the entrance and about l-'J 
 ft. below its floor, is the cruciform cryj)t 
 of San Filastro, with three aisles about 33 
 ft. long, of four bays each, terminating in 
 apses, and divided by marble columns 
 with carved capitals of various design, 
 some of tlieni strongly Byzantine in char- 
 acter. The columns carry round arches 
 and tlie bays are covered with simple four- 
 part vaulting. The history of this build- 
 insr is obscure. It has been ascribed to 
 Queen Theodolinda. Some authorities 
 have seen in it tlie basilica built by fount 
 Raimondo at the end of the viii cent., 
 the latest, Cattanco. believes it to be later 
 than the year 1000. Tlie old 1)asilica of 
 St. Peter, occupying a site adjacent to tlie 
 Rotonda on the east, was burned about 
 800 ; and the Rotonda was afterward 
 made to serve for the Cathedral. The 
 basilica was repaired, and the two cathe- 
 drals were maintained cm an ecjual footing 
 
 side by side, one serving for use in winter, 
 the other in summer. Portions of the old 
 basilica still exist, incori^orated with the 
 presbytery and choir which were added to 
 the Rotonda in the xiii and xv centuries. 
 
 Palazzo della LoiifiiA, or del JIl- 
 xicii'io (Town Hall). This beautiful 
 example of the best age of the Italian 
 Renaissance, begun in 1")08 by Formen- 
 tone, was carried out by him as far as the 
 floor of the second story ; it then jiassed 
 into the hands of Sansovino, and was com- 
 jileted about l.")20 by Palladio. Its facade 
 is extremely simple in disposition, large in 
 scale, elegant and refined in detail. It is 
 in two stories, the first an open vaulted 
 loggia of three arches nearly 20 ft. broad, 
 springing from pilasters in the intervals of 
 an order of engaged Corinthian columns 
 crowned by a very light balustrade. Above 
 is an order of flat Corinthian pilasters 
 panelled and decorated with exf|uisite bas- 
 reliefs, as is also the broad frieze of the 
 corniccione, and enclosing single square 
 windows with fluted Corinthian pilasters 
 and entablature. This story is crowned 
 by a high thin balustrade, above which is a 
 modern attic. The interior was originally 
 fluislied in a style corresponding with the 
 facade, but was quite destroyed by a fire in 
 l.")7.T. with some tine jjictures by Titian. 
 
 The Rcman Fokum. Part of its deco- 
 ration survives in the form of a number 
 of Corinthian columns, and some jiarts of 
 a Roman theatre are visil)le in a private 
 house near the Museum. 
 
 Roman' Temple, now serving as a mu- 
 seum of anti(|uities. It was excavated 
 and consolidated in 1822. It is Corin- 
 thian, on a high stereobate. with a pictu- 
 resque portico of twelve columns and four 
 l)iers on the front. There are three shal- 
 low cellas side by side. The hexastyle 
 middle portion of the portico projects be- 
 fore the central cella, while before each of 
 the side cellas is a porch of two columns be- 
 tween two piers. A central flight of steps 
 desceiuls between square projecting piers 
 
BKIXDISI 
 
 ill front. The arrangement of tlie temple 
 is pecnliar in that the portico and jjeili- 
 ment are on one of the long sides of the 
 plan. An inscription shows that the 
 huilding was dedicated l)y the Emperor 
 Vespasian in T'-i .v. I)., and that one of the 
 cellas was sacre<l to llercnles. 'L'his mu- 
 senm contains the celebrated bronze Vic- 
 tory of Brescia. 
 
 La RoTOXDA. See Old ('(illinlrdl. 
 
 S. Francesco, a late Komanesque 
 church, said to have been founded in 
 1210, has a front of stone with cornices 
 and mouldings of brick divided into three 
 parts by flat pilasters. In the central 
 division is a good round-arched doorway 
 with deeply splayed jambs and engaged 
 columns, and a very heavy and rich hori- 
 zontal cornice of brickwork. Above this 
 is a fine rose window with voussoirs of 
 l)lack and white marbh'. A single low 
 gable with an elaborate brick cornice cm- 
 braces the whole front. A campanile rises 
 from the south side of the choir and a 
 large and lofty sixteen-sided lantern from 
 the roof of one of the chapels on the north 
 side. The remainder of the exterior and the 
 entire interior have been quite modernized. 
 
 Sta. Giulia is a little Lombard church 
 standing in the court-yard of the monastery 
 of tlie same name, and dating perhaps from 
 the later half of the viii century. Its 
 plan and disposition are jieculiar, a quadri- 
 lateral measuring roughly 3.5 ft. square, 
 over which is set an octagonal dome, its 
 alternate sides carried on s((uinchcs cov- 
 ered outside by triangular roofs. From 
 the east side of the church, which was 
 perhaps originally either a baptistery or a 
 mortuary chapel, open three equal semi- 
 circular apses. The walls are of cut 
 stone, divided by pilaster - strips which 
 end in arched corbel-tables, and pierced 
 by small arched windows. The dome is 
 masked in the usual Lombard manner by 
 an arcaded eaves-gallery, and crowned by 
 an arched corbel - table, and a low octag- 
 onal roof. 
 
 Sta. Marta dei Miracoli. A small 
 Renaissance church of the xv cent., re- 
 markable chiefly for its fa9ade, attributed 
 to Giovanni Padoni, of which the central 
 2)art, including a projecting porch of four 
 Corinthian columns on jiedestals with 
 high entablature and panelled wall or attic 
 above, is of extraordinary richness and 
 delicacy of decoration, every surface being 
 covered with marble has - reliefs. The 
 plan is square, with fnui- central piers 
 dividing the interior into nine bays, of 
 which the central one is covered by a bar- 
 rel vault, and the four adj.icent bays by 
 domes of unequal size. A square choir 
 terminating in an apse projects eastward. 
 BRIXDISI (anc. Brundusium), Italy. 
 
 The Castle is a square fortress with 
 round angle-towers, surrounded by a higli 
 wall with square angle-towers and a heavy 
 machicolated cornice. Its original date is 
 uncertain, but it was rebuilt in 1223. It 
 was converted by Murat into a prison, for 
 which it still serves, but is now much ruined. 
 
 The (Jathedral, dedicated to SS. Maria 
 and Teodoro, was consecrated by Rope Ur- 
 ban II. in 1(IS!I, and was rebuilt or com- 
 pleted by King Roger between 1130 and 
 1154, and decorated with mosaics in 1178. 
 It was damaged by an eartiupiake in 11.16 
 and destroyed by another in 1743. and re- 
 built in the style of the period, the work 
 being completed in 1740. The church re- 
 tains substantially its original disposition, 
 and a portion of the old mosaics has been 
 brought together again on the walls of the 
 nave. 
 
 S. (iiovAxxi Battista (St. John the 
 Baptist), an interesting baptistery, as- 
 signed by some authorities to the ix cent., 
 and believed by some, but without much 
 probability, to have been built by the 
 Knights Templar. It is a circular build- 
 ing with an interior ring of eight anti<pie 
 columns supporting round arches and a cir- 
 cular wall above. This ring is surrounded 
 by a circular aisle, divided by transverse 
 arches into irregularly vaulted bays, and 
 
BRUNDUSIUM 
 
 broken eastward h\ a straight exterior wall, 
 tangent to the inner circle, and from whose 
 centre opens out of the inner circle a 
 square, groined choir, with a semicircular 
 apse pierced by three small windows. The 
 roof of the building is much ruined, but 
 traces of ancient fresco decoration are still 
 visible on the walls. The exterior retains 
 its original doorway, a mund arch with 
 gable, springing from two marble columns 
 on lions, their capitals sculptured with 
 figures of birds and foliage. 
 
 Two lofty unflutcd late Ivonian col- 
 nmns, of CijJollino marble, one with a 
 highly ornate capital bearing figures of 
 gods, still standing, on the point of the 
 inner harbor, seem to have served to 
 bear lights to guide vessels into the port ; 
 they may have marked the termination of 
 the Apj)ian Wav. 
 BliUXDlSlUM. See Brlndisi. 
 BRUSSA (Broussa, Brusa), Asia Minor. 
 
 Jami Mosque (Onion Djami), the larg- 
 est mosque in Brussa, and one of the 
 oldest, is a square of about three hundred 
 feet on a side, divided interiorly into 
 twenty-five compartments or bays sei)a- 
 rated by jiiers, each bay covered by a 
 low octagonal dome, except the nuddle 
 line, which is only closed against the en- 
 trance of birds by a bronze grille, and 
 serves as an inner court. A fountain oc- 
 cupies its centre. The sanctuary, once 
 richly decorated, is now ]ilain. and dis- 
 figured by whitewash. The [lilhirs were 
 inscribcil with whole chapters of the 
 Koran interlaced with arabesques, and 
 the iiiimliiir or jiuljiit was the work of a 
 renowned Arabian sculptor, 'i'he exterioi- 
 is very simple, the walls being relieved 
 only by great pointed-arched jianels run- 
 ning from bottom to toj). Of the three 
 entrances the principal one on tlic front 
 is a rich specimen of Saracenic stalactite 
 work. On each side of it rises a slender 
 minaret, round and channelled like a ecil- 
 umn, with a nuiezzin's gallery at the tup 
 and high-p(_)inted rouf. I'lcgun by .Mu- 
 
 rad I. (1360-89) it was continued by his 
 son Bayazid and finished bv ^lohammed I. 
 (1413-->1). 
 
 The MosQUK of Mohammkd 1.. the 
 finest in Brussa, resembles in style the ilo- 
 hammedan buildings of India. It lacks 
 the usual court-yard, however : a flight 
 of marble steps leads directly to the main 
 entrance. The sanctuary, appi'oaehcd by 
 marble steps, consists of a double nave 
 crowned by two domes, the outer walls 
 being faced with fine marbles. About 
 the doorway is inscribed the first chap- 
 ter of the Koran, interlaced with foliage 
 designs. The minaret, like the domes, 
 was originally covered with emerald green 
 tiles, whence the mosque was popularly 
 caWeA ycchiJ or green ; but the tiles have 
 mostly fallen. Within, the walls are 
 faced with enamelled faience. The milt- 
 rab or prayer luclie is of red marlde, and 
 there is a fine viimljur or pulj)it. The 
 mosque was fouiuled by .Moliammcd I. 
 whose name is inscribed on it, and who 
 reigned from 1413 to 14--il. 
 
 St. Elias, a Byzantine church of jjecul- 
 iar form, built, it is thought, about 1250, 
 — a plain brick r(jtunda 42 ft. across, cov- 
 ered by a dome 55 ft. high. Eight half- 
 round niches indent the wall inside, and 
 similar ones correspond to them outside ; 
 between those inside the overhang of the 
 wall is carried on pairs of marble columns, 
 and the thick wall is offset some 5 ft. 
 on the outside aliove the niches, simulat- 
 ing an aisle. 'I'hc rotunda is entered 
 through one niche, athwart which is 
 built a great oblong narthex in three 
 bays. The interior is lined with marble, 
 but the fire of 1804 destroyed the dome, 
 which was rebuilt and stuccoed over. 
 After the Turks oecupieil Bru.ssa in 
 1326, the chui'ch was taken as a mauso- 
 leum for Sultan Orklian. 
 BVZAXTirM. See roiis/,N//i/njplr. 
 t'AKRE. See C'errclri. 
 OAESAREA (Kaiserieh), Asia Minor. 
 
 Mosque of IIuen. A large mosque of 
 
CAIETA 
 
 the XIV cent., uuii|ue among buildings of 
 its kind in Asia Minor. It has the usual 
 division into fore -court and sanctuary, 
 which are separated by a screen wall. A 
 wall surrounds the whole, buttressed here 
 and there with round turrets. Its peculi- 
 arity is that the court, like the sanctuary, 
 is divided into small bays roofed with low 
 domes, only a small open atrium being 
 reserved in front of the doorway of the 
 sanctuary. The area of four bays in 
 front of the mihrab or prayer niche is cov- 
 ered by a larger dome. The mosque was 
 built by Huen, the founder of an order of 
 dervishes, llis tomb, in a corner of the 
 court on the left of the entrance, is octag- 
 onal with a pyramidal roof, and richly or- 
 namented, the eight faces being panelled 
 with pointed arches and the angles rein- 
 forced by colouettes supporting a cornice of 
 Arabic honeycomb work. Attaclunl to the 
 mosque are the buildings of a large ine- 
 dresHa or school. 
 CAIETA. See Gaeta. 
 CAXOSA (anc. Canusium). Italy. 
 
 The Cathedral, of early but uncertain 
 date, dedicated to St. Peter, was destroyed 
 and rebuilt about the beginning of the 
 XII cent., and dedicated anew to St. Sa- 
 binus. It is a Latin cross about 130 ft. 
 long and 70 ft. wide, with Ave domes of 
 equal size, about 20 ft. in diameter, cover- 
 ing the crossing and the square bays of 
 nave and -transept. The bays are sep- 
 arated by transverse round arches spring- 
 ing from square j^iers, and the domes are 
 carried on sub-arches, springing from slen- 
 der columns of granite and verd-antique, 
 with bases and quasi-Corinthian capitals 
 of white marble. The square bay at 
 the crossing forms the choir, extended 
 eastward by a semicircular apse. The 
 north aisle only is divided into bays. 
 The ancient crypt is nearly choked with 
 earth. On the front is an entrance 
 porch in three divisions as liroad as the 
 nave, surmounted by a modern tower. 
 The furniture of the church is of re- 
 
 markable elegance. The high altar rests 
 on four columns of green anil white mar- 
 ble ; the puljjit, of marble, about 5| ft. 
 square, is one of the most beautiful in 
 southern Italy. It is supjiorted on high 
 octagonal columns with Byzantine cajii- 
 tals, carrying round arches and richly or- 
 namented with mosaic and carving in re- 
 lief. The bishop's throne is of marble, 
 supported on two figures of elephants, and 
 with much interesting liyzantine carving 
 in relief. Both the pulpit and the throne 
 probably belong to the earlier church. On 
 the south wall of the transei)t is an en- 
 trance porch of two round arches springing 
 from stout columns with comi)osite capitals 
 witli a strong horizontal cornice above. 
 Outside is the small square chapel of Bo- 
 hemond, the Xorman hero, son of Eobert 
 Guiscard — its front a blind arcade of four 
 round arches, with a tine bronze door of 
 panels enclosed in borders of graceful ara- 
 besque designs in niello. The chapel is 
 covered by a pointed dome on an octagonal 
 drum, with slender angle -shafts support- 
 ing a decorated cornice. 
 
 There are ancient remains of consider- 
 able extent and interest, including ])or- 
 tions of the city walls, an amphitheatre, 
 the triumphal arch of Terentius Varro, 
 ascribed to tlie time of Trajan, an aque- 
 duct, and an important necroiwlis of rock- 
 tombs, which has yielded quantities of 
 gold jewelry, small bronzes, and jjainted 
 vases of unusuallv large size. 
 CAPRAROLA, Italy^ 
 
 The Castle, built in the xvi cent, 
 from the designs of Vignola for the car- 
 dinal Alexander Farnese. is perhaps his 
 most celebrated work. Its plan is a reg- 
 ular pentagon measuring about L'iO ft. on 
 each side, and enclosing a circular court 
 65 ft. in diameter, with an arcade of round 
 arches on coupled columns. The castle 
 sits on a high terrace, whose outline is 
 parallel with its walls, and to which the 
 approach is by two stately double stair- 
 cases on the entrance front, with an ad- 
 
CAPRI 
 
 vanced aroadefl pnrrli or loggia. Above 
 this is the terrace wall. (;f plaiu stone ma- 
 sonry, with square peiliniented windows, 
 the angles marked bv jirojecting bastions. 
 
 Fig 44, -Caprarola. Castle. Scale of 100 feet. 
 
 Above tlie tcrraee rises the mass of the 
 castle itself, in two stages, each abont 30 
 ft. high, witli an order of pilasters, Ionic 
 in the lower stage, Corinthian in the nj)- 
 per. tJie former enclosing round arches 
 and high pedimented windows, and the 
 uppei'. two stories of square windows. 
 {tSee Fi(/. 44-) 
 CAPRI, Italy. 
 
 The Old Cathedral, dedicated to Sta. 
 Costanza, is believed to have been founded 
 as early as the vii cent., but lias been much 
 changed and enlarged in later davs. It is 
 now a rectangle about 'Mi ft. wide and 70 
 ft. long, equally divided between the old 
 and new portions. The former is divided 
 by tw^o ranges of four round arches each 
 into three aisles of equal width, and these 
 are again divided by transverse arches into 
 twelve square bays. The three western- 
 most bays were originally a narthex ; the 
 remaining nine formed a square, enclosing 
 a (ii'cek cross, the central bay being cov- 
 ered by a high hemispherical dome, the 
 four arms of the cross by barrel-vaults, and 
 the four bays in the angles by groined 
 vaults at a lower level. The bay form- 
 ing the south transept has a semicircular 
 
 apse ; the central bay on the east had an- 
 other, which was demolished, probably in 
 the XV cent., to make way for the modern 
 square choir, which is as wide and as long 
 as all the rest of the church. The cliurcli 
 was made the cathedral in 000, and this 
 is perhaps the date of the central dome. 
 TJie narthex was probably taken into the 
 church when the choir was added in the 
 xv centurv. 
 CAPUA, Italy. 
 
 Ampiiitheatke. at Sta. ^Maria di Capua, 
 two miles east of modern Capua. It was 
 probably built Ijy the colony of Augustus, 
 though it perhaps sui'ceeded an earlier 
 sti'ucture, as Cajnia had at an early period 
 a noted school for gladiators, and was re- 
 stored under Hadrian, 117-138 A.D., Sep- 
 timius Severus and Pertinax, 102 A.n., 
 and Valentinian III., 4-1.5 a.d. Under 
 the Saracens, in the ix cent., it was con- 
 verted into a fortress, and was almost to- 
 tally ruined in the defence against Athan- 
 asius. Bishop of Naples. Remains of several 
 corridors and arches show it to have been 
 a magnificent structure. It is much like 
 the Colosseum, and was nearly as large. 
 Tlie plan is elliptical, the greater axis 557 
 ft., the lesser -158 ft., while the arena 
 measures 350 ft. by 150 ft. Its cajjacity is 
 variously computed at from 43,000 to (i3,- 
 000 spectators. The superstructure con- 
 sists of three superim])osed arcades of 
 eighty arches each, ornamented tlirough- 
 out with columns of the Doric order. 
 Heads of deities are scnljitured on the 
 keystones of the arches. The total height 
 is 05 ft. The material of the arcades is 
 squared blocks of travertine laid without 
 cement ; of other parts, reticulated brick- 
 work. The arena was flooi-cd with Ijrick 
 carried on vaults, ])resenting numerous 
 square openings for trap-doors. The sub- 
 structions remain more perfect tlian in 
 the Colosseum. Canals for flooding the 
 arena as a naumachy and drains for carry- 
 ing the water into the river survive in 
 good preservation. 
 
CASALE 
 
 Aiico Campaxo or Arco Felice. A 
 l{oman triumiihal arrh. on the Ma Ap- 
 pia, near the amphitheatre. Of its three 
 arches 011I3' tlie southei'ii one is standing, 
 togetlier witli tlie pier of tlie niitUlle one. 
 The materiiil is travertine, originally cased 
 with marble. 
 
 The Catiiehk \i,. whose date has been 
 assigned to the IX and xi cents., is a three- 
 aisled basilica. The atrium of the original 
 chiindi remains, surrounded by a colon- 
 nade of twenty-four Corinthian columns, 
 of which sixteen are antique, carrying 
 rather stilted round arches. The church, 
 which has been once or twice rebuilt and 
 recently restored, retains the Gothic ar- 
 cades of the XIV cent, or perhaps earlier, 
 carried on twenty-four columns with Cor- 
 inthian capitals, more or less recut. The 
 large cryjjt is Norman in character, with 
 a circuit of marble columns, also of Cor- 
 inthian form. 
 
 S. Angelo IX FoKMis. Tlie original 
 church, dating from the ix cent., was 
 rejilaced or restored two centuries later 
 in connection with the adjacent monas- 
 tery of the same name, and consecrated 
 in 1075. It is a small rectangular basil- 
 ica, about 110 ft. long and CO ft. wide. 
 An open portico of five groined bays gives 
 access by a central doorway to the nave, 
 which has seven rouiul arches on each side, 
 sjiringing from anti([ue columns of marble 
 and granite. Tlie nave and aisles, ceiled 
 with wood, terminate each in a round 
 apse. The church is remarkable for its 
 mural paintings, which were executed by 
 (ireek artists and covered the whole sur- 
 face of the walls. The clerestory is painted 
 with three ranges of pictures — the west 
 wall of the nave bears a great picture of 
 the Last Judgment covering all the space 
 above the door, the central apse a picture 
 of Christ enthroned among angels and 
 saints. The front has a great porch 
 later than the rest, extending across its 
 wliole breadth, with five high, stilted, 
 pointed arches, on shortened antique col- 
 
 umns of various sizes. The middle arch, 
 broader than the rest and more stilted, 
 cuts up through the horizontal cornice. 
 On the wall under the j)orch and in the 
 tympanum of the doorway are frescoes. 
 Above the jjorcli roof three small plain 
 round-arched windows continue the clere- 
 story under a low gable. A Roman temple 
 of ])iana once occupied the site, and is 
 supijosed to have furnished the columns 
 in the church. Its peribolos wall may 
 still be traced. On the south side of the 
 church stands a low, detached campanile, 
 of two stories, sejjarated by a carved string- 
 course, and a flat roof. 
 CASALE MONFEKRATO, Italy. 
 
 Cathedral of S. Evasio. A striking 
 old Lombard church built by Luitprand 
 in 741, but much changed in the xii 
 cent., and consecrated by Pjischal II. as the 
 cathedral in 1107. It is a five-aisled ba- 
 silica, its plan a rectangle of about 105 ft. 
 by 170 ft., of which a quarter is occupied 
 by a narthex or vestibule of singular con- 
 struction. The church is divided by cru- 
 ciform piers and round arches into nave 
 iind aisles of six bays, groin-vaulted and of 
 nearly equal height, the fourth bay open- 
 ing into a transept, and the crossing being 
 covered with an octagonal dome. There 
 is a rather deep choir, ending in a round 
 apse and flanked by two others. The 
 nartliex is one of the curiosities of archi- 
 tecture. It is three bays deeji, and the 
 aisles of the main church were carried 
 across it, but in the beginning or later the 
 four middle piers were suppressed, while 
 the vaulting compartments were retained, 
 and the six central vaulting-bays are hung 
 on two great transverse arches and two 
 ranij)ing half-arches that bear like flying 
 buttresses against the inside of the fa9ade. 
 Tlie span of the great arches is nearly 
 (10 ft., and their height about the same. 
 A])parently tlie half -column buttresses 
 that flank the door were at first expected 
 to stay the fa9ade against the half-arches, 
 but were insufficient, and great wall-but- 
 
CASA.MARI 
 
 tresses were added. Tlu' HM/ndc is inostl\- 
 ovcrbuilt. Tlie exjw.sed centre consists 
 of a low arelieii doorway with stout col- 
 uinns anil cubic capitals, and above, a 
 blind arcade of interlacing; arches whose 
 colunins have foliage-capitals. Over this 
 an arched jianel encloses two trijile win- 
 dows under round arches, one over the 
 other. Each side the doorway a tall col- 
 umnar buttress divides the whole front, 
 and, as has been said, is built over witli a 
 heavy wall-buttress. The front is under a 
 single low gable, with an arched corbel- 
 table. The details are of interesting early 
 Londiard character. 
 CANA-MAHI, Italy. 
 
 A Benedictin-e Moxasteuy was found- 
 ed in 108S. which passed in later tlays 
 
 into the hands of the Cistercians, when 
 its architecture was greatly moditicd. It 
 now presents one of the most interesting 
 
 examples in Italy of the pointed stvle, 
 clearly indicating French prototypes. The 
 church ajipears to have been built in the 
 XII cent., but was oidy consecrated in 
 1217. It is cruciform in ])lan, with a 
 length of about l.iiO ft., a breadth across 
 the transept of about 110 ft., and :in oc- 
 tagonal dome at the crossing. Xave and 
 aisles arc separated by compound piers, 
 carrying six pointed arches on each side, 
 and are covered with groined vaulting. 
 Tlie facade has three pointed arclied door- 
 ways, and above, a wheel window between 
 two lancets. A fine cloister ojjcns from 
 the right transept, with slightly pointed 
 arches in groups of three or four, on small 
 columns with foliated capitals of various 
 design. A remarkable chapter-house is 
 entered from the cloister, di- 
 vided into three aisles byelus- 
 tei-ed columns, alternating with 
 single columns and supporting 
 jiointed arches which divide the 
 ceiling into groined i)ays. The 
 room is lighted by four two- 
 light pointed, arched windows 
 divided bv mullions. {See 
 Fin. r<. ) 
 ('ASAN()\A. llaly. 
 
 The ('isTi;ii<iAN .Moxas- 
 TKiiV of Casanova, not far from 
 I'enne in the Abruzzi. was 
 foundcil in 1 I'.ij. and in ] l!i.') 
 \vas taken possession of Ijy 
 monks from SS. Vincenzo ed 
 Anastasio near IJome. It was 
 aliandoned in the xvi cent, and 
 is now jiartly in ruins. It was 
 originally of great size, mag- 
 nilircnce, and wealth, the 
 mctther of three important mon- 
 ^ asteries (Iiijialta. S. Pastore 
 -^ "lifl near Kieti. and S. Spirito 
 d"()cre). and with many others 
 dejiendent \\\hi\\ it. The style 
 of the buildings is pure Romanesque, with- 
 out a trace of the Gothic, which, in more or 
 less transitional form, was enqjloyed in con- 
 
OASAUEIA 
 
 It is well 
 
 temponirv Cistercian moniisteries. There 
 appear to be two periods of coustruction, the 
 earlier one of stone and the later of brick. 
 The church consisted of three 
 aisles, a transejit with two 
 square chapels, and a square 
 apse, all covered with fine lofty 
 tunnel-vaults. On ime side of 
 the apse is a line Gothic hall 
 with a high ribbed cross-vault, 
 somewhat later in date than 
 the church. The refectory was 
 supported by a forest of col- 
 umns sustaining cross -vaults, 
 divided into tliree aisles, and is 
 the largest belonging to the or- 
 der in Italy with the exception 
 of that at C'asamari. The 
 chai^ter - house belongs to the 
 period of the brick construc- 
 tions, and consists of six cross- 
 vaults supported by two shafts 
 with plain semi-cubic capitals, 
 known that the tunnel-vault was very sel- 
 dom used in Italian Romanesque architec- 
 ture ; here at Casanova it is employed on 
 a scale hardly equalled in other instances. 
 Other examples of the use of the tunnel- 
 vault, in buildings belonging to the Cis- 
 tercian order, such as S. Pastore at Rieti, 
 S. iSpirito d'Ocre, and SS. Viucenzo ed 
 Anastasio near Rome, show that it is duo 
 to the influence of the latter monastery. 
 Two contemporary churches not belong- 
 ing to the order show the spread of the 
 tunnel - vault to Umbria ; they are the 
 churches of S. Silvestro and S. Michele at 
 Bevagna near Foligno. [A. L. F., .Ji;.] 
 CASAURIA, near^'Pescara, Italy. 
 
 S. Cle.mente, the abbey church, was 
 founded in 854 by Ludwig II., was de- 
 stroyed in the xi cent, by the Saracens, 
 and rebuilt in the xii substantially as it 
 now appears. It is a three-aisled basilica, 
 with transept and single apse raised above 
 the nave floor. The nave, about 125 ft. 
 long by 50 ft. wide, is in seven baj's of 
 pointed arches carried on square piers. 
 
 and is covered by a wooden tunnel-vault, 
 tied across. The apse is entirely Lombard 
 in character. Beneath is a crypt sup- 
 
 Fig. 46-— caserta Nuova, R", , p., . M I ,-, r, 
 
 ported by twelve antique columns, which 
 doubtless belongs to the original church. 
 The handsome square pulpit dates, accord- 
 ing to its inscrijition, from the ix cent., 
 and the altar is an old Christian sarcopha- 
 gus. The interesting part of the exteri- 
 or is the front, which has an open porch 
 of three ai'ches, one round between two 
 pointed, of somewhat Norman character, 
 and above, a range of coupled windows 
 with dividing shafts, and ends horizontally 
 without a cornice, as if untinislied. 
 CASERTA NUOVA, Italy. 
 
 The Royal Palace, built in 1752 from 
 the designs of Liidwig von Wittel, better 
 known under his Italianized name of \"an- 
 vitelli, perhaps his most celebrated work, 
 is one of the largest of European palaces, 
 covering a rectangle measuring 780 ft. by 
 5-10 ft. Its plan is extremely simjile ; the 
 outer circuit of buildings encloses a space 
 which is divided by two cross wings into 
 four equal courts, each about 230 ft. long 
 and 100 ft. wide. At the centre is a great 
 octagon from which ojjens the grand stair- 
 case, anil which is covered by a dome. 
 
 75 
 
CASKKTA 
 
 Tho ])l!iii iiK-liules ;i chapel, very rich in 
 precious iiuirbles, and a tlioatre achn-nei! 
 with sixteen Corinthian cohinms (j1' AI- 
 rican marble taken from the temple of 
 Serapis at Pozznoli. The decorations 
 throughont the jjalaee are rich and ele- 
 gant, the construction very solid, and the 
 ceilijigs everywhere vaulted. The exte- 
 rior design is somewhat ineffective — two 
 ranges of pedimeiited windows above a 
 high basement and beneath a long hori- 
 zontal cornice, with pavilions at the angles 
 and centres, including the two upper sto- 
 ries under an engaged Corinthian order, 
 and pediments over tlie central jxivilions. 
 [See Fiq. J,<;.) 
 CASEli'J'A VECCHIA. Italy. 
 
 The Catiikural (St. Michael), re- 
 l)uilt in \\W^. is one of the most impor- 
 tant and interesting monuments of the 
 Norman occupation of South Italy. It is 
 a small basilica measuring l.j3 ft. in length 
 and (V.\ ft. in width, or '.)() ft. across tran- 
 sept. 'I'bc llat-ceiled nave and aisles are 
 separated by ten tall round arches on each 
 side, carried on Corinthian columns, ahove 
 which is a high wall with small round- 
 headed clerestory windows. The transept 
 lias a singli' square, groined bay on each 
 side of the crossing which forms the choir, 
 and is covered by an octagonal dome on 
 four higli slightly jjointcd arches, with 
 jH-ndcntivcs s])ringing from angle-shafts. 
 The drum of the dome has a l)liiid ar- 
 cade of round arches on slender engaged 
 shafts. From the crossing opens a mod- 
 ern rectangular chancel. The clioir is fur- 
 nished with stalls of the xv century. The 
 exterior is very interesting. Tlu' unbrok- 
 en wall of the front follows in outline 
 the interior section. There are three ])lain 
 s(|uare-headed doorways nnder round beai-- 
 ing-arches guarded by monsters. Over 
 the ('entral door is a single round-lu-aded 
 window with corbelled shafts. Abovt' a 
 horizontal arched corbel-table is a low ga- 
 |)le with interlacing arcades. At the south 
 angle of the front is a fini' tower, finished 
 
 in lt>o4, decorated with interlacing ar- 
 cades, two light windows, and angle-tur- 
 rets. The flanks of the church are very 
 simple ; small round-headed windows light 
 the aisle and clerestory ; the transejit 
 has small horse-shoe windows, and low 
 gables faced with blind arcades. The re- 
 markable central lantern is decorated with 
 mosaics in the Sicilian nuinner in two sto- 
 ries of blind interlacing artuules. A l)and 
 of square panels between the stories, a belt 
 at the level of the upper capitals, and a 
 frieze under the cornice are similarly deco- 
 rated, as is also the whole surface of the 
 ujiper wall. The lantern ])robably dates 
 from the later half of the xiii century. 
 CASTEL D'ASSO (Castcllaccio, "anc. 
 Axia). Italy. 
 
 The Etruscan Necropolis is formed 
 of rock-cut chambers with architectural 
 facades from 12 ft. to 30 ft. high. 'J'he 
 I'ange of tondis extends for a considerable 
 distance, like a street, along the side of a 
 lateral raviiu'. 'i'lie doors narrow toward 
 the top, like those of the Egyptians ; the 
 details of the Imrial-chambers, and the 
 abundant insci'iptions. are all interesting. 
 CASTEL-DEL-MUNTE, Italy. 
 
 An ancient and ruined castle on the 
 summit of a hill about twelve miles from 
 Trani. built during tlie earlier half of the 
 XMi cent, by thi; Emperor Frederick II. 
 as a hunting seat. In ]ilan it is an octa- 
 gon. 130 ft. in diameter, with an octagonal 
 tower at each angle and ili\iilc(l b\ railiat- 
 ing partitions in each story into eight 
 vaulted chand)ers about an octagonal 
 court. The i)oinfed arched ribs s])ring 
 from angle-shafts of red ami white marble, 
 single and gi-iiupcil. Small s])iral stairs 
 in four of the angle-turi'cts connect the 
 two stories. The exterior is very simple. 
 It has a single pointed arched door undei- 
 a simulated porch, and in the upper storv 
 two-light traceried windnws. nndei' pointed 
 bearing-arches. 
 CA'l'AXIA (anc. Cafana). Sicily. 
 
 AMi'Hrriii:ATi;j:, probably of the time 
 
CATANIA 
 
 of Augustus. It remained intaet until 
 498 A.I)., when Tlieodoric gave pevniission 
 to the citizens to repair the city walls with 
 its stones. Only a few arclies and vaulted 
 corridors are now visible. The jilan is el- 
 liptical, the greater axis about 410 ft., the 
 lesser 1545 ; axes of the arena, 230 and 
 104 ft. The material is concrete cased 
 with massive masonry, with brick vault- 
 ing under the seats, which are of lime- 
 stone. Traces of aqueducts show that it 
 was used for the naumachy. 
 
 The Bexedictixe IMonasteky of St. 
 Xicholas, though never completed, was one 
 of the largest and most magnificent in 
 Europe. It is an immense enclosure, in- 
 cluding two courts about 130 ft. S(piare 
 out of four that were intended, surround- 
 ed by buildings, and behind them sujierb 
 gardens. The courts are lined with ar- 
 caded cloisters in two stories. In the 
 front court the arcades are composed of 
 the so-called Palladian motive, the arches 
 enclosed in an order of Tuscan columns, 
 with a sub-or<ler supporting the imposts ; 
 producing an effect of great magnificence ; 
 in the other, the arches sjiring directly 
 from the columns, with the light effect of 
 the early Renaissance. The church, dedi- 
 cated to 8t. Nicholas, and imbedded in the 
 buildings with its front to the street, is 
 very large, measuring some 360 ft. long 
 and more tlian -^OO ft. across the transept, 
 and still untinished on the outside. The 
 broad nave consists of two square domed 
 bays and a third shorter and barrel- 
 vaulted. The crossing is also covered by 
 a dome, the aisles carried round both 
 sides of the transept as well as the nave 
 and choir ; the transept arms and the deep 
 choir which is flanked by two square 
 chapels all end in round apses. The 
 monastery was founded in 1.558 and was 
 twenty years in building, was injured by 
 an eruption of Blount ^Etna, and restored 
 in 1087. Six years later it was partially de- 
 stroyed by an earthquake and abandoned. 
 In 173(J it was again restored, and was oc- 
 
 cupied as a monastery till it was secular- 
 ized under Victor Imnianuel. 
 
 Tiie Cathedral (Sta. Agata) contains 
 the shell of the earliest church, built un- 
 der Roger I., on the ruins of the Roman 
 tliermaj, and consecrated in 1094. It was 
 injured and again practically destroyed by 
 an earthquake in 1109, which buried the 
 abbot and a crowd of peojjle, and again 
 in 1093, after which it was entirely re- 
 built, the front being added by Vaccherini 
 toward the middle of the xviii century. 
 It is a three-aisled church with transept, a 
 dome over the crossing, and three eastern 
 apses, about 300 ft. long and 100 ft. 
 across tlie transept. The interior is en- 
 tirely modern, but the walls of the apses 
 and transept still show on the outside an 
 arcade of pointed arches which probably 
 dates from the rebuilding at the end of the 
 XII century. The eai-lier Lomliard west 
 doorway was afterward transferred to the 
 church of S. Carcere. Yaccherini's low 
 broad Ixiroco fa(;ade. following the out- 
 line of the nave and aisles, is decorated 
 with two orders of grouped columns, 
 among which are six that are believed to 
 have come fi-om the ancient baths, whose 
 remains are still to be seen beneath the 
 church. Behind the fagade rise a well- 
 proportioned dome and cujwla on a drum 
 decorated with an order of engaged Co- 
 rinthian columns. The handsome choir- 
 stalls, of 1592, represent in carved panels 
 the story of St. Agatha, whose relics oc- 
 cupy her chapel in the right apse. 
 
 Sta. Maria della Rotoxda. This 
 structure is a well-preserved ancient Roman 
 circular building with a dome resting on 
 eight arches. The walls are of lava and 
 brick coated with a very fine stucco. Near 
 the high altar a large arch opens into what 
 was apparently the vestibule connecting 
 with the baths of which it probably was 
 part. 
 
 Theatre, in the midst of the modern 
 city, on the Strada del Corso. The foun- 
 dations are Greek ; the superstructure. 
 
CATTAKO 
 
 now in great part luidcrirround, is Roman. 
 The eavea is a semicircle, facing south ; 
 there are two precinctions or horizoTital 
 passages, and tliere was a portico around 
 the upper boundary. The massive exte- 
 rior masonry is of hiva ; tlie concrete of 
 tlie vaults is strengthened with brickwork. 
 
 Therm.e (Baths). Ten rooms remain, 
 some of them in excellent preservation. 
 The chief of these, octagonal in plan, with 
 niches ill the concrete walls, a lava vault, 
 and brick arches, is identified as the ajio- 
 dyterium or dressing-room. The frigi- 
 darinm, tepidarimn. and caldarium are all 
 more or less well preserved ; in the walls 
 of the last is visible part of the system of 
 hollow tiles by which heated air was con- 
 veyed. Outside of the caldarium the fur- 
 nace is seen. 
 CATTARO. Dalmatia. 
 
 The Catiiedhai. (S. Trifone) is a xii 
 cent, basilica, altered after an earthquake 
 in the xvii. It has a lofty nave of four 
 bays, aisles, and three apses against the east 
 wall. It is round-arched with grouped 
 nave jjiers alternating with single columns, 
 there being two square bays of the aisles 
 to one of the nave, except the westernmost 
 bay, which is of half the length of the 
 others. The bay next the choir has the 
 original vault, the rest of the vaulting 
 being later. The first church was built in 
 809 A.D.. to receive the bones of S. Trifone. 
 It was destroyed and reljuilt — conseci-ated 
 in 11()G. In 1607 an earthquake destroyed 
 the facade and towers, which were rebuilt. 
 It contains a handsome baldacchino over 
 the high altar, after the Dalmatian form, 
 in three octagonal arcadeil stories carried 
 on a four-square architrave by four col- 
 uums. 
 CECCANO. Italy. 
 
 Sta. Maiua DEI, Fii'ME, near the city, 
 originally belonged to the Cistercians. It 
 is cruciform, with a square apse and no 
 side-chapels. The present length is 105 
 ft. without counting the present apse, 
 which is modern : the width is '>'i ft. across 
 
 the nave and aisles and 70 ft. across the 
 transept. The nave and aisles have groined 
 cross- vaults over their four bays suj)ported 
 by unnioulded piers ; while the transept 
 has rihijed pointed cross-vaults like those 
 at Fossanova and Casamari. The main 
 arches of the nave and all the transverse 
 arches but two ai-c pointed. The fa9ade 
 has a ro.se window similar to that at Val- 
 visciolo iq.r.) hut smaller, and the door- 
 way underneath is round-headed. The 
 tower over the farther bay of the left-hand 
 aisle is early and is supported on a tunnel- 
 vault. The main body of the church ap- 
 pears to have been built in the xii cent., 
 the transept in the xiii, and the transi- 
 tion from one to the other is evident ; a 
 develo2)ed Gothic style is shown in the 
 tracery of the windows in the transejit and 
 in the banded engaged columns of its piers 
 similar to some at Casamari. The conse- 
 cration of this church in 111)0 is described 
 at length in the chronicle of Fossanova. 
 [A. L. F., Jr.] 
 CEFALU, Sicily. 
 
 The Catiieukal, built between li:U 
 and 1148, by Roger II.. and more or less 
 altered in the xiii and xiv cents., is a 
 three-aisled basilica, with projecting tran- 
 sejDt and a deep choir and two lateral 
 chapels, all ending in round apses. It 
 was at first a smaller church, which, ac- 
 cording to tradition was an otl'ering of the 
 king to St. George for his preservation 
 from a dangerous storm at sea. but was 
 iiijure<l by fire and converted into the 
 present great church immediately after its 
 first completion. The front is recessed 
 and fianked by two high and massive 
 square towers with pointed windows, sur- 
 mounted by small square pavilions, rising 
 behind parapets and crowned by low 
 spires. The recess is filled by a light 
 open vaulted jiorch of three arches — one 
 round between two pointed. This is a 
 later addition and covers the original 
 round-arched Xormanized door-way. Over 
 the porch are two blind ari'ades of jKiinted 
 
 78 
 
CERVETRI 
 
 arches, interlacing below aiid single above. 
 The nave, lower than the transept and 
 choir, was apparently not carried to its 
 intended height, leaving the fa9ade and 
 flanks unflnished. The east end shows 
 the lofty clioir and low side-apses enriched 
 with coupled shafts and blind arcades, 
 partly simple and partly interlaced. The 
 arches throughout are pointed, except the 
 west door. The church is about 265 ft. 
 long by 135 ft. across the transept. The 
 nave, -10 ft. wide and Go ft. high, is in 
 seven bays of stilted pointed arches with 
 columns whose capitals are some antique 
 and some Lombard. The clerestory has 
 single windows and a wooden open-tim- 
 bered roof. The transept and crossing, 
 raised several steps above the nave, are 
 some 'JO ft. high. The crossing seems to 
 have been intended for a central tower or 
 dome, which is lacking ; the choir is 
 groined, with corbelled vaulting -shafts, 
 and adorned with mosaics, among the 
 finest in Sicily. Against the entrance jiier 
 of the choir, which is raised a little above 
 the crossing, are set, facing each other, 
 the throne of the bishop and one for the 
 king — an arrangement peculiar to Sicily, 
 where the kings claimed a sacerdotal rank. 
 Three sides of the cloister of the adjoining 
 convent remain, with pointed arcades on 
 coupled columns whose shafts are twisted 
 and enriched, and the capitals variously 
 carved, resembling those at Monreale. 
 CERN'EIMII (auc. Agylla, Crere), Italy. 
 
 T'oMii OF THE Reliefs, discovered 1850 
 by the ilarquis Campana. It is reached 
 by a long flight of rock -cut steps, at 
 whose entrance are sculptured two large 
 lions. The chamber, measuring 25 ft. Ijy 
 21 ft., is surrounded by broad, rock-cut 
 benches. Two square piers support the 
 panelled roof, and in the walls are cut 
 thirteen rectangular niches for bodies. 
 This tomb is remarkable for the abun- 
 dant painted reliefs on its walls and piers. 
 The burial niches are sejiarated by fluted 
 pilasters, whose capitals, like those of the 
 
 roof-piers, apjiroach the proto-Ionic or 
 ^olic type. On every pilaster is carved 
 a round shield. Above the niches runs a 
 frieze of varied Etruscan weapons, all in 
 relief and colored. Over the doorway are 
 placed sacrificial emblems. The faces of 
 the roof-piers are carved with a variety 
 of domestic and sacerdotal implements. 
 
 Tomb of the Tauquixs, identified 
 beyond reasonable doubt as a burial-place 
 of the great kingly family of Rome. It 
 consists of a rock-hewn vestibule from 
 which a flight of steps leads down to a 
 second chamber, 35 ft. square, with a 
 panelled roof in two slopes supjiorted by 
 two scpiare piers in the middle. A plain, 
 rock-hewn bench runs along both sides, 
 and thirteen rectangular niches for bodies 
 are cut in the walls, in a single tier. The 
 entire interior is coated with stucco, on 
 which numerous inscriptions are impressed, 
 or painted in red or black, together with 
 some ornament, as wreaths, pilasters, cas- 
 tanets, claw-footed legs of couches, so dis- 
 posed as to give the niches the appear- 
 ance of beds, and a circular shield on one 
 of the piers. Among the inscriptions the 
 name of Tarquin occurs thirty-five times. 
 ('II ALOIS. HeeAiijar. 
 CIIIARAVALLE, near Ancona, Italy. 
 
 The old Bexedictine Monastery has 
 a church of the Cistercian type, transi- 
 tional in style, with an inscription bearing 
 the date of its building in 1173. It is 
 cruciform, with a nave and aisles of six 
 bays, pointed arcades, and vaults, pro- 
 jecting transept of two bays, and a square 
 ])rojecting choir, flanked on the left, and 
 formerly on the right, by three square 
 chapels. The exterior is Romanesque in 
 type. 
 CTIIARAVALLE, near Jlilan, Italy. 
 
 The Abbey UiirHrH resulted from the 
 enthusiasm aroused by a visit of Bernard 
 of Clairvaux to Milan, in 1134. The 
 first Cistercian monastery in Italy was 
 founded during the next j-ear, and the 
 church was consecrated in 1221. It is a 
 
CHIARAA^ALLE 
 
 lar^e cliureli witli a Inn"; nave of nine 
 bays, long trausej)!, a sfiuare-ended choir, 
 a simj^le square campanile at the front, 
 and over the crossing a remarkable lantern 
 or tower, which is the only important ex- 
 ternal feature. It is octagonal, the lower 
 portion as broad as the nave of the church, 
 with a two-light window under a round 
 bearing-arch in each face, and two ranges 
 
 greater juirt is concealed liy the uj)per 
 stages of the octagon which are built 
 round it. The interior is spacious and 
 not without grandeur, though now dis- 
 mantled and covered with whitewash. 
 The n.ive has four bays in front of the 
 crossing, massive piers with simple impost 
 moulding, and round arches. On each al- 
 ternate pier is carried np a pilaster from 
 
 Fig. 47.— Chiaiavalle, Abbey Chuich. 
 
 of oyiQW arcaded galleries above. At this 
 point a somewiiat later construction begins 
 — a series of diminishing arcaded galleries, 
 out of which rises a slender tower in two 
 stories, tlie upper one an arcaded belfry 
 stage linishing with an open l)alustrade 
 and a round brick spire. Tlie whole is 
 graceful ami eifective. The construction 
 of the lantern is interesting. The lower 
 division has a double wall, of which the 
 inner ])ortion carries the wall <ir the sec- 
 ond division. From the toj) of tJiis latter 
 wall r^tarts tlie real S2)irc, of which the 
 
 which a transverse arch is carried over the 
 nave. Between the arches the nave is 
 vaulted in a single square four-part vault. 
 There is no triforium, but a simjile clere- 
 story with round arched windows. The 
 central lanterii shows, within, two stories 
 above the nave vaulting, and an octagon- 
 al dome, covered with modern paintings. 
 The transei)t arms are large, as high as the 
 nave, and have each three easterlv chapels. 
 The square choir has a beautiful double 
 row of stalls, dating from the xvii cent.. 
 and enriched with fine carvings. The 
 
CIIIK'I'I 
 
 ehiiir has tlio remains oi fR'.sCDOs by l?ci-- 
 iianliiu) Luiiii. (Sec /•'///. 47.) 
 ClllETI. Italy. 
 
 The Cathedral is im xr cent, chuirli 
 consecrated in lOdS. liiit reiieatedly rebuilt 
 in the xvi. xvii, and x\iii cents., and 
 last in 1848. Little of tluMtri^inal church 
 remains beyond the general disposition. 
 The nave and aisles are each in four 
 groined bays ; the rectangular transept 
 with three eastern apses is raised l)y thir- 
 teen steps above the nave, and under it is 
 a fine crypt with seven aisles, each three 
 bays in length, and three apses. The 
 tower on the front dates from I'.V.Vt. l)ut 
 its upper story from 14'.)<S. 
 CIBYRA, Phrygia, Asia Minor. 
 
 Odeuji, or small theatre, about one 
 hundred yards south of the large theatre. 
 The exterior diameter is 17.") ft.; thirteen 
 tiers of seats are visible, and probably more 
 are hidden in the lower part. Its front is 
 a high wall pierced with five arched door- 
 ways tlanked by two square ones, and re- 
 mains nearly entire. 
 
 Theatre in the upper part of the city. 
 The exterior diameter is 'Wi ft.; there are 
 thirty-six tiers of seats visible, twenty-one 
 above the diazoma or horizontal passage, 
 and fifteen below, antl probably more ex- 
 ist under the soil. (July the foundations 
 and a doorway of the stage-structure are 
 left. 
 CITTA 1)1 CASTELLU. Italy. 
 
 The C.4.THEDRAL, dedicated to S. Flor- 
 ido, is an early Renaissance building, re- 
 placing the original church of Kil-.', de- 
 stroyed by the eartlupiake of 14.')8, ami 
 of which only the round bell-tower re- 
 mains. The present church, begun in 
 1482, but not finished until about l.")3(i, 
 and consecrated in 1.540, is craciform in 
 plan with a length of about 210 ft. and a 
 breadth of T.5 ft. It has a broad nave 
 without aisles, covered by a coffered wood- 
 en ceiling, and flanked by six rectangular 
 chapel-like barrel-vaulted recesses on caeii 
 side, of which one is an entrance vestil)ulc 
 
 and tlie ojiposite one the vestibule of a 
 large sipuire chapel of later date tiian the 
 church, dedicated to the Holy Sacrament, 
 and covered by a round dome. An order 
 of Corinthian pilasters encircles the church, 
 under which round arches enter the nave 
 chapels. Above the roof of the chapels is 
 a clerestory set with an order of pilasters 
 and pierced by windows with pediment 
 caps. The nave opens by a triumphal 
 arch into a transept as high as itself, and 
 the crossing is covered by a hemisjjherieal 
 dome raised on a drum and masked with- 
 out by a great octagonal lantern. The 
 square choir is a prolongation of the nave 
 and covered by a flat domical ceiling. 
 The design of the church has been attrib- 
 nted to Bramante, but there seems little 
 doubt that the architect was Elia di Bar- 
 tolommeo Lond}ardo. 
 
 CITTADUCALE (anc. A(pue Cutilice), 
 Italy. 
 The site of the ancient city is long and 
 somewhat narrow; it abounds with Ko- 
 nmn ruins, still mostly unexcavated, 
 among which acjueducts and therma? are 
 the most noticealde. One of the baths 
 has been in ]Kirt explored ; part of its ex- 
 terior walls, in i-eticulated masonry with 
 cordons of tiles, still rises to a height of 
 several yards. Along the south and east 
 walls there is a series of chambers. 
 .Vmong them is a nymphseum in which 
 are four fountains coated with hard stucco ; 
 their semicylindrical vaults are adorned 
 with shells of various kinds, and they 
 have at the angles graceful little pilasters 
 inlaid with small bits of marble of different 
 colors, and blue glass. The walls of the 
 caldariuin or hot bath were plastered in 
 white, with the lower part and panelling in 
 red ; three tiers of seats skirted the walls, 
 which were adorned with niches and pilas- 
 ters. The entire floor of this hall, includ- 
 ing the tank, was raised on short piers for 
 the needs of heating. There are ahujidant 
 remains of the hypocaustuiu. with its 
 heating-furnaces and pipes. 
 
 81 
 
CIV ATE 
 
 CI \' ATE. Italy. 
 
 Tlie little ('uriicii of S. Pietho 
 was attuclied to a Bonudictiue moiiasti'iy 
 founded in tlio ix cent, in the remote and 
 mountainous region now known as the 
 Brianza. It stands high on the mountain 
 side above the town, surrounded by the 
 ruins of its monastery ; and is iijjproaehed 
 by a long staircase at the principal en- 
 trance at tlie east end. Its ]ihiu is ii sim- 
 ple rectangle, about ^5 by T-") ft. inside, 
 with a semicircle at each end. The exte- 
 rior is of the simplest design, the walls are 
 of stone and ilivided into ratlier narrow 
 panels by slender pilasters ending in an 
 arched corbel-table. A small square cam- 
 ]iaiule of comparatively recent date is 
 attached to the south wall. The western 
 semicircle is the apse of the choir, which 
 occupies a third of the rectangle, and 
 whose floor is raised five .st(!ps above that 
 of the nave. The eastern semicircle is 
 divided into three vaulted compartments, 
 of which those at the sides end in .senii- 
 circular recesses, the central one being 
 occupied by the doorwa\. These com- 
 ])artments are se[)arated fruin the nave and 
 from each other by round arches resting 
 on columns, as is done in the little chajiel 
 at Cividale di i'riuli (q.r.), which is like 
 this church in many of its features. A 
 high crypt extends uiuler the east end of 
 the church, with three aisles, divided by 
 columns into square vaulted bays and 
 lighted by narrow wincbiws in the east and 
 south walls, which, owing to the slope of 
 the hillside, are entirely above ground. 
 T'lie round-arched ciborium as well as the 
 architectural features are executed in stuc- 
 co, of much delicacy and vigor, as at Civi- 
 tlale. The nave has a Avooden roof and 
 the western a]ise a semi-dome. The in- 
 terior walls and vaults were covered with 
 ancient paintings in good preservation a 
 few years ago, but recently covered with 
 whitewash. 
 CIVIDALE 1)1 FRU'LI, Italy. 
 
 Sta. M.vki.v i.\ \'ai.i,i;. This little 
 
 church, of snuili importance from its size, 
 is of great interest from its antiquity and 
 from certain characteristic features in its 
 construction and decoration. Its })lan is 
 a simple rectangle about 2{) ft. by 3'i ft. 
 Of this length, two thirds are given to the 
 nave, covered by a single groined four- 
 part vault. From the eastern side of the 
 nave three stilted rouml arches, carried on 
 Corinthian columns, ojien into the sanc- 
 tuary four steps higher, which is roofed 
 with three narrow barrel-vaults ami shut 
 oft' from the nave by a low marble screen, 
 with an oj)ening in the centre. At the 
 spring of the vault a delicate moulded cor- 
 nice was carried around the west, north, 
 and soutli walls of the nave. In the mid- 
 dle of the front, a square doorw'ay is cov- 
 ered by a round arch with an elaborate and 
 lieautifully decorated archivolt, .-springing 
 from columns on each side, of which only 
 the mutilated capitals rennnn. Traces of 
 an ancient fresco remain in the tympanum. 
 Above, within the arch of the vault, is a 
 
 Fig. 48.— Cividale di Friuii, S. M. in Valle. 
 
 lii'iiad ri'iezc (if scul|iturc. with a rdund- 
 ai-ched wimbiw in tlic miilillc. and three 
 lil'e-si/.t'd figures of saints. This sculpt- 
 
cni'l'A-CASTELLAXA 
 
 iircd decoration of frieze, cornice, ami aliout 11T"2, Init substantially rebuilt in 
 arcliivolt is executed with great delicacy the xvi century. The ancient crypt re- 
 in stucco, portions of it on a ground of mains, as also a reniai'kable west porch 
 
 pale blue glass, and accentuated at certain 
 points by bulbs of the same material. 
 The inner walls are of brick, covered with 
 plaster, and, as well as the vaults of the 
 sanctuary, were decorated with frescoes, of 
 which portions are still visible, though 
 much dilapidated. The pavement is of 
 marble. The history of the monument is 
 somewhat obscure. Dartein believes the 
 nave to have been a Roman temple, and 
 all the authorities agree that when, some 
 time in the viii cent,, a monastery was 
 founded by a duchess of Friuli variously 
 named Gertrude or Piltrude, this building 
 was taken as its chapel. Its insignificance 
 has saved it. In its present use, what we 
 have called the nave serves as a choir, and 
 the walls are surrounded on three sides by 
 a line of wooden stalls with much fine 
 carving, covered by a continuous cano])y. 
 and thought by Dartein to be as old as the 
 xir centurv. (Sec Fi(j. J/S.) 
 CIVITA-CASTELLAXA, Italy. 
 
 The Cathedral of Sta. ^Iahia is a 
 basilican church dating oris;iiiallv from 
 
 dating from I'llO. composed of a central 
 round arch capped by a semi-classic entab- 
 lature with slender angle pilasters, and 
 flanked by galleries supported by small 
 Ionic columns and covered by an entabla- 
 ture at the level of the springing of the 
 central arch. The friezes arc decorated 
 with mosaic. The great entrance door- 
 way under the porch is a fine feature — a 
 rcamd arch in three orders springing from 
 a s([uare pilaster and two shafts on each 
 side. The shafts rest on lions. The 
 square door-way is enclosed in a band of 
 mosaic, and the arch -head contains a 
 half rose. This porch and door-way are 
 among the liest and earliest examples of 
 the work of the Roman C'osmati, so- 
 callcil : and the porch bears the inscrip- 
 tion : .^AGISTER. .JACOBUS. CIVIS. 
 ROMAXrS. CUM. COSMA. FILIO. 
 SUO. FIERI. FECrr. HOC. OPUS. A. 
 DM. MCCX, (See Fi(/. .'/>.) 
 'CNIDUS (Knidos), Asia Minor. 
 
 The ancient Fohtificatiox Walls re- 
 main very perfect ; they consist of two 
 
 S3 
 
( (M,(»MA 
 
 iiuiiu ,stivtfln-'s, oiR' niuiiiiii:' cast and west, 
 tlu' otlier north and sotitli. and nici'tiii-- 
 on a liill N. E. of the city ; the former 
 stretch is partly in Cyclopean masonry, 
 somewhat rude, the latter st retell is of 
 good Hellenic masonry, and is streugth- 
 ene<l by several towers. There is a partic- 
 nlarlv tine circular tower at the end of the 
 peninsula, near the more nortiiern of the 
 two liarbors. 
 
 TiiEATKE, of large size, with thirty-six 
 tiers of .seats, subdivided by two preeine- 
 tions or horizontal passages of communi- 
 cation. The cavea is surrounded above by 
 a plain concentric wall, and remains in ex- 
 cellent ])re.servation. Its diameter is 400 
 ft. The stage structure is a mass of ruins. 
 There are also on the site a smaller theatre 
 and an odeum. 
 
 COLOXIA JULIA. See SprlJo. 
 COMO, Italy. 
 
 The Bkoletto. or town-hall, situated in 
 the great square adjacent to the Cathe- 
 dral, is a small building, with two fronts 
 
 ^..^ (ill oj)posite sides, the first story 
 ^ \ entirely open, forming the j)ublic 
 ft^j exchange of the town. Two 
 I'anges of four obtusely pointed 
 
 Fig. 50.— Como, Broletto. 
 
 arches springing from low dclagdiial jiiers 
 of niarbk' with large foliage capilals car- 
 ry the front and rear walls ; a third 
 range divides the interior aiul gives a 
 middle bearing to the llnm- above. Tlu' 
 front toward tiie great square is banded in 
 black and white marble. The second 
 story, divided from the first liy an arched 
 corbel-table, has two trij)le windows with 
 niullion-shafts under jiointed arches. A 
 third central arch gives access to the bal- 
 cony called the ringhiera. peculiar to this 
 class of buildings in A'orth Italy, from 
 which the magistnites were accustomed to 
 address the people. A small arcaded cor- 
 nice formerly finished the composition, 
 but a low third story has been added at 
 some recent date. A massive square bell- 
 tower stands at the angle of the building, 
 which was completed in \'ll'\. (,sVr Fu/. 
 r>i>.) 
 
 The Catukukal is a large and richly 
 decorated church of mixed character, be- 
 gun in 139G in the Eomancsque style, 
 which was soon changed to Gothic, and 
 largely rebuilt in l.")13-:il by Tommaso 
 Rodari or Kotario. in the style of tlie 
 Kenaissance. It is built entirely of white 
 marble. The three divisions of the west 
 front are marked by flat pilasters terminat- 
 ing in square pinnacles above the roof, 
 and bearing on their faces rows of small 
 niches, one above another, containing 
 statues. In each division is a deep round- 
 arched door-way, with a t^'mpanum chai'ged 
 with sculpture. Above, the windows are 
 pointed, with traceried heads. Over the 
 central door-way is a row of cano])ied niches 
 with statues, and a fine rose above, flanked 
 liv richly decorated niches with statues. 
 The central division, crowned by a large 
 and liigh ]iinnacle of singular design, is 
 entirely above the nave. The sides of the 
 church aiv in the Cinrpu'-Cento style, 
 uitli door-ways ami windows decorated 
 with arabesques and jtortraits in bas-relief. 
 the wall broken by buttres.ses terminating 
 in piiiuaelcs. The central cupola is also 
 
('():\r() 
 
 liuiuiissaiice in stylo, luiviug been built in 
 i'to'i, with an Dctaiional tambour with 
 eoluinns at the anirles. a I'mmd-afched 
 window in eaeii face, and an entablature 
 and attic from which springs an octagonal 
 dome crowned by a lantern. The interior 
 shows a nave and two aisles, (lotliic in 
 character, witli a vaulted ceiling restored 
 in 1838, Renaissance transept and choir, 
 the latter with a circular end, broken by 
 Corinthian pilasters with two stories of 
 windows between. The circular baptistery 
 has Ijeen attributed to Branumtc. 
 
 S. Anuoxmu. an interesting example of 
 an early Lombard church of the basilican 
 type. It is a tive-aisled church about 80 
 ft. by 10.1 ft. inside, with an elongated 
 choir and ajise which add some 50 ft. to 
 this length. Externally, the church is of 
 brick of extremely simple design. The 
 front follows the outline of nave and 
 aisles, and the wall is broken by a square 
 buttress opposite each of the four rows of 
 columns, A single large plain iloorway 
 with square ojiening and round arcii occu- 
 2)ies the central compartment. <_)ver it is 
 a f)]ain round-headed window, with two 
 simple round-headed windows above. On 
 the faces of the buttresses four engaged 
 columns remain of a large porch which 
 projected boldly from the front, a rare 
 feature in Italian churches. All the eaves 
 are ornamented with arched corliel-tables. 
 The long choir is as high as the nave. Its 
 wall is divitled vertically by slender en- 
 gaged columns ending in an arched corbel- 
 table. Two tall srpiare canipanili, exact- 
 ly similar iiml of simple design, flank the 
 choir on either side at its junction with 
 the east wall of the church. The double 
 aisles give the interior an unusual breadth. 
 The nave is in six bays, of which the west- 
 ernmost has a gallery at mid - height 
 which, as well as the space under it, is cov- 
 ered by a groined vault, the remainder of 
 the nave and the aisles being covered by 
 wooden roofs. The nave is flanked by 
 massive round piers of masonry with exag- 
 
 gerated bases and rude block capitals ; the 
 two aisles are se2)arated by slender mono- 
 lithic columns with foliated capitals. 
 Kach line of jiiers and columns is joined 
 by simple round arches, carrying a clere- 
 story with a single narrow window in each 
 bay, and is terminated eastward by a 
 massive pier forming part of the support 
 of the campanili. The four aisles end 
 here in square compartments covered 
 with groined vaults and with small apses 
 in the thickness of the east wall. The 
 long choir. o])ening from the nave by a 
 round arch, is divided into two oblong 
 bays, each covered by a four-part vault, 
 and ends in the semicircular apse, with 
 its hemispherical vault divided by ribs 
 springing from vertical shafts, and deco- 
 rated with frescoes of the xv century. The 
 present church dates from 100."), when it 
 was consecrated by Pope Urban II. It 
 was built in connection with a convent of 
 Benedictines founded by the bishop of 
 C'omo in 1013, and on the site of an earlier 
 basilica of which the foundations and the 
 pavement were discovered beneath the 
 liresent church in 1803. The pavemeitt 
 of the old church is about two feet below 
 the present floor, and some of its stones 
 have inscriptions showing it to date from 
 the V century. Up to the ix cent. 8. Ab- 
 bondio was the Cathedral. 
 
 S. Carpofero, a rude old Lonilianl 
 church standing on the slojie of a moun- 
 tain south of Como. The exterior is ex- 
 tremely simple, the west front half-buried 
 in the rocky hillside. The eastern apse is 
 }iolygonal in its external outline up to the 
 tloor of the choir, where it becomes circu- 
 lar, with engaged shafts over each angle 
 of the \vall below, ending in an arched 
 corbel-table, the bays thus formed being 
 occupied alternately by a round-arched 
 window with angle shafts, and a small cir- 
 cular window, A tall square campanile is 
 attached to the south wall of the choir. 
 The interior has a nave and ai.sles about 
 90 ft. long, the nave about 30 ft. wide, the 
 
COMO 
 
 aisles 15 ft., perfectly plain sqiiare jiiers 
 at various distauees, and mmiil arches ab- 
 solutely plain, of various sizes, supportinij 
 a clerestory wall. 'I'he walls of aisles and 
 clerestory are pierced with small, nari'ow, 
 round - arched windows. The transept 
 ai'ins open from the nave on either side 
 witii a single broad and high round arch, 
 at :ibout one-third the distance from the 
 west front to the choir ; a singular ar- 
 rangement, perhaps due to the inaccessi- 
 bility of the west end, making the south 
 end of the transept the principal and en- 
 trance front. Two round arches span the 
 nave in continuation of the walls of the 
 transept. The nave, aisles, and transept 
 were all covered with wooden roofs of low 
 jiitch. but the nave is now barrel-vaulted. 
 The choir consists of a single square liay. 
 covered by a four - jjart vault, and a 
 round apse with a semi -dome, dating 
 from 10-lU. Beside the choir a small 
 groined chapel terminates the north aisle, 
 with a small apse in tlie thickness of the 
 east wall. The corresponding space on 
 the south side is occupied by the cam- 
 panile. The floor of the choir, rai.sed some 
 nine feet above the nave, is approached l)y 
 two staircases, between which a third de- 
 scends to a fine cry]it beneath the choir, 
 the only j)ortion of the church which has 
 been adorned. It is divided into three 
 vaulted aisles by columns with foliage 
 ca])itals carrying stilted mund arches, 
 'i'he east end repeats the apse (if the choir 
 with the addition of three niches, in 
 which are small windows. A small sjjjral 
 stair in the angle of the north wall con- 
 nects the crypt witli the chapel terminat- 
 ing the nortl) aisle. The church stands 
 on the site (if an older one founded by St. 
 Felix, which served for a time as the 
 cathedral. The ])resent church dates 
 mostly from the \i cent., the apse having 
 probably been added a century latei-. 
 
 S. Fedei.R, a curious Lombard cluircli 
 of the xin cent., much modernized but 
 substantially unchanged in jilan and con- 
 
 struction. The jilan is peculiar, composed 
 of a nave about 30 ft. broad in four oblong 
 bays of unequal length ; octagonal-ended 
 transept-ends ; a choir of a single oljlong 
 bay, termiiuiting in a polygonal apse with 
 a raised floor; and a somewhat elongated 
 octagonal dome at the crossing. The 
 aisles are in two low stories, carried around 
 the transei)t-arnis to the oblong liay of the 
 choir, and sejiarated from the luive and 
 transept by two ranges of round arches 
 siDringing from simple luive i)iers witii a 
 cruciform jilan. The nave has a barrel- 
 vault, but the aisles are covered in each 
 story with four-part vaulting. The vault- 
 ing bays of the transept-aisles are alter- 
 nately square and triangular, the square 
 bays corresponding to the arches, tlu' tri- 
 angular bays to the piers, and the en- 
 closing wall of the aisle has twice as many 
 sides as the octagonal transept. Tliis is 
 the arrangement of Charlemagne's chapel 
 at Aix-la-Chaj)elle and of the Rotonda at 
 Brescia. In the upper aisles the same ar- 
 rangement of vaulting prevails, but the 
 vaults are inclined upward from the outer 
 walls to those of the clerestory. The stone 
 roof-covering is laid directly oil the masonry 
 of the vaults, and tlie nave is the oidy por- 
 tion of the church which has a wooden roof. 
 Tile central cupola is built on jjendentives 
 from four great arches at the crossing, and 
 against the walls abut the octagonal vaults 
 of the transept and the barrel-vaults of 
 the nave and choir. The interior design 
 of the apse is unique. It is in three 
 stories, the first having a semicircular 
 niche in each face, with a small window, 
 and slender angle-shafts ; the second an 
 arcade(l gallery, with a single ronnd arch 
 in each face: the tliii'il a plain "all with 
 ujirrow windows, much spayed without. 
 A simple nniulded cornice finishes this 
 wall, and I'lMni it spi'ings the polygonal 
 vault. The exterior is e(|ually interesting, 
 in two stories the angles are nuiskcd by 
 strong coliiuins. 'i'hc third story is an 
 oj)en gallery with two round arches to 
 
COXSTAXTIXOI'LE 
 
 eucli fare, each arch Ijeiiijj; the end of a 
 barrel-vault, of which the other end al)ut.s 
 oil the interior wall of the gallery. .Miove 
 
 Fig. 51.— Como, S. Fedele, Apse. 
 
 is an arcaded cornice. The church had 
 originally an atrium, which has disap- 
 peared. The foundation dates from 'Jl-t. 
 but it was rebuilt in 12G2. Mothes pre- 
 sumes the apse to be a portion of the 
 original structure. {See FUj. 51.) 
 cdxSTAXTIXOPLE (Stamboul. anc. 
 Byzantium), Turkey. 
 Aqueduct of V.\.lex8, cros.siiig the 
 valley between the third and fourth hills; 
 finished in 378 a.d. It is about 2,000 ft. 
 long, and To ft. higli. and consists of two 
 tiers of round arches, those of the lower 
 
 tier -Vl ft. high, those of the upper 37 ft. 
 The sj)an of the arches is about 30 ft. 
 The masonry is densely covered with ivy, 
 which adds greatly to the iiicturesqueness 
 of the effect. 
 
 Basilica Keservdii!, called by the 
 Turks Yeri - Batan - Serai — the I'lider- 
 ground Palace. It was founded by (Jon- 
 stautine the Great and restored by Justin- 
 ian, and is still in use. The entrance is 
 near Sta. 8otia. The dimensions are about 
 3(J0 ft. by 19.1 ft., and tliere are three hun- 
 dred and thirty-six columns, about 3'J ft. 
 high, in twenty-eight rows, supporting 
 brick vaults. The capitals are in part Cor- 
 inthian, in part of other orders, or rough. 
 
 BcRXT CoLf.MX. See (Ji)liiinii of Cvii- 
 
 .s/fUltilif. 
 
 The great Cistern, believed to be the 
 famous cistern of Philoxenos, called by 
 the Turks Ben-Bir-i)irek, or the hall of a 
 thousand and one columns, is now used as 
 a hall for winding silk. It has, or had, 
 three stories of columns in fourteen rows 
 of fifteen each, carrying stone vaults. It 
 is of special significance in the history of 
 architecture if, as is believed, it was built 
 by Philoxenos, under Constantine, in the 
 IV cent., for it gives then the earliest 
 known example of the so-called cubic 
 capital, which was a striking characteris- 
 tic of Lombard architecture for centuries. 
 
 Column of Arcadius, formerly in the 
 Forum of Arcadius, now enclosed in pri- 
 vate property near the locality called 
 Avret-Bazar. It resembled the Column 
 of Trajan at Rome, and the shaft Wds 
 carved with reliefs illustrating the wars of 
 Theodosius. It was about 115 ft. high. 
 It was overthrown by an earthquake in 
 740 A.D. The pedestal, about 20 ft. liigh. 
 and a fragment of the shaft, still stand. 
 In the pedestal is a sepulchral chamber, 
 with a niche and a sculptured ceiling, and 
 the beginning of the stairs by which the 
 column was ascended. 
 
 Column of Coxstantixe, also called 
 Column of Porphyry, Burnt Column, 
 
 87 
 
CONSTANT I Xol'l.K 
 
 ami OJL'iubrrli - Tacli. staiidiiiif uu tlir 
 summit of the second hill. According 
 to tradition it was Ijrouijht from Konie 1)y 
 C'onsiantinc, and the Palladium was buried 
 under it. It consisted originally of nine 
 drums, set one into another and carve<l at 
 the Joints with wreaths of laurel, so that 
 it had the ap])eavance of a monolith, and 
 attained a height of about iW ft. It 
 was surmounted by a bi'oiize statue of 
 Apollo, till' head of which t'onstantine re- 
 placed by his own. J)uring the reign of 
 Alexis Comnenus, the statue and the 
 ujjper part of the column were thrown 
 down by lightning ; it was restored to re- 
 ceive a cross and the name of flannel 
 Comnenus. Six drums now remain, and 
 rise to the height of nearly 115 ft. 
 
 Column of M.viician, called Kiz-Tach 
 by the Turks, near the Mosque of Mah- 
 moud Pasha, in iirivate property. It is 
 of white marble, about 33 ft. high, with 
 a composite cajiital on which is a block 
 with eagles at the four angles, which 
 formerly sujiported the statue of the em- 
 peror Marcian. The pedestal of the col- 
 umn has wreaths on three sides, and on 
 the fourth a dedicatoi'y insci'ijition be- 
 tween two winged figures. 
 
 Column or the Sicki'knts, one of the 
 most famous relics of anti(|uity. ])art of the 
 monument erected before the Temple of 
 .\])olloat Delphi in commemoration of the 
 (Jreek viiim-y over the Persians at Plat*a. 
 in 47i> II. c. It supported a tripod of gold, 
 which was taken by the Phocians for tlieir 
 war expenses, liut the column remained in 
 |ilace at Dcliihi until Constantine brought 
 it to Constantinople to place it in the 
 spina of the Hippodrome. It consists of 
 three intertwiTied serjients of Iji-onze, upon 
 the widi'ly diverging heads of which tli(> 
 tri])od rested. The heads were broken otV 
 and stolen by night, about 1700. The 
 nanu'sof the (Jreek peoples who fought the 
 bai'bai'ian are inscribed on the coils of the 
 serpents. IVoiii the tliii'd lo the thirteenth, 
 foi'niiiig one of the chief epigrapliie docu- 
 
 ments of history. Twenty-nine coils re- 
 main in the column, which rises to the 
 height of IS ft. The upper jaw of one of 
 the heads is in the ^fuseum at Constanti- 
 no)ile. 
 
 Column uv Theudosiu.s, in the gar- 
 dens of the Serai, or Imperial Palace. It 
 is in gray granite, about 4'.) ft. high, and 
 has a Corinthian cajiital. The jiedestal 
 bears an inscri])tion commemorating the 
 overthrow of the (ioths. 
 
 The (ioLDEX Cath. near the south viul 
 of the Walls (jf Theodosius, lies between 
 two enormous, massive, square towers of 
 white marble, preceded by a court formed 
 liy an outward inflection of the exterior 
 wall. It consists of three openings — a 
 great archway in the middle which w'as 
 reserved foi- the ])assage of the emperor, 
 with a smaller one on each side — and is 
 now walled up, owing to a Turkish ])ropli- 
 ecy that the future conf|ueror of Con- 
 stantinople sliall pass through it. The 
 towers wei'i' oi'iginally ornamented with 
 sculpture. A l>yzantine eagle still re- 
 mains on that to till' noi'th. See also 
 Wa/Zs. 
 
 Hall oi' a iikhswh and ost: Col- 
 umns. See (Ireat Cifitcni. 
 
 The lIlCMDOMOX is an ancient l'>y/.antiue 
 huilding, dating priibably from the first 
 half of the ix cent., and occupying a part 
 of the site of a i)alace built by Constantine. 
 of which some authorities have believeil if, 
 to l)e a ]ioi1 ion. 'i'he l)uilding is of three 
 stories. coMM-iug the breadth between the 
 outer and iinu-r city walls, but rising far 
 above thenu 'i'he lowest story has in the 
 interior two rows of three columns each, 
 with Ryzantiue cajiitals of various design, 
 some of them of much elegance, joined by 
 arches in two directions, which divide the 
 space into twelve s(|uare groined bays, 
 'i'his storv has openings only on one side — 
 four round arches in pairs, the pairs sepa- 
 rated by a sfpnire ])ier in the middle of the 
 wall, and (|i\i(|ed each by I\mi slender col- 
 iiunis e<iu|iled in the thickness of the wall. 
 
 S8 
 
CONS'l'AXTIXOPLE 
 
 Above a low second story, witli single 
 rouud-arclied windows, is a £;reat undi- 
 vided hall oo ft. by 74 ft., and -^0 ft. high. 
 of which nothing rLMiiains l)iit tiie enclos- 
 ing walls. These are faced on all four 
 sides with an arcade of round arches en- 
 closing windows, arched and square. The 
 walls are of brick, with bands of yellowish 
 marble, and varied by geometrical patterns 
 of much beauty in the arches and span- 
 drels. Narrow bands of copper follow the 
 lines of the arches. The columns are of 
 white marble. The ends of tiie building 
 finish with very flat stepped gables. 
 
 Hippodrome, occupying the modern 
 At-Meidau area, beyond Sta. Sofia. The 
 yerpent-Column, the Obelisk of Theodo- 
 sius, and the Colossus Pyramid mark the 
 axis of the spina in the middle of the 
 arena, whose ancient surface is now 12 ft. 
 
 deep, making a rectangle of about 'HO ft. by 
 4-2() ft. It is situated in the At-Meidan or 
 Ilipjiodrome, and dates from the xvii cen- 
 tury. Tiie court has arcades on all four 
 sides, each bay covered by a low dome, 
 tliree entrance gate.s, and in the middle an 
 ornamental fountain. There is a tall and 
 slender minaret at each corner of the 
 mosque, and of the court — six in all. Four 
 enormous channelled piers, more than 
 IJO ft. in diameter, carry the central dome, 
 on four great pointed arches, against 
 which lie four semidomes, making a 
 (xreek cross ; and in its angles, at the 
 t'orners of the mosque, are four small 
 domes. Galleries, carried by ranges of 
 columns, cross the ends of the transept, 
 both inside and between the great but- 
 tresses without. The walls have a marlile 
 dado, and are decorated with arabesqixes 
 
 underground. A series of enormous vaults, and inscriptions, obscured by whitewash. 
 
 The windows are tilled with clear glass. 
 The milirdh. or iirayer-niche, faced with 
 agate, jasper, and other costly stones, 
 covers a precious relic in a piece of the 
 
 resting on huge })illars. constitute the sub- 
 structions of the terrace built by Septimius 
 Severus to increase the area of the arena. 
 These vaults were once utilized as a reser- 
 voir. The length of the 
 Hippodrome was about 
 1,-lOOft., its breadth, 400 
 ft. The exterior was 
 formed of superposed 
 tiers of brick arches, 
 faced by a Corinthian 
 colonnade in marble. 
 Between 119.5 and T^Oo 
 the last races were held 
 in the Hippodrome, in 
 presence of the emjieror. 
 and in the decrepit are- 
 na, on the night before 
 May 29. 14.53, Constan- 
 tine PalEeologus gath- 
 ered his shattered troops 
 for the last struggle with 
 the Turks. 
 
 Mosque of Ahmed, 
 the largest mosque in Constantinople (not holy black stone from the Kaaba at Mecca, 
 counting Sta. Sofia), a building some 240 The elaborate /«//y//w;'. or pulpit, isof stone, 
 ft. square, preceded by a forecourt nearly as patterned after that at Mecca. This is 
 
 89 
 
 Fig. 52.— Constantinople, Mosque ol Ahmed. 
 
CONSTAN'I'IXOl'LI 
 
 the mosque of stute of the Sultans of Cou- 
 stiintinopU'. and contains also the Standard 
 of the I'ropliet, which is never unfurled 
 except at critical moments iu the history 
 of the em})ire. Xear by is the tomb of 
 the founder. Ahmed 1., who began the 
 mosque in l(i()8. {Sec Firj. 52.) 
 
 Mosyrio OK Evri!. A w cent, mosque, 
 situated in a suhurli at the head of the 
 Golden Horn. It is built of marble, 
 the exterior very plain, with a single don^e 
 surrounded Ijy four minarets. The win- 
 dows are filled with gilded lattice-work. 
 The interior is lined with marble, and con- 
 tains the tomb of Eyub, the companion 
 and standard -l)earer of Mohammed, killed 
 during the drst Arabic siege of Constanti- 
 nople in the vii cent, and buried outside 
 the walls, Mohammed II. (1451-81) to 
 whom the position of his grave was re- 
 vealed, built tlic mosque in the xv cen- 
 tury. It is held peculiarly sacred by the 
 Turks, and is the place of consecration 
 of the Sultans. It is closed to Christians. 
 
 Mo.sQLK OF Mou.iJi.MED. A XV cent, 
 mosque, modelled approximately after the 
 church of Sta. Sofia. There is a forecourt, 
 and behind the niihrab a garden, con- 
 taining the tombs of Mohammed II. and 
 his family. The court has cloisters on 
 three sides, supported on marble and 
 granite columns, and each bay roofed 
 with a lead-covered dome. In the cen- 
 tre is the usual fountain. The interior 
 decoration is in the style of the other 
 Turkish mosques. The mosque, founded 
 by .Mohammed II., the conqueror of Con- 
 stantinople, in 1-1.53, stands on a high ter- 
 race upon the highest hill in the city, and 
 occupies tlio site of .Justinian's Church of 
 the Apostles, which was jmlled down to 
 make way for it. It was designcil l)y a 
 (ireek architect and finished in l-liji). In 
 1703 an earthquake greatly injured it. 
 The repairs were made in the quasi-Italian 
 style of the perictd, in which the original 
 asjpectof the nios(|uc is quite lost. Con- 
 nected with it arc cii,dit Turkish colleges. 
 
 .Mo.syrE 01-- UsMAX, built by Sultan 
 Osman III., in 175.5, a square covered bv 
 a large central dome, Hanked by two min- 
 arets, and supported on four great arches. 
 These arc tilleil by screen walls, which are 
 pierced by nnind-headed windows filled 
 with tracery. In front is an octagonal 
 court, surrounded by an arcade of horse- 
 shoe arches carried on high, slender pil- 
 lars. Cross arches separate the bays, wliich 
 are crowned by domes on circular drums 
 pierced by arched openings. In the outer 
 walls are long, trefoil-headed windows. 
 Lighted as it is, the Turks call the moscpie 
 Nur Osmaidi, or the Lantern of Osman. 
 
 ^losQUp; oi" Sri.?;i.MAN'. .V wi cent, 
 mosque, built by Sultan Suleiman II. In 
 front is a forecourt 1.5(1 ft. by 190 ft. in- 
 ternally, and at the i-ear is a garden court 
 containing the tombs of the founder and 
 members of his family. It is substantial- 
 ly like Sta. Sofia in plan, though of differ- 
 ent proportion, l)eing nearly square, 'lOb ft. 
 by a--i5 ft. outside. The great dome, stand- 
 ing on four piers, is abutted in front and 
 rear by half-domes, as in Sta. Sofia, the 
 three together covering the nave. The 
 side-aisles are sulidivitled into five bays, 
 each covered with a small doinc. and arc 
 .separated from tlie nave by triple arcades 
 on columns of porphyry 35 ft. high. These 
 carry screens perforated with windows, fill- 
 ing the side pier-arches, as in Sta. Sofia, 
 aiul serving as clerestories. Against the 
 aisle-w'all is a low arcade carrying a gal- 
 lery. The central dome is SO ft. in diam- 
 eter interiudly. and 150 ft. high. Kanges 
 of windows at the base of each dome 
 and in the walls light the interior. The 
 mosque is stuccoed on the outside, and the 
 dome covered with lead. The fa(;ade is 
 adorned with six immense and beautiful 
 pillars of Egyptian porjihyry, and there 
 is a minaret at each corner of the court, 
 tall, slender, and crowned by a high coni- 
 cal roof. All the arches are jioiuted. 
 but the windows in the lower story 
 are mostly square - headed. The arcade 
 
COXSTAX'l'IXOPLE 
 
 whiuh fiicloses tlie courtyard is siipjjort- 
 ed on colunuiii of Eiijyptian granite and 
 marble. Each bay lia.sa low dome crowned 
 bv a pinnacle. In the centre is an elabo- 
 rate fonntain. The tomb of Suleiman in 
 the rear court is a domed octagon, 40 ft. 
 in diameter. Iniilt of colored marbles and 
 surrounded l)y an aisle. The mosque was 
 designed bv the Sultan's famous architect 
 Sinan. and built lietween the years 1,5.5(1 
 and 1.5.5.5. of materials mostly taken from 
 the large Christian chxxrch of St. Eu])he- 
 mia at Chalcedon. It is simple in detail, 
 but of fine effect : mucii smaller than its 
 prototype, but of loftier proportion, as nat- 
 urally follows the use of the pointed arch. 
 
 Obelisk op Theodosius, brought from 
 Heliopolis, in Lower Egypt, by the Emper- 
 or Julian, and set up by Theodosius in 
 390 A.D., in the centre of the spina of the 
 Hippodrome. It is a monolith of pink 
 Syeue granite, about 61 ft. high and ft. 
 square at the base, inscribed with hiero- 
 glyf)hs on its four faces. The four 
 angles of the base rest on four cubes of 
 bronze 1| ft. square, on a pedestal of mar- 
 ble carved with rather rough reliefs reji- 
 reseuting Theodosius and his court and 
 the machinery used in the erection of the 
 obelisk. The total height of the jjedestal 
 is 1.5 ft. The apex of the obelisk upheld 
 a sphere of copper, which was tlirowm 
 down and broken by an earthquake. The 
 inscriptions show this obeli.sk to be the 
 first one quarried under Thotlimes III. 
 
 The Paxtokkator, or the Church of 
 The Omnipotent, now used as a mosque 
 under the name of the Kilissi Jami. was 
 built in the first half of the xii cent, by 
 Irene, wife of the emperor John Com- 
 nenus. It is really an agglomerate of two 
 small twin churches set side by side, and 
 connected by an additional nave which 
 separates their adjoining aisles. This 
 makes a rectangular building about 150 ft. 
 across from north to south, and 80 ft. deep 
 from east to west, consisting of three 
 naves, and the four aisles that flank and 
 
 separate them, ending in seven eastern 
 apses. The twin churches are of a com- 
 mon Byzantine 2)lan. eacli being a (Jreek 
 cross, with wagon-vaulted arms and a cen- 
 tral dome, the re-entrant angles filled out 
 to a s(iuare and covered with small domes. 
 Before the southern church is a great nar- 
 thex of ten vaulted bays. The ajises are 
 polygonal without ; those of the three 
 naves have seven sides. The eight great 
 columns which, according to Oyllius, up 
 to the XVII cent, carried the principal 
 domes, have been replaced by Turkish 
 piers. Parts of the hand.some old marble 
 p.ivement are still left. 
 
 liESEKVOIR OV THE PaTHK'IAX MoDES- 
 
 Tus, built in 3(19 a.d. It is large, with 
 sixty columns and good cajntals. It is 
 now closed, but the interior can be seen 
 by a grating near the Bondronm Mosque. 
 
 Reservoir of Arcadius, near the 
 Mosque of Selim. It is one of the best 
 preserved of the ancient reservoirs of Con- 
 stantinople, and is not, like most, entirely 
 underground. It rises to a height of 
 about 17 ft. above the surface, and luis 
 about the same depth below. The exterior 
 w.dl is very thick ; it has two round- 
 arched windows and a door which is ap- 
 proached by a flight of steps. The vaults 
 are supported on twenty-eight columns in 
 two ranges, with handsome Corinthian 
 capitals. This reservoii" is now entirely 
 dry and is occupied by silk-weavers. 
 
 Reservoir of Tiieodosiu.s, close be- 
 hind the reservoir or Hall of a thousand 
 and one Columns. It is 138 ft. long and 
 T.5 ft. wide, and contains thirty-three beau- 
 tiful columns. 
 
 St. Irexe, originally built by Constan- 
 tine, and burned with the old Sta. Sofia 
 early in Justinian's reign, was rebuilt by 
 Justinian, and after being shattered by an 
 earthquake, under Leo the Isaurian in the 
 first half of the viii cent., was rebuilt, 
 probably in the form in which we now see 
 it. It is now a Turkish arsenal. Its plan 
 is a rectangle about 1-tO ft. bv 90 ft., indud- 
 
CONSTANTINOPLE 
 
 iiig ;i great luive of two bays. The square 
 easteru bay is covered by a main dome on 
 a drniii. supported 1)V peudentivos on four 
 piers. The shorter western bay has a low 
 dome, of elliptical plan, without a drum. 
 Tiu' nave is prolonged eastward in a sanc- 
 tuary under a tunnel-vault, ending in an 
 apse, round within and semi-octagonal with- 
 out. These bays are stayed on each .side 
 by aisle-bays, with transverse tunnel-vaults 
 which run through the walls, and show on 
 the outside as gre;it arches tilled with screen 
 
 cent., said to have been Ijuilt by Studios in 
 463 for a convent of Silent Monks, and jier- 
 haps the oldest existing Byzantine clinrch, 
 is iu)W a mosque. It is a three -aisled 
 basilica, about 85 ft. by 125 ft., with an 
 open iiarthex, women's galleries over the 
 aisles, and a single eastern apse, round 
 within and semi-octagonal without. The 
 nave is unusually wiile — some 48 ft. — and 
 was pi'dbalily covercil. as it now is. by an 
 oiien-timbered roof. It is bordered Ijy two 
 ranges of supei'posed columns : the lower 
 
 •*•«« 
 
 Fig, 53. — Constantinople, St. hene. 
 
 walls pieroed by many windows. The 
 great .side-arches within ai'e half- til led with 
 a range of small arches on scpiare piers. 
 which carry a women's gallery over the 
 aisles. This gallery on eacli .side com- 
 municates with the second story of a nar- 
 thex. which crosses the west eiul of the 
 ehunh. Tiie drum of the main dome is 
 
 range, Corinthian, carrying a lintel and 
 cornice that support the gallery llonr. 
 The upper range is now of wood, but the 
 original marble colunnis sujiporting an 
 arcade were seen as late as 18(19 by Choi- 
 seul (louftier. 'i'wo liei's of windows light 
 the clnireh through the aisles. The clere- 
 story, if there was one, is disiilaecd liy a 
 
 pierced by twenty wiiulows with buttresses single-i)iteheil roof covering the whole. 
 
 between. The walls outside are stri)ied 
 
 liorizontallv with brii-k and mai'lile; the 
 
 inside is severely plain, and relieved only 
 
 by one or two string-courses of marble. 
 
 {See Fig. 53.) 
 
 St. .ToiTX's, a small church of the v 
 
 The narthcx is an o])en tetrastyle ]]orch, 
 with a. complete I'nlablalui'c. Ia\ishlv <le- 
 corated with carving in all its members. 
 The style is transitional between classical 
 anil l>vzantiiic. and the W(irknianshij) ad- 
 mii'able. 
 
 'M 
 
CONSTANTINOPLE 
 
 SS. Sergil's .VXD Bacctiis, the fore- 
 runner of Sta. Sofia, founded under Jus- 
 tinian in 527. consists of a central octagon, 
 much like thai of S. Vitale in Kavenna, 
 but set in a square, resting on eight piers 
 and arches, and covered by a low dome 
 of 55 ft. span. High round niches open 
 from the diagonal faces of the octagon, 
 their walls pierced by tri])Ie arches in two 
 stories, as at S. Vitale. Flat screen walls 
 repeat the same treatment in the cardinal 
 arches, except the eastern, which opens 
 into the sanctuary, which ends in an apse 
 of Byzantine form that protrudes through 
 the outer wall. The lower range of col- 
 nmns bears a complete entablature, which 
 encircles the piers also, the upper columns 
 carrying arches. The space between the 
 octagon and the surrounding square forms 
 an aisle, the second story of which, cor- 
 responding to the uf)per range of columns, 
 is a women's gallery {(/i/iuereu/ti). The 
 dome is of singular construction, with 
 fluted or scolloped section, so that the 
 exterior looks like half a melon. To tlie 
 flutings correspond lunettes at the base, 
 every other one of which is pierced by a 
 window. 'I'he front is crossed by a n;ir- 
 thex in two stories, the upper communi- 
 cating with the gynjeceum. The detail 
 is early Byzantine, the t'apitals and entab- 
 latures richly carved, tlie former mostly 
 with stilt-blocks and of pseudo-Ionic form. 
 The church contains an inscription com- 
 memorating its foundation by Justinian 
 and Theodora. It was converted into a 
 mosque by Mohammed II., and so re- 
 mains, being called by the Turks the little 
 Sta. Sofia. 
 
 Sta. S()1-ta (St. Soi>hia. Turkish Aya 
 Sofia), the boast of the Emperor .Justinian, 
 who built it, and the greatest of all the 
 Byzantine churches, perhaps of all Chris- 
 tian churches, is now the chief mosque of 
 Constantinojjle, and therefore of all Islam. 
 It covers an enormous rectangle about 245 
 ft. by 225 ft. inside the walls. Within the 
 mass of brickwork, lately stuccoed and 
 
 striped red and white, which covers this 
 area the ehurcli may be said to be con- 
 cealed, for the towering outer walls, more 
 than a iiundred feet high and overgrown at 
 their base by a crowd of parasitic buildings 
 hide the structure and disposition of the 
 church ; little is seen but the many win- 
 dows, and from a distance the group of 
 low domes and buttresses that crowns it, 
 surrounded by the four later minarets. 
 The body of the church is an immense 
 oval hall, or nave, 100 ft. wide and 225 ft. 
 long, and nearly 185 ft. high in the centre 
 to the crown of the great dome. This 
 nave consists of a central square, a hun- 
 dred feet across, extended east and west by 
 semicircles of like diameter, and is farther 
 lengthened by the apsidal bema or sanctu- 
 ary at the east, and a corresponding recess 
 at the west, making the whole length over 
 260 ft. The central square is covered by 
 the great main dome, which, without a 
 drum, rests directly on its pendeutives. 
 Ijorne by the four corner piers and liy the 
 connecting arches that span the nave with 
 a clear opening of a hundred feet. Two 
 iialf domes of like span cover the semi- 
 circular ends of the nave, abutting closely 
 against the cross-arches, and rising with 
 tlieir crowns to the level of the springing 
 of the main dome, which seems to sit upon 
 them. The side arches under the great 
 dome are filled with arcades in two stories, 
 which l)ear screen walls that are them- 
 selves pierced in the tympana with a 
 series of openings. The semi-domes rest 
 each on two piers that stand on the cir- 
 cumference of the semicircle below, as at 
 the corners of an octagon. These jiicrs 
 arc joined by arches which open into round 
 apses, so that three apses group about each 
 semi-dome, the smaller half-domes with 
 which they are covered cutting like lunettes 
 into the semi-domes. The apses are lined, 
 not with walls, but with arcades like those 
 which close the side arches of the great 
 dome. But at the west end instead of 
 the middle apse is the recess Just men- 
 
 93 
 
CONS'l'AX'I'lXol'LK 
 
 tioiK'il, coniiniinieatinjj; hy three ilooi's with 
 the poreh wliieli is tlie main entrance iif 
 the rliurcli. 'I'lie elinrdi. lluTefore, is no- 
 
 Fig, 54, -Constantinople, Sta, Sofia, 
 
 wise cruciform, as it lias been called, nor 
 basilical, nor aisled, but consists of a 
 single nave of a peculiar shape that lias 
 not been repeated. The spaces on each 
 side the nave, divided into separate cham- 
 bers by the main piers, which extend later- 
 ally to the outer walls, are connected into 
 a sort of aisle by arches that pierce the 
 piers, and are cut off by tliem from the 
 nave, communicating with it at intervals 
 through the arcades under the great 
 art'hes. Over these aisles is the woman's 
 gallery, or gi/nceceiiiit. which, continued 
 in the .second story of the western jiorcli. 
 makes the circuit of the nave on three 
 sides, overlooking it througli the npjier 
 arcade under the great arches. The porch, 
 in two stories, is a great narthex, running 
 across the fnmt and opening into the 
 church by nine doors. Outside this is an 
 outer narthex of one story, and in front 
 of it an open court, probably the original 
 atrium, surrounded by low buildings whicli 
 replace or travesty the original arca<lcs. 
 The interior effect is perhajis the grandest 
 
 in the World, 'i'lic great iiie<li;\;val cathe- 
 ilrals are longer ; the dome of 8t. Peter's 
 is a third wider and nearly twice as high ; 
 yet the greatest media^- 
 i \al naves are little more 
 
 4 than half as wide as 
 
 J\ Sta. Sofia's and iniicli 
 
 II:- low e r , and even the 
 nave of St. Peter's is 
 much smaller, and it- 
 self conceals the dome, 
 while the hnge single 
 order dwarfs it ; but in 
 Sta. Sofia no ])art ob- 
 scures or belittles an- 
 other, the great dome 
 soars out of the others 
 with increasing size and 
 height, the superjwsed 
 arcades add to the lofty 
 effect and the eye takes 
 in the whole interior in 
 one view. It is of un- 
 examjiled magnificence. The hundreds of 
 columns are monoliths of verd - antique, 
 por}iliyry, and other costly stones ; the 
 walls are clad in varied marbles ; capitals, 
 spandrels, archivolts, and cornices are 
 covered with lavish carving or inlay of 
 marble, and all the domes are rich with 
 mosaic of gold and colors. A boldly cor- 
 belled gallery makes the circuit of the 
 nave above each arcade, and marks the di- 
 vision into stories. The decoration of 
 marble and mosaic is continued through 
 the gyufpceiini and both stories of the 
 inner narthex. I''orty windows pierced in 
 the base of the jirincipal dome and many 
 more in the walls give the chrn-ch an 
 ample light. (See Frontispiece.) 'J'lie 
 Turks, on taking possession of it. covered 
 all the mosaics throughout with white- 
 wash. When it was restored by Fo.ssati, 
 they were uncovered, and only the figure 
 subjects were again concealed. The iiii/i- 
 rtf/i, or taliernacle with the jirayer-niche, 
 the Sultan's ])avilion, and other Moham- 
 medan fittings, have taken the place of the 
 
 <M 
 
CONSTANTINOPLE 
 
 t'liristiau altar ami rurnituiv. Sta. Sofia 
 is the typical example of Byzantine archi- 
 tecture, the greatest instance, next to St. 
 Peter's, of a dome on pendentives borne by 
 four piers, and the oldest important one 
 that exists. No {iotliic church is more 
 purely structural. The main dome, but- 
 tressed laterally by the great piers which 
 spread sidewise to the outer walls, is bal- 
 anced east and west by the semidomes 
 that lean directly against the cross-arches 
 on which it stands. The semidomes in 
 their turn are propped by the triple apses 
 that cluster about them, and these by the 
 buttressed vaults of the side chambers ; 
 the outer walls are needed only to enclose 
 the included space. Every dome and 
 every vault is its own roof ; and aljove the 
 high walls every part confesses the struct- 
 ure within. {See Fi(/s. S^? ■'•'■ ) 
 
 The original church was built by C'ou- 
 .stantine, we are told, in o'.'il. and was 
 a flat-ceiled basilica. This church was 
 burned in the sedition called the Nika 
 (in 532), which destroyed a considerable 
 part of the city and nearly cost 
 Justinian his throne; but in 
 forty davs he had laid the corner- 
 stone of the new building, which 
 he superintended in person, 
 plundering the cities round 
 about of their materials and bur- 
 dening his realm with special im- 
 posts. He pressed the work with 
 such enthusiasm that in less than 
 six years the cluu'ch was conse- 
 crated, in the name of the Di- 
 vine Wisdom, 'Ayt'a Soc^t'a, on the 
 2<ith of December, h'SH. He ex- 
 claimed, "I have surpassed thee, 
 () Solomon," and doubtless he 
 had — or rather his architects had, 
 Anthomios of Tralles and Isi- 
 doros of Miletos. Justinian's 
 prime requirement had been 
 that it should be impossible to 
 burn the church, and Sta. Sofia 
 
 top to bottom. In twenty-two years an 
 eartliiiuake threw down the dome, which 
 was too Hat ; it was rebuilt, higher and 
 more secure, and Justinian reconsecrated 
 the church in .500. Though shaken at 
 intervals by earthquakes, it has not suf- 
 ferred seriously since that time. It was 
 plundered, but escaped destruction, when 
 the city was stormed and half burned by 
 the crusaders in 1204, and in 14.53, at the 
 taking of the city by the Turks, when, as 
 the story goes, Mohammed II. rode up to 
 the altiir and gave the signal for massacre 
 of the Cliristians who had taken refuge 
 there, he respected the building, and at 
 once made it the chief inosque of the city. 
 Four minarets were successively built 
 al)out it by ^lohammed II., Selim II., and 
 Amurath III. It was elaljorately restored 
 undci- Abdul Mejid in 1847 by Fossati, au 
 Italian architect, as is noticed above. 
 
 (-)f the early buildings that clustered 
 al)out the church most are destroyed or 
 di.sguised by alteration. The most im- 
 portant that renuiins is the Baptistery on 
 
 solid masonry, within and without. 
 
 is of 
 from 
 
 Fig. 55. — Constantinople, Sta, Sofia. 
 Scale of 100 feet. 
 
 the south. It is small, square below and 
 octagonal above, and domed. Inside, the 
 
COXSTAX'l'IXOl'M'; 
 
 plan is an octajjon with niclies on four 
 sitles at tlie (•orners of the square, and a 
 square niche projecting eastwanl. It lias 
 been utilized liy the Turks for a mauso- 
 leum. 
 
 The Sii.TAx's I'alacic. or Old Sci-ajilio. 
 dating from the xv cent., situated upon 
 the easternmost liill of t'onstantiiuiplr 
 (Stanilioul) on a point of land washed hy 
 the Sea of .Marmora, the IJosphorus, and 
 the waters of the (iolden Horn, is a vast 
 walled enclosure divided into three large 
 irregular courts adorned with groves and 
 gardens and crowded with buildings 
 erected at dilferent times, and in no 
 architectural order. 'J'hc surrounding 
 wall, which on the water side is a contin- 
 uation of the city wall, is reinforced by 
 numerous towers now falling to ruin. 
 The first of the three divisions is called 
 the Court of the Janizaries, and is entered 
 through the J?ab Humayun or August 
 (fate, translated by the French into Sub- 
 lime Forte, the name by wliich the Turk- 
 ish (iovernuH'nt is now diplom:itically 
 known. Ill this court is the chun-li nf 
 St. Irene (y.r. ), founiled by Constantiiie 
 and used by the Turks as an arniory. 
 The second c(jurt, entcivd through the 
 ]{ab-el-S('him. or (Jate nf Health, is sur- 
 rounded liy an ai'cade of slemler niarl)le 
 columns and arches, aiul contains, with 
 many other buildings, the Divan, or Hall 
 of Justice, and the reception hall. The 
 first is a large, vaulted hall, lined with 
 gilded marble arabestjues. The reception 
 hall is supported by si.x enormous col- 
 umn.s, which, with the walls and ceiling, 
 jire delicately I'arved, ]iainted, and gilded. 
 'i'he third, or imperial court, sacred to tlie 
 royal family, entered from the second by 
 the famous Hah Seadet or Gate of Felici- 
 ty, contains the Hall of the Throne, a 
 small, s(|uai'e building with a rich doorway 
 flanked l)y two fountains and surrounded 
 by a marble gallery. The site of the Serag- 
 lio is that of the acropolis of ancient Bv- 
 y.antiuni. whi<-li under the Greek Em[)ire 
 
 was occupied as a college for the priests 
 of Sta. Sofia. ^lohammiMl 11.. on taking 
 the city in 14-"):!. ai)proi>riated the site for 
 his palace, which was constantly added to 
 and beautified by his successors until it 
 en<-losed a circumference of several miles, 
 and could accommodate at one time a 
 number of inhabitants variously stated at 
 from six to twenty thousand. It was 
 abandoned in the jire.-ient century, and in 
 1803 a large part of it was burned. The 
 new palace, or Dolma Bagsche, outside the 
 city, is a modern building of great size and 
 splendor, but of little architectural charm. 
 
 'J'lie TliKoTOKOs (Church of the Mother 
 of God), as the Greeks call it, iu)w a 
 mosque, is believed to l)e that of a con- 
 vent which was built under Leo VI. {SHO- 
 iil I). It is small, being only about 80 ft. 
 long, but of elaliorate and picturescpie de- 
 sign in jilan, a (Jreek cross enclosed in a 
 square, with three eastern a])ses, the west- 
 ern front crossed by a narthe.x that has 
 been com]iletely covered by a greater cso- 
 )iiirlhe.r. or outer porch, built about it on 
 three sides at a later time. The central 
 dome .staiuls on ])endentives on four col- 
 iinins ; its drum, arcaded on the outside 
 and piri'ciMl with windows, stands on a 
 sipiare base against wliich abut the galiled 
 roofs that cover the vaults of the four arms 
 of the cross. The apses are peculiar, the 
 niiilillc one being five-sided, with three 
 windows separatt'd by clustered shafts for 
 angle - })iers, and the side ones (.)])eniiig 
 with doors in a flat wall, 'i'he esoiiarthex 
 is elaboratelv built, banded in brick and 
 marble, with an opi'ii arcade in front, 
 and three liigli domes, whose dninis are 
 not windowed iw ai'caded like that in the 
 centre. 
 
 'W'ai.i. oi- lIi:i{Ari.n s. built ill (;4(i. 
 and extending from the termination of 
 the Walls of Theodosius, at the Tower of 
 the Hebdomon, for about two-thirds of a 
 mile, to the walls of the (iolden Horn. 
 The wall is battlclnclitcil. ovi'r 1"^ ft. 
 thick, and stj-ciiiitheiicd bv about tweiitv 
 
 Ufi 
 
ATHENS-CHORAOIC MONUMENT OF LYSIC RATES 
 
 ^"■f ''T'-r 
 
r^ "J^T'?-*-*^'^'*^ 
 
COEI 
 
 great round or octagonal towers, anil it re- 
 mains in excellent condition. 
 
 Walls of Theouosius, extending in a 
 general northeasterly direction from the 
 Sea of Marmora for three and one - half 
 miles toward the Golden Horn, and end- 
 ing at the Tower of the Tribunal of the 
 llebdomon, built by the Emperor Valeus. 
 The inner wall was defended by ninety- 
 four great towers, and the outer wall by 
 seventy-one turrets, all built of massive 
 masonry. There were five gates ; those 
 that have left the most important remains 
 are the Golden (Jate and the Polyandria 
 Gate, now called the Adrianople Gate. 
 Many of the towers and long stretches of 
 the curtains of the inner wall remain very 
 perfect. These walls present one of the 
 most imjjressive siDectaclos of the kind. 
 COEI (anc. Cora), Latium, Italy. 
 
 Ancient Bridge, spanning a ravine on 
 the road to Xorba. It is of a single arch 
 of tufa, 69 ft. high, of massive irregular 
 masonry, and ranks with the most re- 
 markable monuments of its class in Italy. 
 
 Temple of IlERcrLEs. so-called, of the 
 time of Sulla, a graceful Koman-Doric 
 building, which despite the discreiiancy of 
 proportions recalls in its feeling Greek 
 work, especially sucli work as the Pom- 
 peian decorations. The temple stands in 
 the citadel, near the church of S. Pietro ; 
 the front portico is complete, except its 
 roof, together with the front wall and door 
 of the cella. The portico is tetrastyle, with 
 two columns intervening on each side be- 
 tween the angle-column and the anta of 
 the cella. The columns are slender (the 
 height of the shafts is seven diameters), 
 with low capitals and bases of Ionic type. 
 The architrave is very low, and the frieze 
 has triglyphs at the angles, in the Greek 
 manner. The pediment t<Jo, is low. The 
 framing of the cella door is richly mould- 
 ed, and the lintel is surmounted by an 
 elaborate cornice. The intercolnmniation 
 is wide (4 ft. 8 in.). 
 
 Walls, of which some portions are as 
 
 late as the time of Sulla. The oldest parts 
 are of enormous unhewn hloi'ks of lime- 
 stone ; the next period is represented by 
 carefully jointed polygonal work, and this 
 is followed by the earliest Roman work 
 in excellent ashlar. The good preser- 
 vation of the walls, and the reunion in 
 them of the masonry of widely separated 
 periods render them especially interest- 
 ing. 
 COKINTH, Greece. 
 
 Archaic Doric Temple at the base of 
 the Acrocorinthos, commonly known as 
 the Temple of Corinth. Its ancient at- 
 tribution is unknown. The existing re- 
 mains consist of several columns of the 
 west front and the south flank with sev- 
 eral blocks of the architrave. The mate- 
 rial is rough limestone, which was origi- 
 nally primed with a lino reddish-yellow 
 stucco. The floor was covered with a 
 stouter stucco, stained red. The temi^le was 
 peripteral, hexastyle, with fifteen columns 
 on the flanks, on a stylobate of three steps. 
 The cella had pronaos and opisthodomos 
 'vith two columns i/nnifis, and was divided 
 into two cult-chambers. The roof of the 
 west chamber was probably sup[)orted by 
 four columns ; that of the chief chamber by 
 two ranges, probably each of four columns. 
 The shafts of the surviving columns are 
 monolithic, without entasis, with but 
 little deci'ease in diameter toward the top, 
 and with twenty channels. The capitals 
 are heavy, with wide-extending echinus 
 and thin abacus. The lower diameter of 
 the front columns is to their height as 1 to 
 4.19 ; of the side columns, as 1 to 4.-1:2. 
 The Doric convex curves are present, the 
 middle columns of the west front standing 
 2 cm. higher than the angle-columns. 
 The lowest of the steps of the west stylo- 
 bate is hewn from the rock, thus preclud- 
 ing the possibility of any settling. The 
 chief dimensions of the temple are : length 
 on upper step, 175 ft. ; width, about 70 
 ft. ; diameter of columns of fronts, 5 
 ft. 8 in. ; of flanks, 5 ft. 4 in. ; front in- 
 
 97 
 
conxETo 
 
 tercnlumniation, 13 ft. U in. : side inter- 
 columniution, 12 ft. 2 in. ; angle intor- 
 columuiation.s, less by 8§ in. ; height 
 of cohnnns, 2'-^ ft. 8 in. Liirge Eonian 
 roof-tiles in terru-cottii have been found 
 in plenty, showing that the temple was re- 
 built by the Romans after the destruction 
 by Mummius, but it dates certainly from 
 well back in the vi cent, u.c, and is jier- 
 haps as early as the vii century. Leake 
 and some others have identified this tem- 
 l^le as that of Athena Ohalinitis. 
 
 Temple of Apollo, with a statue in 
 brouze, on the right-hand side of the 
 street leading from the Agora to the Sicyon 
 Gate. Remains which probably come from 
 this temple have been found amid the 
 ruins of an old Byzantine ehureh or a late 
 Koman building, lying aljout L.^OO feet to 
 the north of the well-known Temple of 
 Corinth. These remains consist of a num- 
 ber of Doric column-drums, built into the 
 luu'th wall of the ruin, and a fragment of a 
 Doric arcliitrave o ft. 'J in. high, in Poros 
 stone. The remains indicate a temjile 
 contemporaneous with and largei- than the 
 
 Fig. 56.— Corneto, S. M. in Castello. 
 
 Temple of Corinth, and as large as the 
 Olympieum at Olympia. 
 
 V-VfLTED To.MH, discovered in ISSl to 
 the east of Old Corintli near tlie Great 
 
 Gate. The greater part of the monument 
 was unfortunately destroyed at the time 
 of its discovery by workmen making a 
 road. Its chief importance lies in the 
 painted tlecoration of the interior, which 
 consists of four zones, occujiying the whole 
 field. The two middle zones contain hu- 
 man figures, the chief scene represented 
 being a funeral banquet. In the two other 
 zones are portrayed flowers and fruit, with 
 birds. The drawing is good, and the 
 colors were fresh and bright when the 
 painting was uncovered. The original was 
 at once copied in fac-simile for the Museum 
 at Athens. This tomb is the only one of 
 its kind wliich has as yet l)een found in 
 Greece proper, and bears a strong analogy 
 to a well-known class of Etruscan tondis, 
 and to those of the Crimea or Cimmerian 
 Bosphorus. Its date has not yet been de- 
 termined, but it is certainly late. 
 CORNETO, Italy. 
 
 S. Fkaxcesco is interesting from be- 
 ing one of the few remaining Franciscan 
 churches in the early Italian Gothic style 
 liuiU before the middle of the xiii century. 
 The nave has rilibcd cro.ss- 
 vaults over scpiare compart- 
 ments, the aisles over olilong 
 comjiartnients. The ribs are a 
 jilain. Hat moulding, as at ISta. 
 .Maria di Castello ; the piers are 
 gi'ou]ie(1. 'i'hei'c ai'e virtually 
 live aisles, the t wn nutei' ones 
 being ill the I'oi-iii of chapels 
 opening out with imintcd arch- 
 es. .Some of tlu' ca]iitals with 
 heads and a ii i ni a 1 s ai'e still 
 Lombard. |A. L. F.. .Ii;.| 
 
 S. M.\i:i.\ I.N ('.\.sTKLLo is a 
 ihui'ch in Lombard style, dat- 
 ing fi-oui the \i century. The 
 fayade. somewhat later than the 
 body of the church, anil in- 
 scribecl with Iliedatell'^M. haslhrce round- 
 arched doors, with windows of like sha])e 
 above. Its original outline following the 
 nave and aisles may still be seen, but it lias 
 
 8t3 
 
CORTONA 
 
 been Iniilt up sfnuire over tlio two half ga- 
 bles of the aisles. The iilan is basiliean, but 
 with no transejit, and has three round east- 
 ern apses, decorated with sleniler engaged 
 columns and corbel - tables. The vaulted 
 nave has five bays corresponding to ten in 
 the aisles, and ten pairs of arches on cruci- 
 form piers, with engaged vaulting -shafts 
 (the intermediate shafts being neglected 
 in the vaulting) surmounted by the clere- 
 story windows. Over the central bay was a 
 dome on pendentives. which has lately fal- 
 len. On the mosaic floor stands a hand- 
 some mosaic pulpit bearing the date 1208, 
 and the baldacchino, of similar style, is 
 dated 11 08. {See Fin. ■',(].) 
 CORTONA, Italy. 
 
 The Cathedral (Sta. Maria) is a Re- 
 naissance church of the end of the xv 
 cent., whose design has. with some uncer- 
 tainty, been ascribed to Antonio da San- 
 gallo. Its i^lan is a rectangle measuring 
 about To ft. by IGO ft., with its nave sep- 
 arated from the aisles by arcades of six 
 round arches on each side, springing from 
 Corinthian columns with blocks of entab- 
 lature, and a continuous entablature over 
 the arches from which sjirings the plain 
 barrel-vault of the nave. The aisles are 
 divided by transverse arches into square 
 gi'oined bays, each with an arched altar- 
 recess, aiul lighted l)y a small round win- 
 dow. The nave opens by a triumphal 
 arch springing from Corinthian columns 
 into a scpiare choir covered by a low dom- 
 ical ceiling and flanked by two square 
 chapels. The exterior is simple. The 
 front has a central doorway flanked by 
 detached columns with blocks of entabla- 
 ture supporting a nuuid arch. Over the 
 doorway is a round window with deejily 
 profiled mouldings. A square bell-tower, 
 of which the design is attributed to Fran- 
 cesco Laparelli, stands at the S. E. corner 
 of the choir. 
 
 Madoistna del Calcinajo, known also 
 as the Madonna della Grazie, was begun 
 in 1-185 from the designs of Francesco 
 
 di Giorgio, of Siena, as a thank-offer- 
 ing for the deliverance of the town from 
 the famine of the previous year, and fin- 
 ished in 1.314. Its i^lan is a Latin cross 
 about 170 ft. long and 110 ft. across the 
 transef)t, divided into a nave, transept, 
 and choir, without aisles or chapels, all 
 covered by plain barrel - vaults, aiul the 
 crossing by an octagonal dome raised on a 
 high drum, with a window in each face 
 enclosed by an order of columns and pedi- 
 ment. The architecture of the exterior 
 and interior is in exact correspondence, 
 the height being divided by superimposed 
 orders of jnlasters, with rectangular win- 
 dows in the second story like those under 
 the dome. The fa9ade has a single door- 
 way flanked by engaged columns carrying 
 an entablature surmounted by a semicir- 
 cular pediment, and a round window above. 
 
 Sta. Makia Xlova, a Renaissance 
 church dating from the middle of the xv 
 century. Its plan is a square of about TO 
 ft., disposed as a Greek cross, with the 
 centre covered by a hemispherical dome 
 on a drum pierced by square windows : 
 tlie four arms of the cross by high bari-el- 
 vaults, and the square bays in the angles 
 by low domical vaults. From the eastern 
 arm opens a square tribune with a similar 
 vanlt, flanked on each side by a rectan- 
 gular room. The exterior has three simi- 
 lar and gracefully jJi'oportioned fapades, 
 each divided in three by flat pilasters, car- 
 rying a light entablature. The central 
 compartments are raised to cover the arms 
 of the cross, each being pierced by a round 
 clerestory window, crowned with a low 
 pediment, and flanked by light scroll but- 
 tresses. Below are small rectangular cen- 
 tral doors and windows, surmounted by 
 pediments. 
 
 COSA. See Ansedoniu. 
 COTROXA (anc. Crotona). Calabria. Italy. 
 
 Temple of Hera Lacixia (Juno of 
 the Laciuian promontory, now Capo della 
 Colonna. at some distance south of Co- 
 trona). The temple rose from a great 
 
 99 
 
CREMA 
 
 ]il;itforMi of masonry on the extreme point 
 of the promontory, so that it still serves,, 
 witli its sinijle survivini^ colnmu, as a bea- 
 
 Maria della Croce. 
 
 coll for mariners. It rcniaiiied almost com- 
 jilete. with I'orty-eiglit cohmins standing, 
 down to the beginning of the xvi cent.. 
 wlien it was in great part pulled down for 
 rebuilding the ejiiscopal jialace of Cotrona. 
 It was t'urtlu'r damaged liy an eartliqnake 
 in lii:!s. and its i-n'|iidoina, has since fur- 
 nislu'd nuicb iiKitcrial for the construc- 
 tion of ibe iiKiles of Cdtrona. The col- 
 iiiiin is of the best time of Doric, the sec- 
 ond half of the V cent, li.c; the shaft has 
 si.xteen ciianuels, and no entasis. The 
 base diameter is ,"> ft. loj in., the height, 
 including the capital, 27 ft. 2| in., or 4.05 
 diameters. The echinus is full and the 
 abacus thick. The temiile was hexastyle. 
 with fourteen colnmirs on each flank, and 
 an interior range of four columns before 
 the jironaos. Leiiormant's ojiinioii that 
 this teni])le was very old was shown to be 
 iueiirrect by J. '1'. t'larke"s jiartial ex- 
 
 cavation in ISST. This excavation bnuiglit 
 to light a eornice-lilock, a triglyph, part 
 of the tympanum cornice with a Doric 
 cyma, all of beautiful execution, 
 and several fragments of the 
 m a r b 1 e pediment - scnljjtures. 
 Many bronzes, terra cottas, and 
 some ancient glass were also 
 fouiul. This was no doubt the 
 most important Doric temi^le of 
 the Italian mainland. 
 (iiEMA. Italy. 
 
 Sta. Makia della C'liof'E, a 
 curious example of an early Re- 
 naissance church in whicli tiie 
 traditions of Romanesque archi- 
 tecture still linger. It is a tall 
 eyliiidrieal brick building. ab(]ut 
 s."> ft. in diameter, sttrniunded by 
 two stories of flat pilasters with 
 entablatures, one of coupled win- 
 dows under broad arches, and an 
 ai'eaded iijiper gallery of round 
 eiisiied aiidies on slender col- 
 umns, nuudi in the style of the 
 earlier Jjoinbard churches. It 
 ends with an arcaded cornice 
 under a low-pitched roof. Attached to 
 this central iuiilding on four sides are 
 low square pavilions terminated each by 
 a bulbous dome of oriental aspect, with 
 four lesser domes at the angles, partially 
 concealed by shed - like roofs. The in- 
 terior is octagonal, four sides being occu- 
 pied on the lower story by very flat niches, 
 ;inil llie oilier foUl' olieli to the [lavilions 
 above ineiitioned. through round arches. 
 Three of them are useil as porches, while 
 the fourth, of wliiili the floor is raised, is 
 a tribune or choir. In each C(n-ncr is a 
 slender detacdied shaft running up to a 
 high entablature over the great arches of 
 the first story. Above this is a second 
 arcade, opening into an inner gallery 
 which surrounds the rotunda beneath the 
 octagonal dome, "^riie dome is not seen 
 outside, being concealed by tlie eaves-gal- 
 lerv. as in most of the baptisteries of Xorth 
 
CREMONA 
 
 Italy. The cliureli, built between J4'.i() 
 ami 1515. b\' Giovanni Hattista Battaglia, 
 an architect of Lodi, seems tt) show the 
 influence of Bramante mingled witli that 
 of Gothic tradition. {See Fiij. 57.) 
 OREMONA. Italy. 
 
 The B-Vi'TisTEUY. an octagonal brick 
 buililing about St) ft. in outside diameter 
 adjoining the cathedral. The entrance 
 front, faced with marble, has a projecting 
 porch with a rouml arch carried on col- 
 umns resting on lions. Above a high plain 
 first story runs an arcaded gallery about 12 
 ft. in height, with slender columns. The 
 building was originally covered by a low 
 dome, wdiich became unsafe and was taken 
 down. Tlie walls were then cari'ied aliout 
 seven ft. higher, with round windows in 
 each face, and a new dome of greater 
 lieight was built, showing on the exterior 
 an octagonal lantern with columns at the 
 angles, square openings, and a domical 
 roof. Within, the walls are in three sto- 
 ries, the first showing on each face three 
 stilted recessed round arches on marble 
 columns. ^Above these, resting on eorlicl 
 courses, are two arcaded galleries in the 
 thickness of the wall, with occasional win- 
 dows. Above the upj)er gallery, at tlu' 
 height of about 50 ft., springs the pointed 
 octagonal dome, bearing the lantern. A 
 round ajwe projects from one side, anil 
 altars are set on three other sides. A large 
 font occupies the middle of the floor. 
 The original baptistery is said to have been 
 built as early as 900, but the present builil- 
 ing is jn'obably not older than HOT, and 
 tradition assigns to it one Theodosio Or- 
 landini as its architect. 
 
 The Cathedral, a remarkable church 
 of various dates and styles, originally built 
 from 1100 to 1100, in which latter year it 
 was consecrated. Its design is attributed 
 to the architects Ognihene and Ossolaro. 
 and its plan, as built by them, consisted of 
 a nave and two aisles, with three eastern 
 apses. To tliis plan a century later was 
 added an immense transept considerably 
 
 longer than the nave and choir and higher, 
 with aisles. The exterior presents many 
 interesting and unusual features. The 
 great fa9ade, banded in white and red 
 marble, has no relation to the interior. It 
 is a Romanesque design deformed by taste- 
 less additions. For nearly one-half its 
 lieight the wall is unbroken except by the 
 central porch and two unimportant door- 
 wa}'s. The porch, added in 12T4, is of two 
 stages ; first a broad pointed arch s^jring- 
 ing from single columns that rest on lions ; 
 above, a light loggia of three pointed 
 arches on columns also resting on lions. 
 Over the porch is a large rose window, all 
 of red marble, cutting up through tlie 
 horizontal cornice of the gable, wliich is 
 rather to be called a pediment. Un either 
 
 .side of the rose are two arcaded galleries. 
 The pediment is truncated and surmounted 
 by a Renaissance composition of jjilasters 
 
CKEMONA 
 
 ami niches, ciitablaturo and pediment. At its prineipal features substantially un- 
 
 tlie corners are high round angle-turrets changed, nave jiiers alternately rountl and 
 
 with open cupolas and round spires. The clustered, carrying round arches, with tri- 
 
 transept fronts, shams like the west front, foriuni aiid clerestory above ; nave and 
 
 are divided by flat pilasters into three aisles vaulted in oblong bays, the former 
 
 compartments with grouped windows both with sharply pointed arches, a fine cryjil 
 
 rounil and pointed, 'i'he north transept 
 has a projecting porch under three rose- 
 windows, and a low gable with arched cor- 
 bel-table, decorated mouldings, and three 
 octagonal turrets similar to those of the 
 west front. The east end had a round 
 apse with a gallery piei'cing the buttresses 
 and running round the apse under the 
 
 Fig 59 — Cremona, Pal, der Giureconsuiti. 
 
 windows. The ornaments of door.s, win- 
 dows, and cornices, iucluditig cusps, dia- 
 pers, tracery of rose-windows, etc., are 
 all executed in brickwork. The interior 
 has been partially modernized but retains 
 
 under the choir, with apsidal end, divided 
 into three vaulted aisles of equal width by 
 two rows of coupled columns. The walls 
 and vaults of the church are decorated 
 with frescoes of various ages, the oldest 
 believed to date from the middle of the 
 XIV century. {See Fig. tiS.) 
 
 A little north of the church, but 
 connected with it by a modern 
 arcade of bad classic design, is a 
 scpiare campanile rising to the 
 height of ;i'.»(i ft., called the 'I'o- 
 \-.v/M\. with numerous stories di- 
 \id('(l liy string-courses, gronjied 
 windows with pointed bearing- 
 ai'ches increasing in size and im- 
 portance as they ascend, and fin- 
 ished with an octagonal belfry in 
 two stages with octagonal spire. 
 The tower was begun in 1283 to 
 rommemorate the establishment 
 of jieace between the cities of 
 ('i-eiiiona. ^lilan. Piacenza. and 
 r.rescia. It was only roofed in 
 l.-.Sl. 
 
 I'al.vck of the JiKisrox- 
 sri,Ts, an interesting exam])le of 
 I lie civic architecture of North 
 Italy in the (Jothic period. It 
 IS a small brick building of two 
 high stories, with faces on two 
 ,-t reels. The first story was orig- 
 iii.illv ojjcn. as in the brolctli. or 
 town-halls, with tall pointed 
 arches, springing from s(iuare 
 brick piers. These arches are 
 now filled np and the story is 
 used for shops and apartments. The sec- 
 ond story presents a row of triple windows, 
 of iidmiralile design, the openings point- 
 I'd and divided by slender marble col- 
 umns, and enclosed within broad and high 
 
CEOTONA 
 
 pointed arches dueply splayed, with good 
 (iothie mouldings within a broad band of 
 ornament, the whole executed in brick- 
 work of admirable character. There is an 
 arcaded cornice under a battlemented para- 
 pet. The building dates from ViU'i and 
 was originally built for the Oonfalonieri 
 or mayors. {See F'uj. o9.) 
 CROTOXA. See Cuirona. 
 CUUZOLA, Dalmatia. 
 
 The Cathedral (S. Marco), a Gothic 
 church dating probably from the early j)art 
 of the XIV cent, with an attached cam- 
 panile of the XV century. It has a nave 
 of tive bays with side aisles, and three round 
 apses on the east. The bays are square in 
 the aisles, groined without ribs, and divid- 
 ed by wide transverse arches. The nave 
 has a flat plastered ceiling : the main and 
 cross arches are pointed. The columns are 
 round monoliths with high Attic bases and 
 spreading capitals varying in design and 
 execution. The ajjses open to the church 
 by round arches and have semidomes. 
 Above the arcades is a triforium of round 
 arches in pairs with coupled columns be- 
 tween, over which is a clerestory with sin- 
 gle cusped and pointed windows. In the 
 XVI cent, an additional aisle was added on 
 the north side. Over the high altar is 
 a baldacchino of three receding stories 
 pierced with tracery and supported on 
 four columns with renaissance capitals. 
 The fa<;ade has a Gothic doorway of much 
 beauty, with twisted jamb shafts, flanked 
 by coupled columns supporting heavy con- 
 soles which bear conventional lions. The 
 gable is pierced by a traceried rose win- 
 dow. The campanile is plain to the top, 
 where it ends with an arcaded jiarapet of 
 trel'iiiled arches and a beautiful octagonal 
 lantern in two stories suiiiiorted on clus- 
 tered colonnettes. 
 
 The Fraxciscax Coxvent is on an 
 island to the east of Curzola. The build- 
 ings date from the xv century. The 
 church, begun in 1493 and consecrated in 
 1533, is very plain but has a graceful west- 
 
 ern door with sculptured tympanum, and a 
 rose-window in the gable above. The east 
 end is square, the chancel being covered 
 Ijy a four-part vault on slender ribs, and 
 the nave bv a pointed w-agon-vault. The 
 cloister, bearing date 1476, is one of the 
 best in Dalmatia. Triple pointed arches 
 resting on slender round columns are sep- 
 arated by piers with attached half col- 
 umns. The arches are stilted, and cusped 
 into trefoils, with carved spandrels all 
 Venetian Gothic in style. 
 CYZICUS. Asia Minor. 
 
 Temple of the Emperok IIadriax, 
 now a mass of practically unexplored ruins. 
 It was begun in 123 a.d., dedicated in 1(J7. 
 and was considered one of the most splen- 
 did edifices of its time. It probably re- 
 mained almost perfect until 1003, when it 
 was thrown down in 2)art by an earth- 
 quake, and it has since suffered greatly 
 from the depredations of the Turks, who 
 long used it as a quarry. The temple was 
 of white marble, peripteral, hexastjde, with 
 fifteen columns on the flanks, of Corin- 
 tldan order. The cella was relatively 
 small, there being neither ]n'onaos nor 
 opisthodomos, but in place ol' the former 
 four rows, and of the latter two rows of 
 interior columns, placed in both cases in 
 the axes of the columns of the fa9ades. 
 The dimensions of the temple are esti- 
 mated as follows : Length, 301 ft.; width, 
 IVi ft.; cella, 140 ft. by ;o ft.; diameter 
 of columns, 7 ft.; height of columns, 70 
 ft. — the most lofty of any classical tem- 
 ple ; — intercolumniation, il ft. It thus 
 appears that all the dimensions were ex- 
 act multiples of the base-diameter of the 
 columns. The pediments were ornament- 
 ed with sculptures, which appear to have 
 been placed, not in the tympana, but 
 on pedestals like steps along the slopes 
 above the upper cornice. The interior of 
 the cella was surrounded with a range of 
 small columns which supported galleries, 
 and there was a system of crypts in the 
 substructure. The magnificence of the 
 
 103 
 
T)A:\r.\sf'rs 
 
 iTiiirblc coiling mikI jiavpinont !UT reconk'd 
 l)y aufieiit authoi's. 
 
 Tliere are important remains of the walls 
 
 Fig. 60 — Damascus, Great Mosque. 
 
 anil towers, particulai'Iy two line octagonal 
 
 towers. 
 
 DAMASCUS, Syria. 
 
 The Great Mosque is built, according 
 to tradition, on tlie site of an early Cliris- 
 tian chun-ii. perliaps of a still older tem- 
 ple. It occupies a quadrangle about 500 
 ft. by 320 ft. — tlie longer diameter east 
 and west. The liall of worship (liirai/) 
 occupies the soutli side toward Mecca — 
 a structure of three long aisles, running 
 east and west, and togetlier about I'io 
 
 ft. wiile. Tliey are divided by rows of 
 columns carrying arches, slightly pointed, 
 and a wooden roof. The columns which 
 support the outer arcade, next 
 the court, have been built into 
 piers to strengtlien tliem. In the 
 middle the liwan is crossed by a 
 transept, at the end of which is 
 the principal entrance from tlie 
 court, a trijile archway, flanked 
 liy heavy piei-s. At the intersec- 
 tion with the middle aisle is a high 
 pointed dome on an octagonal drum 
 carried by four massive piers. In 
 the south wall are four mi/irabs, 
 or prayer niches, assigned to the 
 different ilohammedan sects that 
 divide Damascus, the principal 
 one, liehind the dome, being that 
 of the Ilanefites. Over them is a 
 range of round - arched windows 
 llllcd with stained glass. The 
 open court to the north is sur- 
 rounded by an arcade of round 
 arclies on sleiuler columns, with 
 coupled windows above Two 
 great porches in the east and west 
 axis of the rpuulrangle give en- 
 trance to the court, and there are 
 three minarets outside the en- 
 closure, one at the middle of the 
 iKirtli front, one cacli at the S. E. 
 iiiii] S. \V. corners. .\t the west- 
 ci-ii end of the court-yard is a cu- 
 rious little octagonal domed build- 
 ing, lifted into tlie air on eight 
 columns, with fiiu^ly cut Greco- 
 Homan Corinthian capitals, wliicli carry 
 an architrave. This structure, called 
 Kuhbet - el - Khasneh, or Dome of the 
 Ti-easure, is said to contain old books and 
 treasures. It has no stairway and is nev- 
 er opened. In the early days of Islam 
 this mosfpu'was renowned for its splendor, 
 and t here are still traces of its magnificence 
 in remnants of mosaic and gilding. Near 
 the central dome is an elaborate shrine 
 believed to contain the bead of John the 
 
 irbl. 
 
DAPHNE 
 
 Baptist, who is licld in voverpncc by tlie 
 Moslems. Over tlie western porcli still 
 stand the remains of a Corinthian portico 
 and pediment in Syrio-Koman style, as old 
 as Jnstinian or older, in which a great 
 arch cuts out the middle of the tympa- 
 num, with the whole entablature bent 
 over it for an archivolt, as in the palace at 
 Spalato. The frame of a doorway of the 
 same period is imbedded in one of the 
 walls. A church dedicated to the Baptist 
 is said to have been built or restored here 
 by the Emperor Arcadius at the end of the 
 IV century. After the Mohammedan in- 
 vasion, we are told. It was for some time 
 used conjointly by Christians and Mos- 
 lems ; but the Calif Walid I. excluded 
 the Christians, and remodelled it into a 
 mosque in 705. It was partially burned 
 at the time of the cnisades, and destroyed 
 by Timur the Tartar at the beginning of 
 the XIV century. It was rebuilt by the 
 Arabs, but has never recovered its splen- 
 dor, and is now much degraded. Accord- 
 ing to late news (1894) the mosque has 
 suffered very seriously from a recent fire 
 — how much is not clear. {See Fig. 60.) 
 RoMAX Gate, called the Bab es-Sharki. 
 or East Gate, on the east side of the city, at 
 the end of the ancient Eoman coloniiaded 
 street called the Via Eecta. remains of 
 
 which survive underground. 
 
 The gate 
 
 has three arches, and presents an imjjos- 
 ing appearance. The north arch is )iow 
 used, the others being walled uji. The 
 central arch is about 39 ft. high, witli a 
 sjian of nearly 20 ft. 
 
 Triumphal Akch, at the entrance of 
 the present book-bazar, the structures of 
 which mask it in great part. At each side 
 there is a massive square pier ornamented 
 with pilasters. The elegant Corinthian 
 capitals of these pilasters rise above the 
 roof of the bazar and support the noble 
 arch. The frieze and cornice are finely 
 carved. The monument is about 80 ft. 
 wide and 6.5 ft. high, and formed the 
 western entrance to the enclosure of the 
 
 aiu^ient temple whose site is now occuiiicd 
 by the Great Mostpie. 15et\veen the arch 
 and the temjile extended a double colon- 
 nade about 195 ft. long. 
 DAPHNE, near Athens, Greece. 
 
 The Convent Chukcii is one of the 
 most remarkable Byzantine churches in 
 Greece, distinguished for the mosaics on 
 gold ground that line the interior, and 
 notable for some difPerences in plan fi'om 
 the usiial Greek type. It is small, like all 
 the Greek Byzantine churches, making a 
 rectangle about 50 ft. by TO ft. There is 
 as usual a central square or nave covered 
 by a dome, but here it occupies most of 
 the width of the church, so that all three 
 apses ojien from it. The dome is not car- 
 ried on four main iiiei's l)nr on longitud- 
 
 Fig. 61. — Daphne, Convent Ccutch. 
 
 inal walls that enclose the nave, and on a 
 
 pair of piers between the apses at the east 
 end, and a similar pair between arches at 
 
 105 
 
DKLOS 
 
 the west. Dmilili' sf|uiiic'lics cut oti the 
 corners of tlie square mid bear a ring- 
 cornice on which stands the drum of the 
 dome, dodecagonal without and lighted 
 by twelve windows. The transept-arms 
 are reduct'il to nu're hiteral vestibules, and 
 small vaulted elianibei-s till out the angles, 
 while a great groin-vaulted narthes, near- 
 ly as high as the nave, crosses the whole 
 front. The apses are of the usual Byzan- 
 tine form — semi-he.xagons without and 
 round within, 'i'ranscpt and flanks are 
 lighted liy tri})le windows, with mullion- 
 shafts and stilted round arches. Against 
 the south side is a cloister of low pointed 
 arches on round shafts with rude capitals. 
 The convent covers the site of a temple of 
 Apollo, from which several columns still 
 remain on the site. {Sec Fig. 61.) 
 DELOS, Cyclades, Greece. 
 
 Agora, adjoining the so-called Troch- 
 oidal Basin, or Sacred Lake. It was iu the 
 form of a rectangle surrounded by porti- 
 coes with double ranges of marble columns 
 — some of them uulinished — open toward 
 the interior of the agora, and closed by 
 walls at the back. Upon the epistyles 
 were cut inscriptions in large characters. 
 chiefly Koman. About the sides of the 
 agora were moininu^ntal exedra?, some of 
 them decorated wiih sculptures and mo- 
 saics, ami many statues of Roman officials 
 and private lienefactors of Delos. At the 
 nortluTii side of the court were a series oT 
 small quadrangular enclosures apparently 
 ornamented willi works of art. 
 
 ExEDKA of marble, in the Agora. It is 
 in part well preserved, aiid its floor is or- 
 namented with a mosaic of good workman- 
 ship, re])resenting a vase, a palm, and 
 other emblems, and an inscription within 
 an elal)orate border. The remaining por- 
 tion of the mosaic is altout (3 ft. by ft. 
 Tlie colors are yellow, red. green, and 
 brown. Kemains of other exedras exist 
 near those of this one. 
 
 Gymnasium, near the eastern port. 
 This was the chief cvmnasium of the 
 
 island, and has left considerable remains. 
 In ])lan it was a quadrangular enclosure 
 measuring about 5:^0 It. round, having 
 on the inner side a jieristyle eiU'losing an 
 oi)en court, ^\'ithin the peristyle there 
 were several chambers of diilerent sizes 
 for the various uses of those exercising, 
 togetiier with exedras with white mar1)le 
 seats for resting or for si)ectators. .V 
 number of monolithic arches of blue mar- 
 ble have been found, of abcuit 5 ft. in 
 span. These belonged to an arcade, the 
 jiosition of which hiis not been determined. 
 The interior walls were coated with stucco 
 colored red. The discovery of a numlier 
 of ephebic inscriptions places the identifi- 
 cation of the monument beyond question. 
 
 A second Gymnash"M. n(jrth' of the 
 Trochoidal Basin, had colunnis on at least 
 two sides. A few are yet in place. The 
 capitals are Doric, of inferior style. 
 
 The IIermaistai, an association of mer- 
 chants and sailors — esjiecially of Romans 
 or Italians — had a magnificent estal)lish- 
 nient about :31-.> ft. by ;*;30 ft. situated be- 
 tween the Temple of Apollo and the Sacred 
 Lake. It comprised an open, trajieze- 
 shaped agora or court, about "^ISU ft. In 
 1114 ft., suiTounded on all sides by Doric 
 porticoes, and with one principal entrance 
 on the west side. Behind the |Mirticoes 
 were buildings divided into rooms opening 
 either on the bounding streets or on the 
 porticoes. The buildings on the south side 
 appear to have been of more than one story. 
 Mai'ble pilasters of Ionic order correspond- 
 ed to the columns of the porticoes and 
 supported a massive entablature. In some 
 places there were large recesses like rooms 
 screened off by Ionic columns forming 
 a double jiortico. The ])orticoes were 
 of marble, and all the ai-chitectiiral ele- 
 ments have been louiid. Tlie Uoric 
 colunms, simply cut in facets liclow, were 
 cluinnelled as usual above. Traces of blue 
 ami red color survive ujion jiortions of the 
 entablature. Tlie rear walls were built of 
 granite ashlar covered with stucco and 
 
 lOS 
 
DELOS 
 
 painted red. The piirticoes were further 
 oruaiueiited with many marijle statues and 
 benclies and with rii-h mosaics, and the 
 borders of the central court were adorned 
 with exedras and with statues. There 
 were cellars under the buildings, used as 
 storehouses for merchandise and amphoras 
 of wine. The association and its establish- 
 ment date from about 130 B.C. 
 
 PiuvATE IIorsE, of Alexandrine epoch. 
 There was a central court surrounded Ijy a 
 portico, with a fountain iu the middle. 
 Twelve rooms have been excavated about 
 the court, of which the pavement is a 
 fine mosaic, in which figure fish, flowers, 
 and other ornaments. The atrium was 
 surrounded by twelve Doric columns in 
 white marble. There are plentiful re- 
 mains of private houses upon the island, 
 but they are still almost entirely unex- 
 plored, being under considerable masses 
 of earth. The interior walls of some 
 which have been summarily examined 
 were found to be covered with stucco, 
 painted iu brilliant colors, and fragments 
 of marble columns have been discovered 
 iu the courts. 
 
 Stoa, to the westw'ard of the Temple of 
 Apollo, near the colossal statue of the god. 
 The bases of four Ionic columns are still 
 in position, on a stereobate of two steps. 
 Some of the capitals lie near by, and other 
 architectural fragments, especially a piece 
 of the gutter decorated with the anthemion 
 and with lions' heads, copied from that of 
 the temjile. The work is rough, and the 
 date late. 
 
 .Stoa of Piiilii>. near the smaller jiro- 
 pylasum and the port. It was composed 
 of two porticoes more than 'S'io ft. long, of 
 Doric columns, one opening toward the 
 sea on the west, the other looking land- 
 ward. According to the inscrijjtion on 
 the architrave, it was dedicated to Apollo 
 by Philip V., king of Macedon, sou of 
 king Demetrius. It was built during the 
 ^lacedonian domination over the Cyclades. 
 between 205 and IIJG B.C. The columns 
 
 were channelled only in the upper two- 
 tliirds, the lower third being simply 
 planed. The echinus of its capitals, in 
 the form of a truncated cone, bears wit- 
 ness by its dry outline to the debasement 
 of Hellenic architecture. 
 
 Stoa of the Poseij)oniastai, in their 
 establishment. The plan is still undeter- 
 mined. In the middle was a reservoir, 
 about 27 ft. l)y 19 ft. Along its sides were 
 rough arcades, and the masonry of the 
 whole was covered with cement. About it 
 was a Doric portico w'hose columns rested 
 upon a stylobate of marble. Their chan- 
 nellings are shallow, and the outline of the 
 cajjitals debased. Four fragments of archi- 
 traves bearing monumental inscriptions 
 with letters over 2 ft. high have been 
 found in the neighborhood. They are too 
 large to have been connected with the res- 
 ervoir portico, and belonged probably to a 
 system of porticoes enclosing the entire es- 
 tablishment similar to those of the IFer- 
 niaistai. 
 
 Teti{A(K)X Stoa, east of the Stoa of 
 Philip. It consisted of a Doric jiortico 
 surrounding a quadrangular court. Be- 
 neath the portico were entrances to booths 
 or shops ; thus iu design it was not unlike 
 the great enclosure of the Hermaistai. In 
 the middle of the court stood a rectangu- 
 lar edifice of Ionic order, probably a teni- 
 jile. This stoa was built iu great part by 
 Italian residents, in 97 B.C. 
 
 Temexos of the Foreign or Euvp- 
 TIAX Gods. The enclosure, about 500 ft. 
 by 90 ft. , occupied a long and narrow ter- 
 race upon the western slope of Mount Cyn- 
 thus. The temenos was, in part at least, 
 paved with stone, and divided by retaining 
 walls into smaller terraces with steps of 
 marble. It contained one chief temple — 
 the Serapeum — a number of smaller shrines 
 dedicated to various divinities, and many 
 votive statues, reliefs, and altars. A num- 
 ber of the gods whose shrines adorned this 
 ])recinct were worship})ed in common, w^ith 
 ioint rites. Among the divinities so hon- 
 
DELOS 
 
 ored we find in tlie inscriptions discovered 
 the names of Senipis. Isis, Anubis, Sosis, 
 Zeus Ourios (of the fair wind). Aphrodite 
 (Astarte). ApoHo (Ilarpocrates). The wor- 
 ship of the foreign gods was probably intro- 
 duced in Delos, and this temenos founded, 
 in the course of the li century B.C. 
 
 Temple of Apoi.i.o. This renowned 
 temple was situated N. W. of Mount Cyi\- 
 thus, and near tlie centi'al or Sacred Har- 
 liiir. Its ])hin is very simihir to that of 
 the so-called Theseum at Athens. Its di- 
 mensions are a little snuiller. The foun- 
 dations of the temple were laid chiefly on 
 the surface of the sloping ground, and so 
 were higher at the west end than at the 
 east. T'hese substructions consisted of a 
 single course, about fj ft. wide, of huge 
 blocks of schist beneath the peristyle col- 
 umns, forming a rectangular wall of tlie 
 same exterior dimensions as the temple it- 
 self, and of a solid mass of three courses 
 of masonry Ijeneath tlu; nella, of which the 
 walls formed the chief weight to be sup- 
 ported. The space between the two por- 
 tions of the foundations is 4 ft. 3 iu. on 
 the long sides, and 9 ft. at the ends of the 
 temple. The space left vacant between 
 the two walls was filled with earth or rub- 
 ble, and paved at tlie surface of the erepi- 
 doma. The tem})le was Doric, hexastyle, 
 peripteral, with thirteen columns on each 
 Hank, resting on a crejiidoma of three steps 
 above the stereobate. Its ground plan wiis 
 !l(i ft. 9 in. by 44 iU in. ; the cella. or ft. 
 7 in. by 24 ft. S in. The celia comprised 
 a proiiaos. a naos, and an opisthodomos. 
 The western stylobate was 8 ft. above 
 the ground. Access to it was afforded by 
 steps of marble resting on a sul>struction of 
 schistose stone. .\li the elenu'nts necessary 
 for ;i restoration nn paper (if the e.xterior 
 have been found. The metopes were un- 
 sculptured ; but the pediments wei'e prob- 
 a])ly filled with scailptures, though no 
 fragments of such sculptures have been 
 identified. The cella frieze within the 
 peristyle was not decorated, unless per- 
 
 haps by a running honeysuckle ornament, 
 or the like. The peristyle columns were 
 channelled only at the base of the shaft 
 and at the neck of the capital, showing 
 that the edifice was never entirely finished. 
 Their diameter at the base was 3 ft. 3 in. ; 
 at the neck 2 ft. 3| in (?) ; their height, 
 including the capital, was 1', ft. Be- 
 tween the antie in front and rear stood 
 two columns, similar to those of the peri- 
 style, but smaller. The intercolumnia- 
 tiou. from centre to centre, was about 7 
 ft. 8 in. The height of the entablature 
 was o ft. lOi in. ; of the architrave-blocks 
 including the tajuia moulding, 2 ft. <)| 
 in. The crowning moulding of the cor- 
 nice, forming the gutter, was decorated 
 with the anthemion or honeysuckle orna- 
 ment, and with a lion's head over every 
 triglyph. The blocks of masonry were 
 secured together by I-clamps of iron, set 
 in lead. An inscription tells us that the 
 temple underwent repairs between Olym- 
 piads 110 and l.jO — probably in the course 
 of the III century B.C. Scanty traces of 
 decoration in color survive. The material 
 used was Parian marble throughout, ex- 
 cept for the rough foundations. It con- 
 tained a colossal statue of Apollo by 'I'ek- 
 taios and Angelion, of which some frag- 
 ments have, it is believed, been found. 
 This temple, like all Greek temples of 
 great religious or political iniportaiu'c. was 
 also a depot of archives, a treasury, and in 
 a measure a museum, owing to the works 
 of art consecrated in it. A very rich .se- 
 ries of in.scriptions. extending from the 
 VII cent. B.C. to the reign of the Empe- 
 ror Titus (79-81 A.D.), has been found. 
 They not only give very careful lists of 
 the olijects preserved in the temiile, but 
 make important additions to our knowl- 
 edge of Greek history, civil and religions. 
 Primitive Temi^le oI' Ariii.i.n. li|1(iii the 
 slope of Mount Cynthus, a little below the 
 summit. This archaic sanctuary, the re- 
 puted birth-})lace of A])ollii and Artemis. 
 and the seat of one of the reniiwucd ora- 
 
 108 
 
DELOS 
 
 cles of iintiquity, was partly natural and 
 partly artitieial. Th(iugli rude, it is, in the 
 survival of the interior aud exterior arrange- 
 ments connected with the cult, probably 
 the most perfect, surviving Greek temjtle. 
 A natural de2:)ressiou in the rock some 15 
 ft. square was closed in front by a wall of 
 rough-hewn granite blocks. In this wall 
 a door was left with sides inclined inward. 
 Upon either side a deep cut was made in 
 the rock to receive the great stones of the 
 ceiling, which inclined against each other 
 in the middle, forming a ridged roof 19 ft. 
 above the floor. The joints between the 
 roof-stones were filled to keep out rain- 
 water with a mixture of small stones and 
 pure lime — not mortar. Above the roof 
 were piled in confusion blocks of granite. 
 'J'here seems some reason to believe that 
 the inner end of the temple, behind the 
 statue, was never roofed over. If so, we 
 have here an example of an edifice hyjiaj- 
 thral in the sense which was long undis- 
 puted. The jjedestal of the statue was a 
 rough natural block — an omphalos revered 
 as representative of deity in remote an- 
 tiquity. It stood back of the middle of 
 the cella. In later times, a beautiful 
 statue of Apollo in Parian marble was 
 placed upon it. Of this the left foot and 
 a portion of the plinth still remain ujjon 
 the omphalos. It is estimated that the 
 figure was 7 ft. in. high. The sacred 
 spring still fills a cavity G ft. deep l)eside 
 the ouijjhalos. In front of the temple is 
 a terrace about 30 ft. by 40 ft. communi- 
 cating toward the sotith with a second of 
 of about equal size, and decorated of old 
 with votive inscriptions and sculptures. 
 In the midst of it is a circular base of 
 white marble which bears still the three 
 marks of the feet of the tripod of Apollo. 
 The position of an altar is also clear. 
 Access to the temple from the plain was 
 given by a carefully constructed Sacred 
 Way up the mountain. 
 
 Tkmple of Artemis (Diana) or Arte- 
 mision, near the Temple of Apollo, upon 
 
 whose cult it was dei^endent. It contained 
 a celebrated statue of the goddess. IIo- 
 molle found north of the larger propyla?um 
 the remains of an Ionic temjjle, which was 
 probably this Artemision. The founda- 
 tions are of very archaic masonry coinjiosed 
 of large blocks of granite very imperfectly 
 squared and joined. Near this building 
 Homolle found a number of female stat- 
 ues — one of them the oldest known Greek 
 statue in stone — which as he believes rep- 
 resent Artemis. 
 
 Temple of the Bulls, east of the 
 Temple of Apollo, 220 ft. by 29 ft. The 
 long, narrow building running north and 
 south was divided into three parts, indi- 
 cated now by massive foundation - walls 
 crossing it near the north and south ends. 
 Upon the north foundation - wall rests a 
 marble sill, still bearing the bases of the 
 two famous bull -pillars, consisting each 
 on the side toward the middle of a plain 
 square julaster with a cajiital formed by 
 a couple of kneeling bulls carved in the 
 round as far as their shoulders, and with 
 an Ionic architrave of three fascia? resting 
 on their necks, while the opposite half of 
 each pillar, toward the side-walls of the 
 temple, was a complete Doric semi-columu 
 of late form. Against the walls were 
 doubtless placed pilasters in the line of the 
 pillars. The northern chamber was the 
 cella proper of the temple and contains in- 
 dications of an altar. In it were found 
 fragments of a frieze in low relief, which 
 probably surrounded the interior. It was 
 doubtless separated from the central hall 
 by -A- metallic grating. The entire central 
 portion of the middle gallery was paved at 
 a level al)out 1 ft. S in. below that of the 
 pavement of the narrow passageway, even 
 with the floor of the cella and of the 
 pronaos. which surrounded this depression. 
 There is reason to think that each side- 
 wall was pierced with large window-bays, 
 divided into three lights, perhaps, by small 
 monolithic pilasters with Doric ca])itals. of 
 which specimens were found. The south- 
 
 109 
 
DELOS 
 
 ern division of the inomimeiit was an or- 
 dinary Doric pronaos of four columns, jiro- 
 style, the side-walls being extended so as to 
 form ant;e of considerable projection on 
 cither side of the door- way. The triglyph- 
 fricze was doubtless carried completely 
 round the l)uilding. There was no gutter. 
 All the elements necessary for a restoration 
 of the roof have been found. Sockets were 
 cut in the inner side of the cornice to re- 
 ceive the ends of the solid timber frame- 
 work which was left open. The uuiin 
 tiles were of marble about 6 ft. 6 in. long, 
 hollowed out in soffits on the under side, 
 winch was also decorated in color. The 
 antefixjB of both cornice and ridge were 
 of elegant design. Homolle believes that 
 this remarkal)le building was the shrine of 
 the famous Altar of Horns, said to have 
 been made by Apollo himself, and that 
 the altar stood in the cella at the northern 
 extremity. 
 
 The Portico of the Bulls, forming a 
 monumental whole with the Temjjle of 
 the Bulls, was over 300 ft. long, Doric, 
 with a double range of columns, and two 
 projecting wings with a greater number of 
 ranges of columns. From the middle of 
 every triglyjih of the frieze projected a 
 bull's head. These triglyphs were for- 
 merly believed erroneously to belong to 
 the building now termed the Temple of 
 tlie Bulls. This portico was rich in de- 
 tail, and architecturally magnificent. 
 
 Temple of Leto (Latona), or the Le- 
 toiin, near the Temple of Apollo. Ho- 
 molle discovered (1877) close to the north 
 side of the Temple of Apollo the remains 
 of this temple, supposed at first to be that 
 of Artemis, but now believed to be that 
 of Leto. It was Doric, tetrastyle, aniphi- 
 prostyle ; grouiul-plan <i7 ft. by 37 ft. 7 
 in. It had a pronaos, naos, and opistho- 
 (lomos, and was closed on the east antl 
 open on the west side. The material is 
 white marble, the work careful ; the 
 cornice like that of the Temple of Apol- 
 lo, the metopes polished, and traces of 
 
 painting on tlie triglyphs. In date it was 
 posterior to the Temple of Apollo, and 
 probal)ly built in the course of the iii 
 century B.C. 
 
 The Temple of Serapis, or Serapeum, 
 in the Temenos of the Foreign (iods, stood 
 on a small terrace about 3 ft. aliove the 
 main terrace. It was placed exactly north 
 and south, the entrance being at the south 
 eiul, and was of marble, consisting of a 
 simple cella and a 2ii'oiiaos with two plain 
 columns in anfis. Its dimensions were 
 about 23 ft. by 44 ft. It had no stereo- 
 bate ; and the walls rested u})on a single 
 foundation-course of roughly hewn stone. 
 There are indications that the columns 
 of the pronaos were flanked by marble 
 screens, and that a grating of metal was 
 fixed between them. These precautions 
 bear witness to the treasures ott'ered by the 
 liious and preserved within the temple. In 
 the middle of the cella was a large nuirble 
 altar, of which the foundations are still in 
 place. The roof was covered with marl)le 
 tiles 2'Z in. long, and 4| in. thick in the 
 middle, whence the upper surface sloped 
 toward the sides. The lower end of those 
 next the gutter was decorated with an an- 
 themion. The projecting gutter formed 
 a sort of cornice 8 in. deeji, decorated 
 with lions' heads. It is possible that the 
 SeraiH'um was also dedicated to Isis, and 
 termed the Isieum. 
 
 Theatre at the foot of ilount C'ynthus. 
 It is partly excavated from the hill, but 
 the extremities are supported by walls of 
 white marble. In plan, it is little more 
 than a semicircle. The marble seats have 
 all disappeared, but the granite substruc- 
 tions remain. 
 
 Wall, on the slope of the tlieatrt' hill, 
 between the sanctuary of the Cabiri and 
 the bed of the Inopus. It was built of 
 large rectangular blocks of marble, and 
 was carved with inscriptions in honor of 
 individuals, both foreigners and natives, 
 and with their busts in high relief, in cir- 
 cular medallions. There are indications 
 
DELPHI 
 
 that tliere were several tiers of sculptures 
 aud inscriptions, one above the other. 
 The medallions were tangent in couples. 
 The workmanshijD is rather rough. The 
 date of this monument, unique of its kind, 
 is probably 101 B.C. 
 DELPHI" Phocis, Greece. 
 
 I'EKiBOLos or sacred enclosure of Apol- 
 lo, of great extent, occujjying the most 
 elevated part of Delphi, and described as 
 having many gates. Within it were the 
 gi'eat temple, a series of treasuries simi- 
 lar to that at Olympia, and many minor 
 buildings, besides countless works of art 
 and other votive oSerings. The most 
 notable of the many surviving fragments 
 is the so-called Helleniko, a massive wall 
 over 350 ft. long and of considerable 
 height, about parallel with the polygonal 
 wall of the temijle-terrace aud with the 
 south side of the temple. The polygonal 
 retaiuing-wall of the temple-terrace has 
 been followed for a length of about 250 ft. 
 but was longer, and stands about KJ ft. 
 high at the west end of the explored jjor- 
 tion, and about 8 ft. high at the east end. 
 Transverse walls running north and south 
 completed the su2)port of the terrace, 
 which rested against the natural slope on 
 the north side. The wall is of beautiful 
 workmanship, the stones being large, and 
 the Joints in curved lines exactly made. 
 The exjiosed surface is smoothed, and 
 closely covered with inscriptions of all 
 kinds. On top of the polygonal wall are 
 from one to three Hellenic courses, each 
 li ft. high. 
 
 Portico of the Athenians, excavated 
 in 1880 by the French School at Athens. 
 The jDortico faced the south, its back 
 being apjiarently applied against the 
 Pelasgic retaiuing-wall of the terrace of 
 the Temple of Apollo. It is not yet en- 
 tirely excavated at the east end, but ap- 
 pears to have been about 100 ft. long, and 
 to have had eight columns in front. The 
 depth of the portico, measured from the 
 edge of the stylobate, was 12 ft. 3 in. ; 
 
 the height of cohiiiuis 10 ft. They were 
 Ionic, with sixteen Hutes and delicately 
 moulded bases, but no capitals have been 
 found. The entablature was undoubtedly 
 of wood. It is presumed that the portico 
 was built about 400 B.C. after the naval 
 victory of Athens over ^^gina, and that 
 later trophies of the victories of Phor- 
 mion in 429 were set up in it — perhaps 
 affixed to the entablature. 
 
 Temple of Athena Pronoia (Minerva 
 the Provident), or, more probably, Pronaia. 
 Before tlie Temple (of Apollo) in allusion 
 to the original foundation of the goddess, 
 which was a small chapel witliin the sa- 
 cred peribolos. Tlie temple was one of a 
 group of four at the eastern entrance of 
 the city, and was recognized by Ulrichs in 
 1838 in the fouiulatious, on the terrace, 
 of a circular temple of Doric order, with 
 fragments of columns, architraves, tri- 
 glyphs, etc., of fine workmanship. Ulrichs 
 held that this temple had a jn-onaos in 
 the form of a portico, but was not sur- 
 rounded by columns, its plan being like 
 that of the Pantheon at Rome. In the 
 pronaos stood a colossal statue of Athena, 
 in bronze, given lay the pcojile of Mar- 
 seilles ; and a smaller statue of the god- 
 dess was in the cella. 
 
 Temple of Pythiax Apollo, built 
 after the destruction by fire, in 548 B.C., 
 of an earlier temple described as of great 
 size and admirable construction. But 
 a small part of the foundation of tiie 
 temple remains above ground, and no ex- 
 cavations of much extent have been made. 
 The architect was Spintharos, of Corinth. 
 The order was Doric, and the building 
 was presumably hexastyle. The jiortions 
 of columns found on the site are in tufa 
 (Poros), coated with a flue stucco, aiul 
 have twenty channels. Upon the archi- 
 trave were affixed shields taken at Mara- 
 thon and from the Gauls. The metopes 
 of the east front reiJresented scenes from 
 the Labors of Hercules, Bellerophon, and 
 the Chimajra, and episodes of the wars of 
 
DERAT 
 
 gods iiiul giants. The sculptures of the 
 east pediment represented Ajiollo, with 
 Artemis, Leto, and the Muses : those of 
 the west pediment Bacelius surrounded by 
 liis attendant Thyiades. They were by 
 the Athenians. Praxias (a pupil of Kala- 
 mis) and Androstlienes. Within the cella, 
 before the statue of Apollo, was the fa- 
 mous omphalos stone — the reputed cen- 
 tre of the earth — the sacred hearth on 
 wliieh burned the eternal fire, an altar to 
 Poseidon, and statues. The walls of the 
 cella were decorated with jiaintings. The 
 chamber behind the cella was the adytnm 
 or sanctuary of the Pythian oraele. It 
 contained a gilded statue of Apollo, and 
 over the fissure in the ground from which 
 the prophetic afflatus emanated was i:)laced 
 the lofty trijiod upon which the Pythia 
 seated herself to receive the divine inspira- 
 tion. 
 
 Theatre, within the peribolos of Apol- 
 lo. As late as the xv cent, it remained 
 in very perfect condition, but it is now 
 built over by the houses of the village, and 
 in great measure destroyed. Many scat- 
 tered fragments of walls, and remains of 
 the scats of the auditorium, are, however, 
 still visible. The diameter is about 200 ft. 
 UERAT (anc. Edrei), TIauran, Syria. 
 
 Kanatir Firaun (Pharaoh's Arches), 
 a great aquciluct said to have been built 
 by the Ghassanid king, Jebeleh I. It is 
 about sixty miles long and crosses all de- 
 pressions by bridges. It feeds a large 
 reservoir in Derat, near which is an an- 
 cient building, prolialily a bath. 
 DER EL-ASHAIR, Syria. 
 
 Roman Tempi.e, Ionic, on a basement 
 10 ft. high which rests on a jilatform of 
 masonry. The platform is surrounded by 
 a balustrade, and the basement by a 
 moulded cornice. The interior is orna- 
 mented with pilasters, above which ]irob- 
 ably stood small Ionic columns, several of 
 which lie on the ground. 
 DER EL-KALA, on Mt. Lebanon, Syria. 
 
 Temple of Jupitep. (Baal), Balmar- 
 
 codcs (of dancing-festivals ?). The sub- 
 structions survive, 105 ft. by 53 ft., built 
 of large drafted blocks. Some portions of 
 the columns also remain ; these formed a 
 prostyle portico of two rows of four col- 
 umns before the cella. The columns 
 were about G ft. in diameter and as im- 
 posing as those at Baalbek. Kear by por- 
 tions are seen of the Phaniician peribolos 
 or inclosure, built of enormous hewn 
 blocks. 
 DIABEKIR, Asia Mim.r. 
 
 Great Mosque, a building of unknown 
 age, on a site once occupied by a (,'hris- 
 tian church, and previously by a Pagan 
 temple. It has the common form of a 
 court-yard surroixnded Ijy porticoes and 
 small buildings, the fourth being occupied 
 by the sanctuary. The porticoes and ar- 
 cades are supported by elaborately sculjjt- 
 ured columns. Here, it is conjectured, 
 was the forum of the Roman city. Most 
 of the buildings now bear inscriptions cut 
 in C'ufic letters, the work of the Moham- 
 nu'dan conquerors. The sanctuary, or 
 mosque j)roper, is said to l)e much older 
 than the surrounding buildings, and was 
 originally a temple. The front, uncom- 
 promisingly plain, is of dark ])asalt. The 
 interior is divided into three long aisles 
 running east and west, crossed at right an- 
 gles I)y a high transept. The heavy divid- 
 ing arcades consist of great rounil arches, 
 above which is a row of smaller ones. 
 The ancient altar stood, it is said, on the 
 south side of the building. All the for- 
 mer decoration is now concealed liy wliilc- 
 wash. 
 
 DIANO. See Tf(j(jiano. 
 DrnY:\r.V. See 'Bnuichuhr. 
 1)1 M 1 M, near Volo, Thessaly, Greece. 
 
 Domical Tomb or tholos, of the same 
 character as those at Menidi, Mycense, Or- 
 chomenos, Pharis, and the Ilerajum of Ar- 
 golis. In its dimensions (interior height, 
 3'.) ft. 6 in., lower diameter, 27 ft, 11 in., 
 height of doorway, 11 ft. in in.) and its 
 constrn(;tion of small, rougiily Ijrokeu 
 
 112 
 
no DON A 
 
 blocks of limestone, it is ('losely parallel to 
 the first of those tombs. The apex was 
 closed by a circular block :! ft. ; in. in 
 diameter. The door wa.s ajiproached as 
 usual, by a walled drunuix or passage. 
 Within the tomb were found objects of 
 gold, glass, bone, bronze, stone, and a few 
 fragments of vases, all of Mycena?an char- 
 acter. 
 DODO^'A, Epirus, Greece. 
 
 Acropolis. The massive fortification- 
 wall, from 10 ft. to IT ft. thick, is now 
 nowhere over 10 ft. high ; the length of 
 the quadrilateral circuit is about half a 
 mile. Part of the wall is ancient polygo- 
 nal. Ijut most of it is Hellenic of a good 
 time. There are towers on three sides of 
 the fortress. The interior is full of Hel- 
 lenic ruins which are still unexplored. This 
 site was recognized as that of Dodona in 
 1873. 
 
 The Saxctuary of Zeus, the seat of 
 the famous oracle, contained two temples 
 of no great size, of which some architect- 
 ural remains survive. On the foundations 
 of the chief of these temples was built 
 a Christian church, now destroyed. A 
 number of bronzes, inscribed utensils, and 
 small figures of Zeus have been found here. 
 There exist also remains of a square build- 
 ing, perhaps a lodging for priests, and 
 some portions of the peribolos wall. Xear 
 the wall are seen traces of a number of 
 votive monuments, including substruc- 
 tions, pedestals, and pilasters for offerings 
 of various kinds. Kear by is the site of a 
 temple of Aphrodite, which was identified 
 by the objects dug up. 
 
 Theatre, one of the largest and best 
 preserved of Greek monuments of this 
 class. It is in part excavated from the 
 Acropolis hill, in part supjiorted by retain- 
 ing-walls of excellent masonry which at- 
 tain a height of over 72 ft. The diameter 
 of the cavea is 4'2G ft., which is greater 
 than that of Epidaurus. There are arches 
 in the substruction of the front walls. 
 Two flights of stejjs along the front walls 
 
 facilitate access to the cavea, aiul two 
 more are carried up to the txpper gallery 
 along tiie curved walls of the back. There 
 are eight radial flights of steps below the 
 diazoma, which has a double passage, and 
 sixteen above it. Forty-nine tiers of seats 
 are visible, but more exist beneath the 
 present surface. The orchestra and stage 
 structure are as vet unexcavated. 
 DRAM YSSU>S, Epirus. Greece. 
 
 Theatre. The peribolos wall nf the 
 ancient sanctuary, which is 1.5 ft. to '^O ft. 
 high and flanked with towel's, forms an ir- 
 ri'gular quadrangle, partly adapted to the 
 requirements nf the site of the theatre, 
 the middle part of which is excavated from 
 the hill. The ends of the cavea consist of 
 great masses of masonry, faced with rect- 
 angular stones, fitted without cement. 
 U'he substructions of the scena are .still 
 to be seen. In plan, the theatre is little 
 more than a semicircle ; greater diameter, 
 400 ft., orchestra, 80 ft. The seats, sixty- 
 live or sixty-six rows, are divided by two 
 diazomata or horizontal passages, and there 
 is a passage round the top with remains of 
 a portico. The seating capacity was about 
 twenty thousand. 
 KDESSA (Grfa, anc. Kolias), Syria. 
 
 AxciENT Walls of the city, which was 
 in plan an irregular triangle, with the 
 citadel at the X.E. angle. The walls are 
 contemporaneous with those of Antioch, 
 which they resemble closely, but are 
 much more pei-fect, and present an im- 
 posing aspect, being studded with many 
 square towers. The castle or citadel is 
 about 1300 ft. long and 325 ft. wide, and 
 has fifteen towers in its outer walls ; it 
 was altered and strengthened by the Cru- 
 saders, who liuilt the keep. 
 EGESTA. See Seyesta. 
 ELATEA, Phocis, Greece, 
 
 Temple of Athexa Kranaia, within 
 the sanctuary north of the city. It con- 
 tained a statue by the sons of Polycles, 
 representing the goddess armed for liattle ; 
 her .shield was carved in imitation of the 
 
HL-HAK'A 
 
 t^liiuld cil' the statue (if the I'artlieni.)ii at 
 Athens. 'I'lie temple occupied araised ter- 
 race witliin the sacred enclosure, on tlie 
 liighest part of the rocky eminence, and 
 one of its flanks was supported by a solid 
 rotaiiung-wall extending above the stereo- 
 bate of tlie temple, so that on this side the 
 colnmns were crowded against the wall. 
 Tlie diameter of tlie columns at the base 
 is 2 ft. (i ill. There were six on the 
 fronts, and thirteen mi the flanks; and 
 the dimensions of the temple were very 
 nearly the same as those of the Theseum 
 at Athens. The material was Poros stone. 
 Capitals of two types were found, one 
 presenting the curve of a good period of 
 art, the other having a straight protile, 
 and the thin abacus of a later date. The 
 metopes (witliout sculpture) and tri- 
 glyphs were cut on the same blocks, like 
 those of the Proiiyhea at Athens. Xo 
 fragments of pediment sculptures were 
 found. The roof-tiles and the antefixes, 
 decorated with antheniia, were of terra- 
 cotta, and tiie cornice was crowned with 
 a gutter in terra-cotta, bearing lion heads 
 and anthemioii - mouldings of excellent 
 design, and traces of color. The tensile 
 was oriented north and south. 
 EL-BAKA, Syria. 
 
 This abandoned town of the V to vii 
 cent. A. II.. preserves several of its streets 
 paved with large blocks of irregular 
 shapes, and a number of dwellings and 
 other buildings closely resembling those 
 of the Hauran (q-v-), and almost perfect 
 except for their gabled wooden roofs. 
 The groups of houses have a plain wall 
 on the street, with one door, square-head- 
 ed or arched, leading into an oblong in- 
 terior court. On one side or more of the 
 court there are arcades or porticoes in two 
 stories. The capitals are usually of calyx 
 form, with varietl (u-nament. Behind the 
 arcades open ehanibers of moderate size. 
 The floors are of flat slabs of stone. The 
 masonry of the walls is in large blocks 
 without mortar. The doors and windows 
 
 opening on the arcades are often sculpt- 
 ured with vine-leaves, acanthus designs, 
 vases with peacocks, etc., and Christian 
 emhlems occur. Among the buildings 
 are two (diurches of the usual early Sy- 
 rian plan : sinqjle basilicas with nave, 
 aisles, and a single apse hidden liehiiul 
 a straight east wall, the areaik's bin'iie on 
 columns. 
 
 In the rv'e<-nipolis tliei'e are interesting 
 rock - tmiibs. and also tombs built of 
 masonry. Among the latter are three 
 which consist of a cubical base supjiort- 
 ing a hollow pyramid. One of these has 
 around its substructure three tiers of low 
 pilasters and two ornate friezes. A door 
 ojiens into the interior of these tombs and 
 sarcophagi were ranged around the walls. 
 ELEUSIS, Attica, Greece. 
 
 The Peribolos, or sacred eiudosure of 
 the (ireat (ioddesses (Demeter and Perse- 
 phone), enclosing the i^clris or Sanctuary 
 of the Mysteries, and a iiumliei' of shrines 
 and temples, was girt with double walls, 
 having a considerable sjiace between them, 
 and ill later times the inner court was 
 [laved witii slabs of Poros. The court was 
 ornamented with many statues and other 
 votive dedications, and contained inscribed 
 .slabs in large number. 
 
 (i HEATER Propyl.i:a, or entrance gates 
 to the outer enclosure of the sacred peribo- 
 los. The gates face the N. E. The mon- 
 ument is a close imitation, of Alexandrine 
 date, in Pentelic marble, of the Propyla;a of 
 the Athenian x\cropolis. An ascent of six 
 stejis led to a ]iortico of six Doric col- 
 umns, Avith a doulile interior range of six 
 Ionic columns before five doorways, the 
 middle one being the widest, and a Doric 
 portico on the S. W. similar to that on the 
 N. E. The ground-]ilaii is 70 ft. square. 
 The lateral walls terminated in aiita' on 
 each front. The dimensions of the Ionic 
 columns (twenty-four flutes) were : lower 
 diameter 3 ft. 4 in., upjier 'i ft. '.) in., 
 height, estimated, '.Vi^ ft. ; columns of ex- 
 terior order (twenty channels), lower di- 
 
ELKrsis 
 
 amoter, '> I't., upper. 4 It. 'I'lie coffers of 
 tlie eeiliug were deeorateil with star-like 
 figures in the eeutral field, ami painted 
 mouldings. 
 
 Lessek Pkoi'YL.k.v, or gates of the inner 
 enclosure. This monument, whose ground 
 plan was 39 ft. l>y 4!l ft. T in., dated from 
 the second half of the iv cent. B.C., and was 
 restored by Appius Claudius Pulcher, three 
 hundred years later. It consisted of three 
 gates, with an approach between parallel 
 walls, and with two columns before the 
 separating piers, something in the manner 
 of a temple in aiifis. The capitals of the 
 Eoman restored anta? are richly carved 
 w^ith griffins, and Ijore tripods. The ves- 
 tibule is raised Ijy two steps above the level 
 of the outer court, and is paved with large 
 blocks of marble. The central doorway. 
 35 ft. from the front, was 11 ft. 4 in. 
 wide. The inclined plane to the door re- 
 tains marks of wheels. TMie pivot-holes of 
 the doors and the grooved (piadrants for 
 their rollers show that they must have been 
 massive and heavy, and this testimony is 
 confirmed by that of inscriptions rccentlv 
 discovered. 
 
 The Seko.s. or sanctuary for the per- 
 formance of the Eleusinian .Mysteries was 
 a rectangular building, in its latest form 
 184 ft. by 221 ft. including the portico 
 44 ft. 3 in. deep on the east front. The 
 portico had twelve columns in front and 
 one on each flank. Access to the in- 
 terior was afforded by six doors ; two on 
 the east of the portico, and two each 
 on the north and south, between the six 
 rows of seven columns, running north and 
 south of the interior. The whole interior, 
 except at the doorways, was surrounded by 
 a tier of seven steps, forming seats for the 
 initiated during the mystei'ies. These 
 seats, and the floor also at the back of 
 the building, were hewn from the rock ; 
 in the other portions, as the rock slopes 
 dowmward toward the east, the seats were 
 built up, and the earth filling of the floor 
 was probably covered with a pavement (jf 
 
 I'oros .slabs. The walls were about 4 ft. 
 thick, and built of a double range ol 
 bloeks of the local stone, resting on a 
 stereobate. The six rows of interior col- 
 umns, seven in each, stood on the native 
 rock toward the back of the building, 
 and were carried on built-up foundations 
 toward the front ; they were of Poros 
 drums, uufluted, with circular bases of the 
 local stone, the bases having a diameter of 
 about 4| ft., and a height of about one 
 foot. The columns of the portico were of 
 Pentelic marble, and are shown, by the 
 channelling existing only at the toj) and 
 the bottom of the surviving drums, never 
 to have been finished. From the great 
 depth of the jrortico. and the absence of 
 any trace of an interior range of columns, 
 it must have had a ceiling of wood. The 
 frieze did not bear sculptured ornament, as 
 a plain metope has been found. The later 
 adjunction of the portico, as set forth by 
 Vitruvius, is plainly shown by the struct- 
 ure and character of the foundation, where 
 those of the portico are fitted to those of 
 the sekos. The existing remains, as now 
 studied, permit the distinguishing of six 
 constructional ]ieriods in the history of 
 the sekos, as follows : 1. The most archaic 
 building, of which the walls, jDresuma- 
 bly of unburned brick, rested on founda- 
 tions of polygonal ma.sonry. 2. The Ijuild- 
 ing which may have been burned by the 
 Persian invaders, about one-quarter the 
 size of the latest development of the sekos, 
 and presenting the same jilan and pro- 
 portional relations of cella and portico, 
 witii five interior rows of five columns 
 each. 3. The i)robable provisional restor- 
 ation of Xo. 2, having the same width of 
 front, but lengthened at the rear, and 
 with only three rows of at least six col- 
 umns each. 4. The building of the cella 
 in its present plan, liy Ictinus, under the 
 administration of Pericles, but with only 
 five rows of interior columns and wide iu- 
 tercolumniations. .5. The addition of the 
 front portico of fourteen marble columns, 
 
EMl'OLT 
 
 toward tlie end of the iv cent. B.C., by 
 Philon, wlio WH.s also the architect of the 
 great arsenal at tjie I'ira'us. H. A later 
 remodelling of the temple, probably, from 
 the roiigliness of the work, iinder Roman 
 auspices, when the supports of the inte- 
 rior assumed the form of seven rows of 
 six columns. According to Vitruvius, the 
 sekos, as built l)y Ictinus, was of Doric or- 
 der ; and Plutarch speaks of it as haviTig 
 two stories, 'i'jiere is a difference of opin- 
 ion as to wlietiier this sekos. or place for 
 the celebrtition of tlie mysteries, was also 
 the temple of Demeter ; but it is probable 
 that the temple proper was an independent 
 building. The investigation made by the 
 Society of Dilettanti afforded very in- 
 complete and even incorrect results, owing 
 to the occui)ation of the site by many 
 houses. Almost all we know of the build- 
 ing has been gained since 1882, by the ex- 
 cavations of the Archtvological Society of 
 Athens. 
 
 There are also renuiins of a theatre. 
 partly excavated in rock and partly formed 
 of masonry. Some of the rows of seats are 
 still recognizable. 
 EMPOLi. Italy. 
 
 C'HIESA CoLi.EiiiATA. 'Pile collegiate 
 church of S. Andrea may almost be called 
 a group of churches, so many and large 
 arc its chajH'ls. It is a rebuilding, dating 
 ])artly from tlie beginning of the xvii cent, 
 and partly from the middle of the xvin. 
 of the origintd xi cent, basilica. The 
 main churc'h. about liU ft. by i:i() ft., has a 
 flat-ceiled nave 4'i ft. wide, without aisles, 
 bordered by five scpuire chapels on each 
 side, beiiind round arches in the intervals 
 of an order of Corintliian pilasters on liigli 
 j)cdestals. 'i'lic clerestory is faced with an 
 order of loiuc jjilasters with a wide seg- 
 mental-arched window in each interval, 
 and a broad arch spans each transept end, 
 springing from the eutabhiture of the first 
 order. The small square choir is covered 
 by a lu'inispherical dome, aiul separated 
 from tlie crossiuir bv an arched vestibule. 
 
 flanked by shallow rectangular chapels. 
 Very long vaulted chapels, ending in domes, 
 tlank botii sides of the choir and the north 
 end of the transept. A small (iotliic cani- 
 ^lanile stands adjacent to the south wall 
 of the church. Only the lower jiart of the 
 facade sIioavs the work of the old church, 
 dating from 1093. according to its in- 
 scriptions. It has a blind arcade of five 
 round arches on C'orinthianesque half col- 
 umns^ The door occupies the middle 
 arch ; in the others circles, squares, and 
 crosses are inlaid in lihick and white marble 
 in Pisan fashion. Above is a curlx'l-table 
 on lions" heads. 
 
 Madoxxa del Pozzo (of the Well), 
 a small xvi cent. Renaissance church, re- 
 markable for the picturesque disposition 
 (if its parts. It consists of a nave with 
 plain walls, covered by a barrel-vault with 
 foiii- lunettes in each side enclosing small 
 s([uare windows, and opening by a single 
 round ari'li into a lofty choir in the shape 
 of a laterally elongated octagon in two 
 stages, covered by a domed vault crowned 
 liy a small lantern. The nave is enclosed 
 on three sides by a vanlted arcade with 
 round arches supported on slender col- 
 umns. The octagonal choir rises to near- 
 ly twice the height of the nave, and each 
 face has a single blind arch sjiringing from 
 flat angle pilasters. The dome is dis- 
 guised under a low octagonal roof. At the 
 north side of the choir is a slender square 
 camiianile in three high stages, ending in 
 an open belfry. The church ajipears to 
 have been begun about l.")"2'-i. but the dome 
 and the exterior arcades are a century later, 
 while the tower was added as late as 179"). 
 KPIIESrs (Ayasalouk), Asia Minor. 
 
 Basilica. -t-H) ft. long, near the Mag- 
 nesian (iate and the ( iymnasiuiii. The 
 street-l'i'oul cousisted of a hexastyle Ionic 
 portico of ujiite marble ; tlie architrave 
 had iiancllcd soffits, and the frieze was 
 convex. There were recesses along tlie 
 sides of tlic building, aiiparently liooths, 
 and a curved apse. 
 
EPIIESUS 
 
 DoriiLE CurRcir. This is really two 
 Byzantine cliu relies, an earlier and a later, 
 and practically of the same plan — a nave 
 in three bays, ending in an eastern apse 
 whicli is round within and masked out- 
 side by a straight wall, and flanked by 
 thin chapel-like recesses on each side. 
 The eastern church is wholly of stone, 
 the western one of brick, and the two are 
 telescoped together, as it were, so that the 
 eastern wall of the brick church is the 
 western wall of the stone one ; the first 
 being eutei'ed at the front and the second 
 at the sides. 
 
 Great Gymxasum, an enormous struct- 
 ure close to the port. The ruins are of 
 great extent ; the central corridor, run- 
 ning from north to south, is over 500 ft. 
 long. Four colossal granite columns of 
 the ephebeum lie as they have fallen ; 
 four others may be seen in the Great 
 Mosque of Ayasalouk. The remains are 
 especially remarkable for the huge vaulted 
 substructions of tlie platform on which 
 the building rested ; these consist of a 
 great number of corridors crossing one an- 
 other at right angles, and were rendered 
 necessary by the fact that the site was 
 originally part of the interior harbor. 
 
 Gyjixasium. near the Magnesian Gate, 
 on the north side of the city. It is an 
 immense rectangular structure, surround- 
 ed by a cryptoporticus full of exedrae, 
 decorated on the south side by a screen 
 with marble figures of Persians nearly 1 1 
 ft. high. Within the south portico is an 
 open palffistra, 23ii ft. by 65 ft., and within 
 that are an epJiebeiiin, or exercising-court, 
 80 ft. by 46 ft., with chambers on each side 
 of it, and therm* or baths. On the north 
 side is a sp1i(erideriuw, or court for ball 
 playing. 135 ft. by 30 ft. 
 
 Odei'M, on the south slope of Mt. Pion 
 or Prion. Iniilt jirobably in the first half 
 of the II century. It is semicircular ; 
 the exterior diameter 153 ft., that of the 
 orchestra 30 ft. ; the width of the stage is 
 10 ft. The exterior wall of the cavea is 
 
 l)uilt of large blocks of limestone, without 
 mortar; the stage -structure is of white 
 marble. In Wood's restoration, the cavea 
 has a single precinction ; the lower range 
 of seats has fourteen tiers in five cunci, 
 the upper range thirteen tiers in ten 
 cunei. Back of the iipiier range there 
 was a covered portico, supported by Corin- 
 thian columns with shafts of Egyptian 
 syenite and cajjitals of marble. The stage 
 wall had five doors, and was adorned with 
 Corinthian columns of white marble. 
 
 The Prison of St. Paul, so-called 
 on the faith of a very old tradition, is 
 a massive tower about 50 ft. square, of 
 Hellenic construction, on a hill which 
 forms a part of the system of defense 
 established by Lysimachos, in 290 B.C. 
 The interior is divided into four rooms, 
 all the doors having heads in the shape 
 of pointed arches formed of horizontal 
 courses corbelled out. The upper floors 
 of the tower were not vaulted, but were 
 formed of wood. 
 
 Prytaneum (or Curia?), on the east 
 side of the Forum, near the Theatre. 
 It is a very fine stone building, about 250 
 ft. square, with solid piers of masonry, 
 well built of large blocks of marble. It is 
 probably of the first century a.d. 
 
 The Stadum. north of the Great Thea- 
 tre, was built probably in the time of 
 Augustus. Its length east and west was 
 753 ft. , its breadth 98^ ft. The south side 
 rested on the solid rock of the liill, while 
 the seats on the north side were raised upon 
 vaulted substructions, which were contin- 
 ued around the semicircular or east end. 
 Along its whole length was a double col- 
 onnade, connected with the terrace of the 
 stadium Ijy stairways about 50 ft. apart. 
 The shafts of its columns were of gray 
 granite, the other j>arts of white marble. 
 The west end was adorned with an open 
 columniated screen in two tiers. The 
 seats, of white marble, have been used in 
 the construction of a mosque. There were 
 facilities for transforming the rounded end 
 
 in 
 
EPIIESUS 
 
 of the st;i(liiiin into ail ampliitlicatre of 
 llir iliaiiU'tiT (if ahiHlt l-'lD ft. 
 
 IJdMAN l't:.\iiM>i;. S. W. oi' the (Jrcat 
 Thouti'c, near the Agora. It lias heen in 
 great measure despoiled hy tlie Turks. Imt 
 ill Chandler's time was a very beautiful 
 ruin. He supposed it to have been either 
 the temple erected to the god Julius by 
 ])ermissioii of Augustus, or (more proh- 
 aiily) tliat dc(lioated to Claudius Cajsar on 
 liis ajjotheosis. It was Corinthian in aiifis, 
 with four columns lictwecu the ant;v ; 
 ground-plan about Kii) ft. by 80 ft.: col- 
 umns, base-diameter, 4| ft., height, 4:0^ ft. 
 The shafts, '.]'.) ft. long, were monolithic. 
 The entablature was richly scnliUinxMl ; 
 the frieze was of ogee profile. 
 
 The Temple of Artemis (Diana), or 
 Artemisioii, half a mile outside the gates 
 of the old town, was several times rebuilt. 
 The most famous building was begun in 
 the VI cent. B.C. ; the foundations were 
 laid on a layer of charcoal and fleece of 
 wool at the suggestion of Theodoras of 
 Samos, to overcome the treacherous nature 
 of the damp grouml. It was finished about 
 ■iOO B.C. and was burned by Ilerostratus in 
 ;55l) B.C. The new temple was probably 
 begun soon after, on the designs of Deino- 
 crates. Alexander the (Jreat offered to fur- 
 nish the money if the Ephesians would put 
 his name on the temple as the dedicator, 
 but the people refused. It was plundered 
 and burned by the Goths about 263 A.D., 
 and was excavated in 18G9-74 by Wood, 
 who found remains under 23 ft. of soil, de- 
 posited by overflows of the river Caystros. 
 The tem^Dle stood on a platform lying 
 nearly east and west ; in plan, measured 
 on the lowest of its fourteen (?) steps, 
 it was 418 ft. by 239 ft. It was Ionic, 
 oetastyle, dipteral, with twenty columns 
 on each flank ; the lower diameter of the 
 columns was (1 ft., their height .").") ft. 
 !i in. The columns of the pronaos and 
 opisthodomos had admirably sculptured 
 di-iims. ])erliaps by Scopas, above their 
 bases. The exterior columns had twentv- 
 
 four flutes, the interior twenty-eigjit. In- 
 tercolumniations of front and rear were 28 
 ft. 8 in. in the centre, graduated to 1!) ft. 
 4 in. at the ends ; on tlu^ flanks it was 17 
 ft.. I)ut 111 ft. 4 in. at the ends. The 
 frieze was sculptureil with mythological 
 subjects ; the cyina decorated with a 
 honeysuckle ornament, interrupted by 
 lion-heads. The cella. about 70 ft. wide, 
 consisted of a pronaos, with two col- 
 umns /;/ tnilix. the ccUa ])ro])cr, a rear 
 chambci-. am] an oiiisthodoinos. In the 
 iiitcrioi' was a (liiul)le range of columns, 
 the lower Ionic, the upper (jorinthian. 
 The statue and altar of the goddess, Di- 
 ana of the Ephesians. were at the east 
 end. The nuiterial of the temple was 
 whitt' marble from the quarries of the 
 Koressos, five miles distant. The roof 
 was covered with large white niariile tiles. 
 Tli(i temple was surrounded by a portico 
 25 ft. wide, at a distance of ;io ft. from the 
 lowest step, and stood within a lai'ge en- 
 closure or periiiolos. A church was begun 
 later witliin the walls of the eella, but was 
 left unfinished. 
 
 The TuEATiti: on the west .slope of Mt. 
 I'ion is mentioned in the Acts of the 
 Apostles. The superstructure and sculpt- 
 ures are Koman. but the substructure is 
 (ireck. In jilan it is greater than a, scnii- 
 cirtde ; the longer axis is 49.") ft., but the 
 distance across the ends of the semicircle 
 is, according to Wood, only 467 ft. : the di- 
 ameter of the orchestra is IKI ft. (Leake 
 makes the diameter 060 ft., and that of 
 the orchestra, 240 ft.). The stage was 
 nearly 22 ft. wide. In Wood's restoration 
 the cavea is divided horizontally by two 
 jirecinctions ; in the lower range are four- 
 teen tiers of seats in eleven cuiiei. in the 
 middle range, twenty-two rows in eleven 
 cunei. and in the upper, twenty-five tiers 
 ill twenty-two cunei. Above the seats was 
 a gallery witli a covered portico beliind it. 
 The estimated capacity of the theatre is 
 twenty-four thousand five hundred specta- 
 tors. TJie back wall of the stajje was al- 
 
KriDAiiirs 
 
 most entirely of white marble, adoriieil 
 with granite eolumiis and a rich eutaliia- 
 ture of white marble iu two tiers. 
 
 Tomb or St. Lukk, so-called. S. E. of 
 the Odeum, excavated by J. T. Wood in 
 186-4. It is probably of the end of the in 
 or tlie beginning of the iv centnry. It 
 stood in tlie middle of a quadrangle. 1.53 ft. 
 square, paved with nuirble and surrounded 
 by a colonnade. In Wood's restoration the 
 tomb is circular, surmounted by a dome, 
 and with a i)eristyle of sixteen Ionic col- 
 umns on a high stylobate, supporting an 
 ornate entablature. IJiameter of the peri- 
 style, 50 ft.; of the cella, 34 ft.; height 
 about -47 ft. 
 
 Roman Tru-.mpiial Am ii, of a single 
 opening with ornamental imposts, adjoin- 
 ing the Stadium at its west end. It is an 
 imjiressive object in the landscape, but it 
 is of late date, and i.s built entirely of 
 marble blocks taken from earlier build- 
 ings. 
 EPIDAURUS, Argolis, (Jreece. 
 
 The IIiEROX, or Sanctuary of Asklepios 
 (^Esculapius), about five miles west of the 
 city, is still called Ilieron. In ancient 
 times it was one of the most frequentetl 
 places of resort for invalids, the priests of 
 the god being skilled in medicine. The 
 temple became rich in gifts, and so famous 
 that a deputation was sent from Rome H'Xo 
 B.C. during a pestilence in that city, to se- 
 cure one of its sacred serpents. The site 
 of the sanctuary is shut in on two sides bv 
 steep hills and on the other two by a wall, 
 still traceable in several jjlaces. On the 
 north side the enclosure was formed by 
 contiguous porticoes. The Temple of As- 
 klepios stood near the centre of the enclos- 
 ure, which contained also the so-called 
 Tholos of Polycletns, the hospital or edi- 
 fice provided to shelter the invalid vota- 
 ries of the god. and many other buildings 
 and temples. 
 
 Hospital, a long portico beside the 
 temple of Asklepios, in wliich the supjili- 
 ants of the god spent the night, ho^iing 
 
 that lie would appear to tlieni in their 
 sleep and heal them. Tlie building was a 
 stoa or portico ^38 ft. long and 32 ft. 
 wide. It was divided into two wings by a 
 cross partition in the middle, and a central 
 row of Ionic columns extended throusli 
 both wings. The front, toward the temple, 
 was ojjen, the roof resting upon an entab- 
 lature supported by Ionic columns. In 
 the interior were set up slabs, one of which 
 survives, ui)on which were inscribed the 
 miraculous cures effected by the god. In 
 the S. E. angle of the building there ex- 
 ists still a well about 82 ft. deep, with an 
 abundant supply of water. 
 
 Odki'-M. of Roman construction, excav- 
 ated in 1891 south of the Propylffia. It 
 was built in part on and over an ancient 
 Doric peristyle enclosure. The cavea re- 
 tains nine tiers of seats, and has but one 
 stairway, which divides it in the middle. 
 The retaining walls {((iialeminata) of the 
 wings are jiarallel to each other. The or- 
 chestra is paved with a mosaic in pebldes, 
 and the stage remains raised about 3 ft. 
 The old Doric peristyle apjiears to have 
 belonged to a gymnasium of the best Hel- 
 lenic time, upon the ruins of which the 
 Odeum was built. 
 
 Pkopyl.^A, probably of the old gymna- 
 sium over which the Roman Odeum was 
 afterward built. In plan it resembles a 
 small temple with two columns in ciJitis 
 facing the north, the place of the jjronaos 
 wall being occupied by two columns, also 
 /// aiifis. The south end is closed by a 
 wall, which was probably added when the 
 Odeum (q. v.) was built, at which time the 
 propyla?a seem to have been made into a 
 temple, perhaps of Hygeia. A large open 
 portico of six columns in front and four 
 on the flanks forms a vestibule to the 
 propylffia on the north ; a ramp leads wp 
 to the wide central intercolumniation. 
 
 Stadium, formed by an earthen embank- 
 ment. It is very dilaiiidated. but there 
 are indications of twenty-one rows of seats 
 resting directly on the embankment. The 
 
 nu 
 
KI'IDAUKUS 
 
 widtli is about '2Wi It., width of arena. Ts 
 ft. ; traceable length :S(iO ft. to -400 ft. lie- 
 sides the semicircular terininatioti. 
 
 The Tkmple of Aktkmis (Diana) witli- 
 iu the peribolos was Doric, on a stjdobute 
 of three steps, prostyle, hexastyle, with a 
 column on each side between the angle- 
 column and the anta. 4-1 ft. 3| in. bv ol 
 ft. I) in. it was built of Poros stone, ex- 
 cept tile marble pavement, and the cornire 
 and roof-tiles of marble. There was a 
 range of columns round tiie interior of 
 the cella. The cornice was carved with 
 dog-heads in place of the u.sual lion-heads. 
 
 The Temple of Asklepios (^'Escula- 
 ]iius) contained a chryselephantine ;-tatue 
 of the god. half the size of the colossal 
 statue of Olympian Zeus at Athens. The 
 remains of this temple have been identified 
 and explored carefully by the Archwolog- 
 ical Society of Athens. It was a Doric 
 peripteros of six columns by eleven, 81 ft. 
 long, and 4:3 ft. wide. Many fragments of 
 sculpture from the pediments have been 
 found, all of excellent workmanship. In 
 the eastern pediment was reprcsenteii a 
 combat of Centaurs aiul Lapitlis ; in the 
 western, a scene of uncertain subject, in 
 wliieh took part Amazons botli mounted 
 and on foot, male figures, and Nereids rid- 
 ing on hippocamps. 
 
 Tiieatue, just without tln' sacred iiei-i- 
 hnlos of Askk'iiios. I'ausanias tells us tiiat 
 it was designed by the great I'olycletus, 
 who flourished in the v cent. li.c. and 
 tliat it was well woi'th seeing both for its 
 size and for its beauty of arrangement and 
 ornament. The cavca is excavated from 
 the slope of afootliill of Mt. Kynortion. 
 and faces west of north. It is in many re- 
 spects the most perfect surviving example 
 of a Hellenic theatre. The arc of the 
 eavea is greater than a semicircle. Its 
 diameter is about 41."> ft., and its axis, 
 from the centre of the circle of the orches- 
 tra to the exterior wall above the cavca. 
 about 20.") ft. It is divideil into two zones 
 Ijy a (li(t7.oma or precinctiou : and jn'esents 
 
 an exceptional arrangement, in that the 
 diazoma consists of two passages, one at a 
 higlier level than the other, the upjier one 
 scarcely 2 ft. broad. The lower zone of 
 the cavea is divided into twelve irrii'ilcs 
 or wedge-shaped divisions by thirteen /■/('- 
 iiiakcft or radial flights of stejis. These 
 klimakes are continued through the up- 
 per zone to the terrace T ft. A in. broad 
 above the tlieatre. The upper zone is 
 further sulxlivided l)y twelve intermediate 
 klimakes into twenty-four kerkides. Ac- 
 cess to the cavea was afforded, besides that 
 from below through the orchestra. In- 
 doors in the wall enclosing the upper ter- 
 race and by stairways ahmg the snpj)ort- 
 ing-walls (((iialvinimilii) of the wings, lead- 
 ing to the diazoma. No remains of a 
 portico aliove the cavea, as indicated l)y 
 \'itrnvius, exist either in this theatre or 
 in any other of purely Greek arrange- 
 ment. The uj)per zone contains twenty 
 tiers of ordinary seats, the lower thirty-two. 
 There are. moreover, three tiers of thrones 
 or seats of honor — one tier on eitlier side 
 of the broader passage of the diazoma, and 
 tlie third immediately encompassing the 
 (irehestia. The thrones differ from the 
 or<linary seats in that they have backs, 
 and are carved with mouldings. Thrones 
 and seats ai'e constructed of the wliile 
 limestone of the neigliborhood, the blocks 
 being fastened together by iron clamps set 
 in lead. The supporting - walls of the 
 wings, and the surviving substructions of 
 the stage, are built of tufa. The orches- 
 tra is about 8.") ft. in diameter. It con- 
 sists of two ])arts — a passage paved with 
 stone before the base of the lower row of 
 thrones, and the orchestra proper, which 
 is a circle with a radius of 40 ft., extend- 
 ing toward the stage beyond the j)lan of 
 the auditorium. The floor of the passage 
 is 8 in. lower than tliat of tlie circle, and 
 discharges through drains the rain-water 
 falling in the cavea. The circle is curbed 
 with stoiu' : its sui'face is n<it |ia\ed. but 
 is formed of a earefnllv laid bcil of salul 
 
F.KH'l'IIIA 
 
 anil iislii's {/i-iiin's — lieiicc tlic am-icut name 
 iviiixfra). At the centre is emheddeil 
 a cylindrical stone, pierced with a deejt, 
 round hole, in which was fixed the fltijindi', 
 or altar of Dionysos, around which the cho- 
 rus moved. The stage-structure was built 
 in lionian times. The Inijuisl-cnion (pro- 
 scenium) or wall forming the front of the 
 stage toward the orchestra was built of 
 white limestone, and ornamented with 
 eighteen Ionic semi-columns of Attic de- 
 sign, and an Ionic entablature. The 
 stage buildings and the ajiproaehes to the 
 theatre were adorned witli statues, many 
 fragments of which have been found. In 
 the jiassages [parodoi) at either extrem- 
 ity of the stage were double gateways, giv- 
 ing access to the orcliestra and to tlie 
 stage - buildings, and at the same time 
 forming an architectural connection be- 
 tween the stage and the auditorium. The 
 excavations of the Athenian Archajological 
 Society since 1S81 have shown the incor- 
 rectness of the accounts of this tlieatre 
 given jjreviously by Donaldson, lilouet, 
 Wieseler, C'anina. and others. 
 
 TllOLOs, near the temiilc of Asklejjios, 
 and the upper eiul of the stadium. It 
 was a circular building of white marble, 
 designed by Polycletus the younger. The 
 building resembled in jilan such circular 
 temples as the Philijipeum at Olym- 
 pia : it was lu-obably built as a monu- 
 mental shrine for the sacred fountain of 
 Asklepios. The circular cella was sur- 
 rounded by a range of Doric columns, 
 and had an interior range which is of an 
 early and interesting form of Corinthian. 
 The pavement of the cella was su]ij)orted 
 upon elaborate foundations, of which three 
 walls forming concentric circles consti- 
 tuted the main feature. The diameter of 
 the tholos was 71 ft. All the remains of 
 this building, particularly the fragments 
 of the sculptured frieze, in refincnu'nt of 
 design and of technical execution can be 
 compared with the remains of the Ereeh- 
 theum at Atliuns. 
 
 EEETIIIA, Eubu^a, ffreece. 
 
 TiiiCATKi:. The cavea is snppoi-te<l by 
 an artificial embankment, and has been 
 only in part excavated, disclosing some of 
 the seats and stairways of Poros stone in 
 place. In plan it is a little over a semi- 
 circle. The diameter, taken at the high- 
 est part of the embankment, is 26o ft. !» 
 in., at the lowest tier of seats, 81 ft. 1 in. 
 There are in the cavea eleven cuxvi or 
 wedge-shaped divisions, between twelve 
 flights of steps. There is evidence that 
 there was a diazomu, or horizontal pas- 
 sage of communication. In front of the 
 lowest seat was a drain lined with stone, 
 the lining of the inner side forming the 
 curb of the orchestra throughout the half- 
 circle, the diameter of the orchestra, 
 measured across the curb, being GO ft. (i 
 in. ; its surface was formed of beaten earth, 
 or earth and cinders. In later times the 
 cavea drain appears to have been covered 
 over to form a platform for thrones of 
 honor. The most remarkable feature of 
 the orcliestra is an underground jDassage, 
 -p ft. high and 3 ft. wide, extending from 
 "its centre to a point behind the pro- 
 scenium wall of the stage, formed of two 
 courses of large blocks, the lower course 
 upright, and the blocks of the upper 
 I'ourse inclined so as to meet and roof in 
 the passage. This passage evidently sup- 
 plied the means for the actors to pass un- 
 seen from the stage -structure to the 
 middle of the orchestra and there to ajj- 
 pear amid the chorus, as in the case of 
 apparitions from the lower world. Since 
 this discovery at Eretria, similar disposi- 
 tions have been recognized by the Ameri- 
 can School in the theatre of Sioyon. and 
 by the (ierman Institute in those of Mag- 
 nesia and Tralles. The remains of the 
 stage-structure are interesting, and show 
 modifications of at least three ejiochs. 
 First, there is the structure of the iv 
 cent. i;.c.. ;i back wall with three doors, 
 and on the flanks projecting wings, each 
 with mie door communicatinif with a series 
 
 121 
 
EKYX 
 
 of chambers behind them. Second, at a 
 considerably hiter time, a new back wall 
 was l)uilt, also with projecting side winijs, 
 and with a hall behind divided by a longi- 
 tudinal range of columns. At the same 
 time, the level of the orchestra seems to 
 have l)een lowered, and to give access from 
 behind to the orchestra an iiiidergronnd 
 passage about 1<) ft. high and (i^ ft. wide, 
 roofed with a true vault, was carried from 
 outside the hall to the front of the wall. 
 The passage is contemporaneous with the 
 wall, with which its masonry is bonded. 
 At the orchestra end the passage was 
 closed by a door, and steps lead down 
 from it to the level of the orchestra. 
 Third, a decorative front or proscenium, 
 as at Sicyou, Epidaurus, etc., was erected 
 l)etween the two projecting wings. This, 
 which is about 7-5 ft. long, was ornamented 
 with twelve Doric semi-columns and two 
 antfe, the intercolumniations being closed 
 by slabs. The total height of the jiros- 
 cenium is estimated at about 11 ft. There 
 was a double door in the middle, opening 
 on the orchestra. 
 
 Walls. The entire circuit, including 
 the acropolis, is about two miles. The 
 ramparts of the lower town are most com- 
 plete on the east side ; they consist of a 
 foundation 8| ft. thick, faced on each 
 side with coursed masonry, and filled in 
 with rammed earth. The upper surface 
 of the foundation is horizontal, and the 
 superstructure was of unburned lirick, as 
 at Mantineia. The line of the wall forms 
 a .series of obtuse angles, long straight 
 stretches being avoided, and was strength- 
 ened by massive square towers at inter- 
 vals of about 180 ft. At the S.E. two 
 circular towers, about 'Z'.i ft. in diameter, 
 were built tangent to the wall. The ex- 
 terior wall of the acropolis is a little less 
 than 7 ft. thick, the filling almost entirely 
 of snudl stones instead of rammed earth, 
 as in the lower tower, and the wall was of 
 stone to its full height instead of having 
 a superstructure of unburiu'd brick. It 
 
 was also strengthened with square towers, 
 and notably by four large and nuissive 
 gate-towers of fine masonry with a sharp- 
 cut edge at the tower angles. These 
 towers are additions, built either against 
 or across the wall. One tower still rises to 
 a height of nearly Ki ft. 
 EHYX. See Mijiifi' San (iiiili<iii(i. 
 ESKl ADALIA. See >/V/r. 
 ESKl-HIS.SAK. See Slniliniim-a. 
 EUHOMUS. See rahkli. 
 EYUK, Caj]i)adocia, Asia .Minor. 
 
 lIiTTiTi-: I'ALAf K. like that of Hoghaz 
 Keui, and closely analogous to those of 
 Xineveh. Its artificial terrace measures 
 about 8"-i0 ft. to a side, and still rises to 
 a height of about 40 ft. Its angles are 
 oriented with the cardinal j)oints. Its 
 chief doorway, 11 ft. 2 in. wide, has on 
 either side a rude S2)liinx sculptured in 
 full face and jJerhaps somewhat Egyptian 
 in character, replacing the Assyrian hu- 
 njan-licadcd bulls. The walls of the vesti- 
 bule are adorned with reliefs of similar 
 character to those of lasili Kaia at Boghaz 
 Keui. Among them is noteworthy a seat- 
 ed female figure with long robe, iipturned 
 shoes, hair in ringlets on her shoulders. 
 elaborate necklace and bracelets, and IkjIiI- 
 ing in one hand a cup. in the oilier, ap- 
 ])arently, a branch of flowers. 
 KZR.V (Zora). llauran. Syria. 
 
 The Catiiedkal is alniost the only one 
 of the ancient churches of central Syria 
 that is still used as a Christian church, 
 retaining its old form. It is in plan a 
 s<(uare of about 00 ft., the corners cut off 
 to make an octagon and occupied by semi- 
 circular niches. Inside this an octagonal 
 nave is built, leaving an aisle between. 
 The inner octagon consists of eiglit ])iers, 
 carrying arches that su2')2)ort a windowetl 
 octagonal drum, which bears a high, 
 pointed dome of circular plan, united to 
 the drum by successive courses of stones 
 corbelled out over the angles. The east- 
 ern side opens into a choir of one rectan- 
 gular l)ay, and an ajjse, round within and 
 
F.ESFL^E 
 
 hexagoHiil without. About the wall of 
 the ajjse are built seats for the elergy. 
 In tliree other faces are liigli arclied ojien- 
 ings, (livideil by transoms for square- 
 headed doors, the western of whicli is 
 flanked bv two lesser doors of like form. 
 The masonry is all very jjlain, of squared 
 stone, except the dome, which is nf rub- 
 ble. Over the main door are sculptured 
 Christian emblems, and an inscription 
 that gives the date ol.j .v.n. 
 F.ESUL.E. See Fie>'oh\ 
 FALEHII. See Sla. Maria dc Fallcrii. 
 
 in the iiavc. At the bottom are three fine 
 doorways, covered with traceried cano- 
 pies. The apsidal end of the nave finishes 
 in a rich crown of gables and pinnacles, 
 and heavy flying buttresses spring over 
 tiie aisles. Apf)areutly the church was 
 iu)t roofed, and the vaulting, cemented on 
 the outside, was the only covering, as in 
 other churches of Cyprus. The English 
 have lately undertaken to restore the 
 cliurcli. (/See Fi(j. (i.i.) 
 
 St. Sophia is a ruined church of some 
 size, about 80 ft. by l.iU ft., considerably 
 
 4 
 
 Fig. 62. — Famagusta, Cathedral. 
 
 FAMAGUSTA (Famagosta), Cj'prus. 
 
 The Cathedral of St. Xicholas, now a 
 mosque, was built under the Lusignan 
 kings of Cyprus, and probably near the be- 
 ginning of the XIV century. It is a lai-ge, 
 three aisled' Gothic cliuroh. nearly 200 ft. 
 long and 100 ft. wide, without transept, 
 and ending in tliree eastern apses. The 
 vaulted nave and aisles are in seven bays, 
 and tliree chapels which open out of the 
 aisles have eastern apses. The handsome 
 front, now somewhat dilapidated, has two 
 great towers over the ends of the aisles, 
 and between them a larare traceried window 
 
 older than the cathedral, being transition- 
 al, and having its arched openings j'artly 
 pointed and partly round. It has nave and 
 aisles in five bays, and, as is usual here, 
 three ap.ses, which are round. Against its 
 south side is an older and smaller church, 
 more oriental in style, of two aisles each in 
 four bays, alternately domed and vaulted. 
 The main arches are pointed, the piers 
 square and plain, the two apses semicircu- 
 lar within, but hardly projecting through 
 the east wall. 
 
 FANO (anc. Fanum Fortune), Italy. 
 Trii-jiphal Aroh, erected in honor of 
 
 laa 
 
FERENTINO 
 
 Augustus, pi-ohiibly (luring- liis reign. It wider. 'I'lic uninterrupted ri>;e of the 
 
 spans the Fhuniniau Way, and still forms vaulting shaftiJ, except for the Ixiiiding 
 
 one of the gates of the city under the name rings, is an improvement mi earlier t'is- 
 
 of Porta Maggiore. Tlio ground-plan tei'eian wdrlv : the foliage of the capitals 
 
 measures .")S ft. Ijy IGft. ; the height to the is pure Gothic ami strongly French. The 
 
 top of the entablature is 38 ft. There are nave is narrow and the transverse arches 
 
 three archways ; the middle one is 19^ ft. 
 wide and 2(iJ ft. high, the side ones 
 about (i ft. wide and 14 ft. high. Con- 
 stantine built above tlie entablature an 
 attic of seven arches with eight Corin- 
 thian llutcil columns between, parts of 
 only two of which are standing. Tliere 
 are inscrii)tions on both entablature and 
 attic. Tlie material is ashlar of white 
 marble. 
 
 FFltKNTIXO (the Latian Ferentinum), 
 Itulv. 
 St-V. .Makia Maouioi!!.; is a cruciform 
 church, built after a Cistercian model dur- 
 ing the first half of the xiri cent., and re- 
 stored before its close. Tiic length of the 
 churcii is \->', ft.: its apse is square, and it 
 originally had four square side-chapels. 
 
 low and ])ointed. giving a domical char- 
 acter to the vaulting. There arc three 
 bays to the nave, one to the transept and 
 one to the apse. The four piers at the 
 intersection are finely grouped. Modern 
 stucco-work has partially concealed the 
 original details. The windows in tlie apse 
 are advanced in style, while the facade is 
 transitional. A ])hiin octagonal domical 
 tower covers the intersection. [.\. L. F., 
 .Ir.] 
 
 FERENTO (the Etrurian Ferentinum). 
 Italy. 
 AxciEXT TllEATKE. restored in inij)erial 
 times. It stands in a plain on tlie briidv 
 of a precipice, overhanging a wooded ra- 
 vine ; the seats of its cavea were supported 
 bv a massive arcadcd wall, which is still in 
 
 The style is early Cistercian Gothic, more great part standing. The plan is semicir- 
 
 advanced than Casamari. Its inner arches cular : the greater diameter is exactly 200 
 
 are all poiuted, and its nave and aisles are ft.: the depth of the stage is 33 ft. The 
 
 _ cavea is very ruinous : no seats 
 
 remain and pai't of the rear wall 
 is g(jne. 'i'his wall, probably Ito- 
 man. is of large uniform blocks 
 of gray tufa, fitted without ce- 
 ment. The scena is held to be 
 tlu' best preserved of any theatre 
 in Italy. It Is built of large 
 blocks of stone to the height of 
 tell courses, upon wliich rests a 
 mass of lioman brick-work. The 
 stage wall has seven portals closed 
 .ibdve witli flat stone arches, all 
 iif admirable and massive mason- 
 ly laid without cement. This 
 wall, whose length is 13G ft., may 
 be of Etruscan origin. The thea- 
 tre, with its massive arches, forms 
 in its abandonineiit a higlilv iin]iosiiig ruin. 
 FKRI.'AKA, Italy. 
 Castello Vecciuo. tlie Old Castle, 
 
 
 Fig. 63. — Ferrara, Castello Vecchio. 
 
 covered with ribbed cross-vaults that have 
 been remodelled. The piers are slenderer 
 than at Ca.samari, and the pointed arciics 
 
 in 
 
FEKIJARA 
 
 was bxiilt in 13f>") as an addition to an terminating in aroaded iiinnacles, divide 
 oldoi- palace whicli lias disappeared. It it into tiiree nearly equal parts, each fin- 
 was the stroiighdiil ol' the lords of Fer- isliing at the same height in a low gable 
 
 Fig 64 — Fenara, Cathedral. 
 
 rara until their downfall. It is a scpiare 
 mass of building with a battering base, 
 rising out of a surrounding moat, and 
 approached by a drawliridge. The walls 
 are crowned with l:)old machicolated cor- 
 nices, and strong square angle towers rise 
 high above the castle roofs. The interior 
 contains a multitude of ajjartmcnts. of 
 which the most important were decorated 
 with pictures by the best painters of Fer- 
 rara, which have now disappeared. (SW 
 Fig. 6.3.) 
 
 The Cathedra I,, originally a late Ro- 
 manesque church of the early part of the 
 xir cent., with nave, aisles, double tran- 
 sept and choir, but undergoing various 
 modifications and additions in the xiii 
 and XIV cents., and in the xvii acomplete 
 internal rebuilding in the Renaissance 
 style. The fa(;ade is striking, but is only 
 a monumental screen, with no relation to 
 the intcriiir. Two square projecting piers. 
 
 with a pointed stepped arcade. The 
 lower story of Lombard work is plain and 
 bare but for three round-arched doorw;iys. 
 Tlie central division is occupied bv an 
 imposing porch in two stages, the arch 
 below springing from columns resting on 
 the backs oi figures sitting on lions, the 
 doorway deeply recessed with a sculptured 
 tympanum. Above is an open loggia 
 with three pointed and traceried arches, 
 carried on twisted columns with balus- 
 ti-ade between. Within this loggia is a 
 statue of the N'irgin and Child. A i-ich 
 sculptured fi-ieze is carried round the 
 porch above the arches under a sculptured 
 galile. An arcade of small round arches 
 crosses the front in line with the loggia, 
 ]irobably belonging to the origiu.il fa(^ade. 
 They are grouped in threes by pointed 
 enclosing arches, a later addition. Above 
 is a second arcade of small jiointed arches 
 without enclosiiiir arches. In the xiv 
 
FIESOLE 
 
 ppnt.. a magnifieent upiicr story was mld- 
 0(1. with ail arcade of four broad pointed 
 arclics ill each division, deeply recessed, 
 with twin windows in eacli arch, and a 
 ])rofiision of columns in tlie jambs. Be- 
 tween the arcade and the gable in eacli 
 division is a cusjied rose window. This is 
 one of the richest chnrch fronts in Italy, 
 and there is in it, jierhaps, more of the 
 character of the northern Gothic than 
 can be found in any other Italian exterior ; 
 the deeply splayed jambs, the profusion of of these, on the north, preserves portions 
 
 'I'bc interior is sjiaringly liglited by one 
 roinid wiiubiw in each end of each vault, 
 and a few small slits in the walls of choir 
 and transept ends. The exterior is of 
 little interest, the walls being of rough 
 stone witliout much (k-sign. 'I'lie facade 
 still retains part of the old work in Ijlack 
 and white marbles. 
 
 KoMAX Baths, divided into three main 
 halls, which lie side by side and are con- 
 nected bv doorways. The first and largest 
 
 shafts, the extent to which in the upjier 
 liortiou the continuous openings have 
 abolished the wall surface, conduce pow- 
 erfully to this effect. At the same time 
 with tiie addition of the upper stage of 
 the front, the clerestory walls were in- 
 creased in height l)y the addition of a con- 
 tinuous arcade of small arches, carried on 
 square pilasters and with ogee archivolts. 
 The church was begun about 1093 by 
 Nicolo di \'ico Ariolo (Ficarolo). The 
 square brick Renaissance campanile in 
 four stages was begun 145.5 and tinished 
 1401. The church is very large — nearly 
 370 ft. long — and has two transepts. Tiu' 
 interior was remodelled in Klo; in baroco 
 style, and its interest destroyed. (Srf 
 Fif/. 'U.) 
 FIESOLE (anc. Faesul»), Italy. 
 
 La Badia. The original monastery 
 was founded about 1028, but was rebuilt, 
 including the church, from the designs of 
 Brunelleschi, about 14:50. The small 
 church has a very plain nave covered by 
 a simple barrel-vault, enclosed by four 
 round arches on each side springing from 
 s(|uare piers without bases or capitals. 
 The aisles are divided into square chapels, 
 each lighted by a small rectangular win- 
 dow. The transept matches the nave, 
 and the crossing, bounded by four high 
 
 of a marble jiavement and wall-encrusta- 
 tion ; it, with the small rooms oijening 
 into its extremities, is recognized as the 
 frigidarium. The middle hall and that 
 to the south both have furnaces connected 
 with them ; the floor of the bitter was 
 raised over a hypocaustum on low ]iiers of 
 brick for the passage of the hot air. and 
 is paved with marble. 
 
 S. Do.MKN'ico, a XVI cent. Renaissance 
 chui'ch. of whicii tiie architect is not 
 known. Its ])lan comprises a small nave 
 with three .square chapels opening from it 
 on each side l:>y round arches faced with 
 pilasters. Above is a clerestory lighted 
 by large rectangular windows with pedi- 
 ment caps in the lunettes of the barrel- 
 vault. There is no transejjt, but before 
 the large oblong choir is a sort of vestibule 
 or loggia of three vaulted bays with round 
 arches over a Corinthian order. In the 
 middle bay stands the high altar. On the 
 front is a portico of the full breadth of 
 the church, with five arches resting on 
 slender Tu.scan columns, and a groined 
 ceiling. The portico dates from 1G.'>5. 
 At the X. W. angle of the choir is a slen- 
 der square campanile with a spire. 
 
 Ancient Theatre, on the slope of the 
 hill behind the cathedral, facing north, 
 and in remarkable preservation. There 
 round arches springing from squai-e Cor- are six entrances in the exterior wall, and 
 inthian pilasters, is covered by a flat the cavea exhibits twenty tiers of seats di- 
 dome. The rectangular choir is as broad vided into six ciiuei or wedge-shaped 
 as the nave, and nearly as long, the total divisions by five radial flights of steps. 
 lengtii of the church l)eiug about 15u ft. Tiie orchestra is clearly defined, as is the 
 
FLOKENCE 
 
 stage, before wliidi survives tlie trench 
 intended to receive tlie falling curtain. 
 The diameter is 220 ft., that of the 
 orchestra is U'J ft. By some this theatre 
 has been called Etruscan ; but this theory 
 is untenable. It is in fact one of the 
 earliest known Konian theatres. 
 FLUKEXt'H (Firenze), Italy. 
 
 The Badia was originally the church of 
 a monastery founded in 9T8, but was re- 
 built in the xiii cent, by Arnolfo da Cam- 
 bio, and again in 102.5 from the designs 
 of Matteo Segaloni. The church, buried 
 in a mass of surrounding buildings, is 
 approached by a long narrow corridor 
 flanked by various chapels. Its plan is a 
 Greek cross about SO ft. in each direction, 
 from the eastern arm of which opens a 
 square choir terminating in a semicircular 
 apse, while from the transept open three 
 rectangular chaijels in the angles of the 
 cross, the fourth angle being occupied by 
 the tower. The interior architecture is 
 rich and well proportioned, though baro- 
 00 in style ; the walls are faced with t\vi> 
 orders of pilasters, the lower Corinthian, 
 the upper of fanciful design ; the flat 
 wooden ceiling is deej^ly panelled and 
 decorated with carving and color. The 
 campanile is the only portion of the 
 church which recalls its early architect- 
 ure. It is a slender octagonal tower, 
 divided by string-courses into stages with 
 coupled windows in each face — those of 
 the two ujjper stages being pointed, 
 crowned with a double pointed - arched 
 corbel-table, under an octagonal spire with 
 high gables at its base. 
 
 Baptistery of S. Giovaxxi (St. 
 John), one of tlie most ancient buildings 
 in Florence, its age not accurately known, 
 but ascribed by different authorities to 
 various dates from the v cent, to the xi., 
 and, at least in its present form, more 
 safely assigned to the later date. It is 
 reputed to have been for centuries the 
 cathedral church, and made a baptistery 
 only upon the completion of the newer 
 
 cathedral of Sta. Maria del Fiore. It is 
 an octagon of about 83 ft. internal diame- 
 ter, its interior di.sijosition resendjling that 
 of the Pantheon at Rome, Each side, ex- 
 cepting that on which the high altar is 
 placed, has a flat niche with a Corinthian 
 order of red and gray niarbk^ columns in 
 front, carrying a low entablature. Above 
 these is an order of flat Composite pilas- 
 ters, with coupled arches in the intervals, 
 opening into a gallery, and an entablat- 
 ure, surmounted by a panelled attic, from 
 which rises the high octagonal dome, with 
 an elliptical outline, its crown 103 ft. 
 above the pavement. The eye of the 
 dome, originally open to the sky as in the 
 Pantheon, was covered by the jDresent 
 lantern in 11 ")0. The entire inner surface 
 is covered with mosaics of various dates 
 and styles, the earliest as old as 1225. 
 ]Many of the figures have suffered from 
 I'estorations. The square western recess 
 in which the high altar stands was added in 
 the beginning of the xiii cent.; it ojions 
 from the baptistery l)y a great arch spring- 
 ing from the entablature of the first order 
 and rising to that of the second, and its 
 barrel-vault is covered with a fine early 
 mosaic. The pavement is a mosaic of 
 black and white marble of an intricate 
 and beautiful design. Of the exterior as 
 first built we have no means of knowing. 
 It was more or less reelothed in 1288-93 
 by Arnolfo da Lapo, the first architect of 
 tlie Cathedral, with a facing of black and 
 white marbles. There are three stages, 
 in two of which each side of the octagon 
 is divided into panels by pilasters in the 
 first story, and by engaged columns in the 
 second, the latter bearing round arches, 
 with a projecting cornice above. Under 
 the arch-heads are windows of classic de- 
 sign. The third story is an attic without 
 openings. A low octagonal roof covers 
 the building, with a small lantern at the 
 apex, and there is no suggestion of the 
 great dome within. The whole surface 
 of the walls is banded and panelled with 
 
 127 
 
I LOKKXCE 
 
 lack iiiiil white marbles in simple pat- herti, then only twenty years old, and tiic 
 
 1 
 
 terns. 'I'wo noble sliafts of red porphyry, 
 whicli stand on either sitle of the eastern 
 entrance, were presented to Florence by 
 tiie Pisans in 1111 in rctnrn fur hclji reii- 
 
 Fig. 65, — Florence, B?iptistery. 
 
 (iel-e(i 
 
 tiiree 
 sonth 
 
 til thcii' cil V in I inic of wai'. 
 |)airs of lii'iiiizr (tool's closing 
 north, and east entrances 
 
 Tlie 
 the 
 arc 
 
 anionii' the most spU'iiilid woi'ks of Ital- 
 ian art. Those of the sonth entrance 
 were execntcd by Andi'ca I'isano. and were 
 begun in i;!;i(l. 'I'lic design has been at- 
 tributed by V'asai'i I" (iintln. and so high 
 was the estimate of their beauty at that 
 time that their completion was celebratt'd 
 as a festival throughout Tuscany. Hut 
 their fame was to he eclipsed by the doors 
 of the other two entrances. These were 
 only taken in baud in lloi. when a com- 
 petition was set on fmit. in which seven 
 
 artists ])ai'ticipated. anmng wl were 
 
 Donatello. lli-uncllcschi. :inil Lorenzo 
 <ihil.>erti. The wurk was given to (Ihi- 
 
 doors were finished in 1424. (See Firj. It-').) 
 BAiiCELLO. See P(ih(z-:(i i/cl Pudcstt't. 
 The HiitAI.lo is a small loggia oiiposite 
 the liaptistery, attributed to Hrunellesehi, 
 but probably built before his day as a por- 
 tion of a hospital, and now forming the 
 vestiliulc and oi'atory of La Miserieordia. 
 'I'he I'liund arches ai'e about 1.") ft. wide and 
 nearly •.'!• ft. high, of extremely elegant 
 design, with scpiare panelled jiiers rest- 
 ing on sculptured pedestals, broa.d mould- 
 ed ai-chi\olls and sculptured sj)andrels. 
 Abiivc the arches runs a broad frieze with 
 |iointcil. cusped, and gabled niches, enclos- 
 ing statues. The second story has pointed 
 two-light windows high up under a broad 
 pnijcciiiig caves-corniee, vigorously brack- 
 eted, 'i'hc whdle is a remarkable union 
 of elegance and picturesqueness. 
 
 Till' (' \Mi'.\ Ni i.i': of the cathedral, com- 
 iiioid\ called (Jiotlo's Tower, is the most 
 admired cxamiile of {•'lorcntinc decorative 
 architecture. It is the product of (liot- 
 tiTs ])ei'fe<'ted genius, having been begun 
 in ll!:!!. not (|iiilc three years before his 
 death, at which period it had reached pci'- 
 haps one-third of its height. It stands de- 
 tached IVoin the S. W. angle of the cathe- 
 ili'al. Il is rorty-li\c feet square at the 
 base, with scarcely any diminution up- 
 wards, anil its height of -Z'i') ft. is divided 
 into fiinr stages, of which the first may 
 he regarded as a base, witlmut ii|icniiigs 
 except the doiirway. and s\didiviileil at 
 mid-lu'ight inlii a Inwci- and nji]icr base, 
 'i'hc scciiiid and tliii'd stories have in each 
 face two-light windows of exquisite beauty, 
 with ])ointed and cusped openings over 
 traceried balcoines. divided and enclosed 
 by delicate twisted shafts, surrounded by 
 sculptured nmulilings and marble inlay, 
 and ciivci-cd liy a crocketed gable. The 
 fourth iir 1 id fry stage has in each face a 
 single high llireedight window of similar 
 chai'aclcr In those behiw. The angles of 
 the tower are marked hy nctagonal liut- 
 trcsses, continued willmut change nf out- 
 
 las 
 
FLORENCE 
 
 line or cliaractiT from tlii' grouiul tn tlic 
 summit. The various stages are separated 
 by moulded and decorated strings with 
 sculptured friezes, the bold cornice is cor- 
 IjelU'd on cusped pointed arches carried 
 round the angle buttresses, with a narrow 
 inlaid frieze above and a crowning balus- 
 trade. The wall-surfaces of white mar- 
 hie are crossed by horizontal bands of deli- 
 cate inlay and sculpture, and are every- 
 where divided into vertical panels by lines 
 of dark green serpentine, the panels and 
 borders often adorned by inlaid 
 geometrical jjatterns, and those 
 of the sub-base by a series of bas- 
 reliefs attributed to Giotto, illus- 
 trating the successive periods of 
 human life and civilization. In 
 the upper base the lower panels 
 are occupied by a series of deej) 
 vaulted niches contaiiung stat- 
 ues. The original design for the 
 tower included a crowning spire 
 rising 90 ft. above the present 
 cornice. (See Fif/. 66.) 
 
 Capella Pazzi. This chapel, 
 one of the earliest works of the 
 Keuaissance, was hailed as a tri- 
 umph of Brunelleschi, who built 
 it in 1420. It opens from the 
 larger cloister of the church of 
 Sta. Croce, and is a simple rec- 
 tangle, with one of its longer 
 sides facing the cloister and cov- 
 ered by an arcaded porcli, while 
 a small, square choir opens from 
 the opposite side. The central 
 portion of the rectangle is cov- 
 ered by a low ribbed dome, light- 
 ed by lunettes, the ends by barrel - 
 vaults, springing from the entab- 
 lature of an order of Corinthian 
 pilasters, which decorates the 
 walls. The porch is an elegant composition 
 in two stages, the first an open colonnade of 
 six Corinthian columns, the middle opening 
 nnieh broader than the rest, and covered 
 by an arch rising through the second story. 
 
 which is elsewhere a flat, panelled wall 
 divided by delicate coupled pilasters car- 
 rying a high entablature with decorated 
 frieze. Above this is a light wooden 
 loggia. The interior is beautifully deco- 
 rated ^vith i-eliefs by Luca dclla liobbia. 
 The porch has a handsome harrcl-vault, 
 richly panelled, and a low dome on pen- 
 dentives in the centre. The wall within 
 the porch has engaged joilasters answer- 
 ing to the columns in front, a pedimented 
 doorway in the middle, and round arched 
 
 
 Fig. uo. — f-icrence, Catnecirai and Campanile. 
 
 windows. The frieze of the order is deco- 
 rated like that of the exterior. {See Fig. 
 67.) 
 
 Cathedral or Duomo (Sta. Maria del 
 Fiore). The cathedral of Florence, dedi- 
 
FLORENCE 
 
 cated to St. Mavy of the Flower, is the lateral apses. 300 ft. The nave exhilnts, 
 most important and splendid work of in an exaggerated degree, the characteris- 
 Gothic architecture iu Italy, as it is. witli tic disposition of parts in the Gothic of 
 
 Italy. Its length, ahout 
 mo ft., is divided into 
 only four square liays by 
 square piers with octag- 
 onal angle-shafts, which 
 are joined by four enor- 
 mous pointed arches of 
 50 ft. sjian, and from 
 which spring also trans- 
 verse arches across nave 
 and aisles. The pilas- 
 ters that face the piers 
 are continued l)etween 
 the arches like vaulting- 
 shafts, and the clumsy, 
 foliated capitals are re- 
 peated on a level with 
 the crown of the arches, 
 a!)Ove which is a con- 
 tinuous horizontal cor- 
 nice, and a low project- 
 ing gallery, which runs 
 round the church, and 
 from behind which 
 s^irings the four -part 
 vault of tlu' nave, ris- 
 ing to the heiglit of 14.i 
 ft. above the pavement. 
 The clerestory is insig- 
 nificant, being wholly 
 comprised within t h e 
 tvnqianum of the vault, 
 and pierced by a single 
 round opening high up 
 in each bay, while in 
 the exception of St. Peter's, the largest each bay of the aisle is a single high and 
 church. Its plan is one of extreme narrow two-light window. The choir is a 
 simplicity ; a vast unbroken octagon, 135 low, octagonal enclosure iu the middle of 
 ft. iu diameter, from three of the car- the central octagon. The three ajises to the 
 dinal sides of which open great apses in- lun'th, east, and south are alike, covered 
 eluded within five sides of an octagon, each by an octagonal half dome, and from 
 while from the fourth projects the great each of their sides opens, by a high pointed 
 nave, 5G ft. wide, flanked by aisles nearly arch, a vaulted chapel about 20 ft. square, 
 30 ft. wide. The whole interior length is enclosed by the outer wall, over which each 
 about 485 ft.: the breadth, including the side of the apse is pierceil l)y a two-light 
 
 ISO 
 
 -Florence, Cloister of S:a Croce and Cape'la Pa::i 
 
FLORENCE 
 
 window similar to those of the aisles. 
 Above the great arches of tiie ajises the 
 wall of the central octagon is carried up 
 nearly 40 ft., forming a drum for the 
 great dome 135 ft. in diameter, the full 
 breiidth of the church, preserving the oc- 
 tagonal outline of its base, and rising 
 with its lantern to the height of nearly 
 390 ft. above tlie pavement. The lantern 
 which crowns the dome is scarcely visible 
 from within through the narrow circle at 
 its base, and the frescoes from Vasari's de- 
 signs, with which the surface of the dome 
 was covered in 1.572, are insufficiently 
 lighted. The windows throughout the 
 church are mostly tilled with stained or 
 painted glass, made in Germany during 
 the first half of the xv cent, from the de- 
 signs of Ghiberti and Donatello. This 
 great interior is perhaps the most emphatic 
 examjile in existence of the completeness 
 with which a great architectural concejJ- 
 tion can be brought to naught in execu- 
 tion. There is probably no church in Eu- 
 rope of comparable dimensions of which the 
 effect is so poor and bald. The immense 
 size and height of the nave (the latter equal 
 to that of Amiens) are neutralized by the 
 scale upon which its several parts are de- 
 signed ; the distance at which its piers 
 are set depriving it of that continuity 
 which is so important an element in the 
 grandeur both of the northern (iothic 
 churches and of the basilicas. The effect 
 which belongs of right to the three great 
 arises which surround the dome is sacrificed 
 by their isolation from each othei', and the 
 disposition of their chapels ; and the ma- 
 jestic proportions of the great central oc- 
 tagon and its dome are rendered inef- 
 fective by the poverty of their treatment. 
 Throughout the whole interior great sur- 
 faces of bare, flat wall, dull in color and 
 unrelieved by important architectural feat- 
 ures, meet the eye, and the whole effect is 
 one of nakedness and gloom. 
 
 The exterior, although it is the w(n-k 
 of various ai'chitects working through suc- 
 
 cessive administrations for a hundred and 
 fifty years, and although the interest of 
 the various parts is by no means e(iual, 
 yet preserves a substantial consistency 
 throughout. The walls, vencei'ed with a 
 thin facing of white marble, are every- 
 where covered by a monotonous rectangu- 
 lar panelling formed by strips of dark- 
 green serpentine. On the flanks of the 
 church the interior division is indicated 
 both on the aisle and clerestory walls by 
 square buttresses, between which in each 
 bay of the aisle wall is a slender two-light 
 window, lavishly decorated with exquisite 
 detail, of twisted shafts, jambs of marble 
 inlay, high crocketed gables flanked by 
 pinnacles and lifted far above the arch, 
 the interval being filled with a marble in- 
 lay of geometrical patterns. The side 
 doorways are decorated with even greater 
 l^rofusion of ornament. The aisle wall is 
 terminated by a fine and decorative arched 
 corbel-table and a pierced balustrade, 
 above which the clerestory wall, whose 
 flatness is scarcely relieved by the double 
 series of oblong panels, is pierced by a 
 single, plain round window in each bay. 
 In the eastern half of the cathedral, the 
 wall-surfaces are divided by two ranges of 
 blind arches rising to the height of the 
 aisle wall, within which the windows of 
 the apses and of their chai^els are of simi- 
 lar design to those of the aisles. Around 
 a part of the octagon the angle buttresses 
 are finished with capitals of more or less 
 classic character, carrying an entablature, 
 above which is an open arcaded gallery 
 with an order of columns surmounted by 
 a balustrade. The crowning lantern is a 
 high octagon with pilasters at the angles, 
 round arches between, and wide-projecting 
 angle -buttresses pierced by arches and 
 covered by scrolls. This portion of the 
 church, with the three apses covered by 
 octagonal domes, their angles reinforced 
 by buttresses of great jjrojection, and the 
 vast central dome rising above all, has 
 great variety and interest. The dome has 
 
FLORENCE 
 
 not !ill the effect wliicli belongs to its size 
 and height and superb outline ; the drum 
 is but a repetition of tiie flat clerestory 
 wall lifted up a story with its feeble panel- 
 ling and its unsightly round windows, and 
 the junction of the drum with the dome 
 itself is not sutliciently marked. ]5ut in 
 judging this work the extreme ditliculty 
 
 Fig. 68. — Florence, Cathedral, East End. 
 
 of lirunellescjii's task must he remem- 
 bered. The fact that it was absolutely 
 without precedent makes his achievement 
 extraordinary : and the wonder is, the 
 mechanical dilliculties being brilliantly 
 overcouie, not tiiat the artistic result is 
 faulty in detail, but that in spite of its 
 faults the effect is so admirable and im- 
 pressive as it is. The gr()U])ing of the donu' 
 and apses from N. E. or S. K. is of ainiost 
 unexampled majesty. 
 
 Tiie materials for the early history of 
 the cathedral are scanty and conflicting. 
 The rel)uildiug of the old catiuMlral of 
 Sta. Keparata, which, dating from a pe- 
 riod anterior to the vm cent., had been 
 the cathedral church since the early part 
 of the XII, was resolved ujjon in l'^l)-t; and 
 the work was begun in that year uiuler 
 the direction of Arnolfo da 
 Lapo, who was architect of the 
 Commune and was already en- 
 gaged at Santa Croce ; and who 
 carried on the works until his 
 death in 1310. An interval of 
 twenty years then occurred dur- 
 ing which the work appears to 
 have languished. In 1334 
 Giotto was appointed to the 
 charge of the cathedral, the 
 town walls, and other works of 
 the Commune. Umler him the 
 building of the cathedral was 
 resumed with vigor, and the 
 foundations of the campanile 
 were liegun within three months 
 after his appointment. Giotto 
 (lied in January, 1337, and an- 
 (itlu-r interval of inaction seems 
 t(i have intervened, liy the 
 middle of the century it had 
 (■(line to be felt that the new 
 cathedral, as })laniicil by Arnol- 
 fo. was too small to comjioi't 
 with the growing dignity and 
 wealth of the republic. A 
 larger plan was determined on, 
 which lengthened the nave and 
 heightened the aisles, without, however, 
 disturbing essentially the walls ali'cady 
 built. Up to this tinu' the old cathedral of 
 Sta. Keparata was still standing within the 
 walls of the new building. It was taken 
 down in KJT.j. The work of enlargement 
 was begun in 1357, under Francesco Ta- 
 lenti, under wliom and his son Simone 
 the building a})pears to have been contin- 
 ued with reasonable steadiness. In 1407. 
 when the body of the church was jiracti- 
 
 ia2 
 
FLOKEXCE 
 
 cally comjik'te, the question of covering Brunellesehi's was the governing mind, 
 tlie central octagon remained. The orig- His jdan comprised two domes, an inner 
 inal design of ArnoU'o appears to have and an outer sliell, sepai'ated by a s{)aco 
 included a dome for the central feature, wide euougli for jjussages and stairways, 
 l)ut to have left its details undeter- but joined at eacii angle of the octagon 
 mined. The difliculties to be met were by a witlie or rib of masonry, and by 
 enormous. Tlie sjiace to be covered was smaller intermediate ribs. The lower por- 
 greater than any yet covered by a dome, tion, perhaps a third iir height, was to be 
 e.xcept in the Pantheon at Rome, where of stouewoi'k, all above of brick. The 
 the dome sat on a continuous circular work was to be accomplished without 
 wall built from the ground, and of no ex- centering, and was to be bound together 
 cessive height. After years of discussion by two chains of iron and timlter. The 
 and consultation, a competition was in- contemporary accounts of Brunelleschi's 
 vited in l-ilS, in res^Jonse to which fifteen energy and inventive genius are most in- 
 models were presented. Among these, teresting. He had need of it all, for his 
 the only two which were seriously consid- work was beset with difKeulties and dis- 
 ered were those of Filippo Brunelleschi couragements, not the least among which 
 and Lorenzo Ghiberti. In l-tiiO they were those arising out of his association 
 were apjjointed as joint masters of the with Ghiberti, who appears to have proved 
 work, and with tiicm was associated Bat- both jealous and incompetent, but who 
 tista Antonio. Work was begun in Aug- held his place until 1-432, wlien the work 
 ust of the same year. From the first was approaching completion. On the 
 
 twelfth of June, 1434, it was so far fin- 
 ished that the cathedral was consecrated 
 with ceremonies of great splendor by the 
 pope, Eugenius V. In 143G a new com- 
 jietition was instituted to determine ixpon 
 a design for the lantern. This work also 
 was given to Brunelleschi, but its execu- 
 tion was delayed for nine years, having 
 been begun in 1445. Brunelleschi died 
 in the following year, and the lantern 
 was completed from his design in 1407. 
 The facade of the cathedral waited long 
 for completion. In the earlier stages of 
 the work it appears to have been carried 
 on along with the side walls, with whicii, 
 in point of design, it doubtless corre- 
 sponded. Of this facade, which is said 
 to have been adorned with statues by 
 Donatello and other masters, the design 
 was long believed to have been by (iiotto. 
 More recent researches make this impi-ob- 
 able, and seem to show that the fac/ade 
 was not begun at the period of his dcatJi 
 in 1337. A few j'ears after the cathedral 
 The black plan shows the church as it is thonght to have otherwise Complete, a Competition 
 
 been desisrned bv Amolfo ; the outline plan the enlarsemeut ^ . ^ 
 
 of the eastern part to its present size by Talenti. WaS Set On foot looking toward tlie hll- 
 
 Fig, 69.— Florence, Cathedral, Plan. 
 
 1S3 
 
FLORENCE 
 
 isliiug of the facade, but the death of Lo- 
 renzo the -Magiiiiiceiit put a stop to tlie 
 project, which was revived in 1515, wlieu 
 Sansovino made a design accompanied by 
 a wooden model. This also came to noth- 
 ing, antl the unfinislied front stood until 
 1588, when it was taken down by the 
 Proveditore, Benedetto Ugnccioue, with 
 the intention of replacing it by a front in 
 the style of the Renaissance. This mis- 
 fortune was happily averted, and the 
 rough brick wall remained nearly three 
 hundred years longer, irntil, in 1865, in 
 resjionse to an invitation for a competi- 
 tion one hundred designs were sent in, 
 of whicli that of the Chevalier de Fabris 
 was accepted. The work was not begun 
 until 1875, and the new front was conse- 
 crated in 188T. It is in three compart- 
 ments, the central one the highest, and 
 crowned with a gable decorated with 
 mosaics. It is divided and flanked by 
 square jjrojecting buttresses, and crowned 
 by bold arcaded cornices. In each divi- 
 sion is a pointed-arched, and gabled door- 
 way, and a wheel-window enclosed in a 
 square frame — the only windows in the 
 fa(,'a(le. Tlie whole front is extremely 
 rich in decoration ; the buttresses have 
 each a vertical range of coupled, recessed 
 panels, and a line of canopied niches en- 
 closing statues crosses the front at the 
 level of the aisle roofs. {See Fiqs. 66, 6S, 
 60.) 
 
 Giotto's Tower. See Campnnih. 
 
 The Laukentian Library, attached 
 to the church of S. Lorenzo, is ap- 
 proached from the cloister of that church 
 through a lofty vestibule about 33 ft. 
 square, of which the lower portion has an 
 order of coupled engaged columns with 
 niches between ; the wall above being un- 
 finished. \. staircase of eccentric design 
 in the middle of this vestibule leads to 
 tiie library, a noble hall about 3'J ft. wide. 
 145 ft. long, and ;.'8 ft. high. The walls 
 have an order of Doric pilasters, with 
 panels between enclosing large square 
 
 windows glazed with painted glass. The 
 flat ceiling is panelled and decorated with 
 rich and beautiful wood - carvings ; the 
 pavement is of red and white tiles with 
 elaborate arabesque patterns. A range of 
 benches and reading-desks, disposed on 
 either side of a central aisle, is also carved 
 with great richness. The work was be- 
 gun by Michael Angelo in 1521 for Clem- 
 ent VII., and continued after his depart- 
 ure for Rome by Vasari and Ammanati. 
 The collections, begun by Cosimo de' Me- 
 dici in the middle of the xv cent., had 
 for a hundred years a singular history, 
 passing successively into the possession of 
 tlie Dominican monks of San Marco, of 
 Clement VII., of Leo X., and being re- 
 moved to the Palazzo Vecchio, to Rome, 
 and liaek to Florence, flnding here at last 
 a permanent home. 
 
 Loggia dei Lanzi, a triple -arched 
 portico, occupying the greater portion of 
 one side of the Piazza della Signoria, of 
 great simplicity of design, and forming, 
 from its great scale, the nobility of its 
 lines, and the justness and beauty of its 
 ornamentation, one of the most striking 
 and admirable of architectural monu- 
 ments. It is about 120 ft. by 50 ft. Its 
 front consists of three majestic round 
 ai'ches, each some 32 ft. in span and 50 
 ft. high, springing from clustered piers 
 of about (J ft. diameter with high deco- 
 rated bases surrounded liy engaged pedes- 
 tals bearing lions, and with high foliated 
 caps. In the spandrels are sunken tre- 
 foils enclosing figures in high relief of 
 six virtues, originally illuminated with 
 color on a background of gold mosaic. 
 Above the arches is a deep frieze l)earing 
 shields and a beautiful arcaded cornice of 
 bold projection, crowned by a jjierced 
 parapet of quatrefoils in square panels. 
 The whole height is about 80 ft. Toward 
 the Uttizii the Loggia opens with a single 
 arch like those of the front. The interior 
 is covered by three groined vaults. It 
 contains many works of sculpture. n(jtal)ly 
 
 184 
 
FLORENCE 
 
 tlip Povscus of Bc'iiveiiuto Cclliiii, and tlie 
 .Iiulith of Donutollo. Tho Loggia was 
 commenced in 1374. Its design lias been 
 ascribed to Andrea Orcagna, and it was 
 intended to form part of a comprehensive 
 design for the improvement of the Piazza. 
 {See Fifj. 70.) 
 
 The Mercato Xuovo, or new market, 
 is a rectangular ojien loggia, standing 
 detached in a pul)lic square, about 95 
 ft. long and 00 ft. broad, with four round 
 
 Tasso. and remains to tliis day the cen- 
 tre of the trade in various kinds of straw 
 goods. Tlie architecture is simple and 
 very elegant. 
 
 La Misericordia. See Bifjallo. 
 
 Ok San Michele ( from Horreum 
 Sancti Michaelis, it is thought), an inter- 
 esting example of Florentine Gothic, 
 built by order of the Signory in 1284, 
 as a grain market, from the designs 
 of Arnolfo da Lapo, and after suffering 
 
 Fig. 70. — Florence, Loggia dei Lanzi. 
 
 arches on each long side and three on 
 each end, and divided into twelve domed 
 bays by cross arches which sjiring from 
 Corinthian columns. The angles of the 
 building are strengthened by massive 
 square piers carried to the cornice, and 
 bearing on each outer face a semicircular 
 niche surmounted by a pedimented cap, 
 while the columns at the ends are need- 
 lessly supi^orted by lighter jjiers. The 
 elevations are crowned by a continuous 
 entablature with a very broad unadorned 
 frieze. The market was built in 1.547 for 
 Cosimo I., from the designs of Bernardo 
 
 from two conflagrations, rebuilt in its 
 present form between the years 1330 
 and 13TS. It is a rectangular building, 
 106 ft. long and 65 ft. wide, in three 
 stories, of whicli the lowest was originally 
 an open loggia of great round arches, 
 springing from jjlain square stone jiiers, 
 divided into six square bays, covered each 
 with four-part vaulting. In 1337 the 
 lower story was enclosed, and the interior 
 transformed into a church; the arches 
 were filled with three-light windows with 
 traceried heads, divided by shafts, and 
 glazed with good painted glass. The sec- 
 
 135 
 
FLOKEXCE 
 
 (111(1 aiul tliird stories :ire alike, except in 
 liei,i,flit, each having two-liglit pointed 
 anil ciis|rm1 windows with slender shafts 
 and janili - mouldings continued round a 
 pointed bearing-arch, with a simjile label. 
 The front is linislied by a finelj' developed 
 arclied corbel-taliie. the arches large iiiul 
 cusped, the corbels thin and lioldly pro- 
 jecting, above which is a halustrade with 
 s((uarc panels carved with tracery. The 
 most remarkaljle feature of the building 
 is the decoration of tlio piers of the first 
 story, wjiich bear on their faces niches en- 
 closing statues, given by the twelve gnihls 
 of Florence and including works by i)oii- 
 atello, Ghiberti, .lolm of Bologna, and 
 other masters that are among the noblest 
 examples of Italian sculpture. The niches, 
 a striking illustration of the exquisite or- 
 nament of which this age was capable. 
 are of various design, thougli of the same 
 character, having pointed and cusjied 
 arches carried on slender shafts, witli 
 straight or ogee pinnacled gables, and 
 decorated in cvci-y part with delicate 
 sculpture and marble inlay. The interior 
 of the church contains a remarkable tab- 
 ernacle of white marble, by Orcagna, built 
 from the otferings made during the great 
 plague of the XIV cent. , which is a won- 
 der of iiiinutc and exipiisite decoration in 
 sculiiture and mosaic. The upper stories 
 of the building retained their original use 
 as a warehouse for the storage of grain 
 as late as l.jfii), when Cosmo I. made them 
 a depository for the national archives, 
 whicli they still remain. 
 
 Osi'EDAi.E DEiiLi Innocenti, the Hos- 
 pital of the Innocents, or foundling hos- 
 pital, was founded in 1421, and the 
 building was liegun from the designs of 
 Urunelleschi : hut he lieing called away 
 from Florence by his engagements in con- 
 nection with the wars of the time, the 
 work was carried out by his inipil, Fran- 
 cesco della Tama. The building has a 
 long fayade cm the Piazza dell' Amiim- 
 ziata. in two stories, of which the lirst 
 
 is an open vaulted arcade of broad round 
 arches on Corinthian columns, the s})an- 
 drels bearing roundels containing each the 
 figure in majolica of an infant in swad- 
 dling-clothes, by Luca dclla. liobbia. A 
 continuous licit over the arcade forms the 
 base of the low second story, which has 
 over each arch a square window- with 
 moulded architraves and pedimented cap. 
 The interior court is of similar architect- 
 ure, surrounded by a vaulted arcade, 
 over which is a second story with ]>lain 
 square windows, the wall-surfaces of white 
 marble being laid off in square and circu- 
 lar jianels by strijies of dark color imitating 
 various devices in iuhi}'. 
 
 1'al.\zzo Bahtolixi, a small Keuais- 
 sance palace built about 1520 by Baccio 
 d'Agnolo. It lias a small fa(;ade in tliree 
 stories, with a square doorway in tlie 
 middle, enclosed in a small portico of two 
 Doric columns with entablature and ])edi- 
 ment. On each side the doorway is a 
 single s([uarc pedimented window with a 
 smaller opening below it. The doorway 
 is approached by five steps, and the base 
 of the building is brought forward to 
 form a continuous bench across the front. 
 The windows of the upper stories, each 
 divided into two lights by a curious couple 
 of superpo.sed columns, all carry jiedi- 
 ments alternately round and triangular, 
 borne on ])ilasters, and are flanked in the 
 second story by round-arched niches. 
 The lines of the window entablatures are 
 continued across tlie front to the angle 
 piers of rustic work : the stories are sepa- 
 rated by entablatures w-ith decorated 
 friezes, and the rroiit is finisluMl by a liold 
 and somew4iat exaggerated corniccione. 
 This palace is historically noted as the 
 first Kenaissance example of a classic or- 
 der with a ]HMliment enclosing a door or 
 window. 
 
 Palazzo Giuuni, a Penaissance palace 
 built in the last quarter of the xv cent, 
 from the designs of Aiiimanali. Its plan 
 is nearly sipiare, with a fayade mi the 
 
FLORENCE 
 
 street aiKl ancitlu'i' t>\\ the LranU'ii, radi 
 about 00 ft. long in tliiTo stories with a 
 central doorway and two windows on each 
 side of it. The garden front has in the 
 middle of its third story an ojien triple- 
 arclied loggia of Venetian character, the 
 arches springing from coupled columns, 
 with windows and door ungracefully dis- 
 tributed about. There is an interior court 
 about '32 ft. square with tliree arches on 
 each side opening into vaulted loggias, 
 that on one side forming the entrance 
 vestibule from the garden. 
 
 Palazzo Goxdi, an early Eenaissauce 
 palace, built in 1481, from the designs of 
 (liuliano di 8. Gallo. It has a fine and 
 characteristic fa9ade, which seems, how- 
 ever, to be but a portion of what was orig- 
 inally intended. It is in three lofty 
 stories, the first of bold rustic work, the 
 second light rusticated, the 
 third J) 1 a i n ; the whole 
 height being about SO ft. The 
 openings are plain roitnd 
 arches bordered by continu- 
 ous mouldings, the archivolts 
 bonded in with the rustic 
 work. Ill tlie first story of 
 the fa9adc three door -ways 
 are unsymmetrically jjlaced, 
 with square windows between ; 
 the windows above are arched, 
 seven in each story. The front 
 is ci'owned by a simple cornic- 
 cione with square modillion- 
 blocks and dentils. The pal- 
 ace encloses an interior coui-t 
 about 17 ft. by 30 ft., with a 
 fountain in the middle, and 
 a beautiful surrounding open 
 arcade with Corinthian col- 
 umns, one side of which is 
 occupied by a fine decorated staircase. 
 The palace was restored in 1874r. 
 
 Palazzo Gcadagxi, a large palace pre- 
 sumed to date from the middle of the xv 
 cent, and attributed to Cronaca. It has 
 two fajades in four well-marked stages. 
 
 the lowest a j)lain wall of stone witli a 
 row of square windows, its angles marked 
 by rustic piers of slight j)rojection, the 
 centre of the principal front by a simple 
 round-arched doorway, while the base is 
 brought forward so as to form a continu- 
 ous bench on both fronts. The second 
 and third stories have ranges of round- 
 arched windows. All the openings are 
 framed in ri;stic w'ork, the arches being 
 of the peculiar Elorentine type, round in 
 the soffit and pointed at the back, but in 
 this case slightly ogeed. The distinctive 
 decoration is a band of rich and delicate 
 Sgraffito work at the top of the second 
 and third stories. The fourth story is an 
 open loggia with light columns of com- 
 posite design over the jiiers below, and a 
 broad eaves-cornice of great projection. 
 The metal work of the exterior, as the 
 
 Fig 71 — Florence, Palazzo Guadagn 
 
 angle - lantern, the torch-holders, the 
 door knockers, etc., is of great elegance. 
 {See Fig. 71.) 
 
 Palazzo Larderel, a small Renais- 
 sance palace of much purity and elegance 
 of design, built about 1560 from the 
 
 137 
 
FLORENCE 
 
 rlesijiiis of (iiovaniii Antonio Dosio, of 
 (ioniignano. Its tliree-storied fagade has 
 a square doorway enclosed between on- 
 gaged Doric columns carrying entablature 
 aud pediment and flanked by two win- 
 dows of similar design, resting on broad 
 sills supported by consoles. The two 
 upper stories have each three square win- 
 dows with simple pilasters carrying en- 
 tablature and pediment, of which the 
 lines are carried across the front. The 
 angles of the building are marked by 
 pilasters of rustic work carrying light en- 
 tablatures which cross the front under the 
 windows. At the top is a bold modillion- 
 cornice. 
 
 The Pai,azzo Xox Fixito, so called 
 from its having been left unfinished, is a 
 conspicuous palace Ijegun in WM from the 
 designs of Hiu)ntalenti, and carried on 
 under successive architects. Its fajade is 
 in three stories, of which the first only, in 
 a baroco style, was the work of Buonta- 
 lenti, the front having been finished under 
 Scamozzi. It has a fine and spacious 
 court of unusual design Ijy Luigi Cigoli, 
 measuring about 34 ft. by TO ft., sur- 
 rounded on the first story by an open 
 vaulted arcade whose great iirches, spring- 
 ing from the entablature of an order of 
 coupled Roman Doric columns, alter- 
 nate with square openings. The wall 
 of the upper stories is divided by flat 
 vertical strips into jiauels enclosing win- 
 dows of various forms. 
 
 Palazzo I'axdolfixi. The design of 
 this palace, built about I'riO for the bish- 
 op of Troja, Oianozzo Paudolfini, is attrib- 
 uted to Raphael, but the work was car- 
 ried out after his death by Giovanni 
 Francesco di Sangallo. Its fajade is of 
 extreme elegance, and marks the definite 
 abandonment of the severer style of the 
 older Florentine palaces. It is about 165 
 ft. in length, and has the appearance of 
 having been left incomplete ; the main 
 mass being flanked instead of divided by 
 a great central doorway, a simple round 
 
 arrh eni-l(isc(l in vigorous rustic stone- 
 work. It has two stories of windows, 
 crowned by pediments alternately trian- 
 gular and segmental, those of the upper 
 story being borne by engaged Ionic col- 
 umns standing on a balustraded stylobate. 
 The lines of the entablatures of the sec- 
 oiul-story windows cross the front antl the 
 piers are panelled. The walls of the build- 
 ing are of smooth stucco, its angles em- 
 phasized by rustic quoins, and the front is 
 crowne<l by a fine and strong cornice with 
 modillions and dentils, and with a broad 
 frieze bearing an inscription proclaiming 
 the name and office of the owner. To the 
 right of the central doorway only the first 
 story of this composition is carried out. 
 
 Palazzo Pitti, the largest ami in 
 some respect the finest of the Florentine 
 palaces and one of the most striking ex- 
 amples of the XV cent, domestic architect- 
 ure. It was begun in about 1440 from the 
 designs of Brunelleschi, for Luca Pitti, the 
 chief of tlie faction opposed to the rule of 
 the iledici. It has a fayade something 
 like 600 ft. long, a mass of cyelopean rock- 
 faced masonry, its separate stones of enor- 
 mous size, aiul all its parts of corre- 
 sponding scale. The design is of the 
 severest simplii'ity, the great front is un- 
 broken by a single vertical division, but 
 while the greater part of it has oidy two 
 stories, the centre is carried a story higlier. 
 The three stories have each a height of 
 nearly 40 ft. ; the walls are pierced by a series 
 of round arches in each story, about \2 ft. 
 witle. In the lower story there are half as 
 many as above ; they enclose pedimented 
 windows on sills supported by consoles. 
 The arches of the two upper stories en- 
 close plain square-headed windows with 
 rounil holes in the tympana. All are 
 arched with voussoirs of great height, 
 whose cxtrados forms a pointed arch. 
 The stories are separated Ijy heavy mould- 
 ed string-courses, with a balustrade above. 
 The cornice is but a repetition of these, 
 and the ahsence of an adequate main cor- 
 
 13S 
 
FLORENCE 
 
 nice is tlie one serious defect of this noble 
 fayade. From each extremity of the 
 front a broiid terrace advances at right 
 angles, which is an ojjen-arehed loggia 
 corresponding iu char- 
 acter with the main 
 building. Of this fa- 
 jade only the central 
 portion was built by 
 Brunelleschi, the palace 
 remaining unfinished 
 for a hundred years af- 
 ter the fall of its orig- 
 inal owner, and jiassing 
 into the hands of Cos- 
 imo I., who toward the 
 end of the xvi cent, 
 built the great interior 
 court from the designs 
 of Ammanati, enclosed 
 on three sides and open 
 on the fourth side to- 
 ward the gardens. The 
 three elevations are in 
 three stories of vigorous rustic work, each 
 faced with an order of rustic columns. Dor- 
 ic, Ionic, and Corinthian respectively, the 
 first enclosing the open arches of a vaulted 
 arcade, the intervals of the second and third 
 filled with windows alternately square- 
 headed and arched. The upper entabla- 
 ture is treated as a corniccione. The in- 
 terior of the palace has many sumptuous 
 ajiartments with columns of verd-antique 
 supporting vaulted ceilings decorated in 
 stucco and painted by Pietro da Cortona 
 and other masters, with niches enclosing 
 statues and rich pavements of colored 
 marbles. The finest of these are now oc- 
 cupied by the magnificent collection of 
 pictures known as the Pitti Gallery. {See 
 Fig. 72.) 
 
 The Palazzo del PodestA, or Bak- 
 GELLO, was the residence of the chief 
 magistrate of the Republic. It was begun 
 in 1250 by Lapo, a German, continued by 
 F. 8isto and Ristoro di Campi. and sub- 
 stantially rebuilt a centur}' later. It cov- 
 
 ers an area about llU ft. by 200 ft. The 
 exterior is of irregular architecture, the 
 walls of strong, rough stone-work, mainly 
 in three stages, but of unequal heights. 
 
 Fig 72, — Florence, Palazzo Pitti, Rear Corner. 
 
 The lower stage has plain arched door- 
 ways and small windows high in the wall. 
 The second is X\\e jiiann nobili', with l)road. 
 two-light pointed and cusped windows 
 with mullion shafts and round or point- 
 ed bearing-arches. The third story is of 
 various heights, with windows of various 
 design ; the walls finish with a strong 
 arched corbel-table and square battlements. 
 A slender campanile rises from the angle, 
 about IS ft. square and 170 ft. high, with 
 tall single round-arched windows in the 
 belfry stage and a battlemented head. 
 The interior contains a fine and extremely 
 interesting court, an oldique quadrangle of 
 about 05 ft., with a three-arched vaulted 
 loggia on thi'ce sides, with round arches 
 on octagonal jners with foliated caps, 
 above which is an open vaulted gallery 
 with six arches of the same character 
 as those below. The third-story wall is 
 flat, lighted by fine broad-pointed arched 
 cusped windows with angle shafts. A 
 2)icturesque ojjcn staircase rises from the 
 
FLOKKXCE 
 
 Ftg, 73- — Floience, Pal. del Pudesta (Bargello), Loggia. 
 
 court to the second-story gallery, with a 
 square gateway on a landing at mid- 
 height. The interior, containing some 
 noble apartments, notaljly the great vault- 
 ed hall about 5-2 ft. by 85 ft. and nearly (JO 
 ft. liigh, has been lately restored with 
 great thoroughness and good 
 judgment, ami contains the 
 National Museum, an extensive 
 and admirable collection of ob- 
 jects illustrating the history and 
 art of Florence. {See Fig. 73.) 
 Palazzo Uiccakdi. one of 
 the largest and most imposing 
 of the early Florentine palaces : 
 begun in 1-tliO for Cosimo de' 
 j\lediri from the designs of Mi- 
 chelozzi. It has three stories, of 
 the height respectively of 18 ft.. 
 2-3 ft., and 33 ft. Its principal 
 fa(;ade is about 230 ft. long and 
 80 ft. high, unbroken by any ver- 
 tical division ; the first story of 
 vigorous rock-faced stone-work, 
 the second of smooth rustic ma- 
 sonry, and the third of ])lain 
 ashlar. 'V\w first story shows 
 five broad. sim])le. round-arched 
 recesses, widely s))aced. and al- 
 ternately occupied by doorways 
 aiul square-headed wiiulows, said 
 to have been designed by Michael 
 Angelu. wiili broad projecting 
 
 sills supported on consoles and bold 
 ])edimented caps. The second and 
 third stories have ranges of two-light 
 windows with arched openings .sepa- 
 ratt'(l by a column and covered by round 
 i)earing-arehes of the Florentine cres- 
 cent shape over continuous moulded 
 aicliivdlts. The stories are divided by 
 lUdulded string-courses and the front is 
 crowned by a vigorous and admirably 
 designed corniccione. Tlii' [lalace en- 
 closes a small interior court about 38 
 ft. square, with an open vaulted arcade 
 on the first story, the second composed 
 of two-light windows like those of the 
 front, and the third of a very light open 
 loggia, its roof carried on thin Composite 
 columns. A broad frieze over the first 
 story arcades contains medallions with 
 bas-reliefs by Donatello. The interior 
 contains a great gallery painted by Luca 
 
 . 74 — Florence. Pal, Riccatdi. 
 
FLORENCE 
 
 Giordano, :iiul ;i cliapel with frescoes by 
 Benozzo (Jozolli. The palace is now used 
 for iioverunu'nt offices. {See Fuj. 74-) 
 
 Palazzo IIucellai, an early Eenais- 
 sance palace, built about 1450 and cur- 
 rently ascribed to Leon Battista Alberti. 
 It lias an unfinished fa(;ade about To ft. 
 long in three stories of rustic masonry, 
 faced by three orders of tlat pilasters — 
 the first ornamented Tuscan, the second 
 composite, the uj:)per Corinthian. There 
 are seven bays, and the beginning of an 
 eighth. In the street story two are occu- 
 pied by rather low square-headed doorways 
 with broad architrave and horizontal cap, 
 above which in each bay is a small square 
 window. In the second and third stories 
 are two-light windows under broad round 
 arches. The entablatures are carried un- 
 broken across the whole front and their 
 friezes are decorated with arabesques in re- 
 lief. The u^jper entablature, making the 
 cornice of the fa9ade, is extremely heavy. 
 The design of the whole is delicate, and 
 the relief very slight. There is some 
 ground for attributing the design to Kos- 
 sellino, whose work at Pienza it much re- 
 sembles. 
 
 Palazzo Strozzi, perhaps the finest 
 and most consistent example of the dis- 
 tinctive Florentine palace architecture of 
 the XV century. It was begun in 1489 for 
 Fillippo Strozzi, by Benedetto da Majano. 
 and finished by Simone dal Pollajuolo, 
 called II Cronaca, to whom the architect- 
 ure of the court is due. Its j^lan is a 
 rectangle of 159 ft. by 174 ft. ; with fronts, 
 substantially alike in design, on three 
 streets, each with a simple round-arched 
 entrance iu the middle, from which a pas- 
 sage leads to the centre of an interior 
 court. The walls are entirely of plain 
 rustic stone-work of extreme boldness, and 
 in three stories measuring respectively "•2(5 
 ft.. 30 ft., and 35 ft., the whole height of 
 the wall being about 104 ft. The upper 
 story is internally divided into two, the 
 upper being lighted from the court. The 
 
 windows of tlie street story are small 
 square ojjcnings set high in the wall ; 
 tliose of the two upj)er stories are alike, 
 being two -light windows with round, 
 arched openings separated by columns un- 
 der a round bearing - arch, the voussoirs 
 increasing in depth toward the centre. 
 Tliin dentil - cornices divide the stories. 
 The finely profiled classic eoruiceione with 
 its broad nndecorated frieze is complete 
 only on one fa9ade. A stone bench runs 
 round the base of the entire palace. The 
 great iron lanterns or cressets at the an- 
 gles of the fayades are characteristic and ex- 
 cellent examples of mediaeval metal-work. 
 The interior court, about 3G ft. by 58 ft., 
 is surrounded on the first story by a vault- 
 ed corridor with an open arcade of round 
 arches with moulded archivolts, springing 
 directly from Corinthian columns. The 
 second story is likewise a round-arched 
 arcade, with broad flat pilasters resting on 
 pedestals, and enclosing square windows 
 with moulded architraves. The mould- 
 ings of the pilaster capitals are continued 
 across the arches and the arch-head is 
 pierced with a single circular opening. A 
 full entablature encircles the court above 
 each arcade. The third story is an ojien 
 loggia with a sloping roof supported on 
 light Corinthian columns standing on a 
 balustrade. 
 
 Palazzo deoli Uffizi, an imposing 
 group of buildings, begun by ^'asari in 
 1560, and finished, after his death, by 
 Buontalenti. for the accommodation of the 
 various administrative offices of the gov- 
 ernment, but best known in later days as 
 the home of one of the most extensive and 
 admirable collections of pictures in exist- 
 ence. The buildings consist of two nar- 
 row wings, enclosing a court about 450 ft. 
 long and nearly 60 ft. broad, open toward 
 the Piazza della Siguoria, and closed tow- 
 ard the Arno by a cross building whose 
 first story is a triumphal arch. The 
 buildings are four stories in height, of 
 which the first is an open vaulted corridor 
 
 141 
 
FLOKENCE 
 
 about 20 ft. wide, with an order of Doric 
 coliiiiiii.s divided into fjronps of two by 
 broad flat jjilasters, wliieli in the first story 
 bear on tlieir faces niches containing 
 statues of famous Florentines. The win- 
 <l()ws above are grouped to correspond. 
 Above tlie colonnade is a mezzanine witli 
 plain square windows witli flat consoles 
 between supporting an entablature ; then 
 a piano )iiiliih>. with long windows with 
 balcony and pediment, and lastly a high 
 upper story, once an open loggia, with 
 light columns answering to those below, 
 now closed by glazed frames which light 
 the corridors of the picture galleries. A 
 thin sloping eaves-cornice of nearly 7 ft. 
 projection finishes the comj)osition. 
 
 Palazzo Ucu'ccione, a small Renais- 
 sance building dating from about 1550, 
 with an unfinished fayade of unusual ele- 
 gance, of which the design has been com- 
 monly attributed to Raphael, by a few to 
 I'alladio, but which later authorities be- 
 lieve to have been by Mariotto di Zanoli- 
 Folfi. The fa9ade, about 54 ft. broad, is 
 in three stories, the first composed of three 
 arches of strong rustic masonry on mas- 
 sive square j)iers, and crowned l^y a balus- 
 trade. The second and third stories are 
 each faced with an order of coupled col- 
 umns. Ionic aiul Corinthian respectively, 
 on pedestals, in the intervals of which are 
 long rectangular windows \vith plain archi- 
 traves and pedimented caps. The masonry 
 ends with the architrave of tlie npijier or- 
 der and the front is covered by a broad 
 projecting eaves-cornice. Over the mid- 
 dle arch of the lower story was a bronze 
 bust of Francis I. by John of Bologna. 
 
 Palazzo Vecciiio, the old jialace of the 
 Signory, a striking and magnificent ex- 
 ample of the half civil, half military archi- 
 tecture of mediitval Italy. The original 
 l)uilding was begun in 12'J8 under Arnolfo 
 da Lapo, continued into the next century 
 and finished by Taddeo Gaddi. Toward 
 the end of the xiv cent, it was enlarged 
 to the eastward to more than double its 
 
 original size, ami about 1440 it underwent 
 important changes, mainly afi'ecting tiie 
 interior, under Michelozzo Michelozzi. 
 The comjileted palace covers an area about 
 140 ft. by -Zm ft. Its facade toward the 
 great square is of strong stone masonry, in 
 four well-nuirked stages, of which the first 
 three are resi^ectively of the heights of 37 
 ft., 33 ft., and 23 ft. The lowest stage is 
 a basement, withotit openings, except a 
 single plain round-arched doorway and 
 four small round-headed windows. The 
 second and third stories are substantially 
 alike, each having a range of broad two- 
 light windows, with pointed aiul cus])ed 
 openings sejjarated by a column, and cov- 
 ered by a round bearing-arch, of which 
 the high voussoirs have a pointed extrados. 
 Over the second story is a mezzanine with 
 small windows. The wall of the fourth 
 stage, about 20 ft. high, is j)rojected forward 
 with a range of machicolations of extraor- 
 dinary boldness, the arches being nearly 
 6 ft. broad and 12 ft. high, carried on 
 straight corbels, whose projection from the 
 wall is near G ft. Above these the wall of 
 the f(nirth story is pierced with a range of 
 thirteen plain round-arched windows, and 
 the wall ends in high square battlements. 
 The campanile, measuring 2G ft. on the 
 face and about IS ft. in depth, is a marvel 
 of bold construction, its front wall l>eing 
 a continuation of the projecting fourth- 
 story wall of the fa9ade, and its head be- 
 ing crowned with machicolations upon 
 nearly the same scale with those below, 
 the wall above terminating in forked bat- 
 tlements, within which rises an open bel- 
 fry, with single round arches on massive 
 round piers, with high foliated capitals. 
 Above the arches the wall ends in an 
 arched corbel -table with forked battle- 
 ments above and a pyramidal roof. The 
 tower is about 2<S0 ft. high, exclusive of 
 the roof. The entrance from the I'iazza 
 leads directly to a fine court, an irregular 
 quadrangle of about 40 ft. across, sur- 
 rounded bv a noble loggia, its bold round 
 
FLOEENCE 
 
 arclics springing from columns which at 
 the angles are octagonal. The shafts are 
 decorated with arabesques in relief, the 
 work of Michelozzi in the xv cent., and 
 the walls of the loggia are covered with 
 large frescoes representing the cities with 
 which Florence was connected at that pe- 
 riod, and its vaults with decorations in the 
 manner of the disinterred Roman jialaces. 
 The walls of the court above the arcade 
 are two stages in height with fine two- 
 light windows nndcr round bearing-arch- 
 es, and various smaller ojjenings. Beyond 
 the court a fine double staircase leads 
 to the njiper stories, where are many 
 apartments of great size and splendor, 
 notably the great hall of the council on 
 the second story, about 8,i ft. by ITO ft., 
 with a magnificent jianelled and decorated 
 ceiling, which, as well as the walls, is cov- 
 ered with frescoes by V'asari dating from 
 1530. The 8ala dei Dugento, or Hall of 
 the Two Hundred, has also a remarkahlc 
 panelled ceiling. {See Fifj. 75.) 
 
 SS. AxoELi, an unfinished Renaissance 
 church of Avhich the exact date cannot 
 now be ascertained, but belonging to the 
 first half of the xv century. It was be- 
 gun from the designs of Brunelleschi, ami 
 the work was suspended when the walls 
 had reached the height of about 20 ft. 
 The building is interesting from the ele- 
 gance of its plan, a sixteen-sided polygon 
 of a diameter of about 90 ft. with a cen- 
 tral octagonal space .51 ft. in diameter, 
 from which open eight square vaulted 
 chapels, with semicircular niches in their 
 abutting ends. On the exterior every al- 
 ternate side had also a semicircular niohe 
 in the thickness of the partition wall 
 between the chapels. 
 
 Sta. Axxuxziata, originally a Gothic 
 church, founded in 1250, but greatly al- 
 tered and modernized in the xv cent, by 
 Leon Battista Alberti. Across the front 
 of the church is an open loggia of light 
 arcades on comjjosite columns carrying 
 blocks of entablature. This ojiens by a 
 
 central door into a large atrium or fore- 
 court, surrounded by vaulted arcades, orig- 
 inally open but now closed by glass sashes 
 for the better protection of the admirable 
 frescoes by Andrea del Sarto and other 
 masters. The interior consists of a nave 
 aljout 48 ft. wide, covered by a flat j»an- 
 
 Fig 75 —Florence, Pal Vecchio. 
 
 elled ceiling decorated with gold and 
 color, without aisles, but with a row of 
 rectangular chapels opening from it by 
 semicircular arches on each side, in the 
 intervals of an order of pilasters, and 
 rectangular windows in the wall above. 
 The nave opens into a circular choir about 
 75 ft. in diameter, surrounded by semi- 
 circular niches and covered by a dome 
 raised on a tambour lighted by eight win- 
 dows, and decorated with frescoes by 
 Daniele da Volterra. A small square 
 chapel opens from the rear of the choir. 
 
 143 
 
ft/»i;k\ce 
 
 which contains the tomb of John oi' Uo- 
 logna. In tlie clioir are many sculptures 
 and paintings by famous masters. On 
 the north side of tlie church is a square 
 cloister surrounded by vaulted arcades on 
 Corinthian columns. 
 
 yS. Apostoli, an ancient church of 
 uncertain date, but known to be anterior 
 to the XI cent., and said to have been 
 founded early in the ix by Charlemagi\c. 
 It is a small basilica, about 90 ft. long and 
 53 ft. wide ; the nave, about 30 ft. wide, 
 ending in a semicircular tribune, and 
 separated from the aisles l)y seven round 
 arches on eacli side, springing from Co- 
 rinthian columns of serpentine, above 
 which is a clerestory with s(]uare windows, 
 and a round barrel-vault. The aisles are 
 vaulted and terminate in square niches, 
 and the aisle walls are pierced by arches 
 corresponding to those of the nave, and 
 ojjening into chapels. The front is painted, 
 and has three doorways. The church is 
 said by Vasari to have served Brunellcschi 
 as a model for San Lorenzo. 
 
 Sta. Cuoce, after the cathedral the 
 largest and must famous of all the Florcn- 
 
 Fig. 76, — Florence, Sta CroC' 
 
 tine churc;hes, was built for the Francis- 
 cans at the end of the xiii cent., by 
 
 Arnolfo da Lapo, who at the same time 
 
 was architect of the catlicdriil. It is a 
 (lothic cruciform church of enormous 
 size, whose length is variously given from 
 350 ft. to 490 ft. It has a great nave (iO 
 ft. wide, flanked by aisles 25 ft. wide, 
 from which it is separated by a range 
 of seven high pointed arches on each side, 
 s])ringing from octagonal piers with 
 ])linths and foliated capitals from which 
 flat jiilasters rise through the clerestory 
 to stone corbels bearing the tie-beams 
 of the bare open-framed roof. A light 
 iron Ijalcony resting on corbels runs at 
 the base of the clerestory, whose wall is 
 pierced with a plain two-light pointed win- 
 dow in each bay. From each nave jiier a 
 pointed arch spans the aisle, dividing it 
 into bays, each covered by a low gable 
 roof at right angles to the wall. In each 
 bay is a two-light window similar to 
 those of the clerestory. The transept is 
 short and narrow, and the nave arcades 
 are carried across it with a single higher 
 pointed arch on each side, over which the 
 gallery jumjjs awkwardly. From the east 
 wall of the transept opens in the centre, 
 l.iy a high jiointed arch, the short choir, 
 _ covered by a groiiuMl vault, and 
 
 ending in an octagonal apse with 
 tliree windows. The choir is 
 Hanked by five small square 
 vaulted chapels on each side, 
 each opening from the ti'aiiscpt 
 by a low iMiiiitcd arch. Tlie 
 ai'cliitecture of the church is 
 without intei-est or merit, the 
 interior is cold and bai'c not- 
 withstanding that the windows 
 arc for the most part glazed with 
 good ])ainted glass, notably the 
 ^^ i,n-eat round window of the front. 
 I The interest of the church is 
 ' wholly in its associations with 
 the great Florentines who are 
 buried here, .Michael Angelo, 
 (Jalileo, Jlacchiavelli, and others, and in 
 the frescoes of (iiotto. and other great 
 painters in the IVruzzi an<l liardi and otli- 
 
BAALBEK-'TEMPLE OF JUPITER, NORTH FRONT 
 
 ■ W|W-«*«vJc: :• ..-.-.*■- '-.-ii-'i'. ~ Vt'Uf'^iS^VS'i-; 
 
FLORENCE 
 
 er chapels. On the exterior wall of eacli 
 aisle is a vaulted open arcade of round 
 arches, that on the south making one side 
 of the great cloister K50 ft. square, connect- 
 ing the cliurch with its conventual build- 
 ings. From one side of the cloister opens 
 the Cappella Pazzi {q. v.). The facade of 
 the churcli was left unfinished until 18G3. 
 It is of white marble, divided into upright 
 rectangular panels by lines of black marble. 
 It is in three compartments, correspond- 
 ing to the nave and aisles, each covered 
 by a gable and flanked by buttresses ter- 
 minating in jjinnacles. A rather thin 
 arched corbel-table crosses the whole front 
 at the level of the aisle cornices, and a 
 similar one follows the rake of the central 
 gable. In each division is a fine pointed 
 arched doorway, the tympanum filled with 
 carving, surmounted by a crocketed gable 
 and flanked by jnnnacles. The original 
 round window occupies the centre of the 
 upper stage. The slender square camjDan- 
 ile with high pointed and gabled belfry 
 arches and spire above was finished in 
 1805. {See Figs. 67, 76.) 
 
 S. Felice, a singular small Renais- 
 sance Dominican church, ascribed in its 
 present form to Michelozzo in 14.57, 
 but existing from a much older period. 
 It is a long rectangle, measuring about 50 
 ft. in width and nearly 300 ft. in length, 
 without aisles or transept, covered by an 
 elliptical barrel-vault. The western half 
 is divided in height by a nuns' gallery 
 supported on two lines of Tuscan columns 
 carrying a groined vaulting. From the 
 east end projects a square choir flanked 
 by a small square chapel on each side. 
 The simple facade has a central doorway 
 under an order of Corinthian jiilasters and 
 a semicircular pediment, and is itself cov- 
 ered by a low pediment, 
 
 S. FRAXCE.SCO AL MoxTE, a XV ceut. 
 Renaissance church, of which the design is 
 attril)uted to Cronaca. A bald ill-propor- 
 tioned front covers the broad nave and 
 narrow aisles of a rectangle about l(i5 ft. 
 
 long and 76 ft. wide. The nave is about 
 120 ft. long and 44 ft. wide, the aisles 
 divided into a series of square chapels 
 opening behind Roman arcades in the in- 
 tervals of an order of Doric 2)ilasters, car- 
 rying a continuous entablature. Above is 
 a clerestory faced with similar pilasters 
 between wliich each rectangular window 
 is framed in a snudl order with a pediment. 
 The nave is covered by an open trussed 
 roof. A square choir opens from the 
 nave by a high triumphal arch. 
 
 S. LoREXZo, the church of the Medici, 
 occupies the site and embodies a portion 
 of the structure of one of the oldest build- 
 ings in Florence. Consecrated by St. 
 Ambrose in 393, it was partially or wholly 
 rebuilt in the xii century. After suffering 
 great injury by fire in the xv cent, it was 
 again substantially rebuilt, and on a much 
 larger scale, from the designs of Rruuell- 
 eschi. The work was begun in 1425 and 
 completed after his death. The church 
 is cruciform, with a length of 254 ft. and 
 an extreme breadth of 244 ft. Tlie nave 
 and aisles are separated by Corinthian 
 columns of stone stuccoed over, carrying 
 blocks of entablature from which spring 
 round arches, eight on each side, over 
 which is a high clerestory with single 
 round-arched windows, and a flat wooden 
 ceiling, 72 ft. above the pavement, deco- 
 rated with gold and color. The crossing 
 is bounded by four high round arches and 
 covered by a square lantern finished with- 
 in as a low hemispherical dome 35 ft. in 
 diameter, surmounted on the exterior by 
 a square ojjen loggia as large as the lan- 
 tern below. The choir and transept 
 arms are square and flat-ceiled ; about 
 them cluster a series of square chapels, 
 each covered by a low round dome. The 
 bays of the aisles are domed in like man- 
 ner, and flanked each by a shallow rectan- 
 gular chapel. At the eastern end of the 
 nave stand two rectangular puljiits of 
 bronze supported on rich marble columns 
 with Ionic capitals, and bearing on their 
 
 145 
 
FLORE^■CE 
 
 faces iuliiiiruble reliefs by Donatello and cedony, etc., with armorial bearings and 
 his jjupil, Bertoldo. At the angles of the other devices. It contains the tombs of 
 north and soutli transejjts are two sqnare varions members of the Medici family in 
 
 red and gray granite, of great magnifi- 
 cence. The vaulted roof is covered with 
 frescoes painted by Pietro Benvennto in 
 1828-37. The church shows the largeness 
 and fineness of projjortiou which belong 
 to Bruuelleschi, also the leanness and 
 meagreness of his details, especially of his 
 entablatures and cornices. Jlichael An- 
 gelo made a design for the facade, which 
 is still 23reserved. He only executed, 
 besides the new sacristy, the decoration of 
 the inside of the front about the main 
 doorway. On the south side of the 
 church is a large square cloister, from 
 which opens the Laurentian Library {q. 
 v.). The exterior of the church is with- 
 out interest, and is in great measure con- 
 cealed by adjacent buildings. The fa9ade 
 remains unfinished. (See Fiff. 77.) 
 
 Sta. Maria Xovella, a Dominican 
 Gothic church, begun in 1:278 under two 
 monks of that order, Fra Sisto and Fra 
 Eistoro ; not finished till the middle of the 
 XIV century. Some portions of an older 
 sacristies, known as the old and new sac- church on the same site were retained, 
 risty respectively, the former built by Its plan is a Latin cross about 320 ft. 
 Brnnelleschi and richly adorned with long and 88 ft. wide, with transept 203 
 paintings and monuments : the latter by ft. long. The nave is separated from the 
 Michael Angelo, between 1520 and 1534, aisles by six high pointed arches on each 
 for the Medieean Poj)es, Leo X. and side of unequal widths, springing from 
 Clement VII,, to receive the tombs of piers whose section, including the vaulting 
 Giuliano and Lorenzo de' Medici, the son shafts, is a quatrcfoil. The high clere- 
 and grandson of Lorenzo the Magnificent, story is pierced with a single rouiul win- 
 whose statues and tombs with their asso- dow in each bay. The nave vault is 
 ciated sculpture are among the most cele- groined in square bays. The spring of 
 brated works of Michael Angelo. Directly the vaults is below the tops of the main 
 behind the choir, but not communicating arches and the walls above them are 
 with it, is the octagonal chapel of the ilcd- unbroken except by small round clerc- 
 ici, Capella dei Principi, with recesses of story windows high up under the vaults, 
 various ungraceful forms opening from The disposition of the transept is pecul- 
 four of the sides. It is remarkable rather iar, each arm having a double bay corre- 
 for the richness of its materials than for its spondiug to the two chapels that flank the 
 architectural merit, its walls being quite choir on that side, and at each end a 
 covered with the most costly marbles, large square chapel, one having its floor 
 jasper, porphyry, agate, lapis lazuli, chal- raised above that of the transept, and 
 
 146 
 
 Fig. 77. — Florence. S. Lorenzo. 
 
 1. Cap. dei Piincipi. 2. Old Sacristy. 3 New Sacristy. 
 
 Scale of 100 feet. 
 
FLOEENCE 
 
 approached by a stairway. These chapels 
 are remarkable for their pictorial adorn- 
 ment, that of tlie south transept, called 
 the CapelLi Rucellai, containing the fa- 
 mous Madonna of Cimabue, painted in 
 1:270, with other notable pictures ; that of 
 tlie north transeiit, the Capella Strozzi, 
 having its walls covered with frescoes by 
 Andrea Orcaarna and his brother Bernardo. 
 
 cades. From the larger opens the Span- 
 ish Chapel, so-called, a square vaulted 
 room built in lo.JO and formerly used as a 
 chapter-house, the walls and ceiling cov- 
 ered with remarkable frescoes by Taddeo 
 Gaddi and Simoue Memmi. Of the exte- 
 rior of the church the facade is the not- 
 able portion. It is in two stages, whose 
 breadth and lieight answer to those of the 
 
 Fig, 78, — Florence, Sta, Maria Novella. 
 
 The choir is square and is flanked by two 
 square chajiels bordering the transept on 
 each side, all decorated with frescoes by 
 (ihirhindajo, Lippi, Bronzino, and other 
 masters. The choir has a triple window 
 filled with good stained glass, dating from 
 1491. and some carved stalls by Baccio 
 d'Agnolo. On the north side of the 
 church aie two cloisters, the larger of 
 which had on one side two stories of ar- 
 
 nave and aisles below and the clerestory 
 above ; the first stage, composed of a row 
 of high blind round arches on engaged 
 columns, enclosed in an order of Corin- 
 thian pilasters and columns with thin en- 
 tablature and high attic ; above which is 
 the second stage, consisting of a square 
 wall faced with four Coi'intliian jDilasters 
 with entablature and pediment, enclos- 
 insf a small rose window. Broad scroll 
 
FLORENCE 
 
 buttresses at the base oi tliis story con- 
 iiuut it witli the hiwer stage. The walls 
 are of •white marble divided into panels 
 by strips of black marble. To the right 
 of this fa(;ade the wall is continued by 
 the areadcd wall of a cloister, with \o\v 
 pointed blind arches on square piers, aud 
 an ancient tomb under each arch. On 
 the north side of the church, toward the 
 transept, rises a square campanile, mnch 
 in the Lombard style, terminating in a 
 four-gabled pyramidal spire. The fa9ade 
 is ascribed to Alberti, who was employed 
 to remodel it in 1448. The niches in 
 the lower story are doubtless older, and 
 it is not clear how much of the faQade is 
 his design, but perhaps the central -door 
 and enclosing Corinthian order is his. and 
 probably the whole upper part, which 
 gives the first example of the scroll-but- 
 tresses (just mentioned) whicli have found 
 innumerable imitators among architects of 
 the Eenaissance. (See Ficj. 7S.) 
 
 SS. MicHELE E Gaetaxo (Capclla An- 
 tinori), a Renaissance cruciform church, 
 about 80 ft. wide and 160 ft. long, re- 
 markable chiefly for certain peculiar feat- 
 ures of tlie interior design. It has a nave 
 nearly 50 ft. wide, covered by a barrel- 
 vanlt and without aisles, divided into 
 three narrow oblong bays by round arches, 
 springing from square piers faced with 
 Corinthian pilasters at each angle carry- 
 ing an entablature. On each pier, be- 
 tween the pilasters, is a shallow square 
 recess presumably intended to receive a 
 confessional, and above the entablature, 
 between the round arches which connect 
 the piers, is an arched niche enclosing a 
 statue. On each side are three square 
 chapels, connected by vaulted passages 
 through the piers. The barrel-vault of 
 the nave is pierced by high pointed lu- 
 nettes, each containing a round - arched 
 window. The transept ends are each a 
 single rectangular bay with a barrel-vault, 
 and from the crossing opens a square choir 
 covered by a low hemispherical dome 
 
 without a drum. The church was begnn 
 in lfl04 and finished in 1048. 
 
 S. ilixiATO is one of the most interest- 
 ing of Italian churches, not only from the 
 beauty of its design, but also as marking 
 the period of transition in the xi cent, 
 from the basilican to the Romanesque 
 type. Its plan is substantially that of the 
 basilica — a simple rectangle of about TO ft. 
 by 150 ft., divided into a nave 30 ft. wide 
 between the columns and two aisles. The 
 length is divided into three equal parts by 
 round arches spanning the nave and aisles 
 and springing from higli composite col- 
 umns which are engaged in grouped piers. 
 Each jiart lias three nave-arches on each 
 side, resting on lower Corinthian columns, 
 evidently the spoil of some older building. 
 Both nave and aisles are covered with 
 wooden roofs resting on tie-beam trusses 
 of low pitch. The windowless walls of 
 the aisles are unbroken by pilasters or 
 other architectural features, except the re- 
 sponds of the great nave piers ; those of 
 the clerestory are pierced by five small 
 simple round - headed windows in each 
 bay. Of the rear bay. the floor, both in 
 nave and aisles, is raised about 11 ft., 
 forming a choir ending in a round cen- 
 tral ajjse with a hemispherical vault. The 
 side and end walls of the choir aisles have 
 simjile round-headed windows ; the wall 
 of the apse has an arcade of five round 
 arches on Corinthian columns, in the in- 
 tervals of which are square wiiulows filled 
 with thin translucent slabs of veineil Ser- 
 ravezza marble, which, when the sun is 
 shining upon them, admit a soft light to 
 the interior. The choir is reached from 
 the aisles by two broad staircases of mar- 
 ble, aiul its front is closed by a panelled 
 fence or bahtstrade about 5 ft. high, of 
 various marbles, and decorated with great 
 richness and delicacy, its frieze containing 
 a mosaic of animals and geometrical fig- 
 ures. At the right end of the balustrade 
 is a pulpit of similar character. Beneath 
 tlu' choir, and (qiening into the nave by 
 
FLORENCE 
 
 three liroiid rouiul arches, is a hii;h eryjit. 
 its floor ahout 4 ft. below tlie nave, roofed 
 witli four-part vaulting sujjported on six 
 rows of columns. This church is remark- 
 able not more for the simplicity and. ele- 
 gance of its forms than for the richness 
 and consistency of its decorations. The 
 walls of the clerestory and apse, 
 the sjjandrels of the great trans- 
 verse arches and of the interme- 
 diate arches of the nave are 
 ornamented with an inlay of 
 miirbles of various colors, which 
 is repeated, but with greater 
 richness, in the mosaic pavement 
 of the nave. The semi-dome of 
 the apse is adorned with a mo- 
 saic, bearing the date 1297, of S. 
 Miniato offering a crown to the 
 Saviour. Portions of the walls 
 of the choir retain traces of an- 
 cient frescoes. 'J'lie trusses and 
 ])urlins of the roof are decorated 
 with patterns in color and in- 
 scriptions. From the left-hand 
 aisle opens a small Renaissance 
 chapel dedicated to St. James, 
 which is also decorated with great 
 richness — a mosaic i^avement, ^ 
 sculptures by Rosselino. the ar 
 chitect of the chapel, and in the 
 ceiling five admirable medallions by Lnca 
 della Robbia. At the right of the choir is 
 the sacristy, a square apartment in the 
 Gothic style, decorated throughout with 
 wall-frescoes by Spinello Aretino represent- 
 ing scenes in the life of St. ISenedict. The 
 exterior is of brick, perfectly simple and 
 unadorned, except the fa9ade, which is of 
 black and white marble and decorated in 
 harmony with the interior. The first story 
 is an arcade of five round arches, spring- 
 ing from Corinthian columns, with three 
 square doorways. Over this is a simjile 
 entablature, on which rises a tall order of 
 flat pilasters, surmounted by a low gable, 
 and flanked by half-gables answering to 
 the aisle roofs. The whole of the wall- 
 
 surface is adorned with geometrical pat- 
 terns in black anil white marble, and the 
 central interval of the second story con- 
 tains a large mosaic picture representing 
 Christ seated between the Virgin and S. 
 Miniato. A square Renaissance camjianile 
 of simiile design, luiilt in ].")l'.i liy Baccio 
 
 Fig, 79. — Florence, S. Miniato. 
 
 d'Agnolo, rises on the left side of the 
 church. The first building on this site was 
 an oratory dedicated to St. Peter, which 
 was rejilaced in TT-4 by another church, 
 said to have been endowed by Charlemagne 
 in memory of his wife Ilildegarde. 1'liis 
 church having become ruinous through 
 time and violence, the foundation of the 
 present building was laid in 1013 by 
 Bishop Hildebrand, who established in 
 connection with it a Benedictine monas- 
 tery now suppressed, but of which tlic 
 buildings adjacent to the church still re- 
 main. The front was rebuilt in the xiv 
 century. {See Fig. 79.) 
 
 S. Spirito, a Renaissance church, de- 
 signed about 14:1:0 by Brunelleschi, but 
 
 149 
 
FLORENCE 
 
 begun after his^ dealli, unci finished in 
 14S1. Its jiliin is u Latin cross measuring 
 aliuut :J10 ft. in leugtli and 105 ft. in 
 i)rcadth. with nave and aisles separated by 
 arcades of nine mund arches springing 
 from bloel<s of entablature over Corinthian 
 eolnmns. A continuous entablature sur- 
 nu)unts the arcades, above which is a high 
 clerestory with a single narrow round- 
 arched window over each of the lower 
 arches. The nave has a flat coffered ceil- 
 ing. The aisles are divided into square 
 bays covered by flat domical ceilings, and 
 each has a semicircular altar-niche in its 
 outer wall, with a single round-arched 
 window. The choir and transejjt are 
 equal arms of the cross, each composed of 
 two bays with the aisles continued round 
 their ends ; the crossing is enclosed by a 
 rich balustrade of marble and bronze. 
 
 Fig. 80. — Florence. S. Spirito. 
 
 within which the high altar stands under 
 the dome on a s(|uare raist'd platform and 
 covered by a high bahhuH'hino. About it 
 are four high round arches carrying on 
 pendeiitivcs a hcmisidierical dome with- 
 
 out a drum, pierced by round windows or 
 0(Mli, and surmounted by a round lan- 
 tern. A fine octagonal sacristy by Cro- 
 naca is joined to the west aisle by a rich- 
 ly decorated and vaulted vestibule by San 
 Gallo. Adjacent to the church on the 
 west are two arcaded cloisters, jiaintcd 
 with frescoes, and a slender sfpnire cam- 
 panile by Baccio d'Agnolo. The front is 
 covered with plaster and painted. {See 
 Fig. SO.) 
 
 Sta. Teresa, a curious Kenaissance 
 chapel built in 1C28 from the designs of 
 Giovanni Coccapani, for a convent of 
 nuns, and remarkable chiefly for its unu- 
 sual plan, a hexagon about 83 ft. in inter- 
 nal diameter, with an entrance doorway 
 in one side. A shallow transverse vault- 
 ed choir with semicircular ends opens 
 from the opposite side, and sunk in the 
 other four sides are rectangular altar- 
 niches. The hexagon is covered by a 
 pointed hexagonal dome on a di'um, with 
 a hexagonal window in each face, and 
 crowned by a lantern. 
 
 Sta. Tkinit.I, a xiii cent. Gothic 
 chureli built, it is believed, from the 
 designs of Niccolo Pisano. but greatly 
 changed in the xvi century. It had nave 
 and aisles of five bays, separated by tall 
 s(|iiarc piers with capitals of unvaried de- 
 sign, from which spring pointed arches. 
 Above the arcade is a high clerestory with 
 pointed windows. The nave and aisles 
 are groined, the former in oblong bays, 
 the latter in square, and the aisles are 
 flanked by rectangular cha]iels made ap- 
 jiaivutly by dividing up tlie original outer 
 aisles. The transei^t arms have each a 
 single groined bay. The square choir was 
 built in the xv cent., with its two flank- 
 ing chajjcls on either side opening from 
 the tran.sept. The fa9ado was built about 
 l.")!)3 from the designs of Buontalenti in 
 tlie modern Italian style, with three en- 
 trant'c doorways, coupled pilasters, and 
 niches containing statues. The campa- 
 nile dates from 1395. Attached to the 
 
FOGGIA 
 
 clmreli is ;i eonvent. with a line oloistcr 
 surroimdod by vaulted arcades on columns. 
 
 Uffizi. See Palazzo deijU U^zi. 
 FOGGIA, Italy. 
 
 Sta. Maria, an ancient Komanesqne 
 cruciform cliurch of the xi cent., meas- 
 uring about 1I5G ft. long by 80 ft. across 
 the transept, but much changed by re- 
 peated restorations. Its most remarkable 
 feature is the crypt or lower cliurch ex- 
 tending under the whole church, divided 
 into two i^arts by a solid wall across the end 
 of the nave, which is jjierced by three door- 
 ways. The only entrances are in the two 
 ends of the transept. The whole is cov- 
 ered with groined vaulting on piers with a 
 cruciform section, except the square at the 
 crossing, where four small columns take 
 the ijlace of the piers. In each transejit 
 the east wall is in the form of a round 
 apse, which, however, does not appear 
 externally. The upper church, of corre- 
 sponding plan, was much damaged by the 
 earthquake of 17131. and was rebuilt in the 
 style of that period. Here, as in the crypt, 
 the transept and choir are each in three 
 aisles, the former having flat round apses 
 in its east wall. The rectangular choir 
 probably replaced an eai-lier apse. The 
 square fa9ade is in two stages, of which the 
 lower is of the original xi cent, church, 
 the ujiper belonging to the Xorman pe- 
 riod, late in the xii century. The former 
 has a blind arcade of five equal rouud 
 arches, on flat pilasters, the middle arch 
 enclosing a modern square doorway with 
 plain pointed bearing-arch. Of the other 
 arches two have each a two-light window 
 with bearing-arch, and two others a circle 
 in tlie arch-head, with mosaic. The two 
 stages are separated by a decorated hori- 
 zontal cornice, above which, in the centre, 
 is a large wheel-window under a pointed 
 arch and flanked by coupled columns, and 
 at each side a blind arch like those below. 
 FOLIGNO, Italy. 
 
 The Cathedral, dedicated to S. Feli- 
 ciauo, is a rebuilding of the mediajval 
 
 cJiuri-h, (if which small portions still ex- 
 ist, notably the Romanes(|ue fayade of the 
 south transept, whicli appears to date 
 from 1201. This has a characteristic 
 porch supported by lions, over it a blind 
 arcade and a wheel-window under a hori- 
 zontal cornice. The rebuilding was under- 
 taken about 1512 ; how much it was modi- 
 fied by alterations in the xviii cent, is 
 not clear. The grandiose plan is a Latin 
 cross, measuring about 230 ft. in length 
 and about 170 ft. in breadth across the 
 transept. The whole interior is encircled 
 by a great order of Ionic jjilasters 40 ft. 
 high, from whose entablature springs the 
 vaulting. The nave, about 45 ft. wide, 
 without aisles, is divided by a broatl round 
 arch S23ringing from coupled pilasters into 
 two square bays covered with four-jjart 
 vaulting. The transejst ends form each a 
 similar bay ; the crossing is covered by a 
 high round dome, raised on a drum sur- 
 rounded internally by a low order of 
 coupled Corinthian jiilasters. The choir 
 is Ti single square bay covered by a low 
 dome and ending in an apse, round with- 
 in and octagonal without, whose outside 
 dates from the middle of the xv century. 
 The exterior is almost entirely concealed 
 by surrounding buildings — the unfinished 
 west front and the front of the south tran- 
 sept above mentioned being the only por- 
 tions standing free. 
 FONDI, Italy. 
 
 Sta. Maria, the former cathedral, is a 
 cruciform church of the second half of 
 the XII cent., with a flat Eenaissance fa- 
 yade carrying a low pediment between 
 two horizontal cornices. There are three 
 square doorways, of which the middle one 
 is flanked by columns, and covered by a 
 semicircular panel charged with figure re- 
 liefs. The old Kormau tower still stands 
 on the north side of the church, in three 
 stages, the lowest pierced by a high 
 pointed arch on two sides through which 
 a street is carried, the upper stories with 
 two-light windows, and the whole crowned 
 
FUSSA.NOVA 
 
 by !i pliiin, low oetiigonal lantern with a 
 sharp roof. Tlie interior has pointed 
 arches springing from grouped piers and 
 wooden ceilings, except the bay at the 
 crossing, which lias a groined vault with 
 ])()intc(l arclicd ribs, and tlic three eastern 
 apses. 
 F08SAX0VA, Italy. 
 
 The Cistercian Ooxvent is a very old 
 monastery, reputed to have been founded 
 
 Fig, 81. — Fossanova, Abbey Church. 
 
 in St. Benedict's time, but tran.sferred by 
 Innocent II. in the xii cent, to St. Ber- 
 nard, and by him rcpeopled witli French 
 monks from Clairvaux. Rebuilt or re- 
 stored in 11 :!•"■>. it was soon after burned 
 and again rel)uiU. ;uid consecrated in 
 \->0S. The buildings, oiu'e inclosed by a 
 high wall whose great entrance-lodge still 
 remains, are perhaps the best representa- 
 tive that is left of an Italian mediaeval 
 monastery. The church, evidently the 
 work of French builders, and mostly re- 
 built in tlio pointed style after the fire, is 
 of almost purely French Gothic type, 
 cruciform, with nave and aisles of seven 
 bays, a square-ended choir of two bays in 
 the Cistercian fashion, a ti-ansept flanked 
 by four eastern chapels. It has a single 
 square tower, over the crossing, and a sin- 
 
 gle west door — both also peculiarities of 
 the Cistercian churches. The main ar- 
 cades and the vaults are pointed, the piers 
 cruciform, with engaged shafts, and the 
 vaulting-shafts start from corbels half-way 
 nil the lower piers. There is no triforiuni, 
 and the windows of aisles and clerest(n-y 
 arc mund-arched. The single door of the 
 front has richly moulded jambs and trace- 
 ried tympanum. Over it is a handsome 
 wheel - window. Evidently a 
 triple porch or narthex was 
 (juce carried across the front, 
 iir at least begun, but it has 
 disappeared. Aisles and ga- 
 bles are low, but mouldings 
 and capitals and other details 
 both outside and in are char- 
 acteristically French. The 
 central tower is oc'tagonal, in 
 two stories with twin i-ound- 
 arched windows in each face, 
 and a pyramidal roof crowned 
 liv a lantern. Most of the con- 
 ventual buildings remain in 
 good jireservation. In line 
 with the eastern wing of the 
 transept is the chapter-bouse, 
 rectangular, in six groined 
 bays, the vaults carried on two clustered 
 piers with French crocket -capitals. In 
 the southern angle of the church is the 
 cloistt'r, arcaded in groujis of arches, three 
 and fnni-, round-arched on three sides and 
 j)ointed on the south, with coupled col- 
 umns and richly carved capitals of great 
 variety. Against the south walk is a grace- 
 ful well-house, square, pyranudal roofed, 
 and open on all sides through coupled 
 round arches. (.SVy' Fir/. SI.) 
 FRASCATI (anc. Tusculum), Italy. 
 
 Ampiiitiieatke, on the ancient Via 
 Tusculana, two miles from Frascati, in a 
 depression between two hills. It is ellipti- 
 cal, the greater axis, 2'M) ft., the lesser, 170 
 ft.; the axes of the arena arc l.)7 ft. and 
 9.") ft. The interior is in ruins, and only 
 the substructions and fragments of wall 
 
 15i 
 
GABALA 
 
 of reticulated work remain. Excavations 
 have disclosed canals through the arena, 
 similar to those in the Colosseum, and 
 serving to convert the amphitheatre into 
 a naumachy. It is presumed to be of 
 somewhat late date. 
 
 Tlie ARX or citadel retains many ancient 
 remains, especially parts of tlie wall of 
 massive squared blocks, like the earliest 
 walls of Rome. On the slope of the hill, 
 near the theatre, is a grand stretch of the 
 old city-wall. Tlie sides of the hill are 
 full of chambers or artificial grottoes. 
 
 Roman Theatre, small, but remaining 
 comjiaratively jjerfect. The cavea lias 
 nine tiers of seats almost uninjured, and is 
 divided into four cunei by radial stairways. 
 The stage-structure remains in great part, 
 but awaits excavation. The theatre faces 
 the west toward a magnificent outlook, 
 with Rome and the sea in the disttmee. 
 At the back of the theatre there are ruins 
 of a smaller one, jjerhaps an odeum or lect- 
 ure-room, the so-called Children's Theatre. 
 
 Vii.LA Aldobkaxdixi, one of the most 
 extensive and elaborately designed of all 
 the great jileasure-houses of the Roman 
 suburbs. Like most of the suburban vil- 
 las, its attractiveness lies much more in its 
 grounds than in its architecture. These 
 are entered from the great square of the 
 town. From the lower level of the 
 grounds a stately double curving stair- 
 case leads to a terrace with semicircular 
 ends, some 300 ft. long and 70 ft. broad, 
 on one side of which rises the retaining 
 wall of the upper terrace, about -1.50 ft. 
 long, on which the villa stands. Of this 
 the fa9ade has a centre about 1.50 ft. long, 
 in four stages, with wings of one story 
 somewhat receding. The design, by Gia- 
 como della Porta, is quite without merit. 
 Behind the palace is a higher terrace 
 on a level with the principal story, from 
 whicli a central jjortico gives entrance to 
 the great apartments. This terrace is bor- 
 dered by an imposing loggia with a semi- 
 circular centre, with broad niches form- 
 
 ing a background for fountains, and be- 
 hind, following the abrupt slojje of the 
 wooded hill, is a most elaborate system of 
 cascades. These, which make witli the 
 other water-works of the estate its chief 
 features, were designed by Giovanni Fon- 
 tana and Orazio Olivieri. The villa was 
 built about 1.51)8 under Clement VIII., by 
 liis nepliew. Cardinal Pietro Aldobran- 
 dini. 
 
 Villa Moxte Duagoxe, an enormous 
 country-house built about 1507 by Martino 
 Lunghi for the Cardinal Altemjis, nepliew 
 of Pius IV., enlarged by Gregory XIII., 
 and completed and embellished for Paul 
 V. and his nephew. Cardinal Scipio Bor- 
 ghese, by Flaminio Ponzio and Giovanni 
 \'asanzio. It has been called the largest 
 and most magnificent of all the suburban 
 houses of Rome. The main palace meas- 
 ures about 3"20 ft. in length by 108 ft. in 
 breadth, and is of two stories, rather 
 clumsy in design, with a great square 
 court behind, closed on one side by a 
 long gallery decorated with ]iaintings. 
 and on a third side by a long suite of 
 ajjartmeuts in two stories. Behind this 
 again is a semicircular terrace. At the 
 fourth side of the great court, but on a 
 lower level, is a large rectangular garden 
 enclosed by walls, with an arched entrance 
 loggia in front, and at the back an ele- 
 vated terrace apiiroached by a double 
 flight of steps, having in the centre a 
 semicircular basin and fountain, and en- 
 closed by a semicircular wall decorated 
 with an order of Ionic jiilasters with great 
 niches in the intervals, the whole disposi- 
 tion of great elegance and on a scale of 
 unusual grandeur. The Vilhi was long 
 abandoned, but came finally into the 
 hands of the Jesuits, wlio established a 
 school there. 
 GABALA. See Jebelelt. 
 GADARA (Mkes), Per»a, Palestine. 
 
 CoLONXADED STREET, as at Palmyra, 
 Gerasa, etc. The shafts are monolithic ; 
 many of the bases remain in place. The 
 
PxAETA 
 
 street is paved witli slabs which bear the 
 marks of chariot-wheels. On the west 
 side of the city, on an elevation, are con- 
 siderable remains of a stoa or portico in 
 good masonry ; many of the column bases 
 are still in position. Near by there is a 
 range over 700 ft. long of small parallel 
 chambers, and beyond, the ruins of a fine 
 columnar structure in basalt. 
 
 Necropolis, on the slopes to the east 
 of the site. About two hundred fine 
 sarcophagi of basalt remain, besides many 
 that are broken, sculjttured with garlands 
 and busts of Apollo and other divinities. 
 There are also many rock-tombs. Some 
 of the massive doors still swing on their 
 original stone pivots, and some of the 
 chambers contain sarcophagi. 
 
 Large Theatre, east of the city, not 
 far from the necropolis. It is entirely 
 built up of basalt, not sujiported against 
 a side hill, and is in good preservation and 
 very handsome. There is in the audito- 
 rium a precinction or horizontal gallery, 
 arched at the back, and there are vaulted 
 substructions. The stage and orchestra 
 are buried in rnbbish. 
 
 Small TuEATRE. The upper parts are 
 ruined. It rested in part upon a side 
 hill, in part on vaulted galleries ; the re- 
 mains are in good masonry of large 
 blocks. 
 GAETA (anc. Caeta), Italy. 
 
 The Cathedral, a cruciform church 
 consecrated by Paschal II., in 1100, was 
 rebuilt in 1792, and has no interesting 
 feature remaining .save its square tower 
 attached to the wall of the transept. It 
 is in four stages — the first of stone with a 
 higli pointed arch with classic columns 
 under the imposts, the three others witli 
 two-light routid-arched windows. The 
 stories are ca^jped with cornices, of whicli 
 the third and fourth are enriched willi 
 friezes of interlacing arches. The tower 
 is crowned by a high octagonal lantern 
 with a similar frieze and four queer angle 
 turrets. 
 
 S. Giuseppe, a small rectangular basil- 
 ica, whose origin goes back to the Lom- 
 bard period, or the secoiul half of tlie ix 
 cent., but largely rebuilt about lOJ.j under 
 the Normans. Its nave has five arclies 
 on each side, supported on columns with 
 archaic capitals, and ends in a round apse. 
 Above the arcade is a high clerestory with 
 a small window over each arch ; at the 
 middle bay the transept crosses, the nave 
 and transejit being tunnel-vaulted. The 
 arches are round, except two at the 
 crossing which are broader than the rest 
 and pointed, and are carried up through 
 the clerestory. These two, with two trans- 
 verse arches across the nave, carry a hemi- 
 spherical dome on squinches. The aisle 
 bays are groined. The vaults of the 
 nave and transept appear on the exterior, 
 being uncovered by any wooden roof. 
 The exterior has been modernized. 
 
 Torre d' Orlando, the ancient tomb, 
 as shown by an inscription, of L. iluna- 
 tius Planctxs, the founder of Lyons. It is 
 a massive cylindrical tower, half a mile 
 from the town on the summit of the 
 promontory, and forms a very conspicu- 
 ous object in the landscape. There are 
 also at Gaeta remains of an amphitheatre, 
 theatre and temple, and of a villa of 
 Hadrian. 
 GALLIANO, near Milan, Italy. 
 
 The Baptistery is of singular design 
 and irregular construction. It is of two 
 stories, of which the lower is in plan not 
 unlike that of the baptistery of Biella {q. 
 V.) ; a small square with a semicircular 
 niche or ajise opening from each side, cov- 
 ered by a semi-dome. The arches which 
 form the openings of these apses sjjring 
 fnini rude octagonal piers detached from 
 the walls, but connected with them by nar- 
 row arches. A small entrance vestibule oc- 
 cupies one apse, from which two winding 
 stairs in the thickness of the wall lead to 
 the upper gallery. The opposite one is 
 a tribune with raised floor and an altar. 
 The ancient circular font, cut from a 
 
GENOA 
 
 siiifjle block of granite, stands in the 
 iniiUlle of the floor. Ujion tlie four great 
 arches the square wall of tlie central por- 
 tion of the building is carried up, with 
 two round-arched windows in each face 
 opening under irregular vaults over the 
 four apses below. Over the eastern apse 
 is a eliapel like the tribune below it, and 
 with an altar. Above the vaulted sjjaces 
 the plan of the central wall is changed to 
 an octagon by squinches in the angles, 
 supporting an octagonal dome with a low 
 conical roof, under wliicli are four plain, 
 round-headed, two-light windows. The 
 roof covering is everywhere of slate laid 
 directly on the masoni-y of the vaults. The 
 baptistery is considerably earlier than the 
 cathedral, and is thouglit to date from 
 about 850. 
 
 S. ViCEXTE is an ancient and simple 
 basilica, with nave and aisles covered with 
 wooden roofs, and ending each in a round 
 apse, of which the central one has a high 
 raised floor with a vaulted crypt beneath. 
 An ancient puljiit stands in front of the 
 tribune, and the remains of the original 
 frescoes are still to be traced on the walls 
 of tlie tribune and crypt. An inscription 
 seems to indicate tliat the cluirch was 
 built in the first years of the xi century. 
 GENOA (Genova, Genes), Italy. 
 
 Alberro DEI PovERi. This great 
 almshouse, one of tlie largest in Eu- 
 rope, founded in 10.54 by Emanuele 
 Brignole, was built by Antonio C'onradi 
 and Girolamo Gandolfo. It is a great 
 quadrangle some 500 ft. square, divided 
 by cross-wings into four courts. In tlie 
 middle is a church 115 ft. long, from 
 which the cross-wings radiate. This has 
 a nave and i-ound choir decorated with an 
 order of Corinthian pilasters, over the 
 choir a dome on a higli drum, and over 
 the nave a barrel-vault. The plain three- 
 storied exterior is broken at the corners 
 by pavilions, and the front Ijy a projecting 
 centre terraced up from the valley before 
 it with high steps. 
 
 The Catiiedr.\l, dedicated to S. Lo- 
 renzo, is a Gotliic church dating from the 
 XII cent., built on the foundation of an 
 earlier church, of wliicli some portions 
 still remain, restored some two liundred 
 years later, and subjected to substantial 
 changes in the xvi century. Its three 
 western doorways open into an entrance 
 porch in three bays covered by groined 
 vaulting, over wliich is a gallery oj^ening 
 into the church, built for the use of the 
 Doge. The nave and aisles (tlie latter of 
 unusual breadtli and height) are separated 
 by large columns of veined marble with 
 Corinthian capitals, carrying pointed 
 arches, above which, on a continuous 
 band bearing an inscription, is a tine 
 upper arcade of coupled round arclies 
 divided by short columns, tlie bays sep- 
 arated by square piers, all the masonry, 
 including tlie columns and voussoirs, Ijeing 
 banded in white marble and dark-green 
 serpentine. This arcade probably corre- 
 sponded to an upf)er story in the aisles 
 wliose floor was removed. Above it is a 
 bare clerestory, with plain square win- 
 dows. The nave is covered with a barrel- 
 vault. The aisles, carried up to the base 
 of tlie clerestory wall, are covered by 
 groined vaulting. The ci-ossing is cov- 
 ered by an octagonal lantern, built in 
 1567 ; the transept arms are groined and 
 do not project beyond the aisle walls. 
 The clioir, which is modern, has a single 
 narrow bay, and an apse, flanked by a 
 smaller apse on each side. A continuous 
 line of chapels opens from the south aisle, 
 and an irregular series from the north 
 aisle, among which the most conspicuous 
 is that of St. John the Baptist, octagonal 
 in plan, originally contemporary with the 
 cliurch, but rebuilt in the xiv cent, and 
 again in the xvi, and separated from the 
 church by a rich cinque-cento screen. The 
 exterior is of white and dark marble in al- 
 ternate courses. The fa9ade, built at in- 
 tervals during the whole xii cent., had 
 it been completed, with its two flanking 
 
 155 
 
GENOA 
 
 towers and its central gable with a great cribed by some to thr xviii. One side 
 
 wheel window, must have been one of the and one end consist ot an open arcade on 
 
 finest ill Italv. Tlie lower jiortion con- coujikMl Doric columns carrying blocks of 
 
 sists of three magnilicent portals, deeply entalilaturc from which the arches spring, 
 
 splayed, the jambs and arch-heads deco- 
 rated with shafts of various forms, Avith 
 sculpture and mai'ble inlay, with more of 
 the character of the northern Gothic than 
 is often found in Italy. Over the side 
 (li](ji-\vays is a triple arcade of pointed 
 arches on coupled columns, each arch 
 containing a two-light window. But in 
 the remainder of the front, with the ex- 
 ception of the central gable and its wheel 
 window, the Gothic character is lost ; tlie 
 northern tower is untinished ; the south- 
 ern, completed in the xvi cent., antl 
 rather Kenaissance than Gothic, ends in a 
 belfry stage with two mullioned windows 
 in each face, crowned by an octagonal 
 
 and surmounted by an attic. The same 
 architecture is cai'ried around the building, 
 the arches on tbe other sides being walled 
 in. The interior, undivided by piers or 
 columns, has a high coved ceiling tinder a 
 wooden roof without tie-beams. 
 
 OsPETJALi; Di Pammatoxe, the great 
 Hospital for Lunirables, is one of the 
 largest and one of the finest in Italy. It 
 was originally a jjrivate foundation by 
 Bartolommeo Bosco, a lawyer of (icnoa, 
 who built from the designs of Orsolino a 
 l)alace covering an area about 18'^ ft. by 
 330 ft., with a spacious vaulted entrance- 
 hall leading by a broad straight staircase 
 in the centre to a grand court about 05 
 
 lantern. The church has a noble early ft. by l>'(t ft., surrounded by a simple ar- 
 side doorway of Lombard character, with cade on Doric columns of white marble, 
 extremely interesting sculpture. {See F it] a. beyond which is a stately double staircase. 
 82, 83.) 'i'he architecture is simple, but the vesti- 
 
 LoGGiA I)h' Baxcui (The Kxcluuige), bule. court, and staircases have the charac- 
 a rectangular building of a single story, ter and scale of those of the great private 
 
 lialaces of Genoa. Perhaps the 
 larliest attempt at hospital ven- 
 tilation is to be seen in this build- 
 ing, fresh air being admitted 
 from openings in the outside 
 walls, and distributed to the 
 wards below, through registers 
 which can be o])ened or closed 
 at will. 
 
 Palazzo Hai.hi (called al- 
 so the Balbi -Senarega). an in- 
 teresting ]ialace built early in 
 the x\ii cent, liy Bartolommeo 
 Uiauco. Its internal disj)osition 
 is extremely effective : a coin- 
 ]iaratively simple square eii- 
 ti'aiu-c-hall leading to a \aulleil 
 staircase hall, and beyond to a 
 noble sipnire court surrounded 
 by tliree stories of vaulted arcades on Doric 
 columns. Beyoiul this again is a formal 
 garden flanked on one side bv an arcade 
 
 Fig, 82— Genoa, Cathedral, Porches. 
 
 measuring about (III ft. by lOj ft., re- 
 puted to have been the work of Alessi in 
 the last (piarter of the xvi cent., but as- 
 
 150 
 
GETs^OA 
 
 supporting two stories of biiiklintr. and usual olegance. Its facade is in three 
 terminating in a circular exedra enclosing divisions, of which the middle one is 
 a niagniticent fountain with niches and slightly recessed, and in two ])rincipal 
 
 Fig. 83. — Genoa, Cathedral, Interior. 
 
 statues behind an arcade. The palace has 
 a tine suite of state apartments richly 
 decorated with paintings by Genoese ar- 
 tists, and containing one of the best col- 
 lections of pictures in Genoa, including 
 examples of Titian, Vandyclc, Kubens. 
 Tintoretto, Caracci, Michael Angelo and 
 other masters. 
 
 Palazzo BAi.Bi-DrRAzzo. See P(d. 
 Du razzn. 
 
 Palazzo Bianco. See Pal. Gritnaldi. 
 
 The Palazzo Bkignole, one of the 
 smaller of those attributed to Alessi, is 
 distinguished bv some features of uu- 
 
 stories with a mezzanine between, and a 
 projecting cornice crowned by a balus- 
 trade. In the centre division a group of 
 three openings, the middle one arched, 
 the others square, gives access to a square 
 vestibule, from which a short stair, as- 
 cending through a triple -arched screen, 
 leads to an oblong court, divided by two 
 rows of Doric columns into square vaulted 
 bays. The side walls are decorated with 
 niches enclosing statues, and in one oj)ens 
 a fine staircase, of which the landing in 
 the upper story is extremely effective. 
 The Palazzo Bkigxole-Sale, to which 
 
 157 
 
GENOA 
 
 Fig. 34— Ger.oa Pal. Doi:a-Tu 
 
 :i central doorway ami three windows on 
 each side, with pedimented caps, the sec- 
 ond and third faced with Ionic and Co- 
 rinthian pilasters respectively, with win- 
 dows in tlie intervals similar to those 
 Ijclow. A large cornice terminates the 
 front, with consoles and square windows 
 between. The palace was built by Galeaz- 
 7.0 Alessi, late in the xvi cent, and after- 
 ward considerably altered, especially with- 
 in, by Castello. 
 
 I'alazzo DoKiA-Triisi, a large and 
 imposing palace, built after l.")5() from the 
 designs of Rocco Lnzago, and now occu- 
 pied Ity the offices of tlie municipality of 
 Genoa. It has a spacious but rather 
 simple entrance-hall, and a broad stair 
 ascending to a grand court with two 
 stories of surrounding arcades and a great 
 staircase beyond. The facade is in two 
 stages, each comprising a i^rincipal and a 
 mezzanine story within an order of pilas- 
 ters. In the lower stage the pilasters are 
 rustic and the window-facinss ratlicr ro- 
 
 the designation rcvwo is given because its 
 fa9ade was painted red, was built in the 
 XVII cent., and has a boldly treated central 
 front of about 93 ft. between two lower 
 wings, which are probably additions, and 
 a depth of 117 ft. It has a large and 
 rather simple entrance-hall, with a plain 
 staircase opening from the side. Beyond 
 is a fine square court, with two stories of 
 arcades supporting a third story of flat 
 wall. The palace contains what is con- 
 sidered to be the finest collection of pict- 
 ures in Genoa, and was witli all its treas- 
 ures given to tlie city in 187-1 by the 
 Duchess of Galliera, the descendant ol 
 the Brignole family. 
 
 Palazzo Careoa, one of the smaller 
 palaces of (ienoa, covering an area about 
 88 ft. by 120 ft,, but interesting from its 
 rather unusual plan, its fine facade, and 
 the rich decoration of its entrance-hall 
 and the gallery over it. Its front is in 
 three stages, the lowest a plain wall with 
 
 ta^-'.' 
 
GENOA 
 
 coco. A Doric cousole-corniccione finishes 
 the fa9ade, wliich is extended on cacli 
 flank by an open arcade of the height of 
 tlie lower stage, raised on a terrace whicli 
 is continued still farther, its whole length 
 being about 350 ft. The arcades of tlie 
 wings mask gardens at the level of the 
 great court. {See Figs. SJf., 85.) 
 
 The Palazzo Ducale (Ducal Pal- 
 ace), still retains its original designation 
 as the residence of the Doges of Genoa in 
 the XVI cent., though its uses are now 
 rather those of a city hall and a court 
 house. The buildings are very extensive, 
 covering an area measuring roughly 30o 
 ft. by 350 ft., enclosing a great court 
 about 150 ft. square, at the base of which 
 is the entrance to the princijial apart- 
 ments. A central door gives access to a 
 fine enti'ance hall 50 ft. broad and 130 ft. 
 long, with a vaulted ceiling, su]>ported on 
 eighty columns of white marble. From 
 the middle of this splendid hall rise the 
 stairs to the second story, and at the ends 
 are open courts enclosed by two ranges of 
 vaulted arcades. Over the entrance hall 
 is a hall of the same size and of even 
 greater magnificence, the walls decorated 
 with an order of Corinthian columns and 
 pilasters of brocatello with entablatures 
 and pediments of yellow marble, with a 
 balcony above and a domed and richly 
 panelled ceiling, the height being some- 
 thing over GO ft. The fayade of this por- 
 tion of the building, making one side of 
 the great court, is about 135 ft. long, 
 showing a high basement story with mez- 
 zanine, included in an engaged order of 
 coupled Doric columns with rustic wall 
 and plain square windows, and an arched 
 doorway in the middle interval. The jjrin- 
 cipal story has a corresponding order of 
 engaged Ionic columns, and square-headed 
 windows with caps straight and pediment- 
 ed. The entablature is richly adorned 
 and is crowned with an attic. 
 
 Palazzo Dukazzo (known also as the 
 Balbi-Durazzo, and as the Durazzo-Pal- 
 
 lavicini), the smaller of the two palaces 
 bearing the name of the Durazzo family 
 in Genoa. It consists of a central rec- 
 tangular mass about 105 ft. broad and. 
 130 ft. deep, with lateral extensions from 
 
 r - _-vnoa, Pal- Durazzo. 
 
 front and rear. Its principal feature is an 
 imposing entrance-hall in the centre of the 
 front, about 32 ft. by 50 ft., witli a short 
 staircase occupying its full width, divided 
 into three bays by Doric columns support- 
 ing a groined ceiling, and leading to a 
 square court surrounded by vaulted ar- 
 cades, the vista from the entrance hall 
 through the court being closed by a sort 
 of exedra, with a niche at its base enclos- 
 ing a statue. From a corner of the court 
 opens a staircase hall decorated with much 
 richness and elegance, and covered with 
 a barrel-vault. The facade, absolutely 
 simple in point of detail and ornament, is 
 effective from its extent and the disposi- 
 
 159 
 
GEXOA 
 
 tion of its parts. It is lunirly 200 ft. loii,;.'. 
 ill two stages, cacli including a high storv 
 witli mezzanine. Its centre is crowned by 
 
 Fig. 87. — Genoa, Pal. Duraizo, Stairway 
 
 a corniccione supported on consoles, and its 
 wiugs continue in the lower stage the de- 
 sign of the centre, while the upper stage 
 consists of an open arcade of three round 
 arches supported on Doric columns, with 
 balustrade; between. The f)alace was 
 built, it is said, iu the xvii cent, for tlie 
 Balbi family, by Bartolommeo Bianco. 
 The staircase is attributed to Tagliafico. 
 {See Fir/s. 86, 87.) 
 
 The PAL.iZZO GiUM.VLDi, or Palazzo 
 Bianco, was built after the middle of the 
 XVI cent, from the designs of .Vlessi, with 
 a rather simple front of something over 
 100 ft., and spacious vestibule leading to a 
 court about 30 ft. square, enclosed by two 
 stories of arcades on Doric columns, the 
 lower divided by cross arches into square 
 
 bay.-, eacli covered l)y a low decorated 
 
 dome, the upper covered by a contiinious 
 
 barrel-vault. A fine vaulted staircase 
 
 opens from the extremity of one 
 
 of the arcades. 
 
 The Palazzo Lercaki (also 
 I'arodi), though comparatively 
 suL a 11 has interesting features. 
 'I'he main building is a rectangle 
 measuring about 100 ft. on the 
 frciiit. and about .jO ft. in depth, 
 with a square vestibule in the 
 centre and a fine staircase open- 
 ing from it. From the angles two 
 wings advance to the street, en- 
 closing a court about ■i'i. ft. square 
 surrounded by an arcade, and 
 closed on the front by a wall of 
 rustic masonry on the first story, 
 with a doorway in the middle 
 liclween four windows, sur- 
 mounted by an open vaulted log- 
 gia of great elegance flanked by 
 enclosed pavilions, which have an 
 open third story. The princi{)al 
 rooms have some delicate orna- 
 mentation in stucco. The palace 
 was built toward the end of the 
 XVI cent, from the designs of 
 Alessi. 
 Palazzo del Mrxicirio. See PkL 
 Diirid-'fiirxi. 
 
 Palazzo Negroxi, a small palace of 
 which the architect is unknown, but in 
 ])lan and design similar to most of those 
 from the hand of Alessi. In the centre 
 of its front of about 76 ft. three grouped 
 openings, the centre one marked by a 
 small portico of Doric columns, lead to an 
 oblong vestibule from which a short stair 
 a.scends through a triple arcade to an ob- 
 long court surrounded by two stories of 
 arcades, at the farther end of which is 
 an elaborate nympheum in three bays of 
 the full breadth of the court. The great 
 double staircase deserves notice. 
 
 Palazzo Parodi. See Pal Lercan. 
 'I'lic Palazzo Pkalk. formerlv belong- 
 
 IfiO 
 
GENOA 
 
 ing to tlu> Diirazzo family, but whicli bo- 
 came the property of tlie King of Sanlinia 
 in 1815, is one of the hirge-st and most im- 
 posing of the Genoese palaces. The cen- 
 tral building is about 11"-J ft. square, with 
 two wings projecting toward the rear en- 
 closing a court without much sijlendor. 
 and two lateral wings from the front, in- 
 creasing the facade to a length of some- 
 thing over 300 ft. The entrance vestibule 
 and inner staircase hall are as usual the 
 chief internal features ; the former is in 
 this case flanked by two arcaded galleries 
 over the side walls. There is a second 
 court behind the right wing of the fa9ade. 
 The palace was begun in the middle of 
 the XVII cent, by Angelo Falcone : the 
 main entrance, added by Fontana fifty 
 years later (1T0.5), has jjut the rest of 
 the facade out of countenance. 
 
 PAL.4ZZ0 Rosso. See Pal. BriyuoJe- 
 Sale. 
 
 S. Agostixo. a Gothic church of the 
 XIII cent., and one of the few churches 
 of that age in Genoa which retain their 
 original features substantially un- 
 changed. It has a simply designed west 
 front in three divisions, divided by pil- 
 aster-strips ending in arched corbel- 
 tables ; the raised centre division has a 
 square doorway under a pointed bear- 
 ing-arch, with a round window above 
 and a low gable. The side divisions, 
 following the outline of the aisle-roofs, 
 have each a single pointed-arched win- 
 dow, now walled up. The masonry is 
 in alternate courses of white and dark 
 marble. The square tower is of brick, 
 its two upper stages with grouped point- 
 ed windows, and is crowned with an oc- 
 tagonal spire with square pinnacles at 
 the angles. 
 
 S. Ambrogio. or the C'hiesa di Gesu, 
 a Renaissance church built in 158'J, with 
 an iinfiuished facade begun in 1039 by 
 the Jesuit father Valeriani. It is cruci- 
 form, with a central dome, nave, and deep 
 square -ended choir, each in two bays. 
 
 and a transept with one l)ay in each ai'ni. 
 The front shows three plain doorways in 
 the intervals of an order of coupled Co- 
 rinthian pilasters. A like oi'der of single 
 pilasters adorns the interior, where the 
 arms of the cross are covered by barrel 
 vaults, and the aisles, lined with shallow 
 chapels, by domes invisible from without. 
 The whole interior is rich, after the Je- 
 suit fashion, with mosaics, paintings, and 
 gilding. 
 
 Sta. Anntsziata. One of the most 
 conspicuous of the Genoese churches, 
 built toward the end of the xvi cent., 
 from the designs of Giacomo della Porta. 
 Its plan is a rectangle about 110 ft. wide 
 and 205 ft. long, with a nave and short 
 transept covered by continuous barrel- 
 
 — Genoa, Sta, Annunziata. 
 
 vaults, and aisles by a series of flat-domed 
 ceilings with a low dome at the crossing. 
 Nave and aisles .ire separated by a rich- 
 Iv decorated arcade, of which the arches 
 
GENUA 
 
 spriiifT from Corinthian columns of white uuck-r the choir and apse, and is now used 
 marhle and are surmounted hv a full en- as a wareliouse. 
 
 tal)lature, also richly adorned and con- 
 nected with the columns by jianelled pi- 
 laster strii)s. The vault of the nave is 
 pierced by lunettes containing square win- 
 dows, and the jjrojecting choir eiuls in an 
 apse. Each aisle is ilanked by a line of 
 rectangular chapels. The materials of 
 the interior are of great richness, the 
 walls being iiiu'd throughont with va- 
 rious marbles arranged in geometrit'al 
 patterns, and the ceilings everywhere dec- 
 orated with jiaintings. The fa(;ade is of 
 brick and is unfinished, with the excep- 
 tion of a priiji'ctinu' Tonic portico. (,SV^ 
 Fill. SS.) 
 
 St. C'yius. See S. Siro. 
 
 S. DoxATO, an ancient Lombard church 
 dating from about 1000, but somewhat 
 changed a centui'v later. It has a nave 
 and aisles se[)arated by columns partly 
 antique ami of various nuirbles, with rude 
 capitals carrying round arches, a transept, 
 and choir. Tlie crossing was originally 
 covered by a low dome, which was re- 
 placed by an octagonal tower in two 
 stages with grouped windows and arched 
 corbel-tables. The lower part of the fa- 
 cade is Lombard work with a characteris- 
 tic early doorway l)earing date 1108 ; the 
 upper later, with jiointed an-lics and 
 banded masonry. 
 
 S. GiovAXXi 1)1 I'liK. or del Prato. A 
 Gothic church, dating in its present form 
 from early in tlie xii cent., but with some 
 portions remaining of the original build- 
 
 :. « ^* ^ -. i. 1- I i. ^1 ^'S S^ — Genoa, Sta. Maria di Caripnano. 
 
 ing 01 a century earlier. It has a nave 
 
 and aisles, a transept not projecting be- octagonal lanterns, and in the nnddle a 
 
 yond the aisle walls, an apsidal choir, and rococo doorway. The drum of the central 
 
 an open, arcaded porch on the south side, dome has an order of coupled Corinthian 
 
 flanked by a square campanile with grouped pilasters, the intervals filled with deep 
 
 windows in the upper stages, and an oc- arches enclosing large windows. (Srr Fiff. 
 
 tagonal spire with coriter pinmicles. The SO.) 
 
 Sta. Maiua di Caku;xanu, a Kenais- 
 sance church built about the middle of 
 the XVI cent., from the designs of Galeaz- 
 zo Alessi. Its plan is a Greek cross, with 
 its centre covered by a stilted hemispher- 
 iral dnme about ^'i ft. in diameter, with 
 higli drum and cupola, and the four arms 
 of the cross with barrel-vaults, the angles 
 being filled out by aisles of a single square 
 bay covered with low interior domes, mak- 
 ing the outline of the 2)lan a square of 
 about KG ft. An order of coupled Co- 
 rinthian pilasters encompasses the interi- 
 or, supporting the vaults and the arches 
 antl pendentives of the dome. The choir 
 ends in a semicircular apse covered by a 
 semidome. The Corinthian order of the 
 inside is repeated on the exterior, broken 
 on three sides by pedimented gables with 
 great lunettes in the tympanums. At the 
 corners of the west front are two slender, 
 square towers, tall and wide apart, with 
 
 ground, falling away south and west, gives 
 opportunity for a pointed arcade under 
 the south aisle, which affords an entrance 
 to the crypt of the xii cent, that extemls 
 
 S. :\1attko. This small clunvli is a 
 venerable nu'morial of the Duria familv. 
 who foumlcd it early in the xii ccnturv. 
 The front, added in I'^'TS. is banded in 
 
OEXOA 
 
 until tlieir exiiul.siou in lTi'3. Its archi- 
 tect was Bartolonnnco Bianco. It covers 
 a space about 13(1 ft. wide and 80 ft. deep, 
 the greater portion of which is occupied 
 liv a noble cutvancc hall, and the great 
 
 
 black and white inai'tile. and sliows the 
 outline of nave and aisles, ending in an 
 arcaded cornice and central gable. A 
 large round window under tlie gable, aud 
 a jjointed doorway with an old mosaic in 
 the tynijjanum, are flanked liy 
 two side-windows, and the fac/ade 
 is covered with inscriptions which 
 tell the glories of the Doria fam- 
 ily and the gratititde of (ienoa. 
 The interior, rebuilt in Ivenais- 
 sauce style for Andrea Doria by 
 Moutorsoli in 1530, has a na\e 
 aud aisles in five bays with arches 
 supjjorted by marble Composite 
 columns, The graceful cloister 
 dates from the early xiii cent., 
 partly perhaps from the xii cent,, 
 and has pointed arcades support- 
 ed on coupled columns. 
 
 S. SiRO (St. Cyrus), a Eoiiais- 
 sance church of the xvi cent., 
 built on the foundations of an 
 early Lombard church, the orig- 
 inal cathedral, of which scarcely 
 anything remains except the tow- 
 er. The church was restored in 
 1820, and now consists of a nave 
 and aisles aboitt To ft. wide in 
 four bays, with a range of shallow 
 chapels opening from each aisle, 
 a transept which does not project 
 beyond the aisle walls, and a 
 
 square choir flanked by chapels and jjro- court to which it leads. The former is 
 longed by a round apse. ' The barrel-vaulted about TO ft. broad aud 40 ft. deep, and 
 nave and aisles are separated by coupled contains a stately staircase flanked by two 
 Corinthian columns carrying arches. The colossal lions at the foot, and leading to 
 crossing is covered by a round dome. The the court, whose pavement is some U ft. 
 old Lombard tower" banded in light and above the street. This court measures 
 dark stone, has a double belfry-stage with about 45 ft. by 80 ft., and is surrounded by 
 two-light windows in each face under a two stories of vaulted corridors with open 
 round bearing-arch, aud is capped by an round arches springing from coupled col- 
 octagonal spire of stone with square angh> umns capped by entablatures, Tuscan in 
 pinnacles. (,sVe Fir/. 90.) the flrst storv, Ionic in the second. Above 
 
 Fig. 90, — Genoa, S. Siro. 
 
 The L^xiVERSiTY, one of the most nuig- 
 nificent of Genoese palaces, was built by 
 the Balbi family in 1642 for the service 
 of the Jesuits, aud was used by them 
 
 the second arcade the wall of the third 
 story recedes by the breadth of the cor- 
 ridor. At the farther end of the court is 
 a crreat staircase hall, with a staircase in 
 
 lliS 
 
GERACE 
 
 two wings. The f:u;;i(l(> in tlirec stoi'ios. 
 set on a high basement, is disposed in 
 three vertical divisions of nearly equal 
 breadth ; the middle slightly receding. 
 In the centre is a square doorway with 
 coupled rustic columns on either side 
 carrying an entablature and segmental 
 pediment. The windows are all square 
 with balustrade courses, and rather rococo 
 dressings in the first story — in the upper 
 stories simple enclosing architraves, with 
 pediments alteriuxtely triangular and seg- 
 mental. The front is crowned with a fine 
 modillioned corniccione. The interinr 
 contains a library and a natural history 
 museum. The halls are decorated with 
 frescoes bv native painters, and bronze 
 statues liy .bihn of Bologna. 
 
 ViLi-.v (Palazzo) Sauli, formerly Grim- 
 aldi. One of the smaller of the (ienoese 
 palaces, the building itself covering an 
 area about 10* ft. wide and G3 ft. deep, 
 but preceded by a fine entrance court or 
 atrium nearly 00 ft. square, surrounded 
 on three sides by an open arcade with 
 coupled Doric columns of white marble 
 and entablature, the front of the palace 
 making the fourth side, of which the sec- 
 ond story is a spacious open gallery with ar- 
 caded walls and a richly panelled and dec- 
 orated vaulted ceiling. The rear elevation 
 on the garden is of great elegance, in two 
 stages, each with an order of coupled 
 pilasters, Doric below and ("orinthiau 
 above, the lower order enclosing an arcade 
 with long windows and square mezzanine 
 windows above, the upper order with 
 pedimented windows, also with mezzanine. 
 \ richly decorated entablature with balus- 
 trade above it terminates the facade. The 
 palace was built in the second half of the 
 XVI cent, from the designs of Galeazzo 
 Alessi. 
 
 (iERACE. See Lnrri. 
 (;KRASA (Jerash), Perroa, Palestine. 
 
 liAsiLiCA, north of the junction of the 
 colonnaded streets. In the surviving part 
 of its walls are three archecl windows and 
 
 two square-headed, above which is a range 
 (if highly ornate broken pediments. One 
 Corinthian column of the two ranges of 
 the interior is standing, and the semicir- 
 cular apse or tribune is almost perfect. 
 
 Baths, to the right of the main street 
 in the N. E. quarter of the town. The 
 main building was about :^00 ft. square, 
 with a colonnade in front. The chief en- 
 trance was vaulted, ainl square vaulted 
 wings ])rojected on the north and south 
 sides. Portions remain of the aqueduct 
 by which water was sui)j)licd. 
 
 FoKi'M. of oval plan, about 300 ft. long. 
 It was surrounded by a peristyle of Ionic 
 columns, of which fifty-eight in detached 
 groujjs still stand, with jiart of their en- 
 tablature. From the forum starts the 
 im])ressive colonnade - bordered street 
 which intersected the whole town. About 
 one hundred of the columns are still 
 standing, some 1.5 ft. ajiart ; of many 
 more the bases and lower parts remain. 
 The height is about 15 ft., but there 
 seems to have been, in addition, an open 
 gallery above the columns. The chief 
 cross-street, intersecting the main street 
 at right angles, was also bordered with 
 colonnades ; four massive bases at the 
 junction indicate the presence of a monu- 
 mental gateway or fcfrajii/Jon spanning 
 the two streets with its arches. 
 
 Gate in the walls outside of tlu- tnwii. 
 presenting the appearance of an arch nf 
 triumph. Its width is 82 ft., aiul the 
 height of the central one of its three 
 arches is 29 ft. Over each of the side- 
 arches is a window-like niche. The col- 
 umns on the south side have a sort of 
 ])edestal of acanthus leaves above the 
 bases proper. The date seems to be of 
 the time of Trajan. 
 
 Nai'machy, more probably a circus. 
 near the triple gateway south of the city 
 ])roper, in a hollow between hills. It is 
 about G90 ft. long and :500 ft. wide. 
 Some of the tiers of seats are in part pre- 
 served. The arena is enclosed with irood 
 
GEEME 
 
 masonry, and the existence of water-chan- 
 nels connecting it with the brook gives 
 force to the identification as a nanmachy. 
 
 PKOPYL.iiA, on the left-hand side of the 
 main street, opposite the basilica. It is of 
 impressive size. The lintel of the great 
 portal has fallen. On either side are two 
 niches in the wall, with florid broken jjcd- 
 iments. To the north stands a strnctnre 
 which may have been a palace. 
 
 Great Temple, probably of the Sun, on 
 a large terrace on the west side of the 
 town. The cella of the temple 25roper, 
 oriented toward the east, is 78 ft. by 60 ft. 
 in plan ; its walls are standing on three 
 sides. In the side walls there are six ob- 
 long niches, and in the back wall a vault- 
 ed passage with a small, dark chamber on 
 each side. A number of the beautiful 
 Corinthian columns of the peristyle are 
 still standing ; they are 38 ft. high and 
 like those of the Temple of the Sun at 
 Palmyra. The temple was hexastyle, with 
 two interior ranges of columns before the 
 portal. It stood in a large colonnaded 
 court, many of the columns of which are 
 still erect. 
 
 Temple, on the east side of the brook, 
 near the north wall of the town. It was 
 about 150 ft. square ; jiart of the wall is 
 standing, with a vaulted portal, and one 
 of the interior columns. There is sculpt- 
 ured ornament of good execution. 
 
 Temple, on an elevation, left of the 
 south gate of the town. Its walls. 7| ft. 
 thick, contain series of niches and win- 
 dows. One Corinthian column of the 
 peristyle is standing, and bases of others 
 are in position. There was a double 
 range of columns before the entrance. 
 The interior of the cella was adorned with 
 Corinthian pilasters, and the roof was of 
 stone. The dimensions are about lii) ft. 
 by 48 ft. 
 
 Large Theatre, close to the southern 
 city-wall, near the temple by the south 
 gate. It faces the north. Twenty-eight 
 tiers of seats are visible, divided into two 
 
 sections by a precinction or horizontal 
 gallery, at the back of which are eight 
 small chambers, perhaps boxes. Tliere 
 was access to the precinction from with- 
 out by vaulted passages. The top of the 
 auditorium was skirted by a gallery. The 
 ornate stage-structure is in great part de- 
 stroyed ; it had three portals, the central 
 one square, the two at the sides arched, 
 and was decorated with niches and Cor- 
 inthian columns. The capacity of the 
 theatre is estimated at five thousand spec- 
 tators. 
 
 Small Theatre, N. E. of the Great 
 Temjjle. Sixteen tiers of seats remain 
 visible. Between the tenth and eleventh 
 tiers from the top is a horizontal gallery 
 with six arches in its back wall, and niches 
 between every two arches. Below the 
 auditorium vaulted substructions exist. 
 The orchestra and stage are Iniried ; the 
 wall of the stage was adorned with de- 
 tached columns. This theatre was ap- 
 proached from the main street by a side 
 street bordered with columns, at the en- 
 trance of which there is a flat-domed te- 
 trapyhn or monumental gate, circular in 
 plan within and square witliout. The 
 rotunda was ornamented with statues. 
 GEEME. See Kremnti. 
 GIEGENTI (anc. Akragas, Agrigentum), 
 Sicily. 
 
 Sta. Maria de' Greci. See Temple of 
 Athena. 
 
 Temple of .J^sculapius, a Doric edi- 
 fice, 30 ft. by 65 ft., whose remains are 
 included in the structure of a modern 
 house between the ancient southern wall 
 and the sea. An anta on the north 
 still stands to a height of 17 ft., and one 
 of the anta^ on the south side is entire. 
 The temple had both pronaos and opis- 
 thodomos in anti.s, on a sterobate of four 
 stejis. Despite its inconsiderable size it 
 had a high reputation, and in it was dedi- 
 cated a celebrated statue of Apollo by 
 Myron. 
 
 Temple of Athena, as it is identified 
 
 les 
 
GIKGENTI 
 
 with ])i-<)l):il)ility, an important arcliaic 
 Doric temple wiiosc remains are now in- 
 corporated in tlie cliiirch of Stn. Maria ile' 
 (ireci, the oldest church in (iirjrcnti. 
 'I'he temjjle was peripteral, hexastyle. with 
 thirteen columns on the flanks, on a sty- 
 lobate of three steps. Parts of the shafts 
 of seven columns are visible on the north 
 side, with various other fra^jments. 
 
 Temple of Castoi; and Polux. or of 
 the Dioscuri, witliin a short distance of 
 
 the temple of Zeus, a fireek J)oric monu- 
 ment of good style. The four columns 
 standiiifr, which form the N. W. angle. 
 witJi their entablature and a portion of 
 the pediment, were re-erected in 1860. 
 The stone is coated with fine stucco, upon 
 which color was applied. In plan the 
 temple was peripteral, hexastyle, with 
 thirteen columns on the Hanks on a stylo- 
 bate of three steps. The chief dimensions 
 are : stylobate, steps included, 51 ft. by 
 111 ft.; columns, base-diameter, o ft. 10 J 
 in., height. 21 ft. 2 in.; cella. 18i ft. bv 
 V.^h^tt.' {Sec Fi(/. 01.) 
 
 Tk.mi'Li; oi' t'oxcoiii), .so called, on the 
 Ijorder of the southern slope of the city, 
 the best j)reserved (ireek Doric temple 
 except the .so-called Theseum iit Athens. 
 It is of the best time, the v cent. B.C., 
 and is of great beauty, though falling 
 short of Attic jierfection. In plan it is 
 peripteral hexastyle, with thirteen col- 
 umns on the flanks, on a stylobate of three 
 ste2)s. The cella has prouaos and opis- 
 thodomos.each with two columns in an/is, 
 and the entrance is flanked on each side 
 liy a winding stair which gave access to 
 the upi)er parts of the structure. Both 
 |iediments survive, though the roof is 
 gone, as well as all decorative sculpture. 
 The columns have twenty channels ; they 
 are of rough stone and were coated thin- 
 ly, like the rest of the exterior, with fine 
 stucco. The stylobate, steps included, 
 measures (!.") ft. by i;i8 ft.; the cella 30 ft. 
 by !).") ft. In the xv cent, this temple 
 was converted into a church dedicated to 
 S. (iregorio delle Kape, and somewhat 
 damaged in the conversion : it was re- 
 stored by the King of Naples in the last 
 century. 
 
 Temple of Demeter and Pkksicpii- 
 ONE. according to the proljaijle identifi- 
 cation, a very early monument which was 
 CI inverted into the mediaeval cliurch of 
 S. Hiagio. now itself ruinous. The \n-o- 
 naos is occupied by the apse of the church, 
 and a pointed doorway is established in 
 the back wall. In plan the temple pre- 
 sents a cella with two columns in cmfis. 
 The walls, which are built of excellent 
 masonry, remain almost entire. The col- 
 umns and cornices have perished. The 
 stercobate, including the .steps, measures 
 40 ft. by 90 ft. 
 
 Temple of IIeka Lacixia (of the 
 Lacinian Promontory near Crotona), now 
 a very picturesque group of columns at 
 the southeastern angle of the ancient 
 city. It was Doric, still presenting ar- 
 chaic features, and is a.ssigned to the time 
 between oOO and 480 n.c. In ])lan the 
 
GIKGEXTI 
 
 toinjjle was peripteral. liexaHtyU', with 
 thirteen columns on tlie flanks. 'I'lie eel- 
 la had ]ironaos anil opisthodomos, each 
 with two cdlumns in iiiilis. A part re- 
 mains of the base of the cult-statue in the 
 cella. The columns have twenty channels 
 and an echinus of firm and refined curve ; 
 the architrave is higher than the frieze — 
 un archaic characteristic. The material is 
 a rough stone, which was coated with fine 
 hard stucco. The chief dimensions are : 
 stylobate, steps included, G-1 ft. by 100 ft.; 
 columns, base - diameter. 4;^ ft.: height, 
 21 ft.; cella. 30 ft. by Dl ft. 
 
 Temple of Hercules, at the edge of 
 the southern slope, just inside of the city- 
 wall. This structure, one of the most fa- 
 mous of the Doric temples of the o])en- 
 ing jieriod of full development, is now a 
 confused heap of ruins, amid which lie 
 capitals, column-drums, and members of 
 the entablature, all of admirable execution. 
 In plan it was peripteral, hexastylc. with 
 fifteen columns on the flanks and an in- 
 creased number of steps in front. The 
 cella had prouaos and opisthodomos. each 
 with two columns in anfis ; the lower 
 portions of the former are still standing. 
 Examples of the interesting polyc-hrome 
 decoration of this temple are in the mu- 
 seum at Palermo. The chief dimensions 
 are : stylobate, including steps, 90 ft. by 
 241 ft.'; cella, 45 ft. by 150 ft.; height of 
 columns. 32| ft., which is a little more 
 than four and a half diameters. The cyma 
 of the cornice had a sheathing of terra- 
 cotta with lion - heads as antefixes, and 
 adorned with anthemia and palmettes in 
 relief and colored. In this temple was 
 the famous statue of Hercules whose at- 
 tempted theft by Yerres was the subject 
 of Cicero's denunciation. 
 
 Temple OF VtLCAX, so-called, a lioman 
 monument at the S. W. angle of the 
 ancient city. Portions of two fluted col- 
 umns are standing, and parts of the cella 
 walls. The columns have twenty flutes 
 and stand on stpiare plinths ; their base- 
 
 dianicter is 4J ft. The ground jilan meas- 
 ures 03 ft. by 125^ ft.; the stylobate has 
 three steps. 
 
 Temple of Zeus, at the western ex- 
 tremity of the southern slope, a huge 
 monument which counts among the most 
 notable examples of the Doric style. It is 
 pseudo - peripteral in jjlan and lies in a 
 confused heap of ruins. The plan is ab- 
 normal in that it presents an uneven 
 number of cohtmns, seven, on the fronts ; 
 there are fourteen en each flank ; to the 
 semi-columns of the exterior corresjionded 
 pilasters in the interior. In the interior 
 ranges of huge atlantes above the pilas- 
 ters supported the roof-beams. The fronts 
 are restored, with doors in the second inter- 
 columniations from each angle. Diodorus 
 iSiculus informs us that tlie eastern pedi- 
 ment was filled with a seuljitured Giganto- 
 macliy, and the western with the fall of 
 Troy, both in high relief and much ad- 
 mired. As usually restored the temple pre- 
 sents a long central cella or open court ; 
 but it has been very plausibly suggested 
 that it may have lieen a douljle temple with 
 a central longitudinal division, like the 
 so-called Basilica at Pfestum. In date it 
 falls between the victory at Himera, in 
 4S0B.('..and the taking of Akragas by 
 the Carthaginians in 400. Its scale is 
 enormous. The stylobate, steps included, 
 measures 182 ft. by 303 ft. ; the height of 
 the semi-columns was 55 ft. A considera- 
 ble part of the ruins was used in the xvi 
 cent, in the building of a mole for the port. 
 
 Tomb of Thekox, so-called, a uonde- 
 scrijit structure of much later date than 
 Theron, lying a short distance outside of 
 the city-walls, to the south. It belongs 
 to the second period of Akragas (405 to 
 200 B.C.), and no doubt to the end of 
 that period. It is of two stories : in the 
 ni)per story a fluted Ionic column with 
 angle-capital, at each corner, supjiorts a 
 Doric entablature. The lower stage is 
 ])lain, IT ft. scjuare. witii a projecting cor- 
 nice. There arc blank windows in two 
 
OJOLBASCTTI 
 
 of the fjiecs of tlio upper stage. There 
 was no door ; that now existing on the 
 south side is modern. Tlie lieight to the 
 toji of the I'l-ieze (the cornii'e is gone) is 
 25 ft. 
 
 GJOLBASCIII (anc. Trysa), Asia Minor. 
 Greek M.\r.soi.Ei'M, e.xplored since 
 1881 by the Austrian Government. It 
 consists of a hxrge rectanguhir enclosure 
 about C") ft. by 88 ft., in admirable ma- 
 sonry of horizontal courses of limestone. 
 Its chief iiiipoi'tancc lies in the very exten- 
 sive and remarkable sculptured friezes with 
 which its walls were adorned, both inside 
 and out. These sculptures form the most 
 important series of ancient relief surviv- 
 ing, except the friezes of the Parthenon, of 
 Phigaleia, and of the Mausoleum at llali- 
 carnassus. While inferior in execution to 
 the Panathenaic Frieze, they are superior 
 iu interest and variety of subject and in- 
 cident to both the other friezes. The 
 subjects include a very important repre- 
 sentation of the story of Troy, evidently 
 inspired by some other than the Homeric 
 account, a (iombat of CJentaurs and La- 
 piths, hunting scenes, incidents from the 
 Odyssey, the hunt of the Calydonian 
 boar, and banqueting and dancing scenes. 
 These last were appropriately placed in 
 the interior, which was evidently arranged 
 for holding finicral li:in(|ncts and cere- 
 monies of kindred nature. The work is 
 certainly not Lycian ; it is safe to assume 
 that it is l)y sculptors of Athenian train- 
 ing, and in date not far from i'H) is.r. 
 The south wall was the only one which 
 bore a frieze on the exterior ; in this wall, 
 too, was tlie door. 'I'he lintel bore on the 
 exterioi' I'oui' heads of winged bulls and a 
 (iorgou-head ; on the interior a range of 
 grotesque figures, resembling the Egyp- 
 tian Hes, with musical instruments. The 
 interior jambs bore large dancing figures. 
 These decorations of the door form al- 
 r.iost the only trace of oriental influence 
 that can be made out in the monu- 
 ment. .\r(iund the intcrinr \\ri\- r,ii\i::ri\ 
 
 sarcophagi. The jirecious series of sculpt- 
 ures is, since 1883, in safety at Vienna. 
 GORTYNA, Crete. 
 
 Pytiiiox, or Temple of Apollo, an early 
 Greek foundation, modified about the ill 
 cent. B.C. by the Greeks, and at a some- 
 what advanced imjDerial date altered and 
 in part rebuilt by the Romans. The ori- 
 ginal structure consisted merely of a cella 
 of Poros stone, facing the east and wider 
 than dec}). To this was prefixed during 
 the Hellenistic eiooch a Doric closed jn-o- 
 naos — hexastyle, pseudo- prostyle, rising 
 from a styloliate of three steps. A base 
 of two steps, besides the plinth -course 
 {enJJii/iifci'ia). surrounded the three other 
 sides. The semi-columns were o^ ft. in 
 lower diameter, and five and a half diam- 
 eters high ; the intercolumniation (cen- 
 tre to centre) was 11| ft., those at the 
 angles being eight inches less ; in every 
 intercolumniation there rose a square pil- 
 aster or buttress, apparently designed for 
 the inscribing of laws jjlaced under tlu.' 
 guard of the god ; such laws were in- 
 scribed also on all the exterior walls, 'i'he 
 frieze was disposed on the ditriglyiili prin- 
 ciple. The cyma of the cornice was or- 
 namented with lion-heads ; the pediment 
 was crowned with an elaborate acanthus 
 acrotorium of Corinthian character. The 
 Romans pulled down the Greek cella ami 
 rebuilt it with the same materials, but 
 with the use of cement, and formed in the 
 back wall an apse 21 ft. wide. The new 
 cella liad two interior ranges of three un- 
 tlutcd ('orinthian columns, and in each 
 side a rectangular niche. It was encrust- 
 ed altogether or in part with slabs of white 
 marble, 'i'he dimensions of the temjile 
 were i!| ft. by 8:5 ft. ; of the pronaos, oo 
 ft. by 2(1 ft. : of the I'clla. .53 ft. by 47 ft. 
 An altar of Roman date stood before the 
 temple. A nundjcr of votive statues of 
 good workmanship were found in the exca- 
 vations, among them an .\]iiillo. uiidraiie(l 
 ephebes. fenuile figures, the head (jf a 
 priest, and the toi'so of an cin[icroi'. 
 
GRADO 
 
 GRADO. Venetia. Austria, 
 
 The Cathedral is a basilica of mod- 
 erate size, about 70 ft. by 100 ft. over 
 all. It has a nave about 30 ft. wide, of 
 eleven rather narrow bays, round-arehed, 
 one apse round within and j^olyS'^'i'i^ 
 without, and single aisles. In front of 
 the facjade, which is somewhat oblique to 
 the axis, is a wide OTpen porch or narthex, 
 one end of it filled uj) by the campanile, 
 which stands against the south aisle. The 
 pillars of the nave are Roman shafts 
 with ill-fitting capitals, some of which are 
 Roman, others of liiie Byzantine work- 
 manship, and some undecipherable. The 
 walls are plain, and the former round- 
 arched clerestory windows are replaced by 
 late lunettes. The slab tracery of one of 
 the original aisle windows, jjreserved in 
 the sacristy, is of interlacing bauds in con- 
 crete, and similar tracery, tradition savs. 
 once filled the clerestory. The cliurcli 
 was floored with a rich mosaic of colored 
 marble, of which a considerable part still 
 remains. At the end of the ajDse is the 
 marble patriarchal chair, a composite of 
 old Byzantine fragments. The very sin- 
 gular marble pulpit is of two periods ; the 
 body of it, Byzantine, is a six-foiled cir- 
 cle in jjlan. like one of those in S. J[ark"s 
 at Venice, resting on six marble columns, 
 and carrying a canopy, Saracenic in style, 
 with cusped ogee arches, and a checkered 
 dome which, however, is of painted brick. 
 The baptistery is a plain detached octa- 
 gonal building with an eastern apse. An 
 inscrijition in the mosaic pavement com- 
 memorates the rebuilding of the church 
 by the patriarch Elias (.371—380). and the 
 existing church may very well be that 
 which he built. 
 GRAVEDOXA, Italy. 
 
 Baptistery of S. (iiovauni Battista 
 (St, John the Baptist), an interesting ex- 
 ample of a class of buildings very char- 
 acteristic of the architecture of Xorth 
 Italy in the xi and xii cents., and of 
 which Florence, Pisa, and Parma on a large 
 
 scale, and Xovara, Asti, and Biella on a 
 small, furnish notable instances. That at 
 Gravedona is peculiar in being treated 
 like a church, with high walls enclosing a 
 square of about -tO ft., east and west gables, 
 and a lofty western tower ; the usual 
 forms being round or polygonal. On the 
 two sides and the east end are low round 
 apses. From the middle of the west 
 front projects a square tower, with a 
 round-arched doorway with splayed jambs 
 and a iilaiu tymjianum. At the line of 
 the gable it changes to an octagon of 
 three stories, with small grouped round- 
 arched windows in four sides, separated by 
 columnar niullions, each story crowned by 
 an arched corbel course, the whole termi- 
 nated by a low domical roof. The entire 
 walls of the building are of white mar- 
 ble with stripes of dark limestone. The 
 stripes are omitted in the octagonal por- 
 tion of the tower. The interior is ex- 
 tremely simi)le, its square being quite un- 
 divided and covered by a wooden roof. 
 The three apses are roofed by semi-domes, 
 and above these on either side is a trifo- 
 rium of seven arches. The interior walls 
 have been decorated with paintings in dis- 
 temper, now nearlv obliterated. 
 GUBBIO (anc. Iguvium), Italy. 
 
 The Palazzo dei Coxsoli, called also 
 the Palazzo del Commune, -stands pictu- 
 resquely opposite the Municipal Palace, 
 at the west end of the public square which, 
 open to the south, is terraced up from the 
 steep side of Monte Calvo. It is like the 
 Tuscan municipal palaces in character, a 
 high bold mass, its front only broken by 
 broad pilasters and sparingly pierced by 
 coupled round-arched windows, the whole 
 building crowned by an arcaded cornice 
 and great square battlements. The south 
 front, advancing down hill, is j)ro2qied 
 up on a tall pointed arcade and ends in 
 an open loggia of coupled round arches — 
 apparently an addition — below the main 
 cornice, from which on the angle rises a 
 square bell - tower battlemented like the 
 
 169 
 
llAiilOS 
 
 rest. Th(> palace- was built in 13:3t*--Ki 
 by Matteo di (iiovaiioUo, called II (Jatta- 
 pouc. {See Fiff. 93.) 
 
 The ancient Tiikatrk is now excavated 
 and in part restored. According to an 
 
 pdM,*^, 
 
 inscription, it was Imilt by Un. Satriiis 
 Kufus, at a cost of four hundred thousand 
 sesterces, for the purpose of celebrating 
 in it the triumph of Augustus. It is esti- 
 mated that it could scat sixteen thousand 
 spectators. 
 
 IIAOIOS I'llOKAS, Lesbos, .Egean Sea. 
 Temple ok Uioxysos (Bacchus), a 
 small Doric structure with two columns 
 in unfis, on a height above the sea. The 
 workmanship dates it in tlie first century 
 B.C. It is interesting because of some devi- 
 ations from the normal Doric, which, as 
 they occur also in the neighboring though 
 much older temple of Assos, may be taken 
 as indications of a local development. 
 Thus, the shafts of the columns have but 
 sixteen channels, and notably the epistyle 
 is sculptured with figure-reliefs. Epistyle 
 and ti'iglyph - frieze are fornuMJ on the 
 same block. Tiie site of tlie tem[ili' is iiuw 
 occupied liv a chapel of St. I'hokas. 
 
 lIALICAKXASSrS (I'.oiidnium), ('aria, 
 iVsia Minor. 
 Mal'soleu-M or tomb of Mausolus, reck- 
 oned in antiquity as one of the seven won- 
 ders of the world. It was erected by his 
 Q u e e n Artemisia, Xyl 
 n.c, under the direction 
 of the architects Satyros 
 and Pythis. and with co- 
 operation of the sculpt- 
 ors Scopas, and 2)ossibly 
 i'raxiteles. It had the 
 form of a peristyle of 
 iliirty-six Ionic col- 
 umns, nine on the fronts 
 and eleven on the flanks, 
 surmounted by a jiyra- 
 mid of t wen t y - f on r 
 stci)s. crowned by a 
 chariot bearing the stat- 
 ues of Mausolus and Ar- 
 (cniisia in a (puidriga. 
 'I'lie columns were slen- 
 der, very tapering, with 
 I u enty-four flutes. The 
 tondj proper was in tlie 
 high and massive basement. 'I'iie frieze 
 bore reliefs, the cornice had dentils, and 
 the cyma was ornamented witii anthemia 
 and lion-heads. The total heiglit was about 
 140 ft., and the material wdiite marble. The 
 remains of the mausoleum w-ere in great 
 part destroyed in 1.552 by the Knights of 
 Rhodes, wlio used its materials for build- 
 ing a (castle. .\ nundicr of its reliefs and 
 the statues of Ai'temisia and Mausolus are 
 now ill the ]?ritish Museum. 
 liAM.MKII (anc. Amatha), Palestine. 
 
 KoMAN' Baths, in great renoW'ii in an- 
 ti(|uitv (111 acrount nf the hot springs 
 they utilized. The waters are still in 
 great favor with tlie Arabs. There are im- ' 
 p(M-t.-int remains of halls and chambers 
 witii barrel-vaulting, all built of handsome' 
 masoiiiT in liasalt. 
 MASS. Syria. 
 
 T(i\li; (11' I )i(ii; i:n i:s. in the iiecro|iiilis, 
 a notabk' inonuniciil in asiiiar (jf large 
 
 no 
 
HATZOR 
 
 l>I(icks. Tlu'rc are two stories. Tlie lower 
 story is a massive cube preeeded l)v a jior- 
 tieo, upon wliieli opens a liaiulsonie door 
 formed of two liiiiged slabs of basalt bear- 
 ing in relief the monogram of Christ. 
 The lintel is ornamented with acanthus 
 leaves. The interior is ceiled with a bar- 
 rel-vault divided into two bays by an arch 
 springing froni jjilasters. Five niches 
 surround the walls, each holding a sar- 
 cophagus. The U2)per story consists of 
 a chamber which was originally surround- 
 ed by a colonnade ; it also contains sar- 
 cophagi. 
 HATZOR (?). Galilee, Palestine. 
 
 ExTEXsivE Remains of an ancient 
 city of CycloiDean construction, identified 
 by M. de Saulcy as the Hatzor of iScript- 
 uve. In the middle of the enclosure is a 
 structure nearly ::iOO ft. square, with tow- 
 ers or projections at the four corners. 
 The masonry is in unshapeil and very 
 slightly shaped stones. The site is in- 
 adequately exjjlored, though de Saulcy 's 
 account is confirmed by those of other 
 travellers. 
 IIAURAX. Syria. 
 
 The district called the Ilauran, in 
 central Syria, a barren region within a 
 radius of perhaps a hundred miles south 
 and east of Damascus, contains abundant 
 remains of an ancient architecture so 
 unique, and so comijacted in a great num- 
 ber of small villages near together, that it 
 is natural to describe it here under a single 
 title. It all dates from the early Christian 
 centuries, up to the ilohammedan inva- 
 sions in the vii, its chronology being fixed 
 by inscriptions. The country is, and was, 
 bare of wood, and the buildings are ac- 
 cordingly entirely of stone, even to the 
 roofs, floors, doors, and window-shutters. 
 The stone, a volcanic dolerite, is cut with 
 great precision, and laid without mortar, 
 in blocks and slabs ; the round arch and 
 lintel are used freely in combination ; the 
 carved ornament, which is lavish and 
 finely wrought, sliows a progressive devel- 
 
 opment Trom a ftreco-Roman to a Bvzau- 
 tine character, almost Romanesque. The 
 houses are floored and roofed with slabs of 
 stone ; the larger rooms are spanned by a 
 series of round arches, close enough to give 
 a bearing for the slabs, which are 8 ft. or 9 
 ft. long. Many of the houses are jireserved 
 uninjured, and are ap])ropriated by the 
 Arabs as dwellings. They are almost al- 
 ways entered through courtyards, and 
 fronted with open galleries or porticoes of 
 stone, often in two stories, su2iportcd by 
 columns or pilasters which carry lintels 
 and sometimes arcades, and defended in 
 the upper stories by panelled stone para- 
 pets. A little farther north, and east of 
 Antioch, is another district which contains 
 an architecture almost identical with that 
 of the Hauran, in which, however, owing 
 to the nearness of the wooded region of the 
 Lebanon, the churches and larger build- 
 ings were covered with wooden roofs, 
 either galjled or lean-to. The churches 
 in both these districts are numerous and 
 interesting, and generally accompanied by 
 conventual buildings. They display a re- 
 markable number of the iieeuliarities of 
 plan and construction that were after- 
 ward developed in the monastic architec- 
 ture of Europe. They are mostly of 
 uniform type — three-aisled basilicas with- 
 out transepts, the nave and aisles sei)arated 
 by arcades, usually on columns, carrying 
 a clerestory. In only one instance, the 
 small basilica at Betursa (given by De 
 Yogiic). the columns bear lintels instead 
 of arches. An open colonnaded jiorch or 
 narthex fronts them, and they usually 
 end eastward in a single apse with win- 
 dows, flanked by the two small rooms 
 which in tlic Byzantine churches are 
 known as the diac.iinicon and protlicsis. 
 The round apse sometimes projects east- 
 ward, and is sometimes masked by a 
 straight wall. Perhaps the cathedral of 
 Bozra is the only church in whidi it takes 
 the usual Byzantine form, round within 
 and polygonal without. There is another 
 
IIEBHOX 
 
 type, square or octagonal, and roofed with 
 domes of rubble masonry, carried on 
 siiuinches, or on a sort of pendentives 
 rudels' corhelled out from the corners, 
 whii'h [icrhaps show the first step in the 
 development of the regular finished By- 
 zantinu peudentive. A great variety of 
 elaborate tombs is scattered over the 
 country, in a great variety of forms — 
 hypogean, rock -cut, monolithic, or of 
 finished masonry ; and in the shape of 
 subterranean chambers, obelisks, cells, 
 pyramidal, gabled, domed, sometimes 
 mere trestles, and sometimes complete 
 temples in. anfis. They are apt to be the 
 earliest structures in date, and the most 
 classic in style. All the buildings, except 
 a few of the earliest, bear the marks of a 
 Christian origin in symbols and inscrip- 
 tions. Many are dated, and some show 
 even the names of their owners and build- 
 ers. (See Baknsa, Bozra, Ezra, Kalat 
 Siman. Kidb Luzeh, Kanawat, Mujelia. 
 L'ltirrihii. Sli(ikk-((, Siii/i, Siiiceiia, Tafka, 
 Tiiriiianin.) 
 HEBRON. Palestine. 
 
 The GiiK.VT Mosque is a building of 
 groat sanctity for ^loslems. They believe 
 it to cover tiie C'ave of Machpelah. iu 
 whic-h Aljraham was buried. It has a 
 massive enclosing wall, built of very large 
 stones with drafted jambs, like the walls 
 of tiie llaram at .Jerusalem, and probably 
 tlu' work (if the .lews. This wall, wliicli 
 is over .")() ft. high, witii no openings but 
 two doors, and is broken only by a series 
 of ))ilaster-like buttresses, encloses a quad- 
 rangle about 100 ft. by 300 ft., with tlie 
 long axis north and south. Upnu it the 
 Arabs have built an additional story, and 
 minarets at tlie corners. The south end 
 of tiu' ar-ca is occupied by a church, or 
 other Iniilding. in the style of the Cru- 
 saders. It consists of three aisles of three 
 bays each, covered with groined vaulting 
 on pointed arches, but it has no apses, nor 
 other indication of the arrangement of a 
 Christian cluirdi ul' its jieriod. while in 
 
 the soutJi wall, toward Mecca, is the usual 
 iiii/ini/i. or Mohammedan prayer-niche. 
 Several later chambers have been built 
 about the enclosure, and in them anil in 
 the nios<pie are seen the tombs of Abra- 
 ham's family. A hole in the fioor of the 
 mos(pie is the opfuing to the cave below. 
 The tradition of the Imrial here of the 
 patriarchs is very old. Joseplius men- 
 tions their monuments wrought in mar- 
 ble; the Bordeaux Pilgrim in the iv cent, 
 describes the outer wall substantially as it 
 still appears. The calif Ibu Kalun is 
 said to have lined the walls of the mosque 
 with marble and built the outside addi- 
 tions in 1331. but there is no account of 
 the origin of the earlier work. The rigid 
 exclusion of Christians from the enclosure 
 has prevented a complete knowledge of 
 the building. 
 
 HELIOPOLIS. See Baalbek. 
 IIERCULANEUM, Italy. 
 
 Basilica, on the street north of the 
 theatre. It was 228 ft. long and i:52 ft. 
 wide, with a peristyle of forty-two col- 
 umns, and was ornamented with mural 
 paintings. It is now difficult to study 
 satisfactorily, as its remains have long 
 been neglected. 
 
 IIoi'SK OF Ai{(irs, so named from the 
 subject of a mural painting founil in the 
 triclinium. The plan is of the type of 
 the most elegant houses of Pompeii. At 
 the entrance is a vestibule with two long 
 benches, and two stuccoed pilasters to sup- 
 l)ort the roof. There are two garden- 
 courts with peristyles; the second of these 
 had twenty columns and six piers, and 
 lioth had ricli capitals formed in wliite 
 stucco. Tpon the peristyles open the 
 usual rooms, summer and winter dining- 
 rooms, exedras, tabnlarium, etc. The 
 painted ornament is of excellent taste and 
 execution ; it includes architectonic ih'- 
 signs on a red or a black ground, and 
 marine views. There is aLso some good 
 relief-decoration in stucco, besides several 
 jiavenieuts in mosaic. 
 
HIERAPOLIS 
 
 TiiEATKE. ill excellent j'reservation, 
 but dittirult to see sutisfactorily owing to 
 its being underground and to the presence 
 of many piers serving to sustain the town, 
 nearly 'JU ft. above. It lias sixteen tiers 
 of seats, divided into six ciinei or wedge- 
 shaped divisions by seven radial flights of 
 stairs. Above these seats is a wide pre- 
 cinction or jnissage, and above this again 
 a portico, originally encrusted with white 
 marble, and tliree more tiers of seats. 
 Below the ordinary seats are five wide 
 steps for seats of honor, immediately sur- 
 rounding the orchestra. The orchestra 
 was paved with thick slabs of giallo antico. 
 The stage, raised about 4 ft., is about 79 
 ft. long and 39| ft. deep, with three dooi's 
 ojiening in the back wall, the central one 
 in a semicircular recess. It is estimated 
 tiiat the cavea could seat ten thousand 
 people. The theatre and Herculaneum it- 
 self were discovered accidentally in 1709, 
 by the sinking of a well, which brought 
 to light fragments of colored marbles, mo- 
 saics, and sculptures. But little excava- 
 tion, however, apart from desultory efforts 
 to secure plunder, was conducted until 
 the beginning of the present century. 
 
 Among the other chief ruins of Hercu- 
 laneum, are those of the so-called House 
 of Aristides, wliere was found the ^5ilschi- 
 nes statue of the Naples Museum, orig- 
 inally identified as Aristides, the Forum, 
 temples to the Mother of the Gods and to 
 Hercules, a prison of three stories, and a 
 round -arcaded magazine built of brick in 
 horizontal courses and opus reticulatum. 
 HIERAPOLIS (Pambouk Kalessi), Phry- 
 gia, Asia Minor. 
 
 MoxuMEXTAL STREET, extending in a 
 straight line out from the north gate of 
 the city. It was bordered on both sides 
 by long stoas or porticoes formed of Doric 
 semi-columns engaged in rectangular jiil- 
 lars, and terminates in a triumphal arch 
 or gate, with three arched openings be- 
 tween two massive round towers. The 
 architrave of this gate bears an inscrip- 
 
 tion in honor of Septimius Severus (193- 
 211 X.U.). 
 
 Theatre, toward tlie east side of the 
 city, of Roman date, but Greek in many 
 details, as in the excess of its plan over a 
 semicircle. The cavea, which faces west, 
 rests in part upon a side-hill, and in part 
 upon vaults. The diameter is about ;510 
 ft. ; that of the orchestra, 90 ft. There 
 were nineteen tiers of seats below the dia- 
 zoma, or horizontal passage, and twenty- 
 six tiers above the diazoma, which is bor- 
 dered above by a podium. There are 
 eight Mimakes, or radial stairways in the 
 lower division of the cavea ; one of them 
 subdivided in the ujiper division. The 
 cavea was surrounded above by a monu- 
 mental colonnaded gallery, with arches 
 opposite the stairways and the middle of 
 every wedge of seats. The front wall of 
 the stage-structure had in the loAver story 
 five doors with coujiled columns, and in 
 the upper story niches between columns 
 with spiral fluting, and a frieze and other 
 sculpture of good execution. Behind the 
 stage was a hall 90 ft. long and about 14 
 ft. wide, with a range of columns against 
 tlie back wall of the stage. Tlie stage- 
 structure had i)rojectiug wings built im- 
 mediately against the extremities of the 
 cavea. The material is a hard, marble- 
 like stone. 
 
 The great Theatre, outside the city 
 walls on the north side, is from its i^lan un- 
 doubtedly Greek, though it is much ruined 
 and has not been adequately studied. It 
 rests against a side-hill facing south of 
 west ; the cavea is divided into three by 
 two precinctions or horizontal passages. 
 Tlie diameter is about 540 ft. ; that of 
 the orchestra, about 124 ft. 
 
 Therm.e, two buildings forming wings 
 projected at right angles to the main 
 structure, with a s]iacious court betM'een 
 them. On the side facing the court, these 
 wings were open, having ranges of square 
 pillars with Corinthian capitals. These 
 structures were probably waiting-rooms. 
 
 173 
 
IIIKIIOX 
 
 The front of the main bnihling was a 
 large vanltcd hall, with a smaller chamber 
 at each end. Behind were sjjacioiis corri- 
 dors, the bathing-rooms proper, indicated 
 by water-conduits still in place, and other 
 halls which probably served for gymnastic 
 exercises anil similar purposes. 
 
 Walls of the ancient city, surviving in 
 great part, with several gates, and recUm- 
 guhir towers. Within the walls are re- 
 mains of two basilicas and many other 
 edifices, and without the walls is a third 
 basilica and a very extensive and interest- 
 ing necropolis. Two of the basilicas aj)- 
 pear to be Christian ; the third is more 
 ancient. 
 
 HIEROX PKOMUXTOIIY. See Ana- 
 toli Kavak. 
 HISSARLIK. See Ilion. 
 nOSN SULEIMAN (anc. Bjetocece ?), 
 Syria. 
 
 Sanctuary, probably of Jupiter. The 
 temenos. or sacred enclosure, measures 
 about 293 ft. by G13 ft., and is built in 
 part of enormous blocks, some of them 
 reaching the size of 29 ft. by 10 ft. by 3| 
 ft. In the middle of each side is a gate 
 of the pylon type, all with gigantic mono- 
 lithic lintels. The soffits of the lintels 
 bear each an eagle holding a caduceus, be- 
 tween two genii. The doors are flanked 
 by niches, and carved with victories, tela- 
 mones, and elegant mouldings. An in- 
 scription on the chief gate, that toward the 
 north, applies to a date between 253 and 
 259 A.I). In the middle is a small pseudo- 
 peripteral Ionic temple, which appears 
 never to have been completed. In front 
 of it stands an altar. Without the en- 
 closure, on the north, rises a large group 
 of buildings, including a small temple i)i 
 (f)ifis, called by the Arabs ed-Deir. 
 lADERA. See Zara. 
 lASOS (Asin Kalessi). Asia :\Iiiior. 
 
 The remains include the fortifications 
 of the old city, which covered a large area, 
 and those of the small new city, occupying 
 an island, now a peninsula, which may 
 
 well have Ihmmi tlio original acropolis. 
 The walls ot the nld city arc of rough 
 coursed masonry. These walls are pecul- 
 iar in that they arc pierced with a very 
 large number of posterns and windows, 
 evidently intended to jirovide for a very 
 aggressive defence in case of siege. There 
 is a number of semicircular towers, and 
 a few of rectangular plan. The walls 
 may be dated by analogy from about tlie 
 last quarter of the v century r..c. The 
 walls of the new city are of much more 
 careful masonry, with rustic face, and a 
 draught at the angles of towers, etc. 
 There arc towers, both sqtiare and semi- 
 circular in plan, and a well - fortified 
 gate. These walls may date from the 
 middle of the iv cent. n.c. or even later ; 
 they consist, as is usual, of an outer and 
 an inner facing, with a filling of rubble. 
 The theatre in the new city is well ])re- 
 served ; its masonry is in great part of 
 the same character as that of the fortifi- 
 cations ; there are remains of the stage- 
 structure. A Roman aqueduct of some 
 extent lies outside the walls. 
 
 Pal.t.stka, adjoining the stadium. The 
 plan is rectangular. 2(;9 ft. by 121 ft. It 
 consisted of two rectangular buildings, 
 one at each end. each divided into three 
 halls, connected by two colonnades, one 
 on each side. The enclosed court was the 
 pahvstra jiroper. An inscription on the 
 wall of the west building shows that both 
 end buildings were dedicated by one 
 Diodes to Artemis Astias an<l the cm- 
 jieror Commoilns. 
 
 Ttieatke. on the toji of a hill, of the 
 IV oi- v (x'litury i;.'. In plan it is near- 
 ly semicircular ; the exterior diameter is 
 24(i ft., that of the orchestra. 75 ft. Of 
 the seats sixteen tiers remain with por- 
 tions of others. They are of white mar- 
 ble, sculptured with lions" paws. The ex- 
 terior wall of the cavea is of large squared 
 stones, laid without mortar ; the wall of 
 the stage-structure is of smaller stones and 
 a)i]icars to be a later construction. 
 
icuviujr 
 
 IGUVIUM. See Uubbio. 
 ILION, Ti-oad. Asia Minor. 
 
 The remains investigated b}' Dr. Sclilie- 
 niann since 18T2 are included in an acrop- 
 olis of very small extent, at Hissarlik, 
 which was a seat of settlement from re- 
 mote ages through classical times. The 
 city in the plain below has disapiDeared, 
 leaving but very slight traces. The set- 
 tlements of succeeding ages are marked on 
 the aci'ojjolis by superimposed strata of 
 ruins and debris. According to the lat- 
 est study, while the lowest layer rejireseuts 
 the most aiicieut city and goes back to a 
 very remote antiquity, the second layer 
 displays a state of civilization correspond- 
 ing to that pictured in Homer, and agrees, 
 though more ancient and primitive, with 
 the remains found at Mycenaj and Tiryns. 
 jSiext above come several layers evidently 
 jjroduced by rude and poor village-settle- 
 ments, continuing the civilization of the 
 preceding layer. And finally we have the 
 remains of the historic Gra?co-Roman city 
 of Ilion. The citadel of the lowest stratum 
 is only 1.50 ft. wide, with walls of I'ougli 
 stones abont 8 ft. thick enclosing rough 
 house-walls of small stones bonded and 
 coated with clay. The second city, or 
 Homeric Troy, has a massive citadel wall, 
 consisting of a revetted stone substructure, 
 inclined on the exterior at an angle of 
 forty-five degrees, and 13 ft. broad on top. 
 This foundation was originally crowned 
 with a wall of unburned bricks, strength- 
 ened with wooden beams built in. Several 
 gateways and towers are visible, the for- 
 mer planned closely in the way afterward 
 followed by the Hellenic military en- 
 gineers. Within the citadel are remains 
 of a palace, of similar plan to that at Tir- 
 yns, but simpler. The walls have a sub- 
 structure of stone, the upper portion being 
 of unburned bricks. There is plain evi- 
 dence tliat this city was destroyed by a 
 great fire. The most important of the 
 finds in this stratum is the so-called Great 
 Treasure, now in the Berlin Museum, 
 
 It includes diadems, chains, earrings, 
 bracelets, and cups of gold, vases and bars 
 of silver, jars, and various weapons of cop- 
 per. The decoration of a few of the orna- 
 ments is more advanced than that of the 
 others, and of a similar character to that 
 from Mycenaj. The pottery is much 
 ruder than that from Myceuit. The 
 third, or village-settlement, displays very 
 rough walls of inferior masonry, belong- 
 ing to very small buildings. Tlie fourth, 
 or Grieco- Roman citadel, shows walls of 
 regular, well -jointed ashlar, and scanty 
 remains of two Doric temples. From one 
 of these comes the well - known metope 
 sculptured with Helios urging on his four 
 horses. Coins, abundant remains of pot- 
 tery of dilferent dates, inscriptions, and 
 all the usual remains of the later civiliza- 
 tion have lieen found, together with an 
 elaborate Roman gateway, with a vesti- 
 l)ule, three doors with Corinthian semi- 
 columns, and an outer portico of four 
 Doric columns, to whicli probablv corre- 
 sponded an inner portico of two columns 
 ill ant is. 
 IXTERAMNA, Pirenum, Italy. Si'c Tcr- 
 
 a/iio. 
 INTERAilXA, Umbria, Italy. See Ter- 
 
 II i. 
 IRBID. See Arbela. 
 ISERXIA (anc. .Esernia). Italy. 
 
 The massive walls in polygonal masonry 
 of the ancient town serve as the founda- 
 tions of the modern walls almost through- 
 out the circuit, and possess much inher- 
 ent interest. The most curious survival 
 from antiquity, however, is the long rock- 
 hewn aqneduct which begins at the 
 bridge on the side toward Solmona. It 
 has six air-shafts, the largest of them 83 
 ft. deep. This aqueduct still su23j:)lies the 
 fountains and factories of the modern 
 town. 
 ISTHMIAN SANCTUARY, Corinthia, 
 
 Greece. 
 Temple of Poseioon (Xeptune). It 
 was apj)roached from the side of the thea- 
 
 175 
 
IZXTK 
 
 tre aiul stadium by an avenue adorned on 
 one side by a row of 2)ine-trees,, and on 
 the other by statues of victors in the Isth- 
 mian Games. The temple was of only 
 moderate size, but was richly endowed 
 witli works of art. On the exterior were 
 tritous of bronze, and in the pronaos 
 two statues of Poseidon and others of 
 Aiiii)hitrite and of Tlialassa (the Sea) — all 
 ol' bronze. The sculptures in the cella 
 were dedicated by Herodes Atticus, and 
 included four horses held by two tritons, 
 and chryselephantine statues of Poseidon 
 and Am])hitrite standing in their chariot. 
 Tiiere were also in the temple statues of 
 other maritime and local divinities. The 
 Temple was of Doric order, in the rough 
 stone of tiie Isthmus, which was coated 
 with stucco ami painted. The remains 
 of columns and entablature indicate a 
 date of about the middle of the VI century 
 n.c. Tlie columns had only sixteen chan- 
 nels, were 4 ft. 10 in. in diameter at the 
 base, diminishing to 4 ft. at the neck, and 
 about 20 ft. high. The peribolos of the 
 sanctuary was about 940 ft. long from 
 S.W. to N.E., and about 700 ft. wide at 
 the broadest i)laee, from which it dimin- 
 ished rapidly in width toward the soiith, 
 forming in plan a very irregular pentagon. 
 
 Roman Tuir.Mi'ir.vL Auch or gateway 
 on the N.E. side of the sanctuary. It 
 consisted of three arched passages, the 
 central one, for vehicles, about 13 ft. wide, 
 anil the two on the sides about G ft. 6 in. 
 wide. The whole witlth of the monument 
 is aVjout 50 ft. It survives to a lieight of 
 some 13 ft., and the paved way with the 
 deep ruts of tlie ancient chariots, still 
 leads through the widest opening. Tlie 
 masonry is in large blocks, laid without 
 cement, ornamented witli mouldings, and 
 dating aiipareiitly froui the time of Au- 
 gustus. 
 
 1/A'Ilv. Hee JVic(Ba. 
 .JKKASII. See Gernm. 
 JEllUSALK^[. Palestine. 
 
 Apostles' Caveux so-called, but vari- 
 
 ously identified, in the Valley of Ilinnom. 
 The entrance is surmounted by a frieze of 
 corrupt Doric, with eight metopes, each 
 with a patera or rosette of different form 
 from tlie others, besides arabescpies and 
 vine-]iatterns. The metopes are separated 
 l)y diglyplis the reguhe beneath which 
 have only two guttie. There are several 
 inner chambers with benches and loculi 
 for sarcophagi. Both the vestibule and 
 the chambers have Byzantine jjaintings 
 on the ceilings and walls. Here, accord- 
 ing to a tradition of the xvi cent., the 
 apostles concealed themselves during tlie 
 trial and crucifixion of Christ. 
 
 Arch of Pilate. See JEcce ILnno 
 Arch. 
 
 Chapel op the Appakitios'. See 
 Vhurclt of the Holy Se^julvhre. 
 
 Chapel of the Ascex.siox, a small 
 chapel on the Mount of Olives, com- 
 memorating the ascension of Christ — all 
 that remains of a large and famous church. 
 It is an octagon of about 21 ft. diameter, 
 composed of eight pointe<l arches, once 
 open, now blocked. The (U'iginal columns 
 engaged in the piers, and the corbelled 
 cornice, are clearlj' Romanesque, the 
 iliiiiii and tlie dome that surmount them 
 are later Arabic work. Although St. 
 Luke's Gospel declares that the Ascension 
 took place at Bethany, Eusebius says that 
 Constantine commemorated it by n large 
 and splendid church on the to]> of the 
 Mount. St. Jerome says that it was a, 
 great roiuid church, of which the centre 
 had to be left open to the sky, because the 
 Lord's body had p;issed there, and that his 
 last footprint (which is still sliowii) was 
 marked in the ground. The original 
 building was destroyed by the Persian 
 Chosroes (014), and rebuilt or rejilaced 
 by Modestiis. Tlie ])resent chapel is 
 doubllcss a Fragment of a large octagonal 
 church built by thi> Crusaders, from wliich 
 live bases of clustered angle-piers still re- 
 main in position, built into walls with 
 which the later Moslems have enclosed a 
 
JEKTSALEM 
 
 court, makiiis a iiiosqiie. The various 
 Christian Churches are still allowed to 
 worship in it, and have each an altar or 
 niche there. 
 
 Chapel of the Ckoss. See Clnirch nf 
 fill' HoJij Sqjiilr/iro. 
 
 Chapel op St. Helexa. See C/nirr/i 
 of the Holy Sepulchre. 
 
 The Church of St. Axxe, adjoining the 
 N. E. corner of the terrace of the Temple, 
 keeps its original form more completel}' 
 than any other building of the Crusaders in 
 the Holy Land. It is a small church, G3 ft. 
 by 110 ft. within, consisting of a nave and 
 aisles of three bav's, choir, and transept, 
 with three eastern apses side by side. 
 Over the crossing is a pointed dome. The 
 plan of the church is distinctly western in 
 character, its execution shows IJyzantine 
 and Syrian influences. The nave, 28 ft. 
 wide, has square bays ; it and the aisles 
 have 2ilain groined vaulting with only 
 cross-ribs : the vault of the transept is a 
 transverse pointed wagon-vault. The piers 
 are cruciform groups of pilasters, there 
 being no round shafts anywhere except in 
 the jambs of the principal window ; there 
 are scarcely any capitals, and the inside is 
 severely pl;iin. The apses are Byzantine 
 in form, round within and octagonal with- 
 out, the dome probably Saracenic. The 
 high-placed windows of the aisles and the 
 clerestory windows of the nave are point- 
 ed. The exterior is very plain, except the 
 east front, which has a single doorway and 
 over it a clerestory window, both with en- 
 riched moulded archivolts, the window 
 with Corinthian nook-shafts in the jambs. 
 All the roofs are flat and the walls with- 
 out cornice or parapet, broken by plain 
 buttresses which run to the top. In this 
 building, as in other buildings of the 
 Crusaders, the pointed arch is used syste- 
 matically and exclusively, as it was not at 
 that time yet used in Europe ; the form 
 of the arch is broader and lower and more 
 Saracenic than was common in Europe, 
 but the carving and moulding, so far as it 
 
 goes, is altogether Byzantine-Romanesque, 
 There is reconl of a Christian church 
 and convent here as early as the vii cen- 
 tury. But it was not till the repudiated 
 wife of Baldwin 1. took refuge in it (110-i) 
 that the convent became important. From 
 that period doubtless dates this present 
 church. ^\Jter the ex^julsion of the 
 Latins, Saladin established a school in it. 
 and so it was jireserved by the Mussulmans 
 till, in 185U, after the Crimean War, the 
 Sultan Abdul Mejid gave it to the Emj)er- 
 or Xapoleon III. Since then it has been 
 in the hands of the French, by whom it 
 has been restored. Under the church and 
 entered from the south aisle is a ramb- 
 ling crypt, which, according to the tradi- 
 tion, was part of the house of St. Anne 
 and birthplace of the Virgin. 
 
 The Church of the Holy Sepulchre 
 lies west of the platform of the former 
 Jewish temple, outside of what was prob- 
 ably the Jewish wall, and so enclosed in 
 newer buildings that nothing is seen but 
 its entrance, its two domes, and the stump 
 of the XII cent, tower. It is entered 
 through the south transept [see Fig. OS), 
 the front of wiiieh is the only exposed 
 part of the building, forming the back of 
 a fore-court or pan-is about 60 ft. wide by 
 80 ft. deep. The plain buildings each 
 side the court contain a variety of small 
 chapels and rooms divided among the 
 churches which share the possession of the 
 Holy Sepulchre — the Greek, Latin, Cop- 
 tic, and Armenian. The transept front, 
 the work of the Crusaders in the xii 
 cent., is a squarish mass in two stories, 
 with a doulile doorway below correspond- 
 ing to two coupled windows above. The 
 openings are low-pointed, with broadly 
 moulded archivolts and triple jamb-shafts, 
 enriched hood - mouldings, and string- 
 courses. The tympana of the doorways 
 are solid and carried on sculptured lintels. 
 The style is a mixture of early French 
 pointed and Byzantine. At the right of 
 the doorways is a little square projecting 
 
 177 
 
JEKUSALE-M 
 
 ch!i2)el, of the same age and style, iu two or detaclied chapel iiusymmetrically placed 
 stories, with outside steps aud a small behind the choir (eastward). The nave is 
 later dome ; on the left, likewise advanc- rclmilt on the foundations, and probably 
 
 ill! hides the walls, of the old nave burned 
 (lul ill 1808. It is a rotunda 68 ft. in 
 diameter, called the Anastasis, suj)ported 
 on eighteen close-set jjiers and covered 
 by a dome. The piers are faced with a 
 huge debased order of composite pilasters 
 with 2)edestals and entablature support- 
 ing a flat dome, which has an ojjcn cen- 
 tre or eye and its base jiierced by lu- 
 nettes. The surrounding aisle is in thii-c 
 stories, with balustraded openings into 
 the nave, like theatre boxes. Under the 
 middle of tiie dome stands the chapel of 
 the Sepulchre itself, a little building 
 Slime r.Ti ft. by 18 ft., with a square east 
 fi-diit \\iiere the door is, and an apsidal 
 end at the west, within which is the 
 sepidehral chamber. This chapel, re- 
 liuiit at tile same timi' with the mtunda, 
 is decorated with a degraded Corinthian 
 iii'der, with miieli panelling of rich mar- 
 liles. and eiirielied within and without 
 ill i-dcoco style. Over the seimlchral 
 ( liaiiilier is a little liussian-looking cu- 
 ]i(ila. 'i'lie choir and transept, about 
 40 ft. wide, built liy the Crusaders and 
 now possessed by the (ireek Church, were 
 much less injured by the fire tlian the 
 rotunda, and retain in a great degree 
 their original form, in s])iti' of many mod- 
 ern incumbrances. They make three arms 
 of a cross, prolonged at the head in a semi- 
 circular apse which is surrounded by a 
 triluine of seats fdi- tlii' presbyters, rising 
 in tiers and covered by a semidome. Over 
 tlie crossing is a hemisphericid dome on 
 a high drum, earrietl on pendentives and 
 liiereed by an encircling gallery with outer 
 wiiulows and an inner arcade. But this 
 general disposition is much obscured to 
 the eye, the main arches to the transept 
 and I he aisles l)eing bhieked by walls 
 against which are built the modern stalls 
 for the clergy. 'I'he choir thus enclosed, 
 and called the Catholieon, is about 100 ft. 
 
 Fig 93. — Jerusalem Ch. of Holy Sepulchre, Transept 
 
 iiig. are three stories of a s(|uare buttressed 
 bell -tower, evidently a little later than 
 the front, with coupled windows in the 
 np])er story, above which a])pear the low- 
 er eiiurses lit the destroyed belfry stage. 
 Tile interior is very intrii^ate, not only 
 comprising three churches, or jiarts of 
 churches of different periods, but confused 
 by the effort to cover in one liuilding 
 many scattered shrines, and to include the 
 various sanctuaries of the five ancient 
 Churches which claim each a share in it. 
 The buildijig really consists of a circular 
 nave, covering the sepulchre it.self, a choir 
 and transept, irregularly built about with 
 many small chapels, and a small church 
 
jerusa]j:m 
 
 long. It belongs to the (iroek Cliuivh cx- 
 clus:ively, and the ajjsidal end, with lialf 
 tlie bay beyond the crossing, is cut off 
 by a huge iconosfasi.'i or screen, after the 
 tireek manner, to separate the sanctuary 
 from the rest. All the main arches here 
 are pointed, as well as the vaults, but tlie 
 gallery arcade at the base of the dome 
 and a similar arcade round the second 
 story of the apse are I'ound-arched. The 
 aisles also are two-storied, tlie sjjacious 
 upj)cr aisle, indeed, running round the 
 whole church and containing several 
 chapels. The aisle returns across the 
 ends of the transept, cutting olf at the 
 south the last bay, the lower story of 
 which serves as the entrance porch. It is 
 of very irregular width, being encroached 
 upon l)y the various sjjecial chapels at 
 many points. In the S. E. angle of the 
 choir and transept is a group of chapels 
 in two stories covering what is considered 
 to be the site of Calvary, comprising tlie 
 Chajjel of the Raising of the Cross, of tlie 
 Crucifixion, and others, which crowd con- 
 siderably upon the transept. The lower 
 aisle of the rotunda also is broken up into 
 chambers, the central one of which, be- 
 hind the sepulchre, expands into a chapel 
 belonging to the Syrian Church and leads 
 to an excavation in the rock of the l)ranch- 
 iug form peculiar to ancient Jewish rock- 
 tombs, and known as the tomb of Josepli 
 of Arimathea. Across the north end of 
 the transept and the adjoining aisle lies a 
 long gallery whose arcade, called the Seven 
 Arches of the Virgin, is mostly obliterated 
 by the piers of the church, and beyond 
 this, north of the rotunda, the Chapel of 
 the ApiJarition, which, like the gallery, is 
 part of the oldest constructions. It is a 
 plain, square building, with an apse and 
 three altars in its eastern wall, and serves 
 as chapel to the adjoining Latin Francis- 
 can monastery. From the aisle that sur- 
 rounds the (eastern) apse of the Greek 
 choir open three I'adiating apsidal chapels, 
 and an oblique stairway which descends 
 
 some 1(J ft. to a subterranean chapel dedi- 
 cated to St. Helena, mother of Constan- 
 tine. This is about .50 ft. square, By- 
 zantine in style, the oldest and most 
 uiLspoiled architecture now visible in the 
 church. It is divided into nine bays, the 
 central one domed, the surrounding ones 
 vaulted, and is preceded by a narthex 
 chiefly occupied liy the staircase. Four 
 columns, low and very massive, with vary- 
 ing bases and uniform basket capitals, 
 support pendentives which carry the dome, 
 resting on a drum. The drum, pierced 
 with six windows, in lunettes which are 
 partially blocked, rises with its dome 
 through the pavement of the courtyard 
 of tlie Abyssinian monastery which ad- 
 joins tiie church — the only part of the 
 building which is seen from without. In 
 the middle of the east wall is the main 
 ajjse and altar dedicated to the saint and 
 empress, on its left an altar to the peni- 
 tent thief, and on its right a second stair- 
 case descending into an irregular cavern, 
 consecrated as the place where Helena dis- 
 covered tlie true cross, and called therefore 
 the Chapel of the Invention (discovery) 
 of the Cross. The history of the build- 
 ings is as intricate as their architecture. 
 Archaeologists have not even been agreed 
 as to the identity of the site ; but the 
 general consensus of scholars has, on the 
 whole, accepted it. Hadrian, we are told, 
 wishing to obliterate the most sacred relic 
 of the Christians, levelled up the site of 
 the sepulchre and built a temple upon it 
 to Venus or to Jupiter. When Constan- 
 tine had established the Christian Church, 
 and wislied to recover the sepulchre, 
 Hadrian's temple was his landmark. He 
 recovered it, says Eusebius, and finding 
 the sei^ulchre unharmed beneath, built 
 over it a gorgeous shrine, to which he 
 added a large and magnificent basilica. 
 Cyril adds that he cut away aljout the 
 sej^ulchre the rock in which it was ex- 
 cavated, leaving only a shell to enclose 
 the burial-chamber, and removing even 
 
 179 
 
.TKRFSAI.KM 
 
 the antechamber, levelled off the siir- 
 rouiulino: surface, and tlien encased the 
 tonil) in inarlilcs. The Persians under 
 C'hosroes 11., assisted by fanatical Jews, 
 destroyed and bnried the buildings in 
 OU. .Modestus, afterward iiatriarch of 
 Jerusalem, immediately set to work to 
 rebuild, not Constantino's basilica, but 
 more modest buildings over the separate 
 holy places. These were again destroyed 
 in 1010 by the caliph Hakim, founder of 
 the Druses. Directly afterward, however, 
 he allowed them to be restored by the 
 (J reek emperors, which was accomplished 
 in 1048. As soon as the Crusaders wei'e 
 fairly established in Jerusalem, it was 
 their care to l)uild or to rebuild a great 
 church which should embrace all the iso- 
 lated shrines that clustered about tlie 
 
 about these — probably remained substan- 
 tially unchanged till the fire of 1808. 
 Before this fire the rotunda was carried 
 on twelve round columns divided into 
 groups by 2iairs of square piers at the cai- 
 dinal points, with three stories of arcades 
 as at present, and was covered by a wootl- 
 en conical roof open in the centre, which 
 was the cause of the damage to this ])art 
 of the church from the fire. Probalily 
 mucli of the old masonry is imbedded in 
 the i)resent piers. The falling of the 
 cupola crushed the chapel over the sepul- 
 chre itself, and it is likely that not much 
 of the shell of the burial chamber has sur- 
 vived this and the previous destructions, 
 the Moslems under ]Iai<im having made 
 great efforts — which were foiled by mira- 
 cle, say the historians of the church — to 
 
 Fig. 94. — Jerusalem, Church of the Holy Sepulchre, Plan. 
 Scale of 100 feet. 
 
 sepulchre. 'I'his was mostly done in the 
 first half of the xii century. The church 
 which they built — connecting the older 
 rotunda with the Chapel of St. Helena, 
 and including the Calvary, the Stone of 
 Unction, over which its south transept 
 cxtenils, and the various chapels wliich lie 
 
 destroy it. both with sledge-hammers and 
 with fire. But De N'ogiie and other trav- 
 ellers declare that parts of the original 
 rock can still be seen between the marbles 
 that line the interior. Tlie literature of 
 the building, in all languages, is vei'y 
 abundant, and the thccirics of writers are 
 
JERUSALEM 
 
 nuniy. .Mr. Fergussoii has argued tluit 
 the real sepulchre Ls under the building 
 commonly known as the Dome of the 
 Rock, or the Mosque of ()mar. but the 
 weight of authority is 
 against him. ( Sec Fii/s. 
 H, 95.) 
 
 Churches of St. 
 Mary L.vtix and St. 
 Mary Ma.ioi;. See 
 Ildspitdl. 
 
 Church of the Viu- 
 Gi.v. See Tomb (if the 
 Vinjiii. 
 
 ('iTAi)EL, an irregu- 
 lar grouji of five square 
 towers, c o m m o n 1 3' 
 called tlie City of Da- 
 vid. 'Y\\e substructions 
 to a height of 39 ft. are 
 Roman, of large drafted 
 blocks with rough faces, 
 inclined at an angle of 
 about forty-five degrees. Fig. as.— j.- 
 
 This is believed to be 
 the Hifjpicus Tower described by Jose- 
 jDhus, which was left standing by Titus 
 when he destroyed Jerusalem. The ma- 
 soni-y is evidently of about the Ilerodian 
 time, though apparently later than that of 
 the Temple walls. 
 
 The Dome of the Rock (Kubbet es- 
 Sakhra), poi^ularly Init incorrectly called 
 the Mosque of Omar (see El-Ahsa), stands 
 on the platform which encloses the sum- 
 mit of Mt. iloriah in the middle of the 
 Temple Terrace, and is believed to occupy 
 the very site of Solomon's tensile. Tlie 
 platform, about 450 ft. by 500 ft., is 
 reached by flights of steps irregularly 
 placed, leading to gates of various design, 
 mostly groups of pointed arches in square 
 bits of wall. The summit of the hill pro- 
 trudes within the building in an uneven 
 rock some sixty ft. across and from one to 
 five ft. high, which is guarded by a mar- 
 ble screen or wall. Round this is a cir- 
 cular arcade resting on heavy sqixare jiiers. 
 
 with twelve intermediate columns in 
 groups of three. The arcade is surround- 
 ed by two aisles, and carries a high tam- 
 bour wliicli rises above these and supports 
 
 a stilted hemispherical dome about 80 ft. 
 in outside diameter and 110 ft. or more to 
 the top. The inner aisle is enclosed l)y an 
 arcade which makes an octagon of 1^4 ft. 
 in diameter, with piers at the angles and 
 si.xteen columns or piers between — the 
 outer aisle by a solid wall pierced by 
 pointed windows. Both aisles are includ- 
 ed under the same rather low, lean-to 
 roof hidden by a solid parapet : so that 
 from witliout the building appears as a 
 low, flat-roofed octagon 160 ft. broad, out 
 of the middle of which rises a low drum 
 carrying a high dome. But its mispro- 
 portion is to most eyes compensated for 
 by the splendor of the coating of marble 
 mosaic and glazed tiles which covers all 
 the exterior. The walls of the outside 
 octagon are divided by pilasters into 
 panels, the upjier halves of which are 
 filled with pointed windows, except in the 
 middle of each cardinal face, where a pro- 
 jecting jjorch covers aji entrance door. 
 
 181 
 
,jE];rsAM-:.M 
 
 The drum of tlie dome is broken by tlie 
 four great middle piers, which are con- 
 tinued in relief up to its cornice, while 
 groups of windows between, in four.<. 
 malco a clerestory. The decoration of the 
 interior is extremely rich : its architect- 
 ure is peculiar, and lias been the subject 
 of much controversy. Tlie columns are 
 apparently in great part the spoils of 
 other Iniildings. They are of rich mar- 
 bles with shafts, capitals, and bases of un- 
 
 the dome are covered witli profuse and 
 splendid ornament of late date, painted 
 and gilded, while tiie windows are tilled 
 witli rich stained glass. The exposed rock 
 is held in extreme veneration by the Mos- 
 lems, who see on it the footprints of Enoch 
 and of Mohammed, and tlie mark of the 
 hand of the angel Gabriel. Mo place ex- 
 cept the Kaaba of Mecca is so sacred for 
 them as this building, and till very re- 
 cently no Christian had been allowed to 
 
 'pS 
 
 
 _r. _*■ ^ -• »-_ 
 
 < ^ i*. 
 
 ._-'*» 
 
 
 equal height and irregular design, but all 
 of some variation of classic Corinthian 
 or Composite, and mostly Byzantine in 
 chai'acter. The inner arcade is of arches 
 very slightly pointed, resting directly on 
 the capitals and stayed by a slender wood- 
 en tie. In the outer arcade the columns 
 carry stilt-blocks, across wliich lies a heavy 
 continuous beam carved into a semblance 
 of a classic entablature, and upon this 
 rest the arches, which are round. The 
 interior wall, up to the wooden ceiling of 
 the aisles, is clad in a mosaic casing of 
 colored marbles ; above this the drum and 
 
 set foot in it. A cave, apparently natural, 
 uiulerlies a part of the rock, entered by 
 stairs under the dome, and a small per- 
 foration in its roof communicates with 
 the air above. Here, it is believed, is the 
 Ja/il>i per/x-yns. the ])ierced rock, to which 
 the Jews habitually came, to anoint it 
 with their tears and ointments, during the 
 interval when it was unclaimed by either 
 C'liristiaii or Saracen. .Much argument 
 has l)een s]ient over the origin of the 
 1 )omc of the Rock. The popular name is 
 clearly misapplied : it nowi.se resembles a 
 mosfpie, and there is no indieatiou what- 
 
 18S 
 
iKi;rsAi.KM 
 
 ever tluit it was built by Omar. Mr. Fer- 
 gusson stands alone in believing that it is 
 Coustantine's Church of the Holy Sepul- 
 chre : the materials from which its older 
 parts are laboriously pieced together seem 
 to be distinctly Byzantine. Professor 
 Sepp sees in it a church of Sta. Sotia (the 
 Holy Wisdom) built by Justinian ; the 
 Arab historians and traditions unanimous- 
 ly declare it to have been built by Abd- 
 el-Malek, Omar's successor. It is proba- 
 ble that they are right, and that he built 
 it, about (JUO, out of the sjjoils of older 
 buildings, and by the hands of Byzantine 
 workmen. But it has been through many 
 alterations : the dome, destroyed l)y an 
 earthquake, was rebuilt in lo2"2 ; it has 
 since been again rebuilt. The Templars, 
 established within the precinct of the an- 
 cient temple (see El-Aksu) adopted the 
 round form of the Dome of the Eoek 
 for the churches, called temples, which 
 they built in London and elsewhere in Eu- 
 rojie, and many churches earlier and later, 
 e.g., Charlemagne's at Aachen, were built 
 in like imitation. It was purified and em- 
 bellished by Saladin after the Crusaders 
 were exijelled. Soliman the ^lagnificent 
 cased it in marble and tiles and filled its 
 windows with sjilendid glass. Since the 
 first Christians were allowed to enter it, 
 accurate plans have been made by the Eng- 
 lish Ordnance Survey, and photographs 
 taken for the Palestine Exploration Fund. 
 {See Fig. 96.) 
 
 ErcE Homo Ahih, or Arch of Pilate, 
 spanning the Via Dolorosa or Way of the 
 Cross at the convent of the Sisters of 
 Zion, in which building one side of the 
 arch is engaged. It is held to have been 
 a lionian triumphal arch of the time of 
 Hadrian, and has been very greatly ruined, 
 restored, and more or less remodelled. It 
 has been pointed out to pilgrims, since the 
 XV cent., as the place where Pilate ex- 
 claimed : Behold the ^Tan. 
 
 El-Aksa. This, the oldest mosque in 
 the world after that built by Mahomet at 
 
 Mecca, and next to that the most sacred, 
 stands on the southern edge of the terrace 
 of the ancient temple, the Haram es-Sher- 
 if. It is substantially a rectangle about 
 2T0 ft. long and 180 ft. wide, and has been 
 so often built over that its first form and 
 transformations are hard to trace ; but as 
 it stands now it has essentially the shape 
 of a basilica with triple aisles. I'he nave 
 and aisles run north and south, in order, 
 as an old Arab historian tells us, that the 
 mosque might front toward the Dome of 
 the Eock (q. r.) ; the transept skirts the 
 edge of the terrace. The front is crossed 
 by an open vaulted jiorch one bay deep, 
 with seven i^ointed arches corresponding 
 to the nave and aisles, which is much later 
 than the original mosque. The nave rises 
 liehind the central and widest opening, 
 and is covered with a high ridge roof, but 
 with a square frontisijiece, containing a 
 group of three windows, instead of a ga- 
 ble. The transepts also rise above the 
 aisles, and at the crossing is a high dome 
 on a drum perforated with windows. The 
 central nave and adjoining aisle on either 
 hand are marked oif by massive piers so 
 regular and distinct as to encourage the 
 idea that they were the original building, 
 in the form of an early Christian basilica. 
 The nave walls, of seven bays, are carried 
 on thick-set columns, with pseudo-Corinth- 
 ian and composite cajiitals of Byzantine 
 \vorkmansliip ; these columns, which are 
 plastered over, being apparently the short- 
 ened fragments of an earlier building. 
 They bear slightly pointed arches, stayed 
 by a continuous tie-beam. The wall above 
 is pierced by two stories of round-arched 
 windows, three to each bay, the lower 
 range opening into the aisles, the upper 
 serving as clerestory. A great arch with 
 solid wall above, like the triumphal arch 
 of a basilica, yet very slightly pointed, 
 cuts off the nave from the crossing. The 
 nave aiul two aisles, and also the tran- 
 sept, have timber roofs and ceilings, the 
 transept being of later and .slighter struct- 
 
 183 
 
I'SAI.K.M 
 
 lire, witli skMuk'rer shafts and .spreading 
 cajjitals of l)asket - work in i5yzantine 
 leafage, and iionai'd and stilted pier- 
 arches tied witli tinijjer. Under the nave 
 and its eastern aisle runs a erypt or vault- 
 ed gallerv of two aisles, entered from a 
 stairway in front of the porch. Tlie an- 
 gles between tlie transept and tlii' older 
 aisles are filled out witli two aisles on earh 
 side with square ])iers ;ind pointed arches 
 roughly Imilt ol' old material, used witli 
 but little regai-d for its original purpose. 
 These aisles are covered with groined 
 vaulting and a terrace-roof. The interior 
 is enriched with colored tiles, stained win- 
 dows, painting and gilding, in a jirofusion 
 whi('h dissembles tlie roughness and crudity 
 of the architecture. There has been great 
 disjHite on the origin of this building. 
 Procopius describes a great basilica built 
 by Justinian w iiliin the court of the Jew- 
 ish temple, and most authorities have in- 
 ferred that Kl-Aksa is substantially that 
 basilica. The orientation of the building 
 is an objection to that belief, and gives 
 color to the theory that it was entirely the 
 work of tlie ^foslems, though very likely 
 built of the fragments of Justinian's ba- 
 silica, taken from another site. A small 
 building adjoining the east transept is 
 thought to be the original ilosque of Omar, 
 whose name has been popularly transferred 
 to the Dome of the Rock, and a prolonga- 
 tion of the west transept into a double 
 vaulted aisle was probalily added by the 
 Templars when they used El-Aksa. The 
 Mos(iuc of Omar, whatever it may have 
 been, was built by Omar directly after he 
 had taken Jerusalem in (JoT. Abd-el- 
 Malek built, or else transformed, El-Aksa 
 near the end of the vii century. It was 
 thrice injured by earthquakes in the viii 
 cent., and rebuilt with considerable trans- 
 formations by I>;i-;\lahili ahout 7^0. After 
 Jerusalem was taken by the Crusaders, 
 Baldwin II. gave Kl-Aksa, then supjiosed 
 to be the remains, or the successor, of Sol- 
 omon's Temple, for a residence to a broth- 
 
 erhood of knights sworn to the defence 
 of the Holy City, who, estaldished thus 
 within the [irecinct of the temple, took 
 their nameof Templars. Altered by them, 
 it was again restored by Saladin after his 
 capture of the city in IIST. The elabo- 
 rate juilpit which he brought from .Me]iy)0 
 is still there. Since his time the Imilil- 
 iiig is pi'obably not greatly changed. 
 
 The (loLUEX CiATlC (Habel-I )aheriyeh) 
 is a gateway in the iiurlli wall of the 
 Ilaram (terrace of the Tcmiile) from 
 which steps led down touai-il the \'alley 
 of Jehoshaphat, or Kedron, opposite the 
 Mount of Olives. It is a rectangular mass 
 tliniugli which runs a doulile passage, 
 divided by a range of columns anil sub- 
 divided into six square bays covered with 
 domes in Byzantine fashion. It opened 
 at each eml by a double archway, hut has 
 been walled up for centuries— by Omar, 
 accor(liiig to the Moslem tradition, which 
 savs that it will so remain till the end of 
 the wiirld, and then give passage for good 
 Mussulmans to the honris of Paradise. 
 The Christian tradition is that here Christ 
 made his entry into Jerusalem as is de- 
 scribed in the New Testament. The in- 
 terior colnnms are late Ionic ; those on the 
 exterior are Corinthian, and carry a full 
 entahlatnre and an attic. Its jiciailiarity is 
 that the whole entablature is bent round 
 the coupled arches in the front, forming 
 their archivolt. There has been niuc-h 
 controversy over its age, Mr. Fergusson 
 holding that it was the entrance to Con- 
 staiitine's basilica, M. de \'ogiie and 
 others that it is of Justinian's time, or 
 later. But the carved detail is said to be 
 distinctly of Byzantine cliaraetcr. This 
 gate is not to lie ciinri>uiHle(l with the 
 (tolden (iate of Solomon's TcMi|ile, de- 
 stroyed with the temple. 
 
 (iuoTTo OK St. James, so-called. .\n ex- 
 tensive rock-tomb on the east side of the 
 Kedron valley, beyond the tombs of Ab- 
 salom and .lehoshaphat. The present en- 
 trance is by a long [)assage from the 
 
JERUSALEM 
 
 soiitli ; but the origiiuil entrance was no 
 doubt by the loggia IG ft. wiile of two 
 Doric columns 7 ft. high in antiK, open- 
 ing on the vertically cut face of the 
 rock. There is a Doric entablature over 
 the columns, and a Hebrew inscription 
 above the cornice. Within the loggia are 
 six connecting cliambers, three of them 
 with loculi for dead bodies. The tomb 
 has its name from a tradition that St. 
 James concealed himself in it after the 
 Crucifixion. 
 
 IIakam. See Temple Terrace. 
 
 IIebkew Kecropolis of rock-tombs, 
 just below the city in the Kedron valley, 
 and particularly in the neighboring val- 
 ley of lliunom. Xear the village of Bet 
 Sahur are several rock - chambers with 
 shelves for the bodies, some of the 
 cliambers witli entrance-doors, niches and 
 arches, and some with apses. On the 
 south side of the Hinuom valley are 
 abundant rock -tombs, some of whicli 
 were occupied by hermits in the Middle 
 Ages and are now used as dwellings by 
 I^oor families and for cattle. Some of 
 them have portals elaborately ornamented 
 with mouldings and pediments ; one con- 
 sists of two stories with a vestibule and 
 a number of cliambers with sculjitured 
 entrances ; another, called the Apostles' 
 Cavern [q. v.), serves as a chapel. In 
 the midst of the tombs is a building 
 called Aceldama, or building of tlie Field 
 of Blood. It is 30 ft. long and ::2U ft. 
 wide ; its vaults 34: ft. high are supported 
 on massive central pillars. The lower 
 part of this building is liewn from the 
 rock, the upper part is built of drafted 
 masonry. There are round openings in 
 the flat roof through which bodies were 
 let do\\ni. The building serves as tlie ves- 
 tibule to a series of tomb-chambers with 
 loculi cut in their walls. 
 
 The Hospital (Muristan) adjoining 
 the Holy Sepulchre on the south is the 
 dilapidated remainder of the famous 
 establishment of the Hosj^itallers, or 
 
 Knights of St. Jolin. It is chiefly a mass 
 of ruins, among which may be distin- 
 guished the remains of its church of St. 
 Mary Major. This was a small cliurch, 
 about oU ft. by 110 ft. inside, with a 
 nave and two aisles, and three apses at 
 the east, as was usually tlie case with the 
 Crusaders' churches. Tlie principal door- 
 way in the north aisle is still to be 
 seen, a broad round-headed archway witli 
 shafted jambs, and two sub -arches of 
 which the dividing column has disap- 
 peared. The heavy moulded archivolt is 
 carved with figures whicli personify the 
 calendar months, above which is a string- 
 course witli carved corbel-table. The rest 
 of the outside is concealed by abutting 
 buildings, and the interior is waste. (Jn 
 the south is a cloister rebuilt by the Arabs, 
 against which is a hall which serves for 
 the German Protestant chajiel. Among 
 the houses northward, between St. Mary's 
 and the Chajiel of St. Helena, are tlie 
 remains of St. Mary Latin {see Fiy. 04), 
 a nave of five bays and eastern apse, orig- 
 inally attached to the same foundation. 
 Charlemagne, favored by his friend Har- 
 oun el-Raschid, founded a convent here 
 for the assistance of pilgrims, of which 
 the pilgrim Bernard the Wise wrote in 
 the IX century : " We were received into 
 the Hospice of the glorious Emperor 
 Charles, where are entertained all those 
 who, for devotion's sake, come to this 
 l^lace and who speak the Latin tongue." 
 Two centuries later (1048) a company of 
 merchants from Anialfi, established at 
 Jerusalem, built a larger hospice attached 
 to a Benedictine convent, in which were 
 established two communities, monks and 
 nuns, and of which St. jVIary Latin was 
 probably tlie chai^el. A jirior named 
 Gerard, who was in charge when the 
 Crusaders captured the city, established 
 the brotherhood of St. Jolm, which, as it 
 grew, detached itself from the convent, 
 built the great hospital, and finally be- 
 came a militarv order. The eastern half 
 
 1S5 
 
JFJU'SALKM 
 
 of the Miiristan, containing St. M;ii-y 
 Mujur, was given by the Sultan to Prussia 
 ill 1879. when the Crown Prince visited 
 Constantinople. The Germans propose 
 to rcliuild the uhurch. 
 
 The KriiiiicT ks-Silseleh. standing 
 before the cast door of the Dome of the 
 Keck, is a picturesque little ojien pavilion. 
 Si.K columns ami arches bear a hexagonal 
 drum and round dome ; about them is an 
 open arcade of twice as many (columns 
 with an aisle-roof. The columns are By- 
 zantine, taken from older buildings ; the 
 arches round, the archivolts, spandrels, 
 and tloor of marble, decorated with mosaic ; 
 the low drum covered outside with tiles. 
 The name signifies Dome of the Chain, 
 and alludes to the chain stretched by Sol- 
 omon, according to Mo.slem tradition, 
 across tlie opposite door of the Dome of 
 the llock. 
 
 MostjL'E OF El-Ak.sa. See El-Akxa. 
 
 Mosque of Mtssi-lmax Dekvisiies. 
 See St. Peter's Church. 
 
 ^fosQiE OF O.MAK. See Dome (if the 
 Hork: also El-Aksu. 
 
 MURISTAK. See Jlu.yiildl. 
 
 Pyramid of Zaciiaiuas, a rock-tomb 
 of similar type to the Tomb of Absalom, 
 in the range on the east side of the Ke- 
 dron Valley. The square base almost re- 
 ])eats that of the Tomb of Absalom ; it has 
 pilasters at the angles, with quarter Ionic 
 columns engaged as antiB, and two engaged 
 Ionic c()lumns on every face. There is a 
 jilaiu architrave upon the columns, then 
 the typical Egyptian cornice, and the 
 whole is crowned i)y a quadrangular pyi'a- 
 nnd. The entire monument is hewn from 
 the solid rock, is isolated like the Tonil) 
 of Absalom l)y a trench cut vertically in 
 the rock-slope of the hill, and is of the 
 same date. The door has not been dis- 
 covered. The base is about 10 ft. square, 
 and the total height 29 ft. 
 
 St. Peteii's (Jitcucii, or Mosque of the 
 Mussulman Dervishes, is a little church 
 aboiil 4(1 ft. bv ;o ft. inside. It consists of 
 
 a nave ami aisles of three bays, each end- 
 ing eastward in an apse. The bays of the 
 nave are s([uare. those of the aisles oblong, 
 and all covered with groined vaulting on 
 cross ribs. The piers are square, with 
 only moulded imposts for capitals, and 
 plain bases, but with small nook-shafts at 
 the angles. The aisle-vaults spring from 
 corbels agiunst the side walls. Built in 
 with other liuildings. the chai)el has no 
 exterior. Its history is uncertain ; De 
 Vogiie assigns it to the first half of the 
 XII century. Its use as a mosque has pre- 
 served it in unusually good condition. 
 
 The Temple Teijrace (Ilaram es - 
 Sherif). It is not doubted that the site of 
 the Temple of the Jews was the great ter- 
 race that encloses the summit of Mount 
 Moriah at the S. E. corner of Jerusalem. 
 This is an irregular quadrangle more than 
 a (juarter of a mile long from north to 
 south, and two-thirds as long from east to 
 west, levelled u]) on high walls wliich fol- 
 low the undulations of the rocky hill-side 
 and against which, on the north and west, 
 abut the buildings of the city ; while on 
 the east is the Valley of Jehoshaphat and 
 the brook Kedrou, and on the south 
 the Valley of Ilinnom. The S. E. corner 
 of the terrace stands more than 1.30 ft. 
 above the surface of the rock and rests on 
 enormous vaulted galleries, but half its 
 height is covered by the debris which has 
 accumulated at its foot. The south side 
 of the terrace is occupied by the Mosque 
 of El-Aksa (c/. r.), beside which is the 
 T'riple Gate ; on the east side is the fa- 
 mous Golden Gate (</. r.), while the north 
 and W'Cst sides are skirted by a row of 
 small buildings broken by various gates 
 leading fi-om the town. In the middle is 
 a plall'iinu rising some Itl ft. above the 
 terrace, which an unlirokeu Jewish tra- 
 dition holds to be the platfoi'm of the 
 Temple itself. In this most modern au- 
 thorities concur. This platform, which eu- 
 clo.ses the summit of Mount iloriah (see 
 name of the lioel) is about 4.')0 ft. by oOO 
 
 186 
 
JERUSALEM 
 
 Fig. 97. — Jerusalem, Temple Terrace. 
 1. Dome of the Rock. 2. Mosque EUAksa. 
 
 3 Mosque of Omar (probably). 4. Golden Gate. 
 
 ft., and is reached by eight flights of steps. 
 {See Fig. 97.) 
 
 Solomon's temple, burned in 588 B.C., 
 when Jerusalem was taken by the Clial- 
 disans, was restored by Zerubbabel on 
 about the same plan as the original, but 
 with much less richness, and remained 
 until llerod undertook its complete re- 
 construction with a view of renewing the 
 splendor of Solomon. This with its acces- 
 sory porticoes and other constructions was 
 finished under the reign of Xero, and was 
 destroyed by the soldiers of Titus, a.d. 70, 
 after the memorable and tragic siege. The 
 masonry of huge stones which forms the 
 substruction of mucli of the wall is com- 
 
 monly believed to be the work of Solomon 
 or of llerod, but it has been subsequent- 
 ly overbuilt by Roman emjjerors, Crusad- 
 ers, aiul Turks. The site of the Temple, 
 despised and even defiled by Christians 
 in the first centuries after Christ, was, 
 we are told, occupied by Hadrian with a 
 temple ; later, Justinian built on it a 
 magnificent basilica, which was destroyed 
 by the Persian king Chosroes, 014 a.d. 
 Since the conquest of Jerusalem by Omar, 
 lioT A.D.. it has been held peculiarly 
 sacred by the Moslems, and the upper 
 platform, through which the summit of 
 Mount iloriah projected, is occupied by 
 their cherished sanctuary the Dome of 
 the Rock {q. v.). Of the structure of 
 Herod considerable portions remain in 
 the lower part of the walls, which are in 
 great blocks, from 3 ft. to G ft. high, 
 and 3 ft. to 23 ft. long (one block at 
 the S. W. is about 40 ft. long), well 
 jointed, and with a .shallow draft around 
 the edges. Next over this come stretches 
 of Roman masonry in smoothed blocks 
 about 3 ft. long, with no draft — doubtless 
 of the time of Hadrian. Above these the 
 often repaired walls are of various dates, 
 but chiefly Moslem. A stretch of the 
 ancient Herodian wall, lo'J ft. long and 
 50 ft. high, on the west side, not far from 
 the S. W. angle, is the Wall of Lamenta- 
 tions, where the Jews resort every Friday 
 to weep over the destruction of Jerusalem. 
 The nine lowest courses are of huge 
 drafted blocks. Close by the S. W. angle 
 are the abutments of Herod's bridge over 
 the Tyropceon ravines. An English excava- 
 tion here has laid bare a street pavement 
 anterior to Herod, and below the pave- 
 ment has been found part of the arch of a 
 bridge in enormous stones, buried beneath 
 the accumulation of ages, and perhaps 
 contemporaneous with Solomon. On the 
 platform are two cisterns, which, though 
 often restored, may be of the time of Solo- 
 mon. One is beneath tlie Sakra rock, the 
 orii'inal core of Mount Moriah, the other 
 
 187 
 
.iKi;rsALP:.M 
 
 is before the Mosijue El-Aksa. Tlie lat- 
 ter cistern is a noteworthy t^tnicture, 
 witii its roof supporteil "u jiilhirs (if 
 roi-k : it is over 40 ft. deep, ami alxiut 
 740 ft. in eircumfereuce. At the X. W. 
 corner of the Ilarani es-tShei'if, on the 
 site of the present barracks, was found- 
 ed at the time of the Maccabees, on the 
 rock which here projected above the 
 level of the platform, a strong, defensive 
 tower called Baris. This was altered and 
 enlarged by Heroil, and became the noted 
 citadel called Antonia. The Temple was 
 thus at once the chief sanctuary, market, 
 and fortress of the Jews. 
 
 Tomb of ABS.iLO.M. so called, in the 
 Valley of the Kedron, below the Temple. 
 It consists of a cubical rock-hewn base 
 about 20 ft. each way, isolated by a trench 
 about 8 ft. wide cut vertically in the rock 
 of the Mount of 01ive.s, with a square attic 
 of large stones over the Egy2)tian coi-nice 
 of the base, upon this a circular drum, and 
 finally a concave conical spire rising from 
 a cable-moulding at the toji of the drum 
 and ending in a finial like a tulip-flower. 
 The height of the whole above the jircs- 
 ent surface is 47 ft. At the corners of 
 the base are cut pilasters with rpiartcr 
 Ionic columns engaged on the inner sides 
 as anta?, and two engaged Ionic semi-col- 
 umns in (lilt is on every face. Upon col- 
 umns and antrt? rests an architrave, above 
 which is a Duric triglyph-frieze of late 
 form, then a large torus, and upon this 
 the Egyptian hollow cornice which has 
 been mentioned. A hole has been broken 
 into the interior chamber on one side by 
 treasure-seekers. There is a door high up 
 on the south side, from which a stair leads 
 down within. The interior is ornamented 
 with arcades. Despite the traditional at- 
 tribution of this tomb, which is defended 
 by l)e Saulcy, it is evident irom its archi- 
 tecture that it dates from a time when the 
 Greek types had become profoundly de- 
 based by Roman influence, and is doubt- 
 less later than the foundation of the Em- 
 
 pire. With such classical elements of the 
 decadence are combined, in this curious 
 monument, the Phaniiciaii elements char- 
 acteristic of the region. 
 
 Tomb of Jehoshapiiat, so called, in the 
 rock of the Mount of Olives, on the east 
 side of the valley of the Kedron beyond 
 the Tomb of Absalom. It has a broad en- 
 trance surmounted by a sort of pediment, 
 and six rectangular interior chambers, 
 some with niches, some without, commu- 
 nicating by narrow jiassages. 
 
 Tombs of the Judges, or of the 
 Prophets, beyond the Tombs of the 
 Kings, north of Jerusalem. They in- 
 clude three rock-cut chambers, with a 
 number of subordinate cells, all cut with 
 many loculi. graves, and niches. 
 
 Tom lis OF THE KixciS, nortli of the 
 city. From a large, square rock-cut open 
 vestibule a passage leads to a court DO ft. 
 by 81 ft., containing a cistern. On the 
 west side lies the portal of the tombs 
 proper, which formerly had two columns, 
 now- removed. It is ornamented with 
 sculj)tured wreaths, fruit, and foliage. In 
 the vestibule is a small round cistern to 
 which descends a flight of steps. A low 
 passage from the vestibule leads into a 
 chamber 19 ft. square, from three sides of 
 which open tomb- chambers with rock- 
 shelves and loculi. In one of these cham- 
 bers was found a richly decorated sar- 
 cophagus iu)w in the Louvre. The Jews 
 call til is elaborate burial-place the Tomb 
 of Zedekiah ; it is proliable that it is in 
 fact the tond) of Queen Helena of Adia- 
 bcnc. which is referred to by Josephus. 
 
 The ToMii OF THE \'iu(;ix and its 
 cliurch lie in the \'alley of the Kedron. 
 or of .Jehoshapiiat. close bv the (lardcii of 
 (iethsemane, under the walls of the ter- 
 race of the temiilc. The soil, which has 
 filled the bottom of the valley to a depth 
 of no or 40 ft., has completely buried 
 the church, which is now subterranean. 
 A small cubical porch about 25 ft. square, 
 the oiilv part above ground, covers the 
 
 iss 
 
J ESI 
 
 eiitniiiee. Its doorway is a ilouhlo coii- 
 ceiitrio pointed arcli, flanker! l)y live 
 Gothic colmiius. 'I'iie iniirr arcli is 
 blocked by a wall, added I'or det'euce, 
 which reduces the door to the .smallest 
 limits. From here a broad flight of steps 
 leads down 35 ft. to the church itself, 
 which is a single nave about GO ft. long, 
 east and west, and :^1 ft. wide. It is 
 jiartly groined and partly barrel-vaulted, 
 and has an ap.se at each end, the entrance 
 being at the south arm of a short tran.sejit 
 near the west end. The eastern apse is 
 the choir of the Greeks, and in front of it 
 is the tond), an isolated square marble 
 chapel which is said to enclose the sepul- 
 chral cave in which the body of the Vir- 
 gin lay from her death to her assumption. 
 The Abyssinian Ciiurch has its altar be- 
 fore the western apse ; the Armenians 
 have built one against the tomb ; the 
 Moslems have a prayer-niche in the south 
 wall. The architecture is as simple as 
 possible, without any features excejit a row 
 of windows which once lighted the church, 
 but are now completely blocked by the 
 accumulated earth outside. Two small 
 chapels opening out to right and left on 
 the entrance stairway are called the tombs 
 of the Virgin's jiarents and of St. Joseph. 
 Near by, but entered from outside, is a 
 cave in the rock, believed to ])e the scene 
 of Christ's agony on the night of his ap- 
 prehension. A church on this spot is 
 mentioned by John of Damascus as early 
 as the V cent., but the tradition that it 
 was built by the Empress Helena is un- 
 supported. It is often spoken of by la- 
 ter pilgrims, and was ruined or fell into 
 decay, (iodfrey of Bouillon founded a 
 ('lunisian (Benedictine) monastery here 
 directly after his establishment at Jeru- 
 salem, and the jiresent church was proba- 
 bly built for that monastery. 
 JESI, near Ancona, Italy. 
 
 The brick church of S. Mauco is in the 
 fine late Romanesque vaulted style of the 
 XIII or early xiv cent., with an admixture 
 
 of i)ointcd elements. The luive consists 
 (if four square bays and measures about 
 l.'iO n. l)y 5.5 ft. The eight low pointed 
 arches are sujjported on octagonal piers, 
 and two square bays in the side aisles cor- 
 respond to each bay of the nave. All the 
 vaults ai'i' ribl)ed with a simple torus 
 moulding. In the fa(;adc is a large rose 
 window with a double band of decoration, 
 the inner being a combination of sculpture 
 and circles of majolica. The o]io large 
 round-headed doorway has heavy twisted 
 colonnettes and mouldings. This church 
 is important for the history of architecture 
 in the Marches of Ancona. [A. L. F., 
 Jr. J 
 
 KALAT EL-MUDIK. See Apameia. 
 KALAT SIMAN, Northern Syria. 
 
 The great clinrch of St. Simeox Sty- 
 LITES was the largest and most important 
 in central Syria. It is recognizably de- 
 scribed by the historian Evagrius, a cen- 
 tury after the saint's death in 459, and 
 De Vogiic ascribes it to the latter half of 
 tlie V century. The pillar on which St. 
 Simeon had passed his later years was 
 made the centre of an open octagon or 
 Inipmtlivnm. from which the four arms of 
 the church radiated east, west, north, and 
 south. Though the church is ruined, 
 enough of it still stands to show its whole 
 form and structure. The arms were like 
 so many basilicas, with nave and aisles 
 separated by arcades of seven bays (except 
 the eastern, which was longer) carrying a 
 clerestory, and ending in an o\)e\\ porch 
 or colonnaded portico. The eastern arm, 
 lengthened to ten bays, ends in three 
 windowed apses, being perhaps the earliest 
 known exam])le of a triapsal church. The 
 whole length of the church east and west 
 is :3.3(i ft., north and south ;50() ft. The 
 central octagon is inscribed in a circle of 
 100 ft. radius : the naves are 36 ft. wide, 
 the aisles IS ft. 'IMie columns, standing 
 on pedestals, are 'iX ft. high, and the 
 whole walls 49 ft. Wliile the four naves 
 abut against the four cardinal sides of the 
 
KALAT 
 
 octagon, tlio aisles are foiitinned along- its 
 diagonal sides, connecting the fonr arms, 
 and small apses are set in the angles be- 
 tween them. Eacli face of the octagon 
 opens in a great arrh Hanked by two de- 
 tached columns, so as to give from all 
 
 Fig. 98.— Kalat Siman. 
 
 parts a clear view of the central column. 
 The clerestory was a continuous row of 
 round -arched windows, between which 
 stood a series of colonnettes on corbels, 
 carrying other corbels that suj^ported the of buildings which 
 
 the front of the nave, ending appar- 
 ently like the rest in a horizontal cornice. 
 This chnrch has been cited as the first 
 instance of the cruciform type of church 
 which afterward pervaded Europe, but it 
 is to be noted that it is not so much a sin- 
 gle church as a collection of four naves 
 about an open centre, the occasion of 
 which, the sacred pillar at that centre, 
 was the focus of observation from every 
 side, and that the arms were divided from 
 each other by this main object of interest, 
 while the service, here apparently second- 
 ary to the adoration of the pillar, appears 
 to have been held only in the eastern arm, 
 where the apses were. It seems to have 
 remained absolutely without imitation in 
 the East, while the cruciform type was 
 developed in the AVest. The architectural 
 details, however, here as elsewhere in 
 central Syria, are curiously suggestive of 
 forms that were used later in Romanesque 
 architecture, especially in the south of 
 France. {See Fig. 08.) 
 
 In the century after St. Simeon's deatii 
 his reputation gri'w enormously ; the 
 crowd of followers who had gathered aliout 
 him in his lifetime increased to a con- 
 siderable community. The large group 
 enclosed within the 
 
 roof-trusses. There is no indication of 
 any roof gables, so that apparently the 
 upper cornices were horizontal through- 
 out, and the roofs of the naves seem to 
 have been hipped. The main apse, which 
 is large, and as high as the nave, is deco- 
 rated without by two ranges of applied 
 columns, separated only by corbels, the 
 upper range carrying an arched corbel- 
 table which bears the main cornice. In 
 front of the south arm of the cross, where 
 the main entrance is, there is a striking 
 open porch, or narthex, oi)ening with 
 three broad arches, the middle one very 
 broad, which are surnu)unted by gables. 
 Four doors lead from this porch into the 
 church, two of them into tlie nave. 
 Above it the clcrestorv is returned across 
 
 same surrounding wall with the church, is 
 doubtless a convent annexed to it. In it 
 are found a small basilica, as for private 
 services, cloistered courts, and the various 
 rooms necessary to such an establishment. 
 At the foot of the hill where St. Simeon 
 stands, is an interesting group of build- 
 ings now called Der Siman, or Simeon's 
 Convent. The jirincipal buildings, gabled 
 and unroofed, are surrounded by porticoes 
 in two or three stories, built of large 
 monolithic pilasters and beams, and now 
 standing disconnected. One house is 
 connected by a stone trestle-bridge with 
 higher ground adjoining it. The road that 
 leads up to the church is spanned by a 
 triumphal arch of peculiar form. It is a 
 single wall, pierced by an arch of about 
 
 VM 
 
KALB 
 
 24 ft. span and nearly the same height. 
 The deep voussoirs bear on columns (h'- 
 tached in the line of the wall, and the 
 piers are stayed by lateral buttresses 
 which give them the shape of a T in 
 plan, and which, ending in colonncttes, 
 receive the corbelled cornice that crowns 
 the whole arch. 
 KALB LUZEH, Xorthern Syria. 
 
 The CiirRCH, which is ascribed to 
 the VI cent., is much like that at Ru- 
 weiha iu plan, though somewhat small- 
 er, without its cross-arches, and richer 
 iu detail. It is about 5.5 ft. by 115 ft., 
 consisting of a nave and aisles with pro- 
 jecting eastern apse, and an open nar- 
 thex between two square towers at the 
 front. The nave, 25 ft. l)y 85 ft., is , 
 separated from each aisle by an arcade 
 of three broad arches carried on low 
 wide piers. The choir, raised some 
 four feet, ends in the large domed apse 
 faced by a heavy sculptured archivolt. 
 Over the main arcades is a clerestory 
 of many small windows, nearly square, be- 
 tween which were ranges of colonnettes. 
 resting on corbels and bearing other cor- 
 bels that supported the trusses of the ga- 
 bled roof. The porch 
 was entered through a 
 very broad low arch, 
 like those that line the 
 nave, and the apse was 
 decorated on the out- 
 side with two stories of 
 engaged colonnettes 
 separated only by cor- 
 bels, and supporting 
 a heavy corbelled cor- 
 nice. The church is 
 r u i n e d , but all its 
 jjrincijial features sur- 
 vive. Its massive de- 
 tail is set otf by abun- 
 ' — ' — ' — ' — ' — ' dant decorative scul^jt- 
 Fig. 99.-Kaib Luzeh, ^^g ^f great Spirit and 
 
 Church, from de Vogue's . i -i. i 
 
 Syrie Centraie. richncss, and US oe- 
 
 Scaie of 50 feet. sigu anticipates in a 
 
 i 
 
 Fig. 100.— Kalb Luzeh. Church. 
 
 singular way many of the characteristic 
 features of western Romanesque architec- 
 ture. (See Figx. 99. Kio.) 
 KAN'AWAT (anc. ilaximianopolis), Ilau- 
 
 ran, Syria. 
 
 The Basilica was a l>nilding of the 
 Roman type rather than the Syrian, the 
 aisle being continued across the ends of 
 the nave, where it had a second story as 
 in Sta. Agnese at Rome. The lateral ar- 
 cades were in five bays, the arches resting 
 directly on the capitals of the very plain 
 columns, which stood on pedestals, and 
 the middle arch on each side being con- 
 siderably wider than the others. There 
 was a single round projecting eastern apse, 
 flanked in the eastern fashion by the pro- 
 thesis and diacouicou. The original roof 
 was of wood, but was replaced iu later 
 alterations iu the usual Syrian fashion by 
 one of stone slabs resting on cross-arches, 
 which were added, imbedding the col- 
 umns. In front was an ojien atrium ar- 
 caded on all sides like the nave, and before 
 
KAsi; 
 
 tliLs an (ijn'ii pDrtico or narthex, support- 
 od oil ail orilur of larger and riclior com- 
 posite columns. Adjoining this basilica 
 is a smaller one at riglit angles to it, built 
 into the l>ody of an older building at the 
 same time, apparently, that the alterations 
 were made in the larger church. It is of 
 the ordinary Syrian type with cross arches 
 carried cm piers, lu against its side is 
 another (i|H'n arcaded narthe.x, remaining 
 from the older building, with the entab- 
 lature bent over the central arch, as at 
 Spalalo and Damascus. The alterations 
 probably date t'l-oni the v I'ciit. ; the oliK-r 
 buildings can liariUy be okler than Dio- 
 cletian. The smaller and newer basilica 
 is duly oriented : the axis of the dldei' is 
 north and smith. 
 
 Temim.I': oi' IIklios (the Sun), outside 
 of the town, on an elevation in the middle 
 of the valley. It stands on a basement 10 
 ft. high, with a flight of steps in front. 
 It is Corinthian, peripteral, he.xastyle, 
 with eight columns on the flanks. There 
 is an interior range of columns before the 
 portal. The columns, ten of which re- 
 main standing, are aliout ■.'•"> ft. liigli and 
 rest on pedestals 4A I't- Idgh. The plan 
 measures about 4() ft. by i'A ft. Tiie style 
 and execution are excellent, and testify to 
 early Koinaii date. 
 
 Templk oi- .h iTIKli. ill the southei'ii 
 part of the town, in plan about lltS ft. by 
 4() ft., ]ii'ostyle, with four great columns 
 about :!"i rt. higli, and two smalk'i- in- 
 terior columns /// //////x before the jiortal 
 in the pronaos. In the back wall there 
 were two niches, one over the otiier. The 
 temple is of good style and early lioinaii 
 date. Its attribution is shown liy in- 
 scriptions on the bases of the eolumns. 
 Near this temple, remains of statues, etc., 
 seem to indicate a hipijodrome. 
 
 Koman TirE.VTiii-:, without tiie walls, 
 on the right bank of the brook. It is al- 
 most entirely hewn from the rock, and is 
 about ti:} ft. in diameter, with nine tiers of 
 seats, the lowest raiseil t,', I't. above the 
 
 orchestra. There is a cistern (?) in the 
 middle of the orchestra. Uesides the 
 usual entrances at the sides of the stage, 
 it is described as having an entrance in 
 the middle of the proscenium. 
 
 A great part of the circuit of the 
 Roman \V".\_Li,s survives, with numerous 
 square towers. A number of paved streets 
 can be followed, and many remain of the 
 stone houses of the llauran, with their stone 
 doors and windows. There is a small tem- 
 ple, or nymplupum, over a spring, a circu- 
 lar tower 21 ft. in diameter, perhaps a mau- 
 soleum, both these without the town, and 
 abundant remains of public buildings, with 
 sculpture and columns, besides pre-Koman 
 ruins of towers and walls in very massive 
 masonry, and a beautiful ancient aqueduct. 
 KASR"kAHHA. See A'rV rl-Kanii. 
 KATAKA. See IlnlboHra. 
 KHIKHET II ASS. Syria. 
 
 MONUIIEXT OF DiOdKN'ES, of the IV 
 
 century A.U. The substructure is cubical, 
 with a decorated portal preceded by a 
 porch. The second story is also cubical, 
 with a peristyle : and the monument is 
 crowned by a jiyraniid. There are many 
 other interesting tombs in the necropolis 
 of Khirliet llass, some vaulted, others 
 cut in the rock. T'wo are entered by de- 
 scending inclined planes. There are also 
 interesting groups of well-preserved do- 
 mestic and ec(desiastical buildings, includ- 
 ing two churches, all substantially like 
 those that remain at El-Bara (q. v.). 
 KIEJATH JEARIM. ^cv Alm-dosh. 
 KOD.TA YAILEH. See Melassa. 
 KUKMVA (dcrme), Pisidia, .\sia Minor. 
 The ancient remains comprise a theatre 
 temples, a eolonnade. and the ruins of a 
 triumphal arch, all of comparatively late 
 date. It is the architecture of a period of 
 decadence. i)retentious and heavy, but of 
 interest and imjiortance as illustrating the 
 falling away of Hellenic types from earlier 
 ideals, and the modifications introduced by 
 the (ii'cco - Uoniaii architects under the 
 I'lnHiire. 
 
CONSTANTINOPLE-MOSQUE OF SULEIMAN 
 
 n- • ''C jfMtvt 
 
KROTONA 
 
 KROTOjSTA. See Cotrom. 
 LABRANDA, Caria, Asia Jlinor. 
 
 Temple (of Zeus ?). It is t'uriutliian, 
 peripteral, hexastyle, witli eleven columns 
 on the flanks. The height of the columns 
 is nine and a half diameters ; in some of 
 their flutes are left small fillets, which are 
 inscribed with the names of benefactors. 
 The frieze is convex, the cyma ornamented 
 with lion-heads. The cella had two col- 
 umns in antis in both pronaos and opis- 
 thodomos. Sixteen columns remain stand- 
 ing with part of their entablature ; those 
 on the south side are unfluted, and the de- 
 tails of architrave and frieze unfinished, 
 showing that the temple was never com- 
 pleted. The columns have square plinths, 
 the stylobate is buried in debris. The 
 material is white marble. 
 LANCIANO (anc. Anxanum), Italy. 
 
 The Bridge is ascribed to the iii cent., 
 and called Diocletian's, but was rebuilt at 
 the beginning of the xiii. On it stands 
 the chapel of S. M. del Ponte, rebuilt at 
 the same time, in Gothic style, but dating 
 from the xi century. 
 
 S. GiovAXXi IS Vexere, a ruined 
 church near the town, is a basilica with 
 transept and crypt, believed to date from 
 Justinian's time, and once adjoined to a 
 Benedictine monastery. The sculptured 
 facade of brick and stone probably belongs 
 to the XII cent., with alterations of the 
 
 XIII. 
 
 Sta. Maria Maggiore, consecrated in 
 1227, has a brick and stone horizontal- 
 topped fa9ade. with a handsome wheel 
 window, the doorway and windows deco- 
 rated with twisted shafts and carved detail 
 partly Lombard Romanesque, partly Xor- 
 man. The fa9ade, one aisle, and tower 
 are original, the rest modernized. 
 LAOrilCEA AD LYCUM (Eski Hissar), 
 Asia Minor. 
 
 Odeuji, north of the Stadium, partly 
 excavated from a hill-side, and fronting 
 south. The exterior diameter is 137 ft., 
 that of the orchestra, 77 ft. Pococke saw 
 
 but eight tiers of seats, but thought there 
 must have been at least twenty. The back 
 wall of the stage, now in ruins, had three 
 doorways, the middle one 20 ft. wide, 
 those on the sides 12 ft. wide ; between 
 the doorways and on each side, on pedestals 
 about 6 ft. high, were coupled composite 
 columns. The marble remains and sculpt- 
 ures show that the building was highly 
 adorned. 
 
 Stadum, or Hi2ipodrome, excavated 
 from the side of the hill at the south end 
 of the city. It was built 79-82 A.D., 
 according to an inscrijjtion. It w'as about 
 1,000 ft. long and rounded at each end, 
 where there was an arched entrance 11 ft. 
 wide. Of the seats, twenty-three tiers re- 
 mained in Chandler's time. 
 
 Theatre, excavated in the side of a 
 steep hill. The plan embraces a little 
 more than a semicircle ; the exterior 
 diameter is 364 ft. ; that of the orchestra, 
 136 ft., the distance from the stage to the 
 outer wall of the cavea is 223 ft.; the 
 length of the stage structure about 143 ft. 
 The seats are divided by a precinction or 
 horizontal corridor about 10 ft. wide into 
 two ranges, the lower of twenty-two tiers, 
 the uf)per of twenty-six. The back wall 
 of the stage was elaborately decorated ; its 
 columns were Ionic of unusual design, 
 like some in the Zeus temjjle at Aizanoi, 
 their bells bearing acanthus leaves beneath 
 the volutes. 
 
 There is an ancient colonnaded street, 
 extending both within and without the 
 walls of the city, also an interesting aque- 
 duct consisting in part of arches of small 
 stones, in part of cylindrical stone pijies 
 laid on the surface of the ground, and an 
 extensive necropolis. 
 
 LAODICEA AD MARE. See Latakia. 
 LA RICCIA. See Jr/cr/ff. 
 LATAKIA (Ladikiyeh, anc. Laodicea ad 
 Mare), Syria. 
 
 The Tetrapyle Arch, a four-faced 
 triumphal arch, is due iierhaps to Septi- 
 mius Severus, who did much to beautify 
 
 193 
 
LECCE 
 
 Laodicea. It spaniierl two cross-roads, 
 iiiid is a mass of cut stonework a])out 40 
 ft. square and considerably higher. It is 
 pierced by two archways at right angles, 
 and on the principal front the arch, 
 higher th;in the others, is flanked by en- 
 gaged Corinthian columns. These carry 
 a full entablature, which bears a pediment, 
 and is continued round all four sides. An 
 attic above it was decorated with reliefs. 
 The interior is covered by a dome resting 
 on an octagonal cornice, whicli is supported 
 over the angles by triangular pendentives. 
 LECCE, Italy. 
 
 SS. NiccoLO E Cataldo, an interest- 
 ing Eomanesque church of the xii cent., 
 rectangular in plan, consisting simply of 
 nave and aisles sejiarated by five pointotl 
 arches on each side sj)ringing from square 
 piers with a half column on each face. 
 The aisles are divided into square groined 
 bays by transverse arches with responds on 
 the aisle walls. The middle bay of the 
 nave is covered by a lantern and elliptical 
 dome, the others by a slightly pointed 
 barrel-vault. The middle bays of the 
 aisles form a transept, and show without in 
 high transverse gabled roofs. The front 
 was modernized in HQi with the exception 
 of the doorway. The walls of aisles and 
 clerestory have flat pilaster-strips, ending 
 in arched corbel-tables. The central lan- 
 tern, of conspicuously Byzantine character, 
 elliptical within, is externally octagonal 
 with angle -sliafts carrying a decorated 
 round areliivolt on each face with :i round 
 window, and crowned with a plain octag- 
 onal dome. Tlie church was part of a 
 monastery founded by Tancred in 1180, 
 and replaced an earlier church. 
 LEGHOUX (Livorno), Italy. 
 
 The Cathedral is a Renaissance church 
 built about the end of the xvi cent, from 
 the designs of Alessandro I'ieroni, called 
 a pupil of Vasari. It has a nave about 
 oQ ft. wide without aisles, covered by a 
 flat wooden ceiling, the walls broken by 
 an order of pilasters with six intervals. 
 
 each with a large window. Flanking the 
 easternmost bay are two chapels with 
 domed ceilings forming a transept exter- 
 nally, but closed within by the walls of 
 the nave. There is a small rectangular 
 choir ending in a round apse. The front 
 has an arcaded and vaulted portico of 
 coupled columns by Inigo Jones, forming 
 a portion of the arcades of the public 
 square on whicli the church stands. 
 Three doorways under this portico give 
 entrance to the nave. 
 LESINA, Dalmatia. 
 
 The Cathedral and its campanile date 
 from the xvi cent. ; the choir may be 
 older. The fa9ade, imitated from the 
 duomo of Sebenico, has a semicircular ga- 
 ble with a quadrant on each side closing 
 the aisles. There is a Renaissance door- 
 way with sculptured tympanum, appar- 
 ently older than the rest. It is a three- 
 aisled church, the nave modernized and 
 stuccoed. The choir has some carved 
 walnut stalls of the xv cent., and at each 
 side of its entrance stands an octagonal 
 stone pulpit on columns of Venetian 
 Gothic, and a stone lectern. 
 LIVORNO. See Leghorn. 
 LOCRI (anc. Lokroi), near Gerace, Italy. 
 
 Temple of Peusephoxe (?) (Proser- 
 pine). Nothing remains in i<i//i of this 
 important Greek temple except parts of 
 tlie foundations, which were discovered 
 liy Petersen in 1889 ; but excavation has 
 yielded material for a jiractically complete 
 restoration, as well as of that of a much 
 older temple on the same site, and has 
 given important data for the character of 
 the early Ionic order of the temjile and 
 its i^lastic decoration. The stylobate, 
 measured on the uppermost step, is 57 ft. 
 by 143 ft.; the cella. 0.5 ft. by ^(j ft. The 
 temple was a peripteros of six columns by 
 seventeen on a stylobate of three steps, 
 with two columns in ant is in both ])ro- 
 naos and opisthodomos, and dated fi-om 
 al)()ut the middle of the V century i:.i-. 
 Tlie Ijases of the columns with round 
 
 194 
 
LORETO 
 
 plintlis were carved in one piece with tlie 
 lowest drums. They are very like those 
 of the Ilera'uin at Samos. The lower di- 
 ameter of the shafts, wliich had twenty- 
 four shallow flutes, was 3 ft. 7 in. Their 
 height, iucludiug the capital, is reckoned 
 at 29 ft. The shafts ended above in 
 a beautiful though arcliaic anthcniion 
 monlding and a plain astragal. The vo- 
 lutes of the capitals are very simple, and 
 close in type to those of the Heraium of 
 Sanios. There are traces of red color on 
 the columns. The water-channels of the 
 cornice bore the usual lion-heads. Re- 
 mains have been found of the sculptures 
 of the western pediment, the 
 chief pieces being : a triton, a 
 horse, the torso of a youth, and 
 a headless female figure, in Pa- 
 rian marble and of excellent de- 
 sign. 
 
 The older temple occupied the 
 same site as its successor, with 
 the east end of which its east 
 end almost coincided, except for 
 some difference in orientation. 
 The entrance portico projects so 
 much that there may have been 
 a second range of columns in it : 
 though it is more likely that the 
 ceiling and superstructure were 
 entirely of wood. The prouaos 
 liad columns, no doubt two, in 
 ant is. The structure of the 
 foundations gives indication 
 tliat the simple cella in antis was 
 the original temple, and very 
 old, perhaps almost contempora- 
 neous with the foundation of the 
 city early in the vii century B.r. 
 The peristyle was much later, 
 perhaps not much earlier than 
 the reconstruction of the v cen- 
 tury. Some remains were found of 
 .sheathing - plates in terra -cotta painted 
 with braids and leaf-ornaments in black, 
 dark red, and yellow, of archaic design. 
 Koldewey conjectures that both new and 
 
 old temples were heptastyle, and that their 
 cellas had a central range of columns. 
 The new temple, exoept for its greater 
 length, would thus practically reproduce 
 the old, and both would then resemble the 
 so - called Basilica at Pajstum, and the 
 early temple at Neandria, a class which 
 may have had more examples in the an- 
 cient Greek world than has hitherto been 
 recognized. 
 LORETO, Italy. 
 
 CuiESA DELLA Sta. Casa. The pres- 
 ent imposing church is the result of suc- 
 cessive enlargements and rebuildings of 
 the church whicli was built in the earlv 
 
 Fig. 101. — Loreto, Church of Santa Casa. 
 
 years of the xiv cent, over the House of 
 the Virgin, transported miraculously from 
 Xazareth and set down on the shore of 
 the Adriatic. Its plan is a Latin cross 
 about 3.30 ft. long and 23.5 ft. wide across 
 
 195 
 
LUCCA 
 
 the transept. Tlie original church was 
 Gothic, and tlie (iothic forms are still pre- 
 served in the nave and aisles, which are 
 
 s^^^i^m^m^ 
 
 Fig. 102.- L.- to, b.,;,:j C.i 
 
 separated l)y arcades of six jjointed arches 
 on each side springing from square piers 
 with foliage capitals and stilt-blocks. The 
 bays of the nave and aisles are groined, and 
 in the outer wall of each aisle bay is a rect- 
 angular altar-niche. The crossing is cov- 
 ered by a high octagonal dome raised on a 
 drum, about 60 ft. in diameter, supported 
 by eight massive piers, which are joined by 
 round arches higher and broader in the 
 four cardinal faces tliaii in the others. 
 The faces of the drum are pierced by 
 square-headed windows enclosed in heavy 
 moulded architraves and pediment caps, 
 and the whole treatment of this central 
 portion of the church is in the style of the 
 XVI cent. Renaissance. The plan of the 
 eastern half is very elaborate, the central 
 octagon is surrounded by aisle bays, and 
 the transept and choir are flanked by 
 aisles, and all have apsidal ends. In each 
 external angle of the cross is a turret. 
 The Holy House, for the protection of 
 which the church was built, occupies a 
 
 position under the central dome. It is a 
 brick building about 10 ft. wide and 30 
 ft. long internally, and about V.i ft. high, 
 enclo.sed witliin a very splendid 
 . :?<^j nuirble casing about :i8 ft. high, 
 ^. designed by Bramante, or, as 
 **" some say, by Sansovino, who ex- 
 ecuted it, with coupled Corin- 
 thian columns standing on ped- 
 \ ostals and carrying an entabla- 
 ture and balustrade, the inter- 
 vals filled with panels charged 
 with bas-reliefs and statues in 
 niches by Sansovino, John of 
 Hiilogna, and other masters. The 
 liiiuse is entered by bronze doors 
 executed by Girolamo Lombar- 
 -, _ do. In the exteri(»r, Gothic and 
 
 I " I Renaissance forms are mingled. 
 
 The central dome and the fa- 
 cade are wholly Renaissance, the 
 former the work of San Gallo 
 and Rranu^nte, and occupying 
 the greater part of the xvi 
 cent, in building — the bold and pictu- 
 resque front by Calcagni, finished in 1.587. 
 The facade, in two stories, is divided by 
 coupled Corinthian pilasters into three 
 compartments, each containing in the 
 lower story a richly decorated doorway. 
 The upper story, with only the breadth of 
 the nave, is covered by a pediment and 
 connected by broad scrolls with the cornice 
 of the order below. At the north angle 
 of the facade is a detached bell-towcr with 
 four stories of jiilasters and columns 
 crowned by a bulbous spire, the upper 
 part added by \'anvitclli. (Nrr Fii/s. Jdl, 
 
 II hi. ) 
 
 LUCCA (anc. Luca), Etruria. Italy. 
 
 Roman Amphitheatre, still surviving 
 to a sufficient extent to fix its plan and 
 dimensions, though its interior area is 
 now occu2)icd by the Piazza del Mercato. 
 Portions are visible of the exterior walls, 
 particularly in the N. E. quadrant and 
 about the chief entrance, which is at the 
 eastern extremity of the long axis. The 
 
LUCCA 
 
 exterior facing consisted of two tiers, eacli 
 of fifty-four arciies framed by columns. 
 The level of the arena is 11 ft. below the 
 present surface of the piazza. It is esti- 
 mated that the amphitheatre could receive 
 nearly eleven thousand spectators. The 
 date is late in the first cent. a.d. or early 
 in the second. The exterior axes are -tOO 
 ft. aiul 310 ft. ; those of the arena 2.58 ft. 
 and 1T2 ft. The height of the exterior 
 wall was 48 ft. 
 
 The Cathedral (S. ilartino) is a 
 very ancient Lombard church which has 
 undergone important changes at various 
 times. It is cruciform, some 275 ft. long 
 and l-tO ft. across the transept, with a 
 nave about 30 ft. wide and aisles 23 ft. ; 
 nave - piers composed of four pilaster- 
 faces with octagonal shafts in the angles, 
 high pedestal-like bases and large foliated 
 capitals. The pilaster toward the nave 
 is carried up through the triforium and 
 clerestory to take the spring of the trans- 
 verse arches across the nave. The nine 
 nave-arches are round except the eastern- 
 most, without mouldings ; and above them 
 is a triforium. opening from the nave by 
 two round arches to each bay, each arch 
 divided into three lights with Gothic 
 tracery in the heads. Above is a small 
 rose in each bay under the jiointed arch of 
 the vault. The aisles are lighted by lan- 
 cet windows high in the wall. The tran- 
 sept has an eastern aisle with two bays in 
 each arm and clerestory as in the nave, 
 but with pointed arches. The nave-arches, 
 with the wall of the triforium and clere- 
 story, are continued across the tr.msept on 
 either side. The choir ends in a high 
 round apse. The pavement of the nave 
 has an inlay of colored marbles, represent- 
 ing the Judgment of Solomon. The ex- 
 terior is of unusual interest. The faQade, 
 rebuilt in 1204, but of which the details 
 are substantially those of the old front, 
 resembles in style the cathedral of Pisa, 
 Irat is treated with greater breadth and 
 richness of decoration, though with less 
 
 elegance of proportion and detail. It is 
 in four stages, banded in wliite and black 
 marble, of which the first consists of an 
 open vestibule or loggia with three great 
 round arches springing from comjiound 
 piers and surrounded with moulded and 
 decorated archivolts. Within the vesti- 
 bule the wall is panelled by pilasters and 
 blind arches, three of which contain en- 
 trance doorways with bas-reliefs in the 
 tymi^ana. That over the left-hand door 
 is a Deposition by Niccolo Pisano, dat- 
 ing from 1233. The upper stages con- 
 sist of arcades on columns extending the 
 whole breadth of the front and crouching 
 beneath the sloping eaves of the aisles. 
 The columns are of varied design, the 
 shafts plain, twisted, coupled or covered 
 with sculpture in relief ; and the spandrels 
 are charged with an inlay of black and 
 wliite marble rei^resenting hunting scenes 
 with men and animals in vigorous action. 
 Kound-arched windows in each of these 
 galleries, half hidden behind the columns, 
 give light to the interior. The upjjer 
 gallery covers only the breadth of the 
 nave. A tall square campanile rises from 
 the south angle of the front with a bat- 
 tlemented top and with its many stories 
 separated by strong arched corbel-tables, 
 under which are narrow round - headed 
 windows ijicreasing in number with each 
 story. The sides of the church are ele- 
 gant in design. The interior bays are 
 indicated by fiat panelled buttresses, termi- 
 nating in gabled niches. Each bay con- 
 tains a blind arch, under which is a gabled 
 lancet window and above it a blind arcade 
 with a cornice and pierced balustrade. 
 The wall is everywiiere banded with 
 courses of black marble. The aisle roofs 
 are flat, and above them the clerestory 
 wall is ornamented with a blind arcade on 
 columns and a rose window in each bay. 
 The east end is also noteworthy. It has 
 a blind arcade enclosing broad round- 
 arched windows, and above this an open 
 arcaded gallery with smaller arches and 
 
 197 
 
LUCCA 
 
 detached columns cro^\aied by a dec- 
 orated cornice. This treatment is con- 
 tinued around tlie ajise. The ehnrcli aji- 
 
 103.— Lucca. Cathedral. 
 
 pears to have been founded al)out the 
 middle of the vi cent, and destroyed by 
 war not long after. It was rebuilt, and 
 after bccomina; ruinous was again restored 
 from 10.50 to 1070. being consecrated in 
 the latter year. The front was rebuilt in 
 1:204 by (iiudetto, the transept and per- 
 haps tiie apse from 1308 to 1320. {See 
 Fir/. 103.) 
 
 Palazzo GriNroi, a Gothic palace, in- 
 teresting for the simplicity and elegance 
 of its design, and its perfect preservation. 
 It lias two fa(;ades of brick and terra-cotta, 
 of whicli the larger is about 85 ft. long. 
 The first story is an arcade of round 
 arches, nearly 15 ft. broad, springing 
 fi-om low plain square piers of cut stone ; 
 the entrance arch being distinguished 
 
 from the others by slightly increased 
 height and additional mouldings. The 
 two upper stories consist of brick arcades, 
 enclosing each a grou}) of 
 four narrow pointed and 
 cusped openings divided 
 by slender shafts with fo- 
 ! ItW-'^' liated capitals and sur- 
 
 ("T^^J rounded by an archivolt 
 
 |j|. {. decorated with ball-flowers. 
 
 --'tJl^ Beneath the string-courses 
 
 .„ are ranged singular round 
 
 fJl'S openings or oculi, with 
 
 richly decorated mould- 
 ings. The side front is 
 prolonged in a wing of 
 somewhat later construc- 
 tion with two-light win- 
 dows under l)earing-arches, 
 at the extremity of which 
 rises a square battleraent- 
 ed tower, of stone at the 
 base and of brick above, 
 al>out 140 ft. high. 
 
 S. AxASTA.sio, a little 
 church, consisting only of 
 a nave and apse, with a 
 lateral campanile, but in- 
 teresting as a simple Lom- 
 bard building of the viii 
 cent., with alterations of the xiir. It is 
 of brick, banded with white marble, with 
 a dado of the .same. The walls, the apse, 
 and front and side doors are of the first 
 period ; the doors of the kind charac- 
 teristic of Lucca, with heavy pilasters and 
 caps bearing animals, heavy carved lintels 
 carrying stilted round arches with impost- 
 mouldings and solid tympana. The two- 
 light windows high in the fa9ade and the 
 arc;ided brick cornices are xiii cent, 
 woik : the open belfry stage is later. 
 
 iS. Fkeuiaxo, an ancient Lombard 
 church, originally built in the vi cent., 
 just outside the city walls, and rebuilt in 
 (3!)0. It was a five-ai.sled basilica, some- 
 thing over 200 ft. \\\ length by 80 ft. in 
 breadth, with twelve bavs divided bv 
 
LUCCA 
 
 twenty-two cohumis mostly antique, suj)- 
 portiug round arches, and a liigli clere- 
 story. The nave was covered with an 02jcii 
 timber-roof decorated with gold and carv- 
 ing ; this has been replaced during the 
 jjresent century by a simpler wooden roof. 
 The aisles are covered with groined vault- 
 ing in square bays, but the outer aisles are 
 now converted into square chapels. The 
 nave terminated in a round eastern apse. 
 But when the town walls were rebuilt in 
 1260, the church found itself within the 
 walls and its orientation was reversed. 
 The eastern ajise was taken down and re- 
 built on the west end, and a new fa<;ade 
 built at the east end. An atri- 
 um was added, Avhicli was 
 burned in 1314 and not replaced. 
 The present front has three gal- 
 leries of columns with horizontal 
 entablatures, a mosaic in the ga- 
 ble and an eagle crowning the 
 apex. The fine apse is lofty, 
 with two stories of round-arched 
 windows and an eaves-gallery of 
 tall Corinthian columns bearing 
 a horizontal cornice. At the 
 angle stands a very high de- 
 tached square campanile with a 
 solid base as high as the aisle 
 walls and five stories of luirrow 
 round-arched windows generally 
 grouped and multiplying toward 
 the top, with an additional bel- 
 fry stage of clumsy modern 
 arches. {See Fig. 1<H.) 
 
 S. Giovanni, an old basilica 
 over whose age there has been 
 much controversy. It has ii 
 nave and aisles of six arcaded 
 bays, carried on columns of 
 which some apparently are old, 
 flat ceilings, projecting transept 
 and apse, and a battlemented 
 tower. Out of the left transept arm opens 
 an unusually large square baptistery, 
 about 50 ft. wide, covered with an eight- 
 celled domed vault. The church, Lom- 
 
 bard in asi^ect, has been assigned both to 
 the IX and the xii centuries. A2ipareiit]y 
 it was first called Sta. lleparata, and the 
 name of tS. Giovanni, once given to the 
 baptistery, has extended to the whole. 
 The cofEered ceiling of the nave and the 
 fa9ade are modern, though the old west 
 middle door remains. 
 
 Sta. Giulia, a small rectangular church 
 without aisles or transept, but with an 
 eastern apse, built in the second half of 
 the X cent, by Bislioi^ Conrad, and re- 
 stored early in the xiii centuiy. It has a 
 characteristic fajade of white marble, with 
 occasional bands of black marble. Three 
 
 Fig, 104. — Lucca, S, Frediano, Apse. 
 
 blind arches on flat pilasters with foliated 
 capitals occupy the whole breadth of the 
 front and rather more than half its height. 
 In the middle arch is a square - headed 
 
 199 
 
LUCCA 
 
 doorway with a deeoratod cornice joining 
 the jnlaster capitals, and a bas-relief in 
 the arch-head. A pointed two-light win- 
 dow is tlie only other opening in this sim- 
 ple front, which finishes with a low gable, 
 and a ihit corlK'l-table with cnsped arches 
 following its rake. The sides and east end 
 are of brick, with narrow, round-headed 
 cuspcd windows, the small apse finishing 
 with a moulded cornice and arched corbel- 
 table. A square campanile, attached to 
 the N. E. corner, rises scarcely above the 
 east gable, and is apparently unfinished. 
 The buildings attached to the church on 
 the north are of the same character with 
 it and apparently of the same age. 
 
 S. GirsTO. A XII cent. Lombard 
 clmrch with many of the characteristics of 
 the Pisan school. It has a fine front of 
 white and black marl)lc. with three char- 
 acteristic doorways, of which the central 
 one is of great beauty. The jambs are 
 flat 23ilasters, with large foliated capitals. 
 each with a rampant animal at the angle. 
 These sujjjjort a heavy sculptured lintel. 
 Over this is a round arch with banded and 
 moulded archivolt si^ringing from lions 
 upon pedestals and enclosing a bas-relief of 
 the Virgin and Child. Over the doorway 
 the central portion of the front is carried 
 up in two stories of arcades with columns 
 ending in a low gable. The upper part 
 of the front is banded with black and 
 white marble. This front is presumed to 
 have been built about 1150, largely out of 
 the materials of an older front, and may 
 j^erhaps exhibit the detail of the Lom- 
 bard style of the Viii century. The inte- 
 rior has been modernized. 
 
 Sta. M.\ria Froiu'iviTAs, an early flat- 
 ceiled basilica, apparently rebuilt in the 
 XII century. It is cruciform, with pro- 
 jecting transept and an eastern apse. The 
 arcades of the nave, in eight bays, rest on 
 early columns, but are broken in the mid- 
 dle by a jiair of j)iers. It is Loml)ard in 
 st\de, and has an eaves-gallery round the 
 apse with lintels instead of arcades. The 
 
 front, however, was remodelled in l.ilC, 
 and the interior height increased. 
 
 S. MiCHELE, a characteristic Lombard 
 church of the Pisan type. It is a cruci- 
 form basilica, with nave and aisles sej^a- 
 rated by seven stilted round arches on 
 each side, resting on columns of white 
 marble with somewhat fantastic capitals, a 
 high triumphal arch opening into a broad 
 transept with square ends, and a round 
 apse tlie full breadth of the nave. The 
 fa9ade, rebuilt toward the end of the 
 XII cent, and again completely renewed 
 since 1870, is most interesting. It is con- 
 structively a mere screen, having no rela- 
 tion with the church, but illustrating, in a 
 highly characteristic manner, the peculi- 
 arities of the Pisan school. It is divid- 
 ed into five .stories of arcades, of which 
 the first story has seven high round bliiul 
 arches, three of them containing door- 
 ways, the second and third fourteen arches 
 each and the upjjcr two each six, covering 
 only the nave, though rising high above 
 its roof. The low gable is crowned by a 
 statue of the archangel Michael with 
 bronze wings. The distinction of the 
 fa9ade is in tlie variety and character of 
 its details. It is executed throughout in 
 white and green marble. The columns of 
 the arcades are extremely varied, some 
 shafts are quite plain, some are sculpt- 
 ured, some inlaid with marble, some are 
 coupled and bound together in the mid- 
 dle, with a single capital and base. The 
 cornices and string-courses are carved 
 with foliage and animals in relief, and the 
 wall over the arches is covered with an in- 
 lay of panels of various forms, arranged 
 quite at random, partly with geometrical 
 patterns, but for the most part represent- 
 ing hunting scenes. These designs though 
 rude are spirited, the figures are of white 
 marble on a ground of dark green serjjcn- 
 tine. The sides of the church have two 
 stories of arcades in the ai.sle wall, and a 
 plain clerestory with round-arched win- 
 dows. A square campanile stands over 
 
 200 
 
LFCERA 
 
 the south transept. The church was 
 founded in T(J4, liut rebuilt in part or in 
 wliole in 811 and 845. lu its jtresont as- 
 ])cct it dates presunudjly I'roin the xii 
 century. 
 
 S. Paolixo, a Renaissance cruciform 
 church, designed, according to Vasari, by 
 Bacio di Moutelujio, and dating from 1522, 
 of imposing design, tliougli not large. Its 
 lengtli is about 150 feet, its breadth G3 ft. 
 It is divided within by transverse round 
 arches into five oblong bays. A barrel- 
 vaulted nave is jirolonged into a square 
 choir, intersecting a transept of similar 
 design. Two superposed orders of plain 
 pilasters on pedestals arc carried round 
 the whole interior. Round arches open 
 from the nave into the aisles, and over 
 them are small pedimcnted windows in 
 the intervals of the upper order. Lu- 
 nettes between cross ribs intersect the 
 nave vault, which springs from the upper 
 entablature. The scpiare choir is covered 
 by barrel vaults, the crossing by a flat 
 dome. The exterior is of marble and its 
 architecture is in exact accord with the 
 interior. Three orders of jjiliisters on 
 jiedestals divide the height of the walls ; 
 the front has a square doorway in the 
 centre flanked by round niches enclosing 
 statues ; in the narrowed second story, 
 which is flanked by scroll-buttresses, are 
 three square windows with pilasters carry- 
 ing entablature and pediment. The third 
 story apes the first and second, with simu- 
 lated nave and aisles. 
 
 Villa Guixigi, an imposing and ele- 
 gant country-house now used as a public 
 hospital, of which the plan is a rectangle 
 about 275 ft. long and 50 ft. Aeeyi, with 
 an open loggia or entrance -hall in the 
 middle, the approach to which makes the 
 chief feature of the long facade, consist- 
 ing of eight round arches supported on 
 square stone piers with leafed capitals. 
 On each side of this arcade are seven 
 small plain square windows set high in 
 the wall. The second story is a round- 
 
 arched arcade of twenty arches, each en- 
 closing a group of three narrow, pointed 
 and cusped arch(>s with a window in the 
 middle one. 
 LUCERA, Italy. 
 
 The Cathedral, begun in the year 
 1300, and consecrated in October, 1302, is 
 a cruciform brick Gothic church about 
 190 ft. long and 121 ft. broad across the 
 transept, with nave and aisles in six bays 
 of arches sj^ringing from square jiiers with 
 half columns of verd-antique. The nave 
 opens into the transept Ijy one great 
 triumphal arch sjiringing from a column 
 of travertine on each side standing on an- 
 other of verd-antique, from which it is 
 separated by a strong jn-ojecting corbel. 
 The transept has three apses on its east 
 wall, corresponding to the nave and aisles ; 
 the vault of the middle apse is adorned 
 with painting. The nave and transept 
 are covei-ed by wooden ceilings, the aisles 
 by groined vaults. Under the transej)t is 
 a vaulted crj-jjt. The front is simpile and 
 rude. The three plain pointed doorways 
 are covered by flat gables — that to the 
 south is in the base of a square tower of 
 several stages divided by thin strings ; 
 the upper stage octagonal, with a two-light 
 pointed and traceried window in each face 
 and a low octagonal roof. Under the flat 
 nave gable is a wheel window. The side 
 divisions have horizontal cornices. The 
 central apse of the east end is flanked by 
 two turrets. 
 LUGNANO. Italy. 
 
 The Church of Sta. Maria Assunta, 
 though of small dimensions, is of impor- 
 tance as one of the very few churches en- 
 tirely from the hand of the Roman school 
 of medieval artists usually called the Cos- 
 mati. It is cruciform in jjlau, with a 
 porch, three aisles, a vei'y long transept 
 extending two bays beyond the side-aisles, 
 a single apse and a crypt. The porch, 
 extending across the entire fa9ade, con- 
 sists of an architrave supported by col- 
 umns, similar in general arrangement to 
 
LYDDA 
 
 tlie porches in Rome, and decorated with 
 mosaics and sculptures. The fa9ade has 
 a rt)sc-winilo\v in a square formed of a 
 mosaic frieze, on each side of which is 
 a two-liglit round-headed window. Tlie 
 body of tiie chureli consists of five bays 
 with rather heavy round piers supjiorting 
 round arches and topped by varying ca2ii- 
 tals of rudimentary foliated and geomet- 
 ric designs. Tlie nave is covered by a tun- 
 nel-vault, the aisles by cross-vaults, whicli 
 were ajiparently substituted at some time 
 for the original covering. The cryjit, 
 which is entered by two flights of steps 
 from the aisles, is an elegant and original 
 structure by a more masterly hand than 
 the rest of the church. Ten delicate 
 monolithic columns — there were origi- 
 nally fourteen — with large and spreading 
 foliated capitals of careful workmanship 
 support four architraves (at first six) on 
 which the floor of the choir rests. [A. L. 
 F., Jr.] 
 LYDDA (Lud), Palestine. 
 
 The Ciiuiicii OF St. George is an in- 
 teresting fragment illustrating the church 
 of Sebaste (Samaria) whicli it greatly re- 
 sembles. There remains one bay each of 
 a nave and two aisles with their three 
 eastern apses, of Byzantine form, or round 
 within and octagonal without, the apses 
 domed, the bays groin - vaulted. The 
 pointed arches, clerestory, clustered j)iers 
 and vaultiiiu' all indicate work of the sec- 
 ond half of the xii cent. ; the bases and 
 capitals and a carved cornice about the 
 main apse are of fully developed Roman- 
 esque work, such as was mingled with the 
 work of the crusaders at that period. 
 JIADERXO, Lago di Garda, Italy. 
 
 Tlie C'lUKcii is a small basilica of in- 
 tei'esting plan, built in the xi or xii cent., 
 three-aisled and without transept, vaulted 
 througliout. The four bays of the luive 
 are nearly square, those of the narrow 
 aisles consequently very oblong, divided 
 by clustered piers with quasi-Corinthian 
 capitals. These carry in the first three 
 
 bays broad pointed arches. In tlie last, 
 wJiich is the choir, the arcade is subdi- 
 vided liy two small round arches borne liy 
 a small column, and the bay is covered l)y 
 a hemispherical dome carried on (icndi'n- 
 tives of singular construction. A later 
 sipuire cliance! takes the place of the orig- 
 inal round apse. 
 
 MAGNESIA (ad Maeandrum). Asia 
 Minor. 
 Tkmi'le of Artemis (Diana) Letko- 
 I'liKYKN'E, probalily transferred from the 
 original site at Leucojihrys. It was orig- 
 inally Ionic, dipteral, of the v cent. B.C., 
 and was rebuilt and made pseudo-dipteral 
 3:50-300 li.c, liy llermogenes. Strabo says 
 it yielded in grandeur only to the temples 
 of Apollo Didymteus at Miletus, and of 
 Artemis at Ephesus. It was pillaged and 
 burned by the Persians, and restored dur- 
 ing the reigns of Nerva, Hadrian, and 
 Trajan. It was exjilored by the French 
 commission of 18-i3. The remains now lie 
 in a vast pile of fragments, and show that 
 the temple stood in a large peribolos or 
 enclosure, surrounded by a double Dnric 
 jiortico with propliyl^a in front, 'i'hc 
 peribolos, the walls of which are still 
 nearly 20 ft. high, was adorned witii 
 many statues, on pedestals placed at regu- 
 lar distances in front of the columns of the 
 portico. In the middle was the tcnijile, 
 which was Ionic, octastyle, jiseudo-dip- 
 teral, on a stylobate of eight steps (jirob- 
 ably in front only), with fifteen columns 
 in each flank and two between anta' in 
 j)ronaos and opisthodomos ; ground plan, 
 198 ft. by 10(5 ft., measured on the high- 
 est step. The diameter of tlie columns 
 at the base was 4| ft., at the neck, 4 ft. ; 
 their height (base and capital). 40 ft. S in. ; 
 height of entablature, 9 ft. 10 in. About 
 a third of tlie beautiful frieze, of Roman 
 epoch, sculptured with reliefs represent- 
 ing the war of the Amazons, is now in 
 the Louvre. The material is white mar- 
 ble from Mt. Pactyas. Recent excava- 
 sions by the German Institute at Athens 
 
MALPAGA 
 
 show that almost all the architectural 
 members are still iu existence,, lying about 
 the stereobate, which is also to a large 
 extent preserved. Three building periods 
 are easily distinguishable in the remains : 
 (rt) the archaic dipteral temple with Ionic 
 columns of I'oros stone having thirty-two 
 flutes, ascribed to the v cent. B.C. ; (J) the 
 pseudo-dipteral temple of white marble, 
 built by Hermogenes ; {r) a Roman res- 
 toration, to which belong the foliage- 
 frieze of the cella-wall, and the stoas and 
 wall of the peribolos. 
 
 Theatre, near the middle of the city, 
 excavated in the slope of Mt. Thorax. 
 There may have been as many as fifty 
 tiers of seats, and there are remains of an 
 arched entrance on each side. Both the 
 earliest and the latest stage-structures in- 
 cluded five rooms, and the German Insti- 
 tute discovered in 1801 a vaulted under- 
 ground passage leading from the middle of 
 the orchestra to the interior of the stage 
 structure, as in the theatres of Eretria and 
 Sicyon. The construction is of the iv 
 cent. B.C., comj^leted and altered in Hel- 
 lenistic and Roman times. 
 MALPAGA. Italy. 
 
 The Castle, one of the later examples 
 of the fortified houses of the great cap- 
 tains of the Middle Ages. It is a quad- 
 rangular pile of buildings surrounding a 
 court-yard, the greater jjart of the exter- 
 nal wall now hidden beliind a mass of 
 later additions, but showing above these a 
 strong line of forked battlements crowning 
 the wall, and four angle towers not project- 
 ing from it, of which one rises into an ad- 
 ditional story on bold machicolations. A 
 low enclosing wall, also with forked bat- 
 tlements, surrounds the castle at a little 
 distance, the intervening space, formerly 
 free, being now covered by the later build- 
 ings above mentioned. One of the an- 
 cient drawbridges over the moat still ex- 
 ists. The walls of the court-yard, carried 
 on pointed arches, are adorned by frescoes 
 illustrating picturesque incidents in the 
 
 life of Colleoni. The ancient banquet- 
 hall and some of the other apartments are 
 also decorated with paintings. Tiie castle 
 was built late in the xv cent, by Bar- 
 tolomeo Colleoni, the famous condottiere, 
 whose statue stands belV)re the church of 
 SS. Giovanni e Paolo at Venice. 
 MALTA. See Vnhtfa. 
 MAXTINEA, Arcadia, Greece. 
 
 The Agora was surrounded with por- 
 ticoes ; the remains surviving on three 
 sides appear to be of Roman date. It con- 
 tained several shrines and temples, and 
 was beautified with statues and exedras, 
 including the elaborate and highly deco- 
 rated exedra of Epigone, of semicircular 
 plan and covered with a semi-dome, which 
 formed the central feature of a market- 
 structure. The remains, though testify- 
 ing to Roman reconstructions, undoubted- 
 ly preserve the Greek dispositions, and are 
 among the very few surviving examples of 
 a fully developed Greek agora. 
 
 BouLEUTERiox, or Council-house, in 
 the agora. The foundations, of good Hel- 
 lenic masonry, occupy a rectangle about 
 119 ft. by C>2 ft., and indicate a building 
 with a projecting wing at each end. The 
 original back wall, which now divides the 
 building in the middle, is pierced at the 
 east end by a double door, which leads by 
 flights of steps to the portico, originally of 
 ten columns, which is of later date than 
 the main structure. The columns are 
 Ionic, with convex flutings, and are simi- 
 lar in style to those of the Philippeum at 
 Olympia. They probably date from the 
 Macedonian epoch. At the west end were 
 two chambers divided from the remain- 
 der of the structure. 
 
 Double Temple, divided by a parti- 
 tion-wall in the middle, one chamber be- 
 ing dedicated to Asklejjios, and the other 
 to Leto (Latona), A]K)11(), and Artemis 
 (Diana). 
 
 Fortifications, about two and a half 
 miles in extent, with some one hundred 
 and twenty towers, round at the gates and 
 
MANTUA 
 
 square elsfwlioro, at intervals of 8.5 ft. 
 Ten gates and numerous posterns are still 
 recognizable. The walls, probably built 
 after :j; 1 n.c, consist of a ba.se, from i ft. 
 to G ft. high, of large stones of trapezoid- 
 al form ill regular courses, the intervals 
 between the large blocks being filled with 
 small stones. The upper jiart of the wall 
 was of unl)urned bricks. 
 
 Theatre, near the temple of Hera. 
 Portions of the lower tiers of seats sur- 
 vive, displaying eight stairways and seven 
 cunei. The auditorium is supported by 
 an artificial mound with a retaining wall 
 of polygonal masonry. On either side a 
 fliglit of steps gave access from the ex- 
 terior to the diazoma, and two others 
 penetrated the theatre from the back. 
 The stage-structure shows the usual con- 
 structions of Roman date. The diameter 
 of the theatre is about "217 ft., that of the 
 orchestra TO ft. 
 :MANTUA (Mantova), Italy. 
 
 Castello ni CoRTE, the ancient castle 
 of the Gonzagas, the reigning family of 
 Mantua during nearly three centuries. It 
 stands near the Ducal Palace (C'orte Keale, 
 q. v.). of which indeed it should be consid- 
 ered a portion, though detached, and on 
 the edge of the lake whose waters fill a 
 basin in the middle of which the castle is 
 placed. It is a simple but imposing mass 
 of building with plain walls of brick. 
 Hanked by strong projet^ting angle-towers, 
 a high battering base, a heavy machico- 
 lated cornice, and forked battlements now 
 walled up and covered with a roof. The 
 original windows have mostly disappeared, 
 and new openings have ])een made to suit 
 tlie later purposes of the building, which 
 contains the archives of state. Several of 
 the principal rooms were adorned with 
 frescoes by Andrea Mantegna, now near- 
 ly obliterated. The castle is thought to 
 have been built about the end of the xiv 
 century. 
 
 The Catiiedkal. dedicated to St. Peter, 
 originally consecrated in ^iS'i, was rebuilt 
 
 in Gothic style in lo'.t.j. Tlie exterior 
 was left unfinished until, in ITGl, the front 
 was completed in baroco style by Bas- 
 chiera. A portion of the south aisle wall 
 still shows the character of the original 
 design, consisting of a series of sharp ga- 
 bles, one to each bay, separated by but- 
 tresses terminating in pinnacles, as in S. 
 Petronio at Bologna, the whole being of 
 brickwork. The ancient campanile still 
 stands, but uufiuished. The interior, re- 
 built after a fire in 1545, is ascribed to 
 Giulio Komano, who, however, died in 
 1.3-t(j. It has double aisles and transept, 
 and a dome at the crossing. The main 
 piers are faced with Corinthian pilasters 
 and carry arches ; the nave is covered 
 with a flat wooden ceiling, panelled, iind 
 richly decorated. The idea, says Gurlitt, 
 of rooting the high nave flat, the inner 
 aisles with coffered barrel-vaults, the out- 
 er aisles with coved ceilings, the cha])cls 
 again with barrel-vaults at right angles to 
 the nave, is cpieer enough to have sprung 
 up in Giulio's head. 
 
 204 
 
MANTUA 
 
 The CoRTE Reale, or DuluI 
 Palace, is an extensive mass of 
 buildings of various dates and 
 styles, begun in 13U3 under (Juido 
 Huonacolsi, one of the earliest 
 lords of Mantua, and continued 
 and extended by successive lords 
 and dukes up to the middle of 
 the XVI century. It really com- 
 prises the Castello di Corte {q. v.). 
 This is extended by later con- 
 structions, comprising galleries, 
 halls of state, ball-rooms, apart- 
 ments for the royal residence, be- 
 sides a theatre and a church sep- 
 arated by various piazzas and 
 gardens covering an immense ex- 
 tent of ground, and containing, 
 it has been said, not less than 
 five hundred rooms. The forms 
 of the earlier architecture have 
 been for the most part lost, 
 through repeated alterations and 
 rebuildings. But two facades 
 still remain substantially ww- 
 changed, which furnish a char- 
 acteristic and imposing example 
 of the civic Gothic of the xiv 
 cent, in the north of Italy. They are 
 comjiosed with a street story of high 
 open pointed arches with voussoirs alter- 
 nately black and white, carried on lo^\- 
 columns with foliated capitals — and an 
 upijcr story of twin pointed windows en- 
 i-onipassed by high jtointed bearing-arches 
 with cusped circles beneath. These win- 
 dows are executed in red brick except for 
 the mullion-shafts and alternate voussoirs. 
 Between the upper and lower story is a 
 broad surface of plain brick wall, of which 
 the original openings have been filled up 
 and replaced by plain square windows. 
 The high unbroken fronts end in small 
 brick cornices and tall forked battlements. 
 The great apartments were sumptuously 
 decorated in the xvi cent., chiefly by Gi- 
 ulio Romano and I'rinuiticcio ; the walls 
 for the most part have broad pilasters with 
 
 Fig 106- — Mantua, S- Andrea, Inteiior. 
 
 composite capitals and rich cornices, very 
 elaborately ornamented with arabesques in 
 relief, jiicked out with gold and color ; the 
 ceilings generally of wood, vaulted and 
 ])anelled and painted with figure subjects ; 
 the doors richly carved and gilded. The 
 palace was for three centuries the home of 
 the Gonzagas, whose name is closely asso- 
 ciated with the rise and fall of this once 
 brilliant and powerful city. 
 
 Palazzo della Eagioxe (Town llall). 
 This building, completed about 1"^50, has 
 undergone such changes to fit it for its 
 modern uses that little of its original char- 
 acter remains. The characteristic entrance 
 gateway is substantially unaltered. It is 
 a square building of three stories, of which 
 the lower is pierced with a single broad 
 round archway of brick with occasional 
 voussoirs of stone. The passage is not 
 
 205 
 
MARATHOS 
 
 vaulted, but spaiiiuMl liy fmir round arclies 
 of stone, at equal distances. Above the 
 arch and two broad round-arched win- 
 dows over it. now walled up, is a graceful 
 oiieu gallery of eight narrow roiand-headed 
 arches, divided by slender marble columns 
 coupled in the depth of the wall. A sim- 
 ple projecting band of brickwork carried 
 on small corbels terminates the front. A 
 tall campanile attached to the palace dates 
 from 1478. 
 
 Palazzo del Te. a famous conntry- 
 house outside the walls of tlie city, built 
 and decorated by (iiulio Ixomano (his most 
 famoixs work) in or ahout 1.337 for the 
 duke of Gonzaga. The buildings are of 
 a single story, surrounding an interior 
 court about 120 ft. square, the exterior 
 measurement being about 180 ft. on each 
 side. The garden fa9ade has a j)rojecting 
 centre with three round arches on cou])led 
 Doric columns with entablature and jiedi- 
 ment, forming the entrance to the court. 
 The side divisions consist of open corri- 
 dors with thin columns and pilasters on 
 pedestals, with occasional arches — all sur- 
 mounted by a high attic. The court is 
 designed with a single order of engaged 
 Doric coluunis with decorated frieze, the 
 intervals alternately broad and narrow, 
 filled with rustic walling and with alter- 
 nate windows and niches. The rooms 
 in the palace are decorated by Giulio with 
 great richness, but with characteristic 
 heaviness and capriciousness of detail. 
 
 S. Andrea (St. Andrew), the largest 
 and most important church in Mantua. 
 It is the master-work of Alberti, and fore- 
 runner of the great church designs of 
 Bramante and Michael Angelo ; a cruci- 
 form early Renaissance building 340 ft. 
 long and about 100 ft. wide, witli a fa9ade 
 of white marble in the form of a Roman 
 triumphal arch composed of an order of 
 four composite flat pilasters, on enormously 
 high j)edestals. an(l an attenuated entabla- 
 ture, all under a low pediment. The middle 
 intercolumuiation is expanded to receive 
 
 the immense deep open arch occujDying 
 the whole height of the pilasters ; the side 
 intervals being narrow and occupied each 
 by a doorway aiul two large i)lain round- 
 headed wiiulows one above another. The 
 interior presents a nave 55 ft. broad, in 
 three bays, with an imposing order of rich 
 Corinthian pilasters, coupled and decorat- 
 ed with painted arabesques, between which 
 open a row of singularly arranged chapels, 
 alternately large and small, corresponding 
 to the larger and smaller intervals of the 
 pilasters. The transept is as broad as the 
 nave and has large chaijels on the east and 
 west sides. The choir is in a single square 
 bay, with a round apse. Xave, transept, 
 and choir are covered with a round barrel- 
 vault, 98 ft. high, deeply panelled and 
 richly jjainted, and a hemispherical dome 
 rises from the crossing. The church was 
 built by Leon Battista Alberti in 1472, 
 liut the dome was not added till 1782. 
 The building shows the marked character- 
 istics of Alberti's design, the lean orders 
 and rigid detail ; but the disposition of the 
 rinterior architecture, the single great Co- 
 inthiau order, the vaulted nave, the great 
 piers and pendentives prepared for the dome 
 which was intended l)y Alberti. though act- 
 ually designed and built by Juvara, were 
 long steps in the development of the Renais- 
 sance, and clearly models for the designers 
 of St. Peter's at Rome. Attached to the 
 church at the northern angle is a (Jothic 
 bell-tower, remnant of an earlier church. 
 It is a square brick tower in four stages, 
 with flat corner-pilasters and three stories 
 of pointed windows, the upper story having 
 in each face a large three-light traceried 
 window with mullion-shafts of polished 
 marble coupled in the thickness of the 
 wall, under a high pointed enclosing arch. 
 Above a deep and rich cornice rises an 
 octagonal l)elfry with angle-columns and 
 round arches enclosing pointed windows. 
 A round brick sjiire covered with tiles ter- 
 minates tiie whole. {Sec Fif/s. lOo, lUG.) 
 :\[AUAT1LUS See Amrilh'. 
 
MAR 
 
 MAR HANXA, uear Gaza, Palestine. 
 
 RocK-CfTTiNGS, at the base of the 
 acropolis hill, consisting of a labyrinth of 
 chambers with arched or bell-shaped ceil- 
 ings, galleries, and stairways, recalling tiie 
 catacombs of Rome, and admirably cut 
 in the soft gray chalk. The chambers are 
 from 20 ft. to 55 ft. in diameter, and •'50 
 
 MATERA, Italy. 
 
 The Cathedral is a Romanesque 
 building of the xi cent., rebuilt at the 
 end of the xii, and restored in later years, 
 showing in its picturescpie details both 
 Norman and Saracenic intluence. It is 
 cruciform, witli nave and single aisles and 
 transept not projecting. Over the crossing 
 
 ^^|,f^'-^#1 
 
 
 Fig. 107.— Matera, ' 
 
 ft. to 40 ft. high, lighted by shafts open- 
 ing at the apex of tlie ceiling, whicii is 
 often supported by detached pillars. At 
 the foot of the hill, in front of the rock- 
 chambers, are extensive foundations in 
 hewn stone. Many of the hills in the 
 neighborhood are honeycombed with sim- 
 ilar cuttings, and there are also large ne- 
 cropolises of rock-cut tombs, and cisterns 
 of excellent workmanship. Originally 
 due, no doubt, to tJie primitive inhabi- 
 tants, these rock-cuttings have continued in 
 use ; some are shown by inscriptions to have 
 served as churches or mosques, and many 
 are still used as stables for goats or cattle. 
 
 is a low, square tower, and the choir is 
 flanked on the nortli by a square campa- 
 nile with twin windows under round arches 
 in the upper stories. The church, 175 ft. 
 long, in eight bays, of which all but the 
 two easternmost retain their original 
 round-arched form, is divided by twelve 
 classic columns, believed to have been 
 brought from Metapontum. Tlie west 
 front, of unusual design, has a walled ter- 
 race before it with semicircular central 
 steps. The single round-arched door in 
 the middle has a sculptured tympanum, 
 and is flanked by niches. Over the nave 
 is a raised gable decorated with a corbelled 
 
 80T 
 
MAXIMIAXOPOLIS 
 
 ami sliufted arcade that follows its slojjc. 
 Below this is a rich rose window, between 
 two quasi buttresses, which consist of 
 two stories of boldly corbelled columns. 
 A flat blind arcade, resting on alternate 
 corbels and pilasters, follows the slope of 
 the aisle-cornices, and is continued round 
 the south side of the chnrcli. This side 
 has two doorways, and, high np in the 
 aisle, a window, richly decorated with cor- 
 bels and sliafting, from ^yhich the edicts 
 of the iiatriarch of Constantinople were 
 formerly promulgated. Tlie clerestory 
 had a single round-urched window in each 
 bay, now disfigured by modern square- 
 headed openintrs. (See Fig. 107.) 
 MAXLMIAXdl'OLIS. See Kamumt. 
 MEGALOPOLIS, Arcadia, Greece. 
 
 The Agok-V was enclosed with porticoes 
 in the Ionian fashion, and must, with the 
 monnments connected with it, have formed 
 a very beautiful feature. The stoa on 
 the north side, that of Philip, lias been in 
 part excavated by the British School. Ad- 
 joining it on the north was that of the Ar- 
 chives, containing some of the government 
 offices, and the temples of Hermes and of 
 Tyche. On the south stood the stoa of 
 Aristander, flanked by the temples of De- 
 meter and Persephone and of Zeus Soter. 
 Close to this was the Bouleuterion or Sen- 
 ate-house. Another portico, called M\Top- 
 olis (of the i^erf ume-sellers), was built about 
 300 B.C. from spoils won Ijy Aristodemns 
 from the Spartans. The middle of the 
 agora was occupied by the Sanctuary of 
 Zeus (Jupiter) of Mt. Sykaion, on the 
 ground of whioh the public was not al- 
 lowed to set foot, though the low enclos- 
 ing-wall permitted an unimpeded view of 
 the various altars, statues, and other dis- 
 jjositions within. Excavations have been 
 in progress at Megalopolis under the con- 
 duct of the British School at Athens. 
 
 TnEATRE, on the south bank of tlie 
 Ilelisson. The cavea is in part excavated 
 from the slope of a low hill, and in jjart 
 built up. The extremities of the wings 
 
 are supported by massive walls. The di- 
 ameter is about 475 ft., and Pausanias 
 calls it the largest theatre known to him. 
 It is estimated that it could seat about 
 forty thousand persons. The lowest rows 
 of ordinary seats of the cavea, and at the 
 bottom a row of thrones or benches with 
 backs and arms at the ends, as at Epi- 
 daitrus, remain perfect. There were ten 
 klimakes or radial stairways. Tlie usual 
 drain skirts the orchestra, below the seats. 
 The orchestra is in plan a little over a 
 semicircle, and had a floor of beaten earth. 
 The most important portion of the re- 
 mains is the stage-structure, the walls of 
 which are in unusually good preservation. 
 First toward the orchestra is the Roman 
 stage, with a proscenium ornamented with 
 columns. Next behind this there is a 
 proscenium - wall of excellent masonry 
 which has along its whole length a range 
 of steps leading down to the level of the 
 orchestra. The original height of this pro- 
 scenium is given as 5 ft. 10 in ; the lireadth 
 of the stage as 18 ft. 2 in. Behind the 
 stage rose a back-wall, with a large cen- 
 tral door flanked by two smaller ones. 
 Behind this wall was a very large rectan- 
 gular hall, the roof of which ajipears to 
 have been supi^orted by five ranges of 
 seven columns, though its plan is not yet 
 fully known, and has evidently been modi- 
 fied in Roman times. 
 ilELASSA (anc. Mylassa), Asia Minor. 
 
 Arch or gateway east of the city. It 
 is 28 ft. wide and 30 ft. high, faced by an 
 order of Corinthian pilasters, and pierced 
 by a single arch 24 ft. high anil 13 1 ft. 
 wide, whose imposts are supported by 
 smaller Corinthian pilasters. Apparently, 
 it carried an attic. The details of the 
 order are like those of the mausoleum. 
 
 Mausoleum, on a hill south of the city. 
 Texier believed it to belong to the ii cent., 
 and to be a simplified copy of the tomb of 
 Mausolus. It is of two stories, in plan 18| 
 ft. square, in height about 20 ft., the 
 lower story is a basement 11| ft. high on 
 
MESSA 
 
 a styl(iU;ttc' of two steps, iu wliich is the 
 sepulcliral chamber, with a ceiling of 
 stone beams supported on four jiilhirs. 
 T)\e second story is an edicnle, with a per- 
 istyle consisting on each side of two Corin- 
 thian columns with elliptical shafts, l)e- 
 tween square Corinthian angle-joiers. The 
 peristyle supports an entablature, above 
 which is a sort of stepped jn'ramid. The 
 sides of the peristyle were once closed by 
 marble panels ; the interior was painted 
 blue. The interior of the roof is remark- 
 able for its beautiful ornamenttd work. 
 Columns and piers are tinted, and the 
 capitals ai'e of the bell-form of those of 
 the Tower of the Winds and the Dionysiac 
 Theatre precinct at Athens. 
 
 Votive CoLUM>f OF Mexaxdkos, Co- 
 rinthian, with a rich acanthus-capital of 
 importance in the study of the order. It 
 has a table for the inscription interrupting 
 the fluting, and bore a statue. Two Ionic 
 votive columns remain of importance in 
 the series of monuments for the study of 
 the Ionic order. 
 
 At Kodja Yaileh, near Melassa, is an 
 Ionic temple -iu anh's upon a raised 
 basement or iiodium ; the total depth is 
 'iOg ft., the interior dimensions of thecella 
 to the extremity of the wide rectangular 
 niche for the cult-statue in the back wall, 
 34 ft. by id ft. Between the iintx of the 
 pronaos were two columns. There is a 
 window on each side of the wide doorway 
 between pronaos and cella, and four win- 
 dows in each side wall — three in the cella 
 and one in the pronaos. The windows 
 taper toward the top and are closed in by 
 lintels. The masonry is good isodomic, 
 with convex faces iu the basement. This 
 temjile was taken by Le Bas to be that of 
 Labranda (y. v.). See also Tahkli. 
 MESSA (Taxiarches), Lesbos, Aegean Sea. 
 
 Greek loxic Temple of the first half 
 of the IV cent. B.C., in jjlan peripteral 
 (pseudo-dipteral), with eight columns on 
 the fronts and fourteen on the flanks, on 
 a stylobate of three steps. It had deep 
 
 [)ronaos and opisthodomos, cac'h with two 
 columns in anfis. The shafts of these 
 columns had twenty-four Doric channels, 
 with Ionic bases and capitals. The di- 
 mensions, measured on the lowest step, 
 were 78 ft. by 130 ft. The columns had 
 twenty-four flutes, and a diameter above 
 tlie base of 3^ ft. The bases were of 
 Asiatic type, but remarkably pure in de- 
 sign, without plinths, and the beautiful 
 capitals approached the type of those 
 of the Athenian Propylaja. The stereo- 
 bate and all the architectural elements 
 survive. The material is trachyte, the exe- 
 cution and design excellent. 
 MESSENE, Greece. 
 
 Arcadian" Gate, on the north side, to- 
 ward Megalopolis. Leake calls it one of 
 the finest specimens of Cireek military ar- 
 chitecture in existence. It is double, with 
 an intermediate circular court 04 ft. in. 
 iu diameter, iu the wall of which, on each 
 side of the outer gate, is a niche for a 
 statue. This outer gate, 17 ft. 4 iu. by 10 
 ft. 4 in. high, originally vaulted, is flanked 
 by two towers, each about 21 ft. 3 iu. 
 square. The inner gate had a central 
 pier of a single stone, now broken in two. 
 The masonry, especially that of the circu- 
 lar court, is very regular and beautiful. 
 The walls, of which this gate forms a jiart, 
 had at least thirty towers of two stories 
 each, most of them square, but some semi- 
 circular, placed at intervals. Of these, 
 seven are still iu fair jireservation. 
 MESSINA, Sicily. 
 
 The Cathedral is a great three-aisled 
 basilica nearly 300 ft. long and 140 ft. 
 across the transejit, with three eastern 
 apses. The long nave is of fourteen bays, 
 with broad pointed arches, somewhat horse- 
 shoed in shape, resting on columns with 
 low stilt -blocks and capitals, some I\o- 
 manesqiie and some Gothic. The shafts 
 are believed to come from a neighboring 
 temj)le of Neptune. The nave is covered 
 with a handsome wooden ceiling, a repeti- 
 tion of the original one, the crossing with 
 
 209 
 
METAI'DXTl'M 
 
 a modern dome. Thu tliri'i' apses, appar- 
 ently older than the nave and the clere- 
 story, have round-arched windows, tliose 
 of the transept, which is higher and 
 broader than the nav-e, are pointed : the 
 apses are lined with mosaics of the xiii 
 century. The two first bays of the nave 
 are cut off by cross arches to form an en- 
 trance porch. Under the east end is a 
 long crypt of three aisles, with pointed 
 vaults on low columns and Norman capi- 
 tals. The aisles are lined with chapels, 
 and both within and without the church 
 is considerably deformed by later addi- 
 tions. Of the exterior the most interest- 
 ing part is the front, which is banded in 
 white and red marble. The three door- 
 ways, inserted in the xiv cent., are of un- 
 common richness, especially the middle 
 one, which is covered with a profusion of 
 mouldings, shafting, arabesques, and fig- 
 ures, human and animal, and surmount- 
 ed by a high crocketed canopy. Accord- 
 ing to tradition an early church was 
 built in this place in the time of Belisa- 
 rius ; but the present one was built under 
 Count Roger at the end of the xi cent., 
 remodelled near 1125 and consecrated as 
 cathedral, according to an inscription, 
 in 1197. In 12.54 the ceiling took fire from 
 the torches on the funeral catafalque of 
 Conrad, the son of the emjieror Frederic 
 II.. and the interior was much damaged, 
 after which the present ceiling was added. 
 In I'-VM the mosaic decoration of the apses 
 was added, and the doorways of the fa- 
 cade. The old bell-tower, destroyed by 
 an earthquake in 1783, was replaced by 
 another which was taken down in 1865, 
 two towers adjoining the apses being sub- 
 stituted. 
 METAPONTUM (Torremare), Italy. 
 
 DoKic Temple of Apollo Lyceus. on 
 the site of the farm called the Masseria di 
 Sansone or Chiesa di Sansone, the build- 
 ings of which are in great part built of 
 its stones, including drums of columns, 
 architrave-blocks, and capitals of the peri- 
 
 style ami (if two orders of the interior of 
 the temple. The first excavations were 
 made here by the Due de Luynes in 1828, 
 and a beautiful polychrome terra-cotta 
 cornice was found, with waterspouts in 
 the form of lion - heads. This is now 
 in the Cabinet des Medailles at Paris. 
 More complete excavations have laid bare 
 the stereobate of the temple, which still 
 exhibits the marks of the column bases 
 and of the cella-walls. The material is 
 a coarse limestone, which was, as usual, 
 coated with fine stucco. These excava- 
 tions have also furnished many more 
 pieces of the polychrome terra-eotta, to- 
 gether with antefixes, tiles, fragments of 
 sculptured metopes, etc. ; in a word, all 
 that is needed for a complete restoration. 
 The date of the temple is the beginning 
 of the VI cent. B.C.. or even earlier, 
 though much of its ornament in terra- 
 cotta, which has been found, is of com- 
 paratively late date. It was hexastyle, 
 peripteral, with twelve columns on the 
 flanks. The columns have twenty chan- 
 nels ; the capitals are wide-spreading, and 
 present a deep undercutting at the junc- 
 tion of echinus and neck. The chief di- 
 mensions are : stereobate, 70^ ft. by 1.36 
 ft. : stylobate, highest step, 65^ ft. by 138 
 ft. ; columns, height 18 ft. 4 in., base 
 diameter 4 ft. 05 in., neck diameter, 3 ft. 
 5 in. 
 
 DoRir Temple, known as the Tavola 
 dei Paladini, about three miles from that 
 of the Masseria di Sansone. Within the 
 last century everything portable has been 
 removed from this temple, down to its 
 pavenu^nt and the steps of the stylobate. 
 and including every vestige of the cella. 
 Fifteen columns of the peristyle remain 
 standing ; ten on the north side aiul five 
 on the south, with portions of their archi- 
 traves, which were formed like that of the 
 so-called Temple of Ceres at Pa^stum, 
 of two courses. The columns are a lit- 
 tle smaller than those of the Temple 
 of Ceres, but resemble them closelv in 
 
MILAN 
 
 type, (limiiiishing much toward the toji, 
 and having a spreading echinus witli deep 
 undercutting. Their height is five diam- 
 eters, and the intercolumniation wide. 
 The material was the rough native lime- 
 stone, coated witli fine stucco, tinted yel- 
 low on the columns. Some remains have 
 been found of cornice decoration in terra- 
 cotta. The temple was hexastyle, with 
 twelve columns on the flanks. It dates 
 from the first half of the vi cent, li.c, or 
 earlier. From the subjects of some votive 
 mosaics belonging to it, it may have been 
 doilieateil to Demeter ; most scholars, how- 
 ever, ascribe it to Pallas. The interior of 
 the cella was 20^ ft. wide, and consisted 
 of two chambers, that in front 37 ft. long, 
 and that behind I'^f ft. 
 MILAN (Milano, Mailaiul), Italy. 
 
 Arch of Peace, or Arch of the Sim- 
 plon. l)egun in 1807, during the French 
 occupation of Milan, as a triumphal arch to 
 celebrate the victories of NaiJoleon and as a 
 monumental entrance to the great route of 
 the Simplon, then just completed. The 
 ari;'h was a reproduction of a temporary one 
 built of wood in the previous year to cele- 
 brate the marriage of Eugene Beauhar- 
 nais with the Princess Amelia of Bavaria. 
 It was finished thirty years later by the 
 Austrians with inscriptions and bas-reliefs 
 commemorating the downfall of Xajioleon. 
 The arch is entirely of white marble, in 
 three divisions, with an enriched order of 
 detached Corinthian columns on pedes- 
 tals enclosing a great arch in tiie centre 
 and small ones on either side, with a 
 high attic bearing an inscription in 
 the centre, and reclining figures at the 
 sides. It is crowned by the statue of 
 Peace in a chariot with six horses, 
 flanked by single equestrian figures, and 
 is about 75 ft. wide by i'i ft. deep and 
 80 ft. high. 
 
 The Archbishop's Semixaiiy was 
 founded by St. Cliarles Borromeo about 
 L570. and was liuilt from the designs of 
 the Milanese architect and painter, Giu- 
 
 seppe Meda. Its jilun is a square of about 
 250 ft., formed by four ranges of building 
 enclosing a noble court about 150 ft. 
 square, surrounded by two stories of 
 broad open galleries, each with an order 
 of coujiled columns of red granite — Doric 
 and Ionic respectively — the lower of which 
 is divided by transverse arches into square 
 groined bays. In striking contrast to the 
 temperance and dignity of the general de- 
 sign is the great entrance gateway, possi- 
 bly of later date. 
 
 The Brera is the familiar name for the 
 Palace of Arts and Sciences, wliich is the 
 seat of the great collections and art- 
 schools of Milan. The original buildings 
 were erected in the xir cent, for the use 
 of the religious order of the Umiliati, 
 from whose hands they jKussed in 1571 
 into those of the Jesuits, by whom the 
 present palace was built in 1051-67 from 
 tlie designs of Riccliini, the fa9ade l)y 
 Piermarini. On the suppression of the 
 Jesuits in 1773 the establishment became 
 the jjroperty of the state, and in 1803 it 
 vas devoted to its present uses. The 
 buildings are of vast extent, covering an 
 irregular square of about 370 ft. The 
 principal fa9ade, about 240 ft. long, is 
 without character, consisting of two sto- 
 ries of square windows, and quoined an- 
 gles, with a mezzanine between, the upper 
 windows with pedimented caps, and the 
 central arched entrance in an engaged 
 Doric portico, the whole ending in a pro- 
 jecting cornice on consoles. The court, 
 the best \ydrt of the building, measures 
 about 90 ft. by 120 ft., and is surrounded 
 by two stories of open arches on coui)led 
 columns carrying blocks of entablature, 
 Tuscan below and Ionic above. The pal- 
 ace has a grand double staircase, and many 
 halls of no sjiecial architectural interest. 
 It enclosed a small church, the sole rem- 
 nant of the earlier buildings, which had a 
 Gothic fa9ade with a deejjly splayed round- 
 arched doorway, two stories of two-light 
 cusjied windows, some pointed-arched. 
 
 an 
 
MILAN' 
 
 otliers rouiul, and a single high guble cov- 
 ering the front. 
 
 The Oatuedual is, witli the jiossible 
 exception of the catliedral of SeviUe, the 
 hvrgest mediseval church in Europe. It is 
 also one of the richest in point of material 
 and decoration. It is cruciform, perfectly 
 regular in jilan, with a nave of great 
 breadth and double aisles, a transept of 
 . equal breadth with the nave, with single 
 aisles, and a choir eiuling in au octagon 
 with a single aisle continued around its 
 east end (au arrangement very rare in 
 Italian cliurches), aud flanked by two 
 rectangular sacristies which fill out the 
 east end of the church to the breadth of 
 the west end. The nave and its aisles are 
 of nine bays, square in the aisles, oblong 
 in the nave. The outer and inner aisles 
 are of equal width, and are separated from 
 each other and from the nave, transept, 
 and choir by massive piers, nearly or quite 
 8 ft. in diameter, of which the plan is 
 an octagonal star, and the bases somewhat 
 clumsily moulded. The capitals, which 
 are among the most remarkable features of 
 the church, consist of a true capital, which 
 is a low wreath of conventional foliage, 
 with a heavy abacus, on which stands a 
 circling range of eight tall canopied niches, 
 each enclosing a statue, over which rise 
 high crocketed gables, the whole height 
 of the compound capital being not far 
 from 20 ft. The piers are joined by high, 
 narrow, pointed arches with weak mould- 
 ings, above which rises a low clerestory 
 with a single pointed window in each 
 bay. The clerestory is repeated over the 
 inner aisles. The walls of the outer aisles 
 are of unusual height aud lighted by a 
 tall three-light pointed window in each 
 bay, with traceried head, and filled with 
 stained glass. High-pitched four-part 
 vaults cover the whole church and are 
 stayed by iron rods, the only excejition 
 being the square bay at the crossing, which 
 is covered by a slightly elongated octago- 
 nal dome, whose interior height above the 
 
 floor is about 200 ft. The transept has 
 square ends, except that from its central 
 aisle, both on the north and the south, 
 projects an octagonal chapel, vaulted at the 
 height of the nave arches, above which the 
 square wall of the transept is pierced by a 
 great pointed wiiulow divided into nine 
 lights, with traceried head, and filled with 
 flue glass. The three sides of the octago- 
 nal termination are filled each with an im- 
 mense window 28 ft. broad and nearly GO 
 ft. high, with traceried head, and glazed 
 with extremely rich modern glass. The 
 floor of the choir rises by successive ascents 
 to the high altar near its eastern end, 
 which staiuls under a circular baldacchino 
 with Corinthian columns and entablature 
 crowned by a dome, the whole decorated 
 with extreme richness. The choir is en- 
 closed liy a high Renaissance screen wall, 
 decorated with pilasters and caryatides aiul 
 divided into panels charged with bas-re- 
 liefs. The inside is lined with elaborately 
 carved stalls of walnut, below which the 
 screen is jjierced by square windows open- 
 ing into the crypt underneath. Beneath 
 the choir is a vaulted crypt of Eenaissance 
 design, opening on the east into a circu- 
 lar chapel -iO ft. in diameter, lighted by 
 openings from the choir aisle, and deco- 
 rated with great richness, the vaulted 
 ceiling supported by Tu.scan columns. On 
 the west of the cryi)t is the equally rich 
 chapel of .S. Carlo Borromeo, with his 
 tomb in the centre, above which is an 
 opening in the floor of the nave which 
 j)ermits the interior of the chajiel to be 
 seen. On the two easternmost j^iers of 
 the four whieli sup[)ort the central dome 
 are two circular puljiits of bronze, suj)- 
 jiorted by termiiud figures, covered with 
 canopies encircling the piers, and enriched 
 with bas-reliefs. The pavement is rich 
 and beautiful, composed of colored marbles 
 in elaborate geometrical patterns. The 
 surfaces of the vaulting are painted in 
 imitation of tracery. No church plan in 
 Italv has so much the character of the 
 
:\r]LAX 
 
 northern Gotliie as this, ^'ct the breadth 
 and freedom of its treatment and tlic sjik'n- 
 ilor of its materials and decoration are 
 wholly Italian. So also is itsseotion, whitdi, 
 with its low clerestories and the slight 
 diminution in the heights of nave and 
 aisles, offers a typical contrast to that of a 
 northern cathedral. The effort to avoid 
 the crowding piers and complicated plan 
 of a northern Gothic east end has ex- 
 panded the parts about the choir to a de- 
 gree that not only makes this end look 
 bald and i^rimitive in design, in spite of 
 the rich windows, but puts it out of scale, 
 both without and within, with the rest of 
 the church. The dimensions are very im- 
 posing. The nave is 60 ft. wide between 
 the centres of its piers, the ai.sles nearly 
 30 ft. ; the total interior breadth is thus 
 about 180 ft., while the total length is 
 about -450 ft. ; and the length of the tran- 
 sejit :240 ft. The crown of the nave vault 
 is 1-1:5 ft. above the ijavement. whicji is 
 almost exactly the height of the nave of 
 Cologne and the choir of Beauvais. The 
 inner aisles have a height of about 90 ft., 
 the outer about 70 ft. The interior has 
 thus a combined height and amplitude 
 which make it one of the most impressive 
 in the world. The resemblance to a 
 northern cathedral, wliich the interior 
 shows, is not to be traced on the exterior. 
 The clerestories are so low as to be scarcely 
 visible above the high roofs of the aisles, 
 and the continuous slope of the flying but- 
 tresses over both aisles, with the similar 
 slope of the screen-like facade of the west 
 front, gives a sijrawling effect to the mass, 
 as far removed asj)ossible from the outline 
 of a northern Gothic church. The high 
 side walls are divided by shallow straight 
 buttresses terminating in jiinnacles of 
 enormous height. The.se pinnacles are 
 repeated on each clerestory, and continu- 
 ous flying buttresses connect them with 
 an arch over each aisle. The central lan- 
 tern or dome over the crossing, an octagon 
 about 55 ft. long and 45 ft. broad, rises 
 
 vertically s(nnc 50 ft. frimi the roof of the 
 nave, surrounded l)y eight l)uttresses ter- 
 minating in pinnacles, from which flying 
 buttresses with concave ramps spring to 
 the base of a slender ^^tV7/c that forms the 
 termination of the lantei'u, rising to the 
 height (it about 340 ft. above the pave- 
 ment, and crowned by the statue of the 
 Madonna. Double and single buttresses 
 divide the fa9ade, which is more modern, 
 into five vertical compai-tmonts corre- 
 sponding to the nave and aisles. From 
 these compartments panelled gables and 
 half-gables are cut off by horizontal cor- 
 nices and balconies between the luittresses 
 at the height of the corresponding roofs, 
 but all finish in a jiarapet wliich makes a 
 continuous slope as of a single gable from 
 the apex to the angles of the front. In 
 the upper part are three broad pointed 
 windows ; below are Kenaissance windows 
 and doors in two sttuMcs, all enclosed be- 
 tween pilasters and pediments. Through- 
 out the whole work the decoration is 
 carried to an extratn-diiuiry extent. The 
 walls are everywhere of white marble, and 
 excej)t on the west front, walls as well as 
 buttresses are divided into vertical panels 
 with traceried heads by wiry ribs which 
 merge in a lace-like parajiet, following the 
 caves over each clerestory. The buttresses 
 have cusjied, gabled, and pinnacled niches 
 at mid-height, the jiiinuiclcs are as lofty 
 as spires and of unparalleled richness of or- 
 nament, capped with statues, and enclos- 
 ing often in their niches a dozen or more 
 of smaller figures. The upper line of the 
 flying buttresses is marked by a pierced 
 parapet of quatrefoils, above which is a 
 fringe of inverted cusped arches with a 
 close row of sculptured finials. The num- 
 ber of statues on the exterior has been 
 variously reckoned at from two to four 
 thousand. With all its richness of mate- 
 rial and all its profusion of ornament, the 
 exterior of this great church fails to pro- 
 duce the effect of greatness which is felt 
 in many churches of far less importance. 
 
MILAN 
 
 Its richness is frittered, its majestic pro- the profusion of pinnacles, gablets, and 
 portions are concealed, and it fails to real- flying buttresses. The earliest church on 
 ize the characteristic excellencies either of this site goes back to 390 ; it was rebuilt 
 
 Fig. 108. — Milan, Cathedral, and Tower of S. Gottardo. 
 
 the northern or the southern ly])i' nf ihe 
 Gothic cathedral. Italian resistance to 
 northern ideas is shown throughout the 
 church in the etfort to avoid sharply 
 pointed arches and dominating vertical 
 lines, to preserve vvall-surfat'C and to en- 
 force horizontal lines ; the northern influ- 
 ence in the net-work of upright i)anelling, 
 the struggle of the vertical principle for 
 recognition, the character nf the tracery. 
 
 in SliCi. and again destroyi'd mid rebuilt, 
 until, in 138."). the foundation of tlie present 
 church was begun, under (lian Galeazzo 
 Visconti, Duke of Milan. Much contro- 
 versy has been maintained as to its archi- 
 tect. The northern influence was too evi- 
 dent to be denied, and. in view of this, out 
 of the crowd of men recorded as in charge 
 of the work, the ]ilan at least has been 
 conimoidv assigned to Ileinrich von 
 
MILAN 
 
 Gmiinclen. One Simoiie d'Orseiiigo was, 
 however, uamed as director laborum, also 
 a Frenchman named Nichohis de Boniie- 
 aventure, and Marco da Campione, wlio 
 died in 1390, and all of these a2)pear to 
 have had an earlier connection with the 
 work tiian the German architect. As 
 early as 13U7 the nave was partly roofed, 
 and in 1418 the choir was consecrated by 
 Martin V. As the work went on, fears 
 were entertained that the cen- 
 tral piers were too weak to sup- 
 port the dome. Brunelleschi 
 was consulted in 11:30, but the 
 work ou the dome was not begun 
 till near the end of the century. 
 In 1567 Pellegrino Pellegrini 
 was called from Brescia as archi- 
 tect of the fa9ade, which was 
 begun in the Renaissance style. 
 The work made slow progress, 
 and in 1038, during a visit of 
 the King of Spain, one Buzi, 
 who accompanied him, protest- 
 ed against the change of style 
 and submitted two Gothic de- 
 signs, one of which was ac- 
 cepted, and Buzi remained in 
 charge of the work till his deatli 
 in 1658. The Renaissance doors 
 and windows of Pellegrini were. 
 however, suffered to renuun. 
 The fa9ade was unfinished at 
 Buzi's deatli, and several de- 
 signs then made for its com- 
 pletion are preserved, among 
 them one with two great 
 square angle-towers projecting 
 both from the front and sides 
 finally completed by order of Napoleon in 
 1806-13, from the designs of Amati. This 
 facade has always been a reproach to the 
 cathedral, and lately a competition has 
 been held among various architects for 
 a design for a new front. The first prize 
 was given to Brentano of Milan, who, 
 however, died in 1891. {See Figs. 108, 
 109.) 
 
 Ohi'EDAi.K Machuoke, or Gkaxue (the 
 Great Hospital), one of the most remark- 
 able buildings of Milan, was founded in 
 1456 by Duke Francesco Sforza and his 
 wife, at a time when the Gothic style was 
 passing out of use, but some of its spirit 
 was preserved in the design by Filarete. 
 Tlie project was on an imposing scale, 
 comprising a great central court 240 ft. 
 by Hb ft., with wings on either side cov- 
 
 It was 
 
 Fig. 109.— Milan. Cathedral, Interior. 
 
 ering each a space about 340 ft. square, 
 and composed of rectangular masses of 
 building, enclosing four courts about 90 
 ft. square each. Of this vast design only 
 the north wing was carried out under the 
 Sforzas ; but toward the end of the xv 
 cent. Bramante added an arcade which 
 formed one side of the great central court, 
 and the remainder of the court was built 
 in 1G21 bv Riechini, substantially in ac- 
 
 215 
 
MILAN 
 
 ft. long, is built in accordance with tlie 
 original design of Filarete. The lower 
 story, standing on a high basement, con- 
 sists of a wall-arcade of round arches on 
 
 cordance with Braniante's design. It is plain wall with windows like those below, 
 surrounded by two stories of arcades on set in square panels. The profuse deco- 
 columns Ionic below. Composite above, ration of this fa9ade. like that of the great 
 originally entirely open, but later blocked court, is all executed in terra-cotta, and is 
 on two sides in the upper story with square one of the most notable examples of the 
 windoAVs. Over each of the two stories perfection which the Itidians attained in 
 runs an entablature, richly decorated, as the use of this material. In the centre of 
 are the spandrels and soffits : the upper the front is interpcdated an entrance like 
 cornice ])rojecting boldly on corbels. The a triumphal arch with two engaged Co- 
 remaining portions of the original plan rinthian orders, awkwardly finishing with 
 were successively completed under various three kinds of pediments one inside the 
 architects. The street front measures other. A plain attic story has been added 
 some 900 ft., of which the central por- to the faf;ade in recent times, quite out of 
 tion in front of the great court, about 2.50 keeping with the older architecture. {See 
 
 Fig. 110.) 
 
 Palazzo Makixu, a sumptuous palace 
 of great extent, built from the designs of 
 (laleazzo Alessi about 1.500, by Tonimaso 
 Marino, a wealthy banker of 
 Genoa, in the service of the 
 Spanish Government, by which 
 it was confiscated, and from 
 which it passed into the hands 
 successively of the Eni])ress Ma- 
 ria Theresa and of the munici- 
 pality of Milan. The palace 
 covers an area about 275 ft. 
 .square, with fa9ades on four 
 streets. Of these the principal 
 is in three high stages, each or- 
 namented witii an order of jii- 
 lasters, those of the first and 
 second stories Doric and Tonic 
 respectively, that of the third 
 story with hcrmcn or terminal 
 [lilasters and a richly decorated 
 rornicc. The great interior 
 court is surrounded by two 
 stories of arcades decorated 
 with extravagant richness, and 
 the great hall which ojiens from it is per- 
 haps even more overloaded witii ornament, 
 though it is still incomplete. 
 
 Palazzo (Loggia) degli Osii. A fa- 
 (;ade with a two-storied loggia — remnant 
 of the XIII cent. Palazzo Pubblico. Be- 
 low are five broad round arches on piers 
 renewed in 1650. Above, slender grouped 
 
 M Ian Ospedale Grande, Court-yard, 
 
 stout three-(|uart('r cohunns, and eni-los- 
 iiig pointed windows each with two sub- 
 arches and a dividing column, encom- 
 passed by a hroail border of rich sculjiturc. 
 All the .spandrels are filled with roundels 
 enclosing busts in high relief. A high 
 frieze charged with reliefs separates the 
 two stories, of which the upi)er has a 
 
 81 e 
 
MILAN 
 
 columns carry pointed arclit's. I'onncrly 
 open, now filled with modern windows, aiid 
 standing on a panelled belt decorated with 
 armorial shields. The third story was a 
 gallery iu five groups of three round arches, 
 the end groups now built up, the 
 others occupied by statues, of the 
 XV century. Next it are the 
 former Scuole Palatine, with a 
 graceful arcade of coupled col- 
 umns and second story of en- 
 riched windows, crowned by a 
 bare modern attic. (Sec Fi//. 111.) 
 
 The Palazzo Reale (Uoyal 
 Palace) stands on the site of the 
 old medieval jjalace built by Azzo 
 Visconti in i;]:30, of which noth- 
 ing remains but the choir and 
 tower of the chapel, now known 
 as S. Gottardo {q. v.). The old 
 buildings were removed partly 
 by Uian Galeazzo Visconti, to 
 make room for the cathedral ; 
 near 158U what remained was substan- 
 tially rebuilt in the style of the Renais- 
 sance by Ambrogio Piscina, and in 1771 
 a final restoration under Piermarini 
 brought it to its present condition. The 
 palace is of irregular plan, covering iin 
 immense extent of ground, with its prin- 
 cipal front facing the south flank of the 
 cathedral. It is about 230 ft. long, in 
 three stories, the first a basement of rustic 
 masonry, with arched entrance in the 
 middle, the two upper stories embraced in 
 an order of flat Ionic pilasters, with a 
 prominent cornice, the centre slightly 
 broken forward, with engaged columns and 
 a high panelled attic. The interior con- 
 tains many state apartments sumptuously 
 adorned, but of no architectural interest. 
 
 S. Ambrogio (fSt. Ambrose), is perhaps 
 the most interesting of Lombard churches 
 in Italy, historically and architecturally. 
 It may be called a typical Romanesque 
 basilica, with atrium or fore-court, nar- 
 tliex, nave, aisles, and tribune, great cen- 
 tral lantern, but without transept, and 
 
 flanking western towers. Its total length 
 is about 390 ft., its breadth (which is uni- 
 form throughout, the lines of the aisle- 
 walls continuing those of the atrium) 
 something less than 90 ft. Tlic atrium is 
 
 Fig. i i i.— iv 
 
 a grand open court about 4*; ft. wide and 
 118 ft. long, enclosed by groin-vaulted 
 arcades of round arches, carried on grouped 
 shafts with low capitals of extremely va- 
 ried design, strongly Byzantine in char- 
 acter, from which slender engaged shafts 
 with base and capital rise through the 
 spandrels to an arched corbel-table and a 
 simply moulded (cornice. The atrium is 
 faced by the great facade of the church, 
 covered by a single unbroken gable of low 
 IDitch, under which are the two open 
 arcades of the narthex. The lower arcade 
 is essentially a continuation of those of 
 the atrium. Over it is a vaulted gallery 
 with five arches corresponding to those 
 below, but graduated in height to follow 
 the rake of the gable. Each of these di- 
 visions is occupied by a single round arch ; 
 the arches spring from grouped shafts, 
 matching those of the atrium, but of 
 greater richness and variety, and with 
 richly sculptured archivolts. The rear 
 wall of the narthex and west wall of the 
 church is jjierced in the first story bv 
 
.MILAN 
 
 three doorways giving access to nave and 
 aisles, and in the second by three hirge 
 round -arclied windows under the nave 
 vault ; ujjon whicli the nave, having no 
 clerestory, depends for light. The front is 
 flanked hy two square campaniles varying 
 much in design, aud of widely dift'erent 
 ages, that on the south, very plain, being 
 presumably contemjioraneous with the 
 oldest existing portions of the church, 
 while that on the north belongs probal)ly 
 to the XII century. The great central 
 lantern is one of the most striking external 
 features of the church. It is of the full 
 breadth of the nave, about -48 ft. exter- 
 nally, and shows above the roof an octa- 
 gon of two stories of arcaded galleries, 
 the upper arches much larger and higher 
 than tlie lower, under a rich cornice with 
 intersecting arches, crowned by a low 
 pyramidal roof. In the interior, the nave 
 is considerably more than twice as broad 
 as the aisles. It is divided into four bays 
 by massive grouped piers with flat pilas- 
 ters toward nave and aisles, from the 
 capitals of which transverse round arches 
 cross the nave and aisles. Between the 
 great piers are smaller intermediate piers, 
 carrying two rather low rouiul arches to 
 each bay of the nave. Arches also cross 
 the aisles from the intermediate piers, 
 nave and aisles being thus divided into 
 square bays, two to one, covered with 
 simple four-part vaulting, the vaults of 
 the nave having strong square diagonal 
 ribs of brick with occasional stone vous- 
 soirs, while those of the aisles have none. 
 Above the aisle vaulting is a gallerv, 
 opening into the nave by arches precisely 
 similar to those below, but lower, vaulted 
 like the aisles below, and lighted like 
 them by windows in the external wall. 
 Over the fourth and last bay of the nave 
 rises the octagonal lantern, its diagonal 
 faces carried on squincjies. The vertical 
 wall, though high outside, is low inside 
 and pierced by a single round-headed win- 
 dow in each face. The jjointed dome is 
 
 without cornice or other architectural feat- 
 ure, is decorated with frescoes of the xvi 
 cent., and has a window in each face just 
 above the spring. The choir opens from 
 the nave by a single round arch as broad 
 as the other transverse arches and lower. 
 It has a shallow oblong bay covered by 
 a barrel-vault, and a round apse with 
 a hcmis23lierical dome, lighted by three 
 round-headed windows. The circular wall 
 was formerly lined with marble benches 
 for the clergy, in the centre of which 
 wiis raised the cathedra or bishop's chair. 
 The chair remains' — a rude seat built 
 up of stone masonry, covered by a mar- 
 ble slab, and enclosed on either side by 
 similar slabs, on each of which is the 
 figure of a lion. The benches were dis- 
 placed in the XIV cent. l)y wooden cano- 
 pied stalls. The original decoration of 
 the choir was elaborate. The hemispheri- 
 cal vault of the apse still retains its splen- 
 did mosaic on a gold ground, dating from 
 880. A similar decoration covered the 
 wall between the windows, of which only 
 a trace remains. The same may be said 
 of the frescoes with which tlie remaining 
 walls of the tribune were adorned. The 
 floor of the choir is raised al)out ft. 
 above that of the nave, and beneath it is a 
 crypt, dating from 78-1, but repaired in 
 I'-iOO, divided into five vaulted aisles by 
 columns of red marble, with black marble 
 Doric capitals, and opening into the nave 
 by low round arches, two on either side of 
 the high altar. The lower tribune is di- 
 vided from the nave by a platform — still 
 higher by several steps than the pavement 
 of the nave — upon which stands the high 
 altar, a superb example of goldsmith's 
 work, of which the four faces are panelled, 
 the panels filled with figure suljjects in 
 relief, aiul the whole lavishly adorned 
 with gold, enamel, and precious stones. 
 Over the altar is a baldacchino or cibo- 
 rium, which is one of the most notable 
 works of the kind in existence. It con- 
 sists of four columns of polished porphyry. 
 
 218 
 
MILAN 
 
 whose bases are beneatli the present pave- 
 ment of the church, with capitals of white 
 marble, joined by stilted round arches, 
 surmounted by a high gable on each face, 
 and enclosing a groined vault, of which 
 the thrust is met by iron tie-rods. The 
 arches and gables are executed in rough 
 masonry and covered with stucco, but the 
 decoration of this stucco — of the archi- 
 
 ancient sarcojshagus, presumed to be of the 
 IV cent., and partly on seven slender col- 
 umns carrying round arches. The pulpit 
 is covered with sculjiture, representing an 
 immense variety of men and animals, of 
 which the character is so vigorous and 
 telling, and the action so full of Gothic 
 energy and vivacity, as to place the work 
 in the first rank of earlv medi;¥val art. 
 
 volts and soffits of the arches, the pilasters 
 at the angles, the groups in bas-reliefs 
 under the gables, the birds on the abaci 
 of the capitals — is to be raTiked among the 
 most admirable works of mediseval art. 
 All is reinforced with gold and color. 
 which has recently been renewed as nearly 
 as possible in accordance with the original. 
 Scarcely less remarkable than the cibo- 
 rium and altar is the white marble puljiit, 
 which is set against one of the northerly 
 piers of the nave. It rests partly on an 
 
 The original church, from which the pres- 
 ent basilica has grown by successive re- 
 buildings and additions, was built by St. 
 Ambrose, and by him conseci-ated in 386. 
 It is said that he caused his tomb to be jjre- 
 pared under the altar, and the sarcojdiagus 
 which stands under the altar of the present 
 church is i^opularly supposed to contain his 
 remains. From the iv to the viii cent, 
 the history of the church is not known. 
 It was jirobably destroyed and rebuilt, and 
 portions of the present structure (as the 
 
 219 
 
MILAX 
 
 apses and tliu hays next them) ]irobal)ly 
 date from Archbisho]) Angilbert II., be- 
 
 Fig. 113, — Milan, S. AmbfOgio. Interior. 
 
 twcon S'ii and 859. Tlie atrium, ac- 
 cording to a seinilchral inscription, was 
 built under Anspertus, between 868 and 
 881, the northern tower in 11-29. It lias 
 been believed by most authorities, includ- 
 ing Dartein, that the church as we see it 
 is mostly the work of Anspertus, but the 
 latest, Cattaneo, argues plausibly that it 
 is from a later rcliuilding in the xr cent., 
 and that the atrium is a half century later 
 tlian tile nave and aisles. In 1196 por- 
 tions of the roofs of the nave and choir 
 fell in, causing a partial destruction of 
 the body of the church. When tlie re- 
 building was undertaken, the central lan- 
 tern was added. In 1631 the atrium, 
 which liad become ruinous, was repaired. 
 Since 1870 the whole church has under- 
 gone a thorough restoration. (See Figs. 
 IIJ, ll.J, m.) 
 
 S. Carlo Bhuhomeo, a Renaissance 
 eliurcli begun in 18.38 from the designs of 
 Amati. Its plan is a circle 10.") ft. in di- 
 ameter, covered by a dome of tlie same 
 diameter, 120 ft. high, crowned with a lan- 
 tern, and liglited by two stories of win- 
 dows. The walls are adorned liy an order 
 of Corinthian columns of wd marbh'. 
 
 Tlic church stands at the base of a square 
 court of whicli the sides are formed by 
 commercial buildings five stories 
 high. A Corinthian colonnade 
 is carried round this court ; a 
 [lortion of it is broken forward 
 to form a facade for the church, 
 making an octostyle portico, 
 with a iK'diment charged with 
 sculjiture, above which, and 
 quite overwhelming it by its size 
 and height, rises the great dome 
 surrounded by Corinthian j^ilas- 
 ters, the intervals filled alter- 
 nately by square windows witli 
 tlat caps, and circular niches en- 
 chising statues. 
 
 S. Celso is but a fragment of 
 
 a X or XI cent. LomI)ard church, 
 
 which replaced an earlier one. 
 
 The greater part of the present building 
 
 was demolislieil in 1818 to open the south 
 
 Fig, 1 14.— Milan. S. Ambrogio, Plan. 
 Scale of 100 feet. 
 
 side of the Church of the Assumption. 
 The apse with one bay of the nave was 
 
 aao 
 
MILAN 
 
 spared, and a new front was built across 
 the west end, in wliicli was j^reserved the 
 old central doorway of the original facade, 
 with some admirable sculpture. The high 
 square tower, of brick with stone angle- 
 quoins, standing at the east end of the south 
 aisle, also belonged to the old Lombard 
 church. The nave originally consisted of 
 three bays, divided by grouped stone piers, 
 with four faces of square pilasters, from 
 which transverse and longitudinal round 
 arches were carried across nave and aisles 
 and to intermediate nave piers. Trans- 
 verse arches subdivide the aisles into 
 square bays, two to each of the nave bays, 
 those of the aisles being covered with 
 four-part vaults, and those of the nave 
 by barrel-vaults. The apse, rather less 
 than a semicircle in jjlan and lighted by 
 three windows, has an arched corbel- 
 table under the cornice, which is sur- 
 mounted by a semi-dome. The inte- 
 rior, with the excejition of the jners, is 
 wholly of bi'ick. The sculpture of the 
 capitals is interesting — its character is 
 Byzantine, foliage and classic details 
 being mingled with figures of birds and 
 animals in vigorous action as at S. Am- 
 brogio. 
 
 S. ErsTOUGio. one of the oldest of the 
 Lombard churches, but largely restored 
 in modern times ; a simple basilica of 
 brick, about 21.5 ft. long and 75 ft. broad. 
 The facade, which was rebuilt in 1863-G.'). 
 but in which the old architecture is substan- 
 tially adhered to. has a single low gable, 
 with arcaded cornices. Two square stone 
 buttresses half as high as the front divide 
 the lower portion into three compartments 
 with three round-arched doorways, of which 
 the middle one has a gabled porch. Over 
 each doorway is a two-light round-headed 
 window, and in the central division are 
 two similar single windows. The south 
 side shows a succession of low gables and 
 chapels. The eastern apse has square but- 
 tresses with large windows between, and 
 behind it is a large square chapel dedicat- 
 
 ed to St. Peter Martyr, with angle })iiiiui- 
 cles and a cupola or lantern, built in 
 1460 by Michelozzo Michelozzi. A tall, 
 slender, brick camjianile, divided into six 
 stories by arched corl)el-taljles, with two- 
 light windows in the belfry, and a sharp 
 spire, stands at the S. E. angle of the 
 church. The interior, which has been 
 repeatedly restored and modernized, is 
 
 Fig. 115. -Ml 
 
 o1 bt Peter Martyr. 
 
 full of irregularities. The nave, about 40 
 ft. wide, is in eight bays — the piers vary- 
 ing greatly in form, but for the most part 
 grouped — a shaft or pilaster toward nave 
 and aisle, from the capital of which a round 
 transverse arch is thrown across, two 
 others which carry the round nave arches, 
 and square members in the angles which 
 run up to take the diagonal vaulting-ribs. 
 The aisles are of different heights, the 
 arches of different forms, and built some 
 with brick only, some with occasional 
 stone voi;ssoirs. The nave vaulting dates 
 from the xiii cent., the roof having been 
 originally of wood, while the aisles were 
 
 221 
 
MILAN 
 
 probably vaulted from the first. From 
 the east end opens a central tribune in 
 one square vaulted bay, terminating in an 
 apse, and the aisle bays are extended un- 
 der continuous vaults into side chapels. 
 The tribune was originally level with the 
 nave, but the building of a crypt in 1537 
 caused the floor to be raised. The orig- 
 inal church is said to liave been founded 
 by Eustorgius himself, who occupied the 
 chair of Milan from 315 to 331. It was 
 probably rebuilt in the ix cent., and the 
 apse may date from that time ; the body 
 of the cliurcli is less old. The campanile 
 was built 1297-1309. The church con- 
 tains many interesting tombs, notably that 
 of Peter of Verona, by Balducci of Pisa, 
 dating from 1339. which formerly stood in 
 the middle of the nave, but is now under 
 the dome of the chapel of St. Peter 3Iar- 
 tyr. Traces of jmintings have been found 
 on the nave-piers. {See Fig. 115.) 
 
 S. Fedele, a Eenaissance church built 
 between the years 15G9-15T9 for the 
 Jesuits, l)y Pellegrino Pellegrini, called 
 Tibaldi, under the authority of S. Carlo 
 Borromeo. Its plan is extremely simple — 
 a rectangular hall about 02 ft. wide and 
 111 ft. long, its walls decorated with an 
 order of composite pilasters in the inter- 
 vals of which are shallow arched recesses. 
 The length of this hall is divided by de- 
 tached columns of polished red granite and 
 a transverse arch into two nearly square 
 bays, covered with very low domical vaults. 
 The square choir is covered by a hemi- 
 spherical dome raised on a high tambour. 
 The whole interior is richly decorated. 
 The exterior is in two stages, each consisting 
 of an order of engaged composite columns 
 and pilasters, on a high pedestal course. 
 The facade has a high central doorway, a 
 large window over it. and all the other in- 
 tervals filled with nnich decorated niches, 
 panels, or bas-reliefs, for the most part in 
 questionalile taste. The fa(;ade. left unfin- 
 ished ,was added as late as 1 835 by Pestagal 11. 
 
 S. GoTT.VKDO. an interesting fragment 
 
 of the old (•lia2)el which Avas incorporated 
 in the early iialaee of the Visconti, built 
 about 1335 and afterward altered into tlie 
 present Palazzo Keale {q. v.). The cha]>el, 
 perhajis a century and a half older, Avas of 
 the Lombard style, built of brick with 
 terra-cotta ornaments. The portions w]\ich 
 remain are the apse of the choir, octago- 
 nal, witli small angle shafts, an arcaded 
 gallery at the top of the wall, with narrow 
 round arches without columns, covered 
 by an octagonal roof crowned by a lantern 
 — and a fine tower on its south flank, 
 also octagonal, with angle shafts running 
 through its whole height, divided into 
 many stages by string-courses of intersect- 
 ing arches. A double arcaded gallery en- 
 circles the head of the tower, above which 
 rises a smaller octagon in two stages, the 
 ujiper with an open arcade, crowned by a 
 conical spire. The tower was probably 
 Lombard, but considerably altered in the 
 XIV century. {See Fig. 108.) 
 
 S. LoKESZo, one of the most ancient 
 and important churches in ^lilan. Its 
 origin is doubtful and has been the subject 
 of much controversy among archasologists, 
 but there is little doubt that in whole or in 
 jiart it was in its earliest form a rebuild- 
 ing of an old Roman monument. It is ap- 
 proached from the modern street under a 
 colonnade of sixteen Corinthian columns, 
 ]iresumed to form a part of the portico of 
 the old Ponian Paths, built toward the 
 end of the in century. From this ]iortico 
 one passes into a square atrium or fore- 
 court, of which the surrounding arcades 
 have wholly disappeared, and of which the 
 farther side is occupied by the front of 
 tJie church. Its plan is essentially a square 
 of 75 ft. with semicircular apses or trib- 
 unes on four sides, and the corners cut off 
 between by arches, making an octagon of 
 unequal sides, and leaving triangular re- 
 cesses in the corners. A two-story vaulted 
 aisle is carried round the whole, following 
 tlie outline of the plan and separated from 
 the central .space l)y colonnades — Doric be- 
 
 222 
 
MILAN 
 
 low ami Ionic above — an arrangement so 
 mucli resembling that of the Byzantine 
 church of S. Yitale at Kaveiiiia, as to have 
 led some authorities to consider the two 
 l)uil dings contemjiorary. 'L'he 
 opening of the apse on each side is 
 coverecl liy a round arch, above 
 which a Doric cornice encircles 
 the octagon. From this cornice 
 springs a high octagonal dome 
 with a window in each compart- 
 ment. The dome has been sev- 
 eral times destroyed and rebuilt. 
 and at each rebuilding has sulfered 
 a change of form. Four small 
 square towers, standing at the an- 
 gle of the original square of the 
 hall, unite the exterior walls of 
 the circular aisles. The prepon- 
 derance of authority seems to in- 
 dicate the ly cent, as the date of 
 this interesting mouument. Un- 
 der the Lombard kings of the viii 
 cent, it was decorated with great 
 splendor — its roofs and towers 
 blazed with gold, and its interior was 
 adorned with precious stones. It was par- 
 tially burned in lOTO ; in 1104 the dome, 
 with a portion of the walls, fell in ; in 
 1124 a second fire partly destroyed it, 
 in 15T5 the dome and vaults again fell, 
 after which the church took the form in 
 which it now exists. Opening from the 
 circular aisles on three sides (the western 
 entrance occupying tlie fourth) are three 
 detached chapels of early date, doubtless 
 built up from the foundations of apart- 
 ments in the Roman buildings supplement- 
 ary to the great hall. The most impor- 
 tant of these is the Chapel of 8. Aquilino, 
 a vaulted octagonal building about 40 ft. 
 in internal diameter, with niches alter- 
 nately square and round occupying each 
 side of the octagon, and built in the 
 thickness of the walls, which is about 11 
 ft. Between the crown of these niches 
 and the spring of the dome is a gallery, 
 also built in the thickness of the wall and 
 
 opening into the chapel by a In'oad arch 
 on each side. The dome is low, octagonal, 
 and about GO ft. high from the ijavemeut. 
 On the exterior is an arcaded gallery 
 
 Fig I le, — Milan, b Loienzn 
 
 masking the dome, similar to those of the 
 central lanterns in the Lombard churches, 
 but without columns, the arches carried 
 on brick piers. Buttresses of slight pro- 
 jection reinforce the angles. The roof is 
 conical and low. The dome and vaults 
 were originally covered with mosaics, which 
 were still perfect as late as the beginning 
 of the XVII cent., but of which only a 
 few fragments now remain, 'riiis chajjel 
 is presumed to be as old as the v century. 
 On the north side of the church is the 
 Chapel of S. Sisto, somewhat similar to S. 
 Aquilino in plan and general construction, 
 but much smaller and lower and without 
 galleries. On the east is the Chapel of S. 
 ilippolito, cruciform in plan within, octag- 
 onal without, and covered with a groined 
 vault. Four angle-shafts carry the arches 
 which enclose the four-part vault. The 
 date of this chapel is doubtful. Various 
 later additions surround and obscure the 
 original form. {See Fig. 116.) 
 
MILAN 
 
 The Ciiluinns of S. Lorenzo are the 
 most coiispicuoius memorial remaining of 
 the Roman Mediolanum. The}' consist of 
 sixteen time-worn fluted Corinthian col- 
 umns of white marble, 29J ft. high, and 
 are lield to be part of a colonnade belong- 
 ing to the Baths of Maximian, dating from 
 the III century A.n. Portions of ancient 
 walls still visible in the church doubtless 
 belong to the same baths. 
 
 Sta. Makia del Carmine, a Gothic 
 church of the Carmelites built about the 
 middle of the xv cent., and rejjeatedly al- 
 tered and restored. It has a nave of three 
 square double bays, covered by four-part 
 vaulting springing from heavy piers, and 
 subdivided by intermediate piers corre- 
 sponding to the bays of the aisles. The 
 transept is like tlie nave, and the raised 
 choir is in two narrow vaulted bays, ter- 
 minating in a round apse. The front has 
 been relniilt in a poor neo-Gothic style. 
 
 Sta. Maria presso S. Celso, a Re- 
 naissance church founded b}^ Philip Yis- 
 conti, the last duke of the name, and re- 
 markable for the sumptuousness of its 
 materials and decoration. The church is 
 preceded by a square arcaded atrium in the 
 style of Bramante, faced with an order of 
 engaged Corinthian columns on pedestals. 
 The outer front wall of the court has an 
 order of flat Corinthian columns, coupled 
 on pedestals. In the rear is the west 
 front of the church, an extravagant com- 
 position overloaded with ornamental feat- 
 ures dating from the xvi cent., and at- 
 tributed in whole or in part to Galeazzo 
 Alessi. The interior has a broad nave 
 covered by a barrel-vault, richly panellcil 
 and decorated, and aisles groined in square 
 bays, round nave-arches springing from 
 square piers fared with an order of engageil 
 Corinthian columns with bronze capitals, 
 supporting a continuous entablature above 
 the arches. The crossing is covered by 
 a polygonal lantern with a low drum, 
 an external open gallery aiul a low i)olyg- 
 onal roof, but linishing within as a do- 
 
 decagonal dome. Two smaller domes of 
 similar form cover the arms of the tran- 
 sept. The choir has a polygonal end, and 
 the aisle is carried round it. The walls 
 and j>avement are faced and inlaid with 
 rich marbles. 
 
 8ta. Maria delle Grazie, a late 
 Gothic church of brick with Renaissance 
 transept, choir, and dome. The earlier 
 portion, which, however, antedates the 
 later only by about thirty years, consists of 
 a nave without clerestory but with two 
 aisles, each with a range of chapels open- 
 ing from it. The facjade has a single 
 broad low gable, and is divided into five 
 comjiartments by jilain pilaster-strips, end- 
 ing in an arched corbel-table which follows 
 the rake of the roof. In the three middle 
 compartments are bad Renaissance tloor- 
 ways, in the four side compartments 
 pointed windows. Over the central door- 
 way is a large round window, and above are 
 five smaller ones following the slope of the 
 eaves. The side elevations have in each bay 
 two simf)le pointed windows with a round 
 window crowded between their heads. 
 But the noteworthy feature of this church 
 is the great central lantern or dome, ris- 
 ing from a low, square tower, which oc- 
 cujiies the whole breadth of nave and 
 aisles. From the north and south walls 
 of this base project round apses, and from 
 the east wall a square choir, also terminat- 
 ing in an ajise. The walls are divided by 
 pilasters into panels, and are finished above 
 the ridge of the nave roof by a classical 
 cornice. The great dome which covers 
 the choir is masked outside by a sixteen- 
 sided lantern with an open eaves-gallery 
 and low pointed roof, the transition from 
 the square tower below being broken by 
 small apses or oriels at the angles. All 
 this ])ortion of the church is the work of 
 Branuiute at the end of the xv century. 
 The walls are much decorated, particularly 
 those of the apses and choir, which are 
 enriched with pilasters and cornices, can- 
 delabra-columns and panels and medal- 
 
 S34 
 
MILAN 
 
 lions with sculptured heads. Tiiese eu- 
 richracuts are for the most part exeeuted 
 in stone. The interior sliows a nave and 
 aisles of seven bays, sipuiiv in tlie aisles 
 and oblong in the nave, all vaulted, witli 
 a line of low vaulted chapels openini; from 
 each aisle, with windows in the cniter wall. 
 The nave and aisles open by 
 pointed arches into the great 
 square choir, which is quite un- 
 divided, and is covered by the 
 hemispherical dome. The chan- 
 cel is in a single square bay cov- 
 ered with a groin-vault and ter- 
 minating in an apse with a semi- 
 dome. A long sacristy oi)eus 
 near the end of the north aisle, 
 which has on the doors of a se- 
 ries of presses which contain the 
 vestments of the priests, some 
 remarkable paintings by Bernar- 
 dino Luini ; and on the end wall 
 of the refectory connected with 
 the clnirch is all which remains 
 of the Cenacoh. or Last Su232uu-, 
 by Leonardo da Vinci. The 
 church belongs to the last quar- 
 ter of the XV cent. : it was pro- 
 jected in 146i, says ^lotlies. 
 {See Fig. 117.) 
 
 8. M.vnuzio (or Monastero 
 Maggiore), a small Renaissance 
 church formerly attached to the 
 great monastery, by which name 
 it is sometimes known. It was 
 built about 1500 by Dolcelniono, a pupil 
 of Bramante, and consists of a rectangular 
 nave with a double order of Doric pilas- 
 ters, the lower enclosing rectangular arclied 
 recesses or shallow chajiels, the upper in 
 each bay three openings divided by Corin- 
 thian columns with a centre arcli opening 
 into a gallery running round the whole 
 church over the chapels. The interior is 
 covered by a groined vault, decorated with 
 frescoes, and divided by a panelled screen 
 rising to the height of the upper cornice, 
 jjainted by Luini. 
 
 S. ]\'.\zz.\Ko .MAoiiioiiic, an ancient 
 church founded by St. Ambrose in the iv 
 cent., but substantially changed some cen- 
 turies later. Its plan consists of a nave of 
 two square groined bays, jjrojecting tran- 
 sejDts each with a single oblong bay and a 
 round apse, and a choir of similar disposi- 
 
 Fig. 117.— Miian, Sta. Maria delle Grajta. 
 
 tion to the transept, the crossing being 
 covered with an octagonal dome something 
 over 80 ft. high from the floor. Attached 
 to the west end of the church is a Kenais- 
 sance vestibule, square without and octag- 
 onal within, of the full breadth of the 
 nave and covered by a donre, on the walls 
 of which, above the doors, are eight sar- 
 cophagi of the Trivulzio family. A similar 
 chapel dedicated to St. Catharine is at- 
 tached to the west wall of the nave, and 
 at the N. W. corner is a square clock- 
 tower. 
 
 225 
 
MILAN 
 
 8. Satiko is u Ik'naiswince cliurcli of 
 the XV cent., ascrilied td Bramiiiite :iml 
 built oil the foundations of a Lombard 
 church dating from 800, portions of which 
 still remain. The plan is incomplete, 
 forming a Latin cross witliout the choir 
 arm. There is a short uave of five narrow 
 bays, with side aisles — a transept with one 
 side aisle, and in the eastern wall of the 
 transept a shallow recess containing the 
 altar. 'J'iie nave is covered with a pan- 
 elled barrel - vault, and the aisles are 
 groined. The scpiare piers carry round 
 arches in the intervals of an order of Co- 
 rinthian pilasters with richly decorated en- 
 tablature. The crossing is covered with a 
 hemispherical dome, showing outwardly as 
 a round lantern with a low conical roof 
 and cupola. The interior ornaments are 
 in stucco and have much delicacy ami re- 
 fliiement. The exterior of l.irick has an 
 
 w 
 
 
 ^M'M 
 
 '/^\0^^ 
 
 order of Hat Corintiiian i)ilasters with a 
 ligiit entablature, low attic, and conspit'U- 
 ous lantern. The sacristy in the angle of 
 
 tlie south aisle and transept, undoubtedly 
 an early work of IJramante. is an octagon 
 about 'i\ ft. in diameter with niches on 
 four sides and square recesses on the other 
 four, enclosed in an order of Corinthian 
 pilasters with a high entablature. A sec- 
 ond story of similar design is covered by 
 a high elliptical dome with a tall cupola. 
 The sacristy is considerably higher than 
 the church, and lavishly decorated. The 
 ancient chapel of S. Satiro opens from 
 the iiortli transept, standing oblique to 
 the church, and is a square of about iO 
 ft. with four columns in the centre sup- 
 ])ortiiig an octagonal lantern, and semicir- 
 cular niches opening from three sides. It 
 is believed to be part of the old church of 
 the IX cent., but its exterior is modern. 
 The tower which rises near it, doubtless 
 the original oni'. is strongly Lombard in 
 character, in four stages with ])ilaster- 
 strips ending in arched corliel-tables and 
 small round-headed windows, {See Fiij. 
 lis.) 
 
 La Scala, one of the largest and most 
 celeljrated theatres in Europe, begun in 
 i;T(j from the designs of Piermarini, and 
 completed in 1778. Its plan is a rec- 
 tangle 130 ft. wide and 320 ft. deep, the 
 <lepth being almost exactly divided be- 
 tween the auditorium, with its accessories, 
 and the stage. The i^lan of the audito- 
 liimi is a horseshoe, measuring 87 ft. in its 
 greatest width, 10.3 ft. in dei^th from the 
 curtain, and (i.") ft. in height, with seven 
 ranges of boxes. The width of the cur- 
 tain opening is 49 ft. Small cabinets cor- 
 responding to the boxes line the outside 
 of the corridor, which two staircases di- 
 vide into three nearly equal parts ; and a 
 folic)- or saloon, 20 ft. by 80 ft., over an 
 entrance hall of the same dimensions, opens 
 fnim Ihe rear of the principal range of 
 boxes, the front of tlie building being oc- 
 cuiued l)y apartments for the ail ministra- 
 tion. Tiic architecture of the faQaile is 
 an order of coupled Corinthian columns, 
 between a basement of rustic work and a 
 
 •i-ia 
 
MILETUS 
 
 liigli attic surinnnnteil 1)y n l>Mlustradc, 
 with a j^ediment over tlie central portion. 
 
 The Villa Re ale is a modem pahice 
 built ill 1790 by an Austrian architect of the 
 name of Polack for the count Bclgiojoso, 
 but now belonging to the crown prince of 
 Italy. It is ail extensive building with a 
 symmetrical plan, surrounding three sides 
 of a court. The advancing wings have 
 two stories of simple design, the centre, 
 with three, is marked also by a frontispiece 
 of engaged Corinthian columns. The gar- 
 den facjade, much richer, has a rustic base- 
 ment, and above, an order of Ionic col- 
 umns and pilasters, embracing two stories 
 and enriched with carving. 
 MILETUS (Palattia), Caria, Asia Minor. 
 
 Temple of Apollo DiDYM.Ers. The 
 oracle of this ancient sanctuary was al- 
 ready renowned over a thousand years be- 
 fore Christ. The sanctuary was l)urned 
 by Darius, and after a more or less com- 
 plete restoration was entirely ruined by 
 Xerxes. It was again restored after the 
 Persian wars. The style of the existing 
 remains jTOints to the Alexandrine epoch. 
 The temple in its final form was contem- 
 porary with those of Ephesus and Mag- 
 nesia ; the design is atti'ibuted to the 
 architects Dajjlinis, of Miletus, and Pai- 
 onios of Ephesus, the designer of the Ejjhe- 
 siaii temple of Diana. Vitruvius records 
 an ancient estimate of this temple, with 
 the Artemision at Ephesus, the Sanctuary 
 of the Mysteries at Eleusis, and the Zeus 
 temple at Olympia, as the four most splen- 
 did of classical antiquity. It was never 
 roofed ; Strabo says that this was because 
 of the enormous span to be covered. The 
 temple remained till the v cent, a.d., and 
 was no doubt overthrown by earthquakes. 
 The cella walls still stand all round to a 
 height of about 10 ft. ; they are '.) ft. thick, 
 faced with gray marble and filled with 
 rubble. In the interior they were orna- 
 mented with pilasters corresponding with 
 the interior columns ; the cajiitals of these 
 pilasters present a very interesting design 
 
 — they are of a somewhat Corinthian out- 
 line with graceful antheinion ornament. 
 Between the capitals ran a frieze of grif- 
 fins and lyres. The temple was in plan 
 1.59 ft. by 353 ft., measured from axis to 
 axis of the angle-columns ; it was Ionic, 
 decastyle, dipteral, on a stylobate of three 
 steps, with twenty-one columns on the 
 flanks. The columns were (J ft. 4 in. in 
 diameter at the l>asc, and 03 ft. 8 in. high ; 
 the iutercoluinniation was 17 ft. 4 in. 
 The shafts had twenty-foui- flutes of semi- 
 circular section and no decorated necking. 
 The columns of the front had polygonal 
 plinths ornamented with sculpture. Three 
 columns are still standing ; two of them 
 still uphold their architrave, the third is 
 unfinished. The shafts are formed of fif- 
 teen drums. The architrave is in two 
 slabs, and has an ornamental moulding at 
 the top. The volutes of the capitals were 
 without the connecting cushion. The 
 cella, measuring 97 ft. by 290 ft., is re- 
 stored (though this restoration is not cer- 
 tain at all points), as having a deep pro- 
 naos with four columns in nnfis. then, 
 before the cella proper, an enclosed vesti- 
 bule, and at the back a chamber divided 
 from the main cella by two anta? with two 
 columns between them. There were prob- 
 ably two ranges of ten columns in the 
 cella corresponding with the pilasters on 
 the walls, and two columns at the front 
 end connecting the side ranges. There 
 was no ojjisthodomos. 
 
 Theatre, built on the slope of a hill, 
 but not excavated from it. It is entirely 
 of stone, with a surrounding wall ; the ex- 
 terior is cased with marlfle and enriched 
 with sculpture. In plan it is a little more 
 than a semicircle ; the exterior diameter is 
 472 ft., that of the orchestra 224 ft. The 
 elaborate capitals of the impost pilasters 
 are composite, with Victories introduced 
 among the foliage. Its immense walls can 
 be seen distinctly from Priene, twelve miles 
 distant. 
 MKES. See Chulant. 
 
 ■iit 
 
:\i()i)i:xA 
 
 MODEXA. I tidy. 
 
 Cathedkai,. a liiiiuaucs(|uc cliurcli of 
 the XII cent, with iiuuiy charaeteristiu 
 features. Its dimensions are not very 
 large, the whole length being somewhat 
 less than 200 ft., tlie whole breadth about 
 70 ft., the breadth of nave ;i,S ft. The 
 front follows the interior section. l)eing in 
 three divisions, tlie nave terminating in a 
 low gable flanked by half gables against 
 the aisle roofs. lu the central division is 
 a high round - arched doorway under a 
 shallow porch, with columns re^^ting on 
 lions. The porch has a second story with 
 a broad awkward segmental arch, covered 
 by a very il:it gable, forming a shallow 
 niche, in which is a sarcophagus. Above 
 this is a very large rose-window. A door- 
 way opens into each aisle, with a horizim- 
 tal panel over it filled with figures in re- 
 lief. An open gallery of smaller arches 
 on columns grouped in threes under 
 enclosing arches runs across the w-hole 
 front of the church below the level of the 
 aisle roofs, and ;dong the sides through 
 the whole length of the church ; the end 
 walls of the transept, which do not pro- 
 ject beyond the aisle walls, are carried up 
 above it without preparation or any conso- 
 nance of design. There are two porches 
 on the south side, one near the western 
 angle and a lai'ger one midway of the aisle. 
 The latter is of two stages, the first stage 
 having a broad round arch on columns 
 resting on the backs of lions, the second 
 three round arches and a low gable. The 
 simple clerestory has small round-head- 
 ed windows between flat pilaster-strijis. 
 The east end is wholly occupied by the 
 thi'ee apses of the choir and aisles, the cen- 
 tral apse a story higher than the others, 
 and tlie flat end wall of the choir rising 
 above it. with a small round wiiulow. a low 
 gable, and two octagonal turrets at the an- 
 gles terminating in open arcades and oc- 
 tagonal spires. At the X. E. corner stands 
 a fine square camj)anile dating from KJli). 
 in si\- stages, of which the last two appear 
 
 to have been added at a later date and are 
 })crhaps con tenijM) raucous with the spire. 
 The interior plan is in some respects pe- 
 culiar. The nave and aisles each termi- 
 nate in an eastern apse, the transept arms 
 are contained witliin the aisle walls. T'he 
 nave has four square double bays ; the 
 aisles iiave two bays to eacli one of the 
 nave. The choir has a central bay en- 
 closed l)y screens of coupled red marble 
 columns, and aisles on each side. Its 
 raised floor is aiijjroached by two flights of 
 stairs against the aisle walls. Beneath the 
 choir is a lofty crypt, with vaulted ceiling 
 supported on small columns, and oj)ening 
 into the nave by an arcade of five open- 
 ings, the columns resting on animals. 
 The nave piers are massive, with large 
 vaulting shafts rising through the trifo- 
 rium to the base of the clerestory, where 
 their capitals, of rather classic character, 
 arc connected by a decorated string-course. 
 From these capitals massive pointed 
 arches are thrown across the nave, and the 
 square bays between are roofed each by a 
 simple four-part vault. Between the nave 
 ])icrs are low round arches, two to each 
 bay, divided by an intermediate round col- 
 umn of red marble with foliated ca]iital. 
 Above these arches is a broad triforiuni 
 with low bearing-arches of awkward form 
 enclosing groups of three round arches, 
 and above these again are two round-head- 
 ed deeply splayed windows in each l)ay. 
 The triforiuni is here a broad gallery orig- 
 inally intended for the use of the female 
 ])ortion of the worshippers, and opening 
 into the aisles as well as the nave. The 
 church was begun in 1099, and consecrat- 
 ed bv Pope Lucius III. in 1184. 
 .MOLFETTA, Italy. 
 
 'I'he former C'ATilKDttAL. dedicated to 
 SS. Maria and C'ourado. and dating yivoh- 
 ably from the later half of the ix cent., is a 
 small church, interesting as an example of 
 the Byzantine influence. It is about C2 
 ft. wide and 10.5 ft. long. The nave is of 
 two domed bays on rouiul arches sjiring- 
 
 *!S 
 
:\iox(;tovixo 
 
 ilia: from coinjiDunil jiicrs witli Iivzanliiic 
 (•ajHtals. The crossing, wliicli is the ciioir. 
 is ii s()iiare liay like those of the nave with 
 a round ajise. and is covered by 
 a liigher dome, elliptic in st'c- 
 tion. whose jilau is round within 
 and octagonal without. At the 
 bases of the domes are small 
 round - headed windows. T h e 
 transept ends, which jiroject 
 slightly beyond the aisle walls, 
 have eacli a flat apse. These 
 apses do not show without, the 
 east wall of the church being 
 straight. The floor of the choir 
 is raised, and beneath is a cryi't. 
 Various chapels, some modern, 
 open from each aisle. The west- 
 ern porch has been made into 
 chapels, and the ^iresent en- 
 trances to the church are on tiie 
 sides. Tlie square east end has at 
 its base a blind arcade of inter- 
 lacing arches and a single large 
 round-headed window lighting 
 the apse, wliich is flanked by two 
 tall slender towers, with three 
 stories of two-light windows, and 
 capped with an arched corbel- 
 table and horizontal cornice. 
 (Sre Fif/. 110.) 
 MOXGIOVINO. Italy. 
 
 Church of the Madoxxa, 
 an interesting small earlv Ke- 
 
 tals, and containing on the transept-ends 
 two handsome doorways in the manner of 
 the early Reiuiissanee. Above, the arms 
 
 naissance church built in ].' 
 
 -Ki from 
 Its j)lan 
 
 the designs of Kocco di Vicenza. 
 is the Byzantine one of a Greek cross 
 filled out to a sqiiare. It is lined with 
 an order of Corinthian pilasters which 
 carry the barrel-vaults of the arms, while 
 over the centre is a high dome borne on 
 pendentives by four st|uare i)ilaster-like 
 piers. The choir, opening from the east- 
 ern arm, is a miniature barrel-vaulted nave 
 ending in an aj:)se, and lined with a small 
 arcaded order of jiilasters. The facades 
 are elegant, faced with a Corinthian order, 
 ■which is that of the inti>rior set on ])edes- 
 
 Fig 119 — MolfeHa. CatheHral. 
 
 of the cross show in a narrowed second 
 story, flanked by scroll buttresses and 
 pierced each by a small rose, but lacking 
 the expected pediment, and ending in a 
 horizontal cornice. 
 MOXKEALE, near Palermo, Sicily, 
 
 The Cathedral, begun in oi- before 
 1187 by William II., the Good, is a three- 
 aisled basilica some 300 ft. long by 120 ft, 
 across the transept, with three eastern 
 bays ending in round apses, which form 
 the choir and adjacent chapels. The front, 
 retreating behind two massive square 
 towers, between which is an open porch. 
 
MONEEALE 
 
 has been considerably (lcgra<l(Ml by altera- 
 tions. The porch is masked by a Doric 
 order over its three arches, the front be- 
 hind stripped of its decorating arcade ; and 
 one of the towers, which have pointed 
 windows divided by mullion-shafts, and are 
 robbed of their tops, is a mere stnmp. 
 The rest of the exterior is plain, except 
 the east end, which is higher and broader 
 than the nave. Here the three apses are 
 splendidly decorated with three stories of 
 interlacing pointed arcades, bauds of mo- 
 saic in marbles and bituminons stone, col- 
 umns, and rosettes. The old atrinm be- 
 fore the front furnished the columns for 
 an open arcade built on the north side at 
 the end of the xvi cent., and on the south 
 is a row of chapels against which lies the 
 great cloister of the adjoining monastery. 
 The interior is brilliant with mosaics on 
 gold ground, wainscoting of marble, and 
 painted roofs. The nave, -1.3 ft. wide, is 
 in eight bays of stilted pointed arches, 
 carried on antique columns of granite, of 
 
 whicii many retain their original cajiitals, 
 while others are renewed. The .sanctuary, 
 connected by open arches with the flank- 
 ing chapels, forms a choir raised above the 
 transept, and against its northern pier is 
 the king's throne, as at Cefalu ; the cross- 
 
 ing and transept arms arc raised some 
 steps above the nave for the use of the 
 monks. The windows of aisles and clere- 
 story are single and jjointed, as are the 
 openings everywhere. Tiie open-trussed 
 roofs are richly painted and gilded ; above 
 the marble dado, which reaches to the 
 height of the columns, the walls and 
 ajises, almost bare of mouldings, and even 
 the stilt-blocks of the columns, are in- 
 crusted with mosaic on a gold ground 
 — pictures of saints and angels, subjects 
 from scripture history, and ornamental 
 designs. The choir-screens, altars, and 
 pulpit are rich with perforated marble 
 and geometric mosaic. The cloister is 
 surrounded by an open arcade of pointed 
 arches resting on couples of slender col- 
 umns, which are grouped in fours at the 
 corners. The shafts are enriched with 
 carving and mosaic ; the capitals are end- 
 lessly varied, and though probably all con- 
 temporary, are Byzantine, Arabic, or Xor- 
 man in style, according, it would seem, to 
 tlie men who worked on them. 
 The broad archi volts, whose 
 mouldings curiously overhang 
 the capitals, are banded with 
 mosaic. At one corner is inset 
 a small j)avilion with a basin 
 for ablutions. The tradition, 
 not well supported, is that Will- 
 iam, when hunting, fell asleep 
 on this spot, and was directed 
 by the Virgin in a dream to 
 build a church and convent 
 here where one had been before 
 in the time of Gregory the 
 (ireat. Of tlie Benedictine 
 monastery which he built, all 
 the buildings except the clois- 
 ter are renewed and without 
 interest. The church remained compar- 
 atively unaltered, except by dilapidation, 
 till a fire in 1811 unroofed and dam- 
 aged the choir. Since then it has been 
 restored with much care and at great ex- 
 pense. The handsome bronze doors of the 
 
 a.'jo 
 
MOXTE 
 
 north ami west entriinces of the rhureli 
 remain, signed and dated by their makers 
 respectively : Bonannus of Pisa, llSd, and 
 Barisanus of Trani, 11 lit. (Sec Fi(/. IJO.) 
 MONTP] L'ABATE, Italy. 
 
 This MoxASTEHY, several miles from 
 Perugia, belonged to the (.'istereian order. 
 It was erected early in the xiii cent., and 
 was partly remodelled iu the xiv century. 
 The church is of a type until then almost 
 unknown in Italv. and was one of the 
 models from which the Franciscans and 
 Dominicans copied their one-aisled vaulted 
 cJiurches later in the xiii century. It 
 consists of one broad nave 110 ft. long 
 by nearly 60 ft. wide, divided into three 
 oblong bays with lofty ribbed cross-vaults 
 supported on engaged five-sided pilasters. 
 The wall-ribs and transverse ribs are 
 pointed. The proportions are colossal, 
 the low vaults starting at an unusual 
 height. The fa9ade is a i)lain square- 
 topped screen, and is decorated with but 
 one trefoiled pointed doorway and a wheel 
 window, both posterior additions made in 
 132.5. To the same period belongs the 
 pentagonal apse. Beneath the whole 
 church is a fine crypt, divided across into 
 two sections, both covered with cross- 
 vaults : the smaller section, next to the 
 apse, divided into four aisles by columns 
 and covered by twelve groined vaults, ap- 
 pears to be earlier than the church. The 
 larger section of the crypt, 78 ft. long, 
 is divided into, two aisles by an immense 
 pier. Its four compartments are covered 
 with fine low ribbed cross-vaults, and are 
 separated by magnificent low transverse 
 arches. A square tower rises at the right 
 corner of the fac/ade ; its upper story is re- 
 stored. In the monastery the most impor- 
 tant work is the cloister, 78 ft. square, 
 which was built between about 1320 and 
 1297. Its two stories are preserved, which 
 is rare. Each side consists of a series of 
 low pointed arches iu groups of three, rest- 
 ing on single shafts with undecorated 
 capitals, which alternate with five square 
 
 2)iers. This arrangement is repeated on 
 the second story. The material is stone. 
 Although extremely simple, this cloister is 
 eminently picturesque and one of the most 
 effective in Italy. The style of this mon- 
 astery is an Italian adaptation of transi- 
 tional Gothic, and is not in the line of 
 Cistercian development rejjresented by 
 Fossanova (y. /•.) and its kindred monas- 
 teries. It has been generally supposed 
 that the type of the single-aisled church 
 was introduced by the mendicant orders, 
 but in this, as in other architectural mat- 
 ters, they appear to have copied from Cis- 
 tercian models of superior excellence, for 
 the interior of Monte I'Abate is finer than 
 any of their work. [A. L. F. , Jr. J 
 MONTECASSINO, Italy. 
 
 This famous Monastery was founded 
 as early as 528 by St. Benedict himself, 
 destroyed by the Lombards in 590, rebuilt 
 in 706, and grew gradually in size and 
 importance, until it included several 
 churches, with cloisters, dormitories, re- 
 fectories, and other accessories, most of 
 which have been several times rebuilt or 
 have disappeared. The little Church of 
 the Crucifix (II Crocefisso) still remains of 
 the original construction ; cruciform in 
 plan, the four arms covered by barrel- 
 vaults which abut against the dome that 
 covers the crossing. A century or two 
 later, perhaps near the end of the viii 
 cent., the small church S. Maria delle 
 Cinque Torre was built, a square of about 
 57 ft., with an inner scpiare of 26 ft., 
 surrounded by twelve fluted grauito and 
 marble columns with Corinthian capitals 
 bearing round arches, three on each side. 
 From the corners of the inner square, 
 transverse arches sjiring to the outer wall. 
 The four corner squares thus formed, as 
 well as the central square, are carried up 
 as low towers, the central one being the 
 highest. Three semicircular apses open 
 from one side of the outer square. All 
 ceilings are of wood, and portions of them 
 are painted by Luca Giordano. The walls 
 
.MON'I'EFIASCONE 
 
 also retain traces of ])aintincrs of tlie xiv 
 century. The exterior wall is divided by 
 blind arcades, with seven arches on each 
 side, and an arched corbel -table at tlie 
 cornice. The towers have a single round- 
 arched window in each face. 
 
 S. Salvatoi{E, the great church, was 
 built originally by Gisulf in 797, but it is 
 improbable that much of its original con- 
 struction survives in the jiresent building, 
 which dates only from about KiiO, and 
 was finished in 1727. It is a Eenaissauce 
 church, in plan a Latin cross, with a dome 
 at the crossing, a barrel-vaulted nave, and 
 groined aisles. Over the main arcades is a 
 great order of Corinthian pilasters on jjed- 
 estals. The vault of the nave is pierced 
 with lunettes, and the whole interior dec- 
 oration is of extreme magniticcnce in the 
 richness and variety of its marbles. A 
 noble courtyard, with open arcades and a 
 central fountain, is attriinited to Bramante. 
 MONTEFIASCONE. Italy. 
 
 S. Flaviaxo, a singular church, found- 
 ed early in the xr cent, and partially re- 
 built ill 1202-G.5 by Pope Urban IV. Its 
 position on a sharply sloping hillside led 
 to the construction of an upper and a 
 lower chixrch, the one entered from the 
 east end, and the other from the west. 
 The plan is a simi)le rectangle, divided by 
 two rows of piers and columns of various 
 forms and sizes into a nave and aisles of 
 nearly equal width. In the lower church, 
 which has much the elfect of a cryjjt, the 
 piers are low, with capitals of varying de- 
 sign, some grotesque, supporting arches 
 of various heights, some pointed, others 
 round, the bays being covered by a low 
 groined vaulting. The east end of the 
 lower church makes three sides of an octa- 
 gon, in each of which is a great semicircu- 
 lar niche. The vaulting of two bays of 
 the nave is omitted, making a rectangular 
 opening into the uj)per church, where nave 
 and aisles are divided by small columns, 
 four on eacli side, with ojienings increas- 
 ing in breadth and height from end to end. 
 
 The arcades support a blank wall rising to 
 the low wooden roof, which covers nave 
 and aisles in a single slope. The fa(;ade is 
 of peculiar design, having a slightly pro- 
 jecting porch over its whole breadth, 
 with three deep pointed-arched recesses 
 divided by stout columns, the middle 
 arch enclosing a doorway. Above the 
 porch is a low covered balcony also ex- 
 tending quite across the front, and a flat 
 gable covering all. 
 MONTEPULCTANO, Italy. 
 
 The Cathedral is a cruciform Renais- 
 sance church, of which the original de- 
 sign is attributed to Bartolommeo Am- 
 manati, begun in l.")7(>. tinished in lOSO, 
 anil consecrated in lUC. Its extreme 
 length is 210 ft., its breadth about 12.5 ft. 
 Its nave is covered by a plain barrel-vault, 
 and is divided from the groined aisles by 
 an arcade of five round arches on each 
 side, springing from square piers faced by 
 simi)le Doric pilasters carrying an entab- 
 lature. Xave and aisles open by round 
 arclics into a transept with a single groined 
 Ijay on each arm, terminating in a rectan- 
 gular cliapel. From the crossing, which is 
 covered by a hemispherical dome, opens 
 the choir, a single rectangular bay with 
 rouiul apse, flanked on each side by a rect- 
 angular chapel. Similar chajiels open 
 from the aisles on each side. The front 
 remains unfinished ; it has a square cam- 
 jtanile at the northern angle, dating from 
 the middle of the XV century. 
 
 Madoxxa di S. Biagio, a small but 
 noteworthy Renaissance church begun 
 from the designs of Antonio di San (Jallo 
 in 1.")1S. Its plan is a Greek cross about 115 
 ft. in ea(!h direction, with a dome at the 
 centre, raised on a high drum with Ionic 
 pilasters and broken entablature, and 
 round-headed windows and niches in the 
 intervals. The fa<^ade and transe])t ends 
 are much alike ; in two stages, with flat 
 pilasters at the angles, a full Doric en- 
 tablature over the first story, a simjilc fi-ieze 
 ami cornice over the second, finishing with 
 
MONTE 
 
 a pwliiiR'iit ; an entrance iloor in the mid- 
 dle of tlie first story, a single window over 
 it, both with eutablatnro and pediment. 
 The second story wall is divided into ver- 
 tieal panels. A square detached tower 
 stands in the N. W. angle of the cross, 
 with three stories of engaged pilasters and 
 columns and an octagonal lielfiy- stage 
 surmounted by a low spire. The interior 
 is without aisles ; massive augle-pilasters 
 
 Fig 121. — Montepulciano, Madonna di S. Biagio. 
 Scale of 100 feet. 
 
 with a heavy Doric entablature, support a 
 barrel-vault richly panelled and decoi-ated. 
 East of the choir is an apse, round with- 
 out, but containing a rectangular sacristy 
 with niches in the ends, shut off by a wall 
 behind the high altar. The interior of 
 the drum is faced with a Corinthian order. 
 {Spf Fir/. 121.) 
 MOXTE SAXT' AN(;EL(I, Italy. 
 
 The Baptistery, dedicated to S. Pictro, 
 is a square, tower-like building, of uncer- 
 taiii but very early date. The interior is 
 especially interesting, its angles occupied 
 by grouped shafts bearing pointed wall- 
 arches, in one of which is the entrance, 
 and under another, opposite, a semicircu- 
 lar apse with pointed half-dome. Over 
 the arches is a vaulted gallery in the thick- 
 ness of the w'all, with three small round 
 arches on each side, springing from broad 
 piers faced with half columns, aiul with 
 sc£uiuches in the angles under the corners 
 
 of the liigh dome, which is in jjlan a square 
 with rounded angles. The dome above 
 the arcaded gallery is divided by striug- 
 conrses into three stages, of which the 
 first two are conical, and the uj)perniost is 
 a pointed dome built in horizontal courses, 
 its apex about 70 ft. above the floor, the 
 effect of the whole being that of a high 
 semi-ellii)se. In the lowest stage are three 
 small two-light windows in each side, with 
 mid-wall shafts. The sculpture is inter- 
 esting throughout. 
 
 S. MiC'HELE, the Church of the Arch- 
 angel Michael, is a subterranean Gothic 
 chapel of the xiii cent., attached to the 
 sacred cavern where the saint is said to 
 have appeared in 491, in a vision, to St. 
 Laurence, Archbishop of Sipontum, and 
 is a famous place of pilgrimage. From a 
 little square of the town a pointed-arched 
 doorway of marble, flanked by two col- 
 umns on each side, gives access to a de- 
 scending staircase of fifty-five steps, exca- 
 vated in the rock, covered by a vaulted 
 ceiling lighted by several of)euiugs in the 
 rock above, and flanked by niches with 
 monuments. At the bottom is an open 
 court, on the east side of which is the en- 
 trance to the church — a round arch flanked 
 by two piilasters and two columns on either 
 side — the oi^ening closed by fine bronze 
 doors, cast iu Constantinople in 10T6. 
 The chiirch is rectangular in plan, without 
 aisles, covered by fine Gothic four-part 
 vaulting with strong transverse and diag- 
 onal ribs springing, on the south side from 
 triple grouped vaulting shafts which rest 
 at mid-height on the solid rock, which here 
 forms the wall of the church, and on the 
 north side from single shafts. On the 
 south wall opens the cavern, roofed by the 
 natural rock at varying heights, rising in 
 the middle to about 17 ft., with an aver- 
 age breadth of 50 ft., and a length of 57 
 ft. to 60 ft. It contains the ancient altar 
 to St. Michael, and six modern altars con- 
 secrated in 1078. On the north side of 
 the church arc two chapels, opening by 
 
 233 
 
MdNZA 
 
 low urcliL's, of which ono servos :is choir. 
 On the east end is a square vaulted chapel, 
 opening by a higli pointed arcii, and con- 
 taining the higii altar, backed by a rich 
 Renaissance screen. There is a fine early 
 bishoi)'s cliair, of marble, resting on two 
 crouching lions, and covered with beauti- 
 ful decoration in mosaic and ])as-relief. 
 MONZA, Italy. 
 
 The BiiOLETTO (Town-hall), a small but 
 interesting example of the medieval mu- 
 nieiiial buildings of North Italy. It is a 
 detached brick building, measuring about 
 42 ft. by 64- ft., its first story open to the 
 street, and consisting of high pointed 
 arches of brick springing from plain 
 square stone piers, without cajis or impost 
 moulding. A cross arcade through the 
 middle of the building bears the floor 
 of the second story, which is occupied by 
 the public hall. The ends arc gabled, 
 the angles reinforced by slightly project- 
 ing ]iiers. In the centre of the south front 
 is the riiHjJiicrn or balcony, from which 
 the people were addressed by the magis- 
 trates. On either side the balcony, and 
 above it, is a three-light window with 
 round-headed oijenings divided by columns 
 and a strong, round bearing-arch with 
 brick and stone voussoirs. The north end 
 is half occupied by a square bell-tower, 
 divided vertically by flat pilaster-strips, 
 and horizontally by string-courses with in- 
 tersecting brick arches beneath, and with 
 a belfry having two simple jjointed open- 
 ings in each face, the whole crowned with 
 forked battlements and a low octagonal 
 spire. The Ijuilding probably dates from 
 the end of the xii century. 
 
 The C.VTHEDKAL, an interesting xiv 
 cent. Gothic church, witli nave, double 
 aisles, of which the two outer are divided 
 into chapels, transept, and apsidal choir, 
 and measuring roughly about 225 ft. in 
 length and 90 ft. in breadth. Its facade 
 is of ijeculiar design, built of a yellowish 
 marble, with alternate courses of dark 
 gray, fcjquare buttresses, rising from the 
 
 ground and termiinitingin pinnacles, divide 
 the front into five compartments answering 
 to the nave and aisles. The roof gable, 
 slightly broken at each division, has a blank 
 arcade of columns carried on corbels fol- 
 lowing the slope. The original pinnacles 
 have disajjpeared excepting one at the 
 south angle of the front, which is ex- 
 tremely graceful, with a canopy of four 
 cusped Gothic arches on columns, and a 
 sitting statue within, surmounted by dec- 
 orated gables on the four sides and a 
 crocketed sjiire. The central division of 
 the front has a slightly projecting porch, 
 round arched, with splayed columnar jambs, 
 a tympanum bearing reliefs, roundels in 
 the sjiandrels with figures, and a horizon- 
 tal cornice. Above the porch is a rose 
 window of thin tracery, sot in a square 
 panel with trefoils at the angles, and en- 
 closed by a border of small square panels 
 with rosettes. This enrichment of square 
 panels is continued by four additional rows 
 above the window, and crowned by a line 
 of small cusjied rouiul-arehed niches con- 
 taining statues. The side divisions are 
 occupied by windows of various forms, 
 jwinted, round-headed, and circular, of 
 which tlic larger are divided by columnar 
 nndlions into two and three lights, with 
 traceried heads. The remainder of the 
 churcli is of brick. There is an octago- 
 nal lantern over the crossing with two 
 stories of arcades, and a pyramidal tiled 
 roof. The interior has been entirely mod- 
 ernized. It contains many relics of the 
 old Lomljard kings — among others the 
 iron cu'own with which a line of thirty-four 
 of those monarchs were crowned, and 
 which was also used at the coronation of 
 the Emi)eror Charles V., and of Napoleon. 
 The first church on this site is said to 
 have been finished in 595 ; a new apse was 
 added in the ix century. The church was 
 enlarged, and probably substantially re- 
 built after 1311. An inscription on the 
 east end gives a date of 1390. The architect 
 was Marco di Campione, or JIatteo C'am- 
 
 aj4 
 
MOSCUFO 
 
 pigliano. The square brick eanipanile, 
 no ft. liigli, wliich stands at the north 
 angle of the front, is of hiter but uncertain 
 date. 
 
 Sta. Maiua IX Strada, a Gothic 
 cliurcli dating from the middle of the xiv 
 cent. , of which the interior has been dese- 
 crated, and the only interesting 
 part is its west front, a very elab- 
 orate examjtle of terra-cotta dec- 
 oration lately restored. It is a 
 high brick facade of simple out- 
 line, with square angle buttresses 
 and a low gable. The lower story 
 is very plain, with a square- 
 headed door whose arch is en- 
 closed in a square panel with a 
 geometrical decorated border. A 
 range of cusped, gabled, and 
 pinnacled arches crosses the 
 front just above the doorway. 
 Almve these is a beautifully dec- 
 orated rose window flanked on 
 each side by a two-light, jiointed 
 and cusped window with bearing- 
 arch. All three are enclosed in 
 squares bordered by rosettes in 
 square panels. In the low gable 
 is a central niche enclosing a 
 statue of the Virgin and Hanked 
 by two round openings, and over 
 it a very rich cornice of inter- ' 
 lacing arches. At the south an- 
 gle of the fa(;ade is a square tower 
 with a belfry stage, with large pointed two- 
 light windows, traceried frieze, and a dwarf 
 sph"e among four pinnacles. (,SVy' Fit/. 
 122.) 
 JIOSCUFO, near Chieti, Italy. 
 
 Sta. Makia in Lago, a small early ba- 
 silica belonging to a monastery estab- 
 lished in the vii cent., but much changeil 
 by repeated restorations, the last of which 
 was made in 1733. It is rectangular in 
 ])lan, about 85 ft. long and 36 ft. broad, 
 with flat-ceiled nave and aisles separated 
 by six round arches on each side on col- 
 umns, the middle one of which has a pair 
 
 of columns built up into a jiier. The 
 luive and ai.sles each enil in an apse, and 
 their three eastern bays, considerably 
 broader than the others, make a raised 
 choir. The exterior is modern, but the 
 front retains portions of the ancient door- 
 way. The church contains a fine pulpit 
 
 Fig. 122. — Monza, S M. m Stiada. 
 
 dating from 1159, standing on stout col- 
 umns which support round cusped arches. 
 The four faces of the pulpit and the span- 
 drels of the arches are covered with figure 
 sculpture, the book rests supported by 
 angels, the staircase ajiproaching the f)ul- 
 jjit is of similar character. The sculpture 
 is heightened with color. 
 MONTE 8AX GIULIAXO (anc. Eryx), 
 Sicily. 
 Carthagixian Ra.mpart.s, not older 
 than the iv century B.C. On the north- 
 western side of the modern town the lower 
 jjortions of the ancient wall survive for a 
 
MOUXT 
 
 lengtli of two-tliirds of a iiiilc. 'I'lie 
 blocks, some of tliem ft. long, bear I'lui'- 
 uiciau letters as masons' marks. The wall 
 is about 8 ft. thick, and is strengthened 
 with rectangular towers of great projec- 
 tion. .Several small jiosterus of the Plue- 
 uiciau work remain, some covered with a 
 lintel, and some by corbelling out the side 
 stones in a pseudo-arch. The masonry, 
 wiiile not careless, has not the Hellenic 
 evenness and beauty of execution. 
 MOUNT C'lIICKI. See JVeandrcia. 
 MOUXT IIKIiMOX (.Tebel es- Sheikh). 
 Palestine. 
 
 Temple of Baal-Uermox (?). on the 
 central or second highest summit of the 
 mountain. The jieribolos is oval, built of 
 large, well-hewn blocks, the lowest course 
 of which rests on a smoothed bed cut in 
 the rock. On the south side of the jjeri- 
 bolos are the remains of a small temple, 
 in part of masonry with margin -draft. 
 Toward the X. E. there is a large grotto, 
 before the mouth of wJiich stood two pil- 
 lars. A Greek inscription has been found 
 within the peribolos. 
 MOUXT OCIIA, Eubcea, Greece. 
 
 Temple of Hera Teleia, or of Zeus 
 and Hera, called House of the Dragon by 
 the peasants, considered the most ancient 
 Greek building extant. It is constructed 
 of enormous blocks and slabs of stone. 
 The roof is corbelled in, the inner surface 
 being cut to a smooth slope. An opening 
 twenty inches square is left in the middle. 
 The dimensions of the temple are 41 ft. S 
 in. by 25 ft. ,'J in. without, and 3'2 ft. 4 in. 
 by 16 ft. 3 in. within. The height of the 
 walls within is 7 ft. '.) in. In the south 
 long wall is a doorway 4 ft. by 6 ft. 10 in. 
 A bracket projects from the interior west 
 wall, doubtless for the image of tlie divin- 
 ity. 
 ]\IOUXT PTOOX, Boeotia, Greece. 
 
 Acropolis. The ruins date from vai'i- 
 ous epochs, and arc in part, especially nn 
 the west side, in excellent preservation. 
 On this side, the wall is still about 10 ft. 
 
 liigii and 8 ft. thick. There is an attempt 
 to attain horizontal courses — though these 
 are interrupted by larger lilocks. In one 
 place a little door in the wall less than 
 4 ft. square remains ; aiul there are several 
 sally-ports through which the defeiulers 
 could make a sudden attack upon be- 
 siegers. There are some remains of lesser 
 constructions ; and lines of more ancient 
 jiolygonal walls can be traced, k'ading in 
 the direction of Lake Copai's. 
 
 The Temple of Apollo Ptoos stood 
 u 1)011 a terrace of stone on the side of a 
 steei) slope. A flight of steps led from 
 the bottom to the top of the terrace. It 
 was Doric, 70 ft. 5 in. by 38 ft. 9 in. 
 The visible jiortions of the foundations 
 are in Poros ; those that were concealed, 
 in the stone of the locality. Some capi- 
 tals, fragments of the entablature, drums 
 of columns, aiitefixes in terra cotta, and 
 tiles survive, with traces of decoration in 
 coliir. The cafiitals and sliafts were coated 
 with a white stucco. A highly interesting 
 and important series of archaic sculptures 
 was found on the site. The oracle en- 
 joyed high repute up to the time of the 
 Macedonian invasion. 
 
 MOUXT TABOR (Jebel et-Tur). Pales- 
 tine. 
 
 FuRTiFicATioxs, of great extent, on the 
 summit of the mountain. The walls are 
 of large stones, with margin-draft, and 
 prescu've remains of towers and bastions. 
 They are further strengthened by great 
 ditches, cut in the rock. Toward the S. 
 E. are ruins of a citadel. The remains are 
 uiidoul)tedly those of the fortifications 
 built by Joscphus in the first cent. A. I)., 
 who himself utilized more ancient works. 
 Tlie crusaders in turn restored the fortress, 
 and left abundant marks of their occupa- 
 tion, as the pointed gateway and the loop- 
 holes in tlie citadel, and several chapels 
 wilhin the enclosure. 
 MIMKLIA, Syria. 
 
 One of the deserted towms of northern 
 Syria, with its stone houses and other 
 
.MUIJANO 
 
 liuildiiiu's well 2)re.scrvc(l. 'V\\v l)asilk"i is 
 111 it I' worthy for having tlii' ardios of its 
 luaiii arcados cut out of two horizontal 
 courses of stone, instead of built up of 
 voussoirs in the usual fashion. TIktc is 
 also a small semi-octagonal church which 
 has similar arcades, and resembles in other 
 resf)ects a Roman theatre, hiiving tlie cen- 
 tral space open to the sky, and the apse 
 and two adjoining chambers uiuler roof in 
 an oblong trausyerse building like a stage. 
 MURANO, Italy. 
 
 Cathedral (S. Donato), a church of 
 much interest, built jjerhaps in the x 
 cent., although no authentic record of its 
 building is known to exist. It has been of 
 late years so thoroughly restored by the 
 Italian Government that little remains of 
 the original church save the general dis- 
 position and the east end. Its plan is 
 ci'uciform, with nave and aisles, transe])t 
 not iH'ojecting, and choir and a single 
 eastern apse. The nave arches rest on 
 columns of white and gray cipollino 
 marble with Corinthian capitals, doubt- 
 less taken from some older building. The 
 walls are lined with marble in the lower 
 portions, and decorated above with mosaics 
 and frescoes. The apse is covered with a 
 hemispherical vault, which is adorned with 
 fine early mosaics. The pavement of the 
 church is of marbles of various colors, 
 a fine example of opus Alexun<lri)ium, 
 and bears an inscription with the date 
 of 1140. The most notable portion of 
 the church is the outside of its east 
 end. The great central apse is |)olygonal 
 and is flanked by the end walls of the 
 aisles on either side, finishing with half- 
 gables. Two stoi'ies of stilted round 
 arches are carried across the whole end, 
 with coupled columns at the angles of the 
 apse and in the second story of the aisles. 
 The columns are of white aiul colored 
 marble, the arches are of brick in two 
 colors, red in the lower story and yellow 
 in the upper. The arches of the lower 
 story enclose semicircular vaulted niches ; 
 
 in the upjji'r story the wall is set back so 
 as to form an open gallery protected by a 
 delicate balustrade of white marble be- 
 tween the columns. Between tlie two 
 stories is a doubl(> frieze consisting of two 
 lines of upright triangles or chevrons, the 
 lower of white, yellow, red, and green 
 marble carved in various designs ; the 
 upper of yellow bricks relieved against 
 the wall of red bricks. The lower band 
 of triangles is carried around the circular 
 head of the windows in the aisle ends as 
 an archivolt. The harmony of colors in 
 this remarkable composition, and the skill 
 with which the effect of richness and 
 elegance is gained with a very sparing use 
 of any but the commonest materials, make 
 this work most interesting. A high square 
 camjjanile rises from the soutli wall of the 
 church with tall blind arches of brick in 
 two stories, and a l)elfry stage with three 
 grouped arches in each face. 
 
 Palazzo wa Mula, nearly the only re- 
 maining examjjle in ^lurano of a Gothic 
 Venetian palace, and interesting from its 
 variety of ornamental detail. , It is of 
 brick in three stories, of which the lowest 
 has in the centre a round-arched doorway 
 flanked by two .s(|uare windows, all of 
 which have evidently undergone consider- 
 able alteration. On either side is a single 
 ogee-arched window with jjilasters in the 
 jambs and a thin billet-moulding following 
 the line of the arch. The second and 
 principal story has in the centre a fine ar- 
 cade of four cusped ogee openings, with a 
 projecting balcony. The arches rest on 
 large columns with cajiitals showing more 
 of the classic feeling than is usual in the 
 Venetian palaces of this tyjie. Above the 
 central column is a niche with a cusped 
 ogee arch resting on square jiilasters, en- 
 closing a statue and flanked by sleiuler 
 columns which rest on the tinials of the 
 two middle arches, and of which the capi- 
 tals are of a jironounced Byzantine type. 
 On each side of the arcade is a large aiul 
 high window enclosed in a square panel 
 
 237 
 
MUSMIYEH 
 
 witli graceful tracery in the head, and a 
 balcony with square pilasters for balusters. 
 Tlie wall piers of tiie story are decorated 
 with roundels containing tracery of various 
 forms, with upright jianels containing bas- 
 reliefs and witli inlaitl patterns of colored 
 marbles. The third story is low, with 
 Sfpiarc modern windows and decorative 
 panels set in the wall. 
 JIUS.MIVKII, near Damascus, Syria. 
 
 The so-called Temple, which was con- 
 verted into an early Christian church, an<l 
 has also been called by M. de Vogiie the 
 Pretorium, bears inscriptions which in- 
 dicate that it was built between liiO and 
 170 A.D. under Marcus Aurelius and 
 Verus. It is a small building, only about 
 50 ft. by 70 ft., but interesting for its 
 elegance, and because it is perhaps tlie 
 oldest example of the typical plan of the 
 smaller Byzantine churches. It had a 
 portico of six Corinthian columns, leading 
 by three doors into a sipiarL' area, beyond 
 
 Mycena;. Lion Gate 
 
 which are the central apse and two flank- 
 ing chambers that belong to the Greek 
 cluirches. The square area is marked olT 
 by cross-arches into a Greek cross, in the 
 
 usual way. The spaces between the arms 
 of the cross are flat ceiled with stone slabs, 
 the arms barrel-vaulted witJi tlie same 
 material ; the central l)ay was apparently 
 covered by a cloistered dome of rubble. 
 Tiie arches are carried by sixteen Corin- 
 thian columns, bearing on impost blocks 
 that rest directly on the capitals ; if this 
 is the origiuiil arrangement, it is the oldest 
 example of a construction that gave the 
 type to mediajval architecture. 
 MVCEN.E, Argolis, Greece. 
 
 Liox (Jatk. liuins of jirimitive and 
 ancient Hellenic civilization are distrib- 
 uted between the acropolis, the lower city, 
 and the surrounding country. They a])- 
 ])car to have been very niui-li in their i)res- 
 ent state since the destruction of buth 
 Mycena3 and Tiryns by Argos, 4(Jo li.c. 
 The most important remains are those of 
 the Acropolis. The walls of the acropolis, 
 which form a rude triangle, roughly l.diiit 
 ft. by 8(10 ft. by 650 ft., are massive, built 
 of large stones, smaller in gen- 
 eral, however, than those at 
 Tiryns, some undressed, others 
 ]if)lygoiial, or squared. At the 
 N. AV. angle is the chief entraiice, 
 tlie Gate of Lions. This is ap- 
 jiroached by a strategic ]iassage 
 ;;:! ft. wide and Till ft. long. The 
 gateway is loi ft. high, 10^ ft. 
 wide at the bottom, and 9| ft. 
 wide at tlie top. The lintel which 
 rests upon the inclined doorposts 
 is 10^ ft. long, 8 ft. througli, 
 and more than .3 ft. thick in the 
 middle. A triangular opening 
 left in the wall nvcr tlie lintel is 
 tilled liy a slab 10 ft. high, 12 ft. 
 wide at the base, and 2 ft. thick, 
 upon the exterior face of which 
 is the very ancient relief whicli 
 gives the gate its nanic. rejire- 
 senting two lions or lionesses reared on 
 their hiiul legs and separated by a jiillar 
 of i-uriiius fiii'ni. The heads are gone; 
 they were turned toward those who ap- 
 
MYLASSA 
 
 proaclied. ami were prol)al)Iy of metal. 
 {See Fig. 1-iS.) 
 
 On a terrace within the Lion Gate is 
 a double circle of upright shibs, about 
 80 ft. in diameter. The two circles were 
 originally joined by horizontal shilw. 
 Within it 8chliemann found five large 
 graves with human bones and the remark- 
 able gold ornaments of rude workmanship 
 but able design which have excited active 
 discussion, together witli bronze and obsid- 
 ian weai^ons, and pottery. A sixth grave, 
 with similar remains, has been since found 
 witliin tlie circle. In the X. E. part of 
 the acropolis remains have been excavated 
 of a palace similar to that at Tiryns, but 
 of simpler plan, though more advanced 
 workmanship. A temple was later Ijuilt 
 over the site of the palace. Remains of rock- 
 steps, cisterns, aqueducts, dwellings, etc.. 
 are abundant on the acropolis, in the lower 
 town, and throughout the neighborhood. 
 
 Treasury of Atreus, or Tomb of Aga- 
 memnon. This is the most perfect one of 
 a considerable number of circular under- 
 ground tombs in the neighborhood of 
 Mycenfe, with pseudo- vaults formed of 
 corbelling cut to domical shape. The ap- 
 proach or droinos is b'- a walled ]>assage 30 
 ft. long. The entrance is 1!)| ft. high, 8 
 ft. wide at the top, and 8i ft. wide at the 
 base. One of the two lintel -blocks is 
 about 30 ft. long, 10 ft. through, and 3 
 ft. thick. As in the Lion Gate, a tri- 
 angular opening was left above to relieve 
 the lintel ; the slab whicli formerly filled 
 this is gone. The interior, of beehive 
 shape, is about 50 ft. high and ."lO ft. in 
 diameter. The wall was originally orna- 
 mented with rosettes of metal fastened by 
 bronze nails. A doorway about 9 ft. high 
 leads to a small square chamber, which 
 was the tomb proper. 
 
 Note. — In the neighborhood of the bee- 
 hive tombs, a number of square rock- 
 tombs with ceilings cut to a ridged form 
 have been excavated. These are later 
 than the former ; but the pottery and 
 
 other objects found in tlieni Ijeloug clear- 
 ly to the same civilization whicli i)roduced 
 tiie oldest objects, those from the tombs 
 witliin the ring on the acropolis. The ob- 
 jects found at Mycenst are now seen to il- 
 lustrate a continuous development, from 
 the very ancient acropolis tombs and the 
 later i^alace to the time of the rock-tombs. 
 In the latter, some pottery of the Dipylon 
 style was found with the earlier objects, 
 together with other evidences of what is 
 known as the Hellenic civilization. The 
 so-called Jlycenajan jiottery is decorated 
 especially with motives derived from ma- 
 rine animals and jilants, together with 
 combinations of sjiirals and palmettes ; 
 and the latter motive, together with more 
 or less elaborate rosettes and bosses, is 
 characteristic in wall-painting and sculjDt- 
 ure, and njion the remarkably abundant 
 ornaments and utensils of gold found es- 
 pecially in the earliest graves. The inlay- 
 ing of some bronze swords and daggers and 
 some silver cups with animal and other 
 designs, in different metals and in various- 
 ly colored gold, is of remarkable beauty, 
 and points to Egyjitian prototypes. The 
 early civilization is plainly that described 
 in Homer, and is closely akin to that of 
 the second city at Hissarlik, though later 
 and richer. 
 
 MYLASSxV. See 3Iclasm. 
 MYRA, Lycia, Asia Minor. 
 
 TuEATRE, among the largest and best 
 built in Asia Minor. The exterior dia- 
 meter is 360 ft., that of the orchestra 120 
 ft. The material is a white limestone, al- 
 most as beautiful as marble. The stage- 
 wall, which faces the south, was decorated 
 with polished granite columns with com- 
 posite cajjitals of white marble ; one of 
 these columns is still in place, the others 
 lie as they have fallen before the wall of 
 the proscenium. The cavca had two 
 groups of seats, twenty-seven tiers in the 
 lower, and twenty in the upper. All the 
 masonry is of the finest construction, laid 
 without mortar. 
 
 239 
 
MV 
 
 ,KXK 
 
 There are fine reiiiaius of several piihlic 
 hitiltliiigs, besides tlie theatre. 'I'lie I'ock- 
 neuropolis is of much interest ; tliu tombs 
 iiro generally large and formed of several 
 
 Fig. 124— Naples, Alfonso's Arch 
 
 iiitereommunieating chambers, and tlieir 
 exterior decoration includes figure re- 
 liefs. 
 MYTILENE. Lesbos, ^gean Sea. 
 
 Aquedi'ct of Roman date, built of 
 marble where above ground, with evi- 
 dences of Byzantine restorations in brick. 
 The ruins of the raised parts, particularly 
 of the bridges of Paspala and Moria, are 
 the most important on the island. The 
 chief bridge, that of Moria, is -tOi ft. long, 
 and still stands to the height of So ft. It 
 consisted of .seventeen arclies, of which 
 those in the deep middle of the valley 
 were buttressed by two intermediate tiers 
 of arches. The total length of the aque- 
 duct is about fifteen miles, and it is esti- 
 mated that it could deliver l^-ii'.OOO cubic 
 metres of water in twenty-four hours. 
 
 Theatkk. The cavea. 3.31 ft. in dia- 
 meter, was in great ])art excavated from 
 the hillside above the town, but toward 
 the front supported on aititicial substruc- 
 tions. It was surrounded at the back by 
 a boundary-wall of marble and had a 
 diazoma. to which there was an entrance 
 at each side by a passage beneath the 
 scats. The seats were of marble, with a 
 tine moulding at the edge and much hol- 
 lowed in front : they were well jointed 
 and secured together by ^-l clamps. An 
 inscribed thnme in the court of the chief 
 church ])roves that there were seats of 
 honor. The date is uncertain. The 
 cavea is in a ruinous state, and there is 
 no trace of a stage-structure. 
 NAPLES (Xapoli), Italy. 
 
 Arch of Alfonso, one of the richest 
 and most elaborate of the commemorative 
 inonuments of the Renaissance. It was 
 built in 14T0, to celebrate the entry of 
 Alfonso of Aragon. Its architect is doubt- 
 ful, but it has been assigned both to 
 I'iefro di ^lartino. of Milan, and to (iiu- 
 liano da Maiaim. id' I'lnrcnce. It isljuilt of 
 white marble, and (n-ciipies the whole 
 height of the wall between two of the 
 massive round towers of the C'astello 
 
 ■m 
 
FLORENCE -CATHEDRAL AND CAMPANILE 
 
NAPLES 
 
 Niiovo. It is in four 
 .stu<,'es, through throe of 
 wliich rise continued 
 side buttresses flanking 
 a curtuin wall. The 
 first and third stories 
 consist each of an order 
 of columns, Corinthian 
 in the first story and 
 Composite in the third, 
 coupled upon the but- 
 tresses at the a n g 1 c s 
 with decorated entabla- 
 tures, of which the 
 friezes are charged with 
 inscriptions and bas- 
 reliefs, and enclosing in 
 each story an arch 
 springing from deco- 
 rated pilasters and with 
 sculptured figures iu the spandrels. Be- 
 tween these two orders is an intermediate 
 stage with a continuous relief represent- 
 ing a triumphal jH'ocession, and above tlie 
 upper order a high attic consisting of a 
 range of four decorated semicircular 
 niches between pilasters, enclosing statues 
 of the cardinal virtues. A segmental 
 Ijediment with figures iu relief and 
 crowned by standing statues, terminates 
 this remarkably elegant and original com- 
 position. The sculptors Isaia da Pisa and 
 Silvestro dell' Aquila are said to have 
 worked upon it. {Sec Fly. 1-4-) 
 
 The Cathedral of St. Januarius or S. 
 Geunaro consists of two distinct portions, 
 of wliich the older cathedral, called the 
 Basilica of Sta. Restituta, opening from 
 the south aisle of the newer cathedral and 
 at right angles to it, is reputed to have 
 been founded by Coustantine and to oc- 
 cupy the site of a Roman temple of Apol- 
 lo ; but the oldest parts probably belong 
 to the church of the vi cent., rebuilt in 
 the XII. Its plan comprises a nave which 
 ends in a flat apse, and is separated from 
 the aisles by arcades of pointed arches 
 springing from six Corinthian columns. 
 
 taken from Roman temples. The aisles 
 are each in seven groined bays flanked by 
 a line of square chapels. The ceiling of 
 the nave is jiainted by Lnca Giordano. 
 The old baptistery, now the Chapel of S. 
 Giovanni in Fonte, opens from the end 
 of the right aisle, and is remarkable for 
 the number of early mosaics and wall 
 paintings whicli it contains. The new 
 cathedral, begun in 1278, is a long basilica 
 with a nave and aisles abutting against a 
 great transept, and separated by arcades of 
 pointed arches springing from grouped 
 piers. The aisles are groined in square 
 bays, the nave covered with a wooden 
 ceiling. The arches are continued by 
 single broader arches across the rectangu- 
 lar transept, from the centre of which 
 oj)ens a polygonal vaulted aj^se. The 
 nave ceiling and the clerestory wall are 
 covered with frescoes, those of the clere- 
 story by Luca Giordano. A line of rectan- 
 gular chapels opens from each aisle, and 
 from the middle of the south aisle the 
 large and richly decorated chapel in the 
 form of a Greek cross, built in the first 
 half of the xvii cent., and dedicated to 
 St. Januarius, the central space covered 
 
NAPLES 
 
 by a roniiil (loino. ami tlie vault of the 
 roof painted with figure subjects from the 
 life of the saint by Domenichino and 
 Sjaagnuoletto. Under the choir is the 
 sumptuous crypt or confessio of S. Gen- 
 naro, coutaiuing the body of the saint. 
 The front, dating from 1-407, is in three 
 vertical divisions, each with a square 
 doorway covered by a gable, the central 
 one with a rich portal dating from 1407, 
 and a two-light pointed window above. 
 Each division ends in a gable, and the 
 front is flanked by two projecting square 
 towers, enclosing staircases. (>SVc Fiij. 
 125.) 
 
 The Palazzo Reale (Royal Palace) 
 was built about lUOO from the designs of 
 Domenico Foutana. It is of great extent, 
 with a west front nearly 450 ft. long, in 
 three stories, with projecting wings and 
 central pavilion faced with three orders of 
 pilasters, Doric, Ionic, and Corinthian. 
 The first story was originally an open ar- 
 caded loggia, of which the arches are now 
 mostly filled up. The great interior 
 court is surrounded by two stories of 
 finely proportioned arcades. A monu- 
 mental staircase, added in 1G51, and open- 
 ing from the court, conducts to the state 
 apartments, which include a splendid 
 ball-room, a theatre, and a chapel. 
 
 Pausilypum, the villa of Vedius Pol- 
 lio of the time of Augustus, extending 
 down the slope of the promont(n'y of 
 Posilipo and covering a considerable area. 
 The massive ruins of the foundations are 
 visible in the sea for a distance beyond 
 the existing shore-line. The myrtle-clad 
 remains are very extensive and pict- 
 nresque, but are confused. In one place, 
 a building rises to the height of three 
 stories, the lowest of which appears to 
 have formed i)art of a bath. Close by, a 
 theatre has recently been excavated with 
 other buildings; it has seventeen tiers of 
 seats, with a corridor above and a tribune 
 at each angle of the orchestra. Xotiiing 
 survives of the stage-structure, which was 
 
 probably of wood. Anotiicr building, 
 square, with ornamental pilasters and semi- 
 circular exedras, on the hillside, seems 
 to have been a gymnasium. An odeum, 
 close by, is small bnt remarkably perfect. 
 It has twelve tiers of seats, a semicircular 
 stage-structure, a columned recess, ap- 
 parently for musicians, in the orchestra, 
 and a hall above the middle of the cavea, 
 with a throne separate from the seats, be- 
 lieved to have been for the emperor. The 
 ornament of this odeum was very rich, it 
 being encrusted throughout with ])recious 
 nuirbles. Among the other buildings are 
 a basilica, a so-called hemicycle, porticoes, 
 and nymphaea. It is uncertain whether 
 the theatre and the buildings subsequently 
 enumerated belonged to the villa of I'ol- 
 lio or to the villa of Lucullus. 
 
 S. DoJiEXico Maggiore, a Gothic 
 church which in 128.5 replaced an older 
 one, but was successively modernized in 
 the XV, XVII, and xviii cents., ami last 
 in 1850-53. Its plan is a rectangle about 
 108 ft. wide and nearly 250 ft. long, with 
 a nave some 50 ft. wide covered by a flat 
 ceiling, and an arcade of seven pointed 
 arches on each side on thin grouped piers 
 separating it from the aisles, which are 
 in groined bays, with square groined 
 chapels opening from them. The tran- 
 sept is as broad :is the nave and is divided 
 by single high pointed arches into three 
 bays, of which the central one at the cross- 
 ing is groined, the others being covered 
 by pointed barrel - vaults. Above the 
 main arcades, which are very high and 
 acutelv pointed, is a rather high wall con- 
 taining two-light traceried clerestory win- 
 dows, with flanking pinnacles and ])anel- 
 work between. The octagonal choir, 
 formerly square-ended, is vaulted, and 
 llankeil by two chapels on each side. 
 Stairs from the angles of the choir lead to 
 a small crjijt with Doric half columns on 
 the walls, supj)orting a bracketed cornice. 
 The church is decorated with much rich- 
 ness and contains manv notable monu- 
 
 2« 
 
NAPLES 
 
 meiits. The front li;is an open arcaded 
 porch in tliree baj's and under it a Nor- 
 man-looking doorway. Tliese portions 
 are })robably altered survivals of the older 
 ehurch. The transitional porch at the 
 entrance of the east transept dates from 
 the XV century. 
 
 S. FiLiPi'O Neri, known also as the 
 Gerolamini, was built between the years 
 1593 and KU!) by Dionisio di Bartolom- 
 meo for the saint whose name it bears. 
 
 and is richly decorated with marbles and 
 statues. The great monastery adjacent 
 to the church contains a fine library. 
 
 8. Maktino. 'This secularized Car- 
 thusian convent has been turned into a 
 museum, under the care of the Italian 
 government. It is reputed to date from 
 the end of the Vi cent., but was rebuilt 
 for the Carthusians in 1325, and entirely 
 remodelled in the xvii century. The 
 church, which is noted for its splendid in- 
 
 Fig. 126 
 
 Its plan is a Latin cross about 120 ft. 
 wide and 2G0 ft. long, its nave and aisles 
 divided by lines of granite columns, 
 carrying arches, six on each side, which 
 supjjort an entablature, with a flat ceiling 
 exuberantly carved and gilded covering 
 the nave. The aisles are divided by 
 arches into square bays covered by low 
 domes, and a rectangular chapel opens 
 from each bay. The rectangular transept 
 has the breadth of tlie nave and is divided 
 into five bavs, with a dome at the crossing 
 from which opens a shallow rectangular 
 tribune. The facjade, from the designs of 
 Lazzari, is divided into five compartments. 
 
 tino, Cloister. 
 
 terior, was built over in 1057 by Fonsaga, 
 on its old lines, and consists of a nave of 
 three bays, without aisles or transept, and 
 a deep square-ended chancel, which served 
 as choir. It is lined with an order of Com- 
 posite pilasters, facing heavy piers, under 
 which the arcades open into three chapels 
 each side the nave, and which is continued 
 round the choir. The order carries a 
 groined pointed vault, whose lunettes are 
 occupied by the large square-headed win- 
 dows of the clerestory. The arcliitectural 
 detail is rich and florid, baroco in style, 
 the walls and floor are lavishly enriched 
 with colored marbles, aud the ceiling with 
 
 243 
 
NARXI 
 
 painting. The cloister, encompassing the 
 old burial-ground of the monks, is very 
 large, and is surrounded by a light and 
 graceful arcade on slender Doric columns, 
 over which the upper story, set Ijack to 
 the rear wall of the galleries, is pierced 
 with pedimented windows in the intervals 
 of an order of pilasters. {See Fiff. 120.) 
 
 S. Paolo ilAocnoRE is a baroco 
 churcli designed by the monk Francesco 
 Grimaldi in 1590. It is cruciform and 
 flat-ceiled, with nave and aisles divided by 
 arches alternately large and small, under a 
 great order of Corinthian pilasters, and is 
 richly decorated and carved with frescoes. 
 It stands on tlie foundations of a temple 
 of Castor and Pollux ; two of the Co- 
 rinthian columns and a fragment of tlie 
 architrave are incorporated into the uniu- 
 tei'esting front across which the order is 
 continued in jjilasters. 
 NAKXI (anc. Xarnia), Umbria, Italy. 
 
 Bridge carrying the Flamiuian Way 
 over the ravine of the Xar, built by 
 Augustus, in high repute in antiquity for 
 its boldness and height. It consisted of 
 three arches, built of large blocks of 
 white marble. The arch on the left bank 
 is still intact, and is GO ft. high ; the two 
 other arches have fallen, thougli their 
 massive piers remain and form an imjios- 
 ing ruin. The piers are placed about 30 
 ft. apart. 
 
 The Cathedual is a building of 
 marked peculiarities, built at various 
 periods. At present it has four aisles 
 and a line of chapels, a short transept 
 and a very wide seven-sided apse. The 
 main body of the church was originally a 
 three - aisled basilica built in pre - Ko- 
 manesque period, whose nine bays have 
 the same peculiar segmental arches as Sta. 
 ^laria in Pensole {q. ?'.). These arches are 
 supported on monoliths with early capi- 
 tals. The original wooden roof nuide way, 
 at an uncertain period, for groined cross 
 vaults. The apse and the vault in front 
 of it are a bold construction of the xiii 
 
 cent, the immense cross-vault over the 
 intersection has a span of about GO ft., the 
 apse, about 40 ft. deeji, is vaulted on eight 
 converging ribs. Under the choir is a 
 crypt of the same date but now remodell- 
 ed. The second choir or chapel on the 
 left is also of the Xlii cent. , while several 
 other chapels date from the Kenaissance. 
 The earliest part of all is the primitive 
 Chapel of S. Cassius with its crj-jit, whose 
 origin is in the iv or v century. The 
 bell-tower is a brick construction of the 
 XII cent., resembling those of Rome. The 
 portico, a fine work of the Kenaissance, 
 has an inscription of 1491. This is prob- 
 ably the date of the restoration of the en- 
 tire church and the addition of the vaults. 
 Within the church is a fine series of 
 Renaissance sculfitured monuments of the 
 XV and xvi centuries. [A. L. F. Jr.] 
 
 S. GiKoLA-MO is a good example of the 
 Romano-Umbrian Gothic of about 1300. 
 It is cruciform in plan, built of stone, 
 and has a square ajiso without side chaji- 
 els. Its nave consists of three square 
 compartments measuring 32 ft., with 
 cross-vaults and pointed transverse arches 
 ribbed like examples at Perugia and 
 Rieti. The groups of colonettes sustain- 
 ing them are simjjle and elegant. In 
 each bay is a one-light pointed window ; 
 there is an oculus in the apse and tlie 
 fayade had a rose-window, now destroved. 
 [A. L. F., .Jr.] 
 
 Sta. Mauia ix Pex80le is peculiar for 
 the form of its arches. It is a simple 
 basilica with an open porch. The three 
 arches of its porch and the four of its 
 nave are so flat as to be but a small seg- 
 ment of a circle. It is difficult to assign a 
 date to the church. There is an inscrip- 
 tion in the porch dated 1175 ; but an in- 
 scription of the v cent, was found in the 
 crypt. [A. L. F.,Jr.] 
 NAZARETH, Palestine. 
 
 Chukch of the Axxunciatiox, a 
 small and simple church enclosed in the 
 Latin monastery and built in the xvii- 
 
NEANDRIA 
 
 XYiii cents, over the grotto in which, ;ic- 
 coi'ding to the tradition of the Latin 
 clinrcli, was the scone of the Annunciation. 
 The cliurch is aijproximately o(i ft. bv To 
 ft., and is divided intn 
 bays by four heavy 
 square piers, and arcli- 
 es, transverse and lon- 
 gitudinal, springing 
 from them, which car- 
 ry low domes resting 
 on pendentives. The 
 spacious choir occu- 
 pied at service by the 
 monks is raised high 
 above the nave, and 
 reached by a double 
 flight of stejis with an 
 arch between. The 
 architecture is plain 
 and bald, the richness 
 of the interior being 
 due to its hangings. 
 Between the ascending 
 steps a descending 
 flight leads to the crypt 
 or grotto, which con- 
 sists of three parts: — a vaulted narthex : 
 then the chapel of the Annunciation prop- 
 er, where JIary was met by the Angel 
 Gabriel ; then an apse covered by a semi- 
 dome, the Chapel of St. Joseph — and be- 
 hind them all a bare cavern in the rock. 
 The grotto is reputed to be the house of 
 St. Joseph. A great basilica built here 
 in the early days of the church is re- 
 peatedly mentioned by pilgrims and early 
 writers. It survived to the time of the 
 Crusades, but was destroyed by the Turks 
 in 12(i3. The present church, begun by 
 the Francisans in 1620, was finished as it 
 now stands in 1730. {See Fig. 127.) 
 NEAXDRIA (Mt. Ohigri), Asia Minor. 
 
 The Fortifications are of hewn ma- 
 sonry, partly polygonal and partly squared, 
 of different dates before the iv century 
 B.C. The plan is an irregular rhom- 
 boid. The walls are in good preservation 
 
 throughout the circuit of two miles, and 
 are among the finest military remains of 
 Asia Minor. The chief gates at the N.E. 
 and the south are flanked by square towers. 
 
 127. — Nazareth. Church of the Annunciation. 
 
 The Temple is of importance as giving 
 definite knowledge of a new tyjje. The 
 foundation, of somewhat rough masonry, 
 measures -12 ft. by S-i ft., the cella (in- 
 terior) 26^ ft. by 65 ft. It is thought 
 that it was not peripteral, Init that it had 
 perhaps a widely overhanging roof. The 
 cella was divided into two aisles by a 
 central range of seven columns. The 
 shafts were smooth, without base, tajaer- 
 ing much toward the top. The capitals 
 were of proto- Ionic type, wide -spread- 
 ing volutes originating in vertical bands, 
 but with the addition of a necking formed 
 of two leaf-mouldings. Mr. Koldewey 
 holds that this type o^ capital is not 
 Ijroto-Ionic, but a type heretofore un- 
 recognized which he calls ^Eolic. Access 
 to the cella was by a door 4 ft. wide in 
 the west end. The two-aisled arrange- 
 ment is paralleled in the so-called Basilica 
 
 245 
 
NEMEA 
 
 at Paestimi (r/*. Loeri). Sueli douhle tem- 
 ples may have been less iinconiiiion in 
 (Iroek antiquity tliaii lias been believed. 
 The face of the terra-eotta cyma was or- 
 namented with animals in relief, and the 
 aiitefixes with the head and shoulders of 
 an animal of the cat or fox tribe. In 
 date the structure can be assigned to the 
 VII century is.c. 
 NEMEA, Argolis, Greece. 
 
 Temple of the Xemeax Zeus (Jupi- 
 ter), described by Pausanias as a notable 
 buililin?. notwithstanding that already the 
 roof had fallen in and the statue disap- 
 peared. Tlie temple, which stood in a 
 grove of cypresses, was a Doric hexastyle 
 peripteros, of which three columns arc 
 still standing. Two of these columns, 
 between anta?, in the pronaos, are -1 ft. 
 7 in. in diameter at the base, and still sup- 
 port tlie architrave. The surviving jier- 
 istjde column is 5 ft. 3 in. in diameter at 
 the base and about '.ii ft. high. The 
 width of the stylobate in front was about 
 (j.5 ft. The metopes were not sculptured 
 and were cut on the same block with the 
 
 1-i ft. The fa<;ade is simple and follows 
 the lines of the roofs of nave and aisles. 
 In the middle of the gable is an oculus ; 
 below are three doorways with sculptures, 
 which form the only decoration of the 
 fa<;ade. Toward the middle of this cen- 
 tury the tower on the right fell and 
 ruined one side of the church, which was 
 rebuilt in 18.5G with the substitution of a 
 few columns. The round-headed windows 
 are small and the apse is shallow. The 
 interior is remarkably well proportioned 
 and light. The round arches, wiiich 
 are recessed and rather low, rest on line 
 monolithic columns, most of which are 
 ancient ; some of the foliated capitals are 
 also classic, others niediieval imitations. 
 A low triumjihal arch separates the nave 
 fi'om the sanctuary, resting on columns 
 engaged in a jjier. Under the upper part 
 of the church is a crypt, reached by a 
 staircase in the right aisle. The whole 
 interior is covered with wooden roofs. A 
 great part of the interest with which the 
 church is regarded is due to its internal 
 decoration and furniture, belonginglargely 
 
 triglyphs. The length of the temple is to the period of the foundation of the 
 
 reckoned at something over 150 ft. The 
 columns have twenty channels and are 
 coated with a thin layer of stucco. They 
 are to be noted as among the most slender 
 examples of the Greek Doric. 
 XEPI, Italy. 
 
 The Abbey CnuRrii of S. Elia, Just 
 outside Nepi, is a simple three-aisled ba- 
 silica built of coarse-grained sandstone and 
 dates probably from the XI century. It is 
 
 church. The walls of the apse and tran- 
 sept were covered with frescoes in tlie xi 
 century. They form a connecting link be- 
 tween the Roman mosaics of the vi to IX 
 cents, and the Italian works of the xiii cen- 
 tury. On the piers of the transept and on 
 the walls of the right aisle are frescoes of 
 the XIII, XIV, and xv cents., the figures 
 being in many cases large and well pre- 
 served. The mosaic pavement is of the xi 
 
 interesting as a connecting link between cent., and so are apparently the ciljorium 
 
 the early Christian and mediteval styles, 
 and is one of the few remaining monu- 
 ments of this period in the northern part 
 of the Tvoman province. 'I'he nave is 
 divided from the aisles on each side by 
 six columns. The measurements are : 
 length, nciirly 113 ft., of which the nave 
 measures about 80 ft.: the transept, 24 
 ft.; and the apse, 8 ft. The width of 
 tiie nave is 2C ft. and of the side-aisles. 
 
 over the high altar, the parapet of the choir 
 and the pulpit, all of marble with archi- 
 tectural decoration, and in the case of the 
 pulpit, with ])atterns in low relief. Au 
 inscription around the marble font reads: 
 Ainio Ihii MCCX \ 1 1 hoc iqnis Dna 
 
 Wido J'rcsiil (irhdiHK tempore Douini. 
 
 Willchni abliitfis Jieri fecit. There are 
 signs that the site was occupied before the 
 building of this church. [A. L. F. Jr.] 
 
NIC^A 
 
 NIC^A (Iznik), Asia Miner. 
 
 xVxriEXT Kam PARTS, remarkably wull 
 preserved, with their imijosiag towers and 
 gates. The area enclosed is about twelve 
 miles long and four wide. There are two 
 battlemented walls, separated by an interval 
 of a little over 50 ft. The inner wall has 
 one hundred and eight lofty semicircular 
 towers ; the outer, one hundred and 
 thirty lower towers, so disposed as to alter- 
 nate with the towers of the inner wall. 
 There are three great gates out of the 
 original four, flanked by massive towers 
 of brick, besides two small gates. One of 
 the gates, built of marble in IW a.d. by 
 Hadrian, has the form of a triumphal 
 arch. Inside the Constantino^^le Gate is 
 a third wall with three gates, opening on 
 the city, forming a sort of citadel. The 
 walls are from 15 to 20 ft. thick and are 
 still from 30 ft. to 40 ft. high, retaining 
 in places their battlements. 
 
 The Geeex Mosque is a Seljukian 
 mosque dating from the xiv cent., and 
 named the Green, from its minaret faced 
 with green tiles. In front ia a large pro- 
 jecting marble jioreh on three pointed 
 arches surmounted by a dome ; and the 
 principal division of the mosque itself is 
 also covered by a dome. Over the en- 
 trance an inscription gives the name of 
 the founder Khayr-Eddin, the (Jrand 
 Vizier of Murad I. and the date 780, 
 that is 1378 a.d. An arcade on columns 
 surrounds the building. 
 
 Theatre, in the southwestern part of 
 the city, facing the north. It is probably 
 the same building mentioned by Pliny 
 in his letter to Trajan, as having cost. 
 though still unfinished, ten million ses- 
 terces ($387,500). It is one of the few 
 theatres in Asia not built against a hill- 
 side, its cavea being entirely sustained on 
 vaulted substructions. The greater diam- 
 eter is 260 ft. The jnasonry is of large 
 blocks of limestone laid without cement. 
 The structure is very ruinous, and is in great 
 part buried under accumulations of soil. 
 
 NICOSIA, Cyprus. 
 
 St. Catherine, now a mosque, con- 
 sists of a single nave, about GO ft. long 
 and 27 ft. wide, in three vaiilted bays, of 
 which the eastern merges into a semi- 
 octagonal apse concealed on the outside 
 by a straight wall. Tlu-rc are lateral 
 buttresses in the form of half -octagon 
 turrets, and a rose window in the front : 
 and the Turks have built a high miiuiret 
 on the S. \\. corner. 
 
 St. Nicholas, now used as a gov- 
 ernment storehouse, is a barrel -vaulted 
 church, about 130 ft. long, with three 
 eastern ajises, and a central dome on an 
 octagonal tower. It is apparently a little 
 later than the old cathedral, which stands 
 just north of it. 
 
 St. Sophia, the old cathedral, is a 
 large and handsome church, perhaps of 
 
 Fig. 128.— Nicosia. St. Sophia. 
 
 the XIII century. It is three aisled, about 
 215 ft. long, and 80 ft. across the front. 
 The nave, of 25 ft. sj)au, and the aisles 
 
 247 
 
NIKOLEIA 
 
 are vaultt'il in six bays, and end in an 
 apsidal clioir, round witliin and a lialf 
 dooagou without, encircled by tlie aisle. 
 Flanking the eastern jiart, like transejDts, 
 are two chapels with eastern apses. At 
 the front, which is later than the rest, are 
 the stumps of two great corner towers, 
 and between them a vaulted porch, which 
 may be an addition, for behind the ruined 
 upper story appears the great traceried 
 window at tlie end of the nave. As in the 
 cathedral at Famagusta, the vaults were 
 the only covering of the church, and no 
 roofs were built over them. The kings 
 of Cyprus were crowned here, and some 
 medieval tombs remain, disfigured by the 
 Turks, who have used the church for a 
 mosque, and built two tall minarets at its 
 sides. {See FUj. L2S.) 
 NIKOLEIA, Phrygia, Asia Minor. 
 
 KocK-TOMB ascribed to the beginning 
 of the VII cent. B.C., and important, if 
 this date is correct, as one of the earliest 
 exemplars of the Doric style. The fa9adc, 
 i)i niifis, has widely spaced, slender, un- 
 I'hanneled columns, tapering but little, 
 with three annulets beneath the capital, 
 and the high echinus forming an angle of 
 about forty-five degrees with the shaft. 
 The triglyphs are low and project bej^ond 
 the plane of the architrave ; there are two 
 in the sjwces between antaj and columns, 
 and four in the intercolumniations. The 
 cornice is slight and without mutules, the 
 pedinu'ut low and with a high cynui. 
 Many of these details seem to indicate a 
 late date instead of an early one. 
 NLMROUD-KALESSI. See Aeffm. 
 NOCEIJA (dei Fagani), Italy. 
 
 Sta. Maria Macuuoke, also called 
 La Rotouda, a circular church evidently 
 at first a baptistery, but differing in 
 many particulars from the usual tyjie of 
 such structures in Italy. It consists of a 
 central hall about 38 ft. in diameter with 
 a surrounding aisle IG ft. wide, from which 
 it is sejiarated by a ring of coupled Corin- 
 thian columns, some of which are antique. 
 
 licariiig narrow iviund arches. The cen- 
 tral space is covered by a dome of peculiar 
 form, its section a slightly cusjied arch, 
 the lower part circular and the upper el- 
 liptical. The lower portion is built with 
 great massiveness, as a foundation and 
 buttress for the upper portion, which is a 
 thin shell. The dome sjirings directly 
 from the capitals of the columns ; its 
 upper 2)ortion is jiicrced by eight windows, 
 and its crown is about io ft. above the 
 pavement. The surrounding aisle is 
 divided by strong transverse arches into 
 fifteen bays, corres2)onding with the arches 
 under the dome, and roofed by flat seg- 
 mental vaults. Opposite one of these 
 bays, double the width of the others, a 
 semicircular apse projects from the outer 
 wall of the aisle and is covered by a semi- 
 dome. In the centre of the building is 
 a circular baptismal basin of unusual 
 size, about 18 ft. in diameter, surrounded 
 by a low wall, of which the outer face is 
 octagonal and which formed the stylo- 
 bate for eight columns, of which only 
 three are now standing. These columns 
 doubtless supported a caiujpy covering 
 the basin. The exterior of the baptistery, 
 nearly concealed by adjacent buildings, is 
 extremely simple. Aliovo the aisle roof 
 rises a low wall carried up on the lower 
 masonry of the dome to supjiort the low- 
 jiitched wooden roof whicli covers it. 
 This wall is pierced witli small windows 
 communicating with those in the dome it- 
 self. This building has been thought to 
 be the earliest instance in whicli the 
 masonry of a dome or vault was covered 
 by a wooden roof. There is no record of 
 tlie date of this building, but Mothes as- 
 signs It to the first half of the v cent., 
 Hubsch to the beginning of the vi. 
 NOLA, Italy. 
 
 The Catiieuual 01' Sta. Maim a is the 
 rebuilding of an older church, and dates 
 in its present form from the end of the 
 XIV century. It is a basilica with nave 100 
 ft. long and GO ft. high, separated from 
 
 248 
 
NORCIIIA 
 
 till' aisk's I)\" arcades and opening into a 
 transept with three eastern apses. The 
 clerestory and aisle walls are pierced with 
 numerous narrow windows. The front 
 has three doorway's, over the middle one 
 of which are two arched windows and a 
 round window. Under the church is a 
 crypt dedicated to iS. Felix, with three 
 rows of columns. The church had fallen 
 into ruins, but has been in late years re- 
 stored by the Government. 
 NOEClilA (anc. Orcle ?). Italy. 
 
 Etui'scax Xeckopolis, exhibiting a 
 number of tombs of ordinary types ranged 
 in an impressive rock-amj)hitheatre, and 
 two which, except for the monuments at 
 Sorana, are without parallel in Etruria. 
 They consist of imitations of temjile- 
 fronts, with columns, entablatures, and 
 pediments filled with sculpture. The 
 friezes ape the Doric, and the entire char- 
 acter of the work shows attentive study 
 of the Greek. The pediment -sculptures 
 represents vigorous combats of warriors, 
 fully armed. The column-shafts are now 
 knocked away. The interior chambers of 
 these tombs are small and plain almost to 
 rudeness. Dennis dates tliera early in the 
 IV century B.C. 
 NO\'ARA, Italy. 
 
 The Baptistery is an octagonal build- 
 ing standing at the west end of the atrium, 
 older than the cathedral, which it faces, 
 jierhaps even as old as the v century. It 
 consists of a central octagon about 35 ft. 
 in diameter, with ancient Corinthian col- 
 umns in the angles on high plinths, four 
 of them with fluted shafts and all bearing 
 stilt - blocks, from which spring round 
 arches, forming the openings of recesses 
 or niches, alternately square and semi- 
 circular, and covered with barrel-vaults. 
 On the arches is carried up the high clere- 
 story wall, with a single window in each 
 face above the roof of the surrounding 
 niches. The wall supports an octagonal 
 dome, crowned with a small lantern with 
 windows. A large Roman vase in the 
 
 centre of the floor was used as the baptis- 
 nnd font. The exterior is quite plain, of 
 brick, the lower portion without other 
 opening than the doorway from the atrium. 
 The upper portion has small angle-shafts, 
 and an arched corbel-table over the clere- 
 story windows, between which and the cor- 
 nice are three small arches in each face, 
 opening into the space between the dome 
 and its wooden roof ; the precursor of the 
 arcaded eaves-gallery so ccnnmou in the 
 later Lombard buildings. 
 
 The Cathedral is an interesting and 
 important Lombard church, which has, 
 however, been greatly injured by restora- 
 tions, the latest of which, in 1862, destroyed 
 many of its most characteristic features. 
 It is a five-aisled church, about 110 ft. in 
 total width, ajJi^roached until recently 
 through an atrium or fore-court, with low 
 arcades on the sides, from the westerly side 
 of which opened the baptistery. The 
 atrium has been sacrificed to make room 
 for a modern Corinthian portico. Its 
 eastern side was occupied by the narthex, 
 also now transformed, in two stories di- 
 vided into seven compartments, those of 
 the lower story filled each with a round 
 arch, three of them occupied by doorways, 
 while those of the upper story are sub- 
 divided each into three blind arches, with 
 a small window in the central arch. The 
 narthex is vaulted in square bays, and its 
 upper story forms a gallery opening by 
 broad arches into the nave. It is covered 
 by a lean-to roof, out of which rises in the 
 centre the gable of the nave, and at the 
 ends two square carapanili. The whole 
 arrangement much resembles that of S. 
 Ambrogio at Milan. The interior is pe- 
 culiar in many respects. The nave is 
 al)out 35 ft. wide and 95 ft. long, and is 
 divided into three bays, of which the first 
 and third are square and comprise each 
 three bays of the aisles, the middle one, 
 which is shorter, comprising two. All 
 are vaulted, but the vaulting of the nave 
 is thought to rejilace a flat wooden ceiling. 
 
 249 
 
OLYMPIA 
 
 Fi'oin tlie conipdiiiKl |iii'rs diviiliiiy the 
 nave bays, strong transverse arches are 
 carried across the nave. Intermediate 
 columns, two to eacli square bay and one 
 to the shorter bay. cori-espond to the bays 
 of the aisles. Of the double aisles on 
 each side, the inner have a broad vaulted 
 ujiper gallery, with arclies corresjiondiug 
 to those below ; the outer are divided into 
 chapels. So far the original construction 
 is substantially unchanged. But the east- 
 ern portion of the church has been much 
 altered. The transept does not project 
 beyond the walls of the outer aisles. 'J'he 
 crossing is covered by an octagonal dome, 
 the arms by smaller domes of an elliptical 
 plan. The transept arms are closed from 
 the aisles by a solid wall, pierced with a 
 small doorway on each side. The choir, 
 as long as the nave, is in three divisions, 
 a square bay covered by an elliptical dome 
 like those of the transept, a second 
 square bay with a four-part vault, and a 
 deep round ap)se with a ribbed semi-dome. 
 A square campanile stands detached in 
 the X. E. angle between the transejit and 
 choir. Portions of the present church 
 date from the early part of the viii cent. ; 
 Mothes gives three dates, 7-iG, 1020, and 
 1124, as the important periods of its con- 
 struction. 
 
 S. (lAUDKNZio is a church of unusual 
 plan built near 1580 by Pellegrino Tibal- 
 di. It is a Latin cross about 270 ft. long 
 and 1.50 ft. across the transept, whose pro- 
 jection is made conspicuous by the ab- 
 sence of aisles, and has a long a])sidal 
 choir. The rather narrow fayade is in 
 two stories of grouiied jiilasters, with 
 curved flanking l)uttresses, a pediment 
 above, and a jiorch on relieved columns 
 over the door. The church staiuls free, 
 and the pilasters are continued in cou})lcs 
 along the sides and about the long arm of 
 the choir, with niches between them. In 
 the angle between the north transej)t :iiid 
 choir is a fine bell-tower, square below, 
 octagonal above, ending in a baroco cupo- 
 
 la. Tlie origi)ial dome lias been replaced 
 by a high new one on a drum surrounded 
 by Corinthian columns, not only dwarf- 
 ing the bell-tower, but by its weight en- 
 dangering the piers that support it. The 
 interior is lined with ])ilasters in pairs, the 
 nave alone being bordered with shallow 
 chapels, and is barrel-vaulted throughout. 
 OLYMPIA, Elis, Greece. 
 
 The Altis (sacred grove), or sanctuary 
 of Zeus Olympics (Olympian Jove), the 
 scene of the Olympic games, is in a plain 
 between the rivers Alphens and C'ladeus, 
 and an irregular hill called Mt. Kronios. 
 The sanctuary consisted of a sacred enclos- 
 ure, surrounded by a wall of blocks of Poros 
 stone, containing several temples and many 
 other splendid buildings, and adorned 
 with groves, altars, and statues, and other 
 outlying buildings. 'i'he Altis, whicli, 
 tradition says, was laid out and enclosed 
 with a wall by Hercules, had several en- 
 trance-gates, the principal of which, the 
 Pompic gate, was used for grand proces- 
 sions. On the east side, without the wall, 
 were the Stadium and the Hippodrome, 
 the scene of the principal contests of the 
 Olympic games. After the Koman con- 
 quest (I-IO B.C.) the festival was kept up 
 with great sjilendor, and nmny of the most 
 elaborate buildings at Olynipia were due 
 to the emperors. Tlie games were con- 
 tinued until 311-1 A.I)., when an end was 
 jnit to them by Theodosius I. lie re- 
 moved Phidias's great cliryselejihantine 
 statue of Zeus to Constantinople, where it 
 was burned in 47.5. and dmibtless from 
 his time the temples and other buildings 
 gradually fell to decay. The Altis was 
 :in irregular quadrilateral enclosure, its 
 two longest sides (east and west and north 
 and south) extending about G80 feet, 
 'i'he Temi>le of Zeus stood S. E. of the 
 nuddle, upon a terrace about .574 ft. by 
 2112 ft. On the north side, at the base 
 of Mt. Kronios, was a higher terrace, 
 reat'hed by steps, on which stood the 
 Exedra of llerodes Atticus and a row of 
 
OLYMPIA 
 
 treasuries. Pansanias iiotos only plcven, 
 but roiiiaiiis of twelve have l)een found. 
 The other buildings within the xVltis were 
 the Herffium or Temple of Hera, the Met- 
 roon or Temple of the Mother of the 
 Gods, the Philijjpeum, the llippodam- 
 eum, the Stoa of the Echo, the Leoni- 
 dajum, the Prytaneum. the Bouleuterion, 
 
 elliptical are at the west end, a form 
 hitherto deemed un-IIellenic. The apse 
 was cut off from the main chamber by a 
 cross -wall with stout doors in it, and 
 divided into two parts by an east and 
 west wall. The total exterior length was 
 100 ft., the breadth at the east end 43 ft. 
 The side walls are curved slightly out- 
 
 ^ 
 
 Fig. 129— Olympia, Plan of Excavations. 
 
 and the Pelopeum. The great altar of 
 Zeus, on which the principal sacrifices 
 were made, stood north of the middle of 
 the Altis, half-way between the Metroon 
 and the Temple of Zeus. {See Fir/. 129.) 
 BorLEiTEUiox (C'ouncil-hou.se), with- 
 in the Altis. It is the earliest known 
 Greek house of assembly of a deliberative 
 body and consisted of a group of buildings 
 facing the east. The first, or southern- 
 most one, probably of the vi cent. B.C., 
 was in ])lan a double nave with an ajise of 
 
 ward. This is the only known examjjle 
 in early Hellenic architecture of a 
 ground plan tending thus to an elliptical 
 form. The interior was divided by a 
 range of seven Doric columns, 8 ft. 8 in. 
 from centre to centre. The entrance at 
 the east end was formed by three Doric 
 columns between two autte, on a stylo- 
 bate of two steps. The second, or north- 
 ernmost building, of the v cent. B.C., 
 was a double nave with seniicircular apse, 
 similar in \Am\ to the south building, but 
 
 2S1 
 
OLVMI'IA 
 
 sliowiiig no curve in the siilc wull^. Both 
 these buil(liii,t;.s ajjpear to have had Aviii- 
 dows aud wooden roofs. The third struct- 
 ure, 46 ft. square, between the north and 
 south wings, has its east front on the 
 same line. This tliird structure was 
 probably roofless, forming an open court, 
 presiimaljly with a row of columns upon 
 the open east side. A long portico ex- 
 tended across the front of these three 
 portions ; it had twenty-seven Ionic col- 
 umns on the east front and three on each 
 side, including the angle-columns. It is 
 conjectured that tlie apses, particularly 
 that of the south wing, were the official 
 treasuries of the Olympian Council. 
 
 Byzaxtixe Church, w-est of the Al- 
 tis. built upon ancient foundations prob- 
 ably during the first half of the vi cent., 
 when severe earthqtiakes had destroyed 
 the Olympian buildings. It has the form 
 of a basilica, with a semicircular apse at 
 the east and narthex at the west. Tlie 
 entrance is by a porch on the south side. 
 The church proper, GO ft. long, was di- 
 vided into nave and aisles by two rows of 
 five marble columns each, with composite 
 capitals evidently taken from a Roman 
 building, and the east end of the nave cut 
 off from the sanctuary by a marble screen ; 
 a brick bench surrounded the interior of 
 the apse. The narthex, or vestibule, 19 ft. 
 by 35 ft., opens into the church by three 
 doors. The ancient building, which was 
 replaced by this church, was of Poros stone. 
 and is assumed to have been the studio of 
 Phidias. It comprised a vestibule 33 ft. 
 by -to ft. and an inner apartment GO ft. 
 by 40 ft., tlie latter divided into aisles by 
 two rows of four l)ori(^ columns each. It 
 was about the size of the cella of the tem- 
 ple of Zeus, and thus may have jiresentcd 
 advantages as a studio for tlie elaboration 
 of the great chryselephantine statue. 
 The ancient masonry remains to a height 
 of about 6 ft. The Byzantine floor has 
 been removed and the ground plan of the 
 Greek building is thus revealed. 
 
 ExEDKA OF IIekodes Atticis, built 
 in the ii cent, a.d., by Tiberius Claudius 
 Herodes Atticus, the famous Greek rhet- 
 orician. It was an open structure of 
 brick, consisting of a terrace 103 ft. by 
 18 ft., bounded by walls, with a semicir- 
 cular apse behind it, whose outside radius 
 was 31 ft., including the wall. At each end 
 of the terrace stood a small open circular 
 Corinthi;in temple of eight graceful col- 
 umns, whose exterior diameter was 12 ft. 
 G in. Upon the terrace, between the two 
 temples, was a water-basin into which a 
 lion's head spouted water from each end 
 of the wall of the apse. The water was 
 supplied from a reservoir feil by an aque- 
 duct, part of which is yet in working 
 order. The monument was dedicated by 
 Ilerodes to Zeus in the name of his wife 
 Kegilla, as may still be read on a marble 
 bull that stood on the front wall of the 
 basin. Within the apse, between two Co- 
 rinthian pilasters, corresjjonding to great 
 buttresses behind, were portrait-statues 
 of the family of Herodes aud of those of 
 the emperors Antoninus Pius and Mar- 
 cus Aurelius. 
 
 The GYiiXASiuji, used for exercise in 
 leaping, running, and throwing the discus 
 and javelin, was a large level quadrangle, 
 surrounded on three sides, perhaps on all, 
 by stoas or open halls. The east hall, 
 both ends of which have been excavated, 
 measures G'JO ft. by 38 ft.; the east side 
 and the ends are closed by a wall, the west 
 side has a range of Doric columns with an 
 intercolumniation of 10 ft. from centre to 
 centre. Another row of Doric columns 
 tlirough the uuddle divides the stoa into 
 two long galleries. A second Doric stoa 
 on the south side of the gymnasium ad- 
 joining the palffistra has been partly ex- 
 cavated. It is not so wide as the east one, 
 and has no central range of columns. 
 The gymnasium probably dates from the 
 early in century B.C. The grand entrance 
 or [iropyheum at the S. E. angle, between 
 the east and the south halls, was of Corin- 
 
 252 
 
OLYMPIA 
 
 tliiiin (inlcr Avitli four columns on lioth 
 oast and west fronts. Tlio two middli' 
 columns of each front form the extremi- 
 ties of two rows, each of six columns and 
 a central pier, which divide the gateway 
 into three aisles — the middle one (main 
 entrance) is 11 ft. wide. This building is 
 apiiarently of somewhat later date than 
 the porticoes of the gymnasium. Pausu- 
 nias tells us tiiat the open court was paved 
 with stone for the exercises of the ath- 
 letes, and that their lodgings were against 
 the wall of the east stoa, opening toward 
 the setting sun. 
 
 The IIer^eum, or Temple of Ilera 
 (Juno), was founded, according to tradi- 
 tion, about 1100 B.C. Some existing re- 
 mains may date back to the viii century 
 B.C. It was Doric, hexastyle, i)erii3teral, 
 with sixteen columns on the flanks and two 
 between antaj in jironaos and opisthodo- 
 mos ; the ground plan is IGl ft. by Gl ft. 
 G in. ; the cella, raised upon a special foun- 
 dation step, 133 ft. by 37 ft. The cella, 
 whose walls above the foundation-course 
 were apparently built of brick, was divid- 
 ed into three aisles by two rows of eight 
 Doric columns each, the middle aisle be- 
 ing 12 ft. wide. These columns were put 
 in in Koman times ; originally pilasters 
 stood out from the walls, forming on each 
 side live chapel-like niches. The peri- 
 style stood on a stylobate of two steps. 
 The columns were 17 ft. 7 in. high, aliout 
 10 ft. 8 in. apart, and varied in diameter 
 from 3 ft. 3 in. base and 2 ft. 8 in. neck, 
 to i ft. 2 in. base and 3 ft. neck. They 
 differed also in the form of the capitals, 
 which ranges from the most archaic type 
 to the straight-lined profile of the llonuin 
 period. One column had only sixteen 
 channels ; all the others had twenty. 
 These anomalies are exjilained by the fact 
 that the columns were erected at widely 
 different periods to replace the original 
 shafts of wood, of which Pausanias says 
 that he saw one remaining still in the 
 opisthodomos. Some of the older stone 
 
 shafts were monolithic. The entablature 
 aiul roof-frame were probably to the last 
 of wood, since no stone fragments belong- 
 ing to these members have been found ; 
 and the temple had roof-covering, cyma, 
 cresting, and remarkable acroteria of 
 terra-cotta. The material was in general 
 a fine-grained Poros stone, but a coarse 
 shell-conglomerate was also used. The 
 opisthodomos, closed like the cella with 
 gratings, served as a treasury. In this 
 temf)le was found during the German ex- 
 cavation (1874 to 1881), the famous statue, 
 by Praxiteles, of Hermes bearing the in- 
 fant Dionysos, mentioned by Pausanias, 
 now in the new museum of Olympia. 
 
 The liERoiix (chapel of a hero), outside 
 the Altis, about 48 ft. square, on the west 
 side, was a long hall, IG ft. wide, access to 
 which was afforded by a portico of three 
 columns ; in the S. E. angle was a room 
 29 ft. by 15 ft., and north of it a circular 
 room inscribed in a scpuire, diameter 2G ft., 
 with entrance from the hall and an altar 
 on the south side. There is some indica- 
 tion that the major part of this building 
 was of wood. 
 
 The IIii'i'ODUOME is entirely destroyed 
 by the floods of tlie Alpheios, and as yet 
 unexcavated. It lay immediately south of 
 the stadium. 
 
 The Leonid.bum was named from its 
 founder, Leonidas the Elian, and was 
 converted in the first cent. a.d. into a 
 residence for the Roman magistrates of 
 Achaia. It had atrium, impluvium, baths, 
 and niches. It was probalily the largest 
 building in Olymjiia, except the great 
 gymnasium, which has not as yet been 
 entirely excavated. The Greek building, 
 which "dated from about the middle of the 
 IV cent. B.C., consisted, like the Roman, 
 of four wings surrounding a central court 
 88 ft. 7 in. deep, the whole enclosed with- 
 in an exterior portico of Ionic order built 
 of Poros stone, except the ornamented 
 and brilliantly paiuted gutter, which 
 was of terra-cotta. The details are un- 
 
OLYMl'IA 
 
 refiuc'd. The dimensions were 200 ft. l)y 
 2-44 ft. The height from the ground to 
 the rim of the gutter was nearly 23 ft. 
 The interior portico surrounding the 
 court was Doric. The outline of the 
 echinus was straight, and tlie abacus thin 
 and insignificant. To light the rooms 
 beneath the portico the columns were 
 made vei-y slender, and widely spaced ; 
 three triglyphs in tlie frieze corresponded 
 to every pair of columns. The entabla- 
 ture of this jjortico retains in great fresh- 
 ness its ancient coloring. The trigly[)hs 
 and regula; were painted very dark blue ; 
 the crowning members of the frieze, red. 
 The sculptured mouldings of the cornice 
 show a great variety of colors — red, blue, 
 white, yellow, in various novel combina- 
 tions. The Leonida?um may have been de- 
 signed as a gymnasium, or indeed for the 
 use to which tlie Romans finally put it — 
 as a lodging-jjlace for strangers of dis- 
 tinction. iSomc have sought to identify 
 it with the Palace of Xero. 
 
 Metroox, or Temple of the Mother of 
 the Gods, prot)ably of tlie in cent. li.r., 
 roughly restored in Roman times and filled 
 with statues of the emperors, and wholly 
 pulled down in the v or vi cents, by the 
 Byzantines, who used the stones to build 
 fortifications. It was Doric, hexastyle, 
 peripteral, with eleven columns on fianks 
 and two between antse in pronaos and 
 opisthodomos ; the ground-plan was 08 ft. 
 by 35 ft. The columns were channelled, 
 resting on a stylobate of three steps. 
 I'ragmeuts of the frieze show pronounced 
 traces of red and blue. The capitals were 
 of peculiar profile. 
 
 OcTAGOXAL BriLinxo, so-called, with- 
 out the Altis east of the Palace of Xero. 
 The heart of the building was an oct^ig- 
 onal chamber, and was vaulted over. It 
 was surrounded by rooms of various sizes 
 and was evidently addeil to from time to 
 time, especially toward the north and 
 west, so that it came to encroach upon 
 the Palace of Xero. A well-preserved 
 
 architectural mosaic has been found in the 
 northern jjart of the building. It dates 
 from very late Roman times, and probably 
 served as lodgings for imperial officials. 
 
 Palace of X'ero, without the Altis, 
 adjoining the Southeast Stoa, of wJiich 
 the materials were ruthlessly taken for its 
 construction. It was a luxurious but 
 hastily built Roman villa, with vestibule, 
 atrium, many chambers, baths, a spacious 
 court surrounded by a portico and many 
 dependencies. It is identified by an in- 
 scription stamped upon a lead water- 
 pipe. 
 
 The PaL-BSTRA (Wrestling-school), 
 without the Altis and contiguous to the 
 gymnasium, is of the end of the iv cent. 
 i!.c. or beginning of the in. A quad- 
 rangle 21!) ft. square is enclosed by a wall 
 which surrounds a series of halls and 
 rooms of various sizes ; in the midst of 
 these halls and rooms is a quadrangular 
 court 130 ft. square surrounded by Doric 
 porticoes 10 ft. 4 in. wide, with seventy-two 
 Doric columns. There are ranges of Ionic 
 columns between the chambers aiul the jior- 
 tico, some have only the ujiper half fiuted, 
 others, like the Doric columns of the cen- 
 tral portico, are fluted on the exterior side 
 only. Water ran in a narrow channel 
 round four sides of the court and flowed 
 out at the S. E. angle. The outer wall 
 had a foundation of Poros stone, above 
 which it was built of brick. The interior 
 was mostly of a fine-grained Poros. The 
 sculptured portions were carefully exe- 
 cuted and covered with a coat of fine 
 stucco. Abundant traces of color — red, 
 blue and yellow — survive. The entab- 
 lature and roof were of wood throughout. 
 
 Prytaneum (Town-hall), X.AV. from 
 the Altis, between the north gate and 
 the Ilera^um. Tlie ground plan shows 
 indications of two courts surrounded by 
 porticoes and rooms of different sizes. 
 On the south side there seems to have 
 been a Doric jjortieo 114 ft. long. In the 
 iiuun axis of the building, near the en- 
 
 2S4 
 
OLYMI'IA 
 
 tnince, Avas the national altar nf llcstia 
 (Vesta) ill a small chajtcl. 'I'lir ruius were 
 overturued and reiiiodoUed in Roman 
 times and later. The I'rytaneuin dated 
 from the best epocli of Olympia. Ahiin- 
 daiit remains of cooking and table utensils 
 were found among the ruius. 
 
 Sorxii Stoa, south of the Altis, a 
 building of the Eoiiuin jjeriod, intended 
 for the use of spectatoi's of tlie grand pro- 
 cessions, or for jjurjioses of lodging or busi- 
 ness. It was a rectangle, about 202 ft. by 
 42 ft., closed on the north side by a wall, 
 the roof supported on the other sides by 
 a Doric order on a stylobate of three steps, 
 with thirty-three columns in front and 
 six on each flank, the interior divided 
 longitudinally by a row of seventeen Co- 
 rinthian columns of sandstone. The outer 
 columns are of Poros stone and the steps, 
 which have an elaborate profile, of white 
 limestone. Most of the parts of this 
 building lie where they fell, so that it 
 could easily be restored. 
 
 Southeast Stoa, occupying the S. E. 
 corner of the Altis. Its front lay a little 
 back of the line of that of the Echo Stoa, 
 built during the same Macedonian pe- 
 riod. The Southeast Stoa was of Doric 
 order, with nineteen columns on the 
 front and eight on both north and south 
 sides, and enclosed four rooms, the east 
 side being closed by a plain wall. The 
 cornice has the same ornament as that of 
 the Echo Stoa. The material is Poros 
 stone, the columns and entablature were 
 coated with fine stucco. 
 
 Soi'TinvEST BriLDiXH, without the 
 Altis. A quadrangle 2(53 ft. by 241 ft., 
 with one hundred and thirty-eight exte- 
 rior Ionic columns (thirty-seven on east 
 and west, thirty-four on north and south), 
 forming a continuous portico, 18 ft. wide, 
 about a series of halls and rooms of vari- 
 ous sizes ; within these was a second por- 
 tico of about the same width, with twelve 
 Doric columns on each side, surrounding 
 an inner court 97 ft. square. This court 
 
 was divided into geometrical llower-beds 
 and water - basins, and was doubtless 
 adorned with statues. Water, introduced 
 in pijjcs on the north and east sides, flowed 
 out through a conduit on the south side. 
 The building shows two architectural pe- 
 riods, the original Greek, of the iv cent. 
 B.C., and a Eomaii rearrangement. 
 
 Stoa of the Echo, called also Stoa 
 Poikile (painted porch), doubtless from 
 paintings on its inner wall. The building 
 was of the Macedonian period, erected on 
 the site of an older structure. It was a 
 rectangle, 320 ft. by 39 ft. ; the east side 
 and ends closed liy a wall, with forty-four 
 columns in front and two antaj on a sty- 
 lobate of three steps of Parian marble. 
 The interior was divided into two long 
 galleries by a range of columns through 
 the centre. Pliny says it was known as 
 the Ileptaplionon (seven-voiced) because 
 it re-echoed seven times. The roof was 
 of wood ; and there are indications that 
 it was ill a single sjian, with no support 
 between the wall and the exterior portico. 
 
 Stadium, without the Altis. The 
 length of the course, from starting to 
 finishing lines, was G30 ft. 9| in. ; breadth 
 at the west end, 94 ft., at the east 
 end, 97 ft. From the measurement of 
 its length was obtained the exact Olympic 
 foot, which is just one six-hundredth of it, 
 or 1.05 ft. The surrounding seats were 
 sustained by a retaining wall of Poros 
 stone, except on the north side, which 
 rests uj^on Mt. Kronios. The judges' 
 and athletes' entrance was a regularly 
 vaulted passage - way through the west 
 wall of the stadium, with a portico at the 
 west entrance consisting of four Ionic 
 columns, two outer ones engaged and con- 
 nected with the inner ones by a low wall. 
 
 Stuiho of Phidias. See Byzantina 
 Churvli. 
 
 Temple of Philip, or the Philippeum, 
 probably erected by Alexander the Great, 
 in memory of his father, Philip of Mace- 
 don, and of the battle of Chisronea. It 
 
 255 
 
OLYMPIA 
 
 was Ionic, circular, with eighteen coluiiius 
 on a stylobate of four stejis of Pentelic 
 marble ; the whole diameter 50 ft. The 
 columns, with twenty-four flutes, were of 
 Poros stone ; the sculptured cornice and 
 ceiling of the peripteros, of marble. The 
 interior was decorated with twelve Corin- 
 thian engaged semi-i'ohmins of Poros, and 
 contained statues in gold and ivory of 
 Philip. Alexander, Amyntas. Olyiiqiios, 
 and Eurydice ; of several of these statues 
 the pedestals have been found. The roof 
 was probably covered with tiles of earth- 
 enware, and was surmounted by a bronze 
 poppy -head. This building was long 
 considered one of the earliest circular 
 Greek edifices surrounded by columns; 
 but the Tholos of Polycletus at Epidau- 
 ros, recently explored by the Archajologi- 
 cal Society of Athens, is almost a century 
 older. 
 
 Temple of Zets Olympios (the 
 Olympian Jove), or Olympieum, within 
 the Altis, upon a terrace. An ancient 
 temple had stood on the site, but after the 
 conquest of Pisa (573 B.C.) the Eleians 
 devoted the spoils to the erection of a 
 new and magnificent building. The ar- 
 chitect was Libon ; and the temple was 
 not finished until much more than a cen- 
 tury afterward. It contained the famous 
 chryselephantine statue of Zeus, the mas- 
 terpiece of Phidias. It has been exca- 
 vated jiartly by the French under Blouet, 
 in 1831, completely by the Germans in 
 1875-70, the remains being under four- 
 teen feet of alluvium. The temple was 
 Doric, hexastyle, peripteral, with thirteen 
 columns on flanks and two between anta? 
 in jironaos and op'isthodonios ; the ground- 
 plan, '^'lO ft. by 90 ft., measured on ujijier 
 step of stylobate ; the cella (exterior), 152 
 ft. by b'i^ ft. The cella is divided longi- 
 tudinally into three aisles by two rows of 
 seven columns each ; at the west end of 
 the central aisle, dO ft. wide, stood the 
 statue of Zeus, 40 ft. high. The col- 
 umns, on a stylobate of three steps, had a 
 
 diameter at base of 7 ft. 4 in. and height 
 of 34 ft. 3 in. ; intei'columniation, centre 
 to centre, 17 ft. The height of the build- 
 ing to the top of the entablature was 53 
 ft., to apex of jjediment, (J(J ft., width of 
 cella door, 15 ft. !t in. Material, lime- 
 stone overlaid with fine stucco ; roof, a 
 wooden frame, covered with tiles, which, 
 like the cornice, were of Parian marl}le. 
 The floor of the pronaos contained a fine 
 Greek mosaic representing Tritons. The 
 pediments were filled witli sculptures as- 
 cribed respectively to Pa^onius and Alca- 
 menes. The acroteria wore of bronze, a 
 Victory upon the apex of the east front, 
 and great tripods at the angles. 
 
 The sculjitures in the east pediment 
 represented the contest for Hippodameia 
 between Ocnomaus and Pelops ; those in 
 the west pediment the fight between the 
 Centaurs and Lapiths. Zeus occupied 
 the central place in the former scene, 
 Apollo in the latter. The twelve metopes 
 of the inner friezes over the pronaos and 
 opisthodomos 2)orticoes were carved with 
 the twelve Labors of Hercules. 
 
 Theocoleum, a group of buildings for 
 the use of the Theokoloi or priests who 
 superintended the sacrifices immediately 
 without the Altis. The original building 
 was ()1| ft. scpiarc. witli a centi'al court of 
 about 23 ft. square, surrounded by eight 
 rooms. About the court was a Doric 2)or- 
 tico, witli an entablature resembling the 
 Ionic. Tliis portion of the group dates 
 probably from the iv cent. B.C., and rests 
 diuibtlc'ss upon older foundations. Later, 
 the building was enlarged by the addition 
 of three rooms on the east side ; and. 
 finallv, in Roman times, a much larger 
 quadrangle was added on the east side, 
 consisting of a number of rooms suiTound- 
 ing a spacious portico with a large court 
 in the middle. 
 
 The Tkeastries of various cities occu- 
 pied a terrace on the northern edge of the 
 Altis. which it overlooked, and beneath 
 Mt. I\ronios. Access to the terrace was 
 
(ti;( llo.MKXOS 
 
 afTcinled by steps of Poros stone. Beliiiid 
 the terrace was a massive retaining-wall, 
 to resist eueroaehmeiit of earth waslied 
 from above. Tlie treasuries extended in 
 a row from the exedra of Ilerodes At- 
 ticus to the stadium. The remains of 
 twelve have been recognized. Tliey were 
 of widely different periods and architect- 
 ure, but most were iu the form of a small 
 Doric cella in antis. Many of them were 
 adorned with very beautiful terra-cotta 
 cornice- and roof-ornaments. In the 
 treasuries were stored, by the founding 
 cities, splendid gifts and votive offerings to 
 Olympian Zeus. The Treasury of Gela, 
 the most easterly of all, next to the sta- 
 dium, wiis Doric, hexastyle, aiul jirostyle. 
 It is conjectured tliat the interior of the 
 cella was surrounded on three sides l\v 
 columns. The stone cornice was en- 
 crusted in the ancient Sicilian fashion 
 with terra-cotta tiles, fastened with iron 
 nails, and very elaborately and beautifully 
 painted with designs in black and deep 
 red upon a yellow ground. The terra- 
 cotta roofing is also interesting, and the 
 ornamented crest-tiles are of novel design. 
 The building was probably founded dur- 
 ing the first half of the vi century B.C. 
 Materials exist for an almost complete 
 restoration. That of Megara. built in 
 the second half of the vi cent. is.c. from 
 Corinthian booty, was a Doric temple in 
 anfi-f. The tymiianum of the pediment 
 (19 ft. 2 in. by 2 ft. o in.) contained 
 twelve figures in relief — a recumbent fig- 
 ure at each extremity and five couples 
 of combatants — representing the contest 
 between the Gods and the Giants. The 
 remains of these sculptures are of im- 
 portance as being highly archaic. That 
 of iletapontum Selinus and Megara was 
 one of the oldest of the treasuries. Little 
 remains except scanty portions of the 
 foundation and fragments of the rosette- 
 shaped anthemia of the terra-cotta crest- 
 tiles of the roof. 
 
 TiarjiPH.A^L Arch (Roman) in the line 
 
 (if the south Altis wail, between the Hou- 
 leuterion aiul the Southeast Stoa. It w;is 
 of considerable size, with three arched 
 openings, and doubtless presented exter- 
 nally an appearance of magnificence. Like 
 the Palace of Nero, however, it was very 
 hastily, even temporarily, built of bases of 
 statues, architectural fragments, and what- 
 ever came first to hand. There is no 
 doubt that it was constructed to form a 
 fitting entrance to the .sacred enclosure 
 for Xero. 
 ORCHOMEXOS, Bwotia, Greece. 
 
 Treasury of Mixy.^s, so-called, con- 
 sidered even in classical times as a highly 
 remarkable monument. The structure is 
 of conical or beehive form, with an in- 
 terior diameter of 40 ft. The walls are 
 built in horizontal courses of stone lilocks 
 corbelled out, each course beyond the next 
 below it, the whole interior being hewn 
 to a domical shape. They were studded 
 with rosettes of metal. Li the middle of 
 the floor was a large pedestal of much 
 later date, which probably bore a grou]) of 
 statues. On the right-hand side a door- 
 way about 7 ft. high leads into a smaller 
 chamber hcvra from the rock, presumably 
 the grave - chamber proper of this old 
 funeral monument, erroneously styled a 
 treasury. The walls of this chamber 
 were revetted with marble slabs carved 
 like the green schist blocks of tlio roof, 
 with an elaborate and graceful tapestry- 
 pattern of ilycenajan spirals and rosettes. 
 The entrance from without is by a door- 
 way 18 ft. high, between inclined side- 
 walls of grayish - blue marble, opening 
 upon an uncovered jmssage or dronios 16 
 ft. 9 in. wide. The door-passage of the 
 tholos is 8 ft. 2 in. wide at the top, and 
 9 ft. wide at the bottom, its lintel being 
 formed by a mighty block of gray-blue 
 marble IG ft. G in. long. The double 
 doors, for which the grooves and hinge- 
 holes remain, were j)robably of bronze. 
 This treasury was excavated liy Dr. 
 Schliemann in 1880-81 and 1880. 
 
 257 
 
ORFA 
 
 ORFA. See Edemi. 
 OKOPOS. Attica, (irceop. 
 
 St(i.v, about "-iJO ft. to tlie eastward of 
 the temple of Aiiiphiaraos. It has been 
 excavated to a length of about 11-i ft., 
 but its full dimensions are as yet un- 
 known. Its southern side was occupied 
 by a range of Hellenistic Doric columns. 
 and its interior walls were skirted by a 
 continuous series of inscribed marble 
 benches. 
 
 The Temi'i.i: of AMriii.vuAOS, called 
 the Amphiareum. distant from the city 
 about twelve sta<lia. or a mile and a half, 
 was a Doric building with six columns 
 between antie terminating in semi-col- 
 uanis. resting on a stylobate of three 
 steps. 'I'iie interior was divided iuto 
 tliree parts by two rows of live un- 
 iiuted columns ; and from the rear of the 
 temple there projected a small quadran- 
 gular extension — probably tlie (idyfiim or 
 seat of the oracle. In the middle of the 
 interior was a large rectangular base or 
 altar. Over the jiroiiaos there was a 
 Doric entablature and j)ediment of ordi- 
 nary form, the cornice above being con- 
 tinued on the flanks of the temple. The 
 architectural forms fix the date of con- 
 struction as in the Macedonian or the 
 early Koman epoch. The statue was of 
 white marble. The building has been in 
 great part destroyed by the overlhjwing of 
 the neighboring torrent. 
 
 TllEATHK. behind the Stoa. of small 
 size, but architecturally important. The 
 foundations of tlie stage-structure survive, 
 with some of the superstructure. Eight 
 pillars, finished in front with semi-col- 
 umns, appear to have formed sujiports for 
 the scenery. The auditorium is in great 
 part destroyed ; five thrones, however, re- 
 main from a row of seats of honor. 
 ORVIETO. Italy. 
 
 The Cathkduai. is one of the most 
 familiar and ceiei)ratcd exami)les of the 
 Italian (intiiic of the xiii and xiv centu- 
 ries. It is commonly ranked with the 
 
 cathedi'al of Siena, with which it is near- 
 ly contemjiorary, because of the similar 
 outline of its front. The church is cruci- 
 form, with a length of about 290 ft., and a 
 breadth of about 100 ft., the transept not 
 projecting. Its nave is broad, and is sep- 
 arated fi'om the aisles by five round piers 
 on each side, with low foliated capitals 
 supporting simple i"ound arches. In fimit 
 of each of the nave piers stands a colossal 
 marble statue of one of the Apostles, on a 
 high pedestal. Above the arcades runs a 
 narrow jirojecting gallery with quatrefoil 
 panels, supjiorted on small consoles, but 
 no triforium. The clerestory is high and 
 is pierced with a single tall pointed win- 
 dow over each of the nave arches. From 
 tlie wall of each aisle project live small 
 round ajjses. used as chajjels, and between 
 them ai'c tall pointed two-light windows 
 with simple tracery in the heads tilled 
 with stained glass. The square of the 
 crossing is nuirked by clustered jjiers, 
 from which transverse arches ai'c thrown 
 acro.ss the nave, transept, and clinii-. The 
 clioir is rectangular, and is lighted by a 
 tall pointed two-light window with simple 
 tracery, and covered, like the square of the 
 crossing, by a simjjle four-part vault, the 
 other portions of the church having open 
 wooden roofs. The walls and piers 
 throughout are banded in black and white 
 marble. Opening from each transept arm 
 is a large rectangular chapel, of which the 
 southern, dedicated to the Madonna di S. 
 Brizio. contains on the walls and ceiling 
 some of the most admirable frescoes of 
 Fra Angelico and Luca Signorelli. The 
 exterior is. with the exception of the front, 
 lianded like the interior in white and 
 black marble. The aisle walls show the 
 five projecting apses on each side, deco- 
 rated with slender engaged shafts ending 
 in arched corbel-tables, and covered by 
 conical roofs just under tlie cornice of the 
 aisle. 'I'lic clerestory wall is also divided 
 by sk'iider shafts, each bay containing a 
 single tall pointed-arched wiiulow. The 
 
 S58 
 
ORVIETO 
 
 transei:)t and east end are hare. 'I'he fa- 
 9ade is one of the most remarkal)I(' in 
 Italy. It is of white marble, in tliree di- 
 visions, corresponding in width to the 
 nave and aisles, but entirely belyini; their 
 outline, separated and flanked by 
 strong square buttresses, their faces 
 decorated with long traceried pan- 
 els, rising through the front and 
 terminating above the roofs in mas- 
 sive crocketed pinnacles. At the 
 base of each of the three divisions 
 is a deeply splayed doorway, that 
 in the middle round-arched, those 
 at the sides pointed, but all deco- 
 rated with delicate twisted jamb- 
 shafts and arch -mouldings, and 
 surrounded by bauds of mosaic. 
 The arche? are covered by high ga- 
 bles with crockets and flnials. A 
 slight and graceful arcaded gallery, 
 with cusped round arches carried 
 on pilasters and covered by galdes. 
 crosses the front above the dooi'- 
 ways. Over this gallery the wall 
 space of the central division is oc- 
 cujjied by a fine traceried rose win- 
 dow with decorated border and 
 spandrels of mosaic, set in a square 
 of small quatrefoil panels enclosing 
 heads in high relief, and enclosed """" 
 on the sides and above by ranges 
 of niches containing statues, single and 
 in groups. The three divisions are each 
 terminated by a high crocketed gable. 
 But the characteristic feature of this 
 fa(;ade is its decoration. The great piers 
 between the doorways, and those at the 
 angle of the front, are covered with a 
 network of branching vines, enclosing 
 crowded figure sculjitures of great deli- 
 cacy by Giovanni da Pisa and other pu- 
 pils of Xiccolo Pisano. The hollows of 
 the spiral shafts of the great doorways 
 are filled with mosaics in geometrical pat- 
 terns ; a triple band of the same charac- 
 ter surrounds tlie opening of the central 
 doorway ; the gables, the rose window, and 
 
 other prominent features of the front are 
 outlined in a similar manner, while the 
 gables themselves, both those of the door- 
 ways and those terminating the facade, 
 and the whole of the wall space above the 
 
 ill 
 
 
 
 tun 
 
 Fi?. 130, — Ofvieto, Cathedral, Central Gable. 
 
 doorway arches, are entirely covered with 
 pictured mosaics on a gold ground, and of 
 admirable workmanship. The whole front 
 has since 1880 undergone a complete res- 
 toration. It has little logical connection 
 with the church behind it. but is a mere 
 architectural frontispiece, of which the 
 central gable is -10 ft. or more above the 
 nave roof, and the side gables are perhaps 
 twice as high as the roofs of the aisles be- 
 hind them ; but as an independent archi- 
 tectural composition, whose keynote is its 
 polychrome decoration, it is without a 
 rival. The cathedral replaces an older 
 one known as the Madonna di S. Brizio, 
 and was built to commemorate the mira- 
 
 259 
 
OSTIA 
 
 cle of Bolsenn. The corner stone \v:is 
 laid by XicliolasIV. in 1:J90, and tlie first 
 mass said in tlie church in 1298. The 
 faij'ade was not begun till 1310, and the 
 decoration of it was continued through 
 most of the xiv century. (<SVr Fig. IJO.) 
 
 Palazzo Comminale. This building, 
 now much injured, is notwithstanding 
 one of the most interesting examples of 
 the Italian town-halls of the xiii cen- 
 tury. It is a rectangular building about 
 60 ft. deep, with two fronts about 120 ft. 
 long, standing on what was an open arcade. 
 On one front the arcade is still o])cn, con- 
 sisting of great round arches springing 
 from massive square stone piers with half- 
 columns on the jambs, the arch surround- 
 ed by a plain archivolt. Over an arched 
 corbel-table stands a range of two-light 
 windows, divided by columns under round 
 bearing-arches. Of the opposite front, 
 which was probably the principal one, the 
 lower arcade is now walled up. The sec- 
 ond-story windows are six in number and 
 of beautiful design, with mullion-shafts 
 and traceried heads under round arches, 
 enclosed in a liroad band of denticulated 
 ornament, with a decorated label and im- 
 post moulding. Above, in the flat wall, is 
 a row of small segmental arched windows, 
 and at the top a line of forked battle- 
 ments. 
 
 S. Andrea was originally a basilica! 
 church, consecrated, as an inscription tells 
 us, in 1013 by Benedict VIII., having 
 been restored in '.»;;', Its interior is very 
 symmetrical : lour slender granite col- 
 umns on each side support wide round 
 arches and have capitals all carved alike 
 i7\ an elegant semi-Innic style. Botli nave 
 and aisles arc covered with a wooden roof. 
 Late in the xiii cent, or early in the Xiv 
 the two bays of the transept and the 
 square apse were adiled in a semi-Gothic 
 style, with richly moulded piers and 
 arches, even more advanced than at Fos- 
 sanova and the episcopal palace in Orvi- 
 cto itself. The peculiar use of vaulting 
 
 here is an interesting sign (like the at- 
 tempt made at S. Sisto in Viterbo) of the 
 efforts of Italian architects at this time to 
 adojjt vaulting in place of the wooden 
 roof. In the small space of this transept 
 three different kinds of vaulting are used : 
 the ribbed cross-vault over the further 
 bay of the aisles of the transept on each 
 side, the semi -dome over the two bays 
 of the nave, and the dome over the bay 
 of each transept adjoining the nave. A 
 fourth variety, the tunnel-vault, appears 
 alongside in the square apse, but is likely 
 to lie modern. At all events, both nave 
 and tran.sept are unusuallv worthv of 
 studv. [A. L. F,,Jr.] 
 OSTIA. Italy. 
 
 ]\IiTiiK.ErM, or Shrine of Mithras, the 
 Unconquered, a solar deity of Persian ori- 
 gin. In plan it is rectangular, about 17 
 ft. by (15 ft., with two narrow entrances, 
 raised steps for seats at the sides, and an 
 altar with an inscription of dedication. 
 Close by, near the Torre Bovacciana, lies 
 an important ancient dwelling, with a 
 large open court and richly ornamented 
 rooms, handsome pavements in mosaic, 
 and a bath. 
 
 Roman Theatre, between the Porta 
 Pomana and the Forum. It was built by 
 Agrijipa in his third consulship, 2T i'..i'.. 
 and restored by Septimius Severus aiul 
 Caracalla. It is mentioned in the Acts of 
 Sts. Cyriacus, Maximus, and Archelaus, 
 who are said to have suffered martyrdom 
 near it. The existing remains, mostly of 
 brick and reticulated masonry, date chief- 
 ly from a shabby restoration of the v cen- 
 tury. 
 
 Temi'li: of Jt'i'iTEH, so-called, the 
 most conspicuous relic of anti(piity on the 
 site. It consists of a lofty cella in excel- 
 lent preservation, standing at tlie head of 
 a paved street about 500 ft. long, leading 
 straight from the river bank. The cella 
 rises from a vaulted basement, and had in 
 front a fine flight of marble steps leading 
 up to the portico of marble ami granite. 
 
OTRANTO 
 
 It is built of brick, uiid \v;is oncrusted out- 
 side and in with marble. There are in 
 the interior three niches and a base for 
 statues. The temjile court, about DO ft. 
 bv ■■-'()() ft., was surrounded bv colonnades. 
 OTRANTO, Italy. 
 
 C.\.THEDRAL (Sta. ilaria Annunziata), 
 an ancient basilica, whose foundation 
 dates from the end of the vi cent., 
 but changed by repeated rehuildings in 
 the VIII, X, and Xi centuries. Its nave 
 and aisles are separated by arcades of six 
 round arclies each, springing from col- 
 umns and opening into a continuous tran- 
 sept, with three apses in the east wall 
 corresponding to the nave and aisles. 
 The nave and aisles are floored with a 
 remarkable mosaic pavement, with figures 
 of men, beasts, and foliage in red, black, 
 and green marbles on a white ground. 
 This pavement was much injured by the 
 trampling of the Turkish horses during 
 the Saracenic occupation of Otranto in 
 1-180. A fine crypt under the transept 
 and apses is divided into nine aisles 
 lengthwise and five crosswise by round 
 arches on granite and marble columns, 
 with capitals of various design — antique, 
 Lombard. Byzantine — and with promi- 
 nent stilt - blocks, supporting a groined 
 vaulting. 
 OTRICOLI (anc. Ocriculum), Italy. 
 
 The ancient remains are of considerable 
 importance. The chief of them is the 
 Amphitheatre, whose axes are 148 ft. and 
 220 ft. It is estimated that it could re- 
 ceive fourteen thousand spectators. The 
 Basilica has an apse, and is divided into 
 nave and aisles by ranges of columns, the 
 central space being almost square ; it ex- 
 hibits vaulted corridors on three sides. 
 In the Therm:^ Avas found the ])eautiful 
 mosaic of the Sala Rotonda of the Vati- 
 can, where is placed also the celebrated 
 bust of Jupiter found at Otricoli. Fur- 
 tlier east appears the theatre, 217 ft. in 
 diameter, and abundant remains of pri- 
 vate dwellings. 
 
 PADUA (Padova, Padoue), Italy. 
 
 The Arexa Chapel. This famous lit- 
 tle building, inseparably associated with 
 the name and fame of (Jiotto, is of the 
 simplest design, an oblong rectangle, with 
 high side walls divided by flat pilasters, 
 the south wall jjierced with six small win- 
 dows, a west front with a gable of medium 
 height and an archeil corbel-table follow- 
 ing its rake, a square dciorway with a 
 round bearing - areh. and a three-light 
 window above. The east end has a simjile 
 apsidal chancel, and the north side, which 
 has no windows, a small sacristy. The 
 interior is as simj)le as the exterior. Side 
 walls and vault are one surface, unbroken 
 by cornice or string-course. The chancel 
 is divided from the nave by a marble 
 screen with an altar set against it on either 
 side, and the apse has a range of canopied 
 seats around the circular wall. The 
 whole interest is in the authentic series of 
 frescoes by Giotto, covering walls and ceil- 
 ings, which are among the most admirable 
 of his works. The chapel was built in 
 131)3, and the work of the painter was be- 
 gun in the following year. The pictures 
 consist of subjects from the lives of the Vir- 
 gin and Jesus, of representations of the vir- 
 tues and vices, aiul on the vaulted ceiling of 
 medallions with figures on a golil ground. 
 
 The Baptistery is a small Lombard 
 building of peculiar plan, dating from the 
 XII cent., consisting of a cubical mass 
 with fiilaster-strips at the angles and plain 
 narrow round-headed windows, out of 
 which rises a cylindrical tower, its diam- 
 eter nearly equalling the Itreadth of tlie 
 square below, in two blind stories, the 
 wall surface decorated witii ])ilaster-strips 
 and arcaded cornices in both stories. 
 From the eastern side open three round 
 arclies, the larger central one into a semi- 
 circular apse with an altar, the side arches, 
 one into a sacristy, the other into a small 
 open porch. The upper story of the 
 tower under the flat roof is finished with- 
 in as a dome. 
 
rADCA 
 
 Tlie C'atiikiikai, isa RenaissaiU'e eliun-li 
 of 110 marked iniimrtaiice, in spite of the 
 couiieutioii with it of the great name of 
 Aliehael Aiijjeio. It is ehiiined that tlie 
 elioir, wliich was begun in l.").'.-.'. was 
 built from his design by tlie aruhiteets 
 Andrea della Valle and Agostino Righetto. 
 It is a cruciform church with a great 
 tumiel-vaulted nave about 40 ft. wide, 
 aisles witii chapels and domed bays, a 
 greater and smaller transept, the former 
 ending in apses both to north and south, 
 an apsidal choir, and a dome at each 
 crossing. The work on the church was 
 prolonged as late as the XTiii cent., and 
 the interior is in a late and corrupt Italian 
 style. The exterior is of brick, unfinished. 
 
 Eremitani. See S. AgoKfino. 
 
 Loggia del Consiglio (Council-hall). 
 a beautiful Renaissance building dating 
 from the end of the xv cent., built from 
 the designs of Biagio Rossetti. It has a 
 fine facade of two stories ; the lower an 
 open vaulted loggia with seven high round 
 arches springing from tall Composite col- 
 umns which stand on pedestals connected 
 by a balustrade and carry a light entabla- 
 ture. Above this the wall is triply divid- 
 ed by flat Corinthian pilasters carrying a 
 second entablature. In each division is a 
 round-arched grouped window, the middle 
 one triple, the others double, divided by 
 columns. The building stands on a high 
 basement with broad steps before the 
 three middle openings of the lower story. 
 The great hall is now dilapidated and the 
 building is used as a military post. 
 
 I'ai.azzo dklla Ra(;ioxe (Town-hall). 
 a remarkable example of the later class of 
 Italian public halls, and one of the largest 
 of its class. The building has a curved 
 roof covered with metal and hi])i)ed from 
 the four corners, and two stories of ar- 
 cades surrounding its outer walls, of which 
 the upper portion, com])rising perhaps a 
 third of their height, above the upper ar- 
 cade, is divided by fiat pilasters under the 
 arcaded cornice, and crowned by rpiasi 
 
 baltleiiients like those in the Ducal Palace 
 at Venice. The arcades consist in each 
 story of round arches carried on slender 
 columns — the second story having two 
 arches to one below, the construction 
 throughout very slight, and requiring 
 iron tie-rods to insure its safety. In the 
 street story, six rows of wall -piers and 
 arches support the floor of the great hall, 
 which is on a level with the second arcade 
 and is entered from it, the arcade being 
 reached by four external staircases. There 
 is little design in the interior, the windows 
 being inconspicuous and the walls divided 
 into arched panels filled with ancient fres- 
 coes, some of which are claimed to be the 
 work of Giotto. The famous feature is 
 the grc.it roof, which consists of immeiuse 
 timber arches, pointed, the crown of the 
 arch 78 ft. above the floor, and without 
 tic-beams or other provision for resisting 
 the thrust than two lines of iron rods. 
 Light is admitted only through small 
 dormers, which, as the windows of the hall 
 are low, are insufficient for so great a space. 
 The building was finished in l"^8-4, the 
 architect being Roccalica, a Paduan. The 
 story goes that the great hall was origi- 
 nally divided into three, but that at the 
 beginning of the xvi cent, an Augustinian 
 monk called Fra Giovanni built the great 
 roof, after which they were thrown into 
 one. Its dimensions are variously stated, 
 but the latest measurements (by Jlothes) 
 give the length of the hall as about '.\W 
 ft. and its breadth nearly 80 ft. 
 
 S. A(;osTrxo decuj Eke.mitaxi. The 
 great Augustinian church has been much 
 changed externally, the front especially 
 having been nearly rebuilt in recent times. 
 The east end is least altered, presenting 
 a great gable divided into four conqiart- 
 inents with a small apse in the centre and 
 lancet windows on either side. A square 
 campanile rises from the north wall. The 
 interior has an immense nave, of great 
 breadth and nearly 300 ft. long, without 
 aisles, covered with a tic-beam roof of 
 
PADUA 
 
 low pitch with a cusped and l)oarde(l ceil- 
 ing. From the eastern end of the nave 
 three arches ojien into tlic choir and au 
 aisle on either side of it. The church is 
 extensively decorated with early frescoes, 
 those of the apse by Guariente, and those 
 of a chapel on the south side of the nave 
 by Mautegna being especially noteworthy. 
 The church was built near the end of the 
 XIII century. 
 
 S. AxTOXlo (St. Anthony) , a remark- 
 able church of singular design, to which it 
 would be difficult, from its character, to as- 
 sign a probable date. It may be described 
 as a Romanesque church about liOO ft. 
 long and 'JO ft. broad, on which has been 
 grafted the Byzantine system of roofing, 
 with a result which is not on the whole 
 satisfactory. It is said to have been the 
 work of Xiccolo Pisano, but this is more 
 than doubtful. Its exterior is wholly 
 of brick and covered with a strange ag- 
 glomeration of domes and towers, which, 
 though they are disposed with absolute 
 symmetry iis regards the plan of the 
 church, produce in any general view a 
 confused effect. The fa(;ade presents one 
 great gable of low pitch, its slope curiously 
 broken, but not defining the nave and 
 aisles, crowned by a slender round central 
 turret half as high as the wall below. 
 The first story, comprising two-thirds of 
 the front, has a low square central door- 
 way under a round arch with a flat niche 
 over it. On each side are two very tall 
 pointed-arched recesses of unequal width 
 with their imposts at unequal heights, 
 the outer ones enclosing doors and win- 
 dows. Above the arches an open balus- 
 traded gallery of small pointed arches on 
 columns crosses the entire front just 
 under the gable. On the side walls the 
 windows, some round - arched and some 
 pointed, are generally coupled, the bays 
 of the nave defined by gables and divided 
 by flat buttresses, the walls finished by 
 arched corbel-tables ; the transept arms, 
 also gabled on sides and end and but- 
 
 tressed like the nave, have circular-headed 
 windows. From the roof rises a line of 
 six domes of various heights, over the 
 nave, choir, apse, and an eastern cha])el, 
 flanked by two over the transept. The 
 central cupola over the crossing is masked 
 by a sharp cone rising high above the 
 neighboring domes and crowned by a cir- 
 cular lantern and spire. From each side 
 of the choir rises a lofty and slender tower, 
 which, starting from a square base, be- 
 comes an octagon of four stories with 
 jjointed-arched openings, arcaded string- 
 courses, and a sharp pyramidal spire. The 
 piers that divide the two great bays of the 
 nave are stayed by a huge ))uttress thrown 
 across the aisles on each side and appear- 
 ing outside like a solid wall. The archi- 
 tecture obviously belongs to several 
 periods, but two conspicuous divisions 
 clearly assert themselves, first, a round- 
 arched (Romanesque) part which includes 
 the nave and transept with their vaults 
 and domes ; second, a pointed Gothic 
 jjart including the aisles, the faQade ex- 
 cept the central door, the apse of the choir, 
 which has been confused by alterations, 
 and its flanking turrets. To these are to 
 be added the Renaissance or modern ad- 
 ditions, including the Lady Chapel. The 
 original intent seems to have been to 
 apply the doming of St. Mark's in Venice 
 to the Latin cross of a Gothic church, and 
 the nave is laid out in three great domed 
 bays — of which the third is the crossing, 
 flanked by two transept arms likewise 
 domed — and continued in the square bay 
 of the choir with still a sixth dome. Be- 
 yond this is the semicircular apse, also 
 domed, enclosed by pointed arches spring- 
 ing from slender columns and surrounded 
 by an aisle of nine bays with four-part 
 vaulting and a range of nine radiating 
 chapels outside. The main arches are all 
 round, the high stilted domes borne by 
 spherical j^endentives, while in the bays 
 of the nave pointed sub-arches have been 
 built in, subsequently it would seem, in 
 
'ADIA 
 
 Padua, S. Ariturn.j, K._.o 
 
 roiisistiiiE^ of pnintcd arches 
 witli vniissoirs of yellow aiul 
 lihiek marble, carried on col- 
 li iiiii.s with high foliated capi- 
 tals, lu the larger cloister 
 this arcade carries a second 
 story with a range of engaged 
 round arches, some of which 
 ai-e pierced by sqitare- headed 
 windows. The record of the 
 church goes back no farther 
 than the middle of the xiii 
 century. It is said to have 
 lieen finished in 1307, with the 
 exception of the central cupola, 
 which was a century later. (.SVc 
 rifis. 131, 132.) 
 
 Sta. Giustina, one of the 
 most ambitious of the Renais- 
 sance churches, is 3T.") ft. long, 
 ■J 40 ft. across the tran.sept. and 
 nearly 8.") ft. high under the 
 vaults. It was built by An- 
 drea Kiccio about 1.520. The 
 nave and aisles are separated by 
 
 pairs under the main arches, opening into square piers with a flat Ionic pilaster on 
 
 the aisle bays, which are two to one and each face, and a square block of entablature 
 
 groin-vaulted. The interior of the main 
 
 church is bare of detail antl blankly white- 
 washed, but the chapels are richly deco- 
 rated. Each transept arm is occupied by a 
 
 chapel partially separated from the body 
 
 of the church iiy a line of five arches, 
 
 that on the north being Kenaissance, while 
 
 that on the south is Gothic. The latter 
 
 is an elaborate composition, of five high 
 
 open cusped arches of yellow marble 
 
 with decorated mouldings and spandrels, 
 
 carried on tall round columns, and over 
 
 these a solid screen with jjointed and 
 
 gabled arches containing statues under a 
 
 horizontal cornice. At the extreme east 
 
 end of the choir is a circular chapel, 
 
 doubtless of considerably later date than 
 
 the church, covered by a hemispherical 
 
 dome like those of the church, but low- 
 er. (Jn the south side of the choir are 
 
 three groined cloisters, larger and smaller, 
 
 264 
 
 Fig. 132, — Padua, S, Antonio. 
 Scale of 100 feet. 
 
P^ESTU.Al 
 
 from which sprino; tlie oross archi's (if thu 
 nave and aisles. The aisles are covered by 
 barrel-vaults, and from each opens a con- 
 tinuous line of chajiels, two to each bay, 
 above which the aisle is carried up nearly 
 to the height of the nave and lighted by 
 round windows. The arms of the cross 
 are long, and in each the short bay next 
 the crossing is barrel-vaulted ; beyond it 
 are three domed bays in the nave, and one 
 in each arm of the transejit and choir, 
 which end in great round apses. The 
 crossing is covered by a high dome ou a 
 round drum. The transept and clioir are 
 flanked by aisles, all of which end in 
 round apses. The choir, of great depth, 
 has a fine range of stalls richly carved and 
 backed by an order of Corinthian columns, 
 enclosing Bible subjects in high relief. 
 The front is unfinished and bare. The 
 sides show the high walls of the chapels 
 with round-arched windows, and higher, 
 the walls of the aisles like a clerestory, 
 with gabled bays divided by pilasters, and 
 a single round window to each bay. On 
 the north side is a fine cloister by Pietro 
 Lombardo. resembling the cortil.e of a pal- 
 ace. On an open arcade of ])iers with en- 
 gaged Doi'ic columns and entablature is a 
 second story with an order of Ionic col- 
 umns on pedestals, with wi?idows in the 
 intervals decorated with consoles and pedi- 
 ments. 
 P.ESTUM (Poseidonia), Italy. 
 
 The Basilica, so-called, a Doric strnct- 
 ure 80 ft. by ITS ft., south of the Temple 
 of Keptune, and parallel with it, is a 
 peripteros of nine columns by eighteen, a 
 little less than G ft. in diameter at the 
 base, on a stylobate of three steps. The 
 columns have a marked taper and entasis ; 
 the echinus, wide-spreading and weak, has 
 in place of the annulets a roll, beneath 
 which is a hollow necking of Doric leaves. 
 The usual ujiper moulding of the archi- 
 trave is represented by a separate course, 
 and the frieze is without triglyphs. There 
 are five columns between antaj in the 
 
 2)ronaos, and the cclla is divided into two 
 aisles by a central range of columns like 
 those of the peristyle. This unusual jdan 
 may be compared with that of the Corcy- 
 rtean Stoa at Elis, as described by Pausa- 
 nias, and also, in its uneven number of 
 columns ou the fronts and even number 
 on the flanks, with that of the Temple of 
 Zeus at Girgenti. The cella walls are 
 gone, except the ant:v. It was i)robably 
 a double temple, having each aisle of its 
 cella dedicated to a separate divinity — 
 presumably to Demeter and Kora. In its 
 architectural details it is very similar to 
 the Temple of Ceres, and it probably dates 
 from the begimiing of the vi century B.C. 
 
 Fortification-Walls, of good, regu- 
 lar Hellenic masonry, apparently dating 
 from the second half of the iv century B.C. 
 The plan is an irregular polygon over 
 three miles hi circuit. Four gates open 
 toward the cardinal points. That on the 
 east is well preserved, and is vaulted ; the 
 keystone on one face is carved with dol- 
 phins, that on the other with a Nereid, 
 emblematic of the domain of Poseidon. 
 They are standing in places to a consider- 
 able height. 
 
 Temple of Ceres, so-called (or of 
 Vesta) , in the north part of the city, near 
 the Salerno gate. It is a Greek Doric 
 peripteros of six columns by thirteen, 5 ft. 
 o in. in diameter at the base, on a stylo- 
 Ixite of three steps measuring 47 ft. by 
 10(j| ft. ou the edge of the top step. The 
 columns stand exactly upriglit ; they have 
 much entasis and ujjward diminution ; 
 the echinus is wide-spreading and weak, 
 with a small roll at its junction with the 
 shaft, beneath which is a hollow necking 
 cut with leaves. The ui)per moulding of 
 the architrave is rejiresented by a separate 
 course of considerable height. The frieze 
 is formed of long blocks in which grooves 
 were cut to receive the narrow triglyiihs, 
 all now fallen away. The metopes are 
 smooth, with the usual flat moulding on 
 the top. The projecting parts of the cor- 
 
I'ALATROS 
 
 nice are gone, except some portions above 
 the two pediments. Tlie cella liad no 
 opistliodomos. Before the prouaos with 
 its projecting autse was a portico of four 
 by four columns, the front range raised 
 on one step, and tlie two next columns of 
 the side ranges raised each one step more. 
 
 Fig, 133 — Paaslum, Temple of Neptune 
 
 These columns iiad twenty-four channels; 
 those of the peristyle, twenty. About 
 one-third of tlie cella was cut off for a 
 rear chamber, which had a door in the 
 rear. At the back of the main chamljer 
 there was a long, narrow cell projecting 
 from the dividing - wall ; this cell may 
 have been an adytum, or possibly enclosed 
 the cult-statue. As in the other temples 
 of Pajstum, the cella has been carried 
 away down to its platform, for building- 
 material. This building, displaying in its 
 details various Ionic elements, may be 
 dated from tiie early vi cent. B.C. ; there 
 are some traces of a Roman restoration. 
 
 The Temple of Xeptuxe, so-called, 
 ranks with the Theseum at Athens and 
 Temple of Concord at Girgenti, as one of 
 the three best-preserved Greek Doric tem- 
 ples, and presents a most majestic effect. 
 It is in the southern part of the (nty, side 
 by side with tlie so-called Basilica, which 
 like it fronts on the agora. It is a perip- 
 teros 80 ft. by 190 ft., of six colunins liy 
 fourteen, 29 ft. 2 in. high ami ; ft. .'> in. 
 
 in diameter at the base, on a stylobate of 
 three steps. The peristyle columns have 
 twenty-four channels, but slight entasis, 
 and diminish much toward the toj) of the 
 shaft. The entablature and pediments 
 are intact, except for a few of the cor- 
 nice-blocks. The cella was raised aliove 
 the pronaos and opistliodomos on 
 a somewhat high basement ; the 
 pronaos and opistliodomos each 
 have two columns in antis. Its 
 walls, except the anta', have been 
 almost wholly removed as build- 
 ing-material. In the pronaos were 
 stairs leading to the upper jiarts of 
 the building. The interior of the 
 cella was divided into three aisles 
 by two ranges, still complete, of 
 seven Doric columns, nearly ft. 
 in diameter, with antie at each 
 end of each range. Above these 
 ranges of cohiniiis were smaller 
 ranges, now incomplete. The 
 ci-ntral aisle is only about Ki ft. \vide. 
 The material is the rough local traver- 
 tine or limestone, full of cavities, and 
 now of a rich yellow color. The surface 
 was coated with fine stucco, now nearly 
 all fallen away, upon which the poly- 
 chrome ornament was applied. The tem- 
 ple may be as old as the middle of the vr 
 century B.C. {See Fig. loo.) 
 PALAIKOS (Kechropoula), Acarnaiiia, 
 Greece. 
 The Walls are extensive and well jire- 
 served, partly in polygonal masonry and 
 partly in Hellenic. A very notable feat- 
 ure is a large gate covered with a true 
 barrel-vault of hewn voussoirs, which is 
 shown by the construction to be contem- 
 jioraneous with the polygonal masonry in 
 which it is enclosed. Within this gate 
 appear remains of a street, of the agora, 
 of several large buildings, and of two oval 
 cisterns. At the N. E. angle is a great 
 square tower with a double stairway, and 
 on the west side access is afforded to the 
 platform of the wall by stairways of nvcr 
 
 2(iti 
 
I'ALATITZA 
 
 twenty steps. Here ami in otlier places 
 
 the walls survive perfect, except fur the 
 
 battlements. 
 
 PALATITZA. Jlacedonia. Turkey. 
 
 I'alace, of Greek construction and 
 Hellenistic epoch. The fa(,'ade measured 
 about 280 ft. in length, and the depth of 
 the building was much greater. The cen- 
 tral portion of the fa(;ade formed a monu- 
 mental propylajum with columns which 
 appear to have been flanked bj' porticoes, 
 and whose broad passage, with three 
 transverse divisions, extended through to 
 the great central court. The passage is 
 flanked by a number of rooms, some of 
 them very large, and one circular, whose 
 precise destination is not made out. The 
 central court was probably colonnaded. 
 and it is established that a considerable 
 structure stood at the back of it, probably 
 the actual abode of the prince ; the exca- 
 vation of all but the prop\-liBum is, how- 
 ever, very incomplete. The architectural 
 elements found include large and small 
 Doric columns and entablature. ])(iric 
 semi-columns, Ionic jiiers and anta?. and a 
 beautiful antefix in terra-cotta. The de- 
 sign and execution, though testifying to a 
 somewhat advanced date, are refined. 
 PALERMO. Sicily. 
 
 The Cathedral, called also the Ma- 
 trice, is a Gothic church which dates from 
 the XII cent., but has mostly lost its an- 
 cient aspect. It is a large three-aisled 
 basilica, with transept and three eastern 
 apses, some 360 ft. long and IGO ft. across 
 the transefit. The broad nave (over ."iO 
 ft.) is in ten bays. The }iiers, originally 
 groups of four detached columns, were 
 walled uj) solidly at the end of the last 
 century, when the splendid wooden roof 
 was replaced by a white vault aiul a higli 
 dome built over the crossing by Fernando 
 Fuga, against the protest of the architects 
 of Palermo. The narrow aisles are bor- 
 dered by ranges of chapels, which are in- 
 terrupted in the middle of each flank by 
 a triple-arched recessed porcli. The ex- 
 
 terior retains in the main its aspect of the 
 XIV cent., and shows in its rich detail a 
 singular mixture of Italian Gothic and 
 Saracenic character. Four slender tow- 
 ers mark tlie four corners, flanking the 
 fayade and the end of the choir. The 
 facade itself is a rather bald screen, cover- 
 ing the nave and aisles, and ending in a 
 rich horizontal cornice with a dense ar- 
 caded corbel-table above a kind of close- 
 set In'ackets, and crowned by battlements. 
 Tall ijilaster-like buttresses suggest the 
 division into nave and aisles ; the central 
 compartment is occupied by a great shal- 
 low blind arch enclosing the main door- 
 way at the bottom and broken at the tojj 
 into a gabled line above the clerestory 
 window. This window and door are of 
 the late Gothic of the xiv cent., with 
 jambs and heads richly decorated witli 
 shafting and carving. In each side com- 
 partment is a door and window of earlier 
 date, probably of the xiii cent., to which 
 belong the corner towers with their suc- 
 cessive stories of two-light shafted win- 
 dows and low spires rising among gables 
 and pinnacles. The horizontal cornice of 
 the front is continued all round the clere- 
 story of nave, transej^t, and choir, and 
 the battlements are repeated at the eaves 
 of the aisles and the bordering chapels. 
 The high clerestory walls are panelled in 
 pointed arches outlined in mosaic, and 
 every other one occupied by a window ; 
 the walls of the apses are elaborately dee- 
 orated with interlacing arches and bands 
 of marble mosaic. The vaulted porch on 
 tlie south has three broad stilted jiointed 
 arches with slender supporting columns 
 and buttressed by low arcaded turrets, 
 above them a frieze and low gable filled 
 with rich blind tracery. Over the cross- 
 ing rise Fuga's dome and cu])ola, on a 
 round drum witli an order of Corinthian 
 pilasters and pedimented windows be- 
 tween, crowning the building well, but 
 offending by its incongruous style ; and a 
 series of smaller domes over the aisles 
 
PALERMO 
 
 blocks the clerestory windows without 
 excuse. Two enormous pointed arclies 
 bridge the street before the front, eon- 
 uectiug the facade with the campanile 
 opposite tlie nave, which makes i)art of 
 tlie front of the adjoining archbishop's 
 palace. This tower rises in a huge bare 
 rectangular mass above the level of the 
 nave, and is then broken into an elaborate 
 comijosition of a central tower surrounded 
 by an arcade with angle-turrets at the 
 corners. This upper part is, like the up- 
 
 pcatcdly in the next tliree centuries, and 
 at last Fuga was let loose upon it iu 1180- 
 1801, with the effect that has already 
 been described. Most of the early kings 
 of Sicily were crowned and buried here, 
 and their tombs remain. [Sec Fiij. 1-H.) 
 La Cuba, a noted garden palace in the 
 suburbs of Palermo — one of the few purely 
 Saracenic buildings still left in Sicily, but 
 ruined. It is a jjlain rectangular mass of 
 stone building about GO ft. by loo ft. 
 and 50 ft. high, its walls broken by 
 
 Fig. 134— Palermo, Cathedral, East End. 
 
 per parts of the cathedral itself, later and 
 more purely (iothic in type than the 
 body of the catliedral. Tiie central tower 
 has two high belfry-stages above the ar- 
 cade, of two-light and three-light windows 
 with traceried heads and shafted mullions, 
 the corner turrets are boldly iianelled witli 
 blind arches and shafting, and all end 
 in low octagonal spires. The building of 
 the ]n'esent catiu'drai. or the rebuilding of 
 the older one on the same site, was begun 
 in li:o by Gualterio OfFamilio (Walter of 
 the Mill), the English archbislio]) "f Pa- 
 lermo and chancellor of William II. nf 
 Naples and Sicily. It was consecrated in 
 llS.j to Sta. Maria Assunta, was altered re- 
 
 liigh pointed-arched ])anels wliicli run u]) 
 through all the stories, and are occu[)ied 
 by windows and niches capriciously dis- 
 tributed. The cornice carries an inscrip- 
 tion which shows it to have been built by 
 William II. in 1182 (the last figure of the 
 date being somewhat uncertain). The in- 
 terior is stripped and the central hall 
 roofless. There are indications of a dome 
 carried on stalactite pendentives, and it is 
 conjectured that to this the palace owes 
 its popular name of Cuba or Kidjba, that 
 is, dome. A group of pavilions surrouiuls 
 it, of which one remains, a square open 
 stone structure with a pointed arch in 
 eacdi face, and a round donu'. The beauty. 
 
PALER:\ro 
 
 of tlie palace and surrounding gardens, 
 two miles in circumference, was famous 
 in their day. 
 
 The Mautokaxa, or Church of Sta. 
 Maria dell' Aminiraglio, is in its nucleus 
 a small Byzantine church built in the 
 first half of the xii cent., and dedicated 
 in 1143 by the high admiral George of 
 Antioch. The original mosaic pavement, 
 still remaining, shows the outline of the 
 old church, which was a square of about 
 35 ft. divided into nine bays by pointed 
 cross-arches resting on four large columns 
 of earlier style. Above the central bay 
 was a dome on squinches, and at the east 
 end three apses. The whole interior was 
 lavishly decorated with marbles and mo- 
 saics on a gold ground. In 1433 the nuns 
 of the adjoining convent, founded in 1193 
 by Giorgio and Aloisia ilartorana (hence 
 the name), begged the church for the con- 
 vent. At the end of the xvi cent, they 
 pulled away the front and added four 
 bays to the nave, extending it till it 
 reached the tower which had stood oppo- 
 site. Later they tore down the apses, 
 added a square raised choir for the nuns, 
 a baroco facjade against the side facing 
 the piazza, and in other ways so disfigured 
 the church that its beauty is confined to 
 the dome and adjacent jiarts. where the 
 original mosaic decoration has been al- 
 lowed to remain. The striking tower, 
 however, retains its old form. It has 
 two square stories below, the first an open 
 vaulted (Jothic porch, then a story adorned 
 with mosaics, and Saracenic in character, 
 and above these two retreating stories 
 with round arcaded corner turrets. All 
 these but the lowest have pointed arched 
 openings with sub-arches and inullion- 
 shafts. 
 
 The OsPEDALE Graxde. or Sclafani 
 Palace, facing the Palazzo Reggia on the 
 great piazza, is an old palace built, it is 
 said, in the single year 1330 by Matteo 
 Sclafani. It is much altered, but the 
 south and east fronts retain their old as- 
 
 pect. A very high basement of two plain 
 stories is broken only by a series of pi- 
 laster-strips which, running uji into the 
 third and princijml story, end in slightly 
 pointed interlacing arches with banded 
 voussoirs, and enclosing double pointed 
 windows, with mullion -shafts, under 
 pointed arches. The tympana of the 
 windows, the points and spandrels of the 
 arches, are filled with a profusion of ro- 
 settes in colored mosaic. Above this ricli 
 third story is a range of jiointed twin 
 windows divided only by colonnettes. 
 
 Palatine Chapel. See Palazzo 
 I)i'(/f/i/i. 
 
 I'alazzo StLAFAXi. See Ospcchde 
 (riaiKlr. 
 
 The Palazzo Reggia or Reale (Royal 
 Palace), is a huge pile of ])uildiugs of 
 various dates and styles, built on the site 
 of a palace or stronghold of the Arab 
 emirs, and used for centuries as a royal 
 residence by Norman kings, the Spanish 
 viceroys, and later rulers. Nothing is 
 recognizable in it older than the Norman 
 palace built by Roger II., in 1119. The 
 outside is almost entirely modernized, and 
 about the central court are grouped many 
 handsome modern apartments. The great 
 halls of the parliament on the gi'ound 
 floor have been turned into stables, but 
 those in the upper story, reached by a 
 handsome staircase of red marble, the 
 Ilall of the Viceroys, the Audience, and 
 the Sala del Parlamento, fitted up on the 
 return of the viceroys in l.").")0 — are still 
 handsomely preserved. Of the four tow- 
 ers that surroundeil tlie Norman jialace 
 only one is left, restored in 1835, the 
 tower of Sta. Ninfa, with panelled walls 
 and pointed windows with mullion-shaf ts, 
 containing the Norman hall, a vaulted 
 room whose walls and vaults are richly 
 decorated with mosaics. The upjier part 
 of the tower, used as an astronomical ob- 
 servatory, contains a room covered by a 
 rich stalactite ceiling, of Saracenic char- 
 acter. But the finest part of the whole is 
 
 afi!) 
 
PALEEMO 
 
 oil siiuiU iliagoiuil arches and covered by 
 a dome of horseshoe section. Over the 
 traiLsopt arms are round barrel - vaults, 
 over the aisles 02)en lean-to root's, and 
 over tlie nave a rich Saracenic stalactite 
 ceiling. All the wall surfaces are flat 
 
 the famous Palatine C'hajjcl, or t'a]>ella 
 Palatiua, part of the work of Roger II., 
 about ll;50. built, like the state ai)artnients. 
 ill the upper story. Half imbedded in 
 the other buildings, it counts for little 
 outside. It is reached by a portico of 
 half a dozen columns of Egyptian granite, and smooth ; there is hardly a moulding 
 and is a small three-aisled basilica, with or detail in relief except in tlie nave ceil- 
 transept, three eastern ajjses and a dome ing, but the whole surface is enriched to 
 over the crossing. It is about 43 ft. wide, the last degree of sumptuousness with 
 lO.i ft. long, and Go ft. high under the painting, gilding, and mosaics, above the 
 dome. The nave, 2:> ft. wide, is in five dado of colored marbles that lines the 
 bays : the broad pointed arches, much base of the walls. Innumeraljle pictures 
 stilted, rest on antique columns alternately of apostles, saints, and martyrs, scenes 
 of granite and marble, fluted and plain, from the Old Testament and the New, in 
 with capitals n'CHit in a variety of styles, mosaic on gold ground, added by the im- 
 mediate successors of Koger, 
 cover the walls, dome, and 
 apses, mingled with ornamen- 
 tal work. Hyzantine. Koman- 
 esque. and Saracenic. The 
 choir-railing, altars, and pul- 
 pit are lavishly enriched with 
 fine mosaic in the manner of 
 the work of the Cosmati at 
 Pome. The pavement is laid 
 ill Alexandrine mosaic of 
 varied marbles, and under 
 the raised choir is what serves 
 as a cry]it. perhaps an older 
 chapel oil the ground floor. 
 This chajiel is entered singu- 
 larly, by two doors at tlie 
 front end of the aisles : be- 
 tween them, ill place of a 
 middle door, is a kind of dais, 
 as if for the royal tlirone. and 
 a rercdos is figured on the 
 wall bcjiiiid. Happily the 
 whdlc t'hapel has come down 
 t(i us almost unaltered in its 
 early sjdendor. ( See Fir/. IS'). ) 
 S. C" .\ T .\ L D () , one of the 
 earliest of the Norman 
 ill Sicily, is a small liuild- 
 ing, both Byzantine and Latin in jilaii, 
 said to have been built by Count Mar- 
 sico, one of the roval familv, in 1101. 
 
 Fig Ijj — Pdiyimo, Palatine Cnapei, 
 
 Byzantine, Lombard, and Saracenic. 
 The columns are coupled and gi'oiijied at 
 the crossing, wdiere, over the four great 
 arches, the square is brought to a circle 
 
 churches 
 
 27U 
 
PALERMO 
 
 It is iiiilv about 25 ft. by >i■^ ft., and is 
 divided into a nave and aisles in tliree 
 bays, those of the nave domed, witli 
 clumsy squinches, the aisles timuel-vault- 
 ed. The arcades are pointed, as are the 
 vaults of the aisles ; of the three eastern 
 apses the middle one projects slightly, the 
 others are in the thickness of the heavy 
 wall. The capitals are jjart Byzantine, 
 Corinthian, partly carved cushion capi- 
 tals ; the floor is in a mosaic of interlacing 
 bands. The church, sometime abandoned, 
 has lately been used for the service of the 
 Post Office. 
 
 S. GiovAXXi DKfiLi Ekemiti, a small 
 but interesting Byzantine church. Its 
 history is in disjjute, but a church and 
 monastery existed here from a very early 
 date, and it is certain that about 113"-i 
 Roger II. rebuilt or restored it, and gave 
 the convent to the order of Montevergine, 
 from which time at least the church has 
 come down with little alteration. It has 
 a nave of two square bays, a short bay and 
 apse in place of choir, flanked on the 
 north by a square tower, on the south by 
 a bay which is now the entrance to some 
 later additions. All the bays are covered 
 by high domes set on squinches, and the 
 tower ends in a small dome, behind a 
 parapet which is repeated at the eaves of 
 the church. The arches are mostly round, 
 but those across the nave, the entrance, 
 and the openings in the belfry are point- 
 ed. The peculiar plan and the groujj of 
 domes on the outside give the church 
 such an oriental look that several authori- 
 ties have argued that it must have been a 
 mosque of the Saracens taken for Chris- 
 tian worship. 
 
 S. GiovAXXi DEI Lepkosi. This 
 ruined church, interesting as jjerliaps 
 the oldest of the Sicilian churches, was 
 built by Robert Guiscard and Roger I., 
 in lOTl, at the moment of the Norman 
 conquest of Sicily. It is a three-aisled 
 basilica with transept and domed crossing 
 and three eastern apses. The arches are 
 
 871 
 
 pointed, the nave and aisles of four bays 
 divided by columns. It took its name 
 from a hospital for lepers which was an- 
 nexed to it by William II. 
 
 Sta. Makia della Cateka, a church 
 of mixed architectural styles dating from 
 the end of the xiv cent., with a front much 
 later. Its plan is a rectangle, with a total 
 length of about 120 ft., and a breadth of 
 about 52 ft. The nave and aisles, of six 
 bays each, are sejiarated by arcades of de- 
 pressed arches, carried on marble columns 
 with composite capitals, and end in octag- 
 onal apses, which, as well as the bays of 
 the nave, are groined and covered with 
 frescoes. A cross arch marks ofE the two 
 eastern bays for a choir, and a line of rec- 
 tangular chapels flanks the four western- 
 most in each aisle. The front is covered 
 by a projecting porch, as broad as the 
 nave and aisles, approached by a double 
 lateral staircase, of which the two flights 
 meet in a central landing. The fagade of 
 the porch consists of three o^ien segmental 
 arches on marble Corinthian columns, 
 with deep arch-mouldings. Thin pilas- 
 ters rise from the capitals of the columns 
 to the horizontal cornice, above which is a 
 panelled parapet with flamboyant tracery. 
 At the angles are square buttresses with 
 panelled faces, carried above the cornice 
 like turrets. The ceiling of the porch is 
 groined. The name of the church recalls 
 the chain which was stretched for defence 
 across the mouth of the harbor, and also a 
 miracle by which three condemned crim- 
 inals, who took refuge in the original 
 church on this site, were freed from their 
 chains through prayer. 
 
 S. Spirito. This church and Cister- 
 cian monastery, about a mile south of the 
 city, were founded in 117.3 by Gualterio 
 Offaniilio, the English archbishop, under 
 William II. The facade of the church 
 was disguised in 1T83, but the interior re- 
 tains much of its old aspect. It is a small, 
 plain, three-aisled church with transept 
 and three eastern apses. The nave and 
 
PALESTKINA 
 
 aisles are in tliree buys witii pointed arclics 
 on rude columns and lieavv i)iers at tiie 
 crossing ; the clerestory windows are sin- 
 gle. Almost the oidy ornament is the ar- 
 cading on the outside of the walls of the 
 apses. The church is famous in history 
 as that from which was given the signal 
 for the massacre of the Sicilian Ves2iers, 
 on Easter Monday, l-^8--3. It has been 
 lately restored. 
 
 La ZiZA, an early Xornian palace of 
 .Moorish style, built in the xii century. It 
 is a rectangular block, about 03 ft. by 110 
 ft., and 80 ft. high, built of squared stone, 
 relieved only by a turret-like projection in 
 the middle of each end, and a jJanelling of 
 pointed arches in three stories, in which 
 doors and windows are inserted. Thin 
 string-courses separate the stories, and also 
 mark the roof, above which a once contin- 
 uous parapet has been cut into battle- 
 ments, mutilating the inscription that dec- 
 orated it. Coupled windows occupy most 
 of the panels with a sort of rudimentary 
 tracery ; the main doorway, now half 
 blocked, was in a high arch running nj) 
 into the second story. It and two lateral 
 doors opened into a long vaulted vestibule 
 or gallery crossing the whole front. Be- 
 hind this, in the middle of the palace, is a 
 sfpuire hall, made cruciform by niches on 
 all sides, and decorated with marble col- 
 umns, painted tiles, and honeycomb ceil- 
 ings. A fount;un in the niche at the back 
 flows, or flowed, into a conduit broken by 
 fish-basins, which crosses the floor of the 
 hall. This hall is repeated in simpler 
 form in the upper stories, and surrounded 
 by staircases and smaller rooms. The pal- 
 ace has been supposed to date from the x 
 cent., liut the testimony of contemporary 
 writers shows it to have been built by Will- 
 iam I. (who died in 1108), undoubtedly by 
 Moorish workmen, and possibly enclosing 
 remains of an older building. 
 PALESTRIXA (anc. Prajiieste), Italy. 
 
 The H.ixcTi'AiiY OF Fohtcxk was a 
 very ancient and renowned foundation, 
 
 and occupie<l ten successive terraces, rising 
 one above the other, now covered by the 
 nuidern city. The terraces were formed 
 partly from the natural rock, and partly of 
 vaulted substructions. There are abundant 
 remains of the primitive construction, in 
 the form of Cyclopean walls serving as re- 
 taining-walls for the lower terraces. The 
 first terrace, 1,220 ft. long at the base, 
 is enclosed with walls of squared ma- 
 sonry. On it are remains of a large vaulted 
 reservoir, a monumental piscina or basin, 
 and a fountain which was ornamented 
 with horses. On the second terrace, built 
 into the seminary, is an ancient building, 
 on whose front appear engaged Corinthian 
 columns about 20 ft. high on a basement 
 of equal height. At the north end is a 
 raised arched tribune with a niche on 
 either side. Here was found the celebrat- 
 ed mosaic fioor known as the Mosaic of 
 Palestrina. Around the hall is carried a 
 podium 4| ft. high, with a cornice and a 
 frieze of triglyphs and metopes with ro- 
 settes ; upon this basement stand the bases 
 of a range of Corinthian pilasters and 
 semicolumns. The pavement is in white 
 mosaic with a black border. This build- 
 ing was probably the Temjile of Fortune, 
 mother of .lupiter and Juno. West of this 
 temple there is an artificial grotto, vault- 
 ed, about IT ft. in width, witli three niches 
 in the rock at the end. Tlie floor was 
 covered witli a highly artistic mosaic, of 
 which jiortions survive. This grotto is be 
 lieved to have been the seat of the famous 
 Prasnestine oracle. On the sixth terrace 
 there are a number of semicircular struct- 
 ures, some of them retaining their semi- 
 domes ; these presumably represent pavil- 
 ions or exedras ; there are also several 
 vaulted chambers. The seventh terrace, 
 which is about 370 ft. long, presents a 
 range of vaulted chambers about 1-1 ft. 
 square, interrupted in the middle to give 
 passage to the broad stairs leading to the 
 terraces above. The most notable fe>ature 
 of the eighth is a vaulted portico of nine 
 
I'AL:\rYRA 
 
 arcades, decorated on the front with Io- 
 nic semi-colixmns, and communicating by 
 arches in the rear with a vaulted gallery. 
 At either end is a projecting wing, also 
 vaulted, with Corinthi- 
 an pilasters and semi- 
 columns which have 
 capitals of pure and 
 c m ji a r a t i V e 1 y old 
 style. The floor was 
 in mosaic. Most of the 
 masonry of the higher 
 terraces is in ojnts in- 
 ccrtum, the voussoirs 
 and certain bands, etc., 
 being in blocks of tufa. 
 The ninth terrace is 
 characteirzed by the 
 massive foundations of 
 a large semicircular 
 structure. On either 
 side are indications of 
 other constructions — 
 perhaps lodgings for 
 priests. On the tenth terrace, beneath 
 the existing chapel, there remain founda- 
 tions of a small circular edifice, doubtless 
 a shrine or temple. This edifice was de- 
 stroyed at the end of the xiii cent, by Pope 
 Boniface Till. The total height of the 
 ten terraces is 3G.5 ft. 
 PALMYRA (Tadmor), Syria. 
 
 Basilica, possibly a temple or a mau- 
 soleum, near the city wall on the west 
 side, south of the end of the coloniuided 
 street. It stood on a raised terrace with 
 flights of steps. In the middle was a tetra- 
 style portico with a pediment, and on each 
 side a wing or portico of five ranges of 
 four Corinthian columns. Three of the 
 interior columns are still erect, with the 
 pedestals of many others. The frieze and 
 the capitals are very delicately sculptured. 
 The large apse opposite the tetrastyle por- 
 tico is still standing ; it has niches and 
 pedimented windows. A broken archi- 
 trave-block bears the names of Diocletian, 
 Maximiau. and Constantius. 
 
 CoLOXNADED Strekt. running X. AV. 
 from the triple portal. The columns were 
 in four rows, Ooriutliian, unfiuted, about 
 25 ft. high, with brackets on their shafts 
 
 Fig. 136. — Palmyra, Street Colonnade. 
 
 for statues. They probably formed the 
 fronts of a system of covered porticoes 
 along the street, and there is indication 
 that there was above a second story with 
 smaller columns. The ranges of columns 
 extended for a distance of nearly three 
 quarters of a mile, and included at least 
 seven hundred and fifty columns, of which 
 about one hundred and fifty are still stand- 
 ing with a great part of their entaldature. 
 The series of columns is interrupted at in- 
 tervals by arches built into the colonnades, 
 and forming part of them. South of the 
 middle of the length of the street a cross- 
 street is marked by a fefrapuJon or four- 
 way gate. Two of the four massive cor- 
 ner-piers are still standing, with pilasters 
 and the abutments of arches which spanned 
 the portico. Opposite the piers four 
 great monolithic columns of Egyptian 
 granite stood out in the street. One of 
 these still stands ; the shaft of a second, 
 which has fallen, is 29 ft. long and about 
 3 ft. 4 in. in diameter. At about the middle 
 
 273 
 
PALMYRA 
 
 of the street was a second tetnipyloii, 
 this one vaulted ; twenty cohinms remain 
 standing of the street whicli diverged here 
 toward the west. Ruinous remains of 
 many ancient buildings lie along tliese 
 streets, some of them with columns or 
 with arched portals. The oblique street 
 led from an open (market ?) place through 
 an imjjosing triple arch. To mask the 
 obliquity, tlie two faces of the archway 
 were made divergent, giving a wedge- 
 shaped plan. Portions remain of the six 
 arches of the gateway and of tlie walls, 
 niches, and snuiU arches which connected 
 the diverging piers of its two faces. The 
 height of the chief surviving arch is 34 
 ft.; it is richly sculptured and is flanked 
 by two Corinthian pilasters. The material 
 is a yellowish limestone. {See Fig. 136.) 
 
 Great Column, north of the enclosure 
 of the Temple of the Sun. It is about ."iS 
 ft. high and stands on a pedestal. An in- 
 scription ill both Greek and Palmyrene 
 tells that it was erected in honor of the 
 family of Alilamos, in 138 a.d. 
 
 SEiTLriiuAL Towers. The conception 
 of these towers, which were no doubt 
 family tombs, is oriental, but in their con- 
 struction and details they are Roman. 
 Many of them are standing in the necrop- 
 olis which extends chiefly to the west 
 and N. W. of the city. One of the best 
 preserved, the Tomb of lamblichus, is 
 about 58 ft. high, with a basement in 
 large blocks, above which are three retreat- 
 ing steps supporting the square tower 
 proper, which terminates above in a cor- 
 nice. The door in the north side of the 
 basement ojiens lieneath a triangular pedi- 
 ment. About half way up the tower on 
 this same side ai'e the remains of a sculpt- 
 ured and braeket(>d roofed balcony which 
 was no doubt intended to receive a bust or 
 statue. The lowest interior chamber, 27 
 ft. square and 20 ft. high, has niches sep- 
 arated by Corinthian pilasters, at the 
 back a sculptured ligure and two rows of 
 busts, and a cofl'ered ceiling colored in 
 
 blue and red. The Tomb of Etabalus, on 
 the S. W. side of the valley, called by the 
 Arabs Kubbet el-Arus, is of the .same type. 
 The square tower rises from three steps 
 which rest on a rectangular jjlatform. The 
 door is in the south side and the lintel 
 bears the inscription by which it is iden- 
 tified. At about half the height of the 
 tower there is a large niche in the wall, 
 containing a sarcophagus in the form of 
 a couch. The chamber on the gronud- 
 floor is aliout 28 ft. by 12 ft., and 20 ft. 
 high, and is ornamented with pilasters, a 
 frieze, and busts with inscriptions. The 
 ceiling is coffered, and has mouldings and 
 rosettes in white on a blue ground. The 
 ujiper chambers are like those of the tomb 
 of lamblichus. 
 
 Temple of the Sux, or of Baal, on a 
 platform a little south of the middle of 
 the great court. It was a Corinthian 
 peripteros, about 102 ft. by 195 ft., ori- 
 ented north and south. A few of the 
 columns remain, especially on the east 
 side ; they are fluted, and have lost their 
 capitals, which may have been of bronze. 
 Opposite the west gate of the court the 
 temple has a rich portal between two col- 
 umns, leading into the peristyle. On the 
 east and west sides of the cella there are 
 each four windows. The door of the cella 
 is 33 ft. high, and of good design ; its 
 soffit bears a sculptured eagle on a starred 
 ground between two genii. The cella is 
 surrouiuled by a frieze of figures and gar- 
 lands. In the apse at the north end of 
 the cella is a niche ceiled with a square 
 slab carved with the signs of the zodiac 
 surrounding seven pentagons with busts 
 in high relief. At each end of the temjile 
 is a stairway leading to the upper parts of 
 the building. This temple was restored at 
 the exjiense of the Emperor Aurelian, in 
 273 A.D. : a mosque has been built into it. 
 The enclosing-wall surrounding the raised 
 terrace of the sanctuary included a square 
 of 7G8 ft., and was about 50 ft. high. 
 The north side remains well preserved. 
 
 274 
 
PARENZO 
 
 the rest is much ruiued, excejit the foun- 
 dation, which is about 10 ft. high, built 
 of hirge blocks, and about 20 ft. broader 
 than the wall itself. The north wall is 
 divided by thirteen pilasters, between 
 which are square windows. At the cor- 
 ners are piers resembling towers, US ft. 
 high, in groups of three. The Arabs 
 patciied up the wall and dug a moat out- 
 side of it to adapt it for a fortress. The 
 chief entrance on the west, now destroyed, 
 was approached by a flight of steps 120 
 ft. broad, leading uj) to a 2)ortico of col- 
 umns 12 ft. high, before a triple jjortal. 
 The interior was surrounded by a portico 
 with a double range of columns, excejjt on 
 the west, where there was but a single 
 range. This disposition is to be com- 
 pared with that of the Court of Israel in 
 the Herodian temple at Jerusalem. A 
 number of the columns are still standing, 
 with their entablature ; they have on their 
 shafts brackets for statues or other orna- 
 ments, a device almost universal at Pal- 
 myra. The original number of columns 
 was about three hundred and ninety. 
 The wall itself was ornamented with 
 niches. The court, which is now occu- 
 pied by the Arab village, was paved. 
 
 Temple, in the X. E. part of the site. 
 It is tetrastyle, prostyle, with a porch of 
 six unfluted Corinthian columns bearing 
 the usual Palmyrene brackets for statues. 
 Square Corinthian pilasters stand at the 
 angles of the cella, and a window witli a 
 triangular pediment separates two Corin- 
 thian pilasters on each side. The entab- 
 lature is in place, but is defaced, as is the 
 door of the cella. Columns and cella are 
 buried to a considerable height. 
 
 Temple, or perhaps tomb, at the 
 north end of the colonnaded street, across 
 which its front is built. It was prostyle, 
 with six unfluted monolithic Corinthian 
 columns with bases of approximately Attic 
 profile raised on square j)edestals. The 
 central intercolumniation is wider than 
 the others. 
 
 Wall, with towers, of Roman construc- 
 tion, probably of the time of Justinian. 
 It is especially perfect on the N.E. side 
 of the site, and extends to the S.E. corner 
 of the enclosure of the Temple of the Sun. 
 PARENZO (anc. Parentium), Istria. 
 
 The Cathedral is the most important 
 ecclesiastical building on tlie eastern shore 
 of the Adriatic. It very closely resembles 
 the two great basilicas of Ravenna, and is 
 evidently of the same age. Inscriptions 
 declare it to have been built by a bishop 
 Euphrasius, and there was such an one, 
 contemporary of the Emperor Justinian, 
 to whose time the architecture clearly be- 
 longs. The octagonal baiitistery, much 
 dilapidated, stands in front of the church 
 and is doubtless part of the oi'iginal 
 plan. Before it is a campanile of the 
 XV century. Beyond the baptistery is a 
 square atrium, like that of 8. Ambrogio 
 at Milan, though smaller ; behind this 
 the basilica itself. The atrium has an 
 arcade of three arches on each side with 
 Ravenna -like cajjitals and stilt -blocks. 
 The fa5ade of the church behind it was 
 covered with rich mosaics, of which there 
 are still remains. The interior has a 
 nave and side-aisles divided by arcades in- 
 to ten bays, again with Ravenna-like ca2).s, 
 partly of basket form, and jiartly Byzan- 
 to-Corinthiau. The nave is plain and 
 bare, nearly 30 ft. wide between the 
 centres of columns and something more 
 tlum 100 ft. long. It is therefore much 
 smaller than the great basilicas of San 
 Apollinaris at Ravenna, but the apse is 
 finer and in better preservation than in 
 either of these. The stone bench for the 
 clergy still surrounds it, with the bishop's 
 throne high in the middle. Above the 
 seats is a high dado, richly inlaid with 
 porphyry and colored marbles, above this 
 the whole apse is covered with a splendid 
 and well-preserved mosaic on gold ground 
 full of pictures of the virgin and saints, 
 among them Euphrasius himself. The 
 apse is round within and polygonal with- 
 
 276 
 
PAEMA 
 
 out, shows six faces, and so has a iiier in 
 the middle. A rich bahUicchiuo of tlic 
 XIII ceut. covers the altar in the middle of 
 the apse. Professor Eitelbeger ascribes 
 the mosaics of the ajise to the date of this 
 canopy, but their style seems to suit the 
 original aixse. There are two modern trau- 
 
 Fig. 137. — Parenzo, Cathedral. 
 
 sej)t arms, one now used as the choir, and 
 on the north side a series of small chap- 
 els, curiously arranged, and perhaps old- 
 er than the basilica itself. They show a 
 trefoil of apses, round within and polyg- 
 onal without, and, like the great apse, 
 presenting an exterior angle in the mid- 
 dle. In these chapels are remains of fine 
 mosaic pavements. The nave, whose floor 
 was below that of the aisles, was also 
 paved with mosaic, but the continual 
 subsidence of the ground im wliii-b the 
 church stands brought liic Uixir l)cli)\v 
 
 tiie water level, and it has been filled to 
 the level of the aisles. A still older mo- 
 saic pavement seems to have undcrrun 
 the whole church, including the side 
 chapels, which gives color to the tradi- 
 tion that Enphrasius built his church on 
 the remains of an older building. {See 
 Fif/. 137.) 
 
 The KoMAiir Eemains comprise vestiges 
 of the Forum, and portions of the Capi- 
 tol, the theatre, and two temples. The 
 greater part of the stylobate of one of the 
 temples is /« situ ; of the other, only two 
 broken fluted columns remain in place. 
 Ill the neighboring garden of the 
 ilarchese Polesini there are fragments of 
 the architecture of these temples, in- 
 cluding shafts of columns, a Corinthian 
 capital, etc. 
 PARMA, Italy. 
 
 The Uaptistert, one of the most im- 
 |Mirtaiit and interesting of the baptisteries 
 of northern Italy, differs widely from 
 all the others in form and construction. 
 It is a lofty octagonal building, striped in 
 gray and red marble, with six stories ex- 
 ternally and a flat roof. On the first 
 story each side is occupied by a muiul 
 arch, of which three enclose deep door- 
 ways with decorated arch-mouldings and 
 tympana. Above are four stories of gal- 
 leries with slender columns sui^portiug 
 heavy horizontal entablatures, and an 
 upper story of engaged round arches, also 
 on columns. The angles are accentuated 
 by broad flat pilasters with foliated capi- 
 tals just below the upper cornice, and by 
 octagonal pinnacles above the roof. Be- 
 tween the pinnacles is a light open fence 
 of stone. The entire lack of correspond- 
 ence between the exterior and interior is 
 singular. The interior is a polygon of 
 sixteen sides, each side occupied on the 
 first story by a broad niche wliicli is al- 
 most an apse, with slender culunnis in 
 the angles, covered by a \aiill which 
 s])rings from the second external story 
 and occupies the height of the other four. 
 
PASENATICO 
 
 The exterior poruice is thus above tlie 
 crowu of the interior vault. A nearly flat 
 wooden roof covers the whole. The 
 building was completed, or tirst used, in 
 12\r,. 
 
 The Cathedkal (Sta. Maria Assunta), 
 a notable examjile of Lombard Roman- 
 esque architecture, cruciform in plan, 
 with apsidal transept and choir, and an 
 octagonal lantern and dome at the cross- 
 ing. The breadth across nave and aisles 
 is about SO ft., the whole length about 
 240 ft. The exterior design is consistent 
 throughout. The fa9ade has three door- 
 ways with round-arched heads, the cen- 
 tral door being in a slightly projecting 
 porch faced with lion -columns of red 
 marble, which is carried up through two 
 stories and finished with a low gable. 
 Above the doorways are two similar stories 
 of arcades, the arches arranged in groups 
 of three. The fa9ade finishes with the 
 low Italian gable and an artnided cornice 
 over an open arcaded gallery with col- 
 umns resting on steps, following the rake 
 of the gable. At one angle of the facade 
 is a square campanile of four stories, the 
 divisions slightly marked by thin string- 
 mouldings with arches below. The upper 
 story has recently been iiartially rebuilt 
 with four pointed arches on each side, and 
 a low polygonal sjiire. The open galleries 
 under the eaves, and the arcades below, 
 are continued quite round the church. 
 The ajjses are j)eculiar in design, being 
 divided into circular - headed panels by 
 slender shafts rising two-thirds of their 
 height, with the arcaded gallery above. 
 The octagonal lantern has likewise its 
 open arcade, and over it a frieze of small 
 blind arches. The dome is low, octag- 
 onal, and crowned by a small cupola. 
 The interior has a nave and aisles of seven 
 ba3-s, vaulted, the iiave arches round, with 
 a triforium of tall round arches on slender 
 columns, and a single arched window to 
 each bay of the clerestory. The bays of 
 the aisles are square, those of the nave ob- 
 
 long, each covered by a four-part vault ; 
 but the original plan seems to have been 
 for a six-part vault, for from every alter- 
 nate jiier a broad square pilaster with an- 
 gle-shafts rises from the floor to the spring 
 of the vault to carry the cross-rib, while 
 the intermediate piers have only a slender 
 vaulting shaft sjaringing from the cajiitals. 
 The transept arms have each two ajises, 
 one on the end and another on the east 
 side. Beneath the raised choir is a fine 
 crypt of unusual size and height with a 
 vaulted roof supported by many slender 
 columns of marble with carved capitals. 
 The crypt dates from the first half of the 
 X cent., the church itself from the mid- 
 dle of the XI, having been consecrated in 
 110(1, after the nave had been partially re- 
 built in consequence of an earthquake. 
 The chapels which line the aisles are late. 
 The walls and vaults are covered with 
 frescoes, of which those in the dome are 
 by Correggio and are esteemed among the 
 finest of his works. 
 
 S. GlOVAIfNI EVANGELISTA, a XVI 
 
 cent. Renaissance church, with a square 
 detached campanile of later date, bearing 
 an octagonal belfry. It has a long vault- 
 ed nave and aisles, separated by square 
 piers faced with fluted Ionic pilasters, 
 a transeiJt, apsidal choir and vaulted lan- 
 tern at the crossing, with pendentives. 
 The dome and the vault of the apse are 
 adorned with frescoes by Correggio. The 
 interior of the church, by Zaccagni, a 
 local architect, dates from 1550, the ex- 
 terior, in baroco style, decorated with 
 two orders of pilasters, Tuscan and Ionic, 
 and finishing in a singular broken outline, 
 is by Simone Moschino, of Orvieto (KiOT). 
 The church is attached to a large Bene- 
 dictine monastery, finished in 98.3, and 
 partially rebuilt at the end of the xi cent, 
 by Bishop Siegfried. It has three quad- 
 rangles surrounded by arcades. 
 PASENATICO, near Parenzo, Istria. 
 
 S. LoREXZO is a basilica consisting of a 
 nave and two aisles. The nave, about 85 
 
PATARA 
 
 ft. long and 20 ft. wido. is (if nine l)ays 
 with round columns, carved caj)itals, and 
 stilt blocks carrying the arclies. It has 
 three apses at the east end. a tiat ceiling, 
 and raised clioir. The old round-arched 
 clerestory windows are replaced by modern 
 luuettes. The churcli has been classed 
 as early Byzantine ; but its carved and 
 moulded details sliow tiiat it is later, hav- 
 ing the character of early Lombard work. 
 It is ascribed by Mr. Jackson to the viii 
 or IX cent., and is valuable as a rare exam- 
 ple of such work so fur east. Two of the 
 original ajise windows are remarkable, 
 being tilled with a tracery of interlacing 
 circles, and evidently not meant for glazing. 
 PATARA, Lycia. Asia .Minor. 
 
 Te.mi'LK, small, but iu many ways ex- 
 cellently preserved and of great beauty. 
 It is ill anfis. The cella remains almost 
 perfect, with its doorway, which is richly 
 ornamented like those of other struct- 
 ures in tlie Corinthian style, and is about 
 24 ft. high. 
 
 Theatre, a structure of the time of 
 Hadrian, lavish in ornament and mate- 
 rial. The cavea, 2Go ft. in diameter, is 
 excavated in a hillside, and has an upper 
 and a lower division, each of fifteen tiers 
 of seats. An inscription ou the east side 
 of the theatre sets forth that it was built 
 by Q. Titianus. and restored by liis daugh- 
 ter Velia. The diameter of the orchestra 
 is 9G ft. 
 PATHAI (Patras). Aciiaia, Greece. 
 
 OiJEf.M, adjoining the agora ; de- 
 scribed as the most magnificent of any 
 in Greece, excepting that of Herodes at 
 Athens. It contained a notable statue of 
 Apollo which was dedicated from the 
 spoils won by tiie Piitrenses when they 
 aided the /Etolians against the invading 
 (iauls iu 279 B.C. Its remains were found 
 in 1889. It was a semicircular lioiuan 
 structure in brick, with seats risin": iu 
 tiers, and radial stairwavs. 
 PAVIA, Italy. 
 
 The Castle, the ancient fortress-pal- 
 
 ace of the Visconti, one of the largest and 
 also one of the best preserved of the mili- 
 tary houses of its jjeriod, is a vast jiile of 
 brick on the edge of the town, former- 
 ly consisting of four masses of building 
 enclosing a quadrangle of some 300 ft. 
 scpuire, and with four massive and lofty 
 towers at tlie outer angles. One side has 
 disappeared with its two angle-towers ; 
 but tlie other three sides remain, and the 
 entrance front toward the Piazza del Cas- 
 tello is in nearly perfect condition. It is 
 about 500 ft. long, wholly of brick, with 
 a battering basement rising from a moat, 
 aiul two similar stories of large windows 
 divided by columnar mullions into two 
 openings with cusped heads. The en- 
 trance in the centre of this front is ap- 
 proached by an arched bridge, also of 
 brick, 211'otected by a low tower. The 
 wall ends in a machicolated cornice, sur- 
 mounted by tall, forked battlements. At 
 each extrenuty of this noble fa(,'ade rises a 
 large square angle-tower, jirojecting from 
 the walls, carried up two stories above 
 them and crowned with forked battle- 
 ments like those of the main building. 
 The inner court is of great interest. It is 
 surrounded by an arcade on both stories, 
 the lower of simple i^oiuted arches carried 
 on strong round stone columns with large 
 carved cajiitals ; the upper of round bear- 
 ing arclies of brick, now partly filled up, 
 but each originally enclosing four narrow 
 openings with cusped heads and mullion- 
 shafts and tympana filled with tracery. 
 A small but richly decorated cornice com- 
 pletes this fine composition. The build- 
 ing dates probably from about the middle 
 of the XIII century. Its interior, quite 
 degraded, is now used as a barrack. 
 
 The Catheukal (S. Stefano) is an 
 unfinished Renaissance church, begun in 
 14S8 when the old cathedral had been dis- 
 covered to be in a dangerous condition. 
 The i)lan, by Cristofero Rocchi, is imposing 
 and presents some unusual features. A 
 long vaulted nave iu eight bays, witli side 
 
PAVIA 
 
 aisles and pliapels, k-ads tii a vast octag- 
 onal rotunda enclosed by eiglit clustered 
 piers, joined by round arclies and sup- 
 porting a dome. Beyond this opens a 
 choir, flanked by aisles and terminating 
 in a semicircular apse. The transept had 
 aisles from which opened four circular 
 chapels. Large apses end the choir and 
 transept arms, and every outside bay in 
 the whole church, excejit across the front, 
 is bordered by a semicircular chapel. The 
 nave was to be flanked by two detached 
 square towers more than 300 ft. high. 
 Completed according to the design, the 
 church would have been one of the most 
 splendid in Italy ; but only a portion was 
 built. The eastern portion of the choir 
 was finished in 1518, the whole choir a 
 century later. In 1757 the transept was 
 finished with the two chapels east of it, 
 and in 1708 the great central octagon was 
 
 Fig. 138.— Pavia, Cathedfal. 
 Scale of 100 feet. 
 
 built and the nave begun. The work still 
 goes on, and the west end, including the 
 facade of the church, is still unbuilt. {Sec 
 Fig. 138.) 
 
 The Certosa, a Carthusian monastery 
 founded in 1396 by Gian Galeazzo Vis- 
 conti. Its architectural interest is con- 
 fined to its celebrated church, one of the 
 
 richest and most elaborately decorated 
 buildings in Europe. A vestibule, with 
 some much - decayed frescoes by Luini, 
 leads to an inner court, at the farther end 
 of which is the front of the church, which 
 has a nave and side aisles, transept and 
 choii', with a polygonal dome at the cross- 
 ing. The exterior, except the front, is of 
 brick, and is a curious mixture of styles in 
 which the Lombard-Eomanesque may per- 
 haps be said to jiredominate, several of the 
 most notable features of that style, as the 
 round apse and the arcaded galleries un- 
 der the cornice, being employed in almost 
 unequalled profusion. The complexity 
 of the design, however, makes the general 
 effect more Gothic than Lombard. The 
 projections of the chapels about the choir 
 make three re-entrant angles in each 
 shoulder of the crossing ; each salient 
 angle of the building (twelve in all) is 
 marked by a small square turret, carried 
 up into an open shrine or lantern ; the 
 buttresses and gables are crowned by pin- 
 nacles. The octagonal lantern at the 
 junction of nave and transept is a strik- 
 ing and ert'ective feature, composed of two 
 retreating stories of open colonnades with 
 entablatures, a third story of arches sur- 
 mounted by a balustrade, and a Renaissance 
 belfry with eight arches and pilasters at 
 the angles, crowned with a high dome. 
 The fapade, nearly a century later than 
 the body of the church, is wholly distinct 
 from it in design, being an early Renais- 
 sance building, begun in 1473 by Borgo- 
 snone. a Milanese architect, and finished 
 after his death. It is divided by project- 
 ing pilasters into five compartments, the 
 three in the centre being carried up to a 
 level gallery of open arches with a heavy 
 corniccione far above the nave roof, the 
 two side compartments terminating at 
 half the height of those in the centre, 
 with open belfries at the extreme angles. 
 The whole front has become of almost un- 
 paralleled richness by successive elabora- 
 tions. The single doorway in the middle 
 
 279 
 
PAVIA 
 
 is ill a round anli. Hanked by coupled Co- 
 rinthian columns on either side with 
 broken entabhitures. In the side divisions 
 are grouped windows witli arcliitrave, 
 
 and 170 ft. in breadth across the transept, 
 is scarcely less ricli in decoration. The 
 nave has four bays ; the nave arches are 
 round, as are also the arches by which the 
 
 
 
 . 1 39.— Pavia, Cettosa. 
 
 frieze, and cornice. Above the first story 
 a gallery of open arches runs the whole 
 width of the front. Above is a range of 
 windows, that in the centre being circular, 
 those in the sides being round-arched and 
 coupled. Every portion of the front is 
 covered with sculptured ornament, the 
 pilastei's carrying ranges of statues in 
 niches, and the wall being divided into 
 panels decorated with carving and inlay 
 of rich marbles, porphyry, jasper, bronze, 
 medallions of the Roman emperors, heads 
 of angels, bas-reliefs from subjects in 
 sacred history. The decoration went on 
 for two hundred years. The interior. 
 which measures about 250 ft. in lenijth 
 
 chapels, fourteen in number, open from 
 the aisles, two chapels to each bay, and the 
 window o]ienings above them ; the vaults 
 of the na\c and aisles are six-jiart, the 
 bays of the uavc being square and those 
 of the aisles oblong, in the usual Italian 
 fashion. The wide pier arches rise to the 
 springing of the nave vault, leaving no 
 room for a triforium, and the clerestory 
 windows are small lozenges cusped to qua- 
 trefoils. But in the high walls of the 
 aisles, over the low chapels, a range of de- 
 tached windows takes the place of a tri- 
 forium. and the clerestory above them 
 repeats the clerestory of the nave. The 
 spaciousness and openness thus gained, the 
 
 sso 
 
I'AYIA 
 
 double clerestorv ami line of chapels be- 
 yond, give the imjiretision of a double- 
 aisled church, and echo on a small scale 
 the effect of the interior of Milan cathe- 
 dral. The choir and side chapels are shut 
 off from the transept by a high grille in 
 iron and bronze of great richness and 
 beauty. On the south side of the church 
 are two cloisters, with beautiful arcades 
 of terra-cotta arches ilecoratcd profusely 
 with exquisitely modelled sculpture in 
 high and low relief, and sujDported on 
 slender marble columns. The larger of 
 these cloisters measures 420 ft. by 330 ft., 
 and is surroiinded by the twenty-four small 
 houses of the monks. {See Figs. 139, 
 HO.) 
 
 S. Fkaxcesco, a cruciform Gothic 
 church of the xiv century. Its interior 
 has been greatly altered and modernized, 
 but the easterly jiortion remains substan- 
 tially as of old. From the east wall of the 
 transej^t ojien five square chapels, of 
 which the middle one is the largest and 
 makes the choir. The nave j^iers are crn- 
 eiform in section, with large half-columns 
 on each face which carry the longitudinal 
 and transverse nave arches, and small 
 vaulting-shafts in the angles. A row of 
 chapels ojjens from each side aisle, with 
 pointed windows. The exterior is of brick 
 with a front of some elegance, divided into 
 three compartments by projecting but- 
 tresses terminating the high round pinna- 
 cles. A single broad gable covers the en- 
 tire front and masks the aisles, the central 
 portion slightly raised. The first story is 
 jilain checkerwork with three doorways of 
 rather mean design. Above is a fine large 
 pointed arch, the principal feature of the 
 front, now filled np with masonry bnt for- 
 merly with tracery, A rich terra-cottii 
 cornice crowns the gable and encircles the 
 building, 
 
 Sta. Maeia Coronata, a small Renais- 
 sance church, known familiarly as Sta. 
 Maria di C'anepanova, built in 1402 for 
 (iian Galeazzo Sforza from the designs of 
 
 Bramante. It is octagonal, divided into 
 two orders, of which the upper is an open 
 gallery of sixteen arches carried on alter- 
 nate piers and columns, and crowned by 
 a dome ; and has an octagonal choir, also 
 domed. 
 
 S. MiCHELE, one of the most interest- 
 ing of the Romanesque-Lombard churches 
 of the XI and xii centuries. It is cruci- 
 form, with three aisles, square transejit, 
 an apsidal choir, and an octagonal lantern 
 over the crossing. The dimensions are 
 not large, the width of nave and aisles be- 
 ing about 83 ft., transept, 124 ft., total 
 length 183 ft. Its exterior is extremely 
 rude for the most part, both in design and 
 execution. The faQade rises to a single 
 low gable without a cornice, and is unbrok- 
 en except by four groups of shafts, deco- 
 rated with zigzags and spiral rope-mould- 
 ings and bas-reliefs which, rising from the 
 
 Fig. 140. — Pavia, Certosa, Cloister. 
 
 ground to the rake of the gable, stop there 
 without capitals or other terminal feature. 
 The front is thus divided into three nearly 
 
PAVIA 
 
 equal compiirtmeuts, in ouch of which is a 
 i-oimd-arclied doorway with sphiyed juiiibs 
 and soffit, very richly decorated with carv- 
 ing iu low relief, and a tympannm bear- 
 ing a single standing figure of an angel. 
 Above the central doorway is the figure 
 (jf the archangel Micliael standing on a 
 dragon, and above each of the side doors a 
 figure of a saint. Over these is a line of 
 double-arched small windows separated by 
 inullion-shafts. Higher yet in the central 
 compartment are other small openings. 
 Following the rake of the gable is an 
 open gallery of tall narrow round arches, 
 carried on slender shafts resting on steps. 
 The lower half of the front is adorned 
 with horizontal courses of continuous bas- 
 reliefs, composed mostly of grotesque fig- 
 ures of birds and animals, rudely exe- 
 cuted but very spirited and interesting. 
 The apse is divided by shafts, single and 
 grouped, running from ground to cor- 
 nice, and pierced by two simple windows 
 just under the sj^ring of the vault. Above 
 is an arcaded eaves-gallery, the openings 
 in groups of two, divided by light shafts 
 witii capital and base ; the groups them- 
 selves by square piers — an extremely grace- 
 ful and effective decoration. A tall cam- 
 panile rises from the north side behind the 
 transe2it, of which that portion above the 
 church wall is of comparatively recent 
 construction and uninteresting in design. 
 The interior is imposing. The nave, 
 about 33 ft. broad, is divided into four 
 bays by strong f)iers, alternately larger 
 and smaller. On the faces of the piers, 
 vaulting shafts with strong capitals rise to 
 take tlic bold cross-ribs of the simple four- 
 part vault. The aisles are vaulted in the 
 same manner. Rather low rouiul arches 
 with strong and rude mouldings divide 
 the aisles from the nave, aiul above these 
 is a very broad triforium-gallery. opening 
 from the nave by a single round arch in 
 each bay, occupying the whole space be- 
 tween the piers as at S. Ambrogio. Mi- 
 lan {q. v.). The transept arms are square. 
 
 as wide as the nave, and covered by barrel- 
 vaults. The choir is a single square bay, 
 vaulted like the nave, witli a rounil apse 
 of equal width, lighted by three windows 
 and covered by a semi-dome. Its raised 
 floor is ajjproached by a flight of thirteen 
 steps, and under it is a fine vaulted crypt, 
 divided into three aisles by two rows of 
 slender stone columns of various forni.s 
 and with various capitals. From the piers 
 at the crossing of nave and transept rises 
 an octagonal lantern of two stories on 
 squinches. The first story has large 
 round-arched windows occupying nearly 
 the whole of each face, the second story an 
 open gallery of small arches under a low 
 roof. The walls and vaulting of the in- 
 terior are of red brick, and the effect of 
 warmth and richness is striking. The 
 original church on this site was built in 
 the VII cent., and the local antiquaries 
 have struggled to establish the identity of 
 the present church with the vii cent, 
 building. But the claim can hardly be 
 maintained, and there is every probability 
 that it dates from the end of the xr cent- 
 ury. 
 
 S. Paxtaleone. sometimes called Sta. 
 Maria del Carmine, is a large and in many 
 respects singular cruciform church of 
 brick, of the xiv cent., with abundant 
 exterior decoration iu terra-cotta. Tlic 
 front is divided by projecting square pi- 
 lasters — awkwardly managed and termi- 
 nating in tall pinmxcles — into five vertical 
 compartments answering to the divisions 
 of the interior. In three of these com- 
 partments are doorways with high pointed 
 arched heads, and tymjiana with figures 
 iu relief. Above are four high pointed 
 two-light windows with mullions and 
 tracery, and above these again a large and 
 rather fine rose window. The front ter- 
 minates in tlie usual low gable, with an 
 unusually elaborate cornice, but the (!en- 
 tral division of it is cai'ried a little above 
 the line. The original architecture of 
 the sides has been much changed, but the 
 
PAVIA 
 
 ti';iiisei)t and eluiir appear to retain tlieir 
 primitive design, the angles being marixcd 
 by buttresses or pilasters similar to tliose 
 of the front, but without pinuacles, be- 
 tween which are high-pointed windows 
 witli trefoiled heads, and a large circular 
 window above. These portions are also 
 much decorated with terra-cotta. A fine 
 bell-tower with a rich belfry stage rises 
 from the intersection of the south tran- 
 sept and the choir. The interior, also in 
 brick, consists of a nave with four square 
 vaulted bays, each with two arches opening 
 into the side aisles, which are vaulted like 
 the nave but with double the number of 
 bays. A line of chajpels opens from each 
 aisle, giving great width in proportion to 
 the length. The transept arms and choir 
 are each vaulted in a single bay. The 
 high clerestory is jjierced only by small 
 round openings. 
 
 S. PiETKO IN CiELO d'Oho, a XII cent, 
 church, with nave, aisles, and clerestory, 
 a transept not jirojecting beyond the aisle- 
 walls, a central octagonal lantern over the 
 cro.ssing, and a round apse opening from 
 the eastern wall of the transept without 
 any intervening tribune or choir. Its 
 total length is about IGO ft., its breadth 
 about 78 ft. The floor of the church is 
 some .5 ft. below the threshold of the west 
 door. The nave and aisles have five bays ; 
 those of the nave being oblong, those of 
 the aisles square, distinguishing this 
 church from the ordinary Lombard type. 
 The piers are composite with an engaged 
 column or pilaster on each face. Both 
 nave and aisles are covered with four- 
 part vaults, excepting the westernmost 
 bay in each, which is barrel - vaulted. 
 Each bay of the aisles has a simple round- 
 headed window, and the clerestory windows 
 are similar. The crossing is covered by 
 an octagonal lantern, vaulted internally, 
 the transej^t by barrel-vaults. The ap.se 
 was lighted by three or five round-headed 
 windows, and covered by a hemispherical 
 semi-dome. A crypt, now virtually de- 
 
 stroyed, extends under the apse and un- 
 der the crossing. It was divided into five 
 aisles, vaulted on small columns. The 
 front is covered by one low gable, mask- 
 ing all the roofs behind, and divided into 
 three compartments by two unequal but- 
 tresses, one of which contains a spiral stair. 
 The lower half of each compartment is 
 occupied by a blind arch, the middle one 
 containing a doorway with curiously dec- 
 orated jamb-pilasters and shafts, a round 
 arch, and a low sculptured gable. These 
 three blind arches aiiparently correspond 
 to the arches of a great vaulted porch, 
 traces of which are still to be seen on the 
 pilasters of the front. Above are two 
 ranges of small windows in the centre. 
 An arcaded gallery follows the rake of 
 the gable. The apse also has buttresses, 
 of greater projection, and above them an 
 arcaded eaves-gallery. The low lantern is 
 terminated by an open gallery of arches 
 on columns. The church was consecrated 
 in 1132, by Pope Innocent II. 
 
 S. Teodoro, a late Lombard church 
 of brick, with nave, aisles, clerestory, and 
 transejit — not projecting — three eastern 
 apses, and a central octagonal lantern. Its 
 dimensions are small, about 107 ft. by 55 
 ft. Its exterior is simple Eomanesque, 
 the front in three divisions separated by 
 square buttresses, the central division con- 
 taining a round-arched doorway with some 
 ancient sculpture, and a rose - window 
 above, a single low gable covering the 
 whole. The side buttresses are joined to 
 those of the clerestory by hidden flying 
 buttresses, carried on the cross-ribs of the 
 aisle-vaults, and showing through the aisle 
 roofs like ascending parapets. The tran- 
 sept walls end in low gables. The three 
 apses are divided by slender round shafts 
 with capital and base, ending in an arched 
 corbel-table and simple cornice, with an 
 octagonal tiled roof. The plain windows 
 are everywhere round-headed. A charac- 
 teristic central lantern over the crossing 
 leaves the roof as a square, and changes to 
 
 2S3 
 
PERGA 
 
 ail octagon with an areailecl irallery decor- 
 ated witli round plaques of majolica in 
 the spandrels, antl with two smaller stages 
 above. The interior shows a nave and 
 aisles of three bays each, square in the 
 former and oblong in the latter, anticipa- 
 ting tiie system of the later (fothic 
 elnirches of Italy. The piers, bearing 
 round arches, are comjfosed of a square 
 witii four engaged shafts. Tiie nave and 
 aisles are covered with unribbed four- 
 part vaults. The bays of the transept are 
 carried to a greater lieight. the central 
 one being covered by tlie vaulted octag- 
 onal lantern, thi^ sides by barrel-vaults. 
 The floor of the transept, raised some (! 
 ft. above that of the nave, is approached 
 by three broad flights of steps from nave 
 and aisles. Three apses open from its 
 east wall, the central one somewhat larger 
 and deeper than the others. The crypt, 
 extending under the whole of the transept 
 and its three af)ses, is divided into seven 
 aisles by small columns, and vaulted 
 throughout in square bays. The whole 
 interior of the church exeejst the columns 
 is (if brick. The capitals are of rude and 
 rather inferior character. There is no 
 accurate record of the date of this cliurcli, 
 but it may in its present form probaldy 
 be referred with safety to the middle or 
 end of the xii century. St. Theodore, who 
 was bishop of Pavia 766-778, was buried 
 in S. (liovanni in Borgo, but his body was 
 later transferred to this church. 
 I'EUGA, I'amphylia, Asia Minor. 
 
 iST.YDiUM, near the theatre. Nine tiers 
 of seats with their vaulted substructions 
 remain practically perfect ; l)etween these 
 and the surviving podium bordering the 
 ai'ena there were probably three more 
 tiers of seats. Above the existing seats 
 lliere appears to have been a colonnaded 
 gallery. The long axis is 771 ft., the 
 width, 19-i ft. ; axis of the arena, 73;:^ ft. ; 
 width of the arena, 11.5 ft. There is an 
 arched passage througli to the arena in 
 the middle of the spheiidn)te or semicir- 
 
 cular I'ud. Fellows describes it as quite 
 perfect at the time of his visit (about 1840), 
 including the seats on both sides. 
 
 The.\tre, of the time of Trajan or of 
 Hadrian (98-138 a.d.). IS'ext to that at 
 Asjjendos, it is the finest and best pre- 
 served ill Asia Minor. The diameter is 
 330 ft. ; the seats, of ogee jirofile, consist 
 of forty tiers, which are mostly in place ; 
 tlie material is gray marble. The facade 
 of the stage-structure is in good preser- 
 vation ; it has five great niches, 32 ft. to 
 30 ft. high, with columns of red-veined 
 breccia between them. The theatre is in 
 great part built up of masonry ; at the 
 top of the steep cavea is a gallery, which 
 was arcaded at the back and colonnaded 
 in front. There is one diazoma or hori- 
 zontal passage, and in the lower divisions 
 thirteen radial stairways. 
 PERGAMOX, Mysia, Asia Minor. 
 
 Great Altau of Zeus, erected by 
 Enmenes 11., in the first half of the ii 
 cent. B.C., in course of the extension and 
 beautifying of the city which followed the 
 Pergamene triumphs over the Gauls. It 
 rose in the middle of the higher terrace 
 of the agora, and consisted primarily of a 
 great base 98 ft. square and al)out 19 ft. 
 high, in masonry of conglomerate cased 
 in marble, and resting on a triple plinth. 
 On the west the base was cut into by a 
 broad flight of steps between jjrojecting 
 piers. In the middle of the top rose the 
 altar proper, formed like that of Olympia, 
 chiefly of the ashes of sacrificial victims 
 heaped together. This area was surround- 
 ed by graceful Ionic porticoes facing out- 
 ward, their back walls being turned toward 
 the ash-altar. The sides of the base were 
 surrounded, above a plain die crowned by 
 mouldings, by tlic noted (ireat Frieze of 
 Pergamon. sculjitured in high relief with 
 the varied scenes of an extensive Gigau- 
 tomachy. These sculptures, which rejjre- 
 sent a new development of Greek art, are 
 full of vigor and movement, while lacking 
 the stately repose of the older Greek art. 
 
 284 
 
rEKGAMON 
 
 aiul ill their expression ui' the jiassions 
 they approach the standpoint of modern 
 art. This frieze, 7i ft. high, was eapped 
 by a riehly moulded and wi(k'ly project- 
 ing cornice. The interior walls of the 
 porticoes were adorned by the Small 
 Frieze of Pergamon, about half of which 
 has been recovered, and is now, together 
 with the surviving portions of the (ireat 
 Frieze, in Berlin. Its subjects, taken 
 from local Pergamene history, are of less 
 interest than the Uigantomachy. 
 
 The Amphitheatre may be assigned to 
 the beginning of the ii cent, a.d., though 
 its exact date has not been ascertained. 
 The plan is elliptical, the greater axis -i-Ht 
 ft., the less -1:03 ft. ; the arena is lo: ft. by 
 85 ft. The principal arched entrances 
 were at the ends of the greater axis, which 
 lies nearly north and south. The outer 
 wall had forty-two other arches, separated 
 by piers as wide as the arches. There are 
 about thirty tiers of seats ; the first tier 
 being below the level of the soil without. 
 The height of the massive piers and 
 arches of the exterior walls reaches 85 ft. 
 The seats are supported on very skilfully 
 planned, rising, funnel - shaped vaults. 
 The brook which flowed directly beneath 
 the arena in antiquity, and was vaulted 
 over, doubtless supplied facilities for con- 
 verting the amphitheatre into a uau- 
 niachy. The building, still very impres- 
 sive in its mass, exhibits great technical 
 excellence in its design and execiition. 
 
 The AscLEPiEUJi, or Sanctuary of 
 Asklepios (^Esculapius), as yet incom- 
 pletely explored. This Corinthian tem- 
 ple, which appears to have been impor- 
 tant, was approached by a monumental 
 covered way starting from the arched 
 gate beside the theatre, and extending the 
 entire distance. The roadway, 12| ft. 
 wide, was bordered on each side by a 
 range of piers set at intervals of 8 ft. . and 
 finished on the exterior side as Doric 
 semi-columns. The piers were built of 
 large blocks of trachyte. 
 
 The Basilica, which has been called 
 the Thermge, is the most imposing of the 
 Iioman ruins of Pergamon. It was a huge 
 structure of three aisles, to the east side of 
 which other buildings were joined. The 
 nave terminated in an apse flanked by 
 two circular, tower-like, domed buildings. 
 The masonry was partly of bi'ick, partly 
 of trachyte blocks, sheathed with marble 
 wherever the walls were exposed to view. 
 The cornices were supported by rich con- 
 soles. The columns of the interior were 
 handsome monoliths of gray and pink 
 granite. The early Christians appro- 
 priated this basilica for a church, and 
 converted the two domed buildings into 
 chapels of St. John the Evangelist and 
 St. Antipas. The breadth of the basilica, 
 including the two circular buildings, was 
 over 330 ft. From these buildings a court 
 nearly 700 ft. long extended toward the 
 east, enclosed by a high wall adorned on the 
 outside with marble columns. To obtain 
 space for this court the Selinous Eiver w'as 
 bridged for a distance of nearly G50 ft., a 
 truly remarkable accomplishment, w^hich 
 remains perfect to this day. The bridge 
 consists of tw' o massive parallel barrel- vaults 
 of 'ii>^ ft. span, each resting on one side on 
 the bank and on the other on a continuous 
 wall in the middle of the river-bed. 
 
 Gtmxasium of the Ne'ot, or Youths, 
 of Roman date. The western jiortion 
 formed a court about 250 ft. by 120 ft., 
 surrounded by porticoes presenting four- 
 teen columns on the small sides and 
 twenty-nine on the others. The capitals 
 are Corinthian, of manifestly Roman de- 
 sign, and the workmanship is sujjerficial. 
 An inscription shows that the gymnasium 
 was not an imperial foundation, but was 
 established by private citizens of Perga- 
 mon. On the slope above the X. W. cor- 
 ner of the court lie the remains of a semi- 
 circular structure 108 ft. in diameter. 
 This was apparently an odeum, and its 
 stage-structure must have stood upon the 
 roof of the portico. 
 
PERGAMON 
 
 The Pergamexe Libkary. instituted 
 by Eumeues II.. a foiuidatiou famous in 
 antiquity, and second only to the great li- 
 brary of Alexandria, is recognized by Conze 
 in four large rooms communicating on tlie 
 west side with a number of other rooms, 
 lying above the terrace of Athena. Stone 
 framing, secured to the walls by metal 
 clamps, received wooden shelves on which 
 the manuscripts were ranged. The li- 
 brary was adorned with a large statue of 
 Athena, and statues or busts of famous 
 authors. 
 
 Templk, presumed to be of Diouysos. 
 It was Doric, prostyle, tetrastyle, of 
 marble, on a stereobate of two steins, 
 affording an interesting example of the 
 free treatment of old Doric forms in the 
 Hellenistic time. The columns, 10| ft. 
 high, had twenty flutes sejjarated by fil- 
 lets, and rested on widely projecting 
 bases. The echinus is carved with leaves, 
 and the upper angles of the triglyphs dis- 
 play small acanthus-leaves. The soffit of 
 the cornice is ornamented with diagonally 
 intersecting lines and with rosettes, and 
 the cyma exhibits ornament of foliage and 
 tendrils and satyr masks for waterspouts. 
 The dimensions are 24| ft. by 41 ft. 
 
 Temple (Ionic), of the best Greek work, 
 on a massive platform at the north end of 
 the great terrace on the western slope of 
 the acropolis. The walls and the ornate 
 doorway arc standing to about half of 
 their original height. 
 
 Temple of Athexa Polias (Pallas as 
 Defender of the City), on the terrace of 
 the acropolis immediately above that of 
 the Altar of Zeus. Only the lowest parts 
 of the foundations remain in place, but 
 all the architectural members have been 
 recovered and render possible a comjilete 
 restoration. The temple, which was ori- 
 ented north aiul soutli, w;is Doric, perip- 
 teral, hexastyle, with ten columns on 
 the flanks, and measured 42| ft. by 72 ft. 
 The height of the columns was 17^ ft. ; 
 their base-diameter was 2,47 ft.; the neck- 
 
 diameter 1.08 ft. The shafts had hut 
 little entasis. The neck of the shafts on 
 the capital-blocks is channelled, but the 
 remainder of the shafts was left smooth, 
 showing that the temple was never fin- 
 ished. The entablature was proportion- 
 ately very low, and there were two tri- 
 glyphs over every intercolumniation. The 
 metopes were plain, and no signs of pedi- 
 ment-sculptures have been found. The 
 cella had pronaos and opisthodomos, each 
 witli two columns in nntis, and was prob- 
 ably divided into two chambers. The 
 date of the temple is assigned to the iv 
 century B.C. 
 
 The Terrace surrounding the temjile 
 was bordered on the north and east sides 
 by handsome ijorticoes of two stories on a 
 stylobate of three steps. The lower order 
 was Doric, with very slender columns, and 
 three triglyphs over every intercolumnia- 
 tion, surmounted by a blocking-course on 
 which rested the second order of columns. 
 This was Ionic, but bore a Doric frieze, 
 which had four trigl}^Dhs over every inter- 
 columniation. In the intercolumniations 
 of the second story was a solid )iarapct 
 whose slabs were sculptured with military 
 trophies. The north portico, which was 
 of more than double width, had an inner 
 range of columns, set opposite every sec- 
 oiul column of the fa(;ade. These col- 
 umns had Attic bases, smooth shafts, 
 aiul bell-capitals of peculiar form. The 
 fa(,'adcs of the porticoes were of marble, 
 and their back walls of trachyte encrusted 
 with the same material, adorned by niches 
 for statues, framed by small Doric and 
 Ionic semi-columns surmounted by an en- 
 tablature. At the south end the east 
 jiortieo abutted against a massive square 
 tower, adjoining which, at the back of 
 the portico, was the chief en;raiici' to the 
 enclosure. This was a projiylon witli 
 four interior columns, tetrastyle on its (>x- 
 terior face, which was of the sanu' archi- 
 tectural disposition as the interior ])or- 
 ticoes, but more richly ornamented. Pro- 
 
PERUGIA 
 
 pylon and porticoes are ascribed to King 
 Eumenes II. In the Temple of Atlieua 
 Polias were dedicated the spoils of tlie 
 Gauls, and the bacli walls of the porticoes 
 bore paintings commemorative of their 
 overthrow. 
 
 The Temple of Julia, daughter of 
 Augustus, was a small peripteros, almost 
 all of whose architectural members sur- 
 vive, though no longer in position. It 
 was evidently pulled down in Byzantine 
 times, and its materials used to strengthen 
 the fortifications of the acrojDolis. Here 
 they have remained, so that the temple, 
 like that of Xike Apteros at Athens, might 
 doubtless be rebuilt. 
 
 Temple of Tkajan, or Augusteum. 
 Tlie architectural remains are of great 
 size, in part very well preserved, and tes- 
 tify to the splendor of the temple. This 
 temjile, in the same manner as that of 
 Athena, was surrounded on three sides 
 by porticoes of one story, that on the 
 north raised on a plain basement 13 ft. 
 high. The temple was of white marble, 
 Corinthian, peripteral, hexastyle, with 
 nine columns on the flanks. The height 
 of the columns was 32 ft. The cella had 
 the form of a temijle /w antis. Between 
 the consoles of the cornice bronze rosettes 
 were introduced. The acroteria were rich 
 anthemia sujjporting figures of Kike. 
 The frieze was sculptured with Gorgon- 
 heads separated by volute ornaments. 
 The temple stood on a basement about 
 10 ft. high, with a fiight of steps between 
 piers in front. Its dimensions were 6.35 
 ft. by 108 ft. The capitals of the por- 
 ticoes are of the type of those of the 
 Tower of the Winds at Athens, with a 
 range of acanthus-leaves below and plain 
 pointed leaves above. Of two monumental 
 exedras in the temple-court, one rectangu- 
 lar, the other semicircular, the first dates 
 from Attains II. 
 
 Greek Theatre. The cavea had 
 about ninety tiers of seats, most of which 
 are still in place. There are two diazo- 
 
 mata or horizontal passages of commu- 
 nication, and the bounding-walls of the 
 cavea are polygonal and cut it consider- 
 ably short of the normal curved outlines. 
 The pavement of the orchestra no longer 
 exists. The lintel of its northern en- 
 trance is sculptured with masks and bears 
 an inscription of dedication. This thea- 
 tre is ascribed by the arcliitect Bohn, like 
 the Great Altar, to the reign of Eumenes 
 II. 
 
 Eoman Tiieatke, supported in part 
 against the hillside, and on the two wings 
 upon radial vaulted substructions. There 
 ajjpcars to have been a gallery of columns 
 above the uppermost tier of seats. The 
 orchestra and the foundations of the 
 stage-structure are silted uji and have 
 not been explored ; the stage-structure 
 was adorned with Corinthian columns. 
 The diameter of the cavea is nearly 400 
 ft. Against the exterior of the south 
 wing still stands an arched gateway of 
 trachyte, corresjionding to an ancient 
 street. 
 
 TiiERMiB. See Basilica. 
 PERUGIA (anc. Perusia), Italy. 
 
 Arch of Augustus, so-called, an an- 
 cient gate of the city, Eti'uscan in its 
 lower portions, and of the time of Augus- 
 tus above. The Etruscan part, with the 
 two projecting bastions which flank it, is 
 built of large blocks of travertine laid 
 witliout cement. Above the arch, which 
 is about 30 ft. high, there is a frieze with 
 six little i^ilasters of Doric type, between 
 which, in spaces corresjjonding to metoijcs, 
 are circular shields in relief. Over this 
 frieze there is a second arch, now blocked 
 between two pilasters. The total height 
 is 63 ft. The flanking bastions are 
 crowned by graceful arcaded loggie of the 
 XV century. 
 
 The Cathedral, dedicated to S. Lo- 
 renzo, is a Gothic church dating from the 
 beginning of the xiv cent., but much 
 changed and injured by modern restora- 
 tions. It has a nave and aisles about 65 
 
PEEUGIA 
 
 ft. wide, in five bays covered by four-part 
 vaulting, divided by octagonal stuccoed 
 brick jjicrs, and carrying pointed arches. 
 The transcjit arms 2iroject by a single nar- 
 row bay beyond the aisle walls. The 
 choir is square, with a polygonal apse and 
 a square chajiel on either side, and behind 
 the northern chapel rises a small bell- 
 tower. The exterior has been much trans- 
 formed ; many of the jwinted windows 
 have been walled np. The unfinished 
 front has a single central doorway and a 
 wheel window over it, once filled with 
 stained glass. A side porch opens into 
 the aisle on each flank, and by the side of 
 the northern porch is an exterior pulpit 
 corbelled out from the wall, its sides 
 panelled and decorated with tracery and 
 mosaic. 
 
 The CoLLEGio DEL Camrio, the Hall of 
 the Bankers or money-changers, is a small 
 apartment adjoining the Palazzo Vecchio 
 in the Corso, scarcely more than 16 ft. 
 wide and 2i ft. long, remarkable for the 
 beanty of its pictorial and other decora- 
 tion. The walls are wainscoted with 
 panels filled with delicate wood-inlay and 
 Renaissance carving of great excellence, 
 and covered above with frescoes of sibyls, 
 prophets, historical and allegorical figures. 
 The vaulted ceiling is also covered with 
 frescoes of similar character, varied by 
 arabesques. Opening from this room is 
 a small chapel or oratory of nearly the 
 same size, and decorated in a similar 
 manner. All this decoration is the work 
 of Pietro Perugino and of his pupils, 
 Raj^hacl i)crhaps included, and dates from 
 the latter half of the xvi century. 
 
 CoxvENT OF Sta. Giuliaxa. Tliis 
 Cistercian nunnery is a fine cxamj)le of 
 early Italian Gothic. Its buildings re- 
 main almost entire, though mutilated by 
 vandalic use as a military storehouse and 
 hospital. The church has a simple nave 
 with square apse, and is built of stone. 
 To its left is the entrance to the fore- 
 court, surrounded by halls, some of whicli 
 
 are still arched, but have wnndon roofs. 
 Opposite the apse of the church the inner 
 court or cloister is reached, one of the 
 most perfect in Italy, and round it are 
 grouped several interesting vaulted struct- 
 ures. The cloister has five wide pointed 
 arches on each side, supjiorted on octa- 
 gonal columns with Tuscan foliated capi- 
 tals. The low and wide groined vaults 
 have pentagonal ribs that rest on consoles 
 against the wall. Each side of the cloister 
 measures 110 ft. The second story is 
 perfectly preserved, whicli is almost never 
 the case, and is more elegant in its pro- 
 jiortions. A broad blind pointed arch 
 corresjionds to each bay below, and within 
 it three pointed arches are supported on 
 double marble shafts placed on a line with 
 the wall. The material is brick. Eound 
 tlie cloister are grouiied the monastic 
 buildings. The cajiitulary hall divided 
 into three aisles of five bays by eight col- 
 umns supporting ribbed groin-vaults, is 
 especially good. The same vault is also 
 used in all the other halls, including re- 
 fectory, mortuary chapel, kitchen, etc. 
 Underneath the kitchen is a cellar with 
 tunnel-vault. To the right rises a fine 
 bell-tower. The cloister and several of 
 the halls, especially the chapter-house, are 
 still decorated with frescoes, some of the 
 xiv and xv cents., but a large part of the 
 second half of the xiii century. The nun- 
 nery was aiJjDroved after its construction 
 by Pope Boniface IV., in 1253, which 
 gives the date of the buildings. Its archi- 
 tecture is worthy of careful study, not 
 only for its beauty, but because it is a fine 
 example of the second period of the Gothic 
 form of Italian Cistercian architecture, 
 during which the French forms were 
 thrown off and native forms of construc- 
 tion and decoration developed. [A. L. 
 F.. Jr.] 
 
 FoxTE Maggiore, the great fountain 
 in the Piazza del Papa, the square be- 
 tween the cathedral and the Palazzo Pub- 
 blico, is one of the finest in Europe. It 
 
 288 
 

 MILAN— PIAZZA DEI MBRCANTf 
 
'letl, bnt 
 
PERUGIA 
 
 _^^^, y 
 
 Fig Ml — Perugr,^, f-.-nle MaggiO'e. 
 
 dates from tlie last quarter of the xiii 
 cent., and consists of two great polygonal 
 basins of marble, the lower some oO ft. in 
 diameter, raised on four surrounding steps, 
 the upper lifted on columns rising out of 
 the water. Each basin has twenty-four 
 sides, the angles of the lower basin marked 
 by grouped colonnettes of varied and del- 
 icate design, those of the upper by figures 
 nearly detached, and the panels of the 
 lower basin charged with admirable bas- 
 reliefs by Giovanni and Niccolo Pisano. 
 From the centre of the upper basin rises a 
 massive column of bronze supporting a 
 third basin in the form of a tazza, also of 
 bronze, in tlie middle of which stands a 
 group of three water-nymphs by Rosso. 
 l»e Fiji. HI.) 
 
 The t>i:ATOKY of S. Bekxakdixo is a 
 small chapel belonging to one of the nu- 
 merous confraternities, and remarkable foi- 
 its beautiful early Renaissance fa9ade, so 
 small as to be scarcely more than a great 
 doorway arch with its flanking jiilasters 
 carrying an entablature and pediment. 
 The arch is deeply recessed, enclosing 
 square twin doorways surrounded by ar- 
 chitraves bearing an arabesque ornament 
 in relief, aiul springs from bold square 
 piers, each of which bears on its face two 
 jjedimented niches containing statues. 
 
 Tile jaml)s of the arch arc cn- 
 riclied with niches and reliefs 
 Hanked by classic pilasters ; its 
 -ollit is coffered, and the tym- 
 I lanum bears in relief the statue 
 if the saint surrounded by a 
 nimbus, and flanked by flying 
 angels and winged cherubs. In 
 the pediment is a group repre- 
 senting the Saviour throned, 
 with adoring angels and cher- 
 II lis. The facjade is of red mar- 
 l)k', the architectural decora- 
 tions of white, or yellow, the 
 .;. --- -^ - sculpture partly of white mar- 
 ble and partly of glazed terra- 
 cotta, white on a blue ground. 
 The whole decoration is so exquisite in 
 feeling and so admirable in execution as 
 to make this small fagade deserving of a 
 place among the highest works of the 
 Renaissance. The sculjoture is attributed 
 
 Fig. 142. — Perugia, S. Bernardino. 
 
PERUGIA 
 
 to Agostiiio Duoci, and the friuzo bears 
 tlie date UiU. {.^ee Fiy. H2.) 
 
 Tlie Palazzo Plbblico, the old Gothic 
 municiijal jjalaceof the xiv cent., is much 
 patched and altered in parts to adajit it to 
 its modern uses, but retains its jirincipal 
 features substantially unchanged. It is 
 a rectangular building in two principal 
 stories, with two facades, the longer front- 
 ing the Corso or main street of the town, 
 the other the Piazza, opposite the cathe- 
 dral. In the longer fa9ade is a broad and 
 high round-arched recessed doorway, and 
 on its left a high arch by which a narrow 
 street is taken through the building and 
 down the hill in the rear. Over the arch 
 a simple bell-tower of no great height rises 
 from the roof. The lower story is an ar- 
 cade of plain pointed arches concealed 
 where it fronts the square by a monu- 
 mental stair leading to an arcaded plat- 
 form from which the second story is en- 
 tered. The windows of this story are 
 triijle pointed openings divided by slender 
 shafts and enclosed in square panels. 
 
 Fig. 143 —Perugia, Pal. Pubblico. 
 
 Above these is a broad space of blank wall 
 representing a mezzanine story, with open- 
 ings only on the court, and above this 
 again the range of windows of the ]irin- 
 cipal story, consisting of triple pointed 
 
 oiJenings under a round bearing-arch with 
 traceried head, and covered each by a low 
 gable. On this floor are the picture gal- 
 lery and the public library. The wall is 
 finished by an arched corbel-table and a 
 fringe of restored battlements. {See Fuj. 
 H3.) 
 
 SS. AxGELl, an early Christian building 
 of the V cent., restored in the xiii cent., 
 but retaining some of its ancient features. 
 It is a circular building, perhajjs origin- 
 ally a baptistery, with a central ring 
 about 45 ft. in diameter, enclosed by six- 
 teen antique columns, arranged in pairs, 
 alternately larger and smaller, supporting 
 round arches. The surrounding aisle is 
 now enclosed by a wall in which are to be 
 seen portions of a second circle of twenty- 
 eight columns, which indicate that the 
 building had originally an outer aisle in 
 accordance with the common plan of the 
 early baptisteries. This has disappeared, 
 and in its place were added four project- 
 ing wings, those on the west, north, and 
 south square in plan, that on the east a 
 semicircular apse. Over the 
 central ring of columns the wall 
 is carried up above the roof of 
 the surrounding aisle, pierced 
 with windows, and covered witli 
 a low jiitched conical roof. The 
 west end has a fine (Jothic door- 
 way, of the Mil or xiv century. 
 Sta. (in i.iaxa. fieeCnnreiif. 
 S. PiKTuo DEI Casixkxsi, an 
 interesting basilica n rhurrli 
 jirobably dating from tlie vi 
 cent., with a Gothic choir added 
 jK'rhaps in the xiv cent., for- 
 merly attached to a Benedictine 
 monastery. It has a nave 36 ft. 
 wide, with aisles vaulted in 
 square bays and divided from the 
 nave by two rows of nine antique Ionic col- 
 umns of red granite and gray marble carry- 
 ing arches, a transept not jirojecting beyond 
 the aisle-walls, and a square groined vault 
 over the crossing, with a polygonal apse 
 
PESAEO 
 
 also groined. Tlie flat coffered coiling panels in the intervals. The great en- 
 )f the nave was added by Benedetto da closed court is on the level of this story. 
 
 ilontepulciano in 1,553, and its nnpierced 
 walls are covered with paintings 
 by Aliense. At the west end of 
 the church is a square cloister, 
 with vaulted arcades on Tus- 
 can columns. The church con- 
 tains some interesting jjictures 
 by Perugino, Kaphael, Parmeg- 
 giauo, and other masters. The 
 choir-stalls are remarkable for 
 tlieir exquisite wood - carving. 
 {See Fiq. 1U-) 
 PESARO, Italy. 
 
 Palazzo Puefettizio. the 
 ancient jjalace of the dukes of 
 Urbino, built at the beginning 
 of the XVI cent., from the de- _ 
 signs of Bartolommeo Genga. It 
 has a facade about 125 ft. long 
 iu two stories, of which the lower is an open 
 arcade of six round arches springing from 
 low piers of rustic stone-work, while tlie 
 nj^per has a perfectly jjlain wall, with five 
 rectangular windows enclosed by Corinthi- 
 an engaged columns supporting an entab- 
 lature. A balcony projects from the mid- 
 dle window. The front is crowned by a 
 strong simple cornice. The interior con- 
 tains some fine rooms, notably a great hall 
 50 ft. wide and 130 ft. long, with a deep- 
 ly panelled wooden ceiling decorated with 
 paintings. 
 
 Villa Moxte Imperiale, an extensive 
 country-house of the dukes of Urbino, 
 built in the early part of the xvi cent. 
 from the designs of Girolamo Genga, but 
 never completed, and now fallen into de- 
 cay. It is built on the slojie of a moun- 
 tain, and its plan is skilfully adapted to its 
 site. Its fa(,-ade, about 100 ft. long, is im- 
 posing, consisting of a long centre and two 
 projecting wings ; the former having in 
 the basement story an open vaulted arcade 
 of five I'ound arches, and in the principal 
 story an order of coupled Ionic pilasters 
 on a balustrade course, with niches and 
 
 and at a still higher level in the rear is a 
 
 Fig. 144. — Perugia, S. Pietro. 
 
 large square garden. The interior con- 
 tains many halls, loggias, and state apart- 
 ments, elaborately decorated and painted, 
 and a noteworthy winding staircase. 
 PESC'ARA. See Camuria. 
 PETRA, Arabia. 
 
 CoRiXTiiiAX Tomb, on the east side of 
 the site. The lower story has eight engaged 
 smooth Corinthian columns on a high 
 pedestal. Doors open in the four northern 
 intercolumuiations. Above the entabla- 
 ture is a sort of attic carved with short 
 jiilasters sujjporting a second entablature, 
 and in the middle two broken pediments. 
 The upjjer story is of the type of that of 
 the Treasury of Pharaoh (q. v.). having on 
 each side a rectangular projection with 
 two engaged smooth Corinthian columns 
 and broken pediments, and in the middle a 
 circular edicule with similar columns and 
 a conical roof ending in a Corinthian 
 capital. The entablature of the upper 
 story is Doric. 
 
 The Df:R (Monastery), a rock-tomb re- 
 sembling the Treasury of Pharaoh [q. v.). 
 The lower story contains a door with a low 
 triangular pediment, framed between en- 
 
 291 
 
PETRA 
 
 gagwl coluiuiis. outsido of wliich on carli 
 side are two enga,i;c'il columns and an 
 iingle-pilaster with uiitiiiislied capitals oi' 
 Doric outline. In each lateral iutercol- 
 unmiatioii is a rectangular niche with a 
 semicircular pediment ; the eiitaldatui'e 
 
 masses of ruins, are hewn from the living 
 rock, a soft sandstone. The ett'ect of the 
 architecture is greatly enhanced by the 
 wonderful natural coloration of the stone, 
 ranging through brilliant red, pink, brown, 
 yellow, blue, purple, gray, black, white, 
 is Corinthian. The upper story consists of and dull green, often marvellously streaked 
 
 the (HMitral circular cdicule. with conical 
 roof and tci'niinal capital and urn. between 
 two reclangular projections with broken 
 pedinieuts. as in the Treasury ; in addition 
 there is on each side a projecting pier. 
 The entablature is Doric, the columns Co- 
 rinthian, with capitals iinfiuislied. The 
 three cdicules of the upper story have rec- 
 tanifular niches for statues. The walls of 
 
 and shaded, and by the remarkable wild- 
 ness and desolation of the surrounding 
 region. Some of the tombs have servctl. 
 since J'etra disajijjeared from history, for 
 other than their original pvivpose ; an in- 
 scription shows that one was dedicated to 
 the cult of Mithras ; others were conse- 
 crated as Christian chapels, and others 
 came to be inhabited as dwcllintrs. The 
 
 the interior chamber, :57 ft. by -40 ft., are funereal urn is a frequent and characteris- 
 
 bare, except for one niche. This monument 
 is of larger proportions than the Treasury, 
 its width being l.jO ft., and its height 
 about 100 ft. The upper story is in al- 
 most perfect preservation, as its compara- 
 tively isolated situation has protected it 
 from the intentional destruction of the 
 Bedouins. There is a l)road levelled plat- 
 form before the tomb. 
 
 Necropolis, distributed in the rock- 
 sides of the gorges and steep hills which 
 border the valley. The tombs are in great 
 numbers, many of them with elaborately 
 ornamented fa(;ades, some left unfinished, 
 and thus cxiubiting the method of working 
 from the to]) downward, many so high nj) 
 
 tic ornament of the tombs. On the east 
 side of the valley is a tondj with a Latin 
 inscription to Quintus Prajtextus Floreii- 
 tinus. Another bears a Greek iuscrijjtion. 
 [Some of the chief tombs of the necropo- 
 lis, commonly called by other names are 
 here treated separately.] 
 
 i'iiAi:AOn's Pal.vce, so-called, is a 
 large scjuare building. The walls, aliout 
 S ft. thick, with holes for wooden floor- 
 beams indicating several stories, survive 
 almost entire. The north front had a 
 portico of columns, now destroyed. On 
 the east side is a large door, flanked by 
 jiilasters with enriched capitals. The 
 cornice is rich, and the frieze bears tri- 
 
 iu the faces of the cliffs that they must glyphs and rosettes ; all this ornament is 
 always have boon approached by ladders. 
 The interior chaml)crs are in general plain, 
 but some of them are ornamented. One 
 
 is surrounded with engaged Doric colunnis 
 with an entablature ; there are rectangu- 
 lar niches in the intercolumniations. Some 
 are of the type in form of an edicule en- 
 tirely detached from the original rock, 
 like those in the Kedron Valley at Jeru- 
 salem. The style is in general debased 
 and florid Roman, jirofoundly modified i)y 
 Oriental (Plucnician) influences. Witli 
 but few exceptions the surviving remains 
 of Petra, apart from indistinguishable 
 
 in stucco. The style is late Roman. 
 
 Tjie.vtre, the idiief surviving monu- 
 ment of Peti'a. The cavea is entirely 
 hewn ivitui the I'ock, and has thirty-three 
 tiers of seats. .Vljove the auditorium 
 open several rock-hewn chambers. The 
 brook now flows through the remains of 
 the stage-structure. The diameter of the 
 orchestra is about 114 ft. 
 
 To.Mii, in three stories, near the Corin- 
 thian 'i'omb, in the east wall of the val- 
 ley. The lowest story has four doors 
 framed in Corinthian pilasters, which 
 were left unfinished. The two outer 
 
 £93 
 
PHIGALEIA 
 
 doors have round pediments above an en- 
 tablature, tile two middle doors triangu- 
 lar pediments. In the second story are 
 eighteen iintinished enc'aged Ionic col- 
 limns, and cuttings in the rock in the inter- 
 columniations indicate that it was intend- 
 ed to form an open loggia here. Above 
 the entablature of the second story comes 
 a barbarous attic of agglomerated jiedes- 
 tals and capitals in several tiers ; and the 
 third story was designed to have eighteen 
 columns, like the second. This third 
 story is now almost entirely broken away ; 
 it was doubtless intended to be in part 
 built up of ma.sonry, as its height must 
 have exceeded, if complete, that of the 
 original roek. 
 
 The Tkeaslry of Pharaoh (Khaz- 
 neh Firaun), so-oalled, is the most beau- 
 tiful rock-tomb of Petra. In the lower 
 story is a porch of six nuliuted Corinthian 
 columns, the four central ones jJrojecting 
 slightly and surmounted by a pediment. 
 In the ujiper story there is on eaeli side a 
 broken pediment and entablature resting 
 on two unfluted Corinthian columns, and 
 in the middle a circular Corinthian edi- 
 cule with four similar columns, and a 
 conical roof terminating in a Corinthian 
 capital and a finial urn, all engaged at the 
 back in the rock. The entablature is car- 
 ried across the rock at the back, between 
 the central edicnle and the side structures. 
 The two upper side niches between the 
 columns are carved with trophies in re- 
 lief ; the other spaces between columns in 
 the upper story bear human ligures, most of 
 them of women, on pedestals ; the spaces 
 between the side columns of the lower 
 story are iilso carved with figures, now 
 much mutilated. There are nine acro- 
 teria, most of them in the form of eagles, 
 now broken. The friezes and the lower 
 pediment are delicately sculptured. In 
 the lower story an open vestibule and 
 richly framed door gives access to a 
 plain chamber about 36 ft. square. The 
 total height of the monument is about 8.5 
 
 ft., its width 96 ft. The style of the 
 sculpture seems to indicate about the 
 same date as the monument of Baalbek. 
 The beauty of the effect is much enhanced 
 by the rich red color of the stone. 
 
 Pharaoh's Triumphal Ahch, of late 
 Roman style, led to Pharaoh's Palace, with 
 which it was connected by a jjaved road, 
 and a colonnade. The front is decorated 
 with sculpture and has three archways. 
 PHIGALEIA, Arcadia, Greece. 
 
 The Temple of Apollo Epicirius 
 (the Helper or Protector) at Bassa^, out- 
 side of Phigaleia, on the slope of Mt. Ko- 
 tvlion, more than 3,000 ft. above the sea, 
 between two summits covered with an- 
 cient oaks, was rebuilt after 430 b.c, under 
 the direction of Ictinus, in gratitude to 
 AjjoUo because he had spared the district 
 from the pestilence with which the rest 
 of Greece was afflicted at the beginning of 
 the Peloponnesiau War. For beauty of 
 material and workmanship it was reputed 
 to surpass all the temples in Peloponnesus, 
 excepting that at Tegea. The temple is 
 the best preserved of any in Greece, with 
 the exception of the Theseum. It faces 
 toward the nortli instead of toward the 
 east. Three columns only of the peristyle 
 are wanting, and the bases of the columns 
 in untis, the architraves and the jitavement, 
 are still in place. It is a Doric hexastyle, 
 peripteros, with fifteen columns in each 
 flank and two between the antas in the 
 pronaos and opisthodomos on a stylobate 
 of three steps ; the ground plan is 121 ft. 
 by 13 ft. The cella, too narrow for in- 
 dependent rows of columns, had on each 
 side five piers projecting from the wall to 
 support the timbers of the roof and termi- 
 nating on their external faces in Ionic 
 three-quarter columns. The material is 
 a bluish-white limestone, the ornamental 
 parts being in white marble, the roof tiled 
 with marble slabs. The entire sculptured 
 frieze in high relief which surrounded the 
 interior of the cella is now in the British 
 Museum. It is 101 ft. long and 2 ft. 1 
 
 aas 
 
PHILADELPHIA 
 
 iu. high. ;ui(l luis ]ihiinlybeen shortened at 
 several j)hices to make it fit tlie building. 
 Upon half the block.s are subjects from 
 a contest of Centaurs and Lapiths, while 
 the othere are carved with scenes from 
 the war of the Greeks and the Ama- 
 zons. The designs are vigorous and the 
 execution good, but the majestic repose of 
 the Parthenon sculptures has given place 
 to violent and unrestrained action. There 
 Avere six sculptured metopes over the in- 
 terior porticoes of both pronaos and opis- 
 thodomos. Some fragments of a colossal 
 acrolithic statue were found on tlio floor 
 of the temple. It is plausibly contended 
 that the only real cella of this temple is 
 the small rear chamber with the door 
 opening toward the east, and that the 
 larger chamber of the temple was never 
 roofed over, but formed an open court 
 decorated with its range of Ionic pilasters 
 and its unique interior frieze. From this 
 point of view the temple was. in a sense, a 
 hypwthral structure, as hypa'thral was un- 
 derstood by those who believed that many 
 large Greek temples were in part roofless. 
 PHILADELPHIA. See Amman. 
 PHILIPPI. Macedonia. Turkey. 
 
 Greek 'ruEATKE, shown by its relation 
 to the Hellenic ramparts to be contempo- 
 raneous with the foundation of the city. 
 The plan is greater than a semicircle. 
 The cavea is in part rock-hewn ; the 
 upper part appears from its masonry to be 
 a Koman addition or restoration. The 
 radius of the cavea is 109| ft., the dis- 
 tancio from the stage to the limit of the 
 cavea, 152 ft. The back wall of the 
 stage with its three doors is shown by its 
 cemented masonry to be a Roman recon- 
 struction. On the side toward the town 
 the cavea is bounded by a massive wall in 
 large rectangu^lar blocks over 7 ft. thick, 
 the finest piece of Hellenic masonry on 
 the site of Philippi. 
 PHILIPPOPOLIS. See S/w/iOa. 
 PIACENZA (Plaisance), Italy. 
 
 The C.-VTnEDK.\L (Sta. Giustina) is a 
 
 Lombard cruciform church of character- 
 istic design, Init with .some unusual feat- 
 ures. The fa(;ade is of marble and is 
 divided vertically into three compartments 
 by two slender round shafts rising from 
 the ground nearly to the cornice. In 
 each compartment is a jirojecting jiorcii 
 of two stories, that in the centre larger, 
 but all substantially alike, consisting of 
 two round arches carried on single col- 
 umns resting on grotesque animals, the 
 upi^er arch covered by a low gable. These 
 arches are remarkable as standing and ap- 
 parently firm without the usual tie-rod, 
 though their supjiort is even more fragile 
 than most. An ojien gallery of graceful 
 arches on columns runs above the side 
 porches ; above the central j^orch is a 
 large and fine rose -window filled with 
 tracery of an evidently later date than the 
 front. A single low gal)le covers the front, 
 and has an open -arched gallery beneath 
 following the cornice. A square campa- 
 nile rises out of the roof over the north 
 compartment of the front, with a belfry 
 with four arched oiienings on each face, 
 and a round spire built of brick which 
 reaches the height of 300 ft. The sides of 
 the church are sim])le, with single round- 
 headed wiiulows, square buttresses of 
 slight i)rojection, and open eaves-galleries. 
 The transejit arms terminate each in three 
 apses, the choir in one, and an octagonal 
 lantern of brick with a low roof covers the 
 intersection of nave and transept. The 
 interior is iu some respects peculiar. The 
 nave arches, eight in number on each 
 side, are continued aeross the transept, 
 and the three arches oiDcniug into it are 
 much higher than the rest. Nave and 
 aisles are vaulted, the former in bays 
 which include two arches, the vaults be- 
 ing six-part and those of aisles and tran- 
 sept four-])art. Beneath the choir is a re- 
 nuirkably fine crypt of cruciform plan, and 
 a vaulted roof carried on a great number 
 of small columns. The church, founded 
 in the ix cent., after being twice destroy- 
 
PIACENZA 
 
 ed and renewed, was rebuilt in its present 
 form in 1233. 
 
 The Palazzo del Commuxe, or Town- 
 hall, sometimes called the Broletto, is one 
 of the finest examjiles of an interesting 
 class of civic buildings of North Italy, of 
 which consiiicuous examiiles are to be 
 found at Como, Brescia, Orvieto, and 
 other towns. It is a rectangular building 
 with two high stories, the lower of white 
 marble, varied by occasional coiirses of 
 red and gray, the outer walls carried on 
 open jiointed arches sj)ringing from sim- 
 ple square piers, the ceiling vaulted in 
 brick with stone ribs. The upper story is 
 of brick, separated from the lower by a 
 thin string-course, and pierced by narrow 
 arched openings in groups of three and 
 four, some with round heads and some 
 with pointed, divided by coupled marble 
 shafts of great elegance, and enclosed by 
 large round bearing-arches with flat broad 
 decorated mouldings, the tympana en- 
 riched witli a diaper of brick. A fine ar- 
 caded marble cornice finishes this story, 
 above which rise very bold forked battle- 
 ments in brick. On the ends of the build- 
 ing the cornice and battlements are carried 
 up into a low gable with a wheel window. 
 The angles are marked by strong square 
 battlemented turrets. The lower story is 
 an open loggia, intended to serve for an 
 exchange, as was the case with the Irdli'tti 
 of many Italian towns. The date of the 
 commencement of the work, 1281, is in- 
 scribed on one of the stones of the front. 
 
 S. AxTOXixo. A cruciform Lombard 
 church of brick, formerly the Cathedral, 
 with a singular plan, the ordinary arrange- 
 ment being reversed and the trausejit near 
 the west end, with the nave, but not the 
 aisles, projecting westward from them in a 
 single square bay. At the east end, nave 
 and aisles terminate in round apses. The 
 whole church is vaulted, and at the inter- 
 section of nave and transept eight col- 
 umns and four corner piers carry a lantern 
 which becomes an octagou above the vault 
 
 of the nave, and which might ratlun- be 
 called a tower, since it rises to twice the 
 heiglit of the church roof, with four sto- 
 ries of arched windows — those of the three 
 upper stories coupled — and a low octago- 
 nal roof. The aisles have flat external but- 
 tresses, with narrow lancet windows be- 
 tween, with cusped heads. The church 
 was dedicated in 1011:. A large brick 
 porch or facade, called II Paradiso, was 
 added to tlic north transept in the middle 
 of the XIV century. 
 
 S. Sepolcro, a Renaissance church, 
 built by Bramante in 1.531. Its plan is 
 interesting and picturesque : a nave about 
 30 ft. wide divided into four bay.s, of 
 which the first and third are square and 
 covered by groined vaults, the second and 
 fourth narrow and covered by barrel- 
 vaults. The aisles, half the wid"th of the 
 nave, are divided into bays corres^Jonding 
 with those of the nave, the larger bays be- 
 ing covered by bai'rel-vaults and the small- 
 er by little domes. A range of chapels 
 with apsidal ends flanks each aisle. Each 
 transept arm has two bays with barrel- 
 vaults, an apsidal end, and a small apse in 
 the eastern wall ojjposite the aisle. The 
 square at the crossing is covered by a 
 groined vault like those of the nave. The 
 choir has two rectangular bays with barrel 
 vaults and an apse. This church was ap- 
 propriated by the Austrians as a military 
 hospital during their occuj)ation of north- 
 ern Italy, and has been closed since their 
 departure. 
 
 8. SL'iTo, a fine basiliean church of vari- 
 ous dates and styles, but now mainly Re- 
 naissance. Its iflan is remarkable. The 
 church is preceded by a fine atrium or 
 fore-court enclosed by arcades with Ionic 
 columns, and square bays with groined 
 vaults. From this atrium the church is 
 entered through a western transept with a 
 round dome covering the central compart- 
 ment. The nave, about 30 ft. wide, is 
 covered by a barrel-vault. Its length is 
 about 70 ft. between the western and east- 
 
 296 
 
PIEXZA 
 
 crn transepts. It lias doiililo jiisles oti jiancl. I'lulcr the singU' j,'alil('il ronf are a 
 each side divided by Ionic colnnnis of nave, aisles, and transept of equal height, 
 gray granite into square bays, each covered divided by clustered Doric columns carry- 
 by a small flat dome. Tlie outer aisles ing blocks of entablature, on which rest 
 are Hanked by an equal number of small the round arches and pointed vaults. The 
 chapels, each consi.sting of a flat apse east end is half an octagon, inclosing the 
 lighted by two windows. The eastern two rectangular bays of the choir flanked 
 transept ends in apses to the north and by oblique clniiiels. 
 
 south, and over the crossing is a higii Palazzo I'iccolomixi, a Renaissance 
 round dome with a colonnaded drum, palace of great size built for Pius II., in 
 The inner aisles are continued on either l-i62, by Bernardo Kossellino. The build- 
 side the choir by a square bay with an ings surround three sides of a great court- 
 eastern apse. The choir is of great length, yard with vaulted arcades, the fourth side 
 as long indeed as the nave, and is in three being closed l)y a wall, on the outer face 
 square bays with barrel-vaults divided by of which toward the gardens are three 
 tran.sverse arches, and with a square east stories of arcades answering to the stories 
 end. The original church, which appears of the palace. The principal facades, 
 to have been built about 874, was burned strongly resembling that of the Palazzo 
 in 1260 and rebuilt in a style of pure Kucellai in Florence, have an order of Hat 
 (iothic, says Mothes. A new choir was engaged pilasters in each story, the lowest 
 built in 1520, and a new front in 1.590. It story with a simple square doorway break- 
 was as an altar-jiiece for this church that ing a range of small square windows on 
 Raphael painted the so-called Sistine ^la- each face ; the upper stories with a large 
 donna, now at Dresden. two-light window in every interval, under 
 PH-:XZA, Italy. a bearing arch of strongly marked vous- 
 The Cathedral, built for Pius II. bo- soirs. The entablatures are small and 
 tweon 1459 and 1403, by one Bernardo thin, except that of the upper order, 
 of Florence, probably Bernardo Eossel- which makes a vigorous cornice. The 
 lino, is one of the earliest works of the interior court is very attractive, with a 
 h'enais.sance, and retains much of the feel- round-arched arcade on the first story, a 
 ing of the earlier styles. It is a small second story with broad square windows, 
 church, about 130 ft. long and 95 ft. across and an open loggia above — all the wall 
 the transept. The simply outlined front surfaces being elaborately painted in geo- 
 shows a curious conflict between horizon- metrical patterns. 
 
 tal lines and the vertical, being divided Palazzo del Pketokio. the old Town- 
 
 horizontally by an order of small Covin- hall of Picnz;i, built almiit 1475, by order 
 
 thian columns on pedestals in the lower of Pius II., of the I'iccolomini family, 
 
 story and by the hoi'izoutal cornice of and doubtless by Rossellino. It has an 
 
 the great pediment that covers the whole interesting and graceful facade, about 
 
 front, and vertically by broad pilasters GO ft. long, in two stories, the first an 
 
 that run up through the jiediment and open loggia with three round arches 
 
 l)i'eak into its raking cornice. The pilas- springing from stout Ionic; columns, the 
 
 ters arc flanked Ijy the detached Corinth- second with round-arched two-light win- 
 
 ian columns, which in the second story dows, the arches springing from pilasters 
 
 carry blind round arclu's. Below are and divided by a slender column. Be- 
 
 three square-headed doors, aiul above, a tween the two stories is a broad frieze, 
 
 round window between two niches — in aiul at the angle of the front rises a fine 
 
 the pediment the pajial arms in a round clock tower, of which the belfry stage has 
 
 396 
 
PIETAS 
 
 in c;K'h face a single long rouiul - ureluMJ 
 opening. It is crowned b}' a bold ar- 
 caded corbel-table, above which is a 
 smaller ujiper stage with a similar ter- 
 mination. The whole front, excej)t the 
 uj)jier half of the tower, is covered with 
 stucco and painted with elaborate decora- 
 tions. 
 
 PIETAS JULIA. See Pola. 
 PINARA (Miuara), Lycia, Asia Minor. 
 
 Theatre, excavated in the side of a 
 woody hill fronting the city. The interest- 
 ing cavea is all but perfect, even to the 
 sloping tops of the end walls of the wings. 
 Several of the doorways of the back wall 
 of the stage are standing. The exterior 
 diameter is 173 ft. There are impressive 
 remains of the city walls, iu polygonal 
 masonry of very large stones, with gates 
 formed of three huge monoliths. Foun- 
 dations of several buildings are iu the 
 same masonry. There is a very extensive 
 and interesting necropolis ; some of the 
 rock-tombs, whose facades imitate wooden 
 architecture, are richly sculptured. 
 PISA, Italy. 
 
 The Baptistery is a circle of 99 ft. 
 interior diameter, with an inner ring of 
 twelve arches about 60 ft. in diameter, 
 supported in the first story on eight col- 
 umns with Corinthian capitals and four 
 polygonal piers, and surrounded by a cir- 
 cular aisle about 10 ft. wide, in two stories, 
 the lower covered by four-p)art vaulting, 
 the upper by a barrel-vault. Over the 
 upjier arches rises a high twelve-sided 
 pyramidal roof originally open to the sky, 
 but now ending in a small hemispherical 
 dome. In the centre of the floor stands 
 a marble font, octagonal, 12 ft. in dia- 
 meter, its sides panelled and sculptured 
 with great delicacy, raised on three broad 
 steps, of which the faces ai-e decorated with 
 a marble inlay. The hexagonal marble 
 pulpit, justly esteemed as one of the most 
 admirable works of early Italian art, is 
 the work of Niccolo Pisano, and dates 
 from 12G0. It is supported on a group 
 
 of roiuiuns. the shafts of various kinds of 
 polished granite and marble, three of 
 them resting on the backs of lions, bear- 
 ing six round cusped arches with sculpt- 
 ured figures between and in the span- 
 drels ; and the faces of the hexagon above 
 are filled with figure subjects in high re- 
 lief of the greatest beauty. The exterior 
 is of various ages and styles. It is in three 
 stages, of which the first is a blind arcade, 
 exactly answering to that of the cathe- 
 dral, four of the arches filled with door- 
 ways with sculptured lintels and tympana, 
 the others containing each a small round- 
 headed window. The second and later 
 stage is an arcaded gallery like those of 
 the front of the cathedral, but the arches 
 divided into pairs, each covered by a high 
 crocketed gable enclosing a niche con- 
 taining a statue or grouji. Between the 
 gables, which are crowned by statues, tall 
 pinnacles rise. Thus far the outline of 
 the building is circular. The third stage 
 is a polygon of twenty sides, the angles 
 marked by pilasters rising into pinnacles, 
 and each side occupied by a round-arched 
 window with two pointed and cusped 
 lights, covered by a high gable with 
 crockets and finial. Above this is a do- 
 decagonal dome of brick, which abuts 
 against the inner pyramidal roof at three- 
 quarters of its height, the remainder of 
 the roof projecting and having the effect 
 of a rude closed lantern. The angles are 
 marked by ribs of mai-ble ornamented by 
 crockets. The bajitistery was founded 
 in 11.53. Its architect was Dioti Salvi. 
 The date and the name are both inscribed 
 on the interior piers. The work being 
 interrupted some years later by lack of 
 funds, a general contribution was a.sked 
 for from the citizens in 11(54, when it is 
 recorded that thirty-four thousand fami- 
 lies gave each the sum of one soldo. A 
 second inscription, dated 1278, records the 
 rebuilding " de novo," and doubtless con- 
 cerns the changes in the upper parts. 
 The Cajipaxile of the cathedral, com- 
 
PISA 
 
 moiilv known as tlie Lcaiiini; Tower, is 
 one (if tlie riclicst and most striking of 
 Italian bell-towers, a round tower 53 ft. 
 in diameter and ISO ft. hi<,di. Its desi£;n 
 
 
 
 Fig. 145 — Pisa, Cathedral and Tower 
 
 is in exact harmony willi thai of the 
 eatliedral. consisting of a series of super- 
 ini])osod arcades, of which the first,, about 
 ;5.i ft. high, is composed of fifteen blind alread}' distinguished by earlier work in 
 
 covered by a high bearing-arch with re- 
 liefs. This ai'cade is surmounted by six 
 oiJcn arcaded galleries exactly similar in 
 design, each consisting of thirty narrow 
 round arches carried on 
 tall columns, with capi- 
 tals of various kinds, 
 whose abaci are stayed 
 to the walls behind by 
 flat lintels. The inner 
 wall of the gallery ap- 
 pears uncovered in the 
 eighth and final stage as 
 a belfry, its diameter re- 
 duced to 38 ft., with six 
 broad open arches, 
 flanked by columns sup- 
 porting an arched corbel- 
 table under the cornice. 
 A second inner wall is 
 carried as high as the 
 uppermost gallery, and 
 between the outer and 
 inner walls a stair of easy 
 ascent gives access to all 
 the stories of the tower, 
 Xo floors remain below 
 iliat of the belfry stage. 
 The external walls and 
 j.illcrics throughout are 
 I milt of white marble, 
 the upper and lower 
 stories being strij)ed with 
 lilack. Tlie tow^er was 
 begun in 11 74, nearly 
 sixty years a f t c r the 
 comjiletion of the ca- 
 tlu'ilral. and about twenty years after the 
 great tower of St. Mark's at Venice. 
 Its architect was Bonanno, a Pisan, and 
 
 
 arclies springing from engaged shafts with 
 Corinthian capitals, the arch heads filled, 
 as in the cathedral and baptistery, with 
 lozenge-shaped inlays of colored marbles. 
 In one of the intervals is a square door- 
 way with a high entablature, witii its 
 frieze decorated with a marble inlav. and 
 
 this town. It has been argued that the 
 tower was intended to lean, a gratuitous 
 affront to the builders wliich is set aside 
 by examinati(ni either of the structure or 
 its history. (Jreat care appears to have 
 been taken with the foundations, which 
 rest on a multitude of piles, but the evi- 
 
 298 
 
PISA 
 
 deuces of progressive and dangerous set- 
 tleineiit appear at as early a stage as tlie 
 first gallery, above which point there was 
 a constant effort to correct the ever in- 
 creasing inclination. After the comjjle- 
 tion of the third gallery the work appears 
 to have been suspended for nearly sixty 
 years. It was recommenced in 1234 un- 
 der William of Innsbruck. The floor of 
 the fourth gallery was then 11 in. out 
 of level, in spite of corrections which had 
 been already made below. These cor- 
 rections were continued by making the 
 columns on the south side of the fourth 
 gallery about 5 in. longer than those on 
 the north side, and the same method 
 was adopted in the fifth and sixth galler- 
 ies. At this point there was a second sus- 
 pension of the work, and the belfry was 
 added in 1350 by Thomas of Pisa. The 
 present inclination is about 13 ft. from 
 the vertical. {See Fig. H5.) 
 
 The Campo Saxto is properly to be re- 
 garded as the cloister of the cathedral. 
 The Pisans, returning from the Holy Land 
 after the second crusade under their bish- 
 op Lanfranchi, about 1188, brought with 
 them a great quantity of earth from the 
 Mount of Calvary, amounting as has been 
 asserted to five hundred ship-loads — per- 
 haps to a tenth of that. This was deposit- 
 ed in the neighborhood of the cathedral, 
 where a cemetery was established. When 
 the enclosure was begun is not clear, but 
 an inscription records that in 12 78 the work 
 was carried on under Giovanni Pisano. 
 It is a long quadrangle, measuring about 
 415 ft. in length and 138 in breadth. 
 The enclosing wall, apparently older than 
 the rest and nearly 30 ft. high, is faced on 
 the side next the square with a blind ar- 
 cade of tall roiind arches with simply 
 decorated archivolts, springing from thin 
 pilasters. It has three square doorways ; 
 over the central one is set a later (Jothic 
 shrine of delicate design, under which is 
 a group of sculpture by Giovanni Pi- 
 sano representing the Virgin and Child 
 
 throned, with adoring figures. The quad- 
 rangle is lined with a continuous corridor 
 about 35 ft. wide, presenting toward the 
 court a series of sixty-two round arches of 
 12 ft. sjjan, sj^ringing from rather slender 
 square piers, the openings filled with 
 delicate niullion shafts and tracery of a 
 distinctly Gothic character, probably of 
 the XV cent., said to have been once 
 glazed with stained glass, but now quite 
 ojjen. The arcade rests on a j)edestal 
 course, and is crowned by a light deco- 
 rated cornice. The material is white 
 marble, the piers and arches striped with 
 black and the whole comjiosition is of ex- 
 treme elegance. The decoration of the 
 corridors is very interesting, the walls 
 being covered with the original frescoes of 
 Giotto, Andrea Orcagna, Bcnozzo Gozzoli, 
 and other early painters of less distinction, 
 many of them in fair preservation. The 
 corridors are paved for the most jDart with 
 the slabs of ancient tombs, and contain a 
 great number of sarcophagi, statues, and 
 fragments of sculpture from the Roman 
 times down to the xiv century. 
 
 The Cathedral, dedicated to Sta. Ee- 
 parata, is one of the most important and 
 interesting of Italian churches, whether 
 from its dimensions, design, or decoration, 
 and is typical of a limited but well-defined 
 school of the Romanesque. Its plan is a 
 Latin cross measuring about 330 ft. in 
 length, by 115 ft. in breadth over the 
 aisles. The transept is 230 ft. long and 
 about G5 ft. broad over its aisles. The 
 nave, about 45 ft. wide between the cen- 
 tres of its columns, has two aisles on each 
 side, each in two stories and about 16 ft. 
 wide, the inner aisles running singularly 
 across the transept to the east wall of the 
 church ; the outer aisles turning and 
 flanking the transept and choir. The 
 nave arcades are of single shafts of pol- 
 ished granite and marbles with Corinthian 
 capitals carrying rather narrow round 
 arches. The second - story arcades have 
 square piers over the columns below. 
 
 299 
 
PISA 
 
 joined by roiiiul bearing-arches, eacli en- 
 closing a pair of smaller round arches 
 divided by a small eolnmn. Ahove is the 
 clerestory wall of white marble witli nar- 
 row courses of black, pierced by single 
 
 f\g. 146, — Pisa. Cathedral across Transept. 
 
 narrow arched wiiubius which have no 
 relation to the lower arches. The nave is 
 covered hy a Hat wooden ceiling in deep 
 panels, carved and gilded, the aisles by 
 groined vaults, the inner and outer rows 
 divided by arcades closer than those of 
 
 two bays beyond the cro.ssing, without in- 
 terruption, ends in a round apse with a 
 hemispherical vault covered with gold 
 mosaics said to be from the hand of Cima- 
 bue and to date from VW'i. Each wing of 
 the transept also has an apse at 
 the end. The crossing of nave 
 ~" , and transept, forming an oblong 
 of 40 ft. by 55 ft., is covered by 
 ' a pointed dome elliptical in plan, 
 
 ,j and raised on a low drum dimly 
 lighted by small square windows. 
 The bearing - arches across the 
 nave are pointed, to suit their 
 narrow sf>an. The wimlows of 
 the church are generally tilled 
 with stained glass, much of it of 
 ancient date. The interior was 
 nearly destroyed by fire in ISUG, 
 and the whole church has been 
 subjected to a very thorough res- 
 toration. The exterior, banded in 
 while and black nuirble, is re- 
 nuirkable for the consistency of 
 its design throughout, and for the 
 delicacy and profuseness of its or- 
 namental features. The front is 
 in five stages following the out- 
 line of the nave and aisles. The 
 first story is a high blind arcade 
 of seven round arches springing 
 from engaged columns, of which 
 the two enclosing the central arch 
 a re covered with bas-reliefs. 
 The arch heads are filled with uuirble 
 inlays, alternately round and lozenge- 
 shaped. Tlu'ee of the arches enclose 
 ]ilain square doorways closed by bronze 
 doors of the XVII cent., with fine bas-re- 
 liefs. All the other stories consist of 
 
 the nave. The upper aisles are divided open arcaded galleries of small round 
 
 by square piers over each alteriuite col- 
 umn of the lower arcade, with groups of 
 four arches between on slender columns. 
 'I'hcse upper aisles or galleries are of un- 
 usual height, aiul the outer one is lighted 
 by windows in the aisle wall. The choir, 
 which continues the mive aiul inner aisles 
 
 arches spruiging from shafts of various 
 marbles, whose capitals arc stayed by lin- 
 tels to the wall behind, which is pierced 
 with nari'ow round-arched windows some- 
 times single, but mostly grouped. Uiuler 
 the slojies of the galiles the columns, di- 
 minishing, are dwarfed at the angles to 
 
 8U0 
 
PISA 
 
 mere capitals. 'I'lie upper two stories 
 have only the hreailth of the luive. The 
 eoruers of the front and the upex of the 
 low gable are crowned with statnes. The 
 spandrels of the arches and the small i)or- 
 tion of wall above them are decorated 
 with a delicate and beautiful iuhiy of col- 
 ored marbles, and the string-courses di- 
 viding the stories as well as the cornice 
 moulding are richly sculjitured. The re- 
 mainder of the exterior corresponds in de- 
 sign with the front. The blind arcade of 
 the first story is continued quite round 
 the church, but with pilasters for col- 
 umns, and is repeated in the clerestory,' 
 the second story of the aisle-wall being 
 simjdy divided by pilasters into jianels 
 with square-headed windows. The other 
 windows are small and round headed. 
 The eastern apse is in tliree stages, of 
 which the two upper consist of open gal- 
 leries, the first arched, the second square- 
 
 Tlie church was founded in l()(j:i in jdace 
 of an older one, as a memorial of the grati- 
 tude of the I'isans for success in war against 
 the Saracens in Italy. The original archi- 
 tect, it would appear from an inscription 
 on his monument built into the facade, 
 was one Bnsketus or Buschetto, appar- 
 ently a Greek from Dulychium, though 
 some antiquaries have claimed him for 
 Italian. The church, however, was not 
 finished till after his death and was dedi- 
 cated in 1118. The nave was evidently 
 leuijthened after the original buildinsr. 
 The fa(;ade underwent alteration, or had 
 been left unfinished ; Niccolo Pisano is 
 said to have worked ujjon it in the xiii 
 century. The Pisans appear to have 
 made ])ious use of the spoils of their ene- 
 mies — the marbles, the shafts, and even 
 the capitals, have been plundered from 
 many sources. (See Fiys. lJf5, lJf6, H7.) 
 Leaxixg Towek. See Campunih. 
 
 Fig. 147. — Pisa, Cathedral, Baptistry, Campanile and Campo Santo. 
 Scale of 100 feet. 
 
 headed. The high elliptical dome is 
 surrounded at its base by a rather thin 
 arcade of pointed, cusped, and gabled 
 arches with high pinnacles between. This 
 was added after the disastrous fire of 1500. 
 
 Palazzo Gambacorti, a characteristic 
 example of the Italian domestic archi- 
 tecture of the xiY cent., covering an area 
 about SO ft. wide and 115 ft. deep, with a 
 small court in the centre. Its jirincipal 
 
 801 
 
PISA 
 
 interior feature is its fine entr;mcc-hall, 
 an irregular quadrangle about 40 ft. by 
 80 ft., divided into two lines of vaulted 
 bays by massive shafts with well-devel- 
 oped capitals. Its fa(;ade. about 80 ft. 
 wide and 70 ft. high, is of simple de- 
 sign, in three high stories, a lower story 
 of a door between four windows, with 
 curiously abutted segment-arches ; and 
 two stories of round-arched windows, 
 with pairs of pointed and cusped sub- 
 arches on slender colonnettes. 
 
 Sta. Agata. a little octagonal brick 
 chapel, Lombard in apjiearance, and 
 perhaps of the xi century. It has one 
 broad doorway with an altar opposite. 
 and in six faces triple arched windows 
 under round bearing-arches. Pilasters 
 on the angles run up into an arched 
 corbel-table below the liigli pyramidal 
 roof. 
 
 S. Casciano, a small early lionian- 
 esque church, of the ix and xii cents., 
 at some little distance from the town, 
 measuring about (iO ft. in width and 130 
 ft. in length, with nave and aisles of 
 eight bays, and a central apse. The 
 church is incomplete, being finished only 
 to the height of the nave arcades. The ex- 
 terior follows as far as it goes the design of 
 the cathedral, with a fa(;ade of five high 
 blind arches on flat pilasters, with inlays 
 round and lozenge-shaped in the arch- 
 heads, and containing three doors. Above 
 this story the central division of the front 
 is just started, with angle pilasters and a 
 two - light window in the middle. The 
 flanks and apse are treated with blind 
 arches divided by pilasters, and with nar- 
 row round-headed windows in every alter- 
 
 iiiancsqne modified by Hotliio influence. 
 It is about 240 ft. long and .53 ft. broad, 
 consisting of a wide nave, the eastern 
 
 Fig. 148— Pisa, Sta. Caterina. 
 
 part bordered by one aisle of three oblong 
 vaulted bays. It has a square chancel 
 flanked by two square chapels on each 
 side. The front, of white marble re- 
 lieved by occasional narrow bands of 
 black, and covered by a rather high 
 gable, is in three stages, the first high, 
 with three blind arches on engaged col- 
 umns, the middle arch containing a plain 
 square doorway, and reliefs in the tym- 
 panum. The second stage is a grace- 
 
 ful arcaded gallery of nine pointed luid 
 nate bay. Apparently the tliree eastern cusped arches on slender columns, with 
 bays and apse remain from the church of trefoils in the spandrels, with three 
 the IX cent., the church having been pointed windows behind it. The upper 
 
 lengthened, and. as Mothes argues, the 
 handsome old doorways inserted in the 
 new front. 
 
 Sta. Cateuixa. a transitional church. 
 showing the character of the Pisan Po- 
 
 stage has a broad arch occupying the 
 centre, over a round window set in a 
 square of small panels containing heads, 
 and pointed arcades each side graduated 
 to the slopes of the gable. The iirst 
 
 302 
 
PISA 
 
 story probiibly belongs to the XI cent., 
 the upper part, or at least the arcading, to 
 Nieeolo Pisano, iu 1262. {See Fig. US.) 
 S. Fkancesco is a plain brick xiii 
 cent, church, attributed to Niccolo Pi- 
 sano, long degraded to the uses of a mili- 
 tary storehouse, but lately restored. It 
 consists of a nave about 175 ft. long, 
 covered by a continuous barrel-vault of 
 nearly 60 ft. sjian and opening into a tran- 
 sept of equal width and about 140 ft. long, 
 from which open eastward a square vaiilted 
 choir and three smaller chapels on each 
 side. The vault of the choir is decorated 
 with ancient frescoes, atti'ibuted to Taddeo 
 Gaddi. In the angle of the north transept 
 two boldly projecting corbels are made to 
 sustain two sides of a higlicamjxinilo, which 
 above the roof has the features of a Lom- 
 bard tower, in four stories with pilaster- 
 strips at tlie angles terminating in arched 
 corbel-tables, and trijjle windows in the 
 belfry stage with bearing arches. Two fine 
 cloisters attached to the church on the 
 north, though modernized, are still elegant. 
 S. FuEDiASO, one of the early minor 
 churches of Pisa, of which tlie foundation 
 is believed to date from the xi cent., but 
 substantially rebuilt at a somewhat later 
 period. Its plan is about 53 ft. wide and 
 125 ft. long, divided into nave and aisles by 
 seven ancient columns on either side, doubt- 
 less taken from Koman buildings, and bear- 
 ing round arches. Tlie nave has a con- 
 tinuous high barrel-vault ; the aisles are 
 in square bays, each covered with a low 
 interior dome. The nave terminates east- 
 ward iu a square choir. Three square 
 chapels opening from each aisle are later 
 additions. The facade has two stories of 
 wall-arcades after the characteristic Pisan 
 manner, with lozenge-shaped panels in 
 the arch heads, and three doorways. 
 Over the nave is a bare gable, apparently 
 raised above its original height when the 
 nave was vaulted. 
 
 Sta. Makia della Spixa, a familiar 
 Gothic church on the bank of the Arno, re- 
 
 markable for its small size and for its pro- 
 fuse and elaborate ornament. It is an ir- 
 regular quadrilateral about 27 ft. by 52 ft. 
 internally, consisting of a single hall with 
 an ojien wooden roof, and with no archi- 
 tectural feature except a vaulted arcade of 
 three I'ouud arches at the east end, carried 
 on heavy columns. The elaborate exterior 
 is banded in white and black marble. The 
 low walls are faced with an arcade of seg- 
 mental arches, which, on the exposed 
 southern flank, are filled with the tracery 
 of windows now mostly stopped up. Over 
 them is a range of crocketed canojiies like 
 the stalls of a cathedral, fringing the 
 eaves with pinnacles, and filled with stat- 
 ues, while above and between these rise 
 at intervals square four - gabled shrines, 
 likewise occupied by statues. The west 
 end has twin arches containing two doors, 
 and above them a singular composition of 
 three crocketed gables, the higher middle 
 one peejiing out between the others. The 
 whole is adorned with colonnettes, foiled 
 circles, and panels, and ends in five four- 
 gabled canopies with statues. The east 
 end is of quite a different character, con- 
 sisting of three high-pointed arched pan- 
 els enclosing single narrow windows, and 
 capped with high gables flanked by pin- 
 nacled shrines like the others. Three oc- 
 tagonal spires rise out of the roof here, 
 corresponding to the three bays of the in- 
 terior vaulted arcade. This portion, it is 
 conjectured, was the whole of the original 
 building, erected in or near 1220 by the 
 Gualandi family with the aid of the Sen- 
 ate as a sort of shrine for the sailors of the 
 town. The rest was added a century 
 later by the city, and a thorn of the True 
 Crown, brought home from the Holy 
 Land by a Pisan merchant, was enshrined 
 in it, whence the name of the church. It 
 is believed that some of the sculpture is 
 the work of Giovanni Pisano. Having 
 suffered much from the overflow of the 
 river, the church has lately been taken 
 dow'n, rebuilt, and raised. 
 
PISA 
 
 S. MicHELE IX IJoKCio, oiic of the most 
 ancient of Pisan cliurclies, belicvcil to 
 date from the beginning of the xi cent., 
 but substantially rebuilt under Niccolo 
 Pisano about 1230, except the upper part 
 of the fa(;ade, which is seventy years later. 
 It has a uave and aisle in seven bays, sep- 
 arated by columns, part of which are of 
 red granite brouglit from the ruins of Ilo- 
 man and other temples, a shallow square 
 projection at the east end for the altar, 
 and a campanile added in 1G25. The 
 vaulted crypt belongs to the older churfh, 
 and was decorated with frescoes, of which 
 traces still remain. The front is similar 
 in disposition to that of the cathedral — a 
 high story of plain wall, of white marble 
 relieved by n.irrow courses of Ijlack. ami 
 with three scpiare doorways under bear- 
 ing arches, the central one surmounted by 
 a triple arched shrine enclosing statues. 
 Above this story are three o^jcn galleries 
 of pointed and cus})ed arches with much 
 delicate and interesting detail. 
 
 S. Nicola, an ancient Romanesque 
 church founded about 1000 a.d., which 
 has undergone many partial destructions 
 and rclniildings, leaving only fragments 
 of the original round-arched fa9ade. Its 
 remarkable feature is its fine campanile, 
 probably built by Niccolo Pisano about 
 1230, an octagonal tower some 24 ft. in 
 diameter, of two high stages of (Hiual 
 height with angle pilasters joined at the 
 top of the secoiul stage by round arclies, 
 under which are panels alternately round 
 and lozenge-shaped. Above this is a 
 graceful open arcaded gallery of sixteen 
 rounil arches supported on slender shafts. 
 A smaller and later hexagonal l)el fry- 
 stage rises above the gallery with angle 
 pilaster - strips, an arched corl)el-tal)le, 
 small round-arched windows and an oc- 
 tagonal stone roof. The tower contains a 
 spiral staircase of admirable construction 
 and of great beauty, enclosed between the 
 outer wall and an ascending arcade. Va- 
 sari says that it was the model for Bra- 
 
 mante's staircase in the Belvedere of the 
 Yaticim. 
 
 S. Paolo a Kipa d'Auxo, a Roman- 
 esque church, said to have been founded 
 by ('harlemagne, but in its present form 
 dating from the XI and xii centuries. Its 
 plan is basilican or T-shaped, measuring 
 about 135 ft. in length by o-lft. in breadth, 
 with long nave and aisles separated by 
 granite columns with marble cajjitals sup- 
 jjorting round arches and a clerestory, and 
 a long transept with central dome and 
 ajise. The aisles are groin-vaulted in 
 square bays ; the nave and transej)t have 
 a flat ceiling. The exterior is like the 
 cathedral in miniature. The front is in 
 four stages, the first of the xi cent, with 
 some later changes, very high, with five 
 blind arches on flat jiilasters enclosing 
 three doors and with marble inlay in the 
 arch heads, r(nind and lozenge - shaped. 
 The upper and later stories consist of ar- 
 caded galleries, with slender shafts, some 
 spiral and twisted. The wall-surface is of 
 white marble varied liy thin courses of 
 black. The flanks are in l)lind arcades on 
 pilasters. 
 
 S. PiETRO A Grado, situated on the 
 bank of the Arno, about four miles from 
 the town, is one of the most venerable 
 among the Pisan churches. Its name is 
 due to a tradition that St. Peter landed in 
 Etruria uj>on this spot and built here a 
 church. It was originally a rectangle of 
 about 90 ft. in breadth l)y .50 ft. in length, 
 with its triljune on the west end toward 
 the sea. This disposition was changed 
 afterward, when the church was nearly 
 trebled in length eastward, and three 
 apses were built at the eastern termina- 
 tions of the nave and aisles, the western 
 a^ise being however retained so that the 
 entrances are in the sides. The nave and 
 aisles are in thirteen bays covered with 
 open roofs and are separated by ancient 
 columns, some of Greek marble and the 
 remainder of granite, joined by round 
 arches, above which rises the wall of the 
 
 3U4 
 
PISTOIA 
 
 clerestory pierced by narrow roiuul-lieaileil 
 windows. Two lieavy piers break the 
 series and mark the jmictiou of the old 
 work and the new. The exterior differs 
 from tliat of most of tlie Pisan eliurclies 
 in being e.ssentially that of a Lombard 
 basilica, the walls divided into bays by 
 pilaster-strij)s terminating in arched cor- 
 bel-tables, and otherwise of severe sim- 
 plicity. A sqnare. detached campanile 
 of later date, but similar in style, stands 
 near the N. E. angle of the liiurch. It 
 is in foi;r stages, divided by tiiin string- 
 courses with arched corbel - tables. The 
 upper orbelfry stage, having a simple two- 
 light window in each face, is Eeuaissance. 
 There is controversy over the age of this 
 church. Mothes and some others argue 
 that the older parts are of the v cent., and 
 the additions of the ix ; De Fleury and 
 most writers, including the latest, Deliio 
 and von Bezold, that the oldest parts are of 
 the IX or x cent, and the later of the xii. 
 S. Sepolcro is an interesting octagonal 
 church of which the date is given as 1125. 
 It is the work of Dioti Salvi, w-as built as a 
 chapel attached to a house of the Knights 
 Templar, in the form which they affect- 
 ed as that of the Holy Seiiulchi'e, and has 
 much the character of the Lombard bap- 
 tisteries. A rhymed inscription tells the 
 builders name : 
 
 Hujus operii5 fiibi-icator 
 Dens te Salvet nomiiKitin-. 
 
 A central octagon, about 28 ft. in diam- 
 eter, composed of banded piers carrying 
 high pointed arches, is surrounded by an 
 aisle 20 ft. wide, in which are four jilain 
 square doorways under arches, and above 
 in each side two small round-arched win- 
 dows. Above the roof of the aisle the 
 w^all of the central octagon is carried up 
 as a clerestory, pierced with a single small 
 window in each side, and crowned by a 
 sharp octagonal stone roof very slightly 
 domed within. The walls are of stone 
 and with little ornament. At the side of 
 
 the church stands a square campanile in 
 three stages — the tirst two with pilaster- 
 strips terminating in arched corbel-tables, 
 and with small and simple openings. The 
 campanile is of stone to the height of the 
 aisle walls of the church — above this ])oint 
 it is of brick, having evidently been re- 
 built after partial destruction. 
 
 S. Stefano .\i C.w.vlieri, one of the 
 few Renaissance churches of Pisa, and 
 next to the cathedral the largest church 
 in the town, measuring about 200 ft. by 
 110 ft. It was begun from the designs of 
 Vasari in 1502, but its plan, originally of 
 great simplicity, consisting of a great nave 
 52 ft. wide and 135 ft. long, with a small 
 square choir terminating in a round apse 
 and flanked by two rectangular chapels, 
 has been singularly changed by the addi- 
 tion, in 1682, of aisles connected with the 
 nave only by two doorways on each side, 
 and by chapels and connecting spaces on 
 the east end completely enclosing the 
 choir and apse. The nave is covered by a 
 flat wooden ceiling deeply jianelled and 
 decorated in blue and gold, with paintings 
 in the panels. A slender bell-tower rises 
 from the south side of the choir. The ex- 
 terior, of jilain brick, was provided with its 
 fagade of marble from the designs of Bu- 
 ontalenti, or, as some say, of Giovanni de' 
 Medici himself. 
 PISTOIA, Italy. 
 
 The Baptistery, a beautiful early 
 Gothic building built, it is said, by Cel- 
 lino di Xese from the designs of Andrea 
 Pisano, and finished about 1350. It is an 
 octagon, 48 ft. in diameter inside, with an 
 octagonal tribune opening from the side 
 opposite the main entrance. The interior 
 is simple, lighted by high narrow windows, 
 and covered by an octagonal dome wdiose 
 crown is 43 ft. ahove the floor. The ex- 
 terior is of white marble with alternate 
 narrow^ courses of black or dark green 
 marble. It has jirojecting angle-j)ilasters 
 ending in i)innacles, three round-arched 
 docjrwavs on three sides, and on four 
 
 305 
 
PISTOIA 
 
 otliers a single narrow pointed arelied 
 window. The principal doorway is cajiped 
 by a high crocketed gable with pinnacles, 
 enclosing a small wheel window. The uj)- 
 per part of the wall is encircled with a 
 graceful blind arcade of cusped pointed 
 arches with gables, separated by slender 
 shafts. The wall is finished by a low open 
 balustrade, above wliich is a low attic, also 
 with angle pilasters ending in pinnacles, 
 and an octagonal roof covered by an open 
 lantern. Six steps surround the base of 
 the building. 
 
 The Cathedkal of Sta. Makia is a 
 Lombard church of the Pisan type, with- 
 out transept. Its plan is a rectangle 
 about 86 ft. wide and 170 ft. long, with a 
 vaulted nave and aisles of ten bays di- 
 vided by round columns, carrying round 
 arches, and a clerestory with square w'in- 
 dows, probably modern. The choir, flanked 
 by modern chapels, has one projecting bay 
 terminating in a great apse, built at the 
 end of the xvi century. The floor of the 
 choir, raised above that of the nave and 
 approached by steps extending the whole 
 breadth of nave and aisles, covers a tine 
 crypt, divided into three aisles of three 
 vaulted bays each, the central aisle having 
 a square projecting sanctuary to the east, 
 and the side aisles each a lateral chapel. 
 The exterior has a fa9ade much like that 
 of Pisa, but with the addition of a project- 
 ing open arcaded porch or narthex of 
 seven round arches extending across its 
 whole width, the central arch much stilt- 
 ed, and the others surmounted by a heavy 
 sciuare-panelled attic. The porch has a 
 barrel-vault with bas-reliefs by Andrea 
 della Hobbia. Above it the facade, fol- 
 lowing the outline of the nave and aisles, 
 consists of two stories of arcaded gal- 
 leries and rows of graduated colonnettcs 
 under the gable iind half-gables. The 
 walls of the aisles are high, and are deco- 
 rated with blind arcades with sfjuare win- 
 dows above, and in the arch-beails lozunge- 
 shai)ed inlays of colored marbles. Over 
 
 the choir is a square lantern with small 
 windows and a flat roof. At the north an- 
 gle of the front rises a fine square cam- 
 panile, of earlier date than the church 
 and serving originally the jiurposes of 
 military defence, but remodelled at the 
 end of the xiii cent, by Giovanni da Pisa, 
 when the three stories of arcaded galleries 
 were added, making it one of the finest 
 towers in Italy. The cathedral appears to 
 have been built about 1100, i-eplacing an 
 earlier church of the vi century. It was 
 probably partially rebuilt in 1-2T2, by A'ic- 
 eolo Pisano. 
 
 Madonxa del Umilta, a conspicuous 
 and interesting Renaissance church be- 
 gun in 149-t by Ventura Vitoui, but only 
 completed in 1569. It is an octagon !)0 
 ft. in diameter, faced with a transverse 
 closed porch or narthex 35 ft. wide and 
 100 ft. long. The porch is covered by a 
 barrel-vault divided into bays, of which 
 the central bay rises into a high hem- 
 ispherical dome coffered like the vault. 
 
 Fig. 149— Pistoia, Mad. del Umilft. 
 Scale o( 100 feet. 
 
 The octagon is in four stories, of which 
 all but the u]ipermost are encircled Ijy 
 Corinthian orders with coujiU'd pilas- 
 ters. 'I"lu' lower order, which lines the 
 church throughout, is on high j)edes- 
 
 306 
 
PISTOIA 
 
 tills. In the octagon its intorvals enclose 
 arches which iu the axis of the church 
 open into the narthex and into the op- 
 posite choir, a single, barrel-vaulted bay. 
 In the other faces are altar niches. The 
 second and third stories have a similar 
 order of pilasters, with a round-arched 
 window in each face, with rudimentary 
 tracery. The fourth story is a high attic 
 from which springs an octagonal dome 
 and lantern. These, which were added 
 by Vasari, are crude iu design and out of 
 keeping with the exterior. {See Fig. H9.) 
 
 The OsPEDALE DEL Ceppo. the great 
 hospital of Pistoia, originally built in 1277, 
 but restored later, consists of a square mass 
 of buildings surrounding a court, and is 
 notable chiefly for its long fai/ade in two 
 stories — the first a broad oiien vaulted ar- 
 cade of graceful round arches springing 
 from Corinthian columns, the second, 
 rather low, with scpiare windows with 
 simple dressings over the arches. This 
 front is remarkable for its frieze about •! 
 ft. high, separating the two stories, exe- 
 cuted in 1.528 by Giovanni della Kobbia, 
 in colored terra-cotta. It is divided into 
 seven panels about 18 ft. long, correspond- 
 ing to the arches below, and filled with 
 subjects in high relief, representing the 
 seven acts of mercy — the visitation of the 
 sick, the burial of the dead, etc. — the fig- 
 ures colored as in a picture. The spandrels 
 of the arcade are ornamented with roun- 
 dels in terra-cotta, enclosing reliefs by vari- 
 ous members of the Delia Robbia family. 
 
 Palazzo Commuxale, the old Town- 
 hall, built between 1295 and 1350, stands 
 ou the great square north of the cathe- 
 dral ; a high rectangular building of four 
 stories, of which the lowest has on the 
 front an open arcade of five low jwinted 
 arches springing from single square jjiers. 
 Above these is a range of five pointed and 
 cusped two-light windows under low bear- 
 ing ai'ches, the central window having the 
 balcony or ringhiera cliaracteristic of the 
 town-halls of North Italy, from which the 
 
 magistrates addressed the peojile. 'J'he 
 third story is a mezzanine with small 
 square windows witii trefoil head, and the 
 fourth has five broad and line three-light 
 windows with pointed, cusjied, and tra- 
 ceried heads, enclosed by strong bear- 
 ing-arches at the spring of which a thin 
 impost moulding runs across the front, 
 which is finished by a flat projecting 
 cornice. The interior contains many fine 
 halls decorated with frescoes now much 
 decayed, and a beautiful court, each side 
 of which is supported on a single great 
 round arch springing from angle piers 
 with chamfered corners and carved capi- 
 tals, the wall above pierced with grouped 
 windows similar to those of the upper 
 story of the fa9ade. 
 
 Palazzo del Podesta, or, del Preto- 
 rio, the ancient palace of the magistrates, 
 built in 13GC, is a square mass of building 
 adjacent to the Bajjtistery, with an im- 
 posing facade on the great square of three 
 stories, the lowest a plain wall pierced 
 with square openings and a simple round- 
 arched doorway giving access to the court- 
 yard. The other two stories have each 
 a range of seven two-light pointed and 
 cusped windows with pointed bearing 
 arch. Simple string-courses divide the 
 stories from each other, and a flat project- 
 ing cornice crowns the front. The court 
 is small, and is remarkable for retaining 
 its ancient stone bench of judgment, a 
 plain seat of stone with a massive stone 
 table in front of and below it, from which 
 the sentences of the magistrates were de- 
 livered. The walls are covered with de- 
 caying frescoes. 
 
 S. Andrea, a flat-ceiled basilica whose 
 age is disputed, but whose present aspect 
 dates from the latter half of the xii 
 century. It is about 130 ft. long and 
 50 ft. wide, with nave and aisles separated 
 by five pairs of composite marble columns 
 carrying round arches, the last two bays 
 being marked off as a choir by srjuare 
 piers, and railed in. The clerestory is 
 
 307 
 
PLAI8AXCE 
 
 extranrdiiiarily high. Thu I'arliur IVoiit 
 lias been foiisiderably overbuilt : the 
 lower and older part has a quintuple ar- 
 cade of slender columns containing three 
 doorways of the Pisan type, handed arehi- 
 volts, and lozenge panels. The upper 
 
 ticcahly deep. The ]ilan and the nature 
 of the masonry seem to point to a date m 
 the A'l cent. B.C. ; on the other hand, if 
 this is in fact the Herajum, we know that 
 it was built, or more probably merely re- 
 built or adorned in its cella and super- 
 
 part, covered witli ;i dense geometric structure by the Thebans, after their 
 
 mosaic, and following the outline of the 
 aisles and clerestory, is much changed by 
 later alteration, especially by a clumsy 
 Renaissance balustrade across the whole, 
 and a circular window above, added by 
 the Jesuits in 1610. On the lintel of the 
 main door is a relief of the Last Judg- 
 
 annihilation of Platwa in B.C. 4:iT. 
 
 Walls of the city, about two and a half 
 miles in circuit. The remains are exten- 
 sive, and can be assigned to five distinct 
 periods, beginning with the polygonal style 
 of an early type, and ending with rough 
 masonry consisting of rubble and tiles laid 
 
 ment, signed by the sculptor Gruamons in in mortar — probably Byzantine or very late 
 
 110(1. and in the nave is a handsome hex- Roman. The main walls are about 10 ft. 
 
 agonal pulpit by Giovanni Pisano. 10 in. thick, and in places are still over 
 
 S. Paolo is an old church which dates Vi ft. high and of excellent workmanship. 
 
 from 7-48, but was rebuilt in 1136. The They are strengthened in places with 
 
 interesting j^art is the front, which was round rectangular towers, particularly in 
 
 remodelled after 1203, and finished by the two cross-walls, one within the other, 
 
 Giovanni Pisano and his jjupil Jacopo di which make the base of the triangle with 
 
 Matteo about 1320. It is banded in green 
 and gray stone. Round arches remain be- 
 low ; above them is a graceful pointed ar- 
 cade and balustrade, then a high-pitched 
 crocketed gidjle enclosing a foiled wheel- 
 
 its apex toward the south, rej)resenting 
 
 the plan of the city. 
 
 POLA (anc. Pietas Julia). Istria. 
 
 Amphitheatke, probalily later than 
 Augustus. It stands near the sea on the 
 
 (low. The rich pointed main door- slojie of a hill, so that the east side has only 
 
 way, placarded upon the old round arch, 
 is the work of Giovanni and Jacopo, the 
 .sculpture being signed by Jacopo, 
 PLAISAXCE. See Piacenza. 
 PLAT.E.V, Breotia, Greece. 
 
 IIer-ei'm, or Te.mple of Hera (Juno). 
 This noted sanctuary is recognized with 
 practical certainty in the remains of an 
 important Doric temple found in 18!il by 
 
 one story, while the west side has three 
 stories. In jilan it is ellii)tical ; the greater 
 axis is 4.53 ft., the lesser 369 ft. ; the axes 
 of the arena are 229 ft. and 147 ft. The 
 full height of the wall is 97 ft.: the ex- 
 terior is rusticated and divided into three 
 stories, the lower ones consisting of Tus- 
 can arcades of seventy-two arches each, 
 in the second story without pedestals. 
 
 the American School at Athens. It was The third story has square w'iiulows be- 
 
 on a terrace about 120 ft. broad, rising 
 some 6 ft. above the neighboring fields. 
 It was 54 ft. 9 in. by 163 ft. 9 in., ori- 
 ented east and west, hexastyle. peripter- 
 al, undoubtedly Doric, with pronaos and 
 opisthodomos of two columns in antis, 
 cella, and a rather small treasury behind. 
 In plan it was somewhat archaic, being 
 very long in proportion to its width, and 
 having the prouaos and opisthodomos no- 
 
 tween pilasters. The exterior wall is 
 broken by four rectangular towers, wliich 
 are clearly parts of the original building. 
 Their use is unknown ; but it has been 
 suggested that they were for staircases for 
 women. The material is a hard white 
 limestone, almost marble, laid in large 
 blocks with metallic clainj)S and no 
 mortar. Tlie outer wall is nearly ]icrfeet, 
 but the interior is ruinous, thougii tiie line 
 
 306 
 
POLA 
 
 of the podium is still preserved, as well iis 
 traces of the stairs iuid vomitories. The 
 arena could be flooded for the naumachy. 
 The estimated capacity is twenty-two 
 thousand spectators. 
 
 The Cathedkal was tirst l)uilt. aci'oi-d- 
 ing to an inscription still standing in its 
 wall, in 857, under the Emperor Louis 
 \'III., by a Bishop Handegis : but was re- 
 built as it now appears in the xv cent., 
 perhaps preserving the old jilaii. It is a 
 three-aisled basilica with transept, with 
 nave and aisles in nine bays of broad 
 pointed arcades, and ending eastward in 
 the straight wall which probably re- 
 places an earlier apse. The choir, which 
 extends into the uave, has been raised, 
 lowering the triumphal arch, that may be 
 a part of the original church, as may be 
 also the columns, some of them bearing 
 antique capitals under the stilt - blocks, 
 and some IJomanesque or Byzantine. The 
 bell-tower is of the last century. 
 
 The PoiiTA Erculea, or Gate of Her- 
 cules, in the old city-wall, excavated since 
 1S45, is named from the head and club of 
 Hercules carved beside the keystone. 
 
 Porta Gejlin'a. a double Koman gate- 
 way in the okl wall, on the north side 
 of the capitol, toward the amphitheatre. 
 Tlie two arches, side by side, are well 
 proportioned ; they o^jen between three 
 engaged unfluted Corinthian columns, 
 which support an entablature consisting 
 merely of frieze and cornice. The attic 
 is gone. 
 
 Temple of Diaxa (?), on the Forum 
 (now the market-place). It was a nearly 
 exact duplicate of the temple of Rome 
 and Augustus, but was transformed into 
 a palace for the Venetian governors, to 
 which end it was furnished with a A'ene- 
 tian pointed fa5ade. It serves now as the 
 Palazzo Pubblico or town-hall. On the 
 sides the original dispositions remain to 
 some extent visible. 
 
 Temple of Rome Axn AfcusTis. It 
 remains in good preservation, and now 
 
 serves as a jnusenni. It is of the best 
 period of Roman art, Corinthian (unfluted 
 columns), tetrastyle (the portico includes 
 six columns), prostyle, ground-plan 57 ft. 
 by '2G^ ft., on a high stereobate, reached 
 by a flight of steps in front ; the cella is 
 41^ ft. by 3(5 ft. outside. The height of 
 the columns is 271 ft., the total height 
 44 ft. The material is limestone, except 
 the shafts of the columns, which are in 
 flne white marble. The bases of the col- 
 umns have no plinths. The foliage of 
 the capitals, the frieze, and the modillions 
 have a richness and a delicacy scarcely 
 surpassed in the Augustan age. 
 
 Theatre. The site is still visible in a 
 semicircular hollow in the hill-side above 
 the town. A great part of the stones were 
 used in 1030 to Iniild the citadel. It was 
 finely constructed of free-stone ; in plan 
 semicircular, the greater diameter about 
 330 ft., that of the orchestra 117 ft. The 
 cavea was divided by a precinction into 
 two ranges, the lower of fourteen seats, 
 the upper of eleven ; above the upper 
 range there was a gallery, and back of 
 that a coveretl Corinthian portico. The 
 stage-wall w'as adorned with two tiers of 
 Corinthian columns. 
 
 The Triumphal xVkcii is now called 
 Porta Aurea or Porta Aurata. a name 
 which belonged jn-operly to the destroyed 
 neighboring city gate. It is in fact a mon- 
 ument of the patrician family of the Scrgii, 
 and is gracefully proportioned, consisting 
 of a single arch of 13| ft. span and 24| 
 ft. high, between two pairs of Corinthian 
 columns supporting a broken entablature. 
 The frieze over the arcli bears an inscrip- 
 tion and sculptured chariots ; over the 
 entablature stand three jjedestals which 
 originally bore statues of the Sergii, and 
 an inscribed attic. There are winged vic- 
 tories in the sjiandrels. The imposts of 
 the arch are received upon pilasters. The 
 material is a hard white limestone ; the 
 ground-plan 30 ft. by 7| ft. ; the total 
 height 45| ft. 
 
POMPEII 
 
 POMPEII, Italy. 
 
 Amphitheatke, occupyiug the eastern 
 extremity of the town. From the testi- 
 mony of its masonry and of inscrijitions, 
 it was probably built early in the first 
 cent. !!.('., and may claim to be the oldest 
 kiuiwn Roman amphitheatre. It is in 
 part excavated, so that the comparatively 
 low exterior walls do not correspond with 
 the height of the interior. The plan is 
 the usual ellipse, the exterior axes being 
 •3U^ ft. and 426 ft., and those of the 
 arena 121 ft. and 22(J ft. The cavea had 
 thirty-five tiers of seats, which could ac- 
 commodate about twenty thousand peo- 
 ple ; they are divided horizontally by two 
 precinctions. The lowest division com- 
 prised the seats of honor ; in the middle 
 of each of the long sides there is a large 
 box in which there are only four steps in- 
 stead of five, adapted to receive movable 
 chairs. The middle division of the cavea 
 is subdivided by twenty radiating stair- 
 ways, and the highest division by forty. 
 Above the highest division is a gallery di- 
 vided into little boxes, to which there is ac- 
 cess by a number of stairways ; this was 
 presumably for women. Behind this gal- 
 lery there was another for the w'orkmen 
 who managed the rcla or awnings. The 
 arena has large arched entrances at the 
 two ends. Access to the lowest and mid- 
 dle divisions of the cavea is by stairs aiul 
 vomitoria from a vaulted corridor concen- 
 tric witli the arena; to the highest division 
 by a wide exterior gallery, supported on 
 arcades and provided with a number of 
 stairs leading to the ground. ]\Iany of the 
 seats remain in place ; they have edge- 
 mouldings, and depressions for the feet of 
 the spectators of the next tier above, like 
 those of the Small Theatre, but are formed 
 (if solid Ijlocks of tufa. The arena is sur- 
 rounded by a podium-wall about 7 ft. 
 high, upon which was set a stout grating 
 for the security of the spectators. This 
 wall was ornamented witli paintings of 
 gladiatorial subjects. The arena itself 
 
 has a simple earth floor, with none of the 
 substructions which occur in uuiny other 
 amphitheatres. 
 
 Basilica, facing on the S.W. angle of 
 the Forum. In plan it is approximately 
 a rectangle of about S3 ft. by 220 ft., 
 surrounded on all four sides by interior 
 ranges of columns, and having at the 
 western end a rectangular tribune pro- 
 jecting inward from the back wall. It 
 opened on the portico of the Forum by 
 five doorways separated by piers, and 
 probably closed by wooden barriers and 
 light gratings. Within these doorways 
 was a narrow vestibule separated from the 
 main body of the interior by a flight of 
 five steps, two piers, and two central col- 
 umns. The central space was surrounded 
 by twelve large columns on each side, 
 with two interveiiing at each end ; these 
 columns were very solidly built of spec- 
 ially shajied bricks, and coated with fine 
 stucco. From the size of these columns 
 it is clear that there can have been no 
 second range above them. To the central 
 columns corresponded engaged columns 
 against the walls, which, as well as the 
 columns of the vestibule and those in the 
 line of the front of the tri])une, are of 
 much smaller size, indicating that there 
 was here a superposed order. Many frag- 
 ments, in tufa, of this order have been 
 found, with Ionic capitals. They show 
 that the ujiper story consisted in great 
 part of colonnades, left open f(n' the light- 
 ing of the building. There is indication 
 that there w'cre no floored galleries over 
 the aisles. The tribune was raised about 
 G ft. ; it was entered by doors in the walls 
 which closed it at the sides. In front it 
 had six columns, whose intercolumnia- 
 tions show marks of gratings. The trib- 
 une was richly ornanu'nted with mould- 
 ed work in stucco. Beneatli.it there is 
 a vaulted chamber of problematical use ; 
 it does not appear to have been a prison. 
 The building had a timber roof, the roof 
 of the central space being probably sepa- 
 
 .310 
 
POMPEII 
 
 rate from that of the aisles. Tlie wall- 
 decoration belongs to the tirst Pompeiian 
 style, imitating encrustation in colored 
 marbles. In date the building is pre- 
 Poman, falling in the ii century B.C. 
 It was damaged by the earthquake of 03 
 A.D., and a more or less complete restor- 
 ation, including the decoration of the trib- 
 une with marble, was in progress when the 
 great eruption came. 
 
 BriLDiXG OF EuMACHiA. An inscrip- 
 tion shows that it was dedicated by the 
 priestess Eumachia in honor of Concordia 
 Augusta and Pietas, evidently with refer- 
 ence to Livia and Tiberius. It consists 
 of a large rectangle, enclosing an open 
 double-porticoed court, and preceded at 
 the end toward the Forum by a broad por- 
 tico of seventeen columns, which was un- 
 finished at the time of the final destruc- 
 tion. Around the two sides and the back 
 is carried a spacious covered passage. 
 Against the back wall is a large semicircu- 
 lar apse with two piers in the line of the 
 •wall, flanked by two small apses. The 
 wall-painting is in the third Pompeian 
 decorative style, with a black dado and 
 foliage-ornament, the panels above being 
 alternately red and yellow, with small 
 landscapes. The building dates from 
 about 50 A. D. ; it was much damaged by 
 tlie great earthquake, and restoration and 
 further enrichment with marble encrusta- 
 tion, etc., were in progress at the time of 
 the final disaster. 
 
 Curia Isiaca. See Palcestra. 
 
 Three Cuei^ or Tribunals, as com- 
 monly called, occupying the southern end 
 of the Forum. The three buildings are 
 of moderate size and similar jilan, and of 
 construction subsequent to the earthquake 
 of G3 A.D., though it is evident that they 
 replaced older public buildings. The 
 plan of all includes a rectangular hall 
 with an apse or tribune at the end. They 
 had a common fa9ade, which formed an 
 • architectural pendant to the Temple of 
 Jupiter at the opposite end of the Forum. 
 
 The middle building, more ornate, was 
 adorned inside with colunnis against the 
 walls, perhajis in a double tier, and its 
 tribune was occupied by an enriched edi- 
 cule presumably for a statue of the em- 
 peror. The porticoes before this build- 
 ing and the eastern one could be closed by 
 gratings. All these were paved and en- 
 crusted with marble, and had timber 
 roofs. It is probable that the middle one 
 was the senate-house of the Decurions, 
 that the eastern one, which like the first 
 could be securely closed by gratings 
 against the invasion of a crowd, was the 
 court of the Duumviri, and that the west- 
 ern one, which was open to the public, 
 was the office of the iEdiles, among whose 
 functions was the police of the market. 
 
 The FoEUM is an open square, about 
 450 ft. north and south and a fourth as 
 wide from east to west, which was lined 
 with open ijorticoes. The northerly is oc- 
 cupied by the Temj)le of Jupiter, and the 
 southerly abuts against the three Curia;. 
 The west side is bordered by the Basil- 
 ica and the Temple of Ajjollo ; the east 
 bv the Macellum or Market, the Senacu- 
 lum, the Temple of the Genius of Augus- 
 tus, the Building of Eumachia, and the 
 so-called School. The porticoes were in 
 course of reconstruction at the time of the 
 disaster of 79 a.d. The older structure 
 remained on the south side of the Forum, 
 and on the southern part of the east side ; 
 its columns were in tufa coated with stucco, 
 of so-called Greek style, with an entabla- 
 ture supported by wooden beams, the whole 
 being of rough execution. It was built 
 by the quaestor Yibius Popidius. When 
 the city was overwhelmed, this jiortico 
 had been demolished on the entire west 
 side, and in part rebuilt. The new struct- 
 ure was in limestone, of fair construction, 
 though of inelegant design, and had two 
 stories. The architraves of the lower range 
 of columns were built up in flat arches. 
 The lower order was Doric, the upper 
 Ionic. (See Fiy. 130.) 
 
 311 
 
I'dMl-KII 
 
 The Forum Triaiigulurc is an njioii spaei> 
 at the south end of the town, tu'arly tii- 
 aiifjuhir in shape, and bordered by open 
 colonnades. It is adjoined on the N. E. 
 
 of this court arc Doric, aliout 1"2 ft. high, 
 well formed and of good execution. They 
 date from the tufa period, and appear to 
 be contemporaneous with the Great Thea- 
 
 Fig, 150, — Pompeit, Forum. 
 
 by the Great Theatre, and contains the tre. The cells are evidently later than 
 
 Greek Temple. the porticoes, and it is probable that the 
 
 The Gladiatous' Barracks, sometimes original Ijuilding was to shelter the spec- 
 
 called a market, consists of a colonnaded 
 court al)init 148 ft. by 187 ft. surrounded 
 by a double tier of .small cells, seventy- 
 one in all, opening on the porticoes below 
 and on a covered wooden gallery above. 
 Tlie.se were evidently the sleejjiug-quarters 
 of the gladiators. The ranges of cells are 
 interrupted at intervals by chambers ap- 
 propriated to other uses, including stair- 
 ways, a wide stair in the N. W. corner de- 
 scending to the l''(iruni Triangularc, a 
 chapel with trojihies on the south side, a 
 prison, some better rooms for officers, and 
 what seems to have been a dining-room on 
 the east side communicatin<j with a large 
 
 tators in the theatre in the event of a 
 storm, and was later altered to lodge the 
 gladiators. It is estimated that it could 
 accommodate one hundred and forty-two, 
 exclusive of officers — not an unreasonable 
 number, since there is record of as many 
 as forty jiairs fighting together at I'dui- 
 peii in a single day, beside combats with 
 wild beasts. 
 
 lIorsH OK TiTK Centhxaky. This im- 
 portant dwelling is of the type developed 
 from two houses side by side, one atrium 
 and the rooms around it being appropri- 
 ated especially to purposes of display, and 
 the other reserved for household needs. 
 
 kitchen. In the N. K. angle is a graceful In this example the left-liand atrium is 
 Ionic ])ortico of three I'olunms with a the finer. Reliind it lies a beautiful S(|uare 
 guard-chamber on one side. The columns peristyle with twenty-two Doric columns. 
 
 312 
 
rojrPEii 
 
 two-storieil on the side toward the front. 
 Oil tlie peristyle open several summer and 
 winter dining-rooms, exedras, and at the 
 back a large, ojjen, well-ventilated sitting- 
 room, behind which is a very small gar- 
 
 and rollnx). or of the (^ua'stor. is for the 
 beauty of its decoration and the complex- 
 ity of its details one of the most important 
 dwellings of Pomjjeii. It is formed of 
 three houses side by side thrown into one, 
 ticn. The service atrium has a garden of those on the sides retaining practically 
 moderate size on its right hand, and stairs their original arrangement, and that in 
 
 to the upper story. A long passage leads 
 back to a kitchen, stable, cellar, and an 
 unusually si)acious and complete private 
 bath, witli frig ida rill III or cold bath, ajjo- 
 di/feriuin or dressing-room, fepidariuni or 
 warm-air chamber, and caldarium or warm 
 bath. This portion of the house contains 
 
 the middle devoted entirely to a handsome 
 peristyle with central tank and garden, a 
 spacious oecHs or state chamber with walls 
 encrusted with marble, and two small 
 bedrooms. The house on the left jire- 
 seuts a twelve-columned Corinthian atri- 
 um, surrounded by the iisual rooms, in- 
 
 also a secluded and splendidly painted eluding two dining-rooms. At the rear 
 
 is a peristyle and garden, with free-stand- 
 ing columns, however, on only one side ; 
 on this open the kitchen and the winter 
 dining-room, as well as the cecus of the 
 middle house. The figure j'^inting, of 
 mythological subjects, is among the most 
 interesting of Pompeii. That of the ta- 
 blinum and of the triclinium next it, on 
 blue grounds, is especially noteworthy. 
 The decoration of the middle house is al- 
 
 tvle. The 
 
 tridiiiiiiiii or dining-room, which has an 
 independent entrance on a side street, ev- 
 idently designed for somewhat riotous fes- 
 tivities. The house appears to be of Ro- 
 man republican date, and its mural paint- 
 ing is in part apparently contemporane- 
 ous with the house and of the so-called 
 candelabrum style, and in part of the lat- 
 est Pompeian style. Tlie decoration of 
 the secluded triclinium, consisting of 
 
 brilliantly colored groujis of figures on so excellent, though later in 
 dark grounds, mostly 
 black, is among the 
 most remarkable in 
 Pompeii. 
 
 The House of Cor- 
 nelius RuFus is note- 
 worthy for the remains 
 of its handsome atrium, 
 with a bordered implu- 
 vium in the middle, by 
 which still stand the 
 marble standards of a 
 table, gracefully carved 
 with lions, that have 
 been often imitated by 
 modern designers. A 
 terminal figure of Rufus 
 with its inscription gives its name to tlic 
 house ; and behind the tablinnm and triclin- 
 ium are .seen the eighteen Doric columns 
 of the elegant peristyle. {See Fig. 151.) 
 
 The House of tue Dioscuri (Castor 
 
 Fig. 151. — Pompeii, House of Cornelius Rufus. 
 
 right-hand house is much plainer, and 
 doubtless was chiefly occupied by the 
 slaves of the household. The house was 
 named House of the Quaestor from the 
 presence in the atrium of the left-hand 
 
 313 
 
POxMrElI 
 
 house of three metal -plateil ami lined 
 inoiiey-chests ; but as there were no qu:¥s- 
 tors in Pompeii iit the time of its destruc- 
 tion, the name House of the Dioscuri, 
 from the subject of one of the wall-iiaiiit- 
 ings, is now preferred. 
 
 The lIousE OF THE Faux, or of the 
 flHEAT Mosaic, formerly called House of 
 (ioethe. from the poet's son, is one of the 
 
 Fig. 152. — Pompeii, House of tiie Faun. 
 
 most stately of Pompeian residences. It 
 occupies the sites of two older houses in 
 width, and presumably of two in depth 
 also. The front part preserves much of 
 the orifjinal arrangement of two houses 
 side l)y side, with two entrances and two 
 atria. Hehind one of the atria there is a 
 tiihUxinii oi- drawing-room between two 
 diuiiig-rooins (Iricliiiin). and behind the 
 otiier are the fauces, giving access to the 
 kitchen, baths, and other domestic ser- 
 vioes. The fine peristyle, about 80 ft. 
 by f)5 ft., had twenty-eight l<}iii<; columns 
 ill tufa coated with thin, hard, white 
 stucco, and was surmounted by a gallery 
 in the second story. At the liack of the 
 peristyle lies an exedra, with two Corin- 
 thian (!olumns 1)1 aiifis and open at the 
 back toward the great garden excei^t for 
 a low division-wall. Iti this exedra was 
 found the remarkable mosaic of the 
 liattle of Alexander against Darius, now 
 in the Xational Museum at Naples, which 
 
 gives one of its nanu's to the house. The 
 garden, which occupies the entire sites of 
 two houses, is surrounded by a j^ortico of 
 fifty-six Doric columns. The decoration 
 of this house is remarkable for the profu- 
 sion of mosaics ; they begin in the very 
 entrance-passage, which is the most ornate 
 in Pompeii. There is also much relief- 
 ornament in stucco, and painting in imi- 
 tation of colored marbles, but 
 comparatively little pictorial 
 wall-painting. {iSee Fig. 152.) 
 House of Goethe. See 
 IFiiu.sc of the Faun. 
 
 House of Holcoxius Pu- 
 Fus, a dwelling of moderate 
 size but interesting from the 
 regularity of its plan and for 
 its details. The street fronts as 
 usual arc bordered by shops, 
 several of which consist of two, 
 three, or even more rooms. The 
 entrance - jiassage leads to a 
 somewhat small atrium of the 
 so-called Tuscan type without 
 columns, upon which ojien the iTsual 
 rooms. On one side of the handsome 
 tahliiniin or drawing-room at the 1)ack 
 of the atrium was the stair to the upper 
 story, on the other the passage {fainr.i) 
 to the rear part of the house. The 
 peristyle, somewhat irregular, was colon- 
 naded in the second story as well as be- 
 low. The lai'ge dining-room is enclosed 
 and is jilaced on one side conveniently 
 near the kitchen. At the back of the 
 peristyle is a fine exedra, or summer din- 
 ing-room, which is flanked by two smaller 
 rooms. Till! wall-paintings include Bac- 
 chic and musical suhjects. and some of the 
 rooms are ]ia\('il with marlile. 
 
 House of .Mei,ea(;:;i!, a stately dwel- 
 ling in whirh. as in the house of Sallust, 
 the |iri\iitr apai'l iiieiit.-< sin'roiindiiig the 
 }ieristvh' are phircd lie.-idr the |iiiMir |iiir- 
 tidii of the house ahdiit the alriuiii. in- 
 stead of in the normal jiosition heliind it. 
 The house has no shoi)s connected with 
 
 314 
 
rOMPEII 
 
 it. Tlie atrium is Tuscan, witliout col- 
 umus ; the rooms opening on it are fewer 
 and simpler in plan than usual. The peri- 
 style, entered from the atrium by an or- 
 namented doorway of four lea.ves. is very 
 large, and has a wide jiortieo supported by 
 twenty-four columns wliicli ai'e smooth 
 and colored red below, and fluted and 
 white above, with fanciful capitals. In 
 the court was a ganlen surrounding a 
 jiisciua of complicated design. At the 
 back lies an open or summer dining-room, 
 along whose rear and side walls are ranged 
 twelve columns which seem to have suji- 
 jiorted a gallerj'. On either side of this 
 room there is a spacious exedra, and in 
 the left hand corner in a j^rojecting ell is 
 a large closed dining-room, beside which 
 is the commodious bedroom of the master 
 of the house. Some rooms of the upjier 
 story remain in good condition. The 
 decoration of this house is throughout very 
 rich. The floors are of mosaic or of ojiits 
 fif/iiiinim with inlaid jiatterns. The wall 
 painting, in the late Roman styles, is lav- 
 ish ; its subjects include Meleager and 
 Atalanta (in the entrance-passage), from 
 which the liouse is named, Paris and 
 lli'len, (ianymede and the Eagle. Silenus 
 and the Infant Bacchus, many scenes in 
 which figure cupids, nymijhs, and satyrs, 
 and fantastic architectural devices. 
 
 House of Pansa, one of the largest 
 and most stately dwellings in Pompeii, 
 and of very regular plan, so that it has 
 
 
 [B^t inn-iirl riT. 
 
 Fig. 153. — Pompeii, House of Pansa. 
 
 been selected more than once for repro- 
 duction, as in Paris, and at Saratoga, Xew 
 Yoi-k. It occupies the entire sjiace be- 
 tween four streets. It dates from the 
 
 old or tufa period, and shows modifica- 
 tions of Roman date, the chief of which 
 are the numerous shops on the street- 
 fronts. Some of these form small houses 
 in themselves, with many rooms, and 
 among them is a complete bakery. The 
 entrance is preceded by a small vestibule. 
 The atrium is of the Tuscan type, without 
 cohimus about the central pi.scina ; it 
 has at the side small bedrooms and two 
 alee or wings, the latter with fine mosaic 
 pavement, and at the back a fablinum or 
 drawing-room, on one side of which is the 
 passage {fauces) to the jirivate part of the 
 house, and to the spacious peristyle, which 
 has sixteen columns about the central 
 court with its piscina, and was surrounded 
 by a gallery in the second story. On one 
 side of the peristyle lies the dining-room 
 {triclinium). On the other side is a range 
 of bedrooms, outside of which, on the side 
 street, are placed the kitchen and a stable 
 and carriage-house. At the back of the 
 peristyle is the chief room in the house, 
 the cecus, so called. The garden, arranged 
 in long jjarallel beds, appears to have 
 been a vegetable-garden. The mural dec- 
 oration of this fine house has, unfortu- 
 nately, for the most part jierished. Several 
 of the bedrooms of the secoiul story remain 
 in part ; in them the excavators found a 
 quantity of feminine ornaments and toilet 
 accessories. {See Fi(j. 153.) 
 
 HorsE OF PopiDiUH Secuxdus, for- 
 merly called Casa del Citarista. This is 
 among the most considerable of Pompeian 
 residences, occupying the sites of at least 
 three earlier houses. The front portion, 
 with the two handsome iJcristyles behind 
 it, dates from the tufa period ; the irAvi 
 behind these peristyles is of Roman date, 
 containing a large and finely decorated 
 cecus or state-chamber, two dining-rooms, 
 and a very complete stable and carriage- 
 house ; so also is the addition on the 
 north, itself practically a complete house 
 with independent entrance. Connected 
 with the older part of the liouse there is a 
 
 315 
 
POMPEII 
 
 bath ol' two rooms. The wall-paiiitiug is ing wliicli, thougli only of moderate size, 
 exeelleut ; tlie best subjects have been re- is I'emarkable for the abundance and ex- 
 moved to the National Museum at NapU's. cellent taste of its decoration. It is the 
 lIursE OF >Salll"8T, a dwelling of the liome of (ilaucus in Bulwer's '• Last Days 
 oldest or tufa jjcriod, to which, under the of Pomjieii." The street-entrance opens 
 Empire, were added on one side the later on a somewhat long passage flanked by 
 Uomaii luxuries of a peristyle with sum- two shops and leading to the atrium, 
 mer triclinium and separate kitchen. The This has on both sides bedrooms and 
 chief street-front is occupied by shops, offices, and two stairways to the upper 
 the first of whicli is a complete bakery of story. At the back of the atrium is a 
 four rooms, with mills and oven and a handsonu> tablinuiit or drawing-room, be- 
 stairto living-rooms above. Others of the side which is the passage (faiiccx) leading 
 shops seem to have been cook-shoj^s and back to the j^eristyle, surrounded on three 
 to have been conducted by the slaves of sides by columns. Among the works of 
 the occupant of the house. The atrium art found iu this house are the familiar 
 is a handsome Tuscan hall without col- Care Canein mosaic from the entrance- 
 umns; on it open the usual rooms with a jiassage, and the mural paintings of the 
 fine tabUnuni or drawing-room at the Surrender of Briseis by Achilles to Aga- 
 back. The decoration is of the earliest memnon"s Herald, the Marriage of Jupi- 
 style, imitating encrustation in colored ter aiul Juno, and the Sacrifice of Iphige- 
 marbles. At the back is a portico which nia. 
 
 turns the angle of the house, and within 
 which lies the winter dining-room. Out- 
 side this is a narrow garden, occupied chiefly 
 by a sanded patli, with Ijoxes for plants on 
 each side. The back wall is jjainted with 
 trees and shrubs to give the illusion of 
 space. In one corner of the garden is 
 built the summer dining-room. Fnnn the 
 right of tlie atrium a jjassage leads to the 
 Koman addition. The peristyle here en- 
 closes a flower-garden on three sides, and 
 has at the back two richly ornamented 
 bedrooms. A Ijalcony, upon which the 
 rooms of the upper story opened, extended 
 over two sides of the peristyle. The 
 nuiral jiaintings in this part of the house, 
 iu tlic two latest Roman styles of Pompeii, 
 present a sharp contrast witJi the severe 
 
 Market or Macellim, often called the 
 Pantheon. In plan it is approximately 
 rectangular, the facade on the Forum 
 adorned with a portico of slender Ionic 
 marble columns in two stories, at the 
 back of which was a range of small booths. 
 The chief entrance is double, the two 
 doorways being separati'd by a niclie 
 flanked by Corinthian columns. There is 
 evidence that the large open area now 
 forming most of the interior was sur- 
 rounded by a wide portico ; this left open 
 a central rectangle, in which appears a 
 dodecagonal foundation, around which 
 stand twelve s([uare bases of masonry. 
 These have been taken for altars to the 
 Twelve Gods, or bases for their statues, 
 but it is more likely that they served to re- 
 
 and stately decoration of the older part of ceive the supports of a light dome cover- 
 
 the house. Among them are some of the ing a fountain. On the north side a 
 
 best examiiies of Pompcian figure-painting, range of booths faces outwardly on a side 
 
 the principal subjects being Paris and street, and on the south side a similar 
 
 Helen, Mars and Venus, Europa and the range of snuiller booths, each about 9 ft. 
 
 Bull, and the Punishment of Actawi. by 10 ft., fronts on the court. The back 
 
 The last painting is of the unusual size of is occupied by three large compartments. 
 
 10 ft. by 13 ft. That in the mi(hlle, plaiidy a temple, has 
 
 House ov tiik Tkauic Poet, a dwell- a pronaos in wliich live stejis rise to the 
 
 31C 
 
POMPEII 
 
 celki. wliirli has a liase fur tlic cult-statuo 
 at tlie back, ami \va.s apparently dedi- 
 cated to the cult of Augustus. The left- 
 hand compartment, toward the north, is 
 also a jilace of worship. The right-hand 
 compartment, toward the south, is sur- 
 rounded at the sides and back by a stone 
 bench standing free from the wall and in- 
 clined toward the front, as Italian stone 
 market-tables are made to this day. This 
 cannot be more appropriately explained 
 than as a place for the display of meat 
 and fish for sale, and this identification is 
 strengthened by the presence of conveni- 
 ences for the free use of water and for 
 easy drainage. The walls of the booths 
 and chambers are jiainted in the latest 
 Pompeian style with conventionalized 
 architecture and in bauds and panels. In 
 the shrine of Augustus the chief panels 
 bear Greek mythological subjects, such as 
 lo and Argus, and Phrixus on the Earn, 
 and the panels above these display fish, 
 flesh, and fowl of all kinds, subjects ap- 
 propriate to a market, which recur in the 
 other chambers. The date assigned to 
 this structure from the character of the 
 architecture and decoration and the ar- 
 rangement of the shrine of Augustus, 
 falls between 14 and 23 a.d. 
 
 Pal.estka, behind the Great Theatre, 
 between the Forum Triangulare and the 
 Temple of Isis. It has been called Curia 
 Isiaca, or place of initiation to the Mys- 
 teries of Isis ; but for this there is no evi- 
 dence. The interior is surrounded on 
 three sides by a portico of slender Doric 
 ciilunins of tufa. It is plain that the 
 portico originally extended all round, 
 and that in a restoration of the temple of 
 Isis. probably after the earthquake of 03 
 A.D., a considerable piece was taken from 
 the palsstra and added to the precincts of 
 the temple. Inside it was found, during 
 the excavation of 1T97, the famous Dory- 
 phoros copied from Polycletus, now iu 
 the National Museum at Naples. In date, 
 the pala?stra is pre-Koman. 
 
 Paxtiiicdx. See Market. 
 
 The School, so-called, can hardly have 
 been a school, though no better identifica- 
 tion has been made out. The manifest 
 disjiositions for the entrance of a file of 
 persons by the side door and their exit by 
 a door on the Forum are suitable for vot- 
 ing. It forms a large quadrangle of some- 
 what irregular form. In the middle of 
 the south side is a large raised rectangular 
 tribune or platform. On the side toward 
 the Forum was a portico of eight columns, 
 irregularly spaced. That the building 
 was of importance is shown by the fact 
 that it was generously encrusted with 
 marble. The original construction was 
 pre-Koman, but important alterations 
 were made at two periods, the first 2)rob- 
 ably Eepublican, and the second after the 
 earthquake of G3 a.d. 
 
 The Senaculum or House of the ])e- 
 CURIONS, so-called, a large structure on 
 the east side of the Forum, occuj)ies a 
 rectangular area 60 ft. by 05 ft., witli 
 a large semicircular apse at the back, and 
 a wide rectangular recess on each side, 
 separated from the central area by two 
 columns. The apse is ornamented with 
 columns which stand free along its walls, 
 and has in the middle a large edicule 
 flanked by columns, and with a two-tiered 
 pedestal for statues. There are eight 
 smaller niches for statues in the walls of 
 the rectangular area, which has a rich 
 pavement of marble of different colors, 
 and an altar in the middle. The bases of 
 eight columns stand in front of the area 
 on the edge of the Forum, but there is no 
 indication of any architectural se])aration 
 between the area and the public sjjace in 
 front. This is a strong argument against 
 the identification as the Senaculum, for 
 the sittings of the Decurions could not 
 have been conducted entirely in jjublic. 
 The apse and the side recesses were evi- 
 dently covered, but it is doubtful whether 
 the central area was ever roofed. It may 
 have had a roof of timber. The archi- 
 
 317 
 
POMPEII 
 
 tecture and decoration fix tlic date liefore 
 50 A.D. 
 
 Temple ((ircek) uu the Forum Triangu- 
 lare, long called the Temjile of Hercules, 
 but now thought to have been dedicated 
 to Apollo or Artemis. Little remains but 
 the massive stereobate of gray tnfa, traces 
 of the cella, and a nnmber of architectural 
 fragments. It was probably destroyed be- 
 fore the empire, ami replaced Ijy a later 
 shrine. The original temi)le appears to 
 have dated from the vi cent. B.C., and 
 to have resembled Temple 0. at Selinus. 
 The stereobate of five steps measiires at 
 the top step 56| ft. by 89 ft. The tem- 
 ple was hexastyle, with eleven columns on 
 the flanks, and the cella was very small 
 in proportion. Its side walls projected 
 in two anta> in the line of tlie third lateral 
 column on each side. The columns were 
 3 ft. 10 in. in diameter at the base, and 3 
 ft. 1 in. at the neck : the echinus is heavy 
 and projects strongly. The rough tufa of 
 the shafts, which had eighteen channels, 
 was coated with fine stucco. The capitals 
 are of finer stone. The gutter was orna- 
 mented witli terra-cotta lion -heads of 
 archaic type. 
 
 Temple of Apollo, long known as the 
 Temjile of Venus, on the west side of the 
 Forum, a large peripteral structure facing 
 the sonth, in a peribolos surrounded by a 
 colonnade. The identification rests upon 
 an inscription on the cella floor, and is 
 strengthened by the presence of an om- 
 phalos, and of a painted tripod on a pi- 
 laster of the court. The temple, which 
 faces the south, was hexastyle, Corinthian, 
 with ten columns on the flanks, standing 
 on a high basement with a central flight 
 of steps. The cella was proportionately 
 very small with a deep portico before it. 
 A great part of the floor was covered with 
 a yery tine geometrical mosaic with a 
 meander border, formed of marbles of dif- 
 ferent colors. Before the entrance steps 
 stands the sacrificial altar. The structure 
 dates from tlie tufa period, but was re- 
 
 stored in the last days of Pompeii. The 
 portico of the periliolos was originally of 
 two stories; the columns of the lower 
 range were Ionic, but were transformed 
 into Corinthian with stucco, and the en- 
 tablature was Doric. Tlie lower parts of 
 the columns were colored yellow, the upper 
 parts were left of the white of their stucco 
 coating. On the side toward the Forum 
 the wall of the peribolos was represented 
 by piers, the spaces between which were 
 left open for passage. At the north end 
 behind the portico there was a series of 
 chambers, no doubt connected with the 
 service of the temple, with wall jiaintings; 
 among these one representing Bacchus 
 and yilenus is of excellent execution. 
 
 Temple of the Fohtl'xe of Arr.rs- 
 TU.s, dedicated, as is shown by an inscrip- 
 tion, by the Duumvir Jlarcus Tullius. 
 The rectangular cella walls are almost 
 complete, with a prostyle, tetrastyle Co- 
 rintliian portico. The whole stands on a 
 high basement with stepis between piers 
 in front, which, like that of the Temple of 
 Jupiter, rises from a platform communi- 
 cating with the street by a small flight of 
 steps on each side. Between the flights of 
 steps stands the altar, and the lower plat- 
 form was no doubt enclosed by a grating. 
 At the back of the cella, in an apsidal re- 
 cess, was an edicule with two Corinthian 
 columns for the statue of Fortune. Two 
 rectangular niches on eacli side of the in- 
 terior of the cella were probably intended 
 for statues of the emperor and his family. 
 Though not of great size, this temple was 
 richly adorned. 
 
 The Temple of the Gexii's of 
 Augustus, on the east side of the Forum, 
 has been called Temple of Mercury and 
 Temple of Quirinus. It was presumably 
 founded very soon after the cult of the 
 emperor was officially establisheil in 7 
 B.C. On the side toward the Forum is a 
 wall, originally encrusted with marble, 
 whose door opens on a covered vestibule 
 with four columns towai'd the court. In 
 
 »18 
 
ro^rPEii 
 
 thf middle of tlie court stands a richly 
 sciiljitured altar of marble ; the front of 
 the die bears a sacrificial scene. At the 
 back is the temple projjer, on a high base- 
 ment. The small cella, whose walls are 
 nearly entire, was preceded Ijy a tetrastyle 
 Corinthian portico, to which steps ascend 
 from behind, on each side of the walls of 
 the cella. The walls of the court were 
 ornamented with niches and other archi- 
 tectural adornment, and several rooms, no 
 doubt for the convenience of the priests 
 and attendants, were connected with it. 
 
 Temple of Hercules. See Temple 
 (Greek). 
 
 Temple of Isis, identified by an in- 
 scription which also shows, together with 
 the character of the architecture, that it 
 was rebuilt after the earthquake of G3 A.n. 
 The tufa stylobate of the portico, how- 
 ever, belongs to the older building, and 
 seems to go back to the ii century B.C. 
 The temple consists of a rectangular en- 
 closure surrounded by a colonnaded gal- 
 lery with a central court, in which stands 
 the temple proper. This has a 
 cella broader than long, preceded 
 by a tetrastyle portico two inter- 
 columniations deep. The cen- 
 tral intercolumniation is the 
 widest, and from it descends a 
 flight of steps. On each side of 
 the cella a rectangular niche for 
 a votive statue projects laterally 
 beyond the anta. and a similar 
 niche is placed against the back 
 wall. In one corner of the 
 court stands a curious edicule 
 with a pediment and an arched 
 doorway opening between Co- 
 rinthian pilasters. From the 
 back of the interior a stair de- 
 scends to a subterranean cham- 
 ber. This edicule is called a Purgatori- 
 um. or place of jnirification. Its outer wall 
 is ornamented with figure-reliefs in stucco. 
 Several rooms of considerable size open on 
 the enclosing court. {Sec Fig. loJf.) 
 
 Temple of Jipiter. at the X. \V. end 
 of the Forum. Its tufa masonry assigns 
 it to the late Oscan period, about the end 
 of the II century r.c. There is evidence 
 that it was injured in the great earth- 
 quake G3 A.D., the colored wall-decoration 
 and thick stucco of the columns show sev- 
 eral restorations, one of which was in 
 progress at the time of the final disaster 
 in T9 A.D. The temple was hcxastyle, 
 Corinthian, on a high basement, with a 
 deep portico before the cella. The plat- 
 form in front was divided into two levels. 
 The lower, reached by steps at each end, 
 appears to have formed a platform for 
 orators, the upper had the usual broad 
 flight of steps between two piers. The col- 
 umns of the portico were about 39 ft. high. 
 The interior of the cella was divided into a 
 broad nave and two very narrow aisles by 
 two ranges of eight Ionic columns between 
 antffi. These columns were about 1.5 ft. 
 high, and above them were ranges of Co- 
 rinthian columns 13 ft. high supporting 
 the timber ceiling. The back of the nave 
 
 Fig. 154 — Pompe'i, Temple of Isis. 
 
 is occupied by three vaulted cells behind 
 an order of pilasters, forming together a 
 pedestal for the statue of the divinity, or 
 divinities ; for it is not unlikely that the 
 temple was dedicated to a triad, like the 
 
 319 
 
POMI'KII 
 
 Ciipitoline temple at lionu'. 'i'he ascrip- 
 tion of the temple to Jupiter rests upon 
 an inscription to Jupiter ()})timus Maxi- 
 mus and a licail of Jupiter. Imth found 
 in the cella. Almost the whole basement 
 is occupied by a vaulted chamlier, licjhted 
 by narrow openings in the floor of the 
 cella, and entered by a door in one side. 
 'L'liis may have been a treasury, or a store- 
 house for accessories of the cult. The 
 platform measures oS^ ft. by 121 ft. The 
 basement with its steps, and the lower 
 portions of the columns of the portico and 
 of the cella walls, remain in position. 
 
 Tiie Tkmi'i.i; of Jupiter, Juxo, axd 
 MiXKUV.v has been called a Temple of 
 Neptune. It is established within the 
 walls of a former private house, and its 
 construction is plausibly assigned to the 
 colony established by Sulla ; it would cdu- 
 sequently date from after 80 B.C. Within 
 the door opening on the street was a cov- 
 ered vestibule with two columns on the side 
 toward the temple court. This court is 
 about 18 ft. deep, and in it stands a rectan- 
 gular altar of excellent workmanshiii, sur- 
 rounded with a cornice and a Doric frieze, 
 and with graceful volutes at the angles. 
 Immediately behind the altar nine steps, 
 occupying the entire width of the court, 
 ascend to the temple platform. The cella 
 was jireceded by a tetrastyle portico, two 
 intercolumniations decj5. At the back of 
 the cella is a pedestal for the cult-statues, 
 and here were found at the time of the ex- 
 cavation, in ITGO, statues of over life-size 
 in terra-cotta of Jupiter and .hi no, and a 
 bust of Minerva. A Corinthian anta- 
 capit:il is preserved ; it has between the 
 vohites a beardeil face. 
 
 'i'KMi'LE OK ^IicitrriiY. See Templf of 
 f/tc (leiuHH of Aiif/u.s/us. 
 
 Tkmi'LE OF Nkptuxe. Sci' Tvinplc of 
 ■I HjiiliT. Jiniii. inifl Miner ra. 
 
 Tkmim.i-; iiF Vi':\rs. Sec Tciiiplc (f 
 Apollo. 
 
 Great Tmkatiu:. lying oi\ the east side 
 of the Forum Triangulare. and facing 
 
 south. In plan it cninliincs elements that 
 are jilaiiily Greek, such as the excess of 
 the arc of the auditorium over a semicir- 
 cle, with dispositions usually looked upon 
 as characteristically Roman. It is shown 
 by its masonry and by an inscription to be 
 entirely of pre-Roman date, but tn have 
 been rebuilt and altered in some minor re- 
 spects by two wealthy Roman office-holders, 
 two or three years before the Christian 
 era. The cavea is in part set into a hill- 
 side, in part built up on vaulted substruc- 
 tions. A broad vault, utilized as a passage 
 for ingress and egress, encircles the back 
 of the auditorium beneath the highest di- 
 vision of four seats. A precinction here 
 opens on the passage by vomitoria ojiposite 
 the six radial stairways which intersect the 
 cavea, and has outside communication. 
 A second precinction girdles the cavea be- 
 neath the main division of seats, and above 
 the four wide low steps next the orches- 
 tra, whieli served, like the orchestra it- 
 self, for the placing of chairs of honor. 
 Communication with the exterior was pro- 
 vided from this precinction also, and from 
 the orchestra. Above the highest division 
 of seats was a raised gallery, supported on 
 arcades surrounding the exterior wall, for 
 the attendants who managed the vehan or 
 awning. The interior of the cavea was 
 cased in marble ; the section of the seats 
 is a plain rectangle, without mouldings or 
 sunk space for the feet of the sjjectators 
 of the next tier above. The stage was 
 raised only about 3 ft. ; its front wall has 
 two flights of ste})s descending to the or- 
 chestra, and three niches in which sat offi- 
 cers of the peace, facing the audience. 
 The back wall of the stage displays three 
 doors which open in recesses, the central 
 one round-headed, and the others rectan- 
 gular. The recesses are flanked by niches. 
 The floor of the stage was of wood. Be- 
 neath it can be traced some arrangements 
 for handling the curtain, and others which 
 are not yet fully explained. iJehind was 
 a lonsr. narrow hall. The chief dimen- 
 
 39U 
 
roMl'Ell 
 
 sion?: ;ire : interior iliuineler of i-avt';i, \'M) 
 ft. ; (list;iiu-e from prosot'iiiimi wall to 
 back of eaven. lis ft. ; size of stage UO ft. 
 by 21i ft. 
 
 Small TiiEATKE, east of tlie Groat 'I'lie- 
 atre. It i.s of Roman date, and was a cov- 
 ered theatre or odeum, intended for mu- 
 sical jjorforniances and minor plays. For 
 convenience of roofing, the normal theat- 
 rical plan was modified, and the entire 
 huilding included in rectangular walls, 
 which cut off the normal jiointed wings of 
 the cavea on each side. The triangular 
 spaces enclosed behind the cavea were util- 
 ized for stairways. The cavea presents 
 only two parts — a lower one of four wide 
 lava steps for the chairs of honor, above 
 which is a precinction. and an upper one 
 consisting of five wedge-shaped divisions 
 for ordinary spectators. The chief en- 
 trances were hy vaulted side passages be- 
 tween the stage and the cavea. Over 
 these passages there were tribunes of hon- 
 or, which could be entered only from the 
 stage. The seats of the upper part of the 
 cavea were covered with slabs of tufa, 
 moulded on the upper front edge, and 
 with a sunken space at the back for the 
 feet of those in the seat next above. Be- 
 sides the three principal doors, the stage 
 had two snuill ones near the ends, which 
 were jirobably sejiarated by jjartitions from 
 the remainder of the stage. The liack 
 wall of the stage has no architectural 
 adornment, but is painted in the second 
 style of Pompeian mural decoration. The 
 hall behind the stage has four doors in the 
 back and one at each end ; that on the 
 west was preceded by a porch of three 
 columns, and that on the east oj^ened on 
 a large portico on the Strada Stabiana. 
 The chief dimensions are : interior width 
 of cavea, 92 ft. ; depth of cavea from 
 proscenium-wall. 73 ft. ; size of stage, 
 without the end chambers, 59 ft. by 16^ 
 ft. It is estimated that the cavea could 
 accommodate fifteen hundred [leople. 
 Central Tiiekm.k. unfinished at the 
 
 time of the disaster of Til A.i>.. and so of 
 especial interest as presenting the precise 
 arrangements in favor at that lime. 'I'liey 
 wei'e surrounded on at least two sides 
 with shops opening outwiirdly, and had 
 a large interior court or pala;stra on the 
 west side. This court was to be sur- 
 rounded with porticoes on the north, west, 
 and south sides, and to have a large open 
 swimming-tank on the east side against 
 the l)ath-buildings. There were public 
 entrances on the three colonnaded sides. 
 The baths consisted of only a single series 
 of chandjers, there being no duplication 
 for separate women's baths. There was 
 a large vestibule before the apod i/frri inn 
 or dressing-room, in which was placed 
 a piscina for the cold bath. From one 
 end of the fepidiirit(m or warm chamber, 
 opened a domed laconicum or hot-air Itatli. 
 The large caldarinm or hot bath had a 
 l^iscina at each end, and a basin for wash- 
 ing in a niche on one side. All the cham- 
 bers except the laconicum were lighted 
 by windows ojjcning on the court. The 
 vaults were ornamented with sonrewhat 
 rough stucco reliefs ; the decoration of 
 the plainly tiled lower walls and cement- 
 ed floors was evidently incomplete. Tep- 
 idarium, laconicum, and caldarium have 
 their floors elevated on small brick piers, 
 and tile pipes in the walls for the circu- 
 lation of heated air. The disposition of 
 the heating furnaces is as usual, but on 
 account of the size of the chambers and 
 the jjresence of the laconicum, two inde- 
 pendent and widely separated furnaces 
 were introduced. 
 
 Great Therm.e, discovered in 1857, 
 consisting of three divisions — the baths 
 for men, the baths for women, and a series 
 of private or single baths. The build- 
 ings were surrounded on two sides by 
 shojis, and disposed about a fine central 
 colonnaded court G9 ft. by 108 ft., which 
 seiTed, iis inscriptions show, as a jialiestra. 
 The west side, with no ijortico, has a paved 
 alley extending its entire length, on which 
 
POMPEII 
 
 a heavy stone ball, still in its place, was 
 rolled for exercise. Behind this is a rec- 
 tangular swimming-bath flanked by wash- 
 rooms and a dressing-room. Their walls 
 are adorned outside with beautiful reliefs 
 in stucco, representing fanciful architect- 
 ure diversified with figures, white on red 
 and blue grounil, and encrusted below with 
 marble. Seven doorways gave entrance to 
 the tliermre. The men's baths, like those 
 of the Small Therma?, include apodytcri- 
 um or dressing-room, circular domed /"/■/// ;'- 
 dariu mora old bath, tcpidarium orwarnu'il 
 hall, and culdarium or hot bath. B(jtli 
 tepidarium and caldarium have their 
 floors raised for the passage beneath them 
 of heated air, and also hot-air spaces in 
 the walls ; these dispositions were intro- 
 duced as alterations under the Eomans, 
 for the buildings themselves are pre-Ro- 
 man. The tepidarium presents an ab- 
 normal arrangement in the presence at one 
 end of a rectangular piscina, heated from 
 without by a special furnace. The calda- 
 rium, almost an exact counterpart of that 
 in the Small Therma", is a long vaulted 
 hall, with a piscina for the hot bath at one 
 end, and a circular basin for washing in 
 an apse at the other. Light came in by 
 windows and openings in the vaulting. 
 The vaults and the upjier parts of the end 
 walls of the apodyterium and the tej)!- 
 darium were decorated with excellent re- 
 liefs in stucco, representing ornamented 
 jmuels, fantastic architecture, and figures, 
 among them cupids sporting with dol- 
 phins, and i;nd raped nymphs. The side- 
 walls of the apodyterium present a series 
 of rectangular niches for the clothes of 
 the bathers. The women's baths adjoin 
 those of the men, from which they are 
 wholly separated ; between them are 
 placed the heating furnaces, with their 
 battery of boilers. The women's baths in- 
 clude a spacious apodyterium, in which is 
 a rectangular piscina for cold bathing, and 
 a tepidarium and caldarium similarly ar- 
 ranged to those of the men's baths, but 
 
 smaller and less rit'hly ornamented. The 
 private baths, which are placed beyond 
 the northern end of the central court, 
 consist of a series of small rooms, each 
 with a piscina or bath-tub. This division 
 is practically without decoration. 
 
 Small Thekii.e, occupying an entire 
 block of buildings north of the Forum. 
 A large jjortion of the street fronts was 
 occupied by shops of one or more rooms, 
 and while there is plain evidence of the 
 existence of an upper story, it is not clear 
 for what this was utilized. The thcrmaj 
 consisted of two distinct parts, baths for 
 men and for women, between which was 
 a common system of furnaces and boil- 
 ers, serving for both. The men's baths 
 were much the larger and more richly or- 
 namented, and have three entrances and 
 an open colonnaded court of some size, 
 with which was connected a waiting-room. 
 The aj)odyterium measures about "23 ft. by 
 3T| ft. ; it was vaulted and ])i'i)vided with 
 stone benches along the sides, and was 
 lighted by square w-indows of good size in 
 the upper part of the ends, which were 
 closed by heavy panes of glass set in bronze 
 frames swung on side-i^ivots. The frigi- 
 darium is circular and domed, with a 
 central piscina ; its walls display large 
 semicircular niches and are painted with 
 green plants. Beneath the springing of 
 the dome it is encircled by a frieze of stucco 
 reliefs representing races between cupids, 
 on a red ground. The tepidarium is a 
 fine rectangular room with barrel-vault ; 
 the cornice from which the vault springs 
 rests on a series of vigorous but somewhat 
 heavy Atlautes in terra-cotta. The vault 
 was very richly adorned with stucco re- 
 liefs, forming a broad band of foliage- 
 scrolls l)clow, and 2)anels of dilfercnt forms 
 containing figures above. In this room 
 were found three benches of bronze and a 
 large bronze charcoal-stove. The calda- 
 rium is a vaulted hall about 18 ft. 1)V 55 
 ft., with a shallow circular marble basin 
 for washing in an apse at one end, and a 
 
 322 
 
PONTE 
 
 rectaiigular tank I'or bathing at the other. 
 The walls arc ornamented with pilasters, 
 and the vault, which is jjierced iu several 
 places for light and air, with large verti- 
 cal flutes. The w'alls arc surrounded by 
 air-spaces, and the tiled floor is raised 
 ujoou low brick piers, the spaces so formed 
 communicating with the adjoining fur- 
 nace. The women's baths have only three 
 apartments, an apodyterium, a tepida- 
 rium, and a caldarium, with a small vesti- 
 bule apparently for waiting attendants, 
 beside the single entrance ; there is no or- 
 nament of consequence, and the only 
 notable difference in arrangement from 
 the men's baths is the fact that the tej)i- 
 darium, as well as the caldarium. has its 
 floor raised for the introduction beneath 
 it of hot air. This is due plainly to a 
 later alteration. The arrangements for 
 the water and heat sujjjily are joractically 
 complete, and are of much interest. 
 These thermaj are about contemporaneous 
 with the Small Theatre. 
 
 Villa of Diomedes, on the Street of 
 Tombs. This was one of the largest and 
 richest of Pompeian abodes, and con- 
 sisted of several stories, though these were 
 only in small jjart superposed, but in large 
 measure adjoined one another, being built 
 on ground of ditferent levels. The street 
 cuts the front of the villa at a sharj) angle, 
 and makes the vestibule at the entrance 
 triangular. The atrium is replaced by a 
 handsome peristyle of fourteen Doric col- 
 umns of brick, upon which open most of 
 the rooms usually found about an atrium. 
 On one side of the peristyle projects the 
 finest bedroom surviving in Pompeii ; it 
 is semicircular, with three large windows 
 looking out on the former garden, an al- 
 cove, a standing washstand, and an ante- 
 chamber. Between the peristyle and the 
 street are a kitchen and a complete bath 
 of four chambers. At the back of this 
 portion of the house, behind the tablinum 
 and fauces, is a spacious cecua or state- 
 chamber with a very large window toward 
 
 the west, disclosing the entire Bay of Na- 
 ples. At the back, and extending under 
 the rear gallery and the cecus of the story 
 first described, is a range of soberly but 
 tastefully adorned rooms, which open on 
 the pillared gallery which surrounds a 
 garden over 100 ft. square. Beneath the 
 whole of this gallery extends a cellar, in 
 which were found many skeletons of the 
 inhabitants of the house. The gallery 
 had an ujjper story, which was connected 
 with that which existed over the first part 
 of the house. The wall painting is in ex- 
 cellent taste ; it includes a number of 
 examjjles of the floating figure type, on 
 plain grounds. 
 PONTE LUGANO, near Tivoli. Italy. 
 
 Tomb of the Plautia Family, of the 
 same character as that of Crecilia Metella 
 outside of Rome, and one of the best pre- 
 served of ancient funeral monuments. It 
 is a huge cylindrical tower standing on a 
 quadrangular base of masonry ; the orig- 
 inal domical top is replaced by the battle- 
 ments of a medijeval fortification. The 
 rectangular entrance portico, with Ionic 
 semi-columns, faces Tivoli ; in it are two 
 iuscrif)tions of M. Plautius Silvanus, who 
 was consul iu 3 B.C. 
 PONTE DI NONA, near Rome, Italy. 
 
 RojiAX Viaduct, au impressive work 
 which carries the Via Prrenestina on a 
 level over a deep ravine. It is very mas- 
 sively built of large rectangular blocks of 
 the peperino called Itipis gabinus, in hori- 
 zontal courses, and consists of seven high 
 arches. Even the old pavement remains. 
 The style of the masonry is similar to that 
 of the Tabularium at Rome, and the date 
 is probably the end of the ii cent, is.c, or 
 the beginning of the first. 
 PORT APLOTHEKA (believed to be 
 anc. Loryma), Caria, Asia ilinor. 
 
 The Walls, at the S.W. entrance of 
 the port, form an imjJortaut example of 
 Hellenic military architecture. The space 
 enclosed is long and narrow, and the fine 
 walls, of large squared blocks of limestone. 
 
are standing nearly to their full height. 
 On each long side there are about six 
 square towers, and at each end a massive 
 circular tower. Tiiere are three narrow 
 gates in the long south wall. 
 rORTO (anc. Portus Trajani), Italy. 
 
 The remains of antiquity are of much 
 interest, particularly those of the great 
 Ports of Trajan and of LUaudius, tlie lat- 
 ter of which was built on account of tlie 
 sanding up of the jiort at Ostia. The 
 inner port, tbat of Trajan, hexagonal, 
 was surrounded witii liuge arcaded maga- 
 zines and oHices, built of brick, (hi the 
 
 square holes for trap-doors. Excavations 
 have brought to light subterranean pas- 
 sages, canals, drains, ami dens foi' wild 
 beasts beneath the podium. The arena 
 could be flooded to a depth of aljout 
 o ft. The seats are in four ranges, their 
 computed capacity about thirty-two thou- 
 sand spectators. The imperial seats were 
 adorned with Corinthian coUunns of black 
 uuirble. 
 
 MoLii, restored by Antoninus Pius, and 
 thus anterior to the ii century a.u. Jt is 
 mentioned by Seneca and Suetonius, an<l 
 is built on the so-called Greek ^jrinci^jle ; 
 
 western side of the inner port is the Port that is, it consists of a series of massive 
 of Claudius, whose moles are still recog- piers of masonry connected by arches, the 
 nizable. It is about 4,300 ft. long and object being to break the force of the 
 3,200 ft. wide. Between the two harbors waves while opposing to them as little re- 
 lay an imperial palace, with a theatre, sistance as possible. Thirteen piers now 
 thermse, and a forum. The ancient gate project above the water, and three can lie 
 of the inner circuit of fortifications, is a distinguished beneath it. It is believed 
 
 double arch, now called Arco di Nostra 
 Donna. There are remains of a temple 
 of Bacchus, of another temple with a 
 vaulted cella still possessing niches and 
 relief-ornament in stucco, of a portico of 
 Valentinian III., etc. 
 POSEIDONIA. See r<rsl,n„. 
 POSILIPO. See I'diisUijpmii. under 
 
 POZZUOLI (anc. Puteoli), Italy. 
 
 The Ampiiitiieathe was renewed in 
 the time of Hadrian. It is probable that 
 the older structure stood on the same site. 
 The remains are in fair preservation, 
 though injured by eartli(|Uakes and spolia- 
 tion. The plan is elliptical ; the greater 
 axis, 483 ft., the lesser, 3,S4 ft. The length 
 of the arena is 23G ft. The outer w;dl 
 consists of three suj)erimposed tiers of ar- 
 cades, the lowest of large blocks of mason- 
 ry, the others of reticulated brickwork. 
 Tlie monument was surrounded bv an ex- 
 
 that there were originally twenty-five piers 
 and twenty-four arches, with a lighthouse 
 at the end. The piers are built of brick 
 faced with stone, all firmly bedded in 
 ])oz7.olaiia cement. Xot far from the 
 mole, columns and other remains of two 
 temples are visible in the water; these are 
 called the temples <ir Neptune and of the 
 Nymphs. 
 
 Temple of At'GrHXfs. built, according 
 to an inscription, by Calpurnius. Its re- 
 mains are now incorporated with the ca- 
 thedral of S. Procolo, Avhicli occupies its 
 site. The chief of them is a portico of 
 six lofty Corinthian columns with their 
 architrave bearing an inscription, at a 
 small side do(n' of the church. 
 
 Temple of Sehapis. attributed to the 
 reign of Doniitian, but restored under 
 Trajan. .Mannis .\urelius, and Septimius 
 Si'verus. It was injured in il!)8. and ]iartly 
 buried by an eruption of the Solfatara, and 
 
 terior portico. The main entrances at the was excavated in 1750. The temple proper 
 
 end of the greater axis were approached by was circular, with a peristyle of sixteen 
 
 a triple range of arcaded porticoes, encrust- Coriuthiaii columns on a podium 3 ft. 
 
 ed with marble. The arena is paved with high. The colunins have been removed 
 
 brick, carried on vaults, and is full of from their pedestals and are now in the 
 
 334 
 
PR.ENESTE 
 
 palace of Caserta. and the Xatitmal Mu- 
 seum at Naples. The temple was enclosed 
 by a court, 140 ft. by 122 ft., lined 
 with a portico of forty-eight columns. Be- 
 hind the portico were thirty-two cliam- 
 bcrs, above whicli there was a second 
 story. In the middle of the N. E. side 
 there is a projecting- portico, richly dec- 
 orated with six Corinthian columns of 
 cipollino -iOJ ft. high, and two pilasters. 
 
 the Amphitheatre. The (•hief portions 
 visible arc the two tiers of arches of the 
 exterior wall of the cavea, some vaulted 
 passages of the substructions of the seats, 
 some of the entrances, and a portico. 
 PK.ENESTE. See Pales/ riiia. 
 PKATO, Italy. 
 
 The Cathedral, a Romanesque church 
 showing signs of (Jothic intluence, partic- 
 ularlv on the cxtcrim', which is iitlicrwise 
 
 F,g. 155— Prato, Cathedral. 
 
 Three of these columns arc still standing. 
 The chief entrance in the S. W. .side, 
 toward the sea, had a central ])assage an<l 
 two side passages decorated with jiilasters. 
 After the eruption the coast sank, and at 
 about one-third of their height the stand- 
 ing columns mark the extent of the sink- 
 ing by their girdle of borings made by 
 marine animals. After some centuries the 
 ground rose again, particularly at the out- 
 break of ilonte Nuovo in l.>!ti. 
 
 Roman Theatre. The remains, which 
 cover a large area, now overgrown with 
 trees and vines, lie on the hillside above 
 
 remarkalile among Italian churches as ex- 
 jiressing clearly the interior arrangement. 
 The fa(;adehas three divisions, correspond- 
 ing closely in outline to the nave and 
 aisles. The centre has a beautiful pointed 
 arched doorway with splayed jambs, com- 
 posed with octagonal piers and slender 
 round columns : the door square-headed 
 with a tympanum bearing figures in relief 
 by Luca della Robbia. This door is the 
 only opening in the front. Above it the 
 wall is banded with white and dark mar- 
 ble, the central portion terminating in the 
 low gable of the nave roof, the side divi- 
 
PRIEXE 
 
 sions in the half gables of tlie lower aisle 
 roofs. The cornices on front and sides 
 have au arched corbel-table. The tran- 
 sept, high aud square, has hipped roofs. 
 The side walls of the aisles have blank ar- 
 cades of high round arches on columns, 
 with small circular windows in the heads 
 of some of the arches. The walls of the 
 clerestory are of alternate courses of white 
 and dark green marble, aud pierced with 
 five single pointed windows. A beautiful 
 square camjianile stands at the angle of 
 the south transept with a doorway at its 
 base, and five stories of groujjed arches, 
 growing larger and more decorated as they 
 ascend, and terminating in a fine belfry 
 with three-light openings under a pointed 
 arch. On the south angle of the front of 
 the church is a picturesque aud beautiful 
 pulpit corbelled out from the angle pier, 
 with a circular balcony divided into panels 
 and sculjjtured by Donatello. and covered 
 by a circular canopy. The interior shows 
 a nave and aisles of four bays, with stilted 
 round arches on rather low black marble 
 columns with foliated capitals, and a clere- 
 story with single-light pointed windows, 
 the wall in stripes of white and dark mar- 
 ble. The transept arms have each two bays 
 with four-jjart vaulting. The cast wall 
 has five arches opening into the choir and 
 into four chaj^els square in plan, decorated 
 with frescoes by Filippo Lippi, which are 
 considered the finest of his works. The 
 round pulpit is a remarkable work by 
 Jlino da Fiesole, resting on sphinxes and 
 bearing panels filled with figure sculpture 
 in relief. The interior of the church dates 
 principally from the xii cent., but a por- 
 tion, including the east end, belongs to 
 the next century. The exterior was com- 
 pleted about 14.50. {Sec Fi(j. 155.) 
 
 Madoxxa delle Cauceki, an early 
 Renais.sance church finished in l-lOl, from 
 the designs of Giuli.iuo di Sangallo. Its 
 plan is a Greek cross measuring 84 ft. in 
 each direction, the arms covered by barrel- 
 vaults springing from the entablature of a 
 
 rich order of Corinthian jiilasters which 
 surrounds the whole interior, aiul the cen- 
 tre by a hemispherical dome on a low in- 
 terior drum, lighted by small round win- 
 dows between the dividing ribs and crowned 
 with a small high lantern. The exterior 
 is very simple and is in two stages, the 
 lower faced with white and dark green 
 marble and bearing an order of thin Doric 
 pilasters without an entablature, the ui)per 
 unfinished, of brick, with a low gable over 
 each ai'm of the cross. The central dome 
 is masked by a round drum, in which ap- 
 pear the round windows of the dome under 
 a low conical roof through which the lan- 
 tern pierces. 
 PKIEXE, Caria, Asia Minor. 
 
 The Temple of Athexa Polias (Pal- 
 las, Guardian of the City), built by the 
 architect Pytheos in 340 B.C., stood on a 
 platform below the acropolis. The plat- 
 form was longest from east to west, and 
 was enclosed by a wall embellished by por- 
 ticoes, with handsome entrance-propyla;a 
 on the east. The temjjle was Ionic, hexa- 
 style. peripteral, with eleven columns on 
 the flanks. The bases of the columns 
 were formed of two blocks resting on a 
 plinth ; the shafts were fluted, formed of 
 several drums, with no necking ; the capi- 
 tals had graceful volutes and cushion. The 
 architrave was in three planes ; the frieze 
 was one-third lower than the architrave, 
 and plain ; the cornice had dentils and 
 lion-heads, and the cyma was decorated 
 with anthemia. The material is marble. 
 The propyhea of the periljolos were of 
 somewhat later date than the temijle. In 
 ])lan they resembled the propykta of the 
 Athenian acropolis, and had on each face 
 a portico of four Ionic columns, strongly 
 tapering, with twenty-four flutes. Their 
 bases rested on square plinths, and their 
 height was about nine and one-third diam- 
 eters. The interior had two ranges of 
 square pillars resting, like the columns, 
 on plintiis ; the shafts taper, and the Ionic 
 anta-capitals are of novel design, with a 
 
 !IS6 
 
PUTEOLI 
 
 female figure l)etweeu volutes uii tliefaee 
 aiul affronted grittins on the sides. The 
 walls had jjilasters both iuside and outside. 
 On each side of the main structure was a 
 tetrastyle jiortico whose columns also rested 
 on square plinths. The material was marble. 
 PUTEOLI. See PozzuoU. 
 PYDXAI, Lycia,, Asia Minor. 
 
 Lyciax Fortress to the west of the 
 mouth of the Xanthus, in excellent 
 preservation. It is a polygon, about 500 
 ft. in diameter, with walls of well-jointed 
 polygonal masonry, about 3 ft. thick. 
 There are eleven rectangular projecting 
 towers, unevenly spaced, with doors open- 
 ing on the interior of the enclosure, and 
 large windows and loopholes. The towers 
 are of two stories, the upjier one commu- 
 nicating with the top of the walls. Some 
 still rise to a height of 30 ft. The exist- 
 ing battlements, built with mortar, on 
 j)arts of the wall, are no doubt later. The 
 fortress has but two entrances. Narrow 
 steep flights of steps give access to the top 
 of the walls. 
 RABBATH AMMOX, Palestine. See 
 
 Atnman. 
 EAGUSA, Dalmatia. 
 
 DoMixiCAX Convent, a xiv cent. 
 Gothic building, the church having l)een 
 opened in 1306 and the convent finished 
 about 1348. In the xv cent, a round- 
 arched campanile was built. The church 
 consists of a single large nave with polyg- 
 onal eastern end across which, defining 
 the choir, is a triple arch. There are 
 also two side chapels and a fine round- 
 arched south doorway with an ogee 
 crocketed hood-mould and jamb - shafts. 
 Across the west end of the nave is a Re- 
 naissance triple arcade which formerly 
 stood on the north side and once contained 
 three altars. The cloister has an arcade 
 of large round arches supported on piers 
 and enclosing triple sub - arches, with 
 tracery of quatrefoils and interlacing cir- 
 cles, supported on round colonnettes with 
 carved Gothic cajjitals. 
 
 Tlie FKAXtJscAN Convent was found- 
 ed in 1317, but in lUIJ? an earthquake 
 and fire destroyed much of the church. 
 The interesting features of the church are 
 a fine doorway of late Italian Gothic, and 
 the campanile, which is tlie uninjured orig- 
 inal, and is a work of mixed pointed and 
 round-arched architecture. The beauti- 
 ful cloister also remains unharmed from 
 the XIV century. Each bay consists of 
 six round arches supported on coupled oc- 
 tagonal columns, and enclosed by a great 
 round arch with its tympanum pierced by 
 a quatrefoiled circle. The capitals are 
 well carved, in luxuriant Romanesque style, 
 with foliage, animals, and grotesques. 
 Three arches in the east wall open into 
 the chapter-house. On a pier in the 
 court is preserved the name of the archi- 
 tect, Master Mydra, an Albanian. 
 
 Rector's Palace. A Ragusan munic- 
 ipal building of the xv cent., showing in 
 its architecture a mingling of the Gothic 
 and Renaissance. It is two stories high. 
 In the first the centre of the fa9ade is 
 occupied by an arcade of six round arches 
 opening into a loggia, at each end of which 
 is a solid wing containing a ground floor 
 and mezzanine. In the arcade the col- 
 umns belong to 1455, while the arches 
 witli Renaissance mouldings and sculpture 
 were built during the restoration after a 
 fire in 1462. The second story of the 
 front, above a string course, has eight 
 Gothic windo\vs in two lights divided by 
 shafts with tracery above. In the back 
 wall of the loggia is a richly sculptured 
 pointed doorway, leading to a square 
 court enclosed by two stories of vaulted 
 galleries with arcades, the ujiper of which 
 has two arches to one of the lower, on 
 coupled columns. The loggia walls are 
 jiierced by pointed doors and windows. 
 The interior has been modernized, and has 
 little of interest except two pictures, one 
 of which is a lunette in one of the ante- 
 rooms and represents theba])tism of Christ. 
 The Gothic palace was begun in 1435 by 
 
 327 
 
KAVKLLO 
 
 Oniifrio (lionlani of L;i Cava to replace 
 the older building destroyed in tiiat year, 
 but in 14(!"i tliis .second palace was partially 
 burned, and rebuilt by -Miehelozzo ilicliel- 
 ozzi and (iiorgio Orsini. 
 
 The .SposzA, or custoiH-iiou.se and 
 mint of Ragnsa, ^vas begun in tlie xiv 
 cent., and added to at different periods 
 during the next two centuries. It is a 
 three-storied building enclosing an oblong 
 court surrounded by an arcade and clois- 
 ters of two stories. Across the front is a 
 fine .Kvi cent. Kenaissanee loggia, and the 
 second story is pierced by windows of rich 
 Venetian Gothic which date from the xv 
 century. Of this period also are the ar- 
 cades in the court, of which the lower 
 tier are round, and supported on octag- 
 onal columns with very plain capitals ; 
 
 jiaralleled in Italy. It is surrounded on 
 three sides by two stories of vaulted ar- 
 cades, the first of simple high 2">iiited 
 arches somewhat stilted, three on eacli 
 side. su]ii>nvted on marble columns with 
 sim])le leai'eil capitals ; the second witii 
 slender coupled columns supjiorting a wild 
 mass of interlacing tracery, mostly spread 
 over the surface of tlie wall. Above this 
 is a blind arcade of very small, coupled 
 twisted columns of red terra-cotta, with 
 tracery similar in character to that below. 
 Over this again, on a light string-course, 
 are three semicircular blind arches on 
 each side, each enclosing a round open- 
 ing. The various apartments of the 
 palace were richly decorated, with marble 
 columns and ornaments in terra-cotta. 
 The Cathedral, dedicated to S8. 
 
 at the ends the arches of the second story Maria and Pautaleone, is an xi cent, cruci- 
 are round : on the long sides they are form church, much modernized, but re- 
 pointed, a pair to each one in the arcade taining in a considerable degree its ancient 
 beneath, separated by round columns with character. The nave has, or liad, nine 
 
 foliated capitals. The third story is of 
 the XVI centurv. 
 EAVELLO. Italy. 
 
 Casa Ruffolo, a palatial country- 
 house dating from the second half of the 
 XIII cent., of irregular })laii, covering an 
 area about 13(1 ft. square, with various 
 outbuildings. The entrance to the 
 grounds is through a tower about 2o ft. 
 
 round arches on each side, somewhat stilted 
 and divided into three bays by oblong jiiers 
 alternating with pairs of columns, the 
 latter of red marlile. with capitals of 
 various character. The jiiers are faced 
 with pilasters which carry the ribs of the 
 later vaulting. Under the transejit is a 
 cryjit with seven aisles of three groined 
 l)avs each. The church contains a fine 
 
 square and G.5 ft. high, with flat walls of pulpit dating from 1272, of white marble 
 red and black stone pierced by the great with mosaic decoration, supported on six 
 
 pointed entrance-arches, encircled at the 
 summit by a band of small interlacing 
 pointed arches of terra-cotta. The interior 
 of the tower is an interesting examj)le of 
 the influence of Saracenic art. It is ceiled 
 
 spiral columns standing on the backs of 
 lions, and approached by a staircase en- 
 closed in a marble fence also decorated 
 with a mosaic inlay. Of the fa(;ade only 
 the lower portion belongs to the original 
 
 by a slightly pointed dome whose crown is building. This contains three fine Loin- 
 40 ft. above the pavement, its surface 
 broken ujj by vertical channelling. The 
 wall below is decollated at two levels with 
 blind arcades of high interlacing pointed 
 arches, springing from small coupled col- 
 umns. The most ini))ortant feature of the 
 interior of the palace is an enclosed court 
 50 ft. by <)2 ft., whose decoration is un- 
 
 bard doorways ; the middle one is closed 
 by the finest bronze doors in South Italy, 
 'i'liey are divided into fifty-four panels en- 
 riched with figure-subjects in high relief, 
 and bear the date 1179. The fine tower 
 attached to the wall of the south transejit 
 is in four stages ; the lowest finishes witli 
 an arched corbel- (able, the second and 
 
 .328 
 
K'.WKXNA 
 
 tliinl liavo a facing of red and yellow tiles, 
 with two-light windows under a bearing- 
 areh ; the fourth has a blind arcade of 
 interlacing arches iu black and yellow 
 terra-cotta, ou black columns. Ravello 
 was raised to a bishoj)'"s seat in 1087, and 
 the cathedral, begun a few years later, 
 was consecrated early in the xii century. 
 
 S. Agostixo. a small Lombard church 
 of the XI cent., with nave and aisles of 
 three bays, the former dividetl by two 
 transverse arches and covered by a slightly 
 pointed barrel-vault, the lattei- groined in 
 square bays. The three rouiul arches ou 
 each side the nave are supported on granite 
 columns with composite capitals and 
 square stilt-blocks. The transept, which 
 is the choir, and projects very slightly 
 beyond the aisle wall, is shut off from 
 nave and aisles by a solid Wiill pierced 
 only Ijy a doorway in the axis of the nave. 
 An elliptical dome covers the centre. 
 The original fa(;ade has disappeared. 
 
 Sta. Maria hel Ghadili.o, a small 
 Romanesque church of Sicilian aspect, dat- 
 ing from the middle of the xii cent., di- 
 vided by four round arches on each side 
 sjiringiug from square jiiers. The nave 
 and aisles, which are covered by a single 
 roof, and ceiled with wood, abut upon a 
 transept which projects slightly and is 
 divided into three square bays, of which 
 the central one is covered by a low' dome 
 on a high round drum, the two side bays 
 being groined. Each bay has a flat apse 
 iu the east wall, and the floor of the cen- 
 tral bay, which forms the choir, is raised 
 by several steps above the uave. At the 
 S. W. corner of the church is a small 
 square tower, from the western side of 
 which opens a small apsidal chapel. The 
 front has a single gable covering the whole 
 breadth, the side walls have a series of 
 jiointed discharging arches under which 
 are small single round-headed windows. 
 The transept ends show the intersecting 
 vaults unroofed. Over the crossing rises 
 the drum with its low dome — the walls 
 
 covered with intersecting arches. The 
 square tower has two stories of two-light 
 windows under round bearing - arches, 
 se23arated by a frieze of an inlay of white 
 marble on a black ground between bands 
 of tiles of various colors, and a later round 
 lielfry at top. 
 RAA'ENNA, Italy. 
 
 Auian Baptistery. See Sfa. Maria 
 in Conmediii. 
 
 The Baptistery now called S. Gio- 
 vanni in Fonte, and known as the Ortho- 
 dox Baptistery, was attached to the old 
 Cathedral, which has been rebuilt, and 
 was presumably contemporary with it. It 
 is a simple octagonal building, about 40 ft. 
 in external diameter, the walls of rough 
 lu'ick, quite plain in the lower half, with 
 a single round-arched window in each face. 
 The upper portion is divided by pilaster- 
 strips ending in au arched corbel-table 
 into two panels iu each face, and covered 
 l>y U: low octagonal roof hiding the dome 
 within. The interior is a single undivided 
 hall with two stories of round arches, one 
 to each face of the octagon, springing 
 from detached .shafts in the angles. These 
 columns were doubtless gathered from old- 
 er buildings, as they are of various sizes, 
 and fitted with capitals of various form, 
 Corinthian in the lower story, Ionic in the 
 upper, all carrying stilt-blocks. In the 
 lower story two of the eight sides are oc- 
 cupied by semicircular niches, of which 
 one contains au altar. In the upjier story 
 each face is divided by columns into three 
 sub-arches, the middle one much the 
 largest, containing a broad round-arched 
 window. The great arches of the second 
 story cut up into the hemispherical dome, 
 which springs from their columns, and 
 which, as well as all the walls above the 
 lower columns, is covered with the admi- 
 rable aiul well-preserved mosaics of the v 
 century. Those of the dome are in two 
 zones, encircling the central picture at the 
 crown of the vault, which represents the 
 baptism of Jesus in the Jordan. The 
 
RAVENNA 
 
 zone next to the central lucture is occu- 
 pied by full-length standing figures of the 
 apostles, wearing crowns ; while the lower 
 
 Fig. 155 — Ravenia Bap'.stery 
 
 zone and the wall within the second story 
 arches are covered with extremely varied 
 designs, arranged in panels, with figures, 
 and scroll-work, and architectural com- 
 positions. In the angles over the lower 
 columns are figures of the jirophets in 
 Avhite drajiery relieved on a gold ground. 
 The centre of the floor is occupied by an 
 octagonal font about 'J ft. in diameter, 
 formerly used for baptism by immersion. 
 It is of white marble with panels of por- 
 phyry, and on one side of it is a semi- 
 circular ambo foi- the ofticiating priest. 
 The floor of the building is now nearly 10 
 ft. below the level of the ground outside. 
 This baptistery, first built by Ui'sus at 
 the end of the IV cent., was partially 
 destroyed by war, and repaired in 425-30 
 under the emi)ress Galla Placidia. It is 
 thus the oldest of all the existing build- 
 ings at Kavenna. (Set; Fir/. I'ld.) 
 
 The Cathedral (Ecclesia Ursiaua), 
 was the oldest of the Christian buildings 
 
 of Kavenna. having been built by X'^rsus, 
 archbisho]i, as early as the iv century. It 
 was a five-aisled basilica, but was entirely 
 relnult during the xviii cent, 
 as a Renaissance church, with 
 nave and single aisles, transept, 
 ami chdir. with ajiolygonal east- 
 ern apse, and a circular lantern 
 over the crossing ; the latter 
 having a high tambour divided 
 by })ilasters with pedimented 
 windows between, ami a high 
 dome surmounted by a cupola. 
 The ancient round campanile is 
 all which remains of the old 
 basilica, and this has been par- 
 tially rebuilt by the addition of 
 a belfry with triple - arched 
 (ipcnings under bearing arches; 
 the facade is altogether unin- 
 teresting. The interior has 
 some fine pictures by Guido and 
 his ]iupils. and by other masters 
 (tf his school. Portions of the 
 marble jtulpit of the old basil- 
 fragments of its ancient doors 
 111' \ine-wood, are still preserved in the 
 modern church ; and in the sacristy is 
 the ivory chair or throne of the bishop, 
 Maximianus, a work of the vi cent., and 
 one of the most exquisite remains of early 
 Christian art which have come down to 
 us. Its front has five panels containing 
 full-length figures of saints, and sur- 
 rounded by bas-reliefs of foliage and ani- 
 mals of great delicacy and beauty, and 
 executed with admirable skill. 
 
 The Mausoleum of Galla Placidia, 
 now the church of SS. Nazaro e Celso, 
 is a small monument, but one of extreme 
 interest. The building is of the simplest 
 design and construction. Its plan is near- 
 ly a Greek cross, each wing scarcely more 
 than 1"^ ft. wide inside, the extreme inter- 
 nal dimensions being about 33 ft. wide and 
 40 ft. long. The exterior jiresents a low 
 square central tower of rude brickwork, 
 aorainst the four faces of which abut the 
 
 and 
 
RAVEXNA 
 
 four tirins of tlie cross, with low walls, 
 broken by bliud arches and terminating 
 each in a gable end. The interior has an 
 entrance vestibule occupying most of the 
 western arm of the cross, in which are two 
 sarcophagi, which have been said to con- 
 tain the bodies of the tutors of Valentin- 
 iau and Honoria, the children of the em- 
 press. The other three arms open from 
 the central square by round arches, and 
 are covered by barrel-vaults. xVbove the 
 arches rises the central tower, pierced by 
 a single sqiiare window on each side and 
 covered by a low dome with pendeutives ; 
 perhaps the earliest authentic instance in 
 Europe of a dome so built over a square 
 base. All the walls, as high as the sjiring of 
 the arches, are faced with slabs of marble. • 
 Above this point, the whole interior is 
 covered with the original mosaics of the v 
 cent., of which some are of great beauty 
 and richness. Those of the walls of the 
 tower and on the end walls of the arms of 
 the cross are of figure-subjects, while those 
 of the vaults are for the most part in geo- 
 metrical patterns with gold and colors. 
 The eastern recess contains the large sar- 
 cophagus in which the body of the em- 
 press was deposited in a sitting posture. 
 It is of marble, rude in design and execu- 
 tion, but was originally adorned with 
 plates of silver and other ornaments, which 
 have now disappeared. In the transept 
 are the sarcojjhagi of Constantius the 
 husband, and Honorius the brother, of 
 the empress. These are said to be the 
 only tombs of imperial Romans which re- 
 main in their original positions. Under 
 the dome is an altar of alabaster, of sim- 
 ple design, adorned with early bas-reliefs, 
 supposed to be of the vi century. The 
 mausoleum was built by the empress her- 
 self, between -i'ib and her death in 4.50. 
 
 Orthodox Baptistery. See Bap/is- 
 tery. 
 
 S. Apollinare IX Classe. Of the 
 remarkable group of nearly contemporary 
 ecclesiastical buildings at Kavenna, this is 
 
 jx'i'haps the in(jst important and interest- 
 ing, being that which has undergone less 
 change than any other. It is almost ex- 
 actly contemporary with S. Apollinare 
 Nuovo and vi. Vitale, having been built 
 in the second quarter of tlie vi cent., 
 and dedicated in 549 by the bishop Jlax- 
 imianus. It is a rectangular basilica, 
 standing on the site of the abandoned 
 port of Classis, some three miles south of 
 Kavenna, and measuring about 'llo ft. in 
 length by 105 ft. in breadth, with nave, 
 aisles, tribune, and clerestory, a high nar- 
 thex swung across the front with no 
 architectural relation to the church, and a 
 round campanile standing detached at the 
 N. E. angle. The church was formerly 
 approached through an atrium or fore- 
 court, but this has long since disappeared. 
 The w^ole exterior is of rough brickwork 
 and of the simplest design, the front and 
 uarthex being singularly bare and rude, 
 and the sides of aisles and clerestory di- 
 vided by flat pilasters into round-arched 
 panels with plain windows. In the upper 
 s+ories of the camj^anile are coupled win- 
 dows with mullion-shafts. The interior 
 has a nave 45 ft. broad, and side aisles fi'om 
 which it is separated by twelve columns 
 on each side, of gray veined marble, rest- 
 ing on square plinths with panelled faces, 
 of which a portion has probably been 
 buried by the raising of the pavement. 
 Their capitals, of modified classic forms 
 and Byzantine character, carry low stilt- 
 blocks marked with crosses, from which 
 spring round arches with moulded archi- 
 volts and variously panelled soffits. The 
 high wall of the clerestory now presents 
 a bare surface of plaster, pierced with 
 plain round-headed windows. The roofs 
 are of wood, and are of the rudest kind. 
 The tribune, of nearly the full width of 
 the nave, and covered by a semi-dome, is 
 rouud within and polygonal without, and 
 pierced with windows. The floor of the 
 tribune is raised by eleven steps above 
 that of the nave, but there is no crypt. 
 
 331 
 
TIAVKXNA 
 
 thongli there is beneath the Iribuiu' a iiar- vat ion. and are perliaps. in design and exe- 
 
 row passage following the eircular wall of cution, as good an example as can now be 
 
 the apse, from Avhieh opens a small reet- found of the Hyzantine mosaics, though 
 
 angular burial chapel under the high al- inferior in richness of color to those of 
 
 Fig. 157. — Ravenna. S. Apollinare in Ciasse. 
 
 tar, in which were deposited the remains 
 of the saint. The sepi^lchral nrn which 
 contained them is still here, but the bods- 
 was said to have been removed in the ix 
 cent., to save it from apprehended dese- 
 crsition by the Saracens, and deposited 
 within the church of 8. Martino, inside 
 the city, of which the name was then 
 changed to 8. A])ollinare Xuovo (q. v.). 
 Hut some antii|uaries maintain that the re- 
 mains were taken fi-om the burial chapel 
 only to be deposited beneath the high altar 
 in the tribune. The apse is flanked by a 
 small chajiel on either side, opening from 
 the end of the aisle by a doorway, and ter- 
 minating in a small eastern apse. Of the 
 sumptuous decorations which formerly 
 adorned this church, scarcely anything re- 
 mains except the mosaics of the vault of 
 the tribune aiul of tliewall above the tril)- 
 une arch. These are in atlmirable pre.ser- 
 
 S. Apollinare Xuovo. On tlie clerestory 
 wall directly above the nave arches, on 
 either side, runs a line of medallions in 
 fresco containing modern portraits of the 
 bishops and archbishops of Ravenna from 
 the I cent., replacing the original mosaics 
 which were carried otf in the xv cent, 
 by Sigismund ilalatesta. At the east end of 
 the north aisle is an altar of stone, covered 
 by a curious bahhicchino erected in the ix 
 cent, to S. Eleucadio. It has four col- 
 umns with twisted shafts, without bases 
 but resting on rude square plinths, and 
 with curiously carved capitals. These are 
 joined by four segmental arches, with bor- 
 ders of a broad interlaced Byzantine de- 
 sign, and spandrels decorated w'ith a vine 
 jiattern. The sculpture is repeated on 
 the inner faces of the arches. {See FUf. 
 iru.) 
 
 S. .\i'()LLiNAi:i; Xrovo, one of the 
 
EAVENJSTA 
 
 two |)rinrip:il lia.<ilii"is nf IJavcima. buili 
 at the Ix'giiiiiiiig of tlie vi cunt, by Tlieo- 
 (loric as the Ariaii Cathedral. It wa.s a 
 I'lilly cleveloped basiliea, with atrium and 
 iiarthox, of wliich tlie former has di.saji- 
 ])eared and tlie latter has been replaced 
 or rebuilt. 'I'he exterior, like that of 
 most of the monuments of Kavenna, is 
 simple and even rude, of rough brick- 
 work, with little or no attemjjt at orna- 
 ment. The fai/ade shows above the luod- 
 ern narthex three divisions corresponding 
 to the nave and aisles, of which the cen- 
 tre division has a modern two-light win- 
 dow and a low gable. The narthex is a 
 graceful composition of five round arches 
 on Ionic columns, the three central arches 
 corresiionding to the breadth of 
 the nave and divided from the 
 end arches l.iy pilasters. At the 
 south angle of the front stands a 
 tall round campanile, with many 
 small round-arched windows, sin- 
 gle and grouped, of which oidy 
 the lower portion is of eqnal age 
 with the church. The interior 
 has a In'oad nave, sep.irated from 
 the aisles on either side by twelve 
 columns of gray marble, l)roughi 
 from Constantinople. They have 
 acanthus capitals of varying size 
 and design, probably taken from 
 older Roman buildings, and arc 
 surmounted by clumsy stilt- 
 blocks, carrying round arches 
 with moulded archivolts and pan- 
 elled sortits. Between these arch- 
 es and the high clerestory, which 
 is pierced by broad round-arched 
 windows, is a broad frieze filled 
 with a magnificent series of mo- 
 saics dating from the latter half 
 of the VI cent., and of a great 
 variety of subjects — processions of saints 
 bearing crowns and receiving the benedic- 
 tion of the Saviour seated on a throne — 
 processions of virgins with crowns, headed 
 by the three Magi presenting their otferings 
 
 111 the \'irgin ]\Iary and the Child — repre- 
 sentations of the city of Havenna with the 
 church of S. Vitale, and the j)ort of 
 Classis with ships on the sea, etc. The 
 wall of the clerestory also is covered with 
 mosaics — single figures of jjrophets be- 
 tween the windows, and jiictorial subjects 
 on a smaller scale aljovi'. U'lu^ nave is 
 eovci'cil by a flat panelled wooden ceiling. 
 The eastern apse, rebuilt in the ix cent, 
 on the old foundations, is preceded by 
 a rectangular compartment covered by 
 a groined vault. This ]iortion of the 
 church has been wholly moiU'rnized in the 
 worst style of the Iicnaissancc. An early 
 marljlc pulpit with bas-reliefs stands be- 
 tween two of the columns on the south 
 
 Fig, 158. — Ravenna, S Apollinare Nuovo, 
 
 side of the nave. This ehnrch was origi- 
 nally called S. Martino in Coelo Aureo. hixt 
 when the body of St. Apollinaris was 
 supposed, rightly or wrongly, to have 
 been transferred hithei- from liis church 
 
 U33 
 
RAVENNA 
 
 at Classis to preserve it from clesecnitiiui 
 b)' the ajjproachiiig enemy, it received its 
 present name. (See Fig. -/-W.) 
 
 S. Fbaxcesco. One of tlie earliest of 
 the many Ijasilicas of Kaveuna, dating 
 from the lirst ([uarter of tlie v cent., but 
 much changed by modern restorations. 
 Its ancient square campanile still stands at 
 the angle of the front, and its two ranges 
 of marble columns, eleven on either side 
 the nave, are unchanged. They are evi- 
 dently from some more ancient classic 
 building and their capitals bear stilt- 
 blocks, which are said to have been tlie 
 earliest examples of that characteristic 
 feature. The ceiling is modern. Many 
 interesting tombs and other relies of the 
 age when the church was built are still to 
 be seen within it, among them a sepulchral 
 urn containing the ashes of S. Liberius, 
 archbishop of Ravenna, and decorated 
 with bas-reliefs ; under the choir are re- 
 mains of the crypt, or of the luwcr part of 
 the original church. 
 
 S. Giovanni Evangelista. One of the 
 less important of the remarkable group of 
 basilicas, which were built in Ravenna 
 during the v and vi centuries. It has 
 been much changed by restorations, but 
 still retains its twenty-four marble col- 
 umns with Corinthian capitals and stilt- 
 blocks, its eastern apse, jrolygonal with- 
 out and circular within, and its square 
 campanile. The front has a pointed door- 
 way belonging probably to tiie xiii cent., 
 richly decorated with sculptures. The 
 mosaics of the interior have disappeared, 
 with the exception of some fragments of a 
 pavement in one of the chapels. The ceil- 
 ings and vaults have at various periods 
 been adorned with frescoes, of which those 
 in a chapel have been affirmed to be the 
 work of Giotto. The ancient altar, richly 
 decorated witli marble and porphyry, is 
 still preserved in tlie crypt. The church 
 is said to have been founded in the early 
 part of the v cent., by the empress (!alla 
 Placidia, in fulfilment of a vow made dur- 
 
 ing danger of shipwreck, while on a 
 voyage from Constantinople to Raveniui. 
 It is supposed that an atrium occupied 
 originally the site of the little square in 
 front of the church. 
 
 S. (ilOVANNI IN FONTE. Sce Buptis- 
 
 IcVlj. 
 
 S. Spirito, called also S. Teodoro, is 
 perhaps the oldest church in Ravenna. It 
 is a three- aisled basilica, its somewhat 
 stilted arcades carried on fourteen eai'ly 
 columns with stilt-blocks, and the apse 
 Ijuilt in between two square chapels. On 
 the outside of the south aisle- wall are 
 traces of an open colonnade, perhajis add- 
 ed, perhajis incorporated. It was adopted 
 by Theodoric at the end of the v cent., 
 from a very early church built by Agapi- 
 tus in 20G — some think it was lirst ijuiit 
 by Theodoric — as the first Arian church 
 in Ravenna. Near by is Sta. ]\Iaria in 
 Cosmedin (//. v.), the so-called Arian Bap- 
 tistery. 
 
 S. Teodoko. See aS'. Spirito. 
 
 S. ViTALE, one of the most interesting 
 ami characteristic of Byzantine churches. 
 Its external walls, entirely of brick-work 
 laid with joints as thick as the bricks, are 
 quite bare. Its disposition is that of a 
 central octagon about 50 ft. in diameter, 
 covered by a dome not visible externally, 
 and surrounded by two stories of exterior 
 aisles or galleries. The angles of the octag- 
 onal galleries are masked by projecting 
 buttresses, which are connected witli tlie 
 piers of the central octagon by round 
 arches in each gallery. The exterior faces 
 of the gallery walls are broken by flat pi- 
 laster-strips and simple brick cornices. 
 The wall of tlie central octagon above the 
 roof of the gallery is pierced by a window 
 over each face of the octagon, and covered 
 by a low-pitched roof hiding the dome with- 
 in, whicli is of remarkable construction, 
 being built wholly of hollow earthern pots, 
 laid spirally in cement, a light construc- 
 tion common in the East from early times. 
 A small nartliex or entrance porch, de- 
 
 3.S4 
 
RAVENNA 
 
 Fig. 159.— Ravenna, S. Vitale. 
 
 stroyed in tlie earthquake of IfiSS, for- 
 merly occupied the western face of the 
 octagon, and the apse of the choir pro- 
 jects from the eastern face. The narthex 
 was flanked by two circiihir towers — one of 
 whicli still remains — not rising above the 
 roof of the upper gallery, to which a spiral 
 stair in each tower gave access. Two 
 similar towers, but lower, stand at the sides 
 of the eastern apse. The original narthex 
 was replaced by a longer one following the 
 street line obliqixely to the church, and 
 touching it only at one of tlie angles of 
 the aisle. The interior plan is somewhat 
 complicated. {See Fig. 160.) The central 
 dome is carried on eight massive piers of 
 peculiar form, which are joined by round 
 arches. The intervals between the piers 
 are occupied, on seven of the eight sides, by 
 semicircular niches in two stories, project- 
 ing into the surrounding aisles and borne 
 on three round arches sjiringing from col- 
 umns. The surrounding aisle is divided 
 into bays by round cross arches which con- 
 
 nod t'uch of the great ])iers 
 with the external wall, and cov- 
 ered by four-part vaulting of 
 singular form, each of the eight 
 bays being divided into three 
 vaults. The same arrangement 
 is repeated in the gallery of the 
 second story. From the east- 
 ernmost side of the central 
 octagon opens tlie tribune or 
 choir, consisting of an oblong 
 groin-vaulted bay, opening on 
 either side by three arches into 
 the surrounding aisle, and ter- 
 minating in a semicircular apse 
 covered by a semi-dome. This 
 remarkable interior has been 
 much disguised by modern 
 painting, but its decoration, 
 except where in recent times 
 it has been subjected to recon- 
 struction, is in the highest de- 
 gree characteristic of Byzantine 
 architecture. The walls and 
 vault were everywhere covered with mo- 
 saics of great richness and beauty. Of 
 these only a small jjart remains. Those 
 of the choir and tribune are, however, 
 still in admirable preservation. They rep>- 
 
 Fig. 160.— Ravenna, S. Vitale. 
 Scale of 50 feet. 
 
 335 
 
i;.\\ KXNA 
 
 rest'iil the .Suviour crouiit'il, with angels 
 aiul archangels, the apostles and saints, 
 the emperor Justinian and the empress 
 Theodora, and various scriptural subjects. 
 The columns of the choir are of verd-an- 
 
 l)erhaj)s original ; but the apse has been re- 
 built, the clerestory windows changed, and 
 chapels added. The outside, with a ga])led 
 front, retains a good deal of its old aspect. 
 Sta. Maria in C'osmkdix. An earlv 
 
 tique and Egyptian marbles, the walls and octagonal building of rude brickwork be- 
 the great piers aiul the soffits of the arches 
 were faced with marljle slabs, and on the 
 former are traces of a frieze. The mosaics 
 of the dome have been replaced by a 
 coarse decoration in fresco of the xviii 
 century. The columns, particularly those 
 of the first story niches, are extremely 
 noteworthy. They are about twenty-two 
 inches in dianirtcr. with no regular base, 
 but resting on an cxijanding series of thin 
 disks of stone, 'i'hc characteristic capital 
 is trapezoidal, and covered with a tine 
 interlaced basket-work, and with panels 
 filled with conventionalized foliage, and 
 siii-inoiiiiti'd by a high stilt-block. The 
 uiipcr iMiluMins ai'e modifications of clas- 
 sic- forms. They also are surmounted by 
 s([uare stilt-blocks with their sides carved 
 with .slightly indicated leafage. 'J'he By- 
 zantine style was introduced into Ravi'nna 
 through the intimate connection main- 
 taineil by the bishops with the court ot' 
 ( 'onstantinoj>le. This connection was clo.se 
 toward the end of the reign of Tlieodoric. 
 and it was in the year of his ih'atli. 'rH'i. 
 that the church of S. Yitale was Ix'gtni. 
 It was thus almost exactly contemporai'y 
 with Sta. Sofia at Constantinople. The 
 chui'ch was built without interruption, 
 and \\as consecrated bv Maximianus, the 
 
 I inging to the same period with the many 
 others erected under the (iothic Tlie- 
 odoric. This was the Arian Baptistery, 
 but became a Koman church in the vi 
 cent., when a rectangular nave was added 
 to the original octagon. It is a small 
 building about 24: ft. in diameter, with 
 shafts in the interior angles with L'orin- 
 thian capitals, carrying no stilt - blocks, 
 and a round arch in each face of the octa- 
 gon. Aliove these arches is a second 
 range, also on Corinthian colunnis. and 
 above these the octagonal dome, covered 
 with mosaics which date from the period 
 of the conversion of the Iniilding to the 
 uses of the liomau church in the vi cent, 
 by Archbishop Agnello, who converted the 
 baptistery into an orthodox church by 
 adding to it a nave of equal breadth. 
 The walls wrvv i|iiiic pl;iin. but have been 
 dccoratetl with frescoes of late date. A 
 large circular granite plinth in the centre 
 of the j)avement is supposed to have been 
 the foundation of the font, which has 
 now disappeared. 
 
 Sr.\. Mai;ia hki.i.a Kotdnka. See 
 
 'riii'iiiliinr's 'I'liiilli. 
 
 TiiEODoKic's Palaci:, so-called. All 
 that remains of this building, which was of 
 great extent and magnificence, is ai^ortion 
 
 of two-storied brick wall about 0(» ft. long. 
 
 successor of Ecclesius, in .5-1:7, two years 
 
 before the consecration of S. Apollinarc in which now makes the front of the Fran- 
 
 Olasse. {Sec Fi[gs. 159, 160.) ciscan convent attached to the adjoining 
 
 SS. Xazzaku k Cf.t.so. See Mansn 
 
 hum (if (lalhi Phiiiili((. 
 SrA. A(;ata. An open-roofed basilica 
 with a deep apse and without transept. 
 Twenty irregular antique columns carry 
 the arcades of the nave on stilt-blocks 
 which are marked with a cross. The 
 crypt remains, and the inner vestibule, 
 o]H'ning into the nave l>y a simple arch, is 
 
 church of S. Apollinare Xuovo. A cen- 
 tral division contains a round-arched door- 
 way with voussoirs of red and white mar- 
 ble, with square jamb pilasters and 
 Byzantine capitals, without projection. 
 Above the doorway is a broail and deep 
 semicircular recess with angle shafts, cov- 
 ered bv a semi-dome. On each side are 
 c()U[)lcd ai'ches at the ground level, now 
 
 3.3U 
 
MURANOS. DONA TO 
 
A.^rNUS 
 
 walled np, and high above, a group of 
 four blauk stilted round arches, carried 
 on columns with stilt-hlocks, corbellod out 
 on a jn'ojecting sill. A simple 
 horizontal cornice, probably mod- 
 ern, finishes the front. Against 
 the wall, in the right-hand divi- 
 sion, is set what was believed to 
 be the sarcophagus of Theotloric, 
 but which is with more reason 
 now presumed to liave been a 
 bath. 'J'his fragment of wall is 
 j)robably a j)ortiou of a wing of 
 the building, the exact location 
 of which is not known. The 
 columns, mosaics, and other dec- 
 orations were carried olf Ijy Char- 
 lemagne, with the consent of 
 Pope Adrian I., to adorn his vari- 
 ous buildings at Paris, Ingel- 
 heim, and Aachen. 
 
 Theodoric's Tomb, called aliio Sta. Ma- 
 ria della Kotonda, one of the most re- 
 markable of the early monuments of Ra- 
 venna, standing about half a mile without 
 the walls of the city. It is a circular 
 building of stone, some 34 ft. in diameter 
 internally, standing on a high decagonal 
 basement, on which stood originally an ar- 
 cade supported on columns, surrounding 
 the circular building, and approached by 
 two exterior staircases carried on broad 
 flat arches resembling flying buttresses, 
 which staircases are probably modern. 
 Each face of the basement wall is pierced 
 with a round-arched niche, square in plan, 
 the voussoirs of the arches curiously jog- 
 gled. The wall of the upper building is 
 plain, pierced with small windows, per- 
 haps of later date, above the roof of the 
 missing arcade. It is crowned by a heavy 
 decorated cornice of very jieculiar design, 
 and above this is a flat elliptical dome 
 formed of a single block of Istriau lime- 
 stone, around the edge of which are ten 
 projections of uncertain character, which, 
 it is conjectured, served as handles for the 
 convenience of raising and setting this 
 
 j)onderous stone, whose weight has been 
 estimated at above four hundred tons. 
 The interior is divided into two stories, of 
 
 Fie. 161, — Ravenna, Theodoric's Tomb, 
 
 which the lower is crucifdrm in plan ; its 
 floor is some feet below the present level 
 of the ground. The upper story, entered 
 only by a square doorway from the exte- 
 rior terrace, is circular, without architect- 
 ural or other decoration, and roofed by 
 the low dome. Ojtposite the door of en- 
 trance is a square niche, perhaps of later 
 date than the building. The tomb was 
 built, according to some authorities, by 
 Theodoric himself ; according to others, by 
 his daughter Amalasuntha. In either 
 case, it belongs to the first third of the vi 
 century. {See Fig. 161.) 
 RKAMNLTS, Attica, Greece. 
 
 Temple of Nemesis, on a terrace above 
 the town and the sea. It w'as a Doric 
 peripteros, 75 ft. by 37 ft., with twelve 
 columns on the flanks, and six on the 
 fronts. Eight columns are still standing. 
 The cella had a pronaos and an opistho- 
 domos. The statue of the goddess, attrib- 
 uted to Phidias, was carved, according to 
 tradition, from a block of Parian marble 
 which had been brought by the Persians 
 to set up as a trophy for their expected 
 victorv in Attica. 
 
 337 
 
RIETI 
 
 Smaller Temple, upon the same ter- 
 race with the Temjile of Nemesis. It 
 consisted of a cella with two Doric col- 
 umns of Poros stone, in (infix, ami meas- 
 ured 35 ft. by 21 ft. Nothing remains 
 but shattered foundations. This was 
 l)robably the old temple of Nemesis ruined 
 1)V the Persians. 
 lilETI, Italy. 
 
 The Cistercian- Monastery of 8. 
 Pastore, near Rieti, was colonized from that 
 of Casanova in about I'ilS. and its construc- 
 tion dates from about the middle of the 
 xiii century. An inscription in the 
 cloister gives the year of its foundation as 
 l"^o5, and its architect as Ansclm. The 
 cluirch, built of stone, is cruciform in plan, 
 witli a square apse, four square side chap- 
 els, and six bays to the nave — the usual 
 Cistercian plan. Its exterior is entirely 
 ruined and modernized. The interior is 
 a fine specimen of pure Cistercian Ko- 
 manesque. Its length is nearly 125 ft., its 
 width 00 ft., and at the transept S3 ft. 
 The nave measures 2G ft. and the aisles 13 
 ft. in width. The high round arches of 
 the nave rest on simple cruciform piers, 
 from whose projecting faces spring pi- 
 laster-strips along the wall of the nave and 
 aisles, and sub-arclies. The main vaults 
 of the transept and apse are great jiointed 
 tunnel-vaults that rise to a height of be- 
 tween 45 ft. and 50 ft. The low side- 
 chapels have cross-vaults. The vaults of 
 the transept are 21 ft. wide, that of the 
 apse 27 ft. The nave and aisles are at 
 present covered by wooden roofs, but it is 
 probable that they also originally had 
 tunnel-vaults. The effect of the whole 
 interior is one of extreme loftiness, ex- 
 ceeding that of any other Cistercian 
 church in Italy. The vaults show the 
 hand of French architects or their 
 scholars. 
 
 The Monastic Buildings still remain in 
 part. The chapter-house is a fine hall 
 whose vaults have mouldings like those of 
 the episcopal palace at Rieti : there also 
 
 remain two tunnel-vaulted halls and part 
 of the refectory of the xiii century. The 
 present cloister is of brick, and was built 
 in tlie XV cent, by Al)bot Silvester, whose 
 inscription, dated in I-ITU, shows that he 
 built and restored much in the monastery. 
 A bell in the tower which rises over the 
 ai)se has the date 1202. The architecture 
 of this monaster}' is similar to that of its 
 mother monastery Casanova, and its sister 
 monastery S. Silvestro d'Acre ; all being 
 based ujion the tunnel-vaulted style first 
 exemi)lified in Italy in the Cistercian 
 monastery of SS. Yineenzo cd Anastasio, 
 outside Rome. [A. Ij. F., Jr.] 
 RDIIXI (anc. Ariminum), Italy. 
 
 AMiMirniEATKE, built probably in tlie 
 III cent. A.D., and restored in the vi. 
 The iilan is elliptical, the greater exterior 
 diameter 393 ft., the lesser diameter 298 
 ft.; the axes of the arena 250 ft. and 155 
 ft. The whole building was of brick ex- 
 cepting the seats, which were of marble. 
 The arena was surrounded by four con- 
 centric walls, the outer one of which was 
 pierced with sixty arches. 
 
 Roman Bridge of five arches over 
 the river Marecchia (ancient Ariminus), 
 at the junction of the Flaminian and 
 /Emilian AVays. The bridge, begun by 
 Augustus and finished by Tiberius, is of 
 white travertine in very large blocks, and 
 of admirable construction. It is oriui- 
 mented with Doric details, the keystones 
 carved with vases and civic crowns, and 
 the interior of the parapet still bears the 
 inscription commemorating the construc- 
 tion. The length of tlie bridge is 236 ft., 
 its Avidth about 15 ft., and the span of the 
 central arch, which is the widest, 3-li ft. 
 One arch was broken down by the Goths 
 in 552, but was well restored in IGSO. 
 
 S. Fraxcesco, the present cathedral, 
 originally a Gothic church of the xiv 
 cent., with a nave aboiit 30 ft. wide and 
 115 ft. long, flanked by three rectangular 
 chapels on each side, opening from the 
 nave by high pointed arches in a flat 
 
 338 
 
RIVA 
 
 wall. Tlu' c-lioir is a single oblong baj- 
 witii a great round apse. In 1450 the 
 church was tran-sfornied, for the lavish and 
 tyrannical Sigismimd Malatesta, by Leon 
 Battista Alberti, whose masterpiece it is 
 next to iS. Andrea at Mantua. Alberti 
 couverted it into a sort of Ileroon for the 
 Malatesta family, and an embodiment of 
 the asjjiratious of the Renaissance. It is 
 called the Tempio ]\Ialatestiano, and is 
 profusely decorated with classic ornaments 
 and emblems, mythological sculjitures, the 
 elephants and other cognizances of the 
 Malatesta, and the initials of Sigismuud, 
 and of his mistress and tardy wife Isotta, 
 the only symbol of Christian worship left 
 to it being its older name, S. Francesco. 
 Alberti's facade is a sort of triumphal 
 arch with three arches, the middle one, 
 larger than the rest, containing the door, 
 in the intervals of an engaged Corinthian 
 order, above which the upper 
 part, unfinished, suggests a sin- 
 gle gable broken by a raised cen- 
 tre with an order of pilasters. 
 A dome was to have crowned the 
 church, but was never built. 
 The sides are faced with a series 
 of great arched niches, contain- 
 ing sarcophagi of the Malatesta 
 and their friends. Within, the 
 great pointed arches remain, and 
 the walls are covered with a pro- 
 fusion of pilasters, large and 
 small, singularly arranged, with 
 panels and reliefs and carved or- 
 nament. A simjile open - tim- 
 bered roof takes the place of the 
 intende-d wooden vault. The 
 rich marbles with which the church is pro- 
 fusely ornamented are in great part the 
 spoils of older buildings. (See Fig. 162.) 
 Tkiumi'Hal Arch, now called Porta 
 Romaua, and spanning a street of the city. 
 It was erected in honor of Augustus, in 
 conmiemoration of the building of the 
 Flaminian Way. It is a massive and well- 
 built structure of white travertine, pierced 
 
 by a single arch of 29^ ft. span and 27 ft. 
 high ; a Corinthian fluted column on 
 each side sujjports an entablature, above 
 which is a low pediment, and remains of 
 mediajval battlements crown the whole. 
 The spandrels are decorated with medal- 
 lions, on one side of Jupiter and of Venixs, 
 and on the other of Neptune and of Mars. 
 The total height is 40 ft. 
 RIVA, Italy. 
 
 Sta. Ckuce. a small and singular Re- 
 naissance church belonging to the first 
 half of the xvi cent., of which the design 
 is attributed to Cristoforo Solari. It is 
 an octagon about 40 ft. in diameter in- 
 ternally, surrounded by a Roman Doric 
 arcade, of whose four cardinal arches 
 one encloses the entrance door and the 
 others open into square chajiels. The 
 four intermediate arches open into trian- 
 gular niches which fill out the plan to a 
 
 r ' ; — Rimtni. S, Francesco 
 
 square. Above the arcade is the windowed 
 drum of a high octagonal dome, decorated 
 with frescoes and covered with a low 
 pyramidal roof and a small lantern. 
 LA ROCCELLETTA (Del Vescovo Di 
 
 Squillace). near Catauzaro and Squil- 
 
 lace, Italy. 
 The Basilica, which dates apimrently 
 from the iv or v cent., is the most inter- 
 
 339 
 
ROME 
 
 esting and perhiqis the oldest of the very 
 ciirly cluirclies in tlic old kingdom of Na- 
 ples. It i-s of the Latin type, about 150 
 ft. long, with uuve and aisles, broad tran- 
 sept, and three eastern apses. The nave 
 columns and tlie roof are gone ; otherwise 
 the church is well preserved. Under the 
 choir and apse is a large crypt. The 
 masonry appears to be Roman, of the 
 period immediately after Constantiue ; the 
 walls are of stone, banded with large 
 bricks, and the windows arched in brick. 
 This jiart of Italy was Latin, and ecclesi- 
 astically dependent on Rome, as late as 
 the VI cent.; but afterward came under 
 the Greek Church and was dejiendent on 
 Constantinople. It is possible that this 
 basilica dates fi'om the time when Cassio- 
 dorus. the prime minister of Theodoric, 
 withdrew to Squillace, and founded in 
 this neighborhood the great monastery of 
 Vivarese. and other ecclesiastical establish- 
 ments. In a wall near by is set a By- 
 zantine relief in marble representing the 
 Virgin and Child. The Virgin wears the 
 costume of the empress Theodora in the 
 mosai(^s of St. Vitale at Ravenna, and the 
 Child is dressed like a little Roman em- 
 peror of that period. The woi'kmanshij) 
 is excellent, and the relief may have come 
 from the churcli. 
 KO.MK (i!oma), Italy. 
 
 S. Angelo. See Castle of S. Aiii/rJo. 
 
 AuA C(ELi. Sec iSYrt. Maria in ArarcU. 
 
 Arcus AiUiEXTAiuus, the Arch of Sep- 
 timius Severus on the N'elabrum (called 
 Arch of the Silversmiths), erected by the 
 money-changers and merchants of the 
 Forum Boariuiu to the emperor, the em- 
 press Julia, aiul their sons Caracalla and 
 Geta. The monument is of brick en- 
 crusted wilii marble; the masonry is good, 
 but tiie over-rich decoration testifies to 
 the decadence of art. The cornice con- 
 sists of seven elaborately moulded mem- 
 bers, and the frieze bears exuberant foli- 
 age ornament. On each long side there 
 are four, on each small side two, pilasters 
 
 with Composite capitals. On the sides of 
 the (tpeniug, which is not an arch, but has 
 a flat lintel, are reliefs representing the 
 emperor and his family offering sacrifice ; 
 though damaged, they are of nnich value 
 from the arclueological details illustrated. 
 There are also some sculi:)tures on the ex- 
 terior. This arch was obviously the model 
 for much of the decoration of the early 
 Renaissance. It abuts against the church 
 of S. Giorgio in Velabro. {Sec Fiy. Ifi2.) 
 
 Arch of Augustus, a triumphal arch 
 erected in honor of the victory at Actium. 
 It stood on the Forum Ronuinum, adjoin- 
 ing the Temple of Julius, and was in part 
 masked by the Temple of Castor and Pol- 
 lux as rebuilt by Tiberius. This arch is 
 now gone except its massive foundations 
 of travertine, which were discovered in 
 1888. These show that it had three arch- 
 ways, the central one of which was 14 ft. 
 in span. 
 
 Arch of Constaxtixe, the best pre- 
 served of Roman triumphal arches, and in 
 general effect the most impressive. It 
 was dedicated in 31.5 a.d. It has a large 
 central archway flanked by two smaller 
 arches. Each front is ornamented with 
 four Corinthian columns on pedestals, 
 supporting blocks of the entablature, 
 which, with the dies resting upon them, 
 form pedest;ds for statues in Dacian cos- 
 tume. Above the entablature is a high 
 attic, the central comi)artments of wliicli 
 bear inscrijjtions, the others are filled 
 with reliefs taken from the monument of 
 Trajan, and representiug that emjjeror's 
 triumphs over orientals and Dacians. Be- 
 neath the entablature, on each face, over 
 the small arches, there are four circular 
 medallions presenting scenes from Trajan's 
 private life, also abstracted from his mon- 
 ument. Beneath the.se a small band is 
 carried round the structure, with very 
 rude sculptures of Constautine's cam- 
 paigns. In the spandrels of the large 
 arch are Victories, rudely carved, and in 
 those of the snudl arches nymphs and 
 
 340 
 
EOME 
 
 river deities. On the side-walls of the 
 large archway are otlier reliefs ]wrtraying 
 exjjloits of Trajan, and on tiiose of the 
 small arches portraits of the sous of Cou- 
 stautine. On the basement -piers are 
 scnlptnred Yictorys and barbarian prison- 
 ers. On the summit originally stood a 
 bronze group of Constantino in a quadriga. 
 The reliefs of the time of Trajan repre- 
 sent the highest type attained by Eoman 
 decorative art ; the contrast with them of 
 the rough sculptures of Constantino's day 
 
 die ages it was transformed into a fortified 
 tower. Upon the attic were originally 
 placed an equestrian statue of Drusus and 
 military trophies. 
 
 Arch of Gallienus, now a simple 
 arch of travertine, 29 ft. high and Si ft. 
 in span, flanked by pilasters with Corin- 
 thian cajiitals supporting an entablature, 
 and bearing an inscription of 262 a.d. 
 commemorating the invincible bravery and 
 the remarkable piety of Gallienus. A 
 drawing of the xv cent, shows this arch 
 
 Fig ICi, — Rome 
 
 is striking. The height of the large arch- 
 way is 38 ft., of the small ones 24| ft. 
 {See Fig. 163.) 
 
 AiiCH OF Diiusrs. father of the em- 
 peror Claudius, erected over the Appian 
 Way by decree of the Senate in 8 b.c, in 
 recognition of the general's successes in 
 the Kha?tian and German wars. It has a 
 single archway of massive travertine ma- 
 sonry, flanked by two Composite columns 
 on high pedestals. Traces can be distin- 
 guished in the mass of masonry first placed 
 on the arch by Caracalla, who made it 
 serve to carry the Anio aqueduct over the 
 street, of the pediment which originally 
 surmounted the entablature. In the mid- 
 
 with a central decorative pediment and 
 two side portals. It was erected in 2U2 
 A.D,, in the line of the Servian wall, and 
 corresponds to the ancient Esquiline Gate 
 of Tarquin, jiart of whose foundation ex- 
 ists. It sjians the modern Via di San 
 Yito. 
 
 Arch of Jaxus Quadkifrons, a four- 
 way arch of Greek marble at one extrem- 
 ity of the Forum Boarium, built in part 
 of older materials. It is heavy and de- 
 based in style, and instead of having any 
 connection with Janus, it is plausibly con- 
 jectured to have been built for the tri- 
 umphal entry of Constantine after his 
 victory over Maxentius. It was used in 
 
 341 
 
ROME 
 
 antiquity as a sort of financial excliange 
 or bourse. It is pierced by two passages 
 at rigbt angles, leaving four massive 
 angle-piers, the central space being covered 
 bv a groined vault formed of pots. On each 
 face, arranged in two tiers beside the arch- 
 way, are twelve niches, eight for figures of 
 divinities and four blind. The frieze and 
 cornice are much damaged, and the attic 
 is gone. The present height is 39 ft. 
 
 Arch of SEPTiMirs Severus, in the 
 Forum Romanum. built ;203 a.d., in com- 
 memoration of the victories over the Par- 
 thians and Arabs, and in honor of the em- 
 peror and his sons Caracalla and Geta. It 
 has three archways with eoifsred vaults, 
 the central one much the largest, flanked 
 by Composite columns on high basements. 
 In the spandrels of the large archway are 
 carved Mctorys bearing trophies ; in those 
 of the smaller ones are river gods. Over 
 the small archways are reliefs presenting 
 incidents of the campaigns, and on the ped- 
 estals of the columns arc sculptured cap- 
 tive barbarians. The high attic bears 
 pompous inscriptions, and originally sup- 
 ported a grouj) in Ijronze of the six-horse 
 triumphal chariot of the laurel-crowned 
 emperor. The substructure is of traver- 
 tine, the columns of jiroconnesian mai'ble, 
 and the rest of the monument of pentelic. 
 The width is 83 ft., the height 75 it. 
 From the artistic side the monument 
 shows decadence in its proportions, and 
 particularly in its sculpture. 
 
 Akcu of SEPTiMir.s Severus ox the 
 Velabku.m. See circus Arrjenfarius. 
 
 Arch of Titus, a monument dedicated 
 in 81 x.T)., by the Roman senate and peo- 
 ple, in honor of the destruction of Jerusa- 
 lem in 70 A.n. It stands on the elevation 
 called the Velia, S. E. from the Forum 
 Romanum. In the middle ages it was em- 
 bodied in the construction of a fortress- 
 tower of the Frangipani, and it was not 
 isolated until 1822. It is a triumphal arch 
 of a single opening, simple in outline, and 
 in excellent architectural taste. The arch- 
 
 way is flanked on lioth faces by two en- 
 gaged Composite columns on each side, 
 su2)porting an entablature whose frieze is 
 sculptured with a sacrificial procession. 
 Above the cornice rises an attic about 14 
 ft. high, bearing in jianels the dedicatory 
 inscription and that commemorating the 
 restoration by Pius VII. Upon it origi- 
 nally stood a four-horse chariot. The span- 
 drels of the arch are carved with Victo- 
 rys. It is especially noted for the reliefs 
 which adorn the interior of the passage. 
 Tliese count among the best productions 
 of Roman decorative art, and represent on 
 one side the emjieror Titus crowned by 
 Victory in his triumphal chariot, conduct- 
 ed by the goddess Roma and attended by 
 lictors and rejoicing citizens ; and on the 
 opposite side the procession with the booty 
 of Jerusalem, in w'hich the shew - bread 
 table and the seven-branched candlestick 
 are cousiiicuous. At the summit of the 
 coffered vault Titus is seen borne up to 
 the gods by an eagle. The height of the 
 arch is 51 ft. 
 
 Arch of Tra.jan, originally connect- 
 ing the Forum of Trajan with that of 
 Augustus. Its sculptures were used to 
 adorn the existing Arch of Constautiue, 
 and other fragments survive in the Later- 
 an .Museum. 
 
 Athiu-M Vest.e. Sec House of the Ves- 
 ial Virf/iiis. 
 
 Auditorium of Maecenas, so-called, 
 an interesting structure in the ancient 
 gardens of Maecenas. It is rectangular in 
 plan, 1)2 ft. by 34 ft., with six rectangular 
 niches in the side walls of the interior, 
 and at one end a semicircular cxedra of 
 six tiers of seats originally encrusted with 
 marble. The niches are painted with 
 trees, flowering i^lants, and birds, of good 
 style. The walls show inside and out the 
 opiit: retioilahiin masonry, in small blocks 
 of tufa, of the early empire. 
 
 Baptistery of Constaxtixe. See S. 
 Giovanni in Fonte. 
 
 Barracks of the Vigiles, a bodv of 
 
 S42 
 
ROME 
 
 niPii piirolleil from the bc<iiiiiiinLr <if thv 
 empire, xiiidor military discipline, to serve 
 as police, firemen, and lamjilighters. The 
 stationes were sumptnoiis buildin^js. with 
 halls decorated with marble 
 and mosaics, as well as statnes 
 and other works of art. The 
 minor barracks were also lare-c 
 and fine buildings. The most 
 perfect of them surviving is 
 one of the two of Cohort V 11. . 
 near the church of S. Criso- 
 gono in Trastevere. It has a 
 large colonnaded atrium with 
 mosaic pavement, surrounded 
 by series of rooms, some of 
 them lavishly decorated, which 
 formed two, and perhaps three, 
 stories. Among the rooms are 
 an interesting larariuiii or 
 chapel, and one fitted as a 
 spacious plunge-bath, with in- 
 crustation of thin slabs of colored marbles 
 arranged in panels. 
 
 Basilica of Constantine, on the 
 Forum Ivomanum, formerly known as the 
 Temple of Peace, built by JMaxentius. and 
 after his fall dedicated in the name of Con- 
 stantine. The foundations of the great 
 structure, the finest example of a vaulted 
 basilica, can be traced throughout, and 
 sufficient of the piers and vaulting remains 
 standing to afford material for a complete 
 restoration. The building is of architect- 
 ural importance from its wide deviation 
 from classical traditions, so that it repre- 
 sents a step in the development of later 
 styles. It consisted of a nave 262 ft. long 
 and 82 ft. wide, flanked by aisles 52 ft. 
 wide. Each aisle was vaulted in three 
 bays at right angles to the nave. The 
 vaults of the north aisle, with their im- 
 posing arches 80 ft. high and 07 ft. in 
 span, are still standing, and were studied 
 as models by the architects of St. Peter's. 
 At the western extremity of the nave 
 tliere was a tribune. At a subsequent 
 date, an entrance with a portico and a 
 
 flight of steps was formed in the ini(hlleof 
 the south long side, and a second tribune 
 was constructed op])osite to it in the cen- 
 tral bay of the north nave. At the east 
 
 Fjg. )64.— Rome, Basilica of Constantine and 55 Cosmn and Damiano, 
 
 end a seven-arched portico was carried 
 across the entire front. In the exterior 
 wall of each bay of the aisles opened three 
 large arched windows. The nave was 
 covered with groined vaulting, which at- 
 tained the height of 115 ft., and also had 
 windows. The decoration included huge 
 columns, niches, and many statues. The 
 basilica was ruined by an earthquake in 
 1.349. {See Fi(j. I64.) 
 
 Basilica Jovis, a great hall to the 
 right of the entrance of the palace of 
 Domitian, on the Palatine Hill, forming 
 a room of the palace for the administra- 
 tion of Justice. It is of excellent propor- 
 tion, with wide nave and narrow side- 
 aisles, each separated from the nave by a 
 range of seven columns. At one end there 
 was a large apse with seats for the judges. 
 A balustrade divided the sj^ace reserved 
 for the magistrates from that open to the 
 public. This hall was probably vaulted, 
 and in type it is very close to the earlier 
 Christian basilicas. 
 
 Basilica Julia, on the south side of 
 the Forum Romanum, a great building 
 
 34.3 
 
ROME 
 
 begun by Civsiir in 'A is.c, and linislied 
 by Augustus. It fornu'd iiractically a 
 covered forum for the courts of justice 
 and the needs of business. It was greatly 
 injured by lire, and was restored in 377 
 A.u., by the prefect Gabinius Vettius 
 Probianus. The existing remains rejire- 
 sent this restoration. In plan, it is a rec- 
 tangle 151 ft. by :?;i8 ft., tlie long sides 
 being the fronts. It had neither culuniiis 
 nor projec^ting tribune, but on the long 
 sides three ranges of arcades, each resting 
 on eighteen piers, and on the small sides 
 also three ranges, each with eight piers. 
 The central sjiace, measuring 59 ft. by 
 253 ft., had fourteen piers on each long 
 side and four on each small side. The 
 Basilica had galleries over the aisles, whirh 
 were covered with groined vaulting ; the 
 central space was roofed with wood, or 
 possibly sheltered merely by an awning. 
 The pillars were partly of brick, partly of 
 travertine ; those on the Forum front 
 were of travertine. ()n the outward side, 
 the piers were adorned with semi-columns, 
 those of the first story being Doric with 
 three rosettes on the neck and Attic bases, 
 and those of the second story being Ionic. 
 The range of arcades toward the Forum 
 was called the Portions Jnlia ; in it were 
 placed the tables of tlie money-changers. 
 The central sjjace, two steps higher than 
 the porticoes, was enclosed by perforated 
 barriers of marble ; it was especially ap- 
 propriated to the civil conrt. Twenty- 
 four piers have remained standing, most 
 of them toward the N. W. corner. On 
 the south long side there remain piers 
 and walls of tufa, fdnuiiig a row of shops, 
 which repri'sent the constructions of 
 C;T;siir. 
 
 Basilica Ulpi.v, occupying a great 
 part of tlie N. W. end of the Forum of 
 Trajan. Hcilh its ends are covered by 
 modern houses, but the lower parts of the 
 columns and walls of the central portion 
 are exposed. It was of two stories, 184 ft. 
 wide, five-aisled, the width of the middle 
 
 aisle 82 ft. The long sides were the cliief 
 fronts. The columns were of giallo an- 
 tico, jiavonazetto, and granite ; the roof 
 was covered with sheets of lirouze, and the 
 floor jjaved with marbles of different col- 
 ors. It is held by some authorities that 
 the central space was open to the sky. 
 On the N. W. side of the basilica was a 
 conrt surrounded by two-storied colon- 
 nades ; in tlie centre of this court stood 
 the column of Trajan. 
 
 Baths. See Thcrmce. 
 
 BoccA DELLA VekitI. Scc S/iI. Mdvid 
 in C'osmediii. 
 
 Bridge of Saxt' Anrelo, the chief 
 liridge of Rome, built in 13-1 a.d. by Ha- 
 drian, directly opposite his monument, 
 and in antiquity called the Pons ^Elius 
 and forming part of the Via Aurelia. 
 Five of the massive travertine arches are 
 ancient, the sixth dates from the xvi 
 century. In 1530 Clement VII. set up the 
 statues of St. Peter and St. Paul on the 
 j)arapet at the entrance of the bridge, and 
 in 1008 Clement IX. placed the statues of 
 the ten Angels of Suffering over the piers. 
 
 Bridge of the Quattro Capi, as now 
 called from the quadruple Janus -heads 
 on the surviving one of the ancient bar- 
 rier-piers. It is the oldest surviving bridge 
 of Rome, the ancient Pons Fabricius. 
 The original inscription, which is still in 
 place over one of the two fine semicircular 
 arches, shows that it was built by Fabri- 
 cius in 02 B.C., and tested by the Consuls 
 Paulus ^Finilius, Lepidus, and Marcus 
 Tiollius, in 21 B.C. The rough masonry is 
 of tufa and jieperino, the facing of traver- 
 tine. The central pier is pierced by an 
 arched opening framed by pilasters. The 
 bridge, 230 ft. long and 31 ft. wide, leads 
 to the island in the Tiber, forming one 
 section of a bridge to the Trastevere. 
 
 Cami'idogi.io. See Capitol. 
 
 'i'lie Cancklleria, one of the largest 
 
 and most important of the Koman palaces, 
 
 built at the end of the xv cent., from the 
 
 designs of Bramante, for Cardinal Riario, 
 
 344 
 
ROME 
 
 nepliew of Sixtiis V., for tlie uses of the 
 papal chancery.- The buildings are ex- 
 tensive, covering an area about 235 ft. 
 square, and including as an integral part 
 of the plan the church of S. Lorenzo 
 in Damaso {q-v-)- A portion of the of- 
 ficial apartments lies behind and at one 
 side of the church, but the greater part 
 is disposed about a great oblong court 
 of imposing design, one of the mo;^t 
 justly celebrated works of Bramante. 
 measuring about 70 ft. by 110 ft., and 
 surrounded by two stories of vaulted 
 arcades, the arches in both sjDringing 
 from quasi -Eoman Doric columns, of 
 which the shafts of red granite were 
 taken from the ancient basilica of S. 
 Lorenzo which was replaced by the new 
 cimrch, and more remotely from the 
 neighboring theatre of Pompey. The 
 arcades are each crowned by a full en- 
 tablature, and above the arcades is a 
 third stage, consisting of a flat wall 
 faced with an order of Corinthian pi- 
 lasters embracing two half-stories, the 
 windows of the lower square with mould- 
 ed architraves and horizontal caps, those 
 of the upper small and round-arched, 
 surrounded by simple moulded archi- 
 trave. The facjades are of great ele- 
 gance. They are in three stages of rus- 
 tic masonr}' : the first stage a jilain wall 
 with single round-arched windows, crown- 
 ed by a strong moulded cornice ; the two 
 upper stages each with an order of flat 
 Corinthian pilasters arranged in couples. 
 The principal front on the Campo dei 
 Fiore has a length of nearly 300 ft., of 
 which about one-third covers and hides 
 the church of S. Lorenzo. At each ex- 
 tremity is an angle pavilion of no great 
 projection. The first story has two door- 
 ways, one forming the entrance to the 
 palace and the other to the church. The 
 latter, designed by Vignola, is comparative- 
 ly simple. The former, by Fontana, is 
 much more iiretentious, consisting of an 
 arch some 10 ft. by 20 ft., with sculptured 
 
 spandrels, cnclo.sed in an engaged Doric 
 portico of four columns, with triglyphs in 
 the frieze and surmounted by a balustrade. 
 The walls are of travertine, perhaps taken. 
 
 F:g. 165. — Rome, Cancellarra, Cpu * 
 
 as has been asserted, from the Colosseum ; 
 the doorway and windows are of white 
 marble. The details are everywhere re- 
 fined and temperate. The interior has 
 many fine ajiartments, some of which are 
 decorated with frescoes by \'asari, Peruzzi, 
 and other mastei's. {See Fig. 165.) 
 
 The Capitol. (II Campidoglio.) The 
 Capitol hill, the central seat of tlie Roman 
 power, had at the epoch of the Renaissance 
 become degraded from its ancient archi- 
 tectural splendor. The Citadel or Arx on 
 the one side, and the Temple of Jupiter 
 Capitolinus on the other, had disappeared. 
 Between them the medieval palace was 
 still standing, rebuilt in 1380 by Boniface 
 IX., but in its front was a rough, imprac- 
 ticable cliff, and in the rear were the in- 
 clined planes leading down to the Forum. 
 
 3J5 
 
ROME 
 
 Toward the middle of the .wr cent., Taul 
 III., desiring to jnit tliisccutrul point into 
 a more befitting condition, commissioned 
 Micliael Angelo to lay out the level pla- 
 teau in front of the mediaeval jjalace and 
 to erect suitable buildings. Under his di- 
 rection the old palace was substantially re- 
 built and two new ones erected, enclosing 
 on three sides a ti-apezoidal space about 
 200 ft. in depth. 170 ft. broad at the rear, 
 where the old palace stood, and 130 ft. at 
 the front, the two side buildings converg- 
 ing toward the front, like tlie colonnades 
 of St. Peter's. From the foot of the hill 
 a long inclined plane, or gradinata, flanked 
 by balustrades, leads to the plateau, end- 
 ing at the top in two great pedestals bear- 
 ing the statues of Castor and Pollux with 
 horses. In the middle of the square 
 
 Fig. 166.— Rome, Capitol Hill. 
 Scale of 100 feet. ,. 
 1. Capitoline Museum. 2. Pal. of the Conservator!. 
 
 3. Capitol. 4. Church of Araceli. 
 
 stands the ancient bronze equestrian statue 
 of JIarcus Aurelius, the only complete ex- 
 ample of its class which is known to exist. 
 
 t)f the buildings, tlie two on the sides of 
 the square, known respectively as the Mu- 
 seum of the Capitol, and the Palace of the 
 Conservatori, are alike in their exterior, 
 the design consisting of a single strongly 
 marked order of Corinthian pilasters stand- 
 ing on high pedestals, the cornice sur- 
 mounted l\y a balustrade, the intervals in- 
 cluding two stories, of which the first is 
 an open loggia marked by a sub-order of 
 Ionic columns in the intervals of the 
 great pilasters. The second story has in 
 each interval a square window with balus- 
 trade, enclosed by a Corinthian order with 
 curved f)edimeut. Both these palaces con- 
 tain extremely interesting collections of 
 ancient works of art, and the gallery of 
 sculpture in the iluseum is, next to that 
 of the Vatican, the most important and 
 valuable in existence. {See Fig. 
 lOG.) 
 
 The central Iniilding, known 
 as the Palace of the Senator, 
 which encloses, or rci)laces, the 
 niedi;¥val jialace. is in harmony 
 with tlie others, though of some- 
 what simpler architecture. Its 
 plain rear wall, which towers over 
 the Forum Eomanum. is built on 
 the remains, and even imbeds 
 some of the Doric arcades, of 
 the ancient Eoman Tabularium. 
 Its fa9ade. about 200 ft. long, 
 re2ieats the order of Corinthian 
 pilasters, raised, however, on a 
 high basement which is nearly 
 covered by an imposing double 
 flight of steps, the two ramps 
 skirting the wall and meeting in 
 the middle over an elaborate 
 fountain. The order covers two 
 stories of windows, the lower 
 range substantially like those in 
 the other palaces. Of this fa9ade 
 only the basemeiit with its great 
 staircase was comi)leted at the time of 
 Michael Angelo's death ; the upper por- 
 tions were carried out under Giacomo 
 
 S46 
 
ROME 
 
 Fig 167. — Rome, Capitol and Steps. 
 
 ik'lla Porta and Girolomo Rainaldi. Tlie 
 square tower, which takes the phice of that 
 ou the mediaival palace and has two belfry 
 stages, was built by ^lartino Lunghi about 
 1580. (Sec Fig. 167.) 
 
 Castle of S. Axcelo, the modern 
 name of the mausoleum built by the em- 
 peror Hadrian about 130 A. D., and finished 
 some ten years later by Antoninus Pius. 
 The ancient building 
 was a round tower abou t 
 230 ft. across, on a huge 
 square sxibstructure 
 and surmounted jirob- 
 ably by a smaller tower, 
 rising some Ki.j ft. 
 above the ground. The 
 exterior was faced with 
 marljle and probably 
 encircled by a range, 
 perhaps by two ranges, 
 of columns which, it is 
 said, furnished the col- 
 umns of the old basilica 
 of St. Paul without the 
 
 statue of Hadrian, ac- 
 cording to others the 
 gilded pineapple which 
 now adorns the upper 
 court of the Vatican, 
 'i'lio square basement 
 is lost in medieval ad- 
 ditions, the ujiper cir- 
 cle has disapi^eared, 
 and the great tower has 
 Ijceu heightened by a 
 blank wall crown c d 
 with an arched corbel- 
 table surrounding the 
 building, with a high 
 wall above, pierced ir- 
 regularly with open- 
 ings of various forms 
 and sizes. Still above 
 this, on the side toward 
 a sqiiare building of 
 with the familiar 
 
 archangel Michael. 
 
 the bridge, rises 
 three stories, capjjed 
 bronze figure of the 
 1'he masonry of the original building 
 is of hewn peperino and of extraordinary 
 thickness, the monument having con- 
 tained but a single square chamber in the 
 centre, approached from an entrance arch- 
 way through an ascending sjiiral corridor 
 
 walls. It bore upon its 
 summit, according to 
 some authorities, the 
 
 Fig. 168. — Rome, Castle of S. Angelo. 
 347 
 
ROME 
 
 11 ft. wide and oO ft. high, and Hghted 
 by narrow openings in the enedosing 
 walls. The moderu portions of tlie build- 
 ing contain many apartments, of which 
 some are decorated witli frescoes by Giulio 
 Komano, Pcrino del Vaga, and other 
 masters. The history of this remarkable 
 monument is as varied as that of Rome it- 
 self. It served its intended uses as an im- 
 perial burying-])lace only until the death 
 of Septimius Severus, in 211, scarcely 
 eighty years from its commencement. 
 Two centuries later it became a fortress 
 under Honorius, and in the siege by Viti- 
 ges the soldiers of Belisarius defended it by 
 throwing down its marble statues upon the 
 heads of the Goths. During the troubled 
 centuries which followed it fell succes- 
 sively into the hands of Romans, Goths. 
 and Greeks. About the middle of the x 
 cent, it was the stronghold of the popes, 
 and while occujiied by the French cardi- 
 nals, underwent various changes of form. 
 It was ruined by the Romans themselves 
 in 1379, in auger at its occupation by the 
 ]iartisans of the antipope Clement VII., 
 and repaired by Boniface a dozen years 
 later. Alexander YL, about 1.500, built 
 additional fortifications between it and the 
 river, and finished the gallery of commu- 
 nication with the Vatican. In Ki-l-l the 
 outer fortifications were built, on an ex- 
 tensive scale and of great strength, from 
 Bernini's designs, ilany remarkable and 
 famous statues and other remains of an- 
 cient Rome have been found in this monu- 
 ment. {See Fig. KJS.) 
 
 CniESA NuovA. See Sht. Muria hi 
 Vallicella. 
 
 CHrRCH OK TiiK Gesuiti, Called II (ie- 
 sii, the chief church of the Jesuit Fathers, 
 noted for the sumptuousness of its interior 
 decoration. It was planned and partly built 
 bvA'ignola for Cardinal Alexander Farnese 
 about 1,")G8, and finished after his death by 
 his pupil, Giacomo della Porta, who addt'd 
 the facade, with some variation from ^'ig- 
 nola's design. Toward the end of the next 
 
 century the Jesuit father Andrea Pozzo 
 added the decorative features which set 
 the fashion in the rococo style for Jesuit 
 churches throughout Europe. The church 
 is cruciform, and has a sjDacious nave 55 ft. 
 wide, short transept arms, a choir of one 
 bay and eastern apse. The four arms are 
 barrel-vaulted and the crossing covered by 
 a hemispherical dome. A single order of 
 coupled Corinthian pilasters, lining the in- 
 terior, shows the sinijilicity and dignity of 
 Viguola's design. Square chapels with 
 low domes border the nave and choir. The 
 drum of the great dome is wainscoted with 
 a smaller order of pilasters, enclosing pedi- 
 mented windows and niches. The vaults 
 are lavishly decorated, and in their lunettes 
 are the richly framed rococo windows of the 
 clerestory. Della Porta's fa(;atle consists 
 of two superposed orders of coupled Co- 
 rinthian pilasters. The lower story has 
 a double pediment (a triangular within a 
 curved) over the central door ; the second, 
 narrowed to the width of the nave and 
 flanked by scroll buttresses, has a pedi- 
 mented window between two niches under 
 a large triangular pediment. 
 
 The Circus of Maxextii.s, built in 309 
 A.I)., could receive seventeen thousand 
 spectators. The round end is turned to 
 the east ; at its centre is i\\c porfn fn'tiin- 
 pluilis, through which the victor passed 
 in triumph, and at the west, between two 
 three-storied towers, the ten carceres ar- 
 ranged on the arc of a circle, in which the 
 racers were confined to insure a fair start. 
 The circus is 1,(J20 Roman ft. long ami x'-lo 
 ft. wide ; the spina is 1,000 ft. long, placed 
 a little diagonally, so as to give more room 
 at the entrance than at the opposite end. 
 
 Cloaca Maxima, a famous monument 
 of the time of the kings of Rome, intended 
 to relieve the town of rain floods. The 
 semi-cylindrical vault of splendid Etrus- 
 can masonry in large voussoirs of tufa, 
 with ai-(hes of travertine at short inter- 
 vals, opens on the Tiber, still jicrfect and 
 performing its original function. The 
 
 348 
 
ROME 
 
 height of the arcli is some l^.' ft., iiiul its 
 width 11 ft. 
 
 College op the Keopiiyte.s. See 
 Sta. Maria dei JHoiiti. 
 
 CoLLEGio Ko.MA^'0. The very exten- 
 sive buikliugs of the Koman (Jesuit) Col- 
 lege, founded in 1582 by Gregory XIII., 
 were built from the designs of Ammauati. 
 They include the sumptuous church of S. 
 Ignazio (q. r.), and cover an area measur- 
 ing about 310 ft. by nearly -ITO ft., enclos- 
 ing two great courts ; one an oblong of 
 about 75 ft. by 130 ft. laid out as a gar- 
 den, with vaulted arcades on three sides, 
 the other a square of rather more than 100 
 ft., surrounded by two stories of vaulted 
 arcades each enclosed in an order of pilas- 
 ters, Ionic and Corinthian respectively, 
 the arcades giving access to the numerous 
 class-rooms and other apartments of the 
 college. The principal fa9ade is flat and 
 uninteresting. It has a length of more 
 than 300 ft., its centre slightly projecting 
 and of superior height, with two entrance 
 doorways in the first story. The height is 
 divided into two stages, each including two 
 stories of windows enclosed in srpiare pan- 
 els, with an attic above the main cornice. 
 
 The CoLOSSErii, or Flavian Amphithea- 
 tre, the greatest architectural monument 
 of the Roman people, was begun by Ves- 
 pasian on the site of an artificial lake be- 
 longing to Nero's Golden House, and 
 dedicated by Titus in 80 a.d. Although 
 ravaged in the xi cent, by Robert Guis- 
 card, afterward a baronial fortress of the 
 Frangipaui, later a rol)ber stronghold, and 
 for centuries a public quarry, about half 
 of the total mass still remains, including 
 more than half of the massive exterior 
 facing of travertine, with three tiers of 
 arcades, originally eighty in each tier, 
 adorned by engaged columns, Doric, Ionic, 
 and Corinthian, and entablatures, and a 
 fourth story with Corinthian pilasters, 
 but with the intercolumniations closed ex- 
 cept for rectangular windows in alternate 
 spaces. The seats rose in tiers, the low- 
 
 est of them elevated, for security, on a 
 podium above the arena, and were sub- 
 divided by two precinctions or horizontal 
 passages of communication, each with a 
 wall at the back, and bordered above by a 
 colonnaded gallery. Communication was 
 further provided for by a number of radial 
 stairways in the tiers of seats. Access to 
 the auditorium was established by an elab- 
 orate system of jiassages and stairs dis- 
 posed in the concentric vaults ujion which 
 the seats rested, and by one hundred and 
 sixty doorways, called vom iloria, from these 
 into the auditorium. The seats were of 
 marble, the most imjjortant constructive 
 parts of the interior walls of travertine, 
 and the less important parts and the vaults 
 of brick, tufa, and concrete. In some 
 of the lowest vaults were arranged dens 
 for wild beasts, and quarters for gladiators 
 and the various requirements for service. 
 An elaborate system of substructions be- 
 neath the arena appears to indicate that 
 it could be flooded for a naumachy, and 
 there w^ere efficient devices for the drainage 
 of the entire interior, which have been in 
 jjart restored. Corbels and pierced stones 
 in the highest story mark the placing of 
 the masts which supported the vela or 
 awnings for protection from the sun. 
 The dimensions are : axes of exterior el- 
 lipse, 617 ft. and 513 ft, ; axes of arena, 
 283 ft. and 148 ft. ; exterior height, 159 
 ft. The auditorium could hold eighty- 
 seven thousand peojjle. 
 
 Column of Marcus Auuelius, in the 
 Piazza Colonna. It is an imitation of the 
 Column of Trajan, a Roman-Doric col- 
 umn of white marble 87 ft. high, on a 
 square pedestal of the height of 10 ft. 
 The shaft, 13 ft. in diameter at the base 
 and 12 ft. at the top, is formed of twenty- 
 eight drums, and is sculjitured with the 
 Roman campaigns against the Marcoman- 
 ni and kindred peoples, in high relief and 
 in a somewhat hard and dry style, occupy- 
 ing a spiral of twenty turns. The render- 
 ing of rivers, buildings, etc., is like that 
 
 S49 
 
KOME 
 
 on the Column of 'I'rajaii. The present 
 base is modern ; the aneient one lies deep- 
 er. The existing inscription, ascribing tlie 
 
 Fig. 169. -Rome, Column of Marcus Aurelius. 
 
 monument to Antoninus I'ius. is incorrect. 
 In the interior of the shaft there is a. 
 winding stair leading to the top of the capi- 
 tal, on which stands, since 1580, a gilded 
 bronze statue of St. Paul, 13 ft. higii. 
 placed there by Sixtus V. {See Fif/. KiO.) 
 CoLiMX OF PiiocAs, conspicuous in 
 the middle of the Forum Komanum, a 
 fluted Coriuthian column 54 ft. high, taken 
 from some ancient building, and raised on 
 a high base of brick with stejis in pyram- 
 idal form on the four sides. An inscrip- 
 tion shows that it was erected by the 
 exarch Smaragdus in 008 .\.i»., in honor 
 of the emperor I'hocas, whose statue in 
 gilt bronze formerly stood on the capital. 
 
 Coi.rMX OF Til A. I AX. at the X.W. end 
 of Trajan's Forum, between the Basilica 
 Ulpia and the temple of Trajan. The 
 column was erected in honor of the em- 
 peror, in 113 A.D., by the Roman Senate 
 and jieople, and his ashes were placed in 
 a sepulchral chamber beneath it. It is 
 a gigantic Eoman-Doric column resting 
 on a square basement, ornamented on 
 three sides with military trophies in re- 
 lief, and having a door in the fourth 
 side. On the angles stand imperial 
 eagles, and the plinth and torus of the 
 colunni are carved with wreaths of oak 
 and ivy. The shaft consists of twenty- 
 three blocks of marble, on which are 
 sculptured, in a spiral of twenty- two 
 turns about 3 ft. high, incidents of 
 Trajan's two triumphant Dacian cam- 
 paigns. The style is vigorous and real- 
 istic, and the execution careful. On 
 the pedestal above the capital of the 
 column stood a statue of Trajan ; since 
 158T its place has been occupied by a 
 bronze figure of St. Peter. The total 
 height is 1-17 ft.; height of shaft 87 ft.; 
 diameter of shaft above base 11 ft.; at 
 neck 10 ft.; height of basement 1G| ft. 
 
 The Curia, the chief meeting-place of 
 the Senate, is identified with practical 
 certainty by Lanciani with the unimpor- 
 tant existing church of S. Adriano, which 
 faces the Forum Romanum. Established 
 by TuUus Hostilius. it was several times 
 burned or pulled down and rebuilt, the 
 last time in the reign of Diocletian. The 
 ancient structure has been much modified 
 since it was transformed into a church, 
 the level of the floor having been raised 
 al)out 'il) ft., and the npper ]iarts altered. 
 The front is about 70 ft. wide, buill of 
 concrete faced with brick, and was origi- 
 nally coated with hard stucco. There were 
 tlii-ee large windows, now blocked \\\\. in 
 the fai/ade over the ancient doorway. A 
 drawing of the xvi cent., made before the 
 level of the floor was changed, shows the 
 fa(;ade with a hexastyle portico and a 
 
 350 
 
ROME 
 
 pediment. Tlie bronze doors, older than 
 the restoration of Diocletian, were taken 
 by Alexander YI. for the chief entrance 
 to the nave of St. John Lateran, where 
 they still are. 
 
 Curia Ixnocenziana. See Pulazzo 
 lU Monte Citorio. 
 
 Doiirs xVuREA, or (xolden ITonsc of 
 Nero. See Thcrmm of Titnx. 
 
 Flavian' Ampiiitiieatke. See Volos- 
 scuin. 
 
 FoxTAXA dell' Acqua Felice, con- 
 spicnous among the Eoman fountains, 
 erected in 1585-ST,, under Sixtus V. (whose 
 name was Felice Peretti), from the designs 
 of Domenico Foutana, the water being 
 brought from springs in the Alban Moun- 
 tains, a distance of about thirteen miles. 
 Three great arched recesses are faced with 
 an order of engaged Ionic columns, stand- 
 ing on high pedestals. The entablature 
 is overloaded by an attic as high as the 
 columns, bearing a long inscription, and 
 surmounted by a group of sculpture cov- 
 ered by a pediment and ilanked by great 
 consoles. Obelisks rise from the angles. 
 Under the central arch is a co- 
 lossal statue of Moses striking 
 the rock ; the side arches con- 
 tain figures of Aaron and Gid- 
 eon. All these stand on pedes- 
 tals of rockwork from which 
 the water springs into a rec- 
 tangular basin. Four lions of 
 gray marble crouch in front of 
 the pedestals, in the place of 
 four ancient ones of black ba- 
 salt which have been placed in 
 the Eg\iitian Museum of the 
 Vatican. 
 
 FoNTANA Paolina, tlie most 
 imposing of the architectural 
 fountains of Rome. It is sit- 
 nated on the slope of the Jan- 
 iculuni, and was built in 1G12 
 by Paul V. , from the designs of Giovanni 
 Fontana and Carlo or Stefano Maderno. 
 It is a great rectangular building about 90 
 
 ft. long, faced with an onler of Ionic col- 
 umns of red granite on very high pedestals, 
 surmounted by an overpowering attic bear- 
 ing a long inscription. The central por- 
 tion resembles an open three-arched loggia. 
 Between the pedestals are five groat rect- 
 angular niches from which tiie water 
 springs into an immense basin, with a 
 semicircular front, aliout 90 ft. broad. 
 The water is brought from the lake of 
 Bracciano, about twenty-five miles distant, 
 by the ancient Roman aqueduct called 
 the Aqua Alsietina, or Trajana, which 
 was restored by Paul V. and given its new 
 name of the Acqua Paola. {tSec Fi(j. 170.) 
 Fontana di Tukvi. This fountain 
 is the best known ami most admired in 
 Rome, on account of its tradition and its 
 bizarre picturesqueness. It gains great 
 effect from its position in the middle of 
 the facade of the Palazzo Conti. The 
 water is brought from a point on the 
 Wa Collatiua about eiglit miles from the 
 city, by an ancient Roman aqueduct 
 called the Aqua Virgo, which fell into ruin 
 and was repaired by Leon Battista Al- 
 
 Fig. 170. — Rome, Fontana Paolina. 
 
 l)erti, under Nicholas V., about 1453. The 
 fountain was built by (Element XII., in 
 1735, from the designs of Niccolo Salvi. 
 
 361 
 
ROME 
 
 Its front, backed by the in(;:u\c of tlio 
 palace, has a breadth of about (J8 ft., faeeil 
 by a great order of four engaged Corin- 
 tliian cohimns on liigh pedestals, and sur- 
 mounted by a higli attic bearing statues 
 and an inscription. In the middle in- 
 terval is a l)road decorated niche with a 
 statue of Neptune ; standing statues also 
 occupy the side intervals, with bas-reliefs 
 in panels above. The same architecture is 
 continued across the whole fa9ade of the 
 palace, nearly 150 ft., with Corinthian pi- 
 lasters, and two stories of windows in the 
 intervals. At tlie foot of the fountain is 
 a mass of rockwork, over which the water 
 dashes from openings between the central 
 pedestals, with the horses and tritous of 
 Neptune in violent action in the midst, 
 and falls finally into a great basin about 
 110 ft. broad. 
 
 The FoKU-M OF Augustus, between the 
 Forum of Nerva and that of Trajan, 
 formed a step in the great imperial ex- 
 tension of the Forum Romanum. It con- 
 tained the splendid Temple of Mars Ultor, 
 and was surrounded by rich porticoes, 
 lavishly decorated and adorned witli many 
 works of art. The remains of the en- 
 closing wall are among the 
 most impressive in Rome. 
 It is in massive masonry of 
 pej)erino, and extends to a 
 height of 80 ft. above the 
 present ground-level, and 
 to a deptli of 23 ft. below 
 it. Four arched doorways 
 are still visible in the wall. 
 Near the Temple of Mars 
 an arch wliich spanned the 
 ancient street still stands. 
 over tlie modern Via Bo- 
 nella ; it is built of greai 
 blocks of travertine, and 
 is now called the Arco dei Pantani. 
 
 Forum Ro.m.vxu.m, an oblong area about 
 700 ft. long and 240 ft. to 120 ft. wide, 
 extending from tlie Tabularium at the foot 
 of the C'apitoline Hill, to the Temple of 
 
 Vesta and the Regia at the extremity of 
 the Sacra Via, opposite the Temple of An- 
 toninus and Faustina. This area consti- 
 tuted the centre of the primitive Roman 
 state, and became the site of a long array 
 of historic scenes. In the course of time 
 it was surrounded, and even encroached 
 upon, by many great buildings, and nu- 
 merous statues and other works of art, be- 
 sides inscriptions, were set up within it. 
 On the N. E. side rose the Mamertine 
 Prisons, the Curia, and the Basilica Emi- 
 lia ; on the S. W. the TemjDle of Saturn, 
 the great Basilica Julia, and the Temple 
 of Castor and Pollux. The central open 
 space formed the Con^itium, where public 
 meetings assembled. Adjoining this on 
 the N. W. were tlie Rostra, constituting a 
 platform for orators. The temples of 
 Concord and Vespasian were later built in 
 the Forum itself, in front of the Tabula- 
 rium, and the Arch of Septimius Severus 
 rose beside the Rostra. At the S. E. end 
 the Temple of Julius Cffisar was placed 
 before the Regia, and finally, in the vii 
 cent., the Column of Phocas was built be- 
 fore the Rostra. As the city increased, 
 the ancient Forum became too contracted 
 
 'fri0i 
 
 ^-^::} 
 
 Fig 171 —Rome, Forum Romanum- 
 
 for the public needs, and between the time 
 of Cx^sar and that of Trajan five magnifi- 
 cent new fora were formed, extending in a 
 n(U'therlv direction from the Forum Ro- 
 manum lo the Campus Martius. Dui'iug 
 
 352 
 
ROME 
 
 tlio miilille ages some of the buildings on Minerva wliich constitnterl i ts eliiel" orna- 
 the Forum were altered into churches or ment, but has now disajjpeared, and the 
 feudal strongholds ; others were used as Forum Transitorium because it formed a 
 
 Fig. 172, — Rome, Fotum Romanum. 
 B B, Clu 
 
 1. Temple of Saturn. 
 
 2. Basilica Julia. 
 
 3. Temple of Castor and Pollux, 
 
 4. Temple and House of Vesta. 
 
 A A, Cloaca Maxima. B B, Clivus Ca|;itolinus. 
 
 5. Temple of Julius C3esar. 8. Column of Phocas. 
 
 6. Temple of Antoninus and 9. Rostra. 
 Faustina. 10. Arch of Septimius Severus. 
 
 7. Curia. 11. Mamertine Prisons. 
 
 C. Via Sacra. 
 
 12. Temple of Concord. 
 
 13. Temple of Vespasian. 
 
 14. Porticus Deorum Consenti- 
 um. 
 
 quarries and their marble encrustation and 
 sculptured ornament as raw material for 
 the production of lime ; and the area be- 
 came so much choked with rubbish and 
 Avith earth washed from above that in 
 places the ancient loavement was buried to 
 a depth of 40 ft. Early in the present 
 century excavations were begun and car- 
 ried on in a desultory way until 1848. 
 Work was resumed by the Italian Govern- 
 ment in 1871, and energetically pushed to 
 its pi'esent practical completion. ( .SVe Figs. 
 171, 172.) 
 
 The Forum of Nerva, between the 
 Forum of Augustus and that of Vespa- 
 sian, begun by Domitian, and dedicated by 
 Nerva in 97 a.d., was also called the 
 Forum Palladium from the temple of 
 
 usual thoroughfare from the N. E. to the 
 Forum Eomanum. It was enclosed by a 
 wall, which still stands, in one place adjoin- 
 ing the Forum of Augustus, to its full 
 height of nearly 100 ft. On the opposite 
 side, next the site of the temple, a lower 
 piece of this wall is standing, and in front 
 of it the two deeply burijed Corinthian col- 
 umns known as Le Colonnacce, whose 
 broken entablatures project from the wall. 
 Its frieze is sculptured with high reliefs of 
 excellent style illustrating Minerva's care 
 for women's work. The cornice is heavy 
 and over-rich. In a niche in an attic be- 
 tween the two columns, stands a statue of 
 Minerva. Between the columns is a flat- 
 arched doorway which opened into the 
 Forum of Vespasian. The eatire interior 
 
 363 
 
ROME 
 
 of tlio wall was oniamriitcd thus with cdI- 
 umiis, entablature, and statues. 
 
 The Forum of Tiiajax, adjoining the 
 Forum of Augustus on the N. W., was the 
 largest and most splendid of the Uoinan 
 
 fora, and was bordered on two sides l)y a 
 double peristyle. Except the portion un- 
 covered in the Piazza del Foro Trajano, 
 half of which was included in the great 
 Basilica UliDia, its site is almost entirely 
 covered with modern buildings. (See Ba- 
 siUca UJpin and C'ulumj! of Trajan, also 
 Fig. 173.) 
 
 Il Ges(; (Jesuits' church). Scu S. Splr- 
 ilo. 
 
 House of Livia. Sit Paha-i: af tlie 
 Vmxars. 
 
 House of Sali.ust, occupied in suc- 
 cession by Nero and .several later emperors, 
 until 400 A.D., and built in the valley at 
 the foot of the cliff of the Quirinal Hill, 
 against which a massive retaining-wall was 
 constructed. Some of the walls still stand 
 to a height of over 70 ft., though much 
 has recently been destroyed for applica- 
 tion to modern uses. There is an open 
 court beneatJi the cliff, on two sides of 
 which buildings rise to a height of four or 
 five stories. In the middle of the build- 
 ings excavated there is a largo circular 
 
 domed hall, once encrusted with marble 
 and ornamented with niches for statues. 
 From beside this hall ascended a monu- 
 mental staircase of marble, and another 
 winds about one corner of the court to the 
 top of the clitf, with landings 
 at the several stories. 
 
 House of the Vestal 
 ViUGiNS, or Atrium Vesta^ 
 at the east end of the Eonian 
 Forum, behind the Temple of 
 \'esta, of which only the cir- 
 cular foundation remains. It 
 consisted of a group of con- 
 structions about a rectangular 
 colonnaded court, measuring 
 ri) ft. by -Z-IC) ft. The court 
 was adorned with portrait- 
 statues of some of the chief 
 \'estals. In the east wing lies 
 the tahl i ii ii in or drawing- 
 room, a large and beautiful 
 room with a floor of ojms 
 inlaid patterns of porphyry, 
 marble, and walls originally 
 encrusted with marble ; from this room 
 low doors with jambs and sills of red 
 marble lead into the Ijed rooms of the si.x 
 Vestals. Opposite the doors arched win- 
 dows open on two side-courts. The ex- 
 cellent construction and decoration point 
 to the time immediately after Nero's fire. 
 From one of the rooms of this wing a re- 
 stored stair of thirty-six steps leads to an 
 upper story, which seems of later date ; 
 here are remains of a bath. There was 
 still a third story. The south wing, dating 
 from the reign of Hadrian, contains a 
 number of small I'ooms, some of them fitted 
 with grinding-mills and other utensils, 
 and the dining and audience halls, richly 
 adorned with marble and otherwise. The 
 north wing is in a ruinous state, and the 
 western angle is covered by Sta. ^laria 
 Liberatrice. 
 
 The Lateran Paea('e was in existence 
 before the time of (!onstantine, but was 
 enlarged by him, and subsequently by 
 
 sect Hi' 
 basalt. 
 
 and 
 
EOME 
 
 successive popes, by whom it was occupied 
 as the official rosideuoe up to tlie removal 
 of the papal scat to Aviguou. It was re- 
 peatedly destroyed by tire, and was sacked 
 by the northern barbarians, but was as often 
 rebuilt. The last rebuilding, under Sixtus 
 v., at the end of the xvi cent., from the 
 designs of Domenico Fontana, left the 
 palace substantially as it exists to-day, 
 covering much less ground than formerly. 
 Its plan is approximately a square of 250 
 ft. with three similar fa9ades of three 
 stories, * each with an arched doorway of 
 rustic masonry in the centre, within a 
 narrow portico of engaged Doric columns. 
 The windows have in the lower story hori- 
 zontal caps, in the others pediments alter- 
 nately triangular and segmental. The 
 stories are separated by pedestal courses, 
 the angles groined, and the building is 
 crowned by an enriched cornice. The 
 apartments surround a square court, with 
 two stories of open arcades, the arches en- 
 closed within an order of jiilasters, Doric 
 and Ionic respectively, and a third story 
 in which the order is of caryatids and the 
 intervals are filled with square windows. 
 The palace is now occujjied as a museum 
 of antiquities, and the rooms of the first 
 and second stories contain a most interest- 
 ing collection of ancient sculpture, sar- 
 cophagi, mosaics, and jjictures. (See also 
 >S. Giovanni in Laterano.) 
 
 LiBERiAX Basilica. See Slu. Maria 
 Ma(/giore. 
 
 The ^[amektixe Prisoxs consist of two 
 chambers one above the other, excavated 
 out of the rock of the Capitoline Hill, and 
 lined with massive stone masonry without 
 mortar. The upper of these is about 50 
 ft. long and 2'Z ft. broad ; the lower is 
 smaller and lower ; in both the courses of 
 the masonry are overlapped so as to form 
 a vaulted roof. The two chambers are 
 connected by a circular opening in the 
 floor of the upj)er. The upper chamber 
 was probably entered originally in the 
 same way, but is now reached by a flight 
 
 of stejis from the church of S. Giuseppe 
 dei Falegnanii overhead, leading down to 
 a modem door. These prisons are among 
 the oldest remains of Koman architecture, 
 having been begun, according to Livy, by 
 Ancus iSIartius, and enlarged by Servius 
 Tullius, whence they were sometimes 
 known as the Tullian prisons. St. Peter 
 is believed to have been confined here 
 under Nero, and the upper of the two 
 chambers has been dedicated to him and 
 knoA\Ti since the xv cent, as S. Pietro in 
 Carcere {q. v.). 
 
 Mausoleuj[ of Augustus, on the Cam- 
 pus Martins, a tomb for his family erected 
 by the emperor in 28 B.C. It was a circu- 
 lar structure about 320 ft. in lower diame- 
 ter, rising in three stages, with a number 
 of separate vaulted burial-chambers in the 
 interior. Originally the base of masonry, 
 revetted with white marble, fl'as surmount- 
 ed by a mound of earth planted with cy- 
 presses, on the summit of which stood a 
 bronze statue of Augustus. Before the 
 mausoleum were set uj) bronze tablets, on 
 which was inscribed a record of the em- 
 peror's deeds. The copy of this on the 
 cella wall at Ancyra, is the famous Mouu- 
 mentum Ancyranum. Access to the re- 
 mains of the mausoleum is through a pri- 
 vate house in the Via dei Pontefici. 
 There are visible important remains of the 
 cylindrical substructions, in reticulated 
 masonry of small blocks of tufa, with 
 niches built of brick. A large part of the 
 remains is incorporated in the Teatro Um- 
 berto I. Several of the burial-chambers, 
 however, are still accessible. 
 
 Mausoleum of IIadriax. See Castle 
 of Sani' Angelo. 
 
 Mused Capitolixo. See Capitol. 
 
 Obelisk of tueIseum axd Serapeum, 
 discovered in 1882 among the ruins of that 
 sanctuary, near the ajise of Sta. Maria 
 sopra Minerva. It is of Syene granite, 
 I'J^ ft. long and 3 ft. wide at the base, and 
 is covered with hieroglyphs referring to 
 Kameses II. It has been erected before 
 
ROME 
 
 the railway station, as a momuiifnt to tlie 
 soldiers who fell at Dagola, Ahyssinia, in 
 January, 18bt. 
 
 Obelisk o*' the Laterax, of red gran- 
 ite, the oldest of the obelisks of Rome and 
 the largest known. It was set up by 
 Thothmes IV., in the xvi cent. B.C., be- 
 fore the Temple of the Sun at Heliopolis, 
 Egypt, brought by ship by C'onstantine the 
 Great, and erected by Constantius in the 
 Circus Maximus. On this site it was 
 found buried in the ground and broken in 
 three pieces, and was re-erected by Fon- 
 tana before the Laterau Palace in 1588, 
 under Sixtus V, It is covered with hiero- 
 gln>hs. The length of the shaft is lOG 
 ft. ; dimensions at the base, 9 ft, by 9| ft. ; 
 total height, including Fontana's pedestal 
 and cross, 149 ft. 
 
 Obelisk of Moxte Catallo, See 
 Obelisk of Sta. Maria Maggiore. 
 
 Obelisk of the Piazza di Monte 
 CiTORio, brought by Augustus from Heli- 
 opolis at the same time with the obelisk of 
 the Piazza del Poiwlo, 10 B.C. The foot 
 still bears an inscription of dedication by 
 Augustus to the Sun. The handsome 
 hieroglj-jihs include the cartouche of 
 Psammetichus I. In antiquity, the obe- 
 lisk was made to serve as the needle of a 
 sun-dial. It fell and became buried, and 
 was rediscovered in W'M. Benedict XIV, 
 caused it to be excavated, and Pius VI. 
 set it up in its present position in 1792. 
 The height of the shaft is TOJ ft. 
 
 Obelisk of the Piazza del Popolo, a 
 monolith 78^ ft, high (now broken), which 
 stood originally before the great temple at 
 Heliopolis, Egypt. It was brought to 
 Rome and erected by Augustus in 10 B.C. 
 on the spina of the Circus Maximus. It 
 fell and was broken into two pieces, which 
 were set up in their present position by 
 Foutana, under Sixtus V., in 1587, The 
 obelisk is of granite, and bears the hiero- 
 glyphs of Scti Menc]ih|>lah II., son of 
 Sesostris (1195 B.C.), and Hameses III. 
 It stands on a pedestal in the middle of 
 
 the square, with lionesses at the four 
 angles spouting water into basins. The 
 total height, including the cross on the 
 apex, is 118 ft. 
 
 Obelisk of Sta, Maria Maggiore, 
 erected under Sixtus V, by Foutana, in 
 1587. It is of red granite, without hiero- 
 glyphs, and was found broken in several 
 pieces. It is one of a pair which stood be- 
 fore the jiortal of the Mausoleum of Au- 
 gustus, and is believed to have been 
 brought from Egypt by Claudius. The 
 height of the shaft, without the base, is 
 48i ft. The companion obelisk was erect- 
 ed on Monte Cavallo in 178G. by Pius VI. 
 It is slightly shorter than its fellow. 
 
 Obelisk of the Trixita de' Monti, 
 of red granite, with hieroglyphs. It was 
 taken from the Gardeusof Sallust in 1789, 
 under Pius VI., and erected where it now 
 stands. The height of the shaft is 48 ft. 
 
 Obelisk of the Vatican, or of the 
 Piazza di San Pietro, erected on its pres- 
 ent site by the architect Foutana, under 
 Sixtus V,, in 1586. It is a monolith of 
 red granite without hieroglyphs, ami was 
 brought from Heliopolis under Caligula, 
 and set up later in the Circus of Xero. 
 The height of the shaft is S2i ft. ; the 
 side of the base measures 8 ft. 10 iu. 
 The total height, with the modern pedes- 
 tal and cross, is 132 ft. 
 
 Oratory of St. Clement. See S. 
 Ckinente. 
 
 Palace, See also Palazzo. 
 
 Palace of the C.^sars, which in its 
 final form occupied both summits of the 
 Palatine Hill and the depression between 
 them. The Palatine was the centre of the 
 primitive city and the home of the old 
 kings. Augustus early established his 
 residence, with his celebrated library and a 
 temple of Apollo, on the southwest slope 
 of the Palatine, Tiberius built himself 
 a palace toward the north, and Xero's 
 ( I olden House extended from the Pala- 
 tine to the Esquiliue. The Flavian em- 
 jierors built their additions adjoining the 
 
 356 
 
EOME 
 
 House of Augustus, between tlie two siini- 
 niits of tlie Piilatiue. The stadium, oust 
 of the House of Augustus, was built by 
 Domitiau and Hadrian, and restored by 
 Septiinius Severus, who added the Septizo- 
 nium, a remarkable structure, thougli 
 prolial)ly never, as held by some, seven 
 stories high, at the S. W. extremity of the 
 hill. This stood in jwrt until the xvi 
 cent., when it was torn down by Sixtus 
 y. Odoacer and Thcodoric occupied the 
 palace, but from the x cent, its ruins 
 began to be invaded by monasteries and 
 private establishments. The earliest im- 
 portant excavations took place in 1726, 
 and since then work has been carried 
 on with important results by the Rus- 
 sian Government, Napoleon III., and 
 the Italian monarchy. Among the most 
 notable remains disclosed are : a part of 
 the wall of primitive Ivome in large blocks 
 of tufa, laid without mortar, alternately in 
 headers and stretchers ; the substructions 
 of the Temple of Jupiter Victor, dedicated 
 in fultilment of a vow by Fabius Maximus ; 
 the House of Livia, with exceedingly fine 
 mural paintings of mythological subjects ; 
 the great throne-room of the Flavian pal- 
 ace, with the tribune for the throne and 
 niches for statues ; and the pcedagogium, 
 or school for imperial .slaves, whose walls 
 and piers are covered with sgraffiti scrawled 
 by the jjupils. The walls and arches re- 
 maining are in part of a highly imposing 
 character. 
 
 Palace of the Conservatori. See 
 Capital. 
 
 Palace of the Lateral. >See Lat- 
 cran. 
 
 Palace of the Vatican. See Vat- 
 ican. 
 
 Palazzo Altemps, a spacious and in- 
 teresting palace of which the date and the 
 architect are not known, though its design 
 is attributed in jnirt to Martino Lunghi, 
 and in part to Perruzzi. It covers a sjjace 
 measuring about 140 ft. in width and 215 
 ft. in depth, with facades on the front and 
 
 rear of no great interest, f I'om tlie doorways 
 of which straight corridors lead to o])en- 
 vaulted arcades at the two ends of a large 
 court, about 50 ft. wide and 85 ft. long, 
 which is the most interesting portion of 
 the palace. It has two stories of arcades, 
 each faced with an order of pilasters, Do- 
 ric below and Ionic above, but closed on 
 two sides with windows, those of the sec- 
 ond story being raised on pedestals con- 
 nected by a balustrade, aiul the spandrels 
 lilled with decoration in relief. The third 
 story, somewhat out of keejiing with those 
 below, has ill-i^roportioued windows in 
 square 2>anels. 
 
 Palazzo Altieri. one of the largest of 
 the Roman jjalaces, built in 1670 for Car- 
 dinal Altieri, from the designs of Giovan- 
 ni Antonio Rossi, and covering an area 
 about 210 ft. by 350 ft. Its jjlan includes 
 two great courts, of which the principal, 
 measuring about 70 ft. by 100 ft., is en- 
 tered from three streets and surrounded 
 by vaulted arcades faced with an order of 
 grouped pilasters. The other court, meas- 
 uring about 80 ft. by 150 ft., is bordered on 
 one side by extensive vaulted stables. The 
 huge fa9ades are in three stories of pedi- 
 mented windows, with occasional quoined 
 f)iers and a heavy bracketed cornice ; that 
 on the Via del Plebiscito is raised in the 
 middle into a two-storied attic. 
 
 Palazzo Barberini. one of the most 
 extensive and magnificent of Roman pal- 
 aces, begun about 1625 for the cardinal 
 Francesco Barberini, from the designs of 
 Carlo iladerno, continued under Borro- 
 mini, and finished in 1630 under Bernini. 
 The estate of which it forms a part covers, 
 with its dependencies and gardens, an area 
 of something less than ten acres of ground. 
 The palace itself is in plan about 280 ft. 
 by 200 ft., with a raised centre and two 
 projecting wings on its principal front. 
 Between these wings the facade consists of 
 three stories with three arcaded orders of 
 pilasters, Doric, Ionic, and Corinthian, in 
 seven bays, which in the first story are occu- 
 
 857 
 
ro:me 
 
 pied by the open arclies of a fine entrance 
 loggia. The treatment of the iipjier stories 
 is similar to tliat of the first, tlie orders 
 being raised on bahistrade courses and the 
 arched ojieniugs filled with windows. On 
 the wings and flanks of the building the 
 principal lines of the orders are continued, 
 the wall of the second story being divided 
 into panels by flat pilaster-strips. An en- 
 riched corniccione is carried around the 
 whole building. The plan is extremely 
 elegant, ingenious, and effective. A con- 
 siderable proportion of the entrance stoi'y 
 is given to an imposing vestibule, divided 
 by rows of piers into square vaulted bays, 
 and conducting on three sides to staircases, 
 of which the central one, a double flight 
 in an elliptical hall whose longer diameter 
 is about 50 ft., leads to a fine terrace at 
 the rear of the palace, on a level with the 
 principal floor and with the gardens. To 
 these a gentle inclined plane also conducts, 
 opening from the lower hall between the 
 two flights of the oval staircase ; its long 
 perspective is terminated by a monumen- 
 tal fountain surmounted by a statue of 
 Apollo, at the distance of 150 yards from 
 the palace. Another staircase, in a smaller 
 oval at one end of the vestibule, is a con- 
 tinuous spiral to the toiJ of the build- 
 ing, with a continuous ramping order of 
 coupled Doric columns on a balustrade 
 following the spiral, a design manifestly 
 inspired by the celebrated staircase of 
 Bramante in the tower of the Belvedere 
 of the Vatican. The apartments of the 
 principal floor, arranged with perfect sym- 
 metry, are of great splendor. The great 
 salon in the centre of the jirincipal front 
 is some 80 ft. long, and nearly 50 ft wide. 
 with a ceiling covered by a fresco of Pietro 
 da Cortona. Behind it is a graceful ellip- 
 tical vestibule over the great staircase, 
 opening on the terrace and gardens. A 
 suite of rooms in one wing of the palace 
 contains a fine collection of pictures, and 
 another on the upper floor is given to the 
 famous Barberini Library. 
 
 Palazzo Boadile, a xvi cent, palace 
 ascribed to Giacomo della Porta. It has a 
 sim])le fayade in three stages of square- 
 headed oiienings, the first with a high 
 iloorway not in the centre of the front ; 
 the low segmental - arched openings on 
 each side are an unusual feature in the 
 Kenai.s.sance, if they are original. The 
 second stage consists of a range of fine 
 wiiulows, on a balustrade course, with 
 horizontal (^aps supported on consoles, also 
 with a mezzanine storj' above. The stages 
 are sej^arated by string courses, the angles 
 quoined, and the whole crowned by a 
 strongly projecting enriched cornice. The 
 interior has a court of which three sides 
 are unfinished, the fourth side having two 
 stories of arcades included in orders, re- 
 spectively Doric and Ionic. 
 
 Palazzo Bokgiiese. perhaps the most 
 extensive and best known of the Roman 
 l^alaces, begun in 1590 by Cardinal Dezzo, 
 a Spaniard, under the architect Martino 
 Lunghi the elder. A few years after it 
 came into possession of Cardinal Borghese, 
 who, becoming Pope Paul V., gave the 
 palace to his brothers, by whom it was 
 enlarged from the designs of Flaminio 
 Ponzio. Its plan is very irregular. The 
 principal front is about 130 ft. long, on 
 the Via Fontanella ; that on the Piazza, 
 originally about 200 ft., was lengthened 
 by the extension of the palace to the Via 
 Ripetta to not less that 400 ft. There is 
 also a short frontage on the last-named 
 street. The exterior is of little interest ; 
 the two princi2ial fa9ades are in three 
 stages, each including a principal story 
 and a mezztinine, with a central doorway 
 uiuler a Doric portico, and an Ionic por- 
 tico enclosing the window above, the 
 angles of the fronts emphasized by quoins 
 and the fa9ades crowned by an enriched 
 and effective corniccione, with a broad 
 frieze, in which are the windows of the 
 ujiper mezzanine. The small front on the 
 liipetta (that portion of the building hav- 
 ing only the height of the first stage of 
 
 35R 
 
ROME 
 
 the Ejreater fronts) is of more ohiljorate 
 architecture, with a ])ortico of eouph>(l col- 
 umns across the whole frout, and a loggia, 
 above. The interior contains a 
 vast number of rooms, large ami 
 small, of which the greater num- 
 ber surround a noble court meas- 
 uring G8 ft. by 90 ft., enclosed 
 by two stories of vaulted arcades, 
 the arches springing from blocks 
 of entablature over couiiled Doric 
 and Ionic columns. On three 
 sides of the court these arcades 
 carry a third story, with win- 
 dows ; on the fourth side the sec- 
 ond arcade is open both to front 
 and rear, and gives a view of 
 .spacious gardens beyond, witli 
 three fountains on the enclosiuL; 
 wall. A long suite of apart- 
 ments on the ground -floor are 
 occujjied by what is perhaps the largest 
 and finest private collection of pictures in 
 Europe. {See Fig. 17Jf.) 
 
 P.\LAZZO BuosrcoMPAGNi (or Sora). a 
 large palace built for Cardinal Fieschi at 
 the beginning of the xvi cent., of which 
 the design is, though with some uncer- 
 tainty, attributed to Bramante. Its plan 
 is nearly a square of 138 ft., enclosing an 
 oblong court about 30 ft. by GO ft., sur- 
 rounded by broad arcaded corridors. It 
 has air imposing facade in three stages, 
 the first with a central arched doorway 
 enclosed within an engaged portico of 
 Doric pilasters with entablature, and 
 flanked by five windows of similar design 
 on each side. The windows of the second 
 storv, also round - arched, are enclosed 
 within Corinthian pilasters carrying en- 
 tablatures and pediments alternately tri- 
 angular and segmental. The third stage 
 has a range of square-headed windows 
 with horizontal caps, and small square 
 windows close under the cornice. The 
 extremities of the fa9ade are marked by 
 pavilions of slight jirojection with an order 
 of flat pilasters on each stage, Doric, Ionic, 
 
 and Corinthian respectively, and these 
 pavilions are carried above the flat roof 
 as small si|iiar(' lowers witli angle-quoins 
 
 Fig. 174— Rome, Pal. Borghese. 
 
 and a single plain square window in each. 
 
 Palazzo Caffarelli. See Palazzo 
 Yidoni. 
 
 Palazzo Chigi, situated on the Piazza 
 Colonna, and built about 1562 from the 
 designs of Giacomo della Porta. It has a 
 simple facade in three stages, of which 
 the first is a low basement having win- 
 dows with horizontal caps ; the second 
 has a range of high windows with i)edi- 
 mented caps alternately triangular and 
 segmental, and a mezzanine of square 
 openings above. The main cornice is 
 over the mezzanine, the fourth story be- 
 ing treated as an attic. 
 
 Palazzo Cicciaporci. A noticeable 
 palace, built about 1520 from the designs 
 of Giulio Romano. Its fayade, about 112 ft. 
 in length, is in three stages, of which the 
 first is of rustic masonry with a high cen- 
 tral arched doorway and three low square 
 openings on each side for shops, covered 
 by horizontal arches, and with a bearing- 
 arch above like that of the doorway, en- 
 closing small mezzanine windows. The 
 wall of the second and third stories is 
 divided into square panels, those of the 
 
 369 
 
ROME 
 
 second story occupying the intervals of 
 a badly developed order of pilasters, and 
 containing square windows with horizon- 
 tal caps. Over the third story is a pro- 
 jecting cornice with modillions, and above, 
 an attic consisting of an open colonnade 
 divided by ilat pilasters into groups, each 
 of four openings. 
 
 Palazzo della Consult!. This pal- 
 ace, now occupied as the Ministry for 
 Foreign Affairs, was built about 1730 for 
 Clement XII., from the designs of Eerdi- 
 nando Fuga. It has a trapezoidal plan of 
 much ingenuity, with a principal frontage 
 of about 220 ft., and a depth of about 2.30 
 ft. The principal feature is a rectangular 
 court TU ft. by 82 ft. with corridors lead- 
 ing from the centre of each of its sides to 
 the four facades. The architecture of the 
 court follows that of the fa9ades, the wall 
 being divided into two high stages, each 
 with a principal and mezzanine story, and 
 crowned by a cornice and frieze with tri- 
 glyphs, with a balcony and low attic above. 
 TJie front is of vigorous though somewhat 
 baroco design, divided into three vertical 
 compartments with a doorway in each, 
 that ill the centre flanked by detached 
 Doric columns supporting blocks of en- 
 tablature, and a broken pediment with 
 sitting figures. This front is in two stages : 
 the lower includes a high basement story 
 and mezzanine ; the upper has a range of 
 higli windows witli consoles carrying seg- 
 mental pediments, the windows of both 
 stories being enclosed in square panels. 
 The angles of tlie front and the limits of 
 the central division are marked in the first 
 story by rustic quoins, in the second by Co- 
 rintliian pilasters, and the whole is crownied 
 by a heavy projecting cornice on consoles, 
 between which are square windows. 
 
 Palazzo Coksixi. This great palace, 
 of which the original design iuis been at- 
 tributed to Bramante, was built by the 
 family of Piario, presumably in the xvi 
 cent., and bought in 1T32 by Cardinal 
 Corsiui, a nephew of Clement XIL, who 
 
 made extensive changes and adilitions to 
 it from the designs of Ferdinando Fuga. 
 Its jjlan is a rectangle measuring about 
 3-40 ft. on the street, and having a depth 
 of 1.5G ft. Its long fa9ade is monotonous 
 and uninteresting. Three great arches in 
 the centre open into a vaulted vestibule 
 44 ft. Avide, leading to the great double 
 staircase occupying the two long sides of a 
 hall 44 ft. by 80 ft., on each side of which 
 is a square court (Jo ft. by 80 ft., with 
 vaulted arcades on front and rear, the 
 latter open and continued along the whole 
 length of the palace, interrupted only by 
 the grand staircase in the centre, and 
 opening on a great i-ectangular court, be- 
 yond which are extensive gardens running 
 up the slope of the Janieulum. Many of 
 the ajMrtments of the principal story are 
 occupied by a large and fine collection of 
 pictures. 
 
 Palazzo Costa. This xvi cent, pal- 
 ace, probably from Peruzzi's designs, has 
 a fine facjade about C3 ft. long, in two 
 principal stages and an attic. The first 
 story is of coursed masonry vigorously 
 rusticated, with a central square door and 
 broad square openings for two shoji-fronts 
 on each side, combined with a row of mez- 
 zanine windows. The second story has 
 an order of grouped Doric pilasters with 
 triglyphs in the frieze and pedimented 
 windows in the intervals on a jiedestal 
 course. The high attic is divided by pi- 
 lasters, the intervals panelled, with square 
 plain wiiulows. 
 
 Palazzo Douia Pamfili, one of the 
 largest and most magnificent of the Roman 
 })alaces, covering an area somewhat more 
 than 2U0 ft. wide and 330 ft. deep, with 
 a front on the Corso, another on the Pi- 
 azza del Collegio Romano, and a third on 
 the Piazza di Venezia. From the Corso 
 one enters directly a spacious and ele- 
 gant court measuring about 75 ft. by 85 
 ft., surrounded by two stories of vault- 
 ed arcades with Doric and Ionic columns. 
 From the side the entrance is by a curi- 
 
 360 
 
ROME 
 
 ously viiultcd vestibule, designed by Hor- 
 roniini or by Bernini, with semicireiil;ir 
 ends, from which a In-oad staircase as- 
 cends to the ujjper floors. The interior 
 contains many fine apartments sumptu- 
 ously adorned, of which an extensive suite 
 is occupied by one of the largest private 
 collections of pictures in Rome. The 
 fapades, of somewhat monotonous arclii- 
 tecture, are the work of Valvasori and 
 Pietro da Cortona. The sjDacious stables, 
 in three vaulted aisles supported by 
 Tuscan columns, deserve notice. 
 
 Palazzo Farnese. This famous pal- 
 ace was begun in 1530 by the cardinal 
 Alexander Parnese, afterward Paul 111., 
 from the designs of Antonio Sangallo 
 the younger. It has a jierfectly regular 
 rectangular plan, measuring 187 ft. 
 in front, and 245 ft. deep. Its prin- ^ 
 cipal fa9ade is characterized by a 
 noble simplicity of design. The long 
 front is unbroken Ijy any vertical di- 
 visions or by any groujiing of win- 
 dows. The unusual height of 90 ft. ^y 
 is divided into three stages, of which f\ 
 the first has a central arched door- I •, 
 wa}' in rustic work, flanked by six ; 
 windows on each side with horizontal 
 caps, and is crowned by a strongly 
 profiled cornice. The second story 
 has a range of rectangular windows 
 on a IjiUustrade course, flanked by *■ 
 Corinthian three - quarter columns 
 with entablature and jiediments, the 
 three central ones grouped together. 
 The stories are separated by friezes 
 and cornices bearing balustrade- 
 courses. The third story jiresents an 
 unbroken range of thirteen round- 
 arched windows, with Ionic three- 
 quarter columns carrying broken 
 pediments. The angles of the front 
 are emphasized by quoins, and the fa- 
 9ade is crowned by a magnificent cornic- 
 cione. This great composition is one of the 
 most celebrated and most admired in Italy, 
 and not without justice, for though its 
 
 faults are obvious — the crowding of parts 
 at the centre and at the angles, the flatness 
 of the central motive in the second story, 
 and the surprising ugliness of the windows 
 in the third — yet the simplicity and breadth 
 of the design, the grandeur of its scale, the 
 noble spaces of wall above the windows, and 
 the unrivalled cornice, are sufficient to 
 produce an effect of majesty which scarce- 
 ly belongs in the same degree to any other 
 example of domestic architecture. The 
 other elevations follow the lines of the 
 principal front, except that in the rear the 
 central portion, about 08 ft. broad, is given 
 in each story to an arcade of three arches, 
 faced with orders of columns, Doric and 
 Ionic, and Corinthian jnlasters. AVith this 
 magnificent exterior, the interior is fully 
 
 -its- 
 
 Fig. 175. — Rome, Pal. Farnese, Loggia. 
 
 in keeping. From tlu^ central doorway 
 of the front, a three-aisled vestibule 37 
 ft. wide and 43 ft. long, divided by two 
 lines of Doric columns on pedestals — the 
 
ROME 
 
 central aisle covitcmI with a pauclkMl ami 
 richly decorated barrel-vault, the side-walls 
 divided by lialf-coluiuus with niches be- 
 tween — leads to an interior court 8S ft. 
 sqnare, surrounded by two stories of Ro- 
 man arcades — of which those of the first 
 story are ojicn on all sides, and those of 
 the second on two — under a Doric order 
 on the first story, and Tonic on the second. 
 The tliird story wall is faced with a corre- 
 sponding order of groujjed Corinthian pi- 
 lasters, the intervals occupied by beautiful- 
 ly composed windows with pediments. 
 AH the details of this court are of the 
 greatest elegance. Many of the ajxirt- 
 ments of the palace, the smaller as well as 
 the larger, are remarkable for the richness 
 of their panelled ceilings, and the gallery, 
 a fine room alxnit :21 ft. wide and G.3 ft. 
 long, is decorated with a series of frescoes 
 of mythological subjects by Anuibale Ca- 
 racci. The work begun by Sangallo, and 
 carried forward by him for more than fif- 
 teen years, he was not permitted to finish. 
 In 154G the exterior walls were finished up 
 to the cornice, and two stories of the court 
 were nearly complete. But the pope re- 
 solved to establish a competition of archi- 
 tects for the continuance of the work. 
 Projects were accordingly received from 
 Sangallo. ^Michael Angelo, Vasari, Sebas- 
 tian del I'iombo, and Perino del Vaga. 
 The work was given to Michael Angelo, 
 who adtled the great cornice, and whose 
 connection with it continued until his 
 death ; although it has been maintained 
 that the credit for the completion of the 
 palace belongs rather to Vignola, who cer- 
 tainly came into control after ilichael An- 
 gelo's death. A part of the fayade in the 
 rear was the work of (iiacomo della Porta. 
 {See Fig. 17S.) 
 
 Palazzo Fauxesixa. or Villa Farne- 
 sina. This famous palace, one of the most 
 interesting works of J3aldas.sare Peruzzi, 
 has rather the character of a villa, being of 
 coni]iaratively small dimensions, and staiul- 
 ing detached in spacious pleasure-grounds 
 
 iiu tlic river bank. It was liuilt in l.'iOR 
 as tiie residence of the renowned banker 
 Agostino C'higi, the munificent patron of 
 letters and art, and friend of Leo X. Its 
 plan is a rectangle of nhoat 117 ft. by 88 
 ft., the principal front having a recessed 
 centre between two projecting wings. It 
 is in two stages, each with an order of 
 Doric pilasters and plain entablature 
 raised on pedestal courses. In the first 
 storv the five intercolumniations of the 
 central portion of the front were once an 
 ojien arcaded loggia, but are now closed by 
 glazed sashes. In the projecting wings 
 and in the second story the bays have each 
 a .square - headed window with moulded 
 architraves and horizontal cap. The up- 
 ])er order has a broad frieze with small 
 windows, l.ietween which are reliefs of a 
 plaNlul character, and an enriched cor- 
 nice. The chief fame of this palace at- 
 taches to the interior, which contains sev- 
 eral large and fine apartments of which 
 the decoration is of the most remarkable 
 character. The principal rooms were 
 adorned with frescoes by Raphael. (Jiulio 
 b'omano, Sebastiano del Piombo, Daniele 
 da \'ol terra, and Annibale Caracci. Tiie 
 long entrance-hall, formerly an open log- 
 gia, bears on the lunettes of the ceiling a 
 series of paintings designed by Raphael, 
 and executed for the most part by his 
 pupils, representing the story of Cupid 
 antl Psyche, and the long room opening 
 from the end of the entrance-hall contains 
 one of the most celebrated of Raphael's 
 frescoes, the Triumph of Galatea. The 
 second story has two great rooms painted 
 by (iiulio Romano. Sodoma. and Peruzzi. 
 Palazzo di Fiuexze, formerly the 
 official residence of the Tuscan ambassa- 
 dor, built by Pope Julius III. upon the 
 Ijasis of an older structure about 1.5.")0, from 
 designs attributed, though without cer- 
 tainty, to Vignola. Its plan is irregular, 
 with three frontages, of which the princi- 
 ]ial. though the shortest, is about 112 ft. 
 Ion"-. There is an interior court some 48 
 
ROME 
 
 ft. by 0") ft., with vaulted arcades on three 
 sides, eoniposed of ri)und arches supported 
 on cohiinus with couiposite capitals, and a 
 hirge enclosed garden, toward which the 
 buildings jDreseut a fine fa9ade three stories 
 high, with the centre of the first two occu- 
 ]iied in each case by an open loggia with 
 three arches under an order of three-quar- 
 ter columns, Ionic below and Corinthian 
 above, tlie first loggia vaulted, the second 
 with a flat ceiling panelled and richly dec- 
 orated ; the walls also decorated with 
 much elaborateness. 
 
 Palazzo Giraud. It was built about 
 1.50G from the designs of Brainante, for the 
 Cardinale da Corneto. Its jilan is a rec- 
 tangle of some 135 ft. on the front and 180 
 ft. deep, enclosing a large square court 
 surrounded on the first story by vaulted 
 arcades. The fagade is of rustic masonry 
 in three stages, the first a plain basement 
 with a weak central doorway of later de- 
 sign and three small square windows on 
 either side. The two upjx'r stories are 
 each faced with an order of wide-spaced 
 coupled Corinthian pilasters, occupied in 
 the second story by round-arched windows 
 with pilasters and horizontal cap. and in 
 the third story by two ranges of insignifi- 
 cant windows. 
 
 Palazzo Laxte, an interesting palace 
 of which the date and the architect are 
 uncertain, but which is believed to hare 
 been built by Leo X. early in the xvi cent., 
 for his brother Giuliano de' Medici, jjer- 
 ha]is from the designs of Bramante, and 
 carried out by Sansovino. It has a simple 
 but fine facade about 120 ft. long, in 
 three stages separated by .slight moulded 
 cornices. The openings are alike through- 
 out, except for variations in detail, and 
 all fire square-headed, with flat caps and 
 consoles, except that in the third stage 
 is an upper half-story of square windows 
 framed in simjde mouldings. On each 
 side are three windows of similar design 
 to the doorway, with basement windows 
 under them. Under the roof is a rich 
 
 and graceful cornice above a sculptured 
 frieze. The interior has a fine oblong 
 coui't, ajiproached through an arched ves- 
 tibule whose walls are divided by niches 
 and panels, and surrounded on three sides 
 by two stories of vaulted arcades, the arch- 
 es springing from Doric and Ionic columns. 
 At one end is a monumental fountain sur- 
 mounted by a group of antique sculpture. 
 
 Palazzo Linotte, sometimes called the 
 little Farnesina, a small but interesting 
 })alace, whose history is unknown, and 
 wliose design has been conjectu rally as- 
 cribed to Bramante, to Michael Angelo, 
 and with more probability to Baldassare 
 Peruzzi. The facade is in three stages, 
 the first of coursed rustic masonry with a 
 round-arched central doorway and win- 
 dows. In the two ui)per stories the 
 windows are square-headed, those of the 
 second story having pedimented caj)s alter- 
 nately triangular and segmental. The 
 fleur-de-lys of the Farnese family orna- 
 ments the belts between the stories, and 
 the window sills are continued as string 
 courses across the front. The angles of 
 the two upper stories are quoined, and the 
 front is crowned by a good cornice with 
 modillions and dentils. In the interior a 
 vestibule with an order of pilasters on the 
 side walls and a panelled barrel-vault leads 
 to a small but elegant court, open toward 
 the rear above the first story, of which the 
 three stories are treated in a style of great 
 elegance with open loggie, arcaded below 
 and colonnaded above. 
 
 Palazzo Massiju, the luunc of two pal- 
 aces built during the first half of the xvi 
 cent., by the marquis Domenico Massimi, 
 for his two sons, on the site where his 
 ancestor Pietro Massimi had, in 1455, es- 
 tablished the first Eoman printing-press. 
 The buildings were begun by Baldassare 
 Pernzzi after the sack of Eome in 1537 by 
 the Constable de Bourbon, and were the last 
 important work of that architect, who 
 died in 15.'30, before its completion. The 
 fa9ades fitted the curving line of a nar- 
 
ROME 
 
 row street, and have together a length of 
 about lUo ft., of which about 90 ft. be- 
 longs to tlie hirger palace. Of this front, 
 which is of rustic work, most of the 
 lower story is given to au open vestibule 
 behind an order of JJoric columns, con- 
 tinued at the ends in pilasters. Above 
 tlie entaldature of this order is a balus- 
 trade course bearing a range of rectangu- 
 lar windows with horizontal caps sup- 
 ported on consoles. Two stories of small 
 oblong windows follow, and then an en- 
 riched corniccione. The interior is in- 
 teresting from the ingenuity of its j)lan, 
 and from the extreme elegance and beauty 
 of its details and decoration. From the 
 curved vestibule of the front, a master- 
 piece of decorative design, a straight 
 vaulted corridor leads to au oblong court 
 about 30 ft. by 35 ft., with a vaulted colon- 
 nade at each end. and the order carried 
 around the sides by jjilasters, over wliicli is 
 a second story with au order of Ionic pi- 
 lasters with a decorated frieze, and win- 
 dows in the intervals. From the front 
 colonnade a stairway ascends to the prin- 
 cipal story, where at the end of the court 
 is an open loggia, with au Ionic colonnade. 
 The ])rincipal apartments of this floor are 
 interesting and valuable exam])les of tlie 
 most refined and artistic Renaissance 
 decoration ; the doors of carved oak, 
 framed in white marble, the ceilings of 
 oak and pine, with carved panels decora- 
 ted with gold and color, the walls adorned 
 with broad friezes of varied character, are 
 characteristic of the best period of the Re- 
 naissance. The smaller palace partakes 
 of the general character of the larger, but 
 with less richness and elaborateness of or- 
 nament ; its jilaiu fa9ade continues the 
 features of the larger palace, but without 
 the order in the lower story, the rustica- 
 tion, or the enriched cornice. 'I'lie court 
 has a picturesque loggia at the farther 
 end. 
 
 Palazzo Mattki di (iiovi;, a late Re- 
 naissance palace built in 1(J21 for the 
 
 duke Asdrubale ^lattei, from the designs 
 of Carlo Maderuo, and interesting mainly 
 from the extent and character of its 
 sculptural adoruments. It has two fa- 
 (;ades of nearly equal length (about 130 ft.), 
 of which, however, one is extended by ac- 
 cessory buildings. From each of these 
 a corridor leads to the central court, 
 measuring about 40 ft. by 50 ft., of which 
 one end is bounded by a three-arched 
 vaulted loggia, repeated on the second 
 story, and with a third story of blind 
 arches, the arches in each story being in- 
 cluded within au order of pilasters. At 
 the opposite end of the court, this archi- 
 tecture is repeated in a single story, over 
 which is a terrace, and through the cen- 
 tral arch of which access is had to a sec- 
 ond court, larger but plainer than the 
 first. Statues stand on pedestals against 
 tlie pilasters of the first court, and the 
 side walls, which have little relation to tlie 
 ends, are hung like a museum with a mul- 
 titude of ancient bas-reliefs, medallions, 
 busts, and sculi)tured ornaments between 
 tlieir many windows. The vestil)ule. log- 
 gie, and staircase are utilized in like man- 
 ner. The principal rooms are painted 
 with frescoes, and the staircase landings 
 are covered by low domes with stucco dec- 
 orations. 
 
 Palazzo Mattei Paganica. Ludovico 
 ^lattei built this palace in the middle of 
 the xvi ceuturv. Its design has, though 
 with some uncertaintv, been attributed to 
 Vignola. It has a regular plan, covering 
 a square of about 90 ft., with a straight 
 corridor leading from the centre of the 
 facade to a rectangular court, entered 
 under a vaulted arcade at the end, over 
 which is an open loggia with a flat 
 ]ianelle(l ceiling richly decorated. From 
 the farther end of the court opens on each 
 side, like a transept arm, a vaulted loggia. 
 The plain fapade, with four ranges of 
 square-headed openings and a central 
 door, has quoined angles and au enriched 
 frieze and cornice. 
 
 SM 
 
ROME 
 
 Palazzo di Monte Cavallo, or del 
 Quirinale, formerly a summer palace of 
 the jjopes, ou the Quiriual llill, now the 
 official residence of the king of Italy. 
 The buihlings are of immense extent, and 
 though the work of successive periods, tlie 
 original summer palace of 15-40 having 
 been enlarged repeatedly by various popes 
 and under various architects, among whom 
 were Donienieo Fontana, Carlo JIaderno, 
 Lorenzo Bernini, and Ferdinando Fuga, 
 they preserve a substantial symmetry of 
 plan and uniformity of design. The plan 
 includes a rectangular court 1-40 ft. wide 
 and 3'Zo ft. long, enclosed on three sides 
 by a vanlted arcade in the intervals of an 
 order of Doric pilasters, above which is a 
 single story of square windows witli hori- 
 zontal caps. At the end of the great 
 court a recessed portico of five arches, 
 from which opens a spiral oval staircase 
 with a ramping order of columns, gives 
 access to the apartments of state, which 
 are numerous and well-ai^pointed, though 
 of no special architectural interest. They 
 are also approached at the other extremity 
 of the court by an imjiosing double stair- 
 case, built by Flaminio Ponzio, which 
 leads to the richly decorated Sala Eegia, 
 a hall 150 ft. long, and the adjoining Ca- 
 pella Paolina, all additions of Paul V. 
 The exterior architecture is simijle and 
 regular, though somewhat ineffective. The 
 principal front on the Villa Pia is in two 
 stages with an arched doorway enclosed in 
 two rustic pilasters, the principal story 
 presenting a long range of windows with 
 pediraented caps, on a balustrade course. 
 Above tlie original cornice two additional 
 stories have been built, quite out of keep- 
 ing with those below. Behind the joalace 
 are extensive gardens. 
 
 Palazzo di Moxte Citorio. or Curia 
 Innocenziana, a large palace begun in 
 1G50, by Prince Ludovisi, from the de- 
 signs of Bernini, and bought in 1697, after 
 a long discontinuance of the works, by In- 
 nocent XII., who finished it under the di- 
 
 rection of Carlo Fontana, for the use of 
 the higlier courts of law, and gave it his 
 name. The plan is ciiielly interesting from 
 its central feature, a salacious vaulted vesti- 
 l)ule divided into three aisles, and leading 
 directly to a fine court 118 ft. wide and 
 130 ft. deep, terminating in a great semi- 
 circle, around which is carried a broad 
 corridor. This court has been, since the 
 occupation of Kome as the capital of the 
 kingdom, the seat of the Italian Parlia- 
 ment, a provisional building of wood hav- 
 ing been constructed in 1871 filling its 
 semicircular portion. Tlie long fagade 
 is of brick in five vertical divisions, of 
 which the central one has a portico of 
 four Doric three-quarter columns with en- 
 talilature and balustrade, the tliree inter- 
 vals enclosing doorways. On each side of 
 the central division the line of the front 
 bends backward. This front is in three 
 stages. A strongly moulded cornice sejia- 
 rates the first and second stages, aliove 
 which the vertical divisions are marked by 
 Corintliiau pilasters carrying a full Co- 
 rinthian entablature with small windows 
 in the frieze. 
 
 Palazzo Muti - Papazzurri. Of the 
 two palaces known by this name the larger, 
 situated in the Piazza della Pilotta, was 
 built near the end of the xvii cent, from 
 the designs of Mattia de' Rossi, a pupil of 
 Borromini. It has an irregular jDlan cov- 
 ering an area about 85 ft. by 160 ft. The 
 front shows two narrow advancing wings 
 embracing a deep court, which is closed in 
 the lower story by a wall, where the arched 
 entrance is covered by an engaged portico 
 of four Tuscan columns, flanked by pilas- 
 ters, with a balustrade adorned with stat- 
 ues. The simple fa9ades have three rows 
 of windows with caps, pedimented below 
 and plain above, and a bracketed cornice 
 with balustriide and statues. The court, 
 level with the street, is lined with stone 
 benches, and raised at the rear into a plat- 
 form witli a balustrade and steps leading 
 to a fountain at the back, and a door on 
 
 365 
 
ROME 
 
 either liaud. A vaulted transverse corri- 
 dor seijurates the pUui into two iiortions, 
 of which the rear portion coutuius the 
 great staircase and extensive stables. 
 
 Palazzo Xegkoxi, a large palace of 
 siini)le design, built in laO-i from the de- 
 signs of Bartoloinmeo Ammanati. Its 
 plan is regular and forms a square of some 
 112 ft., with a central court about 3C ft. 
 square, surrounded by arcades, and a wing 
 in the rear. The fa(;ade, with quoined an- 
 gles and a light modillioued cornice, is in 
 three stages, the lowest having a central 
 doorway with moulded architraves and a 
 horizontal cap with consoles, and four win- 
 dows of similar design on each side. The 
 second stage has a range of similar win- 
 dows on a balustrade-course, with a mez- 
 zanine story of square windows above ; 
 the third has simple rectangular windows 
 with moulded architraves. 
 
 Palazzo Niccolixi. a small palace 
 built in 1.526, from the designs of .Sanso- 
 vino, with a skilfully arranged irregular 
 plan, its frontage being inconsiderable, but 
 with a depth of 18.5 ft., and a breadth at 
 the rear of about SO ft. A long corridor 
 leads from the centre of the front to a very 
 elegant square court with a broad vaulted 
 loggia at each end, faced with an order of 
 Doric pilasters enclosing arches, the order 
 being carried round the sides of the court, 
 and the wall above having an Ionic order 
 of pilasters with two stories of windows in 
 the intervals, and a Ijroad decorated frieze. 
 Heyond this is a larger court of simjiler 
 architecture, bordered on one side by the 
 stables, with a niche and fountain occupy- 
 ing the centre of another side. The sober 
 fayade, which lacks its cornice, is in three 
 stages, separated by strong balustrade- 
 courses, the lowest having a central arched 
 doorway of rustio masonry, between two 
 broad shop-windows covered by horizontal 
 arches. The windows above are square- 
 headed, the middle stage including the 
 picDiu nohiJe and a low mezzanine. 
 
 Palazzo Oijeslalchi, a large palace 
 
 built from the designs of Bernini, about 
 lOGO, with a great fa(,'ade in three divi- 
 sions, of which the central one has a base- 
 ment story with two arched doorways 
 flanked by detached Doric columns, with 
 entablature and balustrade. Above this 
 story is a cornice on which is an order of 
 Corinthian pilasters, enclosing two stories 
 of windows and supporting a full entabla- 
 ture, the cornice projecting on consoles 
 with enriched panels between, and a balus- 
 trade above. On each side of the central 
 mass is a short prolongation of it, in which 
 the windows of the three stories are con- 
 tiutied, but tlie wall is of rustic work 
 without the order. 
 
 Pal.azzo Ossoli, a small palace built 
 during the first half of the xvi cent., from 
 the designs of Peruzzi, enclosing an in- 
 terior court about 25 ft. square with a 
 vaulted arcade on one side. Its fa9ade is 
 in three stages, the first of rustic work, 
 with a narrow central arched doorway and 
 two sqttare windows on each side, with 
 moulded architraves and consoles support- 
 ing horizontal caps. The two upper 
 stories have each an order of pilasters, 
 Doric and Ionic respectively, on high bal- 
 ustrade-courses, the intervals having each 
 a square window, of which those of the 
 second story have horizontal caps. 
 
 Palazzo Paliia, a Kenaissance palace 
 built in the xvi cent,, from the designs of 
 Antonio Sangallo the younger, and highly 
 praised by ^'asari. Its plan is a rectangle 
 of about 8.5 ft, by 114 ft,, with two fronts, 
 of which the principal has three stories of 
 simj)le square-headed windows with mould- 
 ed architraves and horizontal caps of 
 small 2)rojection, Under the second story 
 is a belt ornamented with a guilloehe, un- 
 der the third a dentil cornice which is re- 
 peated on a large scale at the eaves. The 
 angles are quoined, and in the centre is an 
 arched entrance doorway, enclosed by an 
 engaged Doric order of columns on high 
 pedestals. The interior contains a court 
 about 33 ft. square, witii two su^jerimposed 
 
ROME 
 
 orders of pilasters, a low Dorio onlcr eii- 
 c'losins; arches in the first story, and a 
 high Ionic witli square windows above. 
 
 Palazzo Pamfili, a conspicuous iialace 
 built about 1650 by Innocent X., from the 
 designs of Girolanio Kainaldi, witli a 
 fayade on tlio Piazza Xavona of nearly 250 
 ft., and depth of 130 ft. The facade is 
 in the worst style of the Eenaissance, 
 three stories high, the ornate central di- 
 vision carried up with an additional story 
 treated as an open loggia. The jjlan has 
 some interesting features. A square vesti- 
 bule, divided by two lines of piers into 
 nine vaulted bays, leads to an interior court 
 about 50 ft. square, separated from an- 
 other somewhat larger by an open loggia 
 of six square bays, vaulted like those of 
 the vestibule. 
 
 Palazzo Rospigliosi, on the Quirinal, 
 a large and interesting palace, with much 
 picturesqueness in its disposition, but not 
 especially remarkable for its design. The 
 palace itself encloses on two sides a square 
 court, opening on a third side to the street, 
 and having on its fourth a long garden 
 raised some 15 ft. above the street, at one 
 end of which next to the street is a casino 
 with three rooms, of which that in the 
 centre has on its ceiling the Aurora of 
 Guido. The other two rooms contain not- 
 able pictures by Domenichino, Vandyke, 
 Eubens, Titian, and other masters. The 
 palace was built in 1603 for Cardinal Sci- 
 pio Borghese, from the designs of Flami- 
 nio Ponzio. It was enlarged a few years 
 later under Carlo Maderno, for Cardinal 
 Mazarin. 
 
 Palazzo RrsroLi. This is one of the 
 largest of the private palaces of Rome, 
 built in 1556 from the designs of Amma- 
 nati. It has an unbroken front about 250 
 ft. long, of great simplicity, with quoined 
 angles and an enriched cornice. It is in 
 three stories, the first having an arched 
 entrance doorway of rustic masonry with 
 a horizontal cornice, dividing a range of 
 square windows witli horizontal caps, with 
 
 square i)anels lielow. The second, or j)rin- 
 cipal story, has nineteen windows on a 
 simple string-course, with triangular jiedi- 
 ments ; the third story windows arc jilain. 
 The interior is remarkable chiefly for its 
 fine staircase of white marble, built by 
 Martino Lunghi the j'ounger. 
 
 Palazzo Sacchettf, a large palace of 
 simple architecture and elegant detail, 
 built about the beginning of the xvi 
 cent., by Antonio Sangallo the young- 
 er, as his own residence. Its plan is nearly 
 a square of 110ft., enclosing a large square 
 court surrounded by a single story of ar- 
 cades vaulted on two sides, enclosed in Do- 
 ric i^ilasters, and with a large terrace-gar- 
 den in the rear, at the back of which is a 
 small garden-house with a loggia overlook- 
 ing the Tiber. The fa9ade on the .Strada 
 Giulia is in three stages ; it has a central 
 square doorway with moulded architraves 
 and simple horizontal caps on consoles, and 
 three ranges of windows of nearly similar 
 design, the second stage having also a 
 mezzanine story with square windows. 
 The stories are divided by broad friezes 
 without ornament, and the front is crown- 
 ed by an enriched cornice. 
 
 Palazzo Halviati, au extensive pal- 
 ace, Florentine in style, built about 1580 
 by the cardinal of that name, from the de- 
 signs of Baccio Bigio, in jireparation for a 
 visit of King Henry III. of France. The 
 plan, which measures abotxt 190 ft. by 330 
 ft., has some interesting features. It in- 
 cludes three courts, the largest of which 
 is square, surrotmded on three sides by 
 vaulted arcades, the fourth side open to 
 the gardens ; the other two are narrow and 
 long with semicircular ends. Of these 
 one is in two levels, following the slope of 
 the Janiculum, with a double semicircu- 
 lar staircase connecting the two, a foun- 
 tain between, and the vista prolonged by 
 an artificial cascade. The fa(,'ade is in two 
 stages and five vertical divisions. The first 
 stage is of rustic work of unusual and com- 
 plicated design, with sqitare openings in 
 
 367 
 
ROME 
 
 the centre and arclieil in the wings ; anil 
 a mezzanine story aliove. The second 
 stage has a range of tall windows with 
 horizontal cajis on a balustrade-course, 
 and above them are low windows, all 
 square-lieaded. The vertical divisions are 
 marked by angle-quoins, and the front 
 is crowned by a projecting cornice with 
 brackets. 
 
 Palazzo Sciarka, l)uilt at the com- 
 mencement of the XVII cent., from the 
 designs of Flaminio Ponzio, with a single 
 and dignified fa(;ade about 140 ft. long, 
 in three stories, the lowest having a fine 
 central doorway which has been attrib- 
 uted to Yiguola, and is composed of an 
 arch of rustic masonry with decorated im- 
 posts and keystone, faced with a Roman 
 Doric order of two detached columns on 
 pedestals. The Aviiulows, all square-head- 
 ed, have in the first and second stories 
 simple horizontal caps. The second story 
 windows rest on a balustrade-course, those 
 of the third on a moulded belt. The 
 angles are quoined, and the whole is fin- 
 ished by a fine enriched cornice. 
 
 Palazzo del Sexatore. See Cap- 
 itol. 
 
 Palazzo Sora. See Buonroiiipat/iii. 
 
 Palazzo Spada, built about 15G0, 
 from the designs of Giulio Mazzoni, a 
 pu^jil of Daniel of ^'olterra, who showed 
 himself to be more decorator than archi- 
 tect. It covers a square of about 1.50 ft., 
 with spacious gardens and outbuildings in 
 the rear. Its singular fa(;ade is in three 
 stages, of which the first is of rustic ma- 
 sonry, with a central arched doorway and 
 four square-headed windows on each side, 
 with moulded ari'hitraves and horizontal 
 caps. The second and priiunpal stage 
 has two ranges of simple Avindows, be- 
 tween and about which the whole wall is 
 fretted with a profusion of niches, tablets, 
 medallions, figures, garlands, and other or- 
 naments in stucco, suggesting a design in 
 tapestry more than an architectural com- 
 position. The third stage has simple 
 
 square windows, between which are square 
 decorated jMuels, and above them an en- 
 riched cornice. The interior contains 
 two courts, of which the principal is sur- 
 rounded on three sides by handsome vault- 
 ed arcades, faced with an order of Doric 
 pilasters, over the ental)lature of which is 
 a band of stucco reliefs. The wall of the 
 court above the arcade is in two stages 
 corresponding with those of the facade, 
 with an elaborately enriched cornice, and 
 sculptured friezes above and })elow the 
 upper windows. The design of the mid- 
 dle stage repeats with variations that of 
 the fa(;ade. Much of this decoration is 
 the work of Borromini, who also built a 
 colonnade leading from the smaller court, 
 constructed in simulated jierspective, nar- 
 rowing toward the end, the columns placed 
 at diminishing intervals and lessening in 
 size and height — a trick to which there are 
 many parallels in the Italian Renaissance. 
 
 Palazzo Stoppani. See PaL Vidoiii. 
 
 Palazzo di Vexezia, one of the oldest 
 as well as one of the largest and most im- 
 posing of the Roman palaces ; attributed 
 by Vasari and Milizia to Giuliano da Ma- 
 jano, and lately to Francesco del Hcn-go. 
 it was built in 1468 by Pope Paul II., a 
 Venetian, and given by Pius IV., a cen- 
 tury later, to the Republic of Venice for 
 the residence of its ambassadors. When 
 Venice was absorbed by the Austrian em- 
 pire, the palace became the })roperty of the 
 emperor, and it is now the official residence 
 of the .Vustrian ambassador. The palace 
 was built about the ancient church of S. 
 ^larco (q. v.), at the time of the restoration 
 or rebuilding of that church. Its plan is a 
 rectangle some 400 ft. long and '2'M ft. 
 broad, enclosing a great oblong court, and 
 with two principal facades Florentine in 
 style, in three well - marked stages sep- 
 arated by moulded string-courses, the first 
 with simple round - arched windows and 
 moulded architraves, the second with broad 
 square windows divided vertically aiul hor- 
 izontallv after the manner of a French 
 
l.'OMK 
 
 croisee : tlie third with small sf|uai'i' win- 
 dows and horizontal cai)s. Above all is a 
 bold arched corbel-table crowned with 
 square battlements, giving to the building 
 a inediii'val character rare among the l\o- 
 man palaces. The great interior court 
 was to be surrounded by two stories of 
 vaulted arcades, which were left unfin- 
 ished. They have slender arches under 
 orders of Doric and Corinthian engaged 
 columns, those of the lower story on high 
 pedestals ; the second order raised on a 
 balustrade-course. One end of the court 
 is bounded by the church of S. Marco, 
 into which a side entrance opens from 
 the arcade. Attached to the jialace at 
 one angle is a second court about 115 ft. 
 square, sometimes called the Little Palace, 
 surrounded by two stories of vaulted ar- 
 cades, the arches springing in the first 
 story from octagonal Corinthian pilasters, 
 and in the second from short Ionic col- 
 umns. These arcades, ojjen toward the 
 court, are closed on the exterior by fa(;ade- 
 walls in three stories, the two upjier hav- 
 ing arched panels connected by mould- 
 ed imposts, the second story crowned by 
 a strong arched corbel-table, the third, 
 apparently a later addition, with sf(uare 
 battlements. (See Fir/. 176.) 
 
 Palazzo Yidoni, or Stojjpani, a large 
 palace of simple and dignified design, 
 commonly attributed to Raphael, and pre- 
 sumed to have been built about l.'il^. 
 It has a faQade some 230 ft. long, in 
 three stages, the lowest of rustic masonry, 
 with the centre distinguished by a dif- 
 ferent treatment of wall surface, and of 
 openings, of which there are seven, alter- 
 nately square and arched. The second 
 story presents an unbroken range of 
 coujiled Doric columns on a balustrade- 
 course, with tall windows with horizontal 
 cajis in the intervals. The third story is 
 an ill-designed attic of later date, aiul 
 quite out of keej)ing with the general 
 composition. 
 
 The PAJfTHEON, the best preserved an- 
 
 cient niiinumeut of lionu", and one of the 
 most notable buildings in the world, con- 
 sists of a great cylindrical cella, covered by 
 a dome 143 ft. in diameter — the largest 
 
 Fig 176.— Rome, Pal. di Venezia, Court. 
 
 existing dome of masonry — lighted by a 
 circular opening at its vertex nearly 30 ft. 
 across, and preceded by a Corinthian ]ior- 
 tico 110 ft. by 40 ft. The main structure 
 is of concrete bonded and faced with fine 
 brick-work. The walls without, now bare, 
 are divided by two moulded string-courses : 
 the lowest space was originally incrusted 
 with marble, the two above with orna- 
 mental work in stucco. The base of the 
 dome is masked outside by a blocking- 
 course above which six encircling steps 
 lead up to the spherical surface. Under 
 Urban VIII. (1623-44) Bernini added two 
 
ROME 
 
 belfrys, ouc each side of the portico. 
 These, which were nicknamed Bernini's 
 ears, have recently been taken down. 
 The huilding stood on a quadranguhir 
 phitform. and five steps, four of which are 
 now buried, led up to the portico. This 
 portico, though not well adapted to the 
 great rotunda, is in itself the finest in 
 Rome. It bears a high pediment, is octo- 
 style and three iutercolumniations deep, 
 but alternate pairs of interior columns are 
 suppressed, making thi'ee aisles whose 
 ceilings are vaulted in coffered barrel- 
 vaults. {See phi II. Fi(/. 177.) The original 
 columns, of whicli three have been replaced, 
 are monoliths of gray and pink Egvj^tiau 
 granite with capitals and bases of white 
 marble, and are more than iO ft. high. 
 The proportions of the interior are ex- 
 tremely simple. The whole height is 
 equal to the whole diameter ; and the dome 
 is a hemisphere of the same height as the 
 wall below it, so that its surface, if ex- 
 tended into a comi^lete sphere, would ex- 
 actly touch the floor. The massive walls, 
 made more than 20 ft. thick to abut the 
 thrust of the dome, are cut away inside 
 into eight large niches, alternately rectan- 
 gular and semicircular. A great Cor- 
 inthian entablature encircles the interior 
 at half the height of the wall, carried 
 above the niches on pairs of fluted col- 
 umns of iSTumidian marble flanked by pil- 
 asters. Between the niches stand eight 
 canojiies against the wall, each consisting 
 of a pediment borne on two smaller col- 
 umns, in pairs alternately of giallo-antico 
 and porphyry, standing on pedestals. 
 Under these pediments, whicli are .alter- 
 nately triangular and curved, are modern 
 altars. Over the main order is an attic, 
 decorated with a small onler of Corinthian 
 pilasters with rectangular niches in the in- 
 tervals, corresponding to the niches and 
 canopies below. From this attic rises the 
 dome, divided into deep colTers between 
 twenty-eight meridional ribs and four hor- 
 izoutal, a broad smoolii zone being left 
 
 about the open eye. Tlie etfect of this in- 
 terior is of unequalled simplicity, spacious- 
 ness, and majesty, and the lighting is un- 
 exampled. Perhaps the want of relation 
 in the design of the dome to that of the 
 wall, and a discordance in scale between 
 its coffei'ing and the details below it, are 
 its only faults. Besides its columns of 
 precious marbles, it was splentlidly revet- 
 ted and paved with marbles, and despite 
 plundering carried on through centuries, 
 much of its ancient decoration survives. 
 The interior of the dome was once jilated 
 with bronze. The bronze-plated doors, 
 simply biit elegantly panelled, are the 
 original doors of the temjale. 
 
 The Pantheon has always been as- 
 scribed to Marcus Agrippa, whose inscrip- 
 tion still decorates the portico, and was 
 presumed to be the great rotunda of his 
 baths ; but in 189"^ a careful architectural 
 examination of it was conducted by the 
 Italian (Jovernment, with unexpected re- 
 sults. It is henceforth established that 
 the existing rotunda and dome were con- 
 structed by Hadrian, about 125 a.d., and 
 remain essentially as he built them. The 
 IJortico was perhaps later, between the time 
 of Hadrian and that of Scptimius Severus, 
 
 Fig. 177.— Rome. Pantheon 
 Scale of 100 feet. 
 
 tiie inserijilioii on the t'lilaliNit iirc being 
 the original from Agrippas I'anthecui, 
 transferred to its present position. The 
 
 .3-0 
 
ROME 
 
 Pantheon of Agrippa, built in 27 B.C. and 
 restored under Titus after the conflagra- 
 tion of S(i A.I)., was a circular structure 
 of essentially the same disjiositiou as the 
 present rotunda, but with a conical roof 
 of wood which was probably 
 supported by an interior circu- 
 lar range of columns. Tlic 
 pavement of Agrippu's build- 
 ing was about (J ft. beneath 
 that of the existing monument. 
 Originally dedicated to t h e 
 chief gods of Komc, and es- 
 pecially to those connected witli 
 the Julian family, the Panthi - 
 on was consecrated as a church 
 by Boniface IV., about G08, 
 under permission of the Em- 
 peror Phocas, in the name of 
 Sta. Maria ad Martyres, but 
 was soon known by the name 
 it still bears — Sta. Maria della 
 Eotouda. It contains the tomlj 
 of Raphael, who was buried liere 
 in I'riO. (See Figs. 177, 178.) 
 
 Porta Maggiore, ancient Labicana, a 
 monumental structure by which the aque- 
 ducts of the Aqua Claudia and tlie Anio 
 Novus are carried into the city over the 
 roadway. It was first incorporated in the 
 city walls by Aurelian, and still affords 
 passage to the Via Labicana and the Via 
 Pr»nestina. It is massively built of rus- 
 ticated ashlar in travertine, and consists 
 of two archways 46 ft. high, the piers sup- 
 porting which are pierced by small arches 
 between engaged columns (also rusticated 
 and perhaps unfinished), supjjorting en- 
 tablatures and pediments. In the high 
 attic pass, one over the other, the two 
 water-channels. The attic is divided into 
 three bands which bear inscriptions, the 
 first recording the construction by Clau- 
 dius in 53 A.D., and the two others com- 
 memorating restorations by ^'es25asian and 
 Titus, in 71 and 81 A. D. 
 
 Porta del Popolo. This gateway, 
 constructed out of the materials of the an- 
 
 cient Porta Flaminia. was built by Pius 
 IV. in 1501, from the designs of Vignola. 
 The wall is of travertine, with a high 
 round entrance arch springing from dec- 
 orated imposts, and flanked by two de- 
 
 Fig. 178. — Rome, Pantheon. 
 
 taclied Doric columns of red granite and 
 breccia marble on pedestals, carrying an 
 entablature with triglyphs. surmounted 
 by a high and rather clumsy attic. Two 
 statues occupy the intercolumniations on 
 each side the arch. 
 
 Porta San Lorenzo, the ancient Ti- 
 burtine Gate, built of travertine. On the 
 inner side of the gate the Arch of Augus- 
 tus is seen above it, carrying over the open- 
 ing the three conduits of the Aqua Julia, 
 the Aqua Tepula, and the Aqua Marcia. 
 An inscription sets forth that the aque- 
 duct arch was restored by Vespasian and 
 Severus. The arch is flanked by i^ilasters, 
 and bears a bull's head on the keystone. 
 On the exterior side, between two xv cent, 
 towers, appear remains of a gate-structure 
 of the time of Arcadius and Ilonorius, 
 with an inscription. 
 
 Portico of the Dii Consextes (the 
 advising or counselling gods), the six 
 chief male and six chief female deities of 
 
ROME 
 
 Rome, in the S. W. angle of the Forum 
 Romiinum. Tlie portico was restored in 
 307 A.I)., by tlie jirefect Vettius Agorius 
 PrEetextatus, and the existing remains 
 conform in style to that date. There are 
 nine cohunns, five of them of travertine 
 and nntluted, in part preserving their en- 
 tablature, and a series of vaulted chambers 
 which served as offices for the clerks and 
 criers of the a?diles. 
 
 The PoiiTico OF OcTAViA. with the 
 temples it enclosed, constituted in anti- 
 quity one of the most remarkable groups 
 of buildings in the region of the Flamin- 
 ian Circus. It was built by Augustus on 
 the site of the portico of Metellus, which 
 dated from 140 B.C. In plan it was a 
 large rectangle surroundeil on the inside by 
 a colonnade, and having on one side a cen- 
 tral pedimented porch or proijylfeum. In 
 the court stood temples to Juno and to 
 Jupiter, earlier foundations rebuilt by 
 Augustus. In connection with the jiortico 
 were a house (curia) for meetings of the 
 senate, two libraries, and an establishment 
 for notaries. This groiip of buildings was 
 adorned with many of the most splendid 
 Greek works of art, including statues by 
 Phidias, by Cephisodotus, and by Lysip- 
 pus. Great damage was done by a fire 
 under Vespasian, and the buildings were 
 restored under Severus, in "^03 a.d. The 
 entrance-porch survives still in large part ; 
 it had originally a hexastyle Corinthian 
 portico on each face, and the pediments 
 were filled with sculpture. Eight col- 
 umns of Parian marble, about 33 ft. high, 
 are in situ, of which three belong to the 
 outer colonnade and two to the inner. 
 Portions of the antaj also remain, in con- 
 crete faced with brick, and a number of 
 monolithic Corinthian columns, of poor 
 style and no doubt dating from the re- 
 storation of Severus, of the jiortico proper. 
 There are in addition some remains of the 
 two enclosed temples. 
 
 Tiie PouTiro of the S.t.pta Julia, on 
 the border of the Campus Martius, a cov- 
 
 ered portico of great extent surrounding a 
 large open space. It was projected by 
 Julius Ctesar and coinjjleted by Agri2)pa, 
 as a voting-place for the Comitia Cen- 
 turiata. It was divided by ])icrs into 
 aisles, and was richly adorned witli statues 
 and with incrustation of marble. It was 
 sometimes used for speech-making and for 
 athletic exhibitions, and in later times be- 
 came a bazar. Eight ranges of piers of 
 travertine, o\ ft. square, survive, five in 
 the sacristy of Sta. Maria in Via Lata, 
 and three beneath the Palazzo Doria. 
 
 The Pyramid of Cait.s Cestius, 
 pra>tor, tribune, and priest, a notable 
 tomb dating from about the beginning of 
 the empire, rises beside the semi-Roman, 
 semi-mediaeval, double-arched Porta San 
 Paolo, and consists of a steej] jiyramid 98 
 ft. square at the base and Vl'i ft. high. It 
 stands on a foundation of travertine, and 
 is formed of a core of concrete faced with 
 good masonry of large marble blocks. The 
 burial-chamber, built of brick, is about 
 20 ft. long, 13 ft. wide, and 16 ft. high ; 
 its barrel-vault is coated with fine stucco 
 painted with excellent arabesques. The 
 l)resent entrance was broken through in 
 the xvii cent., efforts to find the original 
 entrance having been unsuccessful, but 
 the Ijurial-cluimber was found empty. A 
 colossal bronze statue originally stood be 
 fore the pyramid ; one of its feet is in the 
 Palace of the Conservators. 
 
 QriRiXAL. See Palazzo di Mmitc 
 CavaUo. 
 
 Regia, the public office of the Pontifex 
 Maximus, an important ceremonial foun- 
 dation, traditionally ascribed to Xuma, 
 including the council -room of the pon- 
 tifices, and the record-office of the Fasti 
 and similar public documents. It stood 
 on the Forum Romanum at the end of 
 the Sacra Via. The jilan was a trapezium 
 measuring about 25 ft. by G5| ft., divided 
 into three rooms. At the west end parts 
 are standing of walls of opus quadratum 
 and concrete faced with opus rcticulatum. 
 
 :)78 
 
ROME 
 
 One jmrtition-wall is built of solid blocks 
 of Carrara (Luna) marble, a very rare 
 method of construction in Koiiie. 
 
 ItosTRA, the tribune or jilatform for 
 orators in the Forum Romanum. It was 
 originally placed before the Curia (the 
 church of 8. Adriano), and was removed 
 to the position of the existing remains. 
 toward the middle of the Forura, by Julius 
 Ca?sar in 44 B.C. This famous tribune 
 had its name from the affixing to it, in 338 
 B.C., of the bronze beaks from the ships 
 captured at Autium. The excavations of 
 1883 have made known the plan and de- 
 tail of Cajsar's structure, which consisted 
 of a rectangular platform 80 ft. long and 
 11 ft. high, with front and end walls of 
 tufa. The floor was formed of slabs of 
 travertine supported by two ranges of 
 piers with lintels. The entire exterior 
 was incrusted with marble slabs, and the 
 top was crowned with a pierced j)arapet 
 of marble. To the front wall were affixed 
 the beaks of the shijjs, in two tiers, and on 
 the platform were set up a number of 
 statues. Behind the rostra, and concealed 
 by it in its present position, are the re- 
 mains of a very richly adorned platform 
 of convex plan, called the Grtecostasis. 
 
 S. Adriano. See Curia. 
 
 Sta. Agata alla Sl-burra. a small 
 basilica with aisles and aiDse, but without 
 transe})t, built as an Arian churcli by the 
 (rothic Ricimer, near 4(J0. It was re-dedi- 
 cated by Gregory the Great in 693, after 
 long abandonment, and was thoroughly 
 modernized in the xvii cent., but the old 
 walls of nave and aisles remain, and their 
 twelve columns of gray granite, with 
 stuccoed Ionic cajjitals, bearing stilt- 
 blocks and round arches. In front of it is 
 an atrium surrounded by loggias, which, if 
 it is original, lias at least quite lost its old 
 aspect. 
 
 Sta. Agxese, in the Piazza Navona. oc- 
 cupies the site of an older church replaced 
 about 10.50, under Innocent X., from the 
 designs of Girolamo Rainaldi. Its plan in- 
 
 ternally is that of a Greek cross, with a cen- 
 tral octagon about 55 ft. in diameter, with 
 four great recesses opening by round arches 
 from its four greater sides, and four semi- 
 circular niches from the smaller sides. Of 
 the square recesses, one forms the entrance 
 vestibule opposite which is the choir with 
 the high altar, the other two being chap- 
 els with semicircular apses. The octagon 
 is covered by a high dome on a drum 
 pierced with eight windows. The ma- 
 terials of this interior are of great rich- 
 ness, and the decoration is profuse and 
 costly. The church is enclosed by a great 
 numljer of accessory apartments, aiul on 
 one side is the small College of the Inno- 
 cenziana, built a little later by Borromini. 
 The picturesque exterior of the church, 
 also by Borromini, has in front a central 
 portico of four Corinthian columns with 
 pediment and high attic, and two advanced 
 flanking towers joined to it by curving 
 wings. The towers terminate in open bel- 
 fries surmounted by rather rococo s|)ires. 
 The central dome is elevated on a high 
 tambour, surrounded by au order of 
 coupled Corinthian pilasters, and crowned 
 by an octagonal lantern. 
 
 Sta. Agnese euori le Muka is a small 
 basilica some 60 ft. by 100 ft., without 
 transept, dating from the time of Con- 
 stantine, and comparatively little dis- 
 guised by modern alterations ; and so, 
 apart from its sanctity, is of great histori- 
 cal interest. It stands about a mile and a 
 quarter outside the Porta Pia, on the Via 
 Nomentana, on sloping ground whose level 
 has so risen about the front that its floor 
 is reached by a long descending flight of 
 marble steps. It has the peculiarity, rare 
 in Rome, of a nun's gallery or upper 
 story over the aisles, which crosses the 
 front, and above which rises a clerestory. 
 Eight i^airs of rouiul arches divide the 
 aisk>s, which are only about 8 ft. in clear 
 width, from the nave, which is 30 ft., and 
 are supported by columns, Corinthian and 
 Composite, taken from various older build- 
 
 373 
 
ROME 
 
 ings. Tlie lower siisle is groin-viuilt- 
 ed, the upper, with an arcade resting on 
 smaller columns, is also groined, and has 
 windows across tlie front. The clere- 
 story is of plain round-arched windows, 
 and supi^orts a rich modern flat ceiling. 
 The conch of the aj)so retains its original 
 mosaic on a gold ground, with a figure 
 of St. Agnes between Sts. Symmachus and 
 Ilonorius, and below, its original clothing 
 of marble. The remains of St. Agnes lie 
 under tiie high altar, which is modern. A 
 porch at the level of the road gives direct 
 access to the uiDjier aisle built for the use 
 of the nuns of the adjoining convent at 
 the left of the ajise, which is flanked on 
 the outer side by a campanile of which the 
 lower part is nearly as old as the church. 
 Constautine is said to have built the 
 church in 324, at the request of his daugh- 
 ter Coustautia, over the tomb of St. Ag- 
 nes. Constantia's own mausoleum, now 
 known as the church of Sta. Constan- 
 za {q. v.), stands near by. The church 
 was restored by Symmachus at the begin- 
 
 Fig. 179 Rome, Sta. Agnese fuon le Mura. 
 
 ning of the vi cent., and a century later 
 by ilonorius. They doubtless followed 
 the old plan ; but it is difficult to judge 
 how much of the original work remains. 
 Since then there is probably little change. 
 
 except for the modern chapels that flank 
 the aisles, the ceiling added by Cardinal 
 Sfonilerato, and the decoration restored 
 by Pius IX., who also rebuilt the hall 
 which opens from the court, replacing one 
 that fell down with him during a solemn 
 assembly in 1S.34. (Si'c Fig. ll'i.) 
 
 S. Agostixo, a small xiii cent, conven- 
 tual church, built for the monks of the 
 order of St. Augustine, but enlarged in 
 the XV cent, by Giacomo da Pietra Santa, 
 and Sebastiano, a Florentine. In 1480 
 and after, Baccio Pintelli executed the 
 fa(;ade and central dome. In the xvii 
 cent, the church was again restored from 
 the designs of Vanvitelli. The plan 
 includes a nave and aisles about 125 ft. 
 long, the nave in three vaulted bays, 
 the aisles each in six, a transept, and 
 deep apsidal choir with lateral chapels. 
 The bays of the nave are marked by 
 square piers faced with colored marbles 
 and bearing an order of Corinthian pilas- 
 ters. Each nave bay has two round 
 arches divided by an intermediate pier, 
 which determines the division 
 of the aisles into square bays 
 according to the arrangement 
 of the original Gothic vault, 
 which remains. Al)ove the 
 nave arches is a clerestory with 
 an order of low' Corinthian pi- 
 lasters which take the ribs of 
 the vaulting. From each aisle 
 opens a series of semicircular 
 niches or chapels, between 
 which Corinthian pilasters take 
 the ribs of the aisle vault. The 
 transept arms have each two 
 oblong groined bays, terminat- 
 " ing in a round apse. The hem- 
 
 ispherical dome built by Pin- 
 telli, and said to be the earliest 
 example of a dome ujion a drum sup- 
 jxirted by pendentives, which was taken 
 down in the last century, has been re- 
 jilaced without the drum, and in 1855 was 
 decorated with paintings of the twelve 
 
 374 
 
EOME 
 
 apostles by Gagliardi. The facade, of no 
 great merit, lias the fine detail tliat is char- 
 acteristic of Piutelli. Vjiou a Hat wall the 
 outline of the nave and aisles is marked by 
 pediments, cornices, and sparse pilasters, 
 the clerestory flanked by enormous scroll- 
 buttresses. There is a round window in the 
 end of the nave, three doors, the central 
 one rich and lofty, and scattered panelling. 
 
 S. Alessio (St. Alexis), a Renaissance 
 church, rebuilt in the xviii century. It is 
 in plan a rectangle about 90 ft. wide and 150 
 ft. long, preceded by a square atrium the 
 full breadth of the church, with a vaulted 
 arcade at each end. The interior has a 
 broad nave, barrel-vaulted, with an order 
 of coupled Composite pilasters, between 
 which arches open into the square bays of 
 the aisles. The transept, o'i ft. wide, 
 does not project beyond the aisle walls. A 
 semicircular tribune opens from its centre, 
 and the crossing is covered by a dome. 
 The choir, including the transept, is raised 
 above the nave : and beneath is the old 
 crypt, divided by ten columns into two 
 aisles. The original church is said to 
 have been built early in the iv cent., by 
 St. Alexis, on the site of a temple in hon- 
 or of St. Boniface, and the new one fol- 
 lows its lines, preserving the atrium, the 
 three aisles, the transept, and apse ; but 
 the columns have disappeared and the old 
 forms are entirely lost. It was consecrated 
 anew by Honorius III. in 1217, when the 
 bones of St. Boniface and of St. Alexis 
 were discovered and deposited under the 
 high altar. In 1 74-4-50 the church was 
 substantially rebuilt by the monks of the 
 adjacent monastery. An extensive con- 
 vent is attached to the church on the left, 
 of which the rooms are disposed about a 
 square cloister some 70 ft. on each side, 
 surrounded by vaulted arcades on columns 
 and with fine spacious gardens in the rear. 
 The square brick campanile dates back 
 from the xii or xiii century. 
 
 S. AxASTASio. See iSS. Vincoizo ed 
 Anastasio. 
 
 S. Andrea, a little chapel on the Via 
 Flaminia, near the\'illadi S. Giulio (i/.v.), 
 a mile beyond the Porta del Popolo, built 
 by Vignola for Julius III. before his acces- 
 sion, in memory of liis escai^e from danger 
 during the sack of Kome by the troops of 
 Charles V., in 1527. Its plan is a rect- 
 angle 40 ft. by 32 ft. Its facade is coni- 
 jiosed of an order of Corinthian pilasters, 
 coupled at the angles, crowned by a jjcdi- 
 ment, above wliich is an attic more than 
 half as high as the order itself. Over this 
 attic the high oval drum of the low dome 
 is visible. The middle intercolumuiation 
 is occupied by a square door with a pedi- 
 ment, the sides each by a window in a 
 decorated niche. The interior is an un- 
 divided hall with an order of Corinthian 
 pilasters carrying the pendentives of the 
 oval dome. See also S. Gregoriii Mdf/no. 
 
 S. Andrea delle Fkatte (St. Andrew 
 of the Hedges). This church was, in 
 keejjing with its name, the property of the 
 Scotch Catholics up to the English Refor- 
 mation. A substantial rebuilding was be- 
 gun in 1605, under the architect Gaspare 
 Guerra. Its plan is a rectangle 68 ft. by 
 180 ft. The nave, 42 ft. wide and 95 ft. 
 long, is flanked by shallow rectangular 
 chapels. The transept arms are only two 
 broader chapels. The crossing is covered 
 by a hemispherical dome, built from Bor- 
 romini's designs, as was also the rather 
 extravagant bell-tower. The square choir 
 ends in a semicircular tribune. Tlie 
 facade of simple design, by Giuseppe Va- 
 ladier, was added in 1826. On the right 
 of the church is a fine cloister, 95 ft. 
 square, enclosed by vaulted arcades, and 
 surrounded by the buildings of a small 
 convent. 
 
 S. Andrea della Valle, a cruciform 
 church begun 1591, from the designs of 
 Pietro Paolo Olivieri, and finished under 
 Carlo Maderno. Its jilan forms a Latin 
 cross, about 260 ft. in length and 140 ft. 
 in breadth across the transept, with a tun- 
 nel-vaulted nave 50 ft. wide and 130 ft. 
 
 876 
 
ROME 
 
 long, separated tVciiii the aisles by broad 
 jiiers faced with triple pilasters, from 
 which transverse arches are thrown across 
 the nave. The aisles are divided into 
 square chapels by transverse walls with a 
 door of communication. The crossing is 
 covered by a lofty dome painted by Lan- 
 franc, on the pendentives of which are the 
 four Evangelists by Domenichiuo. The 
 rectangular choir is flanked by a domed 
 chapel on each side, and terminates in a 
 semicircular tribune. The fa9ade has an 
 order of pilasters and engaged columns on 
 liigli jiedestals, with In-oken pediments and 
 some exaggeration of design, the work of 
 Carlo Kainaldi. 
 
 SS. Apostoli. This church was orig- 
 inally a Christian basilica. It has been 
 called Basilica Constantiniana, but was 
 founded by Pelagius I. in 559, and enlarged 
 by John III. It was rebuilt early in the 
 XV cent. , under Jlartin V. The aj^se was 
 added half a century later, with the fa- 
 cade, under Sixtus IV., the last from the 
 designs of Baccio Pintelli. In 1703 
 the interior had become ruinous and was 
 thoroughly rebuilt Ijy Clement XI., the 
 architect being Francesco Foutana. The 
 plan, exclusive of the choir, is nearly 
 square, the breadth being about 150 ft. 
 and the length 100 ft. The scale of the 
 interior is imposing. The nave, about 55 
 ft. wide and barrel-vaulted, with lunettes, 
 is sejiarated from the aisles by three great 
 arches springing from massive jiiers, faced 
 on three sides by coupled pilasters. The 
 aisles are in three nearly square bays, sep- 
 arated by double transverse arches spring- 
 ing from detached columns, and covered 
 ea(!h by an oval dome. Each bay has a 
 shallow chapel in the thickness of the side 
 wall. The choir is very spacious, and is 
 divided into a single square bay and a 
 round apse. The facade consists of a 
 great double portico, standing obliquely to 
 the front of the church, and composed of 
 two unbroken ranges of round arches, 
 nearly 15 ft. wide. Both arcades Avere 
 
 origiiuilly open, but the upper one lias 
 been walled up, and the increased weight 
 thus occasioned made it necessary to rein- 
 force the piers below. Each arcade is 
 surmounted by an entablature, of which 
 the upper one bears a balustrade with 
 statues of the apostles, and Christ in the 
 middle. 
 
 Sta. Balhixa is a small church whose 
 consecration by Gregory the Great (590- 
 604) is recorded. It is simply a jilaiu 
 nave, quite modernized, but retaining an 
 oj)en roof with some traces of its old orna- 
 ment. It has flat pilasters on its walls, a 
 large round eastern apse, and rows of later 
 cha2)els along the sides, with a tier of win- 
 dows high up in the walls, like a clere- 
 story. Across the front is a porch of three 
 arcaded bays on pilasters, tlie side arches 
 filled up. It is noticeable that no columns 
 are seen in the building. It has been as- 
 sumed that the church was built by St. 
 Gregory, and Jlothes has argued that it 
 was originally built with aisles in place of 
 the side-chapels and f)iers between ; but 
 Ilubsch and the latest authorities agree 
 that it was one hall, like the so-called Bas- 
 ilica at Trier, and was built in heathen 
 times, perhaps as late as the iv century. 
 
 Sta. Baubara. See <S'. Grerjorio 
 Ma// I/O. 
 
 S. Bartolommeo all' Isola stands on 
 the island of the Tiber, on a site occupied 
 as early as the x cent, by the church of St. 
 Adalbert, which had itself replaced an an- 
 cient temple of Jupiter, or perhaps of vEs- 
 culapius. The present church was origi- 
 nally built — according to an inscription 
 over its central door — by Pascal II., in 1 1 115, 
 but was restored a few years later under 
 Gelasius II.. again in the same century by 
 Alexander II., and finally, in the latter 
 half of the xvi cent., by (ircgory XIII., 
 from the designs of Martino Lniighi. It 
 is a rectangular basilica, and the interior, 
 divided into a nave and aisles, is about 58 
 ft. wide and 05 ft. long, separated by ar- 
 cades borne on antique columns of granite 
 
 376 
 
KOME 
 
 and marble, with Composite capitals, i)ru- 
 ceded by a two - story vaulted uarthex 
 which runs aci'oss the entire front, and 
 ojiening into a transept about 20 ft. wide, 
 raised by several steps above the nave and 
 over the neglected crypt. Of the columns, 
 that ne^ct the entrance on the left was 
 imbedded in a pier for the support of the 
 medieval bell-tower which shows its three 
 upper stories of triple windows over the 
 end of the aisle, behind the fayade. From 
 the centre of the transept opens a semi- 
 circular tribune, flanked on each side by a 
 deep rectangular chapel. From the alter- 
 nate bays of each aisle opien other rectan- 
 gular chapels. The nave has a panelled 
 wooden ceiling dating from 1624, and dec- 
 orated with gold and color. The fa9ade is 
 in two stages, the centre brought forward 
 slightly over a portico of four detached 
 granite columns and covered with a low 
 pediment. The lowest stage has an order 
 of Corinthian pilasters on pedestals, witli 
 three arches opening into the narthex, the 
 other two filled by niches. The upper 
 stage has square-headed windows on a pe- 
 destal-course, with pediments and horizon- 
 tal caps. The church was founded by 
 the Emperor Otto II. in 982 (or, as some 
 have thought, by Otto III.), on the site 
 of a temple of ^Esculapius, rebuilt accord- 
 ing to an inscription by Pascal II. in 
 1113, often altered and finally given its 
 present form in the latter half of the xvi 
 cent., by Martino Lunghi. The outlines of 
 the original church remain, and also the 
 columns and arcades. 
 
 S. Basilio. See Temple of Mars I'/for. 
 
 S. Bekxardo. See Thermm of Diode- 
 tiaii. 
 
 Sta. Bibiaxa, an early basilica near 
 the Porta S. Lorenzo, consecrated in -173, 
 by Pope Simplicius, over the grave of the 
 martyr, and according to tradition, on the 
 site of a memorial chapel built by the 
 matron saint Olympia in 30.5. It has 
 been much rebuilt at different times, and 
 the aisles are covered by side chapels ; 
 
 but the origiiuil eight anticpic colunms 
 and ilat roof remain, as well as the one 
 square bay of the choir. In 1024-30, 
 it was remodelled by Bernini, who added 
 the portico of three arches with an order 
 of cou2)led Ionic pilasters. 
 
 S. Carlo, an imposing Renaissance 
 church in the Corso, was founded in 1612 
 in honor of the canonization of S. Carlo 
 Borronieo. It was begun under the archi- 
 tect Onorio Lunghi and his son Martino, 
 and finished by Pietro da Cort-ona. The 
 plan is a rectangle about 140 ft. broad and 
 190 ft. long. The nave has a breadth of 
 about 45 ft., and is covered by a barrel- 
 vault adorned with paintings, and pierced 
 on each side by three lunettes with win- 
 dows. The nave piers are faced with 
 coujiled pilasters ; the aisles are divided 
 into three square bays, each covered by a 
 low dome ; from each bay opens a large 
 square chapel. The transept has the 
 same width as the nave, and the crossing 
 is covered by an elliptical dome. The 
 choir is square and terminates in a round 
 apce ; the aisle is carried round it, divid- 
 ed into bays, covered as in the main aisles 
 by low domes. The church is connected 
 with various accessory buildings on each 
 side, among which is a hos2)ital for Lom- 
 bard jiatients. The clumsy facade added 
 in 1U90 from the designs of Meuicucci is 
 of little interest. 
 
 Sta. Catehixa dei Ffxaei (of the 
 Rojie-makers), a small church on the site 
 of the Circus Flaminius, and of a subse- 
 quent roi^efl'alk from which it takes its 
 name, is chiefly noteworthy for its fa9ade 
 built in 1.503 by Giacomo della Porta. 
 This has a lower order of Corinthian pil- 
 asters, with a central door under an en- 
 gaged and pedimented porch, flanked by 
 two 2)airs of niches. A band of si'uljiture 
 connects the capitals below the archi- 
 traves ; the whole is finely proportioned 
 and of delicate detail. The second story, 
 narrowed to the width of the nave and 
 flanked by scroll-buttresses, has a similar 
 
ROME 
 
 order with like treatment, crowncil l)y a the vi (•ciit.. lumfxcd to it a Ik'iK'dictine 
 pediment and enclosing a central rose- monastery, and made it a place for peni- 
 wiudow in a square decorated panel. The teutial processions ; and in 807 the body 
 loAver order and the main lines above are of 8t. Clement, martyred, it is believed, 
 continued round the flanks with good in the Crimea, was brought here by Cyril 
 effect. of Thcssalouica., who is himself buried 
 Sta. Cecilia, ill the Trastevere. is an here. The choir was rebuilt or refurnish- 
 early basilica, built, according to tradition, cd in 872-8:i, by John VIII. In 1084 it 
 by Urban I. about 22'). but more probably was burned by the Are which, in the sack- 
 two centuries later, and thought to oc- ing by Robert Guiscard, wasted the city 
 cupy the site of (St. Cecilia's house. It from the Colosseum to the Lateran, but 
 was almost completely rebuilt in 821 by it was rebuilt in time to be used at the 
 Paschal I., and two or three times after election of Paschal II. in 1099. The 
 more or less transformed. It preserves atrium of the early church is preserved, 
 the ancient atrium, preceded by an open though much altered by Carlo Fontana at 
 portico with four detached columns, also the beginning of the xviiicent., and is 
 the hoxastyle portico of the cliurch itself, entered by an old porch which resembles 
 adorned with early mosaics, and the nar- those of the Sta. Maria in Cosniedin, 
 thex. The tribune, also mainly unaltered, Sta. Prassede, and Sta. Salja — a single 
 contains the old bishop's chair and some vaulted bay borne on four aiitiiiuc eol- 
 original mosaics of the IX century. The umns. The atrium is surrounded on all 
 main arcades of twenty columns were sides by open galleries, that in front (jT 
 transformed in 1822, when the columns wide arches on heavy piers, those on the 
 were encased in square piers, and the sides with light Ionic colonnades ; the 
 nuns' galleries wliich formed the second fourth side, rebuilt by Fontana for Clcm- 
 story of the aisles and narthex were dis- ent XL early in the xviii cent., is an ar- 
 guiscd. The Cothic ciborium and high cade on Ionic columns carrying the fa- 
 altar were made in 1283 by one Arnolfo, 9ade of the church, in the style of its 
 who has been held, though not without period, and serving as an open porch, 
 contradiction, to he Arnolfo di Cambio, The church consists of a nave some 3.5 ft. 
 the architect of the ('athedral of Florence, wide with unequal aisles and an apse, but 
 In the confessio under it Paschal I. de- no transept. Each side the apse is a later 
 posited the body of St. Cecilia, brought apsidal chapel, and a square chapel is built 
 hither from the catacombs of St. Calixtus. in on either hand at the entrance, which 
 The church belongs to a Benedictine con- is from the east. The main arcades con- 
 vent, for whose use the original nuns' gal- sist each of two groups of five arches sep- 
 leries were constructed. The square cam- arated by a wall-pier, and carried on an- 
 panilo was a later addition. The tomb of tique Ionic columns, some fluted, some 
 St. ('ecilia has a line recumbent figure by plain. The entablature over the arcades, 
 Stefano Maderno, copying the attitude in which continues round the church, the 
 which her body was found when her tomb elaborate panelling of the walls. ;iihI the 
 was opened in 1.599. richly coffered ceiling, are tlue to Koii- 
 S. Clk.MKXTE is one of the most inter- tana : but the conch of the apse and the 
 esting of the older basilicas. It was built, end wall of the nave retain their old 
 according to tradition, on the house of St. mosaics, that of the ap.se of aralicsqucs 
 Clement, the third or fourth bishop of on a gold groiiiu! enclosing a crucifix. 
 Rome, and is mentioned in history as early and dating from the xiri cent., tiiosc 
 as the IV century. Gregory the Great, in of the wall, on blue ground and prob- 
 
 378 
 
ROME 
 
 abh' older, figures of saints and the sym- 
 bols of the evangelists. The choir and 
 its furniture are often quoted as showing 
 tlie unaltered arrangement of the eai'ly 
 churches. The floor of the apse and a 
 sf)ace in front of it, including 
 the high altar, are raised above 
 the nave for a presbytery, and 
 tlie marble bench for the clergy, 
 broken by the bishoji's chair in 
 the middle, lines the apse. A 
 considerable sjiace in the middle 
 of the nave is enclosed for a 
 choir, with barriers or screens of 
 marl:)le, panelled, carved, and in- 
 laid with mosaic. The two am- 
 bones are incorporated with the 
 screen — on the left an octagonal 
 pulpit flanked by a nuirble col- 
 umn, twisted and inlaid, to hold r-. 
 the pascal taper ; on the right a i. 
 raised reading-desk with double 
 lectern. The ciborium over the 
 altar is of an early type, a square struct- 
 ure on four Corinthian columns, carry- 
 ing an architrave that supports a gabled 
 roof on colonnettes. It is noticeable 
 that the jiulpit and lectern are on oppo- 
 site sides from those in the other early 
 churches that still preserve them, and 
 though the panels of the choir-screens 
 bear apparently the monogram of John 
 VIII., they are put up with a carelessness 
 which suggests removal and refitting. 
 Excavations undertaken within a few 
 years by the prior of the adjacent convent, 
 now Irisli Dominican, have unexpectedly 
 shown that the church stands on the ruins 
 of an older one (which, it is inferred, is 
 the one destroyed in It 184), and was prob- 
 ably built entirely anew at the end of the 
 XII century. The lower church was a ba- 
 silica substantially like the upper ; but 
 apparently with entablatures instead of 
 arcades resting on its colonnades. Its 
 ranges of columns are to be seen built up 
 in the walls that support the upper church, 
 its original walls are covered with many 
 
 paintings of the history and legends of the 
 church, attributed to various dates, from 
 the v cent, to the ,\ii. The floor of the 
 old church is some 20 ft. below that of the 
 new, and beneath this are found two older 
 
 I III l^mm^miBff^ji^j^ 
 
 Fig. I80.-Rome, S. C - 
 
 strata of walls ascribed to the imperial 
 time and the republican. Under the apse 
 and behind it are chambers, one of which 
 is called the Oratory of St. Clement ; an- 
 other, a larger vaulted room, is taken for 
 a place of worship of the Persian god Mi- 
 thras, whose altar, found under the apse, 
 has been moved to the narthex of the 
 lower church. At the rebuilding the 
 church was narrowed, so that while the 
 left aisle and range of columns are over 
 those below, the nave and the right 
 aisle, which is narrowed for the purpose, 
 are included in the old nave, and the 
 apses do not agree, the older being much 
 larger. It is assumed that the new church 
 was built directly on the accumulated 
 ruins of the old, and that the screens and 
 furniture of the choir were set up again 
 as before, though somewhat carelessly ; 
 yet it is difficult to see how they could 
 survive the violent and total destruction of 
 the lower church. The episcopal chair 
 bears the name of Auastasius, who was 
 titular cardinal of the church at the be- 
 
ROME 
 
 ginning of the xii century. (See Fiij. 
 180.) 
 
 S. CosiiiATo was origiuiiUy a three- 
 aisled basilica without transejit, built for a 
 convent of nuns under Gregory V. It was 
 nuiinly rebuilt in 1-175, under Calixtus 11., 
 with a fa9ade by Baccio Pintelli. 
 Tlie old atrium and the sliell of 
 the original churcli remain. Thi' 
 atrium is entered, as in Sta. Saba 
 and 8. Olemeiite, through a pro- 
 jecting porch, whicii liere is of 
 curious f(n'm and penetrates the 
 front wail, being half within and 
 half without, and so is divided 
 into two bays, one cross-vaulted 
 and the other wagon -vaulted, 
 while the corners stand on de- 
 tached Corinthiauesque col- 
 umns. 
 
 SS. CosMA E Damiaxo. This 
 small and ancient churcli. of 
 which only the jiorch is seen 
 from without, is a one-aisled 
 basilica, with a nave 45 ft. by 
 05 ft., of four bays of arcades 
 carried on grouped pilasters. 
 with a panelled attic above and 
 a horizontal coffered ceiling. 
 It took its present shape in 
 1633, under X^rban ^'III., as an 
 inscription tells us, when the 
 side aisles, "dejectis lateralibus 
 parietibus," were replaced by 
 rows of chapels. Of the original 
 church by Felix I\"., in 528, the old 
 apse remains, somewhat too broad for llic 
 present nave, witli its mosaics, as well as 
 those about the great arch, more or less 
 altered. The vestibule is a round build- 
 ing which has puzzled archwologists, but is 
 believed to be a temjde dedicated fii-st to 
 Komulus, the son of ^faxentius, and after- 
 ward to his conqueror, Constantiue, be- 
 fore his conversion ; which, by a natural 
 confusion of tradition, has been confounded 
 with a temple of Komulus and Kemus. 
 Behind the church were discovered the 
 
 nuirble slabs engraved witli the j>lan (jf 
 Ivome at the end of the ii cent., which 
 are preserved in the Capitoline Museum. 
 When the church was restored in 1G33, it 
 was found necessary to raise the floor 
 several feet to suit the accumulation of 
 
 Fig. 181. — Rome, Sta. Costanza. 
 
 tlic outside soil, so that there is now a 
 liasement or lower church in Avhich are 
 the tombs of Saints Cosma and Damianns, 
 the two Arabic physicians martyred un- 
 der Diocletian, to whom the church is ded- 
 icated, and of St. Felix. [See Fig. 16 Jf.) 
 Sta. Costanza, the mausoleum, or 
 baptistery, of St. Constance, is a round 
 building of some 73 ft. interior diameter, 
 close by the church of Sta. Agnese fuori le 
 Mura, and a mile or so outside the Porta 
 I'ia, and dates from the time of Constan- 
 tiue. It has a central rotunda surrounded 
 
ROME 
 
 by twelve radiating couples of Composite 
 columns, carrying as many ^jieces of entab- 
 lature with round arches u^jou them, and 
 above tliese a circular drum pierced by 
 twelve round-arched windows, and a hemi- 
 sjiherical dome with brick ribs sunk in a 
 concrete shell. It is a singular peculiarity 
 that siuce the blocks of entablature make 
 square piers, the pier-arches widen outward 
 to suit the expanding wall of the drum, and 
 their soffits are conical. Outside the ro- 
 tunda is a circular aisle, whose annular 
 vault is abtitted by a very thick outer wall, 
 and in this wall are twelve niches alternate- 
 ly round and square. The four cardinal 
 niches are larger than the rest ; that in front 
 contains the entrance, leading from an ob- 
 long vestibule, now dilapidated, which had 
 an apse on each side, and au arcade of 
 three arches in front. The niche at the 
 back of the aisle contained the richly carved 
 sarcophagus of porphyry which has been 
 transferred to the Museum of the Vatican. 
 In the lateral niches are two doors which 
 open into a narrow surrounding area, once 
 covered, it is believed, by a colonnade, and 
 containing two stairways that lead down 
 to a crypt. The building was built, it is 
 said, by Constantiue, in 3"-2C, serving first 
 for the baptistery of his daughter Con- 
 stantia (or Coustantiua), and of his sister 
 of the same name, and afterward as their 
 tomb. The vault of the aisle still shows 
 considerable portions of its original deco- 
 ration in mosaic, with genii and animals, 
 vines and grapes ; and other mosaics adorn 
 the walls in places ; those that covered the 
 dome were destroyed when it was restored 
 at the end of the xvii cent., and modern 
 paintings substituted for them, but a 
 drawing of the original decoration is pre- 
 served, we are told, in the Escurial in 
 Spain. {See Fig. 181.) 
 
 S. Crisogoxo, in the Trastevere. a ba- 
 silica as old as the v cent. , and mentioned 
 in the record of the Council of Symma- 
 chus. but like others much restored and 
 altered. It has a flat-ceiled nave, 37 ft. 
 
 wide and 140 ft. long, lined with eleven 
 ])airs of antique columns carrving an en- 
 tablature, the original triumphal arch 
 borne by two ancient columns of porphyry, 
 a transept with apsidal choir, and two 
 square side-chapels. Other chapels ad- 
 join the left aisle. The whole transept 
 and choir are considerably raised, as if 
 to jiermit au unusually large confessio or 
 crypt. In this, as in several other points, 
 it resembles the neighboring church of 
 Sta. Maria in Trastevere. The transept 
 is ])robably an addition of the viii cent., 
 aiul the vaulting of the aisles of the 
 XII. Over the altar is a rich modern bal- 
 dacchiuo of alabaster. The fa9ade, the 
 work of Soria, in 1023, consists of a por- 
 tico in one story, with four Tuscan col- 
 umns between pilasters enclosing arches, 
 and an order of Ionic pilasters and pedi- 
 ment above. The medieval campanile 
 against the north aisle, in five stories sep- 
 arated by cornices, is modernized. 
 
 Sta. Ckoce in Geiu'salemme, or the 
 Sessorian Basilica, so-called because it was 
 built on the Sessorian jjalace, has been a 
 jDUzzle to archffiologists. At present, 
 after a complete overhauling by Grego- 
 rini, in 1174, it has a high rather narrow 
 nave covered by a barrel -vault pierced 
 with lunettes, and aisles which are groin- 
 vaulted. Nave, aisles, and transept are all 
 under a single low gabled roof, the galler- 
 ies which once apjieared over the aisles 
 being closed up. Originally the nave and 
 aisles were separated by six antique col- 
 umns on each side carrying arches, but 
 these columns are now subordinated by 
 filling alternate openings with piers, faced 
 with the pilasters of a great Corinthian 
 order, and the intervening arches are dis- 
 guised by inserting lintels which carry 
 panels of sculpture. The tribune of the 
 choir is much wider than the nave, and 
 occupies almost the whole east side of the 
 transejit, leaving room only for a narrow 
 passage on each side. That on the right 
 leads down by a stairway to the subterra- 
 
ROME 
 
 nean chapel behind the apse, built by Hel- 
 ena, the mother of Constantiue, to receive 
 the fragments of the true cross which she 
 brought from Jerusalem, whence the 
 churcli is named. It has a domed ceiling 
 adorned with mosaics which are ascribed 
 to Peruzzi, as are the frescoes of the apse, 
 by some credited to Pinturrichio. That 
 on the left communicates with a corre- 
 sponding but much later vaulted chapel. 
 The old colonnaded porch was destroyed 
 when tlie nave was remodelled, to make 
 room for a great oval narthex by Grego- 
 rini, a rotunda divided from a surround- 
 ing aisle by piers of grouped pilasters, to 
 Avhicli is prefixed a rococo facade. The 
 medieval campanile still stands lieside it. 
 The church dates from about 330, though 
 its older existing parts doubtless mostly 
 belong to 7"-iO, when it was restored by 
 Gregory 11. from great dilapidation. It 
 was further modified in the middle of the 
 XII cent, and of the xv, be'fore it was fi- 
 nally transformed. A trace of the monas- 
 tic (Cistercian) rule under which it i>assed, 
 still lingers in the order that women shall 
 not enter the chajiel of St. Helena except 
 on the anniversary of its dedication. 
 
 S. EusEHio. This conventual church, 
 a rectangle of about G8 ft. by 110 ft., 
 stands at the end of a long enclosure, 
 across which extends its vaulted jjortico of 
 five round arches on massive j)iers, with a 
 single doorway in the centre of the nave. 
 The nave is in five oblong bays, barrel- 
 vaulted, divided by transverse arches, and 
 separated from the aisles by arcades of 
 which the piers are faced with i)ilasters. 
 1'he aisle bays are square and covered by 
 low domes. The transept, which does not 
 project beyond the aisle walls, is divided 
 into three bays, from the central one of 
 which opens a square choir with carved 
 walnut stalls on three sides. Tlie ceiling 
 of the nave is j)ainted by Kajihael iMengs. 
 The original church, probably a basilicni. 
 is believed to have existed in tiie time of 
 Gregorv the Great ; it was restored bv 
 
 Pope Zacharias, and again by Gregory IX., 
 who, in 1238, dedicated it to St. Eusebius 
 and St. Vincent. In 1711 it underwent 
 a third restoration by the monks, under 
 the architect Carlo Stefano Eontaua, and 
 was finally remodelled, in 1750, by Nic- 
 colo Piccione, when the ancient columns 
 of the nave were replaced, or ])erhaps en- 
 closed, by massive piers. An extensive 
 convent is attached to the church on the 
 right, with au oblong court of peculiar 
 plan, comjiosed of a central square with 
 two stories of open arcades on two sides, 
 and a narrower retreating bay at each end ; 
 the Doric and Ionic orders of pilasters 
 carried round the whole. 
 
 Sta. Fuaxcesca Eomana, an old 
 church built in the middle of the ix cent, 
 by Popes Leo IV. and Nicholas I., and 
 still retaining the old walls and the orig- 
 inal apse, which is reuuirkable for some 
 early mosaics, of uncertain date but as- 
 cribed by some to Nicholas himself. It 
 has been much transformed, chiefly in 
 Ki'^O by Carlo Lombardi, who added the 
 fa(;ade. The aisles have been divided into 
 chapels, and the nave covered with a rich 
 coffered ceiling. The modern front gives 
 an open porch of three arches, an order of 
 Corinthian pilasters against the nave with 
 pediment and pedestals, a lower Doric or- 
 der against the aisles, and scroll buttresses 
 over them. Under the raised choir is a 
 crypt containing the body of the saint. 
 The church is built on the foundations of 
 the Temple of Venus and TJome. Against 
 its north side stands a well-jireserved bell- 
 tower, perhaps of tlie xi cent., with five 
 arcaded stories — in the three upi)er ones 
 pairs of coupled arches on mid-wall shafts. 
 
 S. Giorgio in Velabiu). a basilica of 
 very primitive style, called the Sempro- 
 nian basilica because it is thought to stand 
 on the site of a palace, or perhaps a basil- 
 ica, built by the Sempronii. It was ap- 
 jiarcntly built under Pelagius 11.. near the 
 end of the VI cent., but had to be rebuilt a 
 hundred years later. It is only about 100 
 
ROME 
 
 rest ou 
 
 ft. long, fronting the south ; its niive ami 
 aisles, cramjied by the site, contract 
 toward the choir. Its arcades 
 sixteen rather irregular antique 
 columns, Ionic and Corinthian, 
 one bay being cut out from the 
 west aisle by the square campa- 
 nile at the S. W. corner. Above 
 the round-arched clerestory is a 
 simi^le wooden ceiling, and the 
 interior is plain and bare, except 
 the choir. This, occupying the 
 last bay of the nave and the apse, 
 is raised half a dozen steps, to 
 give room for the confessio be- 
 neath, which holds the relics of 
 St. Creorge. The ajjse is lined 
 with marble and has a bench for 
 the clergy with the bisliojj's chair 
 in the middle, a wainscoting, and 
 over it an order of jjilasters. Its 
 semi-dome is painted with colos- 
 sal figures of Christ, St. George, 
 and other saints, apparently cov- 
 ering pictures which Giotto is 
 known to have painted here. 
 Over the altar is a characteristic 
 and well-preserved early cibori- 
 um, a four-square canopy of Co- 
 rinthian columns, carrying a 
 kind of octagonal lantern sup- 
 ported by colonuettes. The al- 
 tar below, and the face of the 
 confessio beneath it. which is displayed 
 by a gaj) in the stejjs, are ornamented 
 with mosaics. The front has a richly 
 carved architrave about the front door, 
 evidently built of Roman fragments, ami 
 is crossed by an open porch with four 
 Ionic columns in anfis and an entabla- 
 ture built up of brick and marble, and 
 made disproportionately high by brick 
 relieving arches which are let into the 
 frieze. The inscription on the porch in- 
 dicates that it is an imitation of classic 
 forms built in the xii century. The tower, 
 one of the earliest in Rome, dates from the 
 rebuilding at the end of the vii century. 
 
 It has four arcaded stories above the roof, 
 divided by modillioned cornices, the up- 
 per arcade carried ou mid-wall shafts. 
 
 F.g. is:.- 
 
 Against the tower, and partially swal- 
 lowed up by it, is the Arcus Argeutarius 
 (17. v.), or Arch of the Silversmiths, some- 
 times called Arch of the Gold.smiths. 
 There are indications that the church, 
 like Sta. Maria in Cosmcdin, belonged to 
 a colony of Greeks ; and Pope Zacharias, 
 himself a Greek, in 745 deposited here 
 the head, the helmet, and the spear of its 
 patron. St. George, who is much honored 
 in the Greek church. {See FUj. 182.) 
 
 S. GiovANXi Decollato (St. John the 
 Beheaded). This little church was built 
 by the Florentine Brotherhood of the 
 Misericordia, which was founded about 
 
ROME 
 
 1450 for tlif i)iirpose of assistiug aiul com- 
 forting j)risoners condemned to death. 
 The church is a rectangle 35 ft. by 90 ft.. 
 with a single nave with broad flat pilasters 
 dividing the walls and carrying a light en- 
 tablature. In the intervals are shallow 
 arched recesses, above which in the three 
 middle intervals are rouud-arclied win- 
 dows flanked by jxinel.s. The choir is 
 separated from the nave by a transverse 
 wall and round arch, the altar being in a 
 square vaulted recess at the back. The 
 
 whole church has a flat panelled ceiling octagonal outside. 
 
 gallo and Sansovino were among the con- 
 testants. The work was given to San- 
 sovino, but was suspended on account of 
 difliculties in construction resulting in 
 failures ; and the control passed about 
 1530 into the hands of Sangallo, and later 
 into those of Giacorao della Porta and 
 Carlo Maderno. The facade, added in 
 1T3-4 by Alessandro Galilei, has an order 
 of three-quarter columns coupled, with 
 three doorways in the intervals, and the 
 dome, which is circular in plan inside is 
 
 which, as well as the pilasters and wall-sur- 
 faces, is elaborately decorated. The f a9ade 
 consists only of an order of four Doric p'l- 
 lasters with low pediment, with a square 
 door flanked by two niches between the 
 middle columns. Attached to the left flank 
 of the church is a fine cloister 54 ft. square, 
 surrounded on three sides by vaulted ar- 
 cades with Doric columns, giving access 
 on two sides to various subordinate apart- 
 
 S. GiovAXXi IN FoxTE, the baptistery 
 of the Lateran, commonly known as the 
 Baptistery of Constantine, stands detached 
 to the rear of the church and connected 
 with it and the adjacent monastery by a 
 large enclosed court. In plan it is an oc- 
 tagon of 28 ft. diameter, covered by a 
 dome and surrounded by an octagonal 
 aisle, the whole diameter being about 68 
 ft. The central octagon is supported by 
 
 meuts. The enclosure was the burial jilace eight ancient shafts of red porphyry with 
 
 of the condemned. 
 
 S. GiovANXi de' Fiorextini. a Renais- 
 sance church which, exclusive of the choir 
 and its chapels, is a rectangle measuring 
 about IIT ft. broad and 150 ft. long, with 
 a tunnel-vaulted nave 35 ft. wide and 
 nearly lOO ft. long, and aisles divided by 
 transverse arches into five squ.ire bays, 
 from each of which opens a square chapel, 
 two of them used as vestibules. The tran- 
 sept is as wide as the nave, with square 
 ends ; the crossing is covered by a high 
 dome on a tambour. The choir is square 
 with flat niches on three sides, and is 
 flanked on each side by a square chapel. 
 It was founded in the second half of the 
 XV cent, by an association of Florentines 
 whose duty it had been, during the plague 
 of 1448, to attend to the burial of the 
 poorer victims of the disease, and who 
 afterward determined to build a national 
 cliurili ill comiuemoration of that service. 
 A coin]ietiti()n was .set on foot, in wiiich 
 Miciiael Angelo, I'eruzzi, Raphael, 8an- 
 
 lonic. Corinthian, and Composite capitals 
 carrying an architrave, above which is a 
 second range of columns of white marble 
 and a heavy entablature reaching to the 
 flat, panelled, and decorated ceiling of the 
 surrounding aisle, and bearing the drum 
 of the octagonal dome, which appears ex- 
 ternally above the roof of the surrounding 
 aisle only as a low octagonal wall pierced 
 by small round windows and covered by a 
 low roof. The central space is enclosed 
 by a balustrade, within wliicli is the an- 
 cient basin, sunk three steps below the 
 pavement ; in the middle stands the vene- 
 rated font of green basalt. The wall of 
 the aisle has on four of its sides great 
 square panels filled witii pictures repre- 
 senting the exploits of Constantine, above 
 wliicli are four square windows with taste- 
 less decoration. The building is ap- 
 proached by a vestibule with two apsidal 
 chai)els on its sides. l''riini two oyiposite 
 sides of the surrounding aisle open chap- 
 els dating from the v cent., dedicated to 
 
 384 
 
PISA -GENERAL VIEW 
 
ROME 
 
 Jolm the Baptist andJohntlie Evuiigelist ; 
 and from a tliird side opens the oratory 
 of S. Veuauzio, a square apartment with 
 a semicircular apse. The exterior is rpiite 
 simple, the only decorative feature beiii^ 
 an entrance portico of two an- 
 tique Corinthian columns be- 
 tween pilasters attached to the 
 vestibule. The baptistery was 
 built by Sylvester at the order 
 of Constantine, who, however, 
 notwithstanding the jiopnlar 
 tradition, was not baptized 
 here, Init in Jvicomedia. Syl- 
 vester lined the basin with sil- 
 ver, surrounding it with the 
 eight porphyry columns which 
 carried a golden, or gilded, cu- 
 pola, says Anastasius. A cen- 
 tury later Sixtus III. enlarged 
 it, and Ililarius added the 
 chajiels of the Baptist and the 
 Evangelist. In the middle of 
 the VII cent. John IV. built 
 the chajjel of S. Venauzio. Modern res- 
 torations have not greatly changed the 
 structure of the building. {See Fig. ISo.) 
 S. Giovanni in Laterano, the Mother 
 of Churches, fronts eastward and is faced 
 with a nartliex or portico extending quite 
 across the front, and about 30 ft. deep, 
 with five open arches toward the square, 
 and five doorways entering the five aisles 
 of the interior ; it has a nave nearly 60 
 ft. wide and 250 ft. long, flanked by two 
 aisles on each side, the whole interior 
 breadth being about 170 ft. ; a transept 
 50 ft. wide crossing the whole, and raised 
 four steps above the nave, with a round 
 apse opening from its centre, surrounded 
 by a polygonal vaulted ambulatory of the 
 width of the inner aisles. Tlie rows of 
 columns and arches in the original basilica 
 were replaced or encased under Borromiui 
 by the great piers, of which those next the 
 nave are 26 ft. broad, rising through the 
 entire height of tlie nave, and faced each 
 with two great Corinthian pilasters carry- 
 
 ing an entablature; l)etween these pilasters 
 is a broad niche of extravagant design en- 
 closing a colossal statue. Over the niches 
 are square panels filled with Ijas-rclicfs, 
 and above these again great i)ainted medal- 
 
 Fig. 183.— Rome, S. Giovanni in Fonte (Baptistery of Constantine). 
 
 lions. Between the piers are round arches 
 with a span of about 20 ft., and half as 
 high as the nave, over which are the square 
 windows of the clerestory, enclosed within 
 pilasters carrying broken pediments. The 
 nave is covered with a flat ceiling deeply 
 panelled and i)rofHsely decorated. The 
 two rows of vaulted aisles on each side 
 the nave are separated by square piers 
 bearing longitudinal lintels and transverse 
 arches, the latter of which divide the 
 aisles into eleven bays each, corresponding 
 to the arches and piers of the nave. The 
 bays of the inner aisles are covered by low 
 domes. Tlie great trinmjihal arch of the 
 basilica is retained, and sijrings from two 
 Corinthian columns set against the nave 
 piers, and carrying blocks of entablature. 
 The transcjit ends are square, and in that 
 on the right liand are three doorways 
 opening from a vaulted portico of five 
 arches which forms the lateral entrance 
 from the piazza. The tribune, which with 
 its surrounding aisle is the only portion 
 
 385 
 
KOME 
 
 of the church that retains something of 
 its earlier character, is a great semicircle 
 of which the diameter is equal to the 
 breadth of the nave, and covered with 
 a semi - dome decorated with mosaics 
 of the xiii century. The surrounding 
 Gothic double aisle, of the same width as 
 the inner aisles of the nave, and sulxli- 
 vided by a line of shafts into two concen- 
 tric lines of groined bays, has just been 
 restored away. On the left of tlie aisle 
 an oblong chapel opens from the transept, 
 used for the services of the church in 
 winter. The high altar is nearly under 
 the triumphal arch, and is covered by a 
 high Gothic ciborium in two stories, a 
 work of the xiv cent., the lower story 
 with square openings, the upper with four 
 round foliated arches with gables flanked 
 by i^innacles and covered by a pyramidal 
 sjiire. Several jjrivate chapels, built and 
 maintained by as many great Konum fami- 
 lies, open from the outer aisles, among 
 which the most remarkable is the Cursini 
 
 Fig. 164. — Rome, S. Giovanni in Laterano. 
 
 chapel, built in 1729 by Pope Clement XII. 
 from the designs of Alessandro Galilei. 
 Its plan is a Greek cross, its arms covered 
 by barrel-vaults, its centre by a high hemi- 
 
 spherical dome with drum and lantern, 
 and the whole interior of almost unex- 
 ampled richness of material and decora- 
 tion. This chapel has on the flank of the 
 church a lofty three-story fa<,'ade with an 
 entrance doorway approached by a high 
 flight of steps. The fa9ade of the right 
 transejit, after successive changes, was 
 brought to its present form about 1585, 
 under Sixtus Y., by Domenico Fontana. It 
 consists of two stories of open arcades, the 
 arches, five in each story, occupying the 
 intervals of an order of pilasters, Doric 
 below and Corinthian above, coupled at 
 the angles, and the entablatures sur- 
 mounted by balustrades. Above and Ije- 
 hind the arcades, over the wall of the 
 transept, appear two older square angle- 
 towers joined by a blank wall with a hori- 
 zontal cornice. The latest portion of the 
 church is the great fa<;ade of the nave and 
 aisles, an inqMsiug structure covering the 
 narthex and having little or no architect- 
 ural relation to the church behind it. 
 It was the result of a 
 competition set on foot 
 by Clement XII. Of 
 twenty -one designs 
 sent in, that of Ales- 
 sandro Galilei was ac- 
 cejited and carried out. 
 It is a rectangular 
 liuilding with a front- 
 age of about 205 ft. 
 and a depth of 44 ft., 
 composed of a single 
 great order of Corin- 
 thian pilasters on high 
 jiedestals covering two 
 stories, with a high bal- 
 ustrade aliove the cor- 
 nice, and colossal stat- 
 ues of popes crowning 
 the pedestals. The 
 centre is brought forward on coupled three- 
 quarter colunms and crowned with a pedi- 
 ment. Behind the jiilasters are the two 
 stories of ojJen arcades defined by sub-or- 
 
ROME 
 
 ders of Corinthian pilasters, that of tlie 
 tirst story having an ontahlatnre nmniiig 
 between the great pilasters, that of the 
 second story h a v i n g round 
 arches. The composition is 
 simple and on a grand scale, 
 and is extremely imposing. Its 
 effect is heightened by a great 
 platform surrounding the 
 building, in two levels, with 
 two ranges of steps encircling 
 it. South of the transept is a 
 cloister which is one of the 
 most interesting in Italy. It 
 is in the style of the Cosmati, 
 closely resembling that of S. 
 Paolo fuori, and must date 
 from near 1240. The court is 
 about 80 ft. square, and sur- 
 rounded by a graceful arcade 
 of small round arches spring- 
 ing from coupled columns of varied de- 
 sign, the shafts plain, spiral, twisted. 
 octagonal, many with an inlay of deli- 
 cate mosaic, the capitals of a compos- 
 ite design greatly varied, and with aliaci 
 joining the two capitals of each pair. 
 The columns stand on a stylobate, and 
 over the arcade, which is divided into 
 bays of five arches each, separated by 
 liroad flat pilasters, runs a heavy entab- 
 lature, of which the architrave and frieze 
 are enriched with mosaics and the cornice 
 with sculpture. The galleries are divided 
 into sfpuire bays which are covered with 
 groined vaults, sjiringing from Ionic col- 
 umns without bases set inside the arcade, 
 and from responding pilasters on the wall 
 at the back. The cloister is the court of 
 the monastery attached to the church, 
 which was founded by Benedictine monks. 
 The Lateran church and palace take 
 their name from the Roman family of the 
 Laterani. whose palace the present build- 
 ings rejjlace. Constantine gave the palace 
 to Sylvester, then bishop of Eome, who, 
 as early as 314, began there a basilica 
 which he dedicated to the Saviour in 324. 
 
 The church is the most venerable in 
 I\onu\ jiossibly the oldest, in spite of the 
 claim of Sta. I'udcutiana. Until the 
 
 Fig. 185. — Rome, S. Giovanni in Laterano. 
 
 popes were driven to Avignon, in the be- 
 ginning of the XIV cent., the Lateran was 
 their residence and its church their pri- 
 vate chapel : when they returned to Rome, 
 in 1377, the Vatican became their resi- 
 dence and St. Peter's their chapel ; but 
 the Lateran church still retains its pri- 
 macy as the Mother and Head of Churclies. 
 It was not until the middle of the xii 
 cent., however, that it was dedicated to 
 St. Jolui the Baptist and St. .John the 
 Evangelist, and later still that it assumed 
 the title that is inscribed upon it, '"Sa- 
 crosanta Lateranensis Ecclesia. omnium 
 urbis et orbis ecclesiarum mater et 
 caput." It is imjjossible to make out 
 clearly the history of its vicissitudes, 
 alterations, desjjoilings, and rebuildings. 
 Sergius III. [903-11] rebuilt it in what 
 perhaps is the oldest form now to be traced 
 in it. It was a five-aisled basilica, the 
 nave bordered with arcades of fifteen great 
 columns on each side, mostly antique, the 
 aisle arcades carried on smaller colunnis 
 supported by pedestals. The transept and 
 apse followed the present lines, but with- 
 out the apsidal aisle ; the flat gilded ceil- 
 
 as? 
 
ROME 
 
 iug, already once or twice renewed, liad 
 given it the name of Basilica Aurea. The 
 triumphal arch still remains. It had an 
 open i)ortic() in front, making part of an 
 atrium wliich has disajijiearod, and a 
 fajade adorned with mosaics. In 12SQ 
 Nicholas IV. built the double- vaulted aisle 
 with pointed windows about the apse, as 
 we now see it, which borrows the name 
 of the Leonine Portico from some older 
 structure not identified. It was twice 
 burned out in the xiv cent., and the 
 popes on their return to Rome found 
 the jjalacc in ruins. Gregory XI. restored 
 the church ; Pius IV. built the two small 
 bell-towers wliich still mark the front of 
 the transept, and the fa9ade below them, 
 which is now hidden behind the two- 
 storied loggia that Fontaua built against 
 it for )Sixtus V. The interior was entirely 
 rebuilt in its present form in 1044—50 for 
 Innocent X., by Borromini, who, it wouhl 
 seem, suppressed every third column in 
 the arcades and walled up the resulting 
 couples into the enormous piers which we 
 now see, and changed the fenestration. 
 Finally, in 173.5, Alessandro Galilei added 
 the superb double portico which makes 
 the princi]ial fa(;ade. (See Figs. ISJf, 1S'>.) 
 See also Lutrran I'ulurc and S. Giocuitni 
 in Fonte. 
 
 XoTE. The cloister was built by the 
 most talented Roman artist of his day, 
 Vassallectus, and his father, and its exact 
 date has only recently been ascertained to 
 be 1227. It is the prototype of that beau- 
 tiful type of cloister with elaborate deco- 
 ration in stucco and mosaic; work, and 
 with donlile twisted colonnettes sustaining 
 panelled round arches, which was even 
 then termed the Roman stvle. [A. L. F., 
 Jr.] 
 
 SS. GiovAXXi K Paolo. Tiiis very old 
 church, attached to a Passionist convent, 
 stands on the brow of the Crolian Hill. 
 It is a three-aisled basilica without tran- 
 sept, the nave ending in an apse. It has 
 a vestibule across the front, showing eight 
 
 anti(jue columns, and it is one of the few 
 churches in Rome that have a gallery in a 
 .second story across the front of the nave, 
 over a narthex. The interior was entire- 
 ly modernized in 1720, but still shows 
 against its grouiDed pilasters the sixteen 
 granite columns with composite caps that 
 bore its original arcades, and the apse re- 
 tains outside its Lombard arcaded eaves- 
 gallery, the only one in Rome. The 
 church was founded by Pammachus before 
 400, it is said, and was restored by Sym- 
 machus at the end of the v century. It 
 was rebuilt under Adrian IV. (1154-59), 
 when the vestibule and probably the ar- 
 caded apse were built. The detached bell- 
 tower is mentioned as early as thevii cen- 
 tury. It has, in its in-eseut form at least, 
 three stories of quadruple windows. 
 
 S. GiovANXi IX Porta Latixa is a 
 small basilica of the viii cent., close by the 
 old gate from which it is named. The 
 ojien porch across its front had an arcade 
 of seven arches, four of which are walled 
 up, resting on irregular Corinthian col- 
 umns. It has a nave and aisles, with- 
 out a transept, with an apse of Byzantine 
 form, unusual in Rome, three-sided with- 
 out and round within, which is exteiuled 
 into a choir by walling off the ends of the 
 transept. The nave, 25 ft. by 75 ft., has 
 round arcades of six bays on ten various 
 antique Corinthian columns. The church 
 was built, or rebuilt, by Adrian I. (772- 
 7!t5), but the interior has been modern- 
 ized by various restorations, mainly under 
 Cardinal Rasponi in 1086. The lower 
 })art of the line mediieval bell-tower prob- 
 ably dates from Adi-ian. 
 
 S. Giuseppe ue" Faligxaiii. See 
 Mamertine Prisons. 
 
 S. Gregoiuo de' Camaldoi.ex.si. See 
 S. (Iregorio Mof/no. 
 
 S. Gkegokio Magx'o. Of the church 
 liuilt originally by Gregory II., in the 
 VIII cent., on the site of the countiT- 
 house of (rregory the Great, and of the 
 monasterv which he founded on the slojje 
 
ROME 
 
 of theCcelian. little remains. The atrium 
 was rebuilt and its facade added in 1033 
 by Cardinal liorgliese, from the designs of 
 Giovanni Battista Soria, and finally in the 
 XVIII cent., under Clement XL, the whole 
 church was entirely remodelled by the 
 monks. The works were finished in 1T34. 
 by the architect Francesco Ferrari. The 
 church occupies a commanding position on 
 the hillside, and is approached by a triple 
 range of steps of the full breadth of the 
 front, enclosed between high garden walls. 
 The fa9ade of the atrium is in two stages, 
 each with an order of coupled pilasters, 
 Ionic below and Corinthian above, the 
 ujiper order raised on a bahistrade-coiirse 
 and covered with a pediment. The lower 
 story is an ojDcn arcade ; in the second are 
 three square windows with pedimeuted 
 caps. The atrium, 30 ft. by 00 ft., is sur- 
 rounded by vaulted arcades, from the far- 
 ther of which three doorways enter the 
 church, which is 72 ft. wide and 112 ft. 
 long, the uave separated from the aisles by 
 massive jjiers faced with an order of pilas- 
 ters, and flanked by the columns of a sub- 
 order, whose shafts of Egyptian granite 
 perhaps carried the arcades of the origi- 
 nal church. The aisles are divided by 
 transverse arches into four square bays, 
 each covered by a low dome. The nave 
 terminates in a square-ended choir ; the 
 aisles have apsidal terminations, occupied 
 as chapels. Adjacent to the church is an 
 enclosure ending in three sides of an octa- 
 gon, from which radiate three small 
 chapels connected in a group by an open 
 portico of four Corinthian columns, which 
 crosses the front of the middle one. 
 Dedicated to S. Andrea, Sta. Barbara, 
 and Sta. Silvia, they were built originally 
 by Gregory I., but since rebuilt. The 
 lateral ones have round ajDses, the middle 
 one a square end. Their architecture is 
 very simple, but two are lavishly painted 
 within, the middle one, St. Andrew's, 
 with the noted frescoes painted in rivalry 
 by Guido and Domenichino. The main 
 
 church is jiojnilarly known as S. Gregorio 
 dei Camtildolensi, from the Camaldolese 
 monks into whose possession it passed in 
 the XVI century. 
 
 S. Ignazio forms an important portion 
 of the extensive buildings of the Collegio 
 Eomauo (</. v.), although the church was 
 finished a century later than the remain- 
 ing portions. Its corner-stone was laid 
 by Cardinal Ludovisi in 1020, but it was 
 only completed in 1085. The design was 
 adapted by Father Grassi from two designs 
 of Domenico Zampieri (Domenichino), 
 the i)ainter. The plan is a Latin cross 
 about 150 ft. by 250 ft. The rather heavy 
 fa9ade added by Alessandro Algardi has 
 two superposed Corinthian orders of col- 
 umns and pilasters, with scroll-buttresses 
 over the aisles, and doors and windows sur- 
 mounted by pediments. The nave, about 
 58 ft. wide and 130 ft. long, is covered 
 by a barrel-vault and divided into three 
 oblong bays by double transverse arches 
 springing from massive piers, faced with 
 coupled Corinthian columns which carrv 
 an entablature above the great nave arches 
 which spring from the detached columns 
 of a sub-order. The aisle bays are square, 
 forming distinct chapels, each covered by 
 a round dome. The transept, as broad as 
 the nave, does not project beyond the 
 aisle w'alls. Instead of the exterior dome 
 which was intended, the observatory of the 
 Jesuit Fathers covers the crossing, which, 
 however, feigns within a dome elaborate- 
 ly painted with architectural compositions 
 by Andrea Pozzi, one of the fathers, who 
 also covered the vault of the nave with 
 a wild and illusive architectural comjio- 
 sition. The choir is a single rectangu- 
 lar bay with a fine semicircular tribune, 
 flanked by two chapels similar to those of 
 the aisles. The church is very rich in 
 marbles and bronzes, and in color decora- 
 tion. 
 
 S. Ivo. See La Snpienza. 
 
 St. Joiix Lateuax. See S. Giovanni 
 in Laferano. 
 
 3S9 
 
EOME 
 
 S. LoKENZO IN Damaso, wliii'li oc- 
 cupies tlie situ aud j'l'ohably the t'ouiula- 
 tioiisof the original basilica of I'ope Da- 
 niasus I. (liGO-S-t), was eutirely rebuilt 
 with the palace of the Caiicelleria {q. v.), 
 and is concealed behind its fa(;ades. 'Die 
 design is simple and admirably treated — 
 a nave, 50 ft. by 80 ft., preceded by a deep 
 narthex, surrounded on tlireo sides by a 
 vaulted aisle, antl ending in a choir of one 
 straight bay and an apse. The arcades of 
 tlie aisle, in five bays lengthwise aud four 
 across, are carried on pilasters with pedes- 
 tals. A straight entablature above the 
 arches bears a panelled attic, and this 
 originally carried a barrel -vault liroken 
 by a central dome. These have been re- 
 placed In" a clerestory of round-headed win- 
 dows on the south, balanced l)y painted 
 panels on the north, above which is a 
 flat colfercd ceiling. The apse of the 
 choir is lighteil by a semicircnlar eye, 
 and adorned witii balconied loggie like 
 pi'oscenium bo.xes. 
 
 S. Lorenzo fuoui le mura (St. Law- 
 rence outside the walls). Tiiis early and 
 venerable church, one of the live great 
 patriaichal ijasillcas, so called, is a com- 
 posite of two churches of different dates, 
 the older serving now as the presbytery, 
 or choir, and the later as the nave; the 
 wiiole making a great basilica without 
 transept, 2G0 ft. long by 73 ft. wide. It 
 
 a straight entablature with bracketed cor- 
 nice, whose frieze is occujjied by flat re- 
 lieving arches. Above the arcades is a 
 high jjlain wall, pierced with round-arched 
 windows, covered with modern paintings, 
 and carrying a modern open roof. Tiie 
 older church continues the lines of the 
 nave westward on a different level. Its 
 floor, as appears in the aisles and in the 
 old vestibule that ca'osses the rear, is much 
 lower than that of the nave. But when 
 the churches were joined, the floor of this 
 2)art, taken as the presbytery, was raised 
 several feet, bringing it aljove the level of 
 the nave, and the crypt built under its 
 central part, the former nave. It is bor- 
 dered by ten fine antique Corinthian col- 
 umns of jiavonazzetto, and two of white 
 marble, which carry an entablature built 
 of irregular fragments of ancient build- 
 ings, and above this an arcaded upper 
 aisle or women's gallery, with smaller 
 Corinthian columns and cushion-shajied 
 stilt-blocks under the arches. The gallery 
 crosses the rear end of the church, and the 
 upper wall is occupied by modern jianel- 
 ling and round-arched clerestory windows. 
 The old triumphal arch divides the two 
 parts of the church ; the wall over it is 
 adorned on the side toward the choir with 
 the old mosaics, rejiresenting Christ and 
 St. I'eter, St. Paul, St. Lawrence, and I'e- 
 lagius, the restorer of the church ; on that 
 
 has now no atrium ; its eastward front is toward the lower nave with modern paint- 
 crossed by a deep open porch with a co- ings. In its spandrels arc still two of the 
 lonnade of si.x old Ionic columns on low (jriginal rear windows, filled with perfo- 
 pedestals, carrying an entablature adorned rated slabs of marble. In the ])rcsbytery, 
 with early sculpture and mosaics, above over the high altar, stands the old cibo- 
 which rises the front of the nave, recently rium with four columns supporting a gal- 
 painted with imitations of old mosaic, lery of colonnettes, above which is an oc- 
 The rest of the outside is entirely plain, tagonal canopy. Below is the confessio, 
 and against its northern flank rises a bell- containing the remains of St. Lawrence, 
 tower of the xii cent., with five stories of St. Steplien. and St. Justin ; it has ]irob- 
 coupled windows under round inclosing ahly been undisturbed since tlie earliest 
 
 arches. The nave, of 3(j ft. clear width 
 and 125 ft. long, has on each side eleven 
 antique Ionic ('olumns, of unequal size, 
 some granite, and some ci^JoUino, bearing 
 
 days of the church. An inscription claims 
 the ciborium as the work of the sons of 
 one I'aulus in 1148. The presbytery is 
 floored with a rich mosaic pavement of 
 
 390 
 
ROME 
 
 opu>< Alexandrinuin. wliirli i.< coiitiiuu'cl in 
 part ill tlic middle oi' the nave. At the 
 back of the church is the attlwdni, or 
 bishop's chair, not, as usual, filling the 
 back of an apse, for there is no apse, the 
 church having a square end and cross- 
 aisle. The chair stands at the end of the 
 presbytery, occupying the middle of a 
 broad screen of rich marbles and mosaic, 
 
 ing a roof of stone slabs. The liistory of 
 the church is very difiicult to unravel. It 
 is known to have been founded under Con- 
 stantiue before 330, and was altered or re- 
 built many times — by Sixtus III. in 432- 
 40, who adorned the confessio with silver 
 and built a crypt about it ; by Pelagius 
 II. in 580 ; by Adrian I. in the viii cent. ; 
 by Sergius II. (844-T) ; again in the 
 
 and is flanked by benches for the clergy. 
 In the nave below, on either side, are 
 marble ambones. that on the left side be- 
 ing like the cathedra in style and beauty, 
 in whicb no others in Rome equal them. 
 An inscription on the back of the chair gives 
 tlie date. 12.54. Both the chair and tlie 
 south ambo belong in style to the work of 
 the Cosmati, famous Roman mosaicists of 
 the XIII century. Under tlie floor of the 
 presbytery is a considerable crypt, in three 
 aisles separated by marble columns carry- 
 
 middle of the XII cent, and in the xiii. 
 The best conclusion seems to be that the 
 church of the time of Constantine stood 
 where the nave now stands, fronting the 
 east, like all the earliest churches, with a 
 western ap.se behind which was the tomb 
 of the saint, and the original confessio ; 
 that Pelagius built a second smaller basil- 
 ica behind the first, facing westward and 
 with an apse including the confessio. 
 That basilica is probably the present pres- 
 bytery, and its front the straight rear wall 
 
 391 
 
ROME 
 
 of the clunrli as it now is. Adrian I. 
 probably rebuilt the nave and threw the 
 two churches into one, closing the western 
 door. The cloister which adjoins the 
 church on the north has been ascribed to 
 the time of Cnement III. (1290),, but is 
 likely to be older. It has triple arches in 
 brickwork, and shafts with rough corbel 
 capitals. The church lias been considera- 
 bly restored in this century. {See Fig. 186. ) 
 
 S. LouENzo IX LucixA is a very old 
 church, whose foundation has been as- 
 cribed to St. Lucina, in the i cent., and 
 which in history goes back to Sixtus III., 
 at the middle of the v century. It was a 
 three-aisled basilica, of which still remain 
 the apse and parts of the clerestory wall, 
 with outside pilaster-strips and arcading, 
 the first aijpearauce in Rome of a form 
 unusual there. It was renewed in the 
 XII cent., and retains the six granite col- 
 umns of the mcdia3val porch, but was en- 
 tirely built over and disguised at the be- 
 ginning of the XVII cent., under Paul V. 
 The bell-tower is one of the oldest in 
 Rome, at least the jilainer lower stories 
 with single windows, while the two upi^er 
 stories, with grouped windows, may date 
 from the time of Adrian I. (TT'^-iO.")). 
 
 S. LoKKXzo IX iliKAXDA. Sce Temple 
 of Antoiiinus and Faustina. 
 
 S. Maik'O, an interesting church in- 
 cluded within tlie precincts of the Palazzo 
 di Venezia {q. r. ), built about 330 by Pope 
 Mark I., and dedicated to his patron 
 saint; restored in 772, by Adrian I., and 
 again in 883, by Gregory IV., by whom it 
 was extensively adorned with mosaics. In 
 ]4G,s, when the great palace was built by 
 Paul II.. the church was practically re- 
 built, ami little of the original building 
 remains. Its plan is that of a basilica 
 whose external dimensions are about 75 
 ft. by -ZW) ft., with a nave about 35 ft. 
 broad and 105 ft. long, approached by an 
 open vaulted three-arched loggia in front, 
 separated from the aisles by the nine 
 original columns of jasper on each side. 
 
 against which piers have been built, with 
 arches in the intervals, the aisles divided 
 into square groined bays and flanked l)y 
 niches alternately square and round, the 
 nave covered with a wooden ceiling with 
 deep ilecorated panels. Beyond the nave 
 is a transept with vaulted arms, and be- 
 vond this a semicircular tribune with a 
 spherical semi-dome, covered with the 
 original IX cent, mosaics. The pavement 
 of the nave and aisles is some steps be- 
 low the street ; that of the transept, which 
 serves as choir, is raised to allow of the 
 crvpt l)eneath, in which is preserved the 
 body of the founder. The aisles have 
 side entrances, the one from the great 
 court of the palace, the other from one of 
 its corridors. The fayade, added at the 
 time of the rebuilding by Paul II. from 
 the designs of Giuliano da Majano, is in 
 two stages, the first consisting of three 
 open round arches in the intervals of an 
 order of engaged Ionic columns ; the sec- 
 ond of corresponding blind arches in an 
 order of flat Corinthian pilasters, the in- 
 tervals having each a square-headed win- 
 dow, with a circular window above in the 
 arch-head. 
 
 Sta. Maiua degli Axgeli, one of the 
 most interesting and successful examples 
 of the adaptation of an ancient classic 
 building to modern uses. Among the ex- 
 tensive ruins of the Baths of Diocletian 
 was a great rectangular hall, about 78 ft. 
 wide and 190 ft. long, roofed with a 
 groined vault, of which the crown was 93 
 ft. above the pavement. The masonry 
 both of walls and vault was in good con- 
 dition, and Pius IV. determined to con- 
 vert the hall into a Christian church. 
 The work was done by Michael Angelo. 
 Eight noble columns of oriental granite, 
 more than 5 ft. in diameter, still standing 
 along the sides of the hall with their 
 blocks of entablature, formed the basis of 
 the new design, an enriched Corinthian 
 order encircling the church. The hall 
 was lengthened to nearly 300 ft. by the 
 
 392 
 
ROME 
 
 addition of a square clioir at one end and 
 a corresponding bay at tlie otlier, and 
 short transept arms were added opening 
 from the centre. Unfortunately for the 
 architecture, tlae dampness of the situa- 
 tion obliged or induced Michael Angelo 
 to raise the floor 6 or 8 ft. , shortening 
 the columns and injuring the j'l'o- 
 portion of the order. Two centuries 
 later, under Benedict XIV., great 
 changes were made in this simple and 
 grand interior. Under the direction 
 of the architect Vanvitelli, the tran- 
 sept was doubled in length by the ad- 
 dition of a long choir and tribune on 
 one side, and the connection, on the 
 other side, with the church of a cir- 
 cular hall 58 ft. in diameter, a lacon- 
 icKiii or hot chamber of the ancient 
 baths. The original nave of Michael 
 Angelo thus became tlie transept of 
 the newer cliurch, of which it forms by 
 far the noblest portion. An extensive 
 Carthusian monastery was established 
 within the area formerly occupied by 
 the baths, its buildings surrounding a 
 great cloister 275 ft. square, enclosed 
 by vaulted arcades in one story sup- 
 porting a low attic, from Michael An- 
 gelo's design. According to the plan, 
 three sides of this court were to be 
 suri'ounded by the individual dwellings of 
 the monks, entered from the arcades of 
 the cloister and provided each with its 
 small garden. The plan remains incom- 
 plete, only one range of dwellings having 
 been built. {See Fiy. 187.) 
 
 Sta. Maria dell' Anima. An inter- 
 esting Renaissance church of the early xv 
 cent., founded by a German or Fleming 
 in connection with a hospital which still 
 exists, but enlarged and essentially changed 
 a century later under the partial direc- 
 tion of Bramante. Its plan is singular, 
 the breadth of the nave and aisles being 
 equal to their length, about TS ft. ; tliey 
 are divided into four bays whose height is 
 equal in nave and aisles, the bays of the 
 
 latter being groined, while those of the 
 nave are covered by a (latter vault inter- 
 sected by the cross-vaults that rest on the 
 round arches of the nave, which sjiring 
 from grouped pilasters standing on ped- 
 estals and crowned with blocks of en- 
 
 F.g. 137,^Rome, S. M. deg.i Angeli. 
 
 tabhiture. From each bay of the aisle 
 opens, by a great arch as high as those of 
 the nave, a chaiiel of which the plan is a 
 semi-ellipse, while from the extremity of 
 the nave a single round arch opens into a 
 square choir covered by a flat ceiling, with 
 a cove pierced b}' two lunettes on each 
 side, and terminating in a round vaulted 
 ai5se. The j^alace-like facade, said to 
 date from 1522, and attributed to Antonio 
 da Sangallo, is a square about 78 ft. wide 
 and high, without a gable, in three stages, 
 each caged in a thin order of Corinthian 
 pilasters, the i:)ilasters coupled at the 
 angles, the intervals of the first stage occu- 
 jiied by three doorways under Corinthian 
 orders with pediments. 
 
ROME 
 
 Sta. Maima IX Ahaceli (Ara Cct'li). 
 a spacious basilica, probably of the x 
 cent., stands on the brow of the C'apito- 
 liiie Hill. In spite of its commanding 
 position it is much concealed by the ad- 
 joining convent and the Caj)itoline Muse- 
 um. It is at the top of a long flight of 
 stairs built of one hundred and twenty- 
 four steps, taken in lloSfrom the steps of 
 the temple of Quirinus. The exposed 
 fa5ade, of bai'e brick, stripped of the 
 mosaic which probably once covered it, is 
 only pierced with three doors and two 
 trivial round windows. The broad nave, 
 •50 ft. by 1(10 ft., has round-arched ar- 
 cades resting on twenty-two ancient col- 
 umns of different orders and uneven size, 
 and a horizontal coffered ceiling. The 
 aisles are groin-vaulted and lined with 
 modern chapels ; the old pointed windows 
 of the clerestory have been rei)laced by 
 large square-headed ones over alternate 
 arches. The transept, raised somewhat 
 
 above the nave, extends unbroken the full 
 width of the lateral chapel.s, and the orig- 
 inal apse is replaced by a deep moder?i 
 square-ended sanctuary or choir, flanked 
 by chajiels. Against the piers at the tri- 
 
 umphal arch stand two remarkable ambones 
 in the style of the Cosmati, which once 
 stood each side of the nave. One bears an 
 inscription claiming it as the work of Lau- 
 rencius (Lorenzo), who founded the family 
 of the Cosmati at the end of the xii cent., 
 and his son Jacobus. The puljjits are 
 richly adorned with twisted columns, and 
 disks and panels of colored marbles and 
 fine mosaic. In the left arm of the tran- 
 sept stands an octagonal canopy over the 
 jjosition ascribed to the altar of Augus- 
 tus, from which the name of the church 
 is commonly deduced, and under it is a 
 receptacle of porjihyry which once con- 
 tained, it is said, the ashes of St. Helena. 
 There is dispute over the early history 
 and date of the church, some authorities 
 assigning it to the xiii cent., and others 
 setting it as early as the vi ; but probability 
 favors the record cited by Mothes, that it 
 was founded in 988 by the jiatrician C'res- 
 centius. i?uilt for the sjiecial use of the 
 IJoman Senate, and orig- 
 inally called S. M. in 
 t'apitolio, it was in the 
 hands of the Benedic- 
 tines and was restored 
 under them in the xii 
 cent.; its mediaeval as- 
 jiect dates from the mid- 
 die of the XIII cent., 
 when Innocent TV. trans- 
 ferred it to the Francis- 
 cans, who have since 
 iield it and the adjoining 
 convent. Leo X. (l.'tl.'S- 
 -i'i) made it the titular 
 cliurch of a cardinal at 
 about the time when the 
 present gilded ceiling 
 was added to the nave. 
 It has been believed that 
 the church occupied the site of the van- 
 ished temple of Jupiter Capitolinus ; re- 
 cent discoveries, however, have convinced 
 most archa'ologists that the teni]ile (q. r.) 
 stood on the southern summit of the hill, 
 
 394 
 
EOME 
 
 wliile the Araceli covers the origimil ;irx 
 or citadel. A second high flight of stejjs, 
 between the Museum aud tlie Pahice of 
 
 to a handsome six eolu 
 
 the Senator, leads up 
 quasi-Doric arcaded por- 
 tico, believed to be the 
 work of Vignola, whioli 
 gives entrance to the 
 convent and its cloister 
 behind the church. (See 
 Figs. 166, ISS.) 
 
 Sta. Makia IX (Jos- 
 MEDIJC, a basilica built 
 into the ruins of a tem- 
 ple identified as the tem- 
 ple of Ceres, Liber, and 
 Libera. Its early historv 
 is obscure : it is reiiorteil 
 as built in the iv cent, 
 by Damasus, and refitted 
 in the vi by Belisarius 
 for a Grecian colony or 
 school ; and was rebuilt 
 about 780 by Adrian L , 
 to whom its present form is most like- 
 ly due. It is about 55 ft. by 100 ft., 
 and has a nave and aisles without tran- 
 sept, each ending in an apse. Its struct- 
 ure is jieculiar, its nave being bordered 
 not by continuous colonnades, but by 
 groups of arches in fours and tlirecs sejo- 
 arated by piers of plain wall, and so is 
 one of the earliest instances of the alter- 
 nation of different siipports which bo- 
 came the habit in Lombard and German 
 churches, but has an example in the prob- 
 ably earlier Greek church of St. Deme- 
 trius, at Thessalonica. The columns of 
 the nave are mostly antique and irregu- 
 lar, with capitals of various forms. 
 Others, apparently remaining in place 
 from the peristyle of the original temple, 
 are built into the outer walls. The luive 
 is considerably changed, by covering the 
 walls with Eenaissance ornament in paint 
 and stucco, and by the insertion of a 
 tunnel-vault beneath the old timber roof. 
 The choir, which extends a good way 
 
 into the nave, is somewhat raised above 
 the cry])t. This is itself a miniature 
 church, with nave and aisles divided })y 
 and a pair of piers, a tran- 
 
 nins 
 
 sept, and an apse. Its ceiling is of flat 
 stones, and its walls on three sides are 
 sunk into niches. The nave of the main 
 church retains most of its old pavement 
 of opus Aleiandrinvm. or stone mosaic, 
 as does the choir. Over the high altar is 
 a handsome Gothic ciborium borne on 
 classic columns ; behind it, at the back of 
 the apse, the ancient episcopal chair ; 
 and in front, at the sides of the choir, 
 two ancient ambones, enriched with mo- 
 saics. The uarthex crossing the front was 
 remodelled in stucco (1718) by Giuseppe 
 Sardi, in the degenerate style of his time, 
 and a frontispiece built before the nave. 
 The bell-tower, which stands against the 
 right, or southwestern, aisle, is one of the 
 most interesting of the early Koman cam- 
 panile, and unusually tall, being 110 ft. 
 high or more. It has been ascribed, like 
 the Ijody of the church, to the time of 
 Adrian I., but probably at least the upper 
 five of its many stories, with trij)le windows 
 divided by shafts, belong to the xii cen- 
 
 395 
 
KOME 
 
 tury. In a corner of tlu; vaulted uarthex 
 an antique mask, probably from some au- 
 cient fountain, is fixed in the wall, and 
 gives tlie church its 2)oinilar name of La 
 Bocca della Veritil, from a tradition that its 
 jaws will close on the hand of a false wit- 
 ness. The small early porch in front of 
 the nartliex. a single groined bay resting 
 on four ancient columns, is, like the rest 
 of the fa9ade, disguised by the alterations 
 of Sardi. Pliny says that the original 
 tem2)le. which was one of the richest in 
 Rome, founded 494 B.C., was the first in 
 Rome to l)e decorated by Greek artists ; its 
 mural paintings wei-e especially admired, 
 anil were carefully removed when the 
 temple was rebuilt by Augustus and Ti- 
 berius. {See Fiij. ISO.) 
 
 Sta. Mauia in Domnica, or della 
 Navicella, is a basilica of the first half of 
 the VI cent., rebuilt under Paschal I. in 
 the IX, ami restored, it is said, by Raphael. 
 It has a wide nave (3G ft.), with a flat 
 ceiling, arcades resting on nine antique 
 granite columns on each side, and narrow 
 vaulted aisles. There is no transept ; the 
 triumphal arch, borne by two columns of 
 porjihyry, opens into the apse, or tribune, 
 which retains the original mosaics of 
 Pasehal's time, lender the raised choir, 
 which is carried out into the nave, is the 
 usual confessio. The two small apses at 
 tlie ends of the aisles are perhaps later 
 than the principal one. The walls of the 
 nave above the clerestory are painted by 
 Raphael's assistants. The front has a low 
 oijen porch or loggia, of five arches and 
 an order of tall Tuscan pilasters on ped- 
 estals. The popular name La Navicella 
 is given by a marble model of a galley, 
 said to be copied from an antique, placed 
 in front of the church by Leo X. 
 
 Sta. Mauia Egiziaca. See Temple of 
 Fortuna Virilis. 
 
 Sta. Ma lu A ni Lokkto, a Renaissance 
 church built by tlie community of bakers, 
 commenced about L507. from the designs 
 of Antonio Sangallo the vounger, and 
 
 finished in 1.JS0 under Giacomo della 
 Duca. Its plan, dictated by the limits of 
 the site, is singular, consisting of a square 
 of about OU ft. with a trapezoidal addition 
 about 70 ft. deep, containing the choir 
 and sacristy with their accessories. The 
 square portion is finished internally as an 
 octagon, with semicircular niches in the 
 four corners of the square occupied as 
 chapels, three other sides having entrance 
 doorways, and the remaining side occupied 
 by the great arch of the choir. This 
 space is covered by a dome, raised on a 
 drum supported by an order of Corin- 
 thian pilasters with arches between. The 
 choir is a rectangle about 'i'i ft. wide and 
 30 ft. deep, and behind it is the sacristy, 
 with recesses of varying depth in its sides. 
 The choir is covered with a fine barrel- 
 vault panelled in caissons, and with a semi- 
 circular window under the vault, over the 
 roof of the sacristy. The fa(;ade is in two 
 stages, the lower having a fine order of 
 coupled Corinthian pilasters on a high 
 stylobate. In the middle interval is an 
 arch, enclosing a high square doorway with 
 pedimented cap on consoles ; the side in- 
 tervals are occupied by niches. The upper 
 portion of the exterior, thougli pictu- 
 resquely composed with its dome and cu- 
 pola, is disfigured by fantastic and extrav- 
 agant ornament. 
 
 Sta. ^Iakia MAfiCUOKE, one of the five 
 patriarchal basilicas, called also the Li- 
 berian Basilica, stands in a commanding 
 ]iosition on the crown of the Esquiline 
 Hill, surrounded by an open square, and 
 is the third in importance of the Roman 
 churches. The original church, of the iv 
 cent., is so built about with modern addi- 
 tions that nothing of its early character 
 appears without. The exterior is of trav- 
 ertine. Its principal front, before which 
 stands a great column from the Basilica of 
 Constantine bearing a figure of the Virgin, 
 .set up by Paul V., is a palatial fayade in 
 several stories. 350 ft. long and lUO ft. 
 high, filled with windows and pilasters 
 
 SM! 
 
ROME 
 
 and crowned by a lovol halustradc in the 
 baroco style of the middle of the xviii 
 century. From the centre projects as it 
 were the front of an ordinary Italian 
 church, in two stories — an Ionic order 
 of five bays below with horizontal en- 
 tablature, narrowing- to thri'e bays above 
 of a Corinthian order with arcades, the 
 whole adorned with engaired columns, 
 grouped pilasters, lirokeu pediments, and 
 
 of the two great hiteral i-Iiapels beyond it. 
 The rear facade, rising behind an impos- 
 ing flight of steps from the slope of the 
 hill, is of the previous century, and more 
 interesting. It is also palatial, but treat- 
 ed in two stories, with a lofty order of 
 Corinthian pilasters below, and a high at- 
 tic and plain pilasters above. The great 
 apse of the tribune projects from the mid- 
 dle, and the cupolas of the cha^jels make 
 
 Fig. 190 — Rome. S. M. Maggiore, Rear. 
 
 statues. This covers the original narthe.x. 
 Behind and under it may still be seen the 
 upper part of the old front of the church, 
 and its coating of handsome mosaics, 
 signed by Phillippus Rusutus, in 1.31T, 
 and continued by (iaddo (Jaddi. From 
 the balcony in the middle of the front it 
 has been the custom of the popes to bless 
 the people of Rome on the festival of the 
 Assumption. A many-storied mediffival 
 bell-tower, presumably of the vii cent.. 
 with modern roof, stands over the end of 
 the right aisle, and, from a sutiicient dis- 
 tance, groups effectively with the cujtolas 
 
 an imposing though divided composition. 
 The interior shows the plan of the orig- 
 inal church, comparatively unaltered — a 
 spacious three-aisled basilica, now without 
 transept, and with a deep apsidal tribune. 
 Tlie nave, next in size to St. Peter's and 
 St. Paul's, being some 2.30 ft. long by 56 ft. 
 wide, and distinguished for the long lines 
 of its horizontal entablature borne by 
 twenty-one columns on each side, is the 
 most impressive of its kind. Its comj'ar- 
 atively small height, only about 60 ft., 
 the close spacing of its columns, and the 
 multiplied coffering of its flat ceiling, give 
 
 SW! 
 
EOME 
 
 it scale, and are seconded by a modern 
 upper order of Corinthian pilasters be- 
 tween the alternate windows and panels of 
 the clerestory. The continuity is only 
 once broken, in the fourth bay from the 
 tribune, where, as appears from the spac- 
 ing, two of the original columns on each 
 side have been spread apart to make room 
 for arched passages across the aisles to the 
 two great lateral chapels Just mentioned, 
 which take the place of a transept. The 
 aisles, of less tlian half tlie width of the 
 nave, liave modern tunnel-vaults broken 
 by lunettes. The tribune is extended 
 toward the nave by straight walls tangeiit 
 to the curve of the apse. Its semi-dome 
 is covered with splendid mosaics of the 
 end of the xiii cent., by Torriti, who also 
 executed those in the apse of St. John 
 Lateran. They represent the coronation 
 of tlie Virgin between groups of adoring 
 angels, with ajiostles and saints. These 
 are surrounded l)y arabesque scrolls so 
 purely classical in character as to give 
 
 Fig. 191.— Rome ' ■.' '. 
 
 color til the thought that the old mosaic 
 background of perliaps the v cent, was 
 left undisturbed. Below are seen, on the 
 inside only, the pointed windows cut in 
 the apse in the xui century. On the face 
 of the triumphal arch and the walls of the 
 
 nave are older mosaics, rei^resenting scenes 
 from Old Testament history, while those 
 about the arch depict the early life of 
 Christ. These are among the oldest Chris- 
 tian mosaics in Rome, and are supposed 
 to date from the time of Sixtus III., whose 
 name is inscribed over the arch. Benedict 
 XIV. replaced the old ciborium by a rich 
 modern baldacchino, and the confessio and 
 subterranean chapel of St. Matthew be- 
 neath it were handsomely rebuilt by Pius 
 IX. The two great chapels which flank 
 the choir, those of Sixtus V. and Paul V., 
 are substantially alike in design, being 
 Creek crosses with arms of small jirojec- 
 tion, about TO ft. across within, the cen- 
 tral sjjaces covered by domes resting on 
 octagonal drums and crowned by cupd- 
 las. with an interior height of 1.50 ft. A 
 single order of Corinthian pilasters sup- 
 l^ortstlie pcndentivesand the vaults of tlu' 
 arms ; the drums have an order of grouped 
 pilasters with windows between. The in- 
 teriors are sumptuous with colored mar- 
 bles, sculpture, and painting. 
 In the middle of the Sixtiue 
 chapel is an altar with a taber- 
 nacle supported by bronze an- 
 gels, and beneath it a confessio 
 enclosing five boards from the 
 manger of Christ, brought from 
 Bethlehem in the vii cent., by 
 Theodore I. From them the 
 chapel is called the Capella del 
 Presepe (Chapel of the Manger). 
 Various other chapels line the 
 aisles, among them the curious- 
 ly planned chapel of the Sforzas, 
 which ordinarily serves as choir. 
 The church was built by Pope 
 Liberius (352-30(5) on the site of 
 the private basilica of oneSicini- 
 nus, and was still known as the Basilica of 
 Sicininus when, after the death of Libe- 
 rius, a bloody fray in the church itself be- 
 tween the adherents of two rival candi- 
 dates, Danuisus and Ursinns, gave the 
 ])apal chair to Damasus. We are told that 
 
liOME 
 
 Liberius was warned in a dream to huild a 
 cliureh to the Mrgiu on the spot where 
 snow fell on an August night, whence it has 
 been also called Sta. Maria ad Nives. This 
 miracle is represented in the old mosaic 
 framed in the front. Sixtus 111. (4:5-^-lU) 
 rebuilt it with great splendor directly after 
 the Council of Ephesus had declared the 
 Virgin to be the real mother of God (Dei 
 Genetrix), and dedicated it to lier as Dei 
 Mater. The apse, perhaps the front also. 
 was remodelled in the xii and xiii cent- 
 uries. Xear 1500 Giuliano Sangallo added 
 the coffered ceiling to the nave, gilded, it 
 is said, with the first gold that was brought 
 from South America. The rear facade 
 was added under Clement X., in 1670-76, 
 by Carlo Rainaldi, and the front, in 1741, 
 for Benedict XIV., by Ferdinando Fuga. 
 Domeuico Fontana was the architect of 
 the chapel of Sixtus V., about 1583, and 
 Flaminio Ponzio of that of Paul V., called 
 also the Borghese chapel, and of the bajD- 
 tistery, near 1608. The chapel of the 
 Sforzas was designed by Michael Angelo, 
 but finished by Giacomo della Porta, and 
 considerably altered by Fuga when he re- 
 built the front. {See' Figs. 190, I'Jl.) 
 
 Sta. Maria sopra Minerva, an an- 
 cient church standing on the .site of a 
 IJoman temple of Minerva, and lielonging 
 to nuns of the order of St. Basil, was ceded 
 in 1374 to Dominican monks, and imme- 
 diately replaced by the present church, 
 whicli is presumed to be from the designs 
 of Fra Sisto, of Florence, a Dominican, 
 who with his associate Fra Ristoro built 
 the church of Sta. JIaria Novella in that 
 city. It is a cruciform church measuring 
 about 130 ft. wide and 300 ft. long, and is 
 remarkable among the churches of Rome 
 for being the only one in the Gothic 
 style. The nave, about 40 ft. wide, is in 
 six square bays, and is sejiarated from the 
 aisles by square piers, with half columns 
 whicli carry the pendentives of the high 
 groined vaulting, and two others support- 
 ing the pointed nave arches. The aisles 
 
 are divided into oblong bays, from each of 
 which opens a rectangular chapel. They 
 arc lofty, and the arcades reach to the 
 springing of the vaults, with only lunettes 
 above them, which arc pierced with many- 
 foiled round windows. The original ar- 
 chitecture is very simjDle, the vaulting 
 low, the cajiitals plain, and the archivolts 
 without mouldings. The transept, which 
 has no ijrojection beyond the walls of the 
 chapels, has a square bay at the cross- 
 ing and one square bay on each side like 
 those of the aisles. The choir has a sim- 
 ple square bay, flanked on each side by 
 two narrow chapels opening from the 
 transept, and terminates in a polygonal 
 apse, while a modern chapel oj)ens un- 
 der a round arch from each end of the 
 transept, whose floor is raised above the 
 nave. The church was restored in the 
 XVII cent., under Carlo Maderno, when 
 the fa9ade was partially rebuilt in the 
 Renaissance style ; and in 1848-55, a very 
 thorough restoration was carried out, and 
 the interior given an aspect of great rich- 
 ness, the piers and walls being coated with 
 fine marbles, the vaults covered with fres- 
 coes ill the style of the xiii cent., and the 
 clerestory painted in garish fashion. 
 
 Sta. Maria dei Mikacoli and Sta. 
 JIakia di Monte Santo. These two 
 small churches, alike in their fa9ades and 
 similar, though not identical, in plan and 
 disposition, stand on the Piazza del Popolo 
 at the two corners of the Corso. They 
 were begun about 1662, under Alexander 
 VII., from the designs of Rainaldi, but 
 the fagades ^yere added by Carlo Fontana. 
 In jilan the one church is a circle, the 
 other an ellipse, surrounded by chapels 
 and covered by a polygonal dome on a 
 high tambour, crowned with a lantern. 
 Each fa9ade has a projecting portico of 
 four Corinthian columns, with jiediment, 
 and each church has, on the side next the 
 Corso, a square belfry above the roof, with 
 a somewhat fantastic si)ire. 
 
 Sta. Maria dei Monti, a small Re- 
 
ROME 
 
 naissauce conventual clmroli. built in the 
 latter half of the xvi cent.. Iroin the de- 
 signs of (liacomo della Porta. Its plan 
 consists of a nave about ',Vi ft. wide and 
 50 ft. long, flanked ou each side by three 
 rectangular recesses, of which two are 
 chapels and the third an entrance vesti- 
 bule, and ojiening by a great round arch 
 into a square central space covered by a 
 
 Fig. 192.— Rome, Sta. Maria della Pace, Cloister. 
 
 hemispherical dome raised on a high tam- 
 bour. This is borne on pendentives by 
 four great arches, which open into the 
 nave, the shallow transept, and the semi- 
 circular tribune ; the whole carried on an 
 order of Corinthian pilasters which sur- 
 rounds the interior. In the nave the in- 
 tervals of this order enclose round arches 
 opening into the chapels and vestibules, 
 and from its entablature springs the en- 
 riched vault of the ceiling, pierced with 
 lunettes. The fayade is in two stages, 
 each carrying an order of Corinthian pi- 
 lasters, the central interval occupied in the 
 lower story by a doorway with architrave 
 and pediment, in the upper bj- a window 
 with balustrade, enclosed between Corin- 
 thian columns with entablature and pedi- 
 ment. The side intervals have niches and 
 panels, and above them scroll-l)uttresses 
 flank the narrower upper story. The ad- 
 
 joining College of the Xeophytes was 
 added by S. Onofrio under Urlian \'lll. 
 (1(5:23-44). 
 
 Sta. Maim a della Navicella. See 
 (S'. M. in Dumuica. 
 
 Sta. Maria della Pace, a small Ke- 
 naissance church built by Sixtus IV. in 
 1487, from the designs of Baccio Pintelli, 
 and restored with important alterations, 
 about 1660, by Alexander VII. 
 Its plan is peculiar, consisting 
 of a nave about 25 ft. wide and 
 45 ft. long, divided into two 
 square vaulted bays by wide- 
 spaced Doric pilasters, between 
 which open small chajiels in the 
 thickness of the wall, two square 
 and two semicircular, w bile 
 above is a clerestory with a 
 simple round-arched window in 
 each bay. The nave opens in- 
 to an octagon 45 ft. in diam- 
 eter, beyond which is a square 
 choir. The octagon has an or- 
 der of high, thin (ximposite 
 ]iilasters. in the intervals of 
 which on four sides are the 
 arched openings of square chapels in the 
 thickness of the wall. Above the en- 
 tablature is a low .segmental dome with 
 panelled soffit, raised on a high tambour 
 with Corinthian pilasters and windows 
 between, and carrying a lantern. The 
 baroco fa(;ade in two stages, with orders 
 of pilasters and a low pediment, was 
 added under Alexander VII. (1655-67) 
 by Pietro da Cortona. The first story 
 has a projecting semicircular portico of 
 coupled Corinthian columns. Attached 
 to the church ou the north is a convent 
 with a fine cloister, an admired work of 
 Bramante. 45 ft. square, surrounded by 
 vaulted arcades on the first story, and on 
 the second by an open corridor with 
 grouped com])osite pilasters, the intervals 
 divided liv single columns. [See Fig. 
 192.) 
 Sta. Makia D^h I'ui'olo, a Gothic 
 
 400 
 
ROME 
 
 cruciforin churcli of the early xiil cent., 
 but rebuilt in 14T1 under Sixtus IV., from 
 the designs of Baccio Pintelli. Its nave 
 and aisles are in four bays, square in the 
 nave and oblong in the aisles, covered 
 with four-i^art vaulting, and are separated 
 by clustered piers carrying round arches. 
 The transept, in three square bays, has a 
 semicircular apse or tribune at each end. 
 The crossing is covered by an octagonal 
 dome. The choir is very long, and has 
 three square bays and a semicircular trib- 
 une of the full width of the nave. Its 
 ceiling is painted with frescoes by Pintu- 
 ricchio, and on its walls are two tombs of 
 similar design, of extreme richness and ele- 
 gance, by Andrea Sansovino, the tombs 
 of Ascanio Sforza and Hieronimo Basso. 
 The choir is flanked on each side by 
 two long chapels opening from the tran- 
 sept. The church is remark;djle for the 
 richness of its chapels, of which four 
 open from each aisle. These are all 
 characterized by great elaborateness of 
 design and decoration, but two of them, 
 the Chigi chapel on the left, and the 
 Cibo chapel on the right, surpass the 
 rest in sumptuousness of material and 
 profusion of ornament. The latter, in 
 the form of a Greek cross, is from the 
 designs of Carlo Fontana ; the former, 
 an octagon covered by a dome, is at- 
 tributed to Kaphael, and the mosaics 
 of the dome are believed to be from his 
 designs. The facade of the church is 
 of simple design, in three vertical di- 
 visions marked by flat Corinthian pilas- 
 ters on a pedestal-course, with three 
 square doors in the intervals. The cen- 
 tre is carried up with two angle pilas- 
 ters and a round window, finislied 
 with a low pediment, and flanked by 
 broken curved half pediments of corrujit 
 design. {See Fig. 193.) 
 
 Sta. Maria della Rotonda. See 
 Panlheon. 
 
 Sta. Maria Scala Cell one of the 
 three churches at the Tre Fontane, is a 
 
 small octagonal church designed by \'ig- 
 nola for Cardinal Alessandro Faruese on 
 the site of an older one, and has the charm 
 of prop(n'tion that lielongs to all of Vignola's 
 work. It is an octagon with its cardinal 
 faces brought forward in reveals, against 
 three of which apses are built, and against 
 tlie fourth an entrance iiorch, the whole 
 crowned with a low octagonal dome and 
 cupola. The porch has an order of 
 Tuscan pilasters whose cornice is carried 
 round the church, and a])ove this is an 
 attic with a jjlain modillioned cornice, and 
 pinnacles at the angles. Within, the 
 dome is semicircular in section, and car- 
 ried on an order of Corinthian ])ilasters. 
 
 Fig. 193— Rome S. M del Popolo Sforja Monument. 
 
 In the three apses are altars, and in the 
 intermediate sides are niches with windows 
 above them. One ajjse is decorated with 
 mosaics by Zuccheri. The original church 
 was built over the cemetery of St. Zeno, to 
 commemorate a vision of St. Bernard in 
 
 401 
 
TiOME 
 
 which he saw angels leading up a ladder 
 the souls which his prayers had released 
 from purgatory. The altar at which the 
 vision occurred is preserved in a subter- 
 ranean chapel under the church. (See 
 also <S^. Paolo aUe Tre Foidane.) 
 
 Sta. Maiu.v del Sole. See Temple of 
 Hercnlet:. 
 
 Sta. Makia ix Tkastevere is histori- 
 cally one of the oldest churches in Rome, 
 and one in which very complex changes 
 have taken place. It is a three-aisled 
 basilica of moderate size and plain exte- 
 rior, with a transept as wide as the aisles. 
 It has a modern portico of Ionic arcades 
 
 ■astevere, Choir. 
 
 covering doors framed in fragments of an- 
 cient arabesques, above which rises the 
 old front of the nave adorned with mosaics 
 of the XII cent., representing the Virgin 
 
 and infant Saviour between the wise and 
 foolish virgins of the parable. The in- 
 terior is a singular patchwork. The nave 
 is about 125 ft. long by -iO ft. wide, with 
 aisles of half its width. It is bordered 
 by twenty-two very irreguhir ancient col- 
 umns, with bases and capitals of great 
 variety, Ionic, Corinthian, and Composite. 
 The columns carry straight architraves ; 
 the frieze is occupied by concealed brick 
 relieving arches, and above it is a heavy 
 cornice supported by innumerable vertical 
 slices of old entablatures, entirely discor- 
 dant among themselves, used as brackets. 
 Half tlie original clerestory windows are 
 stopped, apparently, and the rest 
 altered into arcli-headed open- 
 ings, framed in modern mould- 
 ings ; the pavement has recently 
 been raised somewhat and the 
 columns shortened, by a new 
 pavement. A gorgeous modern 
 ceiling by Domenichiuo, carved, 
 gilded, and painted, replaces the 
 old open roofs. The transept, 
 flush with the aisles, has in the 
 middle a modern baldacchino 
 (iver the higli altar, beneath 
 which is a confessio, or rather 
 rrypt, containing the remains of 
 Calixtus, the founder of the 
 church, and four others of the 
 jiopes. The great apse is cov- 
 ered with mosaics of the xii 
 cent. — Christ and the Virgin 
 enthroned between several saints, 
 iielow is a series of scenes from 
 the life of the Virgin in panels, 
 ascribed by Vasari to Pietro Cav- 
 allini (about 1340). a ])upil of 
 (iiotto. The triumphal arch is 
 bare of decoration ; above the 
 arch of the apse are mosaics of 
 the symbols of the four evan- 
 gelists, and beside it the prophets Isaiah 
 and Jeremiah. The aisles and transept 
 are overgrown with a great number of 
 modern chapels. A cliurch was founded 
 
 4U2 
 
ROME 
 
 here, it is said, by Calixtus I., in 222, 
 and rebuilt by Julius II. (337-52), re- 
 stored in 8-1:0 by Leo IV., and again by 
 Innocent II. in 1139. Domenieliino's 
 ceiling was added about 1G30. There 
 has been much coutroversy over the 
 age of the church as we now see it. 
 Hiibsch, Bunsen, and other older authori- 
 ties believe that it dates only from the 
 restoration of Innocent II.; others, in- 
 cluding Mothes, that the main parts are 
 the work of Julius I. {See Fig. HH.) 
 
 Sta. Maria ix Vallicella. This 
 church, more generally known as La 
 Chiesa Xuova — the new church — was built 
 originally by St. Gregory, but having in 
 the XVI cent, fallen into a ruinous con- 
 dition, was rebuilt by S. Filippo Xeri, 
 autliorized by Gregory XIII. The work 
 was begun in 1575, and was carried on 
 under various architects, among whom 
 was Martino Lunghi, till the consecration 
 in 1599. The square fayade, masking the 
 nave and aisles, is in two orders of grouped 
 Corinthian pilasters, with three doors be- 
 low and a window and two niches above, 
 all under jiedimeuts. A broad low jiedi- 
 ment crowns the whole. Its peculiar 
 plan covers an area about 110 ft. by 215 ft. 
 The barrel-vaulted nave is about 44 ft. 
 wide, separated from the aisles by arcades 
 of five round arches on each side with 
 Corinthian pilasters between. The aisles 
 are narrow, in rectangular bays con- 
 nected by arches, and bordered b}' semi- 
 circular chapels. The tran.sept arms are 
 as wide as the nave, the crossing is cov- 
 ered by a hemispherical dome ; the choir 
 has a single rectangular bay with a round 
 apse or tribune beneath which is the rich 
 chapel of S. Filippo Xeri. The materials 
 and decoration of the interior are sump- 
 tuous, the walls being covered with rich 
 gilding and the vaults and arches with 
 stucco reliefs. The vaults are lavishly 
 decorated by Pietro da Cortona. The 
 adjacent convent, built for the most part 
 from the designs of Borromini, has two 
 
 great courts, and some line apartments, 
 notably the sacristy, the oratory, and an 
 oval refectory. 
 
 Sta. Maria in Via Lata, a small basil- 
 ica, with nave 21 ft. wide and groined 
 aisles, built at the end of the vii cent, by 
 Sergius I., much altered in 1491, and 
 again in the xvii cent., and highly dec- 
 orated. The twelve antique Ionic col- 
 umns which support the arcades of the 
 nave have been recased and their capitals 
 gilded ; the old tribune remains. The 
 front, an admired work of Pietro da Cor- 
 tona, is a two-story columnar loggia, of 
 a Composite order above a Corinthian, 
 crowned by a pediment, the large central 
 arch breaking the entablature of the pedi- 
 ment, which is carried round it. The 
 crypt, which is part of the ancient Sejita 
 Julia, is under the front joart of the nave, 
 and reached from the loggia. Legend as- 
 sociates it and the sining which is found in 
 it with the centurion with whom St. Paul 
 lodged. The church contains the tombs 
 of two of the Bouapartes and of other 
 notables. Its name is derived from the 
 original Roman street, which nearly coin- 
 cided with the Corso. 
 
 Sta. Maria della Vittoria, a cruci- 
 foi'm church with an octagonal dome, 
 built at the beginning of the xvii cent, 
 by Paul v., chiefly from the designs of 
 Carlo Maderno, with a fa9ade by Giovanni 
 Battista Soria. The facade, rising from a 
 high flight of steps, has two stages each 
 with an order of Corinthian pilasters, 
 coupled in the central division and en- 
 closing an enriched doorway with a sort 
 of porch surmounted by a broken pedi- 
 ment ; the side intervals are decorated 
 niches. The upper stage has only the 
 breadth of the nave, with a central arched 
 window enclosed in pilasters and pedi- 
 ment. A low pediment with a balustrade 
 following its rake, covers the whole of the 
 upper stage, which is flanked by large 
 consoles. 
 
 S. Martixo ai Moxti, an old basil- 
 
 403 
 
HOME 
 
 ica, built by Syinniachus in 500, altered 
 in the middle of the ix cent, by Popes 
 Sevgiiis IT. iiiul Leo IV., restored at the 
 end of XIII. and much modernized in 
 lfi.50-T(i. Of the original church we may 
 still see the open atrium and the twenty- 
 four ancient Corinthian columns that line 
 the bi-oad nave. These stand on pedestals 
 and carry a horizontal entablature. The 
 flat ceiling above is due to S. Carlo Bor- 
 romeo. The aisles have in like manner 
 horizontal ceilings, and there is no tran- 
 sept. The apse may be part of the 
 church of Syinmachus, or even of an ear- 
 lier church which is said to have been 
 built here by Pope Sylvester in the time 
 of Constantine. The choir, which ex- 
 tends into the nave, is considerably raised, 
 and in front of it an open well and stair- 
 way lead to the crypt, elaborately restored 
 in 1050 by Pietio da Cortona. From this 
 again a jiassage leads to a subterranean 
 groined room on the north, which is be- 
 lieved to have been part of the baths of 
 Trajan, used as a very early church, over 
 which is the handsome vaulted sacristy. 
 The church is richly decorated, and on 
 the walls of the aisles are landscapes and 
 figures by the two Ponssins, also interest- 
 ing paintings of the interiors of the old 
 basilica of St. Peter, and of St. John 
 Lateran in its early condition. 
 
 SS. Nereo ED AcHiLLEO, One of the 
 lesser basilicas, built near 800 by Leo III., 
 and restored from a state of great dilapi- 
 dation in 1597 by Cardinal Baronius, with 
 an effort to preserve its ancient character 
 according to the light of his day, but 
 pretty thoroughly modernized in its pres- 
 ent condition. It has the simplest pos- 
 sible fa9ade, following the outline of the 
 nave and aisles, stuccoed and once painted, 
 with a pedimented porch on two Tuscan 
 columns against the nave and a ])edi- 
 mented window over it. There is no 
 transept ; the nave, 'i7 I't. wide, is sepa- 
 rated from tlic aisles by six broad low 
 arches, on octagonal piers with stucco 
 
 cajjitals and supporting high walls. The 
 low roof is open-timbered. The choir-apse 
 is ancient, and about it remain some early 
 mosaics representing the Transfiguration 
 aiul the Annunciation. The ancient ar- 
 rangement is seen in the raised choir, 
 inclosed in a screen, under which is 
 the confessio containing relics of saints, 
 among them those of Sta. Domitilla, to 
 whose attendants, Nereus and Achilles, 
 the church is dedicated. The mediaval 
 ambones remain, and the altar and taber- 
 nacle, which stand under a modern bal- 
 dacchino. 
 
 S. NiccoLO IX Carcere is a small ba- 
 silican church of the ix cent., w-ith tran- 
 sept and apse, much modernized, and so 
 called from its position near, or as has 
 been thought upon, the site of the prison 
 of Appius Claudius. It is built on the 
 foundation of a group of ancient temples, 
 its arcades, according to Mothes's exam- 
 ination, following the lines of one cella 
 wall, and some of the original columns 
 remaining in situ on the front. This 
 may account for the narrowness of the 
 nave, which is only 22 ft. by 90 ft., and 
 has its arcades carried on irregular col- 
 umns from various buildings. The whole 
 interior width is GO ft. The irregular 
 aisles, nearly as broad as the nave, and 
 covered with barrel-vaults, imbed in their 
 walls the lateral columns of the adjoin- 
 ing tem2)les of Sjjcs and Juno Sosi)ita. 
 The modern campanile stands over the 
 end of the right aisle, beside the front, 
 which dates from 1599. The church has 
 lately been restored ; its nave-walls are 
 covered by paintings of scenes from the 
 life of St. Xicholas, and the choir with 
 pictures of the Council of Nice. In the 
 crypt appear the substructions of the an- 
 cient temple. (See Tciiiph's nf S/w.y and 
 ■III no Sospifa.) 
 
 S. Onofkio, a small church on the 
 Janiculan hill, belonging to the adjoining 
 convent of the Girolomini. or monks of 
 St. Jerome. It was a late Gothic church. 
 
 104 
 
EOME 
 
 built in l-l'iO ; its original style has dis- 
 :il)peareil under many alterations. It con- 
 sists of a nave of tliree nearly square bays, 
 groin-vaulted, with aisles which have been 
 divided into chapels, and a Kenaissance 
 tribune. A square campanile is set into 
 the N. E. angle of the front, which faces 
 north, and an open vaulted porch con- 
 nects with an arcade iu the front of the 
 convent. The church is noted as the 
 burial-jilace of Tasso, who died in the con- 
 vent. Ilis body lies under an elaborate 
 tomb lately built in the chajjel of St. 
 Jerome. The tribune is painted in three 
 tiers of jjictures, the lower by Peruzzi, 
 the upper probably his also, though they 
 have been attributed to Pinturicchio. 
 
 S. Pancrazio was built at the begin- 
 ning of the VI cent, by Pope Symmachus, 
 but has been since many times rebuilt, 
 last after the siege of Rome in 18-49, when 
 it was jDarticularly exposed by its position 
 outside the Porta Aurelia. It retains its 
 old apse and the confessio beneath the 
 choir, reached by a double staircase. 
 Some of the original arcading of the nave 
 also remains, and shows the arrangement, 
 unusual in Rome, of jners alternating 
 with pairs of columns. Some fragments 
 of the early ambones are incorjiorated in 
 the modern pulpits. 
 
 S. Paolo fuoki le Mura (St. Paul 
 outside the walls). This great basilica, a 
 mile or more outside the Porta S. Paolo, 
 was recently built to replace the famous 
 one of the age of Constantine, which was 
 burned in 1823. It follows the lines and 
 dimensions and structure of the old one, 
 varying somewhat from it in details. It is 
 a great five-aisled basilica with transept 
 and a large tribune. The whole length, 
 without the tribune, is about 400 ft., the 
 breadth across transept 2.50 ft., across 
 the nave and aisles 220 ft. The exterior 
 is plain, except the front, toward the Ti- 
 ber, where the end of the nave retains in 
 some degree its old mosaics, carefully re- 
 stored since the fire, and representing 
 
 Christ with St. Peter and St. Paul, and the 
 four great prophets below. The atrium 
 in front, still unliiiished, is to be sur- 
 rounded by open arcades on granite col- 
 umns. A portico of eight Corinthian 
 columns against the north transe]it marks 
 the entrance toward Rome. Within, the 
 nave and aisles are separated by four rows 
 of great granite Corinthian columns, 
 twenty in each, carrying arcades. The 
 enormous nave, 80 ft. wide and about 
 100 ft. high, is nearly 300 ft. long. The 
 cornice above its arcades is continued in 
 an entablature round the impost of the 
 triumphal arch, which remains from the 
 old church and is supported by two Ionic 
 columns larger than the rest. The mo- 
 saic over the arch, representing Christ 
 and the twenty-four elders, is rejiroduced 
 from the previous one, damaged in the 
 fire, which was put up, it is believed, by 
 Galla Placidia, sister of Ilonorius, in 440. 
 Above the main arcades is a series of me- 
 dallions extending into the transeiit, and 
 containing 2)ortraits in mosaic of the popes. 
 Between the pilasters which decorate the 
 clerestory walls, and alternating with the 
 round-arched windows, are pictures from 
 the life of St. Paul by modern Italian 
 painters. The coffered horizontal ceiling 
 above is richly carved and gilded. The 
 great nave, almost unequalled in width, 
 but somewhat low in jiroportion, the doub- 
 le aisles and countless columns, produce 
 an effect of extreme spaciousness and in- 
 tricate perspective, and the sumptuousness 
 of the walls and clerestory contrasts sin- 
 gularly with the rather cold grandeur of 
 the lower architecture. In the transept, 
 behind the triumplud arch, is the fine old 
 Gothic ciboriuni over the high altar, cov- 
 ered by a recent baldacchino rich with ori- 
 ental marbles and malachite. Inscriptions 
 on the ciborium declare it to have been 
 built by order of Abbot Bartolomew, in 
 1285, and tiiat it was the work of Arnolfo 
 and his fellow Pietro. This is believed to 
 mean Arnolfo di Cambio. architect of the 
 
ROME 
 
 catl)edral at Florence. lender the altar is sition and proportions very uuclassic : tlie 
 the small co?if('ssio or niche (Mjntaining the entablature is very heavy, the columns, 
 hones of Ht. I'aul, excejjt the head, whirh c'oupled in the thickness of the wall, are 
 
 -Rome, S. Paolo fuoit le Mura. 
 
 is preserved in the Lateran. The apse be- 
 hind the altar retains its mosaics of the 
 XIII cent., representing Christ surround- 
 ed by Peter and Andrew, Paul and Luke, 
 with Ilonorius III. at his feet. Over the 
 triumphal arch, on the side next the tran- 
 sejit, are the original mosaics, only in part 
 restorations, showing Ohi'ist between Peter 
 and Paul. The rest of the transept is 
 decorated with modern paintings. 
 
 Tile Convent adjoining the church be- 
 longs to the Henedictines. It has one of 
 the finest and best preserved of early clois- 
 ters, much like that of St. John Lateran, 
 in the manner of the Cosmuti. Tliis en- 
 closes a rectangle of about 70 ft. by 80 ft., 
 with an arcade supported on delicate coup- 
 led columns. The arches, standing above 
 a continuous stylobate, are grouped in 
 fours between heavy pilasters, aiul carry 
 a complete entablature. The forms and 
 details are mostly classic, but the comjio- 
 
 slight, with thick abaci of mediiBval pro- 
 portion, the shafts now plain, now twist- 
 ed, now inlaid witli mosaic. The high 
 frieze is richly inlaid throughout with 
 elaborate mosaic in interlacing bands. 
 The architrave bears a continuous inscrip- 
 tion in rhymed hexameters, telling that 
 the cloister was begun by Peter of Capua, 
 afterward cardinal, and finished by John 
 of Ardea. Peter of Cai)ua and John of 
 Ardca were abbots of the monastery from 
 11U3 to 1241, which fixes an appropriate 
 date for this work. The original chnrcli 
 of St. Paul is said to have been founded 
 here in 324. A rebuilding was begun un- 
 der Valentiniaii, in 38G, and completed in 
 397 under Ilonorius. Galla Placidia, 
 Ilonorius's sister, adorned it with mosaics, 
 and, it has been said, reversed the orienta- 
 tion, which now turns the front to the 
 west, against the rule of the earliest 
 chnrches. The mosaics of tlio tribune are 
 
ROME 
 
 ascribed to llonorius 111. (l'^lG-;i7). No 
 serious changes had been made, apparent- 
 ly, from that time till its destruction in 
 1823. The transept was restored by the 
 architect Belli, in 1828—40, and the nave 
 rebuilt in 1841-50, by Poletti. One or 
 two of the original chapels still remain as 
 before the fire, notably that of the Coro, 
 on the right of the tribune, designed by 
 Mademo. A new chapel lias been added 
 on the other side of the tribune, by Polet- 
 ti, and a new camjjanile built against its 
 north side. {See Figs. 195, 196.) 
 
 S. Paolo alle The Foxtaxe. This 
 small church, adjoining that of SS. Vin- 
 cenzo ed Anastasio, was built about 159U 
 for Cardinal Aldobrandini, by Giacomo 
 della Porta, to cover the three fountains 
 tliat sprung up in the places where St. 
 Paul's head bounced three times after it 
 was cut off. It is of peculiar jilan, con- 
 sisting of a transverse nave, or what may 
 be called a detached transeist, standing be- 
 tween an ajjse and a small entrance iiorcli. 
 This transept has a shallow apse and altar 
 at each end, and the fountains sjjring 
 from three niches, in the prin- 
 cipal ajjse and in the wall of tlic 
 transept on each side of it. The 
 design is simjile, the interior be- 
 ing covered with a tunnel-vault 
 broken by lunettes, and the ex- 
 terior and interior ornamented 
 with a single order of pilasters. 
 (See also Sta. Maria Scala Celi.) 
 
 St. Peter's, the so-called Ba- 
 silica of S. Pietro in Vaticano. 
 the largest and most imposing 
 of Christian churches, is magnif- 
 icently placed at the western 
 end of a large open square, the 
 usual orientation of Christian 
 churches, negligently followed 
 in Italy, being here reversed, 
 and the fa(;ade fronting the east. It is ap- 
 proached through two successive courts 
 nearly a quarter of a mile in length {see 
 Fig. A97)— first a great oval more tlum 700 
 
 ft. broad, lined with open porticoes of four 
 rows of Tuscan columns, next an open- 
 fronted quadrangle some 400 ft. deep, its 
 sides faced by galleries which continue in 
 pilasters the order of the open colonnades, 
 and which enclose at the end the facade of 
 the church. This facade is a plain rec- 
 tangle, some 380 ft. long by 1,")0 ft. high, 
 composed of a single gigantic Corinthian 
 order 108 ft. high, standing on a stylo- 
 bate of IS ft. and crowned by a tall attic. 
 It is a sinii)le, straight front, divided by 
 pilasters, with level sky-line, and only 
 slightly broken by a portico of four en- 
 gaged columns carrying a ])edimont, which 
 covers the end of the nave. The simijlic- 
 ity of the front is relieved only by the 
 decorations of the doors, windows, and 
 niches that occupy the intercolumniations, 
 and by the statues and the trojdiy-like 
 clocks that crown the balustrade. Five 
 doors give entrance to the front, ap- 
 proached by a great stone platform, to 
 which stejjs lead up on three sides. The 
 Corinthian order which decorates the 
 i'ront is carried round from the nave and 
 
 Fig. 196. — Rome, S. Paolo fuon, Clolstet. 
 
 choir, being, in fact, the order designed 
 by Michael Angelo, which envelops the 
 whole church. The exterior is built of 
 the warm yellow travertine which is the 
 
 407 
 
HOME 
 
 principal huildiiig-stdiie ol' Komo. From But the glory of the church is its iu- 
 
 any possible outside position the cruci- terior. The plan is simple — originally a 
 
 form disposition, shown within by the Greek cross with long arms and apsidal 
 
 dominating height of the nave and trail- ends, its centre covered by the great tlome, 
 
 sept, is entirely lost, the walls being car- resting on four piers, outside which runs 
 
 ried up uniformly to the height of the a broad sqnare aisle intersecting every arm 
 
 nave vault, so that the building, with its of the cross. To this is prefixed tJie nave 
 
 three tiers of windows, is a huge pala- of three additional bays, with aisles and 
 
 tial mass, to three sides of which cling lateral chapels, the whole preceded by the 
 
 majestic round apses, and to the fourth spacious narthex in two stories Avhich 
 
 the advancing nave, while out of the mid- crosses the front behind the fa(;ade. One 
 
 die soars the great dome. The substruct- enters from the front by the narthex. a 
 
 ure of the dome is a round drum, which great vaulted gallery or hall, 4:0 ft. wide, 
 
 serves as a stylobate and lifts it above the and 340 ft. long, including the two lateral 
 
 surrounding roofs. On this stands the vestibules at either end. in which stand 
 
 ring-wall of the tainl)our, decorated with 
 a Corinthian order and carrying an attic, 
 and on this sits the oval mass of the no- 
 blest dome in the world. The tambour, 
 .50 ft. high, is pierced by sixteen square- 
 headed windows. The enormous tliick- 
 ness of the stylobate allows an outside 
 offset sufficient to receive the buttress- 
 es, which are set between the windows, 
 in the siiape of spur-walls with engaged 
 
 equestrian statues of Constantine and 
 (vharlemagne. It is sumptuously orna- 
 mented in stucco and gilding. Over the 
 middle entrance is a famous mosaic, exe- 
 cuted in I'i'JS by Oiotto for the original 
 basilica of St. Peter. It is called the 
 Xavicella, and represents St. Peter walk- 
 ing on the sea, but is much transformed 
 Ijy restorations. Five doorways lead into 
 the church, corresponding to tliose in the 
 
 colunius at the corners, over which the fa9ade, and the central one, opposite the 
 
 eutaljlature is broken. The curve of the Navicella. which is used only for great 
 
 dome, liigher than a semicircle, is of ex- ceremonies, is closed by two bronze doors, 
 
 traordinary beauty. Between its ribs, likewise from the old basilica, the work of 
 
 corresponding to the buttresses below, are the architect Filarete, and Simone Ghini, 
 
 three diminishing tiers of small dormer sometimes called without warrant the 
 
 windows. The lantern above, witli an 
 
 Ionic order, re^jcats the arrangement of 
 
 windows and buttresses in the tambour 
 
 below, and is surmounted by a Latin 
 
 cross, rising, it is said, 44cS ft. above the 
 
 pavement. The sacristy, adjoining tlie and the pendentives of tlie dome. The 
 
 south transept, and connected with the nave is of 83 ft. span and 300 ft. long, in 
 
 churc'li by two galleries, would itself be four bays divided by massive piers Avith 
 
 brother of Donatello. The modulus of 
 tile interior is the immense Corinthian or- 
 der. 100 ft. Iiigh. corresponding nearly to 
 tlie external order, which carries the 
 vaults of the nave, choir, and transept. 
 
 an imposing building anywhere but under 
 the siiadow of St. Peter's. The galleries 
 lead to a central building in which are 
 three great and richly adorned halls serv- 
 ing as special sacristies, the middle one 
 octagonal and covered bv a dome with a 
 
 arches 40 ft. wide. Each pier is faced 
 with two pilasters, carrying a full entalila- 
 ture on which rests the coffered tiiunel- 
 vault 150 ft. high. The same ordinance 
 and the same vault are carried through 
 tlie other arms of the cross. An iiiserip- 
 
 cupola I.")0 ft. high. The rest is a pair of tion on the marble floor at the middle 
 tall, many-storied wings wliicli enclose a door records the whole inside length from 
 court, and in which the canons are lodged, the back of the trilnine. 8.57 palini. or 
 
 ■108 
 
ROME 
 
 614 ft. ; 00 ft. added to this givo the ex- 
 treme outside length, 710 ft. The bi-eadth 
 across the transept is, by Fontanu's plans, 
 445 ft. inside. 485 over all. Large seg- 
 meutal-headed windows, cutting into tlie 
 vault like lunettes, give it light. The 
 aisles are divided by cross-arches in two 
 stories into bays which are covered witli 
 small oval domes, and which open into 
 lateral chapels. From the third bay on 
 each side opens a very large rectangular 
 chapel, 45 ft. by 80 ft., with a vaulted 
 ceiling, and decorated with great richness, 
 that on the south called the Gregorian 
 Cha23el, or choir-chapel, that on the north 
 the Chai^el of the Holy Sacrament. Tlie 
 nave leads to a rotunda between tlie four 
 colossal piers, really towers 62 ft. square, 
 which carry the pendentives of the dome. 
 At the junction of the three added bays 
 of the nave the plan expands with mar- 
 vellous effect. The great piers are iso- 
 lated in a vast square ; tlie quadrangular 
 ai.sle that surrounds them is nearly 50 ft. 
 wide — as wide as any church naves but 
 the widest — and about 300 ft. long each 
 way, its angles marked by small domes. 
 Great arches 150 ft. high and 80 ft. wide 
 open into the rotunda, whose height and 
 amplitude are overpowering. The modil- 
 lioned cornice of the entablature that en- 
 circles and crowns the pendentives, is 175 
 ft. high above the floor. It carries the 
 tamljour, decorated with a Corintliian 
 order corresponding to that outside, and 
 having coupled pilasters in the intervals 
 of tlie sixteen windows, which are capped 
 hy pediments. From an attic above the 
 order springs the inner shell of the dome, 
 somewhat lower in curve than tlie outer, 
 ribbed and panelled, and showing the in- 
 terior of the lantern through an opening 
 at the top. The clear span of the dome is 
 140 ft., the height .330 ft. to the opening 
 of the lantern. The interior of this, GO 
 ft. high and covered by a small dome, is 
 too much foreshortened by its jiosition to 
 be clearlv seen from below. In the cen- 
 
 tre, over the liigli-altar, is the monstrous 
 bronze baldacchino, baroco in style, and 
 95 ft, high, designed by Bernini, who also 
 added the preposterous throne, or shrine, 
 supported by statues of four early fathers 
 of the church and encompassed by a 
 swarm of cherubs riding on bronze clouds, 
 whicli incloses the legendary chair of St. 
 Peter, and occupies the western tribune. 
 The interior architecture is mainly of 
 stucco enriched with gilding — the great 
 order, the panelled vaults and architect- 
 ural details, and the interior of the 
 dome. But the pendentives and panell- 
 ing of the dome are rich with mosaics ; in 
 the iiendentives are round panels charged 
 with huge mosaics reijreseuting the four 
 evangelists. The church abounds in al- 
 tars and tombs, built of colored marbles 
 and niched into the intercolumniations. 
 Popes, kings, and saints are buried here. 
 Hundreds of statues stand about the 
 tombs and altars, or fill niclies, or slide 
 down tlie backs of archivolts ; sub-orders 
 of columns, niches, pediments, balconies, 
 enliven the wall-spaces of the piers. In 
 front of the baldacchino a double horse- 
 shoe staircase leads down to an open space 
 in front of the high-altar, called the Con- 
 fessio, which serves as anteroom to the 
 labyrinthine crypt, and whicli sliows in a 
 niche under the altar the tomb of St. 
 Peter. The crypt is in two j'nrts — first, 
 the three-aisled crypt of the old basilica, 
 extending eastward under the nave ; sec- 
 ond, an oval gallery encircling the mid- 
 dle space in which are the confessio and 
 the cruciform Chajiel of the Confession, 
 and communicating with four radiating 
 passages which lead to four chapels in the 
 foundations of the great piers, and to as 
 many staircases for access to chapels 
 above. In the old crypt are many tombs 
 of popes and other dignitaries, removed 
 thither when the old basilica was pulled 
 down. 
 
 The church occupies the site of one of 
 the earliest and most venerated of Chris- 
 
 -lO!* 
 
KOMK 
 
 tiaii basilicas, that built l)y Coustantine 
 over the Circus of Nero, a place conse- 
 crated by the blood of the early martyrs, 
 and covering the adjacent tomb or ilarty- 
 rium of St. Peter, which, according to 
 tradition, is that which is still preserved. 
 Constantine, the tradition says, passing the 
 jilace in his triumphant entry into Rome 
 after his defeat of Maxentius, vowed a 
 memorial church to St. Peter, and not long 
 after laid the corner-stone with great so- 
 lemnity. It was the largest, if not the 
 oldest, built in 32-1—330, a five - aisled 
 church, not far from -100 ft. long and 200 
 
 Fig. 197.— Rome. St. Peter's with its Colonnades. 
 
 ft. across, with transept projecting to 270 
 ft., and a nave 70 ft. wide. Its decora- 
 tions and furniture, destroyed and dis- 
 persed at or before its destruction, were 
 the wonder of pilgrims and church his- 
 torians during the middle ages. This 
 church, built in haste, on intirm ground 
 and at a time of decadence, required con- 
 stant repairing, and after eleven hundred 
 years of care, varied by occasional neglect 
 and even ill usage, had become so unsound 
 that in the middle of the xv cent. Nicho- 
 las V. resolved to build a new church, 
 which should, he said, equal in magnif- 
 icence the Temple of Solomon. He sum- 
 moned from Florence the architects Ber- 
 nardo Kussellino, and Alberti. Between 
 them they j)lanned an enormous churcii 
 which was intrusted to Rossellino, and in 
 1450 work was begun on the tribune of 
 it behind the apse of the old basilica. 
 Nicholas died in 1455, when the walls of 
 the new apse were barely seen above 
 ground, and no pope resumed the project 
 till Julius II. He, early in his reign, 
 having commissioned Michael Angelo to 
 build him a splendid tomb, and casting 
 about for a place to put it, decided to take 
 up the project of Nicholas. Architects 
 were called into council — the two San- 
 galli, Peruzzi, Fra Giocondo, and Bra- 
 mante. The last, then in the fulness of 
 his fame, prevailed. Flushed with en- 
 thusiasm for the revival of classical archi- 
 tecture in its purity, and full of audacious 
 conceptions, he resolved to build a more 
 s))lendid cliurch and more strictly classi- 
 cal than had yet been built, proposing to 
 himself, we are told, to " set the dome of 
 the Pantheon upon the arches of the Tem- 
 ple of Peace." Pope and architect fell to 
 work with equal eagerness, Julius to raise 
 money by the sale of indulgences all over 
 Europe — which specially roused the indig- 
 nation of Luther, and did more, perhajis, 
 than any other thing to precipitate the 
 protestant Reformation — Bramante to pull 
 down the old basilica and be<;in the new. 
 
ROME 
 
 Fig, 198.— Rome, St Peter's. 
 
 Tlie corner-stone was laid, in tlie founda- 
 tion of tlie S. W. jiier of the dome, on 
 April 18, 1506. Bent on realizing liis main 
 conceiition of the dome, Bramante pressed 
 the construction of the four great piers 
 and their arches so eagerly, that at the 
 time of Julius's death, in 1513, they were 
 nearly ready for its base. But tlie effects 
 of haste and of inadequate construction 
 showed themselves in serious settlement 
 and cracks. Braniante died a few months 
 after Julius, leaving the work in this con- 
 dition. It would apjjear that his designs 
 were lost or destroyed, and it is in dispute 
 whether he intended a nave and aisles, 
 and what form he would have given to 
 the outside. Serlio published, half a cen- 
 tury later, a plan which he ascribed to 
 Bramante, but it is more likely that it was 
 a modification proj)osed by Raphael, whom 
 Bramante on his death-bed recommended 
 as his successor to Leo X., the new pope. 
 It is jirobable tliat Braniante's plan, like 
 Jlichael Angelo's, was for a Greek cross, 
 and it seems hardly doubtful that he de- 
 signed the church with a siiiirle order 
 
 within and without, as it was executed. 
 In tliis innovation, followed by Michael 
 Angelo, he set a fashion which greatly 
 changed the course of Renaissance archi- 
 tecture, abandoning the older treatment 
 of a smaller order in each story, and 
 bringing the style back, as tliey argued, 
 to the simplicity and dignity of classic 
 models, though some modern critics, M. 
 Geymiiller for instance, restore it with 
 two. Raphael wasajipointed in Braniante's 
 place, aud Giuliano Sangallo and Fra 
 Giocondo were also called in. All three 
 died successively in the next half-dozen 
 years, Raphael last, leaving a plan behind 
 him ; but nothing had been accomplished 
 except to strengthen the inadequate con- 
 struction of Bramante. Baldassare Peruz- 
 zi, and Antonio Sangallo, the nephew of 
 Giuliano, were next a])i)ointed. To dimin- 
 ish the cost, Peruzzi again changed the 
 plan, omitting the long nave proj^osed by 
 Raphael, and restoring the Greek cross. 
 His plan, preserved by Serlio, was in the 
 main like that which was afterward 
 adopted by Michael Angelo, but more 
 
ROME 
 
 complicated. Nothing of importance 
 seems to have been accomplished till the 
 [Kiutilicate of I'aul III. I'ernzzi died in 
 l.");5(), and Paul, taking up the project 
 anew, ordered a new design of Sangallo. 
 Ilis elaborate model, 26 ft. long and 13 
 ft. high, is still preserved, and shows a 
 radical c-hango of design. He pretixeil nn 
 
 insisted on bringing him from Florence to 
 take charge of the work. Michael Angelo 
 at last consented, and in a fortnight pre- 
 pared a new model, which, like Sangallo's, 
 is still preserved. He simplified Peruzzi's 
 plan, struck off Sangallo's narthex, sub- 
 stituting a plain portico of detached col- 
 umns, and restored the single great order 
 
 v«.i 
 
 
 Fig. 199.— Rome, St. Peter's, Rear. 
 
 enormous narthex. flanked by two high 
 towers, and reverting to the earlier Re- 
 naissance manner, carried two small orders, 
 separated by a mezzanine, over the whole 
 design, instead of tiie single great order of 
 tiie previous architects. But in 15-10 he 
 also died, having done little but to pre- 
 pare his design, and still further strength- 
 en the inadequate masonry of Branumte. 
 At this point Paul summoned Michael 
 Angelo, who had found fault with San- 
 gallo's design, calling it Gothic iii char- 
 acter, and ill s[iiie of liis repeated refusals 
 
 as we now see it. l''or the rest of his life 
 he gave himself up to this work, turning 
 off the Jobbers who, as appears, had 
 fastened themselves upon it, refusing 
 every year the fee that was offered him for 
 his services, maintaining his 2)osition and 
 the confidence of four successive popes, 
 in S2)ite of detraction, intrigue, and 
 calumny. He began, like his predecessors, 
 by further strengthening Branuinte's un- 
 lucky piers, pulled down the small addi- 
 tions of Sangallo, and in the course of his 
 seventeen vears' administration succeeded 
 
EOME 
 
 in earrryiug up the walls and facing tlioin 
 with the exterior order, establishing the 
 interior order, building the pendentivi's 
 and stylobate of the dome, and construct- 
 ing a model of the dome itself so thor- 
 oughly detailed that there was no excuse 
 for departing in any degree from his in- 
 tentions. Xear the end of his adminis- 
 tration Vignola and Pirro Ligorio were 
 appointed to assist him, and when in 15G-1 
 he died, at the age of eighty-nine, they 
 succeeded him on the exjjress condition 
 that they should make no change in his 
 design. Ligorio was soon discharged by 
 Pius v., then pope, and Vignola, left in 
 authority, scrupulously carried out the do- 
 sign, finishing the exterior all but the 
 fa9ade, including the tambour of the 
 dome with its order, and building two of 
 the four small cupolas with wliicli Michael 
 Angelo had proposed to surround it. 
 A'iguola died in 1573, aiul the work 
 languished till the accession of Sixtus V., 
 who appointed Giacomo della Porta, a 
 pupil of Vignola, and Domenico Fontana 
 to continue it. They, with Sixtus's per- 
 mission, changed the curve of the dome, 
 giving it the superb outline which dis- 
 tinguishes it from all others, and 
 pressing it with great energy, finished 
 it in two years, so that Sixtus, in 1.590, 
 laid with great ceremony the finishing 
 stone of the ring that was to support the 
 lantern. Fontana meanwhile had won 
 reputation by transporting and setting up 
 the great obelisk in the square in front, 
 and Delia Porta, who was a clever de- 
 signer of ornament in stucco, had adorned 
 the interior. The lantern was added un- 
 der Clement VIII.. but it was not till Paul 
 V. that the facade was undertaken. He, 
 finding the length of the nave inadequate 
 for the crowd that attended the great fes- 
 tivals, and insisting that the whole con- 
 secrated area of the original basilica should 
 be included, called a new comjietition, in 
 which the project of Carlo ^laderno. a 
 nephew of Fontana, was c^liosen. lie 
 
 atlded three bays to the nave, so reverting 
 to the plan of the Latin cross as jaroposed 
 by llaphael, and built the facade, wjiicli 
 bears tlie date M I )( 'X 1 1 . The next pope. 
 Urban VIII., appointed Bernini to finish 
 the work, who continued the interior 
 decoration, and later, under Alexander 
 VII., added the sjjlendid porticoes and 
 galleries that lead up to the fa9ado. He 
 also made the statues of Constautine and 
 Charlemagne that occupy the two vesti- 
 bules. Maderno had attempted to add 
 two towers on the flanks of his facade, but 
 had blundered so in his foundations, that 
 he gave it up as impracticable. Bernini 
 unwisely undertook to carry out Aladerno's 
 plan, and was soon stopped by the failure 
 of the masonry. This was made a i)re- 
 text for disjilacing him by Borromini, 
 who thus got the opportunity to adorn 
 the interior with the sprawling colossal 
 figures in stucco that disfigure the nave. 
 Alexander VII. reappointed Bernini, and 
 his additions practically finished the great 
 work which had been in hand for two 
 centuries, under thirty popes, and fifteen 
 architects, the most distinguished of their 
 time. The only imijortant later addition 
 was the sacristy, by Marchioni, in lTTG-81. 
 The men whose hands are distinctly seen in 
 the result are Bramante, Michael Angelo, 
 and Bernini in right of their talents, aiul 
 Maderno by virtue of his opiiortunity. 
 To Bramante belongs the great concep- 
 tion, so firmly held and so clearly set forth 
 that, except for the momentary aberration 
 of Antonio Sangallo, none of his succes- 
 sors thought seriously of departing from 
 it : to Michael Angelo tlie form in 
 which the conception was embodied, the 
 details of the plan, the design of tlie out- 
 side and inside orders, and of the dome, 
 with its peristyle of buttresses and its 
 lantern ; to Maderno the first serious de- 
 parture from the intention of his great 
 jjredecessors, probably enjoined upon him 
 by the pope, and the commonplace fa9ade ; 
 to Bernini the noble approach. It is uni- 
 
 413 
 
ROME 
 
 versally recognized that the design of 
 Bramuute aud Michael Angelo is greatly 
 injured by the lengtliening of tlie nave, 
 wliich covers the dome from the accessible 
 points of view, and liides the groui^ing of 
 the principal jjarts of the church. It 
 must be said, however, that the great 
 artists to whom the cliurch owes its 
 splendor also contributed each in some 
 way to diminish its efEect ; for the single 
 
 feels tlio clnircli to be smaller than he had 
 expected. Tiie difficulty is increased by 
 the colossal size of the sculptured figures 
 in the decoration, which suggest a false 
 scale, and mislead the spectator's judg- 
 ment. Bernini, too, contributed his mis- 
 calculation, for instead of making the 
 long galleries which connect his colon- 
 nades witli tlie church parallel to each 
 other, and at right angles with the front. 
 
 Fig. 200 — R, 
 
 great order, for which both Bramante and 
 Micliai'l Angelo are responsible, while it 
 adds dignity to the design, undoubtedly 
 teiuls to dwarf it and prevents its scale 
 from being appreciated. The grandeur of 
 the design appears, not from the front, 
 but from some point in the rear where the 
 dome can be seen in combination with 
 the apses that surround it. Inside, the 
 length of the nave adds to the effect of 
 the cliureh, but the enormous scale of 
 the principal order is even more deceptive 
 tlian outside, and almost everv visitor 
 
 he made them converge from it. The ef- 
 fect to one wiio apprciaches the church is to 
 apparently shorten them and make it look 
 nearer than it is, and therefore smaller. 
 But familiarity, and especially the presence 
 of a crowd of peojile. enable the spectator 
 to comijrehend the size of the interior, 
 and the final impression is one of over- 
 whelming grandeur. Many faults have 
 occurred in the construction of the 
 church. The foundations of Maderno's 
 front were out of line and so weak, as we 
 have seen, tliat tlie tower which Bernini 
 
ROME 
 
 tried to build on tiioiu had to l)e taken 
 down. Bramante's piers were strength- 
 ened again and again by liis successors, and 
 only when they were finally reinf(n'ced by 
 Michael Angelo, were thought strong 
 enough to carry the dome. Built of solid 
 stonework, they would have sufficed with 
 half their jiresent size ; but they are of 
 rubble and concrete, faced with plaster. 
 A century after the church was finished 
 it appeared that there were serious cracks 
 in and under the dome. A council of 
 architects and engineers was called, who 
 decided that the tambour and dome must 
 be strengthened by iron bands, and this 
 was accordingly done at four or five levels. 
 Cracking and splitting of the masonry 
 has gone on slowly but continuously since 
 that time ; and a commission appointed 
 to examine the dome some years ago, re- 
 ported that the structure had seriously 
 deteriorated in consequence. Under these 
 conditions, it requires a sanguine spirit to 
 trust that the great work of Michael 
 Angelo will last as long as its predecessor, 
 the basilica of Constantine. (See Figs. 
 197-200.) 
 
 S. PiETRO IX Carceke is the name 
 given by the Church to the upper of the 
 two chambers excavated in the rock of 
 the Capitoline Hill, and known as the 
 Mamertine Prisons {q. v.). It is a rectan- 
 gular apartment about 30 ft. long. 23 ft. 
 broad, and 14 ft. high, enclosed in a wall 
 of rugged Etruscan masonry, of which the 
 courses overlap horizontally so as to close 
 in a false vault. The place was in use as 
 a Christian basilica as early as the iv cent. , 
 and in 1475 was converted into a simjsle 
 oratory under the direction of Baccio 
 Pintelli, and dedicated to St. Peter, 
 who, according to the tradition of the 
 Church, was here kept in confinement 
 under Nero. An ascending staircase of 
 twenty-eight steps connects the chamber 
 with the church of San Giuseppe dei Fa- 
 legnami. (See Mamertine Frisoiis.) 
 
 S. PiETRO IX MoxTORio, a Renaissance 
 
 church, stands in a commanding iiosition 
 on the Janiculum, occupying, it is said, 
 the site of an older one founded by Con- 
 stantine to mark the spot of the crucifix- 
 ion of St. Peter, and was rebuilt at the 
 end of the XV cent., at the instance of 
 Ferdinand and Isabella of Spain, from the 
 designs of Baccio Pintelli. It consists of 
 a single rectangular nave about 32 ft. 
 wide and 90 ft. long, divided by pilasters 
 and transverse arches into three square 
 bays covered with four-part vaulting. On 
 the sides of the first and second bays of 
 the nave are small semicircular chapels, 
 two to each bay. From the sides of the 
 third or easternmost bay open semicircu- 
 lar tribunes or apses, occujjying the jjlace 
 of transepts, but appearing from without 
 only as chapels, and its eastern end ex- 
 tends into a choir consisting of a single 
 rectangular bay, terminating in a vaulted 
 polygonal ajise. The exterior design is of 
 great simplicity. The fa9ade is a plain 
 flat wall of stone in two stories, with angle 
 i:iilasters and a low gable ; in the centre of 
 the first story is a simple square doorway, 
 above it a small wheel-window. The 
 sides are divided by pilaster-strips into 
 four compartments, each with a plain 
 round-arched window. The apse is abso- 
 lutely plain. On the south side of it 
 rises a square campanile witli an ojjen 
 arched belfry and pyramidal spire. At- 
 tached to the church on the north side 
 are two square cloisters surrounded by 
 vaulted arcades, the first containing in the 
 centre of the enclosure the famous round 
 temple (Tempietto), built in 1502 from 
 the designs of Bramante, and presumed 
 to mark the exact spot where the cross 
 of Peter's martyrdom was set up. It is 
 a circle of about 20 ft. diameter, sur- 
 rounded by a Doric colonnade of sixteen 
 columns and covered witli a hemispheri- 
 cal dome on a high tambour. The inte- 
 rior has an order of Doric pilasters with 
 four niches in the alternate intervals. 
 T'nder the temple is a crypt with its walls 
 
ROME 
 
 divided iuto puuels by i)il;istors, and witli 
 a low vaulted ceiling panelled and ricldy 
 decorated with reliefs in stucco. l?ra- 
 maute projected a rebuilding of the clois- 
 ter with a circular colonnade concentric 
 with that of the temple, but the design 
 was never carried into execution. 
 
 S. FiETiio IX ViNroLi (St. Peter in 
 Chains),, called oflicially the Basilica Eu- 
 doxiana, is a plain basilica of the v cent., 
 
 Eudocia, sjiontaneously linked themselves 
 into a single chain when they were brought 
 together. Hence the different names of 
 the church — Titulus (parish church) Eu- 
 doxiffi. Basilica Eudoxiaiia, and S. Petrus 
 in Vinculis. It has been several times re- 
 stored: in 556 by Pelagius I. as an inscrip- 
 tion on it shows ; by Adrian II. (772-95) , 
 by Sixtus IV. (1-170), to whom the vaults 
 are due ; for Julius II. by Baccio Pintelli ; 
 
 consisting of a nave, aisles, and transept and finally modernized in 1705 by Fran- 
 with three eastern apses. It is mostly cesco Fontana, who remodelled the nave 
 covered by adjacent buildings, and the and added the wooden ceiling. The ad- 
 exposed front added by Baccio Pintelli is joining cloister is believed to be the work 
 very simple — an open arcade of five bays of Antonio Sangallo, who is buried in 
 carried on grouped pilasters, with a plain the church. It is surrounded by a very 
 story of as many square-headed windows open arcade of plain arches, carried on 
 above. The nave is spacious but short, Ionic columns. In the centre is a w(dl 
 
 being 50 ft. by 125 ft. The aisles are of 
 less than half the width of the nave, and 
 the main arcades are unique, having nar- 
 row arches that rest directly on two rows 
 of ten slender Greek-Doric columns of 
 Parian marble, perfectly uniform, whose 
 shafts are monoliths, and provided with 
 bases. The old decoration and the old 
 windows of the nave have been displaced, 
 the walls stuccoed over, and a vaulted ceil- 
 ing added in modern times. The trium- 
 phal arch is borne by two Corinthian 
 columns backed by grouped pilasters. 
 The jiriucipal apse, or tribune, retains the 
 ancient bishops' chair, but has lost the 
 lining of marble and mosaic which prob- 
 ably once covered it. 'I'lie vaulting of the 
 transept is modern, and ]n'obably that of 
 the ai.sles. In the riglit arm of the tran- 
 sept is the famous monument of Julius II., 
 who. however, is buried in St. Peter's. It 
 is hilt a fragment of the original design, 
 and its principal interest is in the statue 
 of .Moses, by Michael Angelo, which is its 
 most conspicuous feature. Tlie church 
 was founded in or near i-i'i by tiie em- 
 press Eudoxia, as a depository fur St. 
 Peter's chains. These, one-halt' of them 
 preserved in Rome and one-half brought 
 from Jerusalem by the empress's mother 
 
 with an octagonal sculptured curb, under 
 an entablature borne by four Ionic col- 
 lunins, which is ascribed to Michael An- 
 gelo, but is doubtless by the designer of 
 the cloister. 
 
 Sta. Phassede, an early basilica, built 
 in memory of St. Praxedis. daughter of 
 the senator Pudens, with whom, accord- 
 ing to tradition, St. Paul lodged during his 
 stay in Rome. There is some appearance 
 of confusion between this churcli and Sta. 
 Pudentiana {fj. v.), in the legends whicii 
 place both on the site of an oratory built 
 in the ii cent, by Pius I. Record tells as 
 early as the end of the vcent., of a church 
 which fell into decay, ami was replaced 
 in S17-S20. under Paschal I., by a new 
 building which still remains, apparently 
 on an adjoiinng site. It has a nave and 
 aisles, sei)a rated Ijy two rows of Corinthian 
 columns caiM-ying an entablature which is 
 relieved by Hat bearing-arches in the wall 
 over each intercolumniation, a transept, 
 and apsidal choir. The old atrium, built 
 about with modern buildings, is represent- 
 ed by a small court-yard that only partially 
 disphivs the front, renewed in the XVI 
 century. This is reaejicd l)y a passage at 
 whose entrance is an interesting origimxl 
 porch, a barrel-vaulted bay, borne on pro- 
 
ROME 
 
 jecting lintels ami supportL'il liy a pair of 
 Ionic columns. The nave, 44 I't. wide, 
 has a nioflern flat coffered ceiling ; the 
 narrow transept is blocked by a bell-tower 
 and by screens ; and the choir, which 
 extends across the middle of 
 it, is raised several steps 
 over the semicircular con- 
 fessio, in \vliich are the 
 tombs of St. Praxedis ami 
 her sister St. Pudeutiana. 
 with others. The marked 
 peculiarity of the church, 
 one which has been a sub- 
 ject of controversy among 
 archaeologists, is that every 
 third column is replaced liy 
 a pier carrying an arch 
 across the nave, as in S. 
 Miniato in Florence and 
 some other later basilicas. 
 
 These arches, repeated 
 
 across the aisles, divide the 
 church into bays of three 
 intercolumniations each, a peculiarity 
 which, if it could be shown to belong 
 to the original structui-e, would give the 
 first kuowu example of the division into 
 compound bays which characterizes the 
 Lombard and German churches. But it 
 is probable that the piers and arches were 
 later insertions added to stay the colon- 
 nades when the barrel-vaults were built 
 over the aisles. The mosaics of the apse 
 and the triumj^hal arch, which date from 
 the first building of the church, are very 
 interesting. So are those which decorate 
 the chapel of St. Zeno, or of the Colonna 
 Santa, in the right aisle. This chapel is 
 of the X cent., and was named, because of 
 its splendor, Orto del Paradiso. Other 
 chapels line the aisles, of which the chief 
 is the Olgiati, built near the end of the 
 XTI cent, by Martino Lunghi. At the 
 end of the xii cent. Innocent III. gave 
 the church to the monks of Vallombrosa. 
 In the XVI S. Carlo Borromeo, its titu- 
 lar cardinal, built the monastery whose 
 
 cloister is liehind the choir, rebuilt the 
 facade, and modernized the interior. (See 
 Fiy. 201.) 
 
 St A. 
 
 pying. 
 
 I'kisca, a very old church, occu- 
 it is thought, the site of Servius 
 
 Fig. 201 —Rome, Sta. Prassede. 
 
 Tullius's temple of Diana. It was a three- 
 aided basilica, its arcades supported on six- 
 teen columns of marble and granite, which 
 were incorporated into the piers Avhen the 
 church was modernized by Carlo Lombardi, 
 in the beginning of the xvii century. 
 There is record of the church as early as 
 the V cent., and according to tradition it 
 dates back to the ii century. A double 
 flight of ste]is leads down to the crypt, 
 which, according to tradition, was built 
 into the house in which St. Prisca lived 
 and was baptized by St. Peter. 
 
 Sta. PrDEXTiAXA has been called, ap- 
 parently without sufficient reason, the 
 oldest church in Rome, but retains little 
 of its early aspect. It was a three-aisled 
 l)asilica without transc]it. flat-ceiled, and 
 with an apse of unusual form, segmental 
 in plan, instead of the ordinary semicir- 
 cular tribune. The arcades, of wide span, 
 were carried on seven pairs of marlile col- 
 umns. These had no bases, but peculiar 
 capitals of a kind of water-leaf, and may 
 
 417 
 
ROME 
 
 still be seen imbedded in the Inter i)iers 
 added at the time of vaulting the aisles, 
 wliieli are now divided into chapels. The 
 two eastern bays have been marked otl by 
 heavier piers which supported an oval 
 dome ovei'lappiug the ancient apse. Tlie 
 building is believed to stand upon the 
 house of the Eoman senator Pudens. 
 Avhose daughters, St. Pudentiana and St. 
 Praxedis (see Sta. Prassede) were among 
 the earliest martyrs. According to tlie 
 legend Pius I. in 145 consecrated a 
 church here, but it is impossible that any 
 important part of the existing churcli 
 should date from that time. Tliere is 
 record of a rebuilding by Adrian I. in tlie 
 latter part of the viii century. lliil)sch 
 attributes the church to the iv cent., but 
 the width of the arches, the slightness 
 and the structure of the walls, are against 
 this theory, which is not supported by 
 record, and Mothes and other late 
 authorities hold to the Viii century. In 
 like manner the mosaics of the apse liave 
 been ascribed to the iv cent., but the bal- 
 ance of authority inclines to the ix. 
 A small chapel, which makes the end of 
 the left or southern aisle, and was said to 
 contain the table on which St. Peter cele- 
 brated the holy supper, may be part of an 
 earlier church ; and the vaulted subter- 
 ranean rooms over which the building 
 stands are doubtless parts of the jjalacc of 
 Pudens. The fact that the church be- 
 longed and still belongs to a convent of 
 nuns, is reason for the women's gallery 
 over the entrance. The bell-tower, im- 
 planted in the left aisle, can hardly be 
 earlier than the time of Adrian I., and its 
 three upper stories, which resemble those 
 of S. M. in Cosmedin, are probably later. 
 Tlie church was more or less altered in tlie 
 XI and X[I cents., and considerably trans- 
 [(irnuMl ill l.'jOS under Cardinal Gaetano, 
 who added the elaborate chapel of the Gae- 
 tani. opening out of the left aisle. Kecent 
 alterations have farther disfigured it. with 
 special injury to the mosaics, which are 
 
 among the finest of their early period. At 
 the same time the front, which contains an 
 old doorway flanked by twisted columns, 
 was restored, and ornamented with new 
 mosaics. 
 
 SS. QrATTiio CoRoxATi, a small basilica 
 of unusual form, which took the place of a 
 temple of Diaua in the iv or v cent., it is 
 said, and was dedicated to four martyrs 
 of the persecution of Diocletian. It was 
 originally a large church, with nave and 
 aisles separated by two rows of thirteen 
 columns, carrying arcades and an upper 
 gallery, with a. western apse and no tran- 
 sept. The eliurch, which in this form 
 was probably the work of Honorius, early 
 in the vii cent., and was afterward aug- 
 mented by Leo IV., in the ix, was de- 
 stroyed by Robert Guiscard in 108-4, and lay 
 desolate till, in 1111, Paschal II. rebuilt it 
 on a diminished scale. The 2)resent cliurch 
 was made by blocking up the arcades of 
 the old, so that the original nave is now 
 the whole, building into it new aisles, 
 arcaded, vaulted, and Avith galleries above 
 them : but half the old nave has l)een 
 cut off for an open atrium and a vaulted 
 narthex, and the aisles, only five bays, 
 stop short of the apse, leaving a kind of 
 transept. The nave and transejit are Hat- 
 ceiled, and the apse, which takes the 
 whole width of the church as it now is, 
 and suffices for the choir, is raised above 
 a crypt that contains in four urns the re- 
 mains of the patron saints. The ancient 
 bishops' chair still keeps its place in the 
 centre of the wall of the apse. The orig- 
 inal atrium, in front of the whole building, 
 remains, but is encroached on by the 
 nunnery to wliicli the church belongs. 
 From it opens the Chapel of St. Sylvester, 
 added at the end of the Xiii century. The 
 churcli is held in reverence by the stone- 
 masons of Rome, commemorating, accord- 
 ing to their legend, some early sculptors 
 who suffered martyrdom for refusing to 
 make statues of heathen gods. 
 
 Sta. Saba is the church of a monastery 
 
 418 
 
ROME 
 
 on the Aventiiie Hill, uud, it is believed, 
 oil the dwelling of Sylviii, mother of Greg- 
 ory tiie Great. It was 2ii'<'lj;i'jly huilt 
 about GoU, by Houorius I., for a company 
 of Greek monks of the order of St. Basil. 
 It is a small three-aisled basilica, about 
 100 ft. long, without trausejot. Its most 
 marked peculiarity is an open uarthex 
 which, as in numy German churches, Init 
 in 110 other Roman one, is carried up 
 above the aisles in three stories, making a 
 sort of cross-wing nearly as high as the 
 nave. The lower story is su^jported on 
 square brick piers which take the place, it 
 is said, of marble columns first used. The 
 u])])er story is an open arcaded loggia on 
 columns of plain mediaeval form. An ar- 
 caded cornice of Lombard type on the 
 rear side shows that this loggia and uar- 
 thex were considerably modified by later 
 rebuildiugs. The main arcades of the 
 nave rest on fourteen somewhat unequal 
 ancient columns, Ionic and Corinthian, 
 the clerestory windows are small and 
 sparse, and the roof open-timbered. The 
 rather small apse is screened off according 
 to the habit of the Greek church, by a 
 kind of iconostasis, which crosses the rear 
 wall of the nave and includes the baldac- 
 chino over the altar. The original exe- 
 dra, or stone beiicli for the clergy, has 
 been removed. The last bay of the nave 
 and aisles is raised over the coufessio, 
 which extends under the apse and contains 
 an altar decorated with mosaic. Early 
 mosaics, or substituted paintings, deco- 
 rate the vault of the apse, and a niedi;eval 
 painted frieze crowns the walls of the 
 nave. In the walls of the aisles are seen 
 blind arches, not answering to the main 
 arcades, and resting on corbels like the 
 capitals of columns built up in the wall, 
 as if there had once been an outer aisle, 
 since suppressed by blocking up the ar- 
 cades. An inscription on the walls shows 
 that Cardinal Francesco, of Siena, added 
 the open roof in 14:63, and two small side 
 chapels were added to the aisles in the xvi 
 
 century. The enclosure of the monastery 
 is entered through an interesting porch, 
 like those of S. Clemente, and Sta. Pras- 
 sede, and Sta. Maria in Cosmediii, which 
 consists of a bit of barrel-vaulting under a 
 gable, supported on two antique columns 
 beiiring lintels. 
 
 Sta. Sabixa, built on the site and per- 
 haps of the materials of an ancient tem- 
 ple, is a three-aisled basilica of considerable 
 size, dating from the iv century. The 
 nave, -13 ft. wide, 50 ft. high, and nearly 
 100 ft. long, is separated from the aisles 
 by arcades of thirteen arches, carried on 
 marble Corinthian columns and support- 
 ing a wall pierced by round-arched clere- 
 story windows. The regularity and work- 
 manship of the columns and arcades has 
 led Motlies to conclude that they show the 
 liypa;thrum of the original Tem])le of Lib- 
 erty, unaltered. The roof is open-timbered. 
 There is no transejit, and the great apse 
 at the end of the nave is flanked by a 
 smaller one at the end of each aisle. The 
 church is attached to a Dominican monas- 
 tery, and the last three bays are according- 
 ly raised to form a great choir, with stejJS 
 crossing the whole church, while a stair- 
 way leads down in the middle to the cou- 
 fessio beneath it. The narthex across the 
 front, lined with detached columns sup- 
 porting cross-arches, is a ruder structure, 
 perhajis of the IX century. It is some- 
 what transformed by later changes, and 
 the present entrance is on the right (east) 
 side, under a portico of columns. Two or 
 three modern domed chapels open from 
 the right aisle, and one on the left, the 
 Chapel of St. Catherine, is lined with mar- 
 ble. The church was built, or adapted, 
 under Celestine I., about i2'>, by a jjriest, 
 Peter the Illyrian, whose name is recorded 
 in an early mosaic on the wall over the 
 door. It was restored by Adrian I. and 
 Eugenius II.. and considerably modern- 
 ized in 1585-90, by Sixtus V. Ilonorius 
 III. (1216-27) gave the church and ad- 
 joining i^alace to the Dominicans, who 
 
 419 
 
ROME 
 
 turned the wliole into a iimnastery ; but 
 it is not likely that they i>uiit the cloister 
 wiiieh connects with tiie church on the 
 west, for it is of rude architecture and 
 evidently too early in date. It is, liow- 
 ever, of interest, for it shows a kind of 
 Lombard ilesign rare in Rome, having 
 broad arches carried on square piers, and 
 divided and sul)dividcd by sub-arches rest- 
 ing on coliunus alternately single and 
 coupleil. 
 
 S. Sebastiano From le ^Iiua. an 
 ancient Ciiristiun basilica on the Via Ap- 
 pia, two miles beyond the Porta 8. Se- 
 bastiano. reported to have been built in 
 the IV cent., but restored in 129G, and 
 practically rei)uilt in Kill by the Cardinal 
 Scipio Borghese, under the direction of 
 Flaminio I'onzio. The church consists of 
 a nave without aisles covered by a wood- 
 en ceiling, no transept, and square choir. 
 Tills choir is covered by a dome belong- 
 ing to the restoration of 1396, and under 
 the nave is a groined crypt. The fa9ade 
 is of two orders, coupled Ionic columns 
 below with arches between, and Doric 
 pilasters above enclosing square - headed 
 windows. A low pediment covers the 
 whole front. From a door in the wall of 
 the nave a narrow stair descends to the 
 extensive ancient cemeteries close to the 
 Catacombs of St. Calixtus. 
 
 S. SiLVESTKO IX Cai'ITE is a small 
 basilira built by I'aul I. in the viii cen- 
 tury. It has a nave in four bays with 
 piers and arcades, covered with a late 
 barrel-vault, a small transept, and apse. 
 The aisles have been divided into chapels. 
 The lines of the atrium are preserved and 
 also the original bell-tower. The church 
 was restored and much altered in lOltO by 
 Giovanni di Rossi, who added the present 
 fa9ade. It takes its name from the head 
 of St. .John, which is here preserved, it is 
 said. 
 
 Sta. Sii.\ia. See S. Gregorio Mar/no. 
 
 S. Si'iKiTO IN Sassia. This church is 
 attached to the hospital of the same name. 
 
 the largest in Rome, founded in 1 U)S by 
 Innocent III. on the site of an older one 
 dating from 717, and built, it is said, by 
 Ina, king of the Saxons, whence the name 
 of the church. The hosjiital, destroyed 
 by tire, was rebuilt after 11:71 by Sixtus 
 IV., from the designs of Baccio Pintelli, 
 who also built the church at nearly the 
 same time. Tlie church is a rectangle 
 about US ft. wide and I'Ki ft. long. Its 
 nave, about 40 ft. wide and 110 ft. long, 
 is flanked by five .semicircular (diapels on 
 each side, and terminates in a square 
 choir with a semicircular tribune. The 
 fa9ade is in two stages, each with an order 
 of Corinthian pilasters, of five bays in the 
 lower story, narrowing to three in the 
 upper ; the latter crowned by a pediment 
 and flanked by consoles. In the middle 
 interval below is a doorway, in that above 
 a round window ; the other intervals con- 
 tain niches. At the rear of the church 
 rises a square campanile terminating in 
 two stories of pilasters, with two intervals 
 in each face, each interval including two 
 stories of two-light windows uniU'i' ;i 
 round bearing-arch. The hospital, which 
 is of vast extent, including several courts, 
 and with a fayade 400 ft. in length, is 
 separated from the church by the jialace 
 of its governor, which has a frontage of 
 something more than 1.")" ft. contiguous 
 to that of the church, and of which the 
 buildings enclose a square court with two 
 stories of light open arcades, the lower 
 vaulted, the upper with a Hat wood ceil- 
 ing. 
 
 S. Stefaxo Roton'do is a singular 
 round church of the v century. At pres- 
 ent it is a circular building of about 140 
 ft. diameter, consisting of a central ro- 
 tuiula of 70 ft. clear width, surrounded 
 by an aisle of 30 ft. The wall of the 
 rotunda, 75 ft. high, is carried on a cinde 
 of twenty Ionic columns 22 ft. high, and 
 two piers. These carry a horizontal entab- 
 lature with relieving arches over the in- 
 tercolumniations. Above is a clerestory 
 
 4ao 
 
ROME 
 
 of round-arched windows, and a low coni- 
 cal roof. The aisle was once an open 
 arcade with an outer circuit beyond it ; 
 but tJie outer circuit has mostly disap- 
 peared, and the inner is walled up. The 
 arcade, of forty-four arches, was divided 
 by eight piers into as many groups of 
 
 Fig. 202.— Rome, S. Stefano Rotondo. 
 
 alternately tive and six arches. The 
 smaller groups, corresponding to the car- 
 dinal points, have higher arches carried 
 on Corinthian columns, the intermediate 
 ones lower, on Ionic columns. In this 
 arcade all the columns carry stilt-blocks, 
 those on the Corinthian capitals marked 
 with a cross. The eastern group of arches 
 has been left open, giving entrance to a 
 chancel jjrovided with a small apse, mark- 
 ing the main axis of the church, and 
 flanked on each side by one or two mod- 
 ern chapels, which follow the lines of the 
 old outer aisle. Across this main axis, 
 in the middle of the church, a later wall 
 has been carried, spanning the rotunda, 
 as if to strengthen the failing construc- 
 tion, resting on arches borne by two high 
 Corinthian columns and by two of the 
 piers above mentioned, which rei^lace or 
 enclo.se two of the columns. The present 
 entrance is oblique, on the north side of 
 the afise, under an open porch with four 
 free-standing columns. Some early mo- 
 saics still remain in the apse, and the 
 walls are painted with scenes of Christian 
 martyrdom before the time of Julian the 
 Apostate, by Pomeranzio, in the xvii cen- 
 
 tury. The original plan of the church 
 is somewhat obscure ; but according to 
 Iliibsch's restoration tiio outer circuit was 
 divided by four radiating arms corre- 
 sponding to the one which remains, with 
 its apse, and forming a kind of cross. 
 These were connected by four segments of 
 a narrower aisle, corresponding to the 
 four groujjs of five smaller arches, and 
 the space filled out to the circumference 
 of the arms of the cross by a ring of four 
 narrow courts, walled in but not roofed 
 (see ^j/ff«, Fig. 202). The church was 
 built by Pope Simplicius, and consecrated 
 in 408 ; the irregularity of the materials 
 and the roughness of the work correspond 
 with this date. It was repaired by John 
 I. and his successor, Felix \Y.. who lined 
 it with mosaics and marbles that have all 
 but disappeared. The cross-wall which 
 stays the roof is ascribed to Adrian I. 
 (772-91); and Nicholas \". (1447-55) find- 
 ing the church too dilapidated for his i"e- 
 storing. walled in the inner aisle and left 
 the outer jjarts to crumble. Tlie singular- 
 ity of its plan has led some authorities to 
 believe that it could not have been origi- 
 nally a church ; and it has been assumed 
 to contain the remains, or at least the 
 foundations, of the Macellum Magnum or 
 great market of Nero ; Ijut the construc- 
 tion, even of the foundations, is incom- 
 patible with such a theory. 
 
 Sta. SusANsr.i, an early church, men- 
 tioned as long ago as the iv cent., and 
 altogether rebuilt in the first years of the 
 XVII cent., by Carlo Maderno. It is a 
 cruciform church witiiout aisles, and owes 
 to him the rich and heavily panelled flat 
 ceiling of the nave, as well as the facade. 
 This last is the earliest work of Maderno, 
 and marks the beginning of the baroco 
 style in Italy, though it is far soberer than 
 the buildings in that style that followed 
 it. It simulates rather than follows the 
 outline of the nave and aisles, and has an 
 order of Corinthian columns in the lower 
 story enclosing niches, and in the centre 
 
 421 
 
ROME 
 
 a large doorway uuder a pediment. In 
 the second story, flanked by scroll-but- 
 tresses, is an order of pilasters, likewise 
 Corinthian, with a great central niche 
 under a sub-order, and flanked by two 
 lesser ones, the whole surmounted by a 
 broken pediment and raking balustrade. 
 
 Sta. Tkin'ITA DEI MoXTi, a familiar 
 church by Domeuieo Foutana, occupying 
 a conspicuous site at the head of the !Si)an- 
 i.sh steps, so-called. Its history is obscure. 
 Tiiere is a tradition that it was founded by 
 Charles VIII. of France in 14U4. The 
 f!i(;ade is ascribed to Fontana, though one 
 of the towers bears the inscribed date loTO, 
 when he was but twenty-seven years old. 
 The interior was apparently older, and 
 the transept still shows pointed arches. 
 After the failure of a portion of the vault- 
 ing toward the end of the xviii cent., it 
 was restored about 181G by a French arch- 
 itect, Mazois. It is a cruciform church, 
 with a nave separated by four piers on each 
 side from a range of connected chapels 
 occupying the place of aisles, and a square 
 choir. The fa9ade is narrow and high, in 
 tliree divisions with an order of Corinthian 
 pilasters, the central interval occupied by 
 a doorway, the side divisions sliglitly ad- 
 vanced and crowned by two similar towers, 
 with square open belfries capped by oc- 
 tagonal lanterns. At the left side of the 
 church is a convent, of which the build- 
 ings enclose a square cloister surmunded 
 by a vaulted arcade. 
 
 Sta. TiuxiTA DEI Pellegkixi. A 
 church and hospital, the latter founded in 
 1.J4.S by S. Filijipo Xeri. the former built 
 about IGl-i from tlie designs of Paolo Mag- 
 gi ; the faQade added a century later by 
 Francesco de' Sanctis. The whole plan 
 covers an area of about 21.") ft. by 200 ft., of 
 which the church occupies one angle. It 
 is interesting for its skilful and effective 
 disposition of parts, and includes some fine 
 ;ipartments. The ciiurch is a rectangle 
 of about G-t ft. by 140 ft., divided into a 
 short nave flanked by three rectangular 
 
 chapels on each side, opening by arches in 
 the intervals of an order of pilasters, a 
 short transept, and a choir consisting of a 
 short rectangular bay with a semicircular 
 tribune. The crossing is bouiuled by four 
 great arches springing from detached col- 
 umns, and is covered by a dome. 
 
 SS. ViXCEXZO ED AXASTASIO, Called 
 
 also S. Yinceuzo alle Tre Fontaue, is a 
 basilica of the vii cent., rebuilt at the end 
 of the VIII, and retaining in the main its 
 form of that date. It is about 23.5 ft. 
 long, and 100 ft. across the transept, with 
 a nave of brick, and aisles, transept, and 
 chancel alternately coursed in Ijrick and 
 tufa. Across the front is an open porch 
 like that of S. Lorenzo fuori {q. v.). with 
 four wide-spaced granite Ionic columns 
 in front, supporting an architrave pro- 
 tected by flat relieving arches. The clere- 
 story walls have flat pilaster-strijis and a 
 brick cornice with small marble modil- 
 lious. Within, the nave, 138 ft. long, is 
 bordered by heavy piers 4^ ft. square, 
 carrying nine round arches, of which the 
 two nearest the entrance are walled up. 
 The roof is open-timbered, and on the 
 piers are painted the twelve apostles from 
 Raphael's designs, disfigured by restora- 
 tions. The aisles, which, like the tran- 
 sept and square-ended chancel, are later 
 than the nave, are vaulted ; the transept 
 does not cross the nave, but is lower, aiul 
 its arms open through arches larger than 
 those of the main arcades. The high 
 clerestory wall, above the low arcades of 
 only 20 ft. high, is pierced with small 
 round-headed windows, many of wliieh 
 retain their old filling of perforated 
 marble slabs. The arms of the transept 
 have each beside the chancel two square 
 chapels of later date. The church was 
 founded by llonorius I., in G2I). restored 
 by Adrian I., in 773, and reiniilt "a 
 fundamentis " in 79li. by Leo III. The 
 jiortico inscrilx'd with the date 1140 be- 
 longs to the administration of Innocent 
 II., who built or reorganized the adjoining 
 
KOME 
 
 monastery for the Cistercians uiulor 8t. 
 Hcrutird. Since 1868 the wlmle, with the 
 two adjoining chnrclies (see S. Paalo 
 alle Trc Funtane and Sta. Maria ScnJn 
 Celi), lias heen in the jjossession of tlie 
 Frencli Trappists. Two aisles of the 
 adjoining cloister remain, rather rudely 
 built, with groups of four sub-arches un- 
 der enclosing arches carried on marble 
 columns with bracket caps. 
 
 The Sapiexza, the great University of 
 Rome, was founded as early as the mid- 
 dle of the XIII cent., under Innocent I\'., 
 for the study of the canon and civil law. 
 It was greatly enlarged, both as to its build- 
 ings and the scope of its teaching, under 
 successive jiopes, but the present Iniild- 
 ings, not begun until the beginning of the 
 XVI cent., were finished as late as Ib'iG. 
 under the direction of Giacomo della 
 Porta. Their plan is a rectangle, measur- 
 ing nearly 180 ft. in breadth by 3G5 ft. 
 in depth, with a long court in the centre, 
 entered directly from the central doorway 
 of the i^rincipal fai/ade, and flanked by 
 corridors which give access to the various 
 halls of the University. The majestic 
 front, of extraordinary simplicity, is di- 
 vided by string-courses into three stories, 
 of which the lower is almost unbroken ex- 
 cept by the central pedimented door, and 
 tlie others have a group of windows in the 
 middle. Two narrow bays like pavilions 
 are marked off at the ends by quoins, and 
 a modillioned cornice crowns the whole. 
 The great court, which measures about 
 6.5 ft. by 156 ft., is surrounded on three 
 sides by two stories of very simple vaulted 
 arcades faced by orders of pilasters, Doric 
 below and Ionic above, with a third story 
 of flat wall divided into panels, each with 
 a square window with moulded architraves 
 and smaller horizontal panels above each, 
 with a roundel containing a lion's head. 
 At the extremity of the great court is a 
 cliurch dedicated to San Ivo, built from 
 the designs of Borromini, with a fantastic 
 plan composed of a triangle whose sides 
 
 are liroken by semicircular niches, and 
 surrounded by an irregular cluster of 
 ciiapels. It has a concave front toward 
 the court, above which rises a dome on a 
 drum of broken outline, and at the toj) an 
 absurd spiral lantern. 
 
 The Sc.\L.A Santa (Holy Staircase), 
 consisting of tw-enty-cight marble steps 
 about 12 ft. broiid, brought from Jeru- 
 salem by the empress Helena in 326, and 
 asserted to be those of Pilate's palace — is 
 enclosed in a building erected by Leo III., 
 and rebuilt with additions by Sixtus V., 
 about 1585, from the designs of Domeuico 
 Fontana. It is flanked by two straight 
 staircases on each side, separated by solid 
 walls, with a portico of five arches in 
 front. At the head of the stairs is a log- 
 gia from which opens the Saucta Sancto- 
 rum, so called, a Gothic chapel of small 
 size, which forms the only portion now 
 remaining of the ancient papal palace of 
 the Lateran. The fa9ade has a length of 
 about 96 ft., and, as built from Fontana's 
 designs, consisted of two stories of open 
 arcades, faced with Doric and Corinthian 
 pilasters. Of these only the lower re- 
 mains, the upper having been replaced 
 during the reign of Pius IX., by a flat 
 wall witli an order of Ionic pilasters, with 
 pedimented windows in the intervals. 
 
 Septizoxium. See Palace of the Cce- 
 sars. 
 
 Sessoiuan Basilica. See ,Sta. Croce 
 in Gerusalcinmc. 
 
 SiSTiNE Chapel. See Vatican. 
 
 Tabi-laril'ji, the seat of the state 
 archives, and of those concerning the 
 public treasury. It faced the Forum, in 
 the immediate neighborhood of the tem- 
 ple of Saturn, where tlie treasury was 
 established, and has left considerable re- 
 mains. An inscription shows that tlie 
 existing edifice was built by the consul Q. 
 Lutatius Catulus, in 78 B.C. The massive 
 walls at the back are of jDej^erino on the 
 outside and tufa within ; opjjosite them 
 stands a range of arcades with heavy piers 
 
 423 
 
ROME 
 
 of peperiuo. ornamented on tlie side tow- 
 ard the forum with fluted Doric; seiiii- 
 cohinma whose capitals are of travertine, 
 and opening on a series of vaults. Ui)on 
 this substructure stood a double arcade 
 with Doric and Ionic columns ; the lower 
 rauge formed a public passage, and inside 
 of it a series of rooms was grouped alxjut 
 a court. The rpiadruple series of vaulted 
 chambers behind the arcades of the faQade 
 was in jiart walled up by Michael Angclo 
 in the coustruetiou of foundations for the 
 Palace of the Senator, and these vaults 
 were used under Nicholas V. as a store- 
 house for salt. The arcaded portico 
 formed an architectural connection be- 
 tween the two parts of the Cajiitoline Hill. 
 The length of the substructure is 233 ft., 
 its height 49 ft. The portico now serves 
 as a museum for architectural fragments, 
 especially from the temples of the Forum. 
 A steeji ancient stair of sixty-seven stejis 
 leads from the outside of the building, 
 at its lowest level toward the Forum, to 
 the large hall which faced on the back. 
 
 Tempi ETTO. See *S'. Pietro in Moidorio. 
 
 Temple of Antoninus and Faustin.\, 
 fronting on the north side of the Forum 
 Romanum, opposite the House of the 
 Vestal Virgins. It is the best preserved 
 temple on the Fornm. The cella, still 
 surviving in great 2)art, was in the xvii 
 cent, converted into a church under the 
 invocation of San Lorenzo in Miranda. 
 The ancient prostyle j)ortico of six col- 
 umns, with two intervening on each flank 
 before the auta?, still exists ; the columns, 
 4(J ft. high, are unfluted, of beautiful 
 cipollino marble, with handsome Corin- 
 thian capitals of white marble. Tlie 
 architrave bears the ancient dedicatory in- 
 scription. The frieze of the long sides is 
 sculptured with rich candelabra and vases 
 between advancing griffins. On the east 
 side almost the entire frieze is in place, 
 with portions of the ornate cornice. The 
 temple measured in plan 72 ft. by 120 ft., 
 and was raised on a basement IG ft. high. 
 
 Tempi. !•: of Aucjustl'.s, discovered in 
 1890 in the Via Tordinona. Portions of 
 the foundations and stylobate show that it 
 was cirt'ular, and preserve the marks of 
 the column - bases. The entablature is 
 Corinthian, and the cornice has lion-head 
 water-spouts. The capitals, of Corinthian 
 outline, are peculiar ; they represent a 
 ])anther-skin wrapped about the echinus, 
 with the paws projecting at the angles. 
 The temple was preceded by a portico of 
 horseshoe form. Another temple of Au- 
 gustus, founded by Tiberius and completed 
 by Caligula, has been conjectu rally iden- 
 tified with ruins behind the temple of 
 Castor and Pollux. 
 
 Temple op Castor and Pollux, near 
 the eastern end of the Forum Romanum. 
 adjoining the Basilica Julia. Only three 
 tine Corinthian columns of the peristyle 
 remain standing, with part of their en- 
 tablature ; these belong to the western 
 long side, and are 46 ft. high. Some por- 
 tions of the cella walls remain, and part 
 of the careful black and white mosaic of 
 the cella floor. The basement of the 
 temjjle is 24| ft. high and 98 ft. wide ; it 
 was approached from the side of the 
 Forum by a large triple flight of steps. 
 The columns Ijelong to the emliellishment 
 executed under Tiberius ; the interior 
 jiortions of the temple to the old Repub- 
 lican sanctuary, whose original founda- 
 tion goes Ijack to the battle of Lake 
 Regillus, in 490 H.c The tenn)le was 
 peripteral, octastyle, with eleven columns 
 on the flanks. 
 
 Temple of Concord, occupying tlie 
 N. W. angle of the Forum Romanum. It 
 a]ipears to have been founded by Camillus, 
 in 3(J7 B.C., in honor of the reconciliation 
 of j'li-tricians and plebeians. Under Au- 
 gustus the structure, whic'h had become 
 decrepit, was rebuilt in the Corinthian 
 style. The building consisted of two 
 parts : that iu front, forming the temple 
 proper, was 83i ft. wide aud 47| ft. deep : 
 that behind, which served as the Senate- 
 
ROME 
 
 house, was l-i;i ft. wide and I'.i I't. dccii. 
 It stood iijiou a massive basement; the 
 front part, wliieli liad six columns on the 
 fa9ade and four on each flank, was pre- 
 ceded by a monumental flight of steps. 
 The interior of the cella had ranges of 
 columus along the walls, on a raised stylo- 
 bate. The Senate-house was ornameuted 
 with paintings and statues. The founda- 
 tions survive, together with many frag- 
 ments of the rich architectural decoration, 
 which is among the finest in Rome and 
 evidently of Greek workmanship. 
 
 Temple of Deus REDicuLrs (the god 
 of turning back), a short distance outside 
 of the Porta San Sebastiano (the ancient 
 Porta Capena), so-called from the legend 
 that Hannibal, alarmed by visions, turned 
 back here from his advance upon the 
 city. The structure, however, is not a 
 temple, but a funeral monument in the 
 form of a jisendo-perij^teral temple with 
 Corinthian pilasters, built of red and yel- 
 low brick. The walls are divided by two 
 bands of meander in baked tiles ; the 
 technirpie of the brickwork and ormiment 
 is excellent. The interior consists of two 
 stories with groined vaulting, the lower 
 arranged to receive the burial urns and 
 the upper as a chapel. There is ground 
 for believing this to be the tomb of the 
 celebrated Herodes Atticus, of his wife 
 Annia Regilla, and of their children. 
 
 Temple of Faustixa. See TcmpU of 
 Antiininus and Faitdiiia. 
 
 Temple of Fortuxa Vikilis, so-called, 
 now the Armenian Catholic church of 
 Sta. Maria Egiziaca. It is Ionic, tetra- 
 style, pseudo-peripteral, with seven col- 
 umns on the flanks, and is one of the 
 most perfect monuments of ancient Rome 
 remaining. The four columns of the 
 front portico, with one on each flank, orig- 
 inally stood free, but the intercolumnia- 
 tions were walled up when the temple was 
 converted into a church. The entablature 
 remains perfect on the west side. The 
 frieze was carved with bucrauia and 
 
 graceful festoons, and tlie cornice orna- 
 mented with ilentiis, the egg-and-dart 
 moulding, and a cyma bearing acanthus 
 sprays and lion-head waterspouts. The 
 cella and tlie high moulded basement are 
 built of tufa, originally coated with stuc- 
 co ; the decorative parts are of travertine. 
 It is probably the temple of Fortuna, 
 without any epithet, or else that of Mater 
 Matuta, both built by Servius on the 
 Forum Boarium. The temple measures 
 36 ft. by 02 ft. ; the height of the col- 
 umns is 27 ft. 
 
 Temple of LIadiuax, so-called, though 
 by some scholars the monument is 
 thought to be the Basilica of Neptune, or 
 Portico of the Argonauts, built by Agrip- 
 jja in commemoration of his naval suc- 
 cesses in 20 B.C. If the flrst attribution 
 is correct, and it seems confirmed by the 
 style, it was built by Antoninus Pius. 
 Eleven great Corinthian columns 49 ft. 
 high, of Carrara marble, remain with their 
 entablature in the Piazza Pietra, before the 
 Camera del Commercio, forming part of 
 the north portico of the aiicient structure, 
 which was a jjeripteros of eight columns 
 by fifteen, on a high basement. The inter- 
 columniations were walled up by Innocent 
 XII., in 1695, to obviate impending ruin. 
 A portion of the barrel-vault of the cella, 
 ornamented with coffers, remains in the 
 interior. 
 
 Temple of Hercules, the identifica- 
 tion at present best authorized for the 
 beautiful columnar circular monument on 
 the ancient Forum Boarium. long familiar 
 as the Temple of Vesta (y. r.). From its 
 marble stylobate rise nineteen of the orig- 
 inal twenty slender, well - proportioned 
 Corinthian peristyle columns of Parian 
 marble. The shafts are about 26 ft. high, 
 and the capitals apjjcar to date from about 
 the time of Sulla. The entablature and 
 the ceiling between it and the surviving 
 cella wall are gone ; the existing conical 
 roof rests directly on the columns. The 
 diameter of the cella is 33 ft. : the door 
 
 425 
 
ROxME 
 
 was oil the east side, and was Hanked liy 
 windows. Tlie temple was at an rally 
 date dedicated as a church, at first to S. 
 Stefano, and later to Sta. Maria del Sole, 
 wliich latter attribution it ])reserves. 
 
 Trmple of Julius G.esak (Aedes Divi 
 Julii), at the eastern end of the Forum 
 liomanum, a prostyle pycnostyle structure 
 on a very high basement, dedicated liy 
 Augustus on the site of CtBsar's funeral 
 pyre. It was the earliest temple in Home 
 dedicated to a mortal. At the Forum end 
 was the orator's platform (Rostra Julia) 
 of C'lusar and Augustus, whose plan shows 
 a large semicircular recess in the middle ; 
 the front of this platform bore the beaks 
 of the ships taken at Autium. The re- 
 mains are scanty, yet sufficient to supply 
 a complete plan. Between this temple 
 and that of Castor and Pollux rose the 
 Arch of Augustus, now gone except parts 
 of the foundations. 
 
 Temple of Juno Sospita. See Trm- 
 plc of iSpes. 
 
 Teiiplf: of Jupiter Capitolinus, a 
 famous sanctuary, now almost wholly de- 
 stroyed. It occupied the western summit 
 of the Caiiitoline Hill, and is described as 
 aliout 200 ft. square. It had throe ranges 
 of widely spaced columns in front, on a 
 high raised basement, and three cellas side 
 by side, dedicated to Jupiter, Juno, and 
 Minerva. In both plan and details it was 
 much more Etruscan than Roman. It 
 was founded by Taniuinius I., but dedi- 
 cated iMily ill .■)(i'.i 11. 1'., after the expulsion 
 of Tar(piinius Superhus. In the course 
 of later restorations, the last one by Do- 
 niitiiin. it was lengthened, and perhaps 
 made narrower; the portions of the foun- 
 dations remaining show the width to have 
 been 183 ft., and the length somewhat 
 greater. Tiie greater jiart of the site is at 
 present covered by the CalVarelli palace 
 and gardens. 
 
 Temple ok Jupitek Statok, beside the 
 ancient I'orta .Miigonia. It has been con- 
 jecturally identified with the remains of a 
 
 large platfcn'm in concrete close to the 
 su])iiosed ])osition of the Porta Mugonia. 
 Another great temple under the same in- 
 vocation stood beside that of Juno Regina 
 within the Portico of Octavia. (See Por- 
 firo (if ()ct((via.) 
 
 Temple of Mars Ultor (the Aven- 
 ger), ill the Forum of Augustus. It was 
 founded by Augustus in fulfilment of a 
 vow made at the battle of Philippi, and 
 was dedicated in 2 B.C. It ranked as one 
 of the most splendid temples in Rome, 
 and was adorned with works of art and 
 military trophies. Three of the fine Co- 
 rinthian peristyle columns are still stand- 
 ing, with a pilaster and part of the cella 
 wall. The columns are 59 ft. high and 5|- 
 f t. ill lower diameter. These belong to the 
 eastern long side. The coffered ceiling 
 between the columns and the cella wall 
 is of excellent design. Toward the close 
 of the V cent, the church of S. Basilio 
 was built among the ruins of the teniiile, 
 and until 1820 its campanile rested on the 
 surviving columns. The temple was octa- 
 style, with porticoes on three sides only ; 
 at the back it had an apse and was built 
 against the massive end wall of the Forum. 
 
 Temple of Mixekva. Sec Forum 
 liiiiiKunim. 
 
 Temple of Minerva Medica, so 
 called from the discovery here of the well- 
 known statue of Minerva Medica, in real- 
 ity an elaborate structure for the reception 
 and distribution of wafer. It may be the 
 monument known in antii|uity as the 
 NymphaMiin of Alexaiuler. It is one of 
 the most important domical structures 
 that have come down from ancient times, 
 and from its masonry and style is assign- 
 able to the III century. Unfortunately, a 
 jiart of the wall and dome of the central 
 building fell in 1828 and 1808. The plan 
 is a decagon with ten large interior niches, 
 the diameter 82 ft., and the height of 
 the dome 108 ft. The walls are pierced 
 in the upper jiart with a number of well- 
 proportioned round-headed windows. The 
 
EOME 
 
 monument liai.y originally a semicircular 
 wing on each side of the central rotunda, 
 and was jireceded by a vestibule with col- 
 umns. 
 
 TEirPLE OF Neptuxe, or Poseidoneum, 
 on the Campus Martins, identified with 
 strong j)robability in the remains of a 
 Ijeripteral temple recognized in the build- 
 ings of the Dogana di Terra or Dogana 
 Vecchia. There are still standing eleven 
 Corinthian columns of Luna (Carrara) 
 marble, with their entablature, a large jiiece 
 of one side of the cella, and a small piece 
 of one end. The ceiling of the pteroma 
 consists of a barrel-vault of concrete, orig- 
 inally adorned with reliefs in stucco. 
 Palladio gives a plan of this temple as 
 hexastyle with fifteen columns on the 
 flanks. Excavations made in 1878 dis- 
 closed remains of porticoes forming an 
 enclosure about 330 ft. square about this 
 temple. This is plausibly held to be 
 the Porticus Xeptuni built by Agrippa. 
 In the basemeut of the temjile w-ere set 
 thirty-six reliefs representing the prov- 
 inces of the Eoman Empire, separated by 
 trophies of the military equipments char- 
 acteristic of the several ju'ovinces. A 
 number of these reliefs still exist. 
 
 Temple of Peace. See Basilica of 
 Ccinsfanfine. 
 
 Temple of Romulus. See <S'.S'. Cosmo 
 e Damiano. 
 
 Temple of Saturx, on the south side 
 of the Forum Romauum, near its western 
 end. A very ancient altar to Saturn stood 
 on this spot, and was at an early date re- 
 placed by a temple. This temple was re- 
 built under Augustus, and restored by 
 Septimius Severus, and finally by Diocle- 
 tian. The six unfluted Ionic columns of 
 the faQade are standing with their entab- 
 lature and part of the pediment, together 
 with an adjoining column on each flank. 
 The marble capitals are of a debased type 
 with four angle-volutes ; the shafts are of 
 gray and red granite. A part remains of 
 the flight of steps which gave access to the 
 
 lofty platform of the temple, 71 ft. by 107 
 ft., which is built of travertine and be- 
 longs to the building of Augustus. From 
 the early days of the Republic, the Tem^jlc 
 of Saturn served as the chief public treas- 
 ury. 
 
 Temples of Spes and Juno Sospita, 
 as identified with strong probability, two 
 of a group of three jire-imjierial temjjles, 
 perhaps restored in the early empire, side 
 by side on the Forum Olitorium, or oil- 
 market. Considerable renuiins of all 
 three are incorporated in the present 
 church of S. Xiccolo in Carcere. The 
 central temple was the largest, and was 
 Ionic, hexastyle, iJeripteral, with a deep 
 jiortico of three interior ranges of columns 
 before the cella. One side of its cella- 
 wall, in travertine, and four columns sur- 
 vive. The second largest tcnii)le was also 
 Ionic and hexastyle, and would have been 
 peripteral but for the extension across its 
 side j)orticoes of the back wall of the 
 cella. The third temple was considerably 
 smaller ; it was hexastyle, peripteral, and 
 of Tuscan order. Five peristyle columns 
 of the last temple are standing, and seven 
 columns with some i^ieecs of wall of the 
 second. Fragments of the walls are vis- 
 ible in the crypt of the church, some of 
 the columns apjiear in its fagade, and 
 others in its side walls. In the upjier part 
 of the church structure ajjpcars some of 
 the entablature of the middle temple, 
 with a gracefully sculptured frieze. (See 
 <S'. Xicculo in Curccrc.) 
 
 Temple of Venu.s axd Rome, on the 
 Sacred Way, near the Forum, and be- 
 tween the Colosseum and the Basilica of 
 Constantiue. The temple had two cellas, 
 back to back, the colossal goddess-statue 
 in each occujjying a semi-domed apse at 
 the inner end. The cella walls were each 
 ornamented with five niches for statues, 
 alternately round aiul square, with side- 
 columns and alternately round and trian- 
 gular ijediments. Between the niches 
 rose decorative columns sujiporting an en- 
 
 427 
 
ROME 
 
 tablature and sculptures. The two semi- 
 domes with tlieir diamond-shaped lacu- 
 nars of stucco, and one wall of each cella, 
 survive, one cella being within the enclos- 
 ure of the convent of Sta. Francesca Ro- 
 mana. Before each cella was probably a 
 pronaos of four columns in an/is. The 
 peristyle had ten great fluted Corinthian 
 columns of white marble on each front, 
 and twenty on each flank. The pedi- 
 ments were filled with sculptures. The 
 stylobate was raised on seven steps. 
 About the temple was a sjjacious court 
 paved with white marble and surrounded 
 with porticoes of gray granite and red 
 porphyry columns. There were raised 
 and decorated ])ropyUva in the middle of 
 each side. The court was ornamented 
 with monumental columns, flanking the 
 temjile, which perhaps bore statues of tiie 
 empress Sabina and the emperor Hadrian, 
 the founder of the temple. 
 
 Temple of Vespasian, fdrnicrly called 
 Temple of Jupiter Tonans, in the Forum 
 Romanum, at the N. W. end, built against 
 the Tabularium. The three fluted Corin- 
 thian columns of Carrara marble, with 
 their entablature, which formed the north- 
 ern angle of the prostyle liexastyle west 
 front, form a consjiicuous memorial of 
 this temple. The height of the columns 
 is 50 ft., their base -diameter over ,"> ft. 
 Tlie richly ornamented entablature was 
 long studied as an ai'chitectural model, 
 and is effective despite its excess of ex- 
 uberance. Much of tlie marble iiavement 
 of the cella remains in place. The in- 
 terior had ranges of columns along tlie 
 walls, on a raised stylobate. This temple 
 was dedicated by Domitian, about 94 a.d. . 
 and restored by Scptimius Severus and 
 Caracalla. 
 
 Tkmple of Vesta, the seat of the cere- 
 monial hearth of the Roman State, at the 
 eastern end of the Forum Unmanum. 
 Only the substructions of tufa and rul)ble 
 remain of this venerable sanctuary, witii, 
 however, enough an'hiteclural fragments 
 
 to afford material for a complete restora- 
 tion as the temple existed in the iii cen- 
 tury A.I). It was circular, about 5(i ft. in 
 diameter, with a portico of twenty mono- 
 lithic fluted Corinthian columns. This 
 monument is not to be confounded witli 
 the familiar circular edifice in the Piazza 
 della Bocca della Verita, which was form- 
 erly known as the Temple of Vesta, but is 
 now generally called the Temple of Her- 
 cules. 
 
 Tiieatke of Maucellls. founded l>y 
 .Julius Cajsar, and dedicated by Augustus 
 in 13 B.C. It and the theatre of Pompey 
 are the earliest examples of the complete 
 Roman theatre in masonry with archi- 
 tectural adornment of the exterior ar- 
 cades. The outer wall was solidly built 
 in two arcaded stories of splendid traver- 
 tine masonry, ornamented with engaged 
 columns and entablatures — those of the 
 lower tier Doric, of the ujjper Ionic. 
 The lower tier is now buried to two- 
 thirds of its height. Twelve of its ar- 
 cades are still visible, and with those 
 above are now occupied by modern houses, 
 wJiich have replaced the mediteval fortress 
 of the Pierleoni and Savelli. The stage 
 was very deep ; some part of the exterior 
 of the stage-structure still exists. Ac- 
 cording to ancient records, this theatre 
 could receive thirty thousand spectators, 
 but from the existing remains this is 
 clearly an exaggeration. 
 
 Theatre of Pompey, built by the 
 great Pom2)ey, and completed in 53 B.C. 
 It was the first theatre built of stone in 
 R(jme ; the seats and architectural adorn- 
 ment of the interior were of marble, and 
 the exterior arches, whose lower tier was 
 ornamented with engaged Tuscan col- 
 umns, of travertine. It could hold forty 
 thousand people. Much still remains of 
 tills theatre, tiiough for the most part con- 
 cealetl by modern houses. At the back of 
 the stage-structure was the splendid Por- 
 tico of Pompey. with several parallel 
 ranges of columns surrounding a court, 
 
 428 
 
RO.ME 
 
 and adjoining this was the Curia of Pom- 
 pey, in which the Senate met, and where 
 Ca?sar was murdered. 
 
 Thekm.e of Agkippa, tlie first of tlie 
 great f)ublic batlis of Rome, opened in 21 
 B.C. Tliey were situated immediately be- 
 liind tlie Pantheon, were very large and 
 splendidly ornamented, and were supplied 
 with water by the aqueduct of the Aqua 
 Virgo, also built by Agrippa. These 
 therma? survived in great ])art down to the 
 early xvi cent., but what little is now left 
 is for the most part masked by modern 
 houses. In 1881-8"2 a row of houses built 
 behind the Pantheon was removed, and 
 imjxirtant remains of the great hall of the 
 therniiB were exposed. It was ornamented 
 with fluted columns of pavonazetto marble 
 and with an entablature of Pentelic mar- 
 ble, including a frieze sculptured with 
 dolphins and tridents. Part of the entab- 
 lature has been replaced in jjosition. The 
 hall was encrusted and paved with beauti- 
 ful marbles, and an apse for a statue was 
 added by Hadrian on the side toward the 
 Pantheon. The theory once entertained 
 that the Pantheon was connected with the 
 thermae of Agrippa is now rejected. 
 
 Therm.e of Oaracalla, one of the 
 most sumptuous foundations of Roman 
 imperial luxury, still imposing in its utter 
 ruin. The main central structure, includ- 
 ing the baths and their immediate acces- 
 sories, was completed by Oaracalla in 216 
 A.D. ; the outer court, about 1,100 ft. 
 square, with its porticoes, exedras, sta- 
 dium, gardens, etc., was added by Ilelio- 
 gabalus and Alexander Severus. The great 
 central hall of the baths, once the tepida- 
 riuin or warm bath, was a nolile room l.si) 
 ft. by "i'l ft., covered with groined vaulting. 
 The caldarium or steam-bath was a ro- 
 tunda 160 ft. in diameter. The decora- 
 tion of the whole, with precious marbles, 
 alabaster, mosaics, wall - jiaintings, and 
 sculptures, was of the most lavish charac- 
 ter. The athlete mosaic of the Lateran 
 came from the palsestra of these therma?, 
 
 and here were excavated in the xvi cent, 
 the famous Farnese Hull, Farncse Her- 
 cules, and Farnese Flora, and over one 
 hundred other pieces of ancient sculpture. 
 
 The'rii.e of Diocletian, between the 
 Viminal and the Quirinal, dedicated 305- 
 306 A.D. The architect Palladio took the 
 jilan of the remains in the days of the Re- 
 naissance ; now but scanty fragments sur- 
 vive, in brick masonry, besides the mod- 
 ern church of S. Bernardo, together with 
 the splendid central hall, which, as ada2)t- 
 ed by Michael Angelo, constitutes the f)res- 
 eut transept of Sta. Maria degli Angeli. 
 This hall is about 200 ft. long, 95 ft. liigh, 
 and 7'J ft. wide ; it is covered by three 
 superb groined vaults, whose imposts are 
 received by eight columns of red syenite 
 with monolithic shafts 38 ft. high, to 
 which their Corinthian and Composite 
 capitals add 6 ft. The ancient bases are 
 buried 7 ft. beneath the raised modern 
 pavement. The lighting is managed by 
 windows high in the lunettes of the 
 vaults. Despite the disfigurement of mod- 
 ern decoration, this noble hall is highly 
 impressive. It exerted a profound influ- 
 ence upon the architecture of the Re- 
 naissance. At each angle of one side of 
 the enclosure which surrounded the cen- 
 tral buildings was a circular domical build- 
 ing resembling a small Pantheon. One of 
 these is still essentially jierfect, and since 
 1598 has served as the church of S. Ber- 
 nardo alle Terme. The opening at the ver- 
 tex of its dome is covered by a modern lan- 
 tern. About half the opposite rotunda is 
 still standing. 
 
 Thermje of Titus, a very extensive 
 public bathing establishnu-nt, hastily built 
 by Titus immediately after the dedication 
 of the Colosseum, in 80 a.d. It was built 
 over the remains of Nero's Golden House, 
 portions of which still exist in its sub- 
 structions. The only part excavated is a 
 piece of one side of the enclosure, consist- 
 ing of nine parallel vaulted corridors 
 bounded by a curved line. These may rep- 
 
 429 
 
ROME 
 
 resent the fouiulalion.s of a theatre. i>e- 
 neatli, a series of seven rooms belonging 
 to Nero's palaue is accessible, together 
 with otiier remains of some extent. These 
 rooms were opened in Kaphael's day, and 
 served as example and inspiration for 
 much of the Renaissance of the xvi cent. ; 
 their decoration with wall-paintings and 
 grotesques and other ornaments in stucco 
 was much admired by him. Afterward 
 they were closed again, and were reopened 
 by the French in the beginning of the 
 present century. Parts of the wall-paint- 
 ing still remain, in au excellent style, re- 
 sembling the best of that at Pompeii. 
 
 ToMi! OF Caus Oesti's. See Pjjrn- 
 m id. 
 
 Tomb of C.Ti;ciLiA Metella, daugh- 
 ter of Q. Metellus Creticus, and wife of a 
 Crassus, perhaps Oajsar's qUcBstor. It is a 
 massive round tower 97 ft. in diameter, 
 rising frona a triangular basement, faced 
 with beautiful ashlar of travertine, and 
 girdled beneath the cornice by a hand- 
 some marble frieze sculptured with bu- 
 crauia and garlands. The summit of the 
 monument now bears a battlemented 
 medieval fortification. The grave-cham- 
 ber, now ruinous, had a conical vault. It 
 is probable that the original termination 
 of the monument was domical. 
 
 University. See La Sapinna. 
 
 The Vatican, the official residence of 
 the popes, and seat of tlio papal govern- 
 ment, may be said to consist of two dis- 
 tinct masses of building, occupying the 
 slope of the hill at the foot of wliich 
 stands St. Peter's, and connected by two 
 narrow parallel galleries about 1,000 ft. 
 long and 240 ft. apart, themselves con- 
 nected about the uiiddle of their length 
 by two cross-galleries which divide the en- 
 closed space into two rectangular courts 
 of nearly equal size. Of these two masses 
 of building, the one to the south is prop- 
 erly the palace of the Vatican, and con- 
 nected with the great basilica of St. Peter ; 
 that to the north, originally a garden- 
 
 house of the jiopes, and of no great ex- 
 tent, still retains its early appellation of 
 the Belvedere. Both of these great divi- 
 sions are composed of an immense number 
 of halls, chapels, galleries, state apart- 
 ments, staircases, courts, and private apart- 
 ments of enormous extent, dating from 
 various ages, the work of successive jjopcs, 
 and whose arrangement, determined for 
 the most part without i-eference to any 
 general or comprehensive scheme, will be 
 best understood by reference to the accom- 
 panying plan. The principal entrance is 
 by the Scala Regia, a magnificent stair- 
 case built by Urban VIII., about 1G30, 
 from the designs of Bernini, which opens 
 from the south end of tlie great western 
 vestibule of St. Peter's, and is also a con- 
 tinuation of the north arm of the enclos- 
 ing colonnade of that church. The stair- 
 case is divided into two runs, the first 13U 
 ft. long, rising about 39 ft. ; the second 
 nearly 80 ft. long and rising 18 ft. The 
 first run is built in false perspective, di- 
 minishing as it rises, to increase its appar- 
 ent length, from a width at the bottom of 
 about '^G ft. to about 16 ft. at the top, and 
 flanked by an order of detached Ionic mar- 
 ble columns bearing a ramping entalda- 
 ture, which with its deeply panelled bar- 
 rel-vault also diminishes. This staircase 
 leads to the Sala Regia, a rectangular 
 hall built by Antonio Sangallo about 
 l.")40, and serving chiefly as an ante-room 
 to tlie Pauline and Sistine chapels, which 
 open from it ; the former built at the 
 same time, by the same architect, the lat- 
 ter some seventy years e.irlier, by Baccio 
 Pintelli. The Sistine Chapel is a simple 
 rectangular hall about 130 ft. long and 44 
 ft. wide, with aflat ceiling connected with 
 the walls by a cove broken by lunettes. 
 Its i)laiu walls are pierced above by six 
 arched windows on each side, the s^iace 
 below being divided horizontally into two 
 bands, the upper containing a series of 
 great frescoes by Perugino, Luca Signo- 
 relii, Sandro Botticelli, and other masters 
 
 430 
 
ROME 
 
 of tlip XV cent. ; the lower, iiiteiuleil orig- 
 inally to be covered by the tajiestries 
 made from Eiiphael's cartoons, but now 
 jiainted in imitation of drapery. The 
 ceiling and one of the end walls are cov- 
 ered with the frescoes of Michael Angelo, 
 from which the snpreme interest of the 
 chapel is derived. From the opposite 
 side of the Sala Regia opens the long Sala 
 Ducale, some 30 ft. wide and 130 ft. long, 
 built from the designs of Bernini, with 
 plain walls but a coved ceiling magnifi- 
 
 luuseum and the pontifical ])alacc, the 
 three others consisting each of an arcaded 
 order of columns, Doric, Ionic, and Corin- 
 thian, re.spectively. All the arcades are 
 profusely decorated with frescoes, but tliose 
 of one side on the third story are celebrat- 
 ed as the Loggie of Raphael, being adorned 
 with frescoes of scriptural subjects cover- 
 ing the vaults of the ceiling, and with ara- 
 besque jjaintings and stucco reliefs on the 
 pilasters, of the utmost delicacy and 
 beauty, executed from Raphael's designs 
 
 Fig. 203.— Rome. Vatican. 
 
 1. Scala Regia. 
 
 2. Sala Regia. 
 
 3. Sistine Chapel, 
 
 4. Sala Ducale. 
 
 5. Court of S. Damaso 
 
 6. Court of Pal. of Sisto V. 
 
 7. Appartamenti Borgia. 
 
 8. Museo Lapidario. 
 
 9. Library. 
 
 10. Braccio Nuovo. 
 
 11. Great Court of Belvedere. 
 
 12. Garden of La Vigna. 
 
 13. Museo Chiaramonte. 
 
 14. Smaller Court of Belvedere 
 
 (Museo Pio Clementino). 
 
 15. Sala delle Statue. 
 
 16. Sala degli Animali. 
 
 17. Sala delle Muse. 
 
 18. Rotonda. 
 
 19. Egyptian Museum. 
 
 20. St. Peter's. 
 
 ceutly decorated with frescoes by Loren- 
 zino da Bologna, and forming a gallery of 
 communication between the great stair- 
 case with its adjacent chapels, and the 
 residence portions of the palace, which 
 surround the Cortile delle Loggie, called 
 also the Court of St. Damasus. This 
 court, begun about 1510, from the designs 
 of Bernini, and finished after his death by 
 Rapliael, is an irregular quadrangle about 
 310 ft. by 146 ft., surrounded on three 
 sides by four stories of building, the low- 
 est a simple arcade w'ith entrances to the 
 
 and under his supervision by liis jiupils. 
 The arcades were long open to the weather, 
 and the pictures had suffered great injury 
 before the openings were closed by glass 
 in 1813. From the end of this gallery 
 oj^ens a suite of four square rooms, origi- 
 nally a iiortion of the official apartments of 
 the popes, and of which, by command of 
 Julius II. and Leo X., the walls and ceil- 
 ings were painted in fresco by Rapliael 
 and his succes.sors. The work was execu- 
 ted betw'een 1508 and 1520, and the rooms 
 have since been known as the Stanze of 
 
 4-31 
 
ROME 
 
 Raphael. The buildings to the east and 
 north of the court of St. Daniasus, sur- 
 rouiidina; the small court of Sixtus Y., are 
 
 Fig. 204. — Rome, Vatican, Hall of Statues in the Belvedere. 
 
 occuj)ied by the j)rivate ajiartments and 
 offices of the jiope and his household. 
 
 The remainder of this vast groui> of 
 buildings, those namely at its northern 
 extremity known as the Belvedere, with 
 the long galleries connecting them with 
 the buildings at the southern end, and 
 the two transverse galleries dividing the 
 great court, are entirely given up to the 
 immense and varied collections of sculpt- 
 ure, antiquities, books, and manuscripts 
 which are known as the JIusenm of the 
 Vatican. At its princijKil entrance near the 
 N. W. angle a fine staircase of marble, 
 opening from a vestibule in the form of a 
 Greek cross, leads to a hall of similar shape 
 called the Sala a Croce Greca, and this 
 again to the Rotonda, a great circular 
 hall GO ft. in diameter, built by Pius VII. 
 from Simonetti's designs, to receive the 
 great porphyry vase or tazza, 15 ft. in di- 
 
 ameter, found in the Baths of Titus. 
 The hall is .surrounded by semicircular 
 niches containing statues, in the intervals 
 of an order of Corinthian pilasters, over 
 u'hich is a range of semicircular windows, 
 iind is covered by a coffered hemispherical 
 dome. The centre of the floor is an an- 
 cient mosaic found at Otricoli, in 1780. 
 The Sala delle :\rusc (Hull of the Muses), 
 a noble gallery in three compartments 
 divided by coujjled Corinthian columns of 
 marble, connects the Rotonda with the 
 galleries surrounding the Cortile or inner 
 court of the Belvedere. This court, built 
 (iriginally by Bramante, which may be re- 
 garded as the central point of the Museum, 
 forms a square of about 70 ft., surrounded 
 by a vaulted corridor some 16 ft. Avide, 
 opening from the court through the inter- 
 vals of an Ionic order, the angles of the 
 s(]u;ii'e cut off. and those of the corri- 
 dor oecu])ied by four cabinets, three of 
 which are devoted to the most precious 
 examples of Greek sculpture, the Laocoon, 
 the Apollo, and the Antinoiis or Mercury, 
 the fourth being occuiiied by the Perseus 
 of Canova. The court is enclosed on two 
 sides by the Hall of Animals and the long 
 Gallery of Statues. The halls and galler- 
 ies thus far enumerated constitute what is 
 known as theMuseo Pio Clementino, from 
 the two jiopes, Pius VI. and Clement 
 XIV., who founded it, and by whom the 
 halls were for the most part built and 
 filled. On the N. E. angle of the Belve- 
 dere is a square tower containing a circu- 
 lar staircase of remarkable construction, 
 designed by Bramante. It is about ^7 ft. 
 in diameter, witli a spiral ring of Doric 
 columns with entablatures carried from 
 bottom to top, a height of something over 
 50 ft., around an inner circular well 13 ft. 
 in diameter. From the soutliernmost of 
 an irregular suite of rooms flanking the 
 Cortile on the east, a broad stair descends 
 to the long gallery of the other great di- 
 vision of tlie ]\lHseum. called the Museo 
 Chiaramonti, from the family name of its 
 
 43! 
 
PISTOIA-CATHEDRAL SQUARE 
 
•"rirnfl 
 
ROME 
 
 fouiuler, Pojic Pius \ll., wliich occupies 
 the half of one of the great galleries that 
 connect the Belvedere with the soutliern 
 portion of the palace, from the middle of 
 wliich the newest addition to the build- 
 ings, known as the Braccio Nuovo, is car- 
 ried across the court. This fine hall, be- 
 gun in 1817 and finished in 18"22, from the 
 designs of a German architect, IJafacl 
 Stern, is about 26 ft. wide and 235 ft. long, 
 and nearly 40 ft. high, covered by a pan- 
 elled barrel-vault, the walls on each side 
 lined with a series of sixteen niches, the 
 centre marked on one side by a square 
 projecting bay, and on the other by a 
 semicircular tribune 20 ft. wide. The 
 gallery is lighted from above, and contains 
 many of the most remarkable examples of 
 Greek art. Crossing the great court par- 
 allel with the Braccio Nuovo, but at a 
 somewhat lower level, is the Library, built 
 under Sixtus V., in 158G, by Fontana. It 
 is a hall 4G ft. wide and 335 ft. long, 
 lighted by seven windows on each side, 
 and divided by a lino of massive square 
 jiiers in the middle of its breadth, the ceil- 
 ing on each side being divided into groined 
 bays and painted in the liveliest style 
 with arabesques and views in fresco and 
 figures in the Pompeiian manner. The 
 books and MSS. are contained in closed 
 cases, which, as well as the piers, are paint- 
 ed in a style similar to that of the ceiling. 
 The collections of the library have, since 
 this hall was built, overflowed into the 
 long western gallery flanking the great 
 court, of which they now occupy the 
 whole length of one story. [See Fit/s. 
 £03, 204. f 
 
 The history of the Vatican begins as far 
 back as the reign of Constantino, who 
 built a palace contiguous to the old basil- 
 ica of St. Peter for the residence of the 
 clergy connected with the church, in which 
 Charlemagne is said to have lived for a 
 time at the period of his coronation by 
 Leo in. The early buildings disajipeared 
 during the disturbances of the middle 
 
 ages, and the oldest portions of the pres- 
 ent palace probably date from the middle 
 of the XII century. It was enlarged by 
 successive popes, notably in 1278, 1447, 
 and 1471, but did not become the papal 
 residence until after the return of the 
 popes from Avignon, in 1377. During 
 the stormy periods of the xiv and xv 
 cents., it was connected by a walled and 
 covered passage with the Castle of St. 
 Angelo, which had by that time been con- 
 verted into a strong fortress. The Belve- 
 dere was built by Innocent VIII. and 
 Alexander VI., between 1484 and 1504, as 
 a villa. It was then separated from the 
 Vatican by a rough hillside. Julius II., 
 early in the xvi cent., conceived the plan 
 of uniting the two buildings, and a com- 
 prehensive and magnificent project was 
 devised by Bramante, of which, though it 
 was never completely carried out, the 
 drawings remain, and which contemplated 
 a single unbroken court, more than 1,000 
 ft. long and 250 ft. wide, stretching from 
 the old palace to the villa ; the slope of 
 the laud corrected by a stately terrace 
 midway, with two ranges of steps ; the 
 sides of the courts lined with three stories 
 of arcades, the southern end made into a 
 theatre, with ranges of curving seats rising 
 one above another, from wliich to witness 
 games and tournaments in the lower court ; 
 and the northern end closed by the new 
 fa9ade of the Belvedere with a great vault- 
 ed exedra or niche in the middle. The 
 connecting galleries forming the sides of 
 the court were built partly under Bra- 
 mante, and partly after his death, by San- 
 gallo, Peruzzi, and other architects, and 
 the great exedra still suggests the splen- 
 dor of the intended effect, which, how- 
 ever, was destroyed by the building, in 
 1586, of the Library across the middle of 
 the courts. (See also Villa Pia.) 
 
 ViCxXA ni Papa Giulio. See ViUa 
 (li Papa Giulio. 
 
 The Villa Albani, one of the most 
 important and interesting of the great 
 
KOME 
 
 suburban villas, lies on the northern edge 
 of the city just outside the Porta Salara, 
 and in the midst of very extensive 
 grounds, laid out with the formal and 
 elaborate art of the xviii century. The 
 principal building consists of a long 
 casino with a central division two stories 
 in height, and wings of one low story ex- 
 tending on either side, the entire length 
 being about "^(iO ft. The outer elevation 
 is plain and without openings, the wall 
 being divided by jiilasters and having a 
 projecting entrance porch in the centre. 
 The garden front has on the first story an 
 open Palladian arcade of nine arches in 
 the centre and seven low'er on each side, 
 enclosed in an order of rustic Ionic pi- 
 lasters. The second story of the centre 
 has an order of Corinthian pilasters on a 
 high pedestal-course, w'ith jjedimented 
 windows in the intervals, small round 
 mezzanine windows above, and a balus- 
 traded cornice. At the extremities of 
 the wings are porticoes, one with antique 
 caryatids and the other with marble col- 
 umns. Separated from the casino by a 
 broad 2:)arterre is a semicircular open ar- 
 cade about 90 ft. in diameter, at the centre 
 of which is a small square iMvilion. The 
 works of the villa were begun about 1140 
 by Cardinal Alexander Albani, the cardi- 
 nal himself directing the design, which 
 was executed under his own supervision 
 by Carlo Marchionni. The grounds were 
 laid out by Antonio NoUi, and are remark- 
 able for the great number of statues, bas- 
 reliefs, vases, and other remains of an- 
 cient art with which they are judiciously 
 decorated. The interiors were adorned 
 by Kaphael Mengs, the ceiling of the 
 principal gallery having been painted en- 
 tirely by him. The casino contained orig- 
 inally what was doubtless the most exten- 
 sive and valuable private collection of 
 ancient sculpture in existence, being sur- 
 passed in importance only by tlic galleries 
 of the Vatican and the Capitol. But the 
 greater part of the collection was stolen 
 
 by Kapoleon, who carried olf nearly three 
 hundred statues and bas-reliefs, which 
 having been, after the peace of 1815, re- 
 stored to the cardinal, were sold by him to 
 the king of Bavaria and now form jiart 
 of the royal collections at Munich. 
 
 The Villa BoRCiiiESE lies on the 
 northern edge of Rome, its entrance lieing 
 just outside tlie Porta del Popolo, and its 
 grounds, which are of immense extent, are 
 bounded on one side by the city walls. 
 1'hey include many buildings of various 
 kinds, of which the most important is the 
 great Casino or residence, built in 1U05, for 
 Cardinal Scipione Borghese, from the de- 
 signs of Hans von Xantere, called Giovanni 
 Vasanzio, a Fleming. It measures aljout 
 1-10 ft. in length and 120 ft. in depth, and 
 is in two stories with a five-arched vault- 
 ed entrance vestibule in the centre of its 
 main (garden) front, over which the wall 
 is recessed and carried up two stories. It 
 was much altered during the xviii cent., 
 when under the direction of Canina it 
 was converted into a series of galleries for 
 the remarkable collection of ancient 
 sculjitures belonging to the Borghese 
 family. The gardens were laid out by 
 Sabino of ]\Iontepulciano. The grounds 
 are now freely used by the public. 
 
 The Villa Dohia Pamiili, lying a 
 little distance outside the Porta S. Pan- 
 crazio, on the west of Home, is one of the 
 largest and most beautiful of all the 
 suburban villas which surround the city, 
 the circuit of its grounds measuring 
 about four miles. The Casino is a square 
 building of no great size, standing on the 
 side of a large rectangular sunken par- 
 terre of formal arrangement, with exten- 
 sive gardens before and behind. It is of 
 two stories, decorated each with an order 
 of Corinthian pilasters with pedimented 
 windows and niches in the intervals, and 
 with a high attic above. The fa(;ade 
 toward the parterre has an additional 
 basement story with an arched loggia. 
 The casino was built by Algardi about 
 
ROME 
 
 lUJO ; tlie grounds were laid out by Al- 
 giirdi iiiul Antinori. 
 
 Vij.i.A Fakxesixa. .See Pahizzo Far- 
 nesinu. 
 
 Villa of M.ecexas. See Aitdilorium 
 of Mcercnas. 
 
 The A'lLLA Mada.ma occupies a com- 
 manding site on the eastern slope of 
 Monte Mario, a mile and a half X. W. 
 from Rome. It consists of a casino of 
 moderate size, raised on a high basement, 
 of which the principal feature is a lofty 
 open loggia of three round arches, faced 
 with an order of Ionic pilasters which is 
 continued around the building. This 
 loggia, which 0})ens from the extremity of 
 an elevated bridge-like terrace, is vaulted, 
 and its walls and ceilings are famous for 
 their decoration by Giulio Romano and 
 Giovanni da Udine. The remaining por- 
 tion of the casino is in two stories, and 
 presents nothing remarkable. In the rear 
 is a finely conceived semicircular court 
 which renuiins incomplete. The villa was 
 built early in the xvi cent, for Cardinal 
 Giulio de Medici, afterward Clement VII. 
 Raphael furnished the designs, which were 
 carried into execution with alterations by 
 Giulio Romano. It was never finished 
 and has long been in a ruinous condition. 
 
 The Villa Medici, one of the most 
 familiar of the Roman villas, occupies a 
 commanding site on the Pincian Ilill, 
 standing in the midst of extensive grounds 
 adjoining the public pleasure grounds of 
 the Pincian, and bounded on one side by 
 the city walls. The principal building is 
 a rectangle of about 37 ft. by 85 ft., with 
 an entrance front of simple design in two 
 stages, each with a princii)al and mezza- 
 nine story ; and a picturesque and dis- 
 orderly fajade toward the garden, jjopu- 
 larly ascribed to Michael Angelo, with a 
 centre and two slightly advancing wings, 
 the centre having on the ground-floor an 
 open loggia with a high middle arch, and 
 an ujjjDer story with three windows with 
 pedimented caps. This central division is 
 
 Hanked by two square towers. The whole 
 facade is adorned with ancient bas-reliefs, 
 architecturally disjjosed in panels. From 
 the extremity of the casino a long gallery 
 projects at right angles with it, containing 
 a fine collection of ancient sculpture. The 
 villa was begun about the middle of the 
 XVI cent., by Cardinal Giovanni Ricci da 
 Montepulciano, and finished somewhat 
 later from the designs of Annibale Lippi. 
 It was ceded to the French Government in 
 1802, and became the home of the French 
 Academy, at which the students sent to 
 Rome by the Ecole des Beaux-Arts at 
 Paris j)ursue their studies. 
 
 Villa di Papa Gitlio, the villa of 
 Pope Julius III., on the Via Flaminia, 
 about a mile outside the Porta del PojJolo, 
 though now in a neglected and decayed 
 condition, is still one of the most interest- 
 ing, as it was originally one of the most 
 sumptuous and elegant, of the pleasure- 
 houses of Italy. It was begun early in 
 the XVI cent., by Cardinal di Monti, and 
 was continued by his nephew, also a car- 
 dinal, who became pope under the name 
 of Julius III. It stands in the middle of 
 an extensive estate known as the Vigna 
 (vineyard) di Papa Giulio, about 400 
 yards from the Via Flaminia. At the 
 corner of the way by which the villa is 
 ajiproached is a casino, also built by Vig- 
 nola, with a singular plan — open arcades 
 in the first story partially surrounding a 
 hexagonal court, and a great staircase as- 
 cending to the second, which contains a 
 suite of apartments decorated with much 
 beauty. The fa9ade jiresents below a 
 blank wall with an arched doorway in the 
 centre, of rustic masonry enclosed in a 
 portico of columns. Above is an ojjcu 
 loggia with square windows on each side. 
 The corner is cut off, and makes room for 
 a fountain enclosed in a central arch with 
 two orders of pilasters. The plan of the 
 villa itself is at once picturesque and 
 stately. A great coiys-de-Jogis fronts the 
 road, and behind it are two high-walled 
 
 435 
 
RONZANO 
 
 open courts, front and rear, separated liy 
 a second range of buildings, and closed in 
 the rear by a third. The finely propor- 
 tioned facade has a length of nearly l.JO 
 ft., with receding ends. Each story has a 
 central composition of columns and pi- 
 lasters, of rustic work in the first story, 
 and on each side scpuire-headed windows 
 in hotli stories, carrying a full entabla- 
 ture and pedestal-course between the sto- 
 ries and a double - modillioned cornice 
 under the roof, all designed with finely 
 elaborated and elegant details. The front 
 of the first and larger court, 90 ft. by 100 
 ft., is semicircular, and bordered by an 
 open vaulted loggia in horseshoe form on 
 the ground-floor, above which is a range 
 of apartments connected with those in the 
 facade. Two orders of pilasters and an 
 upper range of windows continue the 
 composition of the fa9ade round the scnu- 
 circle. The loggia is treated with a row 
 of small Corinthian columns in the inter- 
 vals of the pilasters, carrying a horizontal 
 architrave, and only interrupted at the 
 ends and in the middle by great arches. 
 The high side-walls of the court are archi- 
 tecturally decorated with a blind arcade 
 under an Ionic order, with an attic above. 
 The second and smaller court drops con- 
 siderably l)elow the first, and from the 
 open loggia that sc[)a.rates them a (|uad- 
 rant staircase leads <lown on either hand, 
 repeating the lines of the upper court ; 
 while in the middle of the pavement is 
 sunk a semicircular nymphajum. guarded 
 by a balustrade and surrounded by pilas- 
 ters and caryatids, between which are 
 niches where water flowed continually into 
 a series of basins. At the back of the 
 court is a vaulted grotto, and above it 
 a cross-gallery broken by a triuin])hal arch 
 which leads to a walled garden, terraced 
 above the level of the first court. The in- 
 terior decoration of the principal building 
 is of great richness ; the vaults of tlu; ar- 
 cades are painted with arabesques, birds, 
 and figures, and the walls are divided into 
 
 ]ianels with similar decoration. Near by, 
 on the same estate, stands Julius's votive 
 Chapel of S. Andrea {q. v.). 
 
 \iLh.v Pi A, an elaborately designed 
 pleasure-house in the gardens of the Vati- 
 can, of which the buildings are disposed 
 round an elliptical court on the slope of 
 a hill. At the front is a pavilion, con- 
 sisting of an ojoen vaulted loggia al)out 'i'.\ 
 ft. wide and 40 ft. long, on a level wiih 
 the court, and a basement fronting the 
 grounds and adorned with fountains and 
 statues, on either side of which a curving 
 staircase leads to the level of the court, 
 which is entered at each extremity through 
 a small pavilion in the form of a temple. 
 The court is about 85 ft. long and 05 ft. 
 wide. })avcil with racsaic, with a fountain 
 in the mitldle, and surrounded by a 
 high panelled wall lined with continuous 
 benches of marble. On its fourth side 
 stands the casino, with a fac/ade about 40 
 ft. long, in three stages, the first with an 
 open entrance loggia decorated with mo- 
 saics, bas-reliefs, and stucco araljesipies. 
 Tiio whole front is also lavishly adorned 
 in the same manner. The building has a 
 depth of some 80 ft. and occupies a level 
 rectangular terrace in the hillside, en- 
 closed by a high wall decorated witii 
 niches containing statues. The apart- 
 ments are sumptuously decorated with 
 paintings, sculptures, mosaics, and frag- 
 ments of ancient art. TMie villa was built 
 in 1500 for Pius IV.. from the designs of 
 Pirro Ligorio. 
 RONZANO, Italy. 
 
 Sta. M.vkia l)clongs to the small group 
 of primitive Romanesque churches in this 
 part of the Abruzzi. Its ground-plan is 
 l)asili(!al with three apses, its style broad 
 and simple. The nave consists of high 
 rece-ssed round arches su])p(n'ted on piers 
 so grouped as to sustain pi-imitive groin- 
 vaults which at some time fell in and 
 have been replaced by ;i wooden roof ; the 
 upper })art of the outer wall was then re- 
 built. The piers and arches consist of 
 
 431; 
 
RUVO 
 
 very white stone. The transept retains 
 its three groin -vaults with very heavy 
 torus ribs in the central compartment. 
 High triumphal arches open out from 
 this compartment. As the style of the 
 cliurch points to the close of the xi or 
 beginning of the xii cent., and as a docu- 
 ment of 1183 speaks of it as already in ex- 
 istence, it is interesting to note the use of 
 groined vaults, which at this period, in this 
 region, is most unusual. It is probably 
 due to Lombard influence. [A. L. F., 
 Jr.] 
 IIUVO, Italy. 
 
 The Cathedral (Sta. Maria Assunta) 
 is a small rectangular basilica, rebuilt 
 near the beginning of the xii cent., about 
 100 ft. long and C5 ft. wide, the higli 
 nave separated from the aisles by five 
 round arches on each side springing from 
 square jiiers, with half columns on three 
 sides, while on the faces toward the nave 
 vaulting shafts were added, although the 
 nave remains ceiled with wood. Over the 
 arcades runs a decorated string-course on 
 strong sculptured corbels, on which is a 
 range of grouped windows divided by col- 
 umns and covered by a flat elliptical bear- 
 ing-arch, evidently to light an upper aisle 
 whicli does not now exist. Above is a 
 range of smaller single clerestory windows 
 blocked up. The aisles are groined in 
 square bays separated by transverse arches, 
 ■md from each bay opens a shallow rectan- 
 gular chapel, also groiued. The broad 
 transept has a wooden ceiling like the 
 nave, and crosses the whole church in 
 three equal bays, with three eastern apses. 
 The facade is of unusual outline, the cen- 
 tral nave gable being very narrow in pro- 
 portion to the rest, and the half gables 
 covering both aisles and chapels. There 
 are three doors, under three Ijlind arches, 
 an ellipse between two pointed arches. 
 The middle door has a broad, heavy round 
 arch, with flanking columns staiuling on 
 the backs of lions and bearing griffins, 
 and is surrounded by four sculptured 
 
 bands of more or less Byzantine character. 
 The nave gable is filled by a large aiul 
 fine wheel window, over which is a round- 
 headed niche containing a seated figure, 
 and beneath is a two-liglit window en- 
 closed by a round bearing -arch. The 
 cathedral is the rebuilding, begun in lOGO 
 and finished in 1110, of an older church 
 dating probably from the end of the viii 
 centurv. 
 KUWEIIIA, Xorthern Syria. 
 
 The Chukch. probably of the vi cent., 
 is curiously different from the usual 
 Syrian type. It stands apart in a walled 
 enclosure like a peribolos, some 185 ft. by 
 220 ft., and is of considerable size, being 
 1.50 ft. long and 00 ft. wide. It has an 
 open uarthex or i)orch, entered by a very 
 broad central arch between two small 
 ones, a nave and aisles, and an apsidal 
 sanctuary between two chambers, as usual 
 in Syria, covered by a straight wall. The 
 nave, of 30 ft. s23an and 100 ft. long, is in 
 only three bays, with great arches boi'ne 
 on j)iers which are bound together in 
 pairs by two other great arches .sjiringing 
 across the nave, as in S. Miniato at Flor- 
 ence, and some other Italian churches, and 
 resting on fluted pilasters against the 
 sides of the piers. On each flank are two 
 doors into the aisle, covered by porches 
 which rest on j^airs of columns. There 
 are two interesting tombs in tlie enclos- 
 ure. One is a square building containing 
 a square chamber with arcosolia on each 
 side, through one of which it is entered, 
 and covered with a sjiherical dome. Over 
 the door is a porch standing on two de- 
 tached columns, and Corinthianesquo pi- 
 lasters mark the corners of the building. 
 The other tomb is a small temple with a 
 recessed portico of two columns in an/is. 
 It stands on a high basement, and is in 
 two stories. 
 SAGALASSOS (Aglasoun), Asia Minor. 
 
 CoRiSTHiAX Temple, within a large 
 enclosure bordered with porticoes and 
 exedras. The temple is peripteral, hexa- 
 
SALERXO 
 
 style, witli eleven eolumiis on the flunks, 
 raised on a basement, and witli fonr steps 
 between projecting piers in front. There 
 was a second row of cohimns before the 
 pronaos, which has two colnmns in coif is 
 and is very deep, the front wall of the 
 comparatively small cella being placed op- 
 posite the two middle columns of the peri- 
 style. The decoration is rich and well 
 executed ; the soffits are scvilptured with 
 a scroll-ornament, and the frieze and the 
 uppermost member of the cornice with 
 spiral foliage-patterns. The cornice has 
 lion-heads for water-sjiouts. The temple 
 measures in 2>lan 5I5 ft. by 94 ft. 
 
 Theatre, supported against the hill- 
 side, but in large part built up with 
 vaulted substructions. The plan is much 
 greater than a semicircle. There is one 
 precinction or horizontal passage, with 
 twenty-four tiers of seats below it, and 
 sixteen above it, and a podium on its in- 
 ner side, in the Roman fashion. There 
 are nine radial stairways, in- 
 cluding those at the extremities, 
 in the lower division. They are 
 doubled in the np^Der division, 
 but not continuous. There was 
 probably a portico above the up- 
 jier division. The stage-structure 
 formed a long, narrow hall with 
 five doors, only three of which 
 appear to have opened on the 
 stage. The depth of the stage 
 was 24 ft. The diameter of the 
 theatre is 288 ft. , that of the or- 
 chestra 75 ft. The remains are 
 in comparatively excellent jn'es- 
 ervation. 
 
 There are other remains of 
 much importance on the site, in- 
 cluding a palaestra (?), a small circular 
 temple, a street bordered with porticoes 
 and spanned by a monumentid struct- 
 ure at its intersection with another 
 street, and several necropolises, 'i'liere 
 are scanty remains of the ancient tortiti- 
 cations. 
 
 SALERXO. Italy. 
 
 The Cathedral, originally dedicated 
 to the Virgin but afterward to St. Mat- 
 thew, whose body is said to have been 
 brought here in 934, is a fine xi cent, 
 church, consecrated in 1084, which was, 
 however, so changed by a practical re- 
 building in the xviii cent., that much of 
 its interest has disappeared. The great 
 quadrangular fore-court which precedes 
 the church is preserved. It measures 
 about 113 ft. by 102 ft. and is surrounded 
 by vaulted arcades, with round arches 
 sujjported on ancient columns of various 
 kinds of marble, taken partly from the 
 ruins of P;¥stum and partly from those of 
 Rome. Behind the eastern arcade rises 
 the plain fagade, with a low pediment in 
 the centre and half gables at the sides. 
 Under the arcade three doorways give ac- 
 cess to the nave and aisles, the middle one 
 closed by fine bronze doors from Constan- 
 tinople, given to the churcli in 1099. A 
 
 Fig. ;05. Sa'ein,~ Cilnedal Pjlpit. 
 
 square tower rises on the south side of the 
 church, in .several stages, the lower of 
 which belong to the early construction, 
 perhaps dating from 1130. The interior 
 consists of nave and aisles of seven bays, 
 and transept, aiul three eastern apses. In 
 1T22 square piers replaced the original 
 
SALONA 
 
 columns, and the interior was travestied. 
 The crypt is remarkable for the richness 
 of its decoration ; the vaults, supported 
 on square piers whose faces are inlaid with 
 precious marbles, are covered with paint- 
 ings of figure subjects, and the walls with 
 arabesques. It consists of three aisles, of 
 eight bays each and three apses, under- 
 lying the transept and choir. {See Fig. 
 205.) 
 SALOXA, Dalmatia. 
 
 Basilica. A Christian church of the 
 V or VI cent., ruined at the destruction of 
 Salona in 039, and only recently exp)lored. 
 Its 2)lan is somewhat peculiar and not 
 wholly intelligible. On the west was a 
 narthex, and behind it a wide uave and 
 aisles divided by arcades of nine arches, 
 the columns of which stood on a continu- 
 ous stylobate. The nave and aisles abut- 
 ted eastward against a thick wall, jjierced 
 with five doors which led into a sort of 
 transept with an eastern ajise. On tlie 
 north side of the church was another aisle 
 running the whole length, and opening 
 by triple arches into two apsidal chapels. 
 Remains of similar chapels are found in 
 continuation toward the east, beyond the 
 main church. In these chapels were 
 found many fine sarcoijhagi, of which the 
 most important are now in the museum of 
 Spalato. A small chamber in the eastern 
 transef)t had a sejiulchral vault beneath, 
 with an outside entrance closed by a slid- 
 ing stone door. Many tombs like this are 
 in and about the site of the basilica, and 
 the excavations below the floor level have 
 revealed a great number of sarcophagi and 
 some older foundations, showing that the 
 church was built upon an old Christian 
 burying-ground and on the site of some 
 more ancient building. The sculptured 
 ornament found seems to jirove it to be 
 not older than the age of Justinian. 
 
 An OcTAGOXAL Structl-re, surrounded 
 by a peristyle, the bases of whose columns 
 remain in place, and enclosing a basin, 
 is held to be a part of the thermie. A 
 
 little beyond lie the remains of another 
 building also with columns. The mosaic 
 jiavement is intact, and the sills of the 
 doors are still in position. 
 
 The Roman Walls of the city can be 
 followed through much of their extent. 
 There are two ancient gateways flanked l)y 
 towers, and other towers are found alons: 
 the circuit. On the west side long walls 
 extend for over a mile on the road toward 
 Trail ; they evidently Joined the city orig- 
 inally with some port having deeper water 
 than that of Salona. They are built of 
 very large blocks, rectangular and care- 
 fully Jointed, but rough faced. In the 
 N. E. corner of the western jiart of the 
 ancient city, in part engaged in the forti- 
 fication-wall between it and the eastern 
 part, are the remains of a Roman amj^hi- 
 theatre, presenting the usual features. 
 The structure is surrounded in the base- 
 ment by a corridor, to which access is af- 
 forded by several arched openings. Most 
 of the seats have been carried away. To 
 the right of the road from Spalato ai'e 
 seen the remains of the aqueduct which 
 brought water to the palace of Diocle- 
 tian ; it has been repaired and still serves. 
 An ancient bridge on this same road, 
 crosses the Giadro (ancient lader). 
 SALOKICA (Saloniki, Thessalonica), 
 Turkey. 
 
 Apostles' CiirRcii. This is in plan 
 essentially like its neighbor Sta. Sofia 
 (17. v.), though much later in date, but its 
 central dome is carried on columns instead 
 of piers, and its aisles are in one stor3\ 
 Tiie original narthex remains, however, 
 crossing the front as an of)en porch with a 
 singular triple arch on each side the cen- 
 tral door. The central dome, of 52 ft. 
 span, stands on a tall octagonal drum, 
 arcaded on the outside and windowed. 
 Similar smaller domes rise over the cor- 
 ners, and the Turks have added a slender 
 minaret. The style is that of the vii 
 cent., or later. 
 
 The IxcAXTADA, so-called, is a Corin- 
 
SALONICA 
 
 tliian inotmiiicnt of iinccrtain purpose. 
 It has been variously explained, as a monu- 
 ment of victory, as the entrance to a 
 theatre, liippodrome. or fornni, as part of 
 
 Fig. 206— Salonica, St. Demetrius. 
 
 a basilica like the so-called Tutclles at 
 Bordeaux, and as a funeral monument like 
 the mausoleum at Mylasa. Local tradi- 
 tion calls it a gallery which connected two 
 palaces of Alexander, and ascribes its con- 
 struction to magic, wlience its Spanish 
 
 design and execution of the reliefs and 
 details are so good that it cannot be later 
 than the age of the Antonincs, 193 a.d. 
 St. B.iRDiAS is a little abandoned brick 
 church, built, according to an in- 
 scription, in 937, on the common 
 Byzantine plan of a Greek cross 
 set in a square, with barrel- 
 vaulted arms, a central dome on 
 four columns, and four small 
 ones in the angles. The main 
 dome has a windowed drum, oc- 
 tagonal without : there are three 
 eastern apses, tlie middle one 
 octagonal outside, and a narthex, 
 of which the high upper story 
 probablv served as a women's gal- 
 lery. 
 
 St. Demetrius, now a mosque, 
 is a very early five-aisled basilica, 
 dating from the v or vi cent., 
 and on a large scale, being very 
 nearly 200 ft. long by 140 ft. 
 wide. It has practically no ex- 
 terior, but is hemmed in by the 
 buildings about it. A cramped 
 court, replacing the old atrium, 
 and containing a basin for ablu- 
 tions under an octagonal canopy. 
 Iciids to a high narthex tliat 
 o]K'ns by a triple arch into the 
 west end of the nave. On the 
 left of the narthex, in a small, 
 square, crypt -like, and dome- 
 covered chamber, is the plain brick 
 tomb of St, Demetrius, the so-called 
 Myroblete, from whose body flowed the 
 miraculous oil that has saturated the walls 
 and floor of the cluimlier. The lining of 
 marbles, and the ornaments of gold and 
 
 name (Las Incantadas). The remains are silver set with precious stones, that once 
 
 in the Jewish quarter of tlie city, and con- 
 sist of five monolithic Corintliian columns 
 of cipollino with an entablature of Pentelic 
 marble. The frieze is bulging and carved 
 with rods ; the cornice has Ionic dentils. 
 and above it there is an attic adoi-ucd 
 with a series of standing figures. The 
 
 made the place splendid, are gone. The 
 nave, almost 40 ft. wide, has an open- 
 timbered roof about 70 ft. high to the 
 ridge. It is bordered on each side by 
 thirteen round arches, borne on compos- 
 ite columns, and peculiarly arranged in 
 tliree groups of four, five, and four, sepa- 
 
 440 
 
SALOXICA 
 
 rated by square piers. If tliis arrange- 
 ment is original, it is jierhaps the earliest 
 known example of the grouping of nave- 
 arehes, and may have led the way to the 
 system of double bays in the Lombard 
 churches. It has been assumed to be an 
 accident here, due to successive lengthen- 
 ings of the church, but it is absolutely 
 symmetrical, and has all the apiDearance 
 of studied design. Over the main arcade 
 is a second, carried on Ionic columns, and 
 opening into an upper women's gallery, 
 or (jynecwum, over the inner aisles, which 
 connects with the second story of the nar- 
 thex. Above the two is a clerestory of 
 low arched window?, grouped in twos, 
 with intermediate shafts. The walls have 
 been revetted with marble, perhaps in the 
 XI cent., somewhat in the fasliion of the 
 cathedral at Pisa, and a curious simula- 
 tion in mosaic of a modillion cornice is 
 carried along above the lower arcade. A 
 balustrade of carved marble panels fills 
 the intervals of the upper columns. Tim 
 
 like the protliesis and diaconicon of the 
 early eastern churches, but enclosed by 
 open arcades instead of walls. The 
 screens, however, wliich divide them from 
 the choir have evidently been added or 
 altered in the middle ages. All the col- 
 umns are monoliths of white, red, or 
 green marble, the capitals are admii-ably 
 cut, and all carry stilt-blocks, which are 
 marked with the monogram of Christ, or 
 with the cross. The mosaics which once 
 covered the conch of the aj)se have dis- 
 appeared, and the marble lining of the 
 church has suffered much. The building 
 is said to have been further injured by a 
 recent fire. {See Fig. 206.) 
 
 St. Elias is a Byzantine church of pe- 
 culiar plan, built apparently at the be- 
 ginning of the XI century. It is a cross 
 with short arms, three of them with apsi- 
 dal ends, and a single central dome. Be- 
 fore the western end is a great narthex, as 
 broad as nave and transept, and 2o ft. 
 deep, vaulted in six bays with four de- 
 
 Fig. 207.^Salonica, St. George. 
 
 outer aisle, lower and broader than the 
 inner, is like it divided into two stories. 
 At the east end is a domed apse, and in- 
 stead of a transept are two rooms placed 
 
 tached columns. Over this hall is an 
 upper tribune half as deep as the hall, 
 and perhaps a women's gallery (though it 
 has been thought that only men frequent- 
 
 441 
 
SALONICA 
 
 ed the cliiirclics of St. Elias), its front wall the .square is surrounded ou three sides by 
 
 resting on the vault l)eneath. The dome a wide aisle, whose second story is a wom- 
 
 is ou a very high tlruin. polygonal with- en's gallery, enclosing the nave and tran- 
 
 out, arcaded and windowetl, and is cov- sejit in an outer square of 100 ft. Two 
 
 cred by a low pointed and corrugated small rooms, the usual prothesis and 
 
 roof ; the three apsidal ends are also diaconieon, flank the main ajise, and both 
 
 polygonal without and windowed. The 
 church is of brick, with bands of lozenge 
 and meanders. The whole church is about 
 50 ft. by 90 ft., and the dome 65 ft. high. 
 
 St. George, called the Rotunda, and 
 now used as a mosque, is a massive eai-ly 
 round church, about 80 ft. in diameter in- 
 side, and with walls nearly 20 ft. thick. 
 It is covered by a hemispherical dome, 
 rising to 8(3 ft. above the floor. In the 
 thickness of the walls are eight square 
 niches, those on the south and west serving 
 as entrance jiorches, the rest as chapels, 
 excejit the eastern, which is larger than the 
 rest, and, piercing the wall, is continued 
 into a deep sanctuary, or bema, ending in 
 a round apse lighted by five windows. 
 Eight windows over the niches light the 
 building, and above them tlie wall, dimin- 
 ished one-half in thickness, is carried up 
 as high as the top of the dome, and bears 
 a conical roof. The whole is severely 
 plain, within and without, exccjit that the 
 dome and the barrel-vaulting of the niches 
 retain in great part their splendid lining 
 of mosaics, representing figures of saints 
 and architectural backgrounds. The date 
 of the church is uncertain ; it has been 
 assigned to the iv, vi, and vii cents., and 
 was even believed for a time to have been 
 a Roman temple. {See Fi<j. ,207.) 
 
 Sta. Sofia, the former cathedral, now 
 a mosque, was built, according to the 
 Greek tradition, by Justinian, in imita- 
 tion of its namesake at Constantinople, to 
 which, however, it has no resemblance 
 except in style, being in plan a Latin 
 cross enclosed in a square, with a central 
 dome borne on piers and a long eastern 
 limb containing the sanctuary, and ending 
 in an apse round within and semi-octag- 
 onal without. The transept is short, and 
 
 end in round apses. Arcades in two 
 stories, with columns quasi - Corinthian 
 below and quasi-Ionic with high stilt- 
 blocks above, divide the aisle from the 
 centre. The dome and the main apse still 
 preserve their original mosaics on a gold 
 ground, well executed comjjositious repre- 
 senting the Saviour, the Virgin, and the 
 twelve apostles. The Turks have built an 
 ojien 23orch across the front, with pointed 
 arches ou modern columns ; it is flanked 
 on the south Ijy a minaret, and on the 
 north by a small bell-tower of uncertain 
 date. A pulpit of verd-antique in the 
 church is reputed to have been used by 
 St. Paul. The building has been serious- 
 ly injured by fire within a year or two. 
 
 Tru'mphal Arch of Coxstaxtixe, 
 half ruined, but described as one of the 
 most remarkable ancient monuments sur- 
 viving in the Orient. It is near the east- 
 ern end of the long street which inter- 
 sects the city from east to west, and pre- 
 serves the line of the Roman Via Ignatia. 
 It is of brick encrusted with marlilc. an-d 
 consisted originally of three doorways. It 
 is oriuimentcd with sculjiture in which 
 camels figure, and is believed to commem- 
 orate Oonstantine's victory over Licinius 
 or over the Sarmatians. 
 
 X'audXr Gate, a Roman triumphal 
 arch at the west end of the long stri'ct 
 which intersects the city. It is built of 
 largo blocks of marble with reliefs on its 
 outside face, and an inscription giving the 
 names of city magistrates. The ojicning 
 is now VZ ft. wide and IS ft. high ; but a 
 considerable part of the monument is 
 buried. Some scholars have maintained 
 that this arch was erected \n honor of 
 Octavius and Antony after the battle of 
 I'hilippi. but it is evidently later. 
 
s a:\iaria 
 
 SA.MAUIA. See Sekisfe. 
 SAMOS, ^geau Sea. 
 
 Tlie AyuEDTCT of Eipalinos was con- 
 sidered by Herodotus to be one of tlie 
 greatest of Greek works. It begins at a 
 point N. W. of old Samos, where now 
 stand tliree small chajiels ealled the llagi- 
 ades, and a copious sjjriug still flows from 
 the rock. It has been traced from an an- 
 cient reservoir under one of the chapels 
 for about 7,300 ft., into the heart of the 
 old town, and probably extended to the 
 shore of the port, near which in the agora 
 there were in ancient times three note- 
 worthy water-clocks. The most remark- 
 able part of the aqueduct is the tunnel, 
 which extends for over 3,000 ft., for the 
 most f)art through solid rock, under the 
 hill, 739 ft. high, now called Kastro. This 
 averages 6 ft. sqiuire ; it was bored from 
 both ends simultaneously, as is shown by 
 the slight fault at the meeting, a little 
 south of the middle, of the two portions. 
 But for this defect, tlie tunnel is jierfect- 
 ly straight. Through it extends a chan- 
 nel about 2 ft. wide, increasing in depth 
 from 6 in. to about 27 in. at its exit, and 
 evidently cut to secure a better fall for the 
 water. In it are still abundant remains 
 of the earthen water-pijies, of which two 
 kinds were used — one cylindrical, the 
 other an open trough. Several weak por- 
 tions of the tunnel are encased in walls of 
 Hellenic masonry, and roofed by stones in- 
 clined against one another ; other such 
 portions were walled uj) by the Romans 
 with masonry laid in mortar, and arched 
 over. The engineer of this great work was 
 Eupalinos of Alegara ; it was carried out 
 by King Polycrates, who died 522 B.C. It 
 is liojied tluit the aqueduct may soon be 
 repaired entirely and perform anew its old 
 function of carrying fresh water to the 
 port. 
 
 The Herael-m. or Temple of Ilera, was 
 about two miles S. W. of the city of 
 Samos, on a height overlooking the sea. 
 The original structure, built by Rhcecus 
 
 (who as early as the vii cent. B.C. was at 
 the head of a famous school of sculpture 
 and architecture at Samos), and by his 
 son, Theodorus, was burned by the Per- 
 sians, but was rebuilt probably under Poly- 
 crates, in the vi century b.c. This was 
 the largest temple known to Herodotus. 
 It was Ionic, decastyle, dipteral, of white 
 marble in the superstructure, with foun- 
 dations of tufa. As the solitary column 
 still standing is not fluted, the temple 
 was probably never finished. The excava- 
 tions of M. Girard upon the site, in 1879, 
 disclosed a number of bases of columns 
 and portions of the foundation. While 
 his investigations have shown the incor- 
 rectness of the plans of the temiile given 
 by his jiredecessors, they were not carried 
 far enough to supply data for a correct 
 plan. 
 SAMOTHRACE, ^geau Sea. 
 
 Doric Temple, of marble, of Hellenis- 
 tic date, and in several ways anomalous in 
 plan. It was hexastyle, prostyle, with a 
 prostasis of three columns on the sides, on 
 a stylobate of tliree steps, before the pro- 
 naos. The prostasis had an interior range 
 of columns opposite the third columns of 
 the flanks. The steps were not continued 
 around the cella. In plan the temple was 
 abnormally long and narrow. The total 
 length was 120 ft. ; widtli of cella, 43 ft. ; 
 width of prostasis, including steps, -I'g 
 ft. ; interior dimensions of cella, 3-lrf ft. 
 by 85 ft. The foundations remain of two 
 partition walls extending Ijack 5-1 ft. from 
 the front wall, and dividing the cella into 
 nave and aisles ; no remains have been 
 found of ranges of columns wliicli could 
 have stood on these foundations. Though 
 the cella ends exteriudly in a square back 
 wall, it is curved inside in the form of a 
 shallow apse. The projiortions of the 
 architectural members are notably slight. 
 akin to those of the temple at Xcmea, and 
 approaching those of the Corinthian or- 
 der. The height of the columns is about 
 six and a half diameters, the entabla- 
 
 443 
 
SAX BENEDETTO 
 
 jiro- 
 Thu 
 
 tnro low. the podimont high. 'I'hi 
 file lit' tlio ciipitiils is a straight line, 
 cynia of tlie cornice is ornamented with a 
 spiral acanthus moulding, and with lion- 
 head water-spouts. An elaborate antho- 
 mion arrotcriuni stood on the apex of the 
 pediment . and X'ictories formed the aero- 
 teria at the sides. Several figures of the 
 pediment-sculjjtures have been recovered. 
 The execution is good. 
 
 Old Temple, so-called, an Ionic struct- 
 nre of which only portions of the foun- 
 dations remain in place. The reliefs of 
 the frieze, representing dancing female 
 figures, are in the Louvre. The cornice 
 had dentils, and tlie cynia was orna- 
 mented with lion heads and antliemia, and 
 crowned with antefixes in the form (jf 
 palmettes. 
 
 PuoPYLOX OF Ptolemy II., a double 
 hexastyle Ionic jiortico of large-grained 
 white marble from Tliasos. The columns 
 
 terior forty-four Corinthian semi-columns 
 corresponded to the exterior piers, and 
 the barriers were ornamented in alternate 
 intercolumniations with patera; and bu- 
 riMiiia. The workmanship is good, but 
 the proportions are sometimes defective, 
 and the ornament lacks the freedom of 
 the best work. 
 
 There is a large temple of late Doric 
 style, j)rostyle, with six columns iu front 
 and three on the sides, and two columns 
 with a double intercolumniation between 
 them, between the antm of the cella. 
 
 The Walls of the ancient city are a 
 notable cxanijile of polygonal masonry in 
 very large, rough blocks with open joints. 
 The wall, originally about 18 ft. high and 
 7 ft. to 13 ft. thick, is broken into angles 
 for the sake of defence. Of three gates 
 which remain recognizable iu a course of 
 over half a mile, one is complete ; it is 
 spanned by blocks projecting horizontally 
 
 have twenty-four flutes ; the architrave is from the sides. The wall is doubtless 
 high and the frieze ornamented with very early, as is indicated not only by its 
 bucrania and ro.settes, comparatively low. construction, but by the circumstance that 
 
 The dentils of the cornice are proportion- 
 ately large, and the pediments W'ere of 
 very low angle. 
 
 Round Temple, dedicated by Queen 
 Arsinoii, daughter of the first Ptolemy, 
 and wife of the second. The foundation 
 is solidly bnilt of well-fitted blocks of 
 common stone, and is 8J ft. through. 
 The superstructure was of nuirble, with a 
 diameter ctf I'ri ft. The building consisted 
 of a drum of masonry of uncertain height, 
 npon which stood forty-four s(piare piers, 
 with auta-ca])itals, supporting a Doric en- 
 tablature, tbe cyma bearing acanthus 
 spirals and lion heads. A moulded frieze 
 surrounded the building beneath the piers, 
 and in every intercolumniation was a 
 barrier carved with a rosette between two 
 bucraui;!. and above this a heavy slab of 
 marble. It is uiu'crtain whether there 
 were windows in this. The wooden roof 
 was conical, and may have had an open- 
 ing for light at the apex. Jn the in- 
 
 the chief buildings of Samothrace lie out- 
 side of it. 
 
 SAN BENEDETTO, near ilantua, 
 Italy. 
 The CiiUKCH is a great cruciform struct- 
 ure, built, or remodelled, by Giulio Ro- 
 mano in 1539. Its interior is interesting, 
 and has a long nave and aisles, transept, 
 jipsidal choir, and surrounding aisle, with 
 five radiating chapels, a border of lateral 
 chapels on each side, and an open vaulted 
 porch across the front. The whole is 
 about 32.5 ft. long, and 130 ft. across the 
 transept. An octagonal dome covers the 
 crossing. The groined nave-vault is car- 
 ried on piers faced with an order of pi- 
 lasters. The vaults of the S(iuare bays of 
 nave and aisles are singularly arranged. 
 In the first three bays the so-called 
 I'alladian motive is repeated — an arch 
 between two .square - headed openings, 
 with dividing columns. The aisle-bays, 
 half as long as those of the nave, are 
 
SAN GALGANO 
 
 in a curious alternation with llieui. and 
 are alternately groined and barrel-vaultrd, 
 closing with a half bay at each end. 
 SAX GALGAXO, near JSiena, Italy. 
 
 The Abbey Church, of the xiii cent., 
 was one of the most characteristic Gothic 
 churches in Italy. It is roofless, and the 
 vaults mostly fallen, but the walls are 
 wi-11 jn'eserved. The abbey was Cistercian, 
 a dependent of Casamari, and the church, 
 like those of Fossanova and Casamari, is 
 of the French type. It is cruciform, with 
 a square-ended choir of one bay, and aisles 
 to both nave and transept. The nave and 
 isles, in eight bays, had four-part pointed 
 vaults ; the choir vault was six-part. The 
 arches are pointed throughout, the abun- 
 dant carving partly French and partly 
 Italian. There was no triforium, but 
 a clerestory of large traceried windows, 
 and large rose-windows in the south tran- 
 sept and the east end. The building, lofty 
 and imposing, is mostly of Travertine, but 
 the later and upper parts in brick. The 
 front was never finished. There is no in- 
 dication that it had the usual Cistercian 
 central tower ; a tower added at the 8. E. 
 corner of the transept has fallen. 
 SAX GEMIGXAXO, Italy. 
 
 The CoLLEGiATA, or PiEVE (Parish 
 Church), is a basilica of the Xii cent., 
 consecrated in 1148. Its arcades of 
 stilted round arches are carried on old 
 columns with varied capitals ; but the in- 
 terior was rebuilt with new vaulting and 
 lengthened transept in the xv cent., by 
 Giuliano da Majano, and the church has 
 since been much modernized, with the ad- 
 dition of chapels. It is most noted for its 
 interior decoration of frescoes, especially 
 in the chapel of Sta. Fina, where there 
 are paintings by Domenieo Ghirlandajo, 
 Benozzo Gozzoli, and PoUaiolo, and a 
 finely sculptured altar by Benedetto da 
 Majano. 
 
 The Palazzo Pibblico dates from the 
 XIV century. It is a Gothic building of 
 rectangular plan, measuring about 05 ft. 
 
 by 101) ft., with a picturesque interior 
 court from which the open gallery on the 
 second story is reached by a stone stair- 
 case, supported by a l)road segmental arch 
 with a fine wall under it. The facade is 
 of brick, about 10 ft. high, and the main 
 floor is reached by a double flight of steps 
 from the street under a projecting balcony. 
 There are four stories above the basement, 
 the windows all covered by segmental 
 arches, and those of the first story having a 
 pointed bearing-arch. At the angle of this 
 front stands a fine square brick tower 
 called the Torre del Commune, somewhat 
 earlier than the palace, about 30 ft. square 
 and IGO ft. in height, with an ojien arch- 
 way at the foot through which a street is 
 carried, and small segmental-arclied ojsen- 
 ings at intervals, but no distinct belfry 
 stage. It is finished with an arched corbel- 
 table and square battlements. 
 SAX GERMAXO (or CJassino anc. Casi- 
 num), Latium, Italy. 
 
 AiiPHiTHEATRE, Small in size, but, so 
 far as the exterior is concerned, of very 
 l^erfect preservation, built by Ummidia 
 Quadratilla, a woman lauded by Pliny the 
 younger. It is an imposing ruin. The 
 walls are faced with reticulated masonry, 
 and six arched entrances still remain. 
 The interior has suffered much ; its area 
 is now under cultivation. One side of 
 the structure was in part supported by 
 the slope of the mountain. The ruins 
 are standing to the height of 56 ft. 
 SAX GIMIGXAXO. See San Gcmii/- 
 
 nano. 
 SAX LIBEKATORE, also known as San 
 Salvatore, Italy. 
 
 The MoxASTERY, of uncertain date, 
 mentioned in the ix cent., was rebuilt, 
 including the church, early in the xi cent- 
 ury. The church is a basilica with nave 
 and narrow aisles separated by seven arches 
 on each side, springing from square piers, 
 and opening into a narrow transejit di- 
 vided by two arches in the line of the 
 nave arcades into three bays, each with a 
 
SAN MARTINO 
 
 round apse in the eastern wall. All the 
 ceilings are of wood. The fa9ade has an 
 ojien porch covering the whole hreadth of 
 the church, divided into three vaulted 
 bays corresponding to the nave and aisles, 
 and approached by a flight of steps as 
 broad as the middle bay. A gallery is 
 over the porch, and at its right is a square 
 battlemented tower in several stages. 
 SAN MARTINO, near Viterbo, Italy. 
 
 The CiiUKCii remains from a Cistercian 
 abbey of the xm century. It is cruciform, 
 about 225 ft. long and 100 ft. across the 
 transept, and has a nave of four square 
 bays separated from aisles of eight bays 
 by pointed arcades carried on alternate 
 grouped piers and columns, the choir, 
 of half a bay, ending with a polygonal 
 apse. The transept arms and the choir, 
 lower than the nave which includes the 
 crossing, have six-part vaulting ; all the 
 rest of the vaulting is four-part. A small 
 square central tower is curiously balanced 
 on the diagonal vaulting-ribs over the 
 crossing. There is no triforium, but an 
 ample clerestory, and all the windows, 
 those in the aisles being exceedingly small, 
 are round-arched, excejit a small rose high 
 up in the gable of the south transept, and 
 a large pointed traceried window in the 
 west front. This front is simiole, built up 
 to a horizontal cornice over the original 
 gable, and has a single round-arched door 
 under the traceried window. Two small 
 square towers flank it, with round-arched 
 belfries, and low spires, or pyramidal 
 roofs of stone. The choir is thought to 
 date from the beginning of the xiii cent., 
 the body of the church from the middle, 
 and the fa9ade, or its termination, from 
 the XIV. 
 SAN MINIATO AL TEDESCO, Italy. 
 
 The Cathedral, dedicated to Sta. 
 Maria and S. Genesio, is an early Renais- 
 sance church, probably built on the 
 foundations of an earlier basilica, and 
 dates from 1488. Its nave and aisles, 
 about 100 ft. long, are divided by arcades 
 
 of seven round arches on each side, sup- 
 ported on Ionic columns, and surmounted 
 by an entablature, over wdiicli is a flat 
 wall jjierceil with round windows. There 
 is a long transept with a rectangular choir 
 beyond, each arm extended into a long 
 rectangular chapel, and three square chap- 
 els open from each aisle. The ceilings in 
 nave and trausejjt are flat ; elsewhere they 
 are vaulted. 
 SAN PELLINO, Italy. 
 
 The Cathedkal is a Gothic church, 
 probably of the xii cent., standing on a 
 deserted plain at some distance from the 
 town, among the ruins of the Roman city 
 of Corfinium, from the materials of which 
 the church was built. It is a cruciform 
 basilica about 135 ft. long and 55 ft. 
 broad, with a long nave separated from 
 the aisles by seven arches on each side, 
 springing from square jiiers. The aisles 
 are lighted by small pointed windows. 
 The raised transept, which is the choir, 
 projects slightly beyond the aisle walls, 
 with an apse at each end, and is crossed by 
 the main arcades. The middle bay is cov- 
 ered by an octagonal dome. The ceilings 
 are all of wood. There is a fine pulpit dat- 
 ing from the latter part of the xii cent., 
 square, supported on four stout columns 
 with composite caps, without arches, car- 
 rying a delicate sculptured frieze above 
 which the sides are panelled and decorated 
 in relief. The front is modernized ; tlie 
 flank walls both of aisles and clerestory, 
 also the apses, are divided by thin pilaster 
 strips running up to arched corbel-tables. 
 The eastern ajDse is encircled by two 
 ranges of engaged columns, the lower 
 bearing a sculptured frieze, the upper, 
 blind arches with reliefs in the heads. 
 From the south aisle opens a smaller 
 transverse church, dedicated to St. Alex- 
 ander, G5 ft. long and 28 ft. broad, with 
 an apse in the eastern side. 
 SAX PIETRO IX GALATINA, Italy. 
 
 Sta. Catekixa. An old church dating 
 originally from the xi cent., but rebuilt 
 
 446 
 
SAN EUFO 
 
 witli iniiiortantehaiigvsofriinii :il)out l.'S.SO. 
 Its plan is singular : a nave divided l)y 
 transverse pointed arches into three square 
 groined bays, with a blind pointed arch 
 on each side of each bay rising to the 
 height of the clerestory, and a narrow 
 jiointed window in the arch head. Under 
 each blind arch a low pointed arcli opens 
 into a narrow longitudinal corridor, out- 
 side of which is a long undivided aisle, 
 covered by a slightly pointed barrel-vault. 
 A square groined bay continuing those 
 of the uave forms the choir, from which 
 opens on the east an octagonal chapel with 
 a vei-y high Gothic vault, the ribs spring- 
 ing from slender angle -shafts. Each 
 side of the octagon has a round window 
 high in the wall. The front is in two 
 stages, the lower of which has a rich cen- 
 tral doorway with deep jambs, a sculptured 
 lintel, and jjainted tympanum under an 
 enclosing arch and gable. Similar door- 
 ways give entrance to the two corridors. 
 The lateral walls have low gables. The 
 raised central - division is covered by a 
 gable with an arcaded corbel-table follow- 
 ing the rake, and a small wheel-window 
 with decorated label. At the base of the 
 galde on either side is a kneeling figure ; 
 and Hanking the gable wall on each side 
 is a high detached octagonal shaft like a 
 turret, carrying a similar figure. The 
 sculpture of the church is interesting ; its 
 character is strongly Byzantine. The in- 
 terior walls are covered with frescoes of 
 the early xv century. 
 SAN RUFO. See Terjgiano. 
 SAN SALVATORE. See San Librralore. 
 SANTA MARIA D'ARBONA, Italy. 
 
 The Church was attached to a Cister- 
 cian monastery founded in 1208 and peo- 
 pled with monks from SS. Yincenzo ed 
 Anastasio in Rome. It has a cruciform 
 plan, with a very short nave in two ob- 
 long groined bays of unequal breadth, 
 the very low round arches sijringing from 
 massive grouped piers with half-columns 
 rising through the clerestory to take the 
 
 spring of the cross ribs. The brick 
 vaulting is pointed. The clerestory walls 
 are pierced high up with simple round- 
 arched windows. The aisles, which seem 
 to have been added a half-century later, 
 have pointed windows. The choir is in 
 two oblong groined bays like those of the 
 uave, and two narrow bays on each side ; 
 and two deep chapels flank the transept 
 on each side. The vault of the crossing, 
 carried somewhat higher than the rest, 
 has a round opening at the crown. The 
 facade is in three divisions separated by 
 pilaster-strijDS, with a single doorway in 
 the centre. A horizontal arched corbel- 
 table crosses the front at mid-height. 
 SANTA MARIA DI FALLERI (Roma)i 
 Falerii), Etruria, Italy. 
 
 The ancient Towx-wall remains in 
 great part, with its gates and towers, 
 forming a circuit of about 7,000 ft., and 
 interesting as one of the best sjjccimens 
 of Roman fortification. The towers are 
 square and project about 10 ft., the gate- 
 ways are arched, and the masonry is regu- 
 lar, in courses of large blocks presenting a 
 markedly Etruscan character. The wall 
 in one place rises to a height of 58 ft., and 
 it is one of the most imposing examjiles of 
 ancient fortification in Italy. 
 SARBAT EL-KHADIM, Sinaitic Penin- 
 sula, x\rabia. 
 
 Temple of Hatuor, on an elevated 
 platform of rock. The small gvkos, the 
 most ancient part of the temple, is excav- 
 ated from the rock ; its roof is supported 
 by a central jnllar, and portions of the 
 ancient painted decoration of hieroglyphs 
 and pictorial subjects remain on the walls. 
 Beside the sekos is a second chamber 
 Avithout ornament, and before both ex- 
 tends a portico of columns with Ilathor 
 capitals. There is also in connection with 
 the temple a large building divided into 
 small rooms. In the porti(^o and in front 
 of the temple are many jiyramidal steles, 
 with liieroglyiihic inscriptions. The whole 
 is enclosed by a wall, the .S2)ace within be- 
 
 447 
 
SARDINIA 
 
 ing about IGT ft. by GU ft. The sekos 
 dates from Amenemliat III., the portico 
 from Thothnies III. Tlie temple was 
 founded in connection with neighboring 
 mines of turquoises and of copper. 
 SARDINIA, Mediterranean Sea. 
 
 The NuR.\r;ni consist of circular towers 
 of stone, in the form of truncated cones, 
 of one, two, and pei'haps occasionally three 
 stories, having within a circular chamber 
 generally about 15 ft. in diameter, cov- 
 ered in beehive form by corbelling out the 
 stones of the wall. The chamber, en- 
 tered by a very low door, sometimes has 
 smaller chambers opening into it, and 
 sometimes one or two small windows. The 
 masonry, assembled without cement, is 
 sometimes very rude, sometimes compara- 
 tively good, often, especially in the lower 
 parts, of enormous stones. The chief of 
 these monuments are those of Zuri, Nied- 
 du, Losa, Oes, Sarecci, and Ortu. Occa- 
 sionally, as at Ortu, near Domus Novas, 
 jirovince of Iglesias, there is a consider- 
 able group of such towers, connected by 
 walls forming curtains, and surrounding a 
 larger central tower, the whole thus jire- 
 senting mucli analogy with a medireval 
 castle. The object of the niiraghi is un- 
 certain ; some archaeologists hold that 
 they are tombs, but this is improbable, as 
 the known tombs of ancient Sardinia are 
 of very different character. It is also im- 
 probable that they are temples. The most 
 reasonable hypothesis is that they are 
 places of refuge against a sudden invasion. 
 Their date is also uncertain, but it is most 
 likely that they are not of very high an- 
 tiquity. They maybe paralleled with the 
 much smaller but very simihir structures 
 called tnt(l<lhi, still erected by the hus- 
 bandmen of the Puglie region in southern 
 Italy, as refuges against tlie weather or 
 temporary dwellings. 
 SARDIs"(Sart), Ly<lia, Asia .Minor. 
 
 Temple of Cvbele. The east front is 
 beneath the acropolis, the west on the 
 bank of the Pactolus. The oriirinal build- 
 
 ing was burned in the Ionian revolt, iOO 
 B.C. ; the present structure is probably of 
 the time of Alexander the Great, iv century 
 B.C. The remains consist of two columns 
 of the east front and truncated portions 
 of four others, standing with many frag- 
 ments on the ground. Peyssomel, in a 
 drawing of 1750, shows six columns and 
 i:iart of the celia. The columns are buried 
 to nearly one-half their height, but are at 
 least 58i ft. high and G^ ft. in diameter. 
 The temple was built of a coarse white 
 marble, and was Ionic, octastyle, dif)teral, 
 with three ranges of columns on the east 
 front, and two ranges, probably of seven- 
 teen columns, on each flank. The ground 
 plan was 3G1 ft. by 144 ft. 
 
 Theatre, of Roman date. The cavea, 
 which is slightly greater than a semicircle, 
 is excavated from the nortli slope of the 
 acropolis hill. There is one precinction, 
 or horizontal dividing-passage, and a gal- 
 lery bordering the top of the cavea. There 
 seems to be no vestige of a stage struct- 
 ure, and the theatre is curiously com- 
 bined with the stadium. It is not in a 
 good state of preservation. The exterior 
 diameter is about 390 ft., that of the or- 
 chestra IG'2 ft. 
 
 The Tomb of Alyattes, near by, is a 
 circular mound 1,180 ft. in diameter above 
 its inwardly inclined basement of heavy 
 masonry. The ujiper portion of the 
 mound is formed of alternate layers of 
 clay, loam, and rubble concrete, above 
 which is a platform of bricks paved with 
 masonry. On the summit stood five in- 
 scribed memorial steles. Tlie height of 
 the mound is 142 ft. Wilhiii tlic tumu- 
 lus tlie funeral chamber has Ijeen found ; 
 it is built of large stones, and is 11 ft. by 
 8 ft. in plan, and 7 ft. high, with a flat roof. 
 SEBASTE (Samaria), Palestine. 
 
 The Church of St. John, imw half 
 ruined and converted into a mosque, 
 stands, according to tradition, over the 
 tomb of .lohn the Baptist, and was one of 
 the larirest in Palestine. It is about 75 ft. 
 
 •14S 
 
SEBENICO 
 
 b}' IJU ft., aud consisted of a nave and 
 aisles of four bays, a transept, and a choir 
 of one bay beyond, with aisles and three 
 eastern a2)ses. The apses are Byzantine 
 in form, round within and polygonal 
 without. The aisle windows are round- 
 arched, and some details of capitals and 
 bases Romanesque in character ; in other 
 respects tlie style is the French of tlie lat- 
 ter half of the xii century. The vaulting 
 is groined and ribbed, the arches pointed, 
 the piers clustered, the bays of the nave 
 short, and of the aisles square, as in the 
 western Gothic churches. The walls, the 
 south aisle, south transept, and apse stand 
 entire ; the rest has been pulled down and 
 serves for the open court which character- 
 izes most mosques. In the middle a mod- 
 ern dome covers the reputed tomb of 
 John the Baptist, which is in a crypt or 
 cave beneath the pavement. The tradi- 
 tion that the saint was buried here is very 
 old, and has the authority of St. Jerome. 
 A basilica over the spot is mentioned in 
 the VI cent., but not after the invasion of 
 Chosroes. The present structure must 
 date from before 1187. Sebaste was a 
 see in the early Christian ages. The 
 bishopric was revived by the crusaders, 
 aud again later, in name at least, by the 
 Greek church. 
 
 On a terrace on the south side of a hill 
 is a row of columns, which originally sur- 
 rounded the hill and was about 3.000 ft. 
 long, witli which Herod the Great adorned 
 the town. The terrace is about 50 ft. 
 wide. The surviving columns, which 
 have lost tlieir capitals, attain a height 
 of 16 ft. ; their diameter is about C ft. 
 Some of the shafts are monolithic. On an- 
 other terrace stand some twelve columns, 
 without capitals, so arranged as to indi- 
 cate a peristyle ; they probably belong to 
 the temple dedicated by Herod to Augus- 
 tus. There are also remains of a great 
 stoa or portico, of a forum, and of a 
 triumphal gateway, ornamented aiul for- 
 tified witli round towers. 
 
 SEBEXICO, Dalmatia. 
 
 The Cathedkal (S. Giacomo), dating 
 from the xv cent., was begun in the 
 Gothic style and finished in the Renais- 
 sance. It is built wliolly of stone, neither 
 brick nor timber being used in its con- 
 struction. The plan is cruciform, with 
 nave and aisles of six bays, a transept ex- 
 tending only to the aisle walls, and with 
 an octagonal lantern and dome over the 
 crossing, and a single bay to the east of 
 the transept ending with three jjolvgonal 
 apses. The nave arches are pointed, the 
 columns round monoliths with Attic bases 
 and foliage capitals of Venetian type. 
 The two western piers of the central 
 dome, belonging to tlie Gotliic j^art of the 
 church, are quatrefoil in section with cajji- 
 tals of the richest Venetian foliage. The 
 aisle bays are square, aud have ribbed 
 four-iiart vaults. Above the nave arches 
 runs a rich Gothic string-course, over 
 which is a triforium of flat-topped open- 
 ings divided by fluted pilasters, aud a 
 clerestory with one arched window to each 
 bay. The roofs of nave and transept are 
 cross-ribbed barrel-vaults, and over the 
 triforium gallery are quadrant or half- 
 barrel vaults. These vaults, which show 
 as the exterior roofs behind curved gables, 
 form the distinguishing feature of the 
 church. The choir stalls are of stone, and 
 behind them the transejit is floored over 
 to form galleries, in front of which is a 
 marble balustrade of twisted columns aud 
 round arches, carried partly round the 
 two piers at the choir entrance to form 
 pulpits. Outside, the Gothic work ex- 
 tends as high as the cornice of the aisles. 
 The walls have square buttresses and two- 
 light traceried windows. At the west end 
 and in the north side arc two fine door- 
 ways, the northern one called the Lion 
 Door from two flanking lions guarding 
 it, fi'om whose backs rise octagonal sliafts 
 bearing statues of Adam and Eve under 
 canopies. The west door is similar in 
 stvle but richer. To the changes of 1441 
 
SEGESTA 
 
 are due tlie choir, tlie eastern end :md 
 apses, and the central tower, \yhicli is 
 square to the height of the semicircular . 
 nave roof, and there changes to an octag- 
 onal lantern covered by an octagonal 
 cupola with crowning statue. The Ian- 
 
 Fig. 208. — Segesta, Temple. 
 
 tern has two large windows in each face 
 and is very light in construction, being 
 tied with iron like the nave vaults. The 
 cupola and tlie vault have been taken 
 down in the present century and rebuilt. 
 In the southern apse is a fine baptistery 
 of mixed Gothic and Renaissance design. 
 Beside it is the sacristy, a large chamber 
 raised on a stone vault springing from the 
 wall of the bishoji's palace on one side, and 
 from five columns on the other, and form- 
 ing an open loggia with an entrance into 
 the l)aptistery. The cathedral was begun 
 in 1-130 under Antonio di Pietro Paolo ; 
 in 1441 he was replaced by Giorgio Orsini, 
 Avho died in 14T5. The church was final- 
 ly consecrated in 1555. 
 SEGESTA (anc. Egesta). Sicily. 
 
 Gkkek Tkmi'lk. about five miles from 
 Calatafimi. on the edge of a rocky gorge 
 west of the ancient city. It is one of the 
 best preserved of Greek temples, though 
 it was never finished ; all the thirty-six 
 columns of its peristyle are standing, and 
 
 all but one are perfect. It is conjectured 
 that the work was interrupted Ijy the capt- 
 ure of the city by the Carthaginians in 
 409 B.C. It lias been sought to identify 
 it with the temple of Artemis (Diana), 
 from which the statue was taken to Car- 
 thage ; but this is prob- 
 ably untenable, as 
 when the work was 
 stopped the temple can 
 hardly have reached a 
 sufficiently advanced 
 stage to receive its cult 
 statue, and but scanty 
 traces remain of the 
 cella. ItisDoric, hexa- 
 stvle, with fourteen 
 columns on the flanks 
 on a stylobate of fmir 
 steps ; in plan it meas- 
 ures on the lowest step 
 204 ft. by 88 ft. T'he 
 details and the plan are 
 excellent and of the 
 best time, and unfinished as it is, the effect 
 is most imjiressive. The material is the lo- 
 cal limestone, which under the influence of 
 time has assumed a golden-brown color. 
 The columns, formed of an unusually large 
 number (from ten to thirteen) of drums, 
 were still unchannelled when the work was 
 stopped. The capitals are wide-spreading 
 with three strongly marked annulets, and a 
 scotia below. Their diameter at the base is 
 G ft. 2 in., at the neck, 5 ft. 2 in.; their 
 height is 30 ft. 3 in., the intercolumniation 
 is 14 ft. 2 in. The entablature and pedi- 
 ments remain almost perfect ; the face of 
 the ai-chitrave is inclined slightly forward, 
 that of the frieze and pediments slightly 
 backward. {See Fig. 308.) 
 
 TiiE.VTKE. on the north slope of Monte 
 IJarbaro, within the bounds of the ancient 
 city. It is probably of the v cent. B.C., 
 but more or less remodelled in Roman 
 times. The plan is greater than a semi- 
 circle, tlie eiuls of tlie cavea being ex- 
 tended about 10 ft.; the external diameter 
 
 460 
 
SEGNI 
 
 if 209 ft., that of tlie orchestra 54 ft., the 
 length of the stage OOj ft. The exterior 
 wall is not an arc of a circle, but irregu- 
 larly jjolygoual, with about twenty faces. 
 The cavea is iu great part excavated from 
 tlie rock ; the seats are of masonry, divid- 
 ed by a precinction, or horizontal jjassage, 
 into two tiers. The lower tier of twenty 
 rows of seats is well jjreserved, and is di- 
 vided by flights of steps into seven cunei. 
 The higiiest row of seats, next below the 
 precinction, is provided with backs. The 
 upper tier consisted probably of eight 
 rows of seats. The foundations of the 
 stage-structure remain ; the suj^iwrtiug 
 walls of the ends of the cavea are in good 
 condition. 
 SEGNI (anc. Signia), Latium, Italy. 
 
 The Walls are one of the most remark- 
 able examples of Cyclopean work in Italy. 
 The entire circuit, with its five gates, can 
 be followed. The nuxsoury is in large, 
 roughly squared blocks of limestone. One 
 of the gates, now called the Porta Saraci- 
 nesca, is of especial interest from its size and 
 solidity. Its sides converge toward the top, 
 and the huge lintel-stones are 12 ft. long. 
 On the southeast side of the town is a sec- 
 ond gate, almost precisely similar. With- 
 in the walls there is a temple of Roman 
 date, now converted into the church of 
 San Pietro ; its walls are iu good ashlar of 
 tufa. 
 
 SELEUCIA PIERIA (Suweidiyeh), Syr- 
 ia. 
 
 Tombs of the Seleccid^, so-called, 
 situated in a hillside near an ancient bridge 
 which crosses the rock-cut water-channel. 
 A vestibule, 20 ft. long and 8 ft. wide, with 
 beautiful engaged columns on each .side 
 and a vaulted rock-cut ceiling, leads to a 
 chamber richly ornamented with friezes, 
 volutes, etc. From this chamber passages 
 diverge to a ntimber of burial-chambers 
 with loculi and niches. On the plateau 
 forming the upper town are plentiful re- 
 mains of temples and other buildings, iu- 
 cludiuir a number of columns still stand- 
 
 ing, and portions of the fortifications of 
 the acropolis. 
 
 There are considerable remains of the 
 ancient Walls, which were about live 
 miles in circuit, with several of the gates, 
 and of the walled and fortified port, of 
 oval shape, about 1,980 ft. by 1,350 ft., 
 with two well-built moles at the entrance, 
 which is now choked. A deep rock-cut 
 channel about 3,000 ft. long, is also note- 
 worthy ; for a length of 420 ft., and again 
 for a stretch of 135 ft., it is a tunnel 21 
 ft. wide and high, with a channel about 4 
 ft. wide in the middle for the brook, to 
 divert which from the city the cutting 
 was made. 
 SELINUS (Selinoute), Sicily. 
 
 This ancient Greek city was founded on 
 the S. W. coast of Sicily, in the second 
 half of the vii cent. B.C., by a colony 
 from Megara Hyblsea, on the eastern 
 coast. It rapidly rose to great prosperity, 
 but was taken and destroyed by the Car- 
 thaginians iu 409 B.C. There are on the 
 site remains of seven important Doric 
 temples, arwl several metopes from an 
 eighth temple have lately been discovered, 
 constituting the most considerable grouj) 
 of ruined Greek temples in Europe. The 
 temples ajjjDear to have been overthrown 
 by earthquakes, and iu the case of several 
 of them nearly all their architectural 
 members are present. Four of them 
 stood on the Acropolis, three on a hill 
 nearly a mile to the eastward outside of 
 the city-wall. They were all built of a 
 coarse limestone from the quarries at 
 Campobello, eight miles to the N. W., 
 and coated with a fine, hard, white 
 stucco. 
 
 Temple A (so-called), the farthest 
 south on the Acropolis, a Doric structure 
 of the middle of the v cent. B.C., is 
 moderate in size but excellent in style. 
 The stereobate and portions of walls and 
 of a number of columns remain in situ. 
 It was hexastyle, peripteral, with fourteen 
 columns on the flanks, on a stylobate of 
 
SELIXrS 
 
 four steps, witli ;i more numerous flight 
 of steps projecting from the middle of the 
 front. The eelhi had a deep pronuos and 
 opisthodomos, each with two columns in 
 antis, and an adytum at the back. The 
 stylobate measures 51f ft. by I'-iT^ ft., the 
 cella (exterior) 28^ ft. l)y uif ft. 
 
 Temple B, on the Acropolis, the so- 
 called Temple of Empedocles, a small 
 Doric tetrastyle prostyle structure, which 
 has been erroneously restored as having 
 Doric frieze and Ionic columns. The re- 
 mains are considerable, with important 
 traces of polychrome decoration. A num- 
 ber of members of the entablature, with 
 their colors preserved, are in the museum 
 at Palermo. 
 
 Temple C, on the Acroi^olis, identified 
 with probability as a temple of Apollo, is 
 the second oldest of Selinuntiue temples, 
 and one of the most archaic examides of 
 Doric architecture. It evidently dates 
 back almost to the foundation of the city 
 in 658 B.C. A number of columns still 
 stand on the stereobate, together with a 
 large portion of the cella walls. It is 
 peripteral, hexastyle, with seventeen col- 
 nmns on the flanks, on a stylobate which 
 has four steps on three sides, and a flight 
 of nine steps in front ; an inner range of 
 columns connects the third lateral columns 
 from the front. The cella is long and 
 narrow, and the distance from its walls to 
 the surrounding columns is unnsually 
 great. It has a closed vestibule, and at 
 the back an adytum, but neither pronaos 
 nor opisthodonios. The columns have 
 only sixteen channels ; tliose on the flanks 
 are of less diameter than those on the 
 fronts. The height of the heavy entab- 
 lature is almost half tluit of the columns. 
 The architrave is crowned by a moulding 
 of abnormal form. From this temple 
 came the important archaic metopes rep- 
 resenting Hercules and the Kerkopes, 
 Athena, Perseus, and Medusa, and a ()uad- 
 risia. now in the museum at Palermo. 
 The chief dimensions arc : stylobate 
 
 :sj ft. by 209i ft.; cella (exterior). 34^ 
 ft. by 1331 ft. ; columns, base-diameter 6 
 ft. 4 in., neck-diameter 4 ft. 11 in., height 
 58 ft. 3 in.; cella, 5'J ft. by 131 ft. This 
 temple offers an interesting example of 
 the sheathing and ornamental crowning 
 of the cornice with plates of richly colored 
 terra-cotta, in part moulded in openwork 
 or otherwise, and in part adorned with 
 painted anthemia, braids, and otlier de- 
 signs. 
 
 Temple D, standing about in the mid- 
 dle of the Acropolis, an archaic Doric 
 structure dating back to the foundation 
 of the city, in 628 B.C. In plan it is 
 peripteral, hexastyle, with thirteen col- 
 umns on the flanks, on a stylobate of 
 fourteen steps. The cella is long and 
 narrow, and is separated by a wide inter- 
 val from the peristyle columns. Orig- 
 inally it was of the archaic type with a 
 closed vestibule, but this was subsequently 
 changed to a deep pronaos with two col- 
 umns in antis. The columns of the peri- 
 style have twenty channels, those of the 
 pronaos sixteen. At the rear end of the 
 cella is a large sekos or adytum which is 
 surrounded on three sides by a stone 
 bench. The antaj of the cella terminate 
 in three-quarter columns in place of pi- 
 lasters. It is believed that this temple 
 was dedicated to Athena. The styloliate 
 is 7Tf ft. by 1T41 ft.; columns, base-dia- 
 meter 5 ft. 6 in., neck-diameter 3 ft. 9 in., 
 height 24 ft. 8 in.; cella, 27 ft. by 123^ 
 ft. inside. 
 
 Temple E (II according to Ilittorif), 
 identified as tlie Ileraeum, the farthest 
 toward the south of the range of temples 
 on the eastern hill. It is assigned to the 
 second half of the v cent. B.C., and is in 
 style very clo.se to the perfect Doric, 
 though preserving some archaic features. 
 The ruins are the most picturesque among 
 Selinuntine temples. It is peripteral, 
 hexastyle. with fifteen columns on the 
 flanks. The cella -structure has deep 
 pronaos and ojiisthodomos, each with two 
 
SERJILLA 
 
 columns in anfis, and from the rear of 
 till' interior of the celhi opens a sekos 
 chainl)(_'r. Tlie cella lies several steps 
 higher than the i)rouaos, and the st\do- 
 bate consists of four steps with a more 
 numerous flight embracing three inter- 
 columniations projecting from the middle 
 of the front. The columns are coated 
 with tine white stucco; they have twenty 
 channels, and the curve of the echinus 
 apijroaehes the perfection of the best 
 Athenian examples. Abundant remains 
 exist of the rich polychrome decoration. 
 To this temple belong the well-known 
 metojies of Hercules and an Amazon, the 
 mystic marriage of Zeus and Hera, Arte- 
 mis and ActiBon, Apollo and Daphne, 
 Athena and the Giant, now in the museum 
 at Palermo. They are from the friezes of 
 the pronaos and ojnsthodomos. The chief 
 dimensions are : stylobate, 83 ft. by 233J 
 ft.; columns, base-diameter 7 ft. 4 in., 
 neck-diameter o ft. 10 in., height 33 ft. 5 
 in. ; cella (interior). STJ ft. by loSj ft. The 
 longest architrave-blocks measure 15 ft. 
 5 in., and the heiglit of the entablature is 
 contained two and one-quarter times in 
 that of the columns. 
 
 Temple F (by Hittorff designated S), 
 the central one of the range on the east- 
 ern hill, with parts of twenty-four Doric 
 columns still in place. The temple, though 
 highly archaic in plan, is assigned to the 
 VI cent. B.f. ; it is long and narrow, with 
 a cella proportionally still narrower. In 
 plan it is peripteral, hexastyle, with four- 
 teen columns on the flanks. The stylo- 
 bate is of four steps, the third of which is 
 much wider than the others. The cella 
 has a closed vestibule and a sekos or ady- 
 tum at the back. The columns of the 
 peristyle have twenty channels, those of 
 the inner range sixteen flutes, which are 
 separated by fillets ; the capitals are low 
 and wide-spreading ; the proportions of 
 triglyphs and metopes, etc., and the two 
 metopes found bearing reliefs of a Gigan- 
 tomachy, seem more advanced. The col- 
 
 umns retain in part their stucco coating, 
 and there are remains of polychrome or- 
 nanu'ut. The chief dimensions are : sty- 
 lobate, 80 ft. by 203 ft. ; columns, base 
 diameter 5 ft. 11| in., neck-diameter 4 
 ft. 1 in., height 29 ft. 10 in. ; cella (in- 
 terior). 231 ft. by 1331 ft. The height of 
 the columns is two and one-quarter times 
 that of the entablature. 
 
 Temple G, identified as dedicated to 
 Apollo, by others called Temple of Zeus, 
 the farthest iu)rth of the range on the 
 eastern hill, of very large size and retain- 
 ing the greater part of its lower members 
 ('/( sifu desjiite the chaotic appearance of 
 the ruin. Its date is placed in part in the 
 VI cent. B.C., in jmrt after the middle of 
 the V, and it was not entirely finished 
 when the Carthaginians took the city in 
 409 B.C., as is shown by the fact that most 
 of the Doric columns remain unchannelled. 
 In plan it is perijjteral, octastyle, on a 
 stylobate of three steps, with seventeen 
 columns on the flanks and the space of 
 two intercolumniations between the peri- 
 style and the cella walls and porticoes 
 (pseudo-dipteral). The cella exhibits a 
 deep pronaos preceded liy a tetrastyle por- 
 tico having on each side a column inter- 
 vening between angle-column and anta, 
 and an opisthodomos of two columns in. 
 anfis. In the interior the cella had a 
 free standing edicule at the back preceded 
 by a double range of ten columns, each 
 range consisting of two tiers. The newer 
 capitals of the iieristyle are somewhat 
 heavy, but vigorous in outline ; the pro- 
 portions of the entablature are excellent. 
 The chief dimensions are : stylobate, 166 
 ft. by 3G0 ft. ; columns, base-diameter 11 
 ft. 2 in., neck-diameter of older columns 
 G ft. 3 in., of newer columns 8 ft. 1 in., 
 height 53 ft. 4 in. ; cella (interior), 59 
 ft. bv 229 ft. 
 SERJILLA, Syria. 
 
 Roman Therm.-e, in excellent preserva- 
 tion. There remain the entrance, the 
 waiting-room, tiie heating-chamber, the 
 
SERMONETA 
 
 great hull, a miiiibur of small cliaiiibers or 
 sudatoria covered in witli monolithic 
 vaults, and a tribune for musicians, elevat- 
 ed on columns. fStone exterior conduits 
 lead from a large cistern to the window 
 of every sudatorium, whence to produce 
 steam the water was allowed to trickle down 
 on ]iel)blus heated red-hot. 
 SERMONETA, Italy. 
 
 The Castle of the dukes of Sermoneta 
 overhangs and commands the town from 
 the summit of the high hill upon which it 
 is built. It is an immense structure built 
 during the xiii, xiv and xv centuries. 
 In the centre of a large inner court is the 
 castle keep, a high tower with battle- 
 ments, which is the earliest remaining 
 portion of the castle, and dates apparently 
 from the xiii century. The upper story 
 has two halls '^0 ft. by 33 ft. with groined 
 vaults ; one of these appears to have been 
 the chapel and was filled with frescoes of 
 the XIV century. The lower story has 
 two larger halls, one 33 ft. by 36 ft. , and 
 the other 40 ft. by 33 ft. The latter is a 
 fine apartment covered with cross-vaults 
 34 ft. high, divided by a low round trans- 
 verse arch. The stonework is careful 
 throughout the castle, and the groined 
 vault is largely used. There are long and 
 intricate passages leading down, it is said, 
 as far as the i)lain below. [A. L. F., Jr.] 
 
 The Catiiicuiial was originally a five- 
 aisled basilica, probably built under Cis- 
 tercian influence from the neighboring 
 Valvisciolo {r/. r.) at the close of the xii 
 century. The apse is square, flanked on 
 each side by a square chapel ; there is no 
 transept and the nave has five bays. All 
 the aislo bays have groined cross-vaults, 
 and are almost square in plan. There are 
 three stages in the construction : the tow- 
 er at the fapade is })ure Romanesque ; the 
 porch with its wide pointed arch is in sim- 
 ple (rothic style ; the body of the church 
 is transitional. The outer aisles have been 
 turned into chapels, the apse has been 
 mi)(leniized. and the round arches of the 
 
 central nave have been lowered, so that 
 they describe only about a q\iarter of a 
 circle. [A. L. F., Jr.] 
 SESSA (anc. Suessa Aurunca), Italy. 
 
 The Catiiehral, dedicated to Sta. An- 
 nunziata and S. Pietro, is an ancient basil- 
 ica of various dates, the oldest portions 
 perhajis referable to the viii cent., but 
 after a substantial rebuilding consecrated 
 anew in 1113. The nave and aisles are 
 separated by seven stilted round arches on 
 each side, springing from antique columns 
 with stilt blocks. The transept has three 
 apses on its eastern wall, and its floor is 
 raised seven steps above that of the nave. 
 Beneath it is a crypt divided into five 
 aisles of three bays each, with groined 
 vaults supported on columns with Corin- 
 thian capitals, over which are thin mould- 
 ed stilt-blocks. The fagade has a fine 
 open vaulted porch with three arches, the 
 middle one pointed, springing from 
 grouped columns. Over the porch appears 
 only the front of the nave, with angle pi- 
 lasters running up to a horizontal arched 
 corbel-table and a low gable above. It is 
 pierced with a single plain round-arched 
 window with a small gable. This nave 
 front is flanked by two singular tower-like 
 modern bell-cotes which cover the ends 
 of the aisles. They are great masses of 
 wall, gabled and divided by string-courses, 
 pierced each by five arches in three stories, 
 in which hang the bells of the church. 
 Three doors enter the nave and aisles. 
 The church has a remarkable marble pul- 
 pit dating from 1350, a mass of mosaic 
 and sculptured ornament, supported Ijy 
 columns resting on lions and carrying 
 round arches. A fine Paschal candle- 
 stick has similar decoration. 
 
 The remains of antiquity include frag- 
 ments of a temple, incorporated in the 
 church of the Vescovado, a cryptoporti- 
 cus in the monastery of San (Jiovanni. 
 built of stones of remarkable size, an am- 
 phitheatre, many foundations of reticu- 
 lated masoiu'v. and a Ronuin bridge of 
 
SEZZE 
 
 twenty-one arches, called the Ponte di 
 Ronaco (Aurunca). 
 SEZZE, Italy. 
 
 Tlic Cathedral, after being destroyed 
 in the xii cent., was rebuilt shortly be- 
 fore 1200 tinder the combined Cistercian 
 influence of Fossanova {q. v.) and Valvis- 
 ciolo (q-v-), in the style of transitional 
 Gothic. The plan is basilical, without 
 transept and with a single semicircular 
 apse. The interior consists of eight baj's: 
 the length of the church 103 ft., its 
 width (iO ft., width of nave, nearly 24 ft., 
 of aisles, 11 ft. Only a few changes have 
 been made since the time of the original 
 construction, the principal alterations be- 
 ing made in the xviii cent., when the 
 apse and fa9ade were reversed and the 
 vaults of the nave were reconstructed. 
 There remains but one original nave vault 
 next to the old apse ; it is a low-ribbed 
 groin vault with plain square moulding as 
 at Sta. Maria di Castello at Corneto (</. r.) 
 and some Lombard churches. The vaults 
 of the side-aisles are groined, and separat- 
 ed by pointed transverse arches. The 
 plain arches of the nave are pointed as 
 at Valvisciolo, but not as heavy, being 
 in their prof)ortions similar to Fossanova 
 and Casamari ; they are supported on 
 grouped piers. There is a curious irregu- 
 larity in the use of the engaged members 
 which supported the ribs of the ancient 
 main vaults ; some are colonnettes, some 
 pilasters, some descend to the floor, some 
 only jiart way down the piers, as in Cister- 
 cian churches. The most advanced feat- 
 ure of the building are the capitals of 
 these engaged shafts, which are of graceful 
 foliated Gothic type, quite rich in treat- 
 ment and of good jjroportions, and sug- 
 gest a French hand, while all the rest of 
 the structure is an Italian adajjtation of 
 French models. Tlie original windows 
 were closed in the xviii cent., when the 
 vaults were remodelled. The construction 
 is entirely of stone. At the time of the 
 so-called restoration in the xviii cent., a 
 
 door was opened in the a2)se which became 
 the modern facade, and a modern choir 
 was placed at the ancient faQadc. [A. L. 
 F., Jr.] 
 SHAKKA, Ilauran, Syria. 
 
 The small Basilica is one important 
 step in that develojiment of the forms of 
 Christian architecture which makes the 
 buildings of central Syria memorable. It 
 dates from the i or ii cent., and is nearly 
 a square of 65 ft. It fronts east, and is 
 entered by three doors of classic detail, 
 between which are two curious niches 
 flanked by pairs of colonnettes supporting 
 pediments over arched entablatures. It 
 is entirely of stone, like the other build- 
 ings of the Ilauran {q. v.). The interior 
 is crossed by six arcaded screens which 
 bore the flat roof. The central arches, 
 26 ft. wide, and nearly as high, make 
 an open nave ; the narrower side arches 
 give aisles, leaving square jiiers between. 
 These arched screens are the structure of 
 the building, supporting the roof and 
 staying the walls, wliich are only fillings 
 between them. The aisle arches are in 
 two stories of half height, with a floor 
 between, making an upper gallery, and a 
 row of longitudinal arches between the 
 piers bears the stone parapet of this gal- 
 lery. There is no clerestory, nor aisle win- 
 dows, the building being lighted by the 
 openings in the front and rear walls. Its 
 structure singularly anticipates many cliar- 
 teristics of European media?val architect- 
 ure. 
 
 SHOHBA (anc. Philippopolis), Ilauran, 
 Syria. 
 
 Baths, containing a number of vaulted 
 chambers, with interesting sculpture. 
 There are lofty arched entrances. The 
 walls wei"e encrusted with marble, the 
 metallic clamps for holding which are 
 still in place. The earthen pipes for the 
 distribution of water are also in place. 
 The water was brought by an aqueduct, 
 five arches of which are still standing. 
 
 Theatre, built in the slope of a hill. 
 
 466 
 
SIAH 
 
 The exterior walls are still in good pres- 
 ervation. Ten tiers of seats are visible. 
 There is a precinction or horizontal gal- 
 lery, and three entrances from below and 
 four from above. The stage wall is orna- 
 mented with niches. The diameter of the 
 orchestra is about 65 ft., the length of the 
 stage structure about 136 ft., its dejrth 
 about 29 ft. Iktween the theatre and the 
 street there is a small square tem2)le of 
 good style. 
 
 The Roman W.\lls are still standing in 
 part, with several gates consisting of two 
 arches, side by side, separated by a j^ier. 
 Some of the streets are 35 ft. wide, and 
 well paved with long slabs. At the inter- 
 section of the two chief streets, which 
 appear to have been colonnaded, are ruins 
 of a tetrapylon, as at Gerasa. There are 
 several temples ; five columns of the por- 
 tico of one of them are still erect. 
 SIAII, near Kanawat, Hauran, Syria. 
 
 Sanctuary of Baal Samin (a sun- 
 god), shown by inscriptions to date from 
 the first cent, of our era. There are three 
 enclosures succeeding one another from 
 east to west. The entrance to tlie first 
 of these is by a triple gateway resembling 
 somewhat in elevation an Egyptian pylon, 
 but with classical details. The court is 
 about 130 ft. by 52 ft., and is paved with 
 slabs of lava. A second gateway of simi- 
 lar plan leads into the second enclosure, 
 which has the same width as the first, and 
 is about ITil ft. long. Within the third 
 enclosure, which occupies the extremity 
 of the terrace, is a spacious peristyle on a 
 level several steps higher than that of the 
 preceding court; and bcliind this rises 
 the temple i)roper, the plan of which is 
 still unknown, owing to tlie choking of the 
 interior with debris. The front of the 
 temple was of two stories ; the lower one 
 only is standing, and consists of a recessed 
 porch of two columns in antis between 
 square projecting wings, 'i'he plan of this 
 sanctuary is to be compared with that of 
 the Temple at Jerusalem. The capitals of 
 
 the jieristyle are of a rather heavy Corin- 
 thian, with plain, broad leaves in place of 
 the acanthus, and somewhat rude figures 
 of children in that of the central anthe- 
 mion. The bell-shaped bases are formed 
 of a double rank of inverted acanthus- 
 leaves. The sculptured ornament of the 
 sanctuary, which is at once vigorously and 
 delicately execnited, includes vine-branches 
 and grapes, foliage, a lion, an eagle, ga- 
 zelles, a saddled horse, etc. A sacrificial 
 altar has been found flanked by two bucks 
 in high relief, and another bearing a bull's 
 head. Pedestals for statues, with their 
 inscriptions, still stand in the portico of 
 the innermost court. One of them bears 
 the name of llerod the Great. 
 SICYON, Greece. 
 
 Theatre, on the N. E. slope of the 
 Acropolis, explored by the American 
 School at Athens in 18Sfi-87. The cavea 
 was divided into fifteen radial sections by 
 fourteen stairways ; there were about 
 forty tiers of seats, the upper tiers be- 
 ing cut from the natural rock. The 
 lowest tier comprised seats of honor in 
 Poros stone, formed, as at Epidaurus, like 
 benches with backs, and moulded arms at 
 the ends. The length of the benches is 
 about 8 ft. There is a didzoiiut or hori- 
 zontal passage at a comparatively short 
 distance above the orchestra, which makes 
 it probable that a second diazoma, as yet 
 undiscovered, existed tibove. The diazoma 
 has a coijing about 3 ft. high at the back, 
 and two entrances from without the 
 theatre, one on either side, by means of 
 vaulted passages, which are interesting 
 for their Greek vaults of good rectangu- 
 lar nuisonry in large blocks. The orches- 
 tra, of which the diameter is about 60 ft., 
 had a surface of ramnunl earth, or earth 
 and cinders ; it was skirted beneath the 
 cavea by a drain about 4 ft. wide, the in- 
 ner masonry of which fornied a coping to 
 the orchestra. The jxirat/oi. or i>assages 
 into the orchestra between stage and 
 cavea, were closed by double doors, the 
 
 456 
 
SIDE 
 
 foundations of which are in phice. The 
 stage-structure iuchules a number of jiar- 
 allel walls with projecting chambers at 
 the sides. It represents a Roman modifi- 
 cation of the original structure. The 
 length of the wall of the proscenium is To 
 ft. 9 in. ; it was pierced with three doors 
 unsymmetrically piaffed. An interesting 
 feature is the underground passage or 
 drain, beginning in a shallow and narrow 
 conduit at the middle of the skirting drain 
 of the orchestra, and carried in a straight 
 line through the centre of the orchestra and 
 out rinder the stage buildings, whence it 
 is continued by a smaller tunnel in the 
 rock. In the middle of the orchestra it 
 widens and deepens to form a tank, be- 
 yond which its width is 27 in. and its 
 depth about 6 ft. Between the Eoman 
 and the Greek j)roseenia a flight of five 
 steps leads down into the passage, the bot- 
 tom step being raised IJ ft. above the 
 floor to allow water to pass under. The 
 j)assage was covered, except over the stair- 
 way, with slabs of conglomerate, lined with 
 masonry, and in part floored with stone 
 slabs. It undoubtedly served both as a 
 drain and as a jiassage for actors from be- 
 hind the proscenium to the middle of the 
 orchestra, and it is to be compared with 
 the similar feature discovered by the 
 American School in the theatre at Eretria. 
 At the back of the stage-structure was a 
 Roman portico forming a monumental 
 facjade toward the exterior. At the south 
 end of tliis portico is a large square struct- 
 ure, probably a cistern, and at the north 
 end a building of semicircular plan jire- 
 ceded by a portico of four columns, which 
 is identified as an ornamental fountain. 
 Other ancient structures recorded in his- 
 tory undoubtedly await exploration at 
 Sic von. 
 SIDE (Eski Adalia), Asia .Alinor. 
 
 Agora, 180 ft. in diameter, and sur- 
 rounded by a double peristyle of columns. 
 One side is occupied by the ruins of a 
 temple, and a portico. 
 
 MONV.MEXT.\.L FofXTAIX. It IS a 
 
 massive wall about 45 ft. high, with a 
 range of small arcades and niches above, 
 and three large semicircular vaulted 
 niches below, in each of which three 
 streams of water issued from conduits and 
 fell into basins. The lower half of the 
 monument was further decorated by a co- 
 lonnade of thirty-two unfluted Corinthian 
 columns, standing on a basement and 
 with a comjiletc entablature, the convex 
 frieze being carved with foliage. At each 
 end of the monument an exedra jirojected 
 at right angles. 
 
 Theatrk, in excellent preservation. It 
 is situated on a gentle declivity, the lower 
 half only is excavated, the upper half is of 
 solid masoniy. In plan it is about one- 
 ninth greater than a semicircle ; the ex- 
 terior diameter is 409 ft., that of the or- 
 chestra 125 ft., the vertical height 79 ft. 
 The cavea has forty-nine tiers of seats, 
 in two divisions — twenty-six in the low- 
 er, and twenty-three in the upper. The 
 precinction or gallery and its corridor 
 are on a level with the surface of the 
 ground at the back, and communicate 
 with it by twenty-three vaulted passages 
 in excellent and massive masonry of large 
 blocks. Most of the seats are still in 
 place, and the radial stairways are still 
 passable. The seats are of white marble, 
 admirably cut. The estimated capacity 
 of the theatre is fifteen thousand. 
 
 A considerable part of the ancient city 
 walls survives, especially on the land 
 side, where the masonry is excellent. 
 There is one gate in the wall on this side, 
 and three toward the sea. 
 SIENA. Italy. 
 
 The Cathedral is one of the most con- 
 spicuous and interesting examples of the 
 Italian Gothic. In size it can scarcely be 
 ranked with churches of the first cla.ss, 
 having a length of about 275 ft. internal- 
 1}', and a breadth of about 75 ft. or 170 ft. 
 across the transept. The original church 
 appears to have existed as early as the 
 
 45T 
 
SIEXA 
 
 middle of tho x century. It was reconse- 
 crated, in 11 TO, after enlargement. A 
 still more thorough rebuilding took place 
 less than a century later, the facade hav- 
 ing been beirun. in r.'4.'). under Xiccolo 
 
 riched arch mouldings, and covered by 
 high crocketed gables separated by pin- 
 nacles bearing niches with statues, and 
 surmounted each by a standing figure. 
 The porch is flanked by strong angle-piers 
 
 Fig 209 — Siena Catheijial. 
 
 I'isano. The design contemplated a church 
 of much greater size than the present, 
 which is the transept of the intended 
 church. This greater design was aban- 
 doned after the exterior walls had been 
 carried up to the height of the roof. Parts 
 of it and of the nave arcade are still stand- 
 ing, and are of great beauty. The exte- 
 rior is entirely built of white marble, with 
 occasional thin courses of dark gray or 
 black marble. The fa(;ade is of exceeding 
 richness, and shows, especially in its lower 
 portions, more of the feeling of northern 
 Gothic than is often found south of the 
 Alps. This portion consists of a great 
 triple-arched porch stretching across near- 
 ly the whole front, the three arches of 
 equal lireadth and height, very slightly 
 pointed (but the central one round), deep- 
 ly splayed, and with columnar jambs, en- 
 
 which are the bases of two small towers 
 that flank the facade, and terminate above 
 the roof in low spires and pinnacles. The 
 fagade above the porch is divided into 
 three compartments answering in breadth 
 to the nave and aisles. Each division is 
 covered by a high gable ; the central di- 
 vision, carried to a much greater height 
 than the sides and flanked by bold square 
 buttresses ending in pinnacles, is a great 
 square panel enclosing a round window 
 beset with small niches, each containing a 
 bust. A rich and delicate arcaded gallery 
 binds it to the tower on each side. The 
 wall surfaces are everywhere enriched with 
 sculpture. The flanks of the church are 
 of much simpler design, but perfectly con- 
 sistent with the front. Both aisle and 
 clerestory walls are divided by buttresses 
 into bays, which below contain broad 
 
 ■(5S 
 
SIENA 
 
 pointed single windows of admirable de- 
 sign, with slender angle-shafts, and high 
 crocketed traceried gables flanked by pin- 
 nacles. The elerestorj' has also single 
 pointed windows, divided into three lights 
 with tracery in the arch-head. The but- 
 tresses both of aisles and clerestory are 
 crowned by standing statues above the 
 roof-line. The drum of the central dome 
 is surrounded by an arcaded gallery rang- 
 ing with the clerestory wall just above the 
 aisle-roof, and is crowned by a circular 
 lantern with round -arched cusjied win- 
 dows and coujiled columns. The camijan- 
 ile, rebuilt in the Xiv cent, by Agostino 
 and Angelo da Siena, is a most conspic- 
 uous feature of the church. It stands 
 at the junction of the south aisle and 
 transept, its base being included within 
 the church. It is a slender square tower 
 in seven stages, of which six are marked 
 by a regularly increasing series of open- 
 ings in each face, from one to six. The 
 wall is striped like tlie rest of the church 
 with alternate counses of white and black 
 marble, the angles are marked by pilasters 
 of very slight projection, terminating in 
 jjlain square pinnacles within which rises 
 a low octagonal stone spire. The east end 
 of the church, though unfinished, is of 
 great interest. It has an additional lower 
 story, occasioned ])y the rajiid slope of the 
 hill on which the cathedral stands, and 
 which gives entrance to the baptistery 
 beneath, now the church of S. Giovanni. 
 Here are three round -arched doorways 
 with sjilayed columnar jambs and enriched 
 arch mouldings, the central arch cov- 
 ered by a crocketed gable with tracery. 
 The fa(;ade is divided into three bays by 
 square buttresses, of which the lower por- 
 tion is decorated with lozenge - shaped 
 panels containing sculptured heads, and 
 the upper portions by rich and delicate 
 tracery of gabled arches on slender shafts. 
 Between the lower and upper stage the 
 wall was enriched by a beautiful blind ar- 
 cade of narrow pointed, cusped. and gabled 
 
 arches on slender columns, of which the 
 shafts have disappeared. The upper stage 
 has in each bay a fine two-light Avindow, 
 narrow and high, with deeply splayed col- 
 umnar jambs and arch mouldings, and a 
 gable flanked with jjinnacles. Above these 
 windows runs an arched corbel-table, at 
 the height of the aisle-walls. The ui^por 
 parts are wanting. The interior has a 
 nave of five bays, separated from the aisles 
 by square jjiers, with a half column on 
 each face with large comjjosite capitals 
 supporting round arches, of which the sof- 
 fits are richly panelled. Transverse arches, 
 also with broad panelled softits, divide the 
 nave and aisles into vaulted bays. The 
 spandrels of the nave arches are decorated 
 with roundels enclosing heads in high re- 
 lief. Above the arcade runs a bracketed 
 frieze of square panels enclosing busts in 
 terra-cotta of the popes. The clerestory 
 is high, and is pierced with the windows 
 already described. There is no triforium. 
 Walls and piers are everywhere striped 
 with alternate courses of black and white 
 marble. The crossing is covered by a 
 dome which expands beyond the width of 
 the nave, and beginning with a hexagonal 
 wall resting on six great central jjiers and 
 arches, is changed to a twelve-sided i)\an 
 
 WMWl 
 
 4U 
 
 Fig. 210.— Siena, Cathedral. 
 Scale of 100 feet. 
 
 by large and conspicuous squinches en- 
 closing statues. This portion of the wall 
 
SIEXA 
 
 is lined with a continuous colonnuile filled 
 with standinir ligures of the prophets, 
 with a frieze above of heads of cherubs in 
 high relief. Above this the dome itself is 
 oval in plan, its soffit deeply panelled and 
 decorated. The elioir. prolonged in 1317, 
 is in four bays, like those of the nave. 
 Under its eastern half is the ancient bap- 
 tistery above mentioned, now the church 
 of S. (iiovanni. of the full breadth of the 
 cathedral but only two bays deep, di- 
 vided by clustered piers supporting high 
 pointed arches and covered by four-part 
 vaulting. The baptistery contains a font 
 in gilt bronze, with reliefs by Ghiberti 
 and Douatello. The pavement of the 
 cathedral is remarkable, consisting of an 
 inlay of dark gray marble on a white 
 ground representing a great variety of 
 subjects, biblical, mythological, allegori- 
 cal and symbolic, of which the best por- 
 tions are attributed to Beccafumi, and pre- 
 sumed to date from the beginning of the 
 XVI century. The pulpit, one of the fin- 
 est in Italy, is by Niccolo Pisauo and his 
 sons, Giovanni and Arnolfo. It is of 
 marble, octagonal in plan, supported by 
 eight columns at the angles and one in the 
 centre, raised on a basement, the alternate 
 columns resting on the backs of lions, and 
 the central column on a pedestal sur- 
 rounded by figures and groujjs in high re- 
 lief. The capitals are highly developed 
 and support round cusped arches, between 
 which the angles are charged with admi- 
 rable sculpture. Its wall above the arches 
 is covered with reliefs of scriptural sub- 
 jects. The pulpit is approached by a 
 winding staircase decorated with beautiful 
 arabesques in relief. It bears the date 
 1368. {See Figs. 209, 210.) 
 
 CnuRcn OF the Osservaxza, a xv 
 cent, llenaissance church, belonging to 
 the ancient monastery of the Padri 
 Minori Osservanti. The plan is pecul- 
 iar ; a nave of two great square bays 
 opens through a triumphal arch into a 
 wider square choir, behind which is a 
 
 deep apsidal chapel, each covered by a flat 
 dome. A great order of Ionic pilasters is 
 carried about the whole, supporting the 
 transverse arches, and, with detached pi- 
 lasters, the triumphal arch. From each bay 
 of the nave a jiair of chapels opens on 
 each side through sub-arches flanked by 
 pilasters. The bays of the nave are cov- 
 ered by low domes, the choir by a high 
 dome on an entablature above the peuden- 
 tives, which are decorated with medallions 
 of glazed terra-cotta with busts in relief, 
 by Francesco di Giorgio. In each wall- 
 arch is a small round clerestory window, 
 and similar windows light the chapels. 
 On the front is a porch in two stories — 
 the first with three open arches with a 
 horizontal entablature above, the second 
 with an order of engaged pilasters with 
 a central gable. The exterior is of brick 
 very simply treated — the central dome 
 showing as a plain cylindrical lantern 
 without openings, and with a low conical 
 roof. A tall, slender, square bell - tower 
 stands at the S. E. angle of the tribune. 
 
 Chukch of the Servi, a Renaissance 
 church attached to the monastery of the 
 Servi, and known also as St. Mary of the 
 Conception. The monastery dates from 
 the middle ages, but the present chui'ch 
 was rebuilt during the last years of the 
 XV cent, or the early years of the xvr, 
 and has been attributed to Peruzzi. Al- 
 though the design is in the style of the 
 Renaissance, its plan and system of con- 
 struction suggest a Gothic beginning. 
 The nave and aisles, about 125 ft. long, 
 are separated by arcades of round arches 
 springing from Ionic columns, above 
 which transverse arches divide them into 
 five bays each, covered by groined vaulting 
 which in the aisles is pointed. Heavy 
 buttresses span the aisles and separate the 
 chapels that flank each bay. The tran- 
 sept is in five bays, the crossing square, 
 the others oblong, but all groined at the 
 height of the nave vaulting. The tran- 
 sept terminates at each end in a deep 
 
SIENA 
 
 pol_vgonal apse, and on its eastern wall, 
 flanking the square groined ehoir with its 
 polygonal apse, are two smaller apsidal 
 chapels on each side, of similar form. A 
 square bell-tower stands at the south an- 
 gle of the jjlain front. 
 
 The FoNTE Br.\nd.v, made memorable 
 by Dante's mention of it, is the most strik- 
 ing example of a class of fountains pe- 
 culiar to Siena. The rectangular basin, 
 some 55 ft. long, is covered by a brick 
 structure 30 ft. high, with a solid wall on 
 three sides, and on the front three high 
 pointed blind arches of brick springing 
 from square piers, and enclosing lower 
 open arches of the same form. The wall 
 is capped with a strong arched corbel- 
 table, and crowned with square battle- 
 ments. The interior is divided by trans- 
 verse arches into three square groined 
 bays. The fountain dates from the end 
 of the XII century. 
 
 Another fountain of the same kind is 
 the Fonte Nuova, built half a century 
 later, in 1259. with brick arches, and cor- 
 nice enriched with decoration in terra- 
 cotta. 
 
 The FoxTE Gaja, opposite the Palazzo 
 Pubblico, on the old Piazza del Campo, 
 now called the Piazza Vittorio Emanuele, 
 is one of the most remarkable and beauti- 
 ful fountains in Italy, consisting of a low 
 rectangular basin about 35 ft. long, en- 
 closed on three sides by a wall or screen 
 6 ft. high, buttressed at the ends by 
 sculptured pedestals. It is decorated with 
 a series of round-arched shallow niches 
 with statues, raised on a pedestal-course 
 and separated by broad pilasters with bas- 
 reliefs in panels. The fountain was built 
 in 1343. The original bas-reliefs of the 
 panels, executed by Jacopo della Querela 
 in 1412-19, have been lately removed to 
 the museum near the Cathedral, called the 
 Opera del Duomo, and the fountain jirac- 
 tically renewed by a modern sculptor, 
 Sarrocclii, in 1869. 
 
 Palazzo Buonsignore, one of the 
 
 finest and most characteristic of the pal- 
 aces of Siena, dating from the xiv century. 
 The fac;ade, of brick aiul terra-cotta, is in 
 four stories, of which the first has high 
 pointed brick arches, alternately large and 
 small, with low segmental arches spring- 
 ing from the same thin impost moulding. 
 The second and third stories are alike, and 
 consist of ranges of triple windows, the 
 openings jiointed and cusped and sepa- 
 rated by slender shafts, each wiudow cov- 
 ered by a high jjointed bearing-arch of 
 brick. Under each story runs an arcaded 
 string-course. A larger and richer arched 
 corbel-table above supports a frieze under 
 the projecting wooden eaves, j)ierced by 
 small square windows, alternating with 
 square quatrefoiled panels enclosing heads 
 in relief. The plan of the jialace is a 
 square of about 76 ft. and includes on the 
 ground-floor an entrance vestibule stretch- 
 ing nearly across the front, leading to a 
 court with arcades on three sides. The 
 l)rincipal flooring-beams in the various 
 stories rest on wooden brackets carved with 
 great richness. 
 
 Palazzo Grotanelli. This palace, 
 which dates from the xiv cent., has a 
 facade of the Sienese type something over 
 100 ft. in length, in two stories of pointed 
 arches ; the first story of stone, with plain 
 segmental sub-arches, the second of brick, 
 with coupled lights and niullion shafts. 
 The front is finished with an arched cor- 
 bel-table with square battlements above. 
 
 Palazzo Marescotti, a fine xiii cent, 
 palace with a fayade following the broken 
 street-line, about 160 ft. long, iu three 
 high stories, the first two of stone, the 
 third of brick. The first story has a line 
 of tall narrow segmental arches, carried 
 on square piers, and capjied by pointed 
 bearing - arches. The second and third 
 stories have each a lino of tri})le windows 
 with pointed openings, divided by slender 
 columns and enclosed by a pointed bear- 
 ing-arch. The front is crowned by a sim- 
 ple cornice with square battlements. A 
 
 461 
 
SIENA 
 
 low square battlemented tower rises from 
 its left angle. 
 
 Palazzo Piccolomini (how Del Go- 
 verno), the most important of a group of 
 Sienese palaces during the second half of 
 the XV cent., and having all the char- 
 acteristics of tlie great Florentine palaces 
 of the same epoch. It was built for Pius 
 II., about the year 1469, by Bernardo Eos- 
 sellino, the architect of his buildings at 
 Pienza. Its principal facade is about 135 
 ft. long and 95 ft. high, in three lofty 
 stories of rustic stone masonry. The first 
 story has a range of round arches with a 
 central doorway, and over them is a mez- 
 zanine with small square windows. The 
 
 Fig. 211.— S.ena, Pal. Pubblico. 
 
 second and third stories have each a range 
 of nine broad two-light windows, round- 
 arched, with sub-arches divided by a col- 
 umn. Vigorous string-courses with den- 
 tils run under the windows, and the front 
 is crowned by a bold and well-developed 
 corniccione with plain square windows in 
 the frieze. The design above the first 
 story is an almost exact copy of that of the 
 Strozzi palace in Florence. 
 
 The Palazzo Pl'bblico, originally the 
 Palazzo della Repubblica, one of the most 
 notable examples of a remarkable class of 
 medieval buildings, was built in 1289- 
 1309 by Agostino and Angelo da Siena. 
 It has a fa9ade of stone below and brick 
 above, on the great 
 square of the town, 
 making a broken line 
 about 200 ft. long, three 
 stories in height, with 
 the central portion car- 
 ried up another stoi-y 
 and finished with angle 
 turrets as a low tower. 
 The openings are all 
 pointed arches, except 
 those of the upper story 
 of the central tower. In 
 the first story they are 
 plain, in the other two 
 stories they are filled 
 with trijile sub-arches 
 pointed and cusped, 
 with muUion-shafts un- 
 der sol id t y m p a n a . 
 Above the second story 
 of the wings runs an 
 arched corbel-tal)le. as 
 if they had originally 
 stopped there ; a simi- 
 lar one crowns the cen- 
 tral tower. The win- 
 dows rest on light 
 string-courses, and the 
 walls are crowned with 
 s q u a r e brick battle- 
 ments. At the anufle of 
 
SIPONTO 
 
 the fa9ade rises perliaps the most striking 
 and graceful of Italian bell-towers, a jjlain 
 square slender brick shaft capped by a 
 battlemented cornice over arched corbels 
 of extraordinary depth and projection, 
 above which is a scpiare stone belfry with 
 a single round-arched opening iu each 
 face and an arched corbel -table with 
 square battlements. This tower, which is 
 285 ft. high, dates from 132.5-1345. At 
 its base projects an open loggia, with a 
 single great round arch on each face 
 springing from square piers, with niches 
 containing statues. It was built as a 
 chajjel in 1376, an offering vowed for the 
 cessation of the plague in 1348, which is 
 said to have carried off eighty thousand 
 of the pojiulation of the town. The 
 buildings enclose an interior court, sur- 
 rounded by a noble vaulted arcade of sim- 
 ple round arches on octagonal piers with 
 foliated capitals, supporting two stories of 
 wall, of which the first has trijDle windows 
 like those of the fa9ade, and the upper 
 simple round-headed openings. The pal- 
 ace contains several great halls decorated 
 with remarkable frescoes by the ancient 
 Sienese masters. {See Fig. 211.) 
 
 Palazzo SPAXOCcni, a xv cent. Re- 
 naissance palace much like the Piccolo- 
 mini palace, but smaller. It has a fa(,'ade 
 of rustic stone work iu three stories, about 
 75 ft. wide and 80 ft. high. The first 
 story has a range of five equal round 
 arches ; the two upper stories have each 
 five windows with two round-headed 
 lights divided by a column under a round 
 arch. String-courses with dentils run 
 under the windows, and the front is 
 crowned with a strong projecting cornic- 
 cione with brackets, between which are 
 medallions with heads in relief. The pal- 
 ace was begun in 1472 from designs by 
 Bernardo Rossellino, or, as some say, of 
 Francesco di Giorgio. 
 
 Palazzo Tolomei, a good example of 
 the smaller palaces of Siena during the 
 XIII century. It has a simple, vigorous 
 
 facade of stone about 60 ft. broad and 
 112 ft. high, in four stories, of which the 
 first, covering with its mezzanine a height 
 of nearly 40 ft., has a central square door- 
 way under a pointed arch, with a smaller 
 doorway on each side and plain square 
 mezzanine windows above. The three 
 upper stories are alike, each having five 
 large two-light pointed windows, with 
 mullion-shafts and tracery resting on thin 
 string-courses. The fa9ade is finished 
 with an arched corbel-table and square 
 battlements. 
 SIPUXTO, Italy. 
 
 The Cathedral (Sta. Maria Maggiore), 
 now abandoned, is a singular and interest- 
 ing example of early xi cent, architecture 
 altered in the xii and xvi centuries. Its 
 plan is a square of about 60 ft., with 
 small semicircular apses on the east and 
 south. It contains an under church and 
 an upper, the lower being the oldest por- 
 tion of the building. This is about 44 ft. 
 square, divided into twenty-five square 
 groined bays by round arches springing 
 from Corinthian columns, with semicircu- 
 lar aj^ses oijening from the middle bay on 
 the east and south sides, and an entrance 
 doorway on the north. The four columns 
 nearest the angles were replaced, probably 
 in the xii cent, rebuilding, by massive 
 round piers, to bear the weight of the 
 piers of the upper church supj)orting the 
 central dome, which are connected by four 
 great pointed arches over which is a low 
 groined dome with a flat external roof and 
 small lantern. The aisles on the four 
 sides of this central square are covered by 
 pointed barrel-vaults, and the square bays 
 at the angles are groined. There are two 
 semicircular apses over those below. The 
 exterior is i^artly ruined. The fac;ade 
 has a square door in the middle, with 
 round bearing-arch, between two columns 
 on lions, and surmounted by a low gable 
 now mostly gone. On each side of the 
 doorway are two round blind arches on 
 columns, much in the Pisan style, with 
 
SIRACUSA 
 
 inlaid lozenges between the shafts. The 
 easterly apse, arcaded, with flat pilasters 
 decorated with mosaic, has on either side 
 two blind arches like those of the front. 
 Tlie church is believed to have been be- 
 gun in 1010, and finished in 1037, but 
 was substantially rebuilt in the beginning 
 of the following century, and consecrated 
 anew by I'opc Pascal II. in 1117. A sec- 
 ond restoration took place in the xvi 
 century. 
 
 SlltAC'USA, Sicily. See Syracuse. 
 SKYTHOPOLIS. See Beisan. 
 SO AX A (Sovana, anc. Suana). Etruria, 
 Italy. 
 
 The Xeckopolis abounds in Etruscan 
 sculptured rock-facades of much interest, 
 and 2iresenting original features. One, 
 called La Eontaua, has over a shallow 
 arch simulating a doorway a rudely shaped 
 pediment which is carved with a female 
 figure resembling the Greek Scylla, and 
 other subjects. In a clitf called Poggio 
 Prisca there is a long line of facades of 
 the general character of those of Norchia 
 and Castel d'Asso, with doors converging 
 upward, horizontal mouldings, and heavy 
 concave cornice over a torus, thus pre- 
 senting a pseudo-Egyptian or Phoenician 
 type. The Grotta Pola resembles the 
 facade of a pedimented temple, with col- 
 umns of Corinthian tendency, but show- 
 ing human heads among the foliage of 
 the capitals. These monuments are not 
 considered to be verv earlv in date. 
 S0L:\[0XA. Italy. " 
 
 The AycEDL'CT, built in 12.5(J, accord- 
 ing to the long inscription still remaining 
 at the end of it, over the fountain, is one 
 of the finest mediieval works of the kind. 
 It is well built of hu'ge blocks of stone, and 
 consists of a series of broad pointed arch- 
 es, resting on square piers surmounted by 
 a simply moulded plinth. Starting in 
 the main square, it takes a bend, and ris- 
 ing as it proceeds, cuts through the city. 
 [A. L. E., Jr.] 
 
 The Church of S. Euaxcesco was built 
 
 in Vm) or 12'.)-1 by Charles II.. of Aujou, 
 and must have been one of the finest 
 works erected by him, for Solmona was 
 his favorite city. The remaining part of 
 the facade, with its colossal round-arched 
 2Dortal, is the most impressive work in this 
 city, which is full of Gothic and Kenais- 
 sance buildings. The height of the door- 
 way is about 30 ft. [A. L. F., Jr.] 
 SOKA, Italy. 
 
 S. DoMEXico, an ancient basilica some 
 two miles east of the town, consecrated in 
 1104 by Pope Pascal II., and consider- 
 ably altered in 1680. Its plan is rectan- 
 gular, with nave and aisles separated by 
 five arches on each side, springing from 
 sections of wall, with corresponding jjilas- 
 ters on the aisle-walls, but with no trans- 
 verse arches nor vaulting. The transept 
 is rectangular, with three eastern apses, 
 and with a crypt under it divided into 
 seven aisles of three bays each, the middle 
 aisle broadest. The crypt vaulting is car- 
 ried on sixteen marble columns, and there 
 are here three apses as in the upper 
 church. 
 
 SOVANA. See Soana. 
 SPALATO, miscalled Spalatro, Daluui- 
 tia. 
 
 Tlie Baptistery, or church of St. John 
 the Bajitist, is the small temjile of Diocle- 
 tian's palace, standing west of the jieri- 
 style, and is said to have been dedicated to 
 .Esculapius. It is rectangular, on a lofty 
 podium with vaulted cryjit beneath, and 
 had originally a tetrastyle Corinthian por- 
 tico, now destroyed together with the 
 front pediment. The interior, which has 
 been perfectly preserved since its erec- 
 tion, is covered by a barrel-vault of stone 
 sunk in square coffers. This vault is 
 built of huge stones, of which three 
 courses complete the semicircle, and forms 
 the exterior roof of the temple between 
 the two end pediments. The doorway. 
 1.") ft. higli, is formed of three pieces, 
 the liead being mitred to the jambs. It is 
 bordered by sculjitured scroll work in 
 
 464 
 
SPALATO 
 
 which figures ami animals are entwined, 
 all roughly and hastily executed. Tlie 
 baptistery contains a cruciform marble 
 font made up of various fragments, and 
 sculptured with grotesque figures. A fine 
 Roman sarcophagus which formerly stood 
 on the platform before the temple has 
 been removed to the museum. 
 
 Cathedral (Duomo). The temple 
 in Diocletian's palace supposed to have 
 been dedicated to Jupiter, but more 
 probably the emperor's mausoleum, is 
 now the duomo of Spalato. It stands in 
 a small court east of the peristyle of the 
 f)alaee, from which a flight of steps leads 
 up to it. It is octagonal with a sur- 
 rounding Corinthian peristyle, and had 
 formerly a projecting porch in front, now 
 replaced by a campanile. A low, red- 
 tiled pyramidal roof with xiii cent. Ro- 
 manesque finial covers the building and 
 conceals an interior dome. Beneath the 
 church is a roughly vaulted crypt ap- 
 proached by a passage under the entrance 
 steps, and lighted by openings iu the 
 pavement of the peristyle. The interior 
 is a circular chamber 43 ft. iu diameter, 
 divided into eight bays by two orders of 
 detached columns. The entrance occu- 
 pies one bay, and the others contain large 
 arched niches alternately square and semi- 
 circular. The columns of the lower order 
 are of granite with Corinthian capitals ; 
 those of the upper one are alternate pairs 
 of granite and porphyry. The columns 
 are purely ornamental and support only 
 returns of the two entablatures which 
 surround the building. These are richly 
 though rudely decorated, but in design 
 depart widely from classic models. The 
 upper columns ai'e but seven diameters 
 high and without bases. At the level of 
 their Composite capitals a sculptured frieze 
 surrounds the wall with figures of winged 
 boys and animals. The dome is con- 
 structed for half its lieight of a series of 
 brick relieving-arches curiously arranged 
 like scales. Two elaborate Gothic cano- 
 
 pied shrines occupy the niches on either 
 side the liigli altar. The jjulpit is a pure 
 Romanesque work of the xiii cent., in 
 fine limestone and variously colored mar- 
 ble. The body, elaborately carved, is 
 hexagonal, decorated with coupled col- 
 onnettes, and stands on six octagonal col- 
 umns united by round arches. There are 
 some carved choir stalls of the xiii and 
 XV cents., in a modern rectangular choir 
 built to the east of the church and con- 
 nected with it by a door cut through the 
 wall opposite the entrance. The whole 
 building has been recently restored, much 
 to the injury of its antique character 
 The entrance to the church is through 
 the interesting camjDauile belonging to 
 the xiv-xvi cents., which has replaced 
 the original portico. This is of five 
 stories, square in plan, surmounted by an 
 octagonal lantern and low S2)ire. Its 
 foundation is unknown, but the first two 
 stories are ascribed to ilaria of Hungary 
 (d. 1323). Both have exterior arcading 
 constructed of antique columns and capi- 
 tals, and enriched with sculpture of By- 
 zantine and Venetian character. The 
 next three stories, attributed to the xv 
 cent., are rich in porphyry and verd-au- 
 tique spoils from older buildings. Their 
 groujjcd openings are round-arched with 
 midwall shafts. 
 
 Palace of Diocletian, built by Dio- 
 cletian, who was born in Salona, three 
 miles N. E. of Spalato, and after his ab- 
 dication (a.d. 305), spent here the last 
 nine years of his life. It was a fortified 
 palace, somewhat in the form of a praeto- 
 rian camp, of nearly rectangular form, 
 59"-J ft. on the south side, .570 ft. on the 
 north side, and 098 ft. on the east and 
 west sides, thus enclosing more than eight 
 acres. The south side, overhanging the 
 sea, was entirely occupied by a magnificent 
 open arcaded portico lii ft. wide. Tlie 
 other sides were lofty walls of solid and 
 plain construction, broken by ten massive 
 square towers, regularly disposed. In the 
 
SPARTA 
 
 middle of each side was a great gate, 
 flanked b.v octagonal towers, giving access 
 to two streets :3(i ft. wide crossing at right 
 angles in the centre of the quadrangle, 
 thus practically dividing it into four 
 blocks of buildings. These streets were 
 l)ordercd l)y arcades 13 ft. wide. The two 
 north quarters are an indistinguishable 
 mass of ruins ; tliey were probably occu- 
 pied by guests and officers of the palace. 
 The street running north and south is the 
 jirincipal avenue. It is entered at the 
 north end by the Porta Aurea (golden 
 gate) ; in the middle of this side and after 
 crossing the other avenue, is the centre of 
 the quadrangle ; it opens into the great 
 court of the palace, now the Piazza del 
 Duomo, a large square surrounded by an 
 arcade supjiorted on each side by six 
 granite Corinthian columns with marble 
 lattices between. At the south end of the 
 court a flight of steps gave access to 
 a tetrastyle Corinthian jjortico, which 
 opened into the ri'xlibuluiii, a circular 
 apartment 38f ft. in diameter, lighted 
 from the roof. Beyond this was the 
 quadrangular atrium, 98 ft. by 45^ ft. (in 
 the centre of the seaward front), from 
 which access was had on the east and west 
 sides to a magnificent suite of apartments, 
 occupying the principal part of the south 
 front. Beyond these on the right were 
 the private apartments of the emperor. 
 On each side of the court of the palace, 
 near the centre, there is an area of 154 ft. 
 by 94 ft., containing a monumental struct- 
 ure ; that on the east the so-called Tem- 
 2)le of .Jupiter, now the Duomo {q. v.), 
 which is in fact the Mausoleum of Dio- 
 cletian, and on the west side the Temple 
 of .Esculapius, now the Ba))tistcry (c/. /•.). 
 The material is a limestone l)ut little 
 inferior to marble, from the (piarries at 
 Trail. The arches of the central court are 
 of great importance in the history of archi- 
 tecture as the earliest to which a pre- 
 cise date can be assigned, which consist- 
 ently spring directly from the abaci of 
 
 the columns, abandoning the earlier Ro- 
 man fashion of an intervening jiiece of en- 
 talilature. The same principle was a])- 
 plied at nearly the same time in various 
 Syrian buildings. The Palace of Diocle- 
 tian thus at once belongs to the decadence 
 of purely Roman art, and marks the dawn 
 of the era of modern art. 
 SPARTA, Greece. 
 
 Amphitheatre, east of the Acropolis, 
 near the river ; a brick building of late 
 Roman period. Leake calls it a circus, 
 and thinks it jjerhaj^s the smallest in ex- 
 istence. It is nearly circular ; the greater 
 diameter being 180 ft., that of the arena 
 (Si ft. The walls, about IG ft. thick, are 
 supported on the outside by large but- 
 tresses at small distances apart. No seats 
 remain. 
 
 Theatre, on the S. W. side of the hill 
 of the Acrojjolis, in which it is partly ex- 
 cavated ; but the wings of the cavea are 
 wholly built in stone. The stage struct- 
 ure is a Roman construction of brick. 
 The exterior diameter is over 430 ft., or- 
 chestra about 105 ft. The seats are mostly 
 or entirely gone. Pausanias says it was 
 built of white marble and was one of the 
 sights of Sparta. The remains are in 
 great part hidden under earth washed 
 from above. 
 
 Tomb of Leoxidas (opposite the Thea- 
 tre), whose bones were brought from 
 Thermopyhe and placed in it forty years 
 after his death. The name is popularly 
 given now to an imposing ruin about 45 
 ft. by 23 ft., built of large quadrangular 
 blocks, which stands to the north of the 
 modern town. This ruin is apparently 
 a heroon. but can hardly be tliat of Leoni- 
 das, as it is too far from the theatre to 
 agree with the ancient record. 
 SPELTjO (anc. Ilispeliuin or Colouia 
 
 ■Julia), Italy. 
 
 Cathedral (Sta. Maria Maggioi-c) a 
 churcli that was Gothic, entirely trans- 
 formed in aspect during the xvi cen- 
 turv. It has an aisleless nave in four low. 
 
 466 
 
SPOLETO 
 
 groined bays, and a olioir tliat ends in a 
 seven-sided apse. Tlie halduecliino over 
 the liigli altar, a domed canopy on four 
 liglit columns, of very graceful detail, and 
 one of the most elegant examples of the 
 early Renaissance, is the work of Rocco of 
 Vicenza. who remodelled the choir in 
 1515. The fa(,-ade, of 1064, has au ef- 
 fective portal. 
 
 S. AxDUEA, belonging to the Francis- 
 cans, is a cruciform church with a single 
 nave and three apses, built after the middle 
 of the XIII century. The four bays of its 
 nave have oblong groined vaults with pen- 
 tagonal ribs, and are similar to those of the 
 Cistercian church of Monte I'Abate {rj. v.). 
 Similar oblong vaults cover the three com- 
 j)artments of the transept. [A. L. F., 
 Jr.] 
 
 The Triumphal Arch is supposed to 
 have been dedicated to the emperor 
 Macrinus (a.d. 21?). It is very ruinous ; 
 as restored by Rossini it had a central 
 arch with a smaller arch on each side, 
 separated by four Doric pilasters support- 
 ing an entablature, above which was au 
 attic with six engaged Doric half-columns. 
 
 The ancient Walls, with towers, are in 
 themselves noteworthy, and preserve im- 
 portant remains of three gates. One of 
 these, the Porta Consolare, is built of 
 limestone resembling marble, and has 
 three archways. On the exterior face, on 
 consoles over the arches, stand draped 
 statues of late date. Another gate, the 
 Porta Venere. on the S. W. side, has a 
 decorated triple archway causing it to 
 resemble a triumjjhal arch ; it is flanked 
 by two towers of much later date. The 
 Porta Urbana, between the two others, 
 in a fine stretch of ancient wall, is now 
 blocked up. About a mile outside of the 
 Porta Consolare are ruins of an amphi- 
 theatre, now overgrown with grass. 
 SPOLETO (anc. Spoletium),'ltaly. 
 
 Cathedral (Sta. Maria Assunta), orig- 
 inally a Lombard or Romanesque build- 
 ing, now much modernized, esfjeeially 
 
 within, hut retaining on the exterior 
 much of its lirst character. The facade 
 has a noteworthy Reiuiissance jjorch with 
 five circular arches, springing from an- 
 cient columns, and above these a frieze 
 charged with sculpture. At each angle of 
 the jJorch is a stone pulpit. In the gable 
 is a fine rose window, and the rake of the 
 gable is masked by a gallery. Over the 
 porch is a large mosaic of the Saviour 
 tlironed between the Virgin and St. John, 
 and bearing the name of the artist, Salse- 
 ruus, with the date 1207. The bishop's 
 chair was removed to this church from 
 S. Pietro, the earlier cathedral, in 1007, 
 this being nearly the date of tlie comjile- 
 tion of the interior of the present church. 
 There is a great campanile with a loggia 
 at its base, and terminated by a spire, the 
 former added in 1410, the latter in 1519. 
 The interior, which was rebuilt in 1644 
 in the Renaissance style, is remarkable 
 only for its frescoes dating from 1378 and 
 later. Those in the choir are by Filippo 
 Lijjpi. whose tomb is here. 
 
 Sta. Maria di Loreto. a xvi cent. 
 Renaissance church, covering a square of 
 about 120 ft., but inwardly a Oreek cross 
 with three square arms covered liy barrel- 
 vaults, and one semicircular, the latter 
 forming the choir and covered by a semi- 
 dome. The interior is surrounded by an 
 order of Corinthian jiilasters, from the en- 
 tablature of which spring the barrel-vaults 
 of the arms and four great round arches, 
 upon which it was manifestly intended to 
 raise a central dome, which, however, was 
 never built. The angles of the square are 
 filled with chajjels and sacristies. The 
 architect is not known. 
 
 S. PiETRO (St. Peter), a singular Ro- 
 manesque church, standing just outside 
 the walls of the town, on a hill, and aj)- 
 proached by a long staircase. The facade 
 is a square mass of stonework with much 
 cui-ious sculpture, in two stories separated 
 by a quasi-classic cornice. The first is 
 very high and divided by flat pilasters 
 
STAMBOUL 
 
 into five compartments, of wliicli the cen- 
 trul (iiie contains a lars^e siniare doorway, 
 snrronnded by a broad baud of sculpture 
 of Byzantine character, flanked by two 
 panels of similar treatment, with arcades 
 and bas-reliefs. Above the door is a cir- 
 cular window, now walled uj), and di- 
 minished to a horseshoe arch by the en- 
 croaching door-licad. On either side of 
 the central division is a vertical row of 
 panels filled with grotesque bas-reliefs. 
 The side divisions have each a scpiarc door 
 with a round bearing-arch above it. The 
 second story has a large circular w'iudow 
 in the middle, now partially filled up, en- 
 closed in a scpuire panel with decorated 
 border and figures in the four corners. 
 On either side is a small circle with coarse 
 Gothic tracery, and a similar circle over 
 each of tlie side doorways. The interior 
 is modernized. This church in its origi- 
 nal form dates probably from the middle 
 part of the vi cent., and was until lOOT 
 the cathedral church. During the fierce 
 wars of the following centuries it was suc- 
 cessively destroyed by Goths, Saracens, 
 and Ghibellines, and as often rebuilt, the 
 last rebuilding having been accomplished 
 in 13"^9. The fa9ade, or at least its lower 
 story, is probably much earlier than this, 
 and a part of its grotesque sculptures are 
 thought to be as old as the end of the VI 
 century. 
 
 Among the remains of antiquity are the 
 Porta d'Aunibale, a plain arched gate- 
 way in massive masonry spanning the 
 principal street. The relief of a lion de- 
 vouring a lamb is a medii^val addition. 
 The Chiesa del C'rocifisso, wdiose facade 
 and interior disposition are those of a 
 Christian basilica of the time of Con- 
 stautine, retains some of the columns 
 and portions of the walls of a temple be- 
 lieved to have been that of Concord. S. 
 Andrea, now used as barracks, possesseil 
 fluted Corinthian columns from the tem- 
 ple of Jupiter, and in San (Jiuliano are 
 seen fragments of the Temjile of JIars. 
 
 A massive ruin is called the Palace of 
 
 Tlu'oduric. 
 
 STAMBOUL. See ConsfantiiiopU'. 
 
 STILO, Italy. 
 
 L.v Cattolica, a small but charac- 
 teristic examjjle of a Byzantine church. 
 It is a cubical mass only about 25 ft. 
 square, its plan divided in Byzantine 
 fashion into nine bays by cross arches sup- 
 ported on four plain marble shafts with- 
 out bases, and with rude block capitals. 
 In the east side are three round apses. 
 The central bay is covered by a liemi- 
 sperical dome on a high druui, the four 
 bays that abut against it forming a Greek 
 cross are barrel-vaulted, and the four 
 corner bays covered with domes like tlie 
 central dome, but lower. The exterior 
 is of brick, each side being covered by a 
 low gable. In tlie west side is a plain 
 high round-arched doorway. Out of the 
 roof rise the five domes, but appearing 
 each a cylinder with low tiled roof. The 
 wall surface in all is covered with a fine 
 diaper in terra cotta. Under the church 
 is a crypt, with vaults carried on columns 
 with capitals of various form, some with 
 stilt-blocks. The date of the church is 
 uncertain, but it has been assigneil to the 
 VIII cent., and more probably to tlie ix. 
 STIRIS, near Delphi, Greece. 
 
 The CoxvEXT OF St. Luke, founded in 
 the middle of the X cent., contains two 
 early Byzantine churches ; the larger, dat- 
 ing probably from the beginning of the 
 XI cent., is one of the most important and 
 best preserved Byzantine churches in 
 Greece. It has banded walls of brick and 
 stone, two stories high, with a central 
 dome on a drum of sixteen sides above a 
 square base, from which radiate the roofs 
 of the nave, choir, and transept, ending in 
 gables in the middle of each fagade. It is 
 about 55 ft. by 100 ft., and is entered 
 from the west through a plain narthex 
 later than the rest, crossing the front. 
 Within this is the original narthex, in 
 three groined bavs lined throughout with 
 
 468 
 
STEATONICEA 
 
 a rich facing of marbles. The great dome 
 is carried not ou peiidcii lives, but on 
 squiiiches, by eight piers. An upper gal- 
 lery over the aisles correspouds to the sec- 
 ond story of the exterior, crossing the 
 transept on arcades, and connecting with 
 tlie npper story of the original narthex. 
 It is entered from without, and was douljt- 
 less intended as a gyneca?uni, or women's 
 gallery, for the community outside tlie 
 monastery. The sanctuary, behind the 
 dome, is a square bay, widened by a shal- 
 low niche on each side, and behind it is 
 the usual Byzantine apse, round within 
 and polygonal witliout, lined with stone 
 benches for the clergy, and lighted by two 
 stories of twin windows. The whole in- 
 terior, lip to the springing of the vaults, 
 is clad in a rich wainscoting of colored 
 marbles ; the iconostasis, or screen before 
 the sanctuary, is an elaborately decorated 
 composition of like materials, and the 
 floor is laid with them in slabs and l)ands. 
 All the vaults and domes, including tliose 
 of the inner narthex, are lined with mo- 
 saics on a gold ground depicting in great 
 variety scenes from the lives of Christ and 
 of the saints, and from Bi1)lc history, with 
 a profusion of ornamental detail, giving 
 an effect of great splendor, though marred 
 by dilapidation and dimmed by the block- 
 ing up of many windows. 
 
 Adjoining the greater church, on the 
 right of its sanctuary, is the snialler and 
 simpler church, on the common Byzantine 
 plan of a Greek cross inclosed in a square, 
 with a central dome on four round jiiers, 
 and three eastern apses of Byzantine form. 
 Across the front of it is a great nartliex, 
 three bays in width and two in depth, 
 groin-vaulted, and communicating with 
 the greater church. 
 
 STKATOXICEA (Eski - Hissar), Caria, 
 Asia Minor, 
 
 Tlie Temple of Hecate (?), Corinthian, 
 hexastyle, prostyle, is raised on a base- 
 ment with six stejjs in front, between pro- 
 jecting piers. Behind the front portico 
 
 the temple has a pronaos with four col- 
 umns ('/( aii/ix, and beliind tliis a vestibule 
 formed by anta; jirojocting at right angles 
 from the side walls, and with two columns 
 in the of)eu space between them. At 
 either side of the vestibule there were 
 small ehaml)ers, which may have contained 
 stairs. Back of the vestibule were tliree 
 cellasside by side, each with its own door. 
 That on the left-hand side appears to have 
 had also a second door, in the exterior 
 side wall. The extreme dimensions are 
 SO ft, by 115 ft. Fragments remain of 
 the coffered ceilings. The temple stood 
 in the middle of a large square peribolos 
 or enclosure. 
 
 The ancient Walls, Avith rectangular 
 towers, have left extensive remains, and 
 there are a number of important ruins 
 witliin tlie enclosure. Among these there 
 is, on the north side, what was a]>parently 
 a monumental propylanim, with arches 
 preceded by a portico of ten unfluted Co- 
 rinthian columns on the inner face. At 
 some distance in front of tliis, and in 
 alignment with it, there was a large co- 
 lumnar structure, also with a decastyle 
 portico. Outside the walls was an ex- 
 tensive street bordered witli porticoes, be- 
 ginning at the propylffium. 
 ST RAT OS. Acarnania, Greece. 
 
 DoEic Temple, jieripteral, in plan 111^ 
 ft. by 60 ft. Tlie crepidoma survives en- 
 tire, and the lowest drums of most of the 
 columns remain in place. A large altar 
 stands before the east front ; near it were 
 found a quantity of fragments of terra- 
 cotta figurines. In the neigliborhood of 
 the temple the French School has discov- 
 ered a large buihling of the character of a 
 stoa, which may have fronted on tlie 
 agora. 
 SUBIACO, Italy. 
 
 St.v, Scolastica was one of twelve 
 monasteries founded by St. Benedict in 
 the neighborhood of Subiaco, all of whicli 
 came to be populous and richly endowed. 
 They were devastated by repeated incur- 
 
SUESSA 
 
 sions of the Lombards and Saracens in tlie 
 VII and VIII ccntnrie.s. The old church 
 of Sta..Scolastica was restored in 1)81 by 
 Benedict \ II. (who built also the cliai)el 
 of the Sacro Sjjuco), its low I'oof being sup- 
 ported by five great pointed cross-arches. 
 It was rebuilt in the xviii ceiit., by Pius 
 VI., with an order of Ionic columns set 
 against the old piers, supporting an en- 
 tablature, from which springs a circular 
 barrel-vault divided by transverse arches. 
 The choir, a single oblong bay with semi- 
 circular apse, remains, but quite modern- 
 ized to accord with the new nave. The 
 five great arches of the old church still 
 remain, the new vault of the nave being 
 built under them. The square raediajval 
 tower also remains, in several stages, with 
 grouped round-arched windows divided by 
 columns. The two cloisters of the old 
 monastery are still in existence : the larg- 
 er one, dating from 1053, has two stages, 
 the lower, strange to say, with plain point- 
 ed arched ojienings in a solid wall, and 
 a second story of dormitories with small 
 square windows. The other cloister dates 
 from 1230 and has slightly stilted round 
 arches on slender columns in groups of 
 four, five, and six, between piers, and 
 raised on a stvlobate. 
 SFESS.V AITHUNCA. See Sessa. 
 SUNIL'.M. Attica, Greece. 
 
 Temple of Atiiexa Suxias (Pallas of 
 Sunium), on a rugged promontory forming 
 the southernmost point of Attica. The 
 walls of the jierilxdos, built of coarse 
 stone faced on the outside with white mar- 
 ble, may be traced down to the sliorc. 
 The entrance was jjcrhaps through pro])y- 
 laja. The temple was probably of the v 
 century n.f. It was Doric, hexastyle, pe- 
 ripteral, on a stylobate of three steps ; the 
 material coarse white marble. Nine col- 
 umns are still standing of the south jieri- 
 style and two of the opposite side. Two 
 columns of the pronaos survive, with one 
 of the antfe and a portion of the other. 
 The architrave blocks still rest ujion the 
 
 columns. The frieze was sculptured with 
 
 reliefs representing the deeds of Theseus, 
 
 particularly the battle of the Centaurs and 
 
 Lapiths. 
 
 SUH. See 7'i/re. 
 
 SUSA (anc. Segusio), Italy. 
 
 Tru'mi'iial Arch of white marble, 
 erected in honor of Augustus about 8 B.C., 
 by the Gallic chieftain Cottius, who be- 
 came in his reign an ally of the Roman 
 empire. The inscription on the attic 
 enumerates fourteen tribes subject to 
 Cottius. The ground-plan measures 29^ 
 ft. by 19i ft.; the height is 41 ft. The 
 monument is pierced with a single arch- 
 way of IG ft. S2)an and 24J ft. high, hav- 
 ing a pilaster with Corinthian capitals 
 on each side, and encircled by a Corin- 
 thian order with a fluted column at each 
 corner, on a pedestal 2^ ft. high. 
 SUT1\I (anc. Sutrium), Etruria, Italy. 
 
 Amphitheatre, hewn from the tufa 
 rock, the only such example known. It 
 is small and somewhat irregular in plan, 
 probably owing to its having been formed 
 in a pre-existing stone-quarry. It is as- 
 signed to the imperial epoch, though 
 early students held it to be Etruscan. 
 The axes of the arena are 164 ft. and 132 
 ft. ; the surrounding podium is skirted by 
 a vaulted corridor, a very rare feature. 
 Precinctions interrupt the tiers of seats 
 at frequent intervals, and a broad gallery 
 surrounds the top of the auditorium. At 
 intervals about half-way up the slope of 
 the scats are placed nine curious arched 
 alcoves, sheltering benches, probably seats 
 of honor I'm- the local magistrates. The 
 voinit(n-ia are interesting and very per- 
 fect, as are the arrangements for drain- 
 age. 
 SrWKDA, llaurau. Syria. 
 
 The ruined Basilica is a large church, 
 with double aisles, a closed narthex, and 
 a deep sanctuary of two straight bays and 
 a round apse, flanked by the two usual 
 chambers or sacristies. The whole length 
 is 220 ft., the width of the nave 40 ft. 
 
 4~0 
 
SUWEIDIYEH 
 
 There were double tircades on ear-li side 
 the nave, supported by twenty-eight col- 
 umns, some of whose rather rude capitals, 
 apparently taken from some older build- 
 ing, are still found. The aisles, sanctuary, 
 and narthex were roofed with stone slabs 
 and the nave with wood. The church 
 was jirobably built in the v centui-y. 
 
 Temple, with thirteen Corinthian col- 
 umns standing out of the twenty-two of 
 its peristyle. There are some smaller col- 
 umns /« sifii in the interior of the cella. 
 The design of capitals and cornice is stiff 
 and poor. 
 
 Tomb of Chamra. wife of Odenathus, 
 dating probably from the i century a.d. 
 It is of square plan, about 36 ft. on a side, 
 and of massive construction. On a stere- 
 obate of two steps stand on each face six 
 somewhat rude engaged Doric semi-col- 
 umns, the wall between which bears cu- 
 rious round and oval knobs. The total 
 height was about 40 ft. 
 SUWEIDIYEH. See Seleucia Pieria. 
 SYKACUSE (Siracusa), Sicily. 
 
 Altar of Hieron II., near the theatre, 
 discovered in 18-39. This gigantic altar, 
 built for the annual sacrifice of four hun- 
 dred and fifty oxen, was reputed in antiq- 
 uity to be a stadium (furlong) in length. 
 The substructions were partly cut from 
 the rock and partly constructed of mason- 
 ry, and are adorned with mouldings, and 
 covered in parts with stucco. Part of the 
 steps ascending to the platform survive, 
 and portions of a Doric entablature of late 
 type. The existing foundations are 04.5 
 ft. by 75 ft. The altar was built or re- 
 stored by Ilieron between 20.5 and 215 
 
 B.C. 
 
 Amphitheatre, on the slope of the 
 hill below the present cliaj)el of S. Nicco- 
 lo. It is probably of the time of Augus- 
 tus or Tiberius (a.d. 28-3T). On one 
 side it is excavated in the rock, but it is 
 built up with masonry on the lower slope. 
 The arena, whose axes are 229 ft. and 121 
 ft., is surrounded by a podium about T ft. 
 
 high, under which there is a vaulted cor- 
 ridor with eight gates, opening into the 
 arena. In the middle of the arena is a 
 rectangular cistern 55 ft. by 28 f t. , in which 
 stand the piers that supported the floor. 
 The seats were in three ranges : the two 
 lower ranges, hewn from the rock, still 
 remain in the eastern half, but are nearly 
 gone on the west side. The arena could 
 be supplied with water from a subterra- 
 nean reservoir under S. Niccolo. 
 
 The Cathedral (Sta. IMaria delle Co- 
 loune) is built into an old tem^jle which is 
 identified with the temple of Athena 
 (Minerva), built in the yi cent. B.C., de- 
 spoiled by Verres, and described in Cicero's 
 orations against him. The cella was 
 taken for the nave, the main arcades 
 being cut through its walls ; the lateral 
 porticoes became the aisles, and the walls 
 of the church were built in between the 
 columns (7 ft. in diameter) of the peri- 
 style, which show in many places, both 
 outside and inside. In 1093 an earth- 
 quake shook down the front, which in the 
 course of half a century was replaced by 
 the modern baroco fa9ade. The temple 
 was Doric, hexastyle, perijjteral, with 
 fourteen (perhajis fifteen) columns on the 
 flanks, on a stylobate of three steps ; in 
 plan it measured 75 ft. by 188 ft. The 
 columns have twenty channels ; their 
 diameter is, at the base, 7 ft., at the neck, 
 5 ft. ( ?) ; their height, 28 ft. 7 in. ; the 
 iutercolumniation, 14 ft. 4 in. There is 
 but little entasis ; the triglyphs are nar- 
 row ; the cornice has wholly perished. 
 Thirteen columns remain of the north 
 peristj-le, and nine of the south, as well as 
 the two monolithic colunnis in antis of 
 the pronaos, which are higher than the 
 peristyle columns. The ojiisthodomos was 
 destroyed when the temple was converted 
 into a church. 
 
 Fort Etryalos, now called Mongibel- 
 lesi, on the ridge between the citadel and 
 the village of Belvedere. It is a massive 
 construction of rectangular masonrj-, with 
 
 471 
 
TADMOR 
 
 broad, srjuare towers, mid w;is skilfully 
 placed so as to form the key of the entire 
 system of fortifit-itious. It is still one of 
 the best surviving examjiles of an ancient 
 citadel. The site was strongly fortified 
 by the Syracusans iu the course of the 
 Athenian Expedition, but the existing re- 
 nuuns are attributed to Hieron II. (ii 
 century B.C.). 
 
 The O1.YMPIEUM, or Temple of Olym- 
 pian Zeus, about two miles west of Ortygia 
 (the modern city), was an important tem- 
 ple in which were preserved the ancient 
 lists of citizenship, and may be assigned to 
 the end of the vii century B.C. The visible 
 remains consist only of two mutilated col- 
 umns. The temple was Doric, hexastyle, 
 peripteral ; the columns, of sixteen chan- 
 nels, have a base diameter of about 6 ft. 
 2 in., and an intereolumniation of about 
 12 ft. Their height is estimated at 2G ft. 
 Interesting remains have been found of 
 the revetment of the cornice and other 
 ornament in painted terra-cotta. 
 
 Temple of Apollo. See Tcni/ile of 
 Artemis. 
 
 Temple (of Artemls ?) on the Island 
 of Ortygia, an archaic example of Doric 
 of which the scanty remains are now vis- 
 ible in the wall of a private house in the 
 Vicodi San Paolo. It was peripteral, hexa- 
 style, with seventeen monolithic columns 
 on the flanks, on a stylobate of four steps, 
 with very narrow intercolumuiations on 
 the flanks (the front intercolumuiations 
 are larger and vary) and shafts with six- 
 teen channels, tapering but little. The 
 capitals are wide-spreading, so that the 
 abaci come very close together, and there 
 is a scotia beneath the echinus. Parts of 
 nineteen columns survive, with a fragment 
 of the architrave and ])arts of the anta' 
 of the pronaos and of the cella wall. 
 The dimensions were about 77 ft. by 172 
 ft., the columns are ft. in diameter at 
 the base, 5 ft. 1 in. (?) at the neck, and 
 27 ft. 6 in. high, the material is a yellow 
 tufa. An inscription on the stylobate 
 
 contains the name of Apollo, whence some 
 authorities attribute the temple to that 
 god. A flight of steps projects before the 
 central intereolumniation of the front, 
 and an inner range of four columns, ex- 
 tending between the third columns of the 
 flanks, intervenes between the front ami 
 the pronaos, which had two columns in 
 antis. There were no regulae and gutt.e. 
 The type of the temple is akin to that of 
 Temple C at Selinus ; it dates at least 
 from the VII cent. B.C., perhaps from the 
 VIII, and may even be the oldest surviving 
 example of a Doric temjile built wholly in 
 stone. 
 
 TiiE.iTRE, among the largest of the 
 Greek world, built between 480 and 40G 
 B.C. The external diameter was 492 ft., 
 that of the orchestra, 110 ft. The cavea 
 was subdivided by two precinctions or 
 horizontal passages. The lowest range, 
 divided by flights of steps into nine cunei, 
 had twenty-one tiers of seats. Kcnuiius 
 of forty-six tiers of seats, in all, are trace- 
 able ; it is estimated that there were fif- 
 teen more. The cavea is in part excavated 
 from the rock ; the seats were probably 
 covered with marble. 
 TAUMOK. See Palmyra. 
 TAENARUM, Lacouia, Greece. 
 
 Two Temples, probably forming part 
 of a sanctuary of some importance, not far 
 from the monastery of Kourno. That 
 toward the north was a small Doric edi- 
 fice with two columns in antis. The 
 wheel-shnped acroterium is noteworthy. 
 The larger south temple is a perijiteros of 
 six columns by seven, the angle-columns 
 having the form of rectangular piers with 
 semi-columns toward the long sides of the 
 temple, so that the square faces of the 
 jiiers arc on the two facades. This build- 
 ini; too was Doric, liut the columns had 
 moulded bases ; it had an acroterium of 
 the same carved wheel t}^)e. The cella 
 was surrounded on the outside with a 
 triglyph frieze, and paved with small 
 stones. The dimensions, measured on the 
 
 472 
 
TAFKA 
 
 edge of the upper of the two steps of the 
 stylobate. are 31 ft. 10 in. by -^(i ft. 9 in. 
 TAFKA, Central Syria. 
 
 The Basilica, an interesting early 
 Cliristian church, differs from the neig'h- 
 boring one at Shakka {q. v.) only in 
 simpler workmanship, and in having an 
 elliptical apse in the rear wall, 
 and a square tower added at the 
 left of the front. It is thought 
 to date from the iv or v cent., 
 a century or two later than 
 Shakka. ' 
 TAGLIACOZZO. Italy. 
 
 S. Fraxcesco is a fine exam- 
 ple of the vaulted Franciscan 
 churches of the xii cent., with 
 a single nave. Its ground-iilan 
 is cruciform, with three bays to 
 its nave, two to its transe23t, and 
 one to its apse. The entire 
 church is covered with ribbed 
 groin-vaults ; those over the nave 
 are nearly square, being :5G ft. 
 wide by 32 ft. long, and the 
 smaller vaults over the aisles of the tran- 
 sept are of similar proportions, but the 
 central vaults of the transept and that of 
 the apse are much narrower and oblong. 
 The fa9ade has a charming door and a 
 tine rose-window. Of about the same pe- 
 riod and stvle is the church of S. Cosimo. 
 [A. L. F., Jr.] 
 TAORMINA (anc. Tauroraenium), Sicily. 
 
 AxciEXT Theatre, on a rocky height 
 east of the town, several hundred feet 
 above the sea, and commanding one of the 
 finest views in the world, including Mt. 
 Etna and the seacoast as far as Messina. 
 It occupies a natural hollow in the side of 
 a hill facing west, the seats of the cavea 
 being hewn from the solid limestone rock. 
 It is perhaps the best preserved ancient 
 theatre, except that of Aspendos. It is 
 of Greek foundation, but Roman remodel- 
 ling, in plan a little larger tlian a semi- 
 circle, the cavea being exteiuled on each 
 side about lOJ ft. The cavea is divided 
 
 by flights of steps into nine cunei or 
 wedges, and by two 2)recinctions or hori- 
 zontal passages into three ranges of seats. 
 It was skirted above by a vaulted gallery, 
 with ten arches opening on an exterior 
 corridor. Above this gallery there was a 
 Corinthian colonnade, six granite columns 
 
 Fig, 212. — Taormina, Ancient Theatre. 
 
 of which are still standing. The diameter 
 is 3571 ft., that of the orchestra I'^O ft. 
 The stage-structure, with its brick con- 
 struction and marble encrustation, is 
 Roman.- The back wall of the stage is 
 pierced by three doors with three niches 
 between each pair, and one at each end. 
 The niches were adorned with an ad- 
 vancing order of Corinthian columns in 
 granite, cipollino, and red marble. In 
 the second story there was also a range of 
 Corinthian columns. The foundations 
 remain of the proscenium wall. The 
 stage measured 77^ ft. by 38 ft. Behind 
 it there was a long hall, and on either side 
 flanking chambers, lieneath the stage is 
 a vaulted underground passage of com- 
 munication. {See Fif). 212.) 
 TARRACIXA. See 'Terradua. 
 TEGEA, Arcadia, Greece. 
 
 The Temple of Athexa Alea (Mi- 
 nerva of Aleus), founded by Aleus, foun- 
 der of the city, was burned in 395 B.C., 
 
 473 
 
TEGGIANO 
 
 cand rebuilt by tlio fainous artist Scopas of 
 Pares. It was of wliite marble, and is de- 
 scribed as excelling in beauty of design 
 and workmanship all other temples in Pel- 
 oponnesus. The order of its principal col- 
 umns, according to I'ausanias, was Doric, 
 those next in importance were Corinthian, 
 and others were Ionic. The pediments 
 were filled with statmiry. The ancient 
 statue of Athena Alca, which was pre- 
 served in the temple, was transported to 
 Rome by Augustus, and placed at the en- 
 trance to his new forum. The tem2')le, 
 partially explored in 18T9, was a Doric 
 periptcros of six columns by fourteen ; 
 the foundation, of large blocks of breccia, 
 measured 70 ft. by 164 ft. ; the lower 
 diameter of column, approximately 5 ft. 
 11 in. ; the upper, 4 ft. ; the height, 20 ft. 
 3 in.; the number of channels, twenty. 
 The cornice was surmounted by a cyma 
 carved in relief with tlie Ionic vine orna- 
 ment, and with projecting lion heads. 
 The joints were covered by anthemia. 
 The roof was covered with marble tiles of 
 the usual design. 
 TEGGIANO (Diano). Apulia. Italy. 
 
 The Churches of S. Pietro and Saxt' 
 Andrea have been built upon the foun- 
 dations and with the materials of tw'o 
 small Roman temples, each with two Com- 
 posite cohinijis ill aiitis, a frieze of tri- 
 glyj)hs and sculptured metopes, and a Co- 
 rinthian cornice. Knuugh remains of both 
 stylobates and of all the architectural ele- 
 ments for a comjilete restoration. Re- 
 mains of similar temples exist in the lower 
 town and in the neighboring village of 
 San Rufo. One of them was circular, and 
 presents the same mixture of orders. 
 
 Roman' 'I'in:A'i'iii;. partly built into the 
 church of S. Micliele .\rcangelo. The es- 
 sential dispositions of the ancient struct- 
 ure are still plainly visible ; it was prob- 
 ably an odeum, and very similar to the 
 odeum of Pompeii. Two columns of i)ink 
 granite belonging to the decoration of the 
 stage-structure remain in their ancient 
 
 position, and now support tlie oi'gan of 
 
 the chui'ch. 
 
 TELMI(SS08, Lycia, Asia .Minor. 
 
 Necropolis, of great interest, and in- 
 cluding tombs of many different types. 
 At the foot of the cliffs are ranged sarco- 
 phagi or mausolea, most commonly with 
 heavy lids or roofs of the keel-shaped 
 type, and in the face of the rock are 
 several tiers of facades, many of them of 
 Greek type, particularly some with two 
 Ionic columns in antis beneath entabla- 
 ture and pediment, and richly friimed 
 doors in the pronaos, some of them with 
 excellent sculptured friezes, and others 
 exhibiting the imitation of Lycian wooden 
 construction, with its beam-ends, panelled 
 doors with projecting nail-heads, knocker- 
 rings hanging from lions' mouths, and 
 other characteristic features. 
 
 TuEATRE, at the S. W. end of tlie city, 
 on the slope of a hill at the issue of a 
 narrow valley. The cavea and seats ai'e 
 well preserved and of excellent style. The 
 plan is semicircular, the exterior diameter 
 254 ft., that of the orchestra 02 ft., the 
 jierpendicular height 4.") ft. Tlie cavea 
 retains twenty-eight tiers of seats divided 
 by a precinction, or horizontal passage SJ 
 ft. wide, above the fifteenth tier from the 
 bottom. The stage structure was 141 ft. 
 by 40 ft ; its foundations survive. 
 TEOS, Ionia, Asia Minor. 
 
 Tkmpj.e of Dionysos (Bacchus), a 
 sjilendid Ionic structure built by tlie 
 architect Hermogenes. It was octastyle, 
 pseudo-dipteral, on a stylobate of three 
 steps. The columns had twenty - two 
 (lutes : their diameter at the base was 3 
 ft. A ill., at the neck 3 ft. 1 in. ; tlieir 
 height is reckoned at 20 ft. 2 in. 'i'lie 
 sciiliitured frieze is now at Constantino- 
 ple. Tlic temple, which stood in an area, 
 surrounded by porticoes, now lies in a 
 confused heap of ruins. 
 TKRAMO (anc. Interamiia i'ircnmn). 
 Italy. 
 
 The Catuedral is an old (iuthic 
 
TERGESTE 
 
 church whose historj- is not known, 
 though there w;is a bisliop there from 
 the VI century. The Gothic choir is in 
 two bays with aisles and square east end, 
 inclined at an angle to the rest of the 
 church. It was built, about 1330, on to 
 an older church, which in 1739 was al- 
 tered into the modern nave, aisles, and 
 transept, with new vaults, and piers cased 
 in an order of pilasters. The rich chapel 
 of 8. Bernardo, added in 17TG, extends the 
 north transept arm, ending in an ajjse. 
 The middle door of the square plain front 
 is a handsome piece of Gothic, with 
 twisted jamb-shafts, a crocketed canopy 
 flanked by small shrines, a mosaic tym- 
 panum, and an inscription dated 1333, 
 ascribing it to Magider Dendntus de itrbe 
 {i.e. of Rome). The graceful campanile 
 stands obliquely against the south side of 
 the choir, a tall square tower with an 
 octagonal lantern crowned by a low spire 
 beset with gables, but it is also modern- 
 ized. 
 
 There are plentiful Roman remains, 
 among which an amphitlieatre, a theatre, 
 whose large vaulted substructions are now 
 called Le Grotte, extensive baths, and 
 aqueducts are the most conspicuous. 
 TERGESTE. See Trie.sfe. 
 TERMESSOS. Pisidia, Asia Minor. 
 
 Theatre, in the middle of tlie town, 
 at the N.W. corner of the agora, whence 
 an entrance led to the diazonia or hori- 
 zontal passage of communication. The 
 plan is more than a semicircle, the south 
 wing, especially, being extended as far as 
 possible. The exterior diameter is 208 
 ft. ; there are eighteen tiers of seats below 
 the diazoma, and nine above, most of them 
 in place. 
 TERXI (anc. Interamna Umbria), Italy. 
 
 The Rrix.s of the ancient Roman town 
 include remains of the amphitheatre, of 
 two temples believed to be those of the 
 Sun and of Hercules, and of thermae. 
 The former, which is incorporated in the 
 church of S. Salvatore, is circular. 
 
 TERRACINA, Italy. 
 
 The Gathedual (S. Cesareo) stands on 
 the public square, which is the ancient 
 forum, and on the site of the old temjsle 
 of Rome and of x\.ugustus. It is believed 
 to have been founded by Theodoric, whose 
 name ajjpears in an inscription in it, and 
 in its present form is a three-aisled basil- 
 ica without transept and with three east- 
 ern apses. Of the six round arches car- 
 ried on antique columns which line each 
 side of the nave, the easternmost pair is 
 made larger than the rest, giving within 
 somewhat the aspect of a transept. The 
 cajDitals and the main ajjse are modernized, 
 but the old pavement is preserved, and 
 also the medifeval pulpit, bishop's chair, 
 and tabernacle. These are enriched with 
 carved colonnettes and with mosaic. 
 Across the front is an open jjorch or nar- 
 thex, built or renewed in the middle of 
 the XII cent., with a range of ten antique 
 Ionic columns in front, two of which 
 stand on the backs of lions. The archi- 
 trave is enriched with an arabesque in 
 mosaic, and above on the front is a point- 
 ed arcade. The bell - tower has four 
 stories of blind arcades crowned by a 
 modern roof. 
 
 The Mole of the Antoxines, built of 
 an inner mass of opii.^ incertuin of tufa 
 and mortar, is faced on its vertical interior 
 side with opus reticulatum of limestone, 
 and on its upper surface and the inclined 
 face toward the sea, paved with Hat blocks, 
 also of limestone. The two rectilinear 
 arms of the mole unite at the north in a 
 right angle, where was a large monumental 
 gateway. On the west side of the angle 
 there was an arcaded jiortico 200 ft. long 
 and 30 ft. wide, at the end of which was 
 a stair leading to the terrace above the 
 buildings. The portico consisted of ar- 
 cades opening toward the quay, and was 
 preceded by the colonnade of Corinthian 
 columns without bases which adorned the 
 entire interior front of the constructions 
 bordering the quay on the east and west. 
 
 475 
 
THASOS 
 
 From the eiul toward the S. W. extended ure was in marble. 5-t ft. wide, and with 
 
 a series ol' seventy-six vaulted chamhers, three arehes, of which that iu the middle 
 
 opening behind the colonnade which bor- has a span of 20 ft. The arch was sur- 
 
 dered the quay. The height of the vaults mounted with a group of Hercules strug- 
 
 is 17 ft. and their masonry is 5 ft. thick, gling with a lion. On either side of this 
 
 The columns stand '.) ft. in front of the group there was a single statue ; one of 
 
 dividing piers of the chambers, and the these survives, and appears to represent 
 
 quay in front is 14 ft. wide. At intervals the empress Sabina. 
 
 of 585 ft. on the water-face of the quay TilEBES, Ba'otia, Greece, 
 
 are sot u[) great eyes for mooring, cut in Aqi'euuct, by which the ancient city 
 
 blocks of white limestone. The masonry was supplied with water from Mt. Kitha- 
 
 of the (chambers is in opus reticulatuni dion, over eight miles away. Itsconstruc- 
 
 frained in ashlar. The entablature of the tion was ascribed to Cadmus. It was al- 
 
 colonna<le was of wood. The chambers tered and brought again into use by the 
 
 served for storage ; some of them were Franks, and still serves, 
 
 open, some closed with gratings, and Temple and Sanctuary of the Ca- 
 
 others with a wall and door. Beyond isiui (Kabeiroi), or apparently more ex- 
 
 the range of warehouses the long bare actly, of the Kabeiros Prometheus, and his 
 
 mole extended in a curved sweep, ending son Aitnaios, three and a half miles from 
 
 at the ship-2)assage in a platform which the Neistian Gate. According to tradi- 
 
 bore a little temple, probably of Venus. 
 The N. E. mole no doubt bore the usual 
 light on the extremity ; the whole of its 
 superstructure was demolished to make 
 I'oom for tlie former pontifical palace, 
 now a j^rison. 
 
 Palace of Theodoric, so-called, on 
 the summit of the rock, whence it com- 
 mands a superb view. The ruins are 
 picturesque and conspicuous in the land- 
 scape, and many of the corridors and 
 rooms are still perfect, and in tlicmselves 
 of mucli interest. Only the lower story 
 renudns, choked with rubbish, but show- 
 ing conspicuously on two fronts an open 
 vaulted arcade in random masonry, with 
 arches carried on massive piers and 
 springing from a simple moulded impost. 
 
 The IvOMAX PoKT, now entirely choked, 
 still displays in large measure its ancient 
 structural dispositions. It was of very 
 ancient foundation, and having becotno 
 silted up, was restored by the Antonines. 
 TIIASOS, Cyclades, (Jreece. 
 
 Tkiimi'IIal Arch, at Limenas, dedi- 
 cated by tlie city of Thasos to the em- 
 peror Marcus Aurelius. The ruins are 
 standina: to a heiiiht of 10 ft. 'J'he struct- 
 
 tion, this sanctuary was defended by thun- 
 der-bolts from heaven when in danger of 
 sack by Alexander's soldiers. The site has 
 been explored by the German Institute at 
 Athens since 1887. The foundations are 
 73 ft. 8 in. by 33 ft., and show a cella 
 which was 23receded by a pronaos of four 
 columns. Behind the cella there was an 
 opisthodomos which seems, from the light 
 character of the foundations, not to have 
 been roofed, but to have been an open 
 walled enclosure used for sacrifices. These 
 remains represent an enlargement of an 
 earlier and simpler structure. There are 
 traces of a peribolos in polygonal masonry. 
 Below the temple to the N.W., in the Ca- 
 biri sanctuary, and approached from it 
 by means of a flight of steps, was a series 
 of chambers. It is conjectured that they 
 were lodgings for the functionaries at- 
 tached to the temple. The stoa in the 
 Cabiri sanctuary is marked by a wall run- 
 ning south, in a line with the front of the 
 temple and l)earing traces of six columns. 
 THESSALOXICA. See Salonica. 
 TIIORICUS, Attica, Greece. 
 
 Domical Tomb of the Jlyceniean 
 et)och, discovered 1890-91. It is of un- 
 
 47fi 
 
THOTJRIA 
 
 iisual design in tluit it luis :i vaultcil dro- 
 mos or eutmuce-passage. 
 
 Military Towek, of rectangular plan, 
 west of the theatre. The walls, which 
 still rise to the height of about 10 ft., are 
 built in the same rock-faced, rambling- 
 bed ashlar as the rear wall of the theatre, 
 and of the same coarse, bluish marble. 
 
 Stoa, near the base of the Acropolis, 
 probably of the iv century B.C. It was 
 Doric, heptastyle, with fourteen columns in 
 each flank, on a stylobate of- two steps ; the 
 ground-plan, 107 ft. by 50 ft. Portions 
 of sixteen columns remain, eleven on the 
 east and five on the X. W. side. The col- 
 umns are channelled onlv in a ring at the 
 base and neck. Within the enclosure 
 were found capitals of columns dilfering 
 from the order of the 2)eristyle. These 
 perhaps belonged to a central interior 
 range for supi^orting the roof. The build- 
 ing was never finished. 
 
 The Theatre, explored in 18SG by the 
 American School at Athens, is of very ir- 
 regular form, the cavea being in part con- 
 structed on the side hill, and shaped but 
 little by art ; and in part supported by a 
 retaining-wall of cjuarry-faced ashlar in 
 broken-range work, which is referred to 
 the latter half of the v century B.C. There 
 are remains of thirty-one tiers of seats in 
 a soft, coarse, bluish marble — smooth 
 blocks simply cut square, about 13^ ft. 
 high and ;^3| ft. wide. There were three 
 unequal kerkide.s or cuuei, formed by two 
 kUmaJces or stairways. At the eastern 
 extremity of the orchestra the three lowest 
 seats are interrupted to give room for a 
 pedestal. At the rear of the retaining- 
 wall are two massive abutments which 
 afforded access to the cavea from without 
 by inclined jDlanes. That further to the 
 west is jjierced with a jjassage closed above 
 by stones corbelled out in horizontal beds. 
 The lowest tier of the cavea, wider than 
 the others, may have supported thrones 
 or seats of honor. The cavea could accom- 
 modate about five thousand sjiectators. 
 
 The floor of the orchestra was of red 
 earth, compactly beaten down. At the 
 west side, separated from the cavea by a 
 purodus or jiassage, was a small temple 
 facing east, probably Ionic, in antis. This 
 building is referred to the Macedonian 
 period. It is possible that the theatre is 
 considerably older than the American ex- 
 plorers have estimated, and that its irreg- 
 ularity of shape and roughness of con- 
 struction are accounted for more by the 
 undeveloped state of theatrical architect- 
 ure at the time of its foundation, than by 
 a somewhat extraordinary local deficiency 
 in esthetic feeling which has been lately 
 attributed to the peojile of Tlioricus. Tlie 
 theatre was undoubtedly designed for dra- 
 matic representations. 
 THOURIA, Messenia, Greece. 
 
 The Doric Temple, of small size, re- 
 mains in excellent preservation. It is 
 built of a hard brown limestone contain- 
 ing shells. 
 
 A Roman Buildixg, in tlie plain below 
 Palaiokastro, probably the palace of some 
 high official. It is unusually well pre- 
 served, retaining even jjortions of its vault 
 of rubble and cement. The walls are 17 
 ft. high, of flat bricks laid in thick layers 
 of cement. The ruin is very extensive, 
 and includes baths. 
 TIRYNS, Argolis, Greece. 
 
 Acropolis of primitive Cyclojiean or 
 Pelasgic construction, enclosing elaborate 
 ancient buildings (commonly called a pal- 
 ace) of very ancient Hellenic foundation, 
 and deiJendeucies, discovered by Schlie- 
 mann and Dorpfeld in 1881^85. The flat 
 top of the rock enclosed is about 980 ft. 
 by 330 ft., the nortliern half, given up to 
 the dependencies, being lower than the 
 southern half, which is occupied by the 
 palace. The original heiglit of the wall is 
 estimated at 05 ft., its thickness is 2G ft. 
 On the south and S. E., the wall is much 
 thicker, and in it are narrow passages 
 communicating by doorways cut to the 
 form of pointed arches with two series of 
 
TIVOLI 
 
 small storage-clianibcrs or magazines iu 
 the thickness of the wall. These galleries 
 and chambers have long been known. 
 Similar chambers e.xist in tlie citadel of 
 Carthage. 'I'lie roofs of the galleries and 
 chambers arc foi'ined of Ijjocks corbelled 
 out. The wall is built of stones 6 ft. to 10 
 ft. long and li ft. thick, almost unhewn, 
 placed in regular layers, connected by 
 smaller stones and bonded with clay. 
 The pahice is a close parallel of the Home- 
 ric house of the more elaI)orate kind, with 
 its outer gate, its chief court, surrounded 
 by colonnades, uiion which ojien the 2>ub- 
 lic rooms, the (diicf of which is the mcy- 
 (tron or assembly-hall (oSi ft. by 32 ft.) 
 besides sleeping-rooms for guests and at- 
 tendants, a bath-room, etc. Its inner or 
 private apartments are grouped about the 
 two so-called women's courts, and are ap- 
 proached only by means of indirect and 
 circuitous passages. In one corner of the 
 chief women's room (25 ft. by 18 ft.) there 
 remains a portion of the ancient wall-jDaint- 
 ing on plaster, and other fragments have 
 been found in other rooms, the designs 
 
 domed cella raised on a phiin basement. 
 The dome and eight columns are now gone. 
 The columns are slender, and the acan- 
 thus-leaves of the capitals are sharp- 
 toothed and excellently compo.sed. The 
 frieze is sculptured with bucrania and gar- 
 lands, and the coffered ceiling of the 
 pteronui, ornamented with rosettes, is al- 
 most Greek in character. The columns 
 and entablature are of travertine, the cella 
 of opus incertum. The cella has a high 
 doorway with a window on each side. 
 The temple is 34| ft. high, the interior 
 diameter of the cella 34 ft. The base- 
 diameter of the columns is a little over 
 2 ft., and the intercolumniation a little 
 over -1 ft. The date is prior to the empire. 
 
 TEirPLE OF TiBURTU.s, also called Tcm- 
 l)le of \"esta. It is a tetrastyle, Ionic, 
 pseudo-jiei'ipteros, of travertine, with six 
 coliuinis on the flanks. The front portico 
 is prostyle, and tlie interior of the cella is 
 plain. The tcm])le measures 2Gg ft. by 
 5(1 ft. 
 
 Villa d'Hste, one of the most conspicu- 
 ous and familiar of the srreat suburban 
 
 rejjeating those pi'cviously known from country houses of Rome. The main build- 
 several sites of till! so-called Mj'ceufean ing is situated at the summit of a hill, the 
 civilization. In the vestibule of the men's slope in front being laid out as a vast 
 megaron was found a carved frieze of white rectangle rising sharply in a succession of 
 alabaster, beautifully inlaid with blue terraces and staircases to the great iifiper 
 glass. Some pottery as old and rude as terrace, about GOO ft. long, and 36 ft. 
 that from 11 ion was found, but most of the broad, on which the palace stands. Prom 
 pottery is more advanced in stylo. Some the i)arterre at the foot of the hill, four 
 fragments as late as the Dipylon period lii-oad pai-allcl staircases about 180 ft. long, 
 were discovered, llemains of an archaic bordered on each side by a water-course 
 Doric temple, of course much later than forming a continuous cascade, lead to the 
 the foregoing, were fouiul on the site. first terrace, which is planted with thick 
 TIV'OLI (auc. Tibur), Italy. shrubbery mingled with noble pines and 
 Temi'LE of the SiiiVL, so-called, very cypresses, and adorned with fountains and 
 
 commonly called Tem|)le of Vesta, and as- 
 cribed by Nibby to Hercules Saxanus. 
 This graceful circular structure overlooks 
 the sheer gorge of the Anio, and at once 
 gains in interest from its romantic sur- 
 roundinsrs and adds beantv to them. It 
 
 statues, and from which imposing stair- 
 cases and inclines conduct to the level of 
 the upper terrace. The palace itself, built 
 from the designs of Pirro Ligorio, has a 
 frontage of about 180 ft. and a depth of 
 100 ft., and encloses a large interior court 
 
 consisted originally of a portico of eighteen surrounded by vaulted arcades. The fa- 
 Corinthian columns surrounding a circular 5ade is in three stages of rather simple de- 
 
 478 
 
TLOS 
 
 sign, with slightly projecting wings, iihiin 
 square windows on bahistnide courses, ;inil 
 a central projecting portico of four Co- 
 rinthian columns. The villa was begun 
 about 15-10 by the cardinal bishop of Cor- 
 dova, but was continued on a greatly en- 
 larged jjlan by Cardinal Hippolite d"Este. 
 Under Benedict XIV., in the middle of 
 the XVIII. cent., it was despoiled of the 
 greater jjart of its statues and lias-reliefs, 
 wliich were removed to the \'atican. The 
 watei"-works, which form the most remark- 
 able feature of the grounds, wei'e designed 
 by Orazio Olivieri. 
 
 Villa of Hadriax (or Villa Adriana), 
 now a stupendous agglomeration of ruins, 
 once one of the most lavish creations of 
 the art-loving emperor, in which he sought 
 to reproduce objects which had pleased him 
 in his wide journeyings. It embodied a 
 lyceum, an academy, a prytaneum, a sanc- 
 tuary of Serapis, a poecile or painted porch, 
 Greek and Roman theatres, and nuiny other 
 features. Sculptures and mosaics have been 
 found on the site in great quantities since 
 the Eenaissance, among them many im- 
 portant works. Since ISTl regular exca- 
 vations have been conducted by the Italian 
 Government. Among the best-j^reserved 
 features is the circular structure which 
 has been miscalled a natatorium, a mari- 
 time theatre, a nymphituni. etc. The ex- 
 ternal diameter is about l-iG ft. ; inside, a 
 platform about 11 ft. wide skirts the wall, 
 bordered by a raised stylobate on which 
 stood a peristyle of columns. Above these 
 columns and the exterior wall there was 
 probably a gallery which was floored with 
 mosaics. Next inside of the peristyle 
 there is a canal 10 ft. wide, its bottom 
 sloping to a depth of 5 ft., supplied with 
 water by a conduit which is still visible. It 
 was crossed by two swinging bridges, which 
 turned on pivots and gave access to an 
 inner circular structure elaborately orna- 
 mented and subdivided. This structure 
 formed a complete Roman dwelling, com- 
 prising vestibules, central atrium, tricli- 
 
 nium, reposing- rooms, warm and cold 
 baths ; the whole was richly paved and 
 encrusted with marbles and porphyry, and 
 decorated with columns, sculptured friezes, 
 and fountains placed in niches. This im- 
 perial palace has left imp(n'tant remains 
 forming three stages — on the lowest the 
 gardens, on the next the domestic build- 
 ings and large state apartments, and on 
 the highest the imperial residence projier, 
 dominating the entire villa. A'ear by are 
 a stadium and tlierma;. The Vale of Cano- 
 pus, or sanctuary of Serapis, in imitation 
 of the Egyptian original, is an artificial 
 excavation about GOO ft. long, and 230 ft. 
 wide, in the tufa ; it formed a large pool 
 on which boats jjlied. On tlie right, rise 
 several tiers of little chamliers, apparently 
 reproducing the lodgings for the pilgrims, 
 to whom in their sleep the god sent vis- 
 ions. At the end is the large semicircular 
 niche of the sanctuary, on whose terrace, 
 ornamented with fountains, porticoes, 
 niches, and statues, was found the image 
 of Serapis. Near by are the ruins of the 
 Academy, of a monumental circular hall 
 called the Temj^le of Apollo, and of the 
 Odeum or third theatre, with consider- 
 able remains of both cavea and prosce- 
 nium. There are also imjjortant remains 
 of the Inferi or reproduction of the infer- 
 nal regions, with a very long underground 
 passage lighted by circular o^jenings in the 
 vault, and of the aqueduct which brought 
 water from the Anio. 
 TLOS, Lycia, Asia Jlinor. 
 
 Theatre, of large size and magnificent 
 construction. The seats of the cavea are 
 of polished marble, and every seat has a 
 projecting cornice, wdiicli is often sujs- 
 ported by lions' f)aws. There are many 
 other important ruins, seemingly Roman 
 in type but Greek in construction, and a 
 most interesting necropolis, including 
 tombs both of the wood architecture type, 
 with panelling and other features peculiar 
 to carpentry, and Ionic temjile facades 
 with sculptures in the pediments. 
 
 479 
 
TODI 
 
 TODI, Umbria, Italy. 
 
 The ancient City Walls are remark- 
 able ; they incliicle three distinct circuits. 
 The oldest parts are pre-Roman, built of 
 large blocks and of the character of Etrus- 
 can walls, the newer parts in regular 
 ashlar of travertine. There are consider- 
 able remains of a classical building, called 
 locally thc'i'cnii>le of Mars ; it isprol)ably 
 a basilica. 
 
 St.v. Maria della Coxsolazioxe, a 
 small but interesting Renaissance chnrch 
 dating from the beginning of the xvi 
 cent., and attributed to Bramaute. Its 
 jilan is simple : a square of about 3.5 ft., 
 bounded by four great round arches 
 springing from rather slender piers faced 
 with Doric pilasters, and bearing a high 
 central dome and cupola raised on a drum 
 with an order of tiiin coupled pilasters 
 
 
 A 
 
 1 
 
 
 ^3 
 
 
 f 
 
 .^&! 
 
 %^ 
 
 HHSsffS^ss^^ 
 
 ■M WM.^ 
 
 '^xm 
 
 IFfl 
 
 i; ■ ' 
 
 
 SBBBiS^^^ 
 
 ■*^p 
 
 
 
 - 
 
 ,_^ '.^>_ 
 
 Fig. 213. — Todi, Sta. Maria della Consolaztone. 
 
 with single square wiiulows in the inter- 
 vals. From each side of tlie central square 
 opens an apse, of uhicli tiiree are polygo- 
 
 nal, anil the remaining one circular, each 
 lined with two stories of Hat pilasters, and 
 covered by asemi-dome which abuts against 
 the attic of the central square. The drum 
 is pierced b}' small square windows, .above 
 which runs a light entablature. The ex- 
 terior corresponds exactly with the inte- 
 rior. The four ajjses are encircled by two 
 orders of j)ilasters, the upper order having 
 single square windows in the intervals. 
 An attic with windows runs round the 
 bases of the semi-domes. Tiio drum of 
 the central dome is surrounded at its base 
 bv a balustrade. {See Fig. 213.) 
 TORCELLO, Italy. 
 
 The Cathedral (Sta. ilaria) is the 
 only remaining member of a group of 
 cliurches, built shortly after the occupa- 
 tion of the island by the tribunes Arius 
 and Arator. It is a basilica, following in 
 a general way the Latin type, but vary- 
 ing from it in proportions and details. 
 The exterior has been completely mod- 
 ernized, and shows onl\- some remains 
 of the original sculptural decoration 
 about the principal western doorway, 
 and in some fragments iu.serted in other 
 ]iortions of the wall. Tlie interior, 
 though restored during the present cen- 
 tury with not very strict regard for the 
 jireservation of details, still retains sub- 
 stantially its ancient features. Its i)lan 
 is that of a nave about 48 ft. broad, 
 with two aisles about 25 ft., separated 
 by eight columns on either side, of 
 veined marble witli Byzantine capitals 
 of Corinthian form, carrying stiltt'd 
 round arches with a low clerestory 
 above, pierced with round-arched win- 
 dows. These windows are filled, as in 
 the tribune of San !Miniato at Flor- 
 ence, with slabs of alabaster divided 
 into small circular panels so thin as 
 to be translucent. The nave and aisles 
 have only wooden roofs. Of the nine 
 bays into which the nave is divided, the 
 four eastern ones, used as the choir, are 
 separated from the rest by a screen of 
 
 480 
 
SIENA- INTERIOR OF THE CATHEDRAL 
 
TORCELLO 
 
 in:irl)k' (-(111111111.-; xvitli a siiinilc t'litalilaturi', 
 the openings, except that in the nii(-l(lk', 
 being closed by an elaborate railiiisr witli 
 
 variouti saints. These are j'resumably of 
 nearly the same date with the church. 
 The west wall is also covered with a 
 
 Fig, 214.— Torcello, Cathedral. 
 
 carved panels, evidently of ]iyzantine 
 workmanship, answering to the cancelli 
 of the older Latin basilicas. The mar- 
 ble pulpit stands in front of the screen, 
 supported on columns, ajjproached In' a 
 staircase. The nave and aisles each end 
 in an eastern apse, the central tribune 
 having still in the centre of its arc the 
 high marble throne of the bishop, with 
 its narrow stair enclosed by stone. Right 
 and left of the throne the wall is lined 
 with a double row of marble seats, rising 
 in steps above the floor of the tribune, 
 showing the characteristic imposing ar- 
 rangement of an early Christian presby- 
 tery. The wall of the tribune is lined 
 for half its height with slabs of veined 
 marble. Above this is a border or frieze 
 of mosaic in geometrical patterns, and the 
 upper wall and the hemispherical vault 
 tire covered with mosaics representing the 
 Saviour with the Virgin and apostles and 
 
 mosaic of later date, probably of the xiii 
 cent., divided into three subjects : the 
 Crucifixion, the Descent into Hell, and 
 the Last Judgment. Tliere is also a large 
 mosaic on the end wall of the south aisle, 
 and the church still retains its ancient 
 mosaic pavement in opus Alexandrinum. 
 A small domed octagonal baptistery opens 
 from the north aisle, but its decoration has 
 quite disappeared. The church was pre- 
 ceded by an atrium, which was surround- 
 ed by galleries with columns supporting 
 wooden architraves. Only the side next 
 the church remains, forming a portico to 
 the front. Of the square campanile at the 
 X. W. angle of the church, only the low- 
 er portion- still stands. The church, built 
 about G-tl, was restored in 864, and again 
 in 1008 ; the second restoration is by some 
 authorities believed to have been practi- 
 cally a reconstruction. {Sec Fig. 21Jf.) 
 Sta. Fosca. Of the two churches at 
 
 481 
 
TORREMAKK 
 
 Torcello, this is niudi tlic more recent, 
 yet tliere apiiears to be no certain record 
 of its origin. It is first mentioned, ac- 
 cording to Mothes, in a legal document of 
 1011. It is a Eomanesque church of quite 
 unusual 2Jlan and design. Its plan is that 
 of an imperfectly develoi)ed Greek cross, 
 with a large choir to the eastward. From 
 a central space about 33 ft. square, of 
 which the ujjper or clerestory walls are 
 suj)ported on each sitle by three round 
 arches, the central arch much the largest, 
 open to the west, north, and south three 
 shallow arms of the cross, each in three 
 bays corresponding to the three arches, the 
 central bay barrel-vaulted, the side bays 
 groined. On the fourth or eastern side 
 the three arches open into the aisles of a 
 deep choir, vaulted as in the other arms, 
 and each aisle terminating in a round 
 apse. The arches throughout the interior 
 rest on columns of Greek marble with 
 Corinthian capitals, probably taken from 
 some older building. The square walls of 
 the central portion sujjport by means of 
 double squinches iu the angles a cylindri- 
 cal drum which formerly carried a hemi- 
 sjiherieal dome. The dome has disap- 
 peared and the drum is covered by a 
 simple conical wooden roof. On tlie ex- 
 terior the arms of the cross on the west, 
 nortii, and south show above the lower 
 roofs in gabled roofs which abut against 
 the drum of the dome. In each gable is a 
 large semicircular window concentric with 
 the vault. The church is enclosed in an 
 arcade of stilted round arches supported 
 on columns partly round and partly oc- 
 tagonal, with capitals of singular and 
 uncouth design, which it is difficult to 
 assign to any age or style. The angles of 
 this arcade are truncated so as to make 
 its plan octagonal, and its north side com- 
 municates with the atrium of the adjacent 
 catiu'ilral, of which this cluirch is thought 
 to iiave bt'i-n the baptistery. The east end 
 does not appear to have formed part of 
 the original design, but is very similar iu 
 
 style to that of the neighboring church of 
 Murano, wliich is nearly of the same date. 
 The central apse is octagonal on the ex- 
 terior, with coupled columns at the an- 
 gles supporting blind arches. The arches 
 are repeated in a second story, but without 
 the columns, and above the ujjper arches 
 is a frieze with red and yellow bricks 
 in alternate upright triangles, surmount- 
 ed by a decorated cornice of brick and 
 stone. 
 
 TOKHKMAR?:. See Mefajwufmn. 
 TOSCAXELLA, Italy. 
 
 Cathedral (S. Pietro), a Komanescpie 
 cluirch of various periotls up to the end 
 of the XI cent., designed with great ele- 
 gance, the exterior expressing accurately 
 the interior arrangement. The facade is 
 especially remarkable. It has a central 
 division closing the end of the nave, con- 
 taining a fine central doorway with a 
 round arch under a deep moulded archi- 
 volt. marble columns in the jambs, and a 
 tympanum ornamented with mosaics now 
 much decayed. Over the doorway is a 
 graceful gallery of twelve arches on small 
 columns, flanked by griffins and crowned 
 by a corbelled cornice. The remaining 
 height is occupied by an extremely fine 
 wheel-window in a square recess, with 
 figures in relief at the four angles, and 
 small two-light arched windows on each 
 side. A narrow band of mosaic surrounds 
 the wheel-window. The projecting cen- 
 tral division terminates in a low pedi- 
 ment, and the angles of the walls below 
 are emphasized by pilasters and engaged 
 columns resting on animals. The side 
 divisions, under low half-gables, follow the 
 section of the interior aisles, and are cov- 
 ered with higli arcades broken only liy 
 two rich round-arched doors. All the 
 sculpture on this front is in wliite mar- 
 lile. Tlie sides of tlie church are very 
 plain. It is built on a hillside, the 
 ground falling rapidly toward the east 
 end, whicii is therefore very high, and 
 buttressed witii rude square projections. 
 
 482 
 
TOSCANELLA 
 
 Tlie central apse sliows first a high foun- 
 dation wall helow the floor of the crvjit. 
 Ahove this it is divided into three stages, 
 the two lower decorated with pilasters and 
 arched corbel-tables, the third stage occu- 
 pied by a gallery of grouj^ed arches be- 
 tween pilasters. The interior is simple ; a 
 lofty nave and low aisles separated by wide 
 arehes springing from massive columns of 
 marble with semi-classic capitals, a square 
 choir and three round apses with a high 
 
 receive the Iwdies of three saints wliieh 
 were then brought to Toscanella. In 650 
 the church was so far advanced that the 
 bishop's chair was brought hither from 
 the neighboring but smaller t-hurcli of 
 Sta. Maria ; but the building ai)pears to 
 have been finished in portions and at vari- 
 ous dates, up to the middle of the xi 
 cent., at which period the present front 
 was built. The dedication was in 1090. 
 {See Fig. 215.) 
 
 Fig. 215. — Toscanella, Cathedral. 
 
 crypt beneath, the central apse decorated 
 with frescoes dating from 1039 to 1090. 
 The high altar is under a baldacchino 
 with round arches on marble columns, 
 and a pyramidal roof. The roofs are all 
 open-timbered. A curious detail, per- 
 haps unique, is the jiarapet between the 
 columns each side the nave, indicating 
 the ijrovisions in the early Chui'ch for 
 separating the sexes during the services. 
 This church has undergone many changes 
 and partial transformations. Its founda- 
 tion goes back to the vii century. Later, 
 probably, the imposing crypt was built to 
 
 Sta. Maki.v Maggioke, a Romanesque 
 church of unusual design, much like the 
 cathedral ((/. c), of basilican form, usu- 
 ally assigned to the vi cent., but belong- 
 ing probably to the xi and xii. It 
 has a fa9ade of great elegance, in three 
 divisions, the centre projecting slightly, 
 with a fine round - arched doorway en- 
 riched by five columns on each side, dec- 
 orated arch mouldings, and a tympanum 
 with bas-reliefs. Above the doorway is a 
 graceful arcaded gallery of marble, with 
 a winged dragon in relief at either end, 
 and above this again a fine rose-window. 
 
 483 
 
TOSCANELLA 
 
 The Hat frablo wliirli fnrmorly ti'rniiiiatcil 
 this division lia.s di.sajipt'aruil. Tiie side 
 divisions are simply the end walls of the 
 aisles, each Avith a doorway similar to that 
 of the centre but smaller, and each finish- 
 ing with a low half-tjable answering to 
 the aisle roof. This front was formerly 
 ornamented with paintings, now mostly 
 o])literated. The interior has a nave and 
 
 the chiiir liy a single great nmnd arch on 
 each side, continuing the line of the nave 
 arches. The main aisles open into this 
 transept by a single round arch tlie whole 
 width of the aisle. The aisle walls are 
 ornamented by a blind arcade iinsymmet- 
 rical with the nave arches. The roofs are 
 all of wood, the nave roof being framed 
 with simple tie-beam trusses resting on 
 
 Fig, 216.— Toscanella, Sta. Maria Maggiore. 
 
 aisles of five bays separated Ijy nuiiiil col- 
 umns with capitals of f|uasi-('(]rintliian 
 character, carrying large round arches with 
 Gothic mouldings, and decorated softits. 
 A strong cornice supported on corbels of 
 various design runs above these arches, 
 and above this rises the clerestory wall 
 pierced with round-arched windows, with 
 a broad Hat decoration carried round 
 their heads. 1'he choir aisles are in 
 strictness transept arms, opening from 
 
 corbels, witli the jiurlins and rafters 
 shown. The east wall of the choir above 
 the a])se, and the walls and henus})herical 
 vault of the apse are covered with frescoes. 
 The columns of the nave are also painted 
 each with a full-length figure of a saint. 
 There is a fine stone pulpit, raised high 
 on four massive round arches with dec- 
 orated archivolts and spandrels resting on 
 strong round columns with large foliated 
 capitals. The walls of the pulpit are dec- 
 
TRALLES 
 
 orated with eixrvuil panels of various de- 
 sign, the wliole coniposition being strongly 
 Byzantine in character. The high altar 
 in the apse is covered liy a l)aldaccluno 
 with four round, many-eusped arches car- 
 ried on four columns and covered by a 
 pyramidal roof. The date of the original 
 church cannot be stated with accuracy, 
 but it was probably rebuilt about 1090. 
 The central doorway dates from al)out 
 1120, and after various changes the church 
 was finally reconsecrated in 1206. The 
 square campanile which stands opposite 
 the facade still remains unfinished. {See 
 Fig. 216.) 
 
 Sta. Makia della Rosa (Sta. Maria 
 Minore) is like S. M. Maggiore, but on a 
 smaller scale. The fayade, which dates 
 from the end of the xi cent., has three 
 round-arched doorways, and above them a 
 rose-window and two pairs of twin win- 
 dows. It has a nave and aisles se])arated 
 by three pairs of great arches, carried on 
 low columns, but no transept, and at pres- 
 ent no apse. 
 TRALLES. Caria, Asia Minor, 
 
 The Theatre, in its present form, is of 
 advanced Greek, or even Roman, date. It 
 is supported against the slope of the Acrop- 
 olis, somewhat high up ; the stadium, 
 whose axis is parallel with the stage struct- 
 ure, is lower on the slope and very close 
 to the theatre. The latter was partially 
 excavated in the autumn of 18S8. The 
 cavea faces S. W., and is in plan a semi- 
 circle extended by tangents at the extrem- 
 ities. The two wings were supported by 
 retaining - walls, whose revetment is now 
 gone. There were two diazomafa. or hor- 
 izontal passages of communication, to the 
 higher of which there was access from the 
 exterior on each side by a vaulted passage. 
 The back of the cavea was boi'dered liy a 
 gallery, which was probably colonnaded. 
 The lowest of the three sections was divid- 
 ed into eight wedges by nine kliinakcy or 
 radial stairways. The few seats which 
 have escaped the lime-burner are of white 
 
 marble, with rounded edges and deeply 
 (•oncave moulded rise. The place for the 
 feet, instead of being in the same block 
 with the seat below, as is usual in Greece, 
 is formed of a separate slab. The lowest 
 tier of seats was a row of thrones, having 
 backs and arms at the ends adjoining the 
 stairways. In the middle of the row of 
 thrones was either a box of honor or a 
 basement of altar form. The orchestra is 
 separated from the cavea by a passage in 
 the form of a step, 3 ft. wide, below which 
 it is bordered by a drainage channel of 
 square section. It was presunwbly origi- 
 nally a circle, and floored with beaten earth 
 and ashes, but as it now is, its diameter 
 (to the channel) is 82 ft,, and its depth 
 STg ft., and it is paved with marble slabs 
 and with the bedding of mortar where the 
 slabs have been removed. An under- 
 ground passage 2 ft, wide and having a 
 depth of about 7 ft, beneath the pave- 
 ment extends from the stage structure to 
 the middle of the orchestra, where it 
 branche in T form. This is as yet im- 
 perfectly exjilored, but is doubtless of the 
 same nature as the similar jiassages discov- 
 ered at Eretria and Sicyon, Though later, 
 the stage structure consisted of a hall with 
 a trijile range of columns, of which those 
 of the central row were formed of two 
 semi-columns engaged in a rectangular 
 pier. This singular disposition is still un- 
 explained. Touching the bases of the 
 front row of columns there was a massive 
 wall, from the middle of whi(!h projected 
 into the orchestra a double flight of steps 
 traversed by a doorway, connecting the 
 orchestra and the interior of the hall. 
 The construction shows that the front wall 
 cannot have been less than 10 ft. high, 
 and the depth of the platform forming the 
 roof of the hall was 18 ft. From these 
 conditions, actors on the platform could 
 be but very imperfectly seen by spectators 
 in the lowest tiers, which is a strong argu- 
 ment in favor of Dr. Dorpfeld's theory 
 that there was no raised stage. The face 
 
TRANI 
 
 of llie -n-all of the hall was adorned with a 
 frieze of Dionysiac subjects, about 3 ft. 
 high, fragments of whieli have been found. 
 It is probable that there were also two lat- 
 eral doorways. The original jiarodoi of 
 the tlieatre are closed in its jiresent state. 
 TEANI, Italy. 
 
 The Cathedr.vl, dedicated to Sta. 
 Maria Assunta and S. Niccolo Peregrino, 
 and standing on a jioiut of land nearly 
 surrounded by the sea, is one of the most 
 remarkable of the xi cent, monuments of 
 southern Italy. It is a basilica whose in- 
 ternal length is about 180 ft., and its 
 breadth 05 ft. The nave, about 120 ft. 
 
 heavy abaci. The bays of the ;usles are 
 :<i|uare and groined. Above the nave, on a 
 light moulded string-course, is a tine tri- 
 forium arcade of triple arches on colon- 
 nettes under plain round bearing-arches. 
 These open into an upper aisle or wom- 
 en's gallery. The clerestory wall is 
 pierced by single small round - headed 
 windows, higli up under the wooden ceil- 
 ing. The interior is much injured by 
 modern renovation. The nave opens by a 
 single round arch into a broad rectangu- 
 lar trausejjt projecting very slightly be- 
 yond the aisle walls, and of w^hich the 
 eastern w'all is broken by a great semi- 
 
 long, 30 ft. wide, and Jieai-ly 70 ft. high, is circular apse, fiauked by two small ones. 
 
 A fine crypt or lower church extends 
 under the transept and the whole nave, 
 the two portions being sei)arated by a 
 solid wall with a single doorway in the 
 middle, and the portion under the tran- 
 sept being lower by several steps. The 
 whole space is divided by lines of col- 
 umns into square groined bays, and 
 lighted by large round-arched windows 
 in the transept ends. The great cen- 
 tral apse of the upper church is re- 
 peated in the crypt. The exterior is of 
 great interest. The perfectly flat fa- 
 c/ade follows the interior section, its 
 outline bordered by a continuous cor- 
 nice moulding. The under church is 
 so much above ground that it is entered 
 by a door nnder a double staircase, 
 which leads up to the main doorway. 
 This doorway is a broad round arch, 
 with heavy archivolts, the scul])ture 
 showing a mixture of Norman and IJy- 
 zantine influence, and enclosing bronze 
 iloors of remarkable design by Bari- 
 sanus of Trani, bearing the date 1173. 
 h is flanked by a blind arcade of four 
 I'liund arches on each side crossing the 
 front. High above this arcade is a round 
 arched central window flanked by shafts 
 on grotesque corbels carrying lions, be- 
 tween two snniller windows, and in the 
 irable a great round window of which the 
 
 Fig. 217.— Tram 
 
 separated from the aisles by seven round 
 arches on each side springing from ct)uplcd 
 columns, with composite capitals and 
 
TK'Al 
 
 traeerv has disappeared. Flush with this 
 facade, at the south, is a fine square bell- 
 tower, some 190 ft. high, with an increas- 
 ing series of grouped windows in five 
 stages, above a single high-pointed open 
 arch, through which a street is carried. 
 It finishes with an arched corbel-table and 
 projecting cornice, above which is an oc- 
 tagonal lantern and a low sjnre. The 
 flank walls are broken by well-marked 
 buttresses, joined by blind arches with a 
 small round - headed window in each. 
 This arcade is continued with some varia- 
 tion round the transept, which has low 
 gables with horizontal cornices, and under 
 each a fine rose-window. The cathedral 
 was begun near the end of the xi cent., on 
 the site of an older church dedicated to 
 St. John the Bajjtist. It was consecrated 
 in 1143, but finished some years later. 
 Portions of the front are believed to be- 
 long to the original church. {See Fig. 
 217.) 
 
 The Ogn"ISSAXTI (Church of All Saints), 
 belongs to the period of the Lombard oc- 
 cupation of southern Italy, ascribed to 
 the earlier half of the ix century. Its 
 plan is a rectangle of about 70 ft. by 40 ft. 
 One-third of the length is given to a fine 
 open jiorch or narthex of the full breadth 
 of the church, divided by round arches on 
 columns into sis equal square groined 
 bays. From this porch lead three arched 
 doorways with carved tympana. The east 
 end of the church has three apses, of 
 which the middle one has a beautiful 
 sculptured frieze on corbels, and a large 
 central window with a round archivolt 
 springing from slender columns resting on 
 lion corbels. Above the south apse rises 
 a low tower. The interior consists of a 
 flat-ceiled nave and groined aisles with 
 three apses and no transejjt. It is divided 
 by four somewhat stilted round arches on 
 each side, resting on granite columns with 
 Corinthian capitals, corresponding to half 
 columns on the side walls. 
 
 Sta. Maria Immaculata, a small early 
 
 XI cent, church of singularly Byzantine 
 design, built on the ruins and preserving 
 the disjiosition of an older church, prob- 
 ably of the IX century. Its plan is a 
 rectangle about h:l ft. wide and 70 ft. 
 long, containing the nave and aisles, with 
 a choir ])rojecting eastward measuring 
 about 'i'.l ft. square, and divided into nine 
 bays by cross - arches resting on four 
 grouped piers. Xave and transept rise 
 above the rest in a cruciform roof with 
 gables on all four sides, and the central 
 dome rises higher, round within and octag- 
 onal without, but covered with a pyram- 
 idal roof. The ends of the nave are 
 covered with flat domes, and the aisles 
 with half barrel-vaults. The choir is a 
 single square groined bay. The fapade 
 has a single door in the centre, with a 
 round-arched window above flanked by 
 columns, over which is a rose-window. 
 An arched corbel-table follows the sloj^e 
 of the gable. 
 TRAtj\ Dalmatia. 
 
 The Cathedral (Duomo) was built in 
 a belated Romanesque style and mostly in 
 the first halt of the xiii cent., but not 
 finished until the xvi. The plan is ba- 
 silican, with nave and aisles of five bays 
 ending in three eastern ajises. The front 
 contains, under and between its towers, a 
 porch or narthex of the full width of nave 
 and aisles. Its three hays have ribbed 
 vaults, on round transverse arches and 
 wall shafts. The great doorway entering 
 the nave bears the date 1240. Its round 
 arch encloses a tympanum sculptured with 
 the Nativity. The square recesses of the 
 archway are richly sculptured with figure 
 subjects, and support a gabled and crock- 
 etted canopy. The doorway is the finest 
 in Dalmatian architecture. The interior 
 is small but high and massive, with a 
 nave 25 ft. by 85 ft., and is 5G ft. high to 
 the vertex of its transverse arches, the 
 domical vaults rising considerably higher. 
 Xave and aisle vaults are four-2)art. The 
 transverse arches of the nave are pointed. 
 
 487 
 
TREBIZOND 
 
 and spring with the diagonals from cmi- 
 soles carvetl witli xv cent. Venetian foli- 
 age; elsewhere all the arches are round. 
 The apses have half-domes. Round tiio 
 main apse is a stone seat for the clergy, and 
 over the altar a Komanesque baldacchino 
 of the peculiar Dalmatian type. There are 
 also an octagonal puljiit resembling the 
 one at Si^alato and a double row of xv 
 cent. Venetian choir stalls. Of the two 
 projected west towers, one was never built 
 above the roof of the narthex, which di- 
 vides the front at half height, and has above 
 it a traceried rose-window under a gable. 
 The other tower is carried up square, with 
 a XV cent, belfry stage filled with Vene- 
 tian tracery, and above it a second belfry 
 of the XVI cent, crowned with a pyrami- 
 dal spire. The gables, apses, and clerestory 
 are corniced with round -arched corbel- 
 tables, the aisles have a dwarf gallery un- 
 der the eaves, and the walls have pilaster 
 buttresses. A sacristy, baptistery, and 
 two chapels adjoin the north aisle. The 
 church was begun in 1200. on the site of 
 an older one destroyed in the Saracen in- 
 vasion. The walls were finished by the 
 middle of the xiii cent., the vaults, it 
 is reported, a century later ; and an in- 
 scription dates the completion of the 
 whole in l.'JO."). 
 
 TKEBIZOXl) (an<\ Trapezos), Asia 
 Minor. 
 The Orta HissAR, a mosque, called by. 
 the Greeks the Church of the Golden- 
 headed Virgin, and once the cathedral, is 
 a quasi-basilican church, about GO ft, by 
 150 ft., with a central dome, a long nave 
 and aisles, and short transept, and a very 
 deep narthex across the west front. The 
 deep sanctuary, or bema, and the aisles 
 end in three ap.ses. of which the middle 
 one is octagonal outside and windowed. 
 There is no women's gallery except over 
 the narthex. In front of the narthex is 
 an open arcailcil jiorrli. and a similar oiu' 
 precedes the north transept. The church 
 was built by Alexis Comnenus (1081- 
 
 llis), and contains his tomb, long pos- 
 thumous ; it is lined with whitewash, 
 tiirough which show some traces of its 
 mosaic decoration. 
 
 Sta. Sofia, a Byzantine church of un- 
 certain date but early style. It has the 
 common arrangement of a central dome 
 on pendentives carried by four columns, a 
 lengthened nave, and short transept, all 
 enclosed in a rectangular wall, with three 
 eastern apses, the middle cnie rectangular 
 outside. The drum of the dome is do- 
 decagonal without and pierced with win- 
 dows, and has a pyramidal roof. A deep 
 narthex lies across the front, and an outer 
 narthex has been added in front of this, 
 and a similar porch in front of each tran- 
 sept end. These three porches are later in 
 style than the rest, and have each a triple 
 arch with columns, the central opening 
 being pointed. The church has been 
 turned into a mosque and plastered in- 
 side ; but falling plaster has betrayed a 
 mosaic of the emperor Alexis III., which 
 must date from about 1200. There is a 
 very handsome pavement of Alexandrine 
 mosaic under the dome. 
 TRENT (Trento, Trient), Italy. 
 
 The Cathedral is a late Romanesque 
 church of much interest, on the border 
 between Italy and Germany, and showing 
 in its architecture the evidences of Lom- 
 bard influence on the one hand, and the 
 northern Romanesque on the other. It is 
 cruciform, about 2'ib ft, long and 8.5 ft. 
 broad, or 110 ft. across transept, with a 
 nave and aisles of seven bays, the aisles of 
 unusual height, separated by high and 
 narrow round arches on clustered piers 
 with vaulting-shafts. The vaults are all 
 groined in narrow bays, .and a modern oc- 
 tagonal lantern covers the crossing. The 
 choir ends in an apse, and small apses 
 open from the east wall of each transept. 
 Tiiere is a gallery at the west end, aj)- 
 jiroached by two picturesque staircases en- 
 gaged in the aisle walls. Under the choir 
 is a crypt, formerly opening into the nave 
 
 488 
 
TKEVI 
 
 by arches, as at S. Jliniato at Florence. 
 From the soutli aisle opens the modern 
 Cluqjel of the Cross, square, with octag- 
 onal dome and drum. The exterior is of 
 white marble, the front flanked by two 
 towers, only one of which is finished. 
 The aisle walls have blind arcades under 
 the eaves, which are also carried across 
 the transej)t and round the apses. There 
 are doorways in the east wall of both 
 transept arms, the northerly one covered 
 by an interesting projecting porch with 
 columns of varied design, resting on one 
 side on a lion, on the other side on a group 
 of human figures, and supjDorting a stilted 
 round arch, with a truncated gable sur- 
 mounted by a crouching lion. The 
 present church, dedicated to St. Vigilius, 
 the early bishop of Trent, is the succes- 
 sor of various earlier churches on the same 
 site. Its oldest parts, the abandoned crypt, 
 etc., date perhaps from the building of 
 Udalrich (1023), the principal structure 
 from the XII cent, beginning with 1124r. 
 TREVI (anc. Trebia)"! Italy. 
 
 Temple of Clitumxus, a beautiful 
 monument of antiquity, though evidently, 
 from its construction, not the original 
 building of the time of Pliny, but a recon- 
 struction, in great part carried out with 
 the old materials, of the Antonine epoch, 
 with later Christian restorations. In the 
 V cent, the temple was dedicated as a 
 church in honor of San Salvatore, and 
 from this time date the sculjitures of the 
 pediments and the interior frieze of the 
 cella, in which figures the Labarum of 
 Constantine and bunches of grapes. The 
 pedimented faQade toward the river is 40 
 ft. high ; it has four columns and two 
 piers of Corinthian type, two of the col- 
 umns, however, presenting spiral flutings, 
 and two carved with scales. There is a 
 chamber in the basement with an arched 
 door, which may belong to Pliny's temple. 
 The sculptures in the pediment at the 
 back resemble the early Christian work at 
 Ravenna. 
 
 TRIESTE (anc. Tergeste), Austria. 
 
 The Cathedual (S. Giusto) is an inter- 
 esting conglomeration of old churches, 
 making a mass about 125 ft. square. The 
 exterior is rude and shapeless. Many 
 fragments of a Roman building supposed 
 to have been a temple of Jupiter are built 
 into the front, which has a plain square 
 campanile on the left or northern side. 
 The doorway is an old tomb of the Barbii, 
 mutilated. The interior consists of five 
 aisles — more 2n-oj)erly three naves and two 
 aisles — with lateral chapels, and three 
 apses at the east. The arcades of the great 
 central nave do not correspond, being 
 adapted to the lateral naves on each side, 
 which were once independent churches. 
 The northern nave was a plain basilica, flat 
 roofed, with aisles and one apse, the south- 
 ern a smaller cruciform church, with aisles, 
 ti-ansejit arm and three apses, and a domed 
 intersection, its southern transept arm 
 touching the south aisle of the basilica. 
 Dr. Kandler, an archaeologist of Trieste, 
 who had deci2)hered the arrangement and 
 sequence of the buildings, ascribes the 
 northern church, known as Del Santissi- 
 mo, to the iv cent., and the southern, S. 
 Giusto, to the time of Justinian. Mr. 
 Jackson relegates both to the ix or x cen- 
 tury. Some time in the xiv, the adjacent 
 aisles and the short intervening transept 
 were pulled away, the nave of S. Giusto 
 lengthened to match the other, and the 
 space between, taken for a new principal 
 nave, was extended eastward into a great 
 apse, the naves of the original churches 
 becoming its aisles. Both the original 
 ajjses are lined with mosaics, those in the 
 northern apse particularly rich and well 
 preserved. The columns of the arcades 
 are sjioils of classic buildings of irregu- 
 lar height, crowned with debased classic 
 capitals and carrying stilt-blocks for the 
 arches. The principal nave has a great 
 rose-window, which is the only ornament 
 of the fa9ade, and a wooden tie-beam roof ; 
 ojiening from the north aisle is the bap- 
 
 489 
 
riioiXA 
 
 tistery, not a part of the original basilica : 
 
 the incomplete bell-tower bears date 1337. 
 
 TiULMi'iiAL Arch, in the Piazzetta ill 
 
 Riccardo, named from a doubtful tradition 
 
 Fig. 218.— Tcoja, Cathedral 
 
 that Richard Ccenr de Lion was confined 
 there. It is undoubtedly Roman, thouirh 
 it has been contended that it was erected 
 in honor of Charlemagne. It is a small 
 single arch, with a Corinthian fluted pi- 
 laster on each side supporting an entabla- 
 ture, above which is a i^lain attic. It is 
 engaged on one side in the wall of a house. 
 TROINA, Sicily. 
 
 The CAxnEDRAi.. or Matrico of Sta. 
 JLaria, is iiicturesquely situated on the 
 edge of a high clitf. Troina was the first 
 stronghold hcM by the Norman conquer- 
 ors of Sicily, and tlie cathedral, built by 
 Roger I., was finished in 1081. It has 
 since beeTi pretty much rebuilt, and is 
 now a three-aisled cruciform church, with 
 a nave of five bays, slightly projecting 
 transept, and square-ended choir with two 
 flanking chapels. The exterior is pict- 
 
 uresque, the transept very high, and the 
 crossing covered by a square tower. The 
 front has a gable over an order of pilas- 
 ters, and a massive square tower with 
 gabled roof on the riglit 
 Hank. The style is 
 mostly modern, but the 
 walls of the east end are 
 original, and so is the 
 Unvor story of the tower 
 with its open arches. 
 TROJA, Italy. 
 
 The C A T n E D R a l, 
 dedicated to Sta. ilaria 
 Assunta, is in plan a 
 well developed Latin 
 cross, measuring in 
 length about ISO ft., 
 and 125 ft. across the 
 transept. The nave and 
 aisles are separated by 
 seven round arches on 
 each side, supported on 
 high columns of granite 
 with Corinthian capi- 
 tals. The aisles are 
 groined in square bays, 
 but without transverse 
 arches. There is no triforium : the clere- 
 story is pierced by single small round- 
 headed windows. The nave and transept 
 are flat-ceiled. The crossing is au oblong 
 about 26 ft. by 40 ft., bounded by a sin- 
 gle high round arch on each side springing 
 from compound piers. Each transept end 
 has one narrow bay answering to the aisle, 
 and a square bay beyond. The choir is 
 a single square groined bay with narrow 
 aisles on each side, and ends in a semicir- 
 cular apse. The exterior is most interest- 
 ing. The fa9ade is in two distinct stages. 
 The lower is raised on a high basement, 
 and consists of a bliiul arcade of seven high 
 round arches springing from flat pilasters 
 with Corinthian capitals. The arches 
 have their spandrels and tympana deco- 
 rated with a simple mosaic, and enclose 
 alternately a lozenge and a circle. The 
 
 490 
 
TROY 
 
 wliole arcade shows plainly tlii' Pisan in- 
 flueuce. The centre arch, twice as wide as 
 the others, encloses a square doorway with 
 flat pilasters aud horizontal lintel en- 
 riched with reliefs, and a round bearing- 
 arch over it with plain tympanum. The 
 opening is closed by a pair of remarkable 
 bronze doors with decoration in niello, 
 dating from 11 111. The lower story is 
 ca])pcd by a heavy cornice of classic detail, 
 much decorated. The second is divided 
 into three compartments answering to 
 nave and aisles, b}' coupled columns resting 
 on lions, carrying one broad arch the full 
 breadth of the nave, covered by alow gable 
 aud filled with a great wheel-window 
 about 20 ft. across, the upper half en- 
 closed by a broad sculptured archivolt. 
 High half gables simulate the aisles. On 
 the flanks of the church the blind arcade 
 and cornice of the front are continued, 
 the arch heads and spantlrels tilled with 
 reliefs and varying pat- 
 terns in mosaic. One 
 arch encloses a doorway 
 like that of the front but 
 smaller ; others contain 
 single-arched aisle win- 
 dows. The clerestory has 
 a blind arcade of round 
 arches on engaged col- 
 umns, with voussoirs of 
 black and white stone, 
 simple round-headed 
 windows in alternate 
 arches. The transept 
 ends are modernized . 
 The east end is a flat 
 wall with three project- 
 ing apses. The cathe- 
 dral, founded early in ^ 
 the XI cent., was par- 
 tially burned in 1097 and nmcli enlarged 
 in its rebuilding. {See Fij. iilS.) 
 TROY. See Ilion. 
 TRYSA. See Gidlbascki. 
 TURIX (Torino). Italy. 
 
 The Palazzo Mauama delle Tokki 
 
 contains the most notable of the few re- 
 mains of Roman building in Turin, em- 
 bodying, though in a much altered form, 
 the ancient Porta Palatina. In its present 
 condition the building j)resents a fa9ade 
 about ll-t ft. in length, with two polygonal 
 flanking towers of medieval construction 
 nearly 80 ft. high, pierced by four stories 
 of simple round-arched windows, and ter- 
 minating in bold arched corbel-tables aud 
 forked battlements. The towers are joined, 
 by a lower wall in three stories, the first of 
 plain masonry pierced by the entrance- 
 arch, the second and third having each an 
 order of pilasters with simple moulded 
 capitals. In the second story the inter- 
 vals are occupied by large round-arclied 
 windows, in the third by square windows 
 with small jjilasters, carrying an entabla- 
 ture. The palace is said to have been suc- 
 cessively the residence of Charlemagne. 
 C'harles the Bald, and Charles the Fat, and 
 
 it is conjectured to bo the work of the 
 Lomliard king Desidcrius, though some 
 authorities remand it even to Roman 
 times. The upper parts at least of the 
 sixteen-sided towers, with machicolatcd 
 cornices and forked battlements, are mcdi- 
 
 491 
 
Fig. 220.— Turin, La Superga. 
 
 fpval. Ill 1718 the royal widow (]\radama 
 Iveale), luotlier of Victor Amadeus II., re- 
 built, or added, the western half of the 
 palace, of which the conspicuous part is 
 the fa9ade of J u vara — a rustic basement, 
 with a great order of Corinthian pilasters 
 above it covering the principal story and 
 a mezzanine, supporting a high attic' A 
 double outside stairway in baroco style 
 leads up to the principal entrance. {See 
 Fig. 219.) 
 
 La SuPERG.v, the royal bui'ial-church 
 and convent, lies about three miles east 
 from 'I'liriii. It is the chief work of Ju- 
 vara, built in 1717-17:50 for Vittore Ama- 
 deo IT., as a votive church. The build- 
 ings of the convent form a quadrangle 
 lined with a cloister, at one end of which 
 stands the imposing church, a round aisle 
 enclosing an octagonal nave, which is 
 crowned bv a high dome on a circular 
 
 drum. It is faced on the outside by a 
 great order of comjjosite pilasters, cover- 
 ing two stories of windows and niches ; 
 and on each side a broad wing, hiding the 
 many-storied palatial architecture of the 
 convent., supports a tall rococo tower, 
 with an open belfry and bulbous spire. 
 A broad walled terrace encircles the 
 church, and the great order is extended in 
 front into a deep tetrastyle portico. An 
 upper order of pilasters surrounds the 
 drum of the dome, broken forward in 
 coupled columns between the round- 
 arched windows ; and the ribbed dome is 
 crowned by a rococo lantern. Within, a 
 ring of square chapels surrounds the nave, 
 and an order of eight great columns sup- 
 ports the druui. {See Fi(js. 220, 221.) 
 T I' KM AN IN near Aleppo, Syria. 
 
 The Ciii'KCH is in some respects very 
 like that at Kalb Luzek {q. v.), though 
 
 492 
 
TUSCULUM 
 
 simpler in detail. It is a basilica of CO ft. 
 by 120 ft., its nave and aisles separated by 
 two arcades of seven arches borne by col- 
 umns. At the west entrance is an open 
 porch between two three-story towers, en- 
 tered through a wide ai'ch. Over this a 
 colonnaded loggia fronted the end of the 
 nave, which is jnereed by a great triple- 
 shafted window. At the east end a broad 
 polygonal ajjse is recessed between two 
 half gables that cover the ends of the 
 aisles, containing the two chambers that in 
 these churches usually flank the apse. On 
 the sides the aisle windows are in groups of 
 twos and threes, separated by tw^o doors in 
 each aisle. The gabled roof is gone, but 
 the trusses apparently bore on corbelled 
 shafts, as at Kalat Siman and Kalb Lu- 
 zeli. The stone-cutting of the church is 
 
 Fig. 221.— Turin, La Superga. 
 
 admirable, the detail refined and abun- 
 dantly decorated with carving. It seems 
 to date from the vi cent., and suggests 
 the prototypes of numy of the forms of 
 Romanesque churches. Close to the 
 church is a ruined building consisting of 
 a great hall in each of two stories, 40 ft. 
 by 76 ft., surrounded by two stories of por- 
 ticoes built of great monolithic pilasters. 
 About it are remains of smaller buildings, 
 one a double tomb, and it is thought by 
 De \ ogiie to have been a hostelry attached 
 to the church. 
 
 TUSCULUM. See Frascati. 
 TYXDAEIS, Sicily. 
 
 Gymxasum(:-'), a large structure with 
 two fine stone arches, lying southeast of 
 the theatre, believed to be identical with 
 that mentioned by Cicero. It is rectangu- 
 lar in plan and the masonry is very fine. 
 
 TUE.\TRE, of Greek foundation, but 
 altered, especially about the stage-struct- 
 ure, under the Romans. The cavea is 
 excavated in the slope of a hill looking 
 towai'd the sea. The plan is a semicircle ; 
 the exterior diameter is 233 ft., that of 
 the orchestra, 83 ft. The masonry is en- 
 tirely in excellent ashlar of sandstone, ex- 
 cept the remains of the Roman prosce- 
 nium, which is built of brick. The cavea 
 is divided by radial stairs into nine cunei, 
 or wedge-shaped sections. 
 TYRE (Sur), Pliopnicia, Syria. 
 
 Ramparts of the city, which according 
 to Arrian were about 1-47 ft. high. There 
 are but very scanty remains in masonry of 
 rectangular blocks of astonishing size. 
 
 The Tomb of Hiram, so called, S. E. 
 of the city, consists of a base of huge 
 blocks, each about 13 ft. by 9 ft. by 3 ft., 
 supporting a great slab which overhangs 
 on all sides and supports a massive sar- 
 cophagus with a cover of pyramidal form. 
 The total height is about 30 ft. Beneath 
 the monument there is a rock-chamber, to 
 which a flight of steps gives access. The 
 date of the tomb is uncertain, but is prob- 
 ably prior to the Roman domination. 
 
UDINE 
 
 UDINE, Italy. 
 
 The Cathedral is a Gothic Ijuilding 
 of the XIV cent., whicli has been almost 
 entirely rebuilt, with little regard for the 
 original style. The facade and the great 
 tower on the north side still remain as 
 first bnilt. Tlie former is in five divisions 
 answering to the nave and two aisles on 
 either side. The centre division has a 
 doorway with a crocketed and pinnacled 
 gable and much sculpture. A line of 
 brick arches crosses the front above this 
 doorway, interrupted by two round win- 
 dows, and above this again is a central 
 round window lighting the nave. The 
 roof gable is broken at each division, the 
 pitch being everywhere the same. The 
 great octagonal tower at the junction of 
 the north transept with the choir has a 
 diameter of 50 ft., with a lower story of 
 stone, the remainder being of brick and 
 unfinished. The cathedral is said to have 
 been built by Pietro Paolo delle Masegne, 
 who was called from ^'euice for the pur- 
 j)ose in 1300. 
 
 Palazzo Pihblico (Town-hall), a 
 very perfectly jireserved example of the 
 brolefto or town-hall of northern Italy, 
 and remarkable for the closeness with 
 which its designer followed the Venetian 
 manner. It is a small rectangular build- 
 ing of two stories, covering an open plat- 
 form, raised by several ste2:)s above the 
 street and surrounded by a balustrade, 
 which served as the public exchange. The 
 first story consists of an open arcade with 
 ten pointed arches on the front, and five 
 on the side, carried on round columns 
 with richly sculptured capitals, the vous- 
 soirs alternately of red and white or gray 
 marble. The columns are set on a stylobate 
 and connected by a beautiful balustrade of 
 colonnettes with small cusped arches. This 
 story is divided by a row of columns and 
 arches supporting the second floor without 
 vaulting. The second story presents a flat 
 wall of alternate courses of red and white 
 marble, with three groups of windows in 
 
 the front, the central group of five open- 
 ings, the side groujjs of three, the open- 
 ings pointed and delicately cusped, and 
 the wliolc grouj) enclosed in a square 
 panel in the style of the Venetian palaces. 
 The central groujj opens on a balcony 
 from which the magistrates addressed the 
 people. The cornice is modern. The 
 building dates from the xv centurv. 
 URBINO, Italy. 
 
 The C'atiieuual. adjacent to the Ducal 
 Palace, was built at nearly the same time 
 in the xv cent., under Baccio Pintelli. It 
 is a Renaissance church, cruciform, with 
 a broad nave and narrow aisles separated 
 by four piers on each side, a projecting 
 transept of the same breadth as the nave, 
 and a large rectangular choir with a long 
 chajiel on either side. Shallow apsidal 
 recesses serve for chapels along the aisles, 
 and similar recesses terminate the transept 
 arms and the choir. The crossing is cov- 
 ered by a round dome. 
 
 The DrcAL Palace, built by Duke 
 Frederic II. during the latter half of the 
 XV cent., chiefly from the designs of a 
 Dalmatian architect, Luciano di Laurana, 
 but finished under Baccio Pintelli. is one 
 of the most notable examples of the cin- 
 que-cento style, applied to domestic archi- 
 tecture. It is built on a hillside, and its 
 lower portions are built up from a series 
 of battering arcades. The buildings cover 
 a rectangular area of about 175 ft. by 300 
 ft., with a Aving of irregular shape thrown 
 out obliquely from its northern end. The 
 great courtyard, nearly 80 ft. square, is en- 
 closed on the lower floor by an open vault- 
 ed arcade of round arches on com])osite 
 columns, over whicli is an order of Corin- 
 thian pilasters, with square windows with 
 simple dressings in the intervals. The 
 principal rooms, all vaulted, are for the 
 most ])art richly decorated with paintings 
 and bas-reliefs ; especially the great hall, 
 43 ft. wide and 110 ft. long. There is an 
 arcaded vestibule and an entrance-hall 
 with two richly sculptured firejjlaces. 
 
 A%\ 
 
VALETTA 
 
 The doors ami windows, pilasters, and 
 cornices, and other features, are elabo- 
 rately enriclied with arabesque carvings, 
 mostly by Francesco di Giorgio of Siena, 
 and Anibrogio Baroccio. The exterior is 
 somewhat uninteresting, the only striking 
 
 Fig. 222.— Urbino, Pal. Ducale. 
 
 portion being in the centre of the long 
 fapade, where a section of wall is enclosed 
 between two older flanking round towers 
 with corbelled jjarapets and conical roofs, 
 the centre of the wall being occupied by 
 three open loggias, one above another, 
 with pilasters and entablatures and balus- 
 trades. Most of the windows are square 
 openings with pilasters supporting a heavy 
 entablature. The cornices are light and 
 surmounted bv balustrades. {See Fig. 
 --.) 
 VALETTA, Malta. 
 
 The Church of St. Johx, built by 
 the great order of the Knights of Malta, 
 was begun in 1.573 from the designs of a 
 certain Girolamo. Its plan is a rectangle 
 about 187 ft. long by 118 ft. wide, with a 
 nave about 50 ft. wide bordered on each 
 side by an arcade of five broad and high 
 
 arches springing from great square piers, 
 faced with an irregular order of pilasters 
 from whose cornice springs the slightly 
 pointed barrel-vault of the nave, each bay 
 of which is pierced by a single round win- 
 dow. The aisles are divided into square 
 chapels connected by narrow doors. The 
 choir, occupying the two easternmost bays 
 of the nave, is raised by four steps, and 
 furnished with richly carved stalls, and 
 the eastern wall is flat. The interior is 
 very richly decorated with paintings and 
 bas reliefs, and costly marbles line the 
 walls. The pavement is made \\\) of nearly 
 four hundred sepulchral slabs of various 
 marbles covering the graves of the 
 knights. On the two flanks are a sacris- 
 ty, an oratory, and various subsidiary 
 ajjartments, and on the south a rectangu- 
 lar Campo Santo or cemetery. The fajade 
 has a central doorway between four niches, 
 and is flanked by two angle towers. The 
 church was built under successive grand 
 masters of the order, and paid for by the 
 fees of the knights. Since the practical 
 extinction of the order it has been a 
 cathedral church, the property of the 
 government. 
 VALVISCIOLO, Italy. 
 
 A Monastery of the Cistercian order 
 founded by a colony of monks from the 
 great monastery of Fossanova {q. v.), in 
 1151. The monastic buildings remain al- 
 most intact from this period, and are of 
 extreme interest because their style is 
 midway between the plain Romanesque 
 tunnel-vaulted style of the first half of the 
 XII cent., as exemplified at SS. Vincenzo 
 ed Anastasio in Rome, and the early Goth- 
 ic style which appears in the Cistercian 
 monasteries erected in this province after 
 1175. The church is a simple basilica 
 consisting of a nave and two aisles com- 
 posed of five bays, each ending in a square 
 apsidal chajiel. The measurements are : 
 length, 150ft.; width. 58 ft; width of 
 nave, 25 ft. : do. of aisles, 13 ft. There 
 being no transept, the usual two chapels on 
 
 495 
 
VAPHIO 
 
 each side of the apse are reduced to one ; 
 a deviation from the usual Cistercian habit 
 in the direction of a type used for mon- 
 asteries of lesser size. The arches of the 
 nave are ]iointed. l)road and low, and en- 
 tirely witiiout moulding. The vaulting 
 compartments are slightly oblong, in the 
 nave across the axis, and in the aisles along 
 the axis, of the church. The four heavy 
 piers of the nave are square and low, and 
 are divided from the massive arches merely 
 by a cyma recta moulding. On this rests a 
 corbel from which springs a plain pilaster 
 on whose capital rests the transverse arch 
 between the bays. Each bay is covered 
 with a groined vault and lighted by a 
 round-headed window. The church is en- 
 tirely liuilt of local stone. In style it is 
 unlike anything in Italy ; a few churches, 
 built also by Cistercians, may be compared 
 to it : such is Sta. ]\Iaria de Flumine near 
 Ceccano (q. v.). The cloister is slightly 
 posterior to the church, the foliated Gothic 
 capitals of its colonuettes show that it can- 
 not have been built much before 1300 at 
 the earliest ; probably later. It measures 
 (J5 ft. each way, and each of the four sides 
 is divided into five bays with groin vaults 
 and transverse arches. The heavy piers 
 which divide these bays and support their 
 vaults enclose a series of round arches 
 supported on coupled colonnettes with 
 simple slender shafts, and elegant bell- 
 shaped foliated capitals of early Gothic 
 design. Opening out of the east side of 
 the cloister, as usual, is the chapter-house, 
 32 ft. square, covered by six groined 
 vaults supported on slender shafts. In 
 style it is contemjiorary with the cliurch 
 and earlier than the cloister. The re- 
 fectory occupies ail the south side of 
 the quadrangle except a vaulted passage 
 leading out to the garden. It is of con- 
 siderable size (.T.5 ft. by 30 ft.) and lieight. 
 its ribbed groin-vaults are remarkably 
 bold and broad, and give an idea of simple 
 architectural grandeur that makes this 
 the finest refectory of the Cistercian mon- 
 
 asteries in Italy. A comparison with the 
 refectories and chapter-houses of Casamari 
 and Fossauova makes it probable that the 
 chapter-house at Valvisciolo was built be- 
 tween IITO and 1180, and the refectory in 
 the decade before 1300. [A. L. ¥.. Jn] 
 \' AI'IIIO, near Amyklai, Lacouia, Greece. 
 
 Beehive or tholos Tomb of the char- 
 acter of those at Mycenae, excavated in 
 1889 on the right bank of the Eurotas. 
 The dromos or passage of ajjproach is 
 nearly 100 ft. long, the diameter of the 
 tomb about 39 ft. The ornaments, uten- 
 sils, and weajjons of gold, silver, and 
 bronze found in this tomb are of great 
 richness, and form an imijortant addition 
 to the knowledge of Mycenaean civilization 
 acquired at other sites. 
 VEGLIA, Dalmatia. 
 
 The Cathedral is a basilica with side 
 aisles, and a nave of 00 ft. by 23 ft. in 
 nine bays. Stilted round-arched arcades 
 are carried on antique shafts of irregular 
 heights which are pieced out by capitals 
 of Byzantine form, ajjparently of the xii 
 century. An inscription declares that the 
 church was Iniilt by a Bishop John, and 
 there was such a bishop from 1186 to 1188. 
 The old east end, probably apsidal, was 
 burned in the last century, and a new 
 choir consecrated in 1T43. This has two 
 handsome ambones, probably earlier (xvi 
 century). In the north aisle is a Gothic 
 chapel, said to be built by aCount Frangi- 
 panni, who died near 1405. Over a side 
 altar is very rich reredos of silver, parcel- 
 gilt. It contains twenty-six niches in two 
 tiers, filled with figures of saints, ami 
 bordered with rich ornament, and dates 
 apparently from the xv century. There 
 are fine silversmiths' work and embroid- 
 ery in the treasury. 
 
 S. QiiHixo, attached at right angles 
 to the west end of the cathedral, is .said to 
 have been the original cathedral. It is a 
 double church, in two stories, with nave 
 and aisles to each, and three apses at the 
 southern end. The lower church is very 
 
VENICE 
 
 plain, and now used as a wine vault ; the 
 upper one carries its round-arched arcades 
 on columns with cushion-capitals. It has 
 been much changed by modern restora- 
 tions. Its campanile is modern in its 
 upper story and bulbous dome. 
 VENICE (Venezia, Venedig), Italy. 
 
 Acc.\.DEMiA di Belle Arti (Academy 
 of Fine Arts). The ancient convent of 
 La Carita, of wliich a portion was built by 
 Palladio in 1552, consisted of two courts, 
 a larger and a smaller, with their sur- 
 rounding buildings, including a church. 
 These were mostly destroyed by tire in 
 1630. The portions which remained, with 
 the buildings erected on the ruins, are 
 now occupied by the galleries of pictures 
 and other works of art. The smaller of 
 the two courts, now destroyed, was flanked 
 by four great Corinthian columns ou each 
 side, nearly 40 ft. high, behind which 
 were buildings one of which was occupied 
 as the sacristy of the church. Prom this 
 fore-court the great cloister was entered. 
 Some portion of the original work still 
 stands, and is surrounded by the building 
 of the Academy. It is three stories in 
 height, each with an order of columns, 
 Doric in the first story, Ionic and 
 Corinthian above, the two lower 
 enclosing the round arches of open 
 vaulted galleries, the upper col- 
 umns engaged, and backed by a 
 wall with square windows in the 
 intervals. The exterior is quite 
 plain, with square windows with- 
 out decoration, and with broad 
 belts separating the stories. 
 
 Annunziata. See S/a. Jfarin 
 Zoheniyo. 
 
 The Bridge of Sighs connects 
 the upper stories of the Ducal 
 Palace and the building on the 
 opposite side of the small canal 
 called the Rio del Palazzo, which 
 contains the prisons of state, but it has no 
 architectural relation to either Imilding. 
 The bridge consists of an elliptical arch 
 
 sonu'lio ft. above the water, with a moulded 
 archivolt decorated with heads, the span- 
 drels with reclining figures in relief, above 
 which is a horizontal cornice supporting 
 an order of rustic pilasters with five in- 
 tervals, occupied by square-headed win- 
 dows and panels. The whole is crowned 
 by a lieavy segmental pediment with a fig- 
 ure of Justice seated between lions. The 
 bridge was built in 1597 by Antonio Cou- 
 tini, and has been made famous in litera- 
 ture. 
 
 Ca' d'Oro, built probably in the lat- 
 ter half of the xiv cent., one of the best 
 known of the palaces of the Grand Canal 
 and jjrobably the richest e.xample of the 
 domestic Gothic of Venice. The fapade 
 appears to have been designed in accord- 
 ance with the almost invariable conven- 
 tion of the Venetian palaces, a centre 
 and two wings ; but in that case only 
 one of the wings was built. The whole 
 front of three stones is about 70 ft. long, 
 of which what we may call the centre, oc- 
 cupying about 40 ft., is recessed behind 
 open loggias. That of the first story has 
 five arches, the middle one round, the 
 others jjointed, all surrounded by the 
 
 Fig, 223. — Venice, Ca' d'Oro. 
 
 usual Venetian billet -moulding. The 
 spandrels are decorated with disks of col- 
 ored marble. In the second and third 
 
 4'JT 
 
VE^'ICE 
 
 stories the arcades are of six iiointod und 
 cusiied arclics ])caring tlie jjeculiar \'ene- 
 tiau tracery imitated from tlic Ducal Pal- 
 ace, of cusped qiiatrefoils, round in the sec- 
 ond storv and pointed in the third. These 
 arcades rest on marble columns with bal- 
 ustrades between and beautifully designed 
 capitals, and are flanked by larger single 
 arches with ogee heads, traceried in the 
 second story, simply cusped in the third. 
 These four arches have single projecting 
 
 lona cross. The whole front is faced with 
 thin plates of marljle, and its ornamenta- 
 tion belongs to various periods, the palace 
 itself liaving been built about 1400. It 
 was extensively restored about 1850 by the 
 famous dancer Taglioni, who lived in it. 
 {See Fig. ii^S.) 
 
 The Qampaxile of St. Mark's stands 
 detached in the Piazza San Marco, in front 
 of the clnirrh. It is a tower about 42 ft. 
 square, built of simple brickwork to a 
 
 Fig. 224. — Venice, Library, and Loggia of Campanile. 
 
 balconies of the usual \'enetian Gothic 
 form. The wing has in the first story 
 two double arched windows with cusped 
 ogee heads, joined by a long balcony ; in 
 the second and third stories is a panelled 
 wall between two pointed balconied win- 
 dows in each story. The windows as well 
 as the arcades are all enclosed in square 
 panels. The stories are divided by richly 
 decorated string-courses, the angles are 
 emphasized by twisted shafts. The front, 
 with new cornice, is crowned by a parapet 
 comjiosed of flat ]>lates of marble, alter- 
 nately high and low, in the sha]ie of an 
 
 height of 100 ft. above the pavement, tlie 
 wail broken only by pilaster-strips. joine<l 
 by round arches enclosing a shell-like dec- 
 oration. This mediiBval portion of the 
 tower was complete as early as 11.50. The 
 belfry which crowned it was repeatedly 
 destroyed by fire and rebuilt, until in 1.510 
 the tower was finished in its present form 
 by Bartolomeo Buon. The present belfry 
 consists of four round arches on eacli face 
 supported on small columns, enclosed be- 
 tween strong angle - pilasters and sur- 
 mounted by a heavy entablature. Above 
 this is a high square pedestal crowned by 
 
 498 
 
VENICE 
 
 a pyramidal sj)irc, the whole height beiiiir 
 about ','yiO ft. Tlie belfry ifi readied by a 
 eoiitiiiuous inclined plane of very gradual 
 sloi^e, between inner and outer walls, and 
 lighted by a line of snuill rouiul-headed 
 windows in each face of the tower. At 
 tlie foot of the tower, on the side facing 
 the church, is the sumptuous Loggietta, 
 begun in 1540 from tlie designs of Sanso- 
 vino, at first intended simply as a meeting 
 jjlace for the nobles, but serving later as an 
 office or waiting-room for the jirocurator 
 having charge of the palace guard. It 
 consists of an order of Composite columns 
 on high jjedestals, standing forward in 
 couples under a very high attic crowned 
 by a balustrade, each couple enclosing a 
 niche occupied by a statue. The statues, 
 four in number and of bronze, are by 
 Sansovino, representing Pallas, Apollo, 
 Mercury, and Peace, and are admirable 
 works. Between the couples are round- 
 arclied double doors, with figures in the 
 spandrels. The high attic is divided by 
 pilasters into spaces corresponding with 
 those below and filled with S2jirited bas-re- 
 liefs in marble. In front is a raised terrace 
 enclosed by an open balustrade, the entrance 
 Ijrotected by a beautiful bronze gate cast by 
 Antonio Gai in 1750. (See Ficjs. 22 J^, 235. ) 
 
 La Carita. See UArmdrmui. 
 
 The DoGASA Di Make is a picturesque 
 object in a conspicuous position, at the 
 entrance of tlie (Jraud Canal. It is a Re- 
 naissance building, built in lG8"-i from 
 the designs of Benoni, of a single story 
 consisting of a rustic arcade of narrow 
 arches on plain square piers surmounted 
 by a simjile cornice and balustrade. At 
 the angle of the canal is a low square tow- 
 er in two stages, with a projecting portico 
 of rustic Doric columns on each face, and 
 above, a jjlaiu story with rustic quoins and 
 square-headed windows crowned by a ped- 
 estal and a globe sustained by two Atlases. 
 bearing a gilded figure of Fortune, which 
 turns appropriately with the wind. This 
 building is the custom hou.se. 
 
 Doges" (or DrcAi.) Palace. See Palaz- 
 zo Duailc. 
 
 FAiiiiUKA NrovA (the New Build- 
 ing). The westerly end of the Piazza S. 
 Marco was formerly occupied by wings of 
 tlie Procuratie Vecchie on the north, and 
 the Procuratie Nuove on the south side. 
 Between these two stood the church of 
 S. Gemignano, built from the designs of 
 Sansovino. During the Prencli occupa- 
 tion of Venice tliis church was taken down 
 to make way for an extension of the royal 
 palace, whicli occupied the Procuratie 
 Nuove. In its place the present building 
 was erected by the architect Giuseppi 
 Soli. Tliere are two stories ; the first is 
 partly open, forming a central entrance to 
 the Piazza, with lines of columns support- 
 ing the stories above. The fagade on the 
 Piazza is substantially a continuation of 
 the design of the adjoining building on 
 the south, with the addition of a high at- 
 tic decorated with reliefs and statues on 
 pedestals. The rear fa9ade is different, 
 the lower story composed of rustic arches 
 on piers, the second of an order of Corin- 
 thian pilasters, with an attic ; the inter- 
 vals occupied by square Italian windows 
 with horizontal caps. {Sec Fig. 235.) 
 
 La Fenice (Phoenix), one of the most 
 celebrated of Italian theatres, was built 
 originally in IT'JO from the designs of Sel- 
 va, and rebuilt after a partial destruction 
 by fire in 18:i9. It has two fa9ades, one on 
 the Piazza, or Campo, S. Fantino, and the 
 other on the small canal at the ojijiosite 
 end of the buildings. The former is about 
 G5 ft. long, in three stages, with a pro- 
 jecting portico of fcnir Corinthian columns 
 in front of a recessed vestibule, above 
 which is a central arch flanked by niches 
 with statues. The rear fa9ade is a high 
 plain wall with pedimented windows and 
 Doric cornice over a rustic arcade. Tlie 
 auditorium, with its surrounding corri- 
 dor, is comprised within a rectangle of 
 about 03 ft. by 85 ft., to which the only 
 apiiroach is by two passages leading from 
 
 499 
 
VENICE 
 
 two sides of the tluMtrc ami inoL'tiiiic at 
 a corner of the fiiirroundiug corridor. 
 The plan ol' tlie aiiditorimii is that of an 
 elongated horseshoe, surrounded by five 
 tiers of boxes and covered by a flat dome 
 about 50 ft. above the floor. Its diameter, 
 exclusive of the boxes, is about CO ft. : tiie 
 distance from the curtain to tlie front 
 of the boxes, 08 ft. Tlie cajjacity of the 
 theatre is three thousand. The breadth of 
 the curtain ojiening is about -i.j ft. ; the 
 depth of the stage about GO ft. Two tol- 
 erably commodious staircases at the angles 
 of the corridor give communication be- 
 tween the various tiers, and from tlie cor- 
 ridor in the rear of the auditorium a 
 double stair leads to a decorated /o^e/-. 
 
 The FoN'DACo DEI Teueschi was one of 
 the buildings, which at an early period of 
 the commercial prosfierity of Venice the 
 Republic provided, to serve as storehouses 
 and lodgings for the great numbers of for- 
 eign traders who frequented the city. It 
 was burned in 1505, and was rejilaced liy 
 the present structure, a square of about 
 KiO ft. on the (Jrand Canal, with an inte- 
 rior court about GO ft. square. The fa- 
 cade on the canal is of very simple design, 
 in four stories, the first story having in 
 the centre a recessed porch of five round 
 arches on square jiilasters, above wliit-h 
 the whole centre is slightly recessed, with 
 coupled windows in each story, those of 
 the second story arched. The thin cor- 
 nice has a singular battlement of detaclied 
 square pedestals, each carrying a sort of 
 fiuial. The interior court has an open ar- 
 cade on the first story, and above it three 
 similar stories of round-arched windows. 
 Era Giovanni Giocondo, of Verona, has 
 been called the architect of the building, 
 but documents seem to show that it was 
 the work of a German called Ilieronymus. 
 or (iirolamo Tedesco. 
 
 EoNDAco i)i;i Ti'uciii. a tyjiical exam- 
 ple of the early Byzantine palaces of Ven- 
 ice. Its exact age and origin are un- 
 known ; but it is presumed to date from 
 
 the X or xi century. It was long the 
 property of the dukes of Eerrara, and was 
 puridiased of them in IU'^1, and devoted to 
 the jmrjioses of an exchange or warehouse 
 for the use of the Turkish merchants who 
 frequented Venice in great numbers. The 
 building liad in the present century, 
 through long neglect and the slightness 
 of its construction, fallen into hopeless de- 
 cay, and was only saved from destruction 
 by a complete restoration in 18ii'.i. The 
 front on the Grand Canal, the only i)or- 
 tion remaining of the original jialace. 
 which was much more extensive, is about 
 KiO ft. long, built of brick faced with 
 thin slabs of marble, and consists of a cen- 
 tral portion with two stories of long open 
 arcades, flanked by two square pavilions 
 three stories in height, but without i)ro- 
 jection from tlie main line of the front. 
 The lower arcade, close to the level of the 
 water, has ten stilted round arches rest- 
 ing on marble columns with large foliated 
 ca])itals. The arches are surrounded by a 
 flat band of colored marble, enclosed by a 
 delicate dog-tooth ornament both on the 
 outside and inside, and with small roun- 
 dels of marlfle in the spandrels with fig- 
 ures in bas-relief of animals, etc. The 
 upper arcade has eighteen arches, like 
 those below in form and treatment, and 
 with similar roundels in the spandrels. A 
 balustrade of delicate colonnettes with 
 arches fills the intervals between the col- 
 umns. The cornice is small and simple, 
 and above it is a series of nine gables, like 
 dormer-fronts, connected by small open 
 arches, and each panelled with white or 
 colored marble. The flanking pavilions 
 have arched windows in each story, witii 
 panels decorated in relief, in the third 
 story by a light open balustrade. Above 
 tlie second story arches is a sculptured 
 frieze of round-headed jjanels of wliite 
 marble, surrounded by bands of colored 
 marble, edged witli dog-tooth ornament. 
 This decoration was probably continued 
 originally throughout the whole length of 
 
 BOO 
 
VENICE 
 
 the second ston- frieze, and is one of the 
 most characteristic features of Byzaiitiiic 
 ornament. 
 
 Fkari. See Sta. Maria Gloriosa. 
 
 (iKSL'iTi. See Sfa. Maria dei Gesui/i. 
 
 Tlie Library of St. Mark, one of the 
 most celebrated and familiar of all the 
 buildings of the Italian Renaissance, and 
 commonly regarded as the greatest work 
 of its architect, Sansoviuo. It occujnos 
 one of the most consjiieuous sites in Ven- 
 ice, on the west side of the Piazzetta, over 
 against the Ducal Palace, with ii front on 
 the Piazzetta of about 207 ft., and toward 
 the sea and the Piazza of about 50 ft. It 
 is of two stories, each with an order of en- 
 gaged columns, Roman Doric in the first 
 story, Ionic in the second, the angles 
 strengthened by jjilasters. In each the 
 intercolumuiations are filled by round 
 arches, those of the lower story oj^en and 
 sjjritiging from simple jjilasters with 
 moulded imposts, those of the second 
 story from coupled Ionic columns, de- 
 tached and bearing an entablature which 
 forms the impost of the arch. In both 
 stories the arches have panelled soffits, 
 keystones sculptured with heads of men 
 and beasts, and reclining figures in the 
 spandrels. The upper order stands on a 
 balustrade-course, and in both orders the 
 frieze is of unusual height and decorated 
 with sculpture, the metopes of the lower 
 being charged alternately with medallions 
 and emblematic devices. The niJijer en- 
 tablature is developed to such an extent — 
 being jjroportioned as a crowning feature 
 of the whole fagade rather than of its own 
 order — that its height is nearly two-thirds 
 that of the column, and its frieze contains 
 flat windows enclosed in a frame of mould- 
 ings with its spaces between profusely 
 decorated with festoons of flowers and fruit 
 held by ligures of children. Tiie building 
 is crowned by a high balustrade of which 
 the pedestals carry statues, except those 
 over the angles, which support tall obelisks. 
 In tlie centre of the lower arcade on the 
 
 Piazzetta an arclied doorway flanked by 
 caryatids opens into an imposing double 
 staircase leading to the second story, con- 
 taining several halls, of which the principal , 
 formerly containing the library, occupies 
 the northern third of the building, and has 
 a fine vaulted ceiling painted by Tintoret 
 and Paul Veronese. Tlie books were re- 
 moved in 1812 to the Ducal Palace, and 
 the whole building now forms a part of 
 the royal palace. It was begun in 153G 
 by Sansovino, and finished after his death, 
 but in accordance with his designs, by 
 Scamozzi in 1.582. (See Figs. .224, :2.i5.) 
 
 Madoxxa DEI MiUAcoLi. See Sta. 
 Maria dei Miracoli. 
 
 Madoxxa del Okto, a late (iothic 
 church of brick with a singular and ratlier 
 interesting fagade, containing an arched 
 doorway with a crocketed ogee gable, 
 pinnacled with statues. Over the door- 
 way is a large rose-window from which 
 the tracery has disappeared, and at the 
 sides are two beautiful four-light windows, 
 one in the end of each aisle, the shafted 
 mullions crossed by transoms. The rich 
 gable cornice of the nave is surmounted by 
 canopied pinnacles bearing statues, while 
 the aisles are crowned by a sloping para- 
 pet above the cornice, consisting of a line 
 of jiointed and cusped niches with statues. 
 On the south wall is a tall square brick 
 campanile with a round cupola aljove the 
 belfry stage, surmounted by a high i-ound 
 dome. The interior, lately restored, has 
 pointed nave arches resting on marble col- 
 umns with XIV cent, capitals, and a flat 
 wooden ceiling decorated with color and 
 gilding. The church dates from the end 
 of the XIV cent., and contains several im- 
 portant pictures of Tintoret, John Bellini, 
 Cima da Conegliano, and other masters. 
 
 iliXT. See Zecat. 
 
 Palazzo dell' Ambasciatore, a xiv 
 cent. Gothic palace, of which the front is 
 of brick in three stages of nearly equal 
 height, with a high stone basement, square 
 angle quoins, and twisted angle shafts with 
 
 601 
 
VENICE 
 
 Fig 225— Venice. Palai!o Cavalli. 
 
 b;isos and capitals, and decorated string- 
 courses. In tlie centre of the lower stage 
 is an ogee-arched doorway and on either 
 side of it two stories of windows, the lower 
 segmental-arched, the ujiper square, 'i'lic 
 second and third stories have central ar- 
 cades of cuspetl ogee arches, those of the 
 second story with (piatrefoils above, and 
 ou each side two single windows with ogee 
 
 by Hal architraves of marble, and small 
 windows arc irregularly disposed on either 
 side. The second story has the central 
 arcade of five cusfted pointed arches with 
 slightly ogee heads, divided by columns, 
 and enclosed in a square j)anel. Over tlio 
 centre of tlie panel is a cusped arch en- 
 closing an inlay in marbles of various col- 
 ors, with a medallion bearing a peacock 
 in relief. In the third story is a similar 
 arcade without finials or tracery, and with 
 a small Venetian balustrade running be- 
 tween columns of the three middle arches. 
 The billet moulding is used as a border 
 everywhere. Broad bands of marble with 
 arabesques surround the detached windows, 
 and serve as string-courses and as a frieze 
 under the cornice. This building is per- 
 ha2)s the only one in Venice where such a 
 decoration is to be fonnd, and some traces 
 of latei' jiaintcd <lccoration are to be seen on 
 the walls. ( Keccntly restored and altered.) 
 
 Palazzo Bianca Capi:ll(). See Pa!- 
 ttzvi Trcrixan. 
 
 I'Ai.A/.zu Cameklinghi, an early \\v- 
 naissanci' ]ialace on the Grand ('anal, at 
 the end nf the bridge of the Rialto, built 
 about, \')'lb from the designs of Bcrga- 
 masco. It has three facades of Istrian 
 marl}lc. of which the principal one on the 
 canal has a breadth of about C8 ft., in 
 three stages, the angles marked by conjiled 
 pilasters, with a single window in the in- 
 terval, and carrying entablatures wliich 
 cross the front. The first stage has an 
 
 heads and pilasters ill the jambs. All the 
 
 windows of the second and third stories, as arched doorway in a small engaged portico 
 
 well as the arcades, are enclosed in squared of two Corinthian columns on pedestals, 
 
 panels foriiic(l by a thin line of billet flanked by two tiers of plain windows. 
 
 moulding. In each side of the second 
 story stands a decorated niche containing 
 a statue of a knight. 
 
 Palazzo Badoeh PAinicii-AZU), an 
 interesting though much dilapidated xiv 
 cent. Gothic palace. Its large brick front 
 is in four stories, with its openings dis- 
 posed without regard for symmetry, and 
 with much decoration of an unusual char- 
 acter. The square doorway is enclosed 
 
 The two upper stories alike have round- 
 arched windows arranged in groups ; ami 
 the front is crowned with a meagre cornice. 
 Palazzo Cavalli, a xv cent. Gothic 
 palace, much like the Palazzo dell' Am- 
 basciatorein the arrangement of its fai/adc. 
 which is in three stories and in three nearly 
 equal vertical divisions, the wings 1)eing 
 almost as broad as the centre. In the sec- 
 ond and third stories the centre is filled 
 
 S02 
 
VENICE 
 
 with a contimions mass of traceiT oonsist- 
 ing of an arcade of five pointed areiies in 
 eacli, interloeking witii circles and quatre- 
 foils above them, that in the second story 
 modelled on that of the Ducal Palace. 
 Below is a broad ogee-arched doorway 
 flanked by two half stories of windows. 
 The wings make an effective contrast to 
 the centre, the plain wall of each being 
 pierced in each story by a pair of windows 
 matching those of the centre and enclosed in 
 squared jjanels. A plain broad modern dor- 
 mer surmounts the centre. {See Fig. 2J5. ) 
 
 Palazzo Cicogxa (or Pasqualigo), a 
 small palace dating from about the end of 
 the XIV cent., and interesting from the 
 peculiar tracery of its front, but nearly in 
 ruins. The facade is in two stories — the 
 lower has as a central feature an arcade 
 of four round arches on columns, with a 
 balustrade between them. At the left 
 of the arcade is a broad square opening 
 reaching to the angle of the front, where 
 the upper wall is supported on a stout 
 column with a foliated capital. At the 
 right is a sort of wing with two single 
 windows. The second story is filled to 
 the cornice with an arcade of six pointed 
 openings of unusual height with cusped 
 heads divided by columns and jiilasters, 
 with trefoils in the spandrels, supporting 
 a unique mass of tracery consisting of two 
 tiers of quatrefoils enclosed in interlacing 
 circles. In the wing are two single win- 
 dows over those of the lower story. 
 
 Palazzo Coxtarixi (a San Gervasio e 
 Protasio), a Renaissance jjalace on the 
 Grand Canal btiilt by Scamozzi at the 
 end of the xvi century. Its facade, about 
 60 ft. long, is in three well-marked stages, 
 the first a fine rustic basement with broad 
 piers with simjjly moulded caps, a simple 
 round-arched doorway, and plain square 
 ■(vindows. The second and third stori' 
 have each an order of coupled pilaster-. 
 Ionic and Corinthian respectively, the in- 
 tervals occu{)ied by long narrow arched 
 windows with balconies. Over the centre 
 
 of the front is a broad dormer with an 
 order of i)ilasters crowned with a pedi- 
 ment, and enclosing a triple window. 
 
 Palazzo Contarini Fasan. The 
 small l)ut beautiful far;ade of this palace, 
 which fronts the (irand Canal, is only a 
 wing, and has no doorway. It is of In-ick 
 in three stories, with three plain square 
 windows below, and over these a group of 
 three stilted ogee arches, decorated with 
 billet-mouldings and finials and resting 
 on marble columns with well-developed 
 capitals. In the third story similar win- 
 dows are enclosed in high square panels, 
 but the middle one is replaced by a sculpt- 
 ured panel. The long balcony of the 
 second story and the single balconies of 
 the third are filled with traceried panels. 
 Each story has twisted angle-shafts rest- 
 ing on decorated string-courses ; the main 
 cornice is corbelled with lions' heads. 
 This front belongs to the first half of the 
 XIV century. 
 
 Palazzo Corner Ca' Grande, an im- 
 posing Kenaissance palace on the Grand 
 
 v'enice, Pal. Corner Ca' Grande. 
 
 503 
 
VEXICE 
 
 Canal, built by Sansovino in 1532. It lias 
 a broad fa9a(le in three stories, the lowest 
 of rustic work with a centre of three tall 
 arches flanked on each side by two square 
 windows with columns and entablature, 
 and two smaller windows over them in a 
 mezzanine story. The second and third 
 stories have orders of coupled three-quar- 
 ter columns, Ionic and Composite, with 
 balcom'-courso aiul entablature, the in- 
 tervals filled with arched windows with 
 decorated keys and spandrels. Tlie ujqn r 
 frieze is very broad and has a series of liai 
 oval windows over the intervals below. 
 The interior has been much changed siiii'' 
 the fire of 1S17. and is now used as th. 
 Prefecture. (See Fig. 226.) 
 
 Palazzo Couxek Spixelli. x\. xv 
 cent. Kenaissance palace ascribed to Pietro 
 Lombardo, with its front on the Grand 
 ('anal divided into three stages, of whieii 
 the first, forming the rustic basement, is 
 the highest, and includes a ground story 
 with an arched doorway between two rath- 
 er small windows, and a mezzanine with 
 two like windows. The windows are 
 similar to the doorway, which has classic 
 pilasters supporting an archivolt with 
 decorated mouldings, the whole enclosed 
 in a square panel with horizontal cap. 
 At the level of the first floor is a broad, 
 richly carved base-course. The two upper 
 stories, substantially alike, consist each of 
 four two-light windows separated by a 
 column, under a round bearing-arch with 
 a circle in the arch-head. The two mid- 
 dle windows in each story are grouped, 
 and all are enclosed in square panels, witli 
 disks in the spandrels and projecting bal- 
 conies. The wall-piers are also adorned 
 with disks and square ]ianels. Tiie court 
 of the palace, of later date than the facade, 
 is attributed to Sanmicheli. 
 
 Palazzo Dakio, one of the smaller of 
 the early Renaissance palaces, interest- 
 ing on account of its imitation of Byzan- 
 tine decoration. The disposition of the 
 front is singular. It is in four stories ; 
 
 the water story h;is a door between two 
 windows, all round-arched with Coi-iuthi- 
 an pilasters at the sides, a moulded archi- 
 volt and small circular disks in the span- 
 drels. Fourlarger disks of colored marble. 
 
 Fig 227.— Venice. Pal. Dario. 
 
 enclosed in lu'oad carved marlile borders, 
 ornauu'nt the wall-piers, and below them 
 is the inscription Urbis Gexio Jo.vxxis 
 D.\i{ius. The three upper stories have 
 no relation with the lower. The usual 
 per (join, or arcaded loggia, instead of be- 
 ing in the centre, occupies the left side, 
 and is carried through three stories of 
 arcades on slender Composite columns, 
 witli a light iron balcony in the middle 
 story. All the stories are separated by 
 panelled stylobates, and the whole faQade 
 of veined marble is decorated in all its 
 panels, spandrels, and piers with disks of 
 colored marble, which in the large piers 
 are grouped in circles, and surrounded by 
 interlacing bands ornamented with great 
 
 604 
 
VENICE 
 
 or Doges' Puhice, 
 
 (Iplicacy and beauty. The palaee was 
 built about U5i). {See Fig. 227.) 
 
 Palazzo Dicale 
 the most conspicuous and famous exam 
 pic of the Gothic of Venice at its best 
 period. The buildings composing the 
 palace are of various ages and styles, and 
 are built round a quadrangle adjacent to 
 the south side of the church of St. Mark, 
 being bounded on the other sides by the 
 Piazzetta, Riva dei Schiavoni. and the 
 small canal called the Rio del Palazzo. 
 The exterior is a singularly uniform rec- 
 tangular mass unbroken by any salient 
 architectural feature. The two principal 
 fronts toward the sea and the Piazzetta are 
 about 234 ft. and 246 ft. respectively, and 
 are alike and consist each of two horizon- 
 tal divisions — a continuous open arcade in 
 two stories, supporting a perfectly flat 
 wall as high as the two stories below, en- 
 tirely covered with a diaper of colored 
 marbles, pierced with disconnected win- 
 dows, and crowned with a row of fantas- 
 tic battlements. The lower arcade has 
 l)road and rather low pointed arches sup- 
 ported on massive columns, with large and 
 magnificently sculptured capitals, whose 
 bases are now half a yard below the pave- 
 ment. The arch -mouldings are simple 
 and large, the only ornament being a thin 
 line of nail-heads separating the two prin- 
 cipal members. The spandrels were orig- 
 inally faced with a j^attern of colored 
 marbles, which has disaj)peared from all 
 but two. The first story is crowned by a 
 moulded belt with a frieze of little rosettes 
 in square panels. The second story, 
 slightly higher than the first, consists like 
 it of a continuous open arcade of pointed 
 arches on columns ; the arches being two 
 to each of those below, the columns much 
 slenderer, the pointed arches higher, 
 cusped, and of open form, and interlocked 
 in a tracery of moulded circles enclosing 
 quatrefoils. A balustrade of colonnettes 
 runs between the columns. This story, 
 like the first, is finished by a belt with a 
 
 frieze decorated witji rosettes. There are 
 not even piers at tiie corners, but in both 
 arcades the angle - columns are larger 
 than the others, and the angle above is 
 charged in each story with sculpture of 
 the most admirable character ; the angles 
 of the first story Ijearing groups, and 
 those of the second each a single figure of 
 an angel. Above this the angle is marked 
 by a twisted shaft runing through the 
 height of the solid wall and terminating 
 in a pinnacle above the cornice. The 
 diaj^er of the third story consists of mar- 
 ble slabs of pale red and white, arranged 
 in a lozenge jjattern uniform over the 
 whole surface. It is pierced on each front 
 by seven broad and low pointed windows 
 nearly corresponding in shape and size to 
 the arches of the first story. These win- 
 dows have thin columns in the jambs, 
 arch mouldings c<intinuing the shafts, 
 and a thin line of billet moulding carried 
 round jamb and arch. The central win- 
 dow in each front opens upon a balcony, 
 corresijonding to the riiiyhiera of the 
 town-halls of northern Italy, and is dee- 
 orated with great richness, its jamb-col- 
 umns larger than in the other windows, 
 its arch mouldings more fully develo])ed, 
 the spandrels adorned with figures of 
 winged angels or with statues of saints. 
 Octagonal buttresses with canopies con- 
 taining statues flank the wiiuhiw, and are 
 continued as high as the cornice of the 
 building, ending in heavy pinnacles which 
 flank on the one front a clumsy Renais- 
 sance gable, on the other a projecting oc- 
 tagonal niche with three pointed, cusped, 
 and gabled niches enclosing sitting statues. 
 In each case the composition is crowned 
 by a statue high above the cornice. In 
 the disposition of the windows of both 
 fronts there is much irregularity. In the 
 Piazzetta front is a pair of snndler point- 
 ed windows above those of the third story, 
 and a range of small circular openings 
 with quatrefoils extends through both 
 fronts under the cornice. The cornice is 
 
 505 
 
VENICE 
 
 a thin, ineffective nioiildins;. and tlio liat- 
 tlement is of (k'taciied marble slabs pierced 
 and moulded, alternating with slender 
 obelisks. The entrance to the palace is 
 through a gateway at the northern ex- 
 tremity of tlie front on the Piazzctta, set 
 back some fifteen feet, and immediate- 
 ly adjacent to the church of St. Mark. 
 This gateway, called the Porta della 
 Carta, with the elaborately decorated wall 
 above it, is of somewhat later date than 
 the fronts. The opening is square, en- 
 closed by buttresses of great richness, 
 analogous to those that flank the central 
 windows. In the second story these en- 
 close a large pointed window in three 
 lights, the head filled with beautiful and 
 elaborate tracery, and surmounted by a 
 high gable of somewhat whimsical form, 
 charged with sculpture in relief, orna- 
 mented with extravagant crockets simi- 
 lar to those of St. Mark's church, and 
 terminating in an ecjually extravagant 
 finial composed of a large foliated capital 
 supporting a sitting figure between two 
 lions. So far the exterior architecture of 
 the palace is a type of the best Gothic of 
 Italy. Its architectural effect, which is 
 unique, lies in the splendor of the arcades 
 and their audacious contrast with the 
 massive wall above. The forms are both 
 vigorous and graceful, the mouldings 
 strong and effective, the decoration is ex- 
 tremely rich, extending in unbroken lines 
 across the whole extent of the facades. 
 We nuiy object to the heaviness of the up- 
 per story as contrasted with the lightness 
 of its supports, and agree with Street that 
 it was added to the original design in obe- 
 dience to a later demand for larger and 
 higlier aj)artmeuts for the Council, or 
 with Mothes and others, that the wall of 
 the third story was originally built over 
 tlie rear wall of the arcades, and was about 
 the middle of tlie xv cent, brought for- 
 ward over the columns. The construc- 
 tion, as a fonr dp force, is perhaps ques- 
 tionable. The arcades look overloaded. 
 
 tlie voussoirs lioth above and below, as 
 well as portions of the tracery, were much 
 dislocated before the recent restorations ; 
 five of the lower arches at the easterly end 
 of the sea front were filled up with ma- 
 sonry, and the arches of both stories are 
 held together by continuous ties of iron 
 both lengthwise and across the arcades. 
 
 The fa9ades already described are all 
 which remain of the old Gothic palace dat- 
 ing from 13ul to 1423. Successive fires 
 were followed by extensive rebuildings, 
 and in the later of these the native style 
 was abandoned for the newer Kenaissance. 
 The architecture of the great courtyard 
 is very varied in its treatment, marked 
 everywhere by great richness, and much 
 sculptured ornament, many of the piers 
 bearing niches enclosing statues, the 
 friezes broad, with reliefs of figures and 
 wreaths, and the two lower stories sur- 
 rounded for the most part by open ar- 
 cades. The arcade of the second story is 
 jjointed. in imitation of those outside : 
 the rest is pure Renaissance. A broad 
 staircase of white marble dating from 
 about 1483, and known as the Giants" 
 Staircase, with richly panelled sides and 
 balustrades, leads from the courtyard to 
 the second story arcade, and in the centre 
 of the courtyard are two beautiful cis- 
 terns of bronze of about 1.560, octagonal, 
 with figures at the angles and surfaces 
 very rich in bas-reliefs. The easterly 
 side of the palace, on the small canal, is 
 also, except a bit of the front corner, of 
 Renaissance design, and is remarkable for 
 the variety of its treatment. The base- 
 ment is of vigorous rustic work, each stone 
 cut into the form of a projecting or de- 
 pressed jiyramid. Above this the wall is 
 in fiuir stages, separated by projecting 
 cornices and showing close ranges of win- 
 dows in each story, of various form and 
 decoration, some square and some arched. 
 Six arched doorways with decorated jambs 
 give access to the first story of the palace, 
 and from the second story the Ponte dei 
 
 cos 
 
VENICE 
 
 Sospiri, or Bridge of Sighs {q. i\) springs 
 across the cuiuil to the prisous ou its op- 
 posite side. Of the interior, the interest 
 is confined to the great halls of the third 
 story, and these, having been wholly 
 changed as to their architecture in the 
 Renaissance period, are now remarkable 
 chiefly for the examples which tiicy aft'ord 
 of the work of the later Venetian painters, 
 notably Tintoretto ami Paul \'eroncse. 
 
 divided by the consoles of the cornice into 
 square panels, occupied by the portraits 
 of the doges from the earliest times. 
 Most of the other larger and smaller halls 
 are equally magnificent in tlicir pictorial 
 decoration. 
 
 The Palace now existing, itself the work 
 of various ages, is the successor of the 
 older Byzantine palace, built early in the 
 IX cent., verv soon after the establish- 
 
 Fig 228.— Venice. Ducal Palace. 
 
 The llall of the Great Council, an im- 
 mense room 175 ft. long, 85 ft. broad, and 
 50 ft. high, contains on its east end wall 
 the Paradise of Tintoretto, occupying the 
 whole breadth and height of the wall 
 above the wainscoting : the other walls 
 and the ceiling, which is divided into 
 panels of extravagant form with florid 
 Renaissance ornamentation, are covered 
 with historical and allegorical pictures 
 b}' Tintoretto, Paul Veronese. Palma Gio- 
 vane, and other masters. The frieze is 
 
 ment of the Venetian state, and nearly 
 contemporary with the earliest church of 
 St. ]Mark. Although several times dam- 
 aged by fire it does not seem to have been 
 ever wholly destroyed, but was restored 
 after each disaster with more or less sub- 
 stantial alterations and enlargements, nn- 
 til in or about 1301 the work of the 
 Gothic palace was begun, and carried on 
 in one or another portion of the buildings 
 until the middle of the XV century. The 
 architect whose name has most generally 
 
YEXICE 
 
 been associated with this work m-;is Fil- 
 lippo Ciileiiilario, who sutfered death in 
 1355 for being eoiieenied in the conspir- 
 acy of Marino Faliero. Tliere is, how- 
 ever, the evidence of various contemiio- 
 rary documents that he was preceded by 
 one Pietro Bai-eggio, to wl\om the design 
 of tlie arcades of the two ju-iucipal fronts 
 is due. The later worlcs of tlie Clotliie 
 jDcriod, incliuling tiie Porta della Carta, 
 apjjear to liavo been executed under the 
 different members of the Bon or Buon 
 family. The Renaissance architecture of 
 the courtyard and tlie easterly fa9ade on 
 the Kio <lel Palazzo was by various archi- 
 tects, including Antonio Rizzo. Pietro and 
 TuUio Lombardo, and Gruglielmo Berga- 
 masco. {See Figs. 228, 235, 236.) 
 
 Palazzo Dlkazzo. See Pahizzu dell' 
 Ambasciafore. 
 
 Palazzo Foscaiu, a brick-faced (foth- 
 ic palace in the style of the xiv and 
 XV cents., with a straight facade divided 
 
 
 TTTTT 
 
 Fig. 229.— Venice, Pal. Foscan. 
 
 into the semblance of a centre and wings, 
 as is usual in the Venetian palaces, by the 
 grouping of the openings. The lower 
 story is plain, Avitli central door and a 
 range of windoAVS, ogee-arched. Above 
 this all the openings are framed in rec- 
 tangular panels in the usual Veneto-Sara- 
 cenic fashion. The wings have two single 
 windows in each story. In the second and 
 third the central division is occupied by 
 open loggias, with arches and columns ; 
 in the third these arches have the Ducal 
 Palace tracery of quatrefoiled circles ; the 
 fourth, added later, has in the middle a 
 group of four lights and intersecting 
 tracery, and the whole finishes with a 
 corbelled cornice. The balconies of both 
 loggias and the carved belt over the upper 
 are Renaissance. The jjalace was built, it 
 is said, near the end of the xiv cent., bj' 
 the Giustiniaui, who built also its two 
 neighbors on the south ; the fourth story 
 was added by the doge Foscari about 1438. 
 {.See Fig. 229.) 
 
 Palazzi Giustiniani. Two xiv 
 cent. Gothic j)alaces, forming practi- 
 cally a single comjiosition and making, 
 with the adjoining Foscari palace, one 
 of the nu;st conspicuous groups on the 
 Grand Canal. The fa9ade is in four 
 stories, of which the first has round- 
 arched and pointed-arched doorways, 
 and several square and narrow win- 
 dows. In each the windows are massed, 
 after the Venetian fashion, in the mid- 
 dle of the front, into two stories of 
 traceried arcades, ornamented with 
 projecting balconies and surmounted 
 by a tracery of quatrefoils, the arches 
 being pointed and cusped. Single 
 windows are disposed at intervals with 
 j)ointed and cusped arches enclosed in 
 square panels. All the windows of 
 the second and third stories have pro- 
 jecting balconies. Two of the piers 
 of the third story are decorated with 
 S(piare panels and disks of colored 
 marble. 
 
 SOS 
 
VENICE 
 
 Palazzo Grimaxi (ii San Luca). 
 formerly Post Ottiue now Court of 
 Ajjpeals. A xvi cent. Renaissance 
 l^alace by Sanniiclieli, on tlie Gnind 
 Canal, with an admirable facade in 
 tliree stories decorated -with tlnve 
 Corinthian orders, of pilasters in the 
 first story, and of colli mns in the 
 upper two. Of the live intereolum- 
 niations in each story, the two at the 
 ends are enclosed by coupled ^^ilasters 
 or columns, thus preserving the con- 
 ventional division of the Venetian 
 palaces into centre and wings. The 
 first story has high entrance arches 
 in the three middle intervals, be- 
 tween two ranges of square windows. 
 These arches give entrance to an ob- 
 liquely rectangular vestibule divided 
 into three aisles by coui^led Corin- 
 thian columns. In the upper stories 
 broad round-arched windows alter- 
 nate with pairs of smaller square 
 windows one above another. A bal- 
 ustrade crosses the whole front of the 
 second story. The scale of the facade is 
 very large, and the simplicity and tem- 
 perance with which it is treated make it 
 one of the best examples in Venice of the 
 domestic Renaissance. 
 
 Palazzo Loredan, an early Byzantine 
 palace on the Grand Canal, probably con- 
 temporary with the Foudaco dei Turchi, 
 which it resembles in its general disposi- 
 tion. Its front is about GO ft. long, and 
 consisted originally, as in most of the By- 
 zantine palaces, of two stories, to which in 
 recent times a third and an attic have 
 been added of incongruous character. The 
 front was divided into three portions, a 
 central open arcade in each story, the 
 arches round and stilted, and resting on 
 columns of colored marble with fully de- 
 veloped foliated capitals ; the side di- 
 visions with two windows in the lower 
 story and three in the upper, matching 
 the arches of the centre, and in the second 
 story forming a eontinnons arcade across 
 
 Fig. 230. — Venice, Pal. Loredan, 
 
 the front. The upjoer arches had orig- 
 inally a light balustrade between the col- 
 umns, which has been replaced by a rather 
 clumsy balcony front in panels. Above 
 the second story arcade the wall was 
 decorated with disks of colored marble, 
 set over the spandrels ; some of these disks 
 still remain ; others have been replaced 
 by more elaborate decorations. These 
 are additions, presumably of the xiv cen- 
 tury. This palace, though much dilapi- 
 dated, is pronounced by Mr. Ruskin the 
 most beautiful in the whole extent of the 
 Grand Canal. {Sec Fig. JSO.) 
 
 Palazzo Maniii, a Renaissance palace 
 on the Grand Canal, built about 1560 by 
 Sansovino. It has a large front in three 
 stories, of which the lowest is an open ar- 
 cade of six equal arches with Doric pi- 
 lasters between, bearing an entablature. 
 Above this are two full orders of columns 
 and entablatures, Ionic in the second 
 storv, Corintliian in the tliird, tlie division 
 
 Ron 
 
VENICE 
 
 into a centre and two wings rather sug- 
 gested than carried out by making four 
 intervals in the width of the two central 
 ones below. All the intervals are occu- 
 pied by rather narrow round-arched win- 
 dows with thin pilastei's in place of archi- 
 traves. The second story has a ijrojectiug 
 balcony supjjorted on consoles ; the third 
 a balustrade with jiedestals supporting the 
 columns. The frieze of the ripper order 
 is enlarged and decorated with sculj)tured 
 lieads over the columns ; the cornice is 
 carried on consoles. 
 
 Palazzo Pasqualigo. See Palazzo 
 Cicogna. 
 
 Palazzo Pesaro. This is perhaps at 
 once the richest and most vigorous ex- 
 ample of the Renaissance domestic archi- 
 tecture of Venice. Its front consists of a 
 high basement of bold rustic work, sur- 
 mounted by two fully developed orders, 
 
 Fig. 231,— Venice. Pal. Pesaro. 
 
 Ionic and Corinthian, witii arches in tin; 
 intervals. The centre of tlic basement is 
 occupied by two arched doorways and a 
 ji'tuecn Iwi) sipiaiT win- 
 
 graceful nirli 
 
 dows an eitlier side. Coupled columns in 
 the two njjper stories part off the centre 
 and wings. h\ each of these stories the 
 columns are set above a balustrade, that of 
 the second story running in front of the 
 columns, that of the third story between 
 them. The arches throughout the col- 
 umns have boldly projecting sculptured 
 keystones and reclining figures in the 
 spandrels. The upjser frieze is very high 
 and decorated with sculptured panels, 
 and the cornice is sujjported by projecting 
 consoles. The palace was begun in IGTSj ; 
 Longhena was its architect. {See Fig. 
 231.) 
 
 Palazzo Pisaxi Mouetti, one of the 
 latest of the Gothic jialaces, built at the 
 beginning of the xv century. Its front is 
 of three stories with the usual division 
 into centre and wings. The lowest story 
 has the unusual feature of two similar 
 jjointcd - arched d o o r - 
 ways occupying the cen- 
 tre. Above, the central 
 division consists of a rich 
 arcade of six arches in 
 each story, the tracery 
 of the second story like 
 that of the Ducal Palace ; 
 tiiat of the third story 
 with interlacing arches 
 of rather clumsy form 
 with (|uatrefoils above 
 them. The central ar- 
 cade has a projecting Pe- 
 naissance balcony in the 
 t^econd story, and in the 
 third a balustrade be- 
 tween thecolumiLs. The 
 side divisions have each 
 two single windows in 
 the second and third 
 stories, with ogee heads 
 enclosed in high square 
 panels and witii jn-ojectijig balconies. 
 
 Pal.\zzu IiKzzoMco. ;i K'cnaissauce 
 palace on the (irand Canal, built about 
 KJSii. by Longhi'iia. witii a third story 
 
VENICE 
 
 added aftor his deatli l)y Massari. 'I'lio 
 lower story has au order of ru.stie engaged 
 Doric columns and pilasters, three open- 
 ings in the centre giving access to an 
 entrance vestibule, with two srpniro win- 
 dows on each side. The second and 
 third stories consist each of an order of 
 engaged columns, Ionic and Corinthian, 
 with round-arched windows in the in- 
 tervals, the spandrels decorated with 
 sculpture, and balustrades between the 
 columns. The frieze of the npjjcr en- 
 tablature is broadened to admit a series 
 of elliptical windows with consoles be- 
 tween. {See Fig. 23.2.) 
 
 Palazzo Sarredo, a xiv cent. Gotli- 
 ic palace with an interesting and curi- 
 ously irregular facade on the Grand 
 Canal, adjoining the Ca' d'Oro. It is 
 in three stories, to which a fourth has 
 been added, of insignificant character. 
 The lowest story, raised by a single stej) 
 above the water of the canal, has sim- 
 ple round-arched doorways, and plain 
 square windows. The usual loggia, in 
 the principal story, the tliird, con- 
 sists here of four cusjied and point- 
 ed arches, surmounted by a tracery of 
 quatrefoils and inclosed in a square pan- 
 el, and flanked by two single windows 
 of like design, all with corbelled balco- 
 nies. Below is a gronj) of six simple 
 pointed arched windows, again flanked by 
 two others. The windows, as well as the 
 arcade in the third story, have each a pro- 
 jecting balcony of the usual Gothic type. 
 The front is built of rude brickwork cov- 
 ered with plaster, now much decayed. 
 
 Palazzo Saxudo, now ^'anaxel, a 
 Gothic palace of the first half of the xiv 
 cent., and substantially unchanged both 
 in its main features and its details. It is 
 of three stories, the first a plain basement 
 with square windows and a pointed door- 
 way. The ogee-headed windows in the 
 second and third stories are centred in a 
 group of five in each story, divided by 
 shafts and with projecting balconies, and 
 
 tlie front is crowned by a thin projecting 
 cornice supported on brackets. The ar- 
 
 chitecture of thcCi-ont is conliiHU'd for 
 
 a 
 
 Fig. 232.— Venice, 
 
 Rezzonico. 
 
 short distance on the left side, where an 
 interesting pointed doorway still closed by 
 the original richly carved doors, gives ac- 
 cess to a sjjacious entrance hall extending 
 across the whole front of the palace, and 
 opening by pointed arches on a courtyard 
 which contains a fine staircase of white 
 marble of even date with the building, and 
 with much admirable detail. The court- 
 yard contains also a fine stone well-curb 
 richly sculptured. 
 
 Palazzo Trevisak (alia Canoniea), a 
 XV cent, transitional palace, with a fa(,'ade 
 about 80 ft. long, in four stages, each with 
 four Ionic pilasters with entablature, di- 
 viding the front into a centre and two 
 wings. The lower story has a central 
 round -arched doorway, flanked by two 
 square windows on each side, and in each 
 wing a doorway and one window. The 
 ui^iser stories have each a central arcade 
 
VENICE 
 
 of six arches, aiul in eacli wing two single 
 windows with a circnhir window liigli up 
 m the pier between tlieni. The windows 
 of the second and third stories have grace- 
 ful balconies, and the wall surfaces of the 
 wings are decorated with a Byzantine in- 
 lay of colored marble disks, and panels of 
 great delicacy and beauty. The 
 palace became, in 1577, the prop- 
 erty of Bianca Capello, whose 
 name it also bears. 
 
 Palazzo Trevisano (a Sta. 
 Maria Formosa), a Renaissance 
 lialace built in 1525-35, by Sante 
 Lombardo, with a facade of about 
 70 ft. in three stories. The cen- 
 tre is marked in the first story by 
 two round-arched doorways, with 
 a square doorway between, open- 
 ing on a narrow bridge which 
 crosses the small canal on wliich 
 the palace fronts. The two upper 
 stories have each a central arcade 
 of four rour.d arches on Com- 
 posite columns, flanked by two 
 corresponding windows on each side. The 
 angles are marked in each storv bv broad 
 flat panelled Composite pilasters, carrying 
 entablatures which are continued across 
 the front, and the u])per one of which 
 makes the cornice of the Iniilding. The 
 broad piers between the side windows and 
 the friezes are ornaniciitcd with panels and 
 disks of various colorcil marbles. 
 
 Palazzo Vendka.mix Calerhi, one of 
 the largest and finest of the Renaissance 
 palaces of the Grand Canal. Its front is 
 about 80 ft. long and 05 ft. high, in three 
 stories, each ornamented with a Comjios- 
 ite order of columns or pilasters, dis- 
 posed according to the usual arrangement 
 of the earlier Gothic jialaces, the three 
 central bays being separated from the two 
 lateral ones by a nari'ow interval of wall. 
 The order is in the first story one of p;ni- 
 elled pilasters ; above, of engaged col- 
 umns, fluted in the second story, plain 
 in the third. The second story is crossed 
 
 by balconies of which the detail has still 
 much of the feeling of the earlier (iothic 
 work. Except the two lateral windows of 
 the first story, which are square, all the 
 windows are substantially ,'dike. consisting 
 of two sub-arches carried on a column 
 under an enclosing arch with a circle 
 
 Fig, 233.— Venice, Pal. Vendramin. 
 
 between. The crowning entablature is 
 enormously disproportioncd to the col- 
 umns. The front is, for the most jjart, of 
 gray Istrian stone, with the columns and 
 portions of the wall of white marble, and 
 the medallions and other ornaments of 
 porphyry, serpentine, and other costly 
 stones. The building, by Pietro Lombar- 
 do, dates from 1481. {See Fig. 233.) 
 
 '['he Piusoxs (I Carceri), a Renaissance 
 building erected in 1589 by Antonio da 
 Ponte, with a front toward the sea and 
 another on the small canal which sepa- 
 rates it from the Ducal Palace, with 
 which it is connected by the Bridge of 
 Sighs ('/. r.). The sea-front is in two 
 stories, the lower of rustic arches sur- 
 mounted by a strong belt-course on which 
 stands the quasi-Doric order of the sec- 
 ond story, the three-quarter columns 
 backed by flat engaged pilasters, and the 
 intervals filled with rustic walling ])ierced 
 by stjuare windows with a decoration of 
 
 612 
 
yENICE—S. MARCO, CENTRAL PORTAL 
 
VENICE 
 
 simple ll;it entablatnres aiul pediments, 
 the latter alternately triaiicjular and seg- 
 mental. The side on the canal is of quite 
 different architecture, a strong rustic wall 
 2)iereed with three stories of small square 
 windows without ornament. 
 
 The Procuratie are two long ranges of 
 buildings occupying nearly the whole of 
 the north and south sides of the Piazza San 
 JIareo. The Procuratie Vecchie, on the 
 north, was built in 15 IT for the residence 
 of the Procurators of St. Mark, a body of 
 officers uniting man}- of the most impor- 
 tant administrative, municipal, charitable, 
 and ecclesiastical functions. The faQade 
 has three stories of arcades on columns, of 
 which the lowest is open, with broad round 
 arches, fifty in number, the others glazed, 
 with two arches to each of those below. 
 Above the arcades is a lower fourth story 
 with round windows, and the front is ter- 
 minated by a thin cornice with a battle- 
 ment similar in character to that of the 
 Ducal Palace. It is not clear to whom 
 the design of this building should be as- 
 cribed. (See Fig. 235.) 
 
 The Procuratie Nuove, on the south 
 side, was erected in 1584 to furnish resi- 
 dences and offices for the increased num- 
 ber of Procurators. The architecture of 
 the Library (q. v.), which has a front of 
 some 50 ft. on the Piazza, is continued in 
 these buildings, but Scamozzi, to whom 
 the work was entrusted, cut down the in- 
 ordinate height of the second story frieze, 
 and added a third story consisting of a 
 Corinthian order with balustrade, the in- 
 tervals filled with square windows deco- 
 rated with columns supporting entaldature 
 and pediment, the latter alternately tri- 
 angular and segmental, and each bearing 
 two reclining figures. These buildings 
 were, during the occupation of Venice by 
 Xapoleon, converted into a royal i)alace 
 for the occujiation of the Viceroy. 
 
 II Redextore, one of the most familiar 
 of the Renaissance churches of Venice, 
 was built by Palladio in 157G, as an offer- 
 
 ing of gratitude for the deliverance of the 
 city from the plague of the previous year, 
 by which forty thousand people arc said 
 to have perished. Its facade is masked by 
 a tetrastyle Corinthian portico with pedi- 
 ment covering the nave. Between the 
 columns is a great arched central door 
 decorated with a smaller Corinthian order 
 and pediment, and side niches with stat- 
 ues. The whole is raised on a high base- 
 ment and api^roached by a broad flight of 
 marble steps with balustrade. The small- 
 er order, with pilasters, covers the ends of 
 the aisles, ami is continued round the 
 sides of the church. The interior shows 
 a broad nave in three divisions, with a 
 barrel-vault springing from an unbroken 
 entablature over coupled Corinthian col- 
 umns on the faces of the jjiers, and two 
 stories of niches between them, the pier- 
 arches springing from lower engaged pilas- 
 ters. The narrow aisles are divided into 
 long chajiels with niches at either end. 
 The nave leads to a central square sur- 
 mounted by a dome, and surrounded by 
 three apses in place of the usual well- 
 marked choir and transept. 
 
 The RiALTO. This famous bridge is 
 the successor of many earlier ones, the first, 
 a bridge of boats, later ones of wood, of 
 which the last was built in 1553. This 
 having in its turn been destroyed, it was 
 determined that a stone bridge should be 
 built, and designs were received from 
 Michael Angelo, Sansovino, Vignola, and 
 Scamozzi. Tlie work was finally given to 
 Antonio da Ponte, under whom the bridge 
 was begun in 1588 and finished in 1591. 
 It is imagined to rest on twelve thousand 
 piles, and is a single segmental arch of 
 nearly 90 ft. span, with footways sloping 
 upward from each bank of the canal to 
 the centre, where is a small level interval. 
 The whole breadth is about TO ft., of 
 which about 20 ft. in the middle is given 
 to a central passageway flanked on either 
 side by a row of shops, outside of which 
 is an outer footway about 10 ft. wide, jiro- 
 
 613 
 
VENICE 
 
 tected by a balustrade. Above this is an 
 open arcade following tlie slope of the 
 bridge, of six arches on each side with 
 rustic piers and voussoirs ; the central 
 arch being larger and enclosed 1)V flat pi- 
 lasters with a broken pediment. Tlie 
 structure is of white marble, and a douljlo 
 flight of steps gives access to it at eitlier 
 end. 
 
 S. Fraxcesco della Yigxa, a Kenais- 
 sance church built from the designs of 
 Sansovino in 1.53:5. Its plan is a rectangle 
 about 100 ft. wide and 180 ft. long, from 
 the east end of which the choir i3rojects 
 some TO ft. The division of the plan is 
 curious : tlie nave, about 53 ft. wide, is 
 flanked by five square chapels on eacli 
 side, opening through round arches in the 
 intervals of an order of pilasters, above 
 which the clerestory wall is similarly divid- 
 ed, each bay having a single jjlain round- 
 arched window. The clerestory ends in a 
 cornice with consoles, above which is a 
 coved ceiling. The nave is continuous, 
 and the arms of the transept open from it 
 like larger chapels. The long choir, cor- 
 responding to the transept, is divided into 
 two equal portions with the raised altar 
 between them, and is flanked ou each side 
 by two chapels and a narrow jjassage run- 
 ning its whole length. 
 The choir and the chapels 
 of the nave are raised 
 above the nave floor by 
 three steps following the 
 entire outline of the nave 
 and transept. The fa(;ade 
 is by Palladio, and consists 
 of a centre and wings fol- 
 lowing the outline of the 
 nave and aisles, the centre 
 faced with a great Corin- 
 thian portico of four col- 
 umns with pediment, the sides having each 
 ;i lialf pediment with a smaller order, of 
 wliich the entablature is at the level of 
 the aisle cornice, and stops against tlie col- 
 umns of the central portico. A single 
 
 lofty door and a lunette above it are the 
 only openings. 
 
 S. Giorgio Maggiore. A Renaissance 
 church, part of an old convent on a little 
 island opposite the Piazzetta, built in I.jCo 
 from the designs of Palladio, on the site of 
 a former church which dated from the x 
 century. Its facade, following the outline 
 of the nave and aisles, is ci'ossed by an 
 order of Corinthian pilasters as high as the 
 aisles. A lofty engaged portico in front 
 of the nave is raised on tall pedestals to 
 cover the height of the clerestory, and 
 crowned with a pediment. The first order 
 appears through its intercolumniations, 
 which are filled with niches and statues ; 
 and in the middle is a high, roiind-arched 
 door. The corners and the ridge are 
 marked by acroteria bearing statues. The 
 interior is cruciform, with nave and tran- 
 sejit covered by elliptical barrel-vaults, and 
 the crossing by a hemispherical dome. 
 The aisles are groined, and separated from 
 the nave by square piers surrounded by en- 
 gaged columns and pilasters on pedestals, 
 and connected by broad round arches with 
 an entablature above. The transept ends 
 are semicircular, the choir is shut-off by a 
 two-story screen, with the raised organ be- 
 hind it and the altar beneath. The choir- 
 
 Fig. 234.— Verlce, S Giorgio Maggiore. 
 
 stalls, which are of unusual richness and 
 elegance, were executed at the end of the 
 XVI cent, liy Albert de ]?rulle. a Fleming, 
 and a number of Venetian artists. A fine 
 l)rick canipauile rises fi'ijni the N. E. 
 
 514 
 
VENICE 
 
 corner of the cliurcli, plain, with a stone 
 belfry having a great square opening on 
 each face, tlivided by two cohmuis witli 
 entablature and balustrade, and a circular 
 lantern above, with sharp conical sjiire. 
 The choir is a single rectangular groined 
 bay, flanked by two smaller octagonal 
 steeples with bulbous spires. From this 
 opens, by an arch sj^ringing from conjjled 
 columns, a retro-choir or chapel of the 
 full width of the choir and twice as long, 
 ending in a semicircle. Attached to the 
 church is a cloister built in 1579 from 
 Palladio's designs, with round arches on 
 coupled Ionic columns, and a refectory a 
 few years earlier than the church, contain- 
 ing a vestibule some 30 ft. square, with a 
 fine staircase leading to the great hall 
 above, 30 ft. wide, nearly 100 ft. long, and 
 50 ft. high, and considered among the 
 finest of Palladio's works. {See Fig. 23 Jf.) 
 
 S. Giovanni Crisostomo, a Renais- 
 sance church begun in 1483 by ]\Ioro Lom- 
 bardo, the exterior not remarkable. It is 
 a type of a considerable group of churches 
 with the Byzantine plan of a Greek cross 
 enclosed in a square, and a central dome 
 carried on four square jiiers. The pro- 
 portions here are slender, the square jjiers 
 are small, carrying an entablature over 
 the arches which spring from them. The 
 nave terminates in an apsidal choir, and 
 the aisles in semicircular apses. It con- 
 tains some good reliefs by Tullio Lom- 
 bardo, rejiresenting the coronation of the 
 Virgin, and the twelve apostles. 
 
 SS. Giovanni e Paolo, one of the 
 most important of the Gothic churches of 
 Venice. It is cruciform in plan, with a 
 total length of about 325 ft., and a breadth 
 across the transept of 150 ft. It has a 
 nave and two aisles, transept, choir, and 
 eastern apse, built with brick throughout 
 and (if somewhat rude execution. Its ex- 
 terior is not noteworthy. The front is in 
 three divisions corresponding to the nave 
 and aisles, and separated by square but- 
 tresses ending in tabernacles crowned with 
 
 spires. An arcade of pointed arches 
 stretches across the whole lower portion, 
 the middle arch containing the great door- 
 way of the nave. Over this is a central 
 arcade of seven openings. These two 
 stories of arcades doubtless answer to the 
 openings of a portico or narthex which 
 originally stood before the front with a 
 gallery above it. Above the portico was a 
 large traceried rose-window, but the tra- 
 cery has disappeared. The sides present 
 high aisle walls divided by square but- 
 tresses into bays corresjionding with those 
 of the interior, each bay having a triple 
 jjoiuted window. The clerestory, divided 
 like the aisle wall by square buttresses, 
 and subdivided by pilaster strij)s, has sin- 
 gle pointed windows. The high transep)t 
 is plain and bare, and the east end, as in 
 the church of the Erari, is the most at- 
 tractive portion of the exterior. The 
 great apse of the choir is seven-sided and 
 is divided into two stories by a strong 
 brick cornice, and a balustrade above it. 
 Its tall windows are divided by tracery, 
 set back from the wall surface, the jambs 
 being deejily splayed. The interior has a 
 nave and aisles of five bays, those of the 
 nave square, those of the aisles oblong, 
 and all covered with simple four-part 
 vaulting of brick. The nave, 40 ft. wide, 
 reaches the unusual height of 128 ft. The 
 nave-piers are round and massive, with 
 large leafed capitals from which engaged 
 shafts rise through the clerestory to take 
 the vaulting-ribs. The clerestory is very 
 high, with a single pointed window in 
 each bay. The square-ended transept has 
 one bay to each arm, vaulted like those 
 of the nave, and the crossing is covered by 
 a light hemisjoherical dome, somewhat 
 resembling those of S. Antonio at Padua. 
 Two apsidal chapels open from the eastern 
 side of each arm. The choir is very long, 
 and in general disposition similar to that of 
 the Frari. The church was begun after 
 1234, but its building was often inter- 
 rupted, and it was only consecrated in 
 
 SI 5 
 
YEXICE 
 
 1430. It contains many romarkablp monu- 
 ments, among others those of the doges 
 Morosini, Mocenigo, Yendramiu, and Cor- 
 luii'o, and two pit^tures by Tintoretto 
 wliicli are reckoned among his best works. 
 There are several hxteral chapels, notably 
 the Chapel of the Rosary in the north 
 aisle, in which Titian's famous picture of 
 St. Peter Alartyr was burned a few years 
 ago. 
 
 S. Marco (St. Mark's), one of the most 
 important and interesting of European 
 churches, and the most characteristic and 
 sjilendid examiile of the Byzantine archi- 
 tecture and decoration transplanted to 
 the west. Its plan is nearly a Greek cross, 
 with nave and clioir of about -iO ft. broad, 
 the transept arms about 8 ft. less, and all 
 flanked by aisles of half their width. Tiie 
 interior length is not far from 230 ft., the 
 breailtli across the transept, 195 ft. The 
 nave and choir, the arms of the transept, 
 and the square of the crossing, are each 
 covered by a hemispherical dome of ma- 
 sonry, above which is a high-shouldered 
 dome of wood. A close ring of windows 
 surrounds the bases of the domes, wliich 
 are of unequal size ; those of the crossing 
 and the nave being each about i'i ft. in 
 diameter, the others about 30 ft. The 
 interior is rather low ; the nave is less 
 than 70 ft. high, and the highest domes 
 only 93 ft. The square bays covered by 
 the domes are separated from each other 
 by narrow rectangular bays covered by 
 barrel- vaults. The aisles, both of nave and 
 transept, are covered by transverse barrel- 
 vaults as high as those of the nave, and are 
 separated from the nave and transept 
 by screens of alabaster columns, bearing 
 round arches much stilted and slightly 
 horseshoe in form, over which is a narrow 
 passage or gallery protected by a horizon- 
 cal fence or balustrade, divided into pan- 
 els with Byzantine carving. The central 
 dome rests on four great arches springing 
 from piers about 2'> ft. square, through 
 which are carried in two ilirections the 
 
 aisles of the nave, transept, and choir. 
 The choir and its aisles each terminate in 
 a round apse, of which the outline is varied 
 by semicircular niches in the thickness of 
 the wall. The floor of the choir is slightly 
 raised above that of the nave, and sei^a- 
 rated from it by a screen of eight columns, 
 raised on a liigii stylobate, beneath which 
 nuiy be seen a portion of the older By- 
 zantine screen, and bearing a horizontal 
 entablature crowned with fourteen statues 
 of apostles and saints. Similar screens, 
 each of four columns, placed a little to 
 the eastward, close the choir aisles from 
 the transept, and still another crosses the 
 choir in a line with tlie front of the high 
 altar. At each end of the choir screen is an 
 ambo of marble, supported on columns, 
 that at the north end being two stages in 
 height, approached by a staircase from the 
 choir aisle, and crowned by a hemispheri- 
 cal dome. The high altar stands under a 
 baldacchino or canopy consisting of four 
 columns of alabaster, covered with rings 
 of small arches on colonnettes, each en- 
 closing a figure in relief, and carrying 
 simple round arches with a horizontal cor- 
 nice finishing the wall above. Behind 
 the altar is a remarkable reredos called the 
 Pala d'Oro, an interesting and sumptuous 
 example of early metal and enamel work, 
 reputed to have been made in Constanti- 
 nople for this church and brought to Ven- 
 ice early in the xii century. But the 
 historical evidences of its origin are con- 
 tradictory, and it is evidently a composite 
 work, of various ejiochs and styles. The 
 material is silver gilt, witli pictures and 
 inscriptions in enamel, the subject being 
 treated with the ua'ivete characteristic of 
 the art of the early middle ages, and ar- 
 ranged in eighty-three panels, of which 
 the greater part are narrow upright com- 
 partments enclosing a single figure of a 
 saint, the larger ones bearing groups. The 
 surfaces are farther enriched with gems of 
 brilliant colors. The apse is lighted by 
 three simple round-headed windows above 
 
 516 
 
VENICE 
 
 tlieiiielies, and this is the form of nearly 
 all the wiinlows, the exce})tiou.s buiiig the 
 great semicircular window in the fa9ade, 
 and a large rose-window in the sonth trans- 
 ept, with thin Gothic tracery, quite out of 
 keeping with everything else in the church. 
 Beneath the choir and its aisle is a crypt 
 cruciform in plan, divided by some sixty 
 columns of Greek marble intosmall vaulted 
 bays, and with a small altar, which for- 
 merly enclosed the bodj* of the saint, just 
 
 the vestibule is occupied by the Chapel of 
 Cardinal Zeuo and by the Baptistery, the 
 latter containing in the centre a large 
 basin of porphyry, with a remarkable 
 bronze cover surmounted by the statue of 
 John the Baptist, and on the south wall 
 the tomb of the doge Andrea Dandolo. 
 Opening from the eastern end of the north 
 choir aisle is the sacristy, a noble room 
 some "25 ft. by (io ft., with a coved ceiling 
 covered with adnurable mosaics, mostly of 
 
 \. St. Mark's. 
 2, Ducal Palace. 
 
 3, Campanile. 
 
 4. Library. 
 
 Fig. 235. — Venice, Piaiza S. Marco. 
 A, Piazza. B, Piazzetta. 
 
 5. Zecca. 7, Fabbriche Nuove. 
 
 6, Procuratie Nuove. 8, Procuratie Vecchie. 
 
 9, Clock Tower. 
 10, Prisons. 
 
 under the high altar of the choir. The 
 western arm of the cross is surrounded on 
 the front and sides by a closed vestibule or 
 narthex of somewhat later date than the 
 church, of which, on the exterior, it forms 
 the most consiiicuous and familiar })ortion, 
 and with the interior of which it com- 
 municates by four doorways opening into 
 the nave, aisles, and transept. It is di- 
 vided by j)oiuted arches into square bays, 
 each covered by a low dome, and is deco- 
 rated profusely with mosaics of the same 
 character and magnificence with those of 
 the church {.see hehw). The south side of 
 
 the XVI cent., and walls decorated with 
 Renaissance pilasters of dark walnut deli- 
 cately carved, and panels of wood-inlay 
 with pictorial subjects. The sacristy 
 opens also from the apse of the choir by a 
 doorway closed by a remarkable bronze 
 door, one of the most celel)rated works of 
 Sansovino. The chapel at the north end 
 of the transept contains some extremely 
 beautiful and characteristic detail ; a fine 
 tomb in an arched recess, with sculptured 
 spandrels and the walls and vaults covered 
 with admirable mosaics. Of the interior 
 of this church it may be said that there is 
 
 617 
 
VENICE 
 
 notliiug eitlier in its dimensions or general surronndeil by a broad joint of white 
 design to entitle it to the })re-eminence jjlastcr, but the pictorial subjects are 
 wlijch if lidlds among the clmrches of treated with simplicity and grandeur, the 
 
 -T!^'^ 
 
 Fig. 236. — Venice, S. Marco and Ducal Palace. 
 
 Europe, and which is due almost wholly 
 to the splendor and variety of its decora- 
 tions. Among these the most important 
 place belongs to the mosaics. The walls 
 are faced to the height of the nave ar- 
 cades with slabs of a pale marble to which 
 age has imparted a mellow tone. Above 
 this both walls and vaults throughout the 
 church are covered with gold mosaics of 
 the most magnificent character, of which 
 the greater portion belong to the end of 
 the XII cent., or beginning of the xiii, 
 while a few date back to the period just 
 following the completion of the church in 
 1071, and some are as late as the xvi cen- 
 tury. The earlier are by far the most 
 interesting and admirable, as adapted to 
 the purpose of surface decoration. Their 
 setting is irregular, and the tcsseriB are 
 
 colors are at once rich and harmonions, 
 and the effect of the whole interior thus 
 decorated is one of great solemnity. The 
 mosaic pavement is not the least note- 
 worthy feature of this interior. It is of 
 the sort known as opus Alexandrinum, of 
 a surprising variety of designs and colors. 
 The exterior appears to have been original- 
 ly simple, and even rude ; its character, 
 though no exact information exists in re- 
 gard to it, may be inferred from that of 
 the transept ends as they now appear. 
 Broad surfaces of plain wall are decorated 
 in the lower part with marble, disposed 
 mostly in panels of various colors and 
 shapes, and with many bas-reliefs, mainly 
 of l?yzantine character ; the upjier portions 
 are of rude brickwork plastered and bare 
 of ornament, with small, narrow windows. 
 
VENICE 
 
 and terminating in low curved gables. 
 The front had doubtless a porch or nar- 
 thex covering the breadth of the nave and 
 aisles, with a gallery over it. This was 
 rebuilt in whole or in part, iu the xr or 
 XII cent., and extended in the Xiv cent, 
 on the north and south sides as far as the 
 transej)t. The architecture of this por- 
 tion of the chirrch is quite unexampled. 
 The fagade presents an arcade of five 
 broad and lofty round arches, covering 
 recesses of great dejith, of which the cen- 
 tral and two end ones are nearly semi- 
 circular in plan, and the intermediate ones 
 square, but all ornamented with a multi- 
 tudinous array of columns iu two stages 
 covering the Jambs and the faces of the 
 piers. The shafts are of various kinds of 
 marble, porphyry, alabaster, verd-antique, 
 and of various sizes and shapes, round and 
 polygonal, smooth and fluted, most or all 
 of them brought from the East in obedi- 
 ence to the command of tlie Senate, many 
 of them bearing Armenian or Syrian in- 
 scriptions. The capitals are all of white 
 marble, but of an inexhaustible variety of 
 designs. The central arch is much larger 
 than the others, being about 2.5 ft. broad, 
 while the side arches are about 16 ft., and 
 is surrounded by a broad archivolt of ex- 
 tremely rich and beautiful carving, cutting 
 up through the long balustrade which 
 surmounts the arcade. All the arches en- 
 close square doorways with stilted arched 
 heads, over which, and filling the head of 
 the arch above, are mosaic pictures, the 
 subjects mostly connected with the legend 
 of the transportation of the body of St. 
 Mark. The great arcade is lengthened by 
 the addition of a small portico or pavilion 
 at each end, with a narrow open arch as 
 high as the others. The arcade occupies, 
 perhaps, two-tliirds the whole height of 
 the facade. Above it — the long balustrade 
 forming a strong horizontal demarcation 
 between the two parts of the front — is a 
 series of five round arches answering to 
 those below, but treated, so far as the 
 
 arches themselves are concerned, with 
 much greater simplicity. The central 
 arch, much broader and higlier than the 
 rest, is entirely filled with a great window 
 30 ft. wide, through wdiich a flood of light 
 is admitted through the nave, and in front 
 of which stand the four colossal bronze 
 horses brought from the Hippodrome at 
 Constantinople in 1204, of whose earlier 
 history many questionable stories are told. 
 The four lesser arches enclose each a small 
 plain round-beaded window, the arch head 
 being fllled with mosaic. All the arches 
 are surrounded by carved archi volts, that 
 of the centnd arch the largest and richest, 
 and all are surmounted by ogee gables 
 decorated with wild and extravagant 
 crockets, and terminated by statues. In 
 the central gable is the winged lion of St. 
 Jlark on a field of blue mosaic. Between 
 the arches are tall pinnacles with arched 
 
 Fig. 237. — Venice, S. Marco. 
 
 canopies enclosing statues and finished 
 with spires. Behind these rise the great 
 domes of various sizes and heights, covered 
 with metal and crowmed with bulbous 
 cupolas. The effect of the whole is one 
 
 519 
 
VENICE 
 
 of iiKlcscribable strangeness, as far re- 
 moved from tlie .soaring majesty of the 
 nortliern cathedrals as from the noble 
 simplicity and repose of the Greek temples. 
 
 Fig. 238— V. ; •,; , 
 
 yet from neither of these does one receive 
 a more profound and lasting impression. 
 Tlic building is both without and within 
 a vast storehouse of Byzantine art in form 
 aiul color ; the mosaics are more extensive 
 and magniticent than in any other existing 
 monument, unless it be Sta. Sofia at Con- 
 stantinople, and in no other can the best 
 qualities of Byzantine sculpture be more 
 profitably studied. The greater part of 
 the capitals follow the Corinthian model, 
 but in portions of the building, notably 
 tiie vestibule, the baptistery, and a beau- 
 tiful octagonal baldacchino ('overing a 
 small altar in the nave, a great number of 
 characteristic and admirable examples of 
 Byzantine capitals are to be found. The 
 
 earliest church on this site dated fmni 
 830, and was dedicated to St, Theodore. 
 It was to this church tiiat the body of St. 
 ^lai'k was brought, after having been se- 
 cretly brought away from Alex- 
 andria ; it was burned in 9TG, 
 and at once rebuilt. The new 
 church appears, however, to 
 have been still again rebuilt, 
 having been finally finished as 
 late as 1071 under the doge 
 1 )omenico S e 1 v o , and conse- 
 crated in 1094 on the miracu- 
 lous recovery of the body of 
 the saint. The mosaics were 
 for the most part added during 
 the two following centuries, 
 '{'he arcliitect is unknown, and 
 much cnntroversy has been 
 maintained on the question 
 whether he was a native Vene- 
 tian or an imported Greek. The 
 church was originally the offi- 
 cial cha2)cl of the doges and at- 
 tached to the palace ; it became 
 the cathedral only as late as 
 1807. {See Figs. 235-238.) 
 
 Sta. Maria del Carmine, 
 a cruciform church, formerly 
 attached to a Carmelite monas- 
 tery, has the characteristics of 
 an old basilica modernized in the xvii 
 cent. ; but is reisuted to have been built 
 in the xiv. It is cruciform, and has a 
 nave with arcades of twelve arches carried 
 on old columns, now ijainted, whose lower 
 parts are encased in moileru octagonal 
 pedestals. Above the columns the interior 
 is all transformed ; statues are bracketed 
 out, one from each spandrel, under a rococo 
 entablature: the nave has an elliptical 
 groined vault, with large semicircular win- 
 dows in lunettes ; the upjier walls, show- 
 ing no clerestory, are all occupied by great 
 square paintings, one in each bay. The 
 aisles are flat-ceiled. The tran.sept arms 
 are walled off from the choir, which has 
 perhaps been extended southward (the 
 
 sso 
 
VENICE 
 
 church fronts north), and ends in a groined 
 polygjonal apse. The front, reniodelkHl 
 like tlic interior, is plain and nniniportant. 
 Tlie church is said to have been built on 
 the site of an earlier one — perhaps only 
 enlarged or restored — in the middle of the 
 XIV century. 
 
 Sta. Maria dei Gesuiti, the Jesuits' 
 church, is in plan substantially a rejietitiou 
 of Vignola's church of the Jesuits in Rome. 
 It is cruciform, with barrel-vaulted nave 
 and choir bordered by chajK-ls, short tran- 
 sept arms, a domed crossing, and a square 
 east end. The interior, lined with a sin- 
 gle order of coupled Corinthian pilasters, 
 is decorated with an amazingly sumptuous 
 inlay of colored marbles, chiefl}' green and 
 white, in a damask pattern which covers 
 even the shafts of the columns. The 
 vaults are rich with stuccoed ornament 
 and gilding, and an elaborate rococo bal- 
 dacchino covers the high altar, the work 
 of Giusepi^e Pozzo. The fa(;ade is adorned 
 with a huge order of smooth Corinthian 
 columns, and a row of statues 
 on the rake of the great pedi- 
 ment breaks the sky-line. The 
 church was built in the first 
 quarter of the xviii cent., tlie 
 facade by Giovanni Battista 
 Fattoretto, the interior by Do- 
 menico Rossi. (See Fig. 239.) 
 
 Sta. Mama Gloriosa dei 
 Frari, the church of the 
 Frari, is after St. Mark's per- 
 hajis the most noted church in 
 Venice. Its exterior is for the 
 most part bare and uninterest- 
 ing. It has a poor facade 
 divided into three compart- 
 ments, each with a round win- 
 dow, by jDilasters or buttresses 
 terminating in pinnacles with 
 canopies, the central division having a 
 pointed arched doorway and gable with a 
 similar pinnacle at the apex. The opening 
 is flanked by two large buttresses in the 
 form of octagonal turrets, divided into six 
 
 stories of panels and bearing each a statue. 
 The interesting portion of the east end 
 is the apse of the choir. It is polygonal 
 in plan, with an angle instead of a face in 
 the central axis. It has two high stories 
 of single pointed windows, subdivided by 
 geometrical tracery. The jambs arc all of 
 brick, the areh-lieads of stone, and a dec- 
 orated brick archivolt encloses the stone 
 arch ; a corbelled string-course separates 
 the stories ; the upper cornice is small and 
 simi^le. The polygonal wall of the apse, 
 not continuous with the square bay of 
 the choir, abuts against a simulated east 
 wall, consisting of two heavy buttresses, 
 bridged by a gable, which stop the ar- 
 caded cornice of the rest of the church. 
 On each side of the apse the exterior zig- 
 zag wall of the lateral chapels of the tran- 
 sept jiresents a series of faces which are 
 treated like those of the lower story of the 
 apse. In the angle between the north 
 aisle and transept is a square campanile, 
 with two stories of blind arches, and a 
 
 fjISSf**^ 
 
 belfry stage with three round arches in 
 each face, with a heavy cornice and an oc- 
 tagonal stage above. The whole church 
 is about 2(J0 ft. long by KJO ft. across the 
 transept. The interior of brick has a nave 
 
 631 
 
VENICE 
 
 and aisles of six bays, oblong in the nave 
 and square in the aisles, with pointed 
 arches springing from high round piers 
 
 Fig 240.— Venice. Church of the Frari, Apse. 
 
 with rather low foliated capitals, a low 
 clerestory with ngly lunettes in place of 
 what were probably small rose-windows. 
 The aisles are nearly as high as the nave, 
 with a simple long and narrow pointed 
 window in each bay. Clustered vaulting 
 shafts rise from the capitals of the piers 
 on the nave side to the spring of the 
 simple four-part brick vaults. The aisle 
 vaults spring from pilasters corbelled out 
 from the walls at mid-height. Each arm 
 of the transept is divided into two oblong 
 bays vaulted like those of the nave. From 
 the eastern wall of each arm (>[)en tlirei^ 
 vaulted (•hai)el.s, terminating in ])olygonal 
 apses with an angle in the middle. The 
 
 choir has a single square bay covered by 
 a groined vault, and the polygonal apse 
 already described. This apse is imposing 
 from its great height and its two stories of 
 traeeried windows, containing some frag- 
 ments of very rich glass. A portion of 
 tlie nave west of the transept is enclosed 
 and occupied by some richly decorated 
 Renaissance stalls. The screen separating 
 them from the nave is an elaborate com- 
 jiosition of pilasters and arches, the latter 
 lilled with bas-reliefs arranged in panels. 
 A tine and large sacristy opens from the 
 south end of the transept, and tlie whole 
 of the north aisle is bounded by a cloister 
 of no great interest. The church was 
 begun in 13o0 and finished in 1280. 
 Xiccolo Pisano has been called its archi- 
 tect, but apparently without reason. 
 The campanile is a century later. The 
 cluirch contains some of the most inter- 
 esting monuments in Venice. {See Fiq. 
 240.) 
 
 Sta. Maria Maddalexa, a circular 
 Henaissance church of the xviii cent., 
 built from the designs of Tommaso Te- 
 manza. Its interior diameter is about 53 
 ft., it has an order of six pairs of Ionic 
 columns with rectangular niches in the 
 intervals under round arches. The un- 
 liroken hemispherical dome has no drum, 
 and is crowned with a circular lantern. 
 In one of the intervals of the order is a 
 great entrance doorway ; in the opposite 
 interval the open arch leads to a small 
 square choir covered by a low dome, with 
 a semicircular apse on each side. The 
 exterior has an order of flat pilasters with 
 blind arches between, under an attic which 
 carries the flat-looking dome. At the en- 
 trance is an Ionic portico with two couples 
 of columns and a pediment. 
 
 Sta. ^Iai!ia dei iliuACOLi. called also 
 Madonna dei Miracoli, a small early Re- 
 naissance church, with a singular facade 
 of great richness, ]irobabIy by Pietro Lom- 
 bardo. It is in two stages, with a great 
 semicircular gable covering the entire 
 
VENICE 
 
 front, and a central door. Each story is 
 divided into live bays by engaged pilasters, 
 Corinthian below, Ionic above, the former 
 carrying an entablature broken over the 
 pilasters, the latter carrying round arches. 
 Two of the upper bays contain tall round- 
 headed windows. In the other bays, both 
 above and below, the wall is faced with 
 slabs of wliite marble in which are inlaid 
 patterns of red, yellow, black, and green 
 marbles. The great gable has a grouji of 
 round windows. The decoration is con- 
 tinued, but with less richness, on the sides. 
 The interior is a single oblong hall cov- 
 ered by a richly jianelled and decorated 
 barrel-vault of wood, the east 
 end raised by several steps above 
 the jjrincipal floor, forming a 
 presbytery enclosed by a balus- 
 trade, with an octagonal pulpit 
 at each end. From the east 
 wall of the presbytery opens 
 the square sanctuary, by a 
 round arch springing from an 
 entablature over Corinthian 
 pilasters, with similar arches 
 on the side walls and at the 
 east end, over the small apse. 
 Over these four arches rises a 
 dome on a low drum, covered 
 by an external dome of wood. 
 Under the sanctuary is the sa- 
 cristy approached by a spiral 
 stair in a small octagonal cam- 
 panile. The church was begun 
 in 1481 and finished in 1189. 
 {See Fig. 24I.) 
 
 Sta. Maria della Salute, 
 one of the most familiar and 
 conspicuous of the Venetian 
 churches, was built in 1633 
 from the designs of Longhena, 
 in accordance with a decree of 
 the Senate, to commemorate 
 the cessation of the plague of the pre- 
 vious years. Its plan is an octagon about 
 65 ft. in diameter, supporting a hemi- 
 spherical dome on a high tambour, and 
 
 surrounded by an octagonal aisle about 20 
 ft. wide, from each side of which, except 
 the two in the longitudinal axis of the 
 building, opens a shallow rectangular 
 chapel. The dome is supported on eight 
 nmssive piers carrying round arches, aiul 
 in each angle is a detached column whose 
 entablature makes the impost of one great 
 statue. Each face of the octagonal tam- 
 bour has two round-headed windows. 
 The choir, opening from the easternmost 
 face of the aisle, expands into a sort of 
 transept, having a square central bay 
 flunked by two apses and covered by a 
 high dome. Behind it is a retro-choir. 
 
 :41.— Venice. Sta. Maria dei Miracoli 
 
 connected by a triumphal arch. The ma- 
 terials and decoration of the church are 
 sumptuous. The exterior in white mar- 
 ble is imposing and picturesque, the west- 
 
 523 
 
VENICE 
 
 Ftg 242 —Venice, S, M. della Salule. 
 
 cm fncc of the octagon being emphasized 
 by a portico of four Oorintluan columns 
 in form of a triumphal arch, with pediment 
 and balustrade-course. The jiortico is 
 approached by a broad and stately flight 
 of stejis from the canal. The chapels 
 projecting from the surrounding aisle are 
 treated in two stages : the lower stage 
 witli an order of four Corinthian pilasters 
 witb niches in the intervals containing 
 statues, the upjier with a large semicir- 
 cular window flanked by i)ilastcrs and 
 surmounted by a pediment. The tam- 
 bour of the great dome is decorated with 
 pilasters bearing an entablature and balus- 
 trade-course, and from the two pilasters 
 at each angle of the octagon enormous 
 scroll-buttresses project over the roof of 
 the surrounding aisle, but the dome is 
 said to be of timber. The lesser dome 
 
 over the choir is flanked by two 
 slender square campaniles, which 
 with the two domes group pictu- 
 resquely in any general view of 
 the church. All the pediments, 
 and even the scrolls surroujiding 
 the great dome, are surmounted 
 by statues. The church is im- 
 agined to rest on more than a 
 million piles, and is said to have 
 cost more than half a million gold 
 ducats. {See Figs. 2J^, 243.) 
 
 Sta. Maria Zoi!exigo. or 
 deir Annunziata, a Renaissance 
 clnirch built in IGSO. on the site 
 of three earlier churches dating 
 from the v, vii. and x cents., 
 respectively. The present struct- 
 ure is chiefly remarkable for its 
 facade, designed by Sardi, and 
 an example of the worst extra va- 
 ^ L;ances of the later IJenais.sance. 
 J It is in two stages, the lower di- 
 I vided into five bays by coupled 
 i Ionic columns on high pedestals, 
 * with a broken entablature, and 
 enclosing in tlie middle inter- 
 val a round - arched doorway, 
 and in the others decorated niches con- 
 tainiuff statues. The same arrangement is 
 
 Fig. 243.— Venice, S, M. della Salute. 
 
 634 
 
VEXrCE 
 
 repeated agaiust the nave over tlie three 
 middle intervals, the order being here 
 Corinthian, and the centre occnpied by a 
 statue raised on a high jjedestal which 
 divides a sarcophagus, with a background 
 of stone drapery. Above is piled a mass 
 of architectural fragments — caryatids, 
 statues, pediments, trophies, and the like. 
 The baroco nave is lined with a broken 
 order of Ionic columns, carrying a coved 
 ceiling with lunettes. It is flanked by 
 six lateral chapels, and ends in a square 
 choir. 
 
 S. MoisE (St. Moses), a late Eenaissance 
 church rebuilt in 1C88 by Tremignauo, 
 on the remains of two older churclies, the 
 first of the viii cent., the second of the xv 
 century. Little of the earlier work is jire- 
 served in the present structure, which is 
 chiefly remarkable for its fa9ade, in which 
 the worst extravagances of the Eenaissance 
 are exemjilified. The interior contains 
 some notable pictures, among them one Ijy 
 Tintoretto. 
 
 S. NiccoLO DEI ToLEXTixi, a conspic- 
 uous Renaissance church begun in ir)91 
 by Scamozzi, from the designs of Palladio, 
 who had died some years before. Its plan 
 is jjccnliar in some resj^eets, including a 
 nave about 45 ft. broad, from which open 
 three square chapels on either side, occu- 
 pying the jilace of aisles, and connected 
 with the nave by round arches in the in- 
 tervals of a florid Corinthian order, from 
 the entablature of which sjiriugs the bar- 
 rel-vault of the nave with lunettes enclos- 
 ing semicircular windows. The transept 
 ends are two shallow bays continuing the 
 line of the outer wall of the chapels, and 
 from each projects a square chapel. The 
 choir is a long, narrow rectangle. The 
 crossing was to have been covered by a 
 round dome, of which only the drum was 
 built, now covered by a low conical roof. 
 The front consists of a great Corinthian 
 hexastyle portico, of the whole breadth 
 and height of the church. 
 
 S. Salvatoke, a Kenaissance church be- 
 
 gun in 1506 by Giorgio Spavento, and 
 continued in 1530, under TuUio Lombar- 
 do. It is cruciform in plan, the nave and 
 crossing divided into three square bays 
 covered by high domes with lanterns, alter- 
 nating with short bays covered by barrel- 
 vaults. The square bays of the nave open 
 into the aisles by lofty round arches 
 springing from a high attic over an order 
 of Corinthian pilasters, coupled, and divid- 
 ed by a narrow round arch under the en- 
 tablature. The transept is short, square, 
 and plain, with a single grouped window 
 in each end ; the nave and aisles terminate 
 each in a I'ound apse. The interior is one 
 of the most beautiful in Venice, and meas- 
 ures about 175 ft. in length by 05 ft. in 
 breadth. The facade, added by Sardi in 
 1603, has an order of engaged Corinthian 
 columns with the entablature broken for- 
 ward over the columns and carrying stat- 
 ues, and surmounted by a high attic divid- 
 ed hy pilasters. 
 
 S. Stefaxo, a XIV cent. Gothic church, 
 about 80 ft. wide and 170 ft. long. It is 
 of basilican form, with nave and aisles 
 each ending in an apse, and without a 
 transept. The nave has a breadth of -IS 
 ft., and is covered by a timber roof con- 
 cealed within by a ceiling boarded in a 
 series of cusps and decorated with color. 
 The aisles are in six square bays set 
 off into chapels, each domed. The main 
 piers are slender marble columns with 
 rather classic capitals, supporting pointed 
 arches. The high choir is in two vaulted 
 bays, ending like the aisles in a polygonal 
 apse. The exterior is all in brickwork of 
 admirable execution. The front has a 
 square doorway enclosed by richly sculjit- 
 ured mouldings, and covered with a flat 
 cusped ogee arch flanked with pinnacles 
 and ornamented with immensely devel- 
 oped crockets resembling those of St. 
 Mark's, and a statue in jjlace of a finial. 
 The east end has high windows with tra- 
 eeried heads. The island on which the 
 church is built being too small, the choir 
 
VENICE 
 
 is bridged over a narrow raiial to an ailja- 
 ceiit island. A fine square brick eanipa- 
 nile, much resembling that of the Frari, 
 stands at the north of the choir. It has 
 two stories of high arched panels, a belfry 
 with three I'ound arches in each face, and 
 an octagonal stage above. The church 
 has a cloister, added in about 1.530 ; the 
 church itself having been finished in 
 1325. 
 
 S. Z.\ccAiUA was begun in 1-1.57 as a 
 Gothic church, and finished about 1500 
 with a Renaissance exterior. Its plan 
 shows a nave in three square bays, tlie first 
 two covered by groined vaults, the third 
 by a hemisjiherical dome, and ending in a 
 polygonal apse ; and lofty vaulted aisles 
 one-half the breadth of the nave, carried 
 round the apse, with a ring of cluq^els out- 
 side. The nave columns are high and slen- 
 der, and carry round arches and a clere- 
 story with small arched windows. The wall 
 
 F/g 244 — Venice, S. Zaccaria. 
 
 of the choir and apse is in two tiers of 
 arches,, round below and pointed above, the 
 upper arches being divided into lights by 
 columns. The fa9ade was evidently begun 
 in accordance with the Gothic plan ; its 
 
 high basement — with the exception of the 
 Ivenaissance doorway in the centre, with 
 Corintliian pilasters and round i)ediment 
 surmounted by a statue — shows in its 
 panelling of red and white marble, and 
 in its general decoration, a distinctly 
 Gothic character. A second stage of nar- 
 row round arches carried across the whole 
 front on slender pilasters, enclosing flat 
 niches W'ith a two-light window in the 
 end of each aisle, indicates a jieriod of 
 transition. The upper portion of the 
 front is frankly Renaissance, Avith its 
 centre corresponding to the nave, carried 
 above the sides and .separated from them 
 by detached coupled columns in three 
 stages, resting on square buttress pilasters 
 below, and \vith tlie entablatures broken 
 round them. The nave and aisles are 
 lighted by round-arched windows between 
 pilasters or columns. The central di- 
 vision finishes with a high round pedi- 
 ment surmounted and flanked by statues ; 
 the side divisions with half-pediments of 
 similar form. The church contains many 
 fine pictures, among which is one of John 
 Bellini's finest works. {See Fig 244.) 
 
 The ScALZi, the church of the Bare- 
 footed Carmelites (Carnielitani Scalzi), 
 dedicated to Sta. Maria in Nazzareto, is a 
 Renaissance building begun 1040. under 
 the architect Longhena, and finished 
 about 1089. The interior consists of a 
 nave without aisles, but with three chap- 
 els opening from each side, and a capeUa 
 magyiure occupying the place of the choir 
 at the east end. The decoration is ex- 
 travagant in style and materials. The 
 facade, attributed to Sardi, is much more 
 restrained, although still very rich. It is 
 in two stages, the lower consisting of an 
 order of Corinthian columns, coupled in 
 six pairs, on high pedestals, with a broad 
 arched doorway in the central interval, 
 and in the sides round-arched niches with 
 statues. The second story of the nave has 
 four pairs of columns instead of six, fin- 
 ishing with a triangular pediment, with 
 
 5J6 
 
VENICE 
 
 an inner podimont of segmental form 
 covering the middle interval, and is 
 flanked by scroll buttresses which mask 
 the roofs of the side chapels. The jjedi- 
 ment is surmounted by five statues, and 
 the whole front is built of rich marbles. 
 
 ScuoLA Di S. Giovanni Evange- 
 LISTA, one of tlie smaller and less known 
 of the Venetian Sciiole. The buildings 
 occupy three sides of a somewhat narrow 
 court, open to the street, and closed at the 
 opjjosite end by a screen ornamented with 
 an order of Corinthian iiilasters which 
 run round the sides of the court, and of 
 which the entablature is decorated with 
 bas-reliefs of great richness and beauty. 
 In the central interval is a broad square 
 doorway with carved architrave ; in the 
 side intervals a single square window with 
 pilasters carrying entablature and pedi- 
 ments. The interior has a sumptuous 
 staircase hall and chapel with Corinthian 
 columns on i^edestals, carrying round 
 arches with jjanelled and carved soffits, 
 the walls inlaid with jJi'ecious marbles. 
 The building belongs to the school of the 
 Lombardi, and dates from the second half 
 of the XV century. It has been lately re- 
 stored. {See Fig. '2Jf').) 
 
 ScuoLA DI San Makco, the home of 
 one of the ijeculiar class of confraternities 
 existing in Venice in the xv and xvi 
 cents., of which the character was partly 
 religious and partly charitable. The first 
 building was burned in 1485. The pres- 
 ent one was begun in 1490 by Martino 
 Lombardo. It is one of the richest and 
 most conspicuous of the Renaissance build- 
 ings of Venice, but is designed in an ex- 
 travagant taste, more decorative than 
 architectural, and in defiance of the rules 
 by which the developed architecture of the 
 Eenaissance was governed. Its fa5ade is 
 of irregular height, with two stories divid- 
 ed into bays by Corinthian pilasters with 
 broken entablatures. All of the bays are 
 surmounted by semicircular gables, of 
 which three are combined into a principal 
 
 group, raised on an attic story, and 
 crowned and flanked by statues. Of this 
 portion the central bay in the lower story 
 
 Fig, 245, — Venice, Scuola di S. Giovanni, Interior detail. 
 
 is occupied by a square doorway with a 
 round-arched head, enclosed between de- 
 tached Corinthian columns carrying a 
 broken semicircular jjediment. The in- 
 tercolumniations of this story are filled 
 with reliefs in marble in simulated per- 
 spective. The intervals of the second 
 story are in part occupied by ai'ched win- 
 dows flanked by an order of pilasters with 
 jiediment. Those of the attic are occu- 
 pied by statues in decorated niches, in the 
 centre the winged lion of St. Mark suji- 
 ported on five columns, and above is a 
 semicircular pediment higher and broader 
 than the rest and crowned by the statue 
 of St. Mark. The remarkable feature of 
 this fayade is the extreme richness and 
 beauty of its seuljjtural decoration. The 
 pilasters, columns, and archivolts of the 
 great doorway, the friezes and iiedimcnts 
 in all the stories, and the members of the 
 
 527 
 
VENICE 
 
 windows and niches arc covered witli bas- 
 reliefs of admirable design and execution, 
 mostly attributable to Bartolommeo Buon 
 and Tullio Lonibardo. 'J'lic interior has 
 (in the lirst, storv a hall divided by two 
 
 rows of columns on high pedestals, and a 
 fine double staircase leading to the upjier 
 hall and chapel, with richly decorated 
 panelled ceilings in all the rooms. The 
 building has since 1815 been made a por- 
 tion of the civil hospital of Venice. {Sec 
 Fi(j.2Jf6.) 
 
 ScuoLA Di Sax Rocco, the most gener- 
 ally known of the Venetian nctnile, partly 
 from its elaborate architecture. l)ut more 
 especially from the pictures of Tintoretto 
 which it contains. It has three fa9ades, of 
 which the principal one, behind the church 
 of the Frari, is divided into five bays 
 by Corinthian pilasters on pedestals carry- 
 ing full entablatures, broken forward over 
 the pilasters. Of these five bays, three are 
 princii)al. f(H'niing the front of that por- 
 tion of the building which contains the 
 great halls, and these are emphasized by 
 detached Corinthian columns standing in 
 front of the jiilasters. Their central bay 
 contains on the lower story a broad round- 
 an-licd ddorwav flanked 1)V colnnnifi with 
 
 entablature and pediment ; the other 
 bays contain double arclu'd windows in 
 each story, with entablatures and pedi- 
 ments in the ujjper. The principal lines 
 of the facade are continued on the side, 
 but the architecture is 
 simpler and without col- 
 umns. The interior con- 
 sists of two great halls one 
 aljove the other, connected 
 by a noble staircase with a 
 domed ceiling and sculpt- 
 ured walls. The upjier 
 hall is about lib ft. long 
 and 43 ft. broad, with a 
 height of over 30 ft. The 
 liuilding was begun in 
 I .") 17 by Bartolommeo 
 i>uon, continued by Sante 
 Lonibardo, and finished 
 in 1.5^7 by Scarjjagnino. 
 
 TOKKE DEL OroLOGIO. 
 
 The clock - tower, built 
 about 1496 by Pietro Loni- 
 bardo, is a conspicuous feature of the 
 square of St. Mark at the eastern end of 
 the Proeuratie Vecchie, and forms the 
 central portion of a building with a front- 
 age of about 80 ft. encaged in clumsy 
 pilasters and ental)latnres. The tower, 
 about 100 ft. high, stands over a broad 
 and lofty open arch, through which a 
 street is carried. Above this, in succes- 
 sive stories, are a great sun-dial some 10 ft. 
 in diameter emblazoned with the signs of 
 the zodiac ; then a tabern.acle enclosing a 
 sitting statue of the Madonna, and two 
 square niches from which at certain hours 
 four carved figures issue to do her rever- 
 ence ; and in the upper story a l)lue field 
 with gold stars bears the winged lion of 
 St. Mark. The tower is crowned by a 
 balconied terrace on which stands the 
 great bell with a figure of Vulcan, so- 
 called, on either side, which is made to re- 
 volve and strike the hours with a hammer. 
 The Zecpa. or Mint, is a Renaissance 
 building begun in 1530 by Sansovino, 
 
YEXOSA 
 
 whose design was accepted iif ter a compe- 
 tition. Its main front toward tlie sea is 
 about S3 ft. long, and is of three stories, 
 the lowest a basement of nine arches 
 springing from phiin piers witli simple 
 imposts, and walled up as high as the 
 sj)ring with rustic work, the arch-head 
 being filled with semicircular windows. 
 The second and third stories consist each 
 of an order of engaged columns, Doric 
 and Ionic resiiectively, with rustic shafts, 
 the intervals occupied by squai-e windows, 
 tliose of the third story with pedimented 
 caps. This fu(;ade is without any door- 
 way, the entrance to the building being 
 from the arcades of the Library adjacent. 
 The cortile, by Scamozzi, is of similar 
 urcliitecture, the lower arcade of strong 
 and heavy rustic work, the second story 
 of round-arched windows with slightly 
 projecting Doric pilasters between, on a 
 balustrade-course ; the third story with 
 Ionic pilasters and entablature with sim- 
 ple square windows in the intervals. In 
 the middle of the cortile is a well with 
 flanking rustic columns and entablature, 
 surmounted by a statue. Since l.Sl'O this 
 building has ceased to be used for its orig- 
 inal purpose, and now serves as an ex- 
 change and chamber of commerce. 
 VEXOSA. Italy. 
 
 Sta. TkixitA. Tlie Benedictine abbey 
 was founded l)y Robert Guiscard near the 
 end of the xi cent., and its church was 
 consecrated by Pope Nicholas II. in ll.")lt, 
 according to an inscription on the walls. 
 Toward the end of the xiiL cent, the 
 Benedictines resolved to enlarge their 
 buildings, and they built a new church 
 directly to the eastward of the old one, 
 its side walls continuing those of the old 
 church, and the apse of the latter project- 
 ing into the new nave. The two build- 
 ings form an interesting contrast in plan 
 and design. The old church is a rect- 
 angle about 85 ft. wide and 130 ft. long, 
 with a nave divided into four oblong bays 
 by transverse round arches springing from 
 
 square piers ; the aisles, whose west wall 
 recedes one bay from the front of nave, 
 are for the most part divided into chapels. 
 The broad transept is divided by two 
 arches which continue tlie line of the 
 nave arcailes, and its central division has 
 a semicircular apse of the full breadtii of 
 the nave. The ceilings are everywhere of 
 wood. The floor of the transept is raised 
 by several steps above that of the nave. 
 There is a closed porch on the front, with 
 a fine doorway, in which two compound 
 jiiers with decorated mouhlings and bases 
 carry a lintel of the same character, cov- 
 ered by a i^ointed bearing-arch and low- 
 gable. The tympanum is filled with sur- 
 face tracery of small horseshoe arches, 
 and a diaper of Byzantine character. 
 The inside sculj^ture is very varied and 
 interesting. The church contains a plain 
 marble sarcophagus, the tomb of Kobert 
 Guiscard. The newer church, which was 
 never finished and which is now much 
 overgrown, has a i)lau much like that of a 
 northern church — a well-develojied Latin 
 cross, nave and aisles separated by pointed 
 arclies on columns, aisles in six square 
 groined bays (the one on the S. \V. occu- 
 pied by the tower of the old church), 
 a long transept quite undivided, with 
 square ends, and a flat apse on the east 
 wall of each. From the centre opens the 
 square choir of the full breadth of the 
 nave, with a semicircular termination, 
 and the aisle carried round it and divided 
 into groined bays, with three radiating 
 apsidal chapels. Except in the aisles all 
 the ceilings are of wood. 
 VERCELLI, Italy. 
 
 S. AxDREA (St. Andrew), an early 
 Gothic church, interesting from its wide 
 departure in many particulars from the 
 usual forms of Italian Gothic {See Fig. 
 2Jf7). It is cruciform, about 330 ft. long, 
 and 130 ft. wide across the transept. The 
 fa9ade has a breadth of 103 ft., with two 
 tall, square, and very slender angle towers, 
 between which is a single low gable mask- 
 
 629 
 
YERCELLI 
 
 iiig all the roofs. It is divided into three 
 compartments by clustered pillars or but- 
 tresses rising to half the height of the 
 nave vault. Each compartment has a 
 deejily splayed round-arched doorway, with 
 jamb columns and corresponding arcli- 
 mouldings. The tym]iana are cliarged 
 witli reliefs. Over the central doorway is 
 a large wheel- window, with tracery of 
 interlacing arches, and above this again 
 are two ranges of arcaded galleries across 
 the frout. The side walls are ])lain, with 
 well-niarkeil buttresses, flying buttresses 
 over the aisle roofs, and an ojieu arcade 
 below the cornice, divided into groups of 
 five arches to each bay. The cornice of 
 the clerestory has an arched corbel-table 
 with interlacing arches. The transept 
 arms are narrow, and flanked by angle-but- 
 tresses witli jiinnacles. They have in the 
 lower stage two round -arched windows 
 
 Fig. 247— Vercelli, S. Andre 
 Scale of 100 (eet. 
 
 like those of the aisles, above wliich is a 
 wheel-window like that of the front. 
 Above this again, as in the front, are two 
 ranges of arcaded galleries and a low gable 
 with a ])innacle at the apex. T'he flanks 
 of the choir are treated like those of the 
 
 nave and aisles. The east end is square, 
 a rare thing in Italy. An octagonal lan- 
 tern rises from the crossing in two dimin- 
 ishing stages of l)lind arcades and round- 
 arched windows, and terminates in a low 
 octagonal si)ire of brickwork with small 
 round pinnacles. It is in the interior 
 that this churt'h shows most clearly the 
 influence of the northern (iothic. Its 
 well-moulded nave arches are high and 
 sharply pointed, and spring from clustered 
 piers composed of a round core of brick 
 surrounded by eight stone shafts, with 
 large foliated capitals of remarkable char- 
 acter. Of these piers, the front members, 
 forming a group of three shafts, run up 
 through the clerestory to the spring of the 
 very sharp-pointed brick vault, of which 
 the ribs are stone and the crown is about 
 G4: ft. above the pavement. The nave and 
 aisles are of six bays, of unequal widtli, 
 square in the aisles and oblong in the 
 nave, as in the northern (iothic. The 
 trausejit arms are square, in two oblong 
 bays, from each of which opens to the 
 eastward a small apsidal chapel. The 
 choir is in two nearly square bays, its east 
 end filled witli a triplet of lancet windows 
 with a wheel-window above, and having 
 much the appearance of an English chan- 
 cel. The floor is raised by four steps 
 above that of the nave. The aisles and 
 clerestory are lighted by small round- 
 arched windows. The vaulted octagonal 
 lantern at tlie crossing is carried on 
 squinches, and surrounded at its base by 
 an ojien gallery of narrow round arches. 
 On the north side of the nave is a clois- 
 ter from which opens a square chai)ter- 
 house with a vaulted roof carried on piers. 
 A detached square canipaiule. standing 
 obliquely to the church, is of later date 
 by two centuries than the church itself, 
 which was begun in 1219 by Cardinal 
 Bicchiere and is said to have been finished 
 within three years, at tlie cost of ninety- 
 five thousand gold ducats, by an English 
 architect brought to Italy for the work — a 
 
 5.;o 
 
VERONA 
 
 tradition not unreasonable, in view of tlie ward l)cyond tlio aisles, opens into them 
 strongly northern ehanifter of the interior, through f(nir small arclies on each side 
 The consecration took ])lace in 1224:. It carried alternately on columns and square 
 is remarkable that some of the detail, jjar- piers or pilasters. The walls without are 
 ticularly the capitals of the nave piers and laid in alternate bands of brick and stone, 
 a broad band of sculpture enclosing the and the apses decorated with slender i)ilas- 
 tymjiani of the western 
 doors, is of a marked 
 Byzantine character. 
 VEROXA, Italy. 
 
 The Ami'hitiieatre 
 is probably of the be- 
 ginning of the III cent- 
 ury. The outer wall 
 was damaged by an 
 earthquake in 1184, 
 and a great part of its 
 stones was used as 
 building-material, but 
 since 1228 good care 
 has been taken of the 
 remains. Only four 
 arches of the original 
 seventy -two of the 
 outer wall are stand- 
 ing, but most of the 
 interior, with its vomitoria and its forty- ters. as in the adjoining cathedral, and ar- 
 four tiers of seats, is in good ijreserva- caded cornices. The building has been 
 tion. The general j^lau is tli'it of the ascribed to the xii cent., but it is likely 
 Colosseum at Rome, excej)t that the that it is much older, and was restored 
 
 Fig. 248. — Verona, Amphitheatre. 
 
 Veronese am2>hitheatre is but three sto- 
 ries high and its decorative architecture 
 is entirely Tuscan. The greater axis 
 measures 506 ft., the lesser, 403 ft. ; the 
 axes of the arena are 248 ft. and 145 ft. ; 
 the height is 98 ft., the area nearly four 
 
 after an earthquake in 1122. at which 
 time the aisles were vaulted and the 
 font placed in the nave — a remarkable 
 basin of red marble, 9 ft, across, adorned 
 with reliefs and arched corbel-tables. 
 The Cathedkal (Duomo), dedicated to 
 
 and one-third acres. The material of the Sta. Maria Matricolare, is an originally 
 
 substructions is brick, of the superstrnct- Romanesque church of the xii cent., but 
 
 ure, white and red Verona marble. The substantially rebuilt, as far as the interior 
 
 arena could be flooded, probably with is concerned, in the xiv century. The 
 
 water from the Adige. so as to be used for nave and aisles are in five vaulted hays, 
 
 a uaumachy. {Sec Fiy. 3Jfi.) with clustered piers of red marble and 
 
 The Baptistery, S. Giovanni in Fonte, carved capitals carrying pointed arclies. 
 
 is perhaps an old church converted to this The choir is separated from the n.tve by a 
 
 use, and, unlike other Italian baptisteries curved screen of m;irljle, with Ionic col- 
 
 in plan, is a small basilica. The nave umns and cornice, the work of Sanmicheli 
 
 and aisles end abreast in three apses, and in 1534, who also built the interior of the 
 
 the nave, unvaulted and prolonged west- choir and the line of chapels on the 
 
 Sill 
 
VEROXA 
 
 south aisle The cliurch. built in tlie 
 first half of the ix cent., was much al- 
 tered in the latter lialf of the xi and be- 
 ginning of the XII, and reconsecrated 
 after rebuilding the nave in 1187. The 
 nave was vaulted in 1402 ; Saiiinicheli's 
 alterations were made in 1534. The fa- 
 5ade of marble shows traces of most of 
 these changes. The lower part belongs to 
 the IX cent, and still shows bunds of the 
 original sculpture. Tlic graceful two- 
 story porch, with bold round arches on 
 slender columns supported by griffins, and 
 containing fragments of the older work, 
 dates from the beginning of the xii cen- 
 tury. So do the three tiers of sluxfted 
 arcades wliich are interrupted by its up- 
 I)er story. Fragments of arcaded cornice 
 show the low height of the original aisles. 
 and are broken by tall two-light pointed 
 windows which arc contcmj)orary witb the 
 
 nave, over which the wall is 
 rclniilt in strijies of brick and 
 marble. Above the broken 
 ai'cadetl cornice which finished 
 this facade rises the higher ga- 
 ble of the nave, of Renaissance 
 detail. The south side has a 
 t\V(i-st(iry porch with interest- 
 ing sculjiture, and three pro- 
 jecting chapels, one square, the 
 others semicircular, decorated 
 by an order of flat Corinthian 
 pilasters. The eastern apse is 
 similarly treated. On the north 
 side is an ancient cloister orig- 
 inally with two stories of ar- 
 cades. The lower arcade re- 
 mains — the arches rest on 
 coupled columns of red mar- 
 ble, each pair being of a .single 
 stone. The Baptistery {/j. r.) 
 stands to the north and east of 
 the choir, with which it is con- 
 nected. {See Fig. 2^9.) 
 
 G K A X G V A R I) I A (G reat 
 (iuard - house), a Renaissance 
 building of serious and dig- 
 nified design built in 1.510 under Sau- 
 micheli, or possibly one of his pupils. 
 It has a long fa9ade in two stages, the 
 lower consisting of high narrow rustic 
 arches springing from heavy piers, the 
 upper an order of coujiled Doric columns 
 on a high pedestal-course. There are fif- 
 teen intervals, of which the five in the mid- 
 dle are filled with round arches, while tlie 
 five on cither side have square windows 
 and a mezzanine above. The centre is 
 carried up as an attic. The building is 
 now used as a warehouse. 
 
 Palazzo Bkvilacqua, an uiicomjilctcd 
 XVI cent, jialace from the designs of f^an- 
 iiiiclicli, of which the facade only is not- 
 able. It is in two stages, the lower of 
 rustic masonry with fiat Doric pilasters, a 
 bracketed cornice, and a series of round- 
 arched windows interrupted by one simi- 
 lar doorway. Above this the second story. 
 
VERONA 
 
 the piano iinhile, is faced witli an order of 
 rich Corintliiaii colunms on a high balus- 
 trade, arranged like a repeated triunipluil 
 arch, with three great open urclies alter- 
 nating with four smaller ones with pedi- 
 ment caps, and small square windows 
 above. 
 
 Palazzo del Consiglio (Council-hall), 
 a Eenaissance palace of the xv cent., with 
 a delicately designed fa9ade of two stories, 
 the lower an open loggia of eight round 
 arches on Corinthian columns standing on 
 a balustrade raised over two plinths 
 above the sqi;are. A thin entablature 
 separates this storey from the second, 
 which is divided by an order of scattered 
 Corinthian pilasters into four intervals, 
 each containing a two-light window with 
 round-arched openings separated by Co- 
 rinthian columns and enclosed lietween 
 Corinthian pilasters bearing an 
 entablature and round pedi- 
 ment. The whole front is ex- 
 tremely rich in ornament, the 
 wall spaces covered with a 
 painted decoration, the pilasters 
 with arabesques in relief ; and 
 above the cornice are statues of 
 Latin writers claimed as citizens 
 of Verona. The building is said 
 to be the work of Fra Giocondo. 
 (See Fi(j. 250.) 
 
 Palazzo dell a Raiuone 
 and palace of the Scaligers are 
 an irregular jiile of buildings 
 dating from the xiii or xiv 
 cent., surrounding the Jlercato 
 Vecchio, and adjoining sides of 
 the Piazza dei Signori. The ar- 
 chitecture is various — the most 
 characteristic jiortions consist- 
 ed of an arcaded lower story 
 with very large ojoen round 
 arches carried on slight columns, 
 and supporting a second story — 
 likewise with an open arcade but 
 of smaller pointed arches, with a 
 balustrade between and reached 
 
 by a picturesque open arcaded staircase in 
 an angle of the court. Out of the roofs of 
 these buildings rises a noble bell-tower, 
 one of the finest in Italy, nearly 300 ft. 
 high, its lower portion built with alter- 
 nate courses of brick and marble, and con- 
 tinuing for the remainder of its height 
 with simple brickwork, almost unbroken, 
 until the belfry stage is reached. Here is 
 a trijile-arched opening in each face with 
 round arches on coupled columns, with 
 pointed bearing-arch of black and white 
 voussoirs. Above is a thin projecting 
 cornice on brackets, and a final octagonal 
 stage with two stories of openings, the 
 ujjper story having a two-light arched 
 window in each face with pointed bearing- 
 arch. This tower is said to have been 
 built toward the end of the xii cent., by 
 the Lamberti familv. Tt came later into 
 
 "^p iir mill 
 
 MMiniuillj IIIIIUHHIIini i 
 
 Fig. 250.- Verona Palaizo del Consiglio. 
 
 633 
 
VERONA 
 
 possession of the Commune, and in 1370 
 was brought to its jaresent form. 
 
 Roman Akcii, which now spans one 
 of the chief streets of tlie city, and 
 called tlie Porta dei Borsari. It is a 
 double archway ornamented in the upper 
 stories with little columns, entablatures, 
 and pediments, and is rather poor in de- 
 sign. It was built or restored by the em- 
 peror (iallienus, 265 a.d. Only one face 
 now ajipears. 
 
 Roman Gateway, a douljle arch now 
 known as the Arco dei Leoni. It is of 
 light and elegant proportions, though a 
 part has been destroyed. Its highest 
 story was ornamented with small detached 
 columns with twisted fluting. The archi- 
 trave above the surviving arch, which is 
 flanked by Corinthian columns, bears an 
 inscription. This monument is nearly 
 contemporaneous with the Porta dei Bor- 
 sari. 
 
 Sta. Anastasia, a Gothic Dominican 
 church of the xiir cent., about 300 ft. 
 long and 7.5 ft. broad, with nave and 
 aisles of six bays, those of the nave nearly 
 square, those of aisles oblong, transept 
 and choir of a single square bay, termi- 
 nating in a decagonal apse. From eaeli 
 transept arm two chapels open on the 
 east side, each with a small polygonal 
 apse of four sides ; from the north arm 
 opens a sacristy in two vaulted compart- 
 ments, of which the easterly one ter- 
 minates in an apsidal chapel. The nave 
 piers are round and carry obtusely pointed 
 brick arches with i)lain unnu)ulded edges. 
 Flat pilasters rise from the capitals 
 through the clerestory to take the vault- 
 ing ribs of the nave. The whole church 
 is groined. The clerestory is pierced with 
 small round windows with plate tracery. 
 The walls and vaults are })ainteil and 
 adorned with patterns of flowers and 
 foliage on a white ground. The pavement 
 is of white, red, and gray marbles in geo- 
 metrical patterns. The exterior is of red 
 brick roughly laid, with brick cornices. 
 
 pinnacles, etc. The unfinished front has 
 a fine doorway of parti-colored marbles, 
 with a fresco in the head of the arch. 
 The aisle windows are pointed, of two 
 lights, with trefoil and pointed bearing- 
 arch. In the angle of choir and north 
 transept is a square brick campanile with 
 octagonal spire. The church was begun 
 in 1200, but was not finished until 1J:22. 
 Balanced on the wall of the cemetery ad- 
 joining the faQade is the tomb of Castel- 
 barco, called by Mr. Ruskin the most per- 
 fect Gothic sepulchral monument in the 
 world, a square four-gabled canopy of four 
 pointed arches on graceful columns, cover- 
 ing a sarcophagus carved with a recum- 
 bent figure, and surmounted by a clumsy 
 pyramid. 
 
 S. Fermo Maggiore, a Gothic church 
 without aisles, with a nave some 50 ft. 
 wide and of equal height, from the east 
 end of which three broad arches open into 
 a chancel flanked by two aisles, and end- 
 ing in a polygonal apse. The nave has a 
 wooden ceiling, cusped and boarded, di- 
 vided into panels and decorated in color. 
 The transept is of small projection and 
 without marked features. A remarkable 
 crypt of unusual height extends under the 
 eastern portion of the church, with square 
 piers supporting a groined vaulting of 
 brick. The crypt was formerly painted 
 throughout, and traces of this decoration 
 are still to be seen on walls and roof, and 
 even on tlie piers, the larger of which bears 
 a figure on each face. A marble pulpit is 
 corbelled out from the soutli wall of the 
 nave with sculptured canojiy over it, and 
 surrounded by wall paintings. The fa- 
 9ade is in two principal stages ; the first of 
 marble with a large round-arched doorway 
 in the centre with deeply moulded jambs, 
 and approached by a flight of some sixteen 
 stejis. On either side are two stories of 
 blind arcades cusped and pointed, the low- 
 er continued rtumd the north side of the 
 church, the upper on engaged and coup- 
 led shafts, including a i)air of windows. 
 
 684 
 
VERONA 
 
 Flanking the doorway on either side is an 
 arched and gabled canopy, that on the 
 north snpported on shafts, and covering a 
 sarcophagus resting on corbels and bear- 
 ing a recumbent figure. The npper por- 
 tion of the front is of alternate bauds of 
 brick and marble, with a group of four 
 tall cusped and labelled lancets in the cen- 
 tre, above which is a three-light window 
 covered by a pointed bearing-arch, and 
 flanked by small round wiudows. The 
 angles of this fine front are marked bv 
 
 the angles. Of the original church the 
 crypt still remaining is believed to date 
 from T.J.J. 'J'iie present church belongs to 
 the earlv years of the xiv centurv. (6'ee 
 Fl,j. 251.) 
 
 S. LoKEXzo, one of the oldest churches 
 in the city, is a three-aisled round-arched 
 church, with round apses at the end of 
 nave and aisles, and may date from the ix 
 or X century. It has the Lombard pecul- 
 iarity of double bays, with alternate piers 
 and columns. The two-storied aisles have 
 
 tall square buttresses, undivided through 
 their entire height, and terminating in 
 grouped pinnacles. A single rather low 
 gable covers the whole, with a rich cor- 
 nice and arched corbel-table and a pinna- 
 cle at the apex. The side-walls are of 
 brick witli a deep rich cornice and a pan- 
 elled parapet above, and broad pointed 
 windows high in the wall. On the north 
 side is a fine projecting jjorch, with broad 
 pointed arches supported on columns. 
 The apse has gables over each face with 
 pinnacles between, and a round cusped 
 window in each gable. A tall brick cam- 
 panile stands on the north side of the 
 choir, with a round spire and pinnacles at 
 
 groined vaulting in both stories, and the 
 nave a continuous barrel-vault, presum- 
 ably late. Against the last eastward bay 
 but one the aisles are doubled, making a 
 qnasi-transept, which however does not ap- 
 pear in the nave. A cross gallery at the 
 west end, added, it would seem, after the 
 first building, connects the upjjcr aisles. 
 The exterior is of primitive character, 
 banded in brick and stone, and the front, 
 although altered, retains its original pe- 
 culiarity of two round flanking towers be- 
 tween which is a low gable, pierced with a 
 round window over three arched wiudows, 
 and a square-headed doorway below. The 
 columns of the interior are apparently an- 
 
 535 
 
VEROXA 
 
 tiqiie, but have mostly later capitals and 
 bases. The arched \viiuli)\vs are single in 
 the clerestory and altered in the aisles. 
 
 S. Stekaxo (St. 8tei)lien), believed to 
 be the oldest chiircli in Verona, and to have 
 been built as a Christian basilica, in 5:^-1, 
 but nuu'h rebuilt in later times. Jt has a 
 narrow nave with side aisles, separated by 
 four sipuirc piers on each side, carrying 
 round arches, n])per walls nnpierced by 
 windows, and a wooden ceiling. There is 
 a proper trausejjt, yet the easternmost 
 bay of the aisles is separated by an arch 
 from the rest, answering to a transcj)t. and 
 over the crossing is a dark dome covered 
 by a low octagonal tower. The choir, con- 
 sisting of the two eastern bays of the nave, 
 is raised by fourteen steps above a crj'pt, 
 and terminates in a semicircular apse, 
 round which a narrow vaulted aisle is car- 
 ried, with four piers sejiai'ating it from 
 the choir. The crypt, probably original, 
 is singularly arranged in transverse aisles 
 across the whole church, and is divided 
 into groined bays by eight rude columns 
 about 7 ft. high. The facade, of brick 
 and marl lie, has a central doorway with 
 two buttresses at each side and two niund- 
 arclied windows. 
 
 S. Zexo Maggiore, one of the noblest 
 examples of Lombard architecture, is a 
 great basilica, with broad luive aiul aisles, 
 but no transept ; the nave prolonged by a 
 choir of a single square bay, ending in a 
 half-decagon apse. The nave is in five 
 s(|uare bays with massive grouped piers, 
 from the capitals of which engaged shafts 
 rise through the high clerestory to the 
 roof. Of the.se shafts the pair nearest 
 the west end of the church is connected by 
 an arch thrown across the nave, the others 
 disaj)pear in the woodwoi'k of the ceiling, 
 which is arched and boarded, its section 
 being a cusjied round arcli, and its sur- 
 face 2«iintc<l. 1'he aisles also are ceiled 
 with wood in the form of a simple lean-to, 
 not painted. The bays of the nave are 
 subdivided each bv two round arches car- 
 
 ried by a single marble shaft with curious- 
 ly scul})tured capital. Above these arches 
 the clerestory wall is of unusual height, in 
 alternate courses of bric!k and marble, and 
 with a single tall window in each bay. 
 The ritual choir is extended into the two 
 eastern bays of the nave, from which the 
 choir proper, of later construction, consist- 
 ing of a single square groined bay with its 
 apse, is separated by a high pointed arch. 
 The floor of the choir is raised some 8 ft. 
 above the nave, its front being protected 
 by a balustrade of colonnettes with statues 
 on the jiedestals, beneath which are three 
 great round arches occupying the whole 
 breadth of the nave, separated by coupled 
 marble columns, and giving access by 
 broad descending stairs to a spacious and 
 lofty crypt. In each aisle are two similar 
 arches, while staircases on each aisle wall 
 ascend to the floor of the choir. The 
 cryj)t is divided into aisles Ijy rows of red 
 marl)le columns carrying groined arches, 
 and in the centre is the shrine of the saint. 
 The interior walls of the church, and even 
 its piers and columns, were extensively 
 painted with figure subjects, of which 
 traces yet remain, particularly in the apse 
 and eastern portion of the choir, where 
 the decoration was most elaborate, and 
 has been carefully renewed. On the north 
 side of the choir is a fine cloister, with 
 arcades of pointed arches on two sides and 
 of round arches on the other two. the 
 arches and the wall above of simple brick- 
 work, supported on slender coupled red 
 marble columns, with capitals and bases 
 of white marble and standing on a low 
 wall of stone. The exterior is of red brick 
 with frequent courses of stone, except the 
 front, which is of stone and marble. The 
 side walls are divided into bays by ti'i- 
 angular buttresses, both on the aisles and 
 clerestory, the upper portion finishing with 
 an arched corbel-table. The facade is 
 in three divisions corresponding to the in- 
 terior disposition. The central division 
 has a broad doorway, under a sligtitly pro- 
 
 5.% 
 
VERONA 
 
 jecting porch, with rude sculpture, cou- 
 sistiug of ;i rouiul iiruh sjiringing from t;ill 
 colunms resting on lions. In tiie oeutre 
 of tiio wall above is a large wheel-window, 
 evidently a later insertion. Au arcade of 
 small coupled round arches divided by 
 slender coupled columns runs across the 
 front at the height of tlie arcli of the 
 porch. The whole wall is panelled by 
 pilaster - strips which terminate in an 
 arched corbel-table following the rake of 
 
 briclv and wliitc marble. Tliere arc two 
 ranges ol' triple arcades in tlie Ijelfry stage, 
 surmounted by a round briclv spire be- 
 tween four pinnacles. The original church 
 was built in the ix cent., by Eotaldus, 
 bisliop of Verona, with tlie authority of 
 Pipin, tlie son of Charlemagne, deputed by 
 that monarch to govern his Italian prov- 
 ince. Portions of the early church re- 
 main. The western bay, wliicli has triple 
 arches between the piers iiisteatl of double, 
 
 Fig. 252.— Verona, S Zeno. 
 
 the cornice. In the central division these 
 panels are divided by horizontal corbel- 
 tables above and below tlie wheel-window, 
 and tlie lowest range of jiauels, on each 
 side of the porch, is filled with archaic 
 sculpture. The doors are believed to be 
 as early as the ix cent., and are admirable 
 examples of the art of that period. The 
 wooden frame is covered with thin plates 
 of bronze, with reliefs representing a great 
 variety of subjects, mostly scriptural. The 
 fine detached bell-tower on the south side 
 of the church has four stages of plain 
 wall divided by corbel-tables and pilas- 
 ters, the wall being in alternate courses of 
 
 and is cut oU from the rest of the nave by 
 a cross-arch, may be a part of it, but it 
 was enlarged and practically rebuilt in the 
 XII century. The choir is later, dating 
 from 1421 to 1430. The whole church 
 lias of late been carefully restored. (See 
 Fig. 252.) 
 
 Tombs of the Scaligers, a remark- 
 able group of monumental tombs in the 
 small cemetery in front of the little church 
 of Sta. Maria Antica. dating from 1329 to 
 1375, and commemorating various mem- 
 bers of the family which ruled Verona in 
 the xiii and xiv centuries. The earliest 
 is the tomb of Can Grande I., which is 
 
VETEALLA 
 
 built ovei' the doorway of the church. A 
 shxb of marble supported on corbels ou 
 either side the doorway carries a sarcojiha- 
 gus resting on the figures of mastiffs, or- 
 namented with bas-reliefs,, and bearing the 
 recumbent figure of the duke. Covering 
 it is a canopy of pointed, cusped, and ga- 
 bled arches, supported on shafts of mar- 
 ble, and crowned by a truncated pyramid, 
 ou which stands the equestrian statue of 
 Can Grande. The monument of Mastino 
 II., at the angle of the cemetery, consists 
 of a square raised basement upon which 
 stands an arched canopy on four columns. 
 At the angles are little arched canopies on 
 shafts, like the monument in miniature, 
 containing figures of saints. Above the ga- 
 bles rises a crocketed pyramidal roof, sup- 
 porting the figure of the duke ou horse- 
 back. Under the canopy is the sculptured 
 sarcophagus bearing the recumbent figure 
 of Mastino. The monument of Can Sig- 
 norio, the largest and most ambitious of 
 all the group, stands within a hexagonal 
 enclosure formed by a panelled marble 
 fence some 5 ft. high, at the angles of 
 which are panelled piers beariug tall 
 shrines, each with four shafts supporting 
 an arched and gabled canopy with pyram- 
 idal spire, and enclosing the figure of a 
 saint. These piers are connected by a 
 wrought-irou fence. The monument it- 
 self is hexagonal, and in two stages ; the 
 first of clumsy Corinthian angle-columns 
 supporting the platform on which rests the 
 sarc;ophagus, elaborately decorated with 
 bas-reliefs in panels, and bearing the re- 
 cumbent figure of the duke. The second 
 stage has heavy angle-shafts bearing point- 
 ed and cusped arches, with a horizontal 
 cornice above. Over this rises a truncated 
 spire, surrounded by gables covering niches 
 and statues, with pinnacles at the angles. 
 The sjjire carries a heavy hexagonal pedes- 
 tal on which stands the equestrian statue 
 of Can Signorio. The structure, of great 
 height and lavishly decorated, shows a 
 marked decline from the older and simpler 
 
 monuments of the grouji. The cemetery 
 is enclosed ou its two exjjosed sides by a 
 beautiful wrought-iron fence on a panelled 
 stone basement, with square stone piers at 
 intervals bearing figures of saints. 
 VETRALLA, Italy. 
 
 S. Francesco is a simple basilica with 
 one apse, consisting of six bays and a 
 sanctuary that does not project. The ex- 
 terior is plain and has but one doorway, 
 the round-headed windows are small ; the 
 style is that of the xi century. The 
 transept and ajise seem older than the 
 nave, which is very lofty and is separated 
 from the aisles by high slender columns 
 with large foliated capitals, similar, on a 
 smaller scale, to those in the cathedral of 
 Viterbo.. [A. L. F., Jr.] 
 VICENZA, Italy. 
 
 The Basilica, called Palazzo della Ra- 
 gione (or Town-hall), a singular instance 
 of a Gothic public building which has been 
 externally transformed to suit the Renais- 
 sance taste of a later age. It resembled the 
 great hall at Padua, though smaller, being 
 about To ft. wide by 165 ft. long, with a 
 lower story partially open to the street. 
 Two lines of piers and arches divide the 
 interior and support the floor of the hall, 
 which is in the second story, with rather 
 low walls pierced by broad joointed win- 
 dows with moulded jambs, and the upjier 
 portion of the wall faced on the outside 
 with a diaper of parti-colored marbles, 
 similar though inferior in design to that of 
 the Ducal Palace at Venice. The hall is 
 approached by an exterior staircase with 
 balustrade of marble. The building is 
 thought to have been completed in this 
 form before the year 1-494. But it was 
 soon considered to be in a dangerous con- 
 dition, and various jjrojects for its recon- 
 struction were entertained. In 1540, Pal- 
 ladio aiul Giulio Romano were employed 
 to submit models in competition. The 
 former was successful, and by him the 
 building was enclosed with two ranges of 
 stately arcades, concealing nearly the 
 
 63S 
 
VICENZA 
 
 wliolo of the original walls, which aro 
 among the most heautiful works of Re- 
 naissance architocture. They are com- 
 posed with two complete orders of col- 
 
 umns, Doric in the first story and Ionic 
 in the second, with balustrades, the jjedes- 
 tals of the ujiper balustrades bearing 
 statues. Each broad iutercolumniation in 
 both stories is filled in with what has been 
 called the Palladian motive — an arch rest- 
 ing on smaller columns with a square 
 opening on each side. The whole effect 
 is extremely rich and festive. The in- 
 terior of the great hall retains its ancient 
 wooden roof of high pointed timber arches 
 painted black and white, dividing the 
 carved surface into vertical panels. Like 
 that of Padua, of which this was doubtless 
 a cojiy, the roof, instead of being enclosed 
 by gables at either end. is hijiped from 
 the four corners. (See Fig. 253.) 
 
 The Cathedral (Duomo) is men- 
 tioned in the xi cent., but was enlarged 
 in 1203-83 into a Gothic church with a 
 
 broad nave in four square bays. Beyond, 
 the eastern bay is covered by a polygonal 
 dome, and intermediate jjiers divide the 
 aisles into square chajjels, two of whicli 
 corresjrond to one bay of the nave. 
 U'he choir, raised over a high crypt 
 and approached by a broad flight of 
 steps in the centre, with stairs descend- 
 ing on either hand to the crypt, fills 
 the domed bay. There is no traiisejit. 
 The exterior is of brick. The front is 
 covered by a single broad gable, and 
 has in the lower portion a blind arcade 
 (if stone with a central doorway and 
 pointed windows — and a rose above. 
 
 Palazzo Baubakano, a Renaissance 
 ])alace built in 1570 from the designs of 
 T'alladio, with a stately facade of two 
 stories of square -headed windows and 
 an attic. The lower story, rusticated, 
 has an order of Ionic half-columns with 
 seven intervals, the central one filled 
 by an arched entrance. The second or 
 ju'inciiial story has an order of three- 
 ijuarter Corinthian columns ; its win- 
 dows have balconies and pediment caps 
 alternately triangular and segmental, 
 with reclining figures, and arc bor- 
 dered with sculjjtured flowers and fruits 
 in high relief. The friezes of both orders 
 are decorated with sculpture, and the front 
 shows a singular reversal of the ordinary 
 proportion, in that the uj^per or Corinth- 
 ian order is considerably shorter than the 
 Ionic below. The attic has jilain square 
 windows with pedestals between, support- 
 ing a line of statues. 
 
 Palazzo Chieregati, now the Museo 
 Civico, a Renaissance palace built by Pal- 
 ladio in 1.5GC. It has a long facade of 
 two orders, Doric below, Ionic above, and 
 with a somewhat singular disposition. 
 The centre, including five intervals, pro- 
 jects slightly and is marked b\' coupled 
 columns at the extremities. In the lower 
 story an open loggia runs the whole length 
 of the front, slightly raised above the 
 ground ; in the upper the wall of the cen- 
 
 539 
 
VICEXZA 
 
 tre only is brought forward over the col- 
 umns below and faced with three-quarter 
 columns, enclosing high windows with 
 lialconies and pediment caps alternately 
 ti-iangular and segmental, above wiiicli, 
 under the entablature, are the small square 
 windows of a mezzanine. Contrary to 
 Palladio's habit, there is no attic. The 
 palace is now used as the museum of the 
 town. 
 
 Palazzo df.li.a Kagioxe. See Basil- 
 ica. 
 
 Palazzo Tiexe, an ambitious Renais- 
 sance palace of rustic work in stucco, built 
 from Palladio's designs in 1.5GG. It has a 
 long facade of two stories of square-headed 
 windows and an attic, with slightly pro- 
 jecting pavilions at the angles. The base- 
 ment windows are covered with liliiid 
 arches ; the second or principal story is 
 faced with an order of Composite pilasters 
 on a balustrade course, the windows deco- 
 rated with Ionic columns whose outline is 
 
 Fig. 254. — Vicenza, Teatro Otimpico, 
 
 almost concealed by heavy rustic blocks 
 witj) jiedinicnts. A decorated band joins 
 the capitals of the pilasters, which support 
 a thin entablature. The low attic is 
 broken by pedestals supjiorting a lino of 
 statues. The court is a fine composition 
 with two stories of open arcades, the first 
 very plain, of rustic masonry, with rough 
 
 piers ; the second, elegant, with an order 
 of Corinthian pilasters, the intervals filled 
 with plain round arches with a delicately 
 moulded archivolt and a rather thin balus- 
 trade. 
 
 Palazzo Valmaraxa, a Kenaissance 
 palace built by Palladio in 1.506. Its fa- 
 cade has some striking peculiarities of de- 
 sign. It is in two stories of square-headed 
 windows, the lower story having a full 
 order of pilasters with a balustrade crossing 
 the windows above, and a high arched 
 door in the middle. This front is encaged 
 in a single order of great Corinthian pi- 
 lasters running up through both stories, 
 their entablature furnishing the main cor- 
 nice, with an attic over it. The basement 
 is broken to form a pedestal for each of 
 these pilasters, and the attic above them 
 also to carry statues ; but they are strange- 
 ly omitted at the corners. 
 
 S. LOREXZO, a large brick chnrch, orig- 
 inally Romanesque, remodelled in Gothic 
 form about 1280, w'ith nave and 
 aisles, large transept and choir. 
 The nave arches are carried on 
 round columns with coarsely 
 carved capitals, and above is a 
 clerestory with small round win- 
 dows. The ceilings are groined. 
 The church contains the tomb of 
 Scamozzi, with his bust. The ex- 
 terior is of brick with the excep- 
 tion of the lower portion of the 
 front, consisting of a blind arcade 
 of seven high pointed arches, of 
 which the three central ones are 
 occupied by a ])oiuted doorway, 
 flanked on either side by canopied 
 tombs of the xiv century. This 
 story finishes with a corliel-table. above 
 which the wall is of brick, covered by 
 a single low gable with a great rose-win- 
 dow in the centre, and five smaller round 
 windows following the rake of the cor- 
 nice. The side elevations seem to show 
 a northern influence, the aisle walls being 
 divided into bays each with a jiair of 
 
 S4U 
 
VICEXZA 
 
 simplelancct windows witli trofoilod licads. 
 and a small round window al)ove. A tall 
 square brick campauilo stands east of the 
 north transept. 
 
 La RoTOXDA. See ViUn Capru. 
 
 Teatro Olimpico. This famous tlie- 
 atrc. hnilt in l.")S-l: from the designs of Pal- 
 
 Fig. 255.— Vicenza, Teatro Olimpico, 
 
 ladio. was an attempt to reproduce the 
 classic theatre of Greece aud Rome. It 
 consists of an auditorium under an awn- 
 ing, in the form of a semi-ellipse, its longer 
 diameter being about 97 ft., aud its depth 
 from the stage about 57 ft. There are 
 fourteen ranges of seats for the spectators, 
 following the curve of the ellipse, and 
 above these the auditorium is encircled 
 by a screen decorated 
 with an order of Corin- 
 thian columns, a por- 
 tion of the intervals 
 ojDening from the the- 
 atre, the remainder 
 filled with niches en- 
 closing statues. The 
 scene, about 60 ft. 
 broad, is an architect- 
 ural composition of 
 two orders of engaged 
 Corinthian columns on 
 balustrade -courses, 
 surmounted by a high 
 attic with bas-reliefs. 
 
 In the lower order the middle inter- 
 val has a high open arch, and two oth- 
 ers on the side have square openings, 
 through which arc seen streets and squares 
 of stately architecture constructed in 
 sharp perspective, ending each in a trium- 
 phal arch, which at a distance of 40 ft. 
 from the spectator looks 400 ft. distant. 
 The theatre is to be regarded rather as a 
 skilful and ingenious conceit than as a 
 building of practical utility, and has been 
 long disused. {See Figs. 254 > 255.) 
 
 Villa Capra, called La Rotonda, one 
 of the most famous of Palladio's minor 
 buildings, a country-house in the suburbs 
 of the town. Its plan is a square of about 
 70 ft. with a projecting portico on each 
 side, consisting of six Ionic columns about 
 22 ft. high, with entablature aud pedi- 
 ment. The building stands on a high 
 basement, and the porticoes are I'eached 
 by broad ilights of steps. There is but a 
 single story, surmounted by a low attic. 
 The interior has a central I'otunda about 
 30 ft. in diameter, occupying the whole 
 height of the building, encircled by a 
 balcony at the level of the ceiling of the 
 principal rooms, and terminating in a 
 hemispherical dome Avithout windows. 
 The building is planned aud designed 
 with exclusive reference to exterior sym- 
 metry, and has been extensively c'o^jiod in 
 
 -V :.:;'-;a. Villa Capra 
 
YITERBO 
 
 the country-houses of England and other 
 countries. {See Fig. 256.) 
 VITERBO, Italy. 
 
 The Cathedral is a Romanesque basil- 
 ica dating from about 1100. Ten pairs 
 of marble columns, their capitals richly 
 carved with liuman figures and monsters 
 in Lombard style, divide the nave and 
 aisles, and carry a corbelled string-course 
 above tlie arches. It was restored, round- 
 vaulted, and increased with chapels, in the 
 XVII cent.; and has a handsome bell-tower 
 of the XIII cent., banded in black and 
 white marble, with traceried windows. 
 The fine tesseUated floor, in oiJits Alexan- 
 driiium, is part of the original basilica. 
 The modern facade, witli pilasters and 
 scroll-buttresses, is delicately treated. 
 
 S. GiovAXKi IN ZoccoLi is a remark- 
 ably good instance of the late Romanesque 
 style of the northern f)art of the Roman 
 province, when influenced both by Tuscany 
 and Lombardy, producing a result more 
 harmonious and beautiful than the Lom- 
 bard, more simple and broad than the 
 Tuscan. It is a simple three-aisled basil- 
 ica without transept. The length of the 
 church is 90 ft. and its width nearly 50 
 ft. Its interior consists of five bays, the 
 last being a raised choir supported by 
 slender piers. The rest of the supports 
 are very delicate columns built ujj of local 
 stone, like the whole of the church. 
 Their cajjitals are narrow and flaring, 
 more primitive and less elegant than those 
 in the catliedral of Orvieto : no two are 
 alike, and the foliage is worked in high re- 
 lief and .sharp outline, producing strong 
 effects. The five great arches of the 
 interior recall Sta. Maria at Toscanella, 
 but are more nearly Lombard in form. 
 Tlie interior is covereil by a wooden roof 
 and is lighted bv ten i-duiid-hcadi'd win- 
 dows. [A. L. F., Jr.] 
 
 S. SiSTO belongs to tlie late l((iinanesi|ue 
 style. It is a basilica witli three apses 
 and no transejit. The nave is supported 
 on each side Itv four higli columns and a 
 
 groujied pier toward the transept. Its 
 delicate columnar style shows the influ- 
 ence of Tuscany. The groined-vaulting 
 over nave and aisles is recent, tlieir orig- 
 inal covering having been a wooden roof. 
 The most remarkable part of the church 
 is the choir, which appears to have been 
 built in about 1300, after the nave and 
 aisles. It is reached by a high flight of 
 stejjs and consists of two bays whose vaults 
 reach to nearly twice the height of the 
 main body of the church. These are tun- 
 nel-vaults ; three of them, those over the 
 aisles and the one in the nave next to 
 the apse, run parallel with the axis of 
 the church : that over the central bay 
 next to the nave runs transversely, and 
 thus receives the thrust of the others. 
 This arrangement is interesting, and so 
 unusual as to be unique in this 2'!irt of 
 Italy. The two piers at the entrance of 
 this choir are oblong, with engaged col- 
 umns and pilasters ; the central support 
 of the choir on each side is an immense 
 column whose capital resembles strongly 
 those in the cathedral of Orvieto. [A. 
 L. F., Jr.] 
 YOLTERRA, (anc. Yolaterr^), Italy. 
 
 The Baptistery is a small octagonal 
 liuilding of two stories, dating probably 
 from the ix cent., but rebuilt in the xiii, 
 with rude pilasters at the angles, a thin 
 projecting cornice, and a low octagonal 
 dome. The walls are of black and white 
 marble in alternate courses. On one side 
 of the octagon is a round-arclied doorway 
 with some interesting sculpture, on the 
 other sides single narrow round-headed 
 windows. The interior has a fine octag- 
 onal font by Sansovino, and a beautiful 
 ciborium by Mino da Ficsole dating from 
 14;i. 
 
 The Cathedral, originally a small 
 Romanesque church, consecrated in 1120 
 by Calixtus II., was enlarged in the mid- 
 dle of the XIII cent., and made into a Latin 
 cross by adding a transept with a project- 
 iujr choir. Niccolo Pisano is credited 
 
 642 
 
VULCI 
 
 with tlio alteration, or at least with the 
 t'a(;ade, which is dated in Vi't-i. This re- 
 sembles the fronts of Pisa and Lucca ; it 
 has three round-arched doorways and ar- 
 caded galleries above, with three round 
 windows and a central gable. The church 
 was considerably altered within in 1570, by 
 Cipriani, covered with a flat ceiling, and 
 the choir altogether modernized. It con- 
 tains a marble pulpit, apparently of the 
 end of the xii cent., supported on four 
 granite columns which rest on the backs 
 of lions, and adorned with reliefs some- 
 what in the style of Niccolo, but of in- 
 ferior sculpture. There is also a font of 
 similar style ascribed to one Master Ste- 
 fano in 1245. 
 
 Palazzo Belforti, a private palace 
 probably of the xiv cent., with a fine sim- 
 ple facade of stone in four stories, some C5 
 ft. broad and 70 ft. high. The first story 
 has three high, broad, pointed - arched 
 doorways ; the three upper stories have 
 each a range of two-light windows with 
 round -arched openings separated by a 
 slender column, and a round bearing-arch. 
 The front is quite unbroken by any string- 
 course or moulding uj) to the cornice, 
 which consists of a strong arched corbel- 
 table and round-topped battlements. 
 
 Palazzo Pubblico, a well-preserved 
 building of the xiii cent., with a frontage 
 of about 100 ft. and a depth of C5 ft. 
 The facade is of stone in four stories, with 
 a plain pointed-arched doorway in the 
 centre at the level of the street, and at the 
 side two similar but smaller doorways 
 opening on a raised terrace, formerly serv- 
 ing as a riiigliiera or balcony from which 
 the magistrates addressed the jieople. 
 The three ujDper stories, substantially 
 alike in design, have all two-light win- 
 dows, divided by slender columns and 
 covered by pointed bearing-arches. The 
 front is finished with a line of semicircu- 
 lar battlements. A low tower rises from 
 the front wall, with arched corbel-table 
 and battlements, above which was original- 
 
 ly a belfry consisting of four massive col- 
 umns carrying an entablature, which has 
 now disappeared. 
 
 PoKTA all' Arco, an ancient Etruscan 
 arched gateway in the city walls, sur- 
 rounded by medioeval work, with which 
 its massiveness forms a striking contrast. 
 It is a double gateway, with about 30 ft. 
 between the entrances, which are con- 
 nected by walls of huge sqiiared blocks. 
 The exterior arch bears three large human 
 heads in the round, one on the keystone 
 and the two others at the springing on 
 each side. The moulded imposts are al- 
 most Greek in character. The inner arch 
 more resembles Roman work, and shows 
 mediajval restorations. 
 
 The Etruscan W.^lls can be followed 
 through a great part of their circuit of 
 about four miles, though in large part in- 
 corporated with later fortifications. The 
 masonry is approximately rectangular, 
 much of it in very large blocks, and there 
 are very impressive stretches of wall. Be- 
 sides the Porta all' Arco {q. v.), there is 
 another Etruscan gateway, also double, of 
 precisely similar plan — the Porta di Diana, 
 which, however, is not well preserved. 
 Within the walls are remains of a Roman 
 theatre, and of a piscina. The latter is 
 underground, and consists of three lofty 
 parallel vaults supported on square piers. 
 The piers are braced together beneath the 
 vaults by flat arches. Without the walls 
 are extensive ruins of Roman thermae, 
 with masonry of brick and rubble, marble 
 incrustation, and mosaic pavements, and 
 an important Etruscan necropolis. 
 VULCI (auc. Volci), Italy. 
 
 PoNTE DELLA Badia, a grand ancient 
 aqueduct bridge spanning a deep ravine at 
 the bottom of which flows a stream. It 
 consists of a single splendid arch 96 ft. 
 high by 62 ft. in span, with huge abut- 
 ments of masonry, one of which is pierced 
 by a small arch. The masonry shows that 
 the original construction of the bridge was 
 Etruscan, and that the existing arches are 
 
 543 
 
XAXTHUS 
 
 Roman. Huge sheets of stalactites hang 
 over the wall of one of the abutments, pro- 
 jecting about 7 ft. from the wall and des- 
 eending 20 ft. ; producing a very strange 
 effect, like u petrified waterfall. 
 XANTHUS, Lycia, Asia Minor. 
 
 II.VKi'Y Tomb, so-called, a square pier 
 l(j ft. high, tlie top of which was sur- 
 rounded by the famous frieze, above which 
 is a projecting cornice surmounted by a 
 square die. I'lie sculptures have been re- 
 moved almost in their entirety to the 
 British Museum. The frieze consists of 
 
 tcreolumniations of the peristyle were 
 placed tlie so-called figures of Xereids to 
 whiidi the monument owes its usual 
 name. The stj-le of the sculj^ture is an 
 imitation of the Attic, with manifest signs 
 of oriental influences. 
 
 Theatre. The auditorium is in good 
 masonry and in very fair preservation, 
 thougii much overgrown with trees. 
 Portions of the stage-structure are stand- 
 ing to a certain height. The profile of 
 the seats displays a curve outward in the 
 rise, with a jjlain square edge above, and 
 
 scenes of adoration and religious ceremo- a depression at the back for the feet of the 
 
 nial, with which are interspersed four 
 winged figures with the busts of women 
 and the tails and feet of birds, each Ixar- 
 ing tenderly a small human form. The 
 earliest investigators mistook the winged 
 figures for Harpies ; they are in fact, no 
 doubt, beneficent genii, and the human 
 forms which they bear represent souls. 
 The sculpture is archaic in style, but has 
 much charm. 
 
 Nekeid Moxtmext, so-called, held to 
 be the tomb of a Lycian prince or Persian 
 satrap named Pericles, whose ornamental 
 
 spectators of the tier above. There are 
 in the cavea some thrones of honor, with 
 backs, and lions' feet in front. 
 YAHKLI (Euromus), Caria, Asia Minor. 
 Temple, in a recess of the hills about 
 eight miles north of Melassa. It is Co- 
 rinthian, peripteral, hexastyle, with eleven 
 columns on the flanks on a stylobate of 
 three steps. The plan measures about 
 •15 ft. by 95 ft. ; the diameter of the col- 
 umns is at the base about 3 ft., at the 
 neck 2J ft.; their height is 27 ft. The 
 columns rest on square plinths and have 
 
 features have been transported almost on the shafts panels inscribed with ilie 
 
 entirely to the British Museum. It is a 
 double cella with entrances in antis, sur- 
 rounded by an Ionic colonnade of four 
 columns on the fronts and six on the sides, 
 thecai)itals of which, though much heavier, 
 present analogies witJi tliose of the Ercch- 
 theum at Athens. There is no frieze in 
 the entablature, the architrave of wliich 
 bears reliefs like that of the temple at 
 Assos. The date is later than 370 B.C. The 
 chief frieze of the high basement repre- 
 sents a combat of horse and foot-soldiers ; 
 the second frieze, of oriental character, 
 portrays the siege of a town ; the frieze of 
 the cella shows banquets and sacrifices ; 
 
 names of the donors. Both jironaos and 
 opisthodomos had two columns in antis. 
 Parts of the cella wall and sixteen col- 
 unius, five of them in the rear faQade. re- 
 main standing, with jtortions of their en- 
 talilatiire. The columns on the south 
 side are not fluted. The workmansliip is 
 good, though the mouhlings are somewhat 
 heavy. 
 ZAHA, Dalmatia. 
 
 The Campaxile is a fine xii cent. 
 tower of a type common in Italy. Square 
 in jilan, it rises straight and unbuttrcssed 
 to the top. and is capped by a low j)y- 
 ramidal roof. The different stories have 
 
 the sculpture of the exterior architrave groups of round-arched windows with 
 
 represents hunting-scenes and the olfering mid-wall shafts, increasing in number 
 
 of presents to a satrap. The pediments toward the toji stage and set in shallow 
 
 were also filled witli sculpture, and the panels between flat pilasters. According 
 
 acroteria were small statues. In tlie in- to an inscription the tower was built in 
 
ZARA 
 
 1105, by King Coloniaii of Hungary, to 
 commemorato his triuinplial ontry into 
 Zara in tliat year. 
 
 The Cathedral, (Sta. Anastasia), dates 
 from the xiii cent., and is one of the best 
 examjDles of Dalmatian architecture. It 
 is a basilica of unusual jjrojiortions, the 
 nave being three times as wide as the 
 aisles. The interior dimensions are about 
 ICO ft. by 00 ft. On each side of the nave 
 are four round arches sujjjiorted on piers 
 alternating with columns, with a single 
 bay beyond at each end. The piers have 
 engaged shafts with heavy cushion cap- 
 itals, and pilasters facing the nave. The 
 columns are of antique marble with de- 
 based Corinthian capitals. The piers at 
 the entrance of the choir have grouijed 
 columns with capitals of Corinthian type 
 rudely imitated from Roman work. The 
 separation between nave and choir has 
 been further marked in modern times by 
 a stucco arch and other work which con- 
 ceals the piers. The round arches of the 
 triforium rest on square i^iers and have 
 alternate voussoirs of white and red. Be- 
 tween the piers is an arched Iwlustrade ; 
 above are clerestory windows. The nave 
 ends in a semicircular apse beneath which 
 is a spacious crypt. A marble seat for the 
 clergy runs round the apse, with a dado 
 of red breccia, and the bisho^j's throne in 
 centre. The choir contains a high altar 
 surmounted by a rich marble baldacchino, 
 square in plan, with pointed arches on col- 
 umns of eipollino marble and capitals imi- 
 tated from the classic. A Lombardic in- 
 scription dates it 1333. The elaborately 
 carved choir stalls are Venetian work of 
 the XV century. The exterior of this cathe- 
 dral, built of a compact white limestone 
 like marble, is the finest in Ualmatia. 
 The lower part of the fayade is a plain 
 wall pierced by three round-arched doors 
 with sculptured tympana and jamb shafts. 
 Above these the whole facade is covered 
 with tiers of arcading which recalls the 
 churches of Pisa and Lucca. The lower 
 
 capitals are Romanesque, while in the 
 three upper arcades they are later in char- 
 acter and the shafts are coupled. Two 
 rose-windows, one over the other and of 
 different ages, ornament the facade. The 
 north wall has an arcaded gallery. The 
 building was probably begun in the early 
 part of the xiii cent., on the site of an 
 older church. It was consecrated by 
 Archbishop Lorenzo Periandro in r285, 
 but the fa9ade, according to an inscription 
 on it, was not built until 1324:. On the 
 south is the sacristy, an apsidal building 
 older than the cathedral, and an old hex- 
 agonal bai)tistery which contains a circular 
 chamber with a dome 20 ft. in diameter, 
 surrounded by six apses covered by semi- 
 domes. 
 
 The Chapter House of Sta. Maria, ad- 
 joining the conventual church, dates from 
 the founding of the convent in 10C6. It 
 is a hall 30 ft. by 18 ft., covered with a 
 barrel-vault springing from an enriched 
 string - course carried all round, and 
 strengthened by four cross-ribs supported 
 on vaulting shafts. At the west end a 
 stairway leads to an upper chapel which 
 looks into the chapter house through an 
 arched window. This chapel has a vault 
 crossed by diagonal ribs s])ringing from 
 detached corner columns with cushion 
 capitals. 
 
 Porta Marina, or di S. Crisogono, a 
 Roman single arch with a Corinthian pi- 
 laster on each side upholding an inscribed 
 entablature. It formerly bore statues, Ijut 
 these are gone, and a Venetian inscription 
 occupies their place. 
 
 S. Ceisogoxo, a fine Romanesque 
 church of the xii to the xv century. The 
 plan is basilican, with nave, side aisles, and 
 three semicircular eastern a2ises. The 
 nave measures 90 ft. by 2.5 ft., with seven 
 bays ; the whole width is about 52 ft. 
 The pier arches, as in the cathedral, 
 spring alternately from grouped piers 
 and from columns. The columns are of 
 marble with early Romanescpie capitals. 
 
ZARA 
 
 Tlie ceilings are of wood. Tlie exterior 
 is better jjreserved aud finer than the 
 interior. Tlie main ajise is ornament- 
 ed by an ojjen gallery whose arches rest 
 on slender round columns with cushion 
 caiiitals. 'I'lie south wall of the church 
 has a shallow round-arched arcade with 
 coupled spiral columns. All this work is 
 undoubtedly of the xii century. The 
 central part of the fa9ade, of later date 
 ami inferior design, belongs probably to 
 tlie xv cent., to which some authorities 
 assign the whole building. Across it, 
 above the doors, is an arcade of round 
 arches upon slender coupled columns, with 
 shallow niches behind. The church was 
 originally that of an ancient abbey dedi- 
 cated to S. Antonio. In 0-i9 it was re- 
 dedicated to S. Crisogono. liebuilt in 080, 
 and again by Archbishop Lampridio in 
 1175, it was last consecrated in 1407, to 
 which time the central part of the front 
 ]irobably belongs. 
 
 S. DoNATO, adjoining the cathedral, 
 once the Holy Trinity, is a two-storied 
 round church, which dates from the ix 
 cent., and is commemorated in the writ- 
 ings of Constautiue Porphyrogenitus. It 
 is of the tyj3e of S. Vitale, at Ravenna, aud 
 the cathedral of Aix-la-Chapelle, but is 
 smaller aud inferior, the workmanshi]! 
 being vei-y rude. It is intei-esting from its 
 age aud history, and as the only imjjor- 
 tant church of its type in Dalmatia. The 
 ])Ian is circular, with a surrounding aisle 
 and the ])rincipal door on the west. On 
 tile east tliree round a])ses project, of 
 which the middle one is the largest. 
 The aisle and apses are two-storied, being 
 vaulted — the aisle with an annular vault 
 that follows the outside wall. The central 
 space or nave is open to the full height of 
 the building, and was once covered bv a 
 
 dome now fallen. The arcade of eight 
 arches lias in each story six heavy piers, 
 and two columns, taken from old Roman 
 buildings and considerably mishandled, 
 the columns being between the apses, 
 which are covered by semi-domes. Both 
 interior and exterior are extremely plain. 
 Constantiue speaks of a separate church 
 in the second story." It was jiroljably used 
 by the catechumens or by the women, and 
 was reached by a sejjarate door, now 
 blocked up. A rudely carved hood- 
 moulding over the outer doorway of the 
 staircase is the only original ornamental 
 feature to be seen. In 1877 an excava- 
 tion showed that the foundation of the 
 church rested on an old Roman pavement, 
 and was entirely composed of the frag- 
 ments of Roman buildings, some of which 
 were large and richly sculptured. The 
 cliurch was probably built by Bishoj) 
 Donatus III., the patron saint of Zara, 
 about 8111, and originally dedicated to the 
 Holy Trinity. In 1798 the Austrians 
 turned it into a storehouse aud disposed 
 of its altars and pictures. It was restored 
 to the cathedral authorities in 1870, and is 
 now a museum of antiquities. 
 
 S. PiETBO Vecchio, an old stone church 
 of unknown date, perhaps before the viii 
 cent., which is said to be the oldest in 
 Zara. Its plan is unusual, consisting of a 
 double nave divided by a round-arched 
 central arcade. The east ends of both 
 naves are square, but covered by semi-domes 
 carried on squinches, a common device in 
 Dalmatia. The western eiul has been de- 
 stroyed to make way for the apse of the 
 adjoining church of 8. Andrea. Each 
 nave has four bays with groined vaults of 
 poor form and construction. The central 
 arcade is made up of Ilomau fragments ir- 
 regularly put together. 
 
 54G 
 
GETTY CENTER LIBRARY 
 3 3125 00700 3656 
 
S>i. 
 
 >^.