THE INDEX GUIDE TO TRAVEL AND ART-STUDY IN EUROPE: A COMPENDIUM OF GEOGRAPHICAL, HISTORICAL, AND ARTISTIC INFORMATION FOR THE USE OF AMERICANS. ALPHABETICALLY ARRANGED. BY - LAFAYETTE C. LOOMIS, A.M., M.D. WITH PLANS AND CATALOGUES OF THE CHIEF ART GALLERIES^ TABLES OF ROUTES, MAPS, AND /60 ILLUSTRATIONS. 16 1888 7 NEW YORK CHARLES SCRIBNER'S SONS 1888 s ■rU ', ,u, j , : . u THE LIBRARY OF CONGRESS WASHINGTON I Copyright, 1882, 1886, 1888. bt CHARLES SCRIBNER'S SONS TROW 8 PRINTING AND BOOKBINDING COMPANY, NEW YORK. TO THE FRIENDS WHOSE KINDLY AID HAS RENDERED THE LABOR OF PREPARING THESE PAGES A PLEASURE; to those whose companionship in travel has left a thousand happy memories of europe, This Volume is affectionately inscribed CONTENTS. PAGB Preface, . . . . , . . vii List of Galleries, ..... ix List of Routes, ...... xi List of Maps and Plans, . . . . xiii Introduction, . . . . . xv PART I. Scenery, Art, History, Legend, and Myths, . 1-413 PART n. Catalogue of the Noted Works of Art in the Principal Galleries of Central Europe (with Plans of Galleries), . . . 415-500 PART IK Routes, embracing the Principal Through Lines of Travel in Great Britain, France, Bel- gium, Switzerland, Italy, Germany, and Aus- tria, 501-571 PREFACE. The following work has been the outgrowth of wants experi- enced in repeated visits to Europe. The requirements of the American in Europe at the present day, are essentially different from those of twenty-five years since. The desirable routes, the localities to be visited, and the ob- jects to be seen, are all comparatively well known. Railway and hotel officials, and, to a large extent, tradesmen and servants, have become so Anglicised as to have removed the principal im- pediments offered by a foreign tongue. That large portion of a Guide-Book devoted to this desirable information is, therefore, no longer needed. At the same time, the Americau public has be- come aware that, to the intelligent visitor, the supreme attrac- tion of the Old World, centres in its great Collections of Art — a source equally of pleasure and culture which his own country cannot bestow. The want of the American is, therefore, less as to routes, hotels, and cost, and more as to the Arts, G-alleries, and Masterpieces. The question was, however, whether by the omission of what is unimportant, a fair summary of that which is so desirable, could be comprised within reasonable limits ; whether the fifteen full volumes of Murray, or the nine of Baedeker required between Edinburgh and Naples, could be reduced to one of companionable dimensions. Those who have visited Europe know full well that, however good may have been one's knowledge of history, mythology, and art, he is met at every turn by some object whose story he can- not recall, by some work or name with which he is not familiar. viii PREFACE. It would be beyond reasonable anticipation that any suitable Hand- Book could meet all such exigencies. But by discarding the unfrequented routes, the localities rarely visited, and the numberless objects paraded as of vast importance by local guides and books, but of no greater interest or value than multitudes of similar ones in our own country, a larger amount of the more indispensable information has been crowded into a single volume, than was at first deemed possible. In the Galleries it has been the endeavor to select the works which, either from historic note or artistic excellence, are re- garded as specially important to be recognized and remembered by the American visitor. The cuts or illustrations are intended simply as aids to identi- fication in preparatory reading, and in retaining a distinct impres- sion of the masterpieces when once seen. In the references to the works of art, it has been deemed of importance to the student, to add the criticisms of well-known scholars and acknowledged authorities. With regard to the formulas of pronunciation, it may be proper to say that the English language having no sounds corre- sponding to those of the French u and n, and some others, any attempt at figuring the pronunciation of such sounds, must, at best, be but an approximation. In the compilation and condensation of such a multitude of facts, many of which are wanting in the united support of any two authorities ; and of figures, many of which refer to elements in themselves constantly fluctuating, it is impossible that an occasional error should not escape the closest scrutiny. The author trusts, however, that such instances will rarely be found, and that the work will prove a helpful companion to many a pil* grim to the home of History and the abode of the Arts. L. C. L. Apkil, lSbS. LIST OF GALLERIES WITH THEIR ABBREVIATIONS. PAGE Albani Villa, Rome Alb. Villa 417 Amsterdam, Rtjks Museum Rijks 417 Antwerp Museum Ant 419 Barberini Pal. , Rome Barb 420 Berlin National Gallery Berlin N. G 420 Berlin Royal Mus Berlin 420 Bologna, Acad, of Fine Arts Bolog 422 Borghese Gallery, Rome Borgh 423 Borghese Villa, Rome Borgh. Villa 424 Brera, The, Milan Brera 424 British Museum, London Br. Mu 426 Brussels Museum Bruss 431 Capitoline Mus. , Rome Cap 432 Corsini Palace, Rome ... Corsi 434 Doria Palace, Rome Doria 434 Dresden Gallery Dresd 435 Dulwich Gall., London Dul 437 Florence Acad, of Fine Arts Flo-r. Acad 438 Florence Nat. Mus Flor. Nat. Mus 439 Glyptothek, The, Munich Glyp 440 Hague, The, Museum Hague 441 Hampton Court, Lond . . Hamp. Ct 442 Hermitage, The, St. Petersburg .... Hermit 443 Lateran Museum, Rome Lat. Mus 444 x LIST OF GALLERIES. PAGE Louvre, The, Paris Louvre 445 Madrid, The Prado Madrid 456 National Gall. , Loud Nat. Gall 457 Naples, Nat. Mus Naples 461 Palace of the Conserv. , Rome Cap 463 Pinakothek, New, Munich New Pina 465 Pinakothek, Old, Munich Munich 467 Pitti Gallery, Florence Pitti 470 S. Kensington Mus., Lond So. Kens 472 Spada Palace, Home Spada 473 Torlonia Gallery, Rome Tori 473 Uffizi Gallery, Florence Uff. 474 Vatican Picture Gall., Rome Vat 478 Vatican Sculptures, Rome Vat 479 Venice, Acad, of Fine Arts Venice 485 Versailles ( Paris) Versail 488 Vienna, Belvedere Belv 497 LIST OF ROUTES. See pages 501-573. ROUTE Alessandria — Genoa 52 Milan 52 Antwerp — Brussels 16 " Cologne 17 " London,#ta Queen- boro IOC " Lond. via Harwich 10B " " Steamer 10A ; " Rotterdam 15 Arona — Lucerne 25 Milan 44 Brieg 35 Bale — Berne 32 44 Heidelberg 22 44 Lucerne... 23 44 Zurich 27 Belfast— Dublin 2 Berlin — Cologne 59 44 Dresden 60 Berne— Bale 32 " Interlaken 31 44 Lausanne 33 Bingen — Mayence — Heidelberg 21 Bologna — Florence 49 44 Milan 47 44 Turin 42 44 Venice.... 48 Brieg — Arona 35 44 Geneva 34 Brussels — Antwerp 16 44 Cologne 19 44 London 11 44 Paris. 18 Chamonix — Geneva 36 44 Martigny 37 ROUTE Coire — Como 29 44 Zurich 28 Cologne — Antwerp 17 Berlin 59 Brussels 19 44 Mayence 20 Como— Coire 29 44 Milan 45 Cork— Dublin 1 44 Queenstown 1 Danube, The 63 Dresden — Berlin 60 44 Prague — Vienna... 61 Dublin— Belfast 2 44 Cork — Queenstown.. 1 Edinburgh — G lasgow, via Lakes 3A Glasgow direct 3B,C,D " London, Midland. 5 44 " Ot.K.. 6 Florence — Bologna 49 44 Pisa 51 44 Rome 50 Geneva — Chamonix 36 Lausanne 34 44 Paris, via Macon. . . 39 44 u Fontarlier 38 44 Brieg 34 44 Turin.. 40 Genoa. — Alessandria — Milan . . 52 44 Pisa 53 Glasgow — Edinb'gh, via Lakes 3A 44 44 direct 3B,C,D London, L.&N. W. 4 Heidelberg— Bale 22 xn LIST OF ROUTES. ROUTE Heidelberg — Mayence — B i n - gen 21 " Munich 56 Interlaken — Berne 31 " Lucerne . . 30 Lake Brienz 30 " Como 29 44 Geneva 34 44 Lomond, Katrine...-. .. 3A 44 Lucerne 25 44 Maggiore 25 44 Thun 31 Lausanne — Berne 33 " Geneva 34 Paris 38 Liverpool — London, L.& N. W. 7 " u Midland. 8 " " Gt. W. .. 9 London — Antwerp, steamer . . 10A 44 " via Harwich 10B " fi Queenboro IOC 44 Brussels 11 " Edinburgh, Midland 5 " u Gt. iV. . . 6 44 Glasgow, L. & N.W. 4 " Liverpool, /a t 13,685 a u 13,671 Principal Passes over the Central Chain are : French. — The Cornice Road, from Nice to Genoa, along the Mediterranean. The Mont Cenis, from Modane to Susa, road built by Napoleon, 1802; alt., 6,950 ft. ; little used at present, from the mountains being tunnelled for the railway. The Little St. Bernard, from Chambery to Aosta ; alt., 7,240 ft. ; probably the route of Hannibal, B.C. 218. Swiss. — The Great St. Bernard, from Martigny to Aosta; alt., 8,110 ft. Little used at the present time. The Simplon, from Brieg to Milan; alt., 6,594ft.; see Route No. 35. The St. Gothard, from Lucerne to Milan ; alt., 6,936 ft. ; see Route No. 25. Now tunnelled for the Gothard railway. The Bernardino, from Coire to Lake Maggiore ; alt., <». ""S ft. The Spliigen, from Coire to Milan, via Como ; alt., 6,945 ft. ; see Route No. 29. Austrian. — The Engadine, from Innsbruck to Como; alt., 5,941 ft. The Stel- vio, from Innsbruck to Como; built 1820, by Austria; alt., 9,045 ft., being the highest pass over the Central Chain traversed by a carriage-road. The Brenner, from Innsbruck to Verona, the only pass over which a railway is carried ; alt., 4,485 ft. ; see Route No. 58. Passes of the Bernese Alps. Among the more noted Bernese Passes are : The Briinig, from Lucerne to Inten laken ; fine carriage-road ; alt., 3,395 ft. ; see Route No. 30. The Col de Balme, from Martigny to Chamonix ; mule-path ; alt., 7,231 ft. The Col de Forclaz, from Martigny to Chamonix ; carriage-road ; alt., 5,020 ft. ; see Route No. 37. Th{ Furca, from Andermatt to Brieg, along the valleys of the Reuss and Rhone ; car- riage-road, passing the **Rhone Glacier ; alt., 7,992 ft. The Gemmi, from Thuu to Leuk ; bridle-path ; alt., 7,553 ft. ; fine view of the Rhone Valley. The Grim- sel, from Meiringen to the Furca, passing the **Falls of Handeck ; bridle-path; alt., 7,103 ft. Ambro'-gio, St. (-zhee-o), ch. Milan; founded in the 4th cent, on the ruins of a temple of Bacchus. Present structure dates from the 12th ceut. Chiefly noted as being the place of the coronation of the Lombard kings and German emperors. After the time of Fred. Barbarossa (1180), the crown was kept at Mon- za, where it now remains, it having been used at the coronation of 34 kings, Emp. Ch. V., and Napoleon I. Amiens (ahm-i-an), Fr.; pop. 67,000; ancient capital of Picardy. **The Cathedral, 1220, is one of the finest in Europe; spire 422 ft. ; towers unfinished ; three rose windows nearly 100 ft. in circ. The 116 carved wood stalls are unsurpassed by any known. The head of John Baptist is claimed among the AMPH 13 relics. In this cathedral Edward III. paid homage to Philippe of Valois, 1329 ; Chas. VI. married Isabeau, 1385 ; and the treaty of Ed. VI. of Eng. and Henry III. of Fr. was signed, 1550. Amiens was the birthplace of Peter the Hermit, whose statue stands in front of the cathedral. The city was captured by the Spaniards, 1597; retaken by Henry IV., 1598 ; taken by the Ger- mans, 1870. G-ambetta here descended in the balloon by which he escaped from Paris, Oct., 1870. Am -phi -on, myth, son of Jupiter and Antiope ; married Niobe. See Farnese Toro. Amphitheatrum Castrense (am'-fe-the-a-trum), Rome. Upon the s. side of St. Croce in Gerusalemme, incorporated into the city wall, are 16 brick arches of this theatre. It is supposed to have been built in the time of Tiberius, for the amusement of the Prastorian Guard. Am-phi-tri'-te, myth, wife of Neptune, mother of Triton. Am'-pho-ra, a vessel with a long, narrow neck, and handles or> either side; pointed at the base, that it might be thrust into the ground to stand. Used for wine, oil, and other liquids. Amsterdam, Hoi. Lat. 52° 22' ; Lon. 4° 23' E. ; on 90 islands connected by 250 bridges; pop. 322,000. The dam across the Amstel, whence its name, was built about 1205. The prosperity of the city dates, however, from the misfortunes and decay of Antwerp under Spanish tyranny and the Inquisition. The Dam is the centre of business, around which are the Palace, the Exchange, and the New Church. In the centre rises the Fountain Monument, erected 1856, in honor of the Dutch soldiers who fell in the war of 1830. Principal Places of Interest: the Palace, **Rijks Museum, Museum van der Hoop, the Fodor Museum, and the Zoological Garden. The Palace, formerly the Stadthuis, 1648, was constructed upon nearly 14,000 piles, and is the finest building in the city, having numerous apartments finished in white marble. It has many battle-flags and a few pictures. It is the residence of the king when in the city. The Churches, despoiled of their decorations in the Refor mation, now possess little interest. Gentlemen, during service, sit with hats on or off, at pleasure. Art Galleries. **Rijks (Royal) Museum. See Part II., Amsterdam, Rijks. ANDR 15 The Fodor Museum, principally modern works. Daily, ex. Tu., small fee. The Zoological Garden, one of the best in Europe, is open daily in summer, 6 a.m. -10 p.m. 50 c. Routes: To Rotterdam, \% hrs., $1.50: $1.14. To The Hague, \}i hrs., $1.25 : $1. To Antwerp, 3% hrs., $3.75 ; $2.86. Principal station on the .s.e. margin of the city. Andrea delta Fratte, S., ch. Rome, via da Capo di Case. In 2d chapel, r. is a mon. to Lady Falconet, by Miss Hosmer ; on the last pillar, r. , tomb of Schadow, the sculptor ; in 3d chapel, 1., tomb of Angelica Kauffman. Andrea deila Val!e, St., ch. Borne, 1591, near the Piazza Navona ; celebrated for the frescoes by Domenichino, in the tri- bune — among his finest works. The church and adjacent houses are supposed to stand on the ruins of the Theatre and the Curia of Pompey, the place of Caesar's assassination. Andrew, St., represented leaning on his cross, with a book in his hand. Patron saint of Scotland, Burgundy, and Russia. Angels, S. M. degli (dale'-ye), ch., Piazza di Termini, one of the most imposing in Rome, arranged by M. Angelo, 1555, out of the great hall or Cella Calidaria of the Baths of Diocletian. It has since been much altered. The pavement is now 8 ft. above that of the Thermae, and the columns are buried to that extent, only 8 of which are antiques. In the vestibule is the tomb of Salvator Rosa. In the Transept, r. *statue of St. Bruno, by Houdon, of which Clement XIV. said : " It would speak, if the rules of his Order did not prescribe silence." *' I thought it good, but scarcely worthy of vast admiration.'' — Hawthorne. Of the many paintings, Domenichino's St. Sebastian is among the most noted. " I think this really a great picture.'" — Hawthorne. Angeiico, Fra, Guido di Pietro da. Fiesole (fee-a'-so- lay), Giovanni, 1387-1455 ; b. at Viccio, Italy. Painted only devout and saintly subjects, for which he would accept no remu- neration. His works are wrought with the greatest care and ex- quisite finish. His coloring is pure, clear, delicately softened, and admirably adapted to the serene, saint-like expression he sought to deline- ate. He possessed no facility in representing malignant passion. *The Madonna in the Uffizi, No. 17, surrounded by an arch of 16 ANGE twelve angels, with the predella and wing pictures, forms one of the most exquisite of his works, and one of his best known. Formerly in a room upon the east corridor ; now in a small room leading from the west corridor. Died at Rome, entombed in the ch. of S. M. Sopra Minerva. " His angels are the purest type to which imag- ination has consented. By no other hand are these beings of another sphere depicted so genu- inely as the gentle guardians of man." — Liibke. " How the kingdom of heaven, the home of the angels, saints, and blessed ones, was mirrored in the devout imagination of that early time, we learn most accurately and completely through him, so that his pictures will ever remain of the highest worth to history." — Burckhardt. " Never in the whole range of pictorial art have the inspired fervor of Christian feeling, the an- gelic beauty and purity of which the soul is capa- ble, been so gloriously interpreted." "I remember an 'Annunciation' by him in Perugia, in which the Virgin is candor and gen- tleness itself ; and how beautiful the two hands so piously clasped ! Alongside of this is the ' Na- tivity ; ' before the delicate infant Christ, with dreamy eyes, two angels in long robes offer flow- ers ; they are so youthful, and yet how grave ! These are the delicate touches which subsequent painters are not to recover." — Taine. Principal Works : Flor. Acad., I. 34 ; II. 10, 22 ; III. 11, 19, 20, 24, 40, 41 ; Louvre, 182 ; Madrid, 14 ; Parma, 429 ; Pitti, 373 ; Turin, 93-4 : Uffi., 17, 1162, 1184, 1290, 1294; Vat., two pictures. Angelo, Michael, Michelagnolo Buonarroti, 1475- 1564; was born at Castel Caprese, near Arezzo, Italy. Early placed under the instruction of Ghirlandaio, his genius soon be- came so apparent that Lorenzo de Medici, Governor of Florence, invited him to reside and pursue his studies in his palace. At 21 he was invited to Rome, where he executed the Drunken Bacchus, now in the Uffizi. La Pieta in St. Peter's followed, and made him not only famous, but gave him rank as the first sculptor of his time. Returning to Florence, he completed a Madonna, now at Bruges, and at the same time painted his Holy Family, now in the Tribune, Florence. At 26 he commenced his David, and, though doing all the work, it was completed in four years. At 30 he was called to Rome Angel — Fra Angelico. ANGE 17 by Pope Julius II., and commenced a celebrated Mausoleum to be erected in St. Peter's. A misunderstanding- having arisen between him and the Pope, he returned hastily to Florence, where, whilst it was being ad- justed, he sketched his celebrated cartoon of ; ' Soldiers Bathing." A reconciliation having been effected, the Pope called Angelo to Bologna, where he commissioned him to erect a colossal bronze statue of the Pope. Afterward he was called to Borne to deco- rate the Sistine Chapel. In these paintings the advance upon the style hitherto preva- lent is so marked that they may be said to introduce the epoch of modern painting. The subjects are chiefly Biblical. In 1513 he resumed work on the Mausoleum and completed his Moses, now in S. Pietro in Vincoli ; and nearly finished the Slaves, now in the Louvre. For some years the country was disturbed, and Angelo was much disheartened. In 1524 he commenced work upon his two celebrated statues of the Dukes de Nemours and d'Ur- bino — Giulio and Lorenzo de Medici — when political disturbances put a period to further labor. Six years later, peace having been restored, he resumed his chisel, and in a few months the four colossal figures, Day and Night, Morning and Evening, were wrought out. In 1534, at the pressing demand of Pope Paul III. , Angelo commenced his Last Judgment in the Sistine Chapel, upon which he continued G years without assistance. When he had reached the age of 70 he was commissioned as the architect of St. Peter's. His last work was the construction of a church, the S. M. degli Angeli, from the ruins of the Baths of Diocletian, He has two paintings in the Uffizi, No. 290, and No. 1139 — the last, the only finished picture of his known. He died in Rome, 1475, at the age of 89, and is entombed in Florence in the Church of Santa Croce. He was never married, but in his later life became deeply attached to Vittoria Colonna. Michael Angelo. 18 ANGE "Urged on by a strong subjective impulse, he scorned to follow the laws of archi- tectural creation, composed only on a grand scale, aimed at a strong general effect, and cared little for the form of the details.'' 1 — Lilbke. "Beauty, repose, symmetry, and grace, he eschewed ; expression and individu ality he aimed not at ; detail of drapery or ornament he scorned. We arrive, therefore, at some estimate of the stupendous nature of that power and subjective instinct which, in the absence of all these qualities, still takes our admiration by storm . ,1 — Kugler. See Moses, Sistine Chapel, Last Judgment, and Medicean Chapel. *Angelo, House of, near S. Croce, Florence, via G-hibellina, M. and Th. , 4- fr. ; contains many sketches, designs, and models by Angelo. Bust in bronze taken after death. Angelo, S.j, Castle of, Borne ; the tomb of Hadrian, by whom it was erected, a.d. 130. It is a circular tower upon a quadrangular base, in imitation of the tomb of Augustus. Origi- nally the tower was two stories in height above the base, and was covered with Parian marble. The remains of Hadrian, Lucius Verus, the Antonines, M. Aurelius, Commodus, and Sept. Severus, were deposited here. In 498 the Pope removed the bronze fir-cone to St. Peter's, afterward to the Museum of the Vatican. In 423 the tomb was converted into a fortress ; 537, besieged by Vitiges, and in the de- fence, its statues and cornices were hurled down upon the be- siegers. From the 9th to the 13th century it was the stronghold of the popes, and was the scene of constant intrigue and crime. Beatrice Cenci was confined here for 12 months before her ex- ecution. As now seen, only the basement is of the structure of Hadrian. The tower was erected by Urban VIII. , and the top added by Paul III. There is little to be seen within. Anna, St=, the mother of the Virgin Mary. Her reputed body was brought to Constantinople from Palestine, 710. Anthony, St., Egyptfibl. Renouncing the world, he lived so pure and holy a life, as a hermit, that Satan sent demons to tempt him. These assumed the forms of dragons, imps, scorpions, monsters, and lovely women — all to no purpose. The Temptation of St. Anthony is a favorite subject of Teniers. Ant! nous (an-tin'-oo-us), a youth of great beauty, the favor- ite and companion of Hadrian; drowned in the Nile, a.d. 122, and, by order of Hadrian, enrolled among the gods. Bas-Relief : Villa Albani ; **Antinous Crowned. " After the Apollo and the Laocoon, this is perhaps the most beautiful monu- ment which time has transmitted to us." — Winckelmann. Statues: Berlin, 236, 263-4-5; Br. Mu., 20; Cap., I. **13; VI. 54; Louvre ' ); Naples,* 194 (114), 349; Vat., 540, 545; Laterau, *head. ANTI 19 *The Antinous op the Capitol, Hall of the Gladiator, No. 13. was found at Hadrian's Villa, 1730. ''This exquisite statue has commanded the admiration of all critics by its exceeding beauty." — Murray. '"The statue of Antinous is not merely beautiful, but it is beauty itself. Like all his busts and statues, the expression is that of Elysian beauty, melancholy grace. He has the air of a man ever looking into his own grave. The limbs, the figure, the turn of the head, which droops as if with a weight of unshed tears, are so admirable that they can only be praised in su- perlatives. He wears an air of languor and satiety, a.^ if he were weary of the sunshine in which he bask- ed, and felt the serpent's sting under the flowers. — Hillard. ** Vat. Gall, of Sculp. No. 540, a colossal stat.,nude, in a pensive attitude, with both arms extended downward, and the left foot partly raised. Somewhat resembles Meleager. Hair knotted in the Roman style. The drapery, the original of which was probably of bronze, is a modern restora- tion of inferior marble. Formerly known as the Braschi Antinous. Found at Pales- trina, 1773. " Characterized by an expression of thoughtful mel- ancholy in the drooping head, by brows overshadowed by clustering curls, and by a suggestion of sadness in the curve of the voluptuous mouth."' — Li'ibke. Vat. Gall, of Sculp. No. 545, bust, found at Hadrian's Villa, 1790, An-ti -o-pe, myth, mother of Amphion and Zethus, wife of Lycus, King of Thebes. See Farnese Toro. An-to-ni'-nus, M. Aurelius, Column of. See Avrelius. Antoninus Pius. Rom. Emp., a.d. 138-1G1 ; one of the best rulers that ever sat upon a throne. His reign was a sus- pension of war, violence, and crime. Antony, Marc, Antonius : Borne, b. B.C. 83. His mother was Julia, sister of Julius Caesar. He pronounced the oration over Cassar's body ; was one of the Second Triumvirate ; became enamored of Cleopatra : being defeated at Actium by Augustus, he put an end to his own life, B.C. 30. Antwerp (on the wharf), Antwerpen, Anvers, Belg., is situated on the Scheldt, GO mis. from the sea. In the 16th cent. Antwerp was the leading commercial city of Europe, having a thousand business firms, and the Scheldt often floating at one Antinous — Vatican. 20 ASTW time not less than 2,000 ships. Since that time the city has ex- perienced numberless misfortunes from civil and religious wars, jealousy, and tyranny. In 1790 the population, which two cen- turies before had reached 200,000, numbered but about 40,000. Under Napoleon the domination of the Dutch was broken, 1794, and Antwerp began to recover that importance as a seaport which her excellent situation naturally bestows. At the present time her pop. is upward of 160,000, and the number of vessels visiting her port nearly 6,000 annually. In Art, Antwerp is second only to Florence, claiming among her distinguished masters, Rubens, van Dyck, Q. Matsys, Teniers, Jordaens, de Crayer, and Snyders. Principal Objects of Interest : The Cathedral, the Museum, the Churches of St. Paul, St. Andrew, St. Jacques. The visitor, however, will find in the general appearance of the old city, its narrow, crooked streets, its quaint architecture, and the peculiar dress and manners of the laboring classes, an unfailing source of interest. **Tiib Cathedral. — This great Gothic structure is the chief attraction of the city. It is nearly 400 ft. in length, 175 in width, or 215 including the transepts, having six aisles. The tower is 402 ft. in height, and has a chime of 82 bells. The building was commenced in 1322, and completed in the 16th cent. Except upon the s. side, it is so hemmed in that no satis- factory view of its massive proportions can be gained. * The Interim 1 . — Admission until 12 and after 4, free, but the great pictures are not then shown. From 12-4, adm. 1 fr. Sun- day free. Entrance is usually made from Place Verte, on the south, to the S. Transept, which contains **Rubens's Descent from the Cross, regarded as his master-piece. See Descent. On the wings, inside, are the Salutation and Presentation ; outside, a Hermit and St. Christopher carrying the infant Jesus. Here is also a St. Francis, by Murillo. Over the high altar is the Assumption, painted in 16 days. In the N. Transept is the *Elevation of the Cross, both by Rubens. The second Chapel, near the S. Transept, contains his * Resur- rection. The Choir-Stalls are very richly carved, illustrating, on the s. side, the history of the Virgin ; on the n. side, that of Christ. Pulpit of wood is elaborately wrought. In the n. aisle, near the principal entrance, are several life-size statues in wood. At the ANTW 21 c^Nortfi. Antwrrp. South. 22 APEL upper end of the same aisle, on a pillar, is a Head of Christ, on marble, by da Vinci. In front of the Catliedral, upon an iron canopy over a well, is Quinten Matsys' iron statue of Brabo, the legendary hero who cut off the hand of the giant Antigonus. Andrew, St., Ch. of, contains a very elaborately *carved wood pulpit, representing the Calling of Peter and Andrew. The figures are of life-size, standing in a boat ; beside them is the net with fishes. Jacques, St., Ch. of (zhack), 1429, contains chapels and burial- vaults of the most distinguished families of Antwerp. Tomb of Rubens in the Choir, back of the high altar. The altar-piece was painted by Rubens expressly for this purpose. St. George is the portrait of himself ; Martha and the Magdalen, of his two wives ; St. Jerome, of his father ; Time, of his grandfather ; the figure in blue, of his niece, whilst his son figures as an angel. The Steen in Kas Str. , on the river bank, formerly a prison, is now a Museum of Antiquities, consisting of armor, furniture, carved work, instruments of torture, etc. The dungeons and cells of torture are an interesting, though horrible exhibit of medigeval civilization. Museum ; see Part II., Antwerp. P. 419. In Place Verte, on the s. side of the Cathedral, is a bronze statue of Rubens. The House of Rubens is upon Place Mier, No. 52, a short distance beyond the Royal Palace, upon the top of which may be seen his bust. Routes, : To Brussels, 1 hr., $0.75 ; $0.60 ; see Route 36. To Rotterdam, 3 hrs., $2.20 ; $1.75. To Cologne, 1% hrs., $5.40 ; $4.10 ; see Route 1G to Brus- sels, and Route 19 Brussels to Cologne. To Paris, "t% hrs.. $8.40 ; $6.S5 ; see Route 16 to Brussels, and Route 18 Brussels to Paris. To London, via Ostend- Dover, 11 hrs., $12.00 ; $8.00 ; see Route 16 to Brussels, and Route 11 Brussels to London. By steamer, direct, 20 hrs., $6 : see Route 10 A. Via Harwich, 14 hrs., $6.25; $5.95; see Route 10 B. Via Flushing-Queenboro, 16 hrs.. $G ; $5; see Route 10 C. Union station for all rlys., on the e. margin of the city. A-pel'-les (-lees), the most celebrated painter of Greece. The only one by whom Alexander the G-t. would permit bis por- trait to be painted. No work of his uow remains. Apennines, MtS., Ital. , extending the entire length of the peninsula, from Nice to the Straits of Messina. G-enerally barren, and above the altitude of 3,500 ft., devoid of forests or vegetation. They yield few metals, but have extensive deposits APHR 23 of salt near Cosenza, and of marble at Carrara, Serravezza, and Siena. Highest point, Monte Corno or Gran Sasso, near the e. coast, opposite Rome, attains an altitude of 10,206 ft. Aph-ro-di'-te. See Venus. Apollo, myth, son of Jupiter and brother of Diana. His special powers were to punish, to help, and to protect. He was the god of prophecy and song, and hence called Musagetes, the leader of the Muses ; and also Cytharcedus, the lyre-player. He was the protector of flocks and cattle, the founder of towns, and the god of the sun. Statues : Berlin, 11, 51, 82; 103, 119, 122, 235-9, 242, 260 ; Borgh. Villa, V. ( ), VIII. 4 ; Br. Mu., 105, 115 ; Cap. III. 15, 20 ; Glyp., 41, 97 ; Louvre, 75-6 ; Naples, 86 (92), 527 (262), 528 (263) ; Vat. (Br.), 95, **92 Belvedere. ** Apollo Bel-ve-de'-re, stat. in the Vatican Gallery, No. 92, the chef-d'oeuvre of the collection ; found in Nero's Palace, Rome, near the end of the loth cent. Although it has held the place of the finest piece of sculpture known, it is believed to be a copy of a bronze, probably by Calamis. Represented nude, with his chlamys thrown back over both shoulders and partly on the left arm ; standing upon the right foot, the left nearly raised, the right hand spread, the wrist rest- ing upon the trunk of a tree up which a serpent is crawling; the left arm extended and the hand grasping a fragment of some un- known object. The pose and ex- pression are those of expectancy. From the time of its discovery to the present, the purport of this statue has been a source of almost uninterrupted discussion. The ear- lier solution was that the left hand held a bow, and that having just discharged his arrow, he was in- tently watching its flight. This theory was, however, set aside by the discovery of another statue, now in the St. Petersburg Gallery, 1792, almost identical in action and position, displaying in his left hand an regis with the head of Medusa, the emblem of thunder, lightning, and earthquake. ApoUo Belvedere — Vatican. 24 APOL This rendered it probable that the statue was in commemoration of the defeat of the Gauls, B.C. 280, in their attempt at the pil- lage and desecration of the temple of Delphi, when in the midst of the struggle Apollo appeared, and, shaking his asgis before the face of the enemy, struck terror into their hearts. — Iliad, xv., 318. With regard to the origin of the statue, little is known upon which even to base conjecture. It is thought to have been brought, along with 500 others, from Greece, by Nero. Both arms are restorations by Montorsoli, pupil of M. Angelo. "Too fair to worship ; too divine to love." " The Apollo lias a face which. I have never seen in any cast or copy." — Haw- thorne. " There is something wonderfully striking, bold, and full of action in the im- pression that the work produces. Schnaase rightly calls the Apollo the most bril- liant piece of sculpture of ancient times." — Liibke. "There is — shall I speak the word — a little of the fine gentleman about the Apollo, and in the expression there seems to be a gleam of satisfaction reflected from the admiration which his beauty awakens. There is not enough of the serene uncon- sciousness of the immortal gods. There are, doubtless, finer statues in the world than the Apollo, but there are none more fascinating. In this statue, more than in any other work in marble, we recognize the grace and ani- mation of a living form — a sympathetic charm which every one can feel." — Hillard. Statues: Br. Mu., No. 114, found at Gy- rene, 1861, in 123 fragments ; similar to those in the Cap. Mus. and Naples. Apollo Cytharoedus (sith- a-ree'-dus), stat., Vat. Hall of Mu- ses, No. 516, in a long, flowing robe, playing a lyre ; copy of origi- nal by Scopas ; found at Tivoli. Stat. Glyp. No. 90, for a long time known as the Barberini Muse. Regarded by Winckelmann as a model of the Greek style of the epoch preceding Phidias. This about a.d. 200. The r. arm and 1. Apollo Cytharoedus — Munich. stat. is believed to date hand are restorations. Statues : Berlin, 6, 68, 112, 997; Br. Mus., *114, 138; Glyp., *90 ; Cap., I. 2, III. 8; Nap., 242, 509 (244), 92 (67), and a green basalt; Tori., 280 ; Vat. (Ch.), 242 (P. C), 395, 380, 516, 582. APOL 25 Apollo Sauroktonos — Louvre. '"Apollo Sauroktonos (saw-rok'-to-nos : lizard-MUer), stat. in the Louvre ; copy of original in bronze by Praxiteles ; found on the Palatine Hill, 1777. The youthful god, with his right hand partly extended and his left resting against a tree, is watching a lizard climb- ing, which he is about to thrust with an arrow. Statues : Alb. Villa, * bronze, 952 ; Louvre, 70 ; Vat., 2(54. The bronze in the Albani Villa is regarded by Winckelmann as the original of Praxiteles. **Apollino, or Young Apollo, stat. in tne Tribune, Uffizi, No. 345, called the Apollino or Young Apollo, to distinguish it from the Apollo Belvedere. Mengs remarks that this is a model of grace and beauty, as that is of grandeur and sublimity. Its resemblance to the bronze Young Apollo of Praxiteles in the Albani Villa has led to the surmise that it might be the work of that mas- ter ; but the statue has so close an analogy of style to that of the Venus de Medici, that these two are believed to be the work of the same hand. It has been observed that if the Venus had not the pre-emi- nence of subject, the Apollo would yield to it neither in grace nor beauty. A-pol'-lo-do'-rus, Greek painter, B.C. 400 ; discoverer of chiaroscuro. A-poHo'-ni-us, Greek sculp., B.C. 200. See Farnese Toro. Apollonius, Greek, B.C. 300; sculptor of the Belvedere Torso. Apostoll, SS., Ch. in the Pi. de Apostoli, Rome, to the 1. of the Corso, s. end ; founded 6th cent. ; rebuilt .1420, and again 1602. Only the vestibule remains of the earlier structures. Under the portico, *Eagle with wreath of oak- leaves, from the Forum of Trajan ; mon. to Volpato, by Canova. Over the sacristy door is the tomb of Pope Clement XIV., by Canova. A-pox-y-om'-e-nos, an athlete scraping the dust from his arm with an iron called the strigilis. 2 Apoxyomenos — Vatican. 26 APSL ** Statue in the Vatican, No. 67 ; found in the Trastevere, 1846 ; copy of a bronze by Lysippus, which was placed by Agrippa in front of his baths near the Pantheon, and which Tiberius at- tempted to remove to his residence, causing a tumult of the popu- lace, who forbade it. ApsSey House, London, Hyde Park Corner. Residence, 1820-52, of the Duke of Wellington. Gallery of a limited num- ber of pictures, but some very fine ; among them Correggio's Christ on the Mt. of Olives, his most celebrated work in England. Aqueducts, Rome.— Aqua Alsietina ; constructed by Au- gustus ; restored by Trajan. On the w. side of the Tiber, 30 mis. long, leads to the fountains of St. Peter's ; now called Aqua Paoli, sometimes Aqua Trajana. AQUA Anio Novus ; constructed by Claudius ; 62 mis. long ; alt., 212 ft., being the most elevated of all the ancient aque- ducts ; enters at Porta Maggiore above the Aqua Claudius. Aqua Anio Vetus ; constructed by Dentatus, B.C. 272 ; 43 mis. long; alt., 149ft. ; enters the city at Porta Maggiore, beneath the Aqua Marcia. **Aqua Claudia ; commenced by Caligula, completed by Clau- dius, A.D. 50; 46 mis. long ; alt., 203 ft. ; crossed the Campagna above the Aqua Marcia, upon a series of arches for 10 mis., of which 6 miles are still standing, forming the grandest ruin outside the walls. Was repaired by Sept. Severus and Caracalla. Aqua Felice, 13 mis. long, modern, 1583 ; crosses the Cam- pagna on a series of unbroken arches ; now supplies the Fontana di Termini and 24 other fountains. Aqua Julia ; constructed by Augustus, B.C. 34 ; alt., 191 ft. ; built above the Aqua Tepula. **Aqua Marcia; constructed by Q. M. Rex, B.C. 145 ; restored 1869; is 56 mis. long; alt., 173 ft. This aqueduct crosses the Campagna on an **arched way and enters the city at Porta Pia, and brings the purest water in Rome. *Aqua Virgo ; constructed by Aug. or Agrippa, for his Baths of the Pantheon ; 14 nils, long ; crosses the Campagna on 700 arches, and enters the city near the Pincian Hill. This aqueduct now supplies the Fountains of Trevi, Piazza Navona, Piazza Far- nese, Piazza di Spagna, and others ; now called Aqua Vergine. Arabesque (ar-a-besk'). Style of ornamentation adopted by the Arabs, in which flowers, fruits, and mathematical figures were inwoven in beautiful and grotesque combinations, but from ARA 27 which forms of animals and animate beings were excluded. A good example is the Alhambra Court, Crystal Pal., London. *Ara-Coe!i, S.M. di, (ahr'-ah-chel-le), ch. on the Capi- toline Hill, Rome. This ch. is built upon the site of the temple of Jupiter Capitolinus. It was at the head of the stairs to the 1. of the Senator's Palace that Tiberius G-racchus and Valerius, the Consul, were killed ; and within the ch. that Gibbon first con- ceived of his Decline and Fall of the Roman Empire, Oct. 15, 1704. Within are 22 columns of diverse lengths, from various ancient structures The floor is covered with mosaics called Opus Alexandrinum. This church is in especial esteem among the Romans from its fa- mous miracle-working baby, the Santissimo Bambino, 1. aisle, 2d Chapel, closed except at Christmas. It is a fantastic doll, carved from olive-wood and painted by St. Luke, gaudily dressed in gold and silver tissue, and bedecked with jewels. Formerly it was in great request to work miraculous cures, and at one time its income, as a medical practitioner, was greater than that of any physician in Rome. It was never left without a guard. In the 1. transept is the tomb of St. Helena, mother of Constantino. **Arede Triomphede I'Etoiie (ark-deh-tree-oamf-deh- lay-twahl), Paris ; w. end of the Champs Elysees. THumphal Arch of the Star — so named from the star formed by the 12 avenues radiating from this point. Dedicated by Napoleon I. to the glory of the French armies; corner-stone laid 1806; com- pleted 1836, under Louis Philippe; designed by Chalgrin ; 160 ft. high, 146 ft. wide, 72 ft. deep; cost $2,000,000. It stands on the most commanding site in Paris, at a distance of about 2 mis. from the Louvre. On the e. face are alto-reliefs ; r. below, Departure of Troops, by Rude ; above, Obsequies of Marceau, by Lemaire ; 1. below, Napoleon I. crowned, by Cortot; above, the Pasha taken Prisoner at Aboukir, by Seurre. On the w. face, r. below, French meet- ing the Invaders, by Etex ; above, Bridge of Areola, by Feucheres; 1. below, Peace of 1815, by Etex ; above, Taking of Alexandria, by Chaponniere ; north end, Battle of Austerlitz, by Gechter ; south end. Battle of Jemappes, by Marochetti. Upon the frieze are represented : e. side, the Departure ; w. side, the Return of the French Armies. On the cornice are 30 shields inscribed with victorious battles ; and on the vaulting, 886 names of Generals, the under line indi- 28 ARCH eating those who fell in battle. Ascent may be made by stair in the s. side ; fee 25 centimes. **View from the summit is one of the most commanding in Paris. Architecture. — I. Grecian Architecture embraces three principal orders : the Doric, the Ionic, and the Corinthian, of which the leading characteristics are : Doric Portico. Ionic Capital. Doric Portico. — Entablature : that part of a building restingupon the columns, divided into three parts ; 1, the architrave (A A), resting immediately upon the capitals ; 2, the frieze (F E), or middle portion, often ornamented with sculp- tures, of which the Elgin Marbles from the Parthenon are examples : and 3, the cornice (C C). The frieze is also divided into trig yphs, small sections having three perpendicular grooves and metopes (M M), the space between the triglyphs either sculptured or left a plain panel. 1. The Doric : the length of the column being 4 to 6 times its diameter, with 20 shallow flutes coming to an edge, a plain capital, the frieze divided into metopes and tryglyphs. 2. The TQHia : height of column about 9 diameters; the capital surrounded by a row of water-leaves ; 24 flutes separated by a fillet ; capital with volutes at the corner parallel to the en- tablature ; plain frieze. 3. The Corinthian : height of column about 10 diam- eters : the capital surrounded by a row of water-leaves, and a second row of acanthus leaves, and having the double-faced volutes projecting diagonally. II. Tuscan Order. — Height of column 7 diameters without flutes, and with no ornament. III. Composite, or Roman Ch'der : a mixture of Ionic and Corinthian, capital has two rows of acan- thus leaves, and in general more ornamented than the Corinthian. IV. Gothic. — Arch pointed ; column ribbed and often branched in the vault- ing; adopted in the 12th cent, and prevailed until the 15th cent., during which period the principal cathedrals of Europe were founded. About 1300 the Gothia was adopted as the style of early castles. Corinthian Capital. ARGE 29 V.English. — 1. Old Saxon Style: semicircular arch; very narrow windows ^6 inches) ; walls very thick ; no buttresses ; columns 3^ diameters high on a square plinth. 2. Norman Style : arch semicircular ; in second tier one larger arch frequently spans one or two smaller ones, in the third it spans three arches ; over doorway grotesque representations of men and animals ; columns large, close-set, fluted and sculptured ; windows, narrow with semicircular heads ; ceilings of timber, except in the crypts, without tracery. 3. Early English (1150) : arch sharply pointed and lofty. In the upper tiers two or more comprehended under one ; columns, slender and clustered ; capital, decorated with foliage ; windows, lancet-shaped ; roof, high ; ceiling, vaulted ; walls thinner, with buttresses. 4. English Ornamented : arches less sharp, more open, and windows larger, divided by mullions ; east and west windows large and splendidly decorated; vaulted ceiling with springing ribs, subdivided and covering the whole with tra- cery, niches, and sculptures. 5. Florid English (Tudor) : arches flat ; ceiling spread into network ; flying but- tresses, ornamented ; external face of the wall highly ornamented. VI. Renaissance (reh-na'-songs), the name given to the style following upon the decline of the Gothic, which comprised an indiscriminate combination of Gre- cian, Roman, and Gothic. Argentiere (ar-zhawn' -tee-air), Fr., the uppermost village of the valley of Chamonix ; at the foot oC the Glacier of Argen- tiere, amid peaks rising to the height of 14,000 ft. See Route 87. Ariadne (a-re-ad'-ne), myth, daughter of Minos; enamored of Theseus when sent by his father to con- vey the tribute to the Minotaur, and gave him the clew of the thread by which he found his way out of the labyrinth. The- seus, in return, prom- ised to marry her, and she accordingly left Crete with him ; but, on their arrival in the Sleeping Ariadne— Vatican, island of Naxos, he deserted her, where she was found by Diony- sius (Bacchus), who made her his wife. Statues: Berlin, 154, 983; Cap., II. 23, head; Tori., 237. 297; Vat. (Ch.), 510 (P. C), **414. **Anadne, Sleeping, stat. in the Vatican, No 414; found 1503. Represented at the moment of h c :r desertion when asleep. 30 ARIA The right arm is thrown over the head, which rests upon the left hand. The drapery has hardly a parallel in any statue known. "The position is perfect, the drapery is a masterpiece, and the restless sleep is most admirably rendered." — Wood. " The position is graceful, almost mannered."" — Ampere. "Although the size is colossal, the delicacy and grace of the female figure are not impaired ; but it is especially admirable for the drapery, which hangs in. the most natural folds, revealing the fine outline of the limbs which it veils, but managed with great refinement." — Hillard. **Ariadne on the Panther, stat.; Dannecker's master- piece ; in the Ariadneum, Frankfort, Germany. This is con- sidered one of the finest of modern sculptures, although the idea seems to have been borrowed from the fig- ure of a woman seated on a lynx, an antique in the Lateran Mus., Rome. Arsenal, Venice, at the e. ex- tremity of the city. Admission 9-8. Commenced 1104, and in the 14th cent, employed 16,000 men. The walls are attributed to Andrea Pisano. The principal gateway, Aviadne-FranJcfori. Um> ig surm0U nted by the statue of St. Giustina. Near by are the Colossal Lions, brought from Athens, 1687. The erect one stood at the entrance of the Pirseus, and is hence called Porto Leone. It has been conjectured that it was originally erected on the Field of Marathon. The inscrip- tions upon the sides remain uninterpreted. The Interior contains an innumerable collection of military implements, weapons, instruments of torture, punishment, etc. Among them, remains of the Bucentoro, the State Barge ; armor of Henry IV. of Fiance ; banner of the Turkish Admiral at Le- panto ; helmet of Attila ; bust of Admiral Emo, by Canova. **Assumption, Titian's, Acad., Venice. No. 24. " When I stood before Titian's Assumption and felt as if lifted off my feet by the power and beauty of that incomparable picture, I could not lament that I did not see the slight imperfections in drawing and design, which more trained and more fastidious eyes detect in it." — Hillard. " Overhead, midway in the air, rises the Virgin in the midst of a halo glowing like the vapor of a furnace ; she is healthy and vigorous, unecstatic, and without the mystic smile, proudly intrenched in her red mantle, which is enveloped by one of blue. The stuff takes countless foids in the movements of her superb form ; ATAL 31 her attitude is athletic, her expression grave, and the low tone of her features comes out in full relief against the flaming brilliancy of the aureole. "Nothing is effeminate or languid ; grace here maintains its sway. It is a beautiful pagan festival, that of earnest force and beaming youthfulness. Vene- tian art centres in this work, and per- haps reaches its climax. 11 — Taine. " Beyond that even of any other work of Titian. 11 — Phillip. "The most divine work ever produced by the hand of man." — Mendelssohn. Atalanta, myth. Abandoned by her parents, she was nursed by a bear. Having grown to ma- turity, she slew the centaurs who pursued her, and was the first to wound the boar in the Caly- donian Hunt. When desired to marry, being the swiftest of mortals, she offered to accept whoever should outrun her. Mi- lanion, taking three golden ap- ples and dropping them during the race, she was so charmed by their beauty and detained in gathering them, that he reached the goal before her. Aaj~~' —~ c I/-- Assumption — Titian. -the-na. See Minerva. l Augustine, St., b. in Numidia, a.d. 354. Went to Rome, became a lawyer ; went to Milan and was converted by St. Am- brose ; made bishop of Hip; o ; d. at seventy-five. Regarded as the father of the Latin Church. Augustin, St. (saft-o-goos-tan), ch. Paris. Dome 80 ft. in diam. , 160 ft. high. Romanesque style. Over the portal are the Apostles ; the interior is harmoniously decorated ; the canopy over the high altar, the Chapel of Notre Dame, and the dome, merit special notice. Augustus Csesar, grandson of Julia, the sister of Julius Caesar, b. B.C. 63. His original name was C. Octavius, but in B.C. 27 the Senate conferred upon him the title of Augustus. On the death of his great-uncle he hastened to Rome, and after a little time was elected Consul. Afterward he united with Antony and Lepidus in the Second Triumvirate, by which it was agreed that their respective enemies should be slain, among whom were 32 AUGU Cicero, 300 Senators, and 2,000 citizens. Dissensions soon aris* ing, Lepidus and Antony were conquered in turn, and Augus- tus became master of the Roman Empire. He continued his reign 44 years, dying at the age of 76. Having only one child, Julia, who married Agrippa, he adopted as his successor Tibe- rius, the son of his first wife by a former husband. He resided many years in his palace on the Palatine Hill ; and is said to have slept in the same room for forty years. His long reign was that of peace and pros- perity. Statues : Berlin, 230, 365 A. ; Cap., V. 2; Glyp., 209; Hermit., 193; Louvre ( ) ; Nap., bronze, colossal; Vat. (Br.). **14, 102 ; (Ch.) 401, 281, 555, 559, 597. **I. Vatican (Br.), No. 14. Found, 1863, Villa Li via, 9 mis. from Rome. Upon the richly sculptured cuirass are bas-reliefs of the achievements of the Emper- or. Augustus, as the Sun, stands in his chariot preceded by Aurora and Phosphorus. In the centre is a warrior saluting the Sun. A Legion- ary stands before him with a dog, symbolizing the fidelity of the army. On the r. and 1. are seated figures repre- senting Hispania and Dalma- tia, provinces conquered by Augustus Below them are an Apollo seated on a griffin, and Diana on a stag, representing the victory over the fleet of Antony, and the recovery of Sicily, sacred to Diana ; and on the shoulders are two sphinxes, in indication of his conquest of Egypt. " Without exception the finest imperial portrait statue which has come down to us." — Shaks. Wood. " Unsurpassed for the nobleness of its conception and the delicacy of its artistio execution ; well preserved." — LUbke. II. Vatican (P. C), No. 559, half draped; remarkable for its likeness to Napoleon. Augustus — Vatican. AUGU 33 III. Louvre, Salle d'Auguste, at the extreme end ; in his im- perial robes. Young Augustus, Br. Mu., 3, 4; Vat. (Br.), 14; (Chi.) 401, 416; Glyp., 209. **Head of; Vat. (Chi.), No. 416. Found at Ostia, 1808 ; Parian. " One of the most beautiful heads in the Vatican, and, without question, a truthful portrait of the young Emperor at about the age of 17." — Wood. " The bust of the young Augustus is one of the most beautiful things in Rome. It represents him about sixteen or eighteen years old. The face is of delicate and dreamy beauty. The brow is intellectual and thoughtful, but the chief charm of the work is in the exquisite refinement of the mouth." — Hillard. Augustus, Tomb of, Bome, Via dei Pontefici, No. 57. Founded by Augustus, B.C. 27. It was a circular building, 255 ft. in diameter, raised upon an elevated foundation of white marble, and surmounted by a bronze statue of the Emperor. Among those whose ashes were deposited here were : Augustus, Marcellus, Octavia, Agrippa, Livia, Drusus, Germanicus, Agrip- pina, Tiberius, Caligula, Drusus the younger, Claudius, Britanni- cus, and Nerva. The Mausoleum was devastated, first, by Alaric in search of treasure ; again, by Robt. Guiscard ; occupied in thp 12th cent, by the Colonna family as a fortress, and attacked and destroyed by Fred. Barbarossa. The ruin was used as an amphitheatre for bull-fights, and is now used as a theatre for day representations. It is so surrounded by houses that little can be seen of what remains. Aurelius, Marcus, M. Aurelius Antoninus , b. a.d. 121 ; Rom. Emp. 161-180 ; adopted son of Ant. Pius. On coming to the throne, he admitted to an equal place with himself, Lucius Aurelius Verus, also an adopted son of Ant. Pius. In philosophy he was a Stoic, and wrote a work in Greek, en- titled "Meditations," still extant, of which it is said that no work of antiquity presents a nobler view of philosophical heathenism. **Aureiius, Marcus, stat., Piazza Capitoline, Rome. Bronze equestrian, formerly gilt. The only perfect equestrian statue now in existence of the 22 that decorated Ancient Rome. It was erected in front of the Arch of Sept. Severus, between a.d. 161 and 181. In a.d. 1187 it was removed by Sergins III. to the front of St. John Lateran, and in 1538, upon the completion of the Piazza Capitoline, at the wish of Michael Angelo. it was trans- ferred to its present location. In the general crusade against 34 AURE heathen art it was spared through the error of supposing it to be the statue of Constantine, a Christian Emperor. t; It is the most majestic representation of kingly character the world has ever seen. A sight of the old heathen emperor is enough to create an evanescent senti- ment of loyalty even in a democratic bosom, so august does he look, so fit to rule, so worthy of man's profoundest homage and obedience/' — Hawthorne. It is related of this statue that M. Angelo upon one occasion became so lost in its contemplation, that, wishing to observe the horse in another position, he called out to the animal l ' cam "— go on ! *Aurelius, Column of, in the Piazza Golonna, Rome ; com- posed of 26 blocks, around which is a spiral of bas-reliefs of wars upon the Danube ; erected to M. Aurelius by the Senate, a. d. 174. Height of base 25 ft. , shaft 97. May be ascended by an interior flight of steps. For a time this was erroneously supposed to be the Column of Ant. Pius, erected to him by his two sons, M. Aurelius and L. Verus ; and when Sixtus V. restored the column and placed the statue of St. Paul upon the summit, he caused an inscription to that effect to be placed upon the base, whence it came to be known as the Antonine Column. Aurora, myth, Greek, Eos, goddess of the dawn; dau. of Hyperion. At the close of the night she arose and ascended the heavens to announce the coming of the god of day. ** Aurora ; I. Painting, by Guercino, in the Villa Ludovisi, Rome. Aurora is mounted in a two-horse chariot, and attended Aurora — Guercino. by two winged figures — one with a wreath, the other with flow- ers ; before her are female figures representing the fleeing Hours or fading Stars. Behind is Tithonus. The work is full of the charm of Guercino's powerful coloring. AVEN 35 II. Painting; masterpiece by Guido, in the Rospigliosi Pal., Rome. Phoebus is seated in a chariot surrounded by the Hours, with Cupid above as the Morning Star, whilst Aurora leads the cortege scattering flowers. See Frontispiece. " The noblest work of G-uido. It is embodied poetry. Nothing is more ad- mirable in this beautiful composition than the motion given to the whole. 11 — Eaton. "Cupid, Aurora, and Phoebus form a climax of beauty, and the Hours seem light as the clouds on which they dance." — Forsyth. " Worth a journey to Rome to see." — Byron. '• Certainly, taking all in all, the most perfect painting in the last 200 years." — Burckhardt. " The picture is as fresh and brilliant as if he had painted it with the morning sunshine which it represents. It could not be more lustrous in its hues if he had given it the last touch an hour ago. The alacrity and movement, briskness and morning stir, and the glow of the picture, are wonderful." — Hawthorne. Aventine Hill, Home, lying on the extreme southern border of the city, between the Palatine Hill and the Porta San Paolo. Avignon, Fr. See p. 572. Ayr, Scot., 40 mis. from Glasgow by rly., is noted especially as the birthplace of Burns, the poet ; as also the place where Wm. "Wallace was imprisoned. The town is divided by the river Ayr, over which are the ' ' twa brigs " of Burns. The Burns Cot- tage, or birthplace, the scene of his " Cottar's Saturday Night," is two mis. s. of the town, and is now used as a public house. It contains few articles associated with Burns. Alloway Kirk, mentioned in " Tarn O'Shanter," or what re- mains of it, is one-half ml. s. of the Cottage. Near the church are the Burns monument, a circular shaft 60 ft. in height, erected 1820, and the Doon, immortalized in the "Banks and Braes of Bonny Doon." Burns died at Dumfries, where he had lived three years, and was buried in the churchyard there. Nineteen years later, upon the completion of the monument to his memory, hia body was exhumed and placed within the Mausoleum at Dum- fries. Bacchus, Dionysus of the Greeks, the god of wine ; in art represented as a beautiful youth of manly figure, approaching effeminacy and voluptuousness. The expression of the face is that of the languid pleasure of one lost in sweet reverie. Mar- ried Ariadne. Bacchus was a favorite subject with the Greek sculptors, as was Bacchus and Ariadne with Renaissance painters. Statues : Berlin, 32, 113. 115, 154, 158, 166, 167, 173, 177, 178, 222, 223, 225, 244, 245; Br. Mus., 110, *140, 176, 189, 193; Cap., I. 4; II. 5, colossal head; 36 BADE Glyp., 51, 103, 108; Louvre, 204, 217; Naples (Farnese), 192 (120), 534, 195; Vat (P. C), 397, (Ch.) 588. * Baden-Baden (bah-dn; the baths). The Aurelia Aquensis of the Romans ; one of the most noted German watering-places. Nearly destroyed in the Thirty Years' War. Number of visit- ors reaches 50,000 annually. The hot springs, 13 in number, yield a mineral water of temperature varying to 150° Fahr. Leopolds-plate contains a statue of the Grand Duke Leopold. The New Castle, above the town, 1479, is now occupied by the Duke as a summer residence. Among the environs of Baden, which abound with most delightful views, are the Felsen, com- manding an extensive view, and Alt Eberstein, the ruins of a Roman watch-tower. See Route 22, Note 9. Routes : To Heidelberg, 2 hrs., $1.40 ; $0.95 ; eee Route 22. To Bale, 4 hrs., $3.30; $2.20; see Route 22. Baise (bay'-ye), Itai., 10 mis. w. of Naples ; in Roman times one of the most luxurious watering-places of the Empire. Ruins of the Temple of Mercury — probably a bath — and of the Temple of Venus and Diana, yet remain. Bakhuisen, Ludolf, Backhuysen, Bakhuysen, Backy- sen, 1631-1708 ; b. at Emden, in Westphalia. Without a master, or having had any instruction, he drew pictures of vessels which he saw in the port of Amsterdam, with such fidelity that some of them were purchased at the price of 400 florins. Resolving to become a painter, he studied under van Everdingen. In order that he might render sea-scenes, and especially tempests, with the utmost effect, he often exposed himself on the most tem- pestuous sea in a small boat, until at length he produced marine views which have rarely been equalled, and were in demand in all the Courts from St. Petersburg to Italy. " Comparing Bakhuisen's dark and rather hard treatment with the transparency of Willem van de Velde, a critic says, ' Bakhui- sen makes us fear the sea, van de Velde makes us love it.'" His later productions are characterized by gray skies and a general cold, red tone. His works number about 200. Pbincipal Works : Amst. Hoop, Nos. 4, 5 ; Ant., 7 ; Belv., two ; Borgh., XII. 23 ; Hague, 5 ; Louvre, 5, 7 ; Nat. Gall., 204, 818, 1000 ; Rijks, S, 9, 11. Balbus, Theatre of, Rome. A small portion of the ruins are visible near the gate of the Ghetto, below the Cenci Palace. The Castor and Pollux at the Capitoline steps were found here. BALE 37 Bale (bahl), Fr. ; Basel (bah-zl), Oer. {the Queen); Rom. Basiled. A city of Switzerland, situated on both sides of the Rhine, at the point of junction of Germany, Switzerland, and France ; that portion on the Swiss bank being called Bale, or Basel, and that upon the German, Klein Basel. Pop. 50,000. Bale was a Roman military post as early as B.C. 27. In 1431, the Great Ecclesiastical Council of 500 members, which had for its purpose the purification of the church, commenced here its ses- sion. After 17 years' deliberation, and accomplishing little, the members themselves all being excommunicated by the pope, the Council was dissolved. Bale is the birthplace of Holbein and Euler, and the place of the death of Erasmus, 1536. The Munster, formerly the cathedral of the See of Bale, was built by Emp. Henry IT., 1010 ; burned, and rebuilt in 1185 ; de- stroyed by an earthquake, 1356 ; restored in Gothic style ; sacked in the religious disturbances of 1529 ; redecorated with great richness and elegance, 1852. The Museum contains a Collection of Natural History and a Gallery of about 400 pictures, among which are numerous works of Holbein the Younger. Routes : To Heidelbekg (and Frankfort), 6 hrs., $5; $3.40; see Route 22. To Schaffhausen, 2 hrs., $2.50; $1.50. To Lucerne, 3 hrs., $1.20; $0.75: see Route 23. To Zurich, 2>£ hrs., $1.25 ; $0.80 ; see Route 27. To Berne, 3 hrs., $2.20 ; $1.50 ; see Route 32. To Paris, 10 hrs., $12.50 ; $9.30, via Belfort. Fast train, usually first-class only. Principal station for the e., s. and vv. in Bale ; for the north in Klein Basel. Balloch, Scot. , foot of Loch Lomond. See Route 3. ♦Baptistery, The, or Church of St. John Baptist, Florence ; is situated in front of the Cathedral, and is one of the most an- cient structures in the city. It was erected in the 6th cent., upon the site and from the materials of a pagan temple — probably of Mars — and had an open dome like that of the Pantheon at Rome. In 1293 the brick walls were encased with the present marbles, and in 1550 the dome was surmounted with a lantern. The celebrated Bronze doors of this building hold a distinguished place in the history of Art. The South door, by Andrea Pisano, 1330, represents the life of St. John ; the side decorations are by Ghiberti. **The East door, that facing the Cathedral, by Lorenzo Ghi- berti, 1452, represents 10 scenes from the Old Testament : 1. Creation and Fall ; 2. Cain, Adam tilling the earth ; 3. Noah ; 4. 38 BARB Abraham ; 5. Jacob and Esau ; 6. Joseph ; 7. Giving- the Law ; 8. Jericho ; 9. Battle of Ammonites ; 10. Queen of Sheba. The side decorations are also by Ghiberti. " In his bas-reliefs there are numerous female figures which, in the nobleness of their shape and of their head, and in the calm simplicity and development of their attitude, seem to be Athenian masterpieces One of the youth- ful soldiers seems to be an Alcibiades ; before him marches a Roman Consul ; blooming young women of incomparable freshness and vigor turn half round, gazing and extending an arm, one of them like a Juno, and another like an Ama- zon ; all arrested at one of those rare moments when the nobleness of physical life attains to its plenitude and perfection without an effort and without reflec- tion." — Taine. The Baptism, above the door, is by Sansovino. The two por- phyry columns, at the sides, were presented to Florence by Pisa, 1200, in gratitude for assistance in a war against Lucca. The North door, also by Grhiberti, 1427, represents the history of Christ, the Apostles, and the Church to the time of St. Augus- tine. Above is the preaching of St. John, by Rustici. The Interior contains little of interest. On the pavement are ancient mosaics. On the r. of the high altar is a bronze statue, by Donatello, erected to Pope John XXTII. , who was deposed by the Council of Constance. The Baptismal Font is said to be by Giovanni Pisano. " The kneeling figures on Corinthian capitals is one of the first purely artistic conceptions of the 13th century." Barbarossa. See Fred. I. Barberini, Palace. See Part II., Barberini. P. 421. Baroccio, Federigo (-ok'-chee-o), 1528-1612, b. at Urbino, Italy. Painted at Rome, but his best works are to be found at Ur- bino and Perugia. Like Correggio, whom he particularly studied, he became a master of chiaroscuro, but was less successful in drawing and composition. Bartolommeo di Pa'-gho-lo, Fra, II Frate, Baccio della Porta, 1469-1517, b. at Soffignano, Ital. Pupil of Co- simo Roselli, friend of Albertinelli, and follower of Savona- rola. He was early noted for the beauty of his Madonnas, but under the influence of Savonarola, was led to abandon his pursuit of art, and to destroy all his works upon profane subjects. Becoming a monk, after a time his superior ordered him to resume his former pursuit, which he did with little spirit. Making the ac- quaintance of Raphael, then in the height of his power, he was BASI 39 awakened to a new enthusiasm, and at the beginning of the 16th cent, shared with del Sarto the rank of the first master of the Florentine School. He was the first of modern painters to make use of lay figures. "Fra Bartolommeo's peculiar sphere is devotional painting ; and here he stands the equal of the greatest and noblest masters. His figures are full of deep sensi- bility, and at the same time free in their action, nobly draped, and of a ripe beauty. But what, above all, contributes to the impressiveness of his pictures, is the magnificent grouping, the well-balanced composition of the whole." — Liibke. " The Pieta of the Pitti Gall, is the most purely beautiful Pieta ever painted." — Radclijfe. "His favorite compositions are generally simple Madonnas surrounded by angels, but he renders them imposing by splendid architecture and a skilful dis- position of the groups. He delights to introduce boy angels, sometimes seated and playing on instruments, sometimes hovering around the Madonna, supporting her mantle or the canopy of the throne itself Few pictures give a finer idea of the Mother than the Presentation in the Temple, now at Venice, with the figure of Simeon standing with unparalleled dignity." — Kugler. Pkimcipal Works : Belv., one; Berlin, 249? Borgh., II. 40? Cap., I. 27? Corsi., III. 26 ; Flor., Acad., 66-9, 78, 82, 28 ; Hermit., 20 ; Pesth, 163 ; Pitti, 64, 125, 159, 208, 256, 377 ; Uffi., 1126, 1130, 1161, *1265. Basilica, a large public hall. They were first erected by the Romans about b. c. 200, having a length twice the breadth, with an open centre, the side aisles being covered, and a dais at the end opp. the entrance, sometimes in a circular apsis. Early adopted as the most convenient form for the Christian Church, and re- tained in its essential features to the present time. Some of the ancient churches are still called basilicas. Churches having the aisles separated from the nave by columns and having fiat ceilings, are said to be in basilica style. The seven basilicas of Rome are : SS. Peter's, John Lateran, M. Maggiore, Croce in Gerusalemme — all within the walls ; out- side the walls, Paul's, Sebastian, and Lorenzo. Basilica. See Constantine, Palatine Hill, and Rom. Forum. Bassano, Jacopo da Ponte, 1510-1592, genre painter ; excelled in portraits, animals, and landscapes. Studied with his father, Francisco. Had four sons, all painters, who adopted the style of their father. (Francisco the Younger, 1548-1591 ; Gio. Battista, 1553-1613 ; Leandro, 1558-1623 ; Girolamo, 1560- 1622). Madrid has 35 of his pictures. Bassano ranks as the first Ital- ian genre painter ; he created a taste for cattle scenes and pas- toral landscapes, to which he gave a peculiar silver-gray tint. 40 BAST His coloring is strong", especially his greens, and in his masfcerlj handling of light he recalls the style of Rembrandt. Pbincipal Wokks : Borg., No. 19 ; Brera, 219 ; Naples, 3 ; Pitti, 11 ; Turin, 167, 245 ; Uffi., 593, 595 ; Venice, 484. *Basti33e, Place de la, Paris. The Bastille was built in the time of Ch. V. Upon the removal of the ancient fortifica- tions of the city, the Bastille St. Antoine was retained as a state prison. In the First Revolution, 1789, it was captured and de- stroyed by the populace. Napoleon intended to erect here a huge bronze elephant, 78 ft. in height, of which a plaster model was for some time kept in a shed erected here for its preservation. After the Revolution of 1830, the remains of the " July heroes" were interred in this spot, and the present July Column erected, 1840, to their memory. The monument consists of a shaft 75 ft. high, 12 ft. in diam., standing upon a circular base, and sur- mounted by a gilt globe bearing a statue of Liberty holding in her hands a torch and fragments of the chains of despotism. The entire height of the column is 154 ft., and bears 615 names of the victims who fell in the Revolution. The foundation of the monument was laid by Louis Philippe, in 1831, and, 17 years after, his throne was burned at its base. In 1871 the place was strongly barricaded by the communists, and captured only after a very sanguinary conflict. It was their intention to destroy the column, and to this end powder had been placed in the vaults beneath ; but, as in the defence of the place the powder was consumed, the column was fortunately preserved. Bedford, Eng., 45 mis. n.w. from Lond. ; pop. 15,X)00. Has, in proportion to its inhabitants, more public endowments than any other town in England. See Route 5. Note 14. Belfast', Ireland, 112 mis. n. of Dublin ; the second city in size in Ireland, having a population of about 150,000. The city possesses a large foreign commerce, and is the seat of extensive linen manufactories, some of which, it is said, employ, more or less directly, exceeding 20,000 persons. It has also large works for iron steamship building, the steamers of the White Star Line being built here. In general, the city presents a cleanly, busi- ness-like, modern appearance. Routes : Steamers leave usually every day for Dublin, Liverpool, Fleetwood, Port Patrick — nearest point of Scotland, and Greenock — Glasgow. BELL 41 By railway— To Dublin, 4 hrs., §5 : $4. To Poktrush, for the Giant* s Cause- way, 2.45 hrs., $3; $2.12. To Larne, for steamers of the State Line, 1 hr., $0.S7; $0.65. Stations on opp. sides of the city. Bellini (bel-lee'-nee), I., Jacopo, 1394-1470, Venice. "He attained a middle place between the conventionalism of art which pre- ceded him and the naturalistic art which followed him. " He worthily commenced what his son Giovanni and Titian perfected." His sketch-book of 99 pages is now in the British Museum. II. Gentile, son of Jacopo, 1421-1507, Venice, with his brother Giovanni, laid the foundation of Venetian art, and exer- cised an influence throughout Italy and Germany. In 1479, upon request of the Sultan, the Doge sent Gen- tile to Constantinople. He remained a year, and returned with great honor. His works now remaining are not numerous. His subjects were mostly historical, as his brother's were Biblical. Principal Works : Bergamo, No. 193 ; Brera, 164; Cap., 136; Louvre, 59,60; Liecht., 35; Pesth, 126 ; Venice, 529, 543, 555. III. Giovanni (jo-van-ny), 1427- 1516, son of Jacopo and the most celebra- ted of the family. "His Madonnas are amiable beings imbued with a lofty grace ; his saints are powerful and noble forms ; his angels cheerful boys in the full bloom of youth." " In him Venetian coloring attained, if not its high- est truth of nature, at all events its greatest intensity and transparency. Many of his draperies are like crystals and gems of the clear- est and deepest color." — Kugler. " By grand nobleness of expression, solemn bearing, and the excellent arrange- ment of drapery, he reached a dignity which has been rarely surpassed.— Lu bke. Principal Works: Barb., 58? Belv., two; Bergamo, 4, 216; Berlin, 4, 11, 28; Borgh., 27, 81, 39; Brera, 2TS, 291; Cap., 79, 87, 132, 207; Dresd., 210? Hamp. Ct., 117; Hermit., 4; Louvre, 61; Madrid, 60; Munich. 1196?: Naples, 7; Nat. Gal]., 189, 280, 694 ? 726,- 808, 812; Parma, 180; Turin, 779; Uffi., 354, 583, 631 ; Venice, 38, 94, 234, 238, 313, 372, 424, 436 ; Verona, 86. Belio Sguardo, in the environs of Florence, affording a most commanding and charming view of the city, especially at sunset. In the Villa degli Albizzi, near by, Galileo often resided. Berchem, Nicholas, Berghem, 1620-1683; b. at Haarlem, Hoi. He received his first instruction from his father, a painter of little note, afterward from Jan van Goyen, and lastly from Weenix. His early pictures have some resemblance to those of Madonna Gi. Bellini — S. Giobbe, Venice. 42 BERL Weenix, although, touched with more delicacy, and, like the paint- ings of that master, represent seaports and embarkations. He afterward formed a style for himself, representing landscapes of most delightful scenery, enriched with architectural ruins and decorated with charming groups of figures and cattle. His pic- tures of those subjects are superior to any painter of his country, except- Both. In general tone his pictures resemble those of Both, particularly in his cattle. His works are stated to num- ber exceeding 400. " The style of Berghem is excellent ; he painted with surprising facility, yet hi3 pictures have all the finish that could be wished. Extremely happy in the choice and arrangement of his compositions, he has given a singular grace and beauty to his figures without departing from the propriety of costume. The conduct of light and shadow is masterly and intelligent ; the light floating of his skiea, the transparency of the water, have never been surpassed by any painter of his country. — Bryan. PfiiNCiPAii Works: Amst. Hoop, 10; Belv., two; Berlin, 287, 296; Bruns., 540 ; Bruss., 410 ; Cassel, 518 ; Dresd., 1404-5-G-7 ; Dul., 1?, 1G0, 200, 209 ; Hague, 10, 12; Hermit., 1070-2-3-4-5-0-7-8, 1081-2-4; Liecht., 210, 781 ; Louvre, 17, 18, li>, 21-4-5-7 ; Munich, 223-8, 1023-27-30 ; Nat. Gall., 240, 820 ; Pesth, 336 ; Rijks, 27-9, 30-31. Berlin, Prussia, is situated on both banks of the Spree and several islands ; pop. 1,122,000. The central point of the city is the Schloss, on the north of which is the Lust Garten and the Royal Museum. To the westward from the Schloss is Unter den Linden, the principal street of the city, extending to the Brandenburg Gate, about one mile. Immediately on crossing the Schloss Bridge will be seen, r. the Barracks, opp. to which is the Pal. of Pr. Fred. Wm. ; next on r. the King's Guard House and the University, opp. to which are the Opera House, the Bibliothek, and Palace of the Emp. Wm. In the centre of the street is the statue of Fred, the Gt. Beyond this, on the r., is the Academy ; thence to the Brandenburg Gate the street is devoted to business. The principal cross-street of the city, crossing Unter den Linden about midway, is Friedrichs Strasse, extending from La Belle Alliance Platz, on the south margin of the city, to the Oranienberg Gate, on the north. Regarding Unter den Linden as the " Broadway " of what Bae- deker styles " one of the handsomest cities in Europe," its ap- pearance will assuredly be somewhat disappointing. The newer and more elegant portions of the city are beyond and to the s.w. of the Brandenburg Gate. Directly to the west L^S Wes *> Bek East. BERL 43 of the Gate extends, for some miles, the delightful Thiergarten or Public Park. The city is intersected by several canals which, as well as the small river Spree, are navigable only for canal- boats or tugs. The Principal Places of Interest are the Schloss or old Royal Palace, the Royal Museum, the University, the Anatomical Mu- seum, the Aquarium, the Botanical Garden, and the Zoological Museum ; and in the environs, Charlottenburg, Sans Souci, Pots- dam, and Babelsberg. **The Royal Palace (old), daily 10-4; ticket office in the court. Visitors wait in the ante-room until called by the atten- dant. Full explanation (in German) made of all the apartments and works of art. The rooms of greatest interest are the Picture Gallery (modern works), used also as an assembly hall on festive occasions ; the White Saloon, with statues of the 12 Branden- burg Electors; the Ritter Saal, Hall of the Knights, with the royal throne and gold and silver ware, and the Chapel. **The Royal Museum. M. and Sat. 10-4 (winter 3) ; Sun. 12-2. Strangers admitted also on W., Th., F., 10-4, by the en- trance to the New Museum in the rear. **The Old Museum comprises paintings and sculptures, and is connected by a covered passage across the street with the New Museum, which contains casts, models, antiquities, drawings, and engravings. Taken together, the Museums constitute one of the most extensive and valuable collections in Europe, any adequate study of which will require several days. Pictures recently re- arranged. **NatioNal Gallery (new), adjacent to the new Museum on the east, daily, ex. M. 11-3 ; Sun. 12-2 ; free ; opened 1876 ; con- tains a collection of about 500 pictures, works of modern Ger- man artists of the Munich and Diisseldorf Schools. Each pic- ture bears the name of the subject and artist. Catalogue 1 mk. *The Museums op the University. The Zoological Mtiseum in the 1. wing, 2d floor, Tu. and F. 12-2, free. The Mineral Cabinets, regarded as the most extensive on the continent ; main entrance, first floor; W., Sat. 2-4. The Anatomical Museum, accessible to physicians only. The Brandenburg Gate, at the western terminus of the Un- ter den Linden, was erected 1789, at a cost of $370,000, after the Propylaea of Athens, and is regarded as the finest archway in Burope nes.4 to the Arc de Triomphe at Paris. The Quadriga or 44 BERL 4-borse car of Victory, by Schadow, was taken to Paris by the French in 1806, and returned 1814. The Thiergarten (teer) extends westward from the Branden- burg Gate about 3 mis. , having a width of about 1 ml. It is cov- ered with a wild forest, and intersected with numerous delightful carriage, equestrian, and foot-ways. Upon passing out of the Gate may be seen, at the right, in the Konigs Platz, the *magnifi- cent Column of Victory, erected at the conclusion of the Franco- Prussian war of 1871. It consists of a circular temple surrounded with a colonnade of 16 pillars, standing upon a square base or pedestal, and surmounted by a cylindrical shaft bearing a colossal gilt bronze Victory, winged and holding a wreath. The total height is 194 ft. It may be ascended by an interior staircase. Upon the base are elaborate reliefs of the various campaigns com- memorated. The Aquarium, daily, 10-9. Unter den Linden, No. 68, fee. ♦The Botanical Garden, 1 ml. outside the Potsdamer Thor, daily, 8-12 and 2-7, ex. Sat., Sun.; 20,000 species of plants and 18 hot-houses. One of the finest in Europe. The Zoological Garden, by tramway, 2 mis. outside the Brandenburg Gate in the Thiergarten. Fine coll. of animals. Charlottenburg, a village of 25,000 pop., 3 mis. beyond the Brandenburg Gate, at the west terminus of the Thiergarten. Delightful drive ; by tramway also. Daily, free. The chateau was erected for the Electress, Sophia Charlotte, 1699, and pre- sents little of interest aside from the Mausoleum in the palace grounds. * The Mausoleum is reached by a walk of five minutes in the rear of the orangery, through a pleasing sequestered park. It contains Rauch's masterly monument of Fred. Wm. III. and his Queen, rendered doubly striking by the colored light falling upon the interior of the tasteful structure. The entire harmony of the grounds, the situation, the building, and the monuments, unite in producing a pleasing and profound impression. *Potsdam, one of the most interesting localities near Berlin, is about an hour's ride by railway from the Potsdamer Station. It owes its celebrity more especially to Fred, the Gt. Near the station is the palace of Frederic, the rooms which were occupied by him remaining in their original condition, as are also the apartments of Fred. Wm. III. and Queen. Here also resided Fred. Wm. IV. The Garrison Church, a short distance to the BERL 45 west, contains the tomb of Fred, the Gt. and his father, Fred. Wm.1; *Sa?is Souci (san-soo-see). A mile and a half to the w. of Potsdam is the palace of Sans Souci, built by Fred, the Gt., 1745, as a retreat from care. Here he passed the last years of his life. After remaining uninhabited for a half -century, Fred. Wm. made it his residence until his death, 1861. It is now the residence of the Queen dowager, Elisabeth. The palace contains many articles of interest from their association with Fred, the Great : his flute, the clock which stopped at the moment of his death, the chair in which he died ; also Voltaire's room, decorated by Frederick with pictures of parrots and monkeys, as suitable for his dis- tinguished guest. The Orangery, a short distance to the west, commanding a fine view, contains a saloon of about 40 copies of Raphael's most noted works. The New Palace, about 1 ml. to the w. of Sans Souci, was erected by Fred, the Gt. , at a vast expense, at the close of the Seven Years' War, chiefly, it is said, to indicate that the resources of the nation were not exhausted. Its 200 apartments are deco- rated in the most costly manner. The *Grotto Saloon is inlaid with shells, minerals, and precious stones. The Palace is at present the residence of the Crown Prince. Adjacent on the w. are the Barracks. The location is devoid of attraction. ** Charlottenhof, about -£ ml. distant from the New Palace, is a beautiful little chateau erected as a residence of the late King when Crown Prince. The interest felt in its quiet loveli- ness is greatly enhanced from its being the place where Hum- boldt wrote the most of his Cosmos. TnE Marble Palace, commenced by Fred. Wm. II., 178G, is erected on the margin of the Heilige See, about 1 ml. n. of Pots- dam. The colonnade is decorated with arabesques and scenes from the Nibelungen Lied, the interior with modern paintings and portraits of distinguished Germans. Routes: To London, via Dover, Air-la-Chapelle, about 26 hrs., $29; $21; via Flushing or Rotterdam, 36 hrs., $21 ; $15. To Hamburg, 5 his., $6 ; $4. To St. Petersburg, 44 hrs., $30; $23. To Moscow, 54 hrs., $30 ; $28. To Dresden, 3 hrs., $3.50; $2.50. To Cologne, 9 hrs., $11; $8.25. Several stations on the margin of the city. [For entering Russian Territory the traveller must be provided with a passport, and have it viaeed by the Russian Consul at the port or principal town from which his departure takes ] >lace.] 46 BERN Bernardino Route (ber-nar-dee'-no), from Splilgen to Bel< linzona ; of less interest than the other principal routes to Italy. Bernardo, San, Ch. of, Rome; one of the Halls of the Baths of Diocletian, and converted, in 1600, into a church, no change being made, except the construction of a recess for the altar. The niches in the walls were for statues of the gods. Berne, Bern (the bears,) Switz., pop. 44,000, is situated on a promontory 100 ft. high, and surrounded on the n., e., and s. by the Aare. The principal street extends from the rly. station about 1 ml. eastward to the Nydeck Bridge. Two or three squares to the s. of this thoroughfare and parallel with it is the great * Terrace. Following the principal street, Spitalgasse and Marktgasse, four squares, Kornhaus Platz is reached, in which, 1. is the *Kind- lifresser Brunnen, or Fountain of the Ogre, surmounted by an ogre devouring a child, and with others in his pockets. A few steps beyond is the Kornhaus, formerly used as a storehouse for grain against famine. In the rear of the Kornhaus is the *Kunat- saal, or Art Gallery, free ex. Sat. ; gratuity to custodian. Returning to the Marktgasse, at the s.e. corner is the Clock Tower, celebrated for its pantomimic striking of the hours. A cock crows, some bears march round, harlequin strikes a small bell, the cock crows again, Time turns his hour-glass, raises his sceptre, and opens his mouth, whilst an image above strikes the hour, when the cock crows again. Museum of Nat. History, one sq. s. of the Clock Tower, free Tu. , Sat. , Sun. , other days \ f r. ; contains a fine collection of Swiss animals, especially bears. The Cathedral. In front is the bronze statue of Rudolph von Erlach, hero of the battle of Laupen, 1339. The Cathedral, 1421, restored 1850, tower yet unfinished, is specially noticeable for the balustrade of the roof and for its decorations. The Interior (30 c.) contains little of unusual merit. The Organ, regarded as superior to the famous Freiburg instrument, is played every evening in summer, 1 f r. ; families 2 fr. *The Cathedral Terrace, s. side of the Cath., with bronze statue of Berthold von Zahringen, the founder of Berne, presents a fine view of the Bernese Alps, the Jungfrau, Monch, Eiger, Finster- aarhorn, Schreckhorn, and Wetterhorn, from r. to 1. ** Best seen at sunset, when the Alpgliihen, or Alp-glow, and the Nach- gliihen, or after-glow, is peculiarly beautiful. ^.; £., on the Tweed, 4 mis. s.e. of Melrose. Carriage to the ford, thence on foot, crossing the Tweed, £ ml. Founded about 1144, upon the site of a Druid Temple ; destroyed by Ed. II. , of Eng. , who thus appeased his vexation at his unsuccessful invasion of Scot. , 1322 ; restored by Bruce, and sacked, 1385 ; and again destroyed by the English, 1544. In 1604 it was bestowed by Jas. IV. upon the Earl of Mar, thence by descent it came into possession of the Earl of Buchan, whose seat is in the vicinity. The ruins derive additional interest from being the resting-place of Sir Walter Scott, his wife, son, and his son-in-law and biographer, Lockhart. A monument to Wallace crowns a steep wooded hill to the east. Dublin {black pool), pop. about 400,000; the largest city in Ireland, and one of the finest in Europe. St. Patrick's Cathedral, 1190, nearly destroyed by fire, 1362, contains the tombs of Dean Swift and Stella. Christ Church Cathedral, 1190, much modern- ized, distinguished as the church in which the Liturgy was first read in Ireland in the Eng. language, contains the tomb of the Earl of Strongbow. P7icenix Park, 1,750 acres, is on the s.w. margin of the city. The Castle has little of interest, nothing of Hs ancient character remaining. Routes : To Cork, 6 hrs., $7 ; $5.50. To Belfast, 3 hrs., $5 ; $3.75. By ktmr. to Holyhead, $3 ; Liverpool, $3.25 ; Belfast, $1.50 ; Glasgow, $4. To London, stmr. to Holyhead, thence by rly., 11 hrs., $11. DRES 117 W ^t^^tLS West. Dresden. East. 118 DULW Dulwich (dul'-ij) Gallery. See Part II., Dulwich. P. 437. Dum-bar'-ton Castle, or Dunbarton (Dun-Briton, hill of the Britons), the Theodosia of the Romans, and their naval arsenal ; on the Clyde, Scot., 13 mis. n.w. of Glasgow. Has been a strong- hold for a thousand years. Was held by the Romans and Scotch, Ed. I., Baliol, Bruce, Queen Mary, Ch. I., and Cromwell. It was from this castle that Queen Mary set sail for France when a child ; in 1563, she revisited it in state. Queen Victoria visited it in 1847. The Castle has many times been attacked and taken. It is now an arm- ory, and contains the two-handed sword of Wallace (?). Dumblane, or Dunblane, Scot. Near by was the indecisive battle of Sheriffmuir, 1715, between the Preten- der and the English. See Route 3 A, Note 15. Durer, Albert, 1471-1528, Nurem- berg ; painter, sculptor, architect, and engraver. He is regarded as the founder of the German School of Art. He vis- ited Venice, Padua, Bologna, and the Netherlands. His works are richer in drawing than in color, though sometimes bordering on the fantastic. His masterpieces are principally in the German Collections. His portraits have usually a hard and severe expression, seldom exhibiting tender- ness. In his portrait-coloring, a dull, brick-red predominates. " Albert Durer need fear comparison with no master in the world, not even with Raphael or Angelo, so far as inborn artistic ability is concerned, and yet in all that concerns the peculiar means of expression in art, the clothing of the thought in the vestment of glorified beauty of form, he is bo closely fettered by the narrow limitations of his own surroundings * that he seldom rises to that height of art where thought and form find equal expression " He seldom attains to perfect beauty of form. . . He took the matter of his pictures from his own environments, and never sought after types of dignity and beauty, 2 but rather after strongly marked and characteristic heads, which are often er coarse than noble or graceful." — LitbJce. "In vain did he familiarize himself with the Italian Masters ; he retains his graceless forms, his angular folds, his ugly nudities, his dull color, his barbarous, gloomy, and saddened faces. The wild imagination, the deeply religious senti- A. Durer. 1 And yet he had been in Venice, Bologna, Padua, and the Netherlands. 2 Which is a matter of astonishment for one of the first " inborn masters of the world." DYCK 119 ment, and the vague philosophic divinations which shine through his works, show an intellect to which form is inadequate." — Taiue. u His qualities were sufficient to place him by the side of the greatest artists whom the world has ever seen. He fails, however, in feeling for beauty, and Lis nude is vulgar, and sometimes even ugly in character.'" — Kugler. As between these somewhat diverse criticisms, an acquaintance with the works of Diirer will possibly incline the cis- Atlantic stu- dent to the view of the French critic. Principal Works : Barb., III. 79; Belv., eight; Bergamo, 10G ; Cassel, 7; Corsi. IV. 44? VI. 34? 43? Drcsd., 1722A-3-5 ; Frank., 8(5-7; Louvre, 072; Madrid, 1314-15 ?-10?-17; Munich, 1, 2, 3, 71-6, 93, 712-16-20-31-39: Nurem- berg, Ger. Mu.. 1348-9-51 ; Nat. Gall., 245 ; Pitti, 1, 20 ; Urn., 439, 777-8, 1141. Dyck, Sir Anthony van, Vandyke, 1599-1641, b. at Ant- werp ; pupil of Rubens. In 1820 he visited Italy and studied the works of Titian and Giorgione, remaining six years and ex- ecuting many portraits. Returning to Holland, he was honored with innumerable commissions. Visiting England, in 1632, he was appointed court painter by ('has. I. , who, three months afterward, conferred upon him the honor of knighthood. His works, which are numerous and of very unequal merit, are to be found in all large collections. He was a master of portrait- ure, seldom surpassed in expressive delineation of the human face, but he was inadequate to the vigorous composition of an animated scene. He died in London, and is entombed in St. Paul's, near John of Gaunt. " Of all the masters of the most developed period of art, van Dyck alone with Titian divides the first place in portraiture." — Kugler. Principal Works.— Amst. Hoop., 36 ; Ant., 401-3-4-5 ; Augsburg, 104, 118, 147 ; Belv., eleven; Berlin, 770, 778, 782, 'T94; Brera, 439, 4-13; Bruns., 109, 473; Brass., 188, 1S9, 192; Cap., 100, 106; Cassel, 290-1-3-4-5-7, 300-1-4? Corsi., III. 21? VI. 32? Colog., 621; Dresd., 982-5-6-7 8, 990-1-2-4-5-6-7-8; Dul., 135, 214; Edinb., 315-18-19; Prank., 117; Genoa, Brig., portraits ; Hague, Flem. Sch., 203- 4-6; Hamp. Ct., 47, 85, 3S7 ; Hermit., 603-7-8-9. 610-1-2-4-5-6-7-8, 620-1-2-4-6-8, 6.:0-2-3-4-5-6-8— thirty-four in all ; Leicht., V. 115, 118, 126, 142-3-6-7-8-9, VII. 239 ; 2d floor, VIII. 693, 766 ; Lille, 193-5-6 ; Louvre, 136-7-8-9, 141-2-3-4-5-6-8-9. 150-1-2-3-4-5; Madrid, 1319, 1320-1-2-5-6-7-8-9, 1330-15-7-8; Milan, Amb., 25 ; Munich, 175, 193, 198, 203-6-7-9-12, 217, 313-15, 333, 345, 347, 927-8-9, 930, 934, 940, 1308, 1414, and others ; Naples, Sal. di Corr., 4, Dutch and Plem. Sch., 12 ; Nat. Gal., 49, 50, 52, 680, 877 ; So. Kens., one portrait ; Turin, 338, 351, 363, 384; TJffi., 1115, 1128, 223; Venice, SCO : Verona, 47? Vienna Acad., portrait, Child., 198. *Ecole des Beaux Arts (a-cole'-day-boze'-ar), Paris, \^Rue Lona'parte, 10-4 daily; 1 fr. (Sept., W., Th., F., only). In the 120 ECOL court are remains of Middle Age Architecture ; in the centre bronze statue of Abundance, and to the r. is the celebrated por- tal of the Chateau d'Anet, by Goujon ; to the 1., fresco on lava. Separating this court from a second is the Arc de Gaillon, 1500. Upon the first floor are copies of Raphael's loggie in the Vatican, by Baize ; in an adjacent hall, Delaroche's magnificent Hemicycle, containing 75 figures of celebrated artists. On the throne in the centre are Phidias, Ictinus, and Apelles ; in front, Greek, Gothic, Roman and Renaissance Art are represented by 4 female figures, the one with long hair being a portrait of the artist's wife, daughter of Horace Vernet. Additional rooms exhibit models of the Coliseum, Columns of the Parthenon ; and in the chapel is a copy of Angelo's Last Judgment. The Ecole has about 150 students, and each year sends two students of painting, one of sculpture, and one of architecture to Rome, for four years, to study at public expense. £cole de M6decine, of the University of France, Pans, Boul. St. Germaine, near Hotel de Cluny ; has 1,500 students and 30 professors. Ed i n bu rgh (ed'-in-bo-ro ; Edwin'' s burgh), Scot. Lat. , 55° 57 ; Ion., 3° 11 ; pop., 230,000 ; upon two ridges of ground, divided by a deep, narrow valley, formerly a morass, now made into a pub- lic park, through which the rlys. pass. To the n. of this park is the New Town, composed of modern and elegant buildings — the principal street, Princes St. , bordering upon and overlooking the Park. The principal hotels are on the opposite side of Princes St. The rly. stations are in the valley. To the s. lies the ridge of the Old Town, terminating, to the w., in a rocky bluff, upon which stands the Castle, thus in the heart of the city. The Old Town is the historic part of the city, the New being quite mod- ern. The first Scottish Parliament was convened here by Alex. II. , 1215. The entire town, except the Castle, was burned by Rich. II. Eng., 1385 ; taken and burned by the Eng., 1554; in 1557 the first Covenant was signed ; in 1638, the National Covenant. Scotland having espoused the cause of Charles, Cromwell marched upon the city and took the Castle ; 1745, the rebels under Ch. Ed. took possession of the city. Principal Places of Liter est : Edinburgh Castle, Holyrood Ab- bey, Calton Hill, St. Giles Church (which see). Among the objects of less interest are the house of John Knox, High St.; Allan Ramsay's Theatre, the favorite resort of Burns ; the Black EDIN 121 122 EDIN Turnpike, the prison of Queen Mary, near the Tron ch.; and the Heart of Mid-Lothian, the site of an old prison. Annie Laurie was married in Tron ch. 250 years ago. John Knox is buried in the paved court between the Pari. House and St. Giles-, marked by the letters J. K. in the pavement. Some of the houses are 12 stories in height. Routes : To Glasgow, \)4 hr., $1.30 ; $1 ; or, via Stirling and the Lakes, 12 hrs., $7 ; $5 ; see Route 3 A. To Melkose, 1% hr., $1.90 ; $1.40 ; see Route 5. To Lon- don, 12 hrs., $12 ; $10, either via east coast, midland, or west coast ; see Routes 4, 5, and 7. Waverly Station at the e. end of Princes St. for all lines but the Caledonian. Caledonian Station at w. end of Princes St. **Edinburgh Castle, Scot., daily, ex. Sun., free, is situated on a precipitous ledge 880 ft. in height, approachable only on the eastern side, the other sides being nearly perpendicular. This castle has for centuries held a leading place in Scottish history. Early a Caledonian stronghold, it became the residence of King Edwin, and of the Scottish kings, until taken by Ed. I. of Eng., 1296, who held it for 17 years. Being retaken by the Scots, it was dismantled by Bruce, ceded to the English by Baliol, and retaken by Douglas, 1341. In 1573 it was taken from Mary by the Re- formers, aided by the English. Its last attack was the unsuc- cessful attempt by Pr. Ch. Ed., in 1745. By the articles of union between Scot, and Eng. this castle is to be kept in a state of defence. Entrance to the castle is made from the eastern side, crossing the esplanade, or drill-ground, where Lord Forbes, Lady Glamis, and several Reformers were executed. Crossing a drawbridge, we pass beneath gateways with portcullises, along a paved road- way, spanned at the upper end by a prison. Here state crimi- nals were confined, and here Argyle passed the night before his execution. Near by is the Argyle battery, barracks, and the Governor's House. Passing up a flight of steps we come to the summit, which commands a most magnificent* view of the city and its environs for many miles. Adjacent is Queen Margaret's Chapel, the most ancient building in Edinburgh, the private shrine of Margaret, Queen of Malcolm Canmore ; now used as a Garrison Baptistery. The Palace Yard, to the s., is a square of about 100 ft., on the e. and s. side of which are the Old Royal Palace and Parlia- ment House. EDWA 123 *Tlie Regalia Room, open daily, ex. M., 12-3, to the 1. up- stairs, contains the ancient regalia of Scotland, the crown, the sceptre, the sword of state, and royal jewels. * Queen Mary's Room, further on, is less than 9 ft. square, and is memorable as the place where Mary gave birth to her son James VI. , afterward James I, of Eng. It was from the window of this room that, for safety he was, 8 days after, let down in a basket and removed to another castle. In the ante-room is a por- trait of Queen Mary at 18 years of age. On the s. side of the court is the Old Parliament House, now the Garrison Hospital. The other sides of the quadrangle are occupied as barracks. Edward I., Eng., son of Henry III.; occupied the throne from 1272 to 1307 ; conquered Wales and gave the title Prince of Wales to the heir to the throne ; attacked Scotland and defeated Wallace, and took the Scottish coronation- stone to London (now in Westminster Abbey). Entombed in Ed. the Confessor's Chapel, Westm. Abbey. Edward III., Eng., 1327-1377. Fought the memorable battle of Crecy and Poictiers, and took Calais. *Ehrenbreitsteen (eh'-ren-brite'-stine, Honor's broadstone), Ger., opp. Coblenz, 400 ft. above the Rhine, called the Gibral- tar of the Rhine. Originally a castle presented by Dagobert to the Abp. of Treves, and confirmed by Emp. Henry II., 1018. Afterward erected into a fortress. It was besieged in 1631, 1795-6-7-8, but has surrendered only twice, once through strata- gem and once from famine. After the peace of 1801, the French evacuated and blew up the fortifications, for the restoration of which they afterward paid Germany 15 million fr. The reconstruction, since 1816, has cost 8 million dollars. **View from the walls. See Route 20. ** Elgin Marbles (g hard), in the British Museum. " The Parthenon, erected at Athens, b.c, 4-40, remained comparatively unin_ jnred until 1687, when, in the bombardment of the city by the Venetians, the temple was reduced to ruins. In 1801, Lord Elgin. British Ambassador at Con- stantinople, purchased from the Turkish Government, for $350,000, many of the Bculptures of the Parthenon then remaining. These consisted of statues of the pediments, and the frieze and 1? metopes, original works of Phidias. Of the me- topes, 31 are yet in their original places, 17 in the British Museum, and 1 in the Louvre. " Single figures only remain of the pedimental groups. Fortunately, however, a few years previous to the destruction of the temple, an accurate drawing of the pediments had been made by a French artist, from which a knowledge of the rela- 124 ELMO tive position of the statues has been obtained. The statues are much broken and weather- woi n. Those remaining are from the angles of the pediment, the central groups having been lost or destroyed. There has been much diversity of opinion as to the persons the various statues were intended to represent. They exhibit a grandeur of conception, a nobility of action, and a harmonious beauty such as is unequalled by any other work in the whole range of art." Until recently the sculptures of the Parthenon have been ascribed to Phidias, but at the present time critics are uncertain " of the precise connection of Phidias with these works." Elmo, St., Castle of, Naples, 1343, with its massive walls, its fosses hewn in the solid rock, has long had the reputation of being second in impregnability only to Gibraltar and Malta. This, however, being of little value in modern warfare, the fortifications have been demolished, and the buildings are now used as a mili- tary prison. Elysee, Palais de I' (pal-a-deh-lay-lee-say), Paris, in the Champs Elysees, opp. the Palais de l'lndustrie. The residence of Mme. de Pompadour, in the time of Louis XV. ; 1815, of Napoleon I. ; and, after Waterloo, occupied by Wellington and Emp. Alex- ander; also by Louis Napoleon, as President of the Eepublic, by President MacMahon and President Grevy. En-dym'-\on,myt7i, renowned for his per- petual beauty and per- petual sleep. It was believed that Selene — the moon — caused his sleep that she might be able to gaze on him without his knowledge. His beauty so warmed her cold heart that she came down, kissed him, and lay by his side. ♦Picture, by Grirodet, in the Louvre, Salle des Sept Cheminees, No. 251. Statues : Br. Mu., 148 ; Stockholm, from Hadrian's Villa, found 1783. **Eros (ee'-ros), or Genius of the Vatican, Cupid, stat. Vatican, Gall, of Stat. , No. 250. Supposed to be a copy of the Eros of Praxiteles, which stood in the Portico of Octavia, and Eros — Vatican. ESQU 125 which was brought from Greece by Caligula. Found 2 mis. out- side the Porta Maggiore. Has traces of wings on the shoulders. It represents the dreamy state when youth is merging into man- hood ; is the one which Phryne chose and presented to her native town, Thespis. "Praxiteles had offered Phryne her choice among his works; and in order to ascertain which the artist himself esteemed most highly, she caused him to be informed that his studio was on fire, whereupon he exclaimed : ' I am undone if the fire has touched my Eros or Satyr.' " Esq ui line Hill (ess'-kee-leen), Rome, the largest of the Seven Hills, extending from the Forum n.e. to the ch. of S. M. Maggiore. Etienne du Mont, St. (a-te-en-du-moft), 1121, ch. Paris. Square tower and round turret, probably 1222. Enlarged 1491. Narrow gallery along the columns. Elaborate screen, 2 spiral staircases. Tomb of Ste. Genevieve, patron saint of Paris, in a chapel r. aisle, upon which are votive offerings. Around the tomb may be observed numerous crutches and canes brought by the lame and infirm, and left as mementoes upon being cured at the shrine. Festival of Ste. Genevieve Jan. 3d, on which occasion, 1857, the Abp. of Paris was here assassinated by an ex-priest. Et-ru'-ri-a, or TusciA; that part of Italy between the river Magra (at Spezia) and the mouth of the Tiber, and extending from the sea on the west to the Apennines ; was occupied by a highly civilized people prior to the time of early Rome. The 12 confederate Etruscan cities were Oortona, Arretium, Clusium, Perusia, Volateme, Vetulonia, RusellaB, Volsinii, Tarqninii, Va- lerii, Veii, and Caere. Subjugated by the Rom. B.c. 283. The Etruscan vases have been found chiefly in the tombs a few mis. to the n.w. of Rome. Etruscan and Egyptian Museum, Florence. Via Fa- enza, No. 57. Admission, daily, 1 fr. Sun., free. Etruscan Coll. entrance to the r. Room I . — Vases from Chiusi ; *Etruscan tomb, from Volsinii. Room 2. — Centre; the celebrated * Francois vase; Greek vases. ROOM 3. — Terra-cotta, bas-reliefs; coins, crystals, bronzes; * Athena. Room 4. — Centre; Chimsera; Urns. Room 5. — Armor, bronzes; Perseus and Medusa; Peleus and Thetis. 126 ETRU Room 6 (entrance from the 4th room). — *Statue of " the ora- tor " found near Lake Trasimene. Egyptian Coll. — *Frescos of the Last Supper, school of Perugino ; Statue of Pharaoh ; Sarcophagi ; Mummies ; etc. , etc. Etruscan Museum. See Vatican, Sculptures. P. 479. Europa, myth, dau. of the king of Sidon ; was approached by Jupiter in the disguise of a beautiful white bull ; and she, being pleased, mounted upon his back, and was borne to Crete, where she became the mother of Minos, Rhadamanthus, and Sarpedon. *Europa, Rape of, painting by Paul Veronese, in the Doges' Pal., Venice. There is a replica in the Cap., Rome. '* It must have been in its day the most brilliant and rejoicing picture, the most voluptuous, the most exuberant that ever put the sunshine to shame. The Bull has all Jupiter in him, so tender and gentle, yet so passionate that you feel it in- decorous to look at him. And Europa, under her thick rich stuffs and embroideries, is all a woman." — Hawthorne. "For brilliancy, fanci fulness, extraordinary refinement and invention in color, it has no equal. The reflection of the foliage overhead bathes the entire picture with an aqueous green tone ; the white drapery of Europa is tinged with it ; she, arch, subtle, languishing, seems almost like an eighteenth-century figure. One has to look at it and keep silent." — Tainc. Eustache, St. (you-stahsh), Paris; the largest church in Paris, except Notre Dame ; erected, 1532, on the site of a temple of Cybele ; Italian facade, Gothic interior, and Byzantine front of the chapels. In one of the chapels is a monument to Colbert consisting of a figure kneeling on a black sarcophagus. Eyck, Hubert van (ike), 1366?- 1426 ; b. at Masseyck, Hoi. Resided at Bruges and G-hent. Effected great im- provements in coloring — sometimes said to have invented oil painting. " That he effected a revolution in painting is beyond a doubt. He breathed life into the Sym- bolic Art which had preceded him. He H. van Eyck. represented scriptural scenes and charac- ters through the medium of such people as he had seen in actual life ; and nature as he saw it, and did not hesitate to use well- furnished rooms for his sacred scenes." His most noted work is the "Adoration of the Lamb" in 12 pictures, of which the Adam and Eve are in the Mus. Brussels ; 6 EYCK 127 panels in the Berlin Mus. ; the remaining panels are in the ch. of St. Bavon, at Ghent. See Adoration. Eyck, John van, 1390-1440, bro. and pupil of Hubert. His works are finished with great care and delicacy, but are wanting in the strength of Hubert's. One of his best works, a portrait of himself and wife, is in the Nat. Gall., Lond. " The Van Eycks extended the scope of painting to such an extent that not for a century after did painting in the north of Europe reach the point where they left it." " John is usually, but erroneously, regarded as the more talented of the two." Faience, Fayence (fy-onV). See Pot- tery. Farnese Gladiator. See Gladiator. Farnese Hercules. See Hercules. Farnese Palace (far-nay'-zay), in the ' ^ Pi. Farnese, Rome. J - van E * ck - 11 The architecture of the palace is, beyond all doubt, the finest in Rome: it loses much of its interest when we know that the blocks of travertine, of which it was constructed, were taken from the Theatre of Marcellus and the Coliseum, 'of whose ruins,' says Gibbon, ' the nephews of Paul III are the guilty agents ; and every traveller who views the Farnese Palace may curse the sacrilege and luxury of these upstart princes.' " — Murray. The granite basins in the Piazza are from the Baths of Cara- calla. In the portico of the court is a sarcophagus, said to be that of Csecelia Metella. Since the occupancy of the palace by the ex-royal family of Naples, little has been open lo the public except the frescos — the masterpieces of Annibale Carracci, upon which he s-pent no less than 8 years, and was rewarded with the paltry sum of 500 crowns ($600). The subjects of the frescos are mythological ; centre : Bac- chus and Ariadne. Among others Pan and Diana, Mercury and Paris, Ganymede, Perseus and Andromeda, Galatea, Europa, Le- ander, etc. " I consider the frescos of the Farnese Palace as far the greatest production of Annibale, as to color." B. Farnese To-ro, Legend. Lycus, king of Thebes, divorced his wife Antiope, who, surprised by Jupiter, had brought forth two sons, and married Dirce, who thenceforth treated Antiope with great cruelty, and put her in prison. Antiope, escaping, fled to her sons, Amphion and Zethus. Dirce, afterward finding her, endeavored to put her to death, but was prevented by the timely 128 FARN arrival of the sons. Upon their becoming grown they attacked and took Thebes, slew Lycus, and tied Dirce to a wild bull to be dragged to death. Farnese Toro— Naples. **Statue: Nat. Mus., Naples; by Apollonius and his brother Tauriscus, of Rhodes ; found in the Baths of Caracalla, much mutilated, restored by M. Angelo, the head of the bull and con- siderable portions of all 4 figures being restorations. This is the largest antique group now known. "This work suffers from the same deficiency as the Laocobn ; here, also, the expression of a moral idea is wanting, and our sympathy is awakened only through FARN 129 bodily action and suffering : but in powerful boldness of composition, in thorough- ness of execution, and harmony of grouping, as well as in the perfect knowledge and mastery displayed in the treatment of the figures, this majestic work is per- haps even greater than the other." — Liibke. Farnesina Villa (far-nay-see'-nah), Borne, on the w. bank of the Tiber, opposite the Farnese Palace ; 1st and 15th of the month, 10-3. Noted especially for Raphael's Myth of Psyche and Galatea. **The Myth of Psyche, in 12 scenes, from the tale of Apuleius, was designed by Raphael, and painted in part by his pupils G. Romano and F. Penni. 1, Venus jealous of Psyche ; 2, Cupid, enamored of Psyche, carries her off ; 3, Venus seeks Psyche and imprisons Cupid ; 4, Venus seeks aid from Jupiter ; 5, Venus implores him to send Mercury to find Psyche ; 6, Jupiter sends Mercury ; 7, Venus im- poses cruel tasks upon Psyche and sends her to bring- a casket from the infernal regions ; 8, which, to the surprise of Venus, Psyche brings; 9, Cupid, having escaped, implores aid of Jupiter, who summons a council of the gods ; 10, Psyche brought to Olympus, and the gods celebrate the nuptial banquet. " They are painted as a Greek might have painted them, who believed in the wonders which he drew. They are no cold transcripts of dead forms ; the poetry of Homer is not more vital. The blue sky and luminous air of Greece bend over and idealize every scene and every group. The nymphs that haunted the piny mountains of Arcadia, or danced upon the shores of the whispering iEgean, live once more in the Venus, the Psyche, and the Graces of Raphael. These compo- sitions are remarkable, not only for grace and beauty of design, for truth of ex- pression and for dramatic vivacity, but also for their purity of feeling." — Hillard. **The Gal -a-te-a represents the goddess of the sea riding in her shell with nymphs and tritons. " This is one of the most beauti ful compositions that art has produced, imbued with a sense of life and enjoyment that is perfectly enchanting. Yet with all this, and in a scene of strictly Pagan and sensual imagination, the purity of the feeling becomes a main element in its beauty. With the exception of the group to the right of the Goddess, the fresco was entirely executed by the master's own hand." — Kugler. On the ceiling, Diana, and Medusa, by Peruzzi ; the lunettes by del Piombo and da Volterra. A head, by M. Angelo, who coming to see Volterra and not finding him, left this sketch. Fauns, myth ; gods of the fields and shepherds, represented with bristly hair, horns, pointed ears, and sometimes a tail ; en- dowed with both human and animal qualities and forms. The older are called Sileni ; the younger, Satyrisci ; fond of wine, 130 FAUN Faun of Praxiteles — Borne. dancing, and music. In the later Latin writings fauns and satyrs were one and the same. Statues : Cap., I. *15 ; II. 1; Glyp., *95; Naples, *Dancing Faun, statuette, bronze ; Sleeping Faun, bronze ; Vat., 406 ; (Br.) 120 ; (Ch.) 495. * The Faun of Praxiteles, Cap. Mus., I. 15 ; a youth of about seventeen leaning against the trunk of a tree, his right arm rest- ing upon the top of the trunk and holding a short flute. There appear to be two statues differing but little, the most noticeable varia- tion being, that more of the arm rests upon the tree in one case than in the other. This statue is the subject of " The Marble Faun," by Hawthorne. " I looked at the Faun of Praxiteles and was sensible of a peculiar charm in it : a sylvan beauty and harcnlessness, friendly and wild at once. The lengthened but not pre- posterous ears, and the little tail which we infer, have an, exquisite effect, and make the spectator smile in his very heart. This race of fauns was the most delightful of all that antiquity imagined. It seems to me that a story with all sorts of fun and pathos in it might be contrived on the idea of their species having become intermingled with the human race. " Their character has never, that I know of, been wrought out in literatim ; and something quite good, funny, and philosophical as well as poetic, might very likely be educed from them." — Hawthorne. "Praxiteles gave Phryne her choice of whatever she liked best among his works. In order to learn which of his chefs-d'oeuvre the artist preferred, she caused him to be informed that there was a fire in his studio. He cried, ' Save my Satyr and my Cupid. 1 " — Ampii'e. *Barbertni Faun, Glyp.^o. 95. Found at the foot of the Castle of St. Angelo, Rome ; supposed to have been thrown down in de- fence of the castle against Vitiges, 587. Was in possession of the Barberini family until purchased by Prince Louis, and brought to Munich, 1820. It is believed that this is an original Greek work, daticg about 300 B.C. The figure is colossal, and represents a Faun or Satyr reclining as in a sleep after debauch. Dancing Faun— iVapZes. " The attitude is so perfect, the appearance of relaxation of the muscles and limbs so thoroughly true to nature, and the very atmosphere of complete languor FERR 131 and repose so pervades the countenance and 'wholo body of the figure, that the spectator almost forgets it is but senseless stone." — Guild. Ferrara (fer-rah'-rah), Italy, formerly had 100,000 pop., now numbers less than 80,000. Was the seat of the House of Este, renowned as one of the most liberal patrons of science and art, in the 15th and 10th cents. See Route 48, Note 10. Fi-des PubSica, Temple of. See Capitoline Hitt. Fiesole (fee-a'-so-lay), Italy, an elevation 3 mis. to the n. of Florence, the site of an Etruscan town, portions of whose walls yet remain. Commands an extensive *view of Florence and the valley of the Arno. Best view from an eminence to the e. of the Fran- ciscan monastery. Flora, Statues of, Berlin, 107; Cap., I. 11 ; Nap.,* 174; the Farnese, found in the Baths of Caracalla ; figure and drapery especially fine; head, left arm, and limbs modern. Florence (floicery), Italy, situ- ated on both banks of the Arno, 170,000 pop., was probably foulld- ed in the first century B.C. Being in the central part of Italy and on the road of all the European armies that have marched upon Rome, it has suffered in every age from mili- tary incursions. A century of turbulence followed the termination of the war of the Guelphs and Ghibellines, when, in 1421, Giovanni de Medici came to the administration of the State. This family held the govern- ment, with slight interruptions, for nearly a century, and by their enlightened statesmanship and their liberal patronage of the arts and sciences, raised Florence to the proud eminence of leadership in the awakening of the intellect from the slumber of the middle ages. The Florentine galaxy of illustrious names, Dante, Boccaccio, Macchiavelli, Galileo, Cimabue, Giotto, Masaccio, Brunelleschi, Orcagna, Ghiberti, Michael Angelo, Raphael, Filippo Lippi, Fra Flora — Naples. 132 FLOR Angelico, Ghirlandaio, da Vinci, Carlo Dolci, Fra Bartolommeo del Sarto, Savonarola, and many others, is unsurpassed in history except by that of Greece. Principal Places of Interest : The Cathedral ; the Piazza della Signoria ; the Palazzo Vecchio ; the Loggia dei Lanzi ; the Cas- cine ; San Miniato ; Bello Sguardo, which see below. The Acad- emy of Art; see Part II., Florence, Academy. The Pitti Gal- lery ; see Part II. , Pitti Gallery. The Uffizi Gallery ; see Part II., Uffizi Gallery. The National Museum; see Part II., Flor- ence, Nat. Mus. See also under their respective titles : Medicean Chap.; Baptistery; Carmine, ch. of S. M. del; Maria Novella, ch. of S. M.; Croce, Sta., ch. of; and the Boboli Gardens. The Arno flows through the city from the s.e. to the n.w., and is crossed by 8 bridges ; much the larger part of the city be- ing on the n. e. side. There is no chief thoroughfare or street extending through the city in any direction. The centre of busi- ness and of the lines of omnibuses is the Piazza della Signoria (pee-at-zah seen-yo-re-ah), the for- mer as well as the present centre of the city. On the s. side is the Palazzo Vecchio, the Uffizi, and the Loggia dei Lanzi. In this public square, where the Fountain of Neptune now stands, the life- less bodies of Savonarola and tw^ other monks were burned, 1498. The Fountain of Neptune, to the 1. of the Palace, with sea- horses, tritons, and nymphs, is by Ammanati ; the figure of Nep- tune is 18 ft. in height. The Equestrian Statue of Cosmo I. is by G. da Bologna. The Palazzo Vecchio (pal-at'-zo veck'-kee-o ; old palace), 1298, by Arnolfo ; tower, about 300 ft. At the entrance is the rroup of Hercules and Cacus, by Bandinelli ; over the door are two lions, and under the arches of the gallery the Arms of the Repub- lic. The court within is highly decorated ; the Fountain was designed by Vasari ; the bronze statuette by Verrocchio ; the Samson by de' Rossi. The Great Council Chamber, reached by the stairs at the 1., was constructed by order of Savonarola for the Great Council ; decorated by Vasari. *The Loggia dei Lanzi, or dei Signori, was constructed, 1376, from designs attributed to Orcagna. At the entrance are two colossal lions ; r. antique, 1. by Vacca. Within the Loggia, r. *Rape of Sabines, by G. da Bologna ; 1. Perseus, by Cellini ; Rape of Polyxena, by Fedi ; Judith and Holo- FLOR 133 134 FLOR femes, bronze, by Donatello. Centre, Death of Achilles, antique •, Marble Hercules and Centaur, by G. da Bologna ; against the wall six antique Vestals from the Villa Medici, Rome ; the 3d from the 1. *Thusnelda, from Trajan's Forum. The *Cathedral, II Duomo, or La Gattedrale di 8. Maria del Fiore, commenced 1294, under the direction of Arnolfo, and continued under Giotto, Talenti, T. Gaddi, Orcagna, and Brunel- lesclii, who completed the dome, 1436. The building is 555 feet in length and 343 feet in width ; the dome, with the lantern, is 352 feet high. The facade was never completed until 1887. The Interior : South Aisle, monument to Brunelleschi ; bust of Giotto ; monument to P. Farnese, by Orcagna ; St. Mat- thew, by de' Rossi ; St. James, by Sansovino. S. Transept : St. Philip, St. James, by Bandini ; bas-relief over the Sacristy door by della Robbia ; Have, e. end : Stats. John and Peter, by Rovez- zano; beneath the altar is the chapel of St. Zenobius with a bronze shrine containing the remains of the Saint, by Ghiberti. Choir, bas-reliefs by Bandinelli. Behind the high altar is an En- tombment (unfinished), by Angelo. _ZV. Transept : Windows by Ghiberti. The Tribuna della S. Croce contains St. Andrew and St. Thomas, by Ferrucci. N. Aisle : Portrait of Dante, painted 1465, by command of the Republic. Ascent of the dome, 1 f r. *The Campanile, or bell tower, adjacent, designed by Giotto, 1334, 292 ft. in height, is regarded as one of the finest towers ever erected. Ascent by easy stairs, 1 fr. Fine view. It was the design of Giotto to carry a spire to the additional height of 100 feet above the present structure. On the opposite side of the street, to the s., is the ch. of the Misericordia, whose members, as brothers of charity, are frequent- ly met in the streets in long black robes and cowls, with only openings for the eyes. Adjacent to this ch. are statues of Arnolfo, the first architect of the Duomo, looking at the foundations ; and Brunelleschi, the last, looking at the dome. Dante was born Via S. Martino, No. 2, 1265. Galileo, b. near the Boboli Garden, Via della Costa, No. 13. Macchiavelli, b. Via dei Guicciardini, No. 16, beyond Ponte Vecchio. Amerigo Vespucci, b. in the Borgo Ognissanti, near the ch. S. G. de Dio. FONT 135 Michael Angelo's House is Via Ghibellina, No. 64, containiug the Buonarroti Gallery ; M. and Th., 9-3 (50 cen.). Environs : *T/ie Caserne (cas-chee'-na), the park of Florence, commencing immediately at the city gate on the w. , and ex- tending 2 mis. along the Arno. The fashionable drive for the late afternoon ; shady, cool, and inviting, but with little variety. At the extreme end is a raon. to an East Indian prince, the Rajah of Holapore, who died in Florence, and whose remains were cremated at this place, 1870. ** Viale dei Colli (vee-ah'-le-day'ee col-lee) a new road, 4 mis., winding along the hills to the s of the city, amid charming grounds and villas, and commanding most delightful views of the city and the encircling mountains, passing the ch. of S. Miniato al Monte. *Bello Sguardo, an elevation on the s. w. of the city, commands one of the finest views of the city and environs. * Certosa di Vol d'Ema (cher-to'-sah), a fortress-looking mon- astery, 3 mis. dist. Boutes : To Bologna, 4 hrs., $3; $2.10 ; see Route 49. To Pisa, V/i hrs., $1.70 : $1.20 : see Route 51. To Rome, S hrs., $6.80 ; *$4.70 ; see Route 50. Union station for all roads. Fontairtebleau (fon-tain-blo'), 2 hrs. from Paris via Lyons rly.; 5 to 7 fr. Palace open daily, 12-4, except Tuesdays. Founded by Louis VII., 1162; rebuilt by Francis I., 1547, and enlarged by Henry IV., 1600. Occupied by Napoleon I. In 1602, Henry IV. arrested here Marshal Biron, and a month after beheaded him ; in 1685, Louis XIV. here revoked the Edict of Nantes ; 1686, Conde here died ; 1809, decree of divorce was pronounced against Josephine ; 1814, Napoleon parted from his old guard on his abdication ; and in 1815, on his escape from Elba, he here reviewed them preliminary to his march on Paris. As vis- itors are conducted through the apartments by a guide (fee, 1 fr.), no extended description is necessary. Among those of in- terest are The Apartments des Reines Meres, occupied by Cath. de Medicis, mother of Francis II., Charles IX. , and Henry III. ; and by Anne of Austria, mother of Louis XIV. Gallery of Francis /., 14 pic- tures by de' Rossi and Primaticcio ; the Apartments of Napoleon I. , in one of which Napoleon signed his abdication ; the Salle du Trone, where the marshals took their oath of allegiance ; the Oalerie de Diane, 330 ft. in length, constructed by Henry IV. ; 136 FORK the Salle des Fetes, by Francis I. , and decorated by Henry II. f 01 Diana of Poitiers. The Forest of Fontainebleau, comprising 42, 000 acres, has been the Royal Park for many centuries. Carriages may be engaged for the tour for 12 frs., or 2 frs. per hour. Fornarina (for-nah-ree'-nah), I. painting, No. 82, Bar- berini Gall, Borne. " The history of this person, to whom Eaphael was attached even to his death, is obscure, nor are we very clear with regard to her likenesses. This portrait has the name of Raphael on the armlet, and of the authenticity of which, particularly with respect to the subject, there can hardly be a doubt. The figure is seated and is uncovered to the waist ; she draws a light drapery around her ; a shawl is twisted round her head. The execution is beautiful and delicate, although the lines are sufficiently defined ; the forms are fine and not without beauty, but at the same time not free from an expression of coarseness and common life. The eyes are large, dark, and full of fire, and seem to speak of brighter days. 11 — Kugler. " To my thinking, the sole work of Raphaels, which is without nobleness of conception.' 1 — Liibke. " Her features beam with material, but not with intellectual beauty. 11 — Racl- clijfe. *IL, No. 1123,' in the Tribune, Florence. By Missirini sup- posed to be a portrait of Vittoria Colonna, the friend of M. An- gelo. Formerly attributed to Raphael, but now to Sebastian del Piombo. Fortuna (Virilis ?), Temple of, Borne ; on the e. bank of the Tiber, near the Pons iEmilius. Well preserved ; surrounded by columns 28 ft. high ; the open portico is now closed. Built by Servius Tullius, rebuilt during the Republic and converted into a ch., 880. On the opposite side of the street is the House of Rienzi, upon which is a lengthy inscription. A few steps below is the Temple of Vesta. Forum. See Boman Forum, Trajan's Forum. Fountains, Borne: Fontana dell' Acqua Felice, or F. di Termini, near the Pi. di Termini. Designed by Domenico Fontana. In the central niche is a Moses striking the rock, by da Brescia, who is said to have died of grief at the criticism the statue called forth. At the sides are Aaron and Gideon. Fontana della Barcaccia, in the Pi. di Spagna, in the form of a boat. Designed by Pietro Bernini, father of the celebrated sculptor. Fontana del Campidoglio, Pi. del Campidoglio, near the FRAN 137 Palace of the Senator. Central figure, Minerva, and on either side the Nile and the Tiber, from the hatha of Constantine. Erected in the 10th cent. Fountain of the Quirinal, the magnificent granite basin of which was from the Roman Forum, 1800. Fontana Paolina, on the Janiculum ; one of the finest in Rome. Built by Paul V., 1612; designed by Fontana. The 6 red granite columns are from the Temple of Minerva. The view of Rome and the Campagna from this fountain is especially fine. Fountains in the Piazza Navona. See Navona. Fontana delle Turtarughe, in Piazza of the same name, so called from its 4 tortoises. The 4 fine bronze figures are by Landini. Designed by Giacomo della Porta. ♦Fontana di Trevi (tray'-vee), near the Quirinal, 1735. In the centre is Neptune in a car drawn by horses and tritons ; 1. Health ; r. Fertility. Designed by Salvi ; the figures by Bracci. "Another pompous confusion of fable and fact, gods and edibles, aqueducts and sea-monsters.'* — Forsyth. "After all it is as magnificent a piece of work as ever human skill contrived."' — Hawthorne. It is a tradition that drinking at this fountain on departure from Rome insures the visitor's return. Fontana del Tritone, in the Pi. Barberini. A triton spouting the water from a conch, rests on a shell supported by 4 dolphins. France, the South of. See Route 64, p. 569-70. Francesca, Pietro della (fran-ches'-ka), 1415 ?-l 492, b. at Borgo S. Sepolcro, Italy. Distinguished as having applied his knowledge of geometry to perspective, and thus added materi- ally to its advancement. Is said to have been the teacher of Perugino. Francesca was strictly the precursor of da Vinci. "He unites the most delicate delineation of form and rare knowledge of perspective foreshortening with a tender, golden, almost transparently lucid coloring." — Lilbke. Francia, Francesco (-che-a, -ches'-ko), Raibolini, 1450- 1517, Bologna. Subjects were Madonnas and Holy Families, in which he represented devotional sentiment with great success. His faces are oval ; eyes dark and tender ; the expression pleas- ant and meditative ; color, deep and glowing. " A painter equal in rank to Perugino. No painter certainly has given greater sweetness and beauty to his Madonna heads. His power of rendering the tender- est and pearliest female complexions is unsurpassed." — Kugler. " I remember but one painter, Francia, who approached this awful class of 138 FRAN subjects (Christ and Madonnas) in a fitting spirit. His pictures are full ol boldness, and evidently wrought out as acts of devotion with the deepest sin- cerity, and are veritable prayers upon canvas/ 1 — Hawthorne. Principal Works ; Berlin, 122-5-7; Boiog., 78-9, 80-1-3, 371-2-3; Borg. II. 43, 51 ; Brera, 331 ; Dresd., 435-0-7 ; Frank., 41 ; Hamp. Ct., 307 ; Hermit., 68- 9 ; Louvre, 306-7 ; Modena, 36 ; Munich, 575-7 ; Nat. Gall., 179-80, G3S ; Parma, 128, 130, 359; Pesth, IV. 1S1 ; Turin, 101 ; Uffl., 1124. Frankfort-on-EMialn (-foort; ford of the Franks), Ger., pop. about 137,000; a, Roman fortification; established as the royal residence of Charlemagne, 794. By decree of Ch. IV. , des- ignated as the place where elections of the Emperor of Germany should be held, and where a majority of the Emperors have been elected. Possesses comparatively few places or objects of interest. The Cathedral, founded 1238 ; restored 1855 ; since greatly damaged by fire, now restored. The Romer — the city hall, on the first floor is the *Kaiser- saal, where the Electors and newly elected Emperor dined. In the Rossmarkt, in the n.w. part, the largest Platz in the city, is a mon. to Gutenberg, erected 1858 ; near by is Schiller Platz with mon. to Schiller, 1864 ; also in Goethe Platz mon. to Goethe, by Schwanthaler, 1844. The House in which Goethe was born, inscribed with the date of his birth (Aug. 28, 1749), is Grosser Hirsch;-raben, 23, near the Rossmarkt. Beyond the Friedberger Thor (gate) a short distance, is the Hessian mon. to the Hessians who here fell, 1792, in an attempt to recover the city from the French. Adjacent is the Ariadne um or Bethmann's Museum, containing the masterpiece of Dannecker, ** Ariadne. See Ariadne. Routes: To Cologne, 5 hrs., $4; $3. To Berlin, 11 hrs., $12; $9. To Dresden, 15 hrs., $11 ; $7.25. To Munich, 11 hrs., $9 ; $5.50. To Heidel- berg, 2 hrs., $1.50; $1. To Bale, 8 hrs., $7.50; $5.25. Union station for nearly all road^. *Frari, The (frah'-ree), or S. M. Gloriosa dei Frari, Venice, designed by N. Pisano, 1250. S. Aisle: r. **mon. to Titian, erected by the Emp. of Austria, consisting of a Corinthian canopy, beneath which is a sitting statue of the painter crowned with laurel and uncovering a statue. Between the columns are Sculpture, Architecture, Painting, and Wood-carving. On the wall 3 reliefs of his greatest works, the Assumption, Martyrdom of St. Peter, and of St. Lawrence. **Mon. to Canova, opp. that of Titian. Design borrowed from Canova's tomb of the Archduchess Christina at Vienna. A FRAN 139 140 FRED marble pyramid on the r., Religion, Art, and other figures as mourners ; on the 1. the Lion of St. Mark. The heart only is here preserved, the body being entombed at Possagno. In the tribune, r. mon. of Doge Eoscari ; 1. tomb of Doge Tron, 27 ft. wide, 40 high, with 19 figures. The stalls of the cboir are notice- able for the fine wood- work. JSf. Aisle is the tomb of Jacopo Pesaro, over the altar of which is Titian's **Pala dei Pesari, rep- resenting the Virgin, Child, Saints, and members of the Pesaro family, one of the young female figures particularly fine. Joseph is the portrait of Titian. *Mon. of Doge Pesaro of questionable taste. It is supported by colossal statues of ragged Moors or Negroes. "The mcst prominent objects are four enormous Negroes, or Moors, of black marble, but dressed in jackets and trousers of white marble, and, oddest of all, the artist has represented them with their knees and elbows protruding through rents in their garments. In grotesqueness and bad taste, this monument has no rival in all Europe, to my recollection. 11 — Hillard. " I have just examined at the Frari a picture by John Bellini which, like those of Perugino, seems tome a masterpiece of genuine religious art. At the roar of a chapel, over the altar, within a small piece of golden architecture, sits the Virgin on a throne in a grand blue mantle. She is good and simple, like a simple, innocent peasant girl." — Taine. (In the sacristy.) Frederick L, Barbabossa (red beard), 1121. Crowned Emp. of Germany at Aix-la-Chapelle, 1152 ; also at Rome, 1155. Made an expedition to Italy, 1154, and again, 1159. Conquered Bo- hemia and Poland ; 1162, took Milan, destroyed its fortifications ; two years later again entered Italy, and also in 1166 ; and had himself crowned again at Rome. In 1174 made an unsuccessful attack on Alessandria, and the next year was totally defeated at Como. In 1188 he went on the Third Crusade, and while at- tempting to ford or while bathing in the river Calycadnus, not far from Tarsus, was drowned. By some it is stated that he was not drowned, but died from a sudden chill. His body was carried by his followers to Palestine, and placed in the Christian church at Tyre. Fresco, a method of painting upon a freshly prepared ground of stucco or plaster. Mineral pigments only are used, and as they unite with the lime of the ground, the work cannot be re- touched, a feature which renders the method peculiarly difficult. See Distemper. Furca Pass (foor'-ka), Switz. The Furca road leads from Andermatt, in the valley of the Reuss, over the Furca Pass tt FYNL 141 Brieg in the Rhone valley, 12 hrs. by diligence. The summit of the Pass is at the alt. of 7,993 ft. The road passes immediately near the lower end of the * Rhone Glacier, which is regarded as the most magnificent of all the Alpine ice-fields. Fynlina. See Pottery. Fyt, Jan (fite), 1609-1661, Antwerp; the most distinguished Flemish painter of animals, after Snyders, and second not even to him in his greyhounds, feathers, and fur ; unequalled in hares by any master. Sometimes he painted in connection with Jor- daens. Gaddi ; I. Gaddo, 1239-1312, b. Florence ; the friend of Cimabue and Giotto ; worked principally in mosaics at Florence and Rome. II. Taddeo, 1300 136G ? b. Florence ; son of Gaddo. At the age of 12 he became the pupil of Giotto, whose assistant he continued until the death of the master, a period of 24 yearp. He was charged with the completion of the unfinished works left by Giotto, and his style is so fully identified with that of his master, that many of his works have, until recently, been as- cribed to Giotto. Few of his works now remain. III. Agnolo, — d. 1396, b. Florence ; son of Taddeo, and possessing the excellencies of his father with more of originality, although he still adhered in general to the stiff Byzantine style. C. and C. regard his ' ' Marriage of the Virgin " as one of the best compositions of the school of Giotto. Gainsborough, Thomas, 1727-1788, b. at Sudbury, Eng. Portraits and Landscapes. Several of the latter are in Nat. Gall., Lond. , as also a portrait of Mrs. Siddons, Ruskin regards him as the greatest colorist since Rubens. Galilei, Galileo (gal-e-lay'-o, gal-e-lay'-ee), Italy ; b. at Pisa, 1564. At the age of 24 appointed Prof, of Math, at Pisa. Here his assertion of the laws of nature against the established scholas- tic belief awakened such hostility that he resigned and went to Padua, where he lectured with unprecedented success for 18 yrs., drawing students from all parts of Europe, when Cosmo III. in- vited him to return to Pisa and afterward to Florence. In 1609, hearing of the invention of a telescope in Holland, he constructed one for himself, and immediately discovered the sat- ellites of Jupiter, the rings of Saturn, the Sun spots, and the na- ture of the Milky Way. These new truths so disturbed the old beliefs that he was subjected to persecution, first in 1615, and 143 GANY Ganymede — Vatican. afterward, in 1633 ; was summoned to Rome, tried, and compelled to recant his pernicious doctrines, especially of the Copernican System and the Revolution of the Earth. He died 1642 — the year of the birth of Sir Isaac Newton — at the age of 78, and was entombed in the ch. of Santa Croce, Florence. His house in Florence is still seen, Via della Costa, No. 13, near the Boboli Gardens. Gan-y-me'-de, myth, the most beautiful of mortals ; was carried away to be the cup-bearer of Jupiter. Statuks : Berlin, 214 ; Naples, TO, 118 (91); Vat., 442, (Br.) 38; Copenhagen, Thor. Mus. Painting by Rembrandt. Dresden Gall., No. 1216. Gar-goySe (dragon), in archi- tecture, a term applied to spouts projecting from roof gutters, frequently representing the most grotesque figures of animals. Garofalo(gah-ro-fah'-lo),BENVENUTO Tisio, 1481-1559, b. at Ferrara. Garofalo, so called from the gilliflower with which he marked his pictures, is regarded as the ablest artist of Ferrara ; his coloring equals that of the earlier Venetian school. His most celebrated large work is the Entombment, in the Borghese Pal. " The most considerable works of his later time are not always the most attrac- tive. There is rather empty ideality of expression and a deficiency of making out in his lai'ge figures which the most brilliant execution cannot conceal ; and though his heads are beautiful and his drapery classical, there is a certain monotony in his numerous works." — Kugler. Principal Works: Borgh., II., Nos. 6, 9; Brera, 337; Cap., 30, 161,164; Corsi, VII. IS ; Doria, I. Cor., 26 ; Dresd., 140-1-2-5-6 ; Frank., 43 ; Hermit, 59, 60, 61 ; Louvre, 412-13-14-15 ; Munich, 1172, 1333 ; Naples, 26, 52, 1S9, 190; Nat. Gall., 81, 170, 642, 671 ; Parma, 3G6, 369 ; Pitti, 5, 122, 246, 363 ; Turin, 108; Vat., H. Fam.; Venice, 452. Geneva, Switz., a delightful city of 68,000 pop., situated at the western extremity of the lake at the efflux of the rapid Rhone. The hotels which line the lake shores are magnificent struc- tures, and crowded with visitors during the summer. Those on ihe south bank have the attraction of the "English Garden,'- 3 sharming and well-kept park ; and those on the north that of af- fording, in clear weather, a view of Mt. Blanc GENE 143 144 GENE Geneva was fortified by Julius Cassar; 1034, Conrad II. was here proclaimed king. The contest between the Bishops and Prefects of Geneva as to temporal sovereignty was the primal cause of the Reformation. Principal Objects of Interest ; The Cathedral, Musee Rath, Jar- din Anglais, Relief of Mont Blanc, Botanical Garden, Monuments, House of Calvin, House of Rousseau, and Reviliod's Gallery. The Cathedral, erected by Conrad II. , 1021, has been much changed by additions during the 8 centuries of its existence. Concierge in the rear (fee ^ fr.). Mons. to Duke de Rohan. Chair used by Calvin. Carved stalls and windows of the 15th cent. The Musee Rath, Rue de la Corraterie, upper end ; open Sun. and Th., 11-3 ; other days, 1-4. Vestibule: casts of modern sculptures: Ghiberti's doors of the Baptistery at Florence, Graces by Canova. Hall: the Laocoi'm, Venus de Medici, Gladiator, Apollo Belvedere, Diana of Ver- sailles, Thorn-extractor. Pictures : * 19, Forest of Handeck, Calame ; *29, Sallenche, Diday ; *28, Forest in a Storm, Diday ; *55 Cattle, Humbert ; 101, Landscape, Sdlvator Rosa. *Jardin Anglais, on the s. bank at some little distance above the upper bridge, is a very pretty public park, with a fountain in the centre. At the entrance beside the quay is a column with various meteorological instruments. In the park is also a *Relief of Mont Blanc, 11-3, i fr., Sun. and Th. free, showing the configuration of the Alps and the relative height of Mont Blanc and the surrounding peaks. It is said to contain 5,000 houses and a half million trees. Very desirable as a preparation for the visit to Chatnonix. The Botanical Garden, near the Musee Rath, is reached by a short walk along the Bastion Bourgeois ; Busts of Chambrey, Trembley, de Saussure, and Rousseau ; also bronze David by Chaponniere. View of Mont Blanc from along the Quay Mont Blanc, best in the afternoon near sunset and clear evenings. On the 1. are the Aiguilles du Midi, Grandes Jorasses, and the Dent du Geant; in front, the Aiguilles Rouges, the Mole, and the Aiguille d'Argem tiere. Monuments : Men. de l'Escalade, Rue des Allemands, in com- memoration of the defeat of the Savoyards, 1603, in an attack upon the city. GENE 145 The National Mon., on the Quay below the Jardin Anglais, bronze group by Dorer, of Helvetia and Geneva, in commemora- tion of the union of Geneva with the Confederate Cantons, 1814. Mon. to the Duke of Brunswick, who bequeathed to the city 20,000,000 frs.; situated on the n. bank. Bronze statue of Kousseau, on Rousseau's isl., reached by the 2d. bridge. RemlwoVs Art GaUery, open daily, ex. Sun. ; small fee to the custode ; contains a coll. of antiquities and paintings. Among the objects of greatest interest is *Raphaers Madonna of the Goldfinch. See Madonnas, No. 15. House of Calvin, No. 11, Rue des Chanoines, near the Cathe- dral. His tomb in the cemetery Plain-Palais, place unknown. House of Rousseau, No. 40, Grande Rue, n. side of the river. Distinguished Citizens of Geneva: Necker, Madame de Stael, de Saussure, de Candolle, de Luc, Bonnet, Boissier, Say, Sis- mondi, d'Aubigne, Rousseau ; Calvin, a native of Picardy, resided here several years ; Servetus, a Spanish physician, burned at the stake on Champel Hill, by Calvin's order, for having written a treatise on the Trinity. Koutes : To Lausanne, 1% hr.; $1.25; 90 cts.; see Route 34. To Pakis, via Pontarlier, 16 hrs. ; $14 ; $10.80 ; see Route 38 ; via Macon, 14 hrs.; $15 ; $11.60 ; see Route 39. To Turin, 11 hrs.; $8; $5.80; see Route 40. To Bebne, 6 hrs.; $4.50 ; $3.10 ; see Route 34 to Lausanne, thence Route 33 Lausanne to Berne. To Chamonix, by diligence, 8 hrs.; $5. Chamonix to Geneva, 7 hrs. To Bouveket (Lake Geneva) by steamer, 4 hrs.; $1.60. Tour of the Lake, 7 a.m. to 6 p.m. Environs : North bank of the Lake, Varemb6, residence of EmpreRS Josephine, later of Lola Montez ; Pregny (prain-yay), chateau of the Rothschilds, Tu. and F., 2-6, admission by card obtained at Geneva hotels; Fernex (fer-nay), 4 mis., home of Voltaire ; Coppet (-pay), stmr. 1 hr., home of Necker and Mme. de Stael ; both buried in the Chapel. Her ■writing desk and other articles shown ; mansion until recently owned by her grandson, the Due de Broglie. S. bank, Diodati, Lord Byron's Villa. Geneva, Lake of, Fr. Lac Leman, about 50 mis. in length, having a breadth of 9 mis. in the widest part, an alt. of 1,230 ft., and a depth of about 1,800 ft. It is noted for its deep blue color — the other Swiss lakes being greenish. The water is subject to sudden fluctuations to the height of 2 or 3 ft., for which, as well as for its peculiar color, no satisfactory explanation has ever been offered. Its height is from 3 to 6 ft. greater in summer than in winter. In scenery it is inferior to lakes Lucerne and Zurich. Steamboats leave Geneva several times daily in summer for the upper end, via both the n. and s. banks ; 4 or 5 hrs.; $1.50; By 10 146 GENO taking an early morning boat the excursion of the lake may be made, returning the same day. Cen'-o-a ; Ital. Genova; Fr. Genes; was an important city under the Romans ; a republic in the Middle Ages ; was con- quered by the French, 1684, and again 1800. Present pop. about 170,000. It is enclosed by a double line of fortifications, the inner 7 mis. , and the outer 20 mis. in length, erected 1632. The beauty of its location and of its harbor constitutes the greatest attraction of the city. The finest view of the city is ob- tained when approaching from the sea ; within the walls it is gained from the dome of S. Maria di Carignano, at the s.e. end of the city ; the harbor is best seen from the Gran Terrazzo Marinoreo. In buildings, Genoa is more noted for its palaces than its churches. The Churches of greatest interest are, San Lorenzo, the Cathedral, 1100, of alternate black and white marble, in the Romanesque, Gothic, and Renaissance styles. In the sacristy are relics brought from Palestine by the Crusaders. San Ambrogio, church of the Jesuits, particularly rich in gild- ing and mosaics. San Stefano, containing one of Giulio Romano's best works, *The Stoning of Stephen, over the high altar. San Annunziata, church of the Capuchins, one of the most gorgeous in the city. The Palaces, of which there are many, are usually open to the public. Palazzo del Municipio, near the centre of the city, with a hand- some court and a fine staircase, has two letters of Columbus, and the violin of Paganini. Palazzo Bianco, formerly the Brignole-Sale, possesses the finest collection of paintings in the city. The most notable picture in the gallery is a Madonna by Raphael. See Madonnas, No. 16. Palazzo dei Principi Doria, at the w. end of the city, erected for Andrea Doria, " the Father of his Country." Palazzo Rosso, with fine picture gallery. The Statue of Columbus, 1862, stands in the Piazza Acquaverde. The monument is composed of white marble, and represents America kneeling at the feet of Columbus, with sitting allegorical figures of Wisdom, Religion, Geography, and Strength. The Public Garden of Acqua Sola, the principal public resort, is on the high ground to the n.e. GENR 147 **Villa Pallavicini is one of the most important suburban attractions of Genoa. In all that constitutes a gorgeous palatial residence it has few equals in Europe ; 5 mis. from the city, Pegli station, on the railway to Nice. Villa opposite the station. Routes: To Turin, 4 hrs., $3.40; $2.20; see Route 52 to Alessandria, and thence Route 42, Ales, to Turin. To Milan, 5 hrs., $3.50 ; $2.50 ; see Route 52. To Pisa, 4>£ hrs., $3.75 ; $2.60 ; see Route 53. To Nice, 6>£ hrs., $4.30 ; $3. Genre Painting (zhawn'-r; class, kind, or species). Pictures of life and manners, in distinction from historic and religious ; thus, domestic scenes, every-day life, interiors, comic scenes. Gerda, Legend op Rheinstein (rine-stine). The hand of Gerda, the beautiful daughter of Siegfried, the robber knight of Rheinstein, was sought by so many knights that Siegfried held a tournament at which Gerda was to be the prize of the bravest. Kuno, whom Gerda loved, after having vanquished all his antagonists, was at last overcome by the wicked Kurt, a favorite of Siegfried. Gerda's prayers and tears were of no avail, and she was commanded to make herself ready for her wedding. When the occasion arrived, Gerda asked to be permitted to ride to the church. She had scarcely mounted, when the steed, which Kuno had presented her rn her eighteenth birthday, at once broke away, dashed into the Rhine, and bore Gerda safely to Kuno in his castle at Reichenstein. Kurt, whilst pursuing, was thrown from his horse and killed, and Siegfried, by the stumbling of his steed, was mortally wounded, sur- viving only long enough to be borne to Reichenstein and to pronounce his blessing on Gerda and Kuno. Germain 1'Auxerrois, St., Ch. of (safi-zher -mail-loaks- er-rwah), Paris ; facing the e. front of the Louvre ; founded by Childebert ; destroyed by the Normans, 886 ; rebuilt by Robert, 998. The bell of this church gave the signal of the St. Bartholo- mew massacre, tolling throughout the memorable night. In 1831, on an attempt to celebrate the death of the Due de Berri, a mob destroyed the interior ; reopened, 1837. The water basin, with a finely sculptured group of three children, was designed by Madame Lamartine. The chimes of 40 bells play at 2 and 8 p.m. The signal bell is now in the tower of the Pal. de Justice. Cermain-en-Laye, St. (zher-man-awft-lay), rly. from Oare St. Lazare every hr. ; 13 mis. Sun., Tu., Th., 11-4. The castle, the home and favorite residence of Francis I., Henry II. , and Henry IV., is a mediaeval structure of great interest. Birthplace of Henry II., Charles IX., and Louis XIV. Upon the erection of Versailles, by Louis XIV., this place was abandoned as a royal residence. Converted by Napoleon III. into a *pre-historic and Gallo-Boman Museum. Germain des Pres, St. (zher-mafl-day-pray), c7i., P<(ris. 148 GESU Founded by Childebert I., 557. In 801 destroyed by the Nor. mans, except the w. tower. The tower of Childebert was after- ward restored. In 1369, the abbey in connection was fortified by Charles V. against the English. The square buttressed tower dates from 990. In the second chapel of the choir is the tomb of Descartes. Gesu, El ; ch., Home, on the Piazza del Gesu, rear of Palazzo Venezia. This is the principal church of the Jesuits, and one of the most gorgeous in Rome, 1568. Beneath the high altar, in a bronze sarcophagus, are the remains of Loyola, the founder of Jesuitism. At the end of the 1. transept is the altar of St. Igna- tius. The globe in the hand of the Almighty, said to be the largest mass of lapis lazuli known, has been ascertained to be composed of small pieces. Paintings of the dome, nave, and tribune by Baciccio. Chiberti, Lorenzo (ghe-bair'-ty), 1378-1455, b. Florence. Known principally from his renowned bronze doors of the Bap- tistery, Florence. He won the commission for this work at the age of twenty, against Brunelleschi and other competitors. The first door of 28 panels occupied him 23 yrs. ; the second, 28 yrs. Buried in Santa Croce, Florence. See Baptistery, Florence. GhirSandaio (gheer-lan-dah'-yo ; garland-twiner), Domenico Bigordi, 1449-1494, b. at Florence. The master of Michael Angelo, and the first artist of his time in Florence. He was equally a master of composition, form, proportion, light, and shade. He gave to his figures an incomparable dignity of attitude and motion. The perfection of Florentine mosaics is largely due to him. " The life and works of Ghirlandaio form one of the great landmarks in the his- tory of Italian Art. A mind of great creative power and large aims, he gathered np the essential elements of art, and presented them in a unity such as had only been seen previously in Giotto. 11 Ghirlandaio had two brothers, David and Benedetto, also pain- ters, but who attained no especial excellence. Principal Works : Berlin, Nos. 74-5-6 ; Dresd., 29 ; Flor. Acad., I. 50 ; Louvre, 202; Munich, 556-7-8; Naples, Tuscan Sch., 30 ; Pitta, 358; Urn., 1295-97; Vat., Sis. Chap., three. Florence, Ch. of Ognissanti, Last Supper, St. Jerome ; S. Marco, Last Supper ; S. Trinita, St. Francis ; Ch. of the Innocents, Adoration of the Kings ; S. M. Novella, Life of the Virgin and John Baptist ; Cath. Dome, Annunciation (mosaic) ; Pal. Vecchio, Madonna, St. Zenobia. Giant's Causeway, on the n. coast of Ireland. By rail from Belfast 2| hrs. to Coleraine ; by branch to Portrush ; thence by tramway 7 miles. The trip from Belfast and return may be made in one day by taking early train. GIES 149 The Causeway is a low promontory of basaltic rock of columnar structure, sloping down into the sea. The columns, which stand nearly erect and are of regular geometric shapes from three to nine sides, rise as they recede from the water's edge to a height of 40 to 50 feet. As the uncovered portion of the Causeway comprises several acres, a guide is necessary to point out the objects of special interest — which, however, are not numerous — the triangle, the rhomboid, the exact pentagon, the hexagon, octagon, and nona- gon, the Giant's Spring, the Giant's Mother, the Wishing Chair, the Giant's Gate and the Organ. The pleasure which the contemplation of such natural gran- deur bestows, is somewhat marred by the nonsensical tales which the guides persist in retailing at every point and turn. It is probable that this columnar structure underlies consider- able portions of the north of the island , as the same is observed on the east coast between Belfast and Lame. Gibraltar. See p. 571. Giessbach (ghees'-bahk), Switz. See Route 30. Lake Brienz. Note 2. Giles, St., ch., Edinburgh, founded in the 9th cent., rebuilt in the 14th, and again 1829. The interior was redecorated 1872. It is 206 ft. in length, and has a crown shaped spire, 1G1 ft. in height. In papal times it contained 40 altars, and was served by 70 priests. In the early Protestant period its pulpit was occu- pied by John Knox. It i3 also noted as the place where Jenny Geddes hurled her stool at the head of the Dean ; also where the oath of the Solemn League and Covenant was taken, and where the Covenanters taken at the battle of Bullion were imprisoned. It is now divided into three parochial places of worship, the High, the Old, and the West St. Giles. Giordano, Luca (jor-dah-no), "Fa Presto," 1632-1705, b. Naples ; pupil of Itibera and Cortona. He treated every variety of subject with marvellous fertility of genius. The churches of Naples abound with his pictures. In 1690 he was invited to Spain by Chas. II., and left for the Escurial not less than 50 works. He imitated both Ribera and Paul Veronese. '• No painter ever made worse use of extraordinary gifts."' — Kugler. Principal Works : Belv., one ; Berlin, 441 ; Brera, 892 ; Corsi, VII. 21 ; Dresd., 568-9, 572-5; Hermit., 291-3-3E-4 ; Louvre, 191; Munich, 442, 569; Naples, Sala Grande, 89; Pesth, VII. 237; Venice, 571. 150 GIOR Ciorgione (jor-jeeo'-nay); Giorgio Barbarelli, 1476- 1511 ; Italy, pupil of Gio. Bellini. An ardent lover of nature, he early abandoned the rules and mannerisms which had hitherto prevailed in Venice, studying 1 models and seeking- natural effects. Ltibke asserts that he is the first master in whose works land- scape is poetically conceived. And in general his works present a beauty of execution unknown in Venice prior to him. In coloring he attained a perfection which has never been surpassed. He was the master of Titian, and in style and composition his precursor, whilst as to coloring he is regarded by many as the superior. He died at the early age of 35, and had he lived, could hardly have failed of attaining the highest rank among the great masters. His works are not numerous. " No painter's reputation stood higher during his life, or has remained more steadily at the same elevation to the present day. 11 — Kugler. Principal Works : Belv., one ; Bergamo,157 ? 171 ? 187 ? : Berlin., 152 ? ; Borgh., 13 ? ; Brans., 225 ? ; Corsi, 30 ? ; Dresd. , 218 ? 219 ? 220 ? 221 ? 23S9 ? ; Louvre, 33 ?; Munich, 582 ? 470 ?; Nat. Gall., 260 ; Pesth, 143 ?; Pitti, 161 ; Uffi., 571 ? 621 ? 622 ? These works are attributed to Giorgione in the official cata- logues, but in many instances they are doubtless the work of other artists. Giotto di Bondone (jot'-to-dee-bon-do'-nay), 1266-1337; b. at Vespignano, near Florence ; pupil of Cimabue ; painter, sculptor, and architect. Li Navicella— GioUo. Discarding the Byzantine he sought a closer imitation of na- ture, and a wider range of imagination. Through his untiring energy, and his better principles of art, he awakened a new in- GIOV 151 terest throughout Italy. Such was the appreciation of his talent, that in his passage through the country, he was detained at almost every considerable village, to execute a work for its church. Thus his works were scattered throughout the country. From the delightful symmetry of his forms, the beauty of his figures, the vivacity of his faces, he won the title of • l The For- tunate Disciple of Nature." " It is impossible to overestimate the influence of Giotto's genius. jj e opened a fountain of nature to the gifted generations who succeeded him in Italy which permeated through the length and breadth of the land, spreading beauty and fer- tility in its course." — Kugler, " His heads have a great sameness — long Byzantine faces and figures. He sel- dom succeeds in the passionate emotions — anger, hate, or rage. His attempts are apt to fall into grimace. ... In the Ch. of S. M. dell' Arena, at Padua, hu proved himself one of the greatest masters of any age." — Liibke. As an architect he designed and superintended the erection of the Campanile at Florence, still called Giotto's tower, and re- garded as one of the most beautiful in Italy. Florence conferred upon him the right of citizenship, and bestowed a pension of 40 florins per year. En- tombed in the Cathedral of Florence. Principal Wokks : Berlin, 1073-74 ; Bolog., 102; Brera, 310; Flor. Acad., 15; Louvre, 192; Munich, 1148, 1152, 1420?; Nat. Gall., 276; Parma, 431 ? ; Pesth, III. 79; Turin, 91; TTffi., 6 ? Also at Assizi, Basil. ; Life of St. Francis, Allegories of Poverty, Obedience, Chastity, Scenes from the New Test., Salutation, Nativ- ity, Presentation, the Innocents, Plight into Egypt. Florence, Bargello : Portraits of Dante, Do- nati, and Latini. Santa Croce : Pernzzi chapel. Scenes from the life of John Bap. and St. John Evang. ; chapel des Bardi, Life of St. Francis; chapel des Baroncelli, Christ Crowning the Virgin ; Acad, of Art, two panels with 12 scenes from the life of Christ, and 10 from the life of St. Francis (copies at Berlin). - Naples : Convent S. Chiara, Miracle of the Loaves. Padua : Chapel dell' Arena, 3S scenes from the life of Christ and the Virgin, Christ Glorified, The Last Judg- ment, Virtues and Vices. Rome : St. Peter's, La Navicella (mosaic), Martyrdom of St. Peter, figures of Saints. St. John Lateran, Pope Boniface VIII. opening the Jubilee, 1300. *Ciovanni e Paolo, SS. (jo-van' -ny-a-pah-o-lo), ch.,1240, the " Westminster Abbey of Venice." Contains the tombs of the Doges, whose funeral service always took place here. N. Aisle: Dante — Giotto. 152 GIOV *Tomb of Doge Malipiero; r., in niche, Doge Steno; eques. stat. of Gen. Guistiniani ; *Doge T. Mocenigo ; Doge Marcello ; eques. stat. of Baglioni; Doge G. Mocenigo. 8. Aisle : *Tomb of P. Mocenigo, with 15 statues ; mon. to Bragadino, defender of Cy- prus, who was flayed alive by the Turks ; altar-piece, by Bellini. 8. Transept: Tomb of Gen. Orsini, with eques. stat. Choir: Tombs of Doges M. Morosini, *Loredano, **Vendramin, *M. Cor- ner. JV. Transept : St. Helena presenting the Baton to Gen. Ca- pello ; Doge A. Venier ; eques. stat. of L. da Prato. Giovanni de Fiorentini, S. (jo-van -ny), ch., Borne, via Giulia, near the Ponte S. Angelo, the national ch. of the Tuscans. Contains Salvator Rosa's celebrated Martyrdom of SS. Cosma and Damiano. Gisela (ghee-say '-lah), Legend op Rudesheim. The Knight of Rudesheim being made a prisoner by the Saracens in the Holy Wars, made a vow that if he returned safe home he would dedicate his only daugh- ter, Gisela, to the cloister. Gisela, in his long absence, had been wooed and won by the Knight of Falkenstein. Upon the father's return, and communicating to Gisela his vow, she became insane, and at last precipitated herself from the tower into the Rhine. **Gladiator, The Dying, stat. in Capitoline Mus., Home. Found in the gardens of Sallust. A Greek work, sculptor unknown. It has long been called the Dying Gladiator, but it is now believed to be a wounded Gaul. Right arm restored by M. Angelo. One of the finest Greek works known. ' ' This figure cannot rep- resent a gladiator, because it is not found that in good times of Art statues were ever erected to prize-fight- ers, and because no Greek artist of sufficient merit to Dying Gladiator — Borne. execute this figure probably made gladiators, and as in the flourishing period of Art no gladiatorial games were known to the Greeks." — Winckelmann. " It is a most tragical and touching representation, and no one can meditate upon it without the most melancholy feelings. Of all proofs, this is the surest of the effects produced by Art. The forms are full, round, and manly ; the visage mournful ; the lip yielding to the effect of pain ; the eye deepened by despair ; the skin of the forehead a little wrinkled ; the hair clotted in thick sharp-pointed locks, as if from the sweat of fight and exhausted strength ; the body large ; the GLAD 153 shoulders square ; the balance well preserved by the hand on which he rests ; the limbs finely rounded. The joints alone are slender and fine. No affectation of anatomy here." — John Bell. "But the charm and power of the statne consist in the amazing truth with which two great elements of humanity and mortality are delineated. A vigorous animal life is suddenly stopped by the touch of death. The artist gives us all the pathos and the tragedy of death, without its ghastliness and horror. The dying man is no longer a trivial person stained with coarse employment and vulgar as- sociations, but an immortal spirit. The rags of life fall away from him and he puts on the dignity and grandeur of death. We feel ourselves in the presence of that awful power before whose sceptre all mortal distinctions are levelled. Life and death are all that, for a time, we can admit into the mind.' 1 — Hillard. "I see before me the gladiator lie : He leans upon his hand — his manly brow Consents to death, but conquers agony, And his drooped head sinks gradually low, And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder-shower ; and now The arena swims around him — he is gone, Ere ceased the inhuman shout which hailed the wretch who won." — Byron, Childe Harold. " I do not believe that so much pathos is wrought into any other block of stone." Hawthorne. *Gladiator, Farnese, stat., Naples, Nat. Mus., Hall of the Flora, No. 16-(30). "Faint with agony, his trembling knees seem hardly to support him. He haa received his death-wound in the heart and looks as if staggering under it. The half open lips show the difficulty with which he draws the little remaining breath, and the upturned eyes bespeak the depth of his pangs. It seems as if the un- fortunate victim were about to fall at our very feet. Head, arms, and hands modern." — Monaco. **Gladiator, Fighting, or Borghese Hero, in the Louvre. The only known remaining work of Agasias. Believed to be a soldier resisting the attack of a horseman, and not, as formerly supposed, a gladiator. Statues : Glad. Cap. I. ** 1. Louvre, * Borghese ; Naples, Far. ** 16-(30), 36 ; Vatican (Ch.), 312. Glasgow, Scot, (clais-dhu ; dark ravine), is a comparatively modern city, and possesses little of historic interest. During the last half century its growth has been unequalled in Great Britain, and it now ranks as the second city in the United Kingdom, having a population of 700,000. In iron shipbuilding it stands as the first city in the world — its docks lining both sides of the Clyde for miles. It is estimated that Glasgow consumes one million tons of iron per year in its manufactures. It was the 154 GOBE residence of Watt, the inventor of the steam engine, and is en- titled to the honor of having launched the first European steamer. It possesses an extensive foreign commerce, and has two steam- ship lines to New York, the Anchor and the State. The principal object of interest in the city is the * Cathedral, dating from the 12th cent. The carving and decoration of the screen and of the columns are exceedingly fine and in good pre- servation, but the chief object of admiration is the stained glass decoration. There are 80 windows in all, of which 44 are designated as the great windows, being about 80 ft. in height. Each window is illustrative of some event of biblical history. * The crypt is particularly worthy a visit, both for the beauty and magnificence of its architecture, and as being the scene of the meeting of Rob Eoy and Osbaldistone in " Scott's Rob Roy." The Cemetery or Necropolis adjacent, contains numerous fine monuments ; conspicuously that of John Knox. George Square, in the centre of the city, possesses monu- ments to Sir Walter Scott (centre), Queen Victoria, Prince Al- bert, Sir John Moore, Lord Clyde, James Watt, Sir Robt. Peel, and Mr. Graham. Parks : Green Park, along the margin of the Clyde ; West End or Kelvin Grove, of forty acres, delightfully situated ; and the Queen's, or South Side Park of a hundred and fifty acres, near which Mary Queen of Scots lost the disastrous battle of Langside and with it her throne. Routes : To Edinburgh direct, \% hr., $1.40 ; $1 ; see Route 3, B, C, D, via Balloch, Loch. Lomond, Loch Katrine, and Stirling, 12 hrs., $5, besides coach- men's fees. May be made in one day by taking early train ; see Route 3A. To Liverpool, 5 hrs., % 6 ; $5; see Route 4. To London, 10 hrs., $12; $10; see Routes 4, 5, and 6. Steamers leave daily in summer for Liverpool, Dublin, Belfast, Londonderry, Oban, and the Lakes. Gobelins (go'-beh-lafl), Paris, avenue des Gobelins; £ ml. beyond Jardin des Plantes; W. and Sat., 1-3. No charge, but gratuity expected. This royal establishment for the manufac- ture of Gobelins has existed since the middle of the 17th cent. Six square inches is regarded as an average day's task. Several of the exhibition rooms were burned during the communist in- surrection, 1871. 1st Room : 26, Reception of Persian Ambassadors ; 27, The Seine ; 32, Manna in the Wilderness ; 22, Napoleon Presenting a GLAS 155 156 GODF Sword of Honor to the Sheik of Alexandria ; 28, The Song ; 30, Indian Scene. Corridor : 1. Amyntas and Sylvia (1760). Large Room: 21, Juno; 4, Don Quixote; 2, Venus in the Forge of Vulcan ; 13, Dogs, a study ; 7, Dog and his Companion ; 6, Venus bidding adieu to Juno and Ceres ; 11, Christ in the Sepulchre; 10, Louis XIV.; 15, Colbert; 12, Jupiter Pardoning Cupid ; 16, Dance ; 18, Marriage of Alexander. Godfrey of Bouillon (bool-yoiV), b. at Boulogne, France. In 1096 he led the first Crusade to the Holy Land, and after the cap- ture of Nicea, Antioch, Edessa, and Acre, took Jerusalem, 1099. Being proclaimed King of Jerusalem, he reigned one year, dying in 1100. Statue in Brussels. Gothard, San, Road and Pass. See Route 25. G©y'-en, Jan van, 1596-1656, b. at Leyden. One of the best Dutch landscape and marine painters of his time. His works are characterized by a pervading low tone of color, which in his sea pieces, gives the water the heavy gray often seen off the Dutch coast. This style of color prevailed to a considerable extent among other painters during and after his time. His works, both as to accuracy of drawing and a faithful delineation of nature are those of a master hand. Principal Works: Augsburg, 569, 585. 5S6; Belv., one; Berlin, 865 D ; Dresd., 1131; Frank., 173 A; Hermit., 1120, 1129 ; Lille, 245; Louvre, 181-4 ; Munich, 1378, 1417; Rijks, 121, 122. Grazie, S. Maria delle (grat'-zee-a), ch., Milan, on the ex- treme w. margin of the city. Noted particularly for the **Last Supper, by da Vinci, in the Refectory adjacent. See Last Supper. Grindelwald (Glaciers), Switz.; amid the Bernese Alps, about 12 miles from Interlaken. Excursions from Interlaken 10 hrs. ; 1 hr. carr., 16 fr. ; 2 hr. carr., 30 fr. (May be combined with the excursion to Lauterbrunnen, the falls of the Staubbach, and the Wengern Alp ; 2 days. ) The route lies amid the most magnifi- cent Alpine scenery and affords unequalled views of the Jungfrau. The great attraction at G-rindelwald is its proximity to the two glaciers, the Lower 40 min. walk from the village, and the Upper 1 hour ; chair 6 fr. The peak to the r. is the Eiger, 13,040 ft. ; that between the glaciers, the Mettenberg, 1 0,200 ft. ; that to the 1. the Wetterhorn, 12,162 ft. The Upper Glacier, though less extensive than the Lower, is of greater interest, as the ice is purer, and, being less covered with debris, affords a more satis- factory view, and the grotto displays a richer color. GROT 15? Grotto of Sejanus and Grotto of Posilipo, Naples, two tunnels through the ridge on the n. w. of the city ; the first excav- ated B.C. 37, the latter in the reign of Augustus. Of little interest. Gubbio Ware. See Pottery. Guercino (gwer-chee'-no), Gio. Fran. Barbieri, 1591-1666; b. at Cento, near Bologna. Chiefly self-taught ; works are bril- liant in color, life-like, shadows frequently heavy. His early style exhibits greater power than his later. The Nat. Gall, has a fine Dead Christ. His masterpiece is St. Petronella, in the Pal. of the Conservators at Rome. "Of a superficial character, but painted in a masterly manner." — Kugler. His works number 250, besides frescos. Pkincipal Works : Bolog., 12, 13 ; Borgh., VI. 1,5; Brera, 328 ; Cap., 13, 17, 31,143; Dresd., 506-8-9-10-11-12; Her- mit., 239, 240-1 ; Liecht , II. 35 ; Louvre, 40-2-6-8-9, 51 ; Madrid, 249, 254 ; Naples, Sala Correggio, 15 ; Nat. Gall., 22 ; Pitti, 99; Turin, 239, 242; Uffl., 1114, 1137; Tat., three. Guido Reni (g wee-do ray- nee), 1575-1642, b. at Bologna; studied in the school of the Car- racci. Going to Rome he gained, under the influence of the works of Eaphael and Caravaggio, a style of great excellence for its grace and sentiment. He remained in Rome 20 years, when he returned to Bologna, where he passed the remainder of his life. Given to expensive habits, he painted numerous inferior pictures for dealers. Many of his Magdalene also exhibit a monotonous similarity of drawing and expression. His important works, however, place him among the first modern masters. His Aurora, in the Rospig. Pal., and the Cru- cifixion of St. Peter, in the Vatican, are regarded as his master- pieces. See Aurora. "The progressive development of G-uido was singular in its kind, for its period was marked by works very dissimilar in style. Those of his early time have an imposing, almost violent character — grand, powerful figures, finely arranged with deep shadows. . . . At a subsequent time this fondness for the powerful be- st. Petronella — Guercino. 158 GUIL came moderated, and a more simple and natural style of imitation succeeded. . . . G-uido's works during this transition are distinguished by an agreeable warmth of color. ... In the later part of his life Guido often painted with careless haste ; he had given himself up to gambling, and sought to retrieve his immense losses by raising money as rapidly and easily as he could. At this time chiefly were painted the numerous Madonnas, Cleopatras, Sibyls, etc., which are to be found in every gallery ; some of these, however, are among his most careful and charming works." — Kugler. Principal Wokks : Bel., four; Berlin, 373 ; Bolog., 134-5-6-7-S-9, 140-1-2; Borgh., IV. 20 ; Brera, 321 ; Cap., 116; Corsi, IV. 11, 19, V. 37-8-0; VIII. 13; Doria, I. 45 ; Dresd., 470, 472-3-4-0-8-0 ; Dul., 331, 339 ; Edinb., 87, 384 ; Hermit., 181-3-4-5-6-7, 191; Liecht., II. 19, 23, III. 68. 75-6, V. 455; Louvre, 318-19-20- 1-4-5-7; Madrid, 259, 260-1 ; Modena, 149; Munich, 527; Naples, 7, 9,44; Nat. Gall., 177, 193, 214, 271; Pitti, 17S; Pesth, VIII. 252; Turin, 235-6; Uffi., 203, 998, 1113; Vat., one. GuildhaH (gild-), London, Cheapside and King Sts.; the City Hall, 1411 ; destroyed by fire, 1G66 ; rebuilt, 1789 ; restored, 18G8. The Great Hall, 158 feet long, 48 wide, and 55 high, contains mons. to Chatham, Wellington, Nelson, and Pitt. The Museum on the lower floor contains various antiquities of Roman and Meliasval times. Gut a, Legend of (goo'-tah), Gutenfels. At a notable tournament at Cologne, an imknown knight from Britain won the regard of Guta, the beautiful sister of the Count of Falkenstein. He swore fidelity to her and promised after three months to return, and declare his name and publicly sue for her hand. Five months elapsed and the knight had not re- turned and Guta was overcome with sorrow. Meantime the country had been distracted by the rival claimants for the crown, Alphonso of Spain, and Richard, brother of Henry III., of Eng. Richard, having succeeded, was crowned at Aix- la-Chapelle. One morning a brilliant cortege approached the castle of Falken- stein. The Count recognized the English knight, who thus addressed him : ' I am come to ask the hand of your sister, the Countess Guta.' Guta being calied, flew into the arms of her long-lost knight, when he said : ' I am Richard, your chosen Emperor, I am come to ask you to a seat beside me on the throne.' Thus Guta became the Empress, and the Count, from his love of her, called his castle Gutenfels. Ha-dri-an, Pub. Aelius. Rom. Bmp. from 117-138 ; b. at Rome, A.D. 76. Married Sabina, the grand-niece of Trajan ; at- tended Trajan on his military expeditions, and on his death suc- ceeded him. He spent thirteen years in visiting the provinces of the empire ; built a wall 80 miles in length in Britain, extending across the island (from Newcastle to Carlisle) ; died at Baia3 at the age of 68. His reign is regarded as one of the happiest in Roman history. Hadrian j, Tomb of, Rome. See Angelo, St., Castle of . Hadrian's Villa. See TivoK HAGU 159 Hague, The, Butch, s' Gravenhage, or S. Hage ; Ger., der Haag; Fr., La Haye {The Count's Hedge) ; pop. 120,000; is one of the finest, cleanest, and most attractive cities of Holland. Its streets are bordered with trees, and its numerous well-kept and shaded parks abound with canals, ponds, and miniature lakes. The surface is that of an utter level, although one of the parks is designated Vijvcrberg, Fishpond Hill, and the water of the canals is given motion only by the aid of a steam pump. The chief attraction is in the city itself, its charming streets and residences, its parks and villas, rather than in definite locali- ties or buildings. Among these latter are : The Royal Museum. See Part II. , Hague, p. 441. This picture gallery contains among its masterpieces Rembrandt's School of Anatomy, Paul Potter's Young Bull, and Jan Steen's Family, by himself. The Binnenhof, or Parliament House, on the s. side of the Vij- verberg was formerly the palace of the Count In the centre is the Gothic Hall, the oldest building in the city, noted as being the place of the execution of the Grand Pensionary Barneveld, 1618. The scaffold stood directly opposite the door. Near by is the prison, the Gevangenpoort, where the de Witts, confined on the false charge of conspiracy, were seized and literally torn in pieces by an infuriated mob. The Netherlands Museum, 71 Prince Gracht. daily, 10-4, con- tains an interesting collection of historic relics. Scheveningen, the notable watering-place, 3 mis. dist., maybe reached by canal, steam, or horse tramway ; a most charming ex- cursion either way. Sand hills hide the sea till immediately upon it. Here Ch. II. embarked for Eng. upon the Restoration. In the bathing season the beach, the variegated costumes of both visitors and bathers, and the numberless beach-chairs and bathing " ma- chines " present a panorama full of novelty and interest. Museum. See Part II. Hague. Halles Centrales (hal-cen-tral), Paris. Central market, a short distance e. of Place Royal, consisting of 12 iron pavilions, and is to cover nearly 20 acres when fully completed. This place was occupied as a market as early as the 10th cent. Hals, Frans (hahls), 1584-1666; b. at Mechlin, Hoi Little is known of the life of Hals, beyond his being a merry fellow, and fond of bacchanalian sports. In art he was the first Dutch master who gave his works the free, bold treatment which 160 HAMP characterizes the later Dutch School. Among his pupils were Brouwer, Ad. van Ostade, and D. van Balen. '"His works are characterized by extreme liveliness of conception, clearness of coloring, and a breadth and freshness of touch such that his later works appear designed as well as painted by the brush alone." His free mode of life kept him in want, which often caused him to hurry off his pictures to replenish his purse. "Hals was obviously the model which the great Dutch school directly or indi- rectly followed, and he thus assumes a significance in the history of art which has never been sufficiently acknowledged. 1 * — Kugler. Principal Works : Ant., 188; Belv., one; Berlin, 766-7, 800, 801-A-B-C-B- E-F-G-H; Bruns., 119; Bruss., 415 ; Cassel, 222-4-5-6-7-8 ; Dresd., 938, 940, 2368, 2485; Frank., 158-9, 160; Hermit., 770-1-2-3-4; Liecht., 150; Louvre, 65, 66, 190 ; Munich, 311 ; Nat. Gall., 1021 ; Pesth, XV. 6£6 ; Bijks, 134-5-6 ; Rot- terdam, 77. Hampton Court. See Part II., Hampton Court. P. 442. Hannibal, Carthaginian General; b. B. c. 247. In 218, he marched his army from Spain for Italy, making the passage of the Alps, probably by the Little St. Bernard, and defeated the Komans successively at the Ticino, 218, Route 44 ; at the Trebbia, 218, Route 42; at Lake Trasimenus, 217, Route 50; and at Cannse, 217. Thence he went to Capua, Route 55, and remained in Southern Italy 14 years ; the Romans avoiding battle, but en- deavoring to cut off his supplies and harass his army. Mean- time the Romans having sent a second army to Carthage, Han- nibal was called home, where he met the invading army under Scipio and suffered a complete defeat at the battle of Zama. Hapsburg, House of, founded by Rudolph I., b. 1218, who was elected Emp. of Germany and King of the Romans, 1273, since which time the family has occupied the imperial throne of Austria. Harz Wits, (hartz), the most northern range of Germany, lying between Leipsic and Hanover, and extending about GO miles. Havre (hah'-vr; harbor), the port of Paris, at the mouth of the Seine ; pop. about 100,000; is one of the principal commer- cial cities of France ; was founded by Louis XII. , 1509 ; fortified by Francis I., 1516; occupied by the English, 1562; bombarded by them, 1678 and 1759. Birthplace of Mad. Lafayette and Ber- nardin de St. Pierre. Has little of interest except its extensive docks. He'- be, myth, goddess of youth ; daughter of Jupiter and HEID 161 Juno. She waited upon the gods and filled their cups with nectar ; married Hercules. * Heidelberg (hi- ; huckleberry Ml), Oe?\, most delightfully situated in the narrow valley of the Neckar, at its junction with the valley of the Rhine. It became the seat of the government of the Palatinate, 1228, and so remained for five centuries. At 3 We77 J "]. ' Heidelberg Castle. ■^t present it is attached to the Gd. Duchy of Baden. Being an im- portant position, as commanding the valley of the Neckar, a stronghold was erected upon the side of the Konigsstuhl Mountain in the 10th cent., as the seat of the Electors. ** The Castle, the seat of the Palatinate, was commenced in the 13th cent, and enlarged and strengthened by successive Elec- tors in the 14th and 15th cents., until it became one of the most 11 162 HELE impregnable fortresses of Europe. It was blown tip by the French, 1689, in violation of the stipulations; in 1693, entirely dis- mantled ; in 1764, it was struck by lightning, which nearly com- pleted its destruction. As it now stands, it is one of the most magnificent ruins of Europe. No description can convey an ade- quate impression of the strength or extent of the fortress, and as a guide always accompanies the visitor, it is only necessary to indicate the chief points of interest — the Fountain, with columns from the Palace of Charlemagne ; the Chapel, the G-reat Tun, the Fireplace, the Blown-up Tower, and the G-reat Balcony. Among the favorite resorts commanding fine views of the city and surroundings are the Molkencur, at an elevation of 200 ft. above the Castle, and the Konigsstuhl, 700 ft. higher still, with a tower which commands an *extensive view of the Valley of the Neckar, the Rhine, and the adjacent mountains. * The Philosopheniceg is a delightful walk, 2 mis. in length, upon the hills on the opposite side of the river. The University, founded 1336, is situated in the midst of the town, and possesses no buildings commensurate with its reputation. Routes : To Cologne by rly., 6 hrs., $6 ; $4.50 ; see Route 21, Heid. to May- enee, thence via Itoute 20, Mayence to Cologne. To Hayence, 2 hrs., $1.80: $1.25; see Eoute 21. To Fkankfort, 2 hrs., $1.50; $1; sec Route 21 lo Darmstadt. To Bale, 6 hrs., $5; $3.40; see Route 22. To Munich, 10 hrs., $7.25 ; $4.75 ; see Route 56. Helena, St., Flavia Julta, mother of Constantine, said to have discovered the Holy Sepulchre and the True Cross at Jerusalem. Entombed in the Ch. of Ara Coeli, Rome. Helvetia (hel-vee'-she-ah), the n. w. portion of Switzerland, lying between Lakes Geneva and Constance, and the Jura range. B.C. 107, the Helvetii defeated the Romans and killed the Con- sul, L. C. Longinus, on Lake Geneva; 101, invaded Italy with the Cimbri, whose defeat caused their return ; in 58, under Orget- orix, they migrated in a body to the lands along the upper Rhone. Here they were met by Julius Caesar, defeated, and compelled to return to their own country, and gradually adopted Roman manners and life. Henry IV., of France, born at Pau, 1553; married the daughter of Henry II. , and on the death of Henry III. inherited the throne. With a view to put an end to the religious wars of France he yielded to his friends and abandoned the Protestant for the Catholic faith. After 22 years' reign he was assassinated HENR 163 in the streets of Paris by a religious fanatic. His body lay in state in the same room in the Louvre (Salle de Goujon) in which his nuptial festivities had been celebrated. By his second wife, Marie de Medicis, he had six children, one of whom, Henrietta Maria, afterward became Queen of Chas. I, of Eng. * Henry IV., Statue of, bronze, equestrian, upon Pont Neuf, Paris. A statue was erected here in 1635 by the widow cf Henry IV., Marie de Medicis, the bronze horse for which had been sent her from Florence by her father. In the revolution of 1792 the statue was destroyed and cast into cannon. In 1818 the present statue was erected in its place by Louis XVIII. On either side are reliefs of Henry distributing bread, and proclaim- ing peace at Notre Dame. Henry VIII., of Eng., b. at Greenwich, 1491; succeeded to the throne, 1509 ; married Catherine of Aragon, his brother's widow, 1509. In 1527 he moved for a divorce of Catherine, which was pronounced by Cranmer, but annulled by Pope Clem- ent VII. Henry, however, married Anne Boleyn, dissevered the Eng. Ch. from the Papacy, and dissolved the monasteries. Having a passion for Jane Seymour, Anne Boleyn was tried and beheaded, and Jane Seymour became Queen the next day. She lived, however, only eighteen months, leaving a son two days old. A month after, he desired Francis I. , of France, to send some of the handsomest ladies of his kingdom to Calais, where he would make selection. Francis declining, two years passed, when Cromwell, one of Henry's privy council, recommended Anne of Cleves. They were married, but the King was soon dis- gusted, Cromwell beheaded, and Anne divorced. Soon after he married Catharine Howard, but finding she had been unfaithful, he caused her to be beheaded, and married Catharine Parr, who survived him, his death occurring, 1547. Entombed in St. George's Chapel, Windsor. In the latter part of his life he be- came tyrannical and executed every one who opposed him — the number amounting during his reign to 72,000, according to Hol- linshed. He left three children ; Mary, dau. of Cath. of Aragon ; Eliza- beth, dau. of Anne Boelyn ; and Edward, son of Jane Seymour. Her-cu-la-ne-um, beneath modern Resin a ; 4 mis. from Naples, may be reached by rly. or by carriage on the way to Vesu- vius or Pompeii. As, however, it is buried to the depth of a hundred ft., and can be seen only by the light of a lamp, it pos- 164 HERC sesses little interest compared with Pompeii. The discovery of Herculaneum occurred in 1719, when, in the digging- of a well, at the depth of 90 ft. the Amphitheatre was reached. Owing, however, to the fact that the material in which it is imbedded is lava rock, and that the modern town of Resina is directly over the ancient city, excavations have been attempted but to a limited extent, uncovering only the Amphitheatre, Basilica, Forum, and a few dwelling-houses. The works of art found, however, were both numerous and of the greatest value. Here were also found the Papyrus rolls of the Museum at Naples. Her'-cu-les, Heracles, myth, son of Jupiter. The twelve Labors of Hercules are : I. Slaying the Nemean Lion ; II. Slay- ing the Lernaean Hydra ; TIL Capture of the Arcadian Stag ; IV. Slaying the Erymanthian Boar ; V. Cleansing the Augean Stables ; VI. Destroying the Stym- phalian Birds ; VII. Capture of the Cretan Bull ; VIII. Capture of the Thracian Mares ; IX. Seizure of the Girdle of the Queen of the Amazons ; X. Capture of the Ery- thean Oxen ; XI. Getting the Gol- den Apples of the Hesperides ; XII. Bringing Cerberus from the Lower World. Statues : Berlin, 53, 70, 110, 241, 761, 1019 : Br. Mu., 141 head, 142 ; Borgh. Villa, IV. 9; Cap., III. 3, basalt; Glyp., 54; Louvre, * ( ); Naples, IS, 119; Torlo., 23, 34, 54, 296; Vat. (Ch.), Ill, 142, 151, 294, 367, 565, *636, 693, 732 ; (P. C), 3, to>o. 134, 137, 208, 213, 256, 544, 565. Hercules, Farnese, stat., Nat. Mus., Naples, by Glycon of Athens ; colossal, with his lion skin and club, and in his right hand the apples of the Hesperides. Found in the Baths of Caracalla. The legs were not found till 20 years after the rest of the statue. Hermann, Count of Stahleck. Legend. A war having arisen between the Count and Arnold, the Abp. of Mayence, the latter induced the chaplain of the Castle to act in his behalf, who thereupon re- fused absolution to the Countess unless she should induce the Count to cease the war. Hercules — Naples. HEYD 165 Failing in this attempt, the chaplain procured two assassins, who, enlisting in the Count's service, succeeded in murdering him and bringing his head to the chaplain in the castle. The Countess having been informed by a trusty attend- ant, rushed into the chaplain's room and plunged a dagger into his heart. Over- come with sorrow, she became insane and at last threw herself from the walls of the castle upon the precipitous rocks below. Soon after the people arose and put Lhe wicked Archbishop to death. Heyden, Jan van der, Heyde, 1637-1712, b. at Govin- c7tem, Hoi. Architectural subjects, palaces, churches, Dutch towns, with canals. His paintings are admirable in finish, color, and composition. Hilda's Tower (of the "Marble Faun"), the Torre delta Scimia ; a low mediaeval tower in the Via dell' Orso, No. 18, Rome. Hobbema, Meindert, 1638-1709, b. at Amsterdam, pupil of Salomon Ruysdael. He divides with Jacob Ruisdael the honor of being the best Dutch landscape painter. He is fond of sun- shine, his color is warm, his foliage exquisite. Subjects are broad fields, meadows with pools, and particularly watermills, ruins rarely. His pictures now bear high prices, one recently having brought $16,000. Hogarth, William, 1697-1764, b. in London; applied him- self with indifferent success to portraits ; but his satirical works, "The Harlot's Progress," "The Rake's Progress," and "Mar- riage a la Mode," soon gave him a place among the masters. The Marriage a la Mode, six pictures, is in the Nat. Gall. , London. " England did not produce a first-class master of genre until the 16th cent, when such a one appeared in Wm. Hogarth." Holbein, Hans (hahns hole-bine), 1460-1523, Ger. Known as the "Father." Executed large numbers of pictures for churches in Nuremberg, Augsburg, Munich, Frankfort, and Bale. His best works are in the Cathedral, Augsburg. Principal, Works: Augsburg, Nos. 25-6-7,84-5-6, 683-4-5; Bale, 1; Bel v., one; Frank., 76, 82; Munich, 15, 16, 1? ; Nuremberg, 5, 6, 49, 50. Holbein, Hans, Yr., 1497-1543, b. at Augsburg, Ger. The Augs. Gall, has 4 compositions executed at the age of 15. In 1516 he removed to Bale ; the next year he went to Lucerne to decorate a house ; in 1521 he was commissioned to decorate the Rathhaus or Town Hall at Bale ; went to London, 1526, and entered the service of Henry VIII. about 1530. In 1536 he painted the portrait of Sir Richard Southwell, now in the Uffizi. Among his other notable pictures, are the Jane Seymour, in the 166 HOLB Belvedere Gall. , Vienna ; Thomas Moritt and a Madonna, in the Dresd. Gall.; Anne of Cleves, now in the Louvre, which Henry VIII. is said to have liked better than the original whom he had married ; and the celebrated *Madonnas of Darmstadt and Dres- den. Holbein has also been considered the painter of the Dance of Death in Bale and Berne. It is probable that the designs were furnished by Holbein, as he engraved on wood 53 sketches of the Dance of Death, but not that they were painted by him. He also engraved 90 illustrations of the Old Testament. His pictures are characterized by hard faces and dark back- grounds. He died of the plague in London, 1543, aged 48, and is buried in the church of St. Cath. Cree ? "He is not only one of the most precocious geniuses in the history of Art, appearing as an excellent painter in his eighteenth year, but he also belongs to the few painters of the North who were imbued with the qualities of the Italian school, and at the same time developed them in an independent manner. He is the sole northern painter of that day, not even excepting Diirer, who attained to a free, magnificent style, broke away from the wretchedly depraved taste of his contemporaries, and portrayed the human form in all its truth and beauty. " His numerous portraits, in delicacy of conception, incomparable smoothness, and unsurpassed truthfulness in the delineation of life, noble simplicity and ex- quisite finish, united with superb freedom of treatment, take rank among the best productions in this department.'" — Liibke. ' ; Holbein may justly be considered of all the German masters, the one most fitted by nature to attain that supremacy of art in historical painting which the works of his great Italian contemporaries Raphael, del Sarto, and others dis- play. ... In portrait-painting, to which his powers were especially devoted, he stands on a level with the greatest masters." — Kugler. Principal Wobks : Ant., No. 198 ; Bale, 2, 3, 4, 5, 6, and a series of 23 pic- tures, from Nos. 7-35, early works, executed perhaps with the assistance of his father and brother ; Belv., seven ; Berlin, 586-B-C ; Boigh., XII. 20 ; Bruns., 9, 10?; Bruss., 19; Darm., 226; Dresd., 1809-10 ; Frank., 83, 83A; Hague, three; Madonna — Holbein. HOLY 107 Hamp. Ct., 559, 5G3, 502-0-4-7-8, 603-6-8-10; Hermit., 4(55'? ; Louvre, 206-7-8- iO-il-12-13; Munich, 97?; Parma, 355?; Pitti, 223?; Turin, 386: Uffi., 765; Venice, 266 ? Ho-ly-rood Abbey and Palace, Edinburgh, on the eastern margin of the city. Daily ex. Sun., 11-3, 6d. ; Sat., free. The Abbey, including a chapel, cloisters, and royal apartments, was founded by David I., 1 128 ; sacked by Ed. II., 1322 ; burned by Richard II., 1385; restored at the end of the 15th cent.; nearly reduced to ruins by the English, 1547 ; sacked by a mob, 1688. What remained of it was restored 1758. Fourteen years later the entire roof of the chapel fell, in which condition it now remains . * The Chapel. Here Ch. I. was crowned ; and here were married James II., III., IV., Queen Mary and Lord Darnley; and here were entombed in a vault in the corner at the right, David II.; James II. and Queen ; son of James IV.; Queen and 2d son of James V.; and Lord Darnley. Mary Queen of Scots is entombed in Westminster Abbey. As the royal tomb was desecrated by the mob, 1G88, it is not known what royal remains are now entombed within. The Palace. — The rooms open to the public, 11-3, are the Tapestry Room, Lord Darnley's Rooms, The Picture Gallery, and Queen Mary's Apartments. Tlie Picture Gallery contains about 100 imaginary portraits of Scottish Kings by a Flemish painter, De Witte, 1684. Queen Mary's Apartments, on the 2d floor, include the Audi- ence Chamber, the Bed-chamber, Dressing, and Supper Rooms. The Audience Chamber with ancient tapestries and embroidered chairs, contains the bed occupied by Chas. I. when residing in Holyrood, and by his unfortunate descendant, Prince Chas. Ed., and, also, after the battle of Culloden, by the Duke of Cumber- land, his conqueror. This room is the place of the historic in- terviews between Queen Mary and John Knox. * Queen Mary's Bed-chamber adorned with emblems and initials of Scottish Sovereigns and with the portraits of the Queen, Henry VIII. , and Elizabeth. The bed, the hangings, the fringes and tassels are those of the Queen, and remain nearly as when the room was last occupied by her. At the foot of the bed is the door leading to * Queen Mary's Supper Room, the small private apartment where the Queen was seated with a few friends when the King 168 HOND and the conspirators rushed in for the assassination of Rizzio. Adjacent is a small door leading to the secret stair by which they gained access to the Queen's private apartments. The Dressing Room is a small chamber, containing 1 no relics and of little interest. "About seven in the evening Mary was seated in the little room in the north- west turret, at one of those small supper parties, in the easy cheerfulness of which she took especial pleasure. Suddenly the King entered the closet in which Mary was seated, and, placing himself by her side, threw his arm in an affectionate manner round her waist. In another instant Lord Ruthven stalked into the apartment, and immediately after several others with torches, s\vords v and daggers, overthrowing the table in the confusion. The table fell upon the Queen, whereupon Ruthven, brandishing his dagger, exclaimed, ' No harm is intended to you, madame, but only to that villain.' " The unfortunate Rizzio, who saw that his life was aimed at, sprang behind Mary, and, clutching her gown, cried, ' Save my life ! 1 The conspirators pressed forward, and, while Darnley strove to unfasten Rizzio's hold of the Queen's per- son, Ker, a brutal borderer, presented a pistol to her bosom, threatening to fire if she made unnecessary resistance. While Darnley detained the Queen, Douglas snatched the King's dagger from its sheath, and, stabbing Rizzio with it over Mary's shoulder, left it sticking in his body. The conspirators then dragged the wretched secretary furiously through the bed-room and ante-chamber, stabbing him as they went, till he fell at the head of the staircase, outside the door of the ante-chamber, pierced by fifty-six wounds. " Mary, in the meanwhile, sat trembling in the turrret, till one of her ladies brought her intelligence that Rizzio was slain." — Hist, of Holyrood. Hondecoeter, Giles (hon-deh-koo-ter) ; son, Gysbrecht ; grandson, Melchior. The latter is the most celebrated ; 1636- 1695, b. at Utrecht. Distinguished as the painter of birds, par- ticularly domestic fowls. "No one ever painted cocks and hens, ducks and drakes, and particularly chickens, so admirably as Melchior Hondecoeter. He understands these families as thoroughly as the Italians their Holy Families, and expresses the maternal love of the hen as admirably as Raphael has done in the case of his Madonnas. . . . Of the eight pictures by Hondecoeter in the Museum of Amsterdam, ' The Floating Feather ' is the most famous. The faintest breath of wind would blow it away."' — Burger. Honthorst, Gerard (hon'-torst'), 1590-1656, b. Utrecht, Hoi. ; pupil of Bloemart ; subjects various ; sacred and profane hist. , myth. , genre, and particularly night scenes. Went to Eng- land on invitation of Ch. I., but remained only six months. Works are found in all the large collections. Hooghe, Peter de (ho'-geh), Hooche, Hoogh, Hooge, 1632 ?-16Sl ? Hoi. His works, of which 100 are known, are dated 1658-1670. His subjects are interiors, court-yards, and gardens. His sunlight, both in landscape and interiors, is unsurpassed. HORS 169 Horse-Cars, or Tramways, as they are usually called, are in general use in all the large cities of Europe. In London and Paris they are principally from certain central points to the suburbs, and not through the heart of the city. In the Netherlands, Germany, Denmark, Sweden, Russia, and Austria, the cities are well supplied with tramways. In Italy they are at present in use in Turin, Milan, and Naples The cars usually have definite stopping-places, every three cr four squares, and the fare is proportionate to the distance, rendering it necessary to inform the collector, before he will receive the fare, of the place at which the passenger intends stopping. Hotel cle Cluny, Paris. See Musie des Thermes. *H6tel de Ville (-deh-veei), Paris, Rue de Rivoli, \ ml. e. of the Louvre. Its erection was commenced 1533 ; completed by Henry IV., 1628. It was rectangular in form, 330 by 276 ft. Its numerous niches contained statues of the noted men of France ; its salons were adorned with regal magnificence, and the domes- tic arrangements so extensive that a banquet could be served for a thousand guests. Here Louis XIV. married Maria Theresa. In 1789, on the destruction of the Bastille, the insurgents re- turned in triumph to the great hall ; three days later Louis XVI. was brought by a mob from Versailles to the same place. In 1794 Robespierre was here attacked by Barras ; and, later, was found upon the stairs with a shattered jaw, from a futile attempt at suicide, whence he was carried to prison, and the day follow- ing, together with 21 of his companions, consigned to the guil- lotine, thus ending the ' ' Reign of Terror. " From the steps of the Hotel, Lafayette presented Louis Philippe to the public as the Citizen King, and Louis Blanc, in 1848, pro- claimed the Republic, and Lamartine delivered his celebrated speeches to the turbulent mob. In 1870-71 it was the seat of Government. The Communists, in anticipation of defeat, had filled the building with petroleum and gunpowder. Being attacked by the Government troops and gradually forced back into the building, those detailed for the purpose set the combustibles on fire, there being yet 600 of their own party in the building. Those attempting to escape were shot, the others perished with the building, which was totally con- sumed. It has since been rebuilt in all its former magnificence. In Place de V Hotel de Ville was formerly located the scaffold, and later the guillotine. In 1572, Cavagnes and Briquemont, 170 HOTE Huguenot leaders, and in 1574, Comte Montgomery, who had acci- dentally caused the death of Henry II. at a tournament, were here executed by order of Cath. de Medicis. The guillotine was first used here ; so named from Dr. Guillotine, who recommended it as more humane than the gallows. *Hotel des I rival ides (-da-zan-va-leed), Paris, daily, fee|fr. to each guide. This home for old soldiers was established by Louis XIV., 1671, and contains accommodations for about 5,000. Entrance from the Seine, through the Esplanade des Invalides. The outer court is surrounded by a dry moat. Near the guard houses are many cannon, captured by Napoleon. A statue of Louis XIV. adorns the main entrance. On entering, the visitor is met by invalids detailed as guides to the courts, halls, and museum. The tomb of Napoleon is in the west part of the building, to visit which it is necessary to pass out at the entrance and go around the entire square to the south entrance. See Napoleon, Tomb of. Hotels. The average prices at first-class hotels are about as follows : France, Switzerland, and Italy: Plain Breakfast, 20-40 cts. ; with meat or eggs, 30-50 cts.; Dinner, table d'hote, 75 cts.-$l ; Supper, 20-40 cts. ; Attendance, 20-25 cts.; Light, 10 cts. Room, 50 cts.-$l. Total, $2-$3.50, seldom falling much below the latter figure. For Belgium and the Rhine, add about one-fourth to the above. For Eng. , Scot. , Hoi. , Ger, , and Austria, add one-half. For London, Paris, Sweden, and Russia, the charges are nearly double the above. In all the great cities hotels may be found offering every style of luxury, at corresponding prices. Considering location, price, and comfort, the following houses will be found among the more desirable. St. signifies at or near the railway station : (1) prices high. Airolo, It. H. Posta; H. Airolo. | Amsterdam, Hoi. H.Amstel (1); Brack's Aix-la-Chapelle, Bel. H. Gd. Monarque. Aix-les-Bains, Fr. Gd. H. d'Aix, st. Albano, It. H. Roma (1); Ville de Paris (1). Altorf, Sw. Adler, Schliissel. Amiens, Pr. H. du Rhin, st. Amsteg, Sw, H. Stern ; Kreuz, and Hirsch. Doelen (1). Ancona, It. H. La Pace (1), on the quay. Andermatt, Sw. H. Bellevue (1). Audeer, Sw. H. Krone. Annecy, Pr. Gd. H. d'Angleterre. Antwerp, Bel. H. Europe (1) ; H. de la Paix. HOTE 171 Aosta, It. H. du Mont Blanc. Arezzo, It. H. Inghilterra ; Vittoria. Argentiere, Sw.. H. Conronne. Arnhem, Ger. H. Zon : Pays-Bas. Assisi, It. H. Leone; H. del Subasio. Augsburg, Bav. H. Victoria (1), 6t. ; Bayrischer Hof (1), fit. Ayr, Sc. H. King's Arms (1) ; Star. Baden. H. Victoria (1) ; Stadt Baden, St. Bale. Sw. H. Euler (1), St. : (Klein B.) Schreider, st. Baveuo, It. H. Beau Bivage (1) ; Belle- vue (1). Bedford. Eng. Swan H. (1); George H. (I). Belfast, Ir. H. Imperial (1). Bellaggio, It. Gd. H. Bellaggio. Bellinzona, Sw. H. Angclo : H. Posta. Bergamo, It. H. Italia. Berlin Pr. Kaiser Hof (1); d'Angle- terre. Berne, Sw. Schweizerhof, st. ; Berner- hof, st. Bingen, Pr. H. Victoria ; Bellevue. Birmingham, Eng. Gt. "W. Hotel (1), at G. W. st. Bologna, It. H. Bran (1); Pellegrino. Bonn. Pi-. H. Royal ; Bellevue. Boulogne, Fr. H. d'Angleterre (1). Bozen, Aus. H. Kaiserkrone (1) ; Vic- toria, st. Bradford, Eng. H. Talbot (1) ; George. Bremen, Ger. H. Europe. Brest, Fr. H. du Gd. Monarque. Brieg, Sw. H. d'Angleterre ; Trois Couronnes. Brienz, Sw. H. Croix Blanche. Brighton, Eng. Grand H. (1); Bed- ford H. (1). Brindisi.lt. H. East India, on the quav. Bristol, Eng. H. Royal (1) ; Grand H. Bruges, Bel. H. de Flandre; H. du Commerce. Brunnen, Sw. Waldstatter Hof ; A.dler. Brussels, Bel. H. de Saxe (1) ; Uni- vers (1). Calais, Fr. Station H. ; H. Dessin. Callander, Sc. Dreadnaught H. (1). Cambridge, Eng. H. Bull (1); Red Lion (1). Canterbury, Eng. Royal H. (1) ; Foun- tain H. (1). Carlisle, Eng. County H. (1) ; Royal. Carlsruhe, Pr. H. Erbprinz ; Germania, st. Castellamare, It. H. Royal, st. Chambery, Fr. H. de France, st. Cassel, Ger. H. du Nord, st. Chamonix, Fr. H. Imperial ; H. Royal ; H. d'Angleterre. Chatsworth, Eng. Chatsworth H. (1). Cherbourg, Fr. H. de l'Univers. Chester. Eng. H. Queen (1), st. Chiavenna, It. IT. Conradi. Clarens. Sw. H. Cretes, st. Coblenz, Pr. H. Bellevue ; Anker. Coire, Sw. H. Steinbock; H. Freieck, Colico, It. H. Angelo ; H. Isola Bella. Cologne, Pr. H. du Nord ; H. Victoria. Como, It. H. Italia ; H. Volta. Constance, Sw. H. Hecht ; H. Adler. Copenhagen, Den. H. d'Angleterre (1). Cork, Ir. Imperial H. (1) ; Commer- cial H. Cortona, It. H. della Stella. Coventry, Eng. Castle (1); Craven Arms (1 ) . Darmstadt, Pr. H. Traube ; H. Post. Delft. Hoi. H. Schaap (1); Den Bolk (1). Dieppe, Fr. H. Royal (1). Dijon. Fr. H. du Jura; H. de la Cloche. Dissentis, Sw. H. Condrau zur Post. Domo D'Ossola, It. H de la Ville. Dover, Eng. Lord Warden (1). Dresden. Sax. H. Victoria (1). Dublin, Ir. The Shelbourne (1); Eu- ropean. Dusseldorf, Pr. H. European, st. Edinburgh, Sc Royal (1); Balmoral. Empoli, It. H. del Sole. Exeter, Eng. Clarence (1) ; New Lon- don (1). Ferrara, It. H. Europa ; Stella d'Oro. Florence, It, H. New York (1); H. Chap- man. Fluelen, Sw. H. Urnerhof. Folkestone. H. Pavilion. Fontainebleau, Fr. H. de Londres ; H. de France. Frankfort, Pr. H. de Russie (1) ; H. d'Angleterre. Freiburg, Ger. Zahringer Hof, st. Fribourg, Sw. Zahringer Hof. Furca, Sw. Furca H. Gall, St.. Sw. H. Hecht (1); H. Lowe. Geneva, Sw. H. Metropole (1) ; H. de Russie : H. National. Genoa, It. H. de la Ville (1) : H. de France. Ghent, H. H. de Vienne (1) ; H. Royal. Giessbach Falls, Sw. H. Giessbach (1). Glasgow, Sc. St. Enoch's, St.; Cock- burn. Gloucester, Eng. H. Bell (1) : Albion (1). Hamburg, Ger. H. de l'Europe (1) ; Victoria (1). Hague, The. Hoi. H. Bellevue (1) ; H. Oude Doelen. Hanover, Pr. British H. ; Grand H. Havre, Fr. H. de l'Europe. Heidelberg, Pr. H. Schloss (1); H. Schrieder. Hospenthal, Sw. H. Meyerhof. Innsbruck, Aus. H. Goldene Sonne (1) ; Europe, st. 172 HOTE Interlaken, Sw. H. Victoria (1) ; Jung- frau (1). Inverness, So. Caledonian (1) : Station. Inversnaid, Sc. Inversnaid H. (1). Keswick, Eng. Keswick (1); Station (1). Killarney, Ir. Royal Victoria (1); Konisswinter, Pr. European H. ; Ber- lin H. Kufstein, Aus. H. Post; Auracher Brau. Kussnacht, Sw. H. Schwarzer-Adler. Lausanne, Sw. H. Bellevue ; H. Bel- vedere. Lauterbrunnen, Sw. H. Stembock. Leamingcon, Eng. Crown (1). st. Leeds, Eng. Gt. N. Rl. (1), st. ; Mid- land H. (1), st. Leghorn. It. H. Victoria (1) ; H. Wash- ington (1). Leicester, Eng. Three Crowns (1) ; Bell H. (1). Leipsic, Pr. H. Hanffj (1); H. de Russie (1). Liege, Bel. H. de Suede (1); H. de Paris, st. Lindau. Sw. Bayrischer Hof. Linz. Aus. H. Erzherzog Carl. Liverpool, Eng. H. Northwestern, st. ; Washington, st. Locarno, »It. Gd. H. Locarno, lake. London, Eng. Charing Cross (1) ; Jnns- of-Court (1) ; Grand (1). Lou vain, Bel. H. de Suede. Lucca, It. H. Croce di Malta. Lucerne, Sw. H. National ; Schweizer- hof. Lugano, It. H. Bellevue ; H. du Pare. Luino, It. H. du Simplon. Luxembourg, Hoi. H. de Cologne. Lyons, Fr. Gd. H. de Lyon. Macon, Fi*. H. de 1'Europe. Manchester, Eng. Queen's H. (1) ; Al- bion (1). Mannheim, Pr. Pfalzer Hof. Marseilles, Fr. Gd. H. du Louvre (1). Martigny, Sw. Gd. H. de la Poste. Mayence, Pr. Rhenish (1) ; H. de Hollande. Meiringen, Sw. H. Krone ; Sauvage. Melrose, Sc. Abbey H.; The George (1). Mentone, Fr. H. d'Orient (1). Metz, Fr. H. de Metz (1) : de Paris. Milan, It. Gd. H. (1) : Europa. Modane, Fr. International. Monaco, Fr. H. de Paris; Angleterre, Moscow, Rus. H. Dusaux (1) ; H. Billo. Munich, Bav. Leinf elder's (1); Mari- enbad : Four Seasons (1). Nancy, Fr. Europe ; d'Angleterre, st. Naples, It. H. Royal des Etrangers (1) ; Washington. Neuchatel, Sw. Bellevue, on lake. Newcastle, Eng. Station H. (1) ; Clar- endon (1). Nice, Fr. H. des Anglais ; H. Suisse. Norwich, Eng. Royal (1) ; Norfolk. Nottingham. Eng. Maypole (IV; Geo. IV. H. (1). Nuremberg, Pr. H. Strauss (1) ; Wiirt- temburg (1), st. Orleans, Fr. H. d" Orleans. Orvieto. It. H. Belle Arti. Ostend, Fr. H. Royal (1) ; H. de Franca. Oxford, Eng. Randolph ; Clarendon. Padua, It. H. Croce d'Oro. Paris, Fr. Continental (1) ; Grand (1) ; H. de Lille. Parma, It. H. Croce Bianca. Perugia, It. H. di Perueia. Peterborough. Eng. Gt. Northern (1), st. Petersburg, St. Rus. H. d'Angleterre. Pfaffers, Sw. H. Lowe ; H Taube. Piacenza, It. S. Marco. Pisa, It. Gd. H. Minerva, st. Pistoia, It. H. di Londra. Plymouth. Eng. Duke of Cornwall. Porlezza, It. H. du Lac. Portrush, Ir. H. Antrim Arms (1). Portsmouth, Eng. George (1); Foun- tain (1). Prague, Boh. H. d'Angleterre. Qneenstown, Ir. Queen's H. (1). Ragatz, Sw . Quellen Hof. Rapperschwyl, Sw. Schwan ; Poste, st Ratisbon, Pr. H. Goldenes Kreuz. Ravenna, It. Gd. H. S. Marco. Rigi, Sw. Rigi Kulm ; Schreiber. Ripon, Eng. Unicorn ; Crown. Rochester, Eng. Buli ; Crown. Rome, It. H. Costanza (1) ; H. de Paris. Rotterdam, Hoi. Bath H. (1) ; Vic- toria H. (1). Rouen, Fr. hi. d 1 Albion (1), quay. Sallenches, Sw. H. Bellevue. Salzburg, Bav. H. Europe ; Nelboeck. Samaden. Sw. H. Bernina ; H. Alps. Sarnen, Sw. H. Goldener Adler. Schaffhausen, Sw. Krone ; du Rhin, st. Sheffield, Eng. Victoria (1); Royal (1). Sorrento, It . La Sirena ; H. del Tasso. Southampton, Eng. Radley(l); Royal. Splugen, Sw. Bodenhaus. Stirling, Sc. Golden Lion (1) ; Royal (1). Stockholm, Swe. H. d'Angleterre. Strassburg, Pr. H. de Paris ; d' Angle* terre, st. Stratford, Eng. Red Horse (1) ; Shake- speare (1). Stuttgart, Pr. H. Marquardt ; Royal, st. Thun, Sw. Gd. H. de Thun, at quay. Thusis, Sw. H. Adler ; H. Via Mala. Toulon, Fr. Grand H. (1), st.; Victoria. Turin, It. Europa (1) ; Gd. H. Turin. TJlin, Bav. Russischer Hof (1), st. Utrecht, H. H. des Pays-Bas (1). Venice, It. Europa (1) ; d'Angleterre. Verona, It. H. de Londres. I Vevay, Sw. Monnet ; Gd. H. de Vevey. 1 Vichy, Fr. H. de la Paix ; H. du Pare HOUD 173 Vienna, A us, H. Metropole (1); Arch- duke Carl (1). Warsaw, Rus. H. Victoria (1) ; H. Eu- rope (1). Warwick, Eng. Warwick Arms (1). Wiesbaden, Pr. Adler (1); Rhein, st. Weimar, Ger. H. Erbprinz ; Russischer Hof. Wolverhampton, Eng. Swan (1). Worcester, Eng. Star and Garter (1) ; Crown (1). York. Eng. Harker's(l); Abbot's (1). Zug, Sw. Bellevue (1); H. de la Gare. Zurich, Sw. Baur (1), lake ; Bellevue (1), lake. Houdon, Jean Antoine (oo-dofi), 1741-1848, b. at Ver- sailles. He studied at Rome, remaining ten years. Upon his return to Paris he executed busts of Rousseau, Diderot, Mirabeau, Voltaire, and Dr. Franklin. Upon the invitation of the latter, Houdon visited America and took the casts from which he pro- duced the statue of Washington, now in Richmond, Va. Hours, Raphael's (so-called). A series of twelve pictures of light, airy figures in the Pompeian style, of exceeding grace and beauty. The origin of these pictures is altogether unknown, and though they are called Raphael's Hours, there seems not the slightest ground for connecting them with his name. The pictures appear to have been lost and are now known only from engravings. By some it is said they were copied by Raphael from the walls of a room in the Baths of Diocletian, since destroyed, and that the copies were afterward lost. By others it is believed they are copies of Pompeian pictures to which the name of Raphael was attached for the purpose of aiding their sale. Radcliffe observes : "It is asserted that they were painted in an inner room in the Vatican, now altered ; but Passavant rejects the idea of their genuineness, and insists they were engraved from mural remains of Pompeii." They were engraved in Italy, but the plates were for some years also lost, and a new engraving was executed in London. The Italian plates having been recovered, both sets are now ex- tant. It is currently supposed by travellers that the originals by Raphael are somewhere to be seen in Rome. * Bnterlaken (in'-ter-lah'-kn), Switz., situated midway be- tween the lakes of Brienz and Thun, 1 ml. from each ; has long been one of the most popular summer resorts of Switzerland, both on account of its agreeable temperature and of its fine scenery. It is also an admirable point from which to make ex- cursions to the various localities of interest near. The principal street, the * Hoheweg, which runs parallel with the Aare, and is lined with hotels and shops, commands a fine view of the Jungfrau and the Lauterbrunnen-Thal. S. side at 174 INVA the upper end is a suppressed monastery (1130), portions of which are used as a hospital and a prison. The Schloss (1750) is occupied by the Government. Delightful walks abound, com- manding fine views of the valley and mountains. On the opp. side of the Aare rise the Harder and r. the Hohbuhl. Excursions may be made to the Schynige Platte, Lauterbrunnen, the Staub- bach, Meiringen, etc. Interlaken commands to the s. a fine *view of the Jungfrau, the most noted peak of the Bernese Alps, having an alt. of 13,672 ft., and being covered with perpetual snow. It was first ascended in 1811. Ascents are now frequent. See Alps. Boutes: To Berne, rly. and boat, 3 hvs., $1.20; $1 ; see Route 31. To Lu- cernk, boat and diligence, via the Briinig Pass, 9 hrs., $2.60 ; see Route 30. To Meiringen, boat and diligence, 3 hrs., $0.80 ; see. Route 30 to Brienz . To Lauter- brunnen and the Staubbach, 5 hrs., 1)4 m ^s. by carriage, $2.20 for the excur- sion. To the Grindelwald, see Grindehoald. Invalides, Hotel des. See Hotel des Invalides. lo (ee'-o), myth. , the dau. of the king of Argos ; beloved by Jupiter, who, to escape the observation of Juno, changed lo into a beautiful heifer. Juno, however, becoming informed, set the hundred-eyed Argus upon the watch ; whereupon Mercury, at the command of Jupiter, slew Argus, and, with a gadfly, tor- mented lo until she fled to Egypt, where she was restored to her original form, and bore a son to Jupiter. ** Painting : Jupiter and lo, by Correggio ; one of the gems of the Belvedere, Vienna, as also of the Berlin Gall. The Berlin picture is a replica of that at Vienna, and, together with the Leda at Berlin, was formerly of the gallery of the Regent Duke of Orleans at Paris. Through a sentiment of surprising virtue, the son of the Duke cut out the heads of both lo and Leda and burned them, as being too voluptuous for ducal society, and cut the pictures into strips, which, however, were fortunately pre- served and purchased by Fred, the Gt. The head of lo was restored by Prud'hon, and that of Leda by Schleringer. Iph-i-ge-ni'-a. See Agamemnon. Ireland has an extent of about 300 mis. from n. to s. and 20G from e. tow. and consists of an extensive plain with numerous lakes, and several isolated mountains, which attain a height of less than 3,500 ft. It approaches to within 14 mis. of Scotland at the nearest point, and lies from 50 to 75 mis. from "Wales. The absence of forests gives the country a peculiarly barren and unin- teresting appearance, rendering a tour through the island more JAME 175 agreeable if taken prior to visiting England and the continent It abounds in mildly pleasing scenery and localities of interest, but the tourist of limited time will find in the Lakes of Killarney, Cork, Dublin, Belfast, and the Giant's Causeway the principal places of interest (which see respectively). James I. of England, James VI. of Scotland, son of Mary Queen of Scots and Lord Darnley, b. 1566. On the resignation of Mary was crowned King of Scotland, and on the death of Queen Elizabeth succeeded to the crown of England. He established the Episcopacy in Scotland, executed Raleigh, and wrote many works in prose and verse. ' • Feebleness, indolence, vulgarity in tastes and pursuits, vanity, and pedantry were the prominent features of his character. " James II. of England, son of Charles I.; b., 1633. Suc- ceeded to the crown on the death of his brother Charles II. , and at once entered upon the project of restoring the papacy. His measures filling the public mind with distrust, William, Prince of Orange, who had married Mary, daughter of James, was in- vited by the nobility to the throne. William landed with an army, 1688, and James, finding he could make no effectual re- sistance, fled to France. He afterward made the attempt to recover his kingdom, and landed in Ireland, where he was totally defeated at the battle of the Boyne, 1690. Returning to France, he died at St. Germain, 1701. James, King of Scotland. See Scotland. Ja-nic'-ulum, The, one of the Seven Hills of Rome, on the w. side of the Tiber, s. of St. Peter's, affording a fine view of Rome and the adjacent country. Ja'-nus Quadrifons, Arch of, Borne ; in the Velabrum at the w. corner of the Palatine Hill ; a quadrangular structure with an arch upon each face ; formerly had a second story; use is not certainly known ; it is supposed to have been that of a market exchange. * Jardin d'Acclimatation (zhar'-dan dac'-cle-mah-tah'- see-ofi), Paris, in the Bois de Boulogne, 1 ml. beyond the Arc de Triomphe de l'Etoile. Tramway from the Arc ; admission, daily, 1 fr.; Sun. | fr. Cab charges high, it being beyond the fortifications. This garden was established for the purpose of introducing and acclimating foreign animals and plants. Half a day will be needed for strolling along the various paths from one point of 176 JARD interest to another. Among these may be specially mentioned, taking the path to the r. on entering, Silk- worm nursery, Poultry house, Tool warehouse, Monkey house, Bird enclosure, marble statue of Daubenton the naturalist, Poultry house, Kangaroo house, Stables (tariff for ride : camel, pony, or ostrich, 50c. ; ele- phant, donkey, or zebra, 25c.), Chalet des Alpacas and Lamas, en- closures of Porcupines, Reindeers, Goats. On the r. Buffet and the Aquarium. At this point the Aquatic Birds may be visited in the pond directly to the left. Returning to the Aquarium, and following the main path as before, we reach the Antelopes, Stags, r., Dogs, the Aviary, and lastly, the Winter Garden near the en- trance, having made the entire circuit. Donkey tramway may be taken near the entrance. * Jardin des Plantes (zhar-dafl-day-plawnt), Paris. Om- nibus from the Madeleine and Place Royal. On the s. bank of the Seine, opposite Pont d'Austerlitz. 1. Main Entrance. fl. School of Fruits. 17. Geological Mus. 2. Aquatic Plants. *10. Serpents. 18. Mineralogical Mus. *8. Garnivora. **11. Mus. of Anat. 1!). Botanical Mus. *4. Monkeys. 12. Amphitheatre. 20. Botanical School. *5. Large Animals. 13. Bureau of Administration. 21. Medicinal Plants. t>. Bear Den. 14. Cedar of Lebanon. 22. Economical Plants. *'l. Birds. **15. Zoological Mus. 23. Nurseries. *8. Birds. 16. Library. 24. Labyrinth. Admission. — Menagerie, daily, 10-6, Apr. to Sep.; 11-4, Win- ter; to the various museums, Tu. and Th., 2-5; Sun. 1-5; Winter, 1-3. Library, daily except Sun. , 10-3. Special tickets JERO 177 may be obtained gratuitously at the Bureau (13) near the w. entrance, for admission to the feeding of the menagerie at 3.15 P. M. daily ; and for special admission to the museums on Tu. , Th. and Sat., 11-2. The Jardin des Plantes, covering an area of 75 acres, was pro- jected in 1626. In 1732 Buffon originated the collections; in 1788 Bernardin de St. Pierre established the menagerie ; in 1805 Humboldt presented 4,500 American plants. The Museum of Anatomy (11), occupying fifteen rooms, is one of the most extensive and valuable anatomical collections ever made. In the court are several skeletons of whales. The Gallery of Zoology (15), equally extensive and com- plete, contains the finest collection of stuffed birds in the world, numbering nearly 20,000. The Gallery of G-eology (17) has numerous paintings of natural scenery — the Fall of the Stanbbach, Arctic Scenes, Erup- tion of Vesuvius. The Gallery of Botany has specimens of various woods and fruits. In the Botanical Garden, medicinal plants are indicated by red labels ; poisonous, by black ; ornamental, by yellow j edi- ble, by green ; those used in dyeing, by blue. The Labyrinth (24) is a mound 80 ft. high, ascended by winding paths. The Cedar of Lebanon (14) is said to have been brought, in 1735, from Palestine ("by Jussieu the elder, in his hat."— Baedeker). (''Presented by an Englishman in 1734."; — Galignani. ) Statues : Adrien de Jussieu at the entrance of the Botanical Gallery ; Cuvier, at the corner of Rue Cuvier, beyond the Labyrinth, the central figure of Fountain Cuvier ; Cuvier, in marble, in the hall of the Gallery of Geology. ** Jerome, St., Communion of, by Domenichino, in the Vatican. Ranked, of all pictures, second to the Transfigura- tion only. Painted for the ch. of the Ara Coeli, but the monks, displeased with Domenichino, commissioned Poussin for an altar- piece, and gave him this canvas ; but Poussin declared the pic- ture one of the finest known, and, rather than touch it, forfeited his engagement. In the lack of childish grace of movement and pose, his cherubs are in strong contrast with Raphael's. The work is stated by Kugler to be a close imitation of one by Ag. Car* racci, in the Bologna Gallery. 12 178 JERO Last Communion of St. Jerome — Domenichino. JERU 17ft " The aged saint — feeble, emaciated, dying— is borne in the arms of his disci, pies to the chapel of his Monastery, and placed within the porch. A young priest sustains him ; St. Paula, kneeling, kisses one of his thin, bony hands ; the saint fixes his eager eye on the countenance of the priest who is about to administer the sacrament— a noble, dignified figure, in a rich ecclesiastical dress ; a deacon holds the cup, and an attendant priest the book and taper ; the lion droops his head with an expression of grief ; the eyes and attention of all are on the dying saint, while four angels, hovering above, look down upon the scene." — Mrs. Jame- son. "It is remarkable, more than anything else, for its truth and powerful reality, The emaciated form of the dying saint is painted with a painful fidelity to nature. Every thing is accurately delineated ; costume, attitude, expression, and drapery. The unity of the subject is carefully preserved and all thj accessories are made subordinate to the simplicity of the main action." — Hillard. Joan of Arc, Jeanne d'Arc (zhawn-dark), the Maid of Orleans, b. at Domremi, 1402, where she was a servant at an inn. The City of Orleans being- at that time besieged by the English, Joan professed to have received a divine call to its deliverance, asking only a certain sword in the ch. of St. Catherine. A gen- eral belief in her inspired mission gave the greatest enthusiasm, and with 10,000 troops she marched to Orleans and compelled the English to retreat ; this was followed by their defeat at Patay. She now declared her mission ended, but the French Commandant induced her to remain. In the siege of Compiegne, she was taken prisoner, and being remanded to the custody of John of Luxembourg, she was sold by him to the English, by whom, after 6 months' imprisonment, she was condemned to be burned as a sorceress. Her execution took place at Rouen, 1431 ; a statue now marking the place. *John Lat-e-ran, St., San Giovanni in Laterano, Ch., Rome. Near the Porta S. Giovanni on the s. e. margin of the city, £ ml. s. e. of the Coliseum. Founded by Constantine ; de- stroyed by an earthquake, 896 ; burned, 1808 and 1360 ; rebuilt and present facade constructed, 1734. This basilica has long- been regarded as the first church of Kome, and the Pope on his election repairs hither for his installation ; and on Ascension day bestows his benediction from the middle balcony. In the portico is a statue of Constantine, from his Baths. The skulls of SS. Peter and Paul, also a wooden table on which S. Peter celebrated Mass, are said to be preserved here over the high altar. Over the arch of the tribune is a mosaic Head of Christ, of the 4th cent. At the altar of the Sacrament, are 4 180 JORD bronze columns of the original basilica, said to have been brought by Titus from Jerusalem. Against the inner row of columns are statues of the apostles. *The Corsini Chapel, last in 1. aisle, is regarded as the chief ornament of the church, and in sumptuous elegance is surpassed only by that of the Borghese Chapel in S. M. Maggiore. Its founder Clement XII. (Lorenzo Corsini) "is buried in a splendid porphyry sarcophagus which he plundered from the Pantheon." — Hare. The courtis interesting from its small spiral stone columns and from its relics ; 2 columns from Pilate's house ; slab on which the soldiers cast lots for the Saviour's garments ; slab giving the height of the Saviour. Fine music at vespers. Five Ecumenical Councils have been held here, 1123, 1139, 1179, 1215, and 1512. For a thousand years the palace, adjoining, was the residence of the Popes ; after its abandonment it was occupied as an orphan asylum. In 1843 it was converted into a Museum for Christian antiquities. See Part II. , Lateran. Jordaens, Jacob (yor'-dahns'), 1593-1678, b. Antwerp; pupil of van Noort and Rubens ; executed a, large number of works, with ^ry variety of subject ; was a master of color and chiaroscuro, and one of the most original painters of his time among Flemish artists ; though his style is often identical with that of Rubens. "Being of the reformed faith, he was averse to the customary ecclesiastical ideals, and had recourse to private life and festive occasions for his subjects — thus laying the foundation of genre painting in the Netherlands. His humor is broad and undisguised, often leading to coarseness in delineation." His masterpiece is the Apotheosis of Prince Fred. Henry, at The Hague. His pictures are to be found in all large collections. Pbincepal Works: Belv., two; Bruss., 216-17-18; Cassel, 266, 271-2-3; Dresd., 954, 959, 961; Hermit., 647-9, 650-1-2-3 ; Liecht., VIII. 778; Louvre, 251-4-5-6 ; Madrid, 1404-5-7-10 ; Munich, 181, 324 ; Pesth, XVI. 659 ; Bijks, 202. Julia, a frequent Roman name. — I. Aunt of Julius Caesar and wife of C. Marius. II. Mother of Marc Antony. III. Sister of Julius Caesar, and grandmother of Augustus. IV. Daughter of Julius Caesar and wife of Pompey. V. Daughter of Augustus Caesar — his only child ; thrice married, (1) to M. Marcellus ; (2) to M. Agrippa ; (3) to Tiberius ; banished by Augustus to Pan- dataria. VI. Daughter of Julia No. 5, banished to Tremerus by Augustus. VII. Daughter of G-ermanicus, put to death by Clau- dius. VIII. Daughter of Drusus, put to death by Claudius ; both these latter at the instigation of Messalina. JUNG 181 Jungfrau, The (yoong-frow ; virgin). See Interlaken. Juno, Greek Hera, myth; wife of Jupiter; the Queen of Heaven, the special protectress of the female sex. The great festival in her honor was the Matronalia, on the first day of March ; June, her month, was regarded the most favorable for mar- riage. Her favorite birds were the pea- cock and cuckoo ; her flowers, the poppy and lily. She is represented as a majes- tic woman, with a fine forehead, large eyes, hair adorned with a crown or dia- dem, a veil hanging from the back of her head. The diadem, veil, sceptre, and peacock are her usual attributes. Statues : Barb., 552; Berlin, 14, 27, 195, 779; Br. Mu., Ill ; Borgh. Villa, III. *Pronuba ; Cap., 11, *10; Hermit., 44; Louvre, *574; Ludo. Villa, 20,. **41 Juno Ludovisi : Naples, *100, 147 (78) ; Vat. (Br.) 112, (Oh.) 241, 511A, 534 bust, (P. C.) **546. **Colossal Head of Juno, Villa Ludovisi, Rome, by Polycletes ? " The grandeur of the head and the sublimity of the expression are beyond all praise. She is the only goddess I have ever seen. The others of her class are Barberini Juno — Vatican. Juno — Naples. Juno Ludovisi — Rome. women, some beautiful, some majestic, some graceful, but still women. There is a tranquil, passionless serenity in the brow and lips — ' the depth and not the tu- 182 JUPI mult of the soul ' — which seems brought from a region undisturbed by mortal emotions and mortal changes." — Hillarcl. "I believe it is considered the greatest treasure of the collection, but I did not, myself, feel it to be so, nor did I receive any strong impression of its excellence.'" — Haw- thorne. "In gravity, grandeur, and dignity it sur- passes all other Junos." — Ampere. "No words can give a true impression of the colossal head of Juno in the Villa Ludo- visi ; it is like a song of Homer." — Goethe. Jupiter, Greek Zeus, myth. The principal deity of the Greeks and Ro- mans ; the special protector of the latter nation. Had Juno for wife ; dwelt on Mt. Olympus. The eagle, the oak, and mountain summits were sacred to him. His sacrifices con- sisted of bulls, cows, and goats. His Jupiter— Vatican. attributes are usually the sceptre, eagle, thunderbolt, a figure of vic- tory, and a cornucopia. Statues : Alb. Villa, 1010 ; Berlin, 2, 23, 48, 50, 63, 66, 143, 778 ; Br. Mu., 99, 100-1- 2-22-31 ; Cap. III. black marble : Glyp., 81; Hermit., 152 colossal ; Louvre, *31; Naples, 119, (300), 106, 622; Vat. (Chi.) 222, 255, 392A, (P. C.) 298, *326, **539. *I. Vatican, Rotunda, No. 539. Colossal bust, supposed to be after the great statue by Phidias atElis, which stood 8 centuries, and was destroyed a.d. 500. The best ex- tant ; found at Otricoli. " The mighty locks, raised in the centre and falling down on both sides ; the com- pressed forehead, with the bold, arched brows, from under which the large eyes seem to glance over the universe, and the broad projecting nose, express energy and wisdom, while mild benevolence rests on the parted lips, and the luxuriant beard and rounded cheeks show sensual power and imperishable manly beauty." — Lilbke. *II. Vatican, Hall of Busts, No. 326. Jupiter — Vatican. Colossal ; sitting ; hold- ing thunderbolts and a sceptre, with the eagle at his feet. In the best style of the Greeks. Known as Jupiter Verospi. JUPI 183 III. Jupiter Serapis (se-ra'-pis), Vatican, Rotunda, No. 540. Colossal bust ; found on the Appian Way, near Rome, beating on. his head the modius, or corn measure, and a fillet about the brow. Jupiter, Temple of. — I. Temple of Jupiter Capito- linus, Borne, built by Tarquinius Superbus, B.C. 535, on Capi- toline Hill, where the Palace of the Conservators now standi It had 3 ranges of columns on the front, and one on the sides. The interior was divided into 3 cells, the statue of Jupiter occupying the centre, Minerva that on his right, and Juno on the left. The gates of the temple were of gilt bronze ; the pavement, mosaic ; and in a vault beneath were the Sibylline Books. The temple stood 452 years, being burnt B.C. 83. It was rebuilt by Sylla and dedicated B.C. 62; and burned by the soldiers of Vitellius a.d. 69. Rebuilt by Vespasian ; finally plundered, and its gold and statues carried away by the Vandals a.d. 455. It was in this temple that the celebrated bronze wolf stood when struck by lightning b. c. 64, as mentioned by Cicero. See Capitoline Hill, II. Temple of Jupiter Feretrius, Rome, on the Capitoline Hill, near the site of the temple of Jupiter Capitolinus. Built by Romulus ; the first temple erected in Rome. III. Temple of Jupiter Stator, Borne. See Palatine Hill. IV. Temple of Jupiter Tonans, Borne, on Capitoline Hill, so near the temple of Jupiter Capitolinus that it was considered as a porch of the latter. Built by Augustus, in gratitude for his own escape when his litter was struck by lightning and his body-ser- vant killed. V. Temple of Jupiter Victor, Borne. See Palatine Hill. Jupiter and lo, painting. See Io. Jura Mts., a Swiss range, extending from Bale s. w. along the w. shore of Lakes Neuchatel and Geneva to Lyons, attaining an elevation much less than that of the Alps. See Alps. Kauffman, Maria Angelica, 1741-1807, b. at Schwartz- enberg, Aus.; commonly stated at Coire, Switz.; studied in It- aly ; went to England, 1766 ; became a favorite of the Royal Family. In 1768 she was elected one of the 36 original members of the Royal Acad., through Reynolds, whose admiration for her caused him to remain single. She was chosen with Reynolds, West, and others, to decorate St. Paul's. Married a servant of a Swedish nobleman, who passed himself off for his master. Sep- arated from him and married Zucchi, a Venetian artist, leaving England after residing there 17 years. Died in Rome, 1807 ; 184 KAUL buried in the ch. of St. And. delle Fratte. One of her most no- ted works is the Vestal, in the Dresden Gall. '■ No living painter excels her in dignity or in delicacy of taste. 1 ' — Goethe. " Her reputation, not resting on any solid basis of excellence in art, has passed away." — Caters Biog. Die. Principal Works : Dresd., 1978-79-80 ; Harnp. Ct., 502 ; Hermit., 1304-5-6, So. Kens., Her Portrait ; Munich, 152. Kaulbach, Wilhelm von, 1805-1874, b. at Arolsen; studied at Diisseldorf under Cornelius. His works are chiefly large historical pictures, in the Berlin Museum, of which the Battle of the Huns, the *Destruction of Babel, and the Reforma- tion, are the most noted. Kenilworth Castle, Eng. (from Kenulph, King of Mercia), 5 mis. by rail from Coventry or Leamington. The castle was founded by Geoffrey de Clinton, Treasurer of Henry I. , but soon became a possession of the crown. By Henry III. it was granted to the Earl of Leicester. Upon the revolt of the Earl, the castle was besieged, and, after six months, taken. In the time of Ed. I., it was the scene of a costly tournament. Edward IL was here confined in prison. In the reign of Ed. III. it passed into the possession of John of Gaunt ; and, upon the accession of his son, Henry IV., it again became the property of the crown, and so continued until Elizabeth bestowed it upon her favorite, Dudley, the Earl of Leicester. Enormous sums were spent by Leicester in the enlargement and decoration of the castle. Queen Elizabeth visited Kenil- worth in 1566, 1568, and 1575, the last being the one immortal- ized by Sir Walter Scott : '•The external wall of this royal castle wa<=, on the south and west sides, adorned and defended by a lake, partly artificial, across which Leicester had con- structed a stately bridge, that Elizabeth might enter the castle by a path hitherto untrodden, instead of the usual entrance to the northward, over which he had erected a gatehouse, or barbican, which still exists, and is equal in extent and superior in architecture to the baronial castle of many a Northern chief." After the death of Leicester, Kenilworth was seized by the crown, and, at a later period, conferred by Cromwell upon some of his officers, by whom it was demolished for the sake of its mate- rials. After the Restoration, Chas. II. conferred the property upon the Earl of Clarendon. For a long period the castle lay in ruins, but the present Earl has manifested a praiseworthy desire to arrest further decay. Of the original fortress, the only part now remaining is Caesar's Tower, the walls of which have, in places, a thickness of 16 ft KENS 185 The portions erected by the Duke of Lancaster are called the Lan- caster buildings, among which was the great hall, 86 by 45 ft. The part erected by Leicester, although the most recent, pre- sents the most ancient appearance, having been constructed of a soft, friable stone. " The bed of the lake is now a rushy swamp, and the massy ruins of the castle only serve to show what their splendor once was, and to impress on the musing visitor the transitory value of human possessions, and the happiness of those who enjoy a humble lot in virtuous contentment." — Scott. Kensington Palace, London; w. end Hyde Park; built by Wm. III., who lived and died here, as also his Queen, Mary; Queen Anne and husband, and George II. Birthplace of Queen Victoria, and at present occupied by the Royal Family. Kensington, S., Museum. See Part II. , South Kens. Kew Gardens ; 5 mis. w. of London, daily, 1-6 ; Sun., 2-6; by S. W. Ely. from Waterloo Sta. ; and by the Underground. The Gardens comprise 270 acres ; hothouses of orchids, ferns, and cacti ; the Great Palm House ; the Water Lily House, with the Victoria Regia, Papyrus, and Lotus ; the Palm House for tropical plants; the Winter Garden, covering If acre ; the Ar- boretum and the Rockery. *Killarney, Lakes of, Ire- land ; on the s. w. coast ; 3 hrs. from Cork by rail. The lakes are consid- ered the finest in Great Britain. At Killarney the Railway Hotel is connected with the station, the Victoria is on the lake, the Lake Hotel is on the Bay of Castel- lough, adjoining Muckross Abbey. One day, with an early start, will suffice for the principal points of interest. The Lakes and environs abound in delightful excursions. *Knife Grinder, The, in the Uffizi, Florence, found in Rome, 16th cent. Supposed, by some, to be from the group of Knife Grinder— Uffizi. 186 KRAF Marsyas, who was to be flayed alive ; by others, to be a slave overhearing a conspiracy. "This statue is an enigma to which no satisfactory solution has ever been of- fered. But as to its power there can be no doubt. Every line glows with the fire of truth/ 1 — Hillard. Krafft, Adam, 1430?-1507, believed to have been born at Nuremberg ; one of the most noted of the early German sculp- tors. His most important work is the Ciborium in the Ch. of St. Lawrence, Nuremberg, a Gothic spire of stone, 02 ft. in height, wrought with the greatest skill and effect. The top of the spire is bent over as if too high to stand erect beneath the ceiling. Lach'-ry-ma-to-ry. Literally, a tear bottle. A fanciful use attributed to small glass vessels, in shape like the alabastron, but with a longer neck, and said to be intended for holding tears con- secrated to the dead. Their real use was to hold perfumes or ointments. Laocoon (lah-ok'-o-on), myth; a Trojan priest, who attempted to dissuade the Trojans from drawing the wooden horse of the Greeks into the city, and advised its being burned. For this, Minerva, who favored the Greeks, struck him with blindness and sent two serpents to destroy him and his two sons. **Group op Statuary in the Vatican, Sculp. GaU. No. 74. Discovered in the Baths of Titus, 1506. The raised arms of the figures, and some portions of the serpents, are restora- tions. The right arm of the father is incorrectly restored, being extended at full length instead of being folded with the hand at the back of the head. M. Angelo first noticed that the group is not wrought from a single block as mentioned by Pliny. " The Laocoon which stands in the palace of the Emperor Titus may be con- sidered superior to all other works both of painting and statuary. The whole group — the father, the boys, and the awful folds of the serpents —were formed out of a single block, in accordance with a vote of the Senate, by Agesander, Polydo- rus, and Athenadorus." — Pliny. (About 100 a.d.) "When the order was given for the removal of the Laocoon, Apollo, and Venus, to the Belvedere, all Rome was filled with commotion ; they threw flowers upon the statues and clapped their hands— from the Baths of Titus to the Vatican Laocoon was borne in triumph." — Goiirnerie. " The group of Laocoon and his sons — so justly denominated by Michael Angelo at the time of its discovery, the miracle of art, ' il portento dell 1 arte ' — is one of those productions which would have been pronounced impossible had they neve? been executed. It stands upon the very line by which the art of sculpture is di- vided from poetry and painting. There is no other work of Greek art, of high rank at least, which resembles it." — Hillard. " An immortal agony, with a strange calmness diffused through it, so that it resembles the vast rage of the sea, calm on account of its immensity ; or the tu- LAOC 187 mult of Niagara, which does not seem to be tumult because it keeps rouring on forever." — HawtTwrne. "From three different scenes, one united and strictly connected group is formed, depicting the one moment of utmost suffering and horror petrified with fearful truth, and the whole pathos is concentrated in the mighty figure of the father."— Liibke. lllllll!ili!l!ililllH!l^!^^nl! Laocoon — Vatican. . . . Turning to the Vatican, go see Laocoon's torture dignifying pain — A father's love and mortal's agony With an immortal's patience blending, vain The struggle ; vain against the coiling strain And gripe ; and deepening of the dragon's grasp, The old man's clench ; the envenom'd chain Rivets the living links — the enormous asp Enforces pang ou pang and stifles gasp on gasp." — Byron. 188 LAST Last Communion, painting by Domenichino. See Jerome. Last Judgment, painting by Angelo. See Sistine Chapel. **Last Supper, a noted painting by Leonardo da Vinci, in the Refectory adjacent to the Church of S. M. delle G-razie, Milan. The picture was executed 1496-98. It suffered constantly from the smoke of the adjoining kitchen, and, in 1500, the room ap- pears to have been flooded. Even as early as 1642, Scanelli says it was difficult to discover the subjects. In 1652 the monks opened a doorway through the wall, cutting out portions of the central part. In 1726, Bellotte "an indifferent artist," and in 1770, Mazza, "a wretched dauber," restored (!) the picture. In 1796, the cavalry of Napoleon (against his express order) occupied it as a stable ; in 1800 it was again flooded ; in 1807, Viceroy Eugene took effective measures for the preservation of the picture. Last Supper — da Vinci. Nothing, however, prevents its gradual flaking off the walls. It has been retouched and restored so often " that little or nothing remains of Leonardo, save the composition and the forms gen- erally." " Of the heads there is not one untouched, and many are totally ruined. Fortunately, that of the Saviour is the most pure, being but faintly retouched." The original cartoons are at Wei- mar, Ger. The disciples are divided into two groups of three each, on either side of Christ. On Ms right the first person is John, with head bowed and clasped hands. Next him is Judas, in profile, with the money-bag in his right hand, and the overturned dish of salt against his arm, his left hand approaching the dish, which LAUS 189 Christ also is about to touch. Behind Judas is Peter, with his head between Judas and John, and his hand on John's shoulder. The next group is of Andrew with both hands raised in as- tonishment, St. James the Less, with likeness of face to Christ as indicating- relationship, with his hand on Peter's shoulder ; and lastly, Bartholomew standing, and leaning forward with both hands resting on the table. On the left of Christ, first is James the Greater, who extends both arms in amazement, and behind him is Thomas, with his fore-finger raised as if in menace. The third of this group is Philip, with both hands at his breast, and with a mildness of face akin to John's. The next, with both arms extended toward Christ, but looking toward the end of the table, is Matthew, who, with Thaddeus, is intently speaking to Simon sitting at the end of the table, with both hands raised. Of Christ it may be noticed that his left hand is open, as if in supplication, while his right — that toward Judas — is reversed as if in distrust or aversion. Notwithstanding the multiplied ravages of two centuries, enough yet remains of the grouping and of the individual expres- sion of each of the actors to place this picture in regard to force of conception, harmony of detail, and delicacy of touch, among the finest works ever wrought. "In these fading fragments of color, the trained eye of the artist can still dis- cover Leonardo's minute beauty of finish, but I must take their judgment on trust. It is a work full of melancholy interest — a picture in ruins — and the im- agination peoples the denuded walls with forms not inferior to those which time has effaced." — Hillard. Lausanne (lo-zahn), Bom. Lausonium, Switz., is delight- fully situated on an eminence, 1 ml. from lake Geneva, and com- mands most charming and extensive views of the lake and the distant mountains opposite. The village itself is less pleasing, being divided by a deep ravine, and the streets being irregular and hilly. Pop. about 30,000. The Cathedral, founded 1235, and consecrated by Gregory X, stands upon a terrace near the market-place. Among its monu- ments is one to Victor Amadeus VIII. , of Savoy, who was elected pope, as Felix V. , by the Council of Bale. This cathedral is noted as the scene of the celebrated Disputation of Calvin, Farel, and Viret, 1536. The Town Hall, formerly the episcopal castle, dates from the 190 LEAM 13th cent. The Cantonal Museum contains a coll. of Nat. Hist., and antiquities from the pre-historic lake dwellings. The Ar- land Museum, or art gallery, is an interesting coll. of modern works, with a few from the old masters. In the garden attached to Hotel Gibbon is shown the place where Gibbon wrote the con- cluding portions of his Rise and Fall of the Roman Empire. Routes : To Berne, 3 hrs., $2.20 ; $1.60 ; see Route 33. To Martignv, 2% hrs., $1.50 ; $1 ; see Route 34. To Geneva, by rly., 1% hr., $1.25 ; $0.90 ; by sttnr., 3 hrs., $0.90. To Villeneuve, 2 hrs., $0.70. Union station for all trains. Leamington (-lem- ; meadow town on the Leam\ Eng. See Route 9, Note 15. Leeds, Eng.; pop. 300,000. The older part of the town has narrow and uninviting streets ; the new portion, on the w. , is well laid out and handsomely built. In front of the Court House is a bronze statue of Peel. * Ruins of Kirkstall Abbey 2 mis. distant. See Route 5, Note 10. Leghorn, Livorno, Italy, a modern, well-built city of 100,- 000 pop , dating from the middle of the 16th cent. ; prior to which time it was a small fishing village. Has no antiquities, and few objects of interest. Leys, J. A. H., 1815-1869, b. Antwerp. Studied under Braekeleer ; upon the exhibition of his pictures at Brussels, he at once rose to fame and was elected a member of the Legion of Honor. He executed a series of pictures for the Town Hall of Antwerp. At his death his body lay in state, with his favorite work at his head. " He is one of the few modern painters whose works will stand by the side of the old masters." — Buxton. L i b a . Legend of Falkenburg. Liba, the beautiful maiden of Falkenburg was espoused to Guntram, a bi*ave young knight. While they were awaiting the appointed time of their nuptials, Gnntram was honored with an embassy to the Court of Burgundy. Hastening on his mission, he came to a castle, and as the servant led the way to his room at the hour of retiring, Guntram observed a lovely veiled portrait, and asked concerning it. The servant replied '* She was the daughter of the house, most lovely and bewitching, but cruel toward her suitors." Guntram retired, but was unable to sleep ; soon he heard a rustling as of a lady's dress : arising and opening his door he beheld the young lady before him ; he clasped her hands when she gently asked, "Do you love me ? " to which the Knight replied, " More than my life. - ' Upon this she took a ring from her finger and placed it upon his. Next morning, as the lord entered, Guntram said, "I have seen your beautiful daughter and she gave me this riner." "Then," exclaimed he, "God help you, sir : in three times nine days you will be a corpse ! " Returning homeward with all dispatch, Guntram pressed Liba to hasten their wedding-day. When the LIEG 191 hour arrived he persuaded himself that all would yet be well, but as they stood before the altar, the dead girl came and placed her hand in his. Then, telling Liba all, he begged her to become his wife before he died. The ceremony ended, he clasped her to his bosom an instant and fell lifeless. Liba entered a convent where she did not long survive her lost Guntram. Liege (le-aizh'), Ger., Luttich (lut-tik), a flourishing modern city of 120,000, in the midst of the mining districts of Belgium. Its principal manufacture is iron, in which it equals the best products of France and England. It was founded in the Gth cent.; fortified in the 10th ; taken by the Duke of Brabant, 1212; by Ch. the Bold, 1467, who levied enormous sums and razed its fortifications; in 1691, was bombarded for 5 days; in 1702, taken by Marlborough. See Boute 19, Note 5. Limoges Ware (lim-ozh'). See Pottery. Linlithgow Castle (lin-lith'-go ; lake of the greyliound), Scot., 17 mis. n.w. of Edinburgh, on the margin of the lake of the same name. Founded by Ed. I.; destroyed by Bruce ; re- built by the English ; James I. and his successors made it a royal residence, and here Mary, Queen of Scots, was born. Wantonly destroyed by fire, 1746. Lip pi, Fra Filippo, 1412-1469, Italy. Although the usual account of his early life, derived from Vasari, is now generally discredited, yet it appears that, as a monk, he was remarkably free from the austerities usually incumbent upon the brother- hood. That he was an ardent admirer of beauty, there seems little room to doubt ; and whilst this love of beauty, in the con- crete, may have led him to elope with a nun or to jump from the window to meet his lady love, or to otherwise scandalize the brethren, it certainly wrought for beauty, in the abstract, one of its earliest victories over the lifeless Byzantine ; and ever after, art dwelt in a freer atmosphere and in a closer affinity with nature. " He is the first artist who, with a rich and playful fancy, heartily enjoyed the fulness of life even in its chance manifestations. " None of his predecessors express attitude and motion so beautifully as he in his grand life-like draperies. '" He was an ardent admirer of nature, and being free from excessive asceti- cism, he gave his Madonnas the face of any beautiful woman he chanced to meet ; and sought beauty regardless of the authorized limits." Principal Works: Arezzo, 44; Berlin, 58?, 69; Doria, II. 28; Flor. Acad., I. 41-2, III. 12, 26 ; Prank., 8 ; Louvre, 220-1 ; Munich, 554, 1169 ; Naples, Tua Sch., 37; Nat. Gall., 5S6-9, 666-7; Pitti, 338; Uffi., 1179, 1307. Lippi, Filippino, 1460-1504, Italy, said to be the son oj nephew of Fra Filippo. His style is that of Fra Lippi and Botti- 192 LIVE celli ; was fond of ornamentation. Was employed to complete the frescos commenced by Masaccio in the Brancacci Chapel, Florence. He there painted St. Peter ; Paul's visit to Peter in Prison ; and part of the Resurrection of the King's Son. He is regarded as one of the greatest artists of his century, particularly in his larger historical works. Liverpool, Eng., on the e. side of the Mersey, which here flows northward ; on the opp. is Birkenhead. In 1650 the town owned but 15 ships ; in 1764, over half the slave trade was car- ried on by Liverpool merchants ; it now possesses £ of the foreign trade of Gt. Britain. Since 1740 Liverpool has doubled its popu- lation, exports, and imports every 16 years. Present pop. over 500,000. The wet-docks occupy 200 acres ; the dry, 33 ; and the quays, 7 mis. In the river there are two immense landing-stages, where the tugs from the ocean steamers and the Birkenhead ferry-boats make their landings. Op the Public Buildings, the Exchange on Dale St., near the Landing-stage, and St. George's Hall, opp. the Lime St. Sta. , are the most noted. In front of the latter are equestrian statues of Prince Albert and Queen Victoria, and two colossal lions. To the w. rises the Wellington mon. surmounted by a bronze figure of the Duke, made of gun metal ; across the street to the n is the Walker Art Gallery and Museum — a fine collection. The or- gan of St. George's Hall is said to be the largest in Eng. Liverpool is noted as the birthplace of Mrs. Hemans. Routes: To London, 5 hrs., $7; $5; see Routes 7, 8, 9. To Edinbtjbgh, 6 hrs., $7 ; $5 ; see Route 7. To Glasgow, 6 hrs., $7 ; $5 ; see Route 7. Several stations. * Loggie, Raphael's, in tJie Vatican, Home. Passing through the Sala of Constantine we reach the Loggie, of which the gallery to the r. is adorned from designs by Raphael, exe- cuted by his pupils. There are 52 frescos in 13 sections, 12 from the Old Testament, and one from the New, constituting ' ' Ra- phael's Bible." As these decorations resemble, to some extent, those which had at that time been recently discovered in the Baths of Titus, there has always been some question whether they are to be regarded as entirely original works. Kugler, however, remarks that Ra- phael's arabesques differ so materially from the antiques k ' that there is no occasion for regarding them as plagiarized.''' LIVE 193 194 LOND "Nothing can surpass the grace and delicacy of these decorations. Figures, flowers, animals, mythological subjects and architectural ornaments are combined with the most delightful fancy." — Murray. " The stucco decorations of the gallery are of exquisite beauty." — Rare. I. Arcade, by Raphael, Creation : 1. Creation of Light ; 2. Dry Land ; 3. Sun and Moon ; 4. Animals. II. Adam and Eve: 1. Creation of Eve, Raphael; others, by G-. Romano ; 2. The Fall ; 3. Exile ; 4. The Punishment. III. By G. Romano. Noah: 1. Builds the Ark; 2. Deluge; 3. Resting of the Ark ; 4. His Sacrifice. IV. By F. Penni. Abraham: 1. Melchisidek; 2. Covenant,- 3. The Three Angels ; 4. Flight of Lot. V. By F. Penni. Isaac: 1. God appears; 2. Isaac and Rebec- ca ; 3. Jacob's Blessing ; 4. Esau's Blessing. VI. By P. da Modena. Jacob: 1. His Ladder; 2. Meets Ra- chel; 3. Laban ; 4. His Journey. VII. By G. Romano. Joseph: 1. Tells his Dream ; 2. Sold into Egypt; 3. Potiphar's Wife; 4. Interprets Dreams. VIII. By G. Romano. Moses : 1. The Finding ; 2. The Burn- ing Bush ; 3. Destroys Pharaoh ; 4. Strikes the Rock. IX. By R. da Colle. Moses : 1. Receives the Law ; 2. The Golden Calf ; 3. Breaks the Tables ; 4. The Pillar of Cloud. X. By P. del Vaga. Joshua : 1. Crosses the Jordan ; 2. Jeri- cho ; 3. The Sun Stands Still ; 4. Divides the Promised Land. XI. By. P. del Vaga. David: 1. Anointed; 2. Goliah ; 3. His Triumph ; 4. Sees Bathsheba. XII. By P. Maderno. Solomon : 1. Anointed ; 2. His Judg- ment ; 3. The Queen of Sheba ; 4. Builds the Temple. XIII. By G. Romano. Christ: 1. Adoration of the Shepherds; 2. Of Magi ; 3. Baptism ; 4. Last Supper. London, Eng. Is unequally divided by the Thames, much the larger portion being upon the northern side. The river ia spanned by 15 bridges, of which the most eastern, or farthest down the stream, is London Bridge, and £ ml. to the n. of Lon- don Bridge is "Cornhill," the location of the Bank, and the great money centre of the Metropolis. From this point two principal thoroughfares lead westward, parallel with the river, named, as we proceed westward, as follows : The one nearest the river, Victoria Street, Cannon Street (to St. Paul's), Ludgate Hill, Fleet Street (to Temple Bar), Strand (to Charing Cross and St. James's Park), and Parliament Street (to Westminster Abbey). LOND 195 The other : Poultry, Cheapside, Newgate Street, Holborn, and Oxford Street, to Hyde Park. A third avenue has recently been opened, via Victoria Street and the Embankment, to Westminster. The city extends about 10 mis. from east to vest, and is of little less width from north to south. Its population is about 3^ millions. The financial and business houses of the city are principally lo- cated to the east of St. Paul's ; the galleries, theatres, and places of amusement between St. Paul's and St. James's Park ; the Parks and residences of the nobility upon the western margin of the city. The railway stations are, with few exceptions, in the suburbs. Americans will find a location in the vicinity of Charing Cross the most convenient ; near which are hotels of every degree of comfort and price desired. Omnibuses abound, but they will generally be found less satisfactory than cabs or hansoms. From the innumerable objects of interest offered to the visitor, the tourist of limited time may well feel some embarrassment in making choice. To aid in the selection, the more important ob- jects and localities are indicated by a star *, or by a double star **. Titles given in capitals will be found under their re- spective heads. Routes: To Antwerp, via Harwich, 14 hrs., $6; see Route 10B ; by Steamer direct, 18 hrs., $5 ; see Route 10A ; via Queenboro, $6 ; see Route 1UC. To Brussels, via Dover-Ostend, 11 hrs., $5.75 ; see Route 11. To Berlin, via Os- tend-Cologne, 26 hrs., $28; $24; via Queenboro, 24 hrs., $22; $15.50. To Co- logne, via Dover-Ostend, 20 hrs., $16.50 ; $12 ; see Route 11 to Brussels, thence by Route 19 to Cologne. To Dublin, via Holyhead, 11 hrs., $11. To Edin- burgh, 10 hrs., $14; $11; see Routes 5, 6. To Glasgow, 10 hrs., $14; $11 see Route 4. To Liverpool, 5 hrs., $7.25 ; $5.50 ; see Routes 7, 8, 9. To Paris. via Dover-Calais, 10^ hrs., $15 ; $11.25 ; see Route 12 ; via Folkestone-Boulogne 10>i" hrs., $14 ; $10.50; see Route 13 ; via Newhaven-Dieppe, 16 hrs., $8.25 ; $6 see Route 14 ; via steamer to Boulogne, thence rly. to Paris, 14 hrs., $8.25 ; $6.25 see Route 13, from Boulogne to Paris. To Rotterdam, via Harwich, 13 hrs.,, $6.50 ; via Queenboro, 13 hrs., $6.50. London. Places and Objects of Interest. I. Galleries and Museums ; II. Miscellaneous ; III. Music Halls ; IV. Statues and Monuments ; V. Theatres, etc. I. Galleries and Museums. (See also under the titles in small capitals.) Bethnal Green Museum, Victoria Park; at 10, 6d ; M., Tu.., Sat. free. British Gallery of Art, 57 Pall Mall; sum. and wint. exhib., 1 sh.. 196 LOND ♦♦British Museum, Great Russell St. P. 426. Crystal Palace. Dore Gallery, 35 New Bond, daily 10-6 ; 1 sh. ♦Dudley Gallery, Piccadilly, Egyptian Hall ; 1 sh. ; spring and fall exhibitions. ♦Dulwich Gallery. P. 437. India Museum, nr. Albert Hall ; 10-6 ; 6d.; M. and Sat., 1 sh. Geological Mus. , Piccadilly, 10-4, 5, daily, ex. F. **Grosvenor Gallery, 137 New Bond. Guildhall Museum of Roman and Mediasval Antiquities, Cheap- side ; daily at 10. ♦Hampton Court. P. 442. ♦♦National Gallery. P. 457. Natural History Museum, So. Kensington, unfinished. Royal Academy of Arts, Piccadilly ; May to Aug. ; 10-7 ; 1 sh. Royal Coll. of Surgeons ; Anatom. Mus.; 12-4, ex. F. and Sat. Soane Mus. , 13 Lincoln's Inn Fields ; sum. and wint. exhib. , at 11 ; free. Society of Br. Artists, 6 Suffolk St. ; 1 sh., ex. W., at 10. *♦ South Kensington Museum and Gallery. P. 516. Tussaud' s Waxworks, 57 Baker St. ; evening, 1 sh. United Service Museum, military, Whitehall Yard ; daily at 11, ex. F. and Sun. Water Colors, 5A Pall Mall, east ; Apr. to Aug. ; 1 sh. Water Colors, 53 Pall Mall; sum., 9-7; wint., 10-4. Zoological Gardens, Regent's Park ; daily, 1 sh. ; M. , 6d. II. Miscellaneous Places op Interest. (See also under the titles in small capitals.} Albert Hall, So. Kensington, opp. Hyde Park. ♦♦Albert Memorial, So. Kensington, opp. Hyde Park. ♦Bank of England, e. end of Poultry and Queen Victoria St. Barclay's Brewery, Park St., s. side nr. Lond. Bridge. Billingsgate Fish Mkt. , on the Thames below Lond. Br. Bow Church, Cheapside, by Wren, one of his best. Buckingham Palace. Bunhill Fields, cemetery, burial place of Bunyan, Defoe, and Dr. Watts. ♦Charing Cross. Cheapside, from St. Paul's to the Bank. Clement, church of St. See Strand. yrs <> r B "grg£ WU.les.Jlcn. bell. Waterloo Place, Crimean. Waterloo Place, Franklin. War Office, Pall Mall, Lord Herbert. Whitehall Gardens, James II. V. Theatres. Criterion, Piccadilly, East; at 8 o'clock. Drury Lane, near Covent Garden ; dress circle, 5s. ; at 7. Folly, King William Street, Strand ; at 7.30. Gaiety, 345 Strand; balcony stalls, 5s.; boxes, 3s.; at 6.45. Globe, Newcastle Street, Strand; dress circle, 5s.; at 7.15. Haymarket, Haymarket ; dress circle, 5s. ; at 8. *Her Majesty's, near Haymarket (Opera House) ; dress circle, 10a. and 15s. ; at 8.30. LORE 199 Lyceum, Wellington Street, Strand; dress circle, 5s.; at 7.30. National Opera House, now building. Opera Comique, 299 Strand ; orchestra stalls, 5s. ; at 7.45. Princess 1 , 73 Oxford Street ; dress circle, 5s. ; at 7. Prince of Wales', 21 Tottenham Street ; dress circle, 6s. ; at 8. Royal Adelphi, near Bedford Street; dress circle, 5s.; at 7. Royal Alhambra, Leicester Square; fauteuils, 5s.; at 7.30. Royal Olympic, Wych Street; stalls, 6s. ; boxes, 4s.; at 7.30. ** Royal Italian Opera, Bow Street, Long Acre ; dress circle, Ss.; at 8.30. Royal Strand, Strand ; dress circle, 5s. ; at 7. St. James 1 , King Street; dress circle, 5s, ; at 7.30. Vaudeville, West Strand ; balcony stalls, 5s. ; at 7.30. Lorenzo, San, ch., Florence, on the Piazza San Lorenzo, erected, a.d. 390; rebuilt, 1059; burned, 1423; reconstructed, 1425, from designs by Brunelleschi ; completed by M. Angelo. Beneath the high altar is the tomb of Cosmo de' Medici, "Father of his Country." *Bas-reliefs on the pulpit by Dona- tello and Bertoldo ; s. aisle, *mon to Benvenuti, by Thorwaldsen. Old Sacristy, erected by Brunelleschi ; 4 evangelists, bronze doors, and bas-reliefs by Donatello ; 2d Chapel, an Annuncia- tion, by Fra Lippi. New Sacristy, daily, 10-4; Sun., 10-3; M., 12-3; entered from the ch., but more commonly from the street in the rear of the ch. i fr. See Medicean Chapel. Lorenzo Fuori 8e Mura, San, Church of, Rome, f ml. beyond Porta di Lorenzo. In front is the statue of St. Law- rence. A ch. was erected here over the tomb of St. Lawrence by Constantine, about 330 ; rebuilt, 578 ; a new nave added, 1216, making, in fact, two churches in one. The whole was re- modelled in 1864. In a marble urn at the Confession are the re- mains of the martyrs, SS. Lorenzo. Stephen, and Justin. The columns of the nave are probably from the Portico of Octavia. On the 8th column, r., will be seen a lizard and a frog. Lorenzo in Lucina, S., ch. on the Pi. S. Lorenzo, Rome, on the Corso, contains the tomb of Nic. Poussin, 2d column on r. ; and over the altar G-uido's celebrated *Crucifixion. " Of Master Guido Reni's, second to naught observable in Rome."— Browning. Louis XIII., of France, b. 1601, son of Henry IV. and Marie de Medicis ; married Anne of Austria ; died at the age of 200 LOUI 42. His reign is noted especially for the persecution of the Huguenots, and the reduction of their stronghold, Rochelle, after a siege of 12 months. Richelieu was his Prime Minister. Statue of Louis XIII. , in Place des Vosges, Paris, marble equestrian. Originally erected in 1639, but destroyed in the Re- volution of 1792 ; replaced by the present statue in 1829. Louis XIV., The Grand Monarque, son of Louis XIII., b. 1638 ; was only 5 years of age at the death of his father. Dur- ing his minority his mother, Anne of Austria, was regent. He died at the age of 77, having occupied the throne of France the unparalleled period of 72 years. For a large portion of his reign he kept Europe in a state of warfare, in which he was at first suc- cessful, but lost all he had gained at the cost of the blood and treasure of his kingdom. His death, 1715, caused no regret to the nation he had impoverished. He erected the palace at Versailles, which thenceforth became the royal residence. Statue of Louis XIV., bronze equestrian, in Place des Vic- toires. In 1686 there was erected in this place a gilded pedes- trian statue of Louis XIV. Having been destroyed in 1792, an obelisk to the honor of the Republican Army was erected in its place. In 1806 this was removed to give place to a statue of Desaix, which, in 1814, was melted to construct the Henry IV. on Pont Neuf. In 1822 the present statue was erected. The pedestal presents reliefs of the Passage of the Rhine by the Grand Monarque habited as a Roman Emperor. Louis XV., great-gd.-son of Louis XIV., b. 1710; married Maria Leczinski, dau. of the King of Poland. Crowned at the age of 12. Entered upon various military schemes, notably that of the Austrian Succession, and in the end gained nothing. Lost Canada, and after a reign of 52 years went to his grave personally despised, and leaving his kingdom humiliated and more impoverished than when he received the government. Louis XVI., gd.-son of Louis XV., b. 1754; married Marie Antoinette, dau. of Emp. Francis I. and Maria Theresa of Austria. Crowned 1774. The young king at once set himself to reform the errors of the past administrations; but the na- tion was financially beyond redemption by the ablest ministers, aod nothing could stem the current of revolt against the throne. The States General met May, 1789 ; in June the State prison — the Bastille — was razed to the ground by the populace ; in Oc- tober a mob of market women marched to Versailles, forced the LOUV 201 palace, and brought the king and family to Paris. Finding himself virtually a prisoner, the royal family quitted the Tuil- eries on the night of June 21, 1791, and fled in disguise; but, being discovered, they were seized and taken to Paris and im- prisoned in the Temple. In 1793 the king was tried, condemned to death, and on the 21st of Jan. executed in Place de la Con- corde, near where the obelisk now stands. His queen was be- headed in the same place in the following October. Louvre. See Part II., Louvre. P. 445. * Lucerne (lu-sern), Ger. Luzern (lute-sern), delightfully situated at the western extremity of Lake Lucerne, upon both banks of the Reuss (roiss), which here leaves the lake. It is sur- rounded by walls surmounted by nine towers, erected in 1385. In the midst of the finest Alpine scenery, and upon the most beautiful of Alpine lakes, Lucerne is among the most charming and popular of the numerous resorts of Switzerland. The hotels are situated along the edge of the lake, and offer the visitor a constant view of scenery whose richness and grandeur never abate. To the 1. is the Rigi; in front, the Blirgenstock, and to the r. Pilatus. Within the town there is little of interest, save Thorwaldsen's Lion Monument. The Second Bridge from the lake, the Capellbrucke, crossing obliquely, has upward of 150 paintings in the roof, representing the lives of the patron saints of the town. The Fourth Bridge, the Spreuerbriicke, is ornamented in like manner with " The Dance of Death." The Hof-Kirche, or cathedral, situated at the extreme eastern border of the town, is of interest chiefly for its celebrated organ. It possesses a fine pulpit, two side altars in carved wood, and some noticeable stained windows. There is usually an organ per- formance daily, 6£-7-£, except Sat. and the eve of festivals (1 fr.). ** The Lion op Lucerne is i ml. to the n. of the Cathedral. This magnificent monument, chiselled out of the native rock in the side of a precipice, represents a dying lion, 28 ft. in length, with his paw upon the Bourbon Shield, his side still retaining a portion of the fatal spear. The mon. was designed by Thorwald- sen, in memory of nearly 800 Swiss who lost their lives in defence of the Palace of the Tuileries, Paris, 1792. Few works of art so profoundly impress the beholder, especially when visited at sun- set. Model is shown (free) in an adjacent building. 202 LUCE LUDO 203 The Gletscher Garten, opp. the Lion (1 fr.). Stauffer's Museum, near the Lion, contains a large collection of stuffed Alpine animals (1 fr.). Specialties : embroidery, wood, ivory carvings, and crystals. Hotels : the following houses, all desirable, are situated along the lake. S. Gothard, near the station, Swan, du Rigi, Englisher- hof, Schweizerhof, Lucernerhof, National. Pensions of the first class are numerous in Lucerne and its en- virons, as well also in all the villages along the lake, offering an unlimited choice of charming retreats to the summer visitor at prices from 5 to 10 frs. per day. Excursions: By stmr., to Kiissnacht and return, 3 hrs. ; to Fliielen, 5 hrs.; to Alpnach, 2 hrs. To Rigi-Kulm, stmr. and rly., 8-10 hrs. To Pilatus, stmr. to Alpnach, thence by horse 4£ hrs., to Hotel Bellevue, 11 hrs. Routes : To Bale, 3 hrs., $1.20: $0.75; see Route 23. To Zurich, 2 hrs., $0.85; $ 0.60 ; see Route 26. To Milan, via the St. Gothard, stmr. to Pliielen, rly. to Locarno, stmr. to Arona, rly. to Milan, 16 hrs. ; also direct by rly., 8 hrs. $5.50 ; $4.50 ; see Route 25 to Arona, and Route 44 to Milan. To Interlaken, via the Brunig, stmr. to Alpnach, diligence to Brienz, stmr. to Bonigen, rly. to Interrlaken, 10 hrs., $3. To Berne, rly. 3 hrs., $2; $1.40. To Paris, 13 hrs., $14.20; $10.25 ; see Route 23 to Bale, thence to Paris by Belfort. *Ludovisi, Villa of, Rome; Th. 8-12; Winter only. Cat- alogue -J fr. Permit obtained through Consul. 1 . Boom: 20, Juno, very ancient ; 31, Tragic Mask, formerly mouth of a fountain. 2. Room : * 1, Mars Reposing ; * 7, Theseus and ^thra ; * 9, Satyr ; 28, Barbarian ; * 55, Warrior; * 45, Medusa j ** 41, Juno Ludovisi, the finest head of Juno known. See Juno. A second Casino, distant 5 min. walk, contains a fine * Aurora by Guercino. (See Aurora.) From the balcony a magnificent * view of Rome. * Lugano (loo-gah'-no), Switz. On Lake Lugano, in the midst of wild mountain scenery ; on the route from Lucerne to Milan, and also from Luino to Menaggio. See Routes 25 and 29. * Lugano, Lake of, Switz., midway between Lakes Maggiore and Como, 16 mis. by 2, of irregular shape. Delightful scenery. From Luino on L. Maggiore to Menaggio on the L. of Como. By tramway from Luino, 5 mis. to Ponte Tresa ; thence by steamer to Lugano and Porlezza (por-let-sah), 16 mis. ; thence by tramway to Menaggio, 9 mis. See Routes 25 and 29. Luini, Bernardo (loo-ee'-nee), Lovini. 1470?-1530? b. 204 LURL at Luino, Italy ; one of the most successful of the da Vinci school. His works are finished with great care, full of beauty, serenity, and graceful tenderness ; and have often been attributed to Leonardo. His principal works are at Milan, and the adjacent Lombard cities. His Crucifixion, a noted work, is at Lugano. The Brera has numerous frescos of his, which have been re- moved from the walls where they were painted. Nat. Gall., London, has his Christ and the Doctors, and the Louvre nine. Lurlei (loor-lxe), Lo-re-lei, on the Rhine. See Route 20. Legend. — The water-nymph, Lore, dwelt on the rock at Ley. Hermann, the young son of Bruno, Count Palatinate, hearing of her beauty, resolved to seek the fairy. Approaching the Ley and singing one of his sweetest songs, he beheld the beautiful Lore beckoning him on. Lost to all but the enchanting vision be- fore him, his boat was drawn into the whirling eddies and Hermann was buried beneath the waves. The fairy was never more seen, but her voice is often heard repeating the words of the traveller. Luxembourg, The Palace of (loox-em-boor), Paris. In the 16th cent, de Sancy erected on this site a large dwelling which was purchased by Duke d'Epinay-Luxembouvg, and en- larged in 1583. In 1612, the place was purchased by Marie de Medicis, and the present structure erected in the style of the Pitti Palace, Florence, and called Palais de Medicis. Falling to her son, it was called Palais d'Orleans. It was a royal residence until the Revolution, 1791 ; thence a prison, in which Josephine, Beauharnais, Robespierre, Danton, and others were confined. From 1795-1800, it was the Palais du Directoire and du Con- sulat ; under Napoleon I., was the Palais da Senat ; in the time of Louis Philippe, it was the Chamber of Peers ; under Napo- leon III. , it was occupied by the Senate and called Palais du Senat; at present it is occupied by the Prefet de la Seine. The state apartments and chapel are not now open to the public. Luxembourg Gallery, in the Luxembourg Palace. Daily, ex. M. , summer, 9-5 ; winter and Sun., 10-4. Ground Floor : Modern Sculptures, principally of the French School, of which some are peculiar, not to say surprising, illustrations. ■P3 a. Entrance LYON 205 First Floor: Picture Gallery, containing works of living artists. In consequence of constant removals and additions, the numbering is subject to such frequent changes as to render a catalogue of no value. ♦Luxembourg, Garden of the, on the s. side of the Palace, open to the public daily. On the I. is the Fontaine de Medicis ; on the side toward the Palace, sculptures, Acis and Galatea surprised by Polyphemus ; toward the street, the Fontaine de Leda. To the s. of the Pal. fountain and long basin, around which are numerous statues, among which are Adam, David, Discobolus, Gladiator, Diana, and several noted women of France. Beyond the gardens, at the extreme end of the principal avenue in front of the Pal. , may be seen the dome of the Obser- vatory. Proceeding toward the Observatory, through the Lux- embourg Garden and passing the gateway, we come to the Eng- lish (or flower) Garden, in which at the r. is the place of execu- tion of tho Communists, 1871. At the extreme s. end of the English Garden is the Fontaine de 1'Observatoire. Lyons (lee-of/), the second city in Fr., pop. about 345,000; 315 mis. from Paris, and 222 from Marseilles. The city, in gen- eral, is disappointing ; the streets are narrow and irregular, with tall, ungainly buildings. The more modern portions of the city are, however, very fine, as the Place des Terreaux, the Place Bellecour, and the Quays with their warehouses. The Place des Terreaux is associated with the bloody scenes of St. Bartholomew, 1572, and of the Revolution, 1794, when thou- sands of the citizens of Lyons here suffered death. The Gh. of St. Irenmus is said to have been erected over the grave of Irenseus, second Bp. of Lyons ; and of the remains of thousands of Christian martyrs, under Sept. Severus, a.d. 202. Marcus Aurelius, Claudius, Caracalla, Germanicus, St. Am- brose, St. Irenasus, and Clement IV. were natives of Lyons. It- has long possessed the most extensive manufactories of silk in the world. The city is situated at the junction of the Rh6ne and Saone, the former being crossed by seven bridges, and the latter by ten. A magnificent view is obtained from the Height of Fourvieres. Here is also the ch. of Notre Dame de Fourvieres, which contains a miraculous image of the Virgin, and, according to Baedeker, 206 MADE " is visited by over one and a half millions of pilgrims annu- ally. "(?) Routes: To Paris, 10 hrs., $12.50; $9.30, To Marseilles, 7 hrs., $8.f>0; $6.40. To Geneva, 5 hrs., $4; $3. ♦Madeleine, La (-leen), Ch. of, Paris. Boul. Madeleine, near Place de la Concorde; open after 1, daily. Commenced, 1764; in 1806, Napoleon decreed its completion for a Temple of Glory. Louis XVIII. proposed converting it into an expiatory chapel to Louis XVI. and XVII. and Marie Antoinette. It was completed, 1842, at a cost of nearly $3,000,000. Modelled after the Parthenon at Athens, 350 ft. long, 147 wide, having a height of 54 ft. The tympanum contains an alto-relievo of the Last Judgment. Central figure is the Saviour ; on the r., the elect ; the I., the con- demned, for whom Mary Magdalen is making intercession. In the insurrection of 1871 , when the insurgents had been driven from the barricades, 300 sought refuge in this church, but an en- trance having been effected, the entire number was put to death. Madonna, The: The Virgin Mary; Notre Dame, Ft.; La Vergine Gloriosa, It. ; Unser liebe Fratj, Ger. ; Virgo Gloriosa, Lat. From the third century onward, the Life of the Virgin, in con- nection with that of the Child, became a favorite subject of Christian art. Under the prevailing Byzantine influences, the principals and accessories of the various subjects, assumed fixed and definite characteristics, which, in general, prevailed until the time of Filippo Lippi, when the freedom of modern art be- gan to be manifest. The more frequent subjects in the life of the Virgin were : The Nativity of the Virgin, in which there is usually a richly furnished apartment, with neighbors, friends, and attendants. The Presentation of the Virgin in the Temple, variously rep- resented. The Marriage of the Virgin, in which the priest joins the hands, or Joseph places the ring on her finger ; she is followed by a train of maidens and disappointed suitors who are breaking their wands or trampling upon them. (The wedding-ring is now in the cathedral at Perugia!) The Annunciation, usually in an apartment ; Gabriel comes in from above, winged, young and beautiful ; a lily is always repre- sented, and sometimes the Father, above in the clouds. MADO 207 The Visitation, called also the Salutation of Elizabeth. The two women, and sometimes Zacharias, as priest, and Joseph, are present. The Nativity, in a stable, at midnight, in winter ; Mary in ap- parent suffering, prior to the 14th cent., but not since; Joseph leaning on his staff ; the ox and ass always present. In the early pictures there were also 3 angels singing ; more in the later. The Adoration of the Magi (mad'-je) ; the child usually has the hand raised in blessing ; in later pictures, Joseph is present. The Wise Men, their gifts, and attendants very variable. The Adoration of the Shepherds, with offerings of doves, lambs, and fruit. In some, the mother is lifting the covering from the sleeping child. The Purification of the Virgin, in the Temple before Simeon, the High Priest. The Flight into Egypt, variously delineated, but more commonly the Mother and Child are on an ass, and Joseph is walking be- side them. The Return is similar to the Flight, except that the Child, somewhat grown, is walking. The Repose (none prior to the 16th cent.), angels in attendance, Mary sometimes washing linen. The Holy Family, a favorite subject, pictures innumerable, sometimes only the Mother and Child, seldom more than 5 per- sons, the additional ones being Joseph, St. John, and Elizabeth. The Dispute in the Temple, in which the sorrow of the mother is made preponderant. The Marriage at Cana, not a favorite among the monks, on ac- count of their exaltation of celibacy. In the Crucifixions and Descents from the Gross, the mother is overcome with sorrow and in a swoon. In the Deposition, she frequently supports the body, but is sometimes in a swoon. The Death and Assumption of the Virgin ; the Death being fre- quently placed in the lower part of the picture, and the Assump- tion in the upper. In the Death, an angel places a taper in her hand ; in the Assumption, the Mother rises to meet her son, or he stands by her bedside to receive her spirit. In all the earlier representations of the Mother and Child, no sentiment appears to have been indicated but that of pure adora- tion ; in the 16th cent., and particularly under Raphael, mater- 208 MADO nal regard for her own offspring is distinctly expressed. Indeed, Burckhardt says of Raphael, that, with the single exception of the Sistine Madonna, he painted tender, loving mothers, and took his chances whether or not they should be regarded as the mother of God. Among the masters with whom the Madonna has been a favor- ite subject are Raphael, Murillo, and Correggio ; but Raphael, from the exceeding beauty and the great number of his pictures, has come to be regarded as the great master of Madonnas. The term Madonna usually implies the presence of the child, whilst the term Virgin implies its absence. Madonnas, Raphael's. The following list comprises, it is believed, all the known authenticated Madonnas of Raphael, [In the South Kensington Museum, London, are two Madonnas credited to Raphael : (Madon. No. 55.) One of which appears to be a copy, or replica, of the "Belle Jardiniere,' 1 '' Louvre, No. 362. See Madon. No. 37. (Madon. No. 56.) The other, Madonna di Loreto, is probably the lost Ma- donna referred to in No. 12. It is now owned by Dr. Lamm of Stockholm, and has been loaned to the Museum. (Madon. No. 57.) The Ancajani Madonna, so-called, in the Berlin Gallery, is properly an Adoration. It is said to have been painted about 1500, for a monastery at Ferentello, Italy, which afterward came into possession of the Ancajani family, hence its name. The Child is upon the ground; on the left, Mary, Joseph, and two angels ; on the right a king kneeling and a procession of kings advancing. Above are thrr-e angels. It is doubtful if this is the work of Raphael. C. & C. refer it to Lo Spagna.] MADO 209 No. 1. Berlin. — The Diotalevi Madonna, Gallery, No. 147. Three figures. Child sitting on the Mother's lap. She has her left hand on. the Child, and her right on the shoulder of St. John, who has his hands folded across his breast. No. 2. Berlin. — Madonna coi Bambini (Madonna with the Children), Gallery, No. 247A. Four figures. An early work. The Virgin is sitting in a rocky landscape and holding the Child, who, with John Baptist, holds a scroll. St. John, at the Mother's knee, is looking up at the Christ. Purchased at Naples for $33,700. No. 3. Berlin. — Gasa Colonna Madonna, Gallery, No. 248, from the Colonna Pal. in Rome, in which it was preserved. No. 4. Mother and Child only. The right arm of the Mother is around the Child, who is sitting on her lap and has his right hand in the neck of her dress. The Mother holds an open book in her left hand. (1507.) No. 4. Berlin. — Madonna of the ThistlefincJi, Gallery, No. 141. One of Raphael's earliest works. Mother and Child only. The Mother has her left hand at his feet and her right holding an open book which she is reading. The Child, poorly drawn, is seated in her lap and holds a goldfinch in his left hand. (1504 ?) No. 5. Berlin. — Madonna with SS. Francis and Jerome, Gal- lery, No. 145. Four figures. Child sitting on the Mother's lap, both her hands clasping his body. The heads of SS. Francis and Jerome at the same height as hers ; one wears a hat. No. 6. Blenheim. — * Blenheim Madonna, now in the Na- 14 210 MADO tional Gallery, London, Eng. ; painted for the church of Serviti, Perugia. Four figures. The Virgin sits on a throne ascended by three steps, holding the child with the right hand, and in >er left a small open book, into which the child seems gazing. No. 5. No. 6. On the left, is John Bap. holding a cross and pointing with his right hand toward the Christ. Nicholas of Bari stands on the right in episcopal robes with book and crozier. (1505.) No. 7. Dresden : **Sisti?ie Madonna, Gallery, No. 80, painted about 1518 for the Monastery of San Sisto, Piacenza, Italy, whence its name. Purchased by King Augustus III. for $45,000. Six figures. The Madonna, of heroic size, is stand- ing upon the clouds and sustaining the child, also heroic, with her arms, and looking with timid anxiety into the dis- tance. On the left is Pope St. Sixtus, on the right St. Barbara ; below are two cupids. This masterpiece of Raphael has, by many critics, been regarded as the first painting in the world. In force and sentiment, as an altar-piece, and in the ease and harmony of its composition, this work has hardly an equal ; whilst in the dignity and grandeur of the Divine Mother, no work can be compared with it. The peculiarly " divine" ex- pression of the Madonna's face is due in part to an exaggerated breadth between the eyes, a characteristic which the Greek sculp- No. 7. MADO 211 tors were wont to make use of to give divinity of expression to the statues of their gods, and partly to the peculiar non-focusing of the eyes, by which they are made to look at no particular point, but into indefinite distance. Saint Barbara, however devout, is apparently not wholly un- conscious of personal grace. " The head of the Virgin is perhaps nearer the perfection of female beauty and elegance than anything in painting." — Wilkie. 11 The Madonna is one of the most wonderful creations of Raphael's pencil. There is something indescribable in her countenance, which expresses a timid as- tonishment at the miracle of her own elevation, and, at the same time, the free- dom and dignity resulting from the consciousness of her divine situation. The Child rests natnrally, but not listlessly, in her arms, and looks down upon the world with the grandest expression. Never has the loveliness of childhood been blended so marvellously with a solemn consciousness of a high calling as in the features and countenance of this Child. The eye is at first so riveted on these two figures as hardly to do justice to the dignity of the Pope, the devotion of St. Barbara, or to the rapt expression of the two angel-children." — Kugler. "A veil flows from her head ; she seems lost in profound thought concerning the divine mystery, which she clasps with motherly devotion ; for a Child is throned in her arms whose lofty mission is foreshadowed in his childish features, while the depth and majesty of his eyes express his divinity as the Redeemer of the world. The saintly Pope Sixtus is reverently looking upward, the impressive dignity of his bearing in strong contrast with St. Barbara, who stands opposite him, with lovely demeanor, her graceful head bowed and her eyes downcast be- fore this revelation of power and glory. The two enchanting angel boys, leaning on the lower division of the picture, give the last touch of beauty to this magnificent work. It may be said that, in this picture, Raphael has united his deepest thought, his profoundest insight, his completest loveliness, which is, and will continue to be the apex of all religious art." — LubJce. No. 8. Florence. — Madonna del Bal- daeddno, Madonna of the Canopy, Pitti Gallery, No. 165. Ten figures. The Vir- gin, holding the Child, is seated upon an elevated throne ; on the right are SS. Peter and Bruno, on the left SS. Augus- tine and Anthony. Above are two angels holding back the curtains of the canopy or baldacchino; below are two boy angels with a scroll of music. The picture was commenced by Raphael, 1508 ; the angels and St. Bruno were added by another artist about 1514, and the can- opy about 1700. 212 MADO No. 9. Florence. — * Madonna del Cardellino, Madonna of the Goldfinch, Uffizi, Tribune, No. 1129. Three figures. The Vir- gin, holding a book, is seated on a rock in the foreground of a pleasant landscape, with trees on either side in the distance. The No. 9. No. 10. child John, on the left, is presenting a goldfinch to the child Christ, who stands between his Mother's knees. (About 1506.) " There is the Madonna of the Goldfinch, pure and candid, like an angel whose soul is a bud and not yet in bloom." — Taine. No. 10. Florence. — * Madonna del Granduca, Pitti Gall., No. 266. Two figures. Half-length standing figure, Mother holding the Child upon her left arm, with her right hand against his side ; Child's left hand at the neck of the Mother's dress. (1504.) " Although slightly and very simply painted, especially in the nude parts, this picture excels all Raphael's previous Madonnas in the charm of profound feeling. We feel that no early painter had ever understood how to combine such beauty with so intense an expression.*' — Kugler. "Five or six pictures by Raphael stand out from the rest. One is that Madonna which the Grand Duke took with him on his travels. ... A small diaphanous white veil covers the fine blonde hair up to the edge of the brow; the eyes are lowered, and the complexion is of extreme purity ; a delicate tint like that of the wild rose tinges the cheeks, and the small mouth is closed. She has the calmness and innocence of a German virgin." — Taine. No. 11. Florence. — * Madonna delV lm- pannata. So called from the paper or cloth window. Pitti Gall., No. 94. Five figures. Executed partly by Kaphael. On the left are Elizabeth and another saint. The Child rests partly in the MADO 213 Mother's arms with one foot on the knee of Elizabeth, toward whom he is looking; one hand at the neck of his mother's dress ; John is seated at the right, pointing with his left forefinger to the Christ. The figure of John is a later addition. ' ' The incident is most charming ; the two women have brought the Child, and hand it to the mother, and while the boy turns, still laugh- ing, after them, he takes fast hold of the mother's dress, who seems to say, ' Look, he likes best to come to me. 1 " — Burckkardt. No. 12. Florence. — Madonna di Lo- reto. The original of this picture has long been supposed to be lost, and it was only known from a copy in the Louvre, No. 378, and one in possession of Mr. Lawrie, of Florence. Recently, how- ever, the original is believed to have been found in Stockholm, having been taken to Sweden at the beginning of the century. Three figures. The Mother is lifting with her right hand the covering from the Child, who apparently has just awakened from sleep upon a pillow ; both his hands are raised to meet his Moth- er's. Joseph's head appears over her left shouder. (See Nos. 39, 41, 54.) No. 13. Florence. — **Madonna, della Sedia, Seggiola, the Chair Ma- donna, Pitti Gall., No. 151. Three figures (1516). Copy in Dresden, No. 83. 11 She is a beautiful Grecian or Circassian Sultana ; her head is covered with a sort of turban, while striped oriental stuffs of bright colors and embroidered with gold wind around her form ; she bends over her child with the beautiful action of a wild animal, and her clear eyes, without thought, look you full in the face." — Taine. " The most beautiful picture in the world, I am convinced, is Raphael's Ma- donna della Seggiola." — Hawthorne. " The rare beauty of these little infantile forms, and sweet, holy, motherly ex- pression of the mother, the lovely tenderness of the attitude, and, withal, the wondrous expression of beauty upon the children's faces, one can only see in the painting, for no idea of its artistic power can be had from any engraving I ever saw." — Guild. No. 14. Florence. — * Madonna oftfieWell, Uffizi, Tribune, No. No. 13. 214 MADO 1125. Three figures. The Virgin seated, with her right arm around the Child who stands in her lap ; he has his left arm about the Mother's neck, and the right in her dress ; he turns his head toward St. John, who holds in his left hand a cross and in his right a papyrus scroll with the inscription Ecce Agnus Dei, which he extends to the Christ. In the back- ground, at the left, is a fine landscape in which are the ruins of an old castle and several figures about a well. No. 15. Geneva, Switz. — * Madonna of the Goldfinch, M. Reviliod's Coll., No. 12, Rue de l'Hotel de Ville. Similar to, No. 14. and claimed to be the original of the Cardellino of Florence. Regarded by C. & C. as a copy. No. 16. Genoa. — * Madonna delta Bovere, Palazzo Bianco ; so named from the oak under which the holy family is reposing. It is a replica, with some variations, of the Madonna de la Maison d'Albe, in St. Petersburg. See No. 46. No. 17. London. — ** The Bridgewater Madonna, in the Bridge- water Gallery, formerly in the Or- leans Coll., and known as La plus belle des Vierges ; Mother and Child only. The Child, stretched across the Mother's lap, rests his head against her left shoulder. Her left hand is against his thigh and her right near his shoulder. Imperfectly preserved. (1512.) Copies exist in the Nat. Gall. , Berlin Gall. , and Naples. No. 18. London. — Madonna of the Palm-tree, La Vierge au Palmier, in the Bridge water Gallery, No. 35, for- merly in the Orleans Coll. Three figures ; the Mother on the left, be- neath a palm-tree, is holding by his girdle the Child who, seated in her lap, is reaching for some flowers which Joseph is presenting as he leans upon his staff. Circular picture, full length figures ; that of Joseph of doubtful authenticity. (1506.) No. 17. MADO 215 No. 19. London. — Madonna del Passeggio, Bridgewater Gal- lery, was formerly in possession of the Duke of Urbino, Philip II. of Spain, Emp. Rudolph of Ger., Gustavus Adolphus, Queen No. 18. No. 19. Christina of Sweden, Duke of Braciano, and the Duke of Orleans. Four figures. The Mother is standing in a pleasant field and clasping with her left hand the left arm of the Child standing in front. The child John with the cross, upon the left, has his face near the Christ's. At a distance on the left in the background, near two trees, is Joseph half hidden by a hill. Attributed by some to Fr. Penni. Several repetitions. No. 20. London. — **Garvag7b or Aldobrandini Madonna, Nat. Gall., No. 744. Three figures. The Child, reclin- ing against his Mother's right arm, is presenting with his right hand a flower to John Bap., who has raised his left hand to receive it. The Virgin, half length, has her left arm around the youthful John. (1509?) No. 21. London. — *La Vierge aux Candelabres, Madonna of the Candela- bra, in possession of Hon. Mr. Johnstone, London; formerly in the Borghese Pal., Borne, afterward owned by Lucien Bonaparte, the Duke of Lucca, and Mr. Monroe of Eng. Exhibited in N. Y. 1883. A circular picture of the Mother and Child, and an indis- tinct face on either side, as also a burning lamp. The Child is No. 20. 216 MADO sitting on its Mother's lap with both hands upon her neck. Hei left hand rests against his body. (1515 ?) No. 22. London. — *£Jcce Agnus Dei (Behold the Lamb of God), No. 21. No. 22. La Vierge a la legende, in possession of the Hon. Mr. Johnstone, London. Three figures. The Child, in its Mother's lap, is holding in his left hand one end of a scroll, the other end of which is held, by John, who is standing on the left. (About 1517.) No. 23. — Golonna Madonna, Eng., executed for the convent ofc 1 S. Antonio, Perugia ; afterward came into possession of the Cor lonna family, the King of Naples. 1\ general composition much like the del Baldacchino. Seven figures. The Vir- gin seated upon an elevated throne be- neath a canopy, is holding the Child up on her right side. Upon either side ii front, is a saint with a book, that upoi the right with a sword also, behind eac\> of these upon the throne steps, is a fe» male figure presenting a palm branch, while upon the throne dais on the right, is the child John with hands clasped look ing up to the Christ. No. 24. — Formerly the Rogers Madon na, from the Orleans Coll. Two figures ; the Virgin half length* much injured. The Mother is half hidden by a parapet upoiq. which the Child is standing with his arms around the Mother's No. 23. MADO 2tt neck. Her right hand clasps his right foot, her left is upon his waist. (1512.) No. 25. Panshanger, Eng., seat of Earl Cowper.— ** The Panshang&r Madonna. Two figures. Child seated on a pillow No. 24. No. 26. in the Mother's lap, with the left hand pushed into her bodice ; her left hand is raised near his. (1508.) " Borders on mannerism in the fractious expression of the child. The counte- nance of the Madonna is, however, ex- tremely sweet." — Kugler. No. 26. Pan sh anger, Eng. — * The Pink Madonna. Two figures. The Child, seated up- on a pillow in the Mother's lap, has a pink in his left hand, the right resting on the Mother's left. She also holds a pink in her right. (About 1505.) No. 27. Madrid. — * * Ma- donna of the Lamb. Madonna del Cordero, Prado, No. 364, formerly at the Escurial. Three figures. On the left, the Child astride a procumbent lamb, is looking up to Joseph,who bends forward toward him with both hands clasping a long staff. Between them is the Virgin with both hands upon the Child's shoulders. (1507.) No. 25. 218 MADO No. 27. " This is one of the gems of the master ; and the original of many inferior rep* licas. The head of Joseph is exquisite." — EastlaTce. No. 28. Madrid. — Madonna of the Oak, or Madonna of the Lizard ; Madonna della Lucer- tola; Madonna del Lagarto, Prado, No. 371. Four figures beneath an oak tree. On the left, John and the Christ are holding a scroll bearing the words '• Eece Agnus Dei" and both also have one foot upon the cradle. The Virgin is hold- ing the Child upon her lap, while her left arm rests upon a piece of antique sculpture, upon which Joseph is also lean- ing with one hand at his chin. (1517.) Copies in St. Peters- burg, and the Pitti, Florence. No. 29. Madrid. — Madonna of the Pearl, La Perla, Prado, No. 369. Five figures. The Virgin has her left hand resting on the shoulder of St. Anne, and her right upon the thigh of the Child, who, partly resting in her lap, stands with one foot in his cradle, with both hands extended to- ward John. In the background at the left is Joseph, at the right, a walled city. This picture was in the collection of Chas. I. of Eng., and was sold by Cromwell to the Spanish Ambassador for Philip IV. of Spain. The reported exclamation of Philip on seeing it, "This is my pearl," has given it a rep- utation which the work seems never to have warranted. Kugler says that it has been greatly over-estimated, and that portions of it are believed to be by Romano. (1518.) No. 30. Madrid. — ** Madonna del Pesce, or Madonna of the Fish, Prado, No. 365. Five figures. The Madonna, seated, is holding the Child in her arms ; upon the left an angel is present' No. 28. MADO 219 ing Tobias, who, kneeling upon one knee, holds a fish in his right hand. Upon the right, book in hand, is St. Jerome kneel- ing, his lion at his feet. (1513.) No. 31. Madrid. — * Madonna of the Hose, La Rosa, Prado, No. 370. No. 32. Munich. — * Madonna Canigiani, Old Pinakothek, No. [ aw pi 511 — i 'mm ~s* ^^r^^^^^^f" ^^^^^^^M\'\ ^^^/t^^^^^M^]^ ^^wM^^^^^Er^^v^^j— Wr^^fiy&§^?iJ^r ^ ' i\V^ ■2l<|* p|s%y, l'£&_l IlUi m^- f M^^^m JterM!^ W^^^^^^ ^^^s. ^^^^^^^^^ «35S 5S*---=-=^ — i'5r- . .- -^BsriHfofe No. 29. No. 30. 1049. Five figures. The composition of this picture is somewhat artificial in its pyramidal structure. Joseph leaning upon his staff stands as the apex ; seated below are the Madonna and Elizabeth facing ; and below and be- tween them, the Child and John holding a scroll. In the background is a pleasing landscape. Obtained by Elector Wilhelm as a part of the dowry of the Princess de Medici. (About 1507.) No. 33. Munich. — ** Madonna detta Casa Tempi, or Madonna of the Tem- pi family ; Old Pinakothek, No. 1050. Two figures, two-thirds length. The Madonna standing is fondly clasp- ing the Child in her arms, while his face rests against hers. Purchased by Louis I. in 1829. (About 1507.) No. 34. Munich. — * Madonna della Tenda, named from the cur- tain ; No. 1051. Three figures. The Madonna seated, with the right side toward the beholder, the face showing in profile. She embraces the Child with her right arm. The right arm of the No. 32. 220 MADO Child rests along the Mother's. The face of John, directly be- hind the head of the Child, is partly hidden. A replica is in the Turin gallery. See No. 50. No. 35. Naples. — Madonna col divino amove, Nap. Mus., Sala No. 3E No. 34. Grande, No. 22. Five figures. The Child, sitting on the Moth- er's lap, has the right hand raised in blessing. John is kneeling before him with his right hand upon his heart, and his left hold- ing a cross. The Virgin has her hands devoutly clasped, and Elizabeth is sustaining the uplifted arm of the Child. Joseph appeal's in the background on the left. Attributed by some to Romano, but Kugler regards it as genuine. (1512 ?) No. 36. Naples. — Madonna delta Gatta, Madonna of the Cat, Sala Grande, No. 5. Five figures. Supposed by Kugler to be a copy by Romano of the Madonna of the Pearl (see No. 29), the principal variation being in the architectural background, and in the addition of the cat and plate on the floor at the right. No. 37. Paris. — ** La Belle Jar dinilre, Madonna in the Garden ; Louvre, No. 362. Three figures. The Madonna is sitting in the midst of a pleasing landscape, with the Child standing on both feet at her right knee, and John kneeling at the left. The Child has his left hand in hers, and the right against her knee. John has his right grasping the cross, and his No. 35. MADO 221 left on his knee. Raphael painted two replicas of this work; see No. 51. (1507.) Copy in Dresden, No. 85. No. 38. Paris. — Madonna au Berceau, Madonna of the Cradle • No. 36. No. 87. Louvre, No. 365. Four figures. The Virgin, seated upon the ground beneath some trees, sustains the Child, who stands in his cradle and caresses the cheeks of John with both hands. Has been attributed by some to Romano, and by others to Grarofalo. No. 39. Paris. — La Vierge au Diademe, La Vierge au Voile ; Louvre, No. 363. Three figures. The Madonna kneeling in a landscape is lifting a veil from the sleep- ing Child, whilst her left rests across the shoulders of John, who is kneeling with clasped hands. Picture is much injured. Executed only in part by Ra- phael. No. 40. Paris. — Madonna of Fran- cis I.; Louvre, No. 364. Seven figures. The mother is supporting the Child, who stands with the left foot in his cradle. Behind him, to the right, is John, with clasped hands, sustained by Elizabeth. Back of this group are two angels, one of whom is about crowning the Virgin with a wreath. Joseph in the back' ground, on the left, supports his head with his right hand. No. 38. 222 MADO No. 41. Paris. — Madonna de Loreto ; Louvre, No. 378. Three figures. See Nos. 12, 39, 54. No. 42. Paris. — Orleans Madonna, now in possession of the ///fey No. 39. No. 40. Duke d'Aumale. Madonna and Child only. The Mother is hold- ing the Child on her lap, with her left hand clasping his right foot ; he has both his hands in the neck of her bodice. (1507 ?) No. 43. Perugia. — Alfani Madonna. The Madonna is hold- ing the Child, who stands in her lap. Above in the corners are two cherub heads. No. 44. Pesth. — The Esterhazy Ma- donna; Gallery, IV., No. 180. Three figures. The Madonna is supporting with her right arm the Child, who is seated upon a wall and leaning forward, with his right arm outstretched toward St. John, who is kneeling on the left knee with his face turned away reading a scroll in his right hand. A walled city with tow- ers appears in the left horizon. A copy is in the Wendelstadt Gallery in Frankfort-on-the-Main. No. 45. Petersburg, St. — * Madonna with the Beardless Jo- seph; Hermit., No. 37. Small picture of three figures, half length. The Child, seated on its Mother's lap, turns to look up at Joseph, who is at the right with his hands crossed on the top of No. 42. MADO 223 his staff. The Child has his left hand at the neck of the Moth- er's bodice. Picture finished with the greatest care. (1506.) No. 46. Petersburg, St.— ■* Madonna Casa d'Alba ; Hermit- age, No. 38. Circular picture, containing three figures. The Madonna is seated in a pleasant landscape, holding in her left hand a book closed upon the forefinger. The Child, standing with one foot upon the ground, leans against her, holding St. John's cross in his right hand. John is kneeling on the left. A replica, Madonna della Rovere, is in Palazzo Bianco, Genoa ; a copy also in the Pal. delle Torre, Ravenna. No. 47. Petersburg, St. — Madonna Casa Conestabih ; Hermit. , No. 36E ; a circular picture of Virgin and Child only. The Virgin, half length, standing, sustains the Child on her hands, holding at the same time in her right a book from which she is reading, and into which the Child is intently gazing, his right hand holding the book. (About 1504.) No. 48. Petersburg, St. — * Madonna del Lagarto ; Hermitage, No. 45. No. 44. No. 46. No. 43 ; a replica or copy of the Madonna of the Oak, at Madrid. See No. 28. Now generally believed to be the work of G. Ro- mano. 224 MADO No. 49. Rome.— * Madonna di Foligno, La Vierge au Donat&ire, Vatican Gall. Seven figures. The Madonna, holding the Child, is seated upon the clouds above the distant city of Foligno, and No. 47. JNo. 51. surrounded by angels. Upon the left are John Bap. and St. Francis ; upon the right, Sigismondi Conti, the donor, and St. Jerome. Between these groups stands a cherub with a tablet. A rainbow encircles the city, whilst a thunderbolt or bomb falls upon it. (1511.) "The Madonna and the Child also, who turn to the donor, are in attitudes which, however graceful, are not perhaps suffici- ently dignified for the majesty of the Queen of Heaven. The expression of the Madon- na's countenance is extremely sweet, but belongs more to the gentle woman than to a glorified being." — Kugler. No. 50. Turin. — Madonna della Tenda, Acad, delle Scienze, No. 373 ; a replica (or copy) of the picture at Munich. See No. 34. No. 51. Vienna. — Madonna aux Herbes, Virgin in the Meadow ; Belvedere. This is a replica of the Belle Jardiniere in the Louvre. See No. 37. Three figures. The Madonna sitting in a pleasant landscape, with the left hand upon the Child, who stands before her bending forward toward the MADO 225 kneeling St. John, whose cross he clasps with his right hand. (About 1506.) No. 52. Vienna. — La Riposo, The Repose ; Belvedere. Four figures. The Virgin, kneeling, bends forward with the Child to- No. 52. No. 53. ward St. John, who, kneeling, holds some fruit with his left hand. Joseph takes John by the left arm as if to bid him rise. In the background the nose of an ass may be seen beneath the palm leaves. No. 53. — Madonna among Rains. Four figures. Madonna, Child, and St. John, in a field, with a ruined arch on the right. The Madonna, full length, standing, with her right hand touches the Child, who is seated upon a piece of sculpture. St. John is kneeling upon the left, and holding his cross with both hands. Joseph, in the background under an arch, on the right. A walled city ap- pears in the horizon on the left. This picture is probably at St. Petersburg. No. 54. La Vierge au Silence. Three figures. The Mother is kneeling in a landscape, and lifting with her right hand a veil from the sleeping Child ; her other hand rests upon the waist of John, who kneels upon both knees at her left, and with his right hand points to the Christ, whilst his left rests upon the Mother's knee. In the distant horizon on either side is a village. The location of this picture is unknown. 15 No. 54. 226 MAGD Nos. 55, 56, and 57. See p. 208. Madrid and Spain. See p. 570. Magdalen, represented in art as a beautiful young woman under penance for the evil life over which she is supposed to be penitent. She is usually represented partly draped, frequently lying on the ground in a cave or some secluded place reading, with a skull near by. **I. Batoni's Magdalen, Dresd., No. 143; a full-length figure lying upon the ground, with the hands clasped and the hair falling and covering part of the bust. This and the follow- ing picture in this same gal- lery have long divided opinion as to their relative merits. **II. Correggio' s Mag- dalen, Dresd., No. 170; a small picture of exquisite beauty. " The Reading Magdalen is one of the most bewitching creations of art. She lies upon the ground, her blue drapery relieved against the sombre green of the landscape. Her head is leaning on her hand, and her golden hair floats down her shoulder and veils her bosom. Her drooping eyes are attentively fixed upon her book, and her alabaster vase is on the turf beside her. " This little gem of the gallery, so exquisitely painted, has always found most en- thusiastic admirers. We are told that the princes of Este carried it with them in all their journeys, and that the King of Poland kept it under lock and key, in a frame of jewelled silver. It was once stolen from the Dresden collection, and is now securely fastened to the wall." — liadcliffe. III. GrUiDO's Magdalen, bust only, head raised and eyes up- turned. Louvre, 319 ; Nat. Gall., 177; Liecht., No. 23. IV. Titian's Magdalen, Pitti, No. 67. "The picture beams with betraying and bewitching beauty. The luxuriant fulness of the figure, the rich, ripe cheek, the eyes whose passionate fire is not quenched by the tears which fill them, and the wealth of golden hair — such hair as none but Titian could paint — have more of earth than of heaven, and breathe an atmosphere of mortal enchantment, which fascinates and fixes the wandering gaze. " — Hillard. " This Magdalen is very coarse and sensual, with only an impudent assumption of penitence and religious sentiment, scarcely so deep as the eyelids ; but it is a splendid picture, nevertheless, with those naked, lifelike arms, and the hands that press the rich locks about and so carefully permit those voluptuous breasts to be seen. She a penitent ! She would shake off all pretence to it as easily as she would shake aside that clustering hair." — Hawthorne. Magdalen — Correggio. MAGI 227 **V. Carlo Dolci's Magdalen, Uffizi, No. 186. Half-length figure ; face of great sweetness and beauty, upturned but not un- pleasantly ; large, full, and expressive eyes; hair falling in curls over both the shoulders ; hands crossed over the breast, the right holding a vase. Penitent, no doubt, but conscious she is pretty. **VI. Murillo's Magdalen, Berlin, No. 408. Bust partly covered by the luxuriant tresses which fall upon both the shoul- ders, otherwise nude. Face upturned, right shoulder only visible. Remarkable for the soft voluptuous tone of beauty pervading the entire figure. Magi, The (mad -jee), The Three Kings. In the fourth cent. Empress Helena discovered the bones of the Magi, and took them to Constantinople. About seven hundred years after- ward, during the First Crusade, they were again discovered and taken to Milan, whence they were carried by Barbarossa to Cologne, where they continued their miraculous energies. These kings were Jaspar or Caspar, who brought gold from Tarsus, represented in art as very old with gray beard ; Melchior, who brought frankincense from Arabia, as of middle age ; and Balthasar, who brought myrrh from Ethiopia, as young and sometimes black. See Cologne Gath. , Chapel of the Three Kings. Majolica (may-yol'-i-ca) . See Pottery. Malmaison (mal-may-sofi), Rueil; ten mis. from Paris, by rly. from sta. St. Lazare ; 1 ml. from station. Chateau where Josephine resided after her divorce, in 1809, and where she died, 1814. She was entombed in the church of Rueil. The chateau was occupied for a brief time by Napoleon I., in 1815, imme- diately after Waterloo. *Mamertine Prison, The (mam'-er-teen), Borne ; adja- cent to the Arch of Sept. Severus, in the Forum. Over the prison now stands the ch. of S. Pietro in Carcere, through which entrance is made. The prison consists of two cells excavated in the solid rock, one above the other. The upper, called the Mamertine, constructed by Ancus Martius, B.C. 600, is about 16 ft. deep and 20x30 in size ; the lower, called Tullium, from Tul- lius, a spring, constructed by Severus Tullius, B.C. 578, is spherical and about 20 ft. in diam. There was formerly no entrance to either of the cells, except an opening at the top, through which the condemned were let down into the upper cell, through the floor of which a similar opening led to the lower one. A modern stairway has been constructed for visitors. 228 MANT There seems to be no doubt among antiquaries that these are the Mamerline prisons of ancient Rome, and that here occurred the many tragedies related by Roman historians ; that here the Decemvirs, Appius Claudius, and Oppius, committed suicide ; that Jugurtha was starved to death by Marius ; that Vercinget- orix, the brave leader of the Gauls ; Sejanus, minister of Tibe- rius; the accomplices of Catiline; and Simeon Barjoras, the last defender of Jerusalem, were all put to death. From a staircase in front, Cicero announced the execution of the Catiline conspirators, and near the same the Emp. Vitellius was murdered. Church legends state that Peter and Paul were here imprisoned. A pillar is shown to which they were for months chained ; also an indentation in the stone wall where the jailer thrust Peter's head; and the spring which burst forth miraculously to enable Peter to baptize his jailers. (The spring is mentioned by Plutarch as existing a century and a half prior.) " Methinks there cannot be in the world another such an evil den, so haunted with black memories and indistinct surmises of guilt and suffering." — Hawthorne. M an teg n a, Andrea (-tain'-ya), 1431-1506, b. near Pa- dua, Italy ; was the pupil of Squarcione ; married the daughter of Jac. Bellini ; became the greatest painter of his time in northern Italy. In invention, perspective, foreshortening and color, his work is that of a master. Among his best works are an Entombment, in the Vatican ; a Parnassus and a Madonna, in the Louvre ; and a series of nine pictures — The Triumph of Caesar — at Hampton Court ; much injured by restoration. lie was eminent as an engraver as well as a painter, "being the first who engraved his own designs." "No more remarkable painter ever lived. In power of drawing the human figure, he is almost unrivalled, though occasionally his figures are too long." — Kugler. Principal Works : Belv., nine ; Bergamo, 187, and a portrait ; Berlin, 27, 29, 9?; Brera, 301, 187; Doria, II. 15; Frank., 13; Hamp. Ct., 797: Louvre, 250- 1-2-3; Madrid, 295?; Mantua, Castella di Corti, Frescos; Munich, 549?; Naples, Lomb. Sch., 46 ; Nat. Gall., 274, 902 ; Perugia, 437 ; Sciarra, portrait ; Turin, 355 ?; Urn., 1025, 1111, 1121 ?; Vat., a Pieta ; Venice, 273. Marat (mah-rah), one of the leaders of the Reign of Terror in France, was stabbed by Charlotte Corday, at No. 20 Rue de l'Ecole de Medecine, Paris. Marcel I us, (1) M. Claudius, a distinguished general of the 2d Punic War ; conquered Syracuse ; 5 times consul ; d. B.C. 208. (2) M. Claudius, consul B.C. 51; enemy of Caesar ; mentioned MARC 229 in Cicero's oration, Pro Mareello. (3) C. Claudius, bro. of No. 2, also an enemy of Cassar, consul B.C. 49. (i) C. Claud- ius, cousin of the two preceding; consul B.C. 50; enemy of Cassar, but pardoned after Pompey's defeat. (5) M. Claudius, son of No. 3 and Octavia, niece of Augustus ; adopted by Aug. and married his daugher Julia b. c. 25. He had been selected by Aug. as his successor, but he died B.C. 23. Ma reel I us, Theatre of, Rome, Via Montanara; com- menced by Julius Caesar, completed by Augustus, and dedicated to Marcellus B.C. 13. Had seats for 30,000 ; was injured in the burning of Rome by Nero ; restored by Vespasian ; burned again in time of Titus and restored by Sept. Severus ; converted into a fortress 1086. Pope Urban II. took refuge here 1099, and died here 1118. About 1220 it came into the possession of the Savelli, who retained control of it until the extinction of the family, 1712, when it was purchased by the Orsini, to whom it still belongs. The earth has accumulated to the height of 12 ft. above the original base. The exterior is much like the Coliseum, which appears to have been modelled after it. The arcades are now oc- cupied as shops. Maria, S., degli Angeii, ch., Rome. See AngelL Maria, S., del Carmine, ch., Florence. See Carmine. Maria, S., Maggiore (san-tah-niah-ree'-ah-niad-jo'-re), ba- silica, Rome, Via Quartro-Fontana, midway between the Pi. di Spagna and the Porta Maggiore ; called Maggiore from its being the largest church dedicated to the Virgin. It is also the third basilica in rank, and was founded 352. The site was designated by a miraculous fall of snow in this place in August, the ceremony in commemoration of which occurs Aug. 5th, when a shower of white rose -petals is thrown from an aperture in the ceiling. It has been rebuilt and renovated, the last time, 1743, until nothing remains of the ancient structure, though its basilica style is the best preserved of any in Rome. In the pwtico is a statue of Philip IV. of Spain. The high al- tar is a porphyry sarcophagus, containing the remains of the Evangelist Matthew. In the nave, 1 , tomb of Nicholas IV.; r., Clement IX. " The mosaics in the upper wall of the central nave, dating 450, are biblical subjects, but taken from Trajan's column." In the Ca- pelle del Crocefisso, are five boards of the Manger of Bethlehem. The *Sistine Chapel, in the r. transept, richly decorated, contains 230 MARI the tomb of Sixtus V. On the opp. side of the ch. is the *Borgh- ese Chapel, 1608, containing a painting of the Virgin, by St. Luke, which St. Gregory the Gt. carried in procession to arrest the plague, 590. In this chapel are the monuments of Paul V. and Clement VIII. , who condemned the Cenci family. In front of the basilica is a magnificent column, found in the Basilica of Constantine, the shaft, of which, 47 ft. in length, erected here 1595, is now surmounted by a statue of the Virgin. Near by is a cannon, surmounted by a cross, in commemoration of the abandonment of Protestantism by Henry IV. of France. Pope Pius IX. selected this ch. as his last resting-place, and constructed a magnificent tomb beneath and in front of the high altar. In the Pi. is an obelisk erected by Sixtus V. See Obelisks. Maria, S., sopra Minerva (mah-ree-ah), ch., Rome, near the Pantheon, upon the site of a temple of Minerva, the only Gothic ch. in Rome, 1280; rebuilt, 1870. On the 1. of the high altar is Michael Angelo's celebrated ** statue of Christ ; beyond the choir, on the 1. , is the tomb of Fra Augelico. In the choir are the tombs: r., Clement VII ; 1., LeoX., the two Medici. Right transept, 1., tomb of Paul IV., the founder of the Inquisition. This ch. has also the additional notoriety of being the theatre of the disgraceful trial of Galileo. Maria, S., Novella, ch., Florence, on the Pi. S. M. Novella, an elegant structure in the German Gothic style, called by M. Angelo his "bride." Interior : r. *the Trinity, the Virgin, St. John, Masaccio. S. Transept : Mon. to Patriarch Joseph of Constantinople, who died while attending the great. Council of 1439. Capella Rucellai, Cimabue's **Madonna, one of the three only known authentic works of this master. In the chapel of Filippo Strozzi are frescos by Filippino Lippi. In the choir, *frescos by Ghirlandaio. The chapel to the 1. of the choir contains the noted wooden crucifix carved by Brunelles- chi, in competition with Donatello. Left transept, Strozzi Chapel, frescos by Orcagna. In the Sacristy, *fountain by della Eobbia. In the Cloisters, frescos by Orcagna and Ucello. The Spanish Chapel is decorated with *frescos of the 14th century. Maria, S., in Trastevere, ch., Rome, in the Pi. S. M. inTr. Supposed to be the earliest ch. in Rome dedicated to the Virgin ; founded 224 ; rebuilt 340, and almost entirely reconstructed, 1139. MARI 231 Between the doors is the stone said to have been attached to St. Calixtus when he was thrown into the well. On the ceiling- is an Assumption, by Domenichino ; aud in the Sacristy is a Virgin, by Perugino. Lanfranco is here entombed. Mart us, Caius, b. B.C. 157, celebrated Rom. general ; was 7 times consul. In the civil war, upon his defeat by Sulla, he fled along the coast of Italy, and was found in a marsh. Being liberated, he went to Carthage, but being denied refuge, he re- turned to Italy. Cinna, the friend of Marius, having gained a victory, they marched in triumph to Rome, where Marius caused a most frightful slaughter of his enemies. ** St. Mark's Cathedral, San Marco, Venice; founded, 828 ; burned, 976 ; rebuilt in the following century ; consecrated, 1111 ; and erected into a cathedral, 1807. It is constructed in the Byzantine style, in the shape of a •1 11 O • • • Piazza of St. Mark's. [ 2* 1 — St.: Vlark's. 3 I 7 The Piazzetta 5 6 9 [Mill • • 4* c • • • • 8 o Court. o 8 Royal Palace 10 l Roy al Gardens Doges' Palace Music Garden 7 G rand Canal. The Molt t Lagi ma St. Mark's Square. 1. The four Bronze Horses. 7. Entrance to the Court. 2. The Flagstaffs. 8. Bronze well-curbs. 3. Campanile. 9. Giants' Staircase. Entrance to the 4. Colonnade. Palace of the Doges. 5. Column of St. Theodore 10. Bridge of Sighs. 6. Column of the Lion. 11. Clock Tower. Greek cross, each arm being covered by a dome, and has, it is estimated, over 500 columns, mostly brought from the East. The Bronze Horses over the principal entrance were for- merly supposed to be the work of Lysippus, and to have been 232 MARK brought from Alexandria to Rome by Augustus ; now, however, believed to be of the time of Nero. They stood successively upon the arches of Nero, Domitian, Trajan, and Constantine, in Rome. Afterward they were carried by Constantine to Constan- tinople, thence brought to Venice by Zeno, 1204 ; taken by Bo- naparte to Paris, 1797, and placed upon the Arc du Carrousel ; restored to Venice, 1815. The Vestibule. — In the pavement of the vestibule at the central door is a slab of red and white marble, marking the place of the reconciliation of the Emp. Fred. Barbarossa with the Pope. Over the door is a mosaic of St. Mark in his pontifical robes, from designs by Titian. On the r. of the vestibule is the Zeno Chapel, with the magnificent tomb of Card. Zeno, 1505. The r. door of the vestibule was brought, 1203, from St. Sophia, at Constantinople. The central door, in 48 sections, with silver figures, is Venetian of the 12th cent. The 8 columns adjacent were brought from Constantinople, 1205. In the n. cor- ridor are tombs of 3 Doges, and of Manin, a Venetian patriot. The Interior is of exceeding richness, the pavement being of tessellated marble, the columns of most costly marble, and the vaulting all of mosaic, upon gold ground. Over the central door, mosaic of Christ, St. Mark, and the Virgin, 10th cent., the most ancient mosaic in the cathedral. The building contains over 40,000 sq. ft. of mosaics, of various ages, but all in the Byzantine style. The High Altai' is covered by a canopy of verd antique. The Pala d'oro, or altar-piece, is wrought in enamel and jewels upon plates of gold and silver — uncovered only on high festivals. Beneath the high altar are the remains of St. Mark ; on the r. are 2 alabaster columns, from Solomon's temple; at the sides, 8 bronze statues — 4 Evangelists and 4 Doctors of the Ch. ; upon the screen are the 12 apostles, St. Mark, and St. Mary. Right Transept. — The treasury contains covers of the books of the Gospels from St. Sophia at Constantinople, a vase with blood of the Saviour, a silver column with a bit of the true cross, portion of the skull of St. John in an agate cup, and the episcopal chair of St. Mark. Left Transept. — In the Chapel of the Madonna is a mo- saic of the history of the Virgin. In the Chapel of St. Isidore is a mosaic of the genealogical tree of the Virgin. The Battistero (bat-tis-tay'-ro), r. aisle, contains a large MARK 2M bronze font. 1545 ; above is J. Baptist, to the 1. of the altar the head of J. Baptist and the stone on which he was beheaded. From this room we enter the *Zeno Chapel, rich in bronzes. * Mark's, St., Piazza of (pee-at-za), the grand central point of Venice, is an irregular square about 600 ft. in length, 2)0 ft. wide on the w. and 300 on the e. The eastern side is ter- minated by St. Mark's, the Campanile, and the Doges' Palace ; the s., w., and n. sides by a continuous palatial structure, with arcades, covering a broad sidewalk, along which are shops and cafes. In summer, from sunset till midnight, the entire piazza is filled with an animated concourse of pleasure -seekers. A military band usually plays on Sun., Tu., and Th., 8-10 P.M. The pavement of the piazza abounds with pigeons, which are said to be fed at the city expense at 2 p.m., n. w. corner of the square. The three flagstaff s in front of the ch., erected 1505, formerly displayed the banners of Cyprus, Candia, and Morea, after their annexation to the republic. The Piazzetta is the small square extending from St. Mark's southward to the grand canal ; on the e. is the Doges' Palace, on the w. is the Royal Palace and the library of Sansovino. At the termination of the piazzetta, on the right, is The Column op St. Theodore, and on the left, that of the Winged Lion, brought from the Grecian Archipelago, 1156. Public executions formerly took place between the columns. The Campanile (cam' -pah-nee' -lay), in front of St. Mark's, is a tower 42 ft. square, 322 ft. in height ; commenced, 911 ; and completed, 1590. The ascent is by an inclined plane in lieu of steps. The summit commands a magnificent view; (small fee). At the foot, bronze Apollo, Mercury, and Peace, by Sansovino. The Torke dell' Orologio {dock-tower), to the r. on leaving St. Mark's, is surmounted by two bronze figures, called Moors, which strike the hours upon the bell — one of which, it is said, struck a workman who chanced to come within range of his hammer, and knocked him from the tower, causing his death. Marseilles, Ft. See p. 572. Mars, Greek Ares, myth ; the god of war ; one of the prin- cipal Olympian deities, the son of Jupiter and Juno ; beloved by Venus. Among the Romans he was considered the father of Romulus, and hence the founder of the nation, and the protector of agriculture. His priests danced in full armor. Statues : Cap., 31 colossal, II. 17; G-lyp., 91 ; Lat., * ; Ludo., *1 ; Naples, 16. 234 MARS Mars — Ludovisi Villa. tories of Louis XIV. Mars Ultor, Temple of; Mars the Avenger, Home; built by Augustus in bis Forum, and dedicated to Mars, who bad assisted bim in avenging tbe murder of his uncle. Some columns of the struc- ture still remain. Mar'-sy-as, myth, a satyr, who, hav- ing found a flute that Minerva had thrown away, which emitted delightful music of its own accord, was so elated that he challenged Apollo to a musical contest. The Muses, who were the um- pires, decided in favor of Apollo, and Mar- syas, as a just punishment for his rash presumption, was condemned to be fiayed alive. Statues in the Uffizi and Vatican. Martin, Porte St. (mahr-tan; a as in hat), Paris ; intersection of Boul. St. Denis and Rue St. Martin ; a triumphal arch, erected 1674, in honor of the vic- Reliefs, s. side, Taking of Besancon; n. side. Capture of Limburg ; Defeat of the Germans. This arch, as well as that of St. Denis, was one of the last rallying points of the Communists, 1871, who here made a very stubborn and sanguinary resistance, of which the bullet-marks are still visible. Mary, Queen of Scots, Stuart, dau. of James V., b. 1542 ; eight days after succeeded to the throne, and was crowned the following year ; at 5 years of age, sent to France ; at 16, married Francis (then dauphin, the following year King of France). On his death, two years later, she returned to Scotland. At 23, she married her cousin, Henry Stuart, Lord Darnley, who being excluded from participation in the government, became jealous of the Queen's private secretary, Rizzio, and murdered him in the Queen's pres- ence at Holyrood Palace. Darnley now residing separate from the Queen, in 1567, his house was blown up during the night, and he was killed. Three months later Mary married Bothwell, who was openly accused of Darnley' s murder. Insurrection soon broke out, Bothwell fled to Denmark, and Mary Mars — G'yptolhek. MASA 235 was imprisoned in Loch Levin castle. After some months she effected her escape, raised an army, but suffered defeat at Lang- side, near Glasgow. To avoid falling into the hands of her enemies, she fled to England and sought the protection of Elizabeth, her cousin. As Mary was the recognized head of the papist party, who were de- sirous of placing her upon the throne of England, she was de- tained as a prisoner. It becoming evident she was cognizant of the plots against the crown, she was put upon trial for con- spiracy, and, after having been imprisoned 18 years, condemned and executed in the castle of Fotheringay, where she had been so long confined, Feb. 8, 1587, aged 45. She was buried in Pe- terborough Cathedral, but was removed by her son, James I. , 1612, to her pres- ent tomb in Henry VII. Chapel, Westminster Ab- bey. Masaccio (mah-saf- Cho), TOMMASO GrUIDI, 1401-1428; Italy. Like his two great predecessors, he has frequently been honored with the title of u The Father of Modern Painting." Taking up the art nearly as they had left it a centuiy previous, by his laborious studies he placed himself in the front rank of those who extrica- ted the art from the imperfections, vices, and technicalities which had thus far hindered its progress. He established new and most important rules of perspective ; he gave to his figures attitudes, strength, vivacity, movement, and pose, to be found in the works of no one who had preceded him. Hitherto all the Italian painters had placed their figures upon the front of their feet, or apparently standing upon the toes. In the chapel of the Brancacci, Church of S. M. del Carmine, his figure of Peter in the Baptism, nude, trembling, and cold, has won admiration to the present day. This chapel, of which Baptism — Masaccio. 236 MAT Masaccio may be said to be the master, has been from his time to this the great school of Modern Painters. Here da Vinci, Perugino, Bartolommeo, Angelo, del Sarto, Raphael, and a mul- titude of others found the best principles of their art. The pleasure one draws from the contemplation of the works of Masaccio, is saddened by the reflection of his death at the early age of 27, so sudden and so unlooked for as to awaken the suspicion of his having been poisoned. " In his exceedingly short life he attained to a greatness and power of vision which have rendered his works the characteristic ones of an epoch, and his ex- ample the decisive influence in all art of the fifteenth century. "In the Brancacci chapel, Florence, the Expulsion from Paradise has not only the earliest nude figure in Italian art, but is a composition of such beauty that Raphael adopted it in his series of Bible pictures." — Liibke. Principal Works: Barb., No. 67?; Flor. Acad., 36; Munich, 1150?; TJffi., 1167? Mat-sys, Quinten, Massys, Messys, or Metsys; 1466- 1531, b. at Louvain, Belg. Becoming enamored of a lady whose father was a painter and had resolved his daughter should marry only an artist, Matsys abandoned his trade of blacksmith, betook him- self to painting, and be- came one of the first Masters of his age. Speci- mens of his iron work are still preserved inAntwerp. His paintings exhibit small perception of beauty, but great tech- nical skill and delicacy of touch and color. Principal Works : Ant., 241-2-5-6-7-8-9; Belv., one; Berlin, 561, 574B ; Bruss., Hist, of St. Anne ; Dresd., 1721 ; Her- mit., 449; Louvre, 279, 280?; Munich, 80; Nat. Gall., 295; Nuremberg, 35? ; Uffi., 237. Among his more celebrated pictures are the Two Misers in Windsor Castle, an Altar-piece, and an Entombment in the Antwerp Museum. " There are heads in the Altar-piece not exceeded by Raphael, and, indeed, not unlike his manner of painting portraits, hard and minutely finished. The head of Herod, and of a fat man near the Christ, are excellent." — Sir Joshua Reynolds. M aye rice (mah-yahns'), G-er. Mainz (maintz), a city on the Entombment — Matsys. MEDI 237 Rhine at the confluence of the Main ; the Castellum Magontiacwm of the Romans. Pop., nearly 60,000. It was occupied by Agrip- pa, b. c. 38 ; and by Drusus, the son-in-law of Augustus, b. c. 14. During the Roman supremacy it was an important military post, and at present is one of the strongest fortresses of Germany. Mayence is one of the reputed places where Constantine saw his vision of the Cross in the heavens ; and is the oldest archepisco- pal see in Germany, dating from 751. Charlemagne here con- structed a bridge across the Rhine, 793, of which remnants may yet be seen at low water. Birthplace of Gutenberg, 1397. * The Cathedral, which was founded in 978, has several times been partially destroyed by fire, and each time rebuilt in the then prevailing style; it therefore presents the architecture of the 13th, 14th, and 15th cents. During the French occupancy, 1793, it was much injured and afterward used as a storehouse. Since 1815 it has been restored. The round towers on the e. are of the early structure ; the front, of the 12th cent.; the west choir, of the 13th ; and the cloisters of the 14th. The interior contains numerous monuments. Open from early morning until Hi ; and 3 to 6. The Electoral Palace, 1627-1792, is now occupied as a museum ; it contains a picture gallery, and one of the most val- uable collections of antiquities in Germany, especially in works of the Roman age. Open W. and Th. , 2-5 ; Sun. , 9-1, free. At other times a small fee. In tiie Gutenberg Platz, near the Cathedral, is a statue of Gutenberg, designed by Thorwaldsen. The Schiller Platz, the forum of the Romans, contains a bronze statue of Schiller, erected in 1862. Military music in the park, Wed., at 2 p.m. In the Citadel is a circular monument, 45 ft. in height, called the Eigelstein, erected to Drusus by the Roman soldiers. Permit necessary for admission. Routes : To Cologne, by rly., 4 hrs., $3.75 ; $2.75 ; see Route 20 ; by stmr., 9 hrs., $1.90; see Route 20. To Frankfort, % hr., $0.60; $0.40. To Heidel- berg, 2 hrs., $1.80; $1.25; see Route 21. To Wiesbaden, by rly. from Castel, 15 m. To Worms, 1 hr., $0.70 ; $0.50. Union station for all trains. ** Medici Chapel of the (maid'-e-chee), Florence ; daily, 10- 4; Sun., 10-3; M., 12-3. Entrance in the Piazza della Madonna, in the rear of the ch. of S. Lorenzo. It was erected, 1604, of the richest stones, at a cost of $4,400,000, as a receptacle for the Holy Sepulchre, which Emir Faccardino had engaged to recover 238 MEDI from the Turks and take to Florence. Ascending the steps from the vestibule on the r. is the Chapel of the Princes, on the 1., the New Sacristy. ** The Chapel op the Princes is octagonal in form, sup- porting a dome. The sarcophagi are in six niches in the walls, and contain the remains of Cosmo I. , Francesco, Ferdinand I. , Cosmo II., Ferdinand II., and Cosmo III. Above the Sar- cophagi are the armorial bearings of 16 Tuscan cities. The decora- tions of the dome by Benvenuto, represent The Creation, Fall, Adam, Noah, Nativity, Death, Resurrection, and Last Judg- ment. ** The New Sacristy was constructed by Michael Angelo, and contains some of his most celebrated sculptures. On the right ** The Tomb of Giulio (joo'-le-o) de' Medici, duke of Nemours, son of Lorenzo il Magnifico, and brother of Leo X., surmounted by the figure of the Duke ; on the sides, Day and Night. On the left ** The Tomb of Lorenzo, duke of Urbino, grand- son of Lorenzo il Magnifico, surmounted by his statue ; on the sides, Evening and Dawn. These sculptures by Angelo are among the finest produced by modern art and are considered as worthy of the best period of Greece, and place Angelo among the first masters of history. " Lorenzo de' Medici is like no other that ever came from a sculptor's hand. It is the one work worthy of Michael Angelo's reputation, and grand enough to vindi- cate for him all the genius the world gave him credit for. . . . After looking at it a little while, the spectator ceases to think of it as a marble statue ; it comes to life and you see that the princely figure is brooding over some great design, which, when he has arranged in his own mind, the world will be fain to execute. No such grandeur and majesty have elsewhere been put into human shape. It is all a miracle ; the deep repose, and the deep life within it. It is as much a mira- cle to have achieved this as to make a statue that would rise up and walk. How wonderful to take a block of marble and convert it wholly into thought, and to do it through all the obstruction and impediments of drapery ; for there is nothing nude in this statue but the face and hands." — Hawthorne. " Nothing in modern statuary is equal to them, and the noblest antique figureB are not superior ; they are different, which is all one can say. Phidias executed serene gods, and Michael A.ngelo suffering heroes ; but suffering heroes are equal to serene gods. . . . "One of them, half reclining, awakes, and seems to be shaking off a fearful dream. The head is bowed, the brow frowning, the eyes hollow, and the cheeks emaciated. How much misery had to be endured in order that such a form might feel the burden of life ? Its indestructible beauty has not succumbed, and yet inward suffering begins to reveal its corroding imprint. The superb animal vitality, the vivacious energy of the trunk and limbs are intact, but the spirit MED1 239 falters ; she lifts herself painfully on an arm, and beholds the light with regret. How sad to raise the eyelids, and to feel that once more must be borne the burden of a human day ! " By her side a man, seated, turns half round with a sombre air like one over- come, irritable and expectant. What an effort, and what writhing when the mass of muscles furrowing this torso swells and strains in order to clutch an enemy ! Tomb of Lorenzo de' Medici. On the other tomb an unfinished captive, his head half disengaged f ram its stone matrix, the arms rigid, the body contorted, raises his shoulder with a formidable gesture. I see there all of Dante's figures ; Ugolino gnawing the skull of his enemy ; the damned half springing from their flaming sepulchres ; but these are not the cursed ; they are grand, wounded spirits justly indignant at slavery. " A grand female form extended is sleeping ; an owl in front of it is placed at its feet. This is the sleep of exhaustion, the dull lethargy of an overtaxed being who has sunk down and rests inert. It is called Night, and Michael Angelo has 240 MEDI written on the pedestal, ' Sleep is sweet, and yet more sweet is it to be of stone while misery and wrong endure. Not to see, not to feel, is my joy. So wake me not ! Ah, speak in whispers ! ' These lines are not necessary to make the senti- ment which guided his hand understood ; his statues tell their own story. His own Florence had just been vanquished ; in vain had he fortified and defended it ; after a siege of a year Pope Clement had captured it. The last free gov- ernment was destroyed." — Taine. Medici, Catherine de% Fr. Medicis; only child of Lo- renzo, Duke of Urbino (7), b. 1519. At 15 married Henry, after- ward Henry II. of France ; and was the mother of Francis II., Charles IX., and Henry III. A bigoted papist, she was the prime instigator of St. Bartholomew's Massacre. No queen of France has left a more unenviable name ; d. 1589. Medici, House of The. 1. Giovanni de' ; founder ; d. 1428. 2. Cosmo de', son of (1) ; reigned 1428-1464. Liberal patron of the arts and sciences; " Pater Patriae." Of this period were Brunelleschi, Donatello, Masaccio, and Lippi. 3. Pietro de', I., son of (2); reigned, 1464-1469. 4. Lorenzo de', II Magnifico. son of (3) ; reigned, 1469-1492. An eminent patron of the arts, literature, and science ; espe- cially befriended M. Angelo. His brother Giuliano was assassi- nated in the Cathedral. 5. Pietro de', II. , son of (4) ; reigned, 1492-1494; banished. His brother Giovanni afterward became Pope Leo X., 1513-1522. Florence occupied by Charles VIII., of France. Savonarola burned, 1498. 6. Giuliano de', son of (4); Duke of Nemours, abdicated in favor of Lorenzo (7). Became Pope Clement VII., 1523-1534. See Medicean Chapel. 7. Lorenzo de', son of (5), Duke of TJrbino ; banished, 1527. Florence besieged 11 months and taken by Emp. Chas. V., of Ger. 1530, who installed Alessandro, son of Lorenzo. See Medi- cean Chapel. 8. Alessandro de', son of (7) ; reigned 1530-1537 ; assassi- nated by his cousin Lorenzino. 9. Cosimo de', I.; 1536-1564; liberal patron of the arts; founded the Academia delle Belle Arti. 10. Francesco de', son of (9); reigned, 1564-1587; Grand Duke of Tuscany. Father of Marie de', queen of Henry IV. 11. Ferdinand de', I., bro. of (10); 1587-1609: previously a cardinal. MEDI 241 12. Cosimode', II., son of (11); 1609-1621. 13. Ferdinand de\ II., 1621-1676. 14. Cosimo de\ III., 1676-1723. 15. Giovanni Gaston, son of (14) ; 1723-1737. Line extinct. Medici, Marie de', Fr. Medicis ; dau. of Francesco, Gd. Duke of Tuscany ; b. 1573 ; married Henry IV. of France ; was crowned, 1610 : and the day following-, Henry was assassinated. She was regent during the minority of her son, Louis XIII. , and through her tyrannical acts incited a civil war. Upon Louis XIII. attaining his majority, she was exiled to Blois, whence she es- caped and died in want at Cologne, 1642. Entombed in the Cologne Cathedral. Meleager (mee-le-a'-jer), myth, son of CEneus, king of Caly- donia, leader of the heroes who slew the Calydonian boar. Being in love with Atalanta, he brought the hide to her, and when his uncles took it from her, he slew them. Usually represented with his dog and the head of the boar. Statues : Berlin, No. 33 ; Borgh. Villa, II. 8 ; Naples, 487, (232) ; Tori., GO, *277; Vatican, (Ch.) 91, (P.O.) **10. ** No. 10, in the Atrio del Meleagro, Vestibule of the Belve- dere, is one of the gems of the Vatican ; found outside the Porta Portese, near the Tiber, at the beginning of the 16th cent.. Sup- posed to be of the time of Hadrian. Melrose, Scot, a small village, noted especially for its ruined Abbey, and is the point from which Dryburgh Abbey and Abbots- ford are most accessible. Carriages may be obtained at Melrose Station for these points. See Route 5. **Melrose Abbey, Scot., at the Melrose station; daily, at any hour, 6d. The Abbey was founded, 1136, by David I. of Scot, for the Cistercian Monks, and was the mother church of the Order in Scotland. Destroyed, 1322, by Ed. II. of Eng.; for the rebuilding of which King Robert granted £2,000. In 1385, the English under Rich. II., on their retreat from Scot., again destroyed it by fire. It was again devastated by the English, 1545, under the Earl of Hertford, and utterly ruined by the Scots in their Reformation. After this, its restoration seems never to have been contemplated, and its ruins served as a quarry for the town. It is said " there is not an old house in Melrose but has in its walls a stone from the Abbey." In 1618 the nave was roofed, the coarse masonry on the left being added as a support, and this part of the ruin used as a Presbyterian chapel until 1810. 16 242 MEML The length is 258 ft., and the transept 137 ft. The east win- dow, 57 ft. high and 28 wide, is in the perpendicular style which was first used in the time of Rich. IT., leading to the inference that the chancel was the portion burned by him. The ruins are regarded as the finest in Scotland. Within the Abbey are the remains of Michael Scott, the wizard of the " Lay," to the r. of the choir ; and against the rear wall of the choir, r., Alex. II.; centre, the heart of Robt. Bruce, en- tombed here at his request ; 1., Wm. Douglas, "the Dark Knight," and others of that name. The finest carving is said to be the capital of the corner column at the south aisle and transept. The small round window of the north transept represents the " Crown of Thorns." The best view of the ruins is obtained from the cemetery on the s. Here, also, is the grave of Sir David Brewster, enclosed by an iron rail, opposite the fifth win- dow. Memling, Hans, Memline, Memlinghe, now believed to be Hemling, 1430-1495, b. at Gueld- ers, Hoi. , pupil of van der Weyden. He settled in Bruges, 1478, where some of his works were executed, and where some of his best still re- main — the *Marriage of St. Cathe- rine, and *St. Ursula, in the hospi- tal of St. John. See Ursula. He excelled in portraits, and his miniatures are of the highest merit. His coloring was clear and brilliant, his drawing correct and with great fidelity to nature. ' ' A special point about his pictures is the way in which the landscape is ex- tended, and made to include in the same picture a number of Bcenes generally considered as following one another in order of time." — Lubke. Pkincipal Wokks : Ant., 255, 256 ; Belv., 3 ; Berlin, 528B ; Bruges, 4 Triptych ; Bruss., 21, 22. 23 ? ; Doges 1 Pal. Library, Grimani Breviary said to have been illus- trated by Memling and other early masters ; Doria, *A Deposition ; Dres., 2417 ; Frank., 63 ; Louvre, 28S, 289, (iSO ; Munich, 640-1-2, 065 ; Nat. Gall., 686, 709, 747, 943 ; Pesth, II., 23 : Turin, 358; Uffi., 703, 769. St. Ursula — Memling. MENG 243 Mengs, Anton Raphael (mengss), 1728-1779, b. Aussig, Bohemia. His father was court painter to Aug*. III. of Poland . He studied under his father, and at Home, and was appointed court painter by the King of Poland at the age of 17 ; was invited to Spain, where he executed several of his finest works. Hia pictures are to be found in all the principal galleries. By some he has been extravagantly praised and called the German Raph- ael ; by others his works have been as severely criticised. Principal Works : Alb. Villa, Gal. Nobile, Ceiling ; Brera, 429 ; Hermit, 1298, 1301-2-3 ; Madrid, 1435 ; Milan, Ambros., 46 ; Munich, 153. Mercury, Greek Her'-mes, myth; son of Jupiter and Maia ; the herald of Jupiter and of the gods generally. He was the god of prudence, cunning, fraud, perjury, and theft ; was re- garded as the inventor of the lyre, the alphabet, numbers, as- tronomy, measures, and weights ; was the god of roads and travel- lers, of commerce, good luck, and gymnastics. His attributes were a hat with a broad brim, and later with two small wings ; a herald's staff wound with two white ribbons, later changed into two serpents ; and sandals with small wings at the ankles. The term Mercury is derived from mercari, merchant. Statues : Alb. Villa, 52 ; Berlin, 15, 127, 224, 742, 767 ; Borgh. Villa, X. 3 ; Br. Mu., 171 ; Cap., 26, III. 27 ; Flor. Nat. Mus., *bronze by Bologna ; Glyp., 123, 151 ; Louvre, * ; Ludo. Villa, 30 ; Naples, 73, (74), **Mercury Resting, bronze; Torlo., 38; Vat., (Br.) 65, 132, (Chi.) 232, 460, *5S9, (P. C.) 34, **53, **417. ** I. Mercury Reposing, bronze, Naples ; found at Herculaneum. This statue is in the style of Lysippus, and certainly belongs to the best period of Greek art. As Jupiter's messenger he is reposing on the top of a mountain, as if in fatigue ; his right hand resting upon the rock and his left arm upon his knee. ,; This is perhaps the finest bronze statue in the world. The figure is of the size of life, in a sitting posture, the left hand resting on the knee, and the right slightly supporting the figure against the base on which it is seated. The air and attitude of the figure are those of a person who is enjoying the luxury of rest after considerable muscular exertion. The limbs are in the 6oft bloom of early Mercury — Naples. 244 MERC manhood. The proportions are beautiful, and the expression perfect ; in every respect a work of the highest class. 1 ' — Hillard. * II. Beu-ve-de-re Mercury, Vat., No. 53 ; found on the Es- quiline, 1534-50; right ankle unskilfully restored. This statue was formerly, and for a considerable period, called the " Antinous," and as such is described in various works on art. The right arm and left hand are wanting. His chlamys rests upon the left shoulder, and is wound around the left arm. "There can be little doubt that this statue, though possessed of less "subject" than the Apollo, in point of art surpasses it." — Wood. " I am strongly inclined to regard the Mercury Bel- vedere as an original of Polycletus. It approaches al- most the exact proportions prescribed by him; and we know that a statue of Mercury by Polycletus was transported to Rome. Poussin declares the Mercury the most perfect model of the human figure." — Amp&re. "Perhaps this is the most beautiful statue in the world." — Hare. " It is an exquisite image of blooming youth. For soft and delicate beauty — beauty which, like that of the vernal rose, the sunset cloud, and the breaking wave, is suggestive of brief continuance and early decay — this statue has no superior, hardly an equal. The busts and statues of Antinous (Mercury) all have a certain expi-ession of melancholy. Their beauty seems too ripe for earth. " In this statue the softness of the limbs just stops short of languid effeminacy. It is beauty, not like that of the Apollo, in action, but in repose ; filled to the brim with sweet sensations ; neither restless from desire, nor cloyed with enjoyment." — Hillard. III. Mercury, No. 171, Br. Mu. Similar to that of the Vat- ican and at Munich. Has the attributes of the god more fully than either of those. IV. Mercury op the Capitol, represented as the god of commerce, holding a purse, wearing a cloak and a traveller's cap, and winged both on the cap and ankles. In his right hand he bears the Caduceus. ** V. Mercury, by G. da Bologna, bronze ; Saloon VII., Nat. Museum, Florence. A small statue of Mercury standing upon one foot, as in the act of springing into the air. One of the lightest, most airy, and graceful figures ever wrought in bronze or marble. " It seems a wonder that he did not absolutely fling himself into the air when the artist gave him the last touch. No bolder work was ever achieved ; nothing so full of life has been done since." — Haiothome. Mercury — Bologna. MET 245 Met'-su, Gabriel, Met'-zu, 1630-1667, b. at Leyden; one of the most charming' genre painters. His favorite subjects were high life, fairs, markets, and interiors, frequently with chickens. His works number 160, and are found in all galleries. Michael Angelo. See Angelo, Michael Mien's, Frans van (mee'-ris), 1635-1681, b. Leyden, pupil of Gerard Dow, and friend of Jan Steen. Pictures are small ; sub- jects genre, and occasionally of high life. His masterpieces are The Tinker, in the Dresden Gall., and The Charlatan in the (Jffizi. His works number 140. Milan (me-lan', mil -an), It. Milano (mee-lah'-no). Founded 600 b. c. Under the Romans, Mediolanum was one of the leading cities of Italy. The later Emperors frequently made it the seat of the Empire. In the Middle Ages it was subject to frequent siege in the struggles against the Germans. Totally destroyed by Fred. Barbarossa, 1162, it was rapidly rebuilt, and such was its prosperity and the excellence of its manufactures, that, in 1500, it established and controlled the styles and fashions of Europe, whence the word milliner. The present city has undergone many improvements within the last 20 years, and has now a pop. of 321,000. It bears the im- press of a modern town beyond that of any city in Italy, except Turin. Much as may be found for admiration, there is little be- sides the cathedral that will compensate delay for the traveller whose tour comprehends Central Italy. Tlie Principal Places of Interest are the Cathedral ; the Galleria Vittorio Emanuel e ; the Piazza della Scala ; the churches of S. Ambrogio, and S. Lorenzo ; the Giardini Pubblici ; the Arco della Pace; the Brera Gallery, see Part 11. ; and Ch. of S. M. delle Grazie ; see Grazie. **The Cathedral : The original church built here was de- stroyed by Attila ; rebuilt, it was burned, 1075 ; rebuilt, and destroyed by Fred. Barbarossa, 1163. The present building was commenced, 1386, under the direction of Heinrich von Gmiind, and is not yet completed. The plan of the cathedral is a Latin cross ; it is 480 ft. in length, 183 wide ; height of vaulting, 155 ft. ; from the pavement to the top of the tower, 360 ft. It has 98 Gothic turrets, and upon the outside, exceeding 2,000 statues — according to Murray, 3,400 of the 4,500 required to complete the original plan of the structure. Interior : The pavement is marble mosaic. Fifty-two columns, Milan. East. ^" MILA 247 from 8 to 12 ft. in diam., support the roof. The columns are surmounted by statues in niches in place of capitals. The vault- ing is painted in imitation of wrought stone. 8. Aisle : Sarcoph. of Bp. Heribertus Antimianus ; Gothic mon. to Bp. Marcus Corellus. 8. Transept : Mon. to Giao. and Grab. de' Medici, by their bro. Pius IV., 1564. Statue of St. Bartholo- mew flayed, by Marcus a Grate. Choir: Ornate Gothic doorway of the S. Sacristy; mon. to Card. Carraccioli, who crowned Emp. Ch. V. at Aix-la-Chapelle. The 3 great windows contain 350 scriptural subjects. Above is a sitting statue of Pius IV. N. Transept : * Bronze candelabrum, of the 13th cent., in the form of a tree. iV Aisle: Altar-piece, 1600, by Baroccio. On the altar of St. Joseph, Marriage of Mary, by F. Zucchero. Next chapel contains the crucifix worn by S. Borromeo during the plague of 1576. The Font was formerly the sarcoph, of S. Dionysius. On the high altar is a tabernacle of gilt bronze with figures of Christ and the Apostles. Beneath the Choir is a subterranean church, used in winter ; thence an entrance leads to the chapel of St. Carlo, of which the walls are adorned with silver-gilt bas-reliefs. The Treasury (fee 1 fr.) contains life-size statues of SS. Am- brogio and Borromeo, said to be in silver (?). Ascent to the Dome is made from the S. Transept (25 cent.) by nearly 500 steps to the highest gallery. The early morning (ca- thedral open at 5 A.M.) is most certain to afford a fiue view of the Alps. The most prominent peak is Monte Rosa ; on the 1. of which are the Matterhorn, Gt. St. Bernard, and Mt. Blanc. **The view of the immense cathedral, with its forest of turrets, pinnacles, and statues, seen from the upper galleries of the dome, is among the most striking and beautiful presented by any structure ever reared. Gal-LE-RI-A Vit-TO'-RI-O E-man'-U-E-LE : a grand and spa- cious arcade (1865), extending from the Piazza del Duomo to the Piazza della Scala, nearly 1,000 ft. It is in the form of a Latin cross, with a dome 180 ft. high, and is adorned with statues and lined with elegant shops and cafes. In the evening it is a fash- ionable and a most delightful resort. The Piazza della Scala (scah'-lah). Leaving the Galleria by the entrance opposite the Cathedral end, we enter the Piazza 248 MINE della Scala, noted principally for its monument to da Vinci, erected 1872. Below are four of his most eminent pupils — Marca d'Oggione, Cesare da Sesto, Salaino, and Beltraffio. The principal business street is Corso Vittorio Emanuele, ex- tending from the rear of the Cathedral n. e. past the Public Gar- dens to the Porta Venezia. The Church of St. Ambrogio, where the Lombard and Ger- man Kings and Emperors were crowned with the Iron Crown of Lombardy, was founded in the 4th cent, by St. Ambrose, on the site of an ancient temple of Bacchus. The present structure dates from the 12th cent. This is said to be the church whose doors St. Ambrose closed against Emp. Theodosius after his Thes- salonica massacres. Lorenzo, S., Ch. of, the most ancient ch. in Milan, being a portion of the Palace or Baths of Maximian, founded by King Ataulph, whose sarcophagus is in the chapel of St. Aquilinus. In the street is a beautiful *colonnade of Corinthian columns, sup- posed to be a part of the same structure as the church. The Giardini Ptjblici (jee-ar-dee'-nee poob-lee'-chee ; public gardens), on the n. e. part of the city, are the fashionable prome- nade, and the avenue on the n. side, the principal drive in the late afternoon, particularly on Sundays. At the s. w. corner is a bronze mon. to Cavour, with Clio inscribing his name on her tablet. In the n. w. part of the city is the Castello, now occupied as barracks, beyond which is the Piazza d'Armi (dar'-mee'), or drill- ground. On the side of the Piazza, opposite the Castello, is *The Arco del Sempione, or Arco della Pace, commenced in 1807 by Napoleon, in honor of the construction and as the terminus of the Simplon Road over the Alps. It was completed by Francis I. of Austria, in 1833. Upon the liberation of Italy from Austrian dominion, the in- scriptions which Francis had placed upon the Arch in his own honor were removed, and the present ones substituted. Routes: To Aeona (Lake Maggiore), 2 hrs., $2.50; $1.75; see Route 44. To Como (Lake of Como), 1)4 hrs., $1.10 ; $0.75 ; see Route 45. To Venice, 6 hrs., $6; $4.10; see Route 46. To Bologna, 5% hrs., $4.60; $3; see Route 47 to Piucenza, thence Route 42, Piacenza to Bologna. To Genoa, 5 hrs., $3.50 ; $2.50. To Turin, 3% hrs., $3.40 ; $2.20 ; see Route 43. To Paris. 22 hrs., $20 ; $16.50,- eee Route 43 to Milan, thence Route 40, Turin to Cnloz, thence Route 39, Culoz to Paris. Union Station for all trains. Minerva, Greek Pallas Athena, or Athena, myth, dau. MINE 249 of Jupiter, the principal goddess of the Greeks, in whom wisdom and power were harmoniously blended ; was the chief protector of the state, of agriculture, and of all useful and elegant arts ; maintained the authority of law and the will of the people. In the Trojan war she sided with the Greeks. She is usually repre- sented in armor, with the segis and a golden staff ; in the centre of her breastplate is the head of Medusa. The owl, the serpent, the cock, and the olive tree were sacred to her. Statubs: Alb. Villa, *1012 ; Berlin, 4, 124, 135-6, 203; "Br. Mu., 103-4, 123-8; Cap., III. 16, IV. 54, VI. *71 ; Glyp., 59, 86, 92 ; Louvre, 112, *114 ; Min. Velletri, 116; Ludo. Villa, 51; Naples, 510 (245), 101 (82), *118, 150 (102); Vat., (Br.) 107A, *114 Min. Medica, (Ch.) 197, 403, 496, 558, (P. C.) 259, *376, *438. **Minerva Medica, or Pallas Giustiniani (joos'-tin-e-ah'-nee), Vat., Brae. Nuovo, No. 114; full length statue, with spear and Minerva Medica — Vatican. Athena Polias — Albani Villa. helmet ; found in the temple of Min. Med. on the Esquiline Hill. Supposed to be a copy of Phidias. Admirably preserved. " Sculptured in the finest Parian marble, but it has been worked over and the original surface entirely removed.' 1 — Wood. "A most beautiful Creek statue, but much injured by restoration." — Rare. "This statue fills me with admiration. I cannot praise it sufficiently.'" — Goethe. *Athena Po'-li-as, Alb. Villa, No. 1012 ; a full-length statue, with a lioii-Bkin upon the head in place of the usual helmet. The 250 MINE Mona Lisa — da Vinci. right arm is extended, the hand being higher than the head, and the left nearly even with the elbow. Drapery fine. ^Minerva Medica, Temple of, Rome, near the Porta Maggiore, supposed to be of the time of Gallienus, a.d. 250, and to be a part of the baths erected by him. It is decagonal, 80 ft. in diameter, and surmounted by a dome, part of which fell in 1828. One of the most picturesque ruins of Rome. Minerva, Pallas, Temple of; the Portico, now t called the Colonnance, Rome, via della Croce Bianca, only two columns, with a stat. of Minerva and a frieze, remaining. Mithras (mi'-thras), myth. The Persian god of the sun ; was worship- ped also in Rome ; represented as a handsome youth, with a Phrygian cap, kneeling on a bull which he is slaying. Mo-na Lisa (lee'-za), a picture in the Louvre, purchased by Francis I. for $9,000. Painted by da Vinci ; it is the portrait of the wife of his friend Gioconda, of Florence; hence the picture is of ten called La Joconde or La Gioconda. Da Vinci regarded it as still unfinished, although he had worked upon it four years. " The mouth, the lips, the redness of which blends at the corners with the rose tints of the cheeks — this is not color, but actual, living flesh." — Vasari. " Though severely criticised in some respects, this portrait is sure to captivate the beholder by the charming grace of the conception, as also by the sweetness of its almost seductive smile." — Liibke. " Da Vinci willingly uses the heip of landscape, and. thus gives the last touch, in the portrait of the G-ioconda, to the thoroughly dreamy effect produced by this portrait of all portraits." — Burckhardt. *Monceau, Pare (park mon-so), or Parc de Monceaux, Boul. de Courcelles, Paris, \ ml. from Arc de Triomphe. Laid out under the direction of Philip Egalite, 1778, and was at once the great resort of beauty and fashion. It became national property in the Revolution. Among the most interesting objects are the cascade, the grotto, and the lake, with mock ruins of a Grecian colonnade. Monte Testaccio (mon'-tay-tes-tat'-chee-o), Rome, to the w. of Porta S. Paolo. The origin of this hill, 170 ft. in height, composed entirely of broken pottery, and which comes to us MONT 251 from ancient Rome, yet remains a profound mystery. The sum- mit affords a fine view of the southern part of the city, and of the Campagna. Mont mart re (moft-uiart), cemetery, Paris, on an elevation to the n. of the city, so named from the tradition that St. Denis here suffered martyrdom ; the earliest burial-ground of Paris. Among the most noted tombs are those of Gen. Cavaignac, Pres. of the French Republic, 1848 ; Halevy, the composer ; Heine, the Ger. poet ; Ch. Zeuner, composer; Paul Delaroche, artist. Montmartre was the scene of the final conflict of the French and allies, 1814, and of the Communist insurrection in 1871. That section of Paris is also known as Montmartre. Montparnasse (mon'-par'-nas'), cemetery, Paris ; on the s. side of the city ; 30 acres ; interments in private vaults only. Of less interest than Pere Lachaise or Montmartre. Morghen, Raphael, 1758-1833, b. Florence ; the most celebrated engraver of modern times. Among his best known plates are the Transfiguration, the Madonna della Seggiola, Guido's Aurora, and da Vinci's Last Supper. Entombed in Santa Croce, Florence. MOSCOW (mos'-ko'), the ancient capital of the Russian em- pire, is one of the most magnificent and interesting cities of Europe. It is situated upon the river Moskau, and contains a pop. of about 800,000. The city is gathered in a semi-circle around the Citadel, or Kremlin, which stands immediately upon the river bank. The streets are exceedingly irregular, though generally presenting the appearance of broad, well-paved ave- nues of a modern European city. The innumerable white, semi- oriental structures which greet the vision from every' command- ing point, with their unnumbered domes, spires, belfries, towers, and minarets, give to the city a magnificence of beauty scarcely to be found elsewhere in Europe. * The Kremlin. — The historic, as well as the most interesting part of the city is within the walls of the Kremlin. One of its five gates is called the Sacred Gate, from a picture of Christ over the gateway, which, according to the popular belief, has rested there since the foundation of the city. Every person passing beneath the sacred arch is required to remove his hat. Within the walls, in long lines, are the hundreds of French bronze field-pieces lost by Napoleon in his memorable Russian campaign. Here, also, is the great bell, 21 ft. in height, 67 in 252 MOSE circumference, and weighing 400,000 lbs. It was cast 1730, and seven years after was precipitated to the earth from the burning of the bell-tower, a piece apparently twelve feet in height and of equal width being broken from one side in the fall. Nothing can be done toward threading the streets or visiting the objects of interest in this city without an English-speaking guide. Any detailed description is therefore unnecessary. The Principal Places of Interest are, the Large Palace, with its endless apartments, stairways, and courts ; the Little Palace; the Arsenal; the Cathedral of the Assumption ; the House of the Holy Synod, where is manufactured the holy oil with which all Russian chil- dren are anointed at baptism ; the Church of the Redeemer, the oldest in the city ; the Convent of the Ascension, con- taining the tombs of the prin- cesses ; the Church of St. Ba- sil, with its 20 domes and towers, the only church open daily, and the Treasury. The Museum, Tu., Th., Sat., and Sun., contains a li- brary of 100,000 vols., and an •invaluable coll. of Slavonic MSS. , a collection of antiqui- ties, and a picture gallery. Routea: Moscow to St. Peters- burg, 15 hrs., $17 ; $12. To Berlin, 54 hrs. ; $26 ; $2S. ** Moses, Michael An- gela's, stat., inch, of S. Pie- tro in Vincoli, Rome. Designed as one of the thirty statues to adorn the tomb of Pope Julius II., intended to be erected in St. Peter's. Moses, Rachael, and Leah alone were executed by An- gelo, and the monument never completed. " The eye does not know where to rest in this masterpiece of sculpture since the Greeks. ... All that is positive and all that is negative in him is equally dreadful. If he were to rise up it seems as if he would shout forth laws which Moses — M. Angelo. MOUS 253 no human intellect could fathom, and which, instead of improving the world, would drive it back to chaos." — Gregorovius. " There are few works against which so many critical objections can be made, and have been made, as upon this wonderful statue ; but it is, nevertheless, one of the most marvellous creations ever hewn by the hand of man from a block of stone. It is replete throughout with the great genius of the sculptor ; its majestic aspect almost inspires awe in the beholder, and it is so full of life that one would scarcely be surprised to see it rise from its seat, or hear it speak in the command- ing tones of the great law-giver of Israel. 1 ' — Shakespere Wood. " We have here, not the circumspect leader of hosts, or the wise law-giver, but the fiery zealot, who, in his hot indignation because of the idolatry of his people, breaks to pieces the tables of the law. " He seems to be beholding the worship paid to the golden calf ; his head turns to the left, with flashing eyes ; his beard, agitated by the inward commotion, falls heavily down upon his breast ; the right hand rests upon the tables of the law, and with the left he presses the beard to himself, as though he would check the violent outburst of passion. But the advanced position of the right foot, and the backward movement of the left, give us to understand that in a moment this powerful form will spring to its feet and vent upon the apostates his fierce and withering indignation/' — Lubke. Mouse Tower, at Bingen on the Rhine. See Route 20. Legend : A famine having occurred, Abp. Hatto bought up all the corn, and would sell it again only at the most exorbitant prices. One day the starving mul- titude forced themselves into the Bishop's palace, where he was enjoying a lux- urious feast. They begged corn and were told to go to the barn and he would Bupply them. On reaching the place he caused the doors to be locked and the barn to be set on fire, and as they shrieked from their burning prison, he replied, " Hear how the corn mice squeak." But out of the ashes came thousands of mice, which immediately made their way to the palace, filling every apartment. The Bishop thought to escape them by fleeing to the tower in the midst of the Rhine, but the mice swam the stream, gnawed their way into the tower, overcame, and finally devoured the wicked Bishop. Munich (moo'-nik), Munchen, Monaco; is situated on the Isar, principally upon the south bank. Pop. about 230,000. The city is extremely irregular both as to streets and general plan. There is no distinctly central point or street upon which business locates, or from which the principal lines of travel diverge. Among the most important centres are Max Josephs Plate, near which are the Royal Palace, the Opera House, and the Post Office ; and Marten Platz, the leading financial centre. A broad boulevard with walks and grounds encircles the cen- tral portion of the city, occupying the place of the former fortifi- cations. Within this line is the old city with its primitive, narrow, and irregular streets. Outside is the new city with broad regular streets, exceedingly clean and inviting. Statues, monuments, parks, and well-kept grounds^ meet the visitor on every hand. 254 MUNI MUNI 255 The art galleries are at the extreme n. w. part of the city ; the railway station, on the west margin. For its fine public build- ings, its numerous parks and monuments, and for its collections of art, Munich ranks among the richest cities of Europe. Principal Places of Interest : the Glyptothek, or gallery of stat- uary ; the Old Pinakothek, or gallery of early pictures ; the New Pinakothek, or gallery of modern pictures ; the National Museum ; the Royal Palace ; the Bavaria, and the Bronze Foundry. The Glyptothek. See Part II. , Glyptothek. P. 440. **The Old Pinakothek. See Pinakothek, Old. P. 467. **The New Pinakothek. See Pinakothek, New. P. 465. ♦The National Museum, daily, ex. Mon., 10-2; Sun. and-Th. free ; an extensive and exceedingly interesting collection of ob- jects designed to illustrate the progress of civilization and art. Ground Floor: Roman, German, and Celtic antiquities, and Gothic art. First Floor : weapons, costumes, musical instruments, and ceramics. Second Floor : Renaissance wood and ivory carvings, tapes- tries, etc. **The Royal Palace: the Festsaalbau, daily, ex. Sun., at 11 ; comprising the Ball Room ; the Card Rooms, with 36 portraits of beautiful women ; the Battle Saloon ; the Hall of Charlemagne ; the Barbarossa Hall j the Hapsburg Saloon; and the Throne Saloon. Small fee. * The Nib-e-lung '-en Rooms (g hard), daily, ex. Sun., at 11. En- trance Hall ; Marriage Hall ; Hall of Treachery ; Hall of Re- venge ; and Hall of Mourning. A custodian accompanies the visitors and explains (in German) all objects of interest in the rooms ; small fee. The Maximilianeum, a military school, occupies a command- ing site across the Isar at the termination of Maximiliansstrasse. *The Bavaria, a colossal monument, stands upon an eminence at a distance of H mis. to the southwest of the city. The figure is 69 ft. in height, and may be ascended by an internal stairway. Small fee. A fine view is obtained from openings in the head. The Hall of Fame, a Grecian colonnade at the rear, contains about 80 busts of noted men of Bavaria. ♦The Bronze Foundry, daily, 1-6 ; Sun., 12-2 ; in the sub- urbs, is readily reached by tramway. It is interesting, as con- taining the models of many monuments cast for the United States. 256 MURI Immaculate Conception — Mu- rillo. At the termination of Ludwigsstrasse is the Siegesthor, a Gate of Victory, surmounted by a quadriga. The churches of Munich possess few objects of interest. Routes: To Venice, 17 hrs., $15; $11; ses Route 58. To Vienna, 10 hrs., $10 ; $7.50 ; see Route 62. To Zurich, 9 hrs., $8 ; $5.50 ; see Route 57. To Frankfort, 11 hrs., $9 ; $6.50 ; see Route 56. To Nuremberg, 4 hrs., $4: $2.60. Murillo, BartoiomeoEstaban (moo -reel' -yo, ormu-ril'lo); 1618-1682, b. at Seville, Spain. Manifesting an inclination for art, he was early placed in a studio. After- ward he went to Madrid and became a pupil of Velasquez. Upon the com- pletion of his studies, he returned to his native city where he spent his life. As a painter, Murillo stands in the first rank. Like Raphael and some other great masters, he had three distinct styles : the early, called frio, or cold ; the second, calido, or warm; and the later, vaporoso, or misty. His works are numerous, but are to be obtained only at the most extravagant prices. Died from injuries received by falling from a scaffold while paint- ing in a convent at Cadiz. His Immaculate Conception, Louvre, No. 539, which was pur- chased for $120,000, is a replica of a finer work at Seville. St. Anthony was one of his fa- vorite subjects. Principal Works : Berlin, 410A, 414 ; Brus., 251; Corsi., VI. 26, VII. 11; Dresd., 633-4; DuL, 248, 283, 286,347; Edinb., 119 ? ; Glasgow, Repose in Egypt ; Hague, 255, 256 ; Hermit., 360-1-2-3-6-7, 370-2-3-4-5-6-7-8-9, 380; Nat. Gall., 13, 74, 176; Louvre, 538-9, 540-1-2-3-6-7; Madrid, in all forty-six, Acad, de San. Ferd., four ; Munich, 348, 349, 357, 368, 371, 376; Pesth, 687, 688, 689, 692, 694; Pitti, 56; Rijks, 272 ; Rotterdam, 272: n mmF** St. Anthony— Murillo. MUSE 257 Seville, twenty; Vat., Marriage of St. Cath., and two others; Vienna Chud., 48 ; Roy. Acad., Beggar Boys. *Musee des Thermes (mu-say-day-term), and Hdtel de Ciuny. Paris, 14 Rue du Somnierard. Open Sun. and holidays, 11-4 ; and to strangers with passports daily, except Mon. The Hotel de Cluny was erected about 1480, upon the ruins of the ancient Roman Palais des Thermes. The date of this Roman structure is not precisely known, but from the material employed and the style of workmanship and decoration, it is believed to have been erected by Emp. Constantius Chlorus, about A.D. 305. It is known to have existed in the time of Julian, who was here declared Emperor by his troops in 360. Emperors Valentinian I. and Valens also resided here. These ruins are the most ancient structures existing in Paris. The street in front of the Palais des Thermes — Boulevard St. Michel — is identical with the old Roman road. Upon the withdrawal of the Romans, the Palace became the residence of the French kings, and so continued until the time of Philip Augustus, who erected on the Isle de la Cite a new royal residence, the present Palais de Justice. In 1515, the Palais de Cluny was occupied by Mary, the widow of Louis XII., whose room is still called La chambre de la Reine Blanche, as it was the custom of the Queens of France to wear white mourning. In 1536, James V., of Scotland, married here Madeleine, daughter of Francis I. During the Revolution, Marat here held his political meetings. In 1842, the Palais was purchased by the government and fitted up as a museum. The Small Court, through which entrance is made, presents a pleasing specimen of a mediaeval turreted chateau. Office of the concierge to the left ; entrance to the right. Umbrellas left under the arch. The collection comprises over ten thousand miscellaneous ob- jects of Roman and Mediaeval times, principally relating to the fine and useful arts, and is particularly rich in wood-carvings and faience. For anything more than a superficial inspection, a cata- logue or a guide is necessary. Catalogue, 4 fcs. Muses, The, myth, daughters of Jupiter and Mne-mos'-y-ne. 1. Clio (kli-o, or kle'-o), Muse of History ; with a roll of paper, or books. 2. Eu-ter'-pe, Muse of lyric poetry ; with a flute. 17 258 MYRO 3. Tha-li'-a, Comedy ; with a mask, staff, or wreath of ivy. 4. Mel-pom -e-ne, Tragedy; with mask, club or sword, and her head wreathed with vine leaves. 5. Terpsichore (-sick'-o-ree), Song and dance; with the lyre and plectrum. 6. Er'-a-to, Erotic poetry ; sometimes with the lyre. 7. Pol-y-hym'-ni-a, Sublime poetry ; pensive, no attribute. 8. U-ra'-ni-a, Astronomy ; with a staff, pointing to globe. 9. Cal-li'-o-pe, Epic poetry ; with tablet and stylus, sometimes with a roll of paper or a book. Myron, a celebrated Greek sculptor, b. about 430 B.C.; his principal works were in bronze. Among the most noted was the Discobolus, which was taken from Athens to Rome and placed in the Temple of Peace. Antique copies of this work are in the Br. Mu., the Louvre, the Vatican, the Cap. Mus., and Lancelotti Pal., this last being the best. His Satyr, in the Lateran Mus., is incorrectly restored with castanets. See Discobolus. Naples. The city lies upon a slope facing the east, upon the crest of which, at the southern extremity near the sea, rises the Castle of St. Elmo ; to the north is the Capodimonte, upon which is the Royal Palace. The station is located on the eastern edge of the city, while the hotels most frequented by strangers are situated along the Chiaia or shore, to the extreme southwest. The principal street extends through the heart of the city, north and south, a distance of about a mile. It was formerly called the Toledo, now the Strada di Roma. Naples is mentioned in history as early as 1000 B.C. In B.C. 326, it became a part of the Roman territories, and was a favorite residence of the Cassars. The last Roman Emperor, Romulus Au- gustulus, died here. In a.d. 536, it was captured by Belisarius ; in 543, by the G-oths ; in 1130, by the Normans, who held it till 1194 ; under the Hohenstaufens till 1268 ; the House of Anjou till 1435 ; the House of Aragon till 1496 ; the Spanish viceroys till 1707; Austrian viceroys till 1734; the rourbons till 1860, when Naples became an integral part of the Kingdom of Italy under Victor Emanuel. Pop. about 500,000. The great charm of Naples to the visitor is its unequalled scenery, and in the peculiar and multifarious phases of life which present themselves. Apart from these, there are few objects of interest. Of the 300 churches in the city, only the Cathedral with NAPL 259 260 NAPL its Chapel of St. Januarius, and perhaps a few others, will repay one who has already seen Rome. The Pompeian Antiquities of the Museum, the Marine collection of the Aquarium, and the views from St. Elmo and Camaldoli are unsurpassed by anything similar elsewhere in the world. Among the noted names associated with Naples, are those of Virgil, Eibera (Spagnoletto), Salvator Rosa, Giordano, Vanvitelli, Pergolese, Rossini, and Bellini. At the extreme s.e. point of the city, on the bay, is the Piazza del Mercato ; thence passing to the westward along Strada Nuova, on the margin of the bay, nearly a mile, we come to the Castel Nuovo, 1. .; passing through the Piazza del Municipio, 1. , is Palazzo Reale and the theatre San Carlo ; on the r. , Piazza del Plebiscito ; thence through S. Lucia, where one finds a never-ending panorama of the strangest mixture of civilization and low life, good nature and careless enjoyment. Beyond S. Lucia we pass between the pre- cipitous cliffs of Pizzof alcone, r. , and Castel dell' Ovo, 1. ; thence for a mile along the Chiaia, with the spacious grounds of the Villa Nazionale, to the extreme s. w. point of the city. The Cathedral, Strada del Duomo ; commenced 1272, by Charles I. of Anjou ; completed 1316 ; overthrown by an earth- quake, 1446 ; rebuilt by Alphonso I. Over the principal entrance are the tombs of Charles I. of An- jou and Charles Martel. Beneath the high altar is the shrine of St. Januarius ; in the Chapel de Seripandi, an *Assumption by Perugino. * The Chapel of St. Januarius. on ther., was erected at a cost of over a million ducats, in obedience to a vow made during the plague of 1527. Its decorations are exceedingly rich, having 8 altars and 42 columns of brocatello, and five paintings by Domeni- chino. In the tabernacle of the high altar are the remains of St. Januarius. This saint being thrown to lions by order of Diocletian, and the lions refusing to do him harm, was beheaded and interred at Pozzuoli. In 1497, in the time of the Plague, the remains were brought to Naples and placed in the Cathedral. The liquefaction of the preserved blood of some of the saints occurs in May, September, and December, annually, when thousands crowd to see the miracle. The Villa Nazionale (nah'-tzee-o-nah'-le), situated along the Bay at the s.w., is the principal promenade and drive of the city ; recently laid out with walks, gardens, fountains, and cafes, somewhat in the style of the Champs Elysees. It is deserted NAPO 261 during the day, but from 4 or 5 o'clock P.M. till midnight in sum- mer, it is thronged with Neapolitan life. *The Aquarium, situated in the gardens of the Villa Nazio- nale, is, from the abundance of marine life in the Mediterranean, altogether unequalled by any collection thus far made. Nothing can exceed in strange beauty and in scientific interest such an exhibition of deep-sea life. (2 fr. winter, 1 fr. summer.) Environs : Naples abounds in delightful and historic locali- ties. Ca-mal' -doli for its unequalled view ; Pozzuoli, with the tem- ples of Serapis and Neptune ; Solfa-ta'-ra, Lake Avernus, Baice, Vesuvius, Hereulaneum, Pompeii, Sorrento, and the island of Capri, with its blue grotto. Excursions may be made to these localities and return the same day, with the exception of Sorrento and Capri, for which addi- tional time should be allowed. See St. Elmo, National Museum, Palazzo Reale, and Pozzuoli. Routes: To Rome, 6% hrs., $6.80 ; $4.80 ; see Route 55. To Vesuvius, ex- cursion by carriage and rly., 10 hrs., $6. To Pompeii, by rly., $0.75, or by car- riage, $1.50, 6 hrs. Napoleon Bonaparte, b. 1769, at Ajaccio, Corsica; entered the army in 1785 ; 1793 had command of the artillery at the siege of Toulon ; 1795 was in charge of the troops at Paris ; 1796 married Josephine, widow of Count Beauharnais ; 1796 gained the battle of Lodi, subjugated Italy, and made peace when within 30 miles of Vienna ; 1798 sailed for Egypt, took Malta, fought the battle of the Pyramids, laid siege to Acre ; 1799, overthrew the Direc- tory, and was elected First Consul ; 1800, led his army over the Alps and gained the battle of Marengo. In 1804 he was elected Emperor, and with Josephine was crowned by Pope Pius VII.; he collected an army of 200,000 at Boulogne for the invasion of England, but his fleet was annihi- lated by Nelson at Trafalgar; 1805, went to Austria and gained Austerlitz ; 1806, placed his brother Joseph on the throne of Spain, Loui3 on that of Holland, Jerome on that of Westphalia. In 1807 he gained the battle of Jena, and in 1809, Wagram. Having divorced Josephine, he married Marie Louise of Aus- tria in 1810, and the next year his son, the King of Rome, was born. In 1812 he invaded Russia, making his disastrous retreat from Moscow ; 1813, was defeated at the great battle of Leipsic, which was followed by the submission of Paris, Napoleon's abdi- 262 NAPO cation and banishment to Elba, and the restoration of Louis XVIII. to the throne of France. In Feb., 1815, Napoleon left Elba, landed at Frejus March 1st, marched to Paris, and in 20 days was again seated on the throne of France. June 18, 1815, fought at Waterloo ; July 15th, sur- rendered to Capt. Maitland of the Bellerophon ; arrived at St. Helena Oct. 1815 ; died May 5, 1821. **Napoleon, Tomb of ; M., Tu., and Th., 12-4 ; 3 in win- ter ; in the Dome des Invalides, Place Vauban, a large cathedral- looking structure, 1680, surmounted by a gilded dome 86 ft. in di- ameter ; was prepared as a tomb for Napoleon by Louis Philippe. The remains were brought from St. Helena in 1840. They were landed at Havre, and thence transported up the Seine to Neuilly, through the Bois de Boulogne, beneath the Arc de Triomphe, and deposited in their present resting place Dec. 15, 1840. The tomb is an open circular crypt, 36 ft. in diameter, directly beneath the dome. The sarcophagus, 14 ft. in height and 13 ft. in length, weighing 67 tons, is of red Finland granite, brought from Lake Onega at a cost of $28,000. Around the sarcophagus are 12 statues of victory by Pradier, 60 battle flags, and 10 re- liefs in marble. In the pavement is a mosaic laurel wreath. Behind the high altar a staifVay leads to the floor below, and thence through a passage to the crypt. Above the door of the crypt is the following inscription, taken from the will of Napo- leon : "I desire that my ashes may repose upon the banks of the Seine, in the midst of the French people, whom I have ever loved." On the sides are sarcophagi containing the remains of Duroc and Bertrand. Returning to the main entrance of the church : On the right : first chapel, is the tomb of Joseph, eldest brother of Napoleon, King of Spain, of black marble, standing in the centre of the chapel. The remains were deposited here in 1864. Right Transept : monument to Vauban, with statues to (xenius and Prudence. On the left : first chapel, tomb of Jerome, youngest brother of Napoleon, King of Westphalia, a black marble sarcophagus, rest- ing on bronze feet and surmounted by a statue of the king. Ad- jacent are the sarcophagi of his son and one containing the heart of his wife. Left Transept : mon. to Turenne, brought from St. Denis, and NATI 263 representing the hero as dying in the arms of Immortality, the German eagle at his feet, National Gallery, London. See Nat. Gallery. P. 457. National Museum, Florence. See Nat. Museum. P. 439. National Museum, Naples. See Nat. Museum. P. 461. Na-vo-na, Piazza, Borne; the ancient Circus Ag-o-na'~lis, now officially designated Circo Agonale ; one of the largest Piaz- zas in the city, being surpassed by that of St. Peter's only. It has an oval outline, after the style of the ancient circuses, and is embellished with three fountains. That in the centre was exe- cuted by Bernini, representing the four quarters of the globe, with the rivers Danube, Nile, Ganges, and Kio de la Plata, all surmounted by an obelisk from the circus of Maxentius. The obelisk is of red granite, with hieroglyphics ; now in 5 pieces. Supposed to be of Roman origin in the time of Domitian. Shaft 51 ft. high, standing on artificial rock-work 40 ft in height. "We stopped to look at one of Bernini's absurd fountains, of which the water makes the smallest pail, a little squirt or two and a prodigious fuss of gods and monsters. " — Ha wthorne. Neefs, Pieter, Elder, 1570-1651, b. Antwerp; excelled in effects of light and shade ; and especially in torchlight subjects, church interiors, and trim, well-ordered households. Neptune, Greek Po-sei'-don, myth, brother of Jupiter, god of the sea ; rode in a chariot drawn by sea-horses ; first taught the management of horses by a bridle ; the protector of horse-racing ; married Amphitrite. Attributes are the dolphin, horse, and tri- dent. He had a temple in the Campus Martius, Rome. Nero. Rom. Emp., b. at Antium, a.d. 37; son of Agrippina, the dau. of Germanicus ; adopted by Claudius ; and at 16 mar- ried his dau. Octavia ; pupil of Seneca, the philosopher. On be- coming emperor he put to death Britannicus, the rightful heir to the throne, his mother, and his wife, that he might marry Pop- pasa Sabina. A great fire having occurred, it was charged directly upon Nero, who, to relieve himself from the odium, accused the Christians and executed many. A conspiracy against him being discovered, many distinguished Romans were put to death, among whom were Lucan, the poet, and Seneca. Learning of another conspiracy, and being abandoned by all his attendants, he fled to a house 4 miles from the city, where, on hearing the tramp of horses, he put an end to his life, a.d. 68. 'Tomb of Nero. Four miles from the Porta del Popolo, on the 264 NERO road leading northward, is a sarcophagus commonly called the Tomb of Nero, for which, however, there is said to be not the slightest foundation. Nero's Golden House stood on the brow of the hill a short distance to the n.e. of the Coliseum. Afterward the halls and corridors were filled in with rubbish by Titus, Trajan, and others for the substructures of their baths. The present ruins, though identified as long ago as 1818 as belonging to Nero's House, are still often called the Baths of Titus. Of equally happy invention is the story of the custode, showing the pedestals whereon were found the Laocoon and Meleager, both of which were found else- where. Neuchatel (nu-sha-tel), Switz., on the n.w. bank of the Lake of Neuchatel ; pop. about 15,000 ; chiefly engaged in watch- making. It has a castle dating from the 12th cent. , the seat of the Dukes of Neuchatel. The Lake is 27 mis. long and 6 wide, but is wanting in the bold and precipitous shores which give at- traction to other Swiss lakes. Newcastle-on-Tyne is one of the most historic towns in the north of England. The castle was built by Robert, son of Wm. the Conq.; was attacked and taken by David I. of Scot. Here kings John of Eng. and Wm. of Scot, held a conference, 1209, as also Alex. II. and Henry III., 1235 ; and Baliol and Ed. I. In 1293, Wallace made several unsuccessful attacks upon the town. In 1318, a Peace Commission was here held; at which, besides the representatives of Eng. and Scot., there were two nuncios from the Pope and envoys from France. In 1342, David Bruce, king of the Scots, made an unsuccessful attempt to reduce the town ; and twelve years later, commis- sioners met here to settle the terms of his ransom. Newcastle was besieged, 1644, and taken the following year. Ch. I. was brought here by the Scots, to whom he had surrendered. In general, the town, from the number of squalid-looking houses, the narrow, crooked streets, and the omnipresent coal- dust and smoke, presents a particularly uninviting appearance. Nice, Fr. See p. 572. Nf me, Nisme, Fr. See p. 572. Nimbus or Au-re-o9a, a halo of light, supposed to emanate from and surround divine persons : called a nimbus when upon the head only, and aureola when it surrounds the whole body. It was originally a Pagan symbol ; adopted as Christian in the 4th x\ T IOB 265 Nimbus. cent.; was discontinued in the middle ages ; revived in the 12th cent., but limited to divine persons, the Virgin, angels, apostles, saints, and martyrs. In the 15 th cent, the name was inscribed on the rim. A square nimbus in- dicates the person to have been then living. From the 5th to the 12th cents, it took the form of a disc above the head ; from the 12th to the 15th, a broad, golden band behind the bead; to the 17th a bright fillet surrounding the head ; disappeared in the 17th and was revived in the 19th. In the 9th and subsequent cents. Satan ap- pears with nimbus. The aureola is confined to the Almighty, Christ, the Virgin, and the souls of saints. Niobe (ni'-o-bee or nee'-o-bee), myth, dau. of Tantalus, wife of Amphion. Proud of her seven sons and seven daughters, she deemed herself superior to Latona, who had but two, for which presumption Apollo and Diana slew her children with arrows, and Jupiter changed Mobe herself into stone. * Niobe (nee'-o-bee) Group of, stat., in the Uffizi, Florence; 17 fig- ures, the mother, the 14 children, and their pedagogues ; copies of a work by Praxiteles or Scopas ; probably once adorned the pediment of a temple in Greece ; found, 1853, near the Porta S. Paolo, Rome. Brought from Asia Minor by Sosius and placed in the temple of Apollo Sosianus. A copy of this group is in the Glypto- thek, Munich. * Notre Dame (notr-dahm), Paris, on the Island ; open daily from morning till night. Founded, 1163, on the site of a temple of Jupiter. Length, about 420 ft.; width, 155 ft.; height of nave. 110. The towers are 220 ft. high. The south tower contains the great bell, 1C tons (fee, 20c). Niobe — Florence. 266 NYMP The facade is composed of 3 stories. The first consists of 3 richly sculptured receding- portals, the centre representing the Last Judgment, the r. is dedicated to St. Anne, the 1. to the Vir- gin. Over the portals are 28 statues to French kings, from Chil- debert to Philip Augustus. Above are statues — in the centre the Virgin, Adam on r., Eve on 1. The great rose window is 42 ft. in diameter. The 3d story is a gallery of pointed arches, 26 ft. in height. In 1792 this church was converted into a Temple of Reason. The interior barely sustains expectation . The massive columns of the nave present the peculiar feature of Gothic alternating with the circular. The ancient stained glass windows are of great richness and beauty. Tickets for the choir and treasury (50c), at the r. en- trance to the choir. The choir presents numerous wood carvings from the life of Christ, and also statues of Louis XIII. and XIV., and a Pieta by Coustou. In the chapels around the choir are monuments, chiefly to archbishops of Paris. Abp. Affre, with inscription ; Due d'- Harcourt, rising from his tomb; Card, de Belloy, representing the aged Cardinal giving alms ; Abp. de Quenlen, recumbent statue ; Card, de Noailles, kneeling. In the Treasury are to be seen the Crown of Thorns, and a piece of the True Cross. The Gour du Chapitre, with its fountain and statues of 8 bishops, should not be omitted. At the rear of the Cathedral, in an open space, is the Fontaine Notre Dame, 1845, a beautiful Gothic spire 48 ft. high, covering a Virgin and Child. Nymphs, myth. Female divinities of a lower rank, repre- sented in works of art as beautiful maidens partially or entirely nude. They were of several classes. 1. O-cean' -i-des, or ocean nymphs ; Ne-re' -i-des, or nymphs of the Mediterranean, 50 in number. 2. Na-i'-a-des, nymphs of fountains, streams, lakes, and bodies of fresh water. 3. O-re'-a-des, nymphs of grottos and mountains. 4. Na-pm'-ai, nymphs of glens. 5. Dry' '-a-des, nymphs of trees. ♦Nuremberg, Ger., Nurnberg, preserves to a larger extent than almost any other city of Central Europe the aspect and pe- culiarities of the Middle Ages. Until the discovery of the pas- sage around the Cape of Good Hope, Nuremberg M^as one of the leading commercial cities of Germany. It suffered seriously from NURE 267 the diversion of its trade through the new channel, and also from the Thirty Years' War, continuing' to decline until the commence- ment of the present century. Recently it has become a manu- facturing centre, and is now one of the most enterprising citie? of South Germany, having a population of 100,000. This city is one of the few which has still in good preservation its mediaeval fortifications. The walls are surmounted by towers at frequent intervals, and possess a dry moat 100 ft. in width, and 50 in depth. The small stream of the Pegnitz which flows through the cen- tre of the city is crossed by numerous bridges, and affords con- siderable water-power for small mills. Among the principal manufactures are toys, Faber lead pencils, and playing-cards. In art and literature, the names of Diirer, Wolgemut, Krafft. Vischer, Kulmbach, Hans Sachs, and Melancthon, give Nurem- berg a high rank among German cities. The Principal Objects of Interest are the Castle, the House of Diirer, the Church of St. Sebald, the Rathhaus, and the Ch. of St. Lawrence. *The Castle ok Burg was founded 1024, by Conrad II., and enlarged 1158, by Fred. Barbarossa. The house of the Castellan is on the r. at the gateway. The attendant points out all the localities and objects of interest, of which especially are the well, 300 ft. deep, having a passage near the bottom leading out from the fortress to the city, the lime tree planted by Empress Cuni- gunde 800 years ago, the various chapels and apartments of the palace, the room containing a collection of instruments of torture for the administration of justice and the promotion of religion — particularly the Holy Virgin and the Cradle of Justice, in which latter a woman, afterward found to be innocent, was rocked to death since 1800. Near the Castle is the House op Durer, now owned by the city, and remaining nearly as when occupied by the great artist. St. Sebald, or St. Sebaldus. The great attraction of this church is St. Sebald's monument in the centre of the principal floor; a **bronze canopy enclosing a sarcophagus, and possessing nearly 100 figures. Kugler regards this as one of the finest gems of German art. Its weight is nearly eight tons, and occupied Vischer and his five sons thirteen years. Within the sarcophagus are the remains of the saint. On the side of the altar, in a nichs below, is the artist with chisel and apron. Among the decora< 268 OBEL tions of the ch. are reliefs by Krafft, a painting- by Kulmbach, n. wall ; and a crucifix by Stoss. Exterior ; upon the buttresses of the e. choir, opp. the Rathhaus, is the Schreyer mon., a master- piece by Krafft. The n. portal, called the "Bride's Door," also merits inspection. The Rathhaus (raht-house). The hall is decorated with frescos by Diirer. The guillotine, which has been regarded as an invention of the French Revolution, is here represented, dated 1522. On the second floor is an Art Gallery with statues in wood, plaster, and bronze ; and a limited collection of pictures. *The Church op St. Lawrence, noted for its magnificent rose window and portal, and the Ciborium of Krafft. This last consists of a Gothic spire in stone, 68 ft. in height with a bent fin- ial, as if from insufficient height. The whole rests upon three fig- ures, representing Krafft arid his two assistants, who were occupied four years in the work. Suspended from the ceiling is a carved wood Salutation by Stoss. There are also altar-pieces by Diirer and Wolgemut. Routes: To Berlin, 15 hrs., $11.; $8.50. To Dresden, 11 hrs„ $S.; $5.75. To Prague, 9 hrs., $8.50; $6. To Munich, 4 hrs., $4 ; $2.75. To Frankfort, 5 hrs., $5.50 ; $4. Obelisks, Borne. Obelisk op the Lateran, the largest obelisk known, and believed to be the oldest monument in Rome ; supposed to have been erected to Pharaoh Thothmes IV., B.C. 1740. It was taken from Heliopolis to Alexandria by Con- stantine, and to Rome by Constantius, and placed in the Circus Maximus ; removed to its present site, 1587, by Fontana. It is about 150 ft. in height, the shaft being 106 ft. ; it weighs 440 tons. Obelisk op S. M. Maggiore (mad-jo'-ra), supposed to have been brought from Egypt, A.D. 57, by Claudius, and placed at the entrance of the Mausoleum of Augustus. Length of shaft 48 ft.; of red granite, and is now in several pieces. Erected 1587. Obelisk op Monte Cavallo or Quirinale (cah-vahl'-yo), brought from Egypt along with the obelisk of S. M. Maggiore, and placed before the Mausoleum of Augustus. Erected in its present place, 1786. Shaft 45 ft. in length, in several pieces. Obelisk op Monte Pincio (pin'-chee-o), found in the Circus Varianus, and erected on the Pincian, 1822. A granite shaft 30 ft. in length, covered with hieroglyphics, signifying, according to Champollion, that it was erected by Hadrian and Sabina in honor of Antinous. OMME 269 Obelisk op Monte Citorio (mon-tee chee-to'-re-o), brought from Heliopolis by Augustus, placed in the Campus Martius and used for a sun-dial. Removed to its present place, 1792. It is of red granite, covered with hieroglyphics ; is in several pieces. According to Lepsias, the hieroglyphics state that it was erected to Psammetichus I., about six centuries B.C. The entire height is 134 ft., that of the shaft being 72 ft. Obelisk op the Piazza del Popolo (pe-at-za-del-pop-o-lo), brought by Augustus from the Temple of the Sun at Heliopolis, and placed in the Circus Maximus, B.C. 23. It had fallen from its pedestal prior to 360 A.D., and remained buried till 1587, when it was exhumed and erected in its present place. It is of red granite, 78 ft. high ; now in three pieces and covered with hieroglyphics, supposed to date about B.C. 1500. Obelisk of the Piazza della Minehva. The hieroglyphics indicate the date of the seventh century b. c. Supposed to have stood in the Campus Martius. Erected here, 1667, by Bernini. The placing it upon an elephant is of Bernini's marvellous taste. Obelisk op the Piazza Navona. See Favona. Obelisk op the Pantheon. See Pantheon. Obelisk op Trinita de' Monti. Red granite, with hiero- glyphics ; formerly stood in the Circus of Sallust, an ancient im- itation of that in the Pi. del Popolo. Found near the church of Sta. Croce in Gerusalemme, and erected here, 1822. Shaft 48 ft. Obelisk op the Vatican. See St. Peter's. Ommeganck, Balthasar Paul, 1755-1826, b. Antwerp. His subjects were landscapes and animals, especially sheep and goats. His scenes are produced with the utmost fidelity to na- ture, such that the season of the year and time of day can be recognized. O-no'-frio, St., cli. on the Jamculum, Borne, 1439; has its chief interest in its possession of the remains of the poet Tasso, who died in the convent adjoining, April, 1595. The tomb is in the Chapel of St. Jerome, first on left. Clement VIII. invited Tasso to visit Rome that he might be honored with the Poet's Crown. Arriving in November, and the weather being bad, the ceremony was postponed until Spring. His health failing, he came to the convent of St. Onofrio, saying, " My fathers, I have come to die among you." Fourteen days after he expired. **Madonna, in fresco, by da Vinci, in a passage on the first floor. Opera House, Place da I 'Opera, Paris. Opened 1875; the 270 ORCA largest theatre building in the world, cost $9,000,000, seats 2,400 spectators. On the f acade are sculptures : beginning on the r. , The Dance, Tragedy, Elegy, Fable, Song, Idyllic Poetry, Lyric Poetry, and Musio ; above these are medallions of Bach, Pergo- lesi, Hayden, Cimarosa. Best observed by walking around the building. The interior equals the exterior in the grandeur and beauty of decoration. The grand staircase is stated to be un- surpassed by that of any modern structure. The stage is 178 ft. wide, 74 in depth, and nearly 200 ft. in height. Orcagna, Andrea (or-cahn'-yah). Andrea Arcagnuolo di ClONE, 1308-1368. One of the greatest of the early Italian painters ; pupil of Giotto and And. Pisano. Most of his works have been so injured as to leave them of little interest. Has a large altar-piece in the Nat. Gall. The famous frescos of the Campo Santo, Pisa, long attributed to Orcagna, are no longer be- lieved by the best critics to be his. "His masterpiece of sculpture is the magnificent tabernacle of the High Altar of Or San Michele, in Florence ; perhaps the most splendid piece of decorative art in the world." — Liibke. Principal Works: Nat. Gall., 569-70-1-2-3-4-5-6-7-8. Orley, Bernhard van, 1488?-1542, b. Brussels, pupil of Raphael ; court painter to Margaret of Austria and to Mary of Hungary. Pictures are of fine finish ; subjects, altar-pieces and cartoons for tapestries. A successful imitator of Raphael. Principal Works : Ant., 461-2-4; Brnss., 25, 27, 36S; Dresd., 2421. Ostade, Adrian van (ose-tah'-deh), 1010-1685, b. Lu- beck. When quite young he went to Haarlem to study under Frans Hals, whose works were in great repute. In 1662, filled with alarm at the approach of the French troops, he made prep- arations for leaving Holland and returning to his native coun- try. He sold his pictures and effects and went to Amsterdam, with the intention of embarking for Lubeck. He was there pre- vailed upon to abandon his fears, and to establish himself in that city, where he continued his profession with great celebrity until his death. Number of known works, 380. " The pictures of Ostade usually represent the interiors of alehouses or kitch- ens, with Dutch peasants smoking and regaling, drunken frolics or quarrels. He has, however, treated these grotesque subjects with such humor and spirit, and has given so lively and natural an expression to the various characters of his heads, that we forget the low vulgarity of the objects to admire the truth and finesse with which he animates the actors of his scenes. His coloring is rich, clear, and glowing, his pencil uncommonly light and delicate, and, though his pictures OSTA 271 have the appearance of the most polished finishing, his touch is spirited and free." Principal Works : Ant., 466 ; Brass., 259; Cassel, 399, 400, 401 ; Darms., 302; Dresd., 1283, 1287; Dul., 107, 152, 190; Hague, 104,105; Hermit., 945-7-50,951- 2-3-4 ; Louvre, 369, 370-1-2-3, 82, 87 ; Munich, 835, 878 ; Nat. Gall., 846 ; Pesth, 642, 645; Rijks, 28S-9, 290-1 ; Vienna, Chud., 231. Ostade, Isaac van (ose-tah'-deh), 1621-1657, b. Zubeck, brother, pupil, and imitator of Adrian. Subjects were similar, especially village scenes and travellers halting at inns. Winter and skating scenes were also his favorite themes. " His rustic court-yards are, perhaps, still more picturesque than his interiors, and must certainly have been more difficult to color harmoniously." Principal Works: Amst., Hoop., 88; Brass., 260; Hermit., 962; Nat. Gall., 847, 963 ; Louvre, 376-7-8-9, 91 ; Munich, 843 ; Rijks, 292. Ostend (oast'-end'; east end), Belg., pop. about 20,000; founded in the 9th cent. ; walled in the 15th ; sustained a mem- orable siege by the Spanish from 1601 to 1604, in which it lost 50,000 men and the besiegers 80,000. See Route 11. Note 3. ♦Oxford, Eng., pop. about 30,000. It is a place of very re- mote antiquity, but the first fact connected with it that is known with certainty is, that in the reign of Alfred, who at one time resided in Oxford with his three sons, the place was noted for a monastery which was founded in the year 727. "Edmund Ironsides was murdered there. Canute frequently resided at Oxford, and Harold Harefoot, his son and successor, was crowned and died there. "In the year 1067, the town was stormed by William the Conqueror, and a cas- tle was built by him, now partly occupied by the county jail and house of correc- tion. During her contest with Stephen, the Empress Maude was closely besieged in Oxford Castle by her rival, but escaped in the night with only three attend- ants, and the castle surrendered next morning. Henry II. resided at Oxford during the great part of his reign, and here his valiant son, Richard Coeur de Lion, was born. " In the martyrdoms of Mary's reign, Latimer, Ridley, and Cranmer were burnt at Oxford, in front of Baliol College. During the civil wars, Oxford, after once or twice changing masters, became the headquarters of the King. After the bat- tle of Naseby, it surrendered to the parliamentary army under Fairfax. During the reign of James II. the university firmly resisted an illegal command of that prince to elect a Roman Catholic to the presidency of Magdalen College. James proceeded thither in person and expelled the contumacious members, whom, how- ever, when alarmed by the preparations of the Prince of Orange, he afterward restored. " The origin of the University of Oxford, like that of the town, is involved in obscurity. The earliest charter of privileges to the University as a corporate body is of the 28th Henry III. In 1603 the University obtained from James I. the privilege of sending two representatives to Parliament.' 1 — Black. The University comprises 20 colleges, the Bodleian and Radcliffe Libraries, and 5 halls. The colleges were founded : University 272 PAIN College, ''said to have been founded by Alfred, but this is be- lieved, on good grounds, to be a mistake," 1429 ; Baliol, 1263 ; Merton, 1264; Exeter, 1314; *Oriel, 1326; **Queen's, 1340; **New College, 1380 ; Lincoln, 1427 ; All-Souls, 1437 ; Magda- len, **tower, 1457; Brazenose, 1509; Corpus Christi, 1516; Christ Church, 1524 ; Trinity, 1554 ; St. John's, 1555 ; Jesus, 1571; Wadham, 1613; Pembroke, 1624; Worcester, 1714; Ke- ble, 1870. The number of students connected with the University is about 2,500. Some of the colleges have extensive grounds, which are laid out in shaded and delightful walks. The bell of Christ Church, called the "Great Tom," weighing 17,000 lbs., at ten minutes past 9 every evening, strikes 101 strokes, being the num- ber of students for which the college was founded. The place of the martyrdom of Latimer, Ridley, and Cranmer is marked by a cross in the pavement of one of the principal streets. Blenheim, the residence of the Duke of Marlborough, is nine miles distant. Painting. Whatever the Greeks may have achieved in the art of painting, nothing of all the works of the many artists men- tioned by the Greek and Latin writers, has descended to our time. Our knowledge is limited to the few specimens of wall decorations and mosaics discovered at Pompeii and Herculaneum. These show that ancient art had attained a high degree of per- fection, both as to form and color, and that Roman art was de- rived altogether from Greek models. In somewhat the same manner our knowledge of early Chris- tian painting is derived solely from the wall decorations of the catacombs in the vicinity of Rome. But while the catacomb pictures have their sources in the antique, and follow, from the second century to the eighth, the general art culture of the cen- turies in all their varying phases, still, the choice and concep- tion of subjects become of the greatest importance to us as indi- cating the relation of early Christian sentiment to art. The antagonism of Christianity to the Mythology of Greece and Rome, and to the worship of their divinities, forbade any repre- sentation or image of Divine Beings. Christian hope, however, sought expression, and wrought with pious tenderness its symbols upon the abodes of the departed. Among the earliest of these were the X P, a monogram for Christ, and the Alpha and Omega, the beginning and end, and similar symbols, expressive in gen- PAIN 273 eral of trust in the future life. The later symbolism, becoming more positive, represents Christ as a Shepherd, the Apostles as twelve sheep, and his followers as lambs. Yet under this dis- guise, the art, such as it was, was altogether antique ; the Christ was Apollo, the figure was pagan, and was frequently surrounded by cupids. The Evangelists were symbolized, Matthew, as having a human head ; Mark, of a lion ; Luke, of an ox ; John, of an eagle {vide The Evangelists. statues Musee des Thermes, Paris). The representations in the second and third centuries were principally of the Resurrection, sometimes the Nativity and the Raising of Lazarus, but none indicative of suffering by Christ, or of martyrdom. In the third and fourth centuries we find the first indications of special honor to the Virgin. She appears seated upon a throne, but without halo or nimbus, these still being pagan sym- bols ; her figure was gentle and in good proportion. No child ap- pears with the Virgin until after the Council of Ephesus, 331. In the fifth century, the decline in art and civilization becomes apparent in the want of harmonious proportion of the figures de- lineated — being unnaturally long or short. With the conversion of Constantine and the consequent sub- jugation of paganism, the repugnance to representations of ob- jects of worship is no longer manifest. Pictures of the Saviour now appear, though still with Grecian characteristics ; first of 18 274 PAIN Christ — Earliest known. Apollo and afterward of Jupiter, with beard and halo ; the head small, the face elongated, and the body of undue length. In re- gard to the so-called portraits of Christ, St. Augustine declares " that as to the personal appearance of Christ nothing is known." The removal of the seat of empire to By- zantium, and the decline of Rome, gradu- ally extended Byz'-an-tine influence, and finally established Byzantine art through- out Italy. Burckhardt remarks : " The Byzantine system was indeed partly founded on reminiscences of antiquities, but so stiff as to be hardly recognizable. Sanctity always takes the form of moroseness, since art was not permitted to arouse the thought of the supernatural by producing forms that were free, as well as grand. Even the Madonna becomes sulky, though the small lips and thin nose seem to make a certain attempt at loveliness ; in male heads there is often an expression of malice quite odious. The drapery, arranged in a particular number of motives, has a special way of falling into delicate stiff folds and breaks ; when the type requires it, it is merely a surface of ornaments, gold and jewels: in other places, in easel pictures constantly, and often in mosa- ics, the gold serves to represent the high lights. The movements and positions become more and more lifeless, and in works of the 11th cent., like the old mo- saics of S. Marco, they preserve hardly a trace of life. " This style now gained great influence in Italy also. Not only did many im- portant countries and towns, Rome among the number, remain for quite a thou- sand years in an apparent, and partially real, dependence on the Greek empire, but Byzantine art likewise possessed special qualities, which for a time assured its predominance over all Italian art. In both countries the religious feeling was the same ; it was not till the middle of the 11th cent, that the ecclesiastical breach between Rome and Byzantium was, once for all, decided. "The artistic treatment of the action and expression does not go beyond what ancient art supplied to the Christian painter ; incidents like the Adoration of the Magi, the Last Supper, the Miracle of the Loaves, only appear as figures stand- ing in a row with some slight expression in the attitudes, and the signs of life here apparent soon stiffen into a purely conventional arrangement. " The first object of Christian art was to teach, and the aim of the artist was to render the truth he desired to present, without any regard to the beauty of the representation : and as the truths were supposed to be immutable, the represen- tations also came to have a like fixedness. " Thus in Constantinople, where, in course of time, the practice of almost all the best art of the Christian world was concentrated, there grew up a system of adapting a certain arrangement of the scenes to be represented, a particular man- ner of depicting single figures, according to their importance and rank, and a special treatment of every detail. Every one learned this system by heart as far as his capacity allowed, and then reproduced it, for the most part without any reference to nature. This repetition of something learned by heart is the essen- tial characteristic of what we call the Byzantine Style." PAIN 275 Christ — Seventh century. Hence it is that this style presents so many almost identical Madonnas, so many scenes with sacred figures exactly alike. In the seventh century the decline of Italian art becomes evident in the general rudeness of the work. The nose and hair are straight, the brows and eyes semicircular, the neck broad and heavy, the expression a wild, dis- \ mal stare. The nimbus appears as a Greek cross. About 700, the Council of Constan- tinople decreed that, in crucifixions, the human figure should supplant that of the lamb, and from that date on- ward ' ' crucifixions " take their place in Christian art. At first Christ is represented as fully clad, youthful, erect on the cross, calm, and with open eyes. In this cent, the Keys first appear as appertain- ing to St. Peter. In the ninth century, the eyes become staring, the hair straight down the forehead, and, in gen- eral, the taste exhibited is barba- rian. Tbe Virgin is in a long robe, without a girdle, with " wooden hands, projecting ears, and the figure and pose of a mummy." Winckelmann remarks that "in the ninth century, By- zantine mosaics sink into a rude- ness for which it is not easy to find a historical reason in the civilization of the times." To this time there appears to have been no representation of Christ as suffering ; the nearest approach to such sentiment is the Bearing of the Cross with Simon. In the tenth and eleventh cen- turies art had become extinguished in Italy. The twelfth century took pleasure in depicting suffering. The Crucifixion — Earliest known. 276 PAIN Christ — Twelfth cent. image of Christ was repulsive, the hands formless, the head large and grim, with red hair, red patches on the cheeks, wrinkled brow, and large, staring eyes, sometimes closed. During all this long period, the colors em- ployed in religious painting were entirely symbolical, and were used according to their signification, and in no wise with regard to harmony, beauty, or the inclination of the artist. Each color had usually a good and an evil sense, as it was used in connection with good or evil beings. White signified purity and joy. Red, love, royalty, and power ; also war, hatred, and punishment. Blue or sapphire, truth, fidelity, and heaven. Yellow or gold, goodness, faith, and marriage ; also deceit and jealousy. Green or emerald, hope or victory. Violet, love and truth united ; also passion and suffering. Gray, humility and mourning. Black, darkness, sorrow, wretchedness, hell. White and red roses, love with innocence. Red and green, love and hope. White and black, purity of life. Hence, Christ, after the Resur- rection, and Mary, in the Immacu- late Conception and Assumption, are robed in white. The usual dress of the Virgin is a red tunic, with blue mantle ; but after the crucifixion, violet. St. John has a blue tunic and red mantle. St. Peter has a blue tunic and a yellow mantle. Mary Mag- dalen, as a penitent, wears blue and violet ; as a saint, red. At last, after a downward course for nearly a thousand years, the human mind turned once again toward nature and the beautiful. Creation of Adam — Twelfth century. In the thirteenth century, Modern Art found its earliest masters. PAIN 277 To Central Italy belongs the high honor of having given birth to these new and better imputes. In Siena, Pisa, Arezzo, and Florence, while the Byzantine stil remained supreme, there be- gan to be a manifest effort toward truth and beauty. The morning star of this new day-dawn was Cimabue (1240), whose works, whilst fol- lowing traditional ar- rangements, show a clear perception of the elements of human grace. Forty years later came the great Giotto, who so largely abandoned the Byzantine, and so en- kindled a new enthusi- asm both by his untiring energy and his new con- ceptions of art, that he has ever been regarded as " the father of mod- ern painting." A love of nature, beauty, and grace once awakened, the larger cities of Italy soon be- came each a fostering home of Art, where, in due time, under some leading master, arose a favorite or leading style designated a "school," and characterized by some peculiarity or excellence of composition or coloring adopted by the master. Hence, the Schools of Venice, Bologna, Florence, Titian, Correggio, etc., and, later, of Germany, Holland, France. Miracle of the Loaves — Twelfth century. Schools of Painting. In connection with each painter in the list is given his leading subject or style. Abbreviations: Eel. , religious ; Mad., Madonnas ; Myth., mythological ; Hist., historical; Fig., figures; Land., landscapes; Port., portraits; Int., interiors; Gn,, genre; Vor., subjects various. * indicates see further under thohe titles. 278 PAIN British School. 1618-1680, Lely, Sir Peter ; Port. 1646-1723, Kneller, Sir G.; Port. 1676-1734, Thornhill, Sir J.; Decora. ♦1697-1764, Hogarth, W.; Fig. db Port. ♦1723-1792, Reynolds, Sir J. ; Port. ♦1727-1788, Gainsborough, T.; Port. 1737-1815, Copley, J. S.; Port. db Hist. 1738-1820, West, Ben.: Hist. db Port. 1741-1806, Barry, J.; Hist. 1756-1823, Raeburn, H.; Port. 1757-1828, Blake, W.: Myth. 1761-1807, Opie, J.; Hist. db Port. 1763-1804, Morland, G.; Gn. db Swine. 1769-1830, Lawrence ; Port. ♦1775-1851, Turner ; Land. db Sea. 1776-1837, Constable ; Land. 1779-1844, Calcott ; Port. db Land. ♦1785-1841, Wilkie ; Rustic. 1786-1846, Hay don ; Hist. 1786-1831, Nasniyth, P.; Land. 1786-1831, Mulready ; Gn. 1787-1849, Etty, William ; Far. 1788-1847, Collins ; Land. 1793-1865, Eastlake ; Hist. db Fig. 1793-1867, Stantield ; Sea. 1794-1859, Leslie ; Gn. 1796-1864, Roberts ; Arch, db Int. 1802-1873, Landseer ; Animals. 1811-1870, Maclise, Dan.; Hist. Dutch School. 1494-1533, Leyden, L. van ; Var. 1562-1638, Haarlem, C. van ; Hist. db Port. 1567-1641, Mierevelt, M. J.; Port. 1567 1647, Bloemart, A.; Var. ♦1582-1649, Teniers, D., Eld,; Gn. ♦1584-1666, Hals, Frans; Gn. 1586-1667. Poelemburg, Cor.; Myth. ♦1590-1656, Honthorst, G.; Hist. ♦1596-1656, Goyen, J. van ; Sea. 1600-1674, Heem, J. D. de ; Fruit. 1600-1670, Ruysdael, Sal.; Land, ♦1600-1680, Wynants, Jan ; Land. ♦1605-1691, Cuyp, A.; Land, db Cattle. ♦1607-1669, Rembrandt ; Port. 1607-1692, Witte, E. de ; Int. ♦1608-1640, Brouwer, Adrian ; Gn. ♦1608-1681, Terburg, G.; Int., Satin. ♦1610?-1656?, J. & A. Both ; Land. 1610-1693, Velde, Wm. van de, Eld.; Sea. ♦1610-1685, Ostade, A. van ; Rustic. ♦1610-1690, Teniers, Yr.; Gn. ♦1611-1681, Bol, Perd.; Hist. 1613-1670, Heist, B. van der ; Port. ♦1613-1675, Dow, Gerard ; Candle-ight. 1615-1660, Flinck, Govaert; Port. *1619-16<>8, Wonverman ; Horsemen. 1619-1683, Neer, A. van der ; Moonlight. 1620-1679, Aelst, W. van ; Game. ♦1620-1683, Berchem ; Land db Cattle. ♦1621-1657, Ostade, I. van; Village Scenes. ♦1621-1660, Weenix, J. B.; Game. 1623-1671 ?, Heem, C. de ; Firs. ♦1625-1654, Potter, Paul ; Cattle. 1625-1682, Ruisdael, J.; Land. 1(525-1678, Jardin, K. du; Land. & Ani. ♦1626-1679, Steen, Jan ; Gn. 1627-1678, Hoogstraten, S. van; Gn. 1630-1693, Kalf, Willem ; Kitchen. 1630-1667, Metsu, Gabriel ; Gn. ♦1631-1709. Bakhuisen. L.; Sea. 1632-1696, Meer, J. van der ; Streets. 1632-1671?, Hooghe, P.de; Int. 1633-1686, Moucheron, F.; Land. ♦1633-1707, Velde, W. van de, Yr.; Sea. ♦1635-1681, Mieris, F. van, Eld.; Gn, ♦1636-1695, Hondecoeter, M.; Poultry. ♦1637-1712, Heyden, J. van der: Arch. ♦1638-1709, Hobbema, M.; Land. ♦1639-1672, Velde, A. van de ; Land. 1639-1679, Mignon, Abraham ; Firs. 1639-1694, Netscher. G.; Gn., Children. 1640-1691, Slingeland, P. van ; Gn. ♦1640-1719, Weenix, J.; Dead Game. 1643-1706, Schalken, G.; Candlelight. ♦1659-1722, Werff, A. van der , Fig. 1662-1747, Mieris, W. van ; Gn. 1682-1749, Huysum, J. van; Fruit db Firs. 1744-1808, Os, Jan van ; Fruit db Firs. Flemish School. ♦1366-1426. Eyck, H. van ; Rel. ♦1390-1440?, Eyck, J. van ; Rel. ♦1391 ?-1475, Bouts, D.; Rel. ♦1400 ?-1464, Weyden, R. van der ; Rel. ♦1430?-1495, Memling ; St. Ursula. ♦1466-1531, Matsys, Q.; Gn. 1470-1532, Mabuse, J. G.: Port. ♦1488-1542, Orley, B. van ; Rel. 1506-1566, Susterman. L.; Rel. 1520-1570, Floris, F.; Rel. db Myth. ♦1520-1569, Brueghel,P.,Eld.; Peasants. 1531-1603, Vos, Martin de ; Fig. 1546-1580, Pourbus, F., Eld.; Port. ♦1556-1626, Bril, Paul: Rel. ♦1564-1637, Brueghel, P., Yr.; "Hell." 1570-1622, Pourbus, F., Yr.; Hist. ♦1570-1651, Neefs, P., Eld.; Torchlight. ♦1577-1640, Rubens, P. P.: Var. ♦1579-1657, Snyders, Fr.; Ani. db Game. 1582-1669, Crayer, G. de ; Rel. ♦1589-1642, Brueghel, J., Yr.; Velvets. 1593-1670?, Snayers, P.; Hist. ♦1593-1678, Jordaens, J.: Var. 1597-1637, Rombouts. T.; Rel. 1597-1681, Sustermans, J.; Hist., Port. ♦1599-1641, Dyck, A. van; Port, db Var. PAIN 279 1599-1652, Utrecht, A. van ; Fruit db Firs. 161)0-1671, Oost. J. van, Eld.; Port. *1600-1675, Neefs, P., Yr.; Ch. Int. ♦1602-1674, Champaigne, P. de; Port. 1607-1675, Diepenbeck, A.; Fig. 1607-1678, Quellin, E.; Fig. 1609-1661, Fyt, Jan ; Dead Game. 1634-1690, Meulen, van der ; Hist. 1639-1713, Oost, J. van, Yr.; Port. 1641-1711, Lairesse, G. de ; Myth. 164S-1727, Huysmans, C. ; Land. 1662-1740, Bloemen, J. P. van ; Land. ♦1755-1826, Ommeganck ; Land db A?ii. 1803-1874, Wappers, Gus.; Hist. 1815-1869, Leys, J. A. H. : Hist. French School. 1500?-1589?, Cousin, J.; Fig. 1500-1572, Clouet, F.; Port. 1567-1619. Fr6minet, M.; Decom. 1590-1649.' Vouet, S.; Decora. 1592-1635, Callot, J.; Battles. *1594-1665, Poussin, N.; Myth, db Var. ♦1600-1682, Claude ; Land. 1605-1668, Mignard, N.; Port, db Deco. 1609-1674. Boullongne, L. de ; Eel. 1606-1656; Hire, L. de la ; Hint. 1610-1695, Mignard, P.; Port. ♦1613-1675, Poussin, Gas.: Land. 1617-1655, Sueur, E. le; Bel., Myth. ♦1619-1690, Brun, C. le ; Hist., Myth. 1621-1676, Courtois, J.; Battles. 1659-1743, Rigaud, H.; Port. 1661-1743, Desportes, F.; Dogs. ♦16S4-1721, Watteau, A.; Fetes. 1684-1745, Loo, J. B. van: Hist., Myth, 1686-1755, Oudrv, J. B.; Chase. 1688-1737, Moine, Fr. le ; Myth. 1699-1749, Subleyras, P. ; Bel. 1704-1770, Boucher, F.; Pastoral. 1705-1765, Loo. C. A. van; Myth db Port. ♦1714-1789, Vernet, C. J.: Seaports. 1725-1805, Greuze, J. B. ; Port db Gn. ♦1748-1825, David, J. L.; Hist., Myth. 1755-1842, Brun, Mrae. le ; Port. ♦1758-1835, Vernet, A. C. H. ; Horses. 1758-1823, Prud'hon ; Fig. 1767-1824, Girodet ; Fig. 1770-1837, Gerard, Fr.; Port., Hist. 1771-1835, Gros, Ant. J.; Battles. 1774-1833, Guerin ; Fig. ♦1789-1863, Vernet, H.; Battles. 1791-1824, Gericault ; Fig. db Horses. 1794-1835, Robert, L. L. ; Genre. ♦1795-1858, Scheffer, Ary ; Scrip. ♦1797-1856, Delaroche, P.; Hist. 1799-1863, Delacroix, E.; Hist. German School. ?-1378, Wilhelm, W. von ; Bel. ?-1451, Lochner, S.; Bel. 1420-1499. Schongauer,M.; Bel. 1434-1519, Wolgemut, M.; Bel. ♦1460-1523, Holbein, Eld.; Bel. ♦1471-1528, Diirer, A.; Fig. db Var. ♦1472-1553, Cranach, L.; Fig. ♦1497-1543, Holbein, Yr.; Fig. ♦1515-1586, Cranach, L., Yr.; Fig. 1574-1620, Elzheimer, A.; Land. 1606-1688, Sandart, J.; Hist, db Port. 1631-1685. Roos, J. H.; Animals. ♦1685-1749, Denner, Bait.; Old Faces. 1712-1774, Dietrich, C; Copies. ♦1728-1779, Mengs. A. R.; Myth. ♦1741-1807, Kauffmann, A.; Port. 1768-1814, Mind, Gott.; Cats. 1783-1867, Cornelius, P.: Faust. 1789-1869, Overbeck, Fr.; Bel. 1804-1874, Kaulbach ; Hist. 1768-1839, Koch ; Land. 1794-1872, Schnorr. Ju. ; Hist.Nibelung. 1808-1880, Lessing,C. F.; Hist.db Land. 1816-1859, Rethel ; Hist. 1816-1858, Leutze ; Hist, db Land. Italian School. The principal subdivisions of Italian Art, are into the Schools of Lombardy, Venice, Bologna, Florence, Siena, Rome, and Na- ples. Occasionally an artist appears with the characteristics of no distinct school, in which case he is ranked in that to which his style most nearly corresponds. 1200 ? ?, Gnido of Siena ; Rel. ♦1240-1302 ?, Cimabue ; Ft. Rel. 1260-1320 ?, Duccio : Si. Rel. ♦1266-1337. Giotto ; Fl. Rel. 1280-1348, Lorenzetti ; Si. Rel. ♦1300-1366, Gaddi, T.; Fl. Fresco. ♦130S-1368?, Orcagna; Fl. Rel. 1316-1409, Aretino, S.: Fl. Rel. 1324 ?, Giottino ; Fl. Rel. ♦1325-1396, Gaddi, Ag. ; Fl. Rel. 1370-1450, Fabrino ; Fl. Rel. ♦1387-1455, Angelico, Fra.; Fl. Rel. 280 PAIN 1394-1474, Squarcione ; Padua, Fig. *1395-1470, Bellini, J.; Ven. Rel. 1396-1479. Dono, Paolo di ; Fl. Birds. *1401-1428, Masaccio ; Fl. Fig. *1412-1469, Lippi, Fra ; Fl. Madon. *1415-1492, Francesca, P.; Fl. Persp. 1420-1498, Gozzoli ; Fl. Rel. *1421-1507. Bellini, Gen.; Ven. Fig. *1427-151«; Bellini, G-io.; Ven. Fig. *1430 ?-1495 ?, Crivelli : Ven. Rel. *1431-1506, Mantegna ; Fl. Rel. Hist. 1482-1488, Verrocchio ; Fl. Fig. 1433-1498, Pollajuolo, A.; Fl. Fig. 1439-1506, Roselli ; Fl. Rel. *1440?-1494, Santi, Gio.; Fl. Rel. *1441-1521, Signorelli ; Fl. Hist. 1443-1596, Pollajuolo, P.; F(. Fig. *1440-1524. Peragino ; Fl. Fig. *1447-1510, Botticelli : Fl. Myth. *1449-1594, Ghirlandaio, D.; Fl. Rel. ♦1450-1517, Francia, Fr.; Bol. Rel. 1450-1522?, Carpaccid, V.; Ven. Hist. *1452-1519, Vinci, da ; Lorn. Fig. 1454-1513, Pinturicchio ; Fl. Rel. 1455 ?-1523, Montagna ; Lorn. Rel. *1455?-1525, Boreonone ; Lorn. Rel. *1459-1537, Credit Lor. di ; Fl. Rel. *1460-1504, Lippi, Filippino ; Fl. Rel. 1466-1524, Garbo, G. A.; Fl. Rel. *1469-1517, Bartolommeo, Fra; FL Rel. 1470-1520, Basaiti, M.; Fl. Rel. 1470-1523, Viti, T.; Fl. Madon. *1470-153.J, Luini, Ber.; Lorn. Rel. ' 1473-1529. Morone, F.; Lorn. Rel. *1473-1549, Sodoma, II; Fl. Rel. 1474-1515, Albertinelli ; Fl. Rel. 1474-1558, Dossi, D.; Lorn. Myth. *1 475-1564, Angelo, M.; Fl. Fig. *1476-1511, Giorgione ; Ven. Fig. *1477-1576, Titian ; Ven. Fig. 1479-1560, Dossi, D.; Fl. Rel. *1 480-1528, Palma, Vec; Ven. Fig. 1480-1558, Lotto, L.; Loin. Rel, *1480 ?-1530 ?, Spagna, Lo; Nap. Rel. 1481-1536, Peruzzi, B. ; Si. Rel. *1483-1520, Raphael ; Bom. Fig. *1483-1554?, Alfani, L\; Fl. Rel. *1483-1539. Pordenone ; Ven. Port. 14S3-1560, Ghirlandaio, R.; Fl. Rel. 14S4-1542, Bagnacavallo, B.; Bol. Rel. 1484-1549, Ferrari, G.; Lorn. Rel. 1484-1549, Sesto, 0. da ; Lorn. Fig. *1485-1547, Piombo, S.; Ven. Port. 1486-1522, Morando, P.; Lorn. Port. 1486-1551, Beccafumi, D.; Si. Rel. 1488-1528, Penni, G. F.; Bom. Fig. *1488-1525, Sarto, A. del; Fl. Rel. 1490-1549, Imola, da; Bom. Fig. 1490-1570, Primaticcio, F.; Bol. Myth. 1490?-1525?, Benvenuto, G. B.; Bol. Fig. *1491-1553, Bonifazio, V.; Ven. Rel. *1494-1534, Correggio ; Lorn. Fig. 1494-1556, Pontormo, J.; Fl. Port. 1495-1543, Caldara, P.; Lorn. Rel. *1498-1546, Romano, G.; Bom. Fig. 1498-1555 ?, Moretto, II ; Ven. Rel. 1500-1547, Vaga, del ; Bom. Fig. *1500-1571, Bordone, P.; Ven. Port. *1502-1572?, Bronzino, A.; Fl. Port. *1504-1540, Parmegiano ; Lorn. Rel. *1509-1566, Volterra, D. da; Fl. Rel. 1510-1578, Moroni, G. B.; Lorn. Port. *1510-1592, Bassano ; Ven. Gn. 1512-1574, Vasari, G.; Fl.Tort. *1518-1594, Tintoretto ; Ven. Fig. 1522-1582, Schiavone, A.; Ven. Port, *1528-1588, Veronese, P.; Ven. Bib. & Myth. *1528-1612, Baroccio, F.; Bom. Fig. *1535-1607, Allori, Al.; Fl. Port. *1544-1628, Palma, Yr.; Ven. Myth. *1555-1619, Carracci, Lud.; Bol. Rel. 1557-1633, Crespi, G. B.; Lorn. Fig. *1557-1602, Carracci, Ag. ; Bol. Rel. Myth. *1559-1613, Cigoli, L. C. da ; Fl. St. Fran. *1560-1609, Carracci, An.; Bol. Myth. *1569-1609, Caravaggio, M. A.; Nap. Gn. ♦1575-1642, Guido (Reni) ; Bol. Fig. *1577-1621, Allori, Ch.; Fl. Land. *1578-1660, Albani ; Bol. Myth. 1580-1615, Schedone ; Lorn. Fig. *1581-1641, Domenichino ; Bol. Rel. 1581-1647, Lanfranco ; Bol. Groups. 1590-1650, Padovanino; Ven. Fig. *1591-1666, Guercino ; Bol. Fig. *1596-1669, Cortona ; Fl. Rel. *1605-1685, Sassoferrato ; Boon. Madon. *1615-1673, Rosa. Sal v.; Nap. Land. *1616-1686, Dolci, C; Fl. Fig. 1625-1713, Maratta, C; Bom. Mad. 1632-1705, Giordano ; Nap. Rel. 1697-1768, Canaletto : Ven. Archi. 1702-17S7, Batoni (Battoni), P.; Bom. Fig. 1712-1793, Guardi ; Ven. Arch. Spanish School. 1510-1586, Morales. L. de ; Bel. 1550-1628 ?, Ribalta, F. de ; Bel. *1 588-1656, Ribera, J. de ; Bel. 1597-1628, Ribalta, J. de ; Bel. * 1598-1 662, Zurbaran, F.; Monks. *1599-1660, Velasquez ; Var. *1618-1682, Murillo ; Mad. & Var. 1630-1691, Leal, J. de V.; Bel. 1746-1828, Goya, F.; Caricature. PAIN 281 For reference to the following painters, see under the name adjoined. Guidi, Tonimaso, see Masaccio. Licinio Regillo, see Pordenone. Luciani, see Piombo. Mazzuoli, see Parmegiano. Pippi, see G. Romano. Ponte, see Bassano. Porta, della, see Bartolommeo. Kaibolini, see Fr. Francia. Razzi, see Socloma. Regillo, L., see Pordenone. Reni, see Guido. Rhyn, see Rembrandt van. Robusti, see Tintoretto, Ricciarelli, see Volterra. Salvi, see Sassoferrato. Sandro, see Gozzoli, Santi, see Raphael. Sanzio, see Raphael. Spagnoletto, see Ribera. Spinello, see Aretino. Tisio, Ben., see Garafalo. Vannucci, see Perugino. Vannucchi, see del Sarto. Varotari, see Padovanino. Vecellio, see Titian. Zampieri, see Domenichino. the Great Masters. Fornarini, Piombo, Uffizi. John, St., with Lamb, Murillo, Nat. Gall. Jupiter & Io, Correggio, Berlin. La Notte, Correggio, Dresden. Lamb, Ad. of Immac, van Eyck, Cath., Ghent. Landscape, Gas. Poussin, Nat. Gall. Landscape, Gas. Potcssin, Nat. Gall. Landscape, Salvator Rosa, Nat. Gall. Last Judgment, M. Angelo, Sis. Chap. Last Supper, da Vinci, S. M. delle Grazie, Milan. Leda and Swan, Correggio, Berlin. Madonna, Cimabue, S. M. Novella, Florence. Madonna, Holbein, Dresden. Madonna, Holbein, Darmstadt. Madonna, Masaccio, S. M. del Carmine, Florence. Magdalen, Batoni, Dresden. Magdalen. Reading, Correggio, Dres- den. Magdalen, Guido, Berlin. Magdalen, Titian, Pitti. Mater Dolorosa, Bold, Uffizi. Marriage a la Mode, Hogarth, Nat Gall. Marriage of Cana, Veronese, Louvre. Martyrs, The, Murillo, Hermitage. Mona Lisa, da Vinci, Louvre. Night-Watch, Rembrandt. Rijk's Mua Allegri, see Correggio. Allori, Ag. , see Bromino. Amerighi, see M. A . Caravaggio. Barbarelli, see Giorgione. Barbiexi, see Guercino. Bazzi, see Sodoma. Beato, II, see Angelico. Biagio, see Pintaricchio. Bigordi, see Ghirlandaio, D. Bondone, see Giotto. Boninsegna, see Duccio di. Bonvicino, see II Moretto. Buonarroti, see M. Angelo. Caliari, see P. Veronese. Caravaggio, P. C, see Caldara. Cardi, see Cigoli. Carucci, see Pontormo. Cione, see Orcagna. Claude, see Lorraine. Conegliano, see Cima. Dughet, see G. Poussin. Fiesole, see Angelico. Filipepi, see Botticelli. Frate, II, see Bartolommeo. Gel6e, see C. Lorraine. Grannucci, see G. Romano. Paintings, Noted, of Adoration of Shepherds, Rembrandt, National Gallery. Anatomical Lecture, Rembrandt, The Hague. Assumption, Titian, Venice. Aurora, Guido, Rospigliosi Pal. Beatrice Cenci, Guido, Barberini Pal. Bull, Young, Potter, The Hague. Cecilia, St., Bold, Dresden. Cecilia, St., Raphael, Bologna. Chapeau de Poil (paille), Rubens, Na- tional Gallery. Christ and Angels, Fra Angelico, Na- tional Gallery. Christ Appearing to M. Magdalen, Ti- tian, National Gallery. Conception, Immac, Murillo, Louvre. Coronation of Josephine, David, Ver- sailles. Crucifixion, Rubens, Antwerp. Descent from the Cross, Rubens, Cath., Antwerp. Descent, Volterra, Trinita de 1 Monti, Rome. Danae, Correggio, Borghese Pal. Jerome, St., Gio. Bellini, Nat. Gall. Jerome, St., Domenichino, Vatican. Ecce Homo, Guido, Dresden. Family of Darius at Feet of Alex., P. Veronese, Nat. Gall. Farmyard, Potter, Hermitage. Fornarini, Rapkael, Barberini Pal. 282 PALA Paradise, Tintoretto, Doges' Pal. School of Athens, Raphael, "Vatican. Sistine Madonna, Raphael, Dresden. Transfiguration, Raphael, Vatican. Venus, 'Titian, Uffizi. Vestal Virgin, Kauffman, Dresden. Palace of the Conservators. See Part II., Palace of Conservators. P. 463. Palais de I'lndustrie (pal-a'-deh-lan'-doos-tree), Paris,, on the s. side of the Champs Elysees, about midway from Place de la Concorde, to the Arc de Triomphe. Erected in 1852; in 1855 used for the first great French Exposition. Over the principal entrance is a colossal group of France awarding wreaths of honor to Art and Manufacture. The building is now used for a per- manent exhibition of works of industry and art. It is about 800 ft. in length, and is 115 in height. * Palais de Justice (pal-a'-deh-joos'-tees), Paris, at the lower end of He de la Cite. The royal residence of the French monarchs in Paris until the 14th cent, was upon the island. Among the buildings containing portions of these ancient struc- tures are the Palais de Justice, the Conciergerie, and the Pre- fecture de Police. In the disastrous conflagrations of 1618 and 1776, four towers alone escaped : the Tour de l'Horologe, sq.; Tour du Grand Caesar, ro.; Tour de Montgomery, ro.; and Tour d' Argent, ro. Of these, however, as well as of the buildings which had been restored, little remained after the Communist conflagration in 1871 . The first public clock in France was displayed upon the Tour de l'Horologe, 1370, and remained iu use nearly 4 centuries. As- sociated with the Salle des Pas Perdues, the magnificent hall of the palace, are many events of historical importance. On the r. is a monument to Malsherbes, the defender of the unfortunate Louis XVI. , erected by Louis XVIII. , 1821. The bell in the tower is the one which gave the signal for the St. Bartholomew massacre, it then being in the tower of the Church of St. Cer. l'Auxerrois. ♦Palais Royal (pal-ay'-roy-ahl), Rue de Bivoli, Paris, opp. the Louvre ; erected by Cardinal Richelieu, 1626, and called Pal- ais Cardinal ; presented by him to Louis XIII. and then called Palais Royal ; afterward occupied by Anne of Austria with her two minor sons (Louis XIV. and Philip). Louis XIV. presented it to his brother Philip, whose son, Philip the Regent, made it his resi dence. During his occupancy occurred the disgraceful scenes so well known in the history of those times. His grandson, Philip Egalite (beheaded in 1793), to recover his squandered wealth, erected the shops now surrounding the court and garden. Des- PALA 288 moulins here, in 1789, assumed the green cockade, aroused the people to arms, organized the National Guard, and led to the at- tack and capture of the Bastille. From 1801 to 1807, Napoleon here assembled the Tribunat, whence it was called the Palais du Tribunat. In 1815 it was occupied by Lucien Bonaparte, and upon the Restoration was returned to the Orleans family, and oc- cupied by Louis Philippe until he ascended the throne, 1830. In the Revolution of 1848 the Royal Apartments were com- pletely sacked ; pictures, porcelains, and plate-glass sharing alike. After this time it was known as Palais National, until Napoleon III. restored the present title. During the reign of the late Napoleon it was the residence of Prince Jerome Na- poleon. In the general conflagration set by the Communists, in 1871, the s. portion of the Palais was consumed — now fully re- built. The shops, which are very attractive by day or evening, extend under a colonnade entirely around the court or garden ; entrance upon the 1. of the front. Among the statuary are Apollo Belve- dere, Diana, Youth bathing, Eurydice bitten by a serpent. Chairs in the garden to let, 2 sous. ** The Pal-a-tine Hill (tine or teen), Rome. Upon this hill stood the Oppidum or fortress of the ancient Pelasgi ; and here Evander welcomed .ZEneas. And when iEneas established his new city, this hill was included within its boundaries. The northern portion was reserved for the temples of the gods and for the residence of the kings, and in later times of the aristoc- racy. It was never occupied by the plebeians. Here Romulus and Remus were brought up by Faustulus, the shepherd ; Au- gustus was born ; the Gracchi, Catulus, Marius, Octavius, Emil. Scaurus, Clodius, Cicero, Marc Antony, Drusus, and Crassus had their homes ; and Augustus, Tiberius, Caligula, Commodus, Do- mitian, Nero, Vespasian, and Sept. Severus had their palaces on the Palatine Hill. The Palace of Augustus (21), the first erected, was on the s. w. part of the hill, where the Villa Mills now stands, and west- ward. In the sacking of the city by Genseric, a.d. 455, the palaces suffered irreparable injury. In 663, the palace of Vespasian was occupied by Emp. Constans, and it is probable that it continued habitable for a century afterward. At length it fell into entire ruin, and the whole became so 284 PALA covered with debris that for centuries little was to be seen except here and there some nameless ruin, till at last all knowledge of the buildings and localities on the Palatine was lost. Since 1846 extensive excavations have been made, and many localities uncovered, and their structures and rooms identified. v ia. di Arch, of Titus I Via. Sacra Forum. Plan of the Palatine Hill. 1. Entrance from the Fo- 6. Tablinium. 7. Lararinm. Augus- 8. Peristyle. Triclinium. Nymphaeum, or Bath. Biblioteca. Pal. of Sep. Severus. Temple of Jupiter Vic- tor ? House of Germanicus. rum. 2. Birthplace of tus. 3. Temple of Jupiter Sta- tor. 4. House of Tarquin ? 5 to 10. Palace of Vespa- sian and Domitian. 5. Basilica. 9. 10. 11. 12. I'd. 14. 15. 16. 17. 18. 19. 20. 21. 22. House of Romulus ? Palace of Tiberius. Palace of Caligula. Porta Romana. Museum. House of Cicero. Convent Grrounds,cover- ing in part the Pal. of Augustus. S. Bonaventura. Entering from the Yia Sacra (vee'-ah-sack'-rah) (1), beyond the Forum, on the r. are seen the massive ruins of the Palace of Caligula (17). Ascending the first section of the stairs and turn- ing to the 1. we proceed along the base of the hill, where stood many houses of the Patricians, till nearly opposite the Arch of Titus. Birthplace of Augustus. Near this point (2) — probably some- what farther toward the Coliseum — was the site of the house of Octavius, "at the top of a staircase;" where his son, Octavius (Augustus), was born. After the death of Augustus, it was con- verted into a chapel and consecrated to him. Turning to the r. and following the depression toward the PALA 285 summit of the hill, on the r. are seen portions of Roma Quad- raia (walls), dating prior to Romulus. Beyond r. are the foun- dations of the Temple op Jupiter Stator (3), built by Romulus in pur- suance of a vow made to Jupiter when in a battle with the Sabines. Here Cicero pronounced his first oration against Cati- line. The large pavement blocks here seen are a portion of the ancient Via Nova. On the 1. fragments of the Porta Mugonia, one of the three gates of the Rome of Romulus. Adjacent was the seat (4) of Ancus Martius, King of the Sabines, and of Tarquinius. It was here that the latter was murdered, and that Tanaquil, his wife, addressed the mob from a window. ** Palace op Vespasian (zian) and Domitian (do-mish'-e-an) (5-10). Vespasian filled the depression between the Velian Hill on the 1. and the Germale on the r. with massive cross- walls, and upon these erected his imperial palace. Afterward Domitian rebuilt and enlarged the residence of Vespasian, and it was occupied by several successive emperors. The ruins at present uncovered are chiefly those of the Ves- pasian palace. This was the seat of imperial power during the 2d and 3d centuries. The front is the Atrium — the station of the guard — an oblong court surrounded with columns. Ba-sil-i-ca Jovis, or Hall of Justice (5). Here the Emperor sat for important trials. At the farther end was the elevated tribune, separated from the nave by a marble railing. A frag- ment of one leg of the Emperor's chair yet remains in the pave- ment. Below was the prisoner's box or ki Confession." The Tab-liri '-i-um (6), the great Throne-room, where audiences were granted by the Emperor. It was covered by a vast arch supported only by the side walls. In the niches were found statues, among which were a colossal Hercules and Bacchus. The La-ra-ri-um (7) was the chapel of the household gods or La-res. At the farther end is a small marble altar having on the front the figure of the GTenius Familiaris, with head covered ; at the sides, the Lares with boots, pitcher, etc. The Peristyle (8). To the rear of these three rooms, was a large open court with statues, fountains, flowers and shrubbery, surrounded by a colonnade. This was a favorite resort of Domi- tian, who from his constant fear of being murdered, had the walls covered with a kind of marble polished to reflect like a mirror. The Tri-cliii -i-um (9) or Dining-room. In the centre, a flight 286 PALA of steps leads down to a structure called the Baths of Livia, of which Vespasian made use as substructures for his palace. It was from this hall that Pertinax, hearing confusion among the guard, went forth to be murdered in front of the palace. Beyond is the Vomitorium, to which the gorged feasters retired to tickle their throats with a feather, that they might return with renewed appetite. The Nym-phcn' -um (10) or Bath-room, with niches for statuary, exhibits remains of an alabaster pavement and an oval fountain. In this room the Eros of the Louvre was discovered, 1862. Be- yond the portico are some ruins designated the Biblioteca (11) or Palatine Library, adjacent to which is a room with seats against the walls, called the Accademia. Neither of these rooms has been identified with any great degree of certainty. To the left we pass to the rear of the Palace of Augustus, enclosed within the Convent grounds, and at present inaccessible ; and at some little distance beyond we find the ruins (12) of the Palace of Sept. Severus, which, though of greater extent than those before men- tioned, are of comparatively small interest, from their not having been identified. Returning, near the corner of the Nymphaeum, are the foun- dations of the Temple of Jupiter Victor (13), erected by Fabius Maximus, in obedience to a vow made at the battle of Sentinum, B.C. 295. The grand stairs have been partly restored — on which is an altar, with grooves for the blood of the victim. This point commands an extensive view of the city and the valley of the Tiber to the west and south. **The House op Germanicus (14), excavated 1869. Its walls are decorated with paintings unsurpassed by any yet found at Pompeii. Central room : r., Mercury releasing Io from Argus ; middle wall, Galatea and Polyphemus ; 1., lead water-pipes, upon which are inscriptions indicating the history of the house. Room to the r. decorated with garlands and vases of flowers and fruit, with masks; room on the 1. with arabesques and airy figures painted on a white ground. The Triclinium, to the r. in the court, with red walls, is ornamented with large landscapes. The stairs near this room lead to the small bed-chamber and other rooms of the house. The House op Romulus (15). This point is sometimes des- ignated as the house of Romulus, and sometimes as the Den of the Wolf. (Highly apocryphal ! ) PALA 287 The Palace op Tiberius (16) stood along the northern edge of the hill, looking down upon the Velabrum. Here Livia, wife of Augustus, and mother of Tiberius, died at the age of 82 or 86. The arches seen are the quarters of the guard. From the vicin- ity of the house of Germanicus a covered passage extends to near the Casino, at the main entrance. It was in this passage that Caligula was assassinated, a.d. 41, when returning from witness- ing a play in the atrium of his palace. ♦Palace of Caligula (17). To the left, and farther along the margin of the hill, extending to the Via Sacra, upon the n.e. corner of the Palatine. Extensive ruins of this palace remain, of which considerable portions have been excavated, although the purpose of the different rooms has not been clearly determined. ' ' Here Caligula lived his half -insane, imperial life. Here at a public banquet bursting into a fit of laughter which caused the consuls to inquire into the cause of his mirth, he informed them he was thinking-how by a single word he could cause both their heads to roll on the floor." Here, also, Claudius, his successor, on being informed at a feast that his wife Messalina was dead, ' ' asked no questions and went on eating his supper;" and here Agrippina, his next wife, gave him his last supper of poisoned mushrooms, to make way for her son Nero. The Bridge op Caligula (18) extended from his palace to the summit of the Capitoline Hill ; built that he might the more readily hold intercourse with Jupiter in his temple. It was de- stroyed by Claudius. Below, at the corner near the Forum, may be seen remains of some of the arches. Porta Romana (18). Some ruins at the extreme corner are identified as the ancient gateway of the Palatine, near which, outside, were the Sabine Temple of Victory, and the Temple of Cybele. The Museum (19), nearer the entrance, contains many objects of value found in excavating — statues, busts, reliefs, coins, ivory, glass, etc. The House op Cicero (20) was on the lower ground between the Porta Romana and the present entrance. In this vicinity also resided C. Gracchus, F. Flaccus, L. Q. Catulus, the poet, Marius, and Claudius. The Palazzo Reale (pah-laht'-zo-ray-ah'-lay), Naples, erected, 1600 ; burned, 1837 ; rebuilt, 1841. Upon applying at 288 PALI the door, the porter (small fee) conducts the visitor to the office, where he will be furnished with a card of admission to the palace and also to Capodimonte, Caserta, and other places (no fee). An attendant (1 fr.) shows the visitor through the palace and gar- dens. Adjoining the palace is the Theatre San Carlo, the most capacious in Europe : built 1737 ; burned, 1816 ; since rebuilt. Many of the compositions of Rossini, Donizetti, Bellini, and Mer- cadante, were first performed here. Pallavicini Villa. See Genoa. Palma, Ciacomo (Jacopo), called II Vecchio (vek'-ke-o), or the Elder, 1480-1528, b. at Serina, Italy. One of the best masters of the Venetian School in the management of light, shade, and color. His backgrounds are usually of a warm summer landscape. He excels in fine, elegant female figures, and in rich and tasteful apparel. In the voluptuous tenderness of his female forms and in the richness of his coloring he is scarcely inferior to Titian. His Three Graces, in the Dresden Gall., are said to be portraits of his daughters ; and his St. Barbara, that of Violante, his favorite. Principal Works : Belv. , seven ; Bergamo, 156, 285 ? ; Berlin, 174, 197A ; Borgh., 32 ; Brera, 168, 284 ; Colon., Holy Fam.; Dres., 242-3-4-5-6 ; Hamp. Ct., 115, 79?, 163?; Hermit., 90, 91, 92; Louvre, 274; Munich, 588; Naples, 28; Pitti, 38, 84, 254 ; Siena, 81 ; Venice, Doges' Pal., 593 ; Uffi., 619, 623, 650 ? Palma, Ciacomo (jack-o-mo), called Giovine, or the Younger, 1544-1628 ; nephew of the Elder. Preferred mytho- logical subjects, half-nude figures in the midst of a delightful landscape. Principal Works : Cassel, 97, 101, 98; Naples, 57; Venice, Doges' Pal., 40. The Last Judgment and Christ adored by two Doges, among hia best works. Panorama, Avenue des Champs Elysees, Paris, adjacent to the Palais de l'Industrie. Open daily, 2 f rs. ; Sun. , 1 fr. At present exhibiting the " Siege of Paris." A remarkably vivid representa- tion. Panth6on, The (pan-tay-ofl), or ch. of St. Genevieve, Paris. A church was erected here in the 6th century over the tomb of St. Genevieve, the protectress of Paris. Having fallen into decay, it was rebuilt at the instance of Mme. de Pompadour, Louis XV. laying the corner-stone, 1764. It occupies a most commanding position near the Luxembourg Palace, and is one of the finest architectural structures of the city. The tympanum, 117 ft. long and 23 ft. high, contains a group PANT 289 of statuary by d' Angers, of " France conferring honors upon her illustrious men." On the 1. are Fenelon, Malesherbes, Mirabeau, Carnot, Voltaire, Rousseau, Lafayette, and David ; on the r. , Napoleon and soldiers. Beneath is the inscription, " Aux Grands Hommes la Patrie reconaissante." Below are two groups, the Baptism of Clovis, and Attila and St. Genevieve. The plan of the church is that of a Greek cross, each arm ter- minating in a pediment. The interior is of less interest than the visitor naturally antici- pates. The dome was decorated by Gros, representing Clovis, Charlemagne, St. Louis, and other kings of France paying hom- age to St. Genevieve. Beneath are extensive vaults, in which rest the remains of Lagrange, Bougainville, and Marshal Lannes. Mirabeau and Marat were interred here, but were afterward removed. There are cenotaphs to Voltaire and Rousseau. The columns in and around the building number 250. The summit commands one of the finest views to be obtained of the city and suburbs to the south and east. ** Pan'-the-on, The, Rome, midway between the Corso and Piazza Navona. In front, in the centre of the Piazza, is a small obelisk standing in a fountain. The hieroglyphics refer it to the time of Psammeticus II. Placed here, 1711. The Pantheon was erected by Agrippa, son-in-law of Augustus, B. c. 27. There has been much discussion as to the original pur- pose of the building, but the name Pantheon was in use as early as a.d. 59. In 399 it was closed as a temple by decree of Hono- rius, and in 608 it was consecrated as a Christian church, to which latter fact its preservation is doubtless due. The Pan- theon is the only building of Ancient Rome not now in ruins ; ex- cavations and removals are in progress to ascertain, if possible, its connection with the other ancient structures. In 645, Emperor Constans II. carried away the gilt bronze til- ing of its roof ; and Urban VIII. plundered it of 450,000 lbs. of bronze for the baldacchino of St. Peter's, and for cannons for St. Angelo ; adding, by way of compensation, the two impertinent campaniles, appreciatively called "asses' ears;" and finally, Benedict XIV. pillaged ib of the marbles lining the attic. Not- withstanding all of which, it is to-day one of the most pleasing structures of Rome. Originally it was approached by five steps, but the accumula- 1& 290 PAOL tion of earth has left it below the level of the pavement. The Portico, 110 ft. long and 44 deep, has 16 Corinthian columns, 46 £ ft. high, of which all but 3 are ancient. The bronze doors are believed to be those of the original build- ing. The niches at the sides of the entrance were occupied by the statues of Augustus and Agrippa. The interior is "143f ft. in diani., or 190 ft. through the walls; 157^ ft- in height." {Wood.) It is lighted only by the circular opening, 28 ft. in diameter, at the top of the dome. Within the wall, directly opp. the entrance, is the tomb of Victor Emanuel. Around the sides are 7 recesses, which formerly contained statues of the gods, Jupiter being in the centre ; between these are 8 sediculae, in which are modern altars. Among the artists entombed in the Pantheon are Raphael, An. Carracci, Taddeo Zucoaro, and Peruzzi. Raphael's tomb is be- hind the 3d chapel to the 1. On either side of Raphael are buried Carracci and Zuccaro. In the middle ages, on Pentecost Day, showers of white rose petals were dropped through the opening of the dome to represent the descent of the Holy Ghost. " Never was simplicity allied to grandeur in so fortunate harmony." — Ampere. " The world has nothing else like the Pantheon." — Hawthorne, " No, great Dome of Agrippa, thou art not Christian ! canst not, Strip, and replaster, and daub, and do what they will with thee, be so ! " — Clough. Paolo alle Tre Fontane (pa-o'-lo-ah'-la-tra-fon-tah'-na), S., Ch. of, Rome, 2 mis. beyond the Basilica of San Paolo, erected on the spot where St. Paul is said to have been beheaded. Named Tre Fontane from the springs which gushed forth where the head of the Apostle struck the earth in three successive bounds. Within the ch., in the corner to the r., is shown a marble column, to which St. Paul is said to have been bound. In the floor a valuable mosaic of the Four Seasons, from Ostia. * Paolo, Fuori le SVIura, S. (pa-o-lo, fu-o-ri, la-moo-rah), ch., Rome, nearly a mile beyond Porta S. Paolo. Constantine erected here a small ch. on the traditionary burial-spot of St. Paul. In 388, Valentinianus II. and Theodosius commenced a basilica in its place, which was restored and rebuilt by various popes, the original form and proportions being scrupulously re- tained, till in later centuries it was regarded as the best specimen PARI 291 in Rome of the ancient basilica. Unfortunately the whole struc- ture, excepting the western facade and the south aisles, was, in 1823, reduced by fire to a mass of ruins. It has since been re- built with great magnificence. ** The interior, 423 ft. by 153 ft., is of extreme richness and beauty. The two aisles on each side are divided from the nave by 80 columns brought from Lake Maggiore. The triumphal arch separating the transept from the nave is a relic of the old basilica, which was spared in the conflagration ; toward the transept it presents a mosaic of Christ, Sts. Peter and Paul, dat- ing from about 440 ; toward the nave, Christ and 24 elders. Be- neath is the high altar, over which is a canopy or baldacchino, supported by four columns of Oriental alabaster, presented by Mahomet Ali, the malachite pedestals by Czar Nicholas. Beneath this altar are the remains of St. Paul, except the head, which is at St. John Lateran. Around the ch., above the columns, is a series of mosaic portraits of the popes, commencing with St. Peter on the r. of the apse. The medallions are 5 ft. in diameter. It is needless to say that in most cases the portraits are purely imaginative. " Nothing can exceed the richness of the whole edifice." — Murray. "Unfortunately the ancient basilica has been superseded by a modern and, in many respects, unsightly fabric." — Baedeker. " Its exterior is below contempt ; its interior is most striking and magnificent." — Hare. Paris. Principal Historic Events op the City. In the time of Julius Caesar, the settlement in this place was known as Lutetia. It was a Roman Municipium, and was the headquarters of a Roman flotilla and the residence of the Prefect. a.d. 305. The Palais des Thermes was founded by the Romans. 360. Julian resided here, and was here proclaimed Emperor. The name of the city was changed to Parisii. 3L3. Emperor Gratian defeated and slain near. 496. The Romans expelled by Clovis. 768. Charlemagne. 987. Capet built the Palais de Justice. 1108. Louis VI. founded a palace on the site of the Louvre. 1137. Louis VII. commenced Notre Dame. 1180. Philip II. erected a city wall. 1250. The University founded by Robt. Sorbon. 1364. Charles V. founded the Royal Library and the Bastille. 1515. Francis I. greatly improved the city, commencing the Louvre and the Hotel de Ville. 1547. Henry II., husband of Cath. de Medicis, killed at a tournament. His three sons came to the throne successively. 292 PARI 1559. Francis II. married Mary, Queen of Scots. 1560. Chas. IX. commenced the Tnile.ries. St. Bartholomew's massacre. 1574. Henry III. assassinated at St. Cloud. 1589. Henry IV., husband of M. de Medicis. First of the Bourbons. 1610. Henry IV. assassinated. Louis XIII. commenced the Palais Royal, the Luxembourg, and the Jardin des Plantes. 1643 to 1715. Louis XIV. City greatly improved. The Louvre extended ; Hotel des Invalides and the Observatory erected. Versailles built. 1715 to 1774. Louis XV. The Pantheon, the Pal. du Corps Legislatif, and Mint erected. 1774. Louis XVI. Revolution. 1789. Bastille demolished. 1793. Louis XVI. and Queen Marie Antoinette beheaded. 1804. Napoleon, Emperor, greatly improved the city, laid out new streets, erected bridges, fountains, and monuments ; constructed the Place du Carrousel. 1830. Louis Philippe improved and embellished the city. 1848. Revolution. Louis Napoleon elected President. 1852. Coup d'etat. Louis Napoleon, Emperor, completed the Louvre, and greatly improved the streets, parks, and all public works. 1870. Louis Napoleon overthrown. Republic re-established. 1871. Communist insurrection. The Tuileries, the Hotel de Ville, and many pub- lic buildings burned. The City, lat. 48° 51', long. 2° 20' east, is located upon both banks of the Seine and the islands of La Cite and St. Louis; a much greater proportion of the city being upon the northern bank. Upon the n. side of the river are the Tuileries, the Lou- vre, the Hotel de Ville, the Madeleine, the Opera House, and the Arc de Triomphe. On the He de la Cite are Notre Dame and the Palais de Justice. On the s. bank, called the Latin Quarter, are the Chambre des Deputes, the University of France, the great Schools of Law, Medicine, and Theology, the Luxembourg Pal. , the Pal. des Thermes, the Jardin des Plantes, and the Hotel des Invalides. The city contains a population of 2,230,000, and is divided into 22 arrondissements, each having a mayor. The government is administered by the Pref et of the Seine, assisted by a Municipal Council of 60 members. The annual receipts of the city govern- ment are about $25,000,000. The city walls are 22 mis. in extent, and have 65 gates. The central point of the city is Place Royal, along which passes the great thoroughfare of the city from s. e. to n. w. Be- ginning at the PI. de la Nation, at the s.e. margin of the city, this grand avenue, from PI. de la Nation to PI. de la Bastille, is called Rue du Faubourg St. Antoine ; from PI. Ba3tille to near Hotel de Ville it is called Hue St. Antoine ; from Hotel de Ville, PARI 29a past the Louvre, to PI. de la Concorde, Rue de Rfooli ; from PI. de la Concorde to the Arc de Triomphe, Avenue des Champa Etysees ; and beyond the Arch, Ave. de la Grande Armee. Omnibus Lines : From Place Royal, omnibus lines extend to all parts of the city and suburbs, each line having ie correspon- dence" (cor-ess-pawn-dawnce) with every line whose route it crosses — i.e., giving- transfer tickets. Fare, including correspon- dence, 6 sous ; fare on the top (the Imperial), 3 sous. Tramways (horse-cars) : Recently, innumerable tramways have been constructed, principally from the suburbs and neighboring villages, some of them into the heart of the city. They are not intended, however, as a means of transit in the mid-city. Since the establishment of the Republic, the names of numer- ous streets and avenues have been changed, particularly those referring to the Napoleonic or Imperial periods. Places and Objects of Interest. I. Churches, which see respectively : Augustin, St. Chapelle Expiatoire. *Chapelle, St. *Denis, St. Etienne du Mont, St. Eustache, St. G ermain-en-Laye, St. Germain l'Auxerrois, St. ♦Madeleine. ♦Notre Dame. ♦Pantheon. Roch, St. Sulpice, St. II. Galleries and Museums, which see respectively : Conservatoire des Arts. ♦Ecole des Beaux Arts. Hotel des Invalides. * Jardin d'Acclimatation. *Jardin des Plantes. **Louvre. ♦Luxembourg Gallery. ♦Musee des Thermes. Panorama. III. Miscellaneous, which see respectively : Arc du Carrousel. ♦Arc de Triomphe. Bastille. Place de la. ♦Bois de Boulogne. Bois de Vincennes. Chambre des Deputes. Champs Elysees. Champ de Mars. Circuses. ♦Concorde, Place de la. Denis, Porte St. Elysees, Palais de 1', Gobelins. Halles Centrales. H6tel de Ville. July Column ; see Bastille. Luxembourg Garden. Martin, Porte St. ♦Monceau, Pare. Montmartre. Montparnasse. ♦♦Napoleon's Tomb. Palais de T Industrie. Palais de Justice. Palais Royal. Pere Lachaise. Place de la Nation. Place des Vosges. Sorbonne. Tour de St. Jacques. ♦Tuileries, Jardin des. IV. Theatres: Ambigu Comiqne, dramas, Boulevard St. Martin. Chatelet, comedies, Place du Chatelet. FranQais, drama, Place du Theatre Frangais. Gaite, lyric opera, Sq. des Arts et Me- tiers. Gymnase, comedies, Boul. Bonne-Nou- velle. Odeon, dramas, Place de VOdeon. Opera Bouffe, operettas, Boul. de Stras- bourg. Opera House, opera, Ave. de V Opera. Porte St. Martin, dramas, Boul. St, Martin . Renaissance, operettas, Boul. St. Mar- tin. Vaudeville, comedies, Boul. des Capu- cines. Vari6tes, vaudevilles, Boul. Mont martre. 294 PARI The different parts of the house are designated as follows : Avant Scene% boxes adjacent the stage ; Fauteuils, arm-chairs ; Loges de Face, boxes in front ; Loges de Cdte, side boxes ; Baignoires, beneath the gallery ; Amphitheatre, upper gal- lery. Prices range from 1 to 10 f rs. Cafes Chantants (kah-fay-sh6n-t&n). Open-air entertainments, concerts, bal- lets, operettas, and plays. A card invitingly states " Entre libre" (entrance free), but compensation is fully exacted on the refreshments everyone is expected to take. The most noted are in the Champs Elys6e : on the right, Cafe des Ambassadeura and Alcazar d'Ete ; left, Cafe de l'Horologe. Environs: St. Cloud, *St. Germain-en-Laye, *St. Denis, **Versailles, Mal- maison, Sevres, Fontainebleau, which see. Eeole des Beaux Arts . . S. 10-4 M. T. a w. a Th a F. a o" s. o" a 10-4. lfr. 10-4, lfr. (Su. 12-4; 50c.) 1-3. H6tel des Invalides Jardin d'Acclimat Jardin dea Plantes Louvre Galleries Mus6e des Thermes . . . St. Denis St. Germain-en-Laye.. 11-1. 9-dusk, lfr. ; San., 50c. 11-5 ; 4 in winter. 9-5 ; winter, 11-4. 10-4. 11-4 ; a, on passport. 10)£-4, 5 ; 50c. Sun. aft. ser. 12-4 ; W., 12-3. 10X-4, 6, lfr. ; Sun., 50c. 12-4, 5, fee. Tomb of Napoleon. . . . 12-3, 4. Closed fete days. 12-4, 5. 12-4. Gardens all day. indicates days free ; — admission fee. Routes : To Antwerp, 12 hrs., $8 ; $5.75 ; see Route No. 18 to Brussels, thence Route 16, Brussels to Antwerp. To Bale, 10 hrs., $13 ; $10. To Berlin, via Cologne, 24 hrs., $25 ; $18.50 ; see Routes 18 and 19 (in part) to Cologne, thence Route 59, Cologne to Berlin. To Berne, 12 hrs., $14; $10.30, either by Bale or Pontarlier. To Bordeaux, 9 hrs., $14; $10.80. To Brussels, 7 hrs., $7.25; $5 ; see Route 18. To Cologne, 11 hrs., $11.75 ; $9 ; see Routes (in part) 18 and 19. ToFontainerleau, 2hrs„ $1.40; $1; see Route 39. To Geneva, via Macon, 12 hrs., $15.25 ; $11.50 ; see Route 39 ; via Pontarlier, 15 hrs., $14 ; $10.60 ; see Route 38. To Lausanne, 13 hrs., $12.75 ; $9.30 ; see Route 8S. To London, via Calais, 10X hrs., $15; $11.25; see Route 12; via Boulogne, 10>£ hrs., $14; $11.50; see Route 13; via Dieppe. 16 hrs., $8.25; $6; see Route 14; via Bou- logne, thence by steamer, 14 hrs., $8.25; $6.25; see Route 13. To Lyons, 9 hr?., $12.50 ; $9.25 ; see Route 39 to Macon. To Marseilles, 13 hrs., $21 ; $16. To Madrid, via Bordeaux, 35 hrs., $37 ; $27. To Turin, 22 hrs., $20 ; $16.50 ; see Route 39, Paris to Culoz, thence Route 40, Culoz to Turin. To Vienna, via Munich, 35 hrs., $36 ; $27. To Versailles, see page 546. _iFfWM*. ENvniON Paths. PAKK 295 Parks, London. — Grken Park, containing GO acres, adjoins St. James's Park upon the n.w. On the e. side are Stafford House, Bridgewater House and Spencer House. At the w. cor- ner of the Park, passing under the Wellington Arch, and crossing Piccadilly, we enter Hyde Park, 2i mis. w. from St. Paul's, lying between Ox- ford St. and the continuation of Piccadilly ; comprises 388 acres. The two principal entrances are at Hyde Park Corner, Piccadilly, and the Marble Arch, Oxford St.; respectively the s.e. and n.e. corners of the Park. In earlier times it was the property of the abbots and monks of Westminster, but on the dissolution of these establishments by Henry VIII. it became the property of the Crown. From May to Aug., between the hours of 11-1 and 5-7, the Park is thronged with the equipages of English nobility. Private car- riages only are admitted. At the s.e. corner of the Park, called Hyde Park Corner, is the Wellington Arch, erected 1828. At the n.e. corner is the Marble Arch. Beyond the Park, westward, are Kensington Gardens and Palace, to the s. of which are the Albert Memorial and Albert Hall, near the site of the first Crys- tal Palace. St. James's Park, comprising 91 acres, a short distance s.w. of Charing Cross, was originally laid out by Henry VIII. , im- proved by Charles II., and completed by George IV., in 1829. Its e. side is bordered by the Admiralty, Horse Guards, and Treasury; the n. by Carleton House, Marlborough House, St. James's Palace, and Stafford House ; the w. end by Buckingham Palace. In 1648 Charles I., guarded by a regiment, walked through this Park from St. James's Palace to the scaffold at Whitehall. Regent's Park, containing 462 acres, is located in the north- western part of the city. Within this Park are the Botanical and the Zoological Gardens. **Parliament Houses, London. Admission on Sat., 10-4, upon application at the office of the Lord Great Chamberlain, s. end, near the Victoria Tower. Edward the Confessor is said to have had here a Royal Palace, to which additions were made by Wm. the Conqueror and Wm. II. In 1163, Thomas a Becket was superintendent. On New Year's day, 1236, Henry III. gave a feast to 6,000 persons, when 30,000 dishes were set. In 1299 the palace was partly destroyed PARL by fire ; restored by Richard II. In 1512 the building, with the exception of the Great Hall and St. Stephen's Chapel, was totally burned. It was partly restored by Henry VIII., but was again burned in 1834. The present edifice, commenced in 1840, is one of the most extensive Gothic structures in the world, being nearly 1,000 ft. in length, covering about 8 acres of ground, and containing 500 rooms and several courts. It is surmounted by three towers : the Clock tower, on the n. w. corner, 40 ft. sq. and 320 in height ; the Central tower, or spire, 300 ft. high ; and the Moyal or Victoria tower, at the s. w. corner, 75 ft. sq. and 340 high, being the largest square tower ever erected. Beneath this tower is a magnificent archway, 65 ft. high, used only by the Sovereign when entering to open or pro- rogue Parliament. The Norman Porch (1), at the head of the entrance stairs, with a finely sculptured central pillar, is intended for statues of the Norman kings. The Royal Robing Room (2) is decorated with frescos and wood carvings from the legends of King Arthur. *Royal Gallery (3), a fine hall of 110 feet in length by 45 in width, r., Meeting of Welling- ton and Blucher after Waterloo ("at which place they did not meet." — Murray) ; 1., Death of Nelson at Trafalgar, frescos in water-glass, by Maclise. Statues: s. door, Henry V. and Elizabeth ; n. door, Alfred and Wm. I. ; w. door, Wm. III. and Anne ; bay window, Rich. I. and Ed. III. The Prince's Chamber (4), contains a marble group by Gib- son, Victoria supported by Justice and Mercy ; and the portraits of the Tudor Sovereigns. The windows display the rose, thistle, and shamrock. **House of Lords (5), 90 by 45 feet and 45 in height, called by Entrance PARL 297 Murray " one of the richest rooms in the world." The Throne of the Sovereign is between the entrance doorways, and is covered by a gilded canopy. On the r. of it is the chair of the Pr. of Wales ; on the 1. , that of the Sovereign's consort. The Woolsack of the Lord Chancellor is in the centre, directly in front of the throne. The 434 members occupy the red leather benches. At the farther end, opposite the throne, is the Bar, where official com- munications are received from the House of Commons. Above the Bar is first the Reporters' gallery, and second the Visitors' gallery. The windows contain representations of the entire Royal line, from Win. the Conq. to the present time. The House is lighted at night by gas jets outside the window?. The Peers' Lobby (6) contains the coats of arms of the. six Royal families, Saxon, Norman, Plantagenet, Tudor, Stuart, and Hanoverian. To the 1. is the Peers' Robing room, with a fresco of Moses bringing down the Tables of the Law. Peers' Corridor (7), decorated with paintings, chiefly relat- ing to the times of Cromwell and the Stuarts. Central Hall (8), octagonal, 60 ft. in diam. vaulted with stone. In the niches at the sides of the doors and windows are statues of the sovereigns. Commons' Corridor (9), with 8 frescos. Escape of Chas. II. ; Capture of Alice Lisle ; Execution of Montrose ; Last Slee] of Argyll ; Landing of Chas. II. ; The Speaker asserting tho rights of Parliament ; Acquittal of the Seven Bishops j Departure of the Pilgrims. Beyond the Commons' Lobby is the **House of Commons (11), 75 by 45 ft. and 41 in height. At the farther end is the Speaker's Chair, above which are first the Reporters' gallery, and above that a gallery for ladies, with an iron grating in front. The ministerial seats are on the front bench on the Speaker's right; of the opposition, on the left. The members of the House, of which there are about 650, occupy the side galleries as well as the entire floor, leaving then more than a hundred and fifty members unprovided with seats. Returning to the Central Hall, to the r. is St. Stephen's Hall (12), 75 by 30 ft. and 55 ft. in height. Statues: 1., Hampden, Selden, Walpole, Chatham, Pitt, and Grat- tan ; r., Clarendon, Falkland, Somers, Mansfield, Fox, and Burke. Passing through St. Stephen's Porch we enter ♦Westminster Hall (13), built, as is supposed, about 1097, 298 PARM by Wra. Rufus; rebuilt and enlarged by Richard II., 1398. It is 290 by 68 ft. and 92 ft. in height. This hall has been the chief theatre of the great Law History of England. Here Richard II. was deposed but a year or two after he had rebuilt the Hall ; Cromwell, inaugurated Lord Protector, whose head a few years later was displayed upon a pole outside ; Sir William Wallace, Sir Thomas More, and Somerset condemned; also the Earl of Strafford, King Chas. I. being present ; and a few months later King Charles himself ; Lords Kilmarnock, Bal- merino, and Lovat, all condemned. Here Hastings was tried and, after seven years, acquitted ; and the Seven Bishops tried and acquitted. The last trial was that of Lord Melville, 1806. The last coronation dinner was given by Geo. IV. *St. Stephen's Crypt (14), the only portion of the ancient Palace of Westminster which escaped fire. For a long time it was used for a storage room and other purposes, until, by the acci- dental discovery of the embalmed body of the Bishop of St. David's, Keeper of the Privy Seal to Henry VI., the original de- sign of the vault was ascertained ; since then it has been care- fully restored, and is now used as a chapel. Par-me-gia'-no, II (jah-no), II Parmegianino, Fran- cesco Maria Mazzuoli ; 1504-1540. Although a pupil of Giulio Romano, he was an imitator of Correggio, yet with such a pos- itive originality as permits an easy recognition of his works. He attained his greatest success in portraiture. His figures are drawn with great grace, though somewhat affected, and often with great length of waist and neck. His draperies, imitated from the antique, are heavy. He was an engraver of the first rank. Principal Works : Bolog., 110 ; Borgh., III. 21 ; Cassel, 60 ; Dresd., 162-4 ; Nat, Gall., 33; Madrid, 332-3; Naples, 12, 13, 16, 41; Parma, 68, 192; Pitti, 230 ; Verona, 153. Paul's, St., ch., Antwerp, the court of which contains a most remarkable representation of Mt. Calvary, with a numer- ous and miscellaneous collection of angels, patriarchs, prophets and saints. Below is the Sepulchre and Purgatory. Paul's, St., London; erected 1675-1710, upon the site of a Gothic structure which was burned down in the Great Fire of 1666. Length, 500 ft.; breadth of body, 118 ft.; transept, 250ft.; height from the pavement to the top of the cross, 404 ft. ; the cost was about $3,500,000. Visitors are admitted on week days, ex- PAUL 299 cept during service. Admission to Wellington's and Nelson's mons., 6d.; to the golden galleries, 6d.; the geometrical staircase and great bell, 6d.; clock, 2d ; ball, 1 sh. 6d. Service daily at 8, 10, and 4 ; Sun. 10£, 3, and 7. The organ is one of the finest in England. The Interior. Entering at the w. or principal doorway, and passing to the r. around the cathedral: South Aisle : The Crimean Monument. In a side chapel, *mon. to the Duke of Wellington ; the sarcophagus supports a bronze statue of the Duke, above which is a marble canopy. Monuments to Capt. Barges, Bishop Middleton, Capt. Lyons, Capt. Westcott. South Transept : Monuments to Gen. Brock, Sir Win. Jones, Babington, the physician ; Admiral Lord Lyons, Gen. Abercromby, Sir John Moore, Capt. Hoste, Sir Astley Cooper, the surgeon; Gen. Gillispie. S. Door : Capt. Miller, Marquis Cornwallis, Capt. Hardinge. Monument to Lord Nelson, with a statue of the Ad- miral, and inscription of his most important naval victories ; Gen. Packenham, Gen. Heathfield, Turner, the painter ; Admiral Col- lingwood, Admiral Howe, Sir Henry Lawrence, Gen. Jones, Gen. Ross, Col. Cadogan, John Howard, the philanthropist. hi the passage around the choir : Dr. Donne, the poet, Dean of St. Paul's, 1621-1631 ; H. H. Milman, Dean of St. Paul's ; Ch. J. Blomfield, Bishop of London ; Bishop Heber. North Transept : Dr. Sam. Johnson, Gen. Le Marchant, Hal- lam, the historian ; Admiral Napier, Capt. Riou, Capt. Mosse, Gen. Ponsonby, Sir C. J. Napier, Gen. Skerret, Gen. Gore, Ad- miral Dundas, Gen. Hay, Gen. Napier, Admiral St. Vincent, Gen. Picton, Admiral Rodney, Admiral Malcolm, Gov. Elphinstone, Col. Myers, Gen. Houghton, Sir Joshua Reynolds, Lords Wm. and Fred. Melbourne. K. Aisle: Gen. Torrens; panel mon. to the 77th Regiment; Crimean Cavalry mon. ; mon. in relief to the 57th Regiment; Mbiming Chapel, near the w. entrance. The Dome is decorated by 8 paintings by Thornhill, represent- ing events in the life of Christ. Ascent to the Whispering Gal- lery, Great Bell, and Clock is made from a passage in the S. Aisle, near the S. Transept. The Crypt : Entrance in the S. Transept, contains the tombs of Nelson, Wellington, and other English heroes, and numerous me- morial slabs in the pavement. In front of the cathedral is a statue of Queen Anne. 300 PERE Pdre-Lachaise, named from a Jesuit father, confessor of Louis XIV., who resided where the chapel now stands. Laid out as a cemetery, 1804. Present number of monuments about 20,- 000. In 1814, the high grounds of the cemetery were the scene of a fierce struggle between the French and Russians ; and, in 1871, of many of the atrocities of the Commune. Among the localities most vis- ited are the tomb of Abelard (d. 1142), and Heloise (d. 1163) ; and the grave of Marshal Ney, the latter unmarked by either monument or stone. Perugino, Pietro (pee-a'- tro per-oo-gee'-no), Vannucci, Italy, 1446-1524, b. at Citta della Pieve ; pupil of Francesca and Verrocchio; master of Raph- ael ; the founder of the Umbrian School ; was characterized by simplicity and devotion ; figures few, but in bold relief and of brilliant color. He painted first Resurrection — Perugino. in Perugia, and afterward in Florence, where the peculiar lim- pidity of his color and the striking beauty of his landscapes gave him a great reputation. Going to Rome, he painted three pic- tures in the Sistine Chapel, afterward destroyed to give place to Angelo's Last Judgment. Returning to Florence in 1504, he found himself in the presence of the new School of da Vinci, Angelo, and Raphael. Perugino did not, however, yield to the new influences of the Renaissance, but continued to execute, to the end of his life, the same com- positions, and in the same tender, semi -melancholy tone. " He is often tame and conventional, and his upturned heads, a favorite feature in his pictures, are ill foreshortened, and freqiiently out of drawing." — Kugler. "His figures are mystic children — or, if you please, adult souls, kept infantile by the schooling of the cloister. None of them regard each other ; none of them act, each being absorbed in his own contemplation. All look as if dreaming of God ; each remains fixed, and seems to withhold the breath for fear of disturb- ing the vision within. The angels especially, with their downcast eyes and bended brows, are true adorers, prostrate, steadfast, and motionless." — Taine. Principal Wobks: Alb. Villa, an Adoration and others ; Bel v., three; Berlin, PERE 301 302 PETE 146 ; Bolog., 19 ; Borgh., I. 34, 48 ; Bruss., 334 ; Doria, II. 80 ; Flor. Acad., I. 53. 5-6-8, II. 18; Frank., 39; Liecht., II. 40; Louvre, 426-7-9; Lyons, 155-6; Munich, 561, 590; Nat. Gall., 181, 288. 1075; Perugia, 2, 23-7-8, 33-5, 41, 56; Sala del Cambio, frescos ; Pitti, 42, 164, 219 ; Sciarra, St. Sebastian ; Vat., Sist. Chap., Delivery of Keys to St. Peter ; Pina., Resurrec- tion, Virgin, and four Saints. At Caen, Fr., is a Marriage of the Virgin, the original from which Raphael drew his cele- brated Sposalizio, in the Brera. Compare Raphael. P. 328. ** Peter's, St., Church, Rome. The approach to St. Peter's is through a spacious piazza, bounded upon either side by a semi- circular colonnade, surmounted by statues, and having in the cen- tre an obelisk, and on either side a fountain. The Obelisk was brought from Heliopo- listo Rome by Caligula, and placed in the Circus of Nero, where St. Peter's now stands. The shaft is a single piece of red granite, 83 ft. in length, with- out hieroglyphics, and is the only obelisk in Rome which has never been overthrown. The Church. Tradition assigns to St. Anacletus, a Bishop who had been ordained by St. Peter himself, the erection, in a. d. 90, of a church within the site of the Circus of Nero, over the place where St. Peter had been entombed. In 319, Constantine founded a magnificent basilica in the same place, laboring with his own hands in the work. In 1450, decay threatening th6 building, Nicholas V. laid the foundations of the present struc- ture, after the plans of Alberti and Rosselini. In 1503, Bramanti was appointed architect. He designed a Greek cross with a dome at the intersection, resting on 4 immense piers. Marriage of the Virgin — Perugino. PETE 303 At Bramanti's death, 1514, the piers had been completed and the arches turned. G. Sangallo, G. da Verona, and Raphael were then put in charge, ail of whom died within seven years, having made but little progress with the building. Peruzzi, Ant. San- gallo, and Giulio Romano were successively appointed architects, but, for 25 years, little was done. In 1 546, the work was com- mitted to Michael Angelo, then in his 72d year, with unlimited authority to alter or rebuild, as he chose. On the death of An- gelo, 1564, the drum had been completed. In 1590, the dome was finished under the supervision of G-iacomo della Porta, to whom we are indebted for its present proportions, Angelo's de- sign being much lower and heavier. The church was dedicated 1626 ; the colonnade added 1667 ; the sacristy, 1776 ; occupying in its entire erection 176 years. The dimensions of St. Peter's are variously given. Length : Piale, 600 ft. ; Hare and Murray, 613£ ; Baedeker, 639 ; Wood, 619. Height to top of the cross : Baedeker, 435 ; Murray, 448 ; Wood, 453. Interior diam. of dome: Wood, 141; Piale, "about 140" ; Murray, 139 ; Baedeker, 138. The cost of its erection is said to have been $50,000,000, an amount so great that the Popes were induced to resort to the sale of indulgences, the scandal of which was the immediate cause of the Reformation. The Faqade^ 373 ft. in length, 154 in height, is of three stories and an attic. The columns are about 9 ft. in diam. and 93 ft. in height. Upon the attic are statues of Christ and the Apostles, 19 ft. high. Liibke regards the facade as an " insufferable, meanly arranged monstrosity of decoration. " The Vestibule is 235 ft. by 42 and 66| in height. It has, at the extreme r., an equestrian statue of Constantine, and on the 1., one of Charlemagne. Over the middle entrance is Giotto's cele- brated mosaic La Navicella, or Peter walking on the Sea, 1298. The door on the extreme r., called the Porta Santa, is opened only once in twenty-five years, on the recurrence of the Year of Jubilee. It has not, however, been opened since 1825. **The Interior. "In spite of all the criticisms of architects, the interior is worthy of the most majestic temple of the Christian world. The one great defect is the apparent want of magnitude." — Murray. " One of the noblest and most wonderful works of man." — Eaton. " St. Peters surpasses all powers of description." — Jfendelssohn. " Nothing upon the earth can be compared to St. Peter's." — Fontana. 304 PETE " But thou of temples old and altars new Standest alone, with nothing like to thee." — Byron. " The temple is an image of infinitude ; there are no bounds for the sentiments to which it gives birth." — Mad. de Stael. "When the visitor has passed into the interior, and so far recovered from the first rush of tumultuous sensations which crowd npon him, he will be struck with, and, if not forewarned, disappointed at, the apparent want of magnitude. 1 ' — Hillard. " The exterior and interior appear to me more like an apotheosis of the pope- dom than a glorification of Christianity." — Frederika Bremer. The Coronation Stone (1). In the pavement immediately beyond the central door is a circular slab of porphyry, upon which emperors were formerly crowned. Beyond this, a mark in the pavement indicates the comparative lengths of the other great cathedrals, thus : St. Peter's, 613 ft. ; St. Paul's, 520 ; Florence, 489 ; Milan, 443 ; St. Sophia, 354 ft. The Nave. On either side are three double pillars, supporting the great gilded arch. The height of the nave is 153 ft.; width, 89 ft. Upon the frieze is an inscription in Latin, the mosaic let- ters of which are 4 f b. 10 in. in height (Murray, 6 fb.). Upon the fourth pillar to the r. (2) is the celebrated bronze statue of St. Peter, said to have been cast from a statue of Jupiter, and be- lieved to date from the 5th century. The Dome rests on four massive piers, each of which is 234 ft. in circumference. In the piers are niches with statues 16 ft. in height, overhung with balconies. The four great relics of St. Peter's — the Lance of Longinus, the Head of St. Andrew, a Piece of the True Cross, and the Napkin of St. Veronica — are kept within the walls of these piers. The Bal-dac-chi'-no (-kee-) (5), beneath the Dome, covering the High Altar and the reputed tomb of St. Peter, is a bronze canopy, 95^ ft. in height, and weighing about 58 tons. It is supported by 4 twisted columns of bronze, the metal of which was taken from the Pantheon. " It is difficult to imagine on what ground, or for what purpose, this costly fabric was placed here. It has neither beauty nor grandeur, and resembles nothing so much as a colossal four-post bedstead without curtains." — Hillard. " Bernini displays all the errors, the decorative madness, of the baroque style in the colossal bronze tabernacle over the high altar." — Liibke. The High Altar, beneath, is used only on great occasions, and none but the Pope himself, or a Cardinal specially author- ized, may officiate. Descent is made to the confessio, or shrine of St. Peter, by a double flight of steps. At the foot is a statue of PETE 305 Pius VI., by Canova. The tomb of the Apostle is direcrfy behind the bronze doors. The 89 burning lamps are never extinguished. The Tribune, or termination of the Nave, contains, above the high altar, the famous chair of St. Peter, alleged to have been his episcopal seat. It is enclosed in bronze and supported by 306 PETE four fathers of the church — Augustine, Ambrose, Chrysostom, and Athanasius. r., (8) tomb of Urban VIII. ; 1., (9) **tomb ot Paul III. , by della Porta, one of the finest monuments in the ch. Prudence and Justice are said to be portraits of the pope's mother and sister. " St. Peter's is a world of art, but the specimens, with a few exceptions, are by no means of the first class.'" — Hillard. " Those who expect to find monuments of great historical interest will be totally disappointed." — Rare. " The sepulchral monuments, with the exception of those of recent date, are, for the most part, scarcely worthy of St. Peter's as works of art."— Murray. From the Tribune, proceeding to the left around the church : (10) r., Tomb of Alex. VIII., by Martino ; (11) 1., on the great pier, Mosaic of the Healing of the Paralytic by Peter and John ; (12) r., Altar of Leo I., above which is Attila's Retreat, one of the best bas-reliefs ever executed in marble ; (13) the Sarcophagus beneath the altar contains the remains of Leo II. , III. , and IV. The sarcophagus, with high-reliefs of Christ and the Apostles, is of early Christian times. South Aisle; (14) r., mon. of Alexander VII. , by Bernini; figures of Justice, Prudence, Chastity, and Truth, the last being the work of Bernini ; (15) 1. , Punishment of Simon Magus, an oil painting on slate, by Fr. Vanni. The South Transept has confessionals in eleven languages. (16) r., The Incredulity of Thomas, mosaic; (17) front, the tomb of Palestrina, the composer ; above the central altar is a mosaic of Guido's Crucifixion of St. Peter; (18) 1., St. Francis, by Do- menichino. South Aisle; (19) r., door leading to the Sacristy, above which is a mon. to Pius VIII., the last erected in the church. Best point of view of the dome and transepts. (20) 1. , Death of Ananias and Sapphira, after Roncalli. (21) Capella Clementina; (22) r., tomb of Gregory the Great, below the altar ; (23) in front, *monument of Pius VII., by Thor- waldsen ; (24) 1. , on the great pier is a mosaic copy of Raphael's Transfiguration, covering four times the space of the original ; (25) r. , beneath the arch, mon. of Leo. XL, with relief of Henry IV. of France recanting Protestantism ; figures of Wisdom and Abundance ; (26) 1., tomb of Innocent XI., with relief of Sobieski delivering Vienna. (27) r., Capello del Coro, or Choir (Sunday, *musical services; ladies admitted only with black dress and veil; gentlemen in PETE 307 evening dress) ; (28) 1., *tomb of Innocent VIII., bronze, by A. and P. Pollajuolo ; opposite is the tomb of the last pope, whos«» remains rest here till the death of his successor. (29) Chapel of t7ie Presentation ; over the altar, the Presenta- tion, by Komanelli ; (30) r., door leading to the Dome ; above is the mon. of Maria Clementine Sobieski, wife of Charles Edward, the Young Pretender ; (31) tomb of the Stuarts, James III. and his sons, Charles Edward and Henry. (32) Baptismal Chapel, the font of which consists of a sar- cophagus cover from the tomb of Hadrian ; afterward of the tomb of Otho II. Crossing to the North Aisle ; (33) St. Peter, mosaic, over the Jubilee door, placed by Clement X., 1675 ; (34) Capella della Pietd, so named from M. Angelo's *Pieta, executed in his 24th year. At the r. end of the chapel is the Capella della Colonna Santa, containing a white marble column, against which Christ leaned when disputing with the Doctors, enclosed in an iron network ; at the 1. end is the Capella del Crocifisso. (35) Beneath the arch, r., mon. of Leo. XII.; (36) 1., Cenotaph and bronze portrait of Christina, dau. of Gus. Adolphus ; (37) St. Sebastian, after Domenichino ; (38) under the 2d arch, r. , tomb of Innocent XII., the last pope who wore a beard ; 1., (39) Countess Matilda. (40) Chapel of the Holy Sacrament ; tabernacle of bronze and lapis lazuli ; altar-piece in fresco, by da Cortona. A stone in the pavement marks the tomb of Julius II., who commissioned M. Angelo for the erection of the splendid mausoleum, of which the "Moses" and " Captives" were to be a part. At the r. (41) is the tomb of Sixtus IV., bronze, of whom Hare remarks, " Sixtus IV. , with whose cordial concurrence the assassination of Lorenzo de' Medici was attempted." (42) beneath the 3d arch, r., tomb of Gregory XIII. , whose adoption of the new or Gregorian Calendar (1582) is commemorated in the bas-reliefs. (43) 1., tomb of Greg- ory XIV. (44) on the great pier, Communion of St. Jerome, mosaic, after Domenichino. (45) Gregorian Chapel ; To the r., (46) *mon. of Gregory XVI. Over the altar, (47) *Madonna del Soccorso, from the old ch. of St. Peter ; beneath the altar, tomb of Gregory XV. , cupola with mosaics. (48) beneath the great arch, r. , tomb of Benedict XIV. T statue of the pope, with Charity and Science. (49) 1., Chapel of St. Basil. 308 PETE (50) NORTH Transept, occupied by the Ecumenical Council of 1870 after which, it was closed for 10 years. Beneath the arch, beyond the Transept, r., (51) **tomb of Clement XIII., by Canova, one of the finest mons. in the ch. (52) 1., on the great pier, Peter Walking on the Sea, mosaic, after Lanfranco. Chapel of tlie Archangel Michael. (53) r. , The Archangel, mosaic, after Guido ; front, (54) the Burial of St. Petronella, mosaic, after G-uercino ; (55) beneath the arch, r., tomb of Clement X. ; 1., Raising of Tabitha, mosaic, after Costanzi. *The Sacristy — most desirable hours, 9-11 ; entrance at (19) south aisle — consists of three magnificently decorated halls and several rooms. In the halls, statues of Peter and Paul are from the old basilicas ; the 8 fluted columns are from Hadrian's Villa. Guide necessary for the remaining rooms, -£ fr. Madonna, by G. Romano ; Christ, Death of Peter, and Execution of Paul, all by Giotto ; robe worn by Charlemagne at his coronation, 800. The Crypt. Permit obtained at the Sacristy (19). The Grotte Vaticane contain the tombs of many of the popes and a few sar- cophagi of interest. The Dome. Permit obtained at the Sacristy (19). Ascent on Th. , 8-10 a.m. Upon the walls are tablets with the names of royal personages who have made the ascent. Upon reaching the roof the visitor unexpectedly arrives at a small village, the dwellings of some of the custodians. Above this point the stairs wind up between the inner and outer domes to the lantern. A ladder leads from the lantern to the ball, which has room within for 16 persons. The *view from the top of the dome is the best to be obtained in Rome. Petersburg, St., is situated principally upon the south bank of the Ne-va, near its entrance to the Gulf of Finland. The central point of the city is the Admiralty, upon the banks of the Neva, in the midst of a small park. It is surmounted by a tall and exceedingly slim gilt spire, which is a conspicuous ob- ject upon approaching the city from almost every direction. From the Admiralty, the leading avenues of the city radiate in various directions ; of these the principal is the Nev-ski Prospekt, a broad, well-paved, busy street, lined with the buildings and shops of a modern European capital. Immediately adjacent to the Ad- miralty is the Imperial Palace, on the e., and St. Isaac's on the s. w. The principal places of interest are : The Imperial or Winter Palace, the Hermitage, St. Isaac's Cathedral, the Kazan Cathe- PETE 300 draJ, the Cathedral of SS. Peter and Paul, the Smolnoi Church, the Academy of Science, the House of Peter the Great, the Mu- seum of State Carriages ; and, in the environs, Tsarkoe Selo, and Peterhof. The public or Imperial buildings are so extensive, and the va- rious collections so immense, that nothing less than several weeks will suffice for a satisfactory inspection. Besides, so few persons understand anything of either English or French, that a guide is absolutely indispensable to any excursion or enterprise in St. Petersburg. **The Imperial or Winter Palace, the winter residence of the Czar, i8 an extensive structure, 450 ft. in length and 350 in width, constitutiag a quadrangle. Some impression of its mag- nitude may be drawn from the fact that, in addition to all the galleries, halls, and offices pertaining to the Court of the Emperor, there are, during his residence in the Palace, no less than 6,000 members of the Imperial household dwelling within its walls. The picture gallery of the Palace is rich in modern works illus- trative of the history of the Russian Empire. The crown jewels, which in magnitude and value far surpass those of every other court of Europe, will be viewed with interest. The celebrated Orloff diamond, the largest in the world, being 8-£ carats larger than the great Koh-i-noor, is mounted upon the Imperial sceptre. The Hermitage, or Art Museum. See Part II. , Hermitage. **St. Isaac's Cathedral, in the midst of a large open space on the s.w. of the Admiralty, is one of the most magnificent structures of the far north. It is in the form of the Greek cross, and is surmounted with a gilt dome and cross. The facade of either side presents a Greek portico, with polished monolith columns of granite, 60 ft. in height. The interior corresponds in richness and beauty to the grandeur of the exterior. The nu- merous shrines, covered with gold and encircled with diamonds and gems, the glitter of the golden altar screen, and the massive columns of malachite and lapis lazuli, united with the gravity of the Russian service, with which the great bell frequently intones, serve to render this the most impressive temple of devotion in the world. With three days of every seven, religious holidays, and with frequently occurring services in commemoration of coronations, births, weddings, and deaths in the extensive Imperial Family, 310 PETE together with fetes extra and an occasional marriage ceremony, the visitor will not want for opportunities of witnessing the highly impressive service and ceremonial. Evening service most interesting, though less usual. *The Ka-zan' Cathedral is situated upon the Nevski Pros- pekt, and is approached by a circular colonnade, in imitation of St. Peter's at Rome. In front are fine statues of Smolenskoi and de Tolly. The interior corresponds in its magnificence and dis- play to St. Isaac's. The special object of interest is the image of " Our Lady of Kazan," which is covered with gems, the diamonds of the crown being of exceeding value. Around the cathedral are banners of important victories won by Russian arms. **The Cathedral op Sts. Peter and Paul, upon the north bank of the Neva, and within the walls of the fortress, contains the remains of all the Czars, with the exception of one, from the time of Peter the G-t. to the present. They are deposited in white marble sarcophagi, about 3 ft. in height and width and ten in length, placed upon the main floor of the church, along the sides and near the altar. The sarcophagus of Peter the Great is at the upper end, at the right, on which is affixed, at each suc- cessive centennial of his birth, a small golden star. The Smol-noi Church, at the eastern extremity of the city, is peculiarly rich in its effects, the entire structure and all its decorations, even to its 24 monumental-looking stoves, being of the purest white. In connection with this church is a celebrated seminary for young ladies of noble birth. The institution is de- signed for 500 pupils, of which 200 are educated at the expense of the government. **The Museum op Science is one of the most extensive and most valuable collections of natural history extant, and will of itself require several days for a fair examination. The Museum of Imperial Carriages contains a collection of state carriages, sledges, sedan chairs, and some fine tapestries. ♦House op Peter. Across the Neva, and upon its northern bank, is the small house occupied by Peter the G-t. It contains three small rooms, one of which is consecrated as a chapel and covered with gold. Environs. — The two most important localities to visit, outside the city, are Tsarkoe Selo and Peterhof . **Tsar-koe Selo, reached by rail in about 30 minutes, was built by Catharine II. for a summer palace. Adjacent to Tsarkoa PHID 311 Selo are the grounds and palaces of Archduke Constantiue and other members of the Imperial Family. The variety and beauty of the grounds, as well as the value of the various collections in the palaces, render this excursion one of exceeding interest and pleasure. *Peterhof, also about half an hour's ride by rail, was erected by Peter as a suburban residence. Among the innumerable ob- jects of interest in the place are 368 portraits of Russian ladies. The gardens and fountains are reputed as scarcely inferior to those of Versailles, especially upon the evenings of the illumina- tions. Adjacent are also the cottage of Catharine II. , the Palais de Paille, and the English G-arden. Routes: To Berlin, 44 hrs., $30; $23. To Moscow, 15 hrs., $17; $12. To Stockholm, by steamer direct, about 2 days ; or along the north margin of the Gulf of Finland, stopping at several Finland cities, 3 days, about $10. This last is one of the most charming and romantic routes in Europe. Phid'-i-as, a Greek sculptor, about B.C. 490-432. ' ' He seems to have belonged to a family of artists, and to have first turned his attention toward painting. He was the pupil of Ageladas, and probably of He- gias ; and his great abilities were developed in executing or superintending the woi'ks of art with which Athens was adorned during the administration of Peri- cles."— Smith. Among his most noted works were Jupiter, of which an antique copy is in the Vatican ; Athena at Platsea ; and Athena of the Acropolis. Until recently the marbles of the Parthenon have, without question, been attributed to Phidias, but later writers state that the connection of Phidias with these works is a matter of uncertainty. Philip II., of Spain, son of Emp. Ch. V., b. 1527. Married Mary, Queen of Eng. u A bigot and a despot whose reign was an inexorable crusade against political and religious freedom.'' He crushed the Reformation in Spain, exterminated the Spanish Moors, removed the capital to Madrid and built the Escorial. He attempted the subjugation of the Netherlands, England, and France, in all of which he failed. Died 1598. Physicians. American physicians are referred to when per- manently residing in the place; in other cases, English-speaking residents. Aix-la-Chapelle, Dr. Hall ; Dr. Schuster. I Bordeaux, Dr. Breen, 21 Pave des Char- Amsterdam, Dr. Davids, Heerengraeht \ irons. Str., 237. j Boulogne, Drs. F. H. Walker, and J. Baden, Dr. Herman Muller. Harvey. Bale, Dr. Jung. Brussels, Dr. Collignon, 54 RuedeStas- Berlin, Dr. Oppert, Leipziger Str., 128. | sart; Dr. Thomson, 14 Rue d' Egmont. Berne, Dr. Demme. Bonn. Dr. Burger. ! Cologne, Dr. Sticker, II. Casino Str. 4 312 PICP Dieppe, Dr. D. W. Williams. Dresden, Dr. Cams, Luttichau Str.; Dr. Pierson, Racknitz Str., 10. Florence, Dr. Forrest, 27 Via Lungi Allemani. FranJcfort, Dr. Bresgen, Hoch Str., 37. Geneva, Dr. Wilkinson, 1 PL du Lac. Genoa, Dr. Breiting. Hamburg, Dr. Oppert. Hague, Dr. Coster, Plaats, 14. Havre, Dr. Tarral. Homburg, Dr. Lewis. Lausanne, Dr. Joel. Lucerne, Dr. Steeger ; Dr. Nager, JSTa- pell Plate, V78. Milan, Dr. Walker ; Dr. Capelli. Munich, Dr. Ranke. Naples, Dr. Wyatt, Pa?. CalabrMo, Strada Caterina ft Chiaja. Nice, Dr. Guerney ; Dr. Crossby. Ostend, Dr. Saulniann, 2?owZ. dw Nord. Paris, Dr. Johnson, 10 i?is&4£ f2ti , ;- t ^^v^«^i§ 31.6 PISA sen ; V. , Christian sarcoph. of 2d or 3d cent, with relief of the Good Shepherd ; XL. , Roman sarcoph. with Rape of Proserpine. W. Wall : 45, Virgin and Child, by G. Pisano ; stat. of Gio. Pisano, by Salvini; on the wall, Chains of the harbor of Pisa captured by the Genoese, 1632, restored to the Pisans, 1848 ; XII. , XIII. , Rom. sarcoph. with Etruscan urns. JV. Wall : Paintings — Creation, Man, The Fall, Expulsion from Paradise, Cain and Abel, The Ark, Deluge, Noah's Sacrifice ; also the following, by Gozzoli : Noah's Vintage, Curse of Ham, Babel, Hist, of Abraham, Isaac, Jacob, Esau, Joseph, Moses, Aaron, Fall of Jericho, David, Solomon, Queen of Sheba. The tomb of Gozzoli is below the History of Joseph. Sculptures — 57, Greek relief from a tomb ; 78, Greek head. XIX., XX., sarcoph. with Bacchanalian scenes; XXI., sarcoph. from which it is said Nic. Pisano copied figures for his pulpit ; several sarcophagi with mythological reliefs. E. Wall: Paintings — Ascension, Thomas, Resurrection, Cru- cifixion. Sculptures — mon. of Count Mastiani, by Bartolini; mon. of Greg. XIII.; mon. to Angelica Catalani the songstress; Nic. Pisano, by Salvini. **S. Wall, e. end ; **Triumph of Death, representing the van- ity of Pleasure, the tranquillity of a Religious Life, Death, the Resurrection, Souls taken to Heaven, and to Purgatory. " Queens, kings, popes, and archbishops, with their ministers and their crowns, lie in heaps, and their souls, in the shape of nude infants, issue from their bodies to take their place in the terrible eternity. Some are welcomed by angels, but the greater number are seized by demons, hideous and base figures, with bodies of goats and toads — a grotesque pack, gambolling and capering around their quarry — a singular mingling of dramatic passion, morbid philosophy, accurate observa- tion, awkward triviality, and picturesque impotence." — Taine. The Triumph of Death and the Last Judgment, as well as Hell, have generally been attributed to And. Orcagna, but it is now believed that they and the Temptation and Miracles of the The- ban Hermits are by P. and A. Lorenzetti, 1340 ? Pisano, Nicolo (pee-sah'-no), Italy ; 1206-1278, b. at Pisa; one of the greatest of the early architects and sculptors ; exe- cuted the celebrated pulpit of the Baptistery at Pisa, 1260, and a pulpit for the Duomo at Siena, 1266. " He gave the death-blow to Byzantinism and barbarism, established new prin- ciples of architecture, and holds the same relation to Italian art which Dante does to Italian literature." "The antique spirit has continued to be the inalienable inheritance of Italian art ever since the days of Nicolo Pisano." — Liibke. PITT 317 Pitti Gallery. See Part II., Pitti. P. 512. Place de la Nation (plas' deh-lah-nah'-see-ofi), formerly called Place du Trone, at the e. end of the city, a mile beyond PI. de la Bastille. In 1660, on the conclusion of peace with Spain, Louis XIV. here erected a throne from which he received the homage of the citizens, whence the former name. Bronze statues of Louis IX. and Philippe le Bel surmount two lofty Boric columns. Place des Vosges (plahs'-day'-vozhe'), formerly Place Royale, Rue Turenne, near PI. de la Bastille. In this square, then the court of the Palais des Tournelles, occurred the tourna- ment in which Henry II. lost his life, 1565. After this event Catherine, his wife, demolished the Palace and erected the pres- ent buildings around the square. No. 9 is noted as once the residence of Victor Hugo, and No. 21 as that of Richelieu. In the centre is a marble equestrian stafc. of Louis XIII. Pompeii (pom-pe'-i-I, commonly pronounced in Italy pom- pay' -e), 15 mis. from Naples; may be reached by carriage, or, better, by rly. There are usually 4 trains daily; time 50 m.; fare 2 f r. ; admission 2 f r. , which also pays for the guide ; gratu- ities forbidden : Sundays, free. In summer, on account of the oppressive heat of midday in the shadeless streets, it is particu- larly recommended to make the visit in the early morning or toward evening. As a guide accompanies the visitor, and as he takes his own route, any detailed description of the numberless objects and lo- calities of interest is rendered unnecessary. About 70 acres, com- prising ^ of the space within the walls, has been excavated up to the present time. It is imbedded in ashes to the depth of 20 ft. Principal Objects of Interest are the * Amphitheatre, with 35 rows of seats ; the Theatre ; the Forum ; three Triumphal Arches ; Temples of Venus, Mercury, Jupiter, Augustus, and Neptune ; the Barracks, in which were 63 skeletons ; Houses of Diomed, Meleager, Sallust, Pansa, the Fullonica, the villa of Cicero, and two museums. Its Destruction. At the time of its overthrow, Pompeii had a pop. of about 30,000. In the year a.d. 63 an earthquake destroyed the Basilica, Forum, the temples, and many private dwellings. These were scarcely rebuilt, when, in a.d. 79, the first known eruption of Vesuvius took place, burying the entire 318 POMP city in ashes and cinders, mixed with boiling water. The first shower of ashes, which fell to the depth of 3 ft., caused the in- habitants to flee for safety. Upon its cessation it is supposed many returned to secure their valuables, when there fell a shower of red hot ashes and rapilli to the depth of 7 or 8 ft., followed by others, till the city was buried to the depth of 20 ft. Pliny the Younger describes the catastrophe as follows : " It was already seven o'clock in the morning, and yet there was to be seen but a faint light like that of twilight. The buildings were shaken by such heavy shocks that there was safety nowhere. We resolved to abandon the city. Ar- rived without the city, we paused. The sea seemed to be turned back upon itself and to retreat. Over against us a black and awful cloud, crinkled with darting, wavy fires, opened and showed us great flames like thunder-bolts. Almost in an instant the cloud fell to earth, covering the sea. The ashes began to fall upon us. Turning my head, I perceived behind a dense smoke, which was following us and spreading itself over the ground like a torrent. While we could still see, I advised my mother to leave the principal road, lest the crowd which was following upon our steps should crush us in the darkness Hardly had we left it, when the dark- ness so increased that we seemed to be, not as involved in a black, moonless night, but as shut in a chamber where every light had been extinguished. There was nothing to be heard but the lamenting of women, the wails of children, and the shouts of men. One was calling a father, another a son, another a wife ; people could recognize one another only by the voice. Many besought aid of the gods ; others fancied that they no longer lived, and believed this to be the last and eter- nal night, when the world was to disappear into its grave." The number of skeletons thus far exhumed is about 500. Pompey, the Great, Rom.; b. B.C. 106. General of great ability and success. Was honored with a triumph in 81 : consul with Crassus B.C. 70. The Senate refusing to sanction some of his acts while in command in Asia, he united with Caesar and Crassus, forming the First Triumvirate. Married Julia, the dau. of Caesar ; in 55, was consul a second time with Crassus ; in 52, was sole consul. Enmity having arisen between Pompey and Caesar, the latter who was in Gaul, at once marched upon Rome ; whereupon Pompey fled t o Macedonia. Caesar following, a deci- sive battle was fought at Pharsalia. Pompey being defeated fled to Egypt, but was murdered as he was about landing, B.C. 48. Pom-pey, Theatre of, Rome; built by Pompey, repaired by Tiberius, Caligula, and Theodoric ; and in the Middle Ages was converted into a stronghold. The site it occupied was between the present chs. of S. And. della Valle and San Carlo a Catinari. Here, 1864, was discovered the bronze Hercules, now in the Vati- can. Near by was the Curia in which Caesar was assassinated. Pon -te St. Angela, the Pons yElius of the Romans, now POPO 319 called the Bridge of St. Angelo, built by Hadrian, a.d. 136, as a passage to his tomb, remains now nearly as left by him. In the Middle Ages booths occupied both the sides, but in 1450, a crowd having caused the death of 200 persons on the bridge, the booths were removed. The statues of Peter and Paul were placed at the extremity in 1530 ; and the 10 angels and the para- pet in 1668. Pop'-o-lo, S. M. del, ch., in Pi. del Popolo, Rome; said to have been erected upon the place where the ashes of Nero were discovered and cast to the winds. Right aisle: 1st and 3d chapels, and the ceiling of the choir, fine paintings by Pinturicchio. Be- low are several monumental works by Sansovino. Upon the high altar is a miracle-working Virgin, which stayed the plague of 1578. Chapel to the 1. has An. Carracci's Assumption. Chigi Chapel, 1. aisle, planned by Raphael. The group of Jonah and Whale was modelled by him. Pordenone(por -day-no -nay), Cio. Ant. Licinio Regillo da., 1483-1539, b. at Pordenone ; painted figures with great ex- cellence ; attained a delicate softness of flesh rarely surpassed by Titian. His composition was simple, coloring excellent. Many works in the galleries attributed to him are unauthenti- cated. The S. Lorenzo Guistiniani, in the Acad., Venice, is one of his best. " He is not inferior even to Titian in the softness and warmth of his coloring, especially in his flesh tints." — Licbke. Principal "Works : Borgh.., X. 9? ; Doria, II. 18; Dresd., 252; Hamp. Ct., 71, 92, 102, 104; Hermit., 116, 117?, 118?; Madrid, 341; Munich, 482; Pitti, 52; Uff., 616? Por-ta Maggiore (mad- jo' -ray), Rome; a gateway in the wall on the eastern side of the city. Of interest especially as af- fording the best view of the structure of the ancient aqueducts, which here are built into and upon the city wall. See Aqueducts, Rome, Aqua Claudia, and Anio Novus. Potter, Paul, 1625-1654, b. Enkhuizen, Hoi. He studied with his father, who was an indifferent painter, yet his progress was such that at 15 years of age he was an accomplished artist. Going to The Hague, he was met with great favor by the Prince of Orange. He removed to Amsterdam in 1652. Kugler con- siders " that of the masters who have striven pre-eminently after truth, he is beyond all question, one of the greatest that ever lived," His industry mu^t have been extreme, as, living only to the age of 29, he left 103 pictures. His masterpieces are the 320 POTT Young Bull at The Hague, valued at $25,000 ; and the Dairy Farm at St. Petersburg. "The Young Ball approaches the nearest to deception of any really fine work of art I have seen. The painter seems to have omitted nothing that he saw in nature which art could rep- Young Bull — Potter. resent, and yet its reality is free from any still-life un- pleasantness. It is admired for its truth, but to a culti- vated eye it has that some- thing more than mere truth that is indispensable to a work of art ; it has great taste throughout, displayed no less in the generalarrange- ment of the masses and forms than in the most minute par- ticulars." — Leslie, B. A. This picture was car- ried by the French to Paris, and regarded by them as the fourth in value of those then in their collections, the Transfiguration, the Last Communion, and Titian's Peter Martyr, only surpassing it. The Dutch offered 60,000 florins for its return. The Grosvenor Grail. (No. 42), has a similar subject by Potter, which Kugler prefers to the Young Bull. Principal Works : Amst. Hoop., 90-1 ; Berlin, 872A; Borgh., XII. 22; Cassel, 525-6-7; Darm., 395?; Dresd., 1420; Hague, 111, 113; Hermit., 1051-5-6-7-9; Louvre, 399, 400, 68S-9; Munich, 1103; Nat. Gall., 849; Rijks, 305-7-8-9; Turin, 377 ; Vienna, Ghud., 266. Pottery. The most extensive and val- uable collections of ancient pottery are in the Museums of Naples and the Vati- can. They consist of vases, urns, and cups, evidently intended for festive occa- sions, bridal gifts, prizes, and similar pur- poses — not for common use. They were found in tombs in Greece, Sicily, South- ern and Central Italy, and date from the 6th to the 3d century B. c. As the decora- tions relate to the dress, customs, and mythology of the Greeks, the workmanship is believed to be that of Greek artists, even of POTT 321 fchose specimens found in Etruria. During the Roman period, this branch of decorative art seems to have been extinct in Italy. Nothing of it has been found in Pompeii or Herculaneum. Of this early fictile art, there are recognized four distinct styles. 1. The Phoenician, usually called the Egyptian, probably of Corinthian workmanship ; of a yellowish or pale red, painted in black or brown, with occa* sional touches of white or pur- ple, with horizontal bands of stripes filled in with flowers or animals. The figures and ani- mals are stiff, angular, and life- less, and the garments hang in long regular folds. 2. The Early Greek and Etruscan ; deep red ground with decorations in black. The fig- ures retain much of the stiffness of the former style, but the forms of the vases are more varied and the distribution of orna- ment more significant. The figures in general correspond to the early Greek statuary. The leading type is the female bust, which was rude among the Egyptians, severe with the Etruscans, and voluptuous among the Greeks. In the Early Etruscan, the figures of men are in red flesh-color ; of women, cream-color, with decided outlines of black. 3. The Classical, of a deep black, pol- ished ground, with figures in red. The decorations are arranged in two or three dis- tinct rows, the figures of which, in delicacy of outline and expression, indicate the best period of Grecian art. In this, as in the following style, the subjects are historic and mythologic. The figures are separate, and full of expression, both as to attitude and gesture. The accessories are simple and symbolic ; night is indicated by a star ; a chamber, by a curtain ; the sea, by a shell or a dolphin ; the earth by an undulating row of dots. This style gradually passed into 21 322 POTT 4. The Decorated, u in which the noble Greek symmetry of the work as a whole, and its adornment, give place to an ex- aggerated richness that finds expression in enormous ornamental vessels, sometimes 5 feet in height, and in superfluity of orna- ment." The subjects — satyrs, youths wrestling, dancing bac- chantes, goddesses, veiled female dancers, toilettes, revellers, horses and chariots, are of the highest artistic excellence, and often of the most exquisite beauty. Vases were not decorated later than the time of Augustus. After that time, glass, gold, and silver were used for ornamental vessels. During the Middle Ages the Potter's Art seems to have been lost. Majolica (ma-yol'-i-ca), [Faience, Fayence, Maffaelle, delta Robbia, Gubbio, Palissy, and Limoges ware]. About the middle of the 12th cent, a soft, coarse enamelled pottery of the Moors was introduced into Italy from the island of Majorca, thence the term Majolica. In the 15th century, establishments for the manufacture of similar wares were erected in various cities of Italy, of which those at Pesaro and Gubbio were the earliest. Fayence, Faience (fi-ofis), derived, as stated by some, from Faenza, Italy, and by others from Fayence, France, comprises various species of glazed earthen and porcelain wares. Italian Faience. In the loth century an establishment for the manufacture of pottery was erected at Pesaro, to which a patent was granted l ' for the application of gold to Italian faience. " At a later date the Pesaro ware was executed in relief. Gubbio Ware. In 1511, Master Giorgio of Gubbio succeeded in adding to the Pesaro ware the color and splendor of the ruby. POTT 323 These wares are usually without relief, in deep blue and yellow, with a strong metallic lustre. Raffaelle Ware (raf-fay-el'). The works at Urbino, Italy, pro- duced excellent majolicas under the direction of Ciarla and della. colle Raffaelle. These names having- been confounded with that of the great painter, the Raffaelle wares for a long pericd pos- sessed an exaggerated value from the supposed connection of that artist with their manufacture. Delia JRobbia Ware. The Italian faience attained its greatest perfection in Florence under Lucca della Robbia (1400-1481). He gave it a brilliancy of coloring, an effectiveness of relief, and a hardness of enamel which had hitherto been unattained. He was the most noted artist of these wares, and is often mentioned as the inventor of majolica. " Services of this ware were deemed suitable presents for crowned heads, and the Italian porcelain, as it was called for a time, monopolized the admiration of Europe. 1 ' French Fayence or Faience : Palissy, Limoges. About the time that the manufacture of majolica was beginning to de- cline in Italy, it was attracting attention in France. Palissy (pah-lee-se'). In 1555, after 16 years of experiment, Bernard Palissy of Saintes, France, attained the highest success in color and relief. His dishes are covered with leaves, shells, fish, and reptiles, and ore especially celebrated for the high relief of the figures, fidelity of tint, and the accuracy of the modelling. The great beauty and perfection of his work brought him the most distinguished patronage, but as no one of his successors could attain the excellence he had gained, his art perished with him. Not more than 37 pieces of his work are now known to exist. All the copies of his work are quite inferior both as to design and execution. Limoges (lim-ozh'). This term is applied to a fine enameHed ware which was perfected at Limoges, France, in the 15th cent. The enamel is laid upon a ground of gold or copper. One of the most noted masters of this art was Limousin, from whom the French wares of that period were called Limousins. This art flourished from the time of Francis I. to that of Louis XIV. The most celebrated specimens of this work, and the largest ever executed, 5 ft. in length, are in the Musee de Cluny, Paris. The color is usually black with various tints upon a white ground. During the reign of Louis XIV. French faience assumed an e\- 324 POUS aggerated style, with sometimes fantastic designs. Services were made, of which each piece was given the shape of the article it was designed to contain, embracing all vegetable and animal forms. Poussin, Nicholas (poo-san), 1594-1665, b. at Andelys, Normandy ; went to Rome, 1624. Studied under Sacchi and Domenichino, but took his style from the works of Raphael ; was an ardent student of the antique. He spent the most of his life in Rome where he had married . As a painter he possessed more industry than imagination. His early works are labored and wanting in freshness ; his later exhibit a more luxuriant fancy. Among his most important works is the Seven Sacraments, of which he painted two series, both now in England. His master- piece is the Bacchanalian Dance, in the Nat. GalL , London. The Louvre has nearly 40 of his works. " The manner of Poussin is heartless and profitless." — Ruskin.^ Principal Works: Barb., 86; Belv., one; Berlin, 467, 47SA ; Cassel, 280; Corsi., IX. 6; Dresd., 648; Dal., 27!), 291, 295, 300,305,310,315,336; Edin., 354; Hamp. Ct., 380; Hermit., 1394, 1398, 1400, 1413, 1414; Liecht., VIII. 637; Liver. Inst., 126, 126B ? ; Louvre, 415-16-17, 421, 426, 433-4-6-7, 440-3-5-6-7-8-9, 451-53 ; Montpellier, Mus. Fabre, several ; Madrid, 2043, 2051 ; Munich, 408, 417; Nat. Gall., 40, 42, 62 ; Vat., 1. Poussin, Caspar (poo-san), Dughet, 1613-1675, pupil of N. Poussin. His real name was Dughet, but he adopted the name of his brother-in-law, who was likewise his teacher. He devoted himself principally to landscapes. His dark back- grounds give his pictures a peculiarly sombre cast. Pozzuoli (pot'-zu-o'-ly), Italy, 6 mis. to the w. of Naples, on the Gulf of Pozzuoli. Town itself of no interest. At the w. end is the Temple of Serapis (fee 1£ £*..)• The Statue of Jupiter Se- rapis in the Museum Naples was found here. To the w. of this ruin is that of the Temple of Neptune and the Temple of the Nymphs (both partly submerged), from which several sculptures have been recovered. The AmpJritheatre, the most perfect and interesting of these ruins, is on an eminence outside of the town. Here Nero himself entered the arena, and St. Januarius was thrown unharmed to the beasts. A short distance from the Amphitheatre is Solfatara (sol f ah-tah'-rah) (£ f r. ), a half extinct crater, from which smoke and sulphurous gas yet issue. It is not known to have erupted for the last 7 centuries. Two mis. or so to the w. is Lake Aver- nus, Virgil's entrance to the Infernal Regions. PRAG 325 Prague, Prag (prahg), the ancient capital of Bohemia, is delightfully situated upon both banks of the Moldau, and has a population of nearly 165,000. It possesses a far greater interest in its history than in its art. With this city are associated the names of Huss and Jerome, Wallenstein, Tycho Brahe, and Em- peror Sigismund. A mile to the w. occurred the memorable bat- tle of Prague, 1620, in which Protestantism was conclusively over- thrown in Bohemia. * Principal Places of Interest are the Rathhaus, where after the Battle of Prague, 27 Protestant leaders were executed, as also eleven officers of his own army, by command of Wallenstein, 1633; the Teynkirche, with the tomb of Tycho Brahe; the Hradschin or Capitol ; the Cathedral, the Mausoleum of the Bohemian kings ; the Burg or Imperial Palace, Wallenstein's Palace, and the National Museum. Boutes : To Dbesden, 5 hrs.; $3.25 ; $2.30. To Vienna, 8 hrs.; $6.75 ; $5. Prax-it'-e-Ies, a Greek sculptor, born at Athens, about 392 B.C. Nothing is known of his history personally, ex- cept that he was a citizen of Athens. He is believed to have wrought above fifty works, among which are Venus of Knidos ; Eros, of the Vatican ; Saurok- tonos ; and the Faun of the Capitol. See Venus; Faun; Eros; and Apollo. " There is no doubt that the soft harmonious charm of all this masters works is aided by a pe- culiar delicately softened method of handling, full of tender grace, which brought out in its highest perfection the glow and polish of the Greek mar- ble. . . . The quiet of a soft dreamy mood, exalted into a gentle enthusiasm, was the real at- mosphere of his art." — Lilbke. Psyche (si'-kee), Myth of ; a beau- tiful maiden beloved by Cupid, in consequence of which Venus per- secuted Psyche and imprisoned Cupid. Cupid, however, escaped and prevailed upon Jupiter to interfere in behalf of Psyche, anij their nuptials were celebrated in the palace of Jupiter on Olympus. Cupid and Psyche, Painting, **a series by Raphael in the Villa Farnesina, Rome. See Farnesina. Statues: Capuan Psyche, Naples, 117 ; Louvre, 371 ; Cap., VI. 53. Psyche, Capuan — Naples. 326 QUEE Queenstown, on the s.w. coast of Ireland, first landing place of Atlantic steamers, 12 mis. dist. from Cork, of which it is the port ; formerly called the Cove of Cork, but given its pres- ent name in honor of the visit of Victoria in 1849, who here dis- embarked. Passengers and mail usually landed by tug. The land-locked harbor is defended by two forts at the entrance, and is one of the most commodious and best protected in the world. The city, which has a population of about 11,000, has little of interest. Passage to Cork may be made by rly. or boat. Quir'-i-nal Palace, Piazza del Quirinale, formerly di Monte Cavallo, Borne. The residence of the King and Crown Prince. Prior to 1870, it was the summer residence of the popes and the seat of the later conclaves of Cardinals. Upon the election of a new pope, the announcement was made from the balcony fronting the Piazza. Napoleon I., Francis I. of Austria, and Francis I. of Naples have occupied apartments here. Pius VII. died here, 1823. In the absence of the royal family the apartments are shown to visitors. In the 5th, 8th, and 9th rooms are Gobelins ; 10th, Mosaics from Hadrian's Villa; 14th room, *Flight of Pius IX., 1848, Overbeck; 17th, *St. Peter, BapJiael ; *Paul, Fra Bartohmmeo ; 19th (Audience Chamber), *Triumphal Procession of Alexander the Great, by Thoi'waldsen, ordered by Napoleon I. In the Chapel, * Annunciation, by Guido. In the Sala del Consistorio, *Madon- na, with SS. Peter, Paul, and Cardinals. No fee, but attendant should be given a gratuity. In front are the groups of the * * Horse Tamers. See Castor and Pollux. Raffaelle Ware. See Pottery. Raphael Santi, Raphaello Sanzio, 1483-1520, born at Urbino, Italy. The greatest of modern painters. He commenced his studies with his father, Giovanni Santi, but upon his death, 1494, went to Perugia and became the pupil of Perugino. This portion of his life is called the Umbrian, or Peruginesque Period ; and his style the Peruginesque, being a mere imitation of Peru- gino' s. The most important of his works during this period are the Coronation of the Virgin, now in the Vatican, and the Sposa- lizio, or Marriage of the Virgin, in the Brera. Going to Florence, in 1504, he studied the works of Masaccio, Angelo, da Vinci, and Fra Bartolommeo ; from which he was led to abandon his previous style, adopting what is called his second, •r Florentine style. Among the works of this period are the En- RAPH 32? tombment, Borghese Gall. No. 38; Mad. del Baldacchino; and Mad. del Granduca, in the Pitti ; St. Catherine, in the Nat. Gall. In 1508, Raphael was invited to Rome by Julius II., to dec- orate the Vatican ; and in the twelve suc- ceeding years he pro- duced the works which have placed him at the head of the great masters of Modern Painting. He here abandoned his Florentine style, and entered upon one more fully his own, happily combining the highest excellence in composition, de- sign, expression, and coloring, undoubted- Raphael. ly influenced by the antique with which he now came in contact. Among the principal works of this period, are, frescos, Cupid and Psyche, 12 pictures; and Galatea, in Villa Farnesina ; The Loggie, Helio- dorus, Constantine, Borgo, Bolsena, St. Peter, School of Athens, in the Vatican ; in oil, St. Michael and the Dragon, Holy Family, and the Belle Jardiniere, in the Louvre ; the Sistine, Dresden ; Mad. della Sedia, in the Pitti ; and the Trans- figuration, in the Vatican, his last work, and usually considered as the first mas- terpiece of Modern Painting. He died at the early age of 37, and was honored with a magnificent fu- neral ; and, in accordance with his wish, entombed in the Pantheon, Rome. "As compared with his great predecessors, da Vinci and Angelo, his distin- guishing excellence may be summed np as that of an harmonious beauty of ex- Michael — Louvre. 328 RAPH pression, color and form ; neither so thorough in execution and modelling as tht first, nor so original, powerful, and subjective, as the second." — Kugler. Sposalizio — Milan. (See p. 302). Principal Works : Berlin, Mus. , Madon. of the Golonna Family ; Madon. of the Duke of Newland. Blenheim, coll, of Marlborough, Madon. Ansidei. Cowper coll. Niccolini Madon. Bologna, Acad. Art, St. Cecilia. Dresden Gall., Sistine Madonna. Florence, Pitti Gall., Julius II.; Madon. del Baldacchino; Madon. del Gran- duca ; Ag. Doni and Wife; the Vision of Ezekiel ; Leo X.; Madon. della Sedia. Ufflzi, Madon. of the Goldfinch ; Julius II. Geneva, Reviliod coll.. Madon. of the Goldfinch. "London, Nat. Gall.. The Chevalier's Dream ; the .Aldobrandini Madon. St. Catherine. Dudley coll., Three Graces ; Crucifixion. Ellesmere coll., Bridge- water Madon. Madrid, Mus., Madon. del Pesce : Holy Family; the Visitation ; Card. Bibiena. Milan, Brora., The Sposalizio. Naples, Mus., Holy Family. Munich, Pina., Madonnas della Tenda, della Tempi, and Canigiani. Paris, Due d'Aumale coll. Orleans Madon. Louvre, La Belle Jardiniere; Madon. of the Veil ; Holy Family of Fr. I.; Holy Fam.; John Bap.; St. Margaret; REMB 329 St. Michael ; St. George ; St. Michael and the Dragon ; Bait. Castiglione ; Portrait of a young man ; Jeanne of Aragon ; Portraits. Perugia, Con. S. Severo, The Trinity. Rome, Vatican, Pina., Coronation of the Virgin ; Predella ; Three Virtues ; Transfiguration ; Madon. del Folignio. Stanze, Disputation ; School of Athens; Parnassus ; Jurisprudence ; Heliodorus ; Mass of Bolse- na ; Vision of Attila ; St. Peter delivered ; Incendio del Borgo. Ch. of S. Augus- tine, Isaiah. Ch. of 8. 3f. della Pace, Sibyls. Far- nesina, Galatea. Ripolda Collection, Madonna of the King of Naples. Doria Palace, Portraits of Nava- gero and Beazano. Sciarra Palace, The Violinist. Bor- ghese Palace, Entombment. Barberini Palace, Forna- rina. St. Petersburg, Her- mit, St. George ; and 4 Ma- donnas. Vienna, Bel., Madon. aux Herbes. Entombment — Borghese Gallery. RAPHAEL'S CARTOONS. See Cartoons of Raphael. RAPHAEL'S HOURS (so called). See Ebitrs, RaphaeVs. RAPHAEL'S LOGGIE. See Loggie of Raphael. RAPHAEL'S MADONNAS. Sec Madonnas, RaphaeVs. RAPHAEL'S SIBYLS. See Pace, Ch. of S. M. della. RAPHAEL'S STANZE. See Stanze of Raphael. RAPHAEL'S TOMB. See Pantheon. RAPHAEL'S TRANSFIGURATION. See Transfiguration. Rembrandt van Ryn, Rhyn, Run (rin), 1607-1669, b. at Leyden, Hoi. One of the most celebrated painters of the Dutch School, and one of the first masters of light, shade, and color. At the age of twenty-two, he established himself at Amsterdam. Here he received many commissions for portraits from distin- guished personages. Discarding the mythological and religious, he chose his themes from actual life, and hence his works are en- tirely materialistic, frequently wanting in poetic or artistic taste. His works number over 600 and command the highest price. The Christ Blessing little Children, in the Nat. Gall. , was purchased for $35,000. His masterpieces are the Night Watch, at Amster- dam, and the Anatomical Lecture, at the Hague. " His pictures carry one completely away with their weird charm and their mysterious poetic force. . . . There is, however, no trace of the ideal sense 330 RENI Anatomical Lecture — Rembrandt. of form that marks the Italians, but rather an art full of intrinsic truth ; master* ful strength and skill compensating one for the lack of beauty by sharply defined characterization, life-like individuality, warmth of sentiment, and .picturesque charm." — Liibke. Principal Works : Amst., Hoop., 95 ; Ant., 293,294?, 295?; Augs- burg, 547; Berlin, 802- 5-6, 806A, 808-10-18-23- 28A ; Brera, 446; Bruns., eight ; Brass. , 277 ; Cas- sel, seventeen; Darm., 347, S48; Dresd., 1214- 16-17-19, 1220-3-5-8, 1232; Dul., 179, 189, 206, 282; Frank., 144; Hermit., *792, **797, and twenty-nine others ; Hague, 114-5-0-7-8; Liecht., 172-3-4; Lou- vre, 404-7-8-9-10-12-13- 14-15-16-17-18-19, 690 ; Dutch Sch., 96, 98 ; Madrid, 1544 ; Munich. 196, 323, 329, 337, 343, 847-8-9, 850-1-2, 860, 882, 1299 ; Nat. Gall., 43, 45, 54, 72, 190, 221, 243, 672, 775, 850, 289?, 757; Pesth, XIV. 643; Pitti, 16, 60; Rijks, 348, 349; Turin, 430; TJffi., 922, 979. Rent, Guido. See Guido. Reynolds, Sir Joshua, 1723-1792, b. at Plympton. His distaste for study and his love of drawing- was early manifest, to the great displeasure of his father, who rebuked these tenden- cies by inscribing on the back of one of his drawings, ' ' Done by Joshua, out of pure idleness." When he was eight years old he made a drawing of Plympton school so very accurate that his father did himself and his son justice by saying, "This is wonderful." At the age of 18 he went to London, and commenced study under Hudson, the most distinguished portrait painter of the time, where he remained two years. In 1743 he returned to Plympton, where he passed three years to little advantage painting portraits. Resolved to visit Rome, in 1749 he embarked for Italy, visit- ing on the way, Gibraltar, Algiers, and other localities, reaching his destination after a voyage of six months. He remained in various parts of Italy nearly three years, visiting all the most noted collections of art, and diligently making studies of the great masters. Returning to England he was elected the first President of the Royal Acad, of Gt. Britain, which had just been inaugurated. RIAL 831 the king conferring upon him the honor of knighthood. He re- mained president of the Academy for twenty-one years, and died 1792, and was entombed in St. Paul's Cathedral. Principal Works : Dul., 143, 146, 254, 285, 340 ; Edinb., 12, 29, 30, 49 ; Green- wich Hosp., portraits; Hermit, 1S90-1-2 ; Kensing. Port. Gall., five; Nat Gall., 78, 79, 106, 107, 111, 162, 306-7, 754, S85-7-8-9, 891. Rialto, Ponte di (pon'-ta-dee ree-ahl'-to), a foot bridge over the Grand Canal, Venice, a single arch of 74 ft. span, 32 in height, resting on 12,000 piles ; built 1588. Ribera, Josef de (yo-sef-da-ree-bay'-rah), II Spagno- Letto, 1588-1656, b. at Cativa, Spain ; d. at Naples. Going to Rome when young and living in poverty, he studied the works of Caravaggio, Raphael, and the Carracci. Afterward he went to Parma and Modena and studied Correggio. Returning to Naples, he was appointed court painter. His anatomical subjects were painful and depicted with a horrible reality; such as the Flaying of St. Bartholomew, Ixion on the Wheel, Cato of Utica. His works are numerous and are to be found in all the larger collections. Principal Works : Augsburg, 372 ; Berlin, 403 ; Borgh., VI. 10 ; Cassel, 263; Corsi., VIII. 25; Dresd., 608-10-12-13-15-18-19; Frank., 52; Hermit., 330-1-2- 3-4 ; Louvre, 548-9, 550, 32 ; Madrid, 956-9. 903, 977-8, 932-3-9, 998, 1006-11-12, and others, in all, fifty-eight; Munich, 354, 363, 381-5-6 ; Naples, Saladi Correg., 12, 13, 14, Sala Grande, 59 ; Pesth, 707 ; Pitti, 19 ; Turin, 397 ; Uffi., 1104 ; Vat., Martyrdom of St. Lawrence. ** Rigi Kulm, The, Switz. (ree'-ghe'-koolm', g hard), 5,905 ft.; from its height and isolation, commands a view extraordi- nary both as to extent, covering an area of upward 7,000 sq. mis., and as to richness, having on the one hand a waste of Alpine pin- nacles, and on the other the fertile vales of Lucerne and Zurich, dotted with lakes and villages, and luxuriant with vegetation. The mountain is a mass of conglomerate, descending toward the s., whose marked stratification on the sides gave it the name Rigi, i.e., strata. On the northern and western sides it descends abruptly, and, in some places precipitously. It is covered with verdure to the very summit, the Kulm itself being a fine smooth grass-plat. Until 1815 the mountain appears to have attracted but little attention. In 1816 a small lodging-house was erected on the Kulm; in 1848, the present hotel was commenced, and since the opening of the Rigi railway the number of visitors has exceeded 50,000 annually. In the height of the season, rooms for the night should be engaged in advance. 332 RIJK The sunset and sunrise are the specialties of a night on the Rigi. Such is the uncertainty of weather, however, on the sum- mit, that the visitor may well fortify himself against too sanguine anticipations. Immediately before and after sunrise the atmos- phere is peculiarly clear ; a half hour later the rising mist short- ens the vision. Should the mist rise opposite the sun, the specta- tor may have the pleasure of seeing his own shadow, surrounded with a halo, projected in magnificent proportions on the vapory screen. **The View. Directly to the w., at the extremity of the lake, is Lucerne ; on the 1. is Pilatus and the Alpnacher See ; to the r. is the bay of Kiissnacht and the Zuger See, whose shores are lined with villages. To the n. e., in the foreground, the Rossberg, the track of whose memorable slide of Goldau is plainly traceable — the village of Goldau being directly at the foot of the Rigi ; the Egeri See, behind and to the r. of the Rossberg, on whose shore was fought the battle of Morgarten, 1315, and also against the French, 1798 ; between the Rossberg and the Rigi the small lake of Lowerz ; to the s., a portion of the lake of Lucerne. Of the hundreds of peaks which present themselves to the spectator on the summit of Mt. Rigi, but few can be recognized or distinguished, except to a familiar eye, es- pecially if there chances to be any degree of cloud or mist. The Mountain Peaks. Beginning with Pilatus, to the 1. of Lucerne and just beyond the western end of the lake ; to the 1. is the small lake of Sarnen, between which and the Rigi rises in the foreground the Biirgenstock, 3,740 ft.; behind the Bur- genstock, to the 1. of Samen, is the Stanzerhorn, 5,847 ft.; over the 1. portion of the Stanzerhorn rise, in the horizon, the three peaks of the Jungfrau, 12,828; the Eiger, 12,240; and the Monch, 12,609. Following the line of peaks to the 1. of the Monch a short distance, the last of these high points in the hori- zon is the Finsteraarhorn, 13,160. Then follow 1., in the fore- ground, the Buochserhorn, 5,570 ; and the Speiss, directly behind the third and last glimpse of lake Lucerne. In the rear of these in the horizon is a multitude of less important peaks. Over the southern peaks of the Rigi rise highest in the horizon, the Bris- tenstock, 9,464 ; the Great Windgelle, 9,818 ; the Schreckhorn, 10,147; and To-di, 11,158. See Route 24, Note 5. Rijks Museum. See Part II., Amsterdam, Rijks. P. 417. Robbia, del la, Ware. See Pottery. ROB 333 Rob Roy {Robert the Bed), Robert Macgregor, b. 1660, was a cattle trader, and on account of the Macgregor Clan's being outlawed by the Scottish Parliament, he assumed the name of Campbell. Being deprived of his estates by the Duke of Mon- trose, Rob Roy made a war of reprisals upon the Duke's prop* erty, and although an English garrison was stationed at Invers- naid, Rob Roy's home, he continued, against all their efforts, to levy blackmail against the Duke. Rob Roy's Cave is but a short distance above Inversnaid, on the e. shore of Loch Lomond. *Roch, St., Ch. of (rock), Paris, Rue St. Honore, 1653, in front of which Napoleon I. planted his cannon, 1795, to preserve the peace of the city. In the rear of the high altar are three successive chapels, containing numerous works of art. The music in the church is usually very fine. Marie Antoinette was led to execution from this church. Roland, Legend of Rolandseck. Roland, nephew of Charlemagne, in his wanderings chanced one evening to come to the Castle of Drachcnfels, where he was welcomed and treated with dis- tinction. The next morning the Knight of the Castle presented to him Hilde- gunde, his only daughter. Roland was enamored of her, and she soon gave him her heart, and a new castle was already planned. A message from Charlemagne directing Roland to repair at once to Spain to battle against the Saracens, over- threw all the plans of the lovers. Wounded in battle, the report soon came to Hildegunde that Roland was slain. Heartbroken, she resolved to forget her sorrow in the devotions of the cloister. Some months after Roland stood at the door- way of the castle. The father was dumb with astonishment at seeing one whom he had long thought dead ; and as Roland hastily asked after Hilde- gunde, Heribert covered his face and only after some moments was he able to say that she had become the Bride of Heaven. The news that his Hildegunde was forever lost to him fell upon his heart like a thunderbolt. Speechless he left the Castle. On the bank of the Rhine where he might overlook the convent and perchance sometimes see Hildegunde as she should go to and from the little chapel, he built his castle, Rolandseck. One morning Hildegunde did not appear, and on the fol- lowing day the sad procession told him her weary heart was at rest. From that hour Roland never spoke again, and not long after he was found cold and lifeless, with his half -closed eyes still turned to the spot where he last saw his beloved ifildegunde. Romano, Giulio (joo'-le-o-ro-mah'-no), Giulio Pippi de' Giannuzzi, 1498-1546, b. at Rome ; favorite and most noted of Raphael's pupils, to whom was confided many of the decora- tions of the Vatican ; notably Raphael's Loggie, which to a large extent is the work of his hand. Raphael having made Romano and Fr. Penni his heirs, upon his decease they devoted some years to the completion of his works 334 ROMA in the Vatican. Among those finished by Romano are the Sala di Constantino, in the niches of which are his finest frescos ; the Defeat of Maxentius ; the Bap. of Constantine ; Constantine giving Rome to the Pope ; and the Transfiguration. He also decorated a palace on the Janiculum with a fine series of Venus and Cupid, Flight of Helen — Romano. and Apollo and Hyacinth. At Mantua, in the Palazzo del Te he designed a most elaborate series of decorations, embracing an endless number of mythological scenes and figures, upon which he was engaged at the time of his death. His panel pieces were few and of less merit. He was admira- ble in design and fertile in invention, and was equally a master in architecture as in painting. He was appointed architect of St. Peter's, Rome, but died before entering upon his duties. Principal Works : Belv., two; Borgh., IT. 18, 29, 65; Dresd., 82; Farn., fres- cos; Hermit., 43, 56, 57, 80; Liverp., 80; Louvre, 291, 293; Mantna (Palazzo del Te) contains much of hie work ; Naples, Sala Grande, 5 ; Nat. Gall., 624, 643?, 644?; Pitti, 57, 167; Rome (San Luca), Copy of the Galatea of Raphael ; Uffi., 1144 ; Vatican, Loggie, one, Sala of Const., two. **Roman Forum. In remote times, when the Romans oc- cupied the Palatine Hill, and the Sabines the Capitoline, the marshy ground between served as neutral territory, whereon both parties could meet. Gradually it became a market-place and an exchange, till, at length, all the important business of Rome and of the Empire came to be concentrated in and about the Forum. A portico was built around the Forum, the first story being de- voted to shops and the second to offices for the collection of taxes. After some centuries, these were destroyed by fire, when various basilicas and temples were erected in their places. The Forum 336 ROMA existed as such till the 11th cent., A.D., when it was totally de- stroyed by Robt. Guiscard. Becoming then a waste, the rubbish of the city was thrown there until the entire space was filled to the depth of 24 ft. and the location and names of the ancient buildings lost. In the revival of learning, in the 16th cent., interest began to be awakened in the ruins of Ancient Rome, and in 1547, excavations of the Forum were commenced, under Paul III., which, with much irregularity have continued to the present day. Standing upon the causeway, at the left of the arch of Sep. Severus, and facing the Capitol, the eight granite Ionic columns at the 1 , standing upon a base 16 ft. high, are of the * Temple op Saturn, b.c. 491, restored B.C. 44; erected upon the site of the Sabine altar to Saturn. Between the ruins of the Temples of Vespasian and of Saturn, is seen the ancient pave- ment of the Via Sacra, which descended from the Capitoline Hill through the Forum. The three white marble Corinthian columns in the rear are a portion of the * Temple op Vespasian, of which only these columns and the entablature remain. It was erected by Titus about a.d. 80, and restored by Sep. Severus. Until the present century, the columns had long been buried nearly to the capitals. The frieze contains various sculptures of sacrificial instruments ; the knife, the axe, the flamen's cap, etc. At the extreme 1. in the rear are ten small pillars, recently placed, representing the Colonnade of the 12 gods ; beyond these was the Schola Xanthus, a building used by scribes and notaries. This portion of the Forum is terminated by the walls of the an- cient Tabularium, or Hall of Records, erected B.C. 78, upon which the present Palace of the Senator stands. One arch of the origi- nal wall is seen at the extreme left. Between the arch of Sep. Severus and the Tabularium, and against the latter ; at the r. stood The Temple op Concord, erected B.C. 388, in commemo- ration of the conclusion of the struggle between the patricians and plebeians. This was also the Senatorial Hall.. Here Cicero convoked the Senate, B.C. 63, on the occasion of the Catiline Conspiracy ; and delivered his memorable Second Oration against Catiline. Nearer the arch is the Umbilicus Romae, from which distances within the city were measured ; and near the corner of the Tem- ple of Saturn, a conical structure, the MUiarium Aureum, from ROMA 337 which distances throughout the empire were measured. Between these two is a raised circular wall, the ancient Rostra. It was in the space before us that the surviving Horatius was condemned, and saved by the voice of the people ; that Romulus and Tatius met to regulate affairs between the Romans and Sa- bines ; that Brutus gave sentence and saw his two sons executed ; that Cicero pronounced his orations against Catiline ; and Marius affixed the heads of Octavius, Antony, and Cicero to the Rostra. The Arch of Sep-tim'-i-us Se-ve'-rus was erected a.d. 205 by the Senate to the Emperor and his sons Caracalla and Geta. Caracalla, having put his brother to death, erased the words in the inscription upon the arch relating to him, "EtP. Septimio L. Fil Getse Nobilis Csesari," and inscribed in place "P. P. Optimisque fortissimisque principibus. " The erasure will be readily recog- nized in the 4th line. The arch was surmounted by a car drawn by six horses abreast, containing the figures of the Emperor and his sons. Beneath the Arch is a paved roadway some centuries later than the Via Sacra. " The proportions of the arch of Sep. Severus are very fine, the aspect is impos- ing; it possesses solidity without heaviness. The inscription has a double histo- ry ; it recalls the campaigns of Severus and the domestic tragedy which afterward stained the family." Across the street from the Arch of Sep. Severus is the Mamer- tine Prison. See Mamertine Prison. Facing the southern excavation, directly upon the r. is the Column of Phocas — "the nameless column with a buried base," of Byron. Prior to the excavations of the Forum, antiquaries could agree upon nothing concerning this column. The uncover- ing of its base showed that it was erected to the Emperor Phocas, by Smaragdus, 608 a.d. The greatly inferior art of the step and base leave no doubt that the column itself belonged to some ear- lier structure. *The Basilica Julia, farther to the right, was founded by Ju- lius and completed by Augustus Ceesar, on the site of the Basilica Sempronia. The low brick pedestals are restorations of the pil- asters, supposed in the style, of the dimensions, and upon the foundations, of the ancient structure. Some portions of the original steps may be seen along the front and eastern end of the Basilica. In the midst of the open space in front of the Basilica stood the colossal equestrian Statue of Domitian. The three fine 22 338 ROME Corinthian Columns beyond are ruins of the Temple op Castor and Pollux. These are regarded as among the finest specimens of pure Corinthian architecture remaining from the early Roman period. The temple was dedicated, B.C. 484, in commemoration of the victory of Lake Re-gil'-lus, 498, the tidings of which Castor and Pollux carried to Rome. Costly sacrifices were here offered on the anniversary of the battle. In front of this temple stood The Temple op Julius Cesar Deified, upon the place where his body was burned. At the s.e. corner of the Temple of Castor and Pollux was the Lacus Juturnce, near which Galba was thrown from his litter and murdered. Here also stood the Tem- ple op Vesta, where the sacred fire was preserved, and near which Numa had his residence. Across, upon the eastern margin of the present excavation was the Arch op Fabius, beneath which the Via Sacra passed on its way to the Arch of Titus. Here also was the Temple op Anto- ninus and Faustina, built by Antoninus, a. d. 141, of which the columns and a portion of the cella remain. Their preservation is due to the circumstance of its being modelled into a church, and as such still occupied. The date of the ch. (S. Lorenzo in Mi- randa) is unknown, but mention is made of it as early as 1430. Beyond this ch., excavations were made in 1878-9, disclosing, however, little except the pavement of a roadway, which is proba- bly that of the Via Sacra, ascending toward the Arch of Titus. Upon the left, as one looks toward the Arch of Titus, is a low, cir- cular structure of brick, near the Basilica Constantine, called the Temple of Romulus, which was erected by Emp. Maxentius to his son Romulus, about 306 a.d. Later, the temple was incorporated into the Church of SS. Cosma e Damiano as a vestibule. The pave- ment of the Via Sacra will be observed here extending toward the Arch of Titus. Between the Temple of Romulus and the Coliseum are the ruins of Hadrian's double temple of Venus and Rome, of which nothing remains but the foundations and the double apsis. Rome, Lat. 41° 54' ; Lon. 12° 29' east. Pop. 300,000. The city lies on both sides of the Tiber, which here flows in a general direction to the s., the principal portion being upon the eastern bank, and comprising 6 of the 7 ancient hills. At the extreme n. is the Piazza del Popolo, adjoining which on the n!e. is the Pin'-ci-an (chee) Hill. On the e. are the Quir'-i-nal Hill and Quir- ROME 339 inal Palace ; the Vim-i-nal Hill and Rly. Station ; the Es-qui-line Hill, and ch. of S. M. Maggiore; to the s.e. are the Coelian (see- le-an) Hill, and ch. of St. John Lateran ; on the s. the Pal-a-tine Hill, with the ruins of the Palace of the Csesars; to the s.w., across the Tiber, Trastevere ; on the w. Janiculum Hill ; to the n.w. Vatican Hill and St. Peter's, nearly opp. to the Piazza del Popolo. The Capitoline Hill is on the southern margin of the present city. The Corso (core'-so), the chief thoroughfare, extends from the Piazza del Popolo through the heart of the city to the Capitoline Hill, about 1^ ml., and thence along the base of the hill through the Forum, to the Coliseum. Of the space occupied by the ancient city, and enclosed by the Aurelian Walls — the walls now standing — the entire southern half is an open field, the present city occu- pying but about half the territory within the walls. History and Chronology. Reign of the Early Kings : B.C. 753, Romulus established his city on the Palatine Hill, the Sabines occupying the Capitoline and Quirinal, and the Etruscans, the Coelian and the Esquiline ; small communities which were ultimately united. B.C. 640?. Mamertine prison built by Ancus Martius. 600. The Cloaca Maxima, to drain the Forum, was begun by Tarquinius Priscus and finished by Tarquinius Superbus. 578. Servius Tullius erected the Servian Wall, 7 mis. in length. 509. Expulsion of Tarquinius Superbus, the last of the kings ; establishment of the Republic. The Republic : 509. L. J. Brutus, Consul. 497. Temple of Saturn built. 484. Temple of Castor and Pollux built. 396. Conquest of the Veii, extensive ad- ditions of territory on the south. 390. Destruction of the city by the Gauls. The city hastily rebuilt with crooked, narrow streets and indiffer- ent houses. 312. Appins Claudius constructed the Via Appia and the first Aqueduct. 146. Destruction of Carthage. Rome, now mistress of the world, rapidly increased in wealth and population. Walls destroyed to make room for houses ; massive structures erected. 78. Tabularium, on which the Pal. of the Senator now stands, erected. 70?. Tomb of CBecilia Metella. 60. First Triumvirate, Caesar, Pompey and Crassus. 46. Basilica Julia founded. 44. Death of Caesar. 43. Second Trium- virate ; Octavius, Antony, and Lepi- dus. 31. Battle of Actium. The Empire : 28. Augustus, Emperor. 27. The Pan- theon, and Tomb of Augustus erected. 13. Theatre of Marcellus completed. 10. Palace of the Caesars built. a.d. 14. Tiberius, Emp. 37. Caligula. 41. Claudius. 54. Nero. 68. Galba. 69. Othoand Vitellius. 70. Vespasian. 72. Coliseum commenced. 79. Titus. 81. Arch, of Titus, Domi. tian. 96. Nerva. 98. Trajan. 114. Trajan's Column. 117. Hadrian. 130 ?. Hadrian's Tomb (Castle of St. Angelo). 145. S. Pudenziana, first ch. in Rome, built. 161. Marcus Aiv relius ; Statue of M. Aurelius. 193. Septimius Severus. 203. Arch of Sept . Severus. 212. Baths of Caracalla. 221. S. M. in Trastevere. 230. St. Cecilia. 270. Aurelian enclosed the city with the walls now standing. 300. or prior, St. John Lateran. 302 ?. Baths of Diocletian. 340 ROME 306. Constantine, first Christian Emp.; St. Peter's Gh. built. 311 ?. Arch of Constantine. End of Pagan, Borne. Mediaeval Rome : 330. St. Loivnzo. 331. S. C. in Geru- salemme. 35.2. S. M. Maggiore. 3G4. Division of the Empire. 388. S. Paolo Fuori le Mura. 390. Theodosius destroyed ancient art. 392?. St. Clement. 410. Rome sacked by Alaric. 442. S. Pietro in Vincoli. 455. Rome sacked by Genseric. 475. Romulus Augustulus, the last of the Emperors. Fall of the Empire. 537. Invasion of Vitiges, Destruction of the Aqueducts. 547. Invasion of Totila ; the walls over- thrown. 7th and 8th cents, famine and pesti- lence nearly depopulated the city. 845. Pope Leo IV. rebuilt the walls. Rome sacked by Saracens. 10th cent. In the intestine commotions various castles were erected in the city with material taken from ancient temples, monuments, and other struc- tures. These civil dissensions so in- creased that, in 1309, the Pope re- moved the seat of his government to Avignon, Prance. 14th cent. Distracted by the wars of the Guelphs and Ghibellines till re- duced to a population of 20,000. 1377. Pope Gregory XI. restored th« pontificate to Rome. 1417. Termination of the Papal Schism. Vast wealth brought to the city through the restored papacy. General prosperity ; revival of science and art. Modern Rome : 1420. Colonna Palace erected. 1450. St. Peter's commenced (the pre- sent structure \ 1473. Sistine Chapel. 1503. Julius II., patron of Art. (M. Angelo, Raphael). 1506. Farnesina built. 1513. Pope Leo X., patron of art. 1527. City devastated by the French under Charles de Bourbon. 1544. Farnese Palace. 1564. Spada Pal- ace. 1574. Quirinal Palace. 1590. Borghese Palace. 1603. Rospigliosi and Sciarra Palaces. 1625. Barberini Palace. 1729. Corsini Palace. 1798. Republic proclaimed, unsuccessful. 1S00. Sculpture gallery of the Vatican commenced. 1809-14. Governed by France. 1&31. Etruscan Museum. 1849. Overthrow of the papal govern- ment, and a Republic proclaimed. In 1850, the Pope reinstated by the French. 1870. French troops withdrawn, the papal government overthrown, and Rome united with the Kingdom of Italy. Principal Places and Objects of Interest. I. Antiquities. II. Churches. III. Galleries. IV. Statues and Pictures. I. Antiquities, which see respectively. Aqueducts. Angelo, St., Castle of. Augustus, Pal. of ; see Palatine Hill. Augustus, Tomb of. ♦Cascelia Metella, Tomb of. Caius Cestius, Pyramid of. **Caligula, Pal. of; see Palatine Hill. **Capitoline Hill. ♦♦Caracalla, Baths of. Catacombs. Cloaca Maxima. ♦♦Coliseum. ♦Constantine, Arch of. ♦Constantine, Basilica of. Diocletian, Baths of. Hadrian, Tomb of ; see Angelo, St. , Castle of. ♦Mamertine Prison. II. Churches, which see respectively; Andrea della Fratte. I Angeii, S. M. degli. ♦Marcellus, Theatre of. Monte Testaccio. Obelisks. ♦♦Palatine Hill. ♦♦Pantheon. Pompey, Theatre of. ♦♦Roman Forum. Scipios, Tomb of the. ♦Sept. Severus, Arch of; see Roman Forum. ♦*Tiberius, Pal. of ; see Palatine Hill. ♦Titus, Arch of. Titus, Baths of. ♦Trajan's Forum. ♦♦Vespasian, Pal. of ; see Palatine Hill. ♦Vespasian, Temple of; see Roman Forum. Andrea della Valle. ♦Ara Coeli, S. M. m £g& West. East. &&~ ROME 341 Cecilia, S., in Trastevere. * Clemen te, S. *Croce, S., in Gerusalemme. Gesu, II. **John Lateran, St. Lorenzo, S., Fuori le Mura. *Maggiore, S. M. Pace, S. M. della. ♦♦Paolo, S., Fuori le Mura (St. Paul's). ♦Pantheon (S. M. Rotunda). **Peter's, St. *Pietro, S., in Vincoli. Scala Santa . ♦*Sistine Chapel. Trinita de' Monti. III. Galleries. See under the titles in Italics. M. 1st T. ~ & u w. By 15th T. F. s. ~~ it. mon s. th 9-4 ; i f r. *Alba?ii Villa, P. & Sculp Per 2-5 _ of m I ea Wint., 10 ; Sum., 11. 12-5. ** Borghese Pal., Pict 9-3. Borghese Villa. Sculp Wint., 1-4; Sum., 4-7. Christian Mus., Antiq. & P Colonna Pal., Pic Conservators, Pal. of, Pic. & St. *Doria Palace, Pict *Farnesina Villa, Pict 10-3; £fr. See Lateran. 11-3: £fr. 10-3 ; i fr. 9-3 : i fr. 10-2; ±fr. 10-2; i fr.; closed Sum. Kirch eriano Mus., Antiq * Lateran Museum, Ant. &, Pic . *Ludovisi Villa, Sculp 9-3 ; 1 fr. 9-3 ; i f r. after 1 ; £ fr.;- permit. Palatine Hill, Antiq 9-dusk ; 1 fr. Raphael's Loggie, Pic See Vat. Gall. ♦♦Raphael's Stanze, Pic JRospigliosi Pal., Pic See Vat. Gall. 10-4. Spada Palace, Antiq. & Pict **Vatican, Pinacoteca 10-3; ifr.; closed Sum. Only by Permit. 9-3. [only. ♦♦Vatican, Sculptures 9-3 ; M. & Th., 9-11 indicates days free ; — admission fee. IV. Masterpieces ; Statues, ♦Antinous, st. , Capitol Mies. **Apollo Bel., st., Vatican. *Apoxyomenos, at., Vatican. * Ariadne, st., Vatican. *Aurelius, M.. st., Cap. Hill. ♦Augustus, Emp., st., Vatican. ** Augustus, Young, st., Vatican. ** Aurora, pic, Rospigliosi Pal. **Beatrice Cenci. pic, Barberini Pal. ♦Cecilia, St., st., Ch. of St, Cecilia. Discobolus, st., Vatican. **Eros, st., Vatican. **Faun (Marble), st., Capitol Mus. Fornarina, pic, Barberini Pal. *Gala.ea, pic, Farnesina Villa. Ganymede, st., Vatican. **Gladiator, Dying, St., Capitol Mus. * Horse Tamers, st., Piazza Quirinaie. Ro?ites : To Pisa, 8 hrs., $8 ; $5.60 ; see Route 54. To Florence, 7 hrs., $6.S0 ; $4.75 ; see Route 50. To Naples, 6^ hrs., $6.80 ; $4.80 ; see Route 55. Pictures ; which see. ♦Juno Ludovisi, st., Luclovisi Villa. **Last Judgment, pic, Sistine Chap. **Laocoon, st., Vatican. *Meleager, st., Vatican. ♦Mercury, st., Vatican. ♦* Moses, st., Ch. St. P. in Vincoli. **Pompey, st., Spada Palace. ♦Psyche, Myth of, pic, Far. Villa. Satyr, st., Capitol Mus. * School of Athens, pic, Vatican. ♦Sophocles, St., Lat. Mus. (See Lat. Mus.) **St. Jerome, Com. of, pic, Vatican. ** Transfiguration, pic., Vatican. ** Venus, st., Capitol. ♦Venus, St., Vatican. Venus, of Canova, st., Borghese Villa. 342 ROMU Romulus. The founder of Rome, 753 B.C.; ia said to have had his house on the Palatine hill, and to have constituted the Capitoline hill a refuge for criminals and slaves. After a suc- cessful reign he was taken to heaven in a chariot of fire. " It was not till a comparatively late period that the legend of Romulus and Remus was framed." — Baedeker. Romulus, Temple of, Rome. I. On Via Appia, near the tomb of C. Metella ; circular with a dome and remains of a Co- rinthian portico. Supposed to have been built by Maxentius, a.d. 311. II. At the southern end of the Roman Forum, near the Basil- ica Constantine. A small circular structure with a dome ; now constituting the vestibule of the church of SS. Cosma and Dami- ano. Erected by Maxentius to the memory of his son Romulus, a.d. 311. Rosa, Salvator, 1615-1673, b. at Naples ; pupil of Ribera. His adventurous life and his variety of talent have given great degree of popularity to his name. He worked in Naples, Rome, and Florence, where his pictures were held in esteem, and he himself was in hardly less repute as a poet and musician than as a painter. He had a surprising facility of execution, and of all the naturalistic artists of the 17th cent. , he is the only one who gave a picturesqueness to his compositions. He was master equally of devotional scenes and landscape. In style, his works are so exceedingly diverse that no one pecu- liarity can be designated as characteristic. His landscapes may, however, be said to be marked by an austerity essentially his own. His scenes are the haunts of robbers and wild beasts ; rug- ged, lonely wastes ; dark, forbidding precipices ; leafless, light- ning-struck trees ; desolate shores, and shipwrecks. His pictures now command extreme prices. Principal Wokks : Belv., two ; Berlin, 421 ; Brera, 388 ; Colon., The Bap- tist and others; Dresn., 2413, 2414; Edin., 159, 271, 74, 86, 410, 411; Hermit., 220-1-2-3-4-5-6; Liver. Inst., 119; Louvre, 344, 345; Naples, Sala di Corr., 1; Nat. Gall., 84, 811 ; Pitti, 111, 133, 135, 188, 218, 306, 470, 453 ; Siena, 82 ; Uffi., 1005, 293. Rospigliosi Palace (roas'-peel-yo'-see), Via del Quirinale, Borne. The Casino is open to the public W. and Sat., 10-4. The principal attraction is Guido's celebrated ** Aurora, upon the ceil- ing. A mirror is arranged upon a table to enable visitors to view the pictures ; see Aurora. In the Hall are pictures by van Dyck, Guido, and Domenichino. ROTT 343 Boom to the rigid: Venus and Cupid, Domcnichino ; *Holy Fam- ily, Signorelli ; Samson, L. Carracci? ; * Vanity, Lotto; The Fall, DomenicMno. Boom to the left : *Andromeda, Guido ; Pie- ta, Passignani ; Bearing the Cross, da Volterra ; Triumph of David, Domenichino. Rotterdam, the second city in size, and the first in commer- cial importance in Holland, possesses very little beyond the pe- culiar aspect of a Dutch shipping centre to interest or detain a traveller. It has a population of about 150,000, and extensive commercial relations with all parts of the globe. The appearance of the city with its quaint gables, its innumerable canals, draw- bridges, ships and boats everywhere in the heart of the city, is peculiar and entertaining. The Groote Kerk possesses one of the largest organs ever constructed, the largest pipe being 17 inches in diameter and 36 ft. in length. The Groote Markt contains a bronze statue of Erasmus, who was born in this city. The city has also a Museum of about 300 paintings, few of which, however, are of note ; open daily, ex. M., 10-4, Sun. 11-4; small fee. Routes: To London, by steamer 12 hrs., $6. To Amstekdam, 2)4 hrs., $1.50; $1.15. To The Hague, 20 min. $0.45; $0.35. To AiNtweep, 3 hrs., $2.25; $1.80. Rouen (roo'-awfi'), Fr., the ancient capital of Normandy, is situated on the Seine and contains a population of about 105,000. The Cathedral is noted for the tomb of Richard I. , Cceur-de- Lion, with the casket containing his heart. The tower reaches the elevation of 465 ft. The church of St. Ouen, 1318, " is one of the most exquisite Gothic churches in existence." In the Pri- ory of St. Gervais, Wm. the Conqueror died, 1087. Joan of Arc was confined in the Tower six months, and burned alive in the Place de la Pucelle. where her statue now stands. Rouen is also the birthplace of Corneille, 1660 ; Fontenelle, 1657 ; and Jouve- net, the artist. Royal Family of England, The. Her Majesty, Alexan- dria Victoria, born 24th May, 1819 ; succeeded to the throne, 20th June, 1837, on the death of her uncle, King William IV.; crowned, 28th June, 1838, and married 10th February, 1840, to the late Field-Marshal His Royal Highness Francis Albert Au- gustus Charles Emanuel, Prince Consort, Duke of Saxony, Prince op Cobourg and Gotha, born 26th August, 1819 ; died 14th December, 1861. Her Majesty is the only child of his 344 ROYA late Royal Highness Edward Duke of Kent, 4th son of King George III. Children : — 1. Her Royal Highness Victoria Adelaide Mary Louisa, Prin- cess Royal, born 21st November, 1840 ; married 25th January, 1858, to his Royal Highness the Crown Prince of Prussia, K. G., only son of the King of Prussia, Emperor William. 2. Field-Marshal His Royal Highness Albert Edward, Prince of Wales, Duke op Saxony, Cornwall, and Rothe- say, Earl op Dublin, Colonel of the 10th Hussars, Colonel-in- Chief of the Rifle Brigade, Honorary Captain of the Royal Naval Reserve, born 9th November, 1841 ; married 10th March, 1863, to the Princess Alexandra (born 1st December, 1844), eldest daughter of the King of Denmark. Children : His Royal Highness Prince Albert Victor Christian Edward, born 8th Janu- ary, 1864 ; His Royal Highness Prince George Frederick Ernest Albert, born 3d June, 1865; Her Royal Highness Louisa Vic- toria Alexandra Dagmar, born 20th February, 1867 ; Her Roy- al Highness Victoria Alexandra Olga Mary, born 6th July, 1868 ; Her Royal Highness Maud Charlotte Mary Victoria, born 26th November, 1869 ; and His Royal Highness Prince Alex- ander John Charles Albert, born 6th April, 1871 ; died 7th April, 1871. 3. Her Royal Highness Alice Maud Mary, born 25th April, 1843 ; married 1st July, 1862, to His Royal Highness the Grand Duke of Hesse, KG. ; died December 14th, 1878. 4. His Royal Highness Alfred Ernest Albert, Duke of Edin- burgh, Earl of Kent, and Earl of Ulster, born 6th August, 1844 ; Captain Royal Navy, 23d February, 1866 ; married 22d January, 1874; to the Grand Duchess Marie Alexandrovna, only daughter of the late Emperor of all the Russias. 5. Her Royal Highness Helena Augusta Victoria, born 25th May, 1846 ; married 5th July, 1866, to General His Royal High- ness Prince Frederick Christian Charles Augustus of Schleswig- Holstein Sonderbourg Augustenbourg. 6. Her Royal Highness Louisa Caroline Alberta, born 18th March, 1848; married 21st March, 1871, to John Douglas Suth- erland, Marquis of Lome, eldest son of the Duke of Argyll. 7. His Royal Highness Arthur William Patrick Albert, Duke op Connaught and Strathearn, Earl of Sussex, born 1st May, 1850 ; a Lieut. -Colonel in the Army ; married March 13th* 1879, to Princess Louise of Prussia. RUBE 345 8. His Royal Highness Leopold George Duncan Albert, Duke op Albany, born 7th April, 1853. 9. Her Royal Highness Beatrice Mary Victoria Feodore, born 14th April, 1857. Rubens, Sir Peter Paul, 1577-1640, b. at Siegen, West- phalia ; d. at Antwerp. His mother removed to Antwerp when he was ten years of age, at which place he studied until he was 23. In 1600, he went to Italy and studied principaDy the works of Titian. Being employed by the Duke of Mantua, he was sent on an embassy to Spain. Returning to Antwerp he was made court-painter to Archduke Al- '%^^xS bert, 1608. In 1620, he was commissioned by Marie de Med- icis to decorate the Luxem- bourg, and executed a series of 23 paintings now in the Lou- vre. Visiting England he paint- ed Peace and War, now in the Nat. Gall., and the Apotheosis of Wm. the Silent, for which he was knighted by Ch. I. The number of his known works is between 1,800 and 2,000. The Descent from the Cross, in the Cath., Antwerp, is considered his masterpiece, though by many the Crucifixion in the Antwerp Mus. is regarded as of equal power. He seems to have been the master of every style and every subject, and to have been enamored of his wife's face and red mantle, which per- petually reappear. See Descent. " The works of Rubens have that peculiar property always attendant on genius to attract attention and enforce admiration in spite of all their faults. . . . " His animals, particularly his lions and horses, are so admirable that it may be said they were never properly represented but by him. His portraits rank with the best works of the painters who have made that branch of art the sole business of their lives. . . . " However, it must be acknowledged that he wanted many excellences which would have perfectly united with his style. Among these we may reckon beauty in his female characters ; sometimes, indeed, they make approaches to it ; they are heaithy and comely women, but seldom, if ever, possess any degree of elegance. The same may be said of his young men and children. His old men have that Castor and Pollux— Rubens. 846 RUSS sort of dignity which a bushy beard will confer ; but he never possessed a poet ical conception of character. . . . " To conclude, I will venture to repeat in favor of Rubens what I have before said in regard to the Dutch school, that those who cannot see the extraordinary merit of this great painter either have a narrow conception of the variety of art, or are led away by the affectation of approving nothing but what comes from the Italian school.' 1 — Sir Jos/ma Reynolds. " Passionate movement, keen delight in action, and deep, strong sentiment are the elements of his style. "When, at the age of 63, he died there ended a career that hardly finds a parallel in the history of art for its eminent success in achievement, in brilliancy, and in fame. 11 — Liibke. ' ' Rubens perhaps furnishes us with the first instances of complete unconven- tional, unaffected landscape. His treatment is healthy, manly, and rational ; . . . always, as far as it goes, pure, forcible, and refreshing, consummate in composition and marvellous in color. 11 — Ruskin. Principal Works : Amst. Hoop., No. 93 ; Ant., fifteen, *297, noted ; Bel v., thirteen; Berlin, eight; Bruss., nine; Brera, No. 444; Cap., 89; CasseL six; Colon., one ; Corsini, VII. 15; Darms., three; Dresd., twenty; Dul., 351, 355; Frank., three ; Hague, 213-4-5-6 ; Hermit., thirty-three ; Louvre, fourteen, be- sides the Marie de Medicis series of twenty-three ; Lille, 460-1-2 ; Lyons, 82. S3 ; Madrid, sixty-four ; Munich, about ninety ; Nat. Gall., twelve ; Pestb., 647, 717 ; Pitti, 14, 85, 86; Uffi., 140, 147, 180, 197, 812, 1140; Liecht., 89 to 94. Designs for tapestry ; V., several studies ; VI., seven pictures. Rubens' House is on the Place de Mier, beyond Rue Rubens, s. side, surmounted by a bust of Rubens. His tomb is in the Ch. of St. Jacques. ^Russian Church, Paris, Rue Daru, Th. and Sun., 3-5. 1860. Cost $240,000. Paintings ; On the walls, Adoration of Shepherds, Sermon on the Mount, Last Supper, Entry into Jeru- salem ; Central cupola, Christ blessing ; in the pendentives, the Four Evangelists ; on the elaboi'ate screen which divides the nave and choir are Christ and the Virgin. Sa-bine Mountains, or Hills, a range of the Apennines, upon the e. side of Rome, of which some ridges attain an alt. of 5,000 ft. Salute, S. M. del la (sah-loo'-tay), ch., Venice, s. side, at s. end of the Grand Canal. Erected, 1681, by decree of the Senate in gratitude for the cessation of the plague from which 60,000 citi- zens died ; very rich in its decorations. On the r., 1st, 2d, and 3d chapels, painted by Giordano. Ceiling of the choir : 4 large com- partments by Salviati, 8 smaller ones by Titian, the representation of Matthew being Titian's portrait. In the passage to the sacristy, *St. Mark, Titian \ 3d chapei on 1., *Descent of the Holy Ghost, Titian. SANG 347 " One of the most impressive buildings in Venice, from its graceful proportions find conspicuous position." — Jarves. Sangallo, Giuliano di, 1443-1517; Antonio di, 1450?- 1534, bro. of Giu.; Antonio di, 1482-1546, son of Ant.; archi- tects and ■wood-carvers ; the last was, for a time, the architect of St. Peter's, Rome. Sansovino, Jacopo, Tatti, 1477-1570, architect and sculp- tor. His Bacchus, in the Uffizi, is of great merit. He resided 40 years in Venice, and was engaged upon many public buildings. Santi, Giovanni, 1440?-1494, b. Urbino, Italy. A painter whose works, though numerous, are little known. His chief claim to celebrity rests on his being the father of Raphael, whose reputation prob- a b 1 y exceeds that of any other artist who ever lived. PrincipalWorks: Berlin, 139; Brera, 181 ; Colon., one ; Nat. Gall., 751. Sar'-to, An- drea del, Ag- nolo, 1488- 1525, Italy. The name of Van- nucchi which was given to del Sarto toward the end of the 17th century, was never borne by him, and is nowhere found in the family documents. He Was the son Of St. Agnes-del Sarto. Agnolo, a tailor of Florence, and the name del Sarto came from the occupation of his father. He was early apprenticed to a goldsmith, but afterward became the pupil of P. di Cosimo, At 23, he painted the legend of S. Pilippo Benizzi in the SS. An- nunziata. In 1517, he was invited to France by Francis I. Ho 348 SASS married Lucrezia del Fede, for whom he manifested an unabated tenderness, although she was utterly unworthy. She often fig- ures as the model of his Madonnas. In his youth, Andrea gave proof of extraordinary talent. Studying the works of Angelo, he achieved a grandeur and dignity in his figures which recalls those of Masaccio and G-hirlandaio. He was the greatest colorist of the Florentine school, with whom no one but Fra Bartolommeo is to be compared. Hillard observes he would have been a better artist had he had a better wife. " The Madonna del Sacco in a cloister of the Annunziata gives the highest point of Andrea's coloring and rendering in fresco, except his Last Supper . . the only one which can even distantly be compared with Leonardo, in the Re- fectory of the former Convent of S. Salvi, at Florence." — Burckhardt. "The chief excellence of Andrea, as compared with his contemporaries, is his incomparable blending of colors, his delicate flesh-tints, and his golden chiaros- curo, the transparent clearness even of his deepest shadows, and his entirely ori- ginal and perfect style of modelling." — Lubke. Principal Woeks : Barb., III. 90 ; Corsi., 9? ; Dres., 43-4, 113 ; Edinb., 327 ? ; Genoa, Pal. Brignole-Sale (rossi) IV., Holy Fam ; Hermit., 24, 25 ; Flor. Acad., 59; Liecht., III. 58; Louvre, 319, 380-1 ; Madrid, 383-4-5-7-8 ; Munich, 576, 548, 1174-5, 1181-6 ; Naples, Sala Grande, 53 ? ; Nat. Gall., 690, 17 ? ; Pitti, 81- 7-8, 118, 123, 172, 184, 191, 225, 265, 307; Urn., 1112, 1176, 1254, 2080. Sassoferrato, Salvi, Grio. Battista, 1605-1685, b. at Sassoferrato. His subjects are principally Madonnas and Holy Families. He gave his Madonnas a sweetness and tenderness of expression not common in the works of the 17th cent. His coloring is usually pale or wan, and his execution minute. His infant Christs are usually sleeping on the lap of the Virgin. He made numerous copies of the works of Raphael and Titian, which, however, are easily recognizable. PeincipaIj Wobks : Alb. Villa, Madonna ; Belv., one; Berlin, 458 ; Borgh., IV. 43, VI. 13 ; Brera, 412 ? ; Cassel, 344 ; Frank., 45 , Hermit., 257, 259 ? ; Liecht., III. 49; Liverp., 106; Louvre, 355, 356; Naples, Rom. Sch., 27; Nat. Gall., 200, 140 ? ; Uffi., 191 ; Vat., Madonna with angels; Vienna, Chud., 5. Sa'-tyrs. See Fauns. Sca-la San-ta, The (scah'-lah'), Home, near St. John Lateran, containing a staircase of 28 steps of white-veined Tyrian marble, said to be those ascended by the Saviour when entering the Judgment Hall, and to have been brought from Jerusalem by Empress Helena. ISTo one is permitted to ascend but upon the knees. There are side-flights for returning. It was midway up SGHA 34B these stairs that Luther recalling the words, u the just shall live by faith," suddenly rose to his feet and descended. Above the etairs is the Sancta Sanctorum which only priests are permitted to enter ; contains a few relics. Schadow, Johann Gottfried (shad'-o), 1764-1850, b. Berlin ; went to Rome, 1785, studying in the schools of the best masters. Returning to Berlin he was appointed Professor of Sculpture in the University. Entombed in the Ch. of S. Andrea della Fratte, Rome. Among his celebrated works are Fred, the Gt. , at Stettin ; Bliicher, at Rostock ; Luther, at Wittenberg ; and the Quadriga, on the Brandenburg Gate, Berlin. His works " are vigorous protests against the mannerisms of the hitherto prevailing tendency, and reopen to sculpture a field which had now been almost lost to her for two hundred years." — Lubke. Scheffer, Ary (shef'-er), 1795-1858, b. at Dordrecht, Hoi.; removed to Paris, 1811. One of his first important pictures was the Defence of Missolonghi ; and among his later and more cele- brated is the series of nine pictures, from Faust. His master- piece is Paolo and Francesca, from Dante. His works are tinged with a want of hopefulness. He took great interest in the stir- ring events of government; was the friend of Lafayette. Scheveningen. See Hague. Schwanthaler, Ludwig (schwan'-tall-er), 1802-1848, b. at Munich ; executed there 12 gilt bronze statues of Bavarian monarchs, and many other works ; notably the statue of Bavaria, 69 ft. in height, standing 1 ml. s. of Munich. See Munich. Sco -pas, a Greek sculptor, of the Isle of Paros. He flour- ished in the early part of the 4th cent. B. c. , but at what j>recise date is unknown. His Venuses were very celebrated among the Greeks, but the work most esteemed by them was his group of Achilles conducted to Leuce, attended by Poseidon, Thetis, dol- phins, and tritons. To moderns he is best known by the Niobedes, of which an antique copy is in the Uffizi, Florence. " He was successful above all others in reproducing touching pathos, and Btormy passion with a power that had as yet not been dreamed of. He was the first to model the goddess of love herself, in the full beauty of her naked body, the loveliness of which compelled a burst of admiration." — Lilbke. Sciarra Palace (sche-ah'-rah), Sciarra-Colonna, Rome. The finest structure on the Corso. It formerly contained a good collection of pictures, but many have been sold, and visitors are now eeldom admitted. The most noted of the works are Raphael's 350 SCIP Violin Player, Titian's Donna Bella, and Caravaggio's Gamblers, of which numerous replicas and copies exist. Scipios, Tomb of the (sip'-e-oze), on the 1. of the Appian Way, near the Porta S. Sebastiano ; discovered in 1780. Ex- cavations brought to light the well-preserved chambers, con- taining various inscriptions and the *sarcophagus of L. Cor- nelius Scipio Barbatus, now in the Vatican Museum. Among the inscriptions were those of Lucius Cornelius Scipio Barbatus, L. Cornelius Scipio and son, a son of S. Africanus, and a son of S Asiaticus. Scotland extends fromn. to s., a distance of about 280 miles. From e. to w. , it varies from 150 to 32 mis. in width, and con- tains a population of nearly 4,000,000. The lowlands lie be- tween the southern boundary and the vicinity of Loch Katrine, whence the highlands extend to the Northern Ocean. The rag- ged country of the north is little more than a succession of hills and mountains, interspersed with lakes and inlets, creating an endless variety of the boldest and most romantic scenery. The Celtic line of kings having terminated in 1286, Robert Bruce, after a struggle of some years, came to the throne, 1306, under the title of Robert I. He was succeeded by his son, David II., 1329, and by his grandson, Robert II., 1370. Robert III., eon of Rob. II., after a reign of 16 years, left the throne, 1406, to his son, James I., who was assassinated, 1436. James II., son of James I., was born at Stirling Castle, 1430, crowned at six years of age, killed, 1460, by the bursting of a cannon, and was buried in Holyrood Abbey. James III., his son, was crowned, 1460, married Margaret of Denmark, 1469. His son, James IV. , came to the throne, 1488, married Margaret, daughter of Henry VII., of England, 1503. James V., son of James IV., was crowned at Stirling, 1513, and married Madeline, daughter of Francis I., of France, 1537, and afterward Mary of Guise. Meeting with a disastrous defeat by the English at Solway Moss, he died of a broken heart, 1542, leaving the crown to his daughter Mary, then only ten days old. Mary Queen of Scots was crowned immediately upon the death of her father. Educated in France, she married Francis II., of France, and afterward, Lord Darnley, of Scotland, 1565, and was deposed, 1568. See Mary Queen of Scots. James VI., her son, was born, 1566, in Edinburgh Castle, and a year afterward was declared king and crowned in Stirling Castle. SCUL 351 He married Ann of Denmark at Holyrood and succeeded to the orown of England in 1603. His son, Charles I. of Eng. and Scot., was beheaded, 1649. Charles II. , son of Ch. I. , reigned from 1660 to 1685, and was succeeded by James II., his brother, who abdicated in 1688. His son, known as The Pretender, attempted to regain the throne of his fathers, but met a disastrous- defeat at Sheriff muir, 1715. He is buried in St. Peter's, Rome, as James III. Thirty years later, Charles Edward, The Young Pretender, re- newed the attempt of his father, and gained important victories over the English at Preston Pans and Falkirk near Edinburgh, but was totally defeated at Culloden, 1745, the last battle fought on English soil. He was also buried in St. Peter's, Rome, his tomb being inscribed King Charles III., of England. Sculptors, Greek. Little has thus far been found, either in the sculptures themselves, or in ancient writings, to connect the works discovered with any known Greek masters. In a few instances the work bears the name of the artist ; in other cases, the characteristics of the sculpture, the locality where it was dis- covered, and its history lead to the inference that it was the work of a certain sculptor. But, at the present time, such inferences must still be regarded as largely conjectural. In the accompany- ing list, those works which have generally been assigned to a mas. ter, are placed against his name merely as works attributed ta him. The dates given, are also, in some instances, conjectural. 200-100, A-ga'-si-as (Hegasias or He- giaa), Borghese Gladiator, Louvre. 900, Ag-e-la'-das, master of Phidias, Polyeletus, and Myron. 160, A-ge-san'-der and Sons, Laocoon, Vatican. 330-300, Ap'-ol lo'-ni-us, Belvedere Torso, Vatican. 200, Apollonius, with Tauriscus, Toro Farnese, Naples. 300, Be'-das. son of Lysippus, Praying Boy, Berlin. Bo-e'-thus, Boy with Goose, Louvre. 450, Cal'-a-mis, Apollo Belvedere ? Vat- ican. Cal-lim'-a-chus, Corinthian column. 372, Ceph'-i-sod'-o-tus. father of Prax- iteles ? ; Wrestlers ? Florence. 350, Cle-om'-e-nes, Venus de Medici, Florence. Cres'-i-las, Wounded Amazon, Capita- line Museum. [pies. 100, Gly'-con, Hercules Farnese, Na- He'-li-o-do'-rus, Wrestlers? Florence, Le-och'-a-res, Eape of Ganymede. Copy iii Vatican. 330, Ly-sip'-pus, Portrait busts of Alex. the Gt. 47U, My-ron, Copy of the Discobolus, Vatican and Massami Pal. and Satyr in Lateran Museum. Nau-ki' des, Copy after Discobolus, Vatican. 4S4-432, Phid'-i-as, Elgin Marbles? British Museum. 452, Pol-y-cle'-tus, Head of Juno, Naples. 392, Prax it'-e-les, Venuses, copies only extant. Copy also of Saurokto- nos and Eros. 4S0, Py-thag'-o-ras, Apollo Belvedere ? Vatican. 398, Sco'-pas, Niobe? Florence; Tomb of Mausolus. 200, Tau-ris'-cus. See Apollonius. 352 SCUL Sculpture, like Architecture, had its origin in religion. For a long period the only statues made or permitted in Greece were those of the gods ; and these were merely symbols, usually blocks of wood or unhewn stone, having no pretension to being images. Gradually they approached finer form, and whilst among all peoples divinities had been represented by lower ani- mate beings, or monsters of human shape, the Greeks clothed their gods with their highest conceptions of beauty. It has thus been observed that though the Greeks did not invent sculpture, they did invent beauty. Statues of men first appear between jb.c. 600 and 500, about which time sculpture may be said to have reached the capability of an art in Greece. Grecian Sculpture is divided into four styles or periods : I. The Athletic Style, extending from the earliest Grecian times to B.C. 500. The statues of this period are of the gods and athletes, and are mostly nude ; among these one of the moat noted example is the Hercules. II. The Intellectual, or Grand Style, from b. c 500 to 400 ; pro- ducing Jupiter, Minerva, Juno, the Muses, the Minor Goddesses, and the Philosophers ; generally draped, and characterized by dignity and grandeur. The great masters of this period were Ageladas (the master of Phidias, Myron, and Polycletus) ; Phidias, who wrought the Olympian Jove and the Minerva of the Acropo- lis ; Myron, a Discobolus and a celebrated figure of a cow ; and Polycletus, a Juno and an Amazon. III. The Graceful Style, from B.C. 400 to 300 ; of which beauty is the leading element ; figures chiefly nude. The masters of this period were Scopas, who produced Venus Victrix and the Group of Niobe ; Praxiteles, the Venus of Knidos, Diana, Apollo Sauroktonos, Faun of the Capitol, Eros of the Vatican, Bacchus, and Apoxyomenos. IV. The Dramatic Style, from about b. c. 300 to the overthrow of Greece, B.C. 146 ; characterized by intenser passion and greater violence of action. Of this School the principal masters were Lysippus, of whose 600 works probably not an original remains ; Agesander and his sons, Polydorus and Athenodorus, sculptors of the Laocoon ; Apollonius and Tauriscus, of the Farnese Bull. The Beautiful in Grecian Art began with Praxiteles and culmi* nated with Lysippus, in sculpture ; and with Apelles, in painting. In Lysippus, the angular was supplanted by the undulating line, Upon the subjugation of Greece its art was extinguished, and its SCUL 353 untold treasures were carried to Rome by her victorious generals. M. Fulvius took from ./Etolia 230 marbles, 280 bronzes ; Nero took 500 from Delphos for his Golden House ; and 3,000 were taken from Rhodes. How many were ultimately taken may be inferred from the fact that M. Scaurus had 6,000 in his theatre alone. Lanzi estimates that fragments of not less than 170,000, have been discovered in Italy. Yet, amid all this art treasure for 5 centuries, Rome never be- came artistic, nor the Roman mind its home. Grecian masters Hocked to Rome, and innumerable works were produced, but in- variably nothing except copies of Greek ideals, save the single in- stance of the Antinous. The Emperors soon evinced a fondness for seeing themselves in marble, and when the succession became somewhat rapid, this demand was promptly met by decapitating Greek statues, and substituting portrait heads of the emperors. The Greek inscription was erased and a new one supplied. The artists also anticipated these orders by chiselling headless statues in advance, and then supplying the heads at demand. Sustained by such sentiments only, sculpture could at best be but an imita- tive art, whose speedy decline nothing could prevent. By the close of the fourth century, Christianity had come to be the leading religious sentiment of Rome, but as the statues of the gods still bound the people to the religion of their fathers, about £90 A.D., Theodosius issued his famous order for the entire de- struction of " heathen art." Some of it escaped by being hastily buried, immured in walls, or thrown into the Tiber. Much of it was, however, absolutely destroyed. With the downfall of Rome and tbe successive invasions of the Northern hordes, who knew the language of neither the Latins nor Greeks, all knowledge of the buried treasures of Rome perished from the mind of man. For a thousand years Rome was the prey of every spoiler, till its wretched and impoverished inhabitants numbered scarcely 20,000. Gradually the massive structures were plundered of every article having any value or use ; stones were taken when- ever they could be appropriated, and the richest of wrought mar- bles were consumed for making lime. At last, this long lethargy was broken by a new spirit of inquiry centring at Florence. The Latin and Greek languages once more made known the civiliza- tion and culture of the Grecian and Roman times. Art awakened to new life, and, in the endeavor to recall the spirit and principles of the Greek masters, every specimen of Greek workmanship be- 23 354 SCUL came priceless. Better times having come to Rome, as she dug the foundations of her new palaces she brought to light the long- forgotten treasures of Greek sculpture. For three centuries these antiques have been gathered, and now constitute the present in- estimable collections of the Vatican, the Capitol, of Naples, Paris, London, and Berlin. Modern Sculpture has attempted little in comparison with Modern Painting ; yet in Angelo and Thorwaldsen it has produced works holding rank with those of the best period of Greece. Sculptures, Noted. See Statuary. Sebastian©, S., ch., Venice, situated in the s.w. part of the city, contains the tomb of Paul Veronese, and a mon. by Sansovino to Bp. Podocataro. In the Choir are a Madonna, a St. Sebastian, the Martyrdom of SS. Mark and Marcellinus ; and on the Organ, a Purification, the Pool of Bethesda, all by P. Vero- nese. Sep-tim'-i-us Se-ve'-rus, Arch of. See Roman Forum. Seven Virgins, The Legend op Schonberg. There once lived in this castle a knight who had seven beautiful daughters. They grew up with no training, and lived a life of coquetry and folly. Beautiful and wealthy, they had many suitors, whom they laughed to scorn. A quarrel hav- ing arisen between two knights concerning the maidens, the sisters were requested to end this folly and make a choice of husbands. The next day was appointed, and upon the knights assembling in the saloon, a servant announced that the sisters desired them to repair to an arbor on the river bank. Here they saw the sisters already in a boat at a distance from the shore ; one stood in the stern and told the knights they never intended to marry, but were going away to the Netherlands where they might continue to enjoy their sport. Scarcely had they uttered these words when a storm arose, upsetting the boat and drowning the haughty, stony-hearted maidens. Immediately there appeared at this place seven rocks, called the " Seven Virgins." Sevres (save'-r), Fr.; by tramway from the Louvre, and by rly. from station St. La-zare or Montparnasse. The celebrated ♦porcelain manufactory may be visited daily, ex. Sun., 11-4. Siegfried (seeg'-freed), Legend of the Drachenfels. The heathen who dwelt in the Siebengebirge had made an incursion upon the Christian tribes, and brought away much booty, and among the prisoners a " very beautiful maiden." All wished to possess her, but especially Siegfried, or as he is sometime'- called, Ottfried, or Rinbod. Whereupon the priestess decided that so beautiful a maiden would engender perpetual animosity, and that therefore she should be thrown to the dragon who dwelt in a cave on the Drachenfels. Siegfried was in despair when the maiden was led forth, but she advanced with a resolute step as if fearing nothing. As the dragon came rushing toward her, he suddenly fell to the ground, when Siegfried plunged his sword into the monster and slew him. SIEN 355 All shouted for joy that Siegfried had rescued the maid and slain the dragon. Siegfried afterward learning that it was the sight of the Cross which had caused the dragon to fall to the earth, was converted and baptized, and marrying the maiden, built the Castle of Drachenfels, wherein the Drachenburgers lived for ten centuries. Siena (see-a'-nah), the Roman Sena Julia ; pop. about 25,- 000. In the middle ages it was one of the most important cities of Italy, numbering 200,000 inhabitants, and in the arts was the rival of Florence. The School of Siena is noted for its delicate and deep sentiment of devotion. TJie Cathedral occupies a commanding position near the centre of the city, upon the site of an ancient temple of Minerva ; the f acade is of red, white, and black marbles ; the pavement is of gray and white, with shaded lines ; the bronze tabernacle is by Lorenzo da Pietro ; the pulpit and reading-desk by Nicolo Pisano and his pupils. Duccio has pictures in several of the chapels. In the library are 10 frescos by Pinturicchio. Beneath the Choir, in the rear of the Cathedral, is an ancient Baptistery with sculptures by Donatello, Ghiberti, and Quercia. The Instituio deUe Belle Arti, daily, 9-3 ; free ; contains a fine collection of paintings of the Early Sienese School. Sign orel I i, Luca Egidio di Ventura (seen'-yohr-el-ly), 1441 ?-1521, b. at Cortona, Italy. In the representation of mus- cular and statuesque figures, he is one of the most remarkable of the early masters, and foreshadowed Michael Angelo. His know- ledge of anatomy was surprising for his time. His principal works are in the cathedral at Orvieto, and in the Sistine Chapel, Rome. " He was one of the mightiest spirits of the century. Bold and powerful, striv- ing to attain the loftiest aims, and supreme, above all his contemporaries, in the impassioned portrayal of stirring scenes ; he was also one of the first to paint the naked figure to any great extent." — Lubke. Simplon Road. See Route 35. **The Sistine Chapel (sis-teen), erected by Sixtus IV., 1473. Open daily, 9-3, ex. Sat., Sun., and holidays; permit, (permesso) necessary. Entrance in the r. colonnade, past the Swiss Guard, one flight up; door on the r. : ring the bell. Standing at the altar end of the chapel, directly to the right on entering, the seven pictures on the 1. wall are representations of the Life of Christ. 1. The Baptism, Perugino. 2. The Temptation, Botticelli. 3. Calling the Apostles, Ghirlandaio. 4. Sermon on the Mount, Bosselli. 5. Giving the Keys to Peter, Perugino. 6. The Last Supper, RosselU. 7. The Resurrection, Ghirlandaio. 356 SIST The seven on the r. wall are from the life of Moses. 1. Moses and Zipporah, Signorelli. 2. Killing the Egyptian, Botticelli. 3. After the Passage of the Red Sea, Rosselli. 4. Giving of the Law, Rosselli. 5. Koran, Dathan, and Abiram. Bolti celli. 6. Death of Moses, Signorelli. 7. Michael with the body of Moses, Salviati. ALTAR END Last Judgment ** The Ceiling, by Angelo, was commenced 1508. The central flat portion contains nine pictures from the Old Testament. In the curved triangular spaces on the sides are 7 Prophets and 5 Sibyls. In the arches and lunettes (a), between the triangles, are representations of the gene- alogy of Christ. (To obtain the correct rela- tive position, the diagram must be held above the head. ) ' ' The prophets and sibyls in the triangular compartments of the curved portion of the ceiling are the largest figures in the whole work ; these, too, are among the most wonderful forms that modern art has called into life. They are all represented seated, employed with books or rolled manuscripts ; genii stand near or behind them. These mighty beings sit before us pensive, meditative, inquiring, or looking upward with inspired coun- tenances. 1 ' — Kiigler. " They sit here in twelve throne- like niches, more like presiding deities, each wrapt in self-contem- plation, than as tributary witnesses to the truth and omnipotence of Him they are intended to announce."— Lady Eastlake. " The bold foreshortenings, the determinate force with which every figure steps forward, is amazing, and carries one quite away ! It is a spiritiial Sermon on the Mount in color and form. Like Raphael, we stand in astonishment before the power of Michael Angelo. Every prophet is a Moses like that which he formed in marble. What giant forms are those which seize upon our eye and our thoughts as we enter I '* But when intoxicated with this view, let us turn our eyes to the background of the chapel, whose whole wall is a high altar of art and thought ; the great chaotic picture, from the floor to the roof, shows itself there like a jewel, of which all the rest is only the setting." — Anderson' 's Improvixatnre. ** The Last Judgment. — Thirty years after the completion SIST 35? of the ceiling, Angelo commenced this great work, to which he devoted eight years, doing the entire work without assistance. At the top, under the arches, are angels with the instruments of the Saviour's Passion. In the centre is Christ, as Judge, with the Virgin at his right, surrounded by apostles and patriarchs. Beyond these, on the spectator's right, are martyrs with instru- ments of torture ; and on the left, saints. Below, in the centre, are angels sounding the last trump. In the lower range, left, are the saints rising and coming forth from their graves and as- cending to heaven ; on the right, the damned are being seized and dragged down to perdition. In the centre, Charon is driving the condemned from his boat. In the lower right hand corner is the portrait of Messer Biagio, who had criticised the nudity of the figures. In return for this criticism, Angelo gave him ass's ears and placed him in hell with a serpent coiled about his body. Whilst Angelo was yet living, Paul IV. contemplated the destruc- tion of the picture on account of the nudity of the figures. He was, however, dissuaded from the design by the suggestion of clothing. For this purple Daniel da Volterra was employed, for which labor he was honored with the sobriquet of Braghettoni, the breeches-maker. The work has become so dimmed by the dust and incense smoke of three and a half centuries that it can now be seen with comparatively little satisfaction. A copy of the Last Judgment is in the Ecole des Beaux Arts, Paris. " The upper part of the composition is in many parts heavy, notwithstanding the masterly boldness of the drawing ; confused, in Spite of the separation of the principal and accessory groups ; capricious, notwithstanding a grand arrange- ment of the whole. But, granting for a moment that these defects exist, still this upper portion, as a whole, has a very impressive effect, and, at the great distance from which it is seen, some of the defects alluded to are less offensive to the eye. The lower half deserves the highest praise. In these groups, from the languid resuscitation and upraising of the pardoned, to the despair of the condemned, every variety of expression — anxiety, anguish, rage, and despair — is powerfully delineated. In the convulsive struggles of the condemned with the evil demons, the most passionate energy displays itself, and the extraordinary skill of the artist here finds its most appropriate exercise." — Kugler. " The Last Judgment is now more valuable as a school of design than as a fine painting, and it will be sought more for the study of the artist than the delight of the amateur. Beautiful it is not ; but it is sublime — sublime in conception and astonishing in execution. Still, I believe, there are few who do not feel that it is a labor rather than a pleasure to look at it. . . . " St. Catherine, in a green gown, and somebody else in a blue one, are stt 358 SNAY premely hideous. Paul IV., in an unfortunate fit of prudery, was seized with the resolution of whitewashing over the whole of the Last Judgment, in order to cover the scandal of a few naked female figures. With difficulty was he pre- vented from utterly destroying the grandest painting in the world, but he could not be dissuaded from ordering these poor women to be clothed in this unbecom- ing drapery." — Eaton. " Michael Angelo avenged himself upon Messer Biagio da Cesena, master of the ceremonies, who first suggested the indelicacy of the naked figures to the Pope, by introducing him in hell, as Midas, with ass's ears. When Cesena begged Paul IV. to cause this figure to be obliterated, the Pope sarcastically replied, ' I might have released you from purgatory, but over hell I have no power. 1 v — Hare. " The lower part of the composition, in which the sufferings of the condemned are delineated, is that in which we find the least to object to ; for there the tre- mendous power which is stamped upon the whole work finds its appropriate sphere and legitimate expression. Forms and faces more trembling and con- vulsed with despair were never embodied or conceived.'" — Hillard. " There can be no doubt that while these frescos continued in their perfection there was nothing else to be compared with the magnificent and solemn beauty of this chapel. Enough of ruined splendor still remains to convince the spectator of all that has departed ; but methinks I have seen hardly anything else so forlorn and depresing as it is now , all dusty, dusky, and dim, even the very lights having passed into darkness and shadows into utter blackness." — Hawthorne. * Snayers, Peter, 1593-1670?, b. at Antwerp; was court painter to Archduke Albert ; painted landscapes and martial scenes. Snyders, Franz, 1579-1657, b. at Antwerp, pupil of Hell Brueghel, friend of van Dyck. Next to Rubens the best animal painter of the Dutch school, also- of market scenes. He fre- quently painted animals in Rubens' pictures, in exchange for Rubeng' figures in his own. Sistine Madonna. See Madonna. No. 7. P. 210. Principal Works : Ant., 335, 336 ; Belv., one ; Berlin, 878, 774A, 774B, 774 assisted by Rubens ; Brera, 381 ; Bruss., 314 ; Cassel, 198 ; Dresd., 887, 889, 891, 892 ; Edinb., 126, 128, 390, 324 ; Frank., 127 ; Hague, 221-2 ; Hermit., 1312-3-4- 5-7, 1320, 1324; Louvre, 116, 120; Lyons, 85; Madrid, 1677, 1684; Munich, 205, 297, 305, 317 ; Uffi., 220. Sodom a, II, Giovanni Antonio Bazzi, or Razzi, 1473- 1549, b. at Vercelli, Italy ; lived at Siena. In the Villa Farne- sina, Rome, are two admirable frescos ; the Marriage of Alex- ander with Roxana ; and the Family of Alexander in the Tent of Darius. In the first, the head of Roxana is regarded as among his best works. Hi3 frescos are principally at Pisa and Siena. His panel pieces are rare. He is one of the best masters of the Sienese school. SORB 359 41 He fills his space to such a degree with motives of every kind, that one always drives out another, or destroys its effect. He succeeds best with his single figures, of which some are unsurpassed by any in the world." — Burckhardt. " This artist is worthy of note, not so much for any grandeur of conception, or clearness of composition, as for his uncommonly fine aesthetic sense, and his fac- ulty of giving expression to a profound enthusiastic feeling. In addition to this, his fancy evolved the noblest forms, and he possessed the secret of the softest and airiest blending of colors." His Marriage of Alex, with Eoxana "is full of beauty, showing wonderful lightness of touch, warm, airy coloring, and unsurpassable softness in its gradation of tints. One is forced to admire the charming beauty of the head of Eoxana, even in the presence of Raphael himself." Principal Works: Belv., one ; Farnesina, Hall II. frescos; Pisa, IV. Ma- donna and Sts.; Siena, 205, 341, 342, 85-6-7 : Turin, 50, 376 ; Uffi., 1279. Sorbonne, The (-bun), or University op France, Paris; s. Lank of the Seine, rear of the Hotel de Cluny, was founded 1250, by Robert de Sorbon, confessor to St. Louie. It soon be- came one of the most powerful ecclesiastical bodies in Europe, and in the Middle Ages denied the authority of the pope and defied his power. It is now the great seat of learning in France. In the church of the Sorbonne is the tomb of Richelieu. Sorrento, on the s. shore of the bay of Naples, and offering the finest views and the most delightful climate of southern Italy, may be reached by steamboat from Naples, (3 fr.) or by rly. to Castellamare, and carriage thence 7-£ mis. to Sorrento. The. Albergo del Tasso is said to be the poet's birthplace, 1544. Spada Palace. See Part II., Spada. P. 473. Spagna, Lo (spahn'-ya), Giovanni di Pietro, 1480F-1530? b. in Spain. Little is known of his early life ; in 1516 he was residing at Spoleto. His early style was Peruginesque ; later, he became an imitator of Raphael. His works are distinguished by fine coloring, depth of sentiment, and grandeur. Spain. See Route 64, p. 569-570. Splligen Pass, Switz. See Route 29 ; also Alps. **Stanze of Raphael, The, (rooms). Daily, 9-3, ex. a 1 d » a t a 1 1 2 3 a 4 C 5 a c 6 a c a\ 7. c _ ... b b b 5 Sat., Sun., and holidays. Entrance the same as to the Sistine Chapel (same permit, permesso) ; one flight farther up. Rooms 1,2. Modern pictures. Room 3. The Immaculate Conception, by Podesti. 360 STAN 4. *First Stanza of Raphael ; Incenclio del Borgo. Of th« pictures in this room, Raphael painted the principal part of the Borgo ; the others were executed by Raphael's pupils, from his designs. Entrance wall (a) : Coronation of Charlemagne, the Emp. hav- ing the features of Francis I. of France. Beneath; Charlemagne. Right wall (b) : *Incendio del Borgo ; Pope Leo IV. arresting a conflagration in the Borgo, near the Vatican, by a miracle ; old St. Peter's in the background. The foreground exhibits the confusion and terror incident to such a scene. Some of the figures in the foreground are by Romano. " It is unquestionably the most popular picture of the series." — Baedeker. "The figure of the naked youth escaping from the fire by a wall and sustaining his whole weight by his hands, for powerful drawing and anatomical knowledge is worthy of Michael Angelo. — Hillard. Beneath : Godfrey de Bouillon. Wall of Exit (c) : Defeat of the Saracens by Leo IV., by G. da Udine, from Raphael's designs. Beneath : Ferdinand the Catho- lic and Emp. Lothaire, by Caravaggio. Window Wall {d) : Leo III. justifying himself before Charlemagne, by del Vaga. 5. * Second Stanza of Raphael ; the Stanza della Seanst- tura. This is the first apartment painted by Raphael, 1508-1511. Wall of Entrance (a) : The Disputa, so called from the mistaken impression that it refers to a dispute upon transubstantiation. In the centre of the upper half are, God and angels ; beneath, Christ, the Virgin, and John Bap.; r., Paul, Abraham, James, and Moses ; 1. , Peter, Adam, John, David, and Stephen. In the lower part, fathers and theologians ; in the background, r. , Dante, laurel -crowned, and Savonarola with a cowl ; 1., Fra Angelico. " By many considered to be Raphael's grandest work."— Wood. " Without a rival in the history of painting." — Poetry of Christian Art. " This picture is the crown of all religio-symbolic painting." — Liibke. BightWall (5), over the window : Prudence, Fortitude, Modera- tion ; r. side, Gregory IX. ; 1. , Justinian. Wall of Exit (c) : *The School of Athens ; the portico of a Gre- cian temple, with 52 figures of the most eminent philosophers of Greece. In the centre are, r. , Aristotle with his Ethics ; 1. , Plato with his Timseus, pointing upward. In front, lying on the steps, is Diogenes. On the r., in the foreground, Archimedes (with the head of Bramante), tracing geometric figures on the pavement; STAN 361 near him, the young Duke of Mantua in blue ; Zoroaster with a globe, and Ptolemy crowned, addressing Raphael and Perugino. On the left of the picture, at the top of the steps, Socrates, bald, in conversation with Alcibiades, the warrior ; in the foreground at the centre, sitting figure of Heraclitus, supporting his head with his hand ; behind him, Anaxagoras with an open book, look- 362 STAN ing at Pythagoras seated and writing in a book, resting on his knee ; behind him, at the extreme left crouches, Empedicles ; behind Anaxagoras stands the Duke d'Urbino in white. " These groups on the steps above and around the two philosophers never did and never could exist ; and it is for this very reason that they are so fine. The scene lies in a superior world, one which mortal eyes never beheld, a creation wholly of the artist's imagination. These figures belong to the same family as the divinities on the ceiling. You must remain before them full half a day. Once realize that they are walking and the scene strikes you as transcending all things here below. "The youth in a long white robe with angelic features ascends the steps like a meditative apparition. The other with curled locks bending over the geometrical diagram and his three companions alongside are divine. It is like a dream in the clouds . As with all the figures of an ecstatic vision, or in reveries, these may re- main in the same attitudes indefinitely. Time does not pass away with them. The old man in the red mantle and the figure regarding him, and the youth writ- ing might thus continue forever. All is well with them. Their being is complete : they appear at one of those moments which Faust indicates when he exclaims, ' Stand, ye are perfect.' Their repose is eternal happiness." — Talne. . Above, are Philosophy, and the Study of the Globe ; Beneath, are Philosophy, Magicians, Siege of Syracuse, and the Death of Archimedes. Left Wall (d) : Par-nas-sus ; Apollo with Violin, and Muses ; 1. , Homer, Virgil, and Dante in a red robe. Below : r., Sappho ad- dressing Corinna and Petrarch ; 1. , Pindar and Horace. Above, are Poesy crowned, and Marsyas. Beneath : Alex, the Gt. placing Homer's Poems in the tomb of Achilles ; Augustus preventing the burning of the iEneid. 6. *Third Stanza, op Raphael, He-li-o-dor' -us ; the second apartment painted by Raphael, 1511-1514, illustrating the miracu- lous conquest of the Church over her enemies. Entrance Wall (a) : Flight of Attila; the pope, on a white mule, calls on Peter and Paul in the clouds ior aid against Attila, whose army is terror-stricken. The Coliseum is seen in the background. Above : Jehovah appears to Noah. Might Wall (b) : *The Miracle of Bolsena, a doubting priest converted by the bleeding of the wafer ; r. , Julius II. " This picture is remarkable not only for its well-connected composition, but for its highly characteristic figures ; the courtly humility of the priests, the rude, hardy figures of the Swiss, the various ways in which the people manifest their sympathy, and above all the naivete of the chorister-boys, and of the youths who look over the enclosure of the choir ; all this is connected satisfactorily and natu- rally with the two principal personages. The coloring of this fresco, and of others of the series, has placed Raphael on a level with the masters of the Venetian STAT 363 school. High authorities are agreed in considering this and the other large works in this Stanze as the finest examples of fresco the art can boast." — Kugler. Above : The Sacrifice of Isaac. Wall of Exit (c) : Expulsion of Heliodorus from the Temple j Heliodorus, attempting- to seize the treasures of the temple, is pursued by avenging angels ; 1., Julius II. Above: Moses at the burning bush. Window Wall (d) : 1., Deliverance of Peter; over the window, Teter sleeping ; r. , he departs ; 1. , watchman awaking. Above : Jacob's Vision. 7. Sala di Constantino : from designs by Raphael ; painted after his death, by Giulio Romano, F. Penni, and da Colle. The statement often made, that two of the figures on the long wall were painted by Raphael does not appear to be authenticated. Entrance Wall (a) : Baptism of Constantine, by F. Penni. Be- neath : scenes from the life of Constantine, by Romano. Long Wall (b) : Defeat of Maxentius by Constantine, by Ro- mano. Wall of Exit (c) : Address of Constantine to his Troops, by Romano. Window Wall (d) : The Donation of Rome to Syl- vester by Constantine. Ceiling : * Overthrow of Paganism. 8. Door leading to Raphael's Loggie and the Pinacoteca. Statuary, Noted. iEs'chines, see ; antique, Mus., Naples. Antin'ous, see ; antique, Cap., Rome. Antin'ous, see ; Vatican Mtrcury. Apollo Belvedere, see ; antique, Vati- can. Apollo Saurok'tonos, antique. Louvre. Apollo, Stroganoff, antique, St. Peters- burg. Apostles, Thorwaldsen, Ch., Copen- hagen. Ariadne, see ; Dannecker, Frankfort. Ariadne, Sleeping, see ; antique, Vati- can. Augustus, Young, see; antique, Vati- can. Aure / lius, M., bronze eques., see ; an- tique, Cap. Hill, Rome. Balbus, bronze eques.; antique, Mus., Naples. Bavaria, Sckwanthaler, Munich. Cupid and Psyche, Canuva, Louvre, Paris. David, M. Angelo, Acad., Florence. Day and Night and Morning and Even- ing:, M. Angelo, see Medicean Chap., Florence. Diana, antique, Louvre. Di'one, antique, British Museum. Discobolus, see ; antique, after Nauki'- des, Vatican. Discobolus, see ; antique, after Myron, Vatican. Eros, see ; antique, after Praxiteles, Vatican. Faun ( i4 The Marble"), see; antique, after Praxiteles, Cap., Rome. Faun, Barberini, see; antique, Glyp., Munich. Flora, Farnese, see ; antique, Mus., Naples. Gladiator, Dying, see ; antique, Cap., Rome. Gladiator, Farnese, see ; antique, Mus., Naples. Gladiator, Fighting, see ; antique, Aga- sias, Louvre. Hebe, Canova, Roy. Gall., Berlin. Hercules, Farnese, see ; antique, Qly- con, Mus., Naples. Horses of St. Mark's, antique, Ven- ice. See St. Mark's. Horse Tamers, antique, Quirinal, Rome. See Castor. Juno Ludovisi. see ; antique, Polycle- tnsfi Lud. Villa, Rome. Jupiter, see ; antique, Vatican. Knife-Grinder, see ; antique, Tribune, Florence. Laocoiin, see; antique, Agesander and Sons, Vatican. STEE Villa, Cap. Venus Callipyge, see ; antique, Mus., Naples. Venus of Canova, Pitti Gallery. Venus of Canova, Borghese Rome. Venus of Capitol, see; antique, Mus., Rome. Venus of Capua, see ; antique, Mus., Naples. Venus of the Hermitage, antique, St. Petersburg. Venus of Cnidos, see ; antique, after Praxiteles, Vatican. Venus cle Medici, see ; antique, Cieo- ?nenes, Uffizi, Florence. Venus de Milo, see ; antique, Louvre. Venus, the Towneley, antique, British Museum. Wrestlers, antique, Cephisod'otzis, Uf- fizi. Medici, Lorenzo and G-iulio, M. Angela, see Medicean Chap., Florence. Meleager, see ; antique, Vatican. Mercury, see ; John da Bologna, Acad., Florence. Mercury, see; antique, Cap., Rome. Mercury, see ; antique, Vatican. Mercury Resting, see ; antique, Mus., Naples. Minerva G-iustiniani, see ; antique, Vat- ican. Niobe, see ; antique, Uffizi. Praying Boy, antique, Bedas, Roy.Grail., Berlin. Psyche of Capua, see ; antique, Mus., Naples. Quoit-thrower ; see Discobolus. Slaves, M. Angelo, Louvre. Sophocles, antique, Lateran Mus., Rome. Tore Farnese, see ; antique, Apoilonius and Tauriscus, Mus., Naples. Steen, Jan (yahn stane), 1626-1679, b. at Leyden, Hoi. Chose his subjects generally from low life. His scenes are merry- makings, family feasts, weddings of ill-assorted couples, charla- tans, love-lorn maidens, and disorderly households. He enjoyed the ludicrous, especially in children, descending too frequently to the vulgar. His pictures display such a love of humor and such admirable coloring as to render some of them among the most attractive works of his School. Many of his pictures are of the highest merit and are to be found in all large collections. His masterpiece, the Representation of Human Life, is in the Mus. of The Hague. Some of his best are in England. Stefano Rot undo, S., -J- ml. s. of Coliseum. A circular building, 133 ft. indiam., supposed to have been " built on the site of an ancient circular building and to have belonged to the great victual market," erected in the time of Nero. It originally consisted of two concentric rows of granite columns, within an enclosing wall. Upon the walls is a series of horrible Martyr- doms, by Pomarancio and Tempesta. Stelvio Pass. See Alps. Stirling, Scot., a town of about 16,000 pop., 36 mis. n.w. from Edinburgh, for many centuries the seat of the Scottish Kings. In the Roman times a fort was established upon the nearly inaccessible height, which since has remained a military stronghold ; and in later times it became the residence of Scot- tish royalty. From 1300 to 1670 the history of Stirling is little less than that of Scotland. From the castle walls may be seen twelve sanguinary battlefields — among them those where the En- STOC 365 glish suffered signal defeats by the Scots under Bruce and Wal- lace. The Castle was taken by Edward I. of Eng., 1304. Was occu- pied by Wallace, Bruce, Baliol, David II., James II., III., IV., V., and VI. James II. here assassinated in the Douglas room, the Earl of Douslas, whom he had invited to the Castle with the King's word of safe-conduct. The lifeless body was thrown from the window. James II. and James V. were born here ; James III. built the Parliament House, James V. the grotesque palace, and James VI. the chapel. James V. was here crowned ; Mary Queen of Scots was also crowned, and her son James VI. baptized in the Chapel. James VI., however, was crowned in the church of the town, on which occasion the coronation sermon was preached by John Knox. The Castle is now occupied as a barrack. The walls com- mand a prospect of almost unparalleled historic interest and natural beauty. Some d. stance to the north maybe seen " Heading Hill," where, in 1424, the Earl of Lennox, his two sons, and his son-in- law, the Duke of Albany, were beheaded. On the n.e., upon a hill, is the lofty Wallace Monument, 2~0 ft. in height, where the battle of Stirling was fought, 1297. The hospital on Broad Street was the residence of Argyle, who here entertained Prince Charles, afterward Charles II., by whom Argyle was executed. Stockholm {stake island), lat. 59° 30' ; Ion., 18°, is situated upon several islands, and abounds in the most charming scenery. In the happy combination of land and water, and in the abun- dance of delightful sites for public and private buildings, Stock- holm has hardly an equal in Europe. The city comprises the Old Town, upon Riddarholm Island, the site of the Royal Palace ; the Southern Suburb ; the Northern Suburb, upon which are the Pal. of the Crown Prince, the Rly. Station, the principal hotels, and the Museum; Kungsholmen, on the west; the Djiirgarden on the east, and several small islands. Tramways abound, as also innumerable small steam ferry-boats plying from Riddarholm to all portions of the city and suburbs. Principal Places of Interest are the Royal Palace, the Church of St. Nicholas, Riddarholm's Church, the Houses of Parliament, the National Museum, Acad, of Science, and the House of Swe» denborg. Environs, The Deer Park and Drottningholm. 366 STOC The Royal Palace. Among the apartments of greatest in- terest are the Throne Room, 145 ft. in length ; the Royal Chapel ; the Hall of Pillars, in white and gold ; the Victoria Hall ; the King's Studio, with a collection of family portraits ; the Chapter Rooms of the Swedish Royal Orders ; the State Apartments ; the Queen's Apartments ; and the Royal Library. The Church op St. Nicholas, or Storkyrkan, 1264, is noted as the place of the coronation of Swedish Sovereigns, and of the opening of the Diet, Jan. 15, and the closing, May 15, each year. In front of the ch. is an obelisk 100 ft. high, in commemoration of the wars with Russia, 1788-90. **Riddakholm's Church, the "Westminster" of Sweden; open daily, 1-3 ; noticeable for its open-work spire of iron, 300 ft. in height ; contains the tombs of Gustavus Adolphus, Gustavus III., Chas. XIII., Chas. XIV. and their Queens ; Oscar I.; Chas. XV. and Queen ; Chas. X., XI., XII., and Fred. I. On the walls are the shields of the Knights of the Royal Order of the Sera- phim ; and many military relics. The National Museum, a commanding structure on the Quay, opposite the Royal Palace, contains extensive collections of antiquities, and works of art. The Picture Gallery comprises a large number of works mostly modern. The House oe Swedenuorg, in the Southern Suburb, re- mains in nearly the same condition as when occupied by the great theologian. *The Deer Park, Djurgarden, is an extensive and delightful park to the east of the city, and may be reached by steam ferry or tramway. It is the principal pleasure resort from the city, and whether seeking natural or artificial beauty of landscape, leaves little to be desired. *Drottningholm, the Queen's Island ; the summer residence of the Royal family, is one of the largest royal palaces of Sweden. It is charmingly situated on the shore of Lake Ma'-lar, and may be reached by a romantic sail of 30 minutes on one of the small lake steamers. The boats leave Riddarholm nearly every hour in summer. Permission for entrance obtained at the Pal- ace. Routes: To Copenhagen, by rail to Malmo (inal'-may), 15 hrs. ; $13; $10. From Malmo to Copenhagen, by steamer, 1 hour. To Christiania, 16 hrs., $12 ; $9. 50. To St. Petersburg, by steamer direct, about 2 days, or via the coast of Finland touching at the Aland Islands, and along the coast of Finland, at Abo, Helsingfors, Hango, and Viborg. about $ 10. STRA 367 The steamer usually rests at night at these cities, thus afford- ing time for a brief glance at Finland life. This route, bringing the traveller almost within the Polar Cir- cle, as it threads its way mid its thousands of barren, desolate islands, opens to him more than any other travelled route upon the globe a glimpse of those wild and mysterious powers that lie hidden in the snowy bosom of the North. It is a fitting prepara- tion for that stranger, more weird and romantic life that awaits one at St. Petersburg. * Strand, London, extending from Fleet Street to Charing Cross, so named from its (formerly) lying along the bank of the Thames. It was separated from Fleet Street by Temple Bar or Gate, the Strand being outside the city walls. Commencing at the site of Temple Bar, now removed, and going westward, n. the new Law Courts ; in the centre of the street St. Clement Danes church, designed by Wren, 1688; contains the. tomb of Harold Harefoot, son of Canute, and other Danes ; Dr. Sam. Johnson worshipped here 20 years ; pew marked by a tablet, n. Wych St. , for Drury Lane ; Essex, Arun- del, Norfolk, and Surrey Streets indicate the mansions of the Earls in time of Queen Elizabeth. Peter the Gt. resided in Nor- folk St., last ho. s. side. Beyond Norfolk St., s., is Strand Theatre ; n. Church of St. Mary le Strand. Becket was rector of this parish, s., King's College, Somerset House, once occupied by Anne, queen of Jas. I., and Henrietta Maria, queen of Ch. I., and Cath. , queen of Ch. II.; now occupied by the Government; n., Gaiety Theatre ; s., Wellington St., for Waterloo Bridge ; n., Lyceum Theatre, Exeter Hall ; 2 sqrs. n. is Covent Garden Mkt. , Southampton St.; n. , Vaudeville Theatre, Roy. Adelphi Theatre; s., opp. King Wm. St., was the Durham Ho., where Sir Walter Raleigh lived ; s., near the rly. station, is the site of York Ho., birthplace of Lord Bacon ; s. , Charing Cross Railway Sta. ; in front of which is a *copy of Queen Eleanor's Cross, Charing Cross. See Charing Cross. Strassburg, Ger.; Strasbourg, Fi\; on the 111, 2 mis. from the Rhine, in the midst of a broad, fertile plain, strongly forti- fied. Pop. nearly 95,000. ** The Cathedral was founded by Clovis, 510 ; destroyed by lightning, 1007 ; present edifice commenced, 1015. The faQade was designed by Erwin of Steinbach, and his daughter, Sabina, Contains, in niches above, equestrian statue of Clovis, Dago- 368 STRA bert, Rudolph, and (recent) Louis XIV. Length of building, ovei 370 ft.; breadth, 140 ft.; height of nave, 100 ft. The Astronomical Clock in the s. transept with fanciful attach- ments for striking the hours, representing Time, Youth, Age, the Apostles, etc., is an object of interest, especially at 12 o'clock, when the principal exhibit occurs. * The Tower rises 249 ft. from the platform, which being 216 ft. from the pavement, gives a total height of 4C5 ft., being one of the highest structures in Europe. Tickets for the ascent are obtained at the office on the s. side of the building, outside. Tne view, though extensive, hardly compensates for the labor of the ascent. Stratford-on-A'von,^;^. Pop. about 4,000. * Shakespeare's House, admission, 6d. ; Museum, 6d. His birthplace was pur- chased by the Government, 1847, and restored as nearly as pos- sible to its original appearance ; situated in the centre of the town, on Henley St., ^ml from the rly. station. New Place, the house which Shakespeare built, and where he died, is about midway to the church, and on the direct route. Of this structure nothing remains excepting some portions of the foundations. Opp. is the Guild Chapel, or Chapel of the Holy Cross, 1269; chancel rebuilt about 1450. Adjoining is Guild Hall, where Shakespeare was a pupil ; the second story has undergone many changes. * The Church (6d.), where the poet is entombed, is J ml. s. from New Place, on the bank of the A -von, amid a group of lime trees. The tomb is beneath the chancel, and beside it those of his wife, two daughters, and others of the family. A bust above, dates to within a few years of his death. Note the carvings of the seats of the choir stalls. [Should the church be closed, the Parish Clerk may be found on the opp. side of the street, second door to the 1. from the cor- ner.] See Route 9, Note 13. Sulpice, St. (sule-pees), ch., Paris, on the s. bank of the Seine, near the Palais de Luxembourg. Erected, 1G46 ; 460 ft. by 183 ft.; towers dissimilar, in obedience to an order said to have been given by the abps. that only Notre Dame should have two similar towers ; height, 224 ft. Said to have the finest organ in Paris. Tapestries, Raphael's, in Berlin, Dresden, and the Vati- can. See Cartoons of Raphael. TENI 309 Teniers, David (ten'-yerz or tane'-yea), the Father, 1582- 1G49, b. Antwerp; genre, myth., and landscape painter. Principal Works: Cassel, 216; Dresd., 90 7-8 -9-1 0-1 1-1 2-13 ; Dul., 60 ; Her- mit, 669, 670 ; Nat. Gall., 950-1 ; Uffi., 705. Teniers, David, Yr., 1610-1690, b. Antwerp. The most illustrious genre painter of Belgium. He excels especially in peasant life, fairs, and festivals. His rustic scenes are admir- able on account of their life-like tone, but still more so from their harmonious management of light and shade, and the effective use of contrasts. In this respect he had few equals. He often adopted a silvery color. His works, which number upward of 900, are found in all large galleries, and command the highest prices. Principal Works: Amst. Hoop, 115-6-7; Van Hill., The Drummer; Ant., 344-6-7-8; Belv., nine; Berlin, 853-6-7-9, 866B, 866C ; Brims., 582; Brass., 324, 325, 449, 450 ; Cassel, 404-5-6-7-8; Corsi., III., 55? ; Dresd., 915-19-23-26- 28-29-31-34; Edinb., 60, 116, 119, 139, 185; Prank., 134, 135; Hague, 223, Steen Coll., III., The Works of Mercy. Hermit., 672-3-4-5-7, 683-4-5-6-S-9, 690-1-2- 3-4-5-6-7-9, 700-6-7-10; Louvre, 512-3-4-5-6-8, 520; Plem. Sch., 124, 128, 133; Lyons, 117 ; Madrid, 1721-4-6, 1730-2-3, 1744-5, 1754-5, and others— in all, 60 , Munich, 299, 840, 844, 1125 ; Nat. Gall., 155, 242, 805, 817, 857-8-9, 860-1-2-3, 952; Pesth, XV., 530; Turin, 364, 423, 428; Vienna, Roy. Acad., many small works ; Chud., 234, 236, 286. Terburg, Gerard, Ter Borc7i, 1608-1681, b. at Zwolle, IIol. One of the best genre painters of the Dutch School. Un- like his great contemporary, Teniers, he took his subjects from high life. In the representation of elegant costumes, especially of white satin, his effects are most remarkable. " He attained a high reputation as a portrait painter, though, from his par- tiality for silks and satins, he was called a ' stuff ' painter. He presents to us elegant and peaceful domestic scenes, occasionally clouded by some untoward interruption to a love affair." His works number but about 100, and are held at enormous prices ; his masterpiece was recently purchased at $45,000. " Terburg may be considered as the creator of what are called conversation pieces. None can be compared to him in the magical harmony of his silver tones, and in the gradations of his aerial perspective.' 1 — Worman. Principal Works: Amst. Hoop., 118; Van Hill., two; Ant., 344-6-7-8 Berlin, 7tfl-A-B-C-D-E-F, 793 ; Cassel, 384, 385; Dresd., 1242-3-4-5; Frank, 235; Hague, two ; Hermit., 871-2-3-4-5-6; Liecht., 230-2, 2d floor, VI. 562-3 Louvre, 526-7-8, 145; Lyons, 115: Munich, 243, 1029, 1062; Nat. Gall., 864, 89Q Rijks, 394-5-6-7 ; Uffi., 958. Tete Noire (tate-nwar), Switz. See Route 37, Note 6. *Thames, The (temz), London, from the Tower toBattersea. 24 370 THAM Boats from London Bridge, up, about every 5 minutes ; down, about every 10 minutes. Commencing at the Tower and going up stream ; n. , the Tower, surrounded by a wall and surmounted by a sq. white tower with a turret at each corner ; n., the Custom House ; Coal Exchange; Billingsgate ; the Monument of the Great Fire, 1666, (dist.). London Bridge, stone, 928 ft., 5 -arches, 1825, cost $12,000,000; n. , Fishmongers' Hall ; s. , St. Saviour's Ch. , sq. tower ; site of Winchester Pal., and of Globe Theatre; Barclay's Brewery ; n., Cannon st. rly. Station. JS. E. Railway Bridge, iron, 5 arches, on 16 cylindric piers. Southward Bridge, 708 ft., iron, 3 arches, cost $4,000,000, 1815 ; n. , Vintner's Hall ; Queenhithe ; Ch. of St. Michael's ; Ch. of St. Bennet ; Large Flour Mill ; site of Blackfriars Theatre. Lond., Chat., and Dover Railway Bridge and Station. Blackfriars Bridge, 1272 ft., iron, 5 arches, on stone piers, 1864; n. , Victoria Embankment to Westminster, which see; s., Christ Ch. , dist.; n., St. Bride's Ch., dist.; site of Salisbury Ho.; Whitefriars ; Temple Buildings, red ; Temp. Gardens ; Temp. Ch. ; Middle Temp. Hall ; Temp. Pier ; Site of Arundel Ho. ; King's College ; Somerset Ho. ; s. , tall Shot Tower. * Waterloo Bridge, 1380 ft., 9 arches, 1811, cost $5,000,000. s. , Waterloo Railway Sta. ; Iron Foundries ; Shot Tower ; n. , Adel- phi Terrace (Garrick d. in centre ho. ) ; Cleopatra's Needle (see Vic- toria Embank.)', s. , Lumber Yard; n. , Watergate of Duke of Bucking- ham's Seat ; s. , Lion Brewery ; n., York Ho. Charing Cross, or Hungerford Bridge, rly. and foot; iron, 8 spans, 1863. n. , Charing Cross Pier ; Under- ground andS.E. PJy. Stations; s. , Government Stores; n., White- hall Stairs ; Whitehall Gardens ; Montague House ; Richmond Terrace. Westminster Bridge, 1160 ft., iron, 7 arches, 1856; n„ Parlia- Thorn Extractor — Florence. THOR 371 ment House, see ; and Westminster Abbey ; s. , St. Thomas' Hospital; Albert Embankment; Lollard's Tower; Lambeth Palace. Lambeth Bridge, suspension, of 3 spans, 280 ft. each, 1862 ; s., Lambeth Old Ch. ; Tile Furnaces ; n., Millbank Penitentiary ; s., Vauxhall rly. sta. ; site of Vauxhall Gardens. Vauxhall Bridge, 798 ft., iron, 9 arches, 1811 ; n., Ch. of Holy Trinity. Railway Bridge. Chelsea Bridge, suspension, 1858; n., Bar- racks ; Chelsea Hospital ; Terraces ; s. , Battersea Park and Gar- dens ; n. , Chelsea Church. Albert Bridge, n. , site of Sir Thos. More's House. Battersea Bridge, numerous arches; s., Bat. Ch., burial-place of Lord Bolingbroke ; n., House of Turner, the painter, middle cottage of three, near the Cremorne Pier. Cremorne Gardens. Thorn Extractor, called also Shepherd Martius, a charm- ing antique sculpture of a lad seated and endeavoring to extract a thorn from his foot. Statues : mar- ble, Uffizi, s. corridor ; and the Pal. of the Conserv., bronze, Room of bronzes. Thorwaldsen, Albert (tor-vald- sen), 1770-1844, b. at Copenhagen, Den. Early indicating talent, he was gratuitously educated at the Copen- hagen Academy of Art, and afterward granted a three years' travelling stu- dentship, wherewith he went to Rome. His early works were Jason, Achilles, Mars, Adonis, and other classical sub- jects. A commission from an English gentleman for his Jason, in marble, se- cured his financial independence, and he remained in Rome 23 years. Return- ing to Copenhagen, he remained but a single year, when he again went to Rome, remaining now 18 years. Again visiting hia native city, he was received with the most distinguished honor. The ™o™aia S en-Cope?ihagen. Thorwaldsen Museum was erected by public subscription to con- tain his works. Among his most celebrated works are Christ and the Twelve 372 THUN Apostles in the Fruekirk, Copenhagen ; Alexander, and his well-' known Day and Night. His works number over 200. He is en- tombed in the Court of the Thorwaldsen Mus., Copenhagen, in the midst of the immortal creations of his own genius. Thun (toon), Switz., on the Aare, f ml. below the lake of Thun; pop. about 5,000. Noted for little besides its peculiar architecture, the houses having a one-story projection toward the street upon which are the sidewalks. Tiberius. Rom. Emp., son of Claudius, b. B.C. 42. On the death of his father, his mother married Augustus, by whom Tiberius was adopted as his successor. Married Julia, daughter of Augustus. Came to the throne, a.d. 14; reigned 13 years, when he was smothered by order of the chief of the Preetorian Guard. Palace of Tiberius, see Palatine Sill. Tintoretto, il, Jacopo Robusti, 1518-1594, b. at Venice. The pupil of Titian, he sought to unite the drawing of Angelo with the coloring of his master; and by uncompromising study came to the rank of one of the greatest masters of light and shade, as he certainly was one of the most vigorous paint- ers in the history of art. He worked with great rapidity, covering an astonishing amount of surface. His Paradise in the Doges' Palace, is the largest oil- painting ever executed, being 70 feet in length and 40 in width, and containing over 400 figures. " Along with much that was grand, there was in him a certain coarseness and barbarism of feeling. In his enormous works, which in square feet of painted surface amount to ten times as much as the fruit of Titian's century of life, one begins to surmise that he undertook such things like a contractor and executed as an im pro visor." — Burckhardt. "Nevertheless, he is to be reckoned among the boldest and most assured painters known to the history of art. His pictures are absolutely astounding as to number and extent." — Lubke. " A more vigorous and more fecund artistic temperament is not to be found in the world. . . . No painting, in my judgment, surpasses or perhaps equals his St. Mark, in the Academy ; at all events, no painting has made an equal im- pression on my mind. . . . Veritably, we do not know him in Europe. The European galleries contain scarcely anything by him, the few examples they have Bacchus and Ariadne — Tintoretto. TITI 373 acquired being small or of minor importance. . . . The truth is, no man like him is or has been seen. ... A furnace like this, so ardent, so overflowing, with such outbursts and flaming coruscations, with such an immense jet of sparks, with such luminous flashes, so sudden, so multiplied, with such a surpris- ing and constant volume of smoke and flame, has never been encountered here below." — Taine. Pbincipal Works : Augsburg., 265 ; Belv., four; Berlin, 300, 310, 316, 160A; Brera., 213, 226; Bruss., 281, 282; Cap., 26, 1C8, 114, 176, 124 ? ; Cassel, 70 ; Colon., a portrait group ; Dresd., 287-8-9, 290-3? Doges' Pal., * Paradise and sev- eral others; Edinb., 91, 114?, 214, 310; Hamp. Ct., 69, 77, 91 ? ; Hermit., 132-3-4-5, and several portraits ; Liverp., 90-1- 2A?; Louvre, 337, 19; Lucca, 15 ; Madrid, 410, 411,412,413,415,419,422, 428, 429, 434, in all 33 ; Modena, seven; Munich, 1223; Pesth, IV. 145, 157; Pitti, 3, 65, 131, 248, 617, 638 ; Venice, 25, 45, 51, 503, 56S, 569, 575, and Scu. di San Rocco contains a large collection ; Vienna, Chud., 54. Titian (tish-e-an), Titien, Tiztano Vecellio, 1477-1576, b. at Capo del Cadore, Italy. Pupil of Gen. and Gio. Bellini; afterward, of Giorgione, under whose influence he abandoned the antique and adopted the modern. He rose rapidly to the highest rank as a master of light, shade, and color. Among his best known works are the Venus- es of the Uffizi and Dresden galleries. "The carnation hues of youth and beauty, and the soft undulat- ing outlines of the female form, are painted as none but Titian could paint them ; and the effect is so dazzling and striking that we can hardlj persuade ourselves that it was not produced by some process now lost to the pen oil, or by the use of colors that modern chemistry cannot replace."— Hillard. Venus — Titian. 374 TITU His celebrated St. Peter Martyr, which was ranked next to Raphael's Transfiguration, and Domenichino's St. Jerome, was lost in the conflagration of San Giovanni e Paolo, Venice, 1867. Living to the extreme age of ninety-nine, and wielding his brush to the last, his works are innumerable and to be found in every important collection. Venice possesses his first, his last, and his most noted work — all in the Academy of Fine Arts. The Madrid Gallery has 43 Titians ; the Louvre exceeding 20. He is entombed in the church of the Frari, Venice. Principal Works: Ant., 357; Belv., sixteen; Berlin, 161-3-6, also several portraits ; Borg., X. 2, 16, 21, XI. 3 ? ; Brera, 243-4-5 ; Cassel, 23 ? 25 ; Colon., III. Portrait, Long Gal., Holy Fam.? ; Corsi., III. 50 ? IV. 21, 28, VIII. 30 ? IX. 36, 55; Darm., 519? 5*20; Doges 1 Pal., Doge Grimani; Doria, V. 22? Cor. I. 14, Cor. 11.26? 52, 56; Dresd., 222-3-4-5-6-7-8-9, 230: Edinb., 378, 145, 71? 116? 374 ?; Frank.,23 ? ; Hampton Ct., 116, 122, 149, 113? 364 ? ; Hermit., 93-4 ?-5 6-8-9, 100-2-4 ?-5; Liverp., 89?; Louvre, 439, 440-1-2-3-5-6-9, 450-1-2-3-4-5 ?-6 ; Madrid, 450-1-2-3-4-5-6-7-8-9, 461-2-3-4-7-8-9. 470-4-5-7, and others, 43 in all. Mnnich, 467, 489 ? 496, 524, 587, 591, 1238, 1329 ; Naples, Ven. Sen., 20, Sala di Correg., 5, 8, 11, Sala Grande, 36; Nat. Gall., 4, 34-5, 270, 635-6; Pesth, IV. 158; Pitti, 17, IS, 54, 67, 80, 92, 110? 201, 423?; Sciarra, two, one doubtful; Uffi., 590, 599, 605-9-14-18, 625, 626, 633, 648, 1002, 1108, 1116, 1117 ; Vat., Madonna ; Venice, 24, 33, 366, 487 ; Verona, 52. Tituc. FlavlusSablnus Vespasianus. Roman Emperor, son of Emperor Vespasian, b. a.d. 40. Served in Britain and in Germany, and under his father in the Jewish wars. Upon the proclamation of his father as Emperor, Titus remained and concluded the conquest of Jerusa- lem. Returning the following year, he was honored with a Triumph. He suc- ceeded his father, a. d. 79. He reigned but two years, having, as it is supposed, been poisoned by his brother Domitian. *Titus, Arch of, Rome, on the Via Sacra, between the Forum and the Coliseum. Erected by the Senate, a.d. 81, to Titus, in honor of his conquest of Jerusalem ; inscribed " Senatus Pop- ulus que Romanus Divo Tito Divi Vespasiani Filio Vespasiano Au- gusto." One of the most interesting ruins of Rome. The bas- reliefs on the inside of the Arch represent Titus crowned by Vic- tory, in a triumphal procession with various trophies from th« Titus — Naples. TIVO 375 temple of Jerusalem, among which may still be seen the golden candlestick, the silver trumpets, and the golden table. " Over the half-worn pavement and beneath this Arch the Roman armies had trodden in their outward march, to fight battles a world's width away. Return- ing victorious with royal captives and inestimable spoil, a Roman triumph, that most goi-geous pageant of earthly pride, has streamed and flaunted in hundred- fold succession over these same flagstones, and through this yet stalwart arch- way." — Hawthorne. " The Jewish trophies are sculptured in bas-relief on the inside of the Arch, beneath the vaulting. And, at this day, the Jew refuses to walk beneath them, but creeps stealthily by the side with downcast eyes or countenance averted." — Merivaie. " The procession of the Popes, going to the Lateran for their solemn installa- tion, used to halt beside the Arch of Titus while a Jew presented a copy of the Pentateuch with a humble oath of fealty." — Hare. TITUS, BATHS OF. See Trajan, Baths of. "It is very extraordinary, that, notwithstanding these ruins were verified as long ago as 1818 as being the remains of the Thermae of Trajan, all the guide-books continue to call them the Baths of Titus."— £/«*&. Wood. Tivoli (tiv'-o-ly), 18 mis. from Rome. The extensive ruins of the Villa of Hadrian, which is said by antiquaries to have been 8 or 10 mis. in circumference, render this one of the most interest- ing localities in the vicinity of Rome. **The Tower, London. On the n. bank of the Thames, below London Bridge. Ad- mission daily, 10-4 (1 sh.) ; M. and Sat. free. The Tower is an extensive fortified palace, commenced by Wm. the Conqueror in 1080, and subsequently enlarged, until at pres- ent it covers about 12 acres. The Outer Ward embraces 4 towers : the Middle, the Byward, the Traitors' Gate, and the Cradle Tower. The Inner Ward embraces 12 towers : the Bloody, the Bell, Beauchamp, Devereux, the Flint, Bowyer, the Brick, the Jewel, the Constable, Broad Arrow, Salt, and Record. The Tower is entered from the side of Tower Hill, by the Lions' Gate, on the w. side, where the lions and King's beasts were formerly kept. Passing under two Gothic gateways, through the Middle (A) and Byward (B) Towers and over the moat, now a garden, the visitor enters the Outer Bail, and perceives before him the wall of the Inner Bail, 30 to 40 ft. high ; thence beneath the portcullis of the Bloody Tower (B), he enters the Inner Bail. Visitors are usually first directed to the Horse Armory (R), 376 TOWE 150 ft. by 33, containing 22 equestrian figures, clad in the armoi of the time from Edward I. to James II. 1 Comp. — Weapons, etc. , from the battle of Hastings ; suit of the time of Edward I. 2 Comp. — Arms of the War of the Roses, and battles of Agin- court and Poictiers ; suit of the time of Henry VI. to Edward IV. [Tower mil.] A. The Middle Tower. B. The Byward Tower. C. The Traitors 1 Gate. D. The Cradle Tower. E. The Bloody Tower. P. The Bell Tower. G. The Beauchamp Tower. The Tower of London. H. The Devereux Tower. I. The Flint Tower. J. The Bowyer Tower. K. The Brick Tower. L. The Jewel Tower. M. The Constable Tower. N. The Broad Arrow T'r. O. The Salt Tower. P. The Record Tower. Q. The White Tower. R. The Armories. S. Site of The Scaffold. T. St. Peter's Chapel. 3 Comp. — With nine arches; the Tudor colors, green and white ; armor of the reigns of Henry VIII. and Elizabeth ; suit of Damaskeened armor worn by Henry VIII. 4 Comp. — With eight arches ; Stuart colors, yellow and red ; suit of the time of James I. From the Horse Armory a short staircase leads to a compart- ment filled with Oriental Arms. Queen Elizabeth's Armory. — Passing up the stairs, through the immense walls, the visitor enters the White Tower. On the r. is the prison of Sir Walter Raleigh. In the centre, instruments of torture ; the block on which Lovat, Kilmarnock, and Bal- merino were executed, 1745 ; the axe, the iron collar of torment, the cravat, thumb-screw, etc. In the White Tower (Q) is the Chapel of St. John, one of the oldest and best preserved specimens of Early Norman architec* TOWE 377 ture in Great Britain. At the foot of these stairs the bones of the murdered princes were found. In another part of the Tower are **The Crown Jewels. — First kept in the Tower in the reign of Henry III. , 1216. During the confusion which prevailed after the death of Charles I., all the Royal ornaments, and that por- tion of the Regalia which was kept in Westminster Abbey, was scattered and sold. After the Restoration these portions were replaced, retaining the ancient names and styles. The jewels are now valued at $15,000,000. The collection is surmounted by the crown of Her Majesty, the Queen. St. Edward's Grown has the familiar form represented in the royal arms, and on the coins of the realm. The Prince of Wales' Crown is of pure gold, unadorned with jewels. It is placed be- fore his seat in the House of Lords. The Ancient Queen's Grown is used at the coronation for the Queen Consort. TJie Queen's Diadem was made for the consort of James II. St. Edward's Staff is of beaten gold, 4 ft. 7 in. in length. The Royal Sceptre, or Sceptre with the Cross, is placed in the right hand of the Sovereign, at the coronation, by the Archbishop of Canterbury. The Bod of Equity, or Sceptre of the Dove, is placed in the left hand of the Sovereign at the coronation. The Queen's Sceptre, somewhat smaller than the others, is adorned with precious stones. The Curtana, or pointless sword of mercy ; the swords of Jus- tice, temporal and ecclesiastical, are borne by the sovereigns at coronation. The Coronation Bracelets, the Royal Spurs, the Anointing Ves- sel and Spoon, are all used at coronations. The Spoon is sup- posed to be the sole relic of the Ancient Regalia. The Baptismal Font is used at the christening of royal children. The Prison, in the Beauchamp Tower (C). Among the eminent persons imprisoned here were Wallace, Mortimer, King John of France, Anne Boleyn, Catharine How- ard, Lady Jane Gray, Cranmer, Raleigh, Laud, Vane, the Seven Bishops, and Walpole. In the Bowyer Tower (J) the Duke of Clarence was drowned in a butt of Malmsey. In the Bell Tower (F) Guy Fawkes was examined by torture^ and Queen Elizabeth imprisoned. 378 TRAF In the Court is shown the place of execution (S) of Anne Bo leyn, Catherine Howard, Lady Rocheford, and Lady Jane Grey. *St. Peter's Chapel (T), in which rest the remains of many of these unfortunate victims, is adjacent. Here were buried Queen Anne Boleyn ; Queen Catherine Howard ; Sir Thomas More ; Thomas Cromwell ; Earl of Essex ; Margaret, Countess of Shrewsbury ; Lord Admiral Somerset ; his brother, the Pro- tector ; Lady Jane Grey and her husband, and many others. Macaulay remarks that there is no sadder spot on earth than this little cemetery. Tower Hill. — Directly above the entrance to the Tower, is a small park enclosed with an iron fence. This is Tower Hill, where those state executions took place which did not occur within the Tower walls. The scaffold stood near the centre of the present enclosure. Here perished Sir Thomas More, Bp. Fisher, Henry Howard, Somerset, Lord Guilford Dudley, Alger- non Sidney, Lords Kilmarnock, Balmerino, and others ; 16 in aH, the last being Lord Lovat, 1747. Trafalgar Square, and its immediate vicinity. Standing near the National Gallery, on the 1. , is the bronze equestrian statue of George IV., by Chantrey. In front is the Nelson Column, of Portland stone, 145 ft. in height, surmounted by a statue of Nel- son, 17 ft. in height. Upon the pedestal are reliefs in bronze made from cannon taken from the French. Bas-reliefs : Death of Nelson, Battle of the Nile, of Copenhagen, and of St. Vincent. The four colossal Lions in bronze upon the corners are from models by Landseer. On the r. of the Column is the statue of Sir Charles Napier ; on the 1. , Gen. Havelock. Statue of Charles 1. Directly in front of the Nelson Column in the street stands the statue of Charles I. , cast by Le Sueur, pupil of John da Bologna, in 1633. In the Civil War, Parliament sold it to a brazier, with strict orders for its destruction, but the artisan buried the statue, producing some other fragments as evidence of his compliance with their orders. After the Restoration it came to light again and was set up in its present position, 1676. See Charing Cross. Trajan, M. Ulpius, Rom. Emp., b. near Seville, Spain, A.D. 52. Served in the army in Germany and the East; was consul in 91 ; was adopted by Nerva and came to the throne in A.D. 98. Reigned 19 years with great success ; was honored with two triumphs ; built extensive roads throughout the Empire ; es- TRAJ 379 tablished libraries at Rome; and constructed the Forum Tra- janum, with the Column of Trajan. *Trajan's Column in Trajan's Forum; erected a.d. 114, by the Senate, in honor of the successful campaigns of the Em- peror. It consists of 34 blocks of marble, covered with a series of bas-reliefs winding about the shaft from base to capital. The number of figures is not less than 2,500, not including the horses and cattle, two feet in height in the lower courses, increasing to 4 ft. at the summit. This column has, for centuries, been re- garded as a masterpiece of historic architecture, worthy alike of the great sculptor, Apollodorus, and of the great Emperor whose ashes rest beneath. Formerly a colossal gilt statue of Trajan surmounted the column ; but Pope Sixtus V. replaced it by a statue of St. Peter, 11 ft. high. * Trajan's Forum. Prior to the time of Trajan, a narrow ridge extended from the Quirinal Hill across to the Capitoline. Trajan removed the ridge, the summit of which was of the height of the column, and converted the space into a Forum, A.D. 114, under the direction of Apollodorus. It included the Basilica Ulpia, a Triumphal Arch, a Column, and a Temple. Only a por- tion of the Forum has been excavated, the remainder being jet under the streets and buildings. The Basilica was surrounded by a double range of granite columns, 50 ft. high. **Transfiguration, The, by Raphael, in the Vatican. In the middle : above, Christ, with Moses and Elias on either hand, also SS. Stephen and Lawrence kneeling ; below, on the r., a demoniac lad with his parents, who are appealing to the disciples on the 1. for relief. The disciples are pointing above to the Saviour as the only hope of aid. This was the last work of Raphael, of which he had completed only the upper part at his death. The lower part was painted by Giulio Romano from Raphael's designs. At Raphael's death this picture was hung over his bed as he lay in state, and carried in procession at his funeral. It is generally regarded as being the first painting in the world, although the double scene on one canvas has been severely criticised. " And when all beheld Him where he lay, how changed from yesterday — Him in that hour cut off, and at his head His last great work ; when, entering in, they look'd, Now on the dead, then on that masterpiece — 380 TRAN Now on his face, lifeless and colorless, Then on those forms divine that lived and breathed, And would live on for ages — all were moved, And sighs burst forth and loudest lamentations." — Rogers. " Two entirely different scenes are combined in the picture— a piece of audacity not to be recommended to everyone — it only occurred here, and for this end. Be- low the mountain, are the people who have brought the possessed boy, and the disciples, puzzled, compassionate, excited, even looking for help in the book, and earnestly pointing up to the mountain whither their master had gone ; the pos- sessed one himself especially remarkable as one of the few forms from the realms of darkness produced by Raphael, and which with the most horrible expression, yet showed so strikingly his lofty moderation ; the woman lamenting on her knees in front is, as it were, a reflection of the whole incident." — Burckhardt. "It is somewhat strange to see the whole picture of the Transfiguration — in- cluding the three apostles, prostrate on the mount, shading their dazzled senses from the insufferable brightness — occupying only a small part of the top of the canvas, and the principal field filled with a totally distinct and certainly unequalled picture, that of the demoniac boy, whom our Saviour cured on coming down from the mount, after his transfiguration. This was done in compliance with the orders of the monks of S. Pietro in Montorio, for which church it was painted." — Eaton. "It must ever be matter of wonder that anyone could have doubted of the grand unity of such a conception as this. In the absence of the Lord, the discon- solate parents bring a possessed boy to the disciples of the Holy One. They seem to have been making attempts to cast out the Evil Spirit ; one has opened a book, to see whether by chance any spell were contained in it which might be success- ful against this plague, but in vain. At this moment appears He who alone has the power, and appears transfigured in glory." — Goethe. "In looking at the Transfiguration, we must bear in mind that it is not an his- torical but a devotional picture ; that the intention of the painter was not to re- present a scene, but to excite religions feelings by expressing, so far as painting might do it, a very sublime idea." — Mrs. Jameson. " My strongest objection against Scripture pictures is the pain I feel in looking on blood and tortures, however exalted the faith of their victims. . . . The Demoniac Boy, in Raphael's Transfiguration, is disagreeable and undignified. . . . Nothing is more revolting than ensanguined gashes or muscular convul- sions. In such pictures we at once miss and dread to find exactitude of imitation. What pleasure could such attempted fidelity bestow ? It is always more horrible or less lovely than nature herself.' 1 — Mad. de Stael. " I am impressed with the idea that the face of Jesus looks too much like hu- man flesh and blood to be in keeping with the celestial aspect of the figure, or the probabilities of the scene. As regards the composition of the picture, I am not con- vinced of the propriety of its being in two so distinctly separate parts." — Haw- thorne. " The figure and head of the Saviour, in point of coloring, drawing, and expres- sion, are among the very highest achievements of the art of painting. The dig- nity and serenity with which the form of the Saviour reposes on the air are a dis- tinct expression of Divine power ; and the light with which it is penetrated is also celestial. . . . The kneeling figures at the extremity of the mountain, which are supposed to be portraits of the father and uncle of Cardinal de Me- Transfiguration — Raphael. 382 TRIA dici, by whom the picture was commissioned, are a blot in this magnificent wori^ and can only be excused by the custom of the times, and the deference which an artist naturally pays to the wishes of a powerful patron." — Hillard. Trianon (tree'-ah-non), The Grand ; open every day except M., 12-4, 5 ; a palace about a mile distant from Versailles, built by Louis XIV. after his completion of the latter, where, as St. Simon states, he became " tired with so much beauty and with the crowd, and persuaded himself that he wished for something o?: a small scale and for solitude." The palace was named from the village which was removed to give it place. Louis XIV. enjoyed the Trianon, but not finding the comfort and pleasure he had anticipated, he abandoned it as soon as his new chateau of Marly was completed. Louis XV. occupied the Grand Trianon until the completion of the Petit Trianon. Napo- leon I. restored it, 1810, at the time of his marriage with Marie Louise, contemplating its occupancy as an imperial residence — a plan afterward abandoned. Louis XVIII. and Charles X. never occupied it ; but Louis Philippe made it the summer residence of his family and court — numbering about 350 persons, besides 300 soldiers. Napoleon III. never occupied the palace, but gave oc- casional festivals, and received here Queen Victoria. The Grand Trianon. 12 1 2 3 4 5 L 6 7 8 - 9 10 11 13 Cdur d' Honneur. 18 17 16 15 14 19 20 21 Room I . — Salon des Glaces. Clock presented to Napoleon by Ch. IV. of Spain. 2. — With No. 3 occupied as bed-chamber by Louis XIV., Jose- phine, and Louis Philippe. 3. — Salon, formerly a chapel. 4. — Vestibule ; Princes' and Lords' room, in time of Louis XIV. TRIA 383 5. — Peristyle; formerly a summer dining-room. Marshal Ba- zaine tried here, 1875. 7. — Circular Saloon ; Chapel, in time of Louis XVI. 8. — Billiard Room ; Music hall, time of Louis XIV. 9, 1 O. — Sleeping rooms in time of Louis XIV. I I . — Malachite Room ; named from the malachite tables, vases, and cups, presented by Emp. Alex, of Russia to Napoleon, after the Peace of Tilsit. 12. — Grand Gallery ; with paintings, busts, and vases; din- ing-room in time of Louis Philippe. I 3. — Library in time of Napoleon I. ; inlaid table presented by the pupils of a deaf-mute school to Josephine. I 5. — Napoleon's Study. 1 7. — Bed-chamber of Napoleon I. Rooms 14 to IS were also occupied by Mme. de Maintenon, Stanislas, Louis XV., Napoleon I., and in the time of Louir, Philippe, by the Royal Princesses. Rooms I 9, 20, 2 I . — Private rooms of Louis XIV. ; also the suite arranged for and occupied by Queen Victoria, 1846. Near by is the Musee des Voitures, a collection of state car- riages. Open Sun. and Th. Trianon, The Petit (pe-tee' tree'-ah-noft). Upon Louis XV. 's attaining his majority, he erected this smaller palace particularly for Mme. Du Barry. Upon Louis XVI. 's coming to the throne he gave it to Mar'e Antoinette, who made it her favorite residence. In Louis Philippe's time the Duke and Duchess of Orleans resided here for a time. During the reign of Louis Napoleon, Empress Eugenie sought to collect in the Petit Trianon whatever articles might be found whioh had once belonged to Marie Antoi- nette, making it in some sense a Petit Musee. Room: I . — Ante-chamber ; bust of Emp. Joseph II. of Austria, brother of Marie Antoinette. 2. — Dining-room ; writing table presented to Louis XVI. by the states of Burgundy. 3. — Petit salon; jewel-casket of Marie Antoinette, made of san- dal and mahogany woods, crowned with Prudence, Wisdom, and Abundance. 4. — Grand Drawing-room; numerous objects belonging to 3 4 5 > 2 ' 6 ' 1 384 TRIN Marie Antoinette ; several writing-tables ; a harpsichord ; a desk, two vases of petrified wood, presented by Erap. Joseph II. to his sister. 5. — Boudoir ; work table ; bust of Marie Antoinette in porce- lain. 6. — Bed-chamber ; carved wood bedstead ; carpet, presented by the city of Lyons ; fluted vases. 7 . — Dressing-room ; a toilet ; vases ; basket of flowers. Trinita de* Monti, La, ch., Rome; above the Pi. di Spagua. Erected, 1494, by Chas. VIII., of France. Closed af- ter 9-£ A. M. but admission may be obtained at a side door to the left. The chief interest is in Volterra's Descent from the Cross, which, on account of the unfavorable light, should be visited in the morning. On the r.: 2d Chapel, picture of St. Francis de Sales ; 3d Chapel, Assumption, the Presentation and Massacre of the Inno- cents, by Volterra; in the Assumption, in the r. corner, is the por- trait of M. Angelo ; 5th Chapel, school of Sodoma ; 6th Chapel, School of Perugino. On the I.: 1st Chapel, Descent, by Achter- mann; 2d Chapel, **Descent, by Volterra (see Descent); 3d Chapel, Madonna, by Veit ; 4th Chapel, St. Joseph, by Langlois ; 6th Chapel, Wise and Foolish Virgins, and the Prodigal Son, by Seitz, Claude Lorraine was originally buried in front of the 2d ch. on the 1. ; since removed to the Ch. S. Luigi de' Francesi. Tross'-achs (bristling country), Scot.; a narrow defile with many projecting or bristling rocks. Hardly sustains expectation. Scene of Scott's " Lady of the Lake." See Route No. 3. Tuileries (tuil'-re'), Palais des, Paris, commenced by Catherine de Medicis, 1564, completed by Napoleon III., 1856; was used as an occasional royal residence. In 1789, the market women of Paris marched to Versailles, and compelled Louis XVI. to return with them, and take up his abode in the palace. In 1792, a mob appearing before the palace, a sanguinary conflict ensued between the guards and the people, in which 800 Swiss soldiers were slaughtered (in memory of whom the Lion monu- ment at Lucerne was sculptured), the King taken prisoner, and the Bourbons overthrown. In 1800, Bonaparte as First Consul made it his chief residence ; in 1830 the palace was again captured by the populace, Charles X. taking flight; in 1848 another revolution occurred, the palace being sacked, the throne burned, and Louis Philippe and family TUIL 385 escaping capture by passing through the gardens and out of the gate at the Place de la Concorde. In 1871, the Communists in their general purpose of destroying all the public buildings of the city, filled the palace with explosives and petroleum, and upon the entrance of the government troops, fired the palace, which soon became a mass of ruins. * Tu iSeries, Gardens of the, extending from the palace to the Place de la Concorde, laid out in time of Louis XIV. , are surrounded on three sides by terraces, that on the s. being a sub- terranean passage to the palace. Among the statuary are 1, The Knife Grinder ; 2, Phidias ; 4, Pericles ; 8, Theseus ; 9, Sparta- cus ; 10, The Laocoon, Hercules, and Meleager. In the grove are the Carres d'Atalanta (designed by Robes- pierre in 1793), two amphitheatres with seats for the council of old men who were to preside over the Floral Games. Near the w. end, called La Petite Provence, the favorite resort of the little folks, is a fountain with four groups in marble : n. side, the Rhone, and Saone, by Coustou ; The Tiber, by Van Cleve; s. side, The Nile by Bourdot ; and the Rhine and Moselle, by Van Cleve. The orange trees in the Allee des Orangers, are from 100 to 400 years old. At the gateway of Place de la Concorde are two fine groups : Fame and Mercury, by Coysevox. Turin' (too-rin'), Torino (to-ree'-no), Italy, on the Po and Dora Riparia. The train from Geneva and Paris enters the city on the s. side, and runs nearly due n. into the station ; pop. 253,000. It was founded by the Taurini ; destroyed by Hannibal B.C. 218 ; was the capital of Piedmont in the middle ages ; be- came subject to Savoy, 1418; and was the capital of Italy from 1859 to 1865. Principal Objects of Interest : the Palazzo Madama ; the Pa- lazzo Reale ; Palazzo dell' Accademia delle Scienze, and Cathe- dral. Palazzo Madama, in the Piazza Castello, erected in the 13th cent., is the only mediaeval structure in the city. In front is a mon. to the Sardinian Army, 1859. Palazzo Reale, on the n. side of the Piazza Castello, the resi- dence of the King when in the city, is accessible only in the ab- sence of the family. The s. e. wing contains the * Armory, open 11-3 ; Sun., free ; other days by ticket obtained at the Armory. The Palazzo dell' Accademia delle Scienze, in the Pi- azza Carignano. Ground Floor: Museum of Antiquities, Egyp- 25 386 TTTRI 5_Sii:-5£.'- Pri ncipe _ gs . ... COITO ... , — -.----■- _-.-_■_• -— — = ^Esa_isajm^3L^_. £ _i -It" mam u'O _ v.prpaRT A NUOVA ^>»- della. flnsEKftue .^ ESI eu ei nsi i«SS Si SSlilllj « ianDnanDQ'I nL TURN 387 tian, Grecian and Roman sculptures. First Floor : Museum of Natural History and of Mineralogy. Second Floor (98 steps) : * Picture Gallery, 600 paintings ; 15 rooms ; * Room No. 13. The Cathedral, adjacent to the Pal. Reale, 1492. On the 1. of the high altar are the seats of the Royal Family. Behind the high altar is the Capella del SS. Sudario, the tomb of the Dukes of Savoy ; mons. and modern statues. Routes : To Paris, 22 hrs., $20 ; $16.50 ; see Route 40 Turin to Culoz, thence Route 39 Culoz to Paris. To Geneva, 11 hrs., $7.75; $5.75; see Route 40 Turin to Culoz, thence Route 39 Culoz to Geneva. To Milan, Z% hrs., $3.40 ; $2.20 ; see Route 43. To Venice, 10 hrs., $9.50 ; $6.60 ; see Route 43 Turin to Milan, thence Route 46 Milan to Venice. To Bologna, 1% hrs., $7.60 ; $5 ; see Route 42. To Flokence, 12 hrs., $10.60 ; $7.40 ; see Route 42 Turin to Bo- logna, thence Route 49 Bologna to Florence. To Genoa, 5 hrs., $3.40 ; $2.40 ; see Route 42 Turin to Alessandria, thence Route 52 Alessandria to Genoa. Turner, Jas. Wm. Mallard, 1775-1851, b. Covent Garden, London. Entered the Royal Academy, 1789, working chielly upon landscape in water-color. About 1802 he began to paint in oil. At first an imitator of Claude and Poussin, he ulti- mately applied the water-color treatment to his oil-paintings, producing effects of light, shade, and mist, hitherto unapproached. His pictures should be viewed from a distance. His works num- ber more than 200, the larger part of which he bequeathed to the National Gallery. He was never married ; was not known to have any relatives, and lived at Chelsea under the name of Brooks. Entombed in St. Paul's, beside Sir Joshua Reynolds. u I conceive Turner to be the most powerful painter whom the world has ever seen and that he was prevented from being the most perfect by various causes.'' — Buskin. Ur-su-la', St. Legend of. A princess of Britain (or Brittany), who with 11,000 virgins made a pilgrimage to Rome, between the 3d and 13th centuries, and on the return were all barba- rously murdered near Cologne. The manner of collecting the virgins is stated to be that her hand being sought by the King of England for his son, she made reply, "he shall give me for companions ten virgins of noble blood, and to each of these a thousand attendants, and to me also a thousand maidens to wait on me." " This extraordinary legend is believed to have originated in the discovery of an inscription to Ursula et Undecimilla VirgiJies, the second name being read as ex- pressive of a number, and not a person, and so converting two virgins into 11,000." — Fairholt. See Cologne, St. Ursula. Uta, the Legend of Ehrenfels. The maiden TTta sat nt the window of the castle weeping bitterly, because her father had called the Knight of Reichenstein, whom she dearly loved, a robber and an outlaw. At this moment turning her eyes toward the home of her lover. 388 VAN she beheld it in the midst of flames, and the Knight in a boat crossing the river. As he drew near he called, saying, " Uta, come to me once more before I leave you forever ; the Emperor has made me an outlaw and a fugitive. Fly with me, my darling maiden.'" She replied, " O that we had died while we were yet happ3 r . I cannot desert my father ; I will take the veil and in the cloister T will give all my prayers and thoughts to you." "Never !" exclaimed the Knight, and clasping her to his bosom, plunged with her into the waves. The next day the lovers were found still locked in each others arms. Van, Van de, Van der. See under the name proper, Dyck, £yck, Velde, etc. Vatican, The, was first occupied as a residence by the Popes about a.d. 500. Charlemagne is believed to have made his resi- dence here on his visit to Rome, 795. It was rebuilt, 1280 ; and in the 14th century made the permanent papal residence. In 1473, Sixtus IV. added the Sistine Chapel, since which time suc- cessive popes have continuously extended the Vatican, until it has become the most extensive palace in the world; containing 20 courts and 11,000 apartments, chapel, and halls. Principal Objects of Interest, which see respectively: I. Sistine Chapel ; II. Stanze of Raphael ; III. Loggie of Raphael ; IV. Picture Gallery, or Pinacoteca, see Part II. Vatican, Pictures ; V. Sculpture Gallery, see Part II. Vatican, Sculp- tures. Permission, permesso, necessary ; obtained at the office on the r. of the passage leading to the Sistine Chapel, upstairs. A single permesso admits 8 persons to the Sistine Chapel, Stanze, Loggie, and Pinacoteca. A separate permesso is required for the Gallery of Sculptures. As the Sistine, the Stanze, and the Loggie of Raphael, and the Pinacoteca are adjacent, these may all be included in one visit by those whose time requires it. An audience with the pope may usually be obtained by making application some days in advance to the President of the American College, or through the assistance of one's banker. Velasquez, Diego Rodriguez de Silva, (va-las'-ketb), 1599-1660, b. at Seville, Spain. A pupil of the elder Herrera, he imbibed the style of his master. At the age of 22 he went to Madrid, and was invited to paint the portrait of Philip IV. Upon the visit of Rubens to Madrid, Velasquez met him and re- ceived much assistance from the great Flemish master. Soon after Velasquez went to Italy where he studied the works of the great Italian painters, particularly Raphael and Tintoretto ; he VELD 389 was a master equally in sacred and dramatic scenes, figures, and landscapes, though his works are often wanting in soft and deli- cate tone and finish. Principal Works: Belv., Eve: Bergamo, 28, 169; Berlin, 413A, 413G; Cap., 8; Doria, Innocent X. ; Dul., 194? 309; Frank., 51, 51 A; Hague, Span. Sen., two; Hamp. Ct., 82, 90?: Hermit., 418-19-20-21-22; Liverp., 124; Louvre, 551- 2-3-4, 39, 37? ; Madrid, 1054 to 59, 1060 to 69, 10T3 to 78, 1080-3-4-6, 1090 to 99. 1100-6-8, and others. 62 in all ; Munich, 366, 366A, £67, 1311, 1414A ; Nat. Gall., 307, 232, 745; Pesth, 695; Pitti, 243; Turin, 392; Uffi., 210. Velde, Adrian van de (vel-deh), 1639-1672, b. at Amster- dam, pupil of Wynants ; one of the first masters of landscape and cattle. Though he died in his thirty-third year, he had fin- ished with great care and delicacy 189 pictures. Velde Willem van de, the elder, 1610-1693, b. at Leyden. In early life a sailor ; a reputable painter of sea scenes. Velde, Willem van de, the younger, 1633-1707; son of the elder, b. at Amsterdam. Pre-eminent as the marine painter of the Dutch school. His atmosphere, storms, calms, light, and clouds, are seldom equalled. His works, exceeding 300, arc principally in Eng. and Holland. *Vend6me Column, Place Venddme, Paris. Erected by Napoleon I,, in 1806, in honor of his victories over the Austrians and Russians. It is 144 ft. high, 13 ft. in diameter, the core being of masonry and covered with bronze plates in the style of Trajan's Column, at Rome. Around the column is a spiral series of reliefs nearly 900 feet in length, illustrating the campaign of 1805 ; 1,200 captured cannon were used in its construction. The column was thrown down by the Communists in 1871, but has since been re-erected. The summit was originally crowned by a statue of Napoleon I. Upon his downfall the statue was sup- planted by a huge fleur-de-lis, which in turn, gave place, in 1831, to a new statue of the Emperor similar to the original. Upon the overthrow of the column in 1871, the statue was shattered into fragments, but has since been again replaced. Venice, venezia, pop. 131,000. The city is built upon 117 islands, separated by 147 canals, and connected by nearly 400 bridges. The Grand Canal, in shape like the letter S, divides the city into two nearly equal parts, the rly. station being at the n.w. end, and the Piazza of St. Mark's at the s.e. History : Upon the downfall of the Western Empire some of the inhabitants of Northern Italy sought refuge from the conquering barbarians, upon the low islands of the Adriatic, thus laying the 390 VENU foundations of the city. From fishermen they gradually attained the mastery of the Mediterranean and the commerce of the then known world. In the 11th and 12th centuries the Venetians de- feated the Turks in Syria, the Greeks in the Peloponnesus, and in 1204, conquered Constantinople. From the discovery of the passage to the Indies by the Cape of Good Hope, Venice gradually declined in commerce and power un- til, in 1797, it was conquered by Bonaparte and annexed to Austria. In 1836, it was ceded to Italy as a part of the Italian Kingdom. The general appearance of the Grand Canal, although lined with "Palaces," as the guide-books inform us, is assuredly dis- appointing. Venice, to be enjoyed, must be seen by moonlight, or at twilight, and in summer. Principal Places of Interest^ which see respectively under the titles, St. Mark's ; Doges' Palace ; Academy of Fine Arts, see Part II. , Venice ; The Arsenal. Churches : The Frari ; S. M. della Salute ; S. Giovanni e Paolo, with the Scuola di S. Marco ; S. Sebastiano. Churches open from early morning until 12 or 1. Routes: To Milan, 6 hrs., $6; $4.40: see Route 46. To Bologna, 4 hrs., $3.70 ; $2.60 ; see Route 48. To Munich, 17 hrs., $15 ; $11 ; see Route 58. To Flokence, 8 hrs., $6.70 ; $4.90 ; see Route 48 to Bologna, thence Route 49 to Florence. Venus. Greek, Aph-ro-di'-te, myth, goddess of love and beauty ; dau. of Jupiter and Dione ; wife of Vulcan ; was in love with Mars; and beloved by Neptune, Mercury, Bacchus, and Adon- is. The rose, myrtle, apple, and poppy ; the dove, sparrow, swan, and swallow, were sacred to her, as was also the month of April. Statues : Venus An-a-dy-om -e-ne, rising from the sea. Both hands ele- vated and holding the hair ; draped below the hips, the drapery being gathered into a knot in the centre. Below life-size. Vat., (Chi.) No. 353, of Roman workmanship, (Br.) No. 92. Venus of the Bath, statuette ; Louvre. Much restored ; sup- posed to be a copy of the Venus of Polycharmes which Pliny says was taken to Rome in his time. Venus Borghese, by Canova, Villa Borgliese, Rome. Mod- elled after Pauline Bonaparte, sister of Napoleon I. Reposing upon a couch, the right hand supporting the head ; the left hold- ing an apple ; draped from the hip. _^n West East. £$ VENU 391 **Venus Cal-lip'-y-ge, Mus., Naples. Attributed to Praxit- eles ; found in Nero's Golden House, Rome ; belongs to the best period of Greece. Looking back over the right shoulder ; left hand elevated, holding drapery in both ; figure chiefly und raped. The back is particularly admired ; right arm, head, and limb restored. Venus op Canova, Pitti Gallery. In position somewhat like the Venus de Medici ; covered in front from the breast to the knee by drapery held by both arms folded across the breast. " There is a want of simplicity and repose in the whole figure. She is huddling her drapery about her, and at the same time an expression in her face seems to say, ' Am I not doing it be- comingly ? ' " — Hillard. **Venus op the Capitol ; Cap. 3fus., Rome. Found about the middle of the last cent., walled up in a niche of an ancient house on the Quirinal, Rome. Supposed to be a copy of the Aph- rodite of Praxiteles ; evidently of the best period of Greek art. Found almost perfect. The right arm is folded across the breast, the left rests upon the thigh. On the left is an urn supporting drapery. A similar statue is in the Naples Museum. " The truthfulness and beauty with which nature is re- produced in the Venus of the Capitol made this statue a subject of scandal to the austerity of the early Christians. Without doubt, the desire to protect it from their mutilation caused it to be carefully buried ; hence its entire preserva- tion. Thus its danger became its salvation.' 1 — Ampere. ** Venus op Capua, Venus Victrix, No. 644 (98), Naples Museum. Found at Capua. The arms, the cupid, and the base are modern. The similarity of this figure to that of the Venus de Milo renders the position of the arms questionable. V. Callipyge. V. Capitol. 392 VENU " The supple and soft, limbs, the beauty of the attitude, and the elegant har- mony of the whole composition so far impose upon the imagination as to make us think we are looking on some living form, standing motionless on a pedestal. She tramples under foot Minerva's helmet, and bears on her forehead Juno's diadem. 1 ' — Hand- book, National Museum. **Venus op Cnidos, or Knidos. I. Vatican, (P.C.) No. 574. Hall of the Greek Cross. The most perfect known copy of the Venus of Knidos by Praxi- teles. The bronze, extending from the hip downward, is a modern addition. The figure, which is above life-size, stands upon the right foot, the left slightly touching the pedestal ; the right hand clasps the drapery gathered about the middle of the figure ; the left is raising the drapery from an urn. which gives the the left shoulder considerable elevation above the right. The left arm bears a bracelet. The arrangement of the hair is simple and pleasing. The face is peculiarly expressive of feminine innocence and sincerity. II., No. 112, Chiaramonti Gallery. III., No. 131, Crouching V. — Florence. Crouching V. — Vatican. Glyp. , Munich. Altogether similar to the statue in the Vatican ; believed to be Roman workmanship. VENU 398 Genetrix. Venus, Crouching, I., No. 429, Reserved Cabinet, Vatican; found in the Campagna. She is partly resting on one knee, the right arm raised and inclined toward the left shoulder. II., No. 112, South Corridor of the Uffizi. Venus de Dione. See Towneley Venus. Venus Genetrix, Borghese Villa, Borne; right hand e]evated, holding drapery ; left hand with an apple ; draped. Venus of the Hermitage, No. 343, Hermitage ; found near the Porta Portese, Rome, 1859. Also, No. 347, purchased in Rome by Peter the Great. ** Venus de Medici, Tribune of the Uffizi, by Cleomenes, son of Apollodorus ; found in the Villa of Hadrian, near Tivoli, in the 16th cent.; brought to Florence by Cosmo de Medici III. , hence called Venus de Medici. When found it was in 13 pieces, and with- out arms. " The goddess of love displays the lineaments of her shapely form to the eye completely nude, but not in naive self-forgetf ulness, or i:a the sublime abandon of conquest, but with conscious premeditation ; not without a certain shame-faced coyness, which iis ex- pressed in the position of the arms, with their effort at concealment of the bosom and thighs, and in the coy turning of the head to one side. With all the delicacy and perfection of artistic finish, with all the noble rhythmical proportion of the limbs, this trait, which betrays the calculating coquette, has but a cold effect."— Liibke. " She is very beautiful, very satisfactory, and has a fresh and new charm about her, unreached by any cast or copy. I felt a kind of tenderness for her — an affection, not as if she were a woman, but all womanhood in one. Her modest attitude — which, before I saw her, I had not liked, deeming it might be an artificial shame — is partly what unmakes her as a heathen goddess and softens her into woman. There is a slight degree of alarm, too, in her face ; not that she really thinks that anybody is looking at her ; yet the idea has flitted through her mind and V. de Medici. 394 VENU startled her a little. Her face is so beautiful and so intellectual that it is not dazzled out of sight by her form. Methinks this was a triumph for a sculptor to achieve. . . . The world has not grown weary of her in all these ages, and mortal man may look on her with new delight from infancy to old age, and the memory of her, I should imagine, as one of the treasures of spiritual ex- istence. . . . She is a miracle. The sculptor must have wrought re- ligiously, and have felt that some- thing far beyond his own skill was working through his hands." — Haw- thorne, ** Venus de Milo, Lou- vre, discovered on the island of Melos, or Milo, 1820. Age unknown, but belonging- to the best period of Grecian art. In womanly grace and dignity, considered the finest statue known, and as placing the subject midway between the goddesses and Venuses. That this statue was origi- nally a Venus has hardly a shadow of probability. Arms wanting ; draped from the hips. Arms supposed to be- long to the statue have re- cently been found. " This is the only statue of Aphro- dite handed down to us which repre- sent her, not as merely a beautiful woman, but as a goddess. The form is powerful and majestic, and yet instinct with an indescribable charm of youth and beauty, while the pure and noble expression of the head denotes the goddess's independence of all human requirements, and the calm self-sufficiency of her divine V. de Milo — Louvre. character. . . . Grandly serious, and almost severe, the goddess of love ap- pears not yet conceived, as in later representations, as a love-demanding woman. The simple drapery resting on the hips displays uncovered the grand forms of the upper half of the body, which, with all their beauty, have that mysterious unap- proachableness which is the genuine expression of the divine." — Liibke. Venus, Towneley, British Museum ; called also Venus de VERN 395 Dione, from a fancied resemblance to Dione; not unlike the Venus de Milo in position and drapery. The Naples Museum has 18 statues designated Venuses ; they are, however, simply nude figures, usually with the portrait head of a Roman Empress. Vends, Temple op. See Roman Forum and Coliseum. Vernet, Claude Joseph (ver-nay), 1714-1789, b. at Avignon, Fr.; studied in Ifcaly, and on his return was employed to paint the sea-ports of France. Principal Works: Belv., one ; Dresd., 706; Dul., 202; Hague, 252-3; Louvre, of the forty-two, 596, 615, 617, 623, are the best ; Madrid and Munich each possesses several ; Uffi., 655, 665. Vernet, Ahtoine Charles Horace, known as Carle, 1758- 1835, b. at Bordeaux; son and pupil of Claude Joseph ; studied in Rome; excelled in battle-pieces and in horses. Among his noted works are the battles of Marengo, Wagram, and Auster- litz, at Versailles. Vernet, Emile Jean Horace, known as Horace, 1789- 1863, b. at Paris ; son of Carle Vernet. Like his father, achieved the highest rank as a painter of battle scenes. *Ve-r6-na, ltal. ; pop. 70,000 ; delightfully situated on both banks of the Adige. Its principal object of interest is the Rom. Amphitheatre in the centre of the city, dating from a.d. 90. It is 1,500 feet in circumference and has 24,000 seats, and is in re- markable preservation. The Porta de'Borsari on Corso Cavour, is a triumphal arch built by Gallienus A.D. 265. The Tomb of the Scagliers, Presidents of the republic of Verona for more than a century, is also of special interest. The Cathedral contains an Assumption by Titian ; the other churches are of less interest ; and the whimsically reputed ' ' tomb of Juliet," of none. The house of the Capulets is in via S. Sebas- tiano. See Route 46, Note 10. Veronese, Paul (vay : ro-nay'-zeh), Cagliaki or Caliari, 1528-1588, b. at Verona. Few artists have been more fortunate in the selection and treatment of their subjects than Paul Vero- nese. Seizing upon the more pleasing events of the New Testa- ment narrative, he threw into them a life and vivacity, a pleas- ing poetic fancy that have given them a lasting popularity. Nearly a hundred of his pictures have been engraved. His aim seems to have been to produce a pleasing effect by animated crowds, gorgeous drapery, and attractive accessories. 396 VERS " The harmonious coloring, the noble life, the dignity of the figures, and the whole arrangement of the composition render it a masterpiece. 1 ' — Clement. " By his grand creative power and noble beauty he upheld the banner of Vene- tian art until the end of the century." — Liibke. " Paul Veronese was the real master of Rubens." — Wornum. " He was careless in design, and in costume extremely licentious, but these faults are completely concealed by the absorbing magnificence of his coloring, which, added to his noble fancy and inexhaustible invention, render his defects as a grain in the balance." — Algarotti. He is buried in the church of S. Sebastiano, Venice, where are also some of his finest works. See 8. Sebastiano. Principal Works: Belv., five; Borgh., 14, 20; Brera, 209, 215, 217, 223, 808; Bruss., 130; Cap., 224; Cassel, 88, 91 ; Doges' Pal., *G-t. Hall of Council, ceiling, also *Sala del Collegio, ceiling ; Dresd., 299, 300-1-2-3-4-9, 314. 315 ; Ed- inb., 309, 377 ; Prank., 30 ; Hermit., 138 to 152 : Louvre, 92 to 101 ; Lyons, 177 ; Madrid, 526-7-8, 531-2-3 1-4, 540-4? Munich, 495, 1224, 1332 ; Nat. Gall., 26, 268, 294, 1041 ; Pesth, IV. 160 : Pitti, 186, 216, 269 ; Turin, 157, 234 ; Uffi., 579, 589, 603, 1136; Vat., St. Elena; Venice, 489, 519, 547, 603. Versailles. See Part II, Versailles. P. 488. Vespasian (zian), T. Flavins Sabinus; b. a,d. 9; Rom. Emp., 70-79. In the reign of Claudius he was sent to the command in Germany and Britain ; was consul in 51 ; sent by Nero to reduce the Jews in the East ; was proclaimed emperor at Alexandria ; his reign was signalized by few events of importance in Rome. The Coliseum was commenced, and finished by his son and successor, Titus. Palace of Vespasian ; see Palatine Hill. Temple of Vespasian ; see Roman Forum. ** Vesta, Temple of, also called Temple of Hercules Vic- toi % ; on the e. bank of the Tiber, near the Pons iEmilius ; one of the most beautiful ruins in Rome. It is a small circular building, 26 ft. in diam., surrounded with a portico of 19 col- umns, one only of the originals having been lost. The roof is modern. This temple must not be confounded with that of Vesta, erected by Numa Pompilius, which was situated nearer the Forum ; for which see Roman Forum. *' The pillars are of the Corinthian order ; when they were new, and the mar- ble snow white, and sharply carved and cut, there could not have been a prettier object in all Home."- Hmothorne. Vesuvius. By the completion of the railway, the ascent of Vesuvius has been rendered practicable to all travellers, ladies as well as gentlemen. Carriages are taken at Naples for the station at the foot of the cone, and the ascent of the cone is made by a clumsy inclined railway. VIA 397 The Road to Vesuvius. Leaving Naples by the Porta del Carmine, the road crosses the Sebeto by the Ponte della Madda- lena, passes the barracks, and successively the villages of Gio- vanni a Teduccio, La Barra, Portici (through the castle), to Re- sina. Here, upon the principal street, is the entrance to Hercu- laneum. At Resina the road turns to the 1. and makes an ascent of some miles, winding among vineyards, crossing the lava bed of 1858, and making numerous zigzays, till it reaches the observatory, at the altitude of 2,218 ft. Thence the lava bed of 1871 is crossed to the rly. station. The ascent of the cone is made in a few min- utes. A walk of 15 minutes from the upper station brings the visitor to the crater. The entire time for the excursion from Naples is about 10 hours. Via Sacra. See Roman Forum. Victoria Embankment, n. bank of the Thames from Blackf riars to Westminster Bridge ; recovered from tide water at a cost of $10,000,000. Beneath is the Underground rly. Below Waterloo Bridge is Somerset House : above it is Adelphi Terrace upon which is Cleopatra's Needle, 70 ft. in height, and 8 ft. square at the base, originally from Heliopolis ; presented by Mohammed Ali to Great Britain, and transported to London, 1877. Vienna, the capital of the Austrian empire, possessing a pop. of about 1,100,000, is situated upon the s. bank of the Danube Canal, a small branch of the main stream. The fortifications which formerly surrounded the old city, having been levelled, a broad delightful avenue was constructed in their place, designated the Ring Strasse, which now separates the ancient and modern portions of the city. Within the Ring Str. the streets are still narrow and crooked, and the houses of mediaeval aspect ; beyond it, the city is one of the most inviting of Europe. Tramways pass entirely around Ring Str. and radiate in all directions to the suburbs. The Im- perial Residence or Burg, is upon the w. side of the inner city, upon the Ring. Upon the opposite side of the Ring Str. from the Burg a series of magnificent buildings has recently been erected, designed for governmental offices ; Parliament House, the Uni- versity, and all the various collections of History, Science, and Art. The collections hitherto in the Burg, the Upper and Lower Belvedere and other localities, when united and duly arranged 398 VINC will constitute one of the most extensive and valuable Museums of Art and Science extant. The principal hotels, the theatres and music-halls, are all located upon the Ring Str. The rly. stations are in the suburbs, outside the walls, and about li mis. distant from the Ring. Across the Danube Canal is Leopoldsstadt, which is connected with the main city by 8 bridges. The central point of the city is the Graben, a short street in the centre of the inner city, a pleasant, well-built avenue, of greater width than usual for streets within the Ring. Principal Places of Interest : St. Stephen's Cathedral ; the Church of the Capuchins ; the Imperial Treasury in the Burg or Palace ; the Art Collection of the Belvedere ; the Ambras Col- lection of Antiquities in the Lower Belvedere ; the Academy of Art ; Museum of Art and Industry ; the Imperial Stables ; and Liechtenstein's, Harrach's, and Czernin's private Art Galleries. St. Stephen's Cathedral, the ecclesiastical centre and the his- toric church of the city, is adjacent to the Graben. Among the most interesting churches is that of the Capuchins, containing the Imperial vaults, in which rest the remains of the Imperial family from 1619 to the present; among them Maria Theresa ; Marie Louise, wife of Napoleon ; the Duke of Reichstadt, his only son; and Maximilian, the so-called ''Emperor of Mexico." Of the numerous statues, the most interesting is that of Prince Schwartzenburg, who defeated Napoleon at the great 3 days' bat- tle of Leipsic, in which the power of the Emperor was for the first time broken, leading to his overthrow the following spring. Across the Danube Canal is the Prater, the Hyde Park of "Vienna, extensive but monotonous and uninteresting. Unless one has ample time and some acquaintance with the language, a valet-de-place is desirable. Routes : To Dresden, 13 hrs., $12 ; $9. To Constantinople, 3 days, $54. To Venice, about 16 hrs., $13; $10. To Munich, 10 hrs., $10; $7.50. To Paris, 35 hrs., $36; $27. To London, via Cologne, 50 hrs., $42; $31. Vincent, St., de Paul, ch., Place de Lafayette, Pai'is, 1824, basilica style ; peristyle supported by 12 Ionic columns ; pedi- ment with relief of St. Vincent de Paul with Faith and Charity on either side ; portal adorned with 12 apostles; roof sustained by 84 Ionic columns ; nave, painted by Flandrin, representing a procession of saints and martyrs. Upon the high altar bronze Crucifixion, by Rude. VINC 399 Vinci, Leonardo da (vin-chee), 1452-1519, b. neat Florence ; was one of the most remarkable geniuses in the history of art. He was no less a master in science, music, and poetry than in painting and sculpture. His treatises upon art, anatomy, and various other subjects comprise 13 volumes. Hallam says, 44 the discoveries which made Galileo, Kepler, and other illustrious names ; the system of Copernicus, the very theories of modern geol- ogists are all anticipated by da Vinci." He was the first anato- mist of his time. His treatise on painting was published in Paris, 1654. Among his most noted works are the renowned "Last Supper," in the ch. of S. M. delle Grazie, Mi- lan, see Last Supper ; and " Mona . Lisa," in the Louvre, see Mona c ' Lisa. The cartoons of the heads in the Last Supper still exist ; that of Christ, in the Brera, No. 308; those of the Apostles in Weimar, Germany, greatly prized, and although Burckhardt states that, in his opin- ion, Italy possesses but a single genuine da Vinci — that of Isabella of Aragon, in Milan — his works nevertheless are to be met with in nearly every gallery in Europe, if the official catalogues may be relied on. He painted principally in Milan and Florence. He died at Aui- boise, France, and was buried there iu the ch. of St. Florentine. " The peculiarities of Leonardo's work are extreme scrupulousness about the nicest details, a certain massiveness in designing and modelling, and to this he added, as one fruit of his study of aerial perspective, a delicate blending of colors, and an airy softness of outline. In expression he combines dignity and majesty with a sweetness, which, especially in the female heads, takes on a char- acter of the most attractive loveliness. The type of his ideal female heads, with large, dark, deep eyes, rather long, straight nose, smiling mouth and pointed chin, is common to all his pupils and imitators, though in his original works this winning smile is blended with a dreamy, sad expression, indicative of the depth and sincerity of his feeling. ,, — L'tibke. Principal Works : Augsburg, 383 ? : Brera, 308 ; Dresd., 30 ; Flor. Acad., 43 ; Hamp. Ct., 61? 64?; Hermit., 13A, 14? 15; Louvre, 458, 459, 460-1-2; Milan, Ambros, Isabella of Aragon ; Parma, 362 ; Pitti, 140, 207 ? ; Sciarra, Modesty and Vanity; Uffi., 1252, 1157? 1139, 1288; Vat., St. Jerome. Holy Family — da Vinci. The works of da Vinci are 400 VIRG Virgil, Tomb of, Naples, near the entrance to the Grotto of Posilipo, in a vineyard on an eminence to the 1. (fee i fr. each ; couple of sous to attendants at the tomb and the gate). The tomb is a chamber about 5 yards square, with ten niches for urns. It is well known that Virgil had a villa at Posilipo, and that he there wrote his iEneid and the Georgics, and there is little doubt of his having been buried at Posilipo, however much there may be as to this tomb being the identical restiug-place of his ashes. Vol-ter -ra, Danieie da, Ricciarelli, 1509-1566, b. at Volterra ; pupil of M. Angelo ; director of the decoration of the Vatican. Was employed by Paul IV. to drape the nude figures of the Last Judgment in the Sistine Chapel. His masterpiece is the Descent from the Cross, in the ch. Trinita de' Monti, Rome. In his later years, Volterra was engaged chiefly in sculpture. " His Descent is the one instance in which he has risen to grandeur." Principal Works : Liecht., 2d floor, I. 277 ; Louvre, 333 ; Rome, Trinita de' Monti, Descent ; Uffi., 1107. Wallace, Sir William, Scot., b. about 1270; educated at Dundee ; refused submission to Ed. I., was chosen commander of the Scottish insurgents ; defeated the English in a great bat- tle at Cambus-Kenneth, 1297 ; regained Scottish independence ; drove the English beyond the border ; entered and ravaged North- umberland. Next year Ed. totally defeated the Scotch at Fal- kirk. Wallace then went to France, and returning, was capti fed, 1305, near Glasgow, and hung at W. Smithfield, London. His head was exposed on London Bridge, his limbs at Newcastle, Ber- wick, Perth, and Stirling. Warwick (war'-rik), Eng., is noted for its magnificent castle and its ancient church. The Castle, situated on the banks of the Avon, is probably the most perfect feudal fortress now existing in England. It contains a fine collection of pictures and armor, and notably the celebrated Warwick Vase, the largest marble vase known. Visitors usually received from 9 to 4 (6d). St. Mary' 8 Church, rebuilt 1394, is one of the best examples of the pure Decorated Gothic. In the Beauchamp Chapel is the tomb of Richard Beauchamp, which, in magnificence, ranks in England as second only to that of Henry VII. in Westminster Abbey. Tramway from Warwick to Leamington, 2 mis. Waterloo. See Brussels. Watteau, Antoine (wat-tow'), 1684-1721, b. at Nogent- sur-Marne ; subjects ai*3 usually out-door peasant life, fetes, and WEEN 401 sometimes court life of the time of Louis XIV. His finest works are in the Louvre — Collection La Caze. Principal Works : Berlin, 468-70-74A, 974A ; Dresd., 687, 688 ; Dill., 137, 173, 228; Edinb., 64, 81, 72?; Hermit., 1503; Lond. Sloane's Mus., The Wedding; Louvre, 649, Fr. Sen., 260-1-3-4 ; Madrid, 2083, 2084 ; Munich, 1312 ; Uffi., 671. Weenix, Jan Baptist (way'-ninks), 1621-1660, b. at Am- sterdam. One of the most eminent Dutch animal painters; mas- ter also of chiaroscuro. Weenix, Jan, 1640-1719, b. at Amsterdam, son and pupil of Jan Baptist. Excelled in dead animals, especially dead hares. He frequently painted birds and game, but seldom a living dog. WerflT, Adrian van der (verf), 1659-1722, b. near Rotter- dam, Hoi. He was not fertile nor happy in his compositions, but in color, finish, elegance of form, and richness of flesh tint he is seldom surpassed. Among his best known and most pleasing pictures, is his Abraham and Hagar, in the Dresden G-allery. "His cold and polished painting." — Taine. Principal Works : Belv., one ; Berlin, contains a few ; Cassel, 697-8-9, 723, 74,724: Dresd.. 1640-2-5-6; Edinb., 191, 355; Hague, 175, 176; Hermit., 984- 6-7-8, 990, 992; Liecht., IX., 893; Louvre, 557-8-9, 560-1-2-3-4-5-6-7-8-9; Munich, 1070 to 1100; Pesth, XII. 441, 442; Rijks, 450-3-4: Turin, 396; Uffi., 905, 985 ; Vienna, Chud., 242. Weights and Measures. A metre = 1 yd. 3% in. A yard = .92 of a metre. Kilo means thousand. Kilometre = 1,000 metres, or % ml. Litre = nearly a liquid quart. Measurements. Thermometer. Kilogramme = 2 2 / 10 lbs. Livre — lVio ^ bs - An ounce = 30 grammes. A hectare = 2)4 acres. Distances. u c 3 100 3S 30 95 35 28 90 33 26 85 30 24 80 27 22 75 24 20 70 21 17 65 18 15 60 15 12 55 13 10 50 10 8 45 7 5 I Ph 40 35 32 30 25 20 15 10 5 -1 -4 -7 -9 -1-2 -15 -18 ze;ro. 3 1 -1 -3 -5 -8 -10 -12 -14 Ej w o 8 § i .62 2 1.2 3 1.8 4 2.4 5 3.1 6 3.7 7 4.3 8 5. 9 5.5 10 6.2 20 12.4 30 IS. 6 a* o 9 w u 40 25. 50 31. 60 37. 70 43. 80 50. 90 56. 100 62. 110 68. 120 74. 130 80. 140 86. 150 93 402 WEST Barometric Measurements are made in Thousandths of a Metre, thus : Metres. Inches. Metres. Inches. Metres. Inches. 711 = 28. 716 = 28.2 721 = 28.4 726 = 28.6 731 = 28.8 736 = 29. 741 = 29.2 746 = 29.4 751 = 29.6 756 = 29.8 .762 = 30. .767 = 30.2 .772 = 30.4 .777 = 30.6 .782 = 30.8 Westminster Abbey, London. Open daily, 10-6, in sum- mer; 10-3, in winter. Admission to Chapels, 6d., Mon. free. Service, Sundays at 8, 10, and 3, and in summer at 7 also. Said to have been founded by Sebert, in 6th cent. , and to have been destroyed by the Danes. Edward the Confessor rebuilt it in 1065 ; Henry III. enlarged the Abbey and added a Ghapel, and Henry VII. , in 1502, erected the chapel known by his name' The Abbey is 375 ft. in length and 200 in width, and contains the tombs of twenty-eight kings and queens. lTran.i \f]__ N.Aisle Nave S.Aisle Choir. Edward Confessor' s S.Tran„ Poets' , Comer 1. North Entrance. A. St. Benedict's Chapel. B. St. Edmund's Chapel. C. St. Nicholas' Chapel. 2. West Entrance. Henry VII. Chapel. 3. South Entrance. D. St. Paul's Chapel. E. St. John's Chapel. F. Islip, or St. John Bap. Chapel. G-. Chapels of SS. John, Andrew, and.Michael, united in one. Entrance may be made at the north (1), and south (3) transept doors; sometimes also at the west or principal door (2). By whichever door the visitor enters, he will at once be drawn to the south transept — the Poets' Corner. The Poets' Corner.— Commencing at the corner of the nave and transept, will be seen on the right wall of the tran- sept, monuments to Garrick, Addison (buried in the nave of Henry 7th's Chapel); Macaulay ; Thackeray; Handel; Goldsmith; Thomas Parr, age 152 ; Gay ; and in the pavement, Dickens, Dr. Johnson, and Sheridan ; Thomson ; Shakespeare ; Southey ; Campbell ; Prior ; Milton ; Gray ; Butler, author of Hudibras ; WEST 403 Spencer ; Chaucer ; Ben Jonson (buried in the n. aisle) ; Drayton ; Cowley; Dryden. On the adjacent pavement is this inscription. il Near this slab are buried Chaucer, Beaumont, Dryden, and Prior." Against the Choir Screen is the mon. to Robert South, D.D., between which and the mon. of Dr. Busby may be seen a portion of the mon. of Anne of Cleves, queen of Henry VIII. Near her lies Anne, queen of Richard III. The Chapels. — Entrance from the Poets' Corner. Admission, 6d.; Mon. free. Vergers accompany visitors through the chapels every few minutes, giving full explanations of all objects of in- terest or note. St. Benedict's Chapel (A); centre, Earl and Countess of Middlesex ; Countess of Hertford ; 1., Simon de Langham. Passing through the gate ; 1. , Sebert, King of the East Saxons, d. 616 ; Athelgoda, his queen ; r. , children of Henry III. and Ed. I. St. Edmund's Chapel; 1., John, 2d son of Ed. II.; William and Blanche, children of Edward III. ; the mother of Lady Jane Grey ; Edward Bulwer Lytton (floor). St. Nicholas' Chapel (C). — In the corner at the 1. , mon. to the Duchess of Somerset, wife of Protector Somerset. Opp. the entrance, **mon. to Lady Bur- leigh and daughter, one of the most magnificent monuments in the Abbey. Centre, *fine mon. to Sir George Villiers. Henry Seventh's Chapel. South Aisle. — (1) Lady Mar- garet Douglas, one of the most titled ladies of English history, having as great grandfather Ed. IV.; g'dfather, Henry VII.; un- cle, Henry VIII. ; cousin, Edward VI.; brother, Jas. V. of Scot.; Henry Seventh's Chapel. son, Henry I. of Scot. ; g'dson, James VI.; g't g'dmother of two queens, both named Elizabeth ; mother, Margaret, Queen of Scots; aunt, Mary, Queen of France ; cousins Mary and Elizabeth, Queens of Eng. ; daughter-in-law, Mary, Queen of Scots. Married Thom- as Howard, son of the Duke of Norfolk ; second time, Earl of Len- nox, by whom she had a son, Lord Darnley, husband of Mary, Queen of Scots, and father of James I. of Eng. 404 WEST (2) Mary, Queen of Scots. — First entombed in the Cathedral at Peterborough. Her son, James I., removed her remains to this chapel 1612, and erected this mon. On the 1. wall is a copy of the king's order for the removal. Here also rest her grandson Henry, eldest son of James I.; four children of Chas.I. ; Eliza° beth, dau. of Jas. I. ; Ann Hyde, first wife of Jas. II. , and ten of his infant children. Also beneath the floor Chas. II., Mary II., Wm. III., Prince George of Denmark, Queen Anne. (3) Margaret, Countess of Richmond, mother of Henry VII.; (5) General Mo?ick, Duke of Albemarle; (4) Lady Walpole. The Nave. — This chapel was founded by Henry VII. in 1502, who designed it for a Royal Sepulchre, stipulating in his will that none but those of royal blood should therein be buried. It is regarded as the finest specimen of tne florid Gothic now existing, and was called by Lord Bacon '* one of the stateliest and daintiest tombs in Europe." The walls contain, in niches, one hundred and twenty large statues of Patriarchs and Saints. In the upper east window is a representation of Henry VII. The stone ceiling, with its fan tracery and its marvellous pendentives, is considered the special glory of the chapel. (7) The Tomb of Henry VII. and Elizabeth, Ms Queen, is en- closed in a chantry of brass, highly ornamented. Within are their effigies, lying in robes of state, upon a tomb of black mar- ble. James I. is also buried in the same vault. (6) Royal Vault, in the centre, where rest the remains of George II. and his Queen, Caroline and Ed. VI. (8) Lewis Stuart (9) Urn containing the heart of Esme Stuart. (10) Duke of Montpensier, son of Duke of Orleans of France. Dean Stanley. Beneath the centre chapel are 65 coffins. Here were also interred Oliver Cromwell, four of his family, and six officers, but their remains were removed at the Restora- tion, 1661. (11) Sheffield, Duke of Buckingham, in a Roman Robe; Ann, Queen of James I. , in front of Sheffield. (12) Villiers, Duke of Buckingham ; Catherine, his duchess. Along the nave are suspended the banners of the Knights of the Bath. North Aisle.— (13) Lord Halifax. In front of this mon. Ad- dison is buried. (14) Queen Elizabeth. Mon. erected by James I. Adjacent is also interred her sister, Queen Mary. WEST 405 (15) Mary and Sophia, infant children of James I. (16) Mori, erected by Charles II. over the bones of Edward V. and his brother, who were smothered in the Tower by Richard III. The remains were brought hither in 1674, having lain in the Tower 191 years. Chapel of Edward the Confessor, behind the high altar. (1) Shrine of Edward the Con- r — , , , , ...- ^ fessor; erected by Henry III., { ai u 2 3^ 1269, when the remains of Ed- ! 1 4, ward were removed from their 8 7 6 Jy^ resting-place and deposited here. '-— ' — *- — a — -j— *^ Editha, his Queen, is interred on the s. side of the shrine. Near this, Matilda, wife of Henry I. , was buried. (2) Henry III. ; tomb of fine workmanship, panels of por- phyry, with mosaics of gold and scarlet. (3) Queen Eleanor, wife of Edward I. The body is interred here, but the heart is in the choir of the Friars' Predicants, Lon- don. (4) Henry V. ; with life-size statues at the staircases. Be- neath, is a headless figure of the King in oak ; the head, which was of silver, long since having disappeared. In the chantry above is a saddle, helmet, and shield, supposed to have been used by the King at the battle of Agincourt. (5) Queen Philippa, wife of Edward III. The bodies of Phil- ippa and Edward are both deposited in this grave, in accordance with her request. She was the mother of fourteen children, and directly related to thirty crowned heads. (6) Edward III. This and the preceding mon. were sur- rounded with statuettes, of which there were not less than thirty around the shrine of Philippa. In front is Thomas, Duke of Gloucester, son of Ed. III. (7) Margaret, daughter of Edward IV. (8) Ricliard II. and Queen. The wooden canopy is remarka- ble for a curious painting of the Virgin and Christ, still visible. (9) Coronation Chair of Edward I., beneath the seat of which is a stone, brought with the regalia from Scotland by Ed. I., 1297. It was called the stone of Scone, and was regarded as the emblem of Scottish power, and has the tradition of being the stone which Jacob used as a pillow. All the Sovereigns since Edward I. have been crowned in this chair. 406 WEST (10) The New Coronation Chair was made for Queen Mary II., wife of Win. III. At coronations, the chairs are covered with gold brocade, and placed before the Altar, behind which they now stand. Above the chairs are fourteen legendary sculptures respecting Edward the Confessor. Between these chairs are the sword and shield of Edward III. (11) King Edward I. ; entombed 1307 ; 467 years after, the tomb was opened by permission of the Dean of Westminster. ' ' The body was perfect, having on two robes, one of gold and silver tissue, and the other of crimson velvet ; a sceptre in each hand measuring nearly five feet ; a crown on his head. He meas- ured six feet four inches." St. Paul's Chapel (D). Centre; r. James Watt; on passing out, on the r., is John Pym, the celebrated orator, (floor). St. John's Chapel (E), and Islip, or St. John Baptist's Chapel (F); contain no monuments of special interest. Chapels op St. John, St. Andrew, and St. Michael (G). Before entering, raon. to Gen. Wolfe. Killed at Quebec. To the r. around the chapels ; *Sir Francis Vere ; four war- riors kneeling ; *the Nightingale Family, Death coming from the tomb ; Duchess of Somerset ; Sir Henry Norris and Lady, their six sons kneeling ; Mrs. Siddons as Lady Macbeth, full length statue ; John Kemble, as Cato ; Sir John Franklin. North Transept, East Aisle: Robert Peel in the Roman toga ; Admiral Warren ; Wm. Cavendish, a stately mon. ; George Canning ; * magnificent mon. to John Halles, Duke of Newcastle ; Admiral Vernon, Fame crowning him with laurel ; *Sir Charles Wager ; fine statue of Lord Palmerston ; statue of Wm. Pitt. Near this spot are buried Pitt, Wilberforce, Canning, Fox, and Grattan; *Mon. to Lord Mansfield. West Aisle: Sir Wm. W. Follett ; Sir Eyre Coote ; Admiral Balcken, lost in the English Channel with 1,000 men, 1744; Gen. Hope, Gov. of Quebec; Warren Hastings, Gov. -Gen. of India; Richard Cobden ; Admiral Watson, with Calcutta kneeling and Chandernagore in chains. North Aisle of Nave : 1., Wm. Wilberforce ; Darwin (floor) ; memorial window to Robert Stephenson, engineer; Banks, the sculptor ; Dr. Hunter, the anatomist ; Ben Jonson's grave, marked with the words, " O Rare Ben Jonson," in the pave- ment; bust of Lyell, the geologist. At the end of the aisle, *Fox, the statesman, and Capt. Montague. Over the principal WEST 407 door, *Wm. Pitt, the statesman ; s. side, Cornewall. In the bap- tistery, Wordsworth and Charles Kingsley. South Aisle of Nave : Congreve ; Brig. Gen. Howe, of Ticon- deroga ; large mon. to Admiral Tyrell, called " the pancake monument ; " Maj. Andre. In the Nave, at the end of the choir : Sir Isaac Newton ; in the pavement, David Livingstone, memorial tablet to Geo. Peabody, Robert Stephenson. 8. Aisle, adjoining the choir : Dr. Watts ; John Wesley. Westminster Hall. London. See Parliament Houses. Weyden, Rogier van der, 1450?-1529, b. at Tournai; pupil of Jan van Eyck. His figures are long, thin, and unattrac- tive. Subjects were frequently the symbolic creations of the Middle Ages. He founded a school of Painting at Brussels. Many of his pictures, being unsigned, have been attributed to Memling. Whitehall, London, e. side Whitehall St. ; for a long period the residence of the Archbishop of York. When Wolsey fell into disfavor with Henry VIII. , the King confiscated the property and made it a royal residence. Here he first met Anne Boleyit, and here he died. Elizabeth was taken a prisoner from White- hall to the Tower, and returned Queen of England. James I. resolved to erect in its place a sumptuous royal pal- ace, and constructed the Banqueting Hall. Further progress with the building was prevented by the Civil War which broke out soon after. From an opening made in the wall of the Ban- queting Hall (now the royal Chapel), Chas. I. was led out to the scaffold erected in the street in front. Cromwell resided here until his death, 1658. Upon the Restoration, Chas. II. made this his residence, dying here, 1685. In 1697, all of the old palace was consumed by fire, the Banqueting Hall alone remaining. St. James's Palace then became the royal residence, and the Banqueting Hall was con- verted into a Royal Chapel. The ceiling is covered with pict- ures, stated to be by Rubens, but in which Rubens took little part. Wiesbaden (wees'-bah-dn), Ger., near Mayence, pop. about 50,000 ; a popular watering-place, with mineral and warm springs ; was a Roman military post, the springs being even then in repute. On a height to the n. of the village are remnants of the Roman fortress, and a wall 10 ft. high, 9 thick, and nearly 408 WILK 650 ft. in length. The town presents the usual attractions ot summer resorts, fine hotels, shaded promenades, and delightful drives, and but little else ; 4 mis. from Biebrich, on the Rhine. Wilkie, Sir David, Scot, 1785-1841. Was sent to Edin- burgh at 14, and at 20 went to London. At 40, his health failing, he visited various parts of the Continent. His subjects were chiefly domestic scenes of Scottish common life. Died at sea. William I., the Conqueror, Eng., 1027-1087, b. at Palaise, Normandy. Landed at Pevensey, Eng., Sept. 28, 1066 ; fought the battle of Hastings, Oct. 14, 1066 ; was crowned at Westminster the Christmas following. In '69, "devastated the whole district beyond the Humber, so that from York to Durham not an inhabited village remained. In '87, burnt the town of Mantes, France, during which he was thrown from his horse, and so seriously injured as to cause his death. He died at Rouen, but was buried in the cathedral of Caen. Windsor Castle, Eng. (windel shore— winding shore), on the bank of the Thames, by rly. from Waterloo or Paddington Station, 22 mis., 1 hr. See Route 9, Note 20. St. George's Chapel, daily, 12.30-4. Albert Chapel, W., Th., and P., 12-3, without tickets. State Apartments (in the absence of the Queen), M., Tu., Th., and F.; summer, 11-4; winter, 11-3. Tickets ob- tained at the office in e. end of St. George's Chapel; and at Collier's bookstore across the street from the castle entrance. From the above, it will be seen that Th. and F. are the only days on which admission can be gained to both of the Chapels and the Apartments. Windsor was donated by Edward the Confessor ' ' to the monks there that serve God." Wm. the Conqueror, however, selecting it as his residence, dispossessed the monks, in 1066, since which time it has been a royal residence. The Castle, on a hill about 100 ft. above the insignificant Thames, was commenced by Wm., and greatly enlarged by Henry I. Henry II., in 1170, held a parliament here, attended by all the great barons and the King of Scotland. During the contest between King John and the barons, the Castle was ineffectually besieged by the barons. Edward III. was born here. Entering the lower gateway, the visitor comes directly to St. George's Chapel, one of the best examples of the perpendicular Gothic. (The Guides offering themselves at the entrance are of little value, as they are not permitted to enter the buildings.) WIND 409 ST.GEORGE'S CHAPEL. ? The Nave. St. George's Chapel. (1). In the pavement in the centre of the choir is a slab, cover- ing the entrance to the Royal Vault, in which rest the remains of Henry VIII.; his Queen, Jane Seymour; Charles I.; and an in- fant daughter of Queen Anne. (2). The Queen 1 s Gallery, arranged for her Majesty when at- tending service. The chairs, curtains, etc. , are of garter-blue silk. (8). Tomb of Edward IV., and his Queen, Elizabeth, and their son, Prince George. (4). Tomb of Henry VI. In the middle of the s. aisle is a large slab in the pave- ment bearing the name of Henry VI., whose remains were brought from Chert- sey Abbey and deposited here by Henry VII. ' : And fast beside him, once feared Edward sleeps." (5). Mon. to the Duchess of Gloucester ; erected by Queen Victoria. The Windows of the North and South aisles are dedicat- ed to the Sovereigns of the Order of the Garter. * Mon. to Prince Napoleon. (6). *Mon. to the Duke of Kent, erected by Queen Victoria to her illustrious father. (7). Beaufort Chapel: Mon. to Sir Charles Somerset. (8). ** Cenotaph of H.R.H. the Princess Charlotte, erected by National subscription. (9). Rutland Chapel, with numerous monuments. The Great West Window, of seventy- five figures in eight com- partments, represents Edward the Confessor, Edward IV. , Henry VIII. , Knights, Patriarchs, and Bishops. **The Albert Chapel, adjoining St. George's Chapel, on the e. has been fitted up with great magnificence by the Queen, in memory of the Prince Consort, and is considered one of the rich- est in the world. The windows presenting full length portraits of the ancestors of the Prince, are of surpassing richness. **The walls under the windows are inlaid with " marble pictures." In the centre, is a **Cenotaph with a recumbent figure of the Prince in armor. The panels are ornamented with statues of Truth, Hope, Piety, Charity, Justice, and Honor. Beneath this chapel^ E 3 410 WIND is the Royal Tomb House in which are interred Geo. III. , Geo. IV., Win. IV., Queens Charlotte and Adelaide. The State Apartments are open during the absence of the Court, M., Tu., Th. and F., 12-3. Visitors accompanied by an attendant, who refers to all objects of interest. Queen's Audience Chamber, painted by Verrio. Queen Catherine, as Britannia, in a triumphal car drawn by swans, attended by Flora, Ceres, and Pomona. The walls are hung with Gobelins with the history of Esther and Mordecai. Paintings : Fred. Henry, grandfather of Wm. III.; Wm. II., Prince of Orange ; Mary, Queen of Scots. The nan Dyck Room : Paintings all by van Dyck. Queerts State Drawing Boom: Six large landscapes, and Finding of Moses, Isaac and Rebecca, and Jacob, by Zuccarelii ; Duke of Gloucester, Georges I., II., and III.; and Frederick, father of George III. State Ante-Room : On the ceiling is the Banquet of the Gods. The Grand Vestibule, with suits of Armor of the time of Elisabeth and Chas. I. The Waterloo Chamber, with portraits of men con- nected with the battle of Waterloo. Grand Reception Room : Floor oak inlaid, and " the furniture is of the most splendid de- scription." Magnificent Malachite Vase presented by Emperor Nicholas. Walls hung with gobelins ; subject, Jason and the Golden Fleece. St. George's Grand Banqueting Hall, 200 ft. long, contains upon the ceiling the armorial bearings of all the Knights of the Garter, from the institution of the order, 1 350, by Edward III. , to the present time. N. side are recesses in which are full length portraits of 11 English Sovereigns, from James I. to Geo. IV. The Guard Chamber. At s. end fine colossal bust of Nelson, by Chantrey ; bust of Marlborough ; bust of Wellington, by Chantrey. The silver shield inlaid with gold, presented by Fran- cis I. of France to Henry VIII., on the Field of the Cloth of Gold. The Great Tower affords a fine view in clear weather. The warder will explain everything, if allowed to have his own way and time. Wouverman, Philip, 1619-1668, b. at Haarlem, Hoi; pupil of Wynants. Subjects are landscapes and skirmishes. His pictures are usually small, full of energy and animation; but, with the ever-recurring white horse, they are somewhat monotonous. His works number over 800, and are to be found in all galleries. Principal Wobks : Amst., Hoop, 144 : Van Hill., three ; Ant., 500 ; Belv., one ; Berlin, 899 ; Cassel, 465-8, 474-5-8 ; Dresd., 1325-39-55-56-57-68-75, are th« WRES 411 best; there are 64 in all. Dul., 137, 173, 228; Hague, 182-4-5-6-7-S ; Hermit., 995-6-8, 1029, 1001-2-6-7-17-21-24-25-27-30-33-34-35-37-43 ; Louvre, 565-67-70; La Caze, 152 ; Madrid, 1830-1-3-4-5 : Munich, 208, 9S9, 998, 1011 ; Rijks, 462-5- 6-8-9. 470 ; Turin, 306 ; Vienna, Chud., 97 ; Roy. Acad., Horseman. * Wrestlers, The, a noted group of statuary, No. 343 Tri- bune, Uffi. Gall. The work displays in the accuracy of its knot- ted muscles, great anatomical knowl- edge, and indicates in its general excel- lence, the best age of Greek Art. The special point of interest in the group, in addition to its merit as a work of art, is, that in the Greek games, a wrest- ler had not defeated his antagonist until he had made his shoulder touch the ground which here he has not yet achieved. Wynants, Jan, history little is known The Wrestlers — Florence. 1600-1680, b. at Haarlem, Hoi. Of his His subjects were landscapes, which he painted in clear, bright color, but with painful accuracy of de- tail. His conscious inability with figures induced him to employ other artists for that part of his best work. His works number 214, and are highly prized in England. York, Eng., on the Ouse, pop. 50,000, the Eb&racum of the Romans, was one of the most important towns and military posts of the Romans in Britain during their supremacy. Here emperors Sep. Severus and Constantius died, Hadrian lived, Caracalla mur- dered his brother Geta, Constantine was proclaimed emperor, the Northumbrian King, Edwin, was baptized into the Christian faith a.d. 627, and the first Parliament of England was held. King Harold was at York when he heard of the landing of Wm. the Conqueror ; and here Wm. built his first English Castle. The chief objects of interest are the Minster, the City Walls, St. Mary's Ab- bey, the Multangular Tower, and St. Leonard's Hospital. 412 YORK The Minster is one of the most celebrated cathedral structures of England, and stands upon the place where Edwin was baptized. The present building was commenced prior to the year 1100, and completed 1472. Its length is 524 ft., breadth 250, and the height of the central tower 213. The s. transept, the oldest portion, is distinguished by small windows, slender columns, and sharp pointed arches. **The w. front, one of the most ornate facades ever erected, is in two distinct styles, the Decorated, extending from the base to the battlements (1340) ; and the Perpendicular, extending from the battlements upward (1455). *The principal portal, illustrating the history of Adam and Eve, is extremely rich. The Interior. The best general view of the interior is from the s. transept. In style, the transepts are Early Eng., and the nave, Eng. Decorated. The five lancet windows of the n. transept are filled with their original glass, and are known as the " Five Sis- ters." *The west window, 54 by 30 ft., also contains the origi- nal glass. **The great East Window, 76 ft. in height by 32 in width, is the largest window in Eng. still retaining the original glass, and is by many regarded as the finest window in the world. (Glazed 1405-8.) *The octagonal Chapter-house, with its geo- metric tracery, is considered as unsurpassed in England. The central tower rests on four massive piers with leafage capitals. The Walls of the city, 2£ mis. in circuit, are of diverse date and style. They may be ascended at the gates and afford numerous excellent views of the cathedral and the suburbs. St. Mary's Abbey was one of the first monasteries founded after the Conquest. The principal ruins are of the Abbey Church and the Hospitium of the Monastery. The Multangular Tower consists of 10 sides of a 13-sided Roman structure, 33 ft. in diam. The upper part is a mediaeval addition. St. Leonard's Tower, founded by Athelstane and rebuilt by Wm. and again by Stephen, was one of the best endowed hospitals in the north of England. The parts remaining are the chapel and the ambulatory. York gives the title of Duke to the 2d son of the Sovereign. Zurharan, Francisco (thoor-bah-rahn), 1598-1662, b. at Fuentes, Spain; d. at Madrid. One of the most eminent masters of the Spanish school. His subjects were of every variety, but his favorite one was monks ; was appointed painter to Philip IV., who called him " painter of the king and the king of painters." v Principal Works : Augsburg, 296; Berlin, 404A ; Dresd., 627; Edinb., 98; Hermit., 348, 349 ; Louvre, 555-6-7 ; Madrid, 1120-1-2-3-4-5-6-7-8-9, 1130-1-2-3 ; ZURI 413 Acad, de San Fernando, five; Munich, 351, 373; Nat. Gall., 230; Testh, 712?; Seville, 1, 7, 8, 46, 67, 74. Zurich (zoo'-rik), the Turicvm of the Romans, pop. about 23,000, is delightfully situated at the foot of Lake Zurich on both ^hWest. Zubich. East. ^~ sides of the Limmat ; that portion of the town on the right being known as the Grosse Stadt, and that on the left as the Kleine Stadt, It is more noted for its charming situation than for its 414 ZURI internal attractions. The hotels Baur au Lac and Bellevue are both delightfully situated on the margin of the Lake. The most desirable points of view are the Terrace, the Hohe Promenade, the Katz, and along the Lake, the Bauschanze. The Cathedral, or Gross-Miinster, was erected in the 11th cent. , the gilt ornaments of the towers being added, 1779 ; on the west tower, is an effigy of Charlemagne in commemoration of favors received from him. The Hohe Promenade, on the height two or three squares to the left of the lake, at its termination, commands a most admirable view, and possesses also a monu- ment to the eminent composer, Nageli. On the opposite side of the town is the Botanical Garden, which contains 800 Alpine plants. The Katz, a portion of an old fortification near by, affords a fine view. Environs : The Burgli Terrace on the Uetliberg road, i ml. ; the Wied, to the n. w. , 3 mis. dist. ; and the Uetliberg, 6 mis. dist.; this commands a view of the Alps and the intervening country and lakes, scarcely surpassed for beauty in Switzerland. The Lake op Zurich, 25£ mis. long and 2£ broad in its widest part, though wanting the grandeur of Lake Lucerne, is nevertheless one of the most beautiful in Switzerland. The up- per portion of the lake lies in the midst of more rugged scenery than the lower. Boats leave about every two hours in summer, occupying 2£ hrs. for passage ; making the excursion in about 6 hrs. Routes: To Bale, 2 hrs., $1.75; $1.25. To Lucerne, 2 hrs., $0.85; $0.60. To Coirb, 3 hrs., $3; $1.80. To Schaffhatjsen, 2 hrs., $1.20 : $0.85. PART II. CATALOGUE OF THE NOTED WORKS OF ART IN THE PRINCI- PAL GALLERIES OF CENTRAL EUROPE. " The Arts are Odious only to the Ignorant." — Inscription on the Berlin Museum. " TO BE CONVERSANT WITH THE ARTS OF GREECE IS TO MOVE AMONG A RACE OF GODS ENDOWED WITH PERPETUAL YOUTH."— St. jfohn. *• To these Great Masters doth Mankind owe its Knowl- edge OF THE BEAUFIFUL. " "Never judge a work of Art by its defects."— Washing- ton A lis ton. Note. — In every extensive Collection of Art, the number of works of great historic value or artistic merit is necessarily but a small proportion of the whole. The judicious visitor will, therefore, abridge his attention to the gallery in general, and devote his time and interest to those rooms and works which the catalogue indicates as most worthy of attention. The American, whose study of a gallery is likely to be somewhat limited, unless endowed with extraordinary powers of memory, should attempt nothing more than the recollection of the starred works. In- deed, if proposing to visit several galleries, these alone will prove neither a light task nor an unimportant acquisition. A part distinctly remembered is better than the whole held in con- fused uncertainty. When leisure permits, it is recommended to the visitor to make his selections of the more meritorious works without aid or hint from the guide-book. It will be found of great benefit to exercise, so far as pos- sible, an independent judgment upon the peculiar excellences or de- ficiencies of noted works before seeking the aid of criticism. Indeed, when the student learns that the most authoritative art critic of England declares Turner (an Englishman) to be " the greatest painter the world has seen ; " and that an equally weighty authority of Germany avers that Durer (a German) is the equal of any artist that ever lived ; and that another German critic announces that Correggio (an Italian) was no master, but ''merely an adept in chiaroscuro," he may be par- doned some abatement of faith in unprejudiced criticism, and some dis- position to independent opinion. The limited dimensions of a hand-book for tourists render impossible a specific mention of the less important galleries, many of which the art student would find worthy of a visit, and containing some of the best works of the great masters. Among these are the galleries at Brunswick : Ducal Museum ; 900 pictures ; Dutch masters ably rep- Bucla-Pesth : 800 pictures (50 Spanish), 50,000 engravings, 12,000 drawings. Cassel : Picture Gallery ; rich especially in Rembrandt, Rubens, van Dyck, and Hals. Cologne : Museum ; examples of Cologne school of painting. Darmstadt : Containing the celebrated Holbein Madonna. Edinburgh : With many good English and Dutch works. Frankfort : Stadel Gallery ; noted for fine modern pictures. Geneva: With Raphael's Madonna of the Goldfinch. Seep. 214. Gotha : Friedenstein Palace Picture Gallery ; Dutch and Germaa masters. Haarlem : 300 pictures by Dutch and Belgian artists. Lille : Museum ; rich in drawings by old masters and copies of Italian artists. Lyons : Picture Gallery ; "a few good pictures." Parma : "Inferior pictures with names of great masters appended." Stockholm : With fine modern works. Turin : With Raphael's Madonna della Tenda. Seep. 221. Vienna: The Leichtenstein ; 1,500 pictures, among which are soma very fine works. CAUTIOIV. — As in some instances, in the following cata- logue, the location and the numbers attached to the works have been given as an aid to identification, the visitor is cautioned that, in some galleries, both the numbering and the location are subject to frequent change. CATALOGUE OF THE (*) NOTED WORKS IN THE PRINCIPAL COLLECTIONS OF ART. Albani Villa, Rome. Open Tuesdays (in good weather) from 10, in winter, and from 11, in summer, till dusk; closed during June, July, and August. Visitors obtain permit upon presenting a visiting card at the office in the Tor- Ionia Palace, No. 135 Piazza Venetia, ground floor, to the left. Many of the finest statues formerly here have recently been trans- ferred to the Torlonia Collection in the city. Casino — Ground Floor. — Statues of emperors, mostly with restored heads. Sala delta Colonna. — *Sarcophagus, with relief of the Marriage of Peleus and Thetis. Upper Floor — Oval Sala. — *Cupid, after Lysippus. Galleria Nobile. — *Minerva. 3. *Mercury and Eurydice ; *Theophrastus. 41. *Painting by Perugino, in six sections. €». "*Bas-relief of Antinous. Beep. 19. ^Shepherdess. y. *Greek relief, found 1764. ©. Designs by Romano for his Myth of Psyche. f>. *ZEsop ; * Apollo Sauroktonos, bronze, much restored, regarded by Winckelmann as the original of Praxiteles {see p. 25) ; *Relief of the Apotheosis of Hercules. In the Bigliardo and the Caffd are also several inferior statues. Amsterdam, Rijks Museum (Royal). Open daily, ex. Mon., 10-3; 1 fr. ; Sun., free. Upon the completion of the present magnificent building the former collections of the Rijks and the van der Hoop Museums were united, making a collection of upward of a thousand pictures, with many mas- terpieces. The more noted works are in the centre, at the rear. 418 AMSTERDAM, RIJKS MUSEUM. Rembrandt : **The Night- Watch | (1642). Capt. Banning Cock's ! company of musketeers issuing ' from the guard-house — Capt. | Cock in the centre, in black; Lieut. Ruitenberg, in a yellow jerkin ; in the rear, Ensign Cor- lissen. This picture is regarded as one of the finest specimens of bold and effective chiaroscuro ever painted. "Ever since its creation it has been enthusiastically admired by all connois- seurs of art." — Baedeker. **Directors of the Clothmakers' Guild (1661). A masterpiece of portraits. **The Wife of Ad- miral Swartenhout ; A Jewish Bride. Van der Heist ; "^Banquet of the Guard (on the occasion of the Peace of Westphalia, 1648). In the centre is Ensign Banning; at the extreme right, Capt. Wits, in black, with a blue girdle, ex- tending his hand to Lieut, van Waveren, in a gold-embroidered gray doublet. "This is perhaps the first picture of portraits in the world." — Reynolds. *Presidents of the Arquebusiers of St. Sebastian at a Table ; **Mary Henrietta Stuart, widow of Prince William II. Steen : *Sick Girl and Physician ; * A Carousal ; *The Parrot Cage ; The Quack ; *Musicians ; *Na- tional Orange Festival. llondecoeter : **Ducks ; **Peli- cans ; Ducks and a Peacock — the "Floating Feather." " No one ever painted cocks and hens, ducks and drakes, and particularly chickens, so admirably as Hondecoeter." —Burger. Dow : **The Night-School. Noted for the treatment of the light and shadow of four candles. ^Burgomaster and Wife (the landscape by Berchem) ; Himself Smoking; *An Inquisitive Girl and Group at a Table ; *Woman with a Bracelet ; **A Hermit. Hbbbema : *House and Barn ; *Mill. Ruisdael : *Waterfall ; « Water- fall ; *Chateau of Bentheim ; ^Landscape; ^Northern Land- scape. JDu Jardin : ^Syndics. Maas : *The Reverie. Weenix : *Dead Game ; **Gaine and Fruit. Metsu : *The Old Toper. FlincJc : ** Arquebusiers. Huysum : *Flowers. Berchem : *Landscape. W. van de Velde : * Amsterdam. P. Potter : *Landscape, with Cat- tle. Neefs : Antwerp Cathedral. Van Utrecht : *Still Life. Both : Landscape, with Water- fall. A. van de Velde : Landscape, with Himself and Family. Rubens : *Helen Fourment. Van Dyck : *Portrait. JSfetscher : **A Lady (**satin). Bronzino : Judith, with the Head of Holoferaes, after Allori. Van. der Werff: **Himself ; *Dan- cers. Schalken : Peasant Scene. Cuyp : ^Landscape, with Cat- tle. ANTWERP MUSEUM. 419 Antwerp Museum. Open daily, 9-5 ; winter, 9-4 ; 1 fr. ; Sun. and Th. free. In the Entrance Hall are frescos by de Keyser, illustrative of the Flemish school of art. The principal figure is Antwerpia distributing wreaths to the great masters. In the central painting are 52 figures ; in the side pictures, 42 each. Saloon 1. VanBree: *The Death of Ru- bens. Jordaens : The Last Supper ; * Ad- oration. Rubens : **Crucifixion. *' Considered by many to be Rubens's chef-d'oeuvre."— Baedeker. "This is certainly one of the first pictures in the world for composition, coloring, and correctness of drawing. The convulsive agony of the malefactor, who has torn one foot from the nailing, is wonderful in expression, whilst the profile of the Magdalen is the most beautiful I ever saw by Rubens or any other painter. 1 ' — Reynolds. * Adoration. This picture, with its twenty - four figures, besides horses and camels, whilst full of the bold composition and effect of Rubens' s work, is wanting in the impressiveness of the pre- ceding. De Braekeleer : Defence of Ant- werp against the Spanish. Quellyn : The Pool of Bethesda (29 ft. in height). Centre: Statue of the Fighting Amazon, by Kiss ; Bust of Ru- bens, by Willemsens. Saloon 2. Floris : Fall of the Angels. Matsys: **Dead Christ. 236. Rubens : *Christ a la Paille See p. Rembrandt : *Saskia Uilenberg, his first Wife ; *Communion of St. Jerome ; Virgin and St. Anna. Jordaens : *The Piper. VanByck : *Dead Christ ; *Pieta. Saloon 3. Copy of van Eyeless Adoration of the Lamb. See p. 6. Copy of van Dyck\s Caesar Alex. Scaglia. MuriUo : St. Francis. Saloon 4t. Rubens: **Holy Family; Christ on the Cross ; Dead Christ. Terburg : Mandolin Player. Wouverman : Horseman reposing. Saloon 5. At the entrance, r. four small pictures formerly attributed to Mending, but now believed to be the work of Horebout. The armorial bearings give the date of 1499. Matsys: *Head of Christ; *Head of Mary. These two were for- merly attributed to Holbein. Van Eyck : *St. Barbara (un- finished). *Madonna, Child, and two Angels ; *Virgin and Child (copy). Van der Weyden : *Sacrament, two wings. *Portrait; Annun- ciation. 420 BERLIN ROYAL MUSEUM. Hobbema: **Mill (100,000 frs.). Holbein : Erasmus. Da Messina : Crucifixion (1475). S. Ruisdael : Still Water. J. Ruisdael : Landscape. Jordaens : Portrait of a Lady. 1. van Ostade: Winter. A. van Ostade: Smokers. Cuyp : Horsemen. Memmi : Annunciation ; Cruci- fixion and Descent. Cranach : Adam and Eve ; Char- ity. Gossaert : Holy Women ; The Just Judges. Rembrandt : A Jew ; The Young Fisherman. Steen : Samson. Barberini Palace, Rome. Open daily, ex. Sun., 13-5 ; Th., 2-5, Noted especially for Raphael's Fornarina and Guido's Beatrice Cenci. Room 3. Guido : **88. Beatrice Cenci. The legend that the pict- ure was sketched in the cell the night before her execution is now gen- erally discredited. Seep. 73. Gaetani: 85. Lucrezia Cenci, mother of Beatrice. Caravagglo : 84. Step-mother of Beatrice. Diirer : *Christ among the Doctors. Del Sa rto: Holy Family. Raphael: *86. Fornarina. Berlin. National Gallery. Open daily, ex. M., 11-3; Sun., 12-2; free. A collection of about 500 modern paintings. Opened 1876. Bellermann : *The Guachero Cav- ern, in the Cordilleras. Karl Sohn : *The Rape of Hylas. Achenbach : *Market in Amalfi. Richter : **Jairus's Daughter. Spangenberg : *The March of Death. Inner : *Dick See, Holstein. Scheurenberg : *The First Com- munion. Hertel : ^Northern Sea Scene. Knille : *Tannhauser and Venus. Oeder : *November Day. Scherres : **Flood in East Prussia. Henneberg : ^Pursuit of Pleas- ure. Ainmiiller : ^Westminster Abbey. Meyer : *The Little Housewife. Wach : *Psyche surprised by Love. Harper : *Theatre of Marcellus at Rome. Ainmiiller : *Byzantine Church. Hasenpflug : Catherine of Halber- stadt. Magnus : Jenny Lind. Flamm : *A Glimpse of Cumae. Calame : *Lake of Lucerne. Berlin Royal Museum. Sculptures and Paintings. Open daily, ex. M., 10-4; winter, 10-3. No fees or gratuities, except for umbrellas. The Gallery op Sculpture, which formerly contained about 1,000 specimens, the most of which were of inferior value, has recently been greatly enriched by marbles from Pergamon. These are at present in the east wing. BERLIN ROYAL MUSEUM. 421 Among the most noted works are : Sculptures : **Nike, or Victory, by Paeonius, an assistant of Phidias ; ' l the first well-authenticated sculpture by a Greek master yet discovered ; " * Apollo Citharcedus ; **Polyhymnia ; "*Euterpe ; ** Pray- ing Boy, bronze, found in the Tiber; purchased by Fred, the Gt. for #8,000 ; *Torso of Cupid ; ^Mercury ; Caesar ; * Augustus ; *Napoleon ; *Hebe, by Canova. Ground Floor. — *The Antiquarium contains the celebrated treasure of silver plate, of the time of Augustus, found near Hildesheim, and a cabinet of 50,000 coins. Paintings. — Upper Floor. Bubbles ; A Cottage ; Girl at Toilette. Pinturicchio : Adoration of the Magi Rajihael : *Christ in Sepulchre ; Adoration ; **Diotalevi Madon- na. See p. 209. ^Madonna coi Bambino. See p. 209. "^Ma- donna di Casa Colonna. Sec p. 209. Madonna with the Thistle- finch. Seep. 209. Rembrandt : *Duke Adolphus threatens his Captive Father. Ruisdael : Haarlem ; Amsterdam ; *Coast Scene ; ^Landscape. Titian : Himself ; *His Daughter. Terburg : *A Soldier ; Portraits ; *Paternal Admonition. Teniers: ^Temptation of St. An- thony. Velasquez : Cardiual Azzolini. Watteau : ^Rustic Meal. Brouwer : An Inn. Correggio : **Jupiter and Io ; **Leda and the Swan ; Head of Christ. Van Dyck : *Prince Thomas de Carignan ; *Children of Charles L of England. Van Eyck : **Wings of the Ado- ration of the Lamb ($75,000). Seep. 6. Fra Bartolommeo : * Assumption. F. Francia: *Pieta; two Ma- donnas. De Heem : Fruit, centre Virgin. Lievens : Isaac blessing Jacob. Mending : Elijah ; The Passover ; Annunciation. Murillo : ^Magdalen ; Madonna, St. Anthony, and Infant Christ. Moretto : Adoration of the Shep- herds. Van der Meer : *Boy blowing The New Museum consists of a large and exceedingly valuable col- lection of casts of Greek and Roman works, a Museum of Northern Antiquities, an Ethnographical Museum, and an Egyptian Museum. Collection op Casts— First Floor. — Entering by the passage from the Old Museum. 1. Roman Cupola, Saloon, with statues and mural paintings. 2. Mediarval Saloon. — Casts from mediaeval churches. 3. Small figures of Greek and Roman works. -1. Niobe Saloon. — Casts of the Niobe group at Florence; Jupiter, Juno, Athletes, and Venuses. 422 BOLOGNA, ACADEMY OF FINE ARTS. 5. Greek Cupola Saloon. — Minerva, Hercules, Menelaus. ©. Farnese Bull, Apollo, Laocoon. 7 m Greek Saloon. — Groups from the Parthenon, from the Temple of Minerva at ^Egina. 8. Grand Staircase, with six **paintings, by Kaulbach. — 1. Fall of Babel : Nimrod in the centre with the children of Ham ; r. those of Japheth ; 1. of Shem. 2. Greece : Homer in a boat, poets, sculptors, and architects listening ; the gods above. 3. Destruction of Jerusalem : High Priest in front; r. fleeing Christian family; 1. Ahasuerus. 4. ** Battle of Huns : u The slain rose during the night and fought mid- air ; " above is Attila. 5. Crusaders at Jerusalem : Godfrey, Peter the Hermit ; 1. Group of Minstrels. 6. Reformation : Luther, Melanchthon, Zwingle, Calvin, Wyckliffe, Huss ; groups of scholars and artists : Co- pernicus, Galileo, Kepler, Newton, Columbus, Diirer, Holbein, da Vinci, Raphael, Shakespeare, etc. 9. Modem Art Saloon. 10. Mediarval Saloon. Ground Floor. Entrance by stairs below the Grand Staircase. To the right, the Museum of Northern Antiquities and the Ethnograph- ical Collections. To the left, the Egyptian Museum. 1. Mythological Saloon, with Mummies and Sarcophagi from Thebes. 2. Saloon of Tombs, from Memphis, dating from 3000 to 2000 B.c. 3. Hypostyle. — Cases of papyrus rolls. 4L. Historic Saloon. — Priests, kings, gods, etc., 1700 to 500 B.C. 5. Court of Columns, representing an Egyptian Temple, with an altar in the centre ; on the r. Usortesen ; 1. Rameses II. ; centre, Sphinxes. Bologna, Academy of Fine Arts. Accademia delle Belle Arti. Open daily, 9-3 or 4 ; 1 fr. ; Sun- day, free. Ground Floor. — Casts and works of Modern Art. First Floor. — Picture Gallery and collection of weapons. *M r r" i i 2 1, 1 5 1 | . 1 a < *- Entrance, BORGHESE GALLERi 423 Room 1. — Gnalo: ""'142. Ecce Homo (drawing). Gnercino : St. Peter. Room 2. — Ag. Carracci: *34. St. Jerome; Assumption. An. Gar- racci : *36, 37. The Virgin. L. Carracci : *42. The Virgin ; Birth of John Baptist ; Conversion of St. Paul. Room 3. — F. Francla : *Madonna and Saints ; Madonna ; Dead Christ. Gio. Francia : *84, 87. Madonnas. Da Imola : *Michael. Parmcgiano : *Holy Family. Raphael : **St. Cecilia. See p. 72. Peritgino : *Madonna. Room <4. Guido Room. — Gnldo : *Madonna; *The Crucifixion; ^Massacre of the Innocents ; *Samson ; Madonna del Rosario (on silk); St. Sebastian ; St. Andrew. Borgliesc Gallery. Open M., W., and F., 9-3 ; closed, July and Aug. ; fee, 3^ fr. The most valuable private collection in Rome, containing nearly 900 pictures. Hand catalogues will be found in each room. a- En trance. 8 9 i 1 2 6 7 ,,],> 5 11 10 a LL Room 1 .—Botticelli : * Madonna. Di Credi : *Holy Family ; *Holy Family. Solario ? : *Ecce Homo. D'Oggione : Young Christ. Ghir- landaio : *A Youth, erroneously supposed to be a portrait of Raphael. Da Vinci : *Leda and Swan. School of da Vinci : *Madonna. Pol- laiuolo : *Holy Family. Room 2. — Garofalo : *Dead Christ. Romano : *Copy of Raphael's Julius II.; **Copy of Fornarina. Sodoma : ^Madonna ; Copy of Raphael's Mad. col. divin' amore, at Naples. Seep. 220. ^Portrait (Caesar Borgia ?) ; ^'Entombment. See p. 329. His last work before going to Rome. Copy of Raphael's Madonna Casa d'Alba. Seep. 223. F. Francia : *St. Stephen. Room 3. — Parmegia?io : ^Portrait. Dossi : Circs ? Del Sarto : *Madonna. Correggio : **Danae. Del Piombo : *Christ. Room 4. — Domenichino : *Cuma3an Sibyl. Cagnacci : *Sibyl. Room 5. — Albani : *The Seasons, four pictures. Domenichino : *Diana and Nymphs. Room 6. — Sacchi : ^Portrait of O. Giustiniani. Sassoferrato : The Three Ages of Man. 424 BRERA. Room 8. — *Villa Borghese in the 1 7th century. *Head, School of Da Vinci. Room 9. — A collection of frescos, three of which, the Marriage of Alexander and Roxana, the Nuptials of Vertumnus, and the Contest of the Gods, are attributed to Raphael, though apparently with little reason. Room lO. — Titian : *Venus and Cupid ; St. Dominic ; **Earthly and Divine Love. Pordenone? : *Portrait. Qiorgione? : *David. Gio. Bellini : *Madonna. Room 11. — L. Lotto : *Madonna and Saints. Bonifazio : *The Prodigal's Return. Gio. Bellini ? : ^Portrait. Palma, Vec. : Holy Family. Room 13. — Dutch and German. — Van Dyck: Crucifixion; *En- tombment. D. Teniers : *Tavern Scene. Perugino : *Portrait of Himself. Bakhuisen : *Sea Scene. Adjoining is a small room containing a number of less important pictures ; usually closed, but will be opened by custodian if desired. Borghese Villa, Pome. Entrance on the r., outside the Porta del Popolo. Grounds open to the public daily, ex. M. Gallery open Sat., 1-4, winter ; 4-7, summer. lvn| vi I V I Room 3. *10. Priestess. Room i | | i I 3. *1. Juno ; *11. Rape of Cassan- dra. Room 41. 21. Venus. Room 5, Centre : Apollo and Muses ; *13. Anacreon sitting. Room 6. Deco- rated with the story of Galatea by De Angelis. The busts of the Caesars a, a, Candlebras. are mo a ern- Centre : Porphyry urn from the tomb of Hadrian. Room 7. *2. Boy with Bird ; *4. Captive Boy. Mosaics in the floor were found on the road to Tivoli. Room 8. Centre : *Tyrtaeus ; *2. Athena. Room 9. Centre : *Boy on Dol- phin. *16. Bacchante ; *Dancing Faun. Upper Floor, % fr. Three groups by Bernini. Room 1. Apollo and Daphne. Room 3. iEneas and Anchises. Room 3. David and Goliath. In the 4th room is Canova's celebrated Venus, after Pauline Bona- parte, sister of Napoleon. Seep. 390. Br era, The, or, Palace OF Science AND Art, Milan. Open daily, 9-3; summer, 9-4; 1 fr. Sun. and Thurs., 12-4, free. Court, centre. — *Bronze Napoleon I. as a Roman Emp. , by Canova. Around the walls, eminent civilians and scholars. The Museo Akcheologico.— Admission daily, 10-3; Sun., 2-4. "J « IT. I a i a L— BREBA. 425 On the ground floor (50c. ), occupying two rooms, comprises a collection of antique and other sculptures, frescos, armor, bronzes, terra-cottas, majolicas, etc. The Picture Gallery, 24 rooms, with about 800 pictures. - — n — i r 4 5.6.7 E J L Li 9 j 10 13 a U ii " ""? 1 12 a (I Entrance J—J The names of the artists and school are marked on the principal works. The Vestibule contains about 80 pictures, principally by Luini ; un- important. Sala 1. — D'Oggione : Satan and Angels. Borgognone : Assump- tion of the Virgin. Da Sesto : Virgin and Child. Sala 2. — Garofalo: *Dead Christ. Palma, Vec. : * Adoration. Gio. Bellini : **St. Mark. Grevelli : *Saints. Murano : *Madonna and Saints. Sala 3. — Tintoretto : *St. Helen and others. Veronese : *Adora- tion. Bonifazio : *Moses. Sala 4. — Titian : #St. Jerome ; Head of a Man. Lotto : *Three Portraits. Sala 5. — Mantegna : *Dead Christ ; remarkable foreshortening. Raphael : **The Sposalizio — the Marriage of the Virgin. See p. 328. Da Vinci : *Head of Christ. Luini : *Virgin and Child. Mantegna : *Christ in the Sepulchre ; Madonna, and Sts. John and Luke. Sala 8. — Guercino : ** Abraham and Hagar. F. Albani: *Proser- pine and Cupids. Guido : *St. Paul reproving St. Peter. Sala lO. — Rembrandt : **Portrait of a Lady. Van Dyck : *Por- traits ; ^Virgin, Child, and St. Anthony. Rubens : *The Eucharist. S. Rosa : *Purgatory. Velasquez : *Sleeping Monk. Sala 11. — Used for copyists. Sala 12. — Contains a number of *cattle pieces by Londonio. The remaining 1 2 saloons are devoted to sculptures, principally casts of an- tiques, and of the works of Angelo. A few modern pictures are also to be found in some of the saloons. 420 BRITISH MUSEUM. British Museum. Open, free, every week-day at 10 ; Sat. at 12. Closes, Nov. to Feb. at 4 ; Mar. , Apr. , Sept. , Oct. at 5 ; May to Aug. at 6 ; M. and Sat. , July 15 to Aug. 31, at 7 ; M. and Sat., May 8 to July 15, at 8. Closed from the 1st to the 7th of Feb., May, and Ocfc. ; also the Sculpt- ures, on W. and F. 16 29 18 ~7J 27 16 17 19 26 15 23 20 25 13 24 3J 11 . 10 1, Entrance. 15, 2, Entrance Hall. 16, 3, 7, 29, Stairs to Zoological Rooms. 17, 4, G-renville Library. IS, 5, Manuscript Saloon. 19, 6, Royal Library. 20, 8, Roman Gallery. 21, 9, I. Grasco-Roman Saloon. 23, 10, II. Graeco-Roman Saloon. 24, 11, III. Graeco-Roman Saloon. 25, 12, 22, Stairs to Assyrian Basement. 26, 13, Lycian Gallery. 27, 14, 28, Elgin Room. Hellenic Room. Kouyunjik Room. Nimroud Central Saloon. Nimroud Gallery. Assyrian Side Room. Assyrian Basement. Assyrian Transept. Southern Egyptian Gallery. Central Egyptian Gallery. Northern Egyptian Gallery. Northern Egyptian Vestibule. Catalogues of the various departments at the entrance (2). 4k, Grenville Library, containing over 20,000 vols., some of them among the earliest printed works known. BRITISH MUSEUM. 427 5. Manuscript Saloon — Case I. — Autographs of celebrated men : Angelo, Addison, Calvin, D'drer, Newton, Nelson, Washington, Welling- ton, etc. Case II— Sovereigns: Ed. IV., V.; Henry VII., VIII.; Mary, Elizabeth, Jane Grey, Mary, Queen of Scots, Cromwell, Gus. Adolph., Peter the Gt., Ch. XH., Fred. theGt., Louis XIV, Nap. 1. The remaining cases contain autographs, royal charters, prayer-books, etc. , of great interest. 6. Royal Library of 80,000 vols., collected by George in. The cases contain various works of the greatest value, as specimens of typography, binding, and illumination of nearly all civilized nations. VI. Italian ; Vn. Italian and French ; VIII. English ; IX. Fine Print- ing ; X. Illuminations ; XL Engravings and Woodcuts ; XII. Auto- graphs of the authors and owners ; XIII. Literary Curiosities ; XIV. Fine bindings. 8. Roman Gallery. To the left, Roman relics found in England. To the right, on the wall, Roman portrait sculptures. 2. Julius Caesar ; 3. Young Augus- tus ; 4. Augustus ; 5. Tiberius ; 10. Claudius ; *11. Nero ; 12. Otho ; 14. Domitia ? ; 15. Trajan ; 17, 18, 19. Hadrian ; 20. Antinous crowned ; 21. Sabina, wife of Hadrian; *24. Ant. Pius; 25, 26, *27. Marcus Au- relius ; 28. Faustina, wife of M. Aurelius ; 29, 30, 31. Lucius Verus ; 32. Lucilla, wife of Lucius Verus ; 33. Commodus ; 34. Crispina, wife of Commodus ; 35. Pertinax ; 36. Sept. Severus ; 37. Caracalla, head in- clined ; *45. Equestrian, Caligula ? ; 55, 56. Demosthenes ; 65, Diog- enes ; 95. Caracalla ; 99. Jupiter Ammon ; 100, 101, 102. Jupiter Serapis ; 103, 104. Minerva. 9. First Grjeco-Roman Saloon. 111. Juno, after Polycletus (?); 112, 113. Diana ; *114. Apollo Citharce- dus, similar to the ones at Rome and Naples; 115. Apollo, head only antique ; *116. Venus, after Praxiteles ; *117. Homer, found 1780, Baiae ; *118. Dancing Satyr ; 120. Diana Venatrix ; 122, 1 24. Jupiter ; 123, 125. Minerva. 10. Second Gr^ico-Roman Saloon. *135. Discobolus, copy from the bronze of Myron, much restored ; *136. Towneley Venus, found at Ostia. See p. 394. *137. Dione ? ; *138. Apollo ; *140. Young Bacchus. 11. Third Gr^eco-Roman Saloon. *141, 142. Hercules ; 143, 145. Cupid; 148. Endymion; *149. Clytie?, possibly Agrippina; 150. Amazon; *151. Greek Hero, original; *155. Thalia, found at Ostia ; 163. Mithras sacrificing a Bull ; 165. Actaeon devoured by his Dogs ; *171. Mercury; 181, 183, 184. Satyrs ; 196. Girl playng with Astragali ; 198. Ariadne and Panther ; 201. Eros Asleep. 428 BRITISH MUSEUM, Rooms 14 and 15 are now being rearranged. **16. Elgin Room (g hard). — This room contains marbles, chiefly from the Parthenon, B.C. 440, brought from Athens by Lord Elgin, 1801, at a cost of #350,000. On the L is a model of the Parthenon as remaining after the bombardment by the Venetians, 1687. The statues on the 1. side of the room are from the eastern pediment, and represent the birth of Athena from the head of Zeus. On the wall are fifteen Metopes from the s. side of the Parthenon. On the r. are the remains of the western pediment, representing the contest of Athena with Poseidon for the ioil of Attica. BRITISH MUSEUM. 429 Around the room, in a continuous line, are slabs from the frieze of the cella, arranged, as nearly as possible, in their original order. The sub- ject of the reliefs is the Panathenaic procession, celebrated every four years. In the small room at the end, are a colossal lion from Knidos, 1858, a drum of a column from the Temple of Diana at Ephesus, and an Ionic capital and base of a column. 17. Hellenic Room. — Collection of marbles from various parts of Greece. The most important part of this collection consists of 23 slabs from the frieze in the interior of the cella of the Temple of Apollo Epi- curius, near Phigalia in Arcadia. J -11. Contest between Centaurs and Greeks. 12-33. The invasion of Greece by the Amazons. 18. Kouyunjik Gallery (koo'-un-jik).The Assyrian Galleries con- taining the collections of Mr. Layard, Mr. Rassam, and Mr. Loftus ; from Nimroud, Khorsabad, and Kouyunjik. The monuments from Nimroud are supposed to date B.C. 900 to 600. Khorsabad, about 720 ; and Kouyunjik, b. C. 700 to 600. The collection of bas-reliefs in this room (18) are from the palace of Sennacherib, and subsequently of his grandson Assurbanipal. Most of the sculptures were shattered by the action of fire ; some of the slabs reaching England in 300 or 400 pieces. 2. A Galley. 4-8. Expedition of Sennacherib. 15, 16, 17. Return from a battle. 20-29. Siege of a fortified city. 45-50. Victories of Assurbanipal. 57-59. City besieged by Sennacherib. The five tables in the middle of the room contain small objects dis- covered in various excavations. 1©. Nimroud Central Saloon. — Containing sculptures from the great mound at Nimroud ; discovered by Mr. Layard. L. bas-relief, The Receipt of Tribute from Menahem, King of Israel ; *Colossal head of a human-headed bull, the largest yet brought to Europe. On the r. representations of sieges. Above are two heads — Tiglath Pileser II. and an attendant. **In the centre of the room is one of the most important historical monuments recovered from Assyria : a black marble obelisk, found near the centre of the great mound, decorated with five tiers of bas-reliefs and covered with cuneiform inscriptions, recording the annals of Shal- nianeser for thirty-one years, commencing B.C. 860. In the inscriptions are mentioned Jehu and Hazael. 20. Nimroud Gallery. — 19 Two foreigners bringing monkeys as tribute. 20. The King Assur-izir-pal. 430 BRITISH MUSEUM. *21-26. The king and attendants returned from battle or chase. 37-40. Religious rites. 7 b-9 b. Passage of a river by the king and his army. 10 b-12 b. Capitulation of a city. 11 a-13 a. Return from battle. 13 b-15 b. Siege of a city. 31-23. Assyrian Side Room and Basement Room. — Contain antiquities collected at Nimroud, 1853, by Messrs. Rassam and Loftus, many of them of the greatest interest and value. 24L. Assyrian Transept. — Colossal human-headed lions and bulls from Nimroud and Khorsabad. **The Egyptian Galleries, 35, 36, 37, 38. — The monuments in this collection, occupying 4 rooms upon the first floor and two above, extend from B.C. 2000 to a.d. 640, and are arranged, as far as possible, in chronological order, commencing (room 25) with those of most re- cent date. The name and period will be found upon the labels. 35. Southern Egyptian Gallery'. — Monuments and sarcophagi, principally of granite and black basalt, from the later Roman period to B.C. 1200. In the centre is the celebrated *Rosetta Stone, discovered by the French, 1799, near the Rosetta mouth of the Nile. It is inscribed with three languages : first, the hieroglyphic, a sacred Egyptian ; second, the demotic, or common Egyptian ; third, the Greek. It was from the comparison of these inscriptions that the key to the hieroglyphic lan- guage of Egypt was discovered by Young and Champollion. 36. Central Egyptian Gallery. — Antiquities of the time of Ra- mesis the Gt. (Sesostris) ; colossal fist from Memphis. The sculptures principally represent the king and his officers. 37. Northern Egyptian Gallery.— Of the time of the 18th Dy- nasty, the period of Egypt's greatest prosperity. Two black statues of King Horus ; two red granite lions from Nubia ; head of colossal ram from Karnak ; several statues of the cat-headed goddess Sekhet. Centre : colossal head of Tothmes III. The Tablet of Abydos, in a recess in the r. , of great value in determining the chron- ology of the dynasties ; found, 1818, in the temple of Abydos. 3®. Northern Egyptian Vestibule. — Monuments of the first 12 Egyptian dynasties, and the most ancient sculptures in the museum, from which it will be inferred that at this early period art had made great progress. Second Floor. — Ascending the principal staircase (3) and turning to the right we enter a room devoted chiefly to collections of mediaeval glass. British and Mediceval Room. — Antiquities found in Great Britain and Ireland. Cases 1-4LS. British Antiquities anterior to the Romans. Cases 43-75. Roman Antiquities found in Great Britain. BRUSSELS MUSEUM. 431 Cases 70-96. Anglo-Saxon Antiquities. The remaining cases contain various objects of later date. ** Collection of Gems and Gold Ornaments. (Door near the entrance of the Mediaeval Room. Door closed ; ring the bell. ) Cases A and IS. Mediaeval and Modern. Cases C and I>. Great Britain and Ireland. Case E. Babylonian. Cases F to I. Greek and Early Etruscan. Cases E, WI, and 1%. Greek of the finest workmanship. **The Portland Vase, found in a tomb near Rome in the early part of the 17th century, and now owned by the Duke of Portland. It is of blue glass, with a design cut in opaque white glass, representing Peleus and Thetis on Mount Pelion ; on the reverse, Thetis consenting to be the bride of Peleus in the presence of Poseidon and Eros. In 1845 it was dashed in pieces by a madman, but was restored with such skill as to leave little trace of the misfortune. Diagram of the fragments on the right wall. Bronze Room,, containing Etruscan, Greek, and Roman work Two Vase Rooms, with vases and pottery from Italy, Greece, and other Mediterranean countries. Beyond there are several Egyptian Rooms, with an immense collec- tion of Egyptian Antiquities, embracing divinities, sacred animals, sepulchral objects, glass, pottery, sarcophagi, mummies, domestic im- plements, toilet articles, etc. *The New Reading-Room, entrance on the ground floor, opp. the main entrance, erected 1855, at a cost of nearly a million dollars, is 140 ft. in diam. and 160 ft. in height, and has accommodation for 300 readers or writers. The Library numbers over a million printed volumes, ranking second only to the National Library at Paris. Its collection of Hebrew books exceeds that of any other library, and its American books twice that of any library in the United States. It possesses the earliest printed book known — the Mazarin Bible. Brussels Museum, or, Palais des Beaux Arts. Contains about 600 pictures. Open daily, 10-3. Holbein, Tr. : **Thomas Morus. Leermans : ^Crucifixion. Sienese School : *Calvary. CJiampaigne: ^Presentation; Him- Cranach : *Eve. self. Van Eyck : *Adam and Eve. Be Grayer : ^Assumption of St. Mabuse : *Christ in the House of Catherine. Simon. j Schalken : *Game of Melted Wax. B. van Orley : *Dead Christ. | Be Grayer : *Draught of Fishes ; Van Conixloo : ^Relatives of the ' Martyrdom of St. Blaise. Virgin. ($18,000. ) \ Neefs : ^Antwerp Cathedral 432 CAPITOLINE MUSEUM. Van JDyck : St. Anthony ; St. Francis. Jordaens : *Miracle by St. Mar- tin ; * Allegory of Truthfulness. Rubens : *To Calvary ; Pieta ; Adoration ; Venus in Vulcan's Forge. [erine. Van Veen : *Marriage of St. Cath- De Crayer : **Pieta ; St. Paul and St. Anthony. Cuyp : A Stable. Van Dyck: ^Martyrdom of St. Peter ; *Silenus drunk. Rembrandt : **Portrait. Ruisdael : ^Landscape. Steen: *Twelfth Night; The Courteous Offer. (#4,500.) Bals: Hoornebeck. ($4,000.) Hobbema: *Forest. ($12,000.) Rubens : *Wife of Ch. de Cordes. ($26,000.) Teniers, Yr. : *Village Doctor ; Flemish Fair. ($25,000.) *In- terior. ($6,000. ) Dow : **Himself . ($5,000.) Van der Heist : Himself and Wife. Teniers, Yr. : *Village Doctor. Rerchem : *The Repose. ($1,300.) Hals : Van Benthuysen, ($3,400.) Quido : *The Flight into Egypt. The remainder of the collection consists of modern paintings, some of which are of great excellence. Capitoline Gallery of Paintings (kap'-e-to-leen). See Palace of the Conservators. Capitoline Museum, or, Gallery OF Sculptures, Rome. Open daily, 10-3; fee, 50c. Sun., 10-1, free. GROUND FLOOR. 10 1, Entrance. 2, 7, Corridor. 3, 4, 5, Hall of Bronze?. 6, Court. 8, 9, 10, Hall of Urns. 11, Stairs to first floor. Room 3. — Centre: Egyptian Vase, with a Palmyrene inscription on the base ; sarcophagus with hunting scene. On the walls, inscriptions and bas-reliefs. Rooms 4L and 5. — Sarcophagi and urns. Room 6. — Marforio. Room 8. — 1. Altar from Albano. Room ». — 4. Sarcophagus with battles, B.C. 225, between Romans and Gauls. Room lO. — Sarcophagus with scenes from life of Achilles : front, Dispute between Achilles and Agamemnon ; ends, Achilles with the daughter of Lycomedes, Greeks beseeching him to avenge the death of Patroclus ; Pluto, found in the Baths of Titus. CAPITOLINE MUSEUM. 433 Staircase 11, with Plans of Rome, executed under Sept Severus, found 16th century. FIRST FLOOR. #18 19 11 17 16 15 14, 13 l B _L 1 1 12, Hall of the Gladiator. 13, Hall of the Faun. 14, Saloon. 15, Hall of Philosophers. 16, Hull of the Emperors. 17, Corridor. 18, Venus Room. 19, Room of the Doves. Room 12.— **Dying Gladiator. See p. 152. *Head of Dionysius ; *Antinous. Seep. 18. **Faun of Praxiteles. Seep. 130. Room IS. — *Faun in rosso antico, on an altar dedicated to Serapis, found in Hadrian's Villa ; 10. Juno Sospita ; ^Sarcophagus with battle of Amazons ; *23. Ariadne crowned. Room 141. — *1. Jupiter, nero antico ; *2, *4. Centaurs ; 3. Young Hercules, on an altar to Jupiter ; 5. ^Esculapius ; *28. Prefica, a hired mourner. Room 15. Hall of P7dlosop7iers. — Centre: -M. Claudius Marcellus, B.C. 212. Around the room, 93 busts of ancients. 1. Virgil?; 4, *5, 6. Socrates; 9. Aristides ; 10. Seneca; 21. Diogenes?; 22. Sophocles; 28. Alex, the Great; 31, 32. Demosthenes; 44, 45, *46. Homer; *49. Scipio Africanus ; 75. Cicero. Recent research renders doubtful the names attached to some of the statues of the philosophers. Room 1G. Hall of tJie Emperors. — Centre : Agrippina, grand-daugh- ter of Augustus, wife of Germanicus, mother of Caligula. This room contains 83 busts of the emperors and their families, and is the most complete collection extant. The names have been identified by coins. 1. Julius Caesar ; 2. Augustus ; 3. Marcellus ; 4, 5. Tiberius ; 6, 7. Drusus ; 9. Germanicus ; 11. Caligula ; 15, 16. Nero ; 21. Vespasian ; 22. Titus ; 24. Domitian ; 37, 38. Marcus Aurelius ; 50, 51. Sept. Severus ; 53. Caracalla; 82. Julian. 18. Reserved Cabinet. — ** Venus of the Capitol, supposed to be a copy of Aphrodite of Cnidos by Praxiteles ; found in a walled-up chamber in the Suburra, nearly perfect. See p. 391. *Cupid and Psyche ; Leda and the Swan. 19. Room of the Doves.— *Mosaic of Doves at a Fountain, found at Hadrian's Villa, copy of a celebrated work by Sosius, mentioned by 434 DORIA PALACE. Pliny; ^Sarcophagus with Endymion and Selene. Dove. On the sides : Roman weights. Centre : Girl and Corsini Palace, Rome. The palace was formerly the residence of Queen Christina of Sweden, who here died, 1689 ; residence also of Michael Angelo for over a year, and of Erasmus for a time. Gallery open M., Th., and Sat., 9-3; % fr. Hand Catalogues in each room. Rooms 1 and 3, unimportant. Room 3. — Guercino : *Ecce 8 7 1 1 6 j 5 i 9 2 3 3 10 11 1 Woman. Murillo : *Portrait. Durer *Himself . Titian : Homo. C. Bold : *Madonna. J. Both : *Sunset. Titian : Philip II. of Spain. Saraceni : *Vanity. Room 4. — Guido : *Herodias. L. Carracci : *Two Heads. Biirer : *A Hare. A marble chair, supposed to be Etruscan ; a Corsinian silver vase. Room 5. — Bold ; *St. Agnes. Mdraita : Annunciation. Room €>. — Holbein : Portraits. Titian : *Mgr. Ghiberti ; *Children of Charles V. Rembrandt : *01d Holbein : *Caterina Bora. Van Byck : Rubens : *Head. Nativity of the Virgin ; *Cardinal, ^Cardinal Alex. Parnese. Room T. — Murillo : ^Madonna. G. Poussin : *Landscape. Garo- falo : *Christ. Angelico : ^Descent of the Spirit ; *Last Judgment ; *Ascension. Titian : *The Adulteress. Room 8. — G. Poussin: *Pour Landscapes. Cabinet. — Guido: *Ecce Homo. Lo Spagna : *Madonna. Room 9. — & Rosa : Three Battle-pieces. Room lO, generally closed; opened if requested. Ancient mosaic of Unmanageable Oxen, and bronze relief of the Rape of Europa, Cellini. *T7ie Library comprises one of the most valuable collections of en- gravings known. " The Garden, in the rear of the palace, commands an admirable view of Rome. Doria Palace, Rome. The most magnificent of all the Roman palaces. Gallery open Tu. and Fr., 10-2; % $*• Entrance to the court is No. 305 Corso; to the Gallery, in the court, to the left. The collection numbers nearly 1,000 pictures, of which but a limited number are masterpieces, the best being in the galleries. DRESDEN GALLERY. 435 ,-Fl 0. 9 10 12 11 13 14 D Catalogues in each room. Several of the smaller rooms badly lighted. Room !8. — Valentin : ^Charity. Fra. Lippi : *Annunciation. Hol- bein: Himself. Titian: *Boy and Lions. Centre: *Centaur, nero antico. Room 4. — Bril : ^Landscapes. Room 5. — Mat- sys : *Money-Chang- ers. Poussin : Land- scape. Room ©. — Ma- ratta : ""Madonna. Room 8. — Lud. Carracci : *St. Se- bastian. 11. First Gal- lery.— Claude : *The Flight into Egypt. Garofalo : *Elizabeth and Mary. N. Poussin : Aldobrandino Marriage. 12. Second Gallery. — Francia (?) : ^Virgin and two Saints. Titian : ^Portrait. Brueghel : *The Elements, four pictures. Por- denone : *Herodias. Pa Vinci : * Joanna II. Correggio : *Glory and Valor, cartoon. 155. Third Gallery. — An. Carracci : -Assumption ; ^Flight into Egypt. Claude: * Water Mill. An. Carracci: ^Nativity ; *Pieta; Adoration ; ^Entombment. Claude : * *Temple of Apollo ; *Diana. Giorgione : ^Portrait. The Cabinet, at the end, contains some of the best pictures of the collection. Raphael : *Venetian Heads. Memling : *The Deposition. Pel Piombo : ** Andrea Doria. Velasquez : *Innocent. Matsys : *The Misers. 14. Fourth Gallery. — Mirrors and antique statuary of inferior value. Dresden Gallery. One of the finest and largest in Europe ; numbers about 2,500 paint- ings. Open daily, 9-3 ; winter, 10-3 ; free ; W. and Sat. , 50 pf . A 21 Small Cabinets. N M L B C 1 1 Y N 1 | D E F G H IK i 1 k A 1 1 a- Entrance. G> 436 DRESDEN GALLERY. Hall A. Raphael : **Sistine Madonna. See p. 210. Copy of Raphael's Mad. della Sedia. Seep. 213. C. Dolci : *St. Cecilia. G. Romano : *Madonna della Ca- tena. Del Sarto : Holy Family. Copy of Raphael's *La Belle Jardin- iere. See p. 220. Hall C. Veronese : Presentation of Jesus. Hall I>. Correggio : **Holy Family ; **La Notte ; **Holy Family ; *Cupid. Da Messina: *St. Sebastian. Copy of Raphael's St. Cecilia. Seep. 72. Veronese : Finding of Moses. Del Sarto : ** Abraham and Isaac. Sigtwrelli : *Holy Family. Francia : *Baptism of Christ. Hall E. Veronese : *Marriage of Cana ; *Adoration of the Magi ; Christ at Emmaus. Titian: Venetian Lady; Virgin and Saints; Holy Family, with the Duke of Ferrara, wife, and son; *Young Girl; Titian's Daughter ; **Cupid crowning Venus ; Philip II (?) of Spain playing the Lute. Sassoferrato : **Sleeping Venus. Formerly attributed to Titian. Raima, Vec. : **Venus reposing. Hall F. Caravaggio : *Guard-Room; **Fortune-Teller. Lanfranco : *Peter penitent. Baroccio : *Entombment. Cantarini : Potiphar's Wife. Ouido : *Ninus and Semiramis. Hall Cr. 12 Pieces of Flemish Tapestry. Those above, from Raphael's car- toons ; some of those below from cartoons by Matsys. Stairway to Upper Floor. Hall H. Zurbaran: A Saint declines the Papal Crown. Giordano : Susannah. Ghislandi : *Rembrandt. S. Rosa: ^Temptation of St. An- thony; *St. Jerome. Ribera : Paul the Hermit ; St. Lawrence ; St. Bartholomew ; Paul the Hermit ; St. Jerome ; **St. Mary of Egypt kneeling at her Grave. Murillo: **St. Roderiguez; ^Vir- gin and Child. Hall I. Van Dyck : Charles I. of England; Children of Charles I. ; Henri- etta Maria, wife of Charles I. Rubens: *Daughter of Herodias; Tigers with Young; *St. Jerome; *A Cavern. Velasquez : ^Portrait. Hall K. Van der Heist: *Wife of And. Bicker. Rembrandt : ** Artist's Wife ; ** Artist and Wife ; Ganymede ; Samson's Wedding; *Sports- man; **Manoah's Sacrifice. Weenix, Tr. : *A Hare. Konincx : *A Hermit. Hall E. Rembrandt : ^Himself (?). Heda: **Still- Lif e. DULWICH GALLERY. 437 Hall JI. Rubens: ^Garden of Love; ** Judg- ment of Paris ; Mercury and Argus ; Last Judgment. Hall IV. Holbein: **Madonna. Seep.'ldlL H. Morett. Hall O. Several by Cranach. Hall I». Vaillant : *A Letter-board. The Cabinets. Da Vinci : * Virgin and Child. M. Angelo and Del Piombo : ""The Scourging. Unknown : *Virgin, Child, and John. Correggio : **Reading Magdalen. Seep. 226. Mbrando : *Portrait. Albano : *Diana and Nymphs. Gignani : *Potiphar's Wife. Albano : *Cupid. School of Carracci : *Death of St. Francis. Ouiclo : **Crowned with Thorns. Palma, Vec: *Holy Family; *Holy Family. Titian : **Tribute-Money. Nogari : *01d Man ; Miser. Wouverman : Combat ; Return from the Chase ; *A Halt ; *The Sutler's Tent ; A Camp. J. Ruisdael : * Jewish Cemetery ; *The Convent ; Landscape. J. Doth : Landscapes. Terburg : *Lady in Satin. Teniers, Yr. : Temptation of St. Anthony ; A Dutch Fair. Slingeland: *The Interrupted Les- son. Van der Werff: Chess; **The Expulsion of Hagar; **Magda- len ; **Judgment of Paris ; Venus and Cupid ; *Lot. Mieris : Studio ; **01d Scholar ; *A Tinker; **Studio; *Poetry. Schalken : Girls ; *Candlelight. Dow : *Candlelight ; ^Candle- light ; **Hermit ; *A Girl, can- dlelight; *Himself; The Dentist. Netscher : ^Toilette ; **The Pian- ist ; *Lady singing ; Mme. Mon- tespan. Dulwicli Gallery, London. Five miles from Waterloo Bridge ; by omnibus from Charing Cross ; or by railway from Victoria Station. Open daily, ex. Sun., 10-5 in summer, 1 0-4 in winter. About 350 pictures. Room 1. Gainsborough : ^Portrait. J. and A. Doth : *Landscapes. Tenders, Yr. : Landscape. Wouverman : *Landscape. A. Guyp : ^Landscape. Seghers : *Flowers. Dusart : *An Old Building. "A remarkably careful and choice picture." Dow : *A Lady. Cuyp : **Riding-School. Room 2. Wynants : ^Landscapes. Wouverman : *Landscapes ; Trav- ellers. Hobbema : *Water-mill. Weenix : ^Landscape. Cuyp : ^Landscape. Van de Velde : *High Wind. A. van Ostade : *Merry-making. Room 3. Tenters, Yr. : *Swine. Rembrandt : ^Portrait. 438 FLORENCE ACADEMY OF FINE ARTS. Wattean: *Fete Champetre; Bal Champetre. Rembrandt : *Girl at Window. Cuyp : *Landscape. Ruisdael : *Landscape. Clattde : View. Room 4. *Landscape ; Marine Murillo : *Spanish Flower-Girl. Wynants : *Landscape. Murillo : ^Spanish Boys, two. Raphael : *St. Francis of Assisi ; *St. Anthony of Padua. Velasquez : *Philip IV. of Spain. Room 5. Veronese : *A Cardinal. Reynolds : *Mrs. Siddons, Florence Academy of Fine Arts. Open daily, 9-3; 1 fr. ; Sun., 10-3 ; free. Free also on Th., in sum- mer. The pictures are arranged chronologically, illustrating the his- tory of painting. The Vestibule contains busts of painters and terra-cotta bas-reliefs. Hall op the Large Pictures. *1. Magdalen, 13th cent., Byzan- tine style. *2. Madonna, Cimabue. 3. St. Humilitas, Buffalmacco. 4-13. St. Francis, Giotto. 15. Virgin and Saints, Giotto. 16. Pieta, G. da Milano. 17. Presentation, Lorenzetti. 18-29. Life of Christ, Giotto. 31. Entombment, Gerini ( C. & C). *32. Adoration, da Fabriano. 33. Virgin and Sts. , Ag. Gaddi. *34. Descent, Fra Angelico. 35. Coronation, di Niccolo. 36. Virgin and Angels, Masaccio. 37. Magdalen, del Castagno. 38. St. Jerome, del Castagno. 39. John Baptist, del Castagno. *40. Our Lady, Fra Lippi. 41. Coronation, Fra Lippi. 43. Baptism of Christ, Verrocchio. Angel on 1., by da Vinci, when a pupil of Verrocchio. 46. Virgin and Sts., Botticelli ? 47. Coronation, Botticelli. 48. Martyrdom of SS. Cosma, Da- mian, and Anthony, Pesellino. 49. Predella to 47, Botticelli. 50. Nativity, Ghirlandaio. *51. Nativity, di Credi. 52. Madonna, Botticelli. 53. Christ in the Garden, Pern- gino. 54. Virgin and Saints, Signorelli. *55. Assumption, Botticelli. 56. Crucifixion, Botticelli. 57. Descent, upper half by Lippi ; lower by Perugino. 58. Dead Christ, Perugino. 59. Saints, del Sarto. 60. Virgin, del Sarto. 61. Pieta, del Sarto. 67. Resurrection, del Garbo. 68. Dead Christ, and 69. St. Vincent, Fra Bartolommeo *70. Trinity, Albertinelli. *72. Virgin and Sts., Albertinelli. 75. Madonna. F. Granacci. 76. Virgin, M. Ghirlandaio. 78. Saints, Bartolommeo. 88. Cosmo de Medici, Bronzina 93. Annunciation, Allori. 100. Pieta, Tito. 102. Dead Christ, Bronzino. 115. St. Francis, Cigoli. FLORENCE NATIONAL MUSEUM. 439 Hall of Ancient Pictures, mostly by unknown artists. En- trance to the left of the entrance Sala dei Cartoni, containing original designs of the celebrated masters. First Floor, Galleria dei hall through the library. Quadri Moderni. [and models. Hall of Small Pictures. — 8, ; In the First Court, bas-reliefs •11, 19, 20, 24, 36, 37, 38, 40, *41, j In the Second Court, which is 49, 50, Fra Angelica. *18. Peru- I designed for the Michael Angelo gino ? *26. Fra Lippi. 1 Museum, is Angelo's **David. Florence National Museum. Open daily, 10-4 ; 1 fr. ; Sundays, 11-2, free. This building, erected 1250, became in the 13th cent, the Hall of Jus- tice, and in the 17th a prison, the court being the place of execution. It was destroyed in 1858, restored in 1864 in its original style for ita present use. Ground Floor. — Weapons, armor, cannon, instruments of torture. First Floor. — Antique and mediaeval works of art. Vestibule.— Bell, cast by B. Pisano, 1228. Saloon 1. — Modern sculptures : r. Hercules and Hippolyta, Rossi ; David, Donatello ; Hercules and Centaur, Rossi: Victory, and Dying Adonis, M. Angelo ; St. John, Donatello ; Virtue and Vice, da Bo- logna ; Hercules and Cacus, Rossi ; ^Bacchus, M. Angelo ; *bas-re- liefs by della Robbia : and four by Donatello. Saloon 3. — Crystals, furniture ; Death of Christ, in wax, by Zumbo. Saloon 3. — Fayence and majolicas from Urbino and Gubbio. Saloon 4. — Formerly a chapel, afterward a prison in which the con^ demned passed their last night. *Frescos by Giotto. Window wall : Paradise, with portrait of Dante as a youth. See Giotto. Saloon «S. — Crystal, ivory, and wood carvings. Saloon ©. — Bronzes : *David, Donatello ; Mercury, da Perugia ; Juno, Apollo, da Bologna. Saloon *7. — Boy, Donatello ; **Mercury (see Mercury), da Bo- logna ; David, Verrocchio ; Cosmo I., Cellini; Abraham's Sacrifice; competitive works by Ghiberti and Brunelleschi. Second Floor. — Entrance from Saloon V. Saloon 1. — Frescos, by Castagno, 1450; Pieta, Ghirlandaio. Saloon 2. — *Terra-cottas : Head of John Bap., Donatello ; portrait of Cromwell ; furniture. Saloons 3 and 4L. — Tapestries, seals, etc. Saloon 5 (small). — St. John, Donatello. Salooji G. — Apollo, unfinished ; Christ, Virgin, and St. John, un- finished; Death of St. Andrew, unfinished; bust of Brutus; Mask of a Satyr, his first work, at 15 years — all by AT. Angelo. 440 THE GLYPTOTHEK- 7 8 9 . 10 6 5 ii 4 1 3 2 a 13 12 a — Vestibule. Glyptotliek, The, or Gallery OF Sculptures, Munich. Open M., W., F., 8-12 ; 2^1 ; in winter, 9-2 ; free. Each hall, both in specimens and decoration, is intended to represent a distinct period in the history of art. 1. Assyrian Hall. — Human- headed lions from the palace of Sardanapalus III. 2. Egyptian Hall. — Priests, gods, sphynxes, and obelisks. 3. Hall of the Incunabula. — Early Greek and Etruscan art. 1. JEginean Hall. — Two groups from the temple of Miner va, in iEgina ; 15 figures restored by Thorwaldsen. 5. Hall of Apollo. — 80, Bearded Bacchus; 81, Jupiter Am- nion ; 86, Minerva ; *59, Female Head ; *90, Apollo Citharcedus ; 92, Pallas ; 93, Diana ; 79, Ceres ; 86, Minerva. 6. Hall of Bacchus.— *95, Satyr, the " Barberini Faun ; " *96, Eirene and Plutus ; *99, Head of Satyr ; *102, Young Pan with horns, called u Winckelmann's Faun;" 104, Venus; 112, Ariadne; 114, Si- lenus and Bacchus. 7» Hall of the Children of Niobe. — *128, Medusa ; -181, Venus of Cnidos, after Praxiteles (see Venus) ; 138, Clio ; **142, Torso of a Niobe Child, an excellent Greek original. 8. Hall of the Gods. — Frescos, by Cornelius: 1, Orpheus beseech- ing Pluto to restore him Eurydice; 2, Nuptials of Neptune and Amphi- trite; 3, Olympus, Jupiter, Juno, Hercules, Hebe, and Ganymede. ©. Hall of the Trojans. — Frescos relating to the Trojan War. 1©. Hall of Heroes. — 149, Demosthenes ; 153, Alexander the Gt. ; 154, Hannibal ; 157, Pericles ; 166, Socrates ; *151, Mercury. 11. Hall of the Romans. — 178, Germanicus ; 183, Augustus ; 193, M. Aurelius; 199, Titus; 216, Cicero; 217, Hadrian; 272, Seneca; 209, Augustus. 13. Hall of Colored Sculptures.— *298, Ceres ; 304, Young girl. Centre : *295, Mosaic. 13. Hall of Modern Masters. — *318, Paris, Canova ; 326, Van Tromp, Rmtch ; 327, Barbarossa, Tieck; *336, Adonis, Thorwaldsen. THE HAGUE MUSEUM. 441 Hague, Royal Museum of The. Open daily, 10-4 ; free. Small gratuity expected. Twelve saloons, and about 300 pictures, of which the more important are upon the upper floor. Artist's name attached to the pictures. Catalogue in French, 50c. 3 8 9 10 2 4 7 11 1 5 6 12 First Floor. Second Floor. Room 1. Van der Weyden : *Descent from the Cross. Holbein : -Portrait. Room 2, *A Public Square. Room 3. Rubens : *Helen Fourment. TUborch : *The Repast. Room 4. Wm. the Silent ; his Wife ; and his Sons. Room 5. Portraits. The Hall. A Toilette ; *Pastoral. Room 6. Potter: *Cattle. Hoekgeest : **The Tomb of Wm. the Silent, in the Nieuwe Kerk, in the Groote Markt, Delft. Dow : **The Young Mother. liembrandt: **Presentation in the Temple. Room 7. Rembrandt ; **The Anatomical Lecture. See p. 830. *Flight into Eygpt. J. Both : *Italian Landscape. Room 8. Pastels. Room 9. Steen: *The Physician; *The Oyster Feast ; His Family. Hondecoeter : ^Poultry. P. Potter : **The Young Bull. See p. 320. Van der Heist : Portrait of P. Pot- ter. Berchem : *The Chase. Room lO. Titian : *Venus. Room 11. Unimportant. Room 13. Murillo : *Holy Family. 442 HAMPTON COURT, Hampton Court. Palace and Gardens open daily, 10-6, ex. F. ; Sun., 2-6; winter, 10-4 ; 12 mis. w. from London by S. W. rly. , from Waterloo sta. Built by Card. Wolsey and presented by him to Henry VIII. , and from his time to that of Geo. II. was an occasional royal residence ; Cromwell, the Stuarts, Win. III., Geo. I. and Geo. II., having made it their abode. Here, also, Ed. VI. was born ; and his mother, Jane Seymour, died ; and Henry VIII. married Catharine Parr; Queen Mary spent her honeymoon; one of Cromwell's daughters was married, and another died. The objects of interest are the Picture Gallery, Wolsey's Gothic Hall, the Gardens, the Walk by the Thames, the Maze, the Great Vine, and the Private Garden. For these latter, a small fee is required by the gardener. Picture Gallery. — The collection at Hampton Court numbers nearly 1,000 pictures, of which a very limited number will repay the visitor for an inspection. To compensate for this want of worth, it would appear that the happy device of affixing the names of the great masters lavishly and indiscriminately was invented to invite atten- tion. Miss Thompson, one of the best of English authorities, says : "In this gallery the names of the great masters are attached without warrant to numerous pictures. . . ." Baedeker also states, "Canvases of very little value are frequently assigned to the greatest masters, while, on the other hand, many genuine and important works are attributed to the wrong artist." In the following list those works only are noted which are believed to be genuine, unless otherwise indicated. The Second Presence Chamber. — Unknown : Diana and Actseon in a Landscape. Lotto : *Portrait. Titian : *Portrait. The Queen's Bedroom. — Correggio : *Holy Family. Francia: *Baptism of Christ. Drawing-Room. — West : **Death of General Wolf. Audience Chamber. — Palmedes: *Schevenmgen. Holbein: *Henry VIII. and Family. South Gallery — Unknown : *Portrait. Holbein : *Frobenius ; The Artist's Parents ; *Reskemeer. **Mantegna Gallery. — A series of pictures, called the Triumphal Procession of Cassar. The most valuable works of the whole collection. Painted by Mantegna in 1485. THE HERMITAGE. 443 Hermitage, The, St. Petersburg. One of the most extensive art collections in Europe. The building is 515 ft. in length and 375 in width, the lower floor being occupied by sculptures, the upper by pictures. Ground Floor. — On this floor are antique sculptures, a Scythian coll. , a Siberian and oriental coll. , a coll. of engravings, colL of draw- ings, and a gallery of vases. For visiting these vast collections a guide is essential to one who would not miss the masterpieces, or who would economize time and strength. The gems are: Room 3. No. 60, Antinous. 3. 152, Jupiter, one of the largest known ; 154, Venus Genetrix ; 175, Minerva. 4. 207, Sail ust, only one known. 5. Jasper Vase, 16 ft. in diameter. 8. 316, Faun. 9. 347, Venus ; **343, Venus of the Hermitage. Room 8. — The Kerteh Collection of Antiquities from Crimea. The Gallery of Vases comprises about 1,500 Greek and Etruscan vases, many of them of great beauty of design and execution. The Picture Gallery, Upper Floor. RoomS.— 18, Descent ($12,000), Piombo ; 59, 60, Oarofalo; 133, 135, Tintoretto; 180, Domenichino ; 181, 184, 185, 187, 191, Guido ; 254, St. Cath., Bold; 255, St. Cecelia, Bold. Room 3. — Six by Rubens, fourteen by van Byck. Room 1. — Fourteen by Murillo, three by Velasquez. Room £. — 13 A, 14, 15, da Vind. Room 5. — 37, Madonna ; *38, Madonna de la Maison d'Albe (see Madonnas, No. 46); 39, St. George and Dragon, all by Rap>hael. Room 6.— Holy Family, Raphael (#31,000). Room 7.-98, 99, Titian. Room 13.— **1051, the celebrated Farm Yard, by Paul Potter, ranking next his Young Bull. Room 13.— *792, Abraham's Sacrifice ; **797, Prodigal Son, both by Rembrandt, and 20 others also. Rooms 16, 17, 18.— Dutch School. Rooms 19, 3©. — Russian School, principally landscapes. *1594, 1595, Nymphs. Rooms 18 to 39.— French School. Gallery of Peter the Great, containing innumerable objects of the greatest interest as connected with " Peter Gross ; " books, tools, ma- chines, ornaments, jewels, presents, etc., etc. 444 LATERAN MUSEUM. Lut'-eran Museum, Mus. Gregorianum Lateranense, Rome. From the time of Constantine till the last part of the 14th cent, the popes had their residence in the palace adjoining the Ch. of St. Gio- vanni Laterano. Upon the removal of the papal seat to the Vatican, the Lateran Palace was devoted to various purposes until 1843, when it was converted into a museum. Open daily, 9-3, except Sundays and festivals ; free, except fee to the custode. Ring the bell on the r, in the passage. The Ground Floor, comprising 16 rooms, is devoted to sculpture. The First Floor contains the Christian Museum and a picture gallery. Articles not numbered. GROUND FLOOR. SCULPTURES. 14 15 l u 1 1 13 12 11 / 10 9 8 I i 7 . .1 1 Room 1. — 1. Abduction of Helen ; Two Pugilists, Dares and Entel- lus ; M. Aurelius ; Trajan; Nemesis; Mars and Rhea Silvia; Diana and Endymion. In centre : Mosaic from Baths of Caracalla. Room 2. — *Fragments from Forum of Trajan. Room O. — *^Esculapius ; *Autinous, from Palestrina. Room ^. — *Medea ; Germanic us ; *Mars ; Satyr of Praxiteles ; *Ti- berius. Cross the passage. ROOM 5. — Priapus ; *Urn with cock-fight ; Sacrifice of Mithras ; Stag ; Cow ; Female figure on a lynx, probably the original of Danne- ker's Ariadne. Room O. — Altar with Pan and 2 dancing women ; Colossal head ; Ti- berius ; Claudius ; Drusus ? ; Caligula, hi centre, two sleeping figures. Room 7. — *Dancing Satyr ; Marsyas ; Head of barbarian ; **Sopho- THE LOUVRE. 445 eles, found, 1838, at Terracina, the gem of the collection ; similar to the ^•EBchines of the Naples Mus. ( Compare casts in Room 14. ) Room 8. — 1. *Poet with masks ; Sarcophagus with hunt ; Meleager, slain by Apollo ; *Poseidon. Room 9. — Sarcophagus with masked Cupids ; * Altar with dances. Room 10. — Reliefs; Tomb, dead woman, mourners; Reliefs, Coli- seum. In centre : Cupid on a dolphin. Cross a passage. Room 11.— Sleeping Nymph; Bacchanalian sarcophagus; Bearded Bacchus ; Sarcophagus with Seasons ; Diana of Ephesus ; Sarcopha- gus with Adonis. In centre : Sarcophagus with Bacchanalian proces- Room 19. — *Sarcoph. with Orestes ; Sarcoph. with Cupids ; Head of Augustus ; *Boy with grapes ; Satyr ; *Sarcoph. with children of Niobe, found 1839. Room 13.— Relief of a Titan fighting; *C. C. Saturninus; Oval sarcoph. with funeral banquet ; *Candelabrum with Neptune, Pluto, and Persephone. Room 11. — Captive, unfinished ; Porphyry stat., unfinished; Casts of Sophocles and ^Eschines. Room 15. — In the cabinets: Glass, ivory, terra-cottas, from recent excavations at Ostia ; *Head of Nymph. Room 16. — Centre: *Recumbent Atthis, found at Ostia, 1869; traces of gilding on the hair. The floor above contains several rooms of unimportant pictures, and a **Mosaic of 28 pugilists, found, 1824, in the Baths of Caracalla. The IiOirvre (loo-vr). The Palace. — About the year 1200, Philip Augustus erected at this place a fortress with a tower, the site of which is marked by a white line in the pavement in the s. w. comer of the Court of the Louvre (1.). The eastern portion of the present building, called the old Louvre, was commenced by Francis I., 1541, and was first occupied by Cath- erine de Mcdicis and her son, Chas. IX. In 1572, the marriage of Henry 446 THE LOUVRE. IV. was here solemnized. Five days later Chas. IX. here gave the signal for the massacre of the Huguenots (St. Bartholomew's). Various additions and extensions were made to the palace by succes- sive sovereigns until its completion by Louis Napoleon. In 1871 the Palace of the Tuileries, and some portions of the Louvre, were destroyed by the Communists. The Louvre has since been fully restored, but it is asserted that it is the purpose of the government not to rebuild the Tuileries, but to remove the ruins and thus connect the grounds of the Louvre with the series of parks extending to the Champs Elyse'es. The buildings of the Louvre and the Tuileries are said to have covered 24 acres. »l Place du Carrousel 1 1 Cour ' 1 du Louvre 1 1, 1. The Old Louvre. 2, 2. The New Louvre. 3. Ruins of the Tuileries. Gallery of the Lonvre. The Sculptures are on the Ground Floor of the Old Louvre. The Paintings are on the First and Second Floors. All the collections of the Gallery are usually open every day except Monday. Ancient Sculptures. — Rooms 4-18. Open, 9-5. Winter and Sun- days, 10-4. 33?° The ancient sculptures are now being renumbered, many of them being at the present time without labels or numbers. Modern Sculptures. — Rooms 20-25. Open, 11-4, 5. Egyptian and Assyrian Rooms, 27-30. Open, 11-4, 5. Renaissance Rooms, 32-36. Open, 11-4, 5. Jewish Room, 37 : Christian Room, 38. Open, 11-4, 5. THE LOUVRE. GROUND FLOOR. 447 28 29 1 27 Cc 30 31 J L Cour du 34 35 36 26 L 25 , 1 ! 1 i 24 23 22 21 20 MM 19 Lvre. 16 15 — - 14 —17— 1 18 1 12 13 Entrance is made at Nos. 1 and 19. 1. Entrance beneath Pavilion Sully : door is not usually opened until 11 o'clock. 19. Entrance under the arch at Pavilion Denon : door is opened at 9 (or at the hour for the opening of th« gallery). 11 L 3 T3 53 I I I I I — A 5 6 7 8 9 10 1. Principal Entrance to the Galleries of Sculpture and Paint- ing. 3. Gallery Daru. — On either side are bronze statues, principally copies of the antiques, dating from the 16th and 17th centuries. 3. Principal Staircase leading to the Picture Gallery. 448 THE LOUVRE. 4. Salle de la Rotonde.— Centre: 144. Mars; 76. Apollo. 5. Salle de Mecene. — [This and the four following salles are known as the Suite of Anne of Austria, from having been occupied by her.] Bas-reliefs : Sacrifice, Achilles leaving Deidamia ; Priam begging for the Body of Hector ; Bust of Maecenas. 6. Salle de Mithras. — Beliefs: Fall of Phaeton ; Mithras. 7. Salle de la Paix. — Centre: Statue of Roma ; sides: eight col- umns of Charlemagne, from the Cath. of Aix-la-Chapelle. 8. Salle de Sep. Severe. — Rom. Emps. and Empresses, with names attached. ©. Salle des Antonins. — M. Aurelius; Trajan; Hadrian; Anto- ninus ; Lucius Verus. 10. Salle d'Auguste. — Centre: *Antinous; *Rom. Orator; at the end : * Augustus ; Julius Caesar ; Livia ; Vespasian ; Claudius ; Galba; Nero; Otho. 11. Salle de Phidias, or de l'Autel, containing works of the time of Phidias. — Centre : Altar of the Twelve Gods ; *Bas-reliefs from the Frieze of the Parthenon ; *Metope from the same. ISi-l 1 ?. — Suite of Jeanne de Bourbon, occupied by Chas. V. and his consort. Nile ; four Caryatides ; Diana a la Biche ; Centaur ; *Silenus and Bacchus ; c. *Diana de Gabii ; *Borghese Gladiator ; Venus Genetrix ; ** Apollo Sauroktonos ; *Polyhymnia ; *Minerva (Pallas) ; Venus ; Alex, the Great. 15. Salle de la Melpomene. — *Melpomene, colossal; Mosaic. **16. Salle de la Venus de Milo. — Seep. 394. 17. Salle, comprising the Salle de la Psyche, du Sarcophage, d'Hercule, de la Me dee, and de Pan. Venus ; Faun ; Sarcophagus ; Altars ; Hercules ; Venus ; Juno ; Her- cules and Telephus ; Hermaphrodite ; Three Graces ; c. Minerva. 18. Salle des Cariatides, so named from the caryatides on either side of the door at the farther end, the work of Jean Goujon, who was shot on the night of St. Bartholomew's Massacre, while at work here. In this salon Cath. de Medicis, Henry IH., Chas. IX., and Henry IV. held court. Here, also, Henry IV. celebrated his nuptials, and here his body lay in state after his assassination. Hermaphrodite ; Socrates ; Diogenes ; *Demosthenes ; ^Victory of Samothracia ; Jupiter ; Greek Philosopher ; Demosthenes ; *Venus crouching ; *Borghese Vase ; * Jupiter ; Mercury ; Boy with Goose ; Bacchus ; Pluto ; Vase ; Bacchus ; Crouching Venus ; Discobolus ; Bacchus ; Vase ; Alex, the Gt. ; Crouching Venus ; end, four Caryat- ides of Goujon. 19. Entrance, beneath Pavilion Sully ; stairs to the Galleries of Sculpture and Painting. THE LOUVRE. 449 Modern Sculptures.— Rooms 20 to 25. Daily, ex. M., 11-4. Works of living artists not admitted. Ruxtiel: *Zephyr and Psyche. Canova: *Cupid and Psyche; *Cupid and Psyche with Butterfly. 37, 38, SO. Musee Assyrian.— Collection made by M. Botta at Nineveh. The winged bulls are among the largest and most ancient of known sculptures. Also antiquities from Asia Minor. 30. The Egyptian Museum. — One of the most valuable Egyptian collections in Europe. Comprises sphinxes, sarcophagi, statues, and re- liefs from the 16th cent. B.C. downward. Beyond this saloon is another, on the left in the stairway hall, called the Salle oVApis, containing a figure of the Sacred Bull, Apis. 31. Hall and Stairway. — Ascending the stairs, on the left, are five rooms of smaller Egyptian antiquities, with labels attached. 33. Salle des Platres.— Chas. V. ; Maximilian of Austria ; Mary of Burgundy ; Ch. the Bold ; Cast of Chimney from Bruges. 33. Salle des Anguier. — Centre: Mon. to Henry of Longueville ; Four Slaves from the group of Henry IV. on Pont Neuf ; Mercury, by J. da Bologna ; Louis XIII. and Anne. 3-4. Salle de Goujon. — Diana; Three Graces; Four Cardinal Virtues (wood) ; Busts of Ch. IX. and Henry III 35. Salle de Douai. — M. Angelo's Two Slaves (unfinished), in- tended for the tomb of Pope Julius II. ; Nymph of Fontainebleau, high relief, Cellini ; Mercury and Psyche, Vries. 36. Salle de Colombe. — *Philippe de Comines and Wife kneeling on a sarcophagus ; two stone figures reclining. 37. Salle Judaique. — Sarcophagus and fragments from the Tombs of the Kings, near Jerusalem. 38. Musee Chretien. — Sarcophagi and reliefs, principally from Rome and the south of France. Picture Gallery. First Floor. — Paintings and Smaller Antiquities. All the collections on this floor are usually open to the public daily, ex. M. ; April 1 to Sept. 30, 9-5 ; Oct. 1 to April 1, 10-4; Sun., 10-4. Paintings, Rooms 1 to 14. Bronzes, Room 15. Drawings and Designs, 16. Mediaeval and Renaissance, Room 17. Lenoir Collection, Rooms 33 to 35. Egyptian Antiquities, 36. Greek Antiquities, Room 37. Musee Campana, Room 38. The. principal entrance is from the middle of the w. side, at Pavilion Denon (beneath 0). Entrance may also be made on the e. side at Pa- vilion Sully (at 15) ; also from rooms No. 28 and 31, ground floor. Entering at Pavilion Denon, we pass to the 1. through Galerie Daru 29 450 THE LOUVRE. (beneath 5), which has on either hand numerous bronzes, chiefly copio^ of antiques, dating from the 16th to the 18th century. Ascending the principal staircase, to the right is Room 1. Salle des Fresques, with frescos transferred to canvas. 236. Nativity; *238. Adoration; 237. Christ blessing, all by Luini. **2. Salon Carre, containing the gems of the collection. Ceiling in white and gold ; on the frieze, names of celebrated artists. Emp. Charles V. at the corner of Raphael : **Madonna of the Cra- dle. See p. 221. St. Michael, small ; St. George and the Drag- on, small; *Great Holy Family of Francis I. See p. 221. **La Belle Jardiniere. See p. 220. Raphael painted three, one of the replicas being now at Vienna. *St. Michael and the Dragon, painted, 1518, for Francis I. Rembrandt : ^Portrait. Terburg : ^"Soldier and Maiden. Metzxi : Officer addressing a Lady. Dow : **rhe Dropsical Woman. His masterpiece, of unusual size for Dow, but still retains his marvellous finish. Murillo : **Immaeulate Concep- tion. Purchased, 1852, for #120,- 000. *Holy Family. Titian: ** l La Maitresse du Ti- tien ; " **Entombment. Bordone : Portrait. Ghirlandaio : *The Visitation. Da Vinci : **Mona Lisa, wife of Francis del Glocondo of Florence. Seep. 250. **Holy Family. Seep. 399. F. Bol : ^Portrait. P. Veronese : *House of Simon ; **Marriage at Cana (1563). Por- trait of Francis I. and his queen, Eleanor, court jester behind her — Mary of Eng. in yellow robe — the table with the golden fleece, Sultan Soliman near the negro prince. The musicians have the portraits of the painters : Titian with the bass-viol ; Bassano with flute ; P.Veronese, in white, with viol ; Tintoretto behind him with viol. *Jupiter Hurling Thunderbolts, formerly in the Doges' Palace. An. Carracci : Madonna ; Pieta. N. Poussin : **Diogenes casting away his Cup ; Himself (at 56). Solario : *Madonna with the green cushion. Champ aigne: Dead Christ. Memling: *Mary Magdalen; *John Baptist. Holbein, Yr. : *Erasmus. Del Sarto : *Holy Family ; Anne of Cleves, painted for Henry Vm. of England. Correggio : **Betrothal of St. Catherine ; **Antiope and Jupi- ter disguised as a Satyr, for- merly owned by Charles I. of England. Giorgione : *Rustic Feast. Van Dyck : *Ch. I. of England. Perugino : *Holy Family, and Sts. Rose and Catherine. Herrera : *St. Basil preaching. A. van Ostade: *The Schoolmaster. 3. Grand Gallery, containing about 1,900 pictures, in five sec- tions, separated by arches. THE LOUVRE. 451 A. First Section, Italian Schools. B. Second Section, Italian and Spanish Schools. C Third Section, German and Flemish Schools. I>. Fourth Section, German and Flemish Schools. E. Fifth Section, German and Flemish Schools. Entering from Salon Carre. Titian (?) : *Holy Family. A. First Section. Bonifazio : *Holy Family. Albertinelli : ^Madonna. Raphael : *Portraits. Romano : ^Triumph of Titus. Titian : *L'homme au gant. Solario : *Head of J. Baptist. Titian : **Jupiter and Antiope. Romano : Venus and Vulcan. Lor. Lotto : *St. Jerome. Fra Bartolommeo : Virgin. Del Sarto : Charity. Lotto : *Holy Family. Tintoretto : ^Himself. Titian : *Disciples at Emmaus. Talma, Vec. : * Adoration. Da Vinci : *Holy Family. Tintoretto : *Paradise. Veronese : *Disciples at Emmaus B. An. Carracci : *Madonna. Guido : *Peter receiving the Keys. Lauri : *St. Francis. Guido: *St. Sebastian; *Mary Magdalen. Guido: ^Hercules ; *Holy Family; *Christ ; ^Magdalen ; *Annun- ciation. L. Carracci : *Madonna. Canalelto ; *Venice. Guercino : *Circe. Pannini : *St. Peter's, Rome. S. Rosa : *Battle. Murillo : *The Angel's Kitchen. C. Third Matsys : *Christ blessing. Holbein : ^Portrait ; ^Portrait ; *Nic. Kratzer, the finest picture Titian : **Crowned with Thorns. Veronese : *St. Mark and the Virt- ues. Raphael : *Count Castiglione. Raphael : *St. Margaret. Bartolommeo : * Annunciation. D. Dossi : *St. Jerome. Raphael : *Himself. Luini : *Holy Family. Titian : *Madonna del Coniglio. Titian : *Francis I. Da Vinci : ^Portrait. Bonifazio : ^Raising of Lazarus. Veronese : *Esther before Ahasu- erus. Titian **Holy Family; *St. Jerome. Alle- gory; " Second Section. Domenichino ; *St. Cecilia. Rib era : * Adoration. Angeli : *The Player. Zurbaran : *Monks. Domenichino : Punishment of Adam and Eve. L. Carracci : St. Hyacinth. Velasquez : *Philip IV. of Spain ; ^Daughter of Philip IV. ; Por- traits. Goya : F. Guillemardet. Velasquez : *Portrait. Murillo : **Birth of Virgin ; *Beg' gar Boy; ^Immaculate Concep- tion. Section. by Holbein in the gallery ,• *Abp. Warham. Cuyp ^Marine View. 452 THE LOUVRE. Van Dyck : *Duke of itichmond. Ooyen : *River Scene. Teniers, Fid. : *The Chase. [Rubens' Series of Marie de Me- dicis.] See below. Rembrandt : *Himself. Rubens: *Rubens. J. Ruisdael : *Landscape. Rubens : *Triumph of Truth ; *Flight of Lot ; Portrait. Rembrandt : *Himself. A. van Ostade : *His Family. Van Dyck : ^Children of Chas. I. G. Bow : *Dentist. Le Ducq : Genre. De Hooghe ; *Dutch Interior. I. van Ostade : *Landscape and Figures. A. van de Velde : *Scheveningen. Van der Heist : *Shooting-match. G. Dow : Village Grocer. Rembrandt : Portrait. A. van Ostade : *A Tippler. Flinch : Portrait. Rembrandt : *Emmaus. I. van Ostade : ^Travellers. Rembrandt: Tobias and the Angel. Hobbema : *Landscape. Teniers, Tr. : *Genre ; *St. Peter. Du Jardin : A Grove. Brouioer : *Genre. Rubens : Tournament. Du Jardin : *Field. Van Dyck : Himself. A. van der Neer : *Dutch Village. Terburg : The Concert. De Heem : Fruits, etc. Ferd. Bol : Portrait. A. van de Velde : *Landscape. De Hooghe : *Genre. The Rubens Series of Marie de Medicis comprises 23 large pictures illustrative of her life and reign. Painted, 1621-25, by order of Marie de Medicis, for the decoration of the Luxembourg Palace, after her reconciliation with Louis XIH. , her son. " They do not rank among Kubens' finest works." — Murray. The series commences with No. 456, on the left wall, and continues along the left wall to No. 445 ; thence it crosses to the opposite wall and returns along the right wall toward the beginning, terminating with the portrait of her father, No. 455, on the right wall, opposite the mother — the first picture of the series. 456. Johanna of Austria, Grand Duchess of Tuscany, the mother of Marie. 434. The Fates spin the thread of her life. 435. Birth of Marie : Lucinia, the goddess of births, with the torch ; Florentina holds the infant ; Arno, the river-god. 436. Her education by Minerva, Apollo, and the Graces. 437. Her portrait shown to Henry IV. by Amour ; Jupiter, Juno, the King, and France present. 438. Her marriage (by proxy) in the Cathedra of Florence ; the Gd. Duke Ferdinand acting in place of Henry IV. (1600). 439. She lands at Marseilles ; Neptune, tritons, and naiads. 440. The marriage at Lyons. The city of Lyons seated in a cai drawn by two lions. Henry and Marie represented as Jupiter and Juno. THE LOUVRE. 453 441. Birth of Louis XIII. at Fontainebleau ; Justice confidet the infant to the genius of Health ; Fortune and Abundance attending. 442. Henry 1 V. departing for war confides the government to Marie 443. Coronation of Marie at St. Denis (1610). Her son and daughu ter at the r. and 1. ; the King in the background. 444. Apotheosis of Henry IV. Borne by Time, he is received in Olym- pus by Jupiter. The Queen, enthroned, is draped in mourning, and at- tended by Minerva and Prudence. France presents her the government. 445. The Government of the Queen. Mars, Apollo, and Minerva, under the guidance of Jupiter and Juno, vanquish Discord, Envy, and Violence. [Crossing to the r. wall and returning.] 446. Civil War. The Queen, mounted upon her horse, receives the submission of her enemies. 447. France (r.) and Spain (1.) conclude an alliance. 448. Felicity of her reign. The Queen holds the sceptre and balance ; Abundance and Prosperity award medals ; at her side are Minerva and Amour ; beneath her feet, Ignorance, Evil, and Envy. 449. The Ship of State committed to Louis XIH. on his majority ; Strength, Religion, Fidelity, and Justice attending. 450. Flight of the Queen from Blois, having escaped through a window. 451. Reconciliation having been effected between Marie and her son, Louis XIII. , Mercury comes as the bearer of peace. 452. Marie conducted to the Temple of Peace by Mercury and Inno- cence, notwithstanding the efforts of Fraud, Fury, and Envy. 453. Marie and Louis XIII. in Olympus, symbolic of the sincerity of their reconciliation ; below is Rebellion vanquished. 454. Truth is borne by Time into the presence of the Queen and her son, in the heavens ; Louis gives a chaplet of peace to his mother. 457. Portrait of Marie. 455. Francis, Gd. Duke of Tuscany, father of Marie (farther on, op« posite the beginning of the series). I>. Fourth Section. Metsu : Market, Amsterdam. Potter: *Prairie. Frans Hals : ^Portrait. Tenders, Yr. : *Fete. Hobbema : *The Mill. Terburg : *Music Lesson. J. Huisdael : *Forest. Rembrandt : Himself. Van Dyck : Portraits. A. van Ostade : *Fish Market. A. Ctcyp : *Horsemen. Be Heem : Fruit, etc. Cuyp : **Landscape. J. Both : *Landscape. A. van Ostade: *Cbttage. Van Dyck : *Horseman. A. van de Velde : *Frozen Canal. Rubens : *Helen Fourment. Ooyen : *Canal, Holland. Berchem : *Landscape and Ani,, mals. Van Dyck : ^Isabella of Spain. 454 THE LOUVRE. E. Fifth Van Dyck : *Madonna. Rubens : * Annual Fair. Rembrandt : ^Meditation. Rubens : *Landscape. Wynants : "^Landscape. Netscher : *Music Lesson. Rembrandt : ^Philosophers. Rooms 4L to 7 Room 4 A. Early Paintings. Room 4L B. 22 pictures by & le Sueur. Room 4L C Mythological and Miscellaneous, by K le Sueur. Room . Fifteen Seaports of France, Jos. Vernet. Room 5. Oericault : *Lime-kiln. Greuze: **Young Girl. Vien: * Archbishops. Chardin : *Grace. David : *Mme. Re'camier. Greuze: *Himself. David : *Oath of the Horatii. Section. Van Goyen : *River Scene. Van Steen : Fete. J. Ruisdael : *A Tempest. Van Dyck : *Charles Louis. Rembrandt : *The Samaritan. Goyen : *River in Holland. Berchem : "^Landscape. French School. Greuze : **The Broken Pitches Tocque : *Marie Leczinska. Mine, le Brun : **Herself and Daughter. Roslin : *Decorating the Statue of Love. Greuze : **The Village Bride. Lagrenee : *Melancholy. Robert : *Return from the Pil- grimage. Robert : *Landscape ; *Harvest in the Campagna. Chardin : *The Housekeeper. Boucher : Vulcan and Venus. Desportes : Still-life. Lancret : ^Harvest. Room 6. Salon Denon — A lofty gallery containing four large paint- ings by le Brun, which, from the peculiar light of the room, can be but imperfectly seen. Room 7. French Works of the 17th century. Claude : *A Seaport ; *Roman Forum ; **Seaport ; *Seaports. JV. Poussin : *Shepherds ; * Judgment of Solomon ; *Deluge. Le Sueur : *Christ bearing the Cross. Room 8. Galerie des Sept Metres — Farly Italian. Cimabue : **Madonna. Mantegna : *Parnassus. Gozzoli : *St. Thomas Aquinas. Z. di Credi : *Madonna. Montagna : * Angelic Musicians. Mantegna : *Wisdom conquers Vice; *Madonna; *Calvary. Fra Angelico : **Coronation. Beltraffio : *" Casio Madonna." Borgognone : *Presentation. Fra Lippi : *Madonna. Francia : *Crucifixion. Cima: Madonna. Dono : Battle. Giotto: **St. Francis. THE LOUVRE. 455 10. Salle Ronpe, a vestibule connecting the galleries of the Old Louvre with those of the New. The iron door to the r., time of Henry II. , leads to 9. Galerie d'Apollon, of the time of Henry IV., regarded as one of the finest halls existing. Named from the ceiling painting, Apollo's Conquest of Python, by Delacroix. In the cases are various articles wrought of crystals and precious stones; also casket of Queen Anne of Austria; crown, sword, and sceptre of Charlemagne ; signet ring of Louis IX. ; shield and helmet of Charles IX. ; breviary of Catherine de Me'dicis ; mirror of Marie de Medicis, etc. 11. Salle des Bijoux, containing antiquities of gold, silver, and precious stones. **13. Salle des Sept Cheminees — French School. "It was here Henry IV. died." — Galignani. Entering from Salle des Bijoux, or from the La Caze Collection ; to the right around the room : Portrait of M. Isabey, the painter, and bis daughter, Gerard. Jean Paisiello, the composer, Mme. Ic Brun. Pyrrhus and Andromache. Pyrrhus seated extends his sceptre over Andromache kneeling. To the left, Heimione, jealous of her rival, Guerin. (Purchased, 182:3, for #2,000.) The Assumption of the Virgin, surrounded by angels, Prud'hon. (Purchased, 1842, for #2,400.) **Burial of Atala by Chactas and the monk Aubry, Girodet. ^Bonaparte in the Plague Hospital at Jaffa. Generals Berthier and Bessieres ; Daure and Desgenette, Gros. (Purchased, 1804, for #3,500. ) Psyche receives the First Kiss of Love, Gerard. Phaedra Accusing Hippolytus before Theseus, Guerin. Mme. Raymond, comedienne, Mme. le Brun. David, the painter, in his youth, David. •"Mme. le Brun and Daughter, Mine, le Brun. (This painting and the portrait of Mr. Robert were sold, 1787, for $3,500.) Wounded Cuirassier, Gericault. Neoptolemus and Ulysses removing from Philoctetes the Arrows of Hercules, Fabre. (Purchased, 1826, for #1,000.) **Wreck of the Medusa, Gericault. The frigate Medusa having been wrecked, a raft was constructed upon which 149 persons floated in mid- ocean for twelve days. On the twelfth day a ship appears in the hori- zon. Education of Achilles by the Centaur Chiron, Regnault. Pope Pius VII. , David. Epsom Races, Gericault. M. Bochet, Ingres. *Cavalry Charge, Gericault. 456 MADRID, THE PRADO. *Marius in Prison ; Marius, seated, discovers a soldier approaching to assassinate him, Drouais. **Return of the Roman Exile, Marcns Sextns. He is seated beside the dead body of his wife, bus daughter clasping his knees, Guerin. A Soldier, Gericault. *Clytemnestra ; Agamemnon Asleep ; Clytemnestra, with a dagger, hesitates, while iEgisthus urges her forward, Guerin. Mme. Jarre, Prud'hon. Baron Denon, Prud'hon. Mme. Pecoul, David. * Justice and Vengeance Pursuing Crime, Prud'hon. Gros : **Napoleon on the Battle-field of Eylau. At the right, Soult, Davoust, and Murat ; on the left, Berthier, Bessieres, and Caulaincourt. ($3,200.) Girodet : **Endymion. Amour raises the foliage to admit the moon- light ; *The Deluge. David : The Sabines. At the right, Romulus, who throws his jave- lin at Tatius ; Hersilia, the wife of Romulus, rushes between the com- batants. Theatric and Statuesque. Leonidas at Thermopjdse. 13. Salle Henri II. , with pictures by Prud'hon, van Loo, Coypel. 14. Collection la. Caze. Jan Steen : Repast. I Wattean : *Figures. A. van Ostade : A Reader. I Denner : Old Woman. Ribera : Bandy-legged Man. Frans Hals : *Portrait. Rembrandt : ^Portrait ; * After i Bronwer : The Smoker. the Bath. Larqilliere : *Himself and Wife. Watteau : *Rustic Group. Le Nain : *Peasants. Hondecoetcr : *White Turkey. Teniers, Yr. : *The Smoker. A. van Ostade : The News. ! L van Ostade : ^Winter Scene. Hals : *Head of a Girl. I 15. Saloon of Ancient Bronzes. — Statuettes, busts, vases, lamps, bracelets, caskets, implements. Room 1©. Collection of Drawings, in 14 sections, and number- ing nearly 36,000 drawings and sketches. Room l 1 ?. — Smaller Mediaeval and Renaissance Antiquities. Rooms 18 and 19. — Early Flemish Tapestries. Rooms SO and 21. — Vacant. Collection Lenoir. — Rooms 23 to 25. Room 22. — Statue of Henry IV. when a lad — silver; several cases of toilet articles, caskets, etc. , of Marie Antoinette. Room 23. — Portrait of Henry II. ; silver statue of Abundance, pre- sented to Paris by Nap. I. ; stained glass, 16th and 17th cents. Room 21. — " With alcoves in which Henry IV. breathed his last," Baedeker. Portraits of Henry IV. and Marie de Medicis, his queen. Room 25. Vestibule. — Portraits of Louis XIIL and his queen ; four large vases of Sevres porcelain. Room 2©. — Egyptian Room, in five sections. Room 2V m — Greek Antiquities, in four sections. Room 28. — Muse'e Campana, in nine sections. Madrid, The Frado. The Prado, or the Royal Museum, at Madrid, is regarded as the richest collection of pictures now existing. It numbers between two and three thousand, and includes an extraordinary number of works by NATIONAL GALLERY. 457 the great masters. It has no less than 62 by Velasquez, 64 by Rubens, 60 by Teniers, 58 by Ribera, 46 by Murillo, 43 by Titian, 35 by the Bassanos, 34 by Tintoretto, 25 by Veronese, 14 by Zurbaran, and 10 by Raphael, and numbers by van Dyck, Claude, Pyt, Goya, Guido, del Sarto, and other masters. For such a vast collection the visitor must needs have a detailed catalogue and ample time. National Gallery, London. Open M., Tu., W., and Sat., 10-6 ; Nov. to Apr. 10-4 or 5, free ; Th. and Fri. 11-4 or 5, sixpence. About 1,200 pictures. T xxir [XI bL, A r~i r~i — i r I II * I "III* IV rer- Ixy t fxiv'-xm • • • • ■* *■ ■ • •••••• ENTRANCE HALL North Vestibule — Earliest Italian Schools. I — Tuscan Schools. II. — Sienese School, etc. ILL — Tuscan Schools. IV. — Early Tuscan Schools. V. — Ferrarese and Bolognese Schools. VI. — Umbrian Schools, etc. VII. — Venetian and Breeician Schools. VIII.— Early Venetian School. IX. — Lombard Schools. X. — Dutch and Flemish Schools. XL— Peel Collection. XII. — Early Flemish Schools, etc. XIII. — Late Italian Schools. XIV.— French School. XV. — Spanish School. XVI.— Old British School. XV1L— Old British School. XVIII.— British School. XIX.— Turner Gallery. XX. — Modern British School. XXL— Modern British School. XXIL— Turner Gallery. Octagonal Hall — Miscellaneous. East Vestibule — Old British School. West Vestibule— Old British School. Room 1. Veneziano : Madonna and Child. M. Angelo : ^Entombment. Pollaiuolo : Virgin and Child. Fil. Lippi : * Adoration of Magi ; Virgin, Child, and Sts. Bel Sarto : *Holy Family. Da Vinci : ^Virgin, Child, and St. John. M. Angelo : *Madonna, Child, and St. John. Del Sarto : Himself. Carucci : Joseph and Kindred. 458 NATIONAL GALLERY. Room 2. Fra Angel ico : *Christand Angels. Duccio : Madonna and Child. Room 3. JJccello : Battle of Sant' Egidio, 1416. Fil. Lippi : Adoration of Magi. Botticelli : Nativity. Fra Lippi : St. John and Saints. Room 41. Orcagna : Nativity ; Adoration of the Kings ; Resurrection ; Coro- nation of Virgin. Cimabue : *Madonna and Child. &2)inello: St. John Baptist and Sts. Room 5. Garofalo : Vision of St. Augus- tine ; Holy Family ; Madonna and Child. Francia : **Pieta ; Madonna and Sts. Costa : Madonna and Child. Room 6. Pinturicchio : *Marriage of Gri- selda ; Divorce of Griselda ; Re- instatement of Griselda. San Severino : Marriage of St. Cath. Copy of Raphael : *Madonna. Perugina : *Virgin and Child and Sts. Lo Spagna : Christ in the Garden. Raphael: * Vision of a Knight; *" Madonna degli Ansidei;" *Madonna, Child, and St. John ; St. Catherine ; * Julius II. Lo Spagna (?) : Virgin in Glory. Room 7. Moretto : St. Bernardino of Siena. Libri: Madonna, Child, and St. Anne. Tintoretto : St. George and the Dragon. Titian : *Venus and Adonis ; Holy Family. Piornbo : **Resurrection of Laza- rus. Titian : *Madonnaand Sts.; *Bac- chus and Ariadne ; Portrait of Ariosto; * u Noli me tangere." Moroni : A Tailor. Gio. Bellini : Madonna and Child; Doge Leonardo Loredano ; *St. Peter Martyr. Cinia : Virgin and Child. Gio. Bellini : Christ in the Garden; *Death of St. Peter Martyr. Moretto : *Italian Nobleman. Veronese : **Family of Darius at the Feet of Alexander. Garofalo : Madonna and Child. Savoldo : *At the Sepulchre. Romanlno : The Nativity. Room 8. And. Mantegna : *V i r g i n and Child. Crivelli : Madonna and Child. Room 9. Luini : Christ and the Doctors. Correggio : *" Ecce Homo ; " Holy Family. Parmigiano: Vision of St. Jerome. Correggio : *Gethsemane ; Mer- cury, Cupid, and Venus. Solario : Venetian Senator ; Gio. Christophoro Longono. Beltraffio : Madonna and Child. NATIONAL GALLERY. 459 Room lO. Bakliuisen : Dutch Shipping. Marcellis : Study of Foliage and Birds. Cuyp : *Bvening Landscape. Allori: Portrait. Rembrandt : * Himself ; Portrait ; Jewish Rabbi ; The Adulteress. Van Dyck : Portrait. Rubens : * Judgment of Paris ; Chateau of Stein. Rembrandt : ^Adoration of the Shepherds. Maas : The Idle Servant. De Tlooghe : Courtyard of Dutch House. Hobbema : *Landscape. Van Dyck: The Draught of Fishes. Ruisdael : Landscape. Teniers, Yr. : Peasant Woman. Terburg : Peace of Minister. Rembrandt : *Portrait. Rubens : *Triumph of Caesar. De Keyser : Merchant and Clerk. Rembrandt : Portrait ; A Bather. Cuyp : Portrait. Room 11. Cuyp : Ruined Castle. I. van Ostade : *Skating Scene. Wouverman : *Halt of Officers. Cuyp : *Evening Landscape. A. van de Velde : *Cottage. 1. van Ostade : Village Scene. Rembrandt : Portrait. Dow : Poulterers. Wouverman : *Stable Interior. W. van de Velde, Yr. : Ship- ping. Hobbema : *Water-mills. W. van de Velde, Yr. : Scheven- ingen ; Shipping in a Calm. Netscher : *Maternal Instruction. Metsu : *The Duet. De Hooghe: Court of Dutch House. Hobbema : *Forest Scene. Terburg: *Guitar Lesson. Metsu : Music Lesson. A. van de Velde : *Skating Scene. Jan Steen : Music Teacher. P. Potter : Landscape with Cat- tle. A. van de Velde : The Ford. De Hooghe : *Dutch Interior. De Koninck : Landscape. Netscher : "^Blowing Bubbles. Coques : Family Group. A. van Ostade : *The Alchemist. Hobbema : **Middelharnis, Hol- land. Room 12. Memling : * Virgin and Child. J. van Eyck : *Portrait ; Flemish Merchant and Wife. R. van der Weyden, Eld. : De- position. Hobbema : ^Landscape. Cuyp : **Cattle and Figures. Metsu : Drowsy Landlady. Wouverman : A Battle. W. van de Velde : Dutch Ships of War Saluting. Ruisdael : Landscape. Mabuse : Portrait. Room 13. R. Mantovano : Capture of Car- thagena. Domenichino : Tobias and An- gel. S. Rosa : Landscape ; Landscape. Sassoferrato: *Madonnain Prayer. Guido Reni : Magdalen. 460 NATIONAL GALLERY. A. Carracci: Landscape. R. Mantovano •• Sabine Women. Room 14. Claude : *Classical Landscape. N. Poussin : Bacchanalian Dance. Claude : *Landscape. Oreuze : Head of a Girl ; Head ; Girl. Claude : Landscape — Isaac and Rebecca. Room 15. Velasquez : *Philip IV. ; Philip IV. Hunting; Philip IV. ; Dead Warrior. Murillo : **St. John and the Lamb; *Spanish Peasant Boy; Holy Family. Zurbaran : **Franciscan Monk. Rotunda. Italian School : A Cardinal. Room 16. Old British School. Reynolds : *Infant Samuel ; *The Age of Innocence ; *The Graces. Room 17. Old British School. Hogarth : Himself ; *Marriage " a la Mode." A series of six pict- ures of high life. 113. Marriage Contract ; 114. After Marriage ; 115. Visit to the Quack Doctor ; 116. The Countess's Dressing- Room ; 117. Duel and Death of the Earl ; 118. Death of the Countess. Painted 1744. Room 18. British School. Gainsborough : Musidora Bathing. Lawrence: Portrait of J. J. An- gerstein. Room 19. Early Turner. Room 20. Modern British School. Landseer : Highland Dogs; **Spaniels ; High Life and Low Life ; *Dignity and Impudence ; A Member of the Humane Soc. Herring : *The Frugal Meal. Stanfield : The Lake of Como. Lance : Fruit. Ward : The Downfall of Claren- don. C. Landseer : *Clarissa Harlowe in the Spunging-house. Webster: *The Truant; *The School. Leslie : Uncle Toby and Widow Wadman. Frith : Derby Day. Wilkie : The Blind Fiddler. Horsley : *The Pride of the Vil- lage. Wilkie : Village Festival. Fraser : Highland Cottage. Room 31. Modern British. Ward : South Sea Bubble ; *Dr. Jobnsou in the Anteroom of Lord Chesterfield. Landseer : ^Defeat of Comus ; *The Sleeping Bloodhound ; **Shoeing the Bay Mare ; Alex- ander and Diogenes; Maid and Magpie. Bonheur : **The Horse Fair. Maclise : *Scene in Hamlet. NATIONAL MUSEUM, NAPLES. 461 Linton : The Temples of Paestum. Callcott : Dutch Peasants. JEJastlake : Byron's Dream. Wilkie : *Knox Preaching before the Lords of the Congregation. Ward : * James II. receiving News of the Landing of the Prince of Orange. Lawrence: Mrs. Siddons. Room 22. Turner Gallery. Turner's pictures should be viewed at a distance. Turner: **516. Childe Harold's Pilgrimage ; 497. Crossing the Brook; *512. Caligula's Palace ; *520. Apollo and Daphne ; *536. Marine; *54S. Queen Mab's Grotto. National Museum, or Museo Nazionale, Naples. Open daily, 10-3, except holidays, 1 fr. ; Sun. free. New and excel- lent descriptive catalogue, 5 frs. Gratuities forbidden. Basement. — Christian Inscriptions and Egyptian Collection. Ground Floor. — Frescos, mosaics, reliefs, and 6tatues, principally from Herculaneum and Pompeii. Entresol. — Cumsean coll. , Mediaeval and Indian colL , glass and terra- cotta from Herculaneum and Pompeii. Upper Floor. — Gold, silver, cameos, coins, medals, vases, the Sant- angelo coll., and picture gallery. Room 5. The Vestibule.— Sixteen antique columns of green marble : r., Alexander Sever us ; four Roman Consuls ; Flora, head restored ; 1., Roma ; four Roman Consuls ; Urania, from Theatre of Pompey, Rome. Rooms w L J I L J ^ I | 11 10 23 Cabinets [Pictures recently renumbered.] H Saloon of the Founders. John William, Elector Palatine, founder of the Dusseldorf Gallery; Maximianus Emanuel, Elector of Bavaria, founder of the Gallery of Sohleissheim ; Maximianus I. , Elec. of Bav., founder of his Gallery in Munich ; Ch. Theodore, Elector Pal., 468 PINAKOTHEK, OLD. founder of the Mannheim Gallery ; Max. Joseph, Elec. Bav., elected King 1806, decreed the erection of the Pinakothek; Lewis I., King of Bav. , built the Pinakothek, and greatly enlarged the Collection. 1 and 2. Ante-Rooms. — Early German. 3. Saloon. Durer : **SS. John and Peter. Wohlgemuth : **Crucifixion. Durer : **SS. Paul and Mark. 4L. Saloon. Weenix : *Dead Game. Bol : *Flinck, the Artist. Rembrandt : **Sacrifice of Isaac ; ^Sacrifice of Isaac. 5. Saloon. Snyders : * Young Lions. Teniers, Tr. : *Florentine Fair. Snyders: *Kitchen. 6. Saloon. (Rubens Room.) *Lion Hunt. *Fall of the Condemned. **Last Judgment. *Helen Fourment. ^Children with Flowers. *Silenus and Bacchantes. *Helen Fourment and Son. ^Religion Conquers Vice. "Diana and Nymphs. *Rubens and Wife as Shepherd and Maiden. 7. Saloon. Velasquez : *Queen Henrietta. VanDyck: *May or of Antwerp. 8. Saloon. Ghirlandaio : *Mary and Saints. Palmezzano : * Virgin Enthroned. Del Sarto : *Holy Family. Raphael: *Portrait; **Madonna Canigiani. Seep. 219. 9. Saloon. Titian: *Emperor Ch. V. ; *Por- trait. IlMbretto: *Portrait. 10. Saloon. Procaccini: *H. Family. Guido : *Ascension of the Virgin. 11. Saloon. Zurbaran: *St. Francis. M u rillo : *Woman and Boy ; **Street Boys; **St. Thomas Healing; "^Spanish Girls ; **Spanish Boys; **Spanish Boys. Giordano : *Poultry Woman. 13. Saloon. Mengs : *Capuchin Monks ; *Him- self. A. Kauffman: *Herself. Cabinets. 3. Mending : *The Seven Joys of the Virgin. A. Durer: *Himself. 6. Cuyp : * Horseman. Goyen: *Landscape. 7. Metsu: ^Festival of the Bean King. Du Jardin : *Peasant Scene. THE PITTI PALACE. 469 8. Rembrandt: **Descent from the Cross ; ^Elevation of the Cross ; *The Ascension ; *The Entomb- ment. ©. A. van Ostade : *A Quarrel. Steen : *The Physician. Dow: ^Candlelight. lO. Dow : *A Toilette. Mieris : **The Physician. Dow : *An Artist. Dow : *Hermits ; **The Quack — the Artist at the window. Slingelandt : *Cottage Scene. 11. Mieris : *Cottage Scene. De Hooghe : **Dutch Interior. Doio : *Candlelight. 13. Rubens : **Battle of the Amazons. 13. Balen and Brueghel: *Summer and Ceres ; *Winter and Fire- side. 14. Neefs : * Church Interior. 15. Teniers, Yr. : *Genre Scene3. 16. Brouwer : *Card-Players. Van Dych : *Crucifixion. 17. Giotto : *Last Supper. Fra Angelico : *SS. Cosma and Damien. lO. Raphael: *Madonna di Tempi. See p. 219. **Madonna della Tenda. Seep. 219. 21. Greuze : *Portrait. Netscher : *Lady Singing. Denner : *01d Man ; *01d Woman. Rottenhammer: *Marriage in Cana. 33. Van der Werff: ** Abraham and Ha gar; **The Entombment; *Sarah and Hagar ; *The Scourg- ing ; **Ecce Homo ; **The Cru- cifixion. Tintoretto : *The Annunciation. The Pitti Palace, Florence. On the s. bank of the Arno, 1440 ; designed by Brunelleschi, and is regarded as one of the finest architectural structures of modern times. It was built by Luca Pitti. the opponent of the Medici, but a century later was sold by his grandson to the Medici family, and has since been a royal palace. It is now occupied by the King of Italy when re- siding in Florence. In the absence of the royal family, it may be visited upon application at the principal entrance. 470 THE PITTI GALLERY. The Pitti Gallery. Open daily, 10-3, 1 fr. ; Sunday and Thurs. in summer, 11-3 ; free. Entrance in the portico at the 1. of the palace, also by a long closed pas- sage from the Uffizi Gallery. The collection numbers about 500 pictures, /- a ! 6 7 8 9_ _j;. 5 10 4 11 \ % V n 3 16 1 2 1 of which an unusually large proportion are masterpieces. In each room are fans, upon which are given the number, title, and artist of each picture. Corridor («)• — Porphyry Vase, copy of that at Berlin ; Sevres Vase. 1. Hall op Venus. Ceiling by Pietro da Cortona. A. Diirer : *Eve. Hub ens: ^Landscape; *Landscape. Titian : **Portrait. A. Diirer : *Adam. 2. Hall of Apollo. Talma, Vec. : *Supper at Emmaus. Murillo : *Virgin and Child. Perugino : *Mary Magdalen. Titian : *Peter Aretino. Del Sarto : *Descent. Raphael : **Mad. Doni ; *Angelo Doni ; **Leo X. Del Sarto : *Holy Family. Fra Bartolommeo : **Descent. Titian : **Mary Magdalen. 3. Hall op Mars. Frescos by da Cortona. Raphael : **Pope Julius II. Del Sarto : *Holy Family. THE PITTI GALLERY. 471 Titian (?) : *Louis Comaro. Rubens : *Himself and others ; *Consequences of War. Bordone : *Repose in Egypt. Raphael: *Madonna dell' Impan- nata. Seep. 212. Allori: *Judith. 4=. Hall of Jupiter. Frescos by da Cortona. Del Sarto: *Himself and Wife; *Virgin in Glory. S. Rosa: *Battle. Rubens : *Holy Family. Da Vinci (?) : *Portrait. 5. Hall of Saturn. Ceiling by da Cortona. Van Di/ck: *Charles I. of Eng. and Queen Henrietta Maria. Raphael : **Madonna della Seg- giola. Seep. 213. Lotto : *Three Ages of Man. Raphael : *Cardinal Bibiena. Van Dijck : *Head of the Virgin. Raphael : ^Madonna del Baldac- chino. Seep. 211. Raphael : *Inghirami. 6. Hall of the Iliad. Frescos by Sabatelli. In the cen- tre, statue of Charity by Bartolini. Giorgione : **A Concert. Titian : *Ippolito de Medici. Bartolommeo : *Madonna. Perugino : * Adoration. Titian : *The Saviour. Raphael (?) : *Portrait. 7. Hall of the Stufa. Frescos on the walls, by P. da Cortona, represent the four Ages of Man and four Ages of the World — golden, silver, brazen, and iron. Ceiling by Rosselli ; four small an- tique marble statues ; a column of green porphyry, with porcelain vase with portrait of Napoleon I. ; bronze Cain and Abel, copied from the models of Dupre. 8. Hall of the Education of Jupiter. Velasquez : ^Philip IV. Raphael (?) : *Portrait. Tintoretto : ^Descent. Bartolommeo : *Holy Family. Del Sarto : *St. John Baptist. Raphael : * Madonna del Gran- duca. Seep. 212. 9. Hall of the Bath. Figures by Pampaloni ; orna- ments in stucco by Marinelli, sup- ported by four verd-antique col- umns. The four small statues of Venus are by Insom and Buon- giovanni. 10. Hall of Ulysses. Ceiling by Martinelli. Del Sarto : Madonna. Titian : *Duke of Ferrara. Ag. Carracci: ^Landscape. Velasquez: ^Portrait. 11. Hall of Prometheus. Painted by Colignon. In the centre, a magnificent round mosaic table, valued at $30,000. Fra Lippi : *Madonna. Fil. Lippi : *Holy Family. Fra Angelico : *M a donna and Saints. 472 SOUTH KENSINGTON MUSEUM. 12. Corridor of the Columns. Mosaics: The Pantheon; Tomb of C. Metella ; the Arts of Painting, Sculpture, Music, and Architect- ure. Several miniature portraits ; works in ivory, crystal, and pre- cious stones. 13. Hall of Justice. Ceiling by Fedi. Ouido : *St. Elizabeth. Hondecoeter : *Fowls. J. Both: *Landscape. 14. Hall of Flora/ Ceiling by Marini. In the centre ,*V "enus, by Canova. Seep. 391. Two mosaic tables, rep- resenting the Cascini Palace and the Baths at Montecatini. 15. Hall of the Children. {Piitti.') Frescos by Marini. S. Rosa: ^Landscape. J. Ruisdael : Landscape. S. Rosa : *Diogenes throwing away his Cup. 16. Poccetti Gallery. Frescos by Poccetti. Bust of Napoleon L, by Canova; Table of malachite ; two of ala- baster. In the centre, fine ebony cabinet, containing pictures on jasper and lapis lazuli, by Brueghel. South. Kensington Museum, London. One mile beyond Hyde Park Corner ; by omnibus, or by the Under- ground to S. Kensington Station. Open daily, ex. Sun. ; W., Th., Fr., 1 0-4 or 6 ; 6d. M., Tu. , Sa. , 1 Oa-lOp ; free. The collections consist of objects of mediaeval art, paintings, sculpt- ures, jewels, enamels, ivory, porcelain, pottery, terra-cotta, glass, tapes- tries, embroideries, etc. Name and other information is given on a card attached to each arti- cle, but for anything beyond a cursory glance a catalogue is necessary ; to be found at the book-stalls of the museum. Architectural Court. — Casts of monuments, columns, tombs, doors, etc. South Court. — Ivory, seals, medallions, bronzes, weapons. Oriental Court. — Chinese and Japanese work. East Cloister. — Tapestries, fabrics, chimney-pieces. NortJi Court. — Shrines, altar-pieces, renaissance sculptures. North Cloisters. — Terra-cotta, fernery, furniture, carriages. Upper Floor. — Smith Coll. of water-colors. Royal Acad. Coll. Forster Coll., paintings, books, autographs. Dyce Coll., books, draw- ings, engravings. Raphael Room, containing 7 of the original cartoons of Raphael. See p. 68. Also two Raphael Madonnas, Nos. 55 and 56. See p. 208. The Sheepshank Coll. contains several *Landseers. The National Portrait Gallery, on the opposite side of the TORLONIA GALLERY. 473 street, to the west, contains a fine collection of portraits of English notables. The Museum of Natural History, in a magnificent building one square to the west, is one of the largest and most complete scientific collections existing. Spada alia Rcgola Palace, Rome, Pi. di Capo di Ferro. OpenM., W., S., 10-3. The chief object of interest is the colossal **statue of Pompey, found 1550, regarded as the identical statue at whose base " Great Caasar fell." See Pompey. Antiquities, Ground Floor ; % fr. Room 1. *Statue of Aristotle. Room 2. *8 Reliefs, found, 1620, in the Ch. of St. Agnes, where, with the face downward, they had been used for a pavement. 65. Daedalus and Pasiphae. 66. Wounded Adonis. 67. Ulysses and Diomedes. 68. Paris taking leave of GEnone. 69. Hypsipyle finds Opheltes. 70. Amphion and Zethus. 71. Bellerophon. 72. Paris and GSnone. Torlonia Gallery, Rome. The Torlonia Collection of statuary is in the Pal. Torlonia, via della Stalle de Corsini, Rome. Admission only upon permit, which is to be obtained upon application at the Torlonia Palace, Piazza di Venezia. The collection numbers nearly 600 statues, of which large numbers have been restored. 3. Corridor. ^Julius Caesar. *Niobe. . Padovanino : Virgin in Glory. Bonifazio : Adoration of the Magi. Sala lO. Three small rooms. B* Andrea : **Daniel before Nebu- chadnezzar. Titian: Portrait of Priamo da Lezze. VERSAILLES. Sal, a 11. Designs. Sala 12. Modern. Sal a 13. Saloon of the As- sumption. Titian : **The Assumption of the Virgin. Seep. 30. Tintoretto : The Fall. Gio. Bellini: Virgin, Child, and Saints. Basaiti : Calling of Zebedee's Chil- dren. Sala 141. P. Veronese : The Virgin in glory, with Pope, Emperor, King, Doge, and others. Titian: The Entombment. Ti- tian's last work ; upon which he painted in his 99th year: Com- pleted by Palma, Yr. Versailles. Ten mis. from Paris, by rail from Gare St. Lazare (Rive Droite), or from Gare du Mont Parnasse (Rive Gauche) ; hourly either way ; also by tramway from the Louvre, hourly ; 1 fr. Via Hive Droite (right bank) : two tunnels ; Docks Napoleon ; cross the Seine ; Asnieres ; along the Seine ; Courbevoie ; Puteaux ; Su- resnes ; St. Cloud ; two tunnels ; Ville d'Avray (Sevres) ; Viroflay ; Versailles. Via Rive Gauche (left bank) : Ouest Cincture ; Clamart ; Meudon ; Belle vue ; Sevres ; Chaville ; Viroflay ; Versailles. The Tramway follows the Seine through Passy and Auteuil ; crosses the Seine ; Sevres ; Versailles. Versailles, which had been a hunting lodge of Louis XIII., was laid out by Louis XIV. as a royal summer rendezvous, and embellished and maintained at a most enormous expenditure. It remained as the royal residence during the reigns of Louis XIV., XV., and XVI., until the Revolution. Louis Philippe, in 1832, converted the buildings into a Museum of Art, to which purpose they have since been principally devoted. In 1870, Versailles became the headquarters of the Prussian Army, and here King "William was proclaimed Emperor of Germany, Jan. 18, 1871. Upon the establishment of the Republic, the National Legisla- ture held its sessions here, 1871-1880. In its regal times Versailles had a population exceeding 200, 000. It now numbers about 60,000, and possesses nothing of interest beyond its Collections of Art, and the grounds of the palace. Approaching the palace from the railway station, the general appear- ance is disappointing to the visitor, alike as regards the city, the grounds, and the palace itself. VERSAILLES. Plan of the Palace. 489 Centre. Cour de Marbre. Cour Royale. South Wing. 1 2 North "Wing. Cour des Statues. 1 Cour des Princes. 2 Cour de la Chapelle. Cour des Statues. — Centre : Colossal equestrian statue of Louis XIV. On the r. : Bayard, Colbert, Richelieu, Jourdau, Masse'na, Tourville, Dugay-Trouin, and Turenne. On the I. : Du Guesclin, Suger, Sully, Lannes, Mortier, Suffern, Duquesne, and Conde. MUSEE HlSTORIQUE. Admission daily, ex. Mon., 12-4. Entrance is made, sometimes, from the Cour de la Chapelle (2), the Cour Royale, or the Cour des Princes (1). The rooms and apartments occupied by the collection number about one hundred and fifty, of which a large section is frequently closed to the public temporarily. The gallery is so extensive that unless the visitor has several days at command, time can be afforded only for the most noted works. As each picture has the name of the subject and artist attached, a catalogue is necessary only to desiguate the more important works. In the description the rooms are numbered, commencing with the ground floor, through the S. Wing, the Centre, and the N. Wing ; thence on the first floor, in the same order, i.e., S. Wing, Centre, and N. Wing. When entrance is made from Cour des Princes, the visitor first reaches room No. 1, ground floor, and No. 62, first floor; if entering from the Cour Royale, No. 69 ; if from the Cour de la Chapelle, No. 43 ground floor, and No. 7 first floor. 490 VERSAILLES. S.WING. GROUND FLOOR. u 13 12 li 10 9 8 7 6 5 4 3 2 1 1 1 1 Sculptures. The apartments of this wing were once occupied by the grand-chil- dren of Louis XIV., with Fenelon, their tutor ; by the Due d'Orleans, Due de Chartrcs, Chas. X., Philippe Egalite', Duchess d'Angouleme, and Louis XVIII., in their childhood. The Galleries of the Empire, comprising rooms 1 to 1 3, are de- voted to the campaigns of 1796-1810. Vestibule. — Statue of Napoleon, Casts of David, Gerard, Girodet, Gros, Guerin, Prud'hon, Percier. Room 1. — Centre : 1472. Statue of the boy Mala of Lyons, killed while heroically cutting the ferry rope to prevent the royalist troops from crossing to attack the city, 1793. Entombed in the Pantheon by order of the Convention. 1481. Death of Moreau. 1482. Battle of Ar- cole. 1484. Battle of Rivoli. Room 2. — 1493. Peace of Leo ben. Room 3. — *1496. Napoleon at the Battle of the Pyramids. Room 1. — 1501. Bonaparte entering Antwerp. Room 5. — 1505. The Emperor receiving deputations after his coro- nation. Room 6. — 1509. Capitulation of a Brigade. 1515. Surrender of Ulm. Room t» — Busts of the Imperial family. Room §. — 1546. Napoleon honoring the wounded Austrians. ROOM O. — 1551. Napoleon and the Emp. of Austria, after Austerlitz. Room 10. Bed-chamber of the royal children. 1552. The French entering Berlin. Room 11. — 1555. Interview of Napoleon with the King and Que in of Prussia. Room 12. — 1558. Marriage of Prince Jerome. 1560. Capitulation of Madrid. Room 13. — 1561. Napoleon addressing his troops. 1565. Marriage of Napoleon with Marie Louise. 1564. Death of Mashal Lannes. Room 11. — Salle de Marengo ; Apartment of the Duchess of Bour- bon. 1566. Crossing the Alps. 1568. Battle of Marengo. 1567. Cross- ing the Alps. Entering the Hall op Sculptures, at the r. is a stair- way leading to 4 rooms of ^Marine Views, below. Gallery of Sculptures. — Eminent men of the Empire and Republic, from 1796-1814. Hoche, Leclerc (as Achilles), Napoleon, Cuvier, Champollion. VERSAILLES. 491 On the r. of this Hall is the Chamber of Deputies, occupied by the Government, 1872-1880. CENTRE. GROUND FLOOR. 23 24 25 31 36 37 38 22 26 1 1 30 & L ' i 39 21 27 28 29 33 40 20 41 19 34 35 45 44 42 18 43 17 I 15 16 Room 15. — Entrance from Cour des Princes. Room 16. — Busts : Voltaire, Diderot, Rousseau. Room 17.— Amireaux (Admirals) from 1270-1840. Rooms 18-26 were the apartments of the children of Louis XIV. Room 18. — Conne'tables. Bed-chamber of the Duke of Berry. Booms 19-25 : Marechaux (Marshals), over 300. Room 19. — Study of the Dauphiness, time of Louis XV. Room 2©. — Bed-chamber of the Dauphiness, time of Louis XV. Room 21. — Bed-chamber of the Dauphin, time of Louis XIV. Room 22. — Study of the Dauphin, son of Louis XV. Room 23. — Study of the Dauphin, under Louis XIV. ; Marshal Villeroy arrested here, 1722. ij Room 26. — Salle des Bois, 67 portraits from Clovis to Napoleon IIL £ Many of the foregoing portraits, especially the earlier ones, are alto- gether imaginative. Bronze statue of Napoleon. Under Louis it was the apartment of the Great Master of the Wardrobe. Room 27. — Occupied by the body guard of the Dauphin under Louis XV. and XVI. Rooms 28 and 29. — Salles des Residences Royales. Room SO.— Vestibule of Louis XIII. Room 31.— Gallery of Louis XIII. *Battle of Rocroy. Statues of Royal families. 492 VERSAILLES. Rooms 33-35.— Plans of Battlefields. Rooms 36-41. — Salles des Marechaux. Apartments of Mme. de Montespan. Room 41. — Bed-chamber of Mme. de Pompadour. Rooms 43, 43. — Apartments of Mme. de Pompadour. N.WING. GROUNC t FLOOR. 1 Vestibule 46 47 48 49 50 51 52 52 54 55 56 Sculptures. Chapel. 61 60 57 58 Theatre. Salles des 59 ■ Croisades. Entrance from the Cour de la Chapelle. Gallery of the History of France, from Charlemagne to Louis XV. Rooms 46-56 devoted to Charlemagne and St. Louis. The Theatre was built by Louis XV. for Mme. de Pompadour ; inaugurated on the marriage of Louis XVI. and Marie Antoinette, 1777. Twelve years later, Louis XVI. here gave a fete to the royal guards, during which the health of the royal family was drank with drawn swords, and the toast of Prance was received in silence. Three days after, Louis XVI. and Marie Antoinette were compelled by the mob to leave Versailles for Paris. They never returned, nor has Versailles sines been a royal residence. From 1872-1880 this room was occupied as the Senate Chamber. **Salles des Croisades : Rooms 57-61. *Room 57. — Battles of Ascalon and *Beyrout. Coronation of Baldwin. *Room 5®. — Louis IX. receiving Emissaries. Capture of Jerusa- lem. *Room 59. — Battles of Ptolemais, Rhodes, Malta, Toulouse. On the pillars, the armorial bearings of Fred. Barbarossa and Richard Coeur de Lion. Room GO. — St. Bernard preaching the 2d Crusade ; Ascalon. *Room Gl. — Crusaders under Godfrey crossing the Bosphorus ; An- tioch ; Taking Jerusalem. VERSAILLES. 493 Fikst Floor. S.WING. FIRST ETAGE. — — 1 63 62 * * Gallery of Battles. 62 64 Sculptures. 64 i c a, Entrance from the Cour des Princes. 65, Door to the centre. Apartments of the Due de Berri and the Prince and Princess of Conti. Room 62.— **Oallery of Battles, 393 ft. in length. Busts of 80 eminent generals who fell in battle, with their names inscribed, near the windows. Boom 63. — Salle O/1830 ; devoted to the history of the Revolution of 1830, in which are portraits of many celebrities of that time. At the farther end is the entrance to Room 641. — Hall of Sculptures, contain- ing 80 works of Pilon, Coysevox, Coustou, and Houdon. Near the en- trance, at the r. , is a stairway leading to the 2d floor. 65. — Doorway leading to the central building. Room 66. — Campaigns of 1792. Persons represented with the title and dress they then wore. Centre: Model of the Column of Bou- logne. 2336. Battle of Jemmapes. 2335. Valmy. [Door at the rear leads to a suit of 7 water-color rooms. Sometimes closed. ] Room 67.— Campaigns of 1777, 1792, and 1793. Room 68. — Grand Cabinet of Mme. de Maintenon. Campaigns of 1793-94. Battle of Fleurus. 2305. Taking of the Camp of Perulle. [Door at the rear leads to 3 small rooms of the Campaigns of 1794-90. Entrance also from a. Sometimes closed.] Room 69. — Salle du Sacre : Ancient Chapel of Versailles. **2217. Coronation of Josephine, for which the artist received $ 20,000. *2278. Napoleon distributing Eagles. *2276. Battle of Aboukir. Centre: *Statue, Last Moments of Napoleon. Room 70. — Queen's Guard-room: Statue of Louis XV. 2166. The Dauphin and his Family. 2117. Marie Adelaide of Savoy. "On October 6. 1789, this room was invaded by the mob, armed with guns, sabres, and pikes, shouting ' Death to the queen. ' Varicour, one of her guards, defended the door of the queen's apartment with his musket. He received a sabre blow on his hand ; the mob disarmed him, dragged him to the Place d'Armes, and there decapitated him. It was in vain that a second guard, Durepaire, replaced him. A third, Miomandre de Sainte-Marie, opened the door, shouting to the ladies in waiting, * Save 494 VERSAILLES. the queen. ' Closing the door he parried a blow from a pike, but soon fell a victim to his devotion, which allowed time for the queen to flee to the apartments of the king, and for the National Guard to drive the mob from the palace. " Room yi. — Antechamber of the Queen: audience-room of the queens of Louis XV. and XVI. "lb was here the great dinner service was laid when the king and queen dined in public. On this occasion the ushers admitted any well-dressed person. This exhibition, a fatiguing one for the princes, was the delight of the country people." — Mme. Campan. 2109. Louis XIV. 2108. Philip of Anjou, King of Spain. CENTRE. FIRST ETAGE. 74 73 72 71 70 * 75 Galerie des Glaces. 75 83 76 •*79 80 # 69 77 78 Cour de Marbre. 81 82 67 68 65 66 Cour Royale . 84 85 86 87 88 89 A, Entrance from Cour Koyale. 65, Entrance from S. Wing. 89, Entrance from N. Wing. Room 72. — Salon de la Reine : Drawing-room of Marie Antoinette. Room 73. — Bed-chamber of Marie Theresa, Marie LeczinsJca, and Marie Antoinette, queens of Louis XIV., XV., and XVI. Queen M. Theresa and M. Leczinski died, and Louis XV. and Philip V. of Spain were born in this room. When the palace was attacked by the mob, in 1789, Marie Antoinette was in this chamber, and hearing the confusion in the guard-room, and the cry, "Save the queen!" escaped through the door at the rear to the apartments of the king. 2095. Mar- riage of Louis and Marie- Adelaide of Savoy. *2096. Marie Leczinski. *2097. Marie Antoinette. Room 74L. — Salon de la Paix, The Qucerfs Card-room, intended VERSAILLES. 495 as a counterpart to the Salon de la Guerre, at the opposite end of great hall. 6. Porphyry busts. *View of the grounds. Room 75. — Galerie des Glaces, 240 feet in length, decorated by le Brun, Coysevox, and van der Meulen, with scenes from the life of Louis XIV., named from the mirrors which cover the wall facing the win- dows. *Fine views of the park and gardens. Upon the occasion of the marriage of the Due de Bourgogne, in the time of Louis XIV., this salon was illuminated with 4,000 candles, and the ladies were robed in black velvet relieved with diamonds. The last grand ball given here by the French sovereigns, was opened by Napoleon and Queen Victoria, in 1855. In 1871, King "Wm. of Prussia was here proclaimed Emperor of Germany. Room 7G. — Salle de V (Ell de Boeuf (bull's-eye), named from its oval window; waiting-room of the courtiers of Louis XIV. Bronze statue of Louis XIV. Room 77. — Dini?ig-room. Room 78. — Salle des Gardes,- ceiling of mottled marble color. Room 7S). — Bed-chamber of Louis XIV., remaining nearly as when occupied by him. The bed is that upon which he died. Upon that oc- casion the first chamberlain announced the event from the balcony by exclaiming, " Le roi est mort," breaking his wand of office ; and imme- diately takinj another, he exclaimed "Vive le roi." On the 1. of the bed is a wax portrait of the king. It was from the balcony of this room that Queen Marie Antoinette was compelled to present herself and the Dauphin, with Lafayette, to the mob, 1789. Room 80. — Salle du Cornell. Council Chamber of Louis XIV. and likewise of Louis XV., and where Mme. du Berri, seated on the arm of his chair during council, threw a packet of unopened letters into the fire ; and where Louis received Mirabeau's audacious reply to the king's message, dissolving the Assembly: " Go tell your master we are here by the will of the people, and we will go only by the force of bayonets." Fanciful clock, with Cupids striking the hours, cocks crow- ing, etc., made 1706. Room 81. — Bed-chamber of Louis XV, who died here, 1774. Room 82. — Apartment of Louis XIV. ; Council Chamber of Louis XV. Room 83. — Salon de la Guerre, with pictures of the campaigns of Louis XIV. Six porphyry busts. *View of the grounds. The deco- rations of this room and the Grand Gallery, representing Germany kneeling, Holland thunderstruck, and Spain terrified, "had no small share in irritating and leaguing all Europe against Louis XIV." Room 841. — Solon- cTApottdh, formerly Salle du Trone, where stood the silver throne of Louis XIV., which was sold, 1688, to raise money 496 VERSAILLES. after his disastrous campaigns. The three gilt rings of the canopy are still seen in the cornice, opp. the windows. Reception-room of foreign ambassadors in the time of Louis XIV. *Ceiling paintings. Room 85. — Salon de Mercure. State bedroom, where the body of Louis XIV. lay in state eight days. 2074. Founding the Academy of Sciences. Room 8G. — Salon cle Mars. Gaming saloon, where Louis XIV. and queen "condescended to play with members of the Assembly. 1 ' 2051. Louis XIV. at the age of ten (over the mantel). Room 87. — Salon de Diane: Billiard-room of Louis XIV. 2041. Portraits of Louis XIV. and queen. 2042. Queen of Louis XIV. Room 88. — Salon de Venus, where a collation was spread on recep- tion days, and " each guest helped himself as he pleased." Room 89. — Salon d> Abondance. Siege of Fribourg, 1677. Room 9©. — Salon d^Hercule. The Passage of the Rhine ; Louis XIV. ; Pulpits of Bossuet and Massillon. Ceiling : Apotheosis of Her- cules, le Mbyen, 1736 ; one of the largest paintings in oil ever executed ; 61 by 54 feet. 91. — Vestibule. Gallerie de l'Histoire de France — Roo?ns 93 to 103. Room 93. — Room of the Duke of Berri. N.WING. FIRST ETAGE. 1 90 91 92 93 94 95 96 97 98 99 100 101 102 Sculptures. Theatre. Chapel. 109 108 103 104 107 Salle d 106 e 105 Constantine 103. — Staircase: Statue of Louis XIV., Houdon. Galerie des Sculptures. —80 statues. *Joan of Arc, by Marie d* Orleans; *Duc d' Orleans, Pradier ; Marechal Bugeaud. **Salle de Constantine — Rooms 103 to 109. *Room 103.— Room of the Duke of St. Simon. 1948. Battle of Ivry. VIENNA, THE BELVEDERE GALLERY. 497 *Room 1©4.— 1953. National Assembly taking the Oath, 1789. *1952. Napoleon dissolving the Council. "Room 105. — Campaigns of Italy and the Crimea. **Room 106. — Fourteen pictures by II Vcrnet. **Room 107.— Taking of the Smalah of Abd-el-Kader (1843), 70 ft. by 16. Room 1©8. — Crimean Campaigns. Room lOO. — Campaigns of Italy and the Crimea. Second Etage comprises a large number of rooms, filled principally with portraits. The Gardens in the rear of the palace are open to the public during the day. They remain in nearly the same stiff architectural style as when laid out by Le Notre. To the I. is the Parterre du Midi, with greenhouses, an orangerie of 1,200 trees, Piece d'Eau des Suisses, and a vegetable garden of 25 acres. In front is the Parterre d'Eau, beyond which is the AUe'e de Tapis Vert, a broad plat of grass extending to the Grand Canal, which stretches a mile in a direct line to the west. On the Parterre, above the steps, are the oval fountains; 1., Point du Jour; r., Diana. Below the steps is the *Basin de Latone, with statues of Latona, Apollo, and Diana, and frogs and tortoises spouting water. Adjacent are numerous statues, the finest in the grounds. At the farther end of the Tapis Vert, near the Grand Canal, is the "^Fountain of Apollo, with statues of Apollo, nymphs, tritons, and dolphins. On either side are numerous smaller fountains, with groups of statuary. On the r. is the Parterre du Nord, in which is the Allee d'Eau, with a cascade of 22 sections, in which are children pouring water from gob- lets. At the foot of the Allee is the * Basin de Neptune, the largest in the grounds, with 5 bronze groups. The Fountains Play (at a cost of about $2,000 each time), during the summer, on Sunday afternoons from 4 to 5 o'clock ; the smaller ones usually about once a month, the larger ones occasionally, of which due announcement is made in the daily papers. The various fountains play in succession, those in the Alice d'Eau and the Basin de Neptune being the last. Follow the crowd. Railway trains from Paris on these occasions every 5 or 10 minutes. The Grand and the Petit Trianons. See Trianon, p. 382. Vienna. — The Belvedere Gallery. A large and valuable collection of paintings, principally by the old masters. Open daily, ex. Mon. , 10-4 ; Sun. , 10-1 ; fee. 498 VIENNA, THE BELVEDERE GALLERY. First Floor. Italian School. On the right. Room 1. To the right. 9. Tamar and Judah, Bassano. 10. Gaston de Foix, Palma, Vec. 12. The Good Samaritan, Bassano. *6. Allegory, Titian. 22, 44. Portraits, Tintoretto. 23. Annunciation, P. Veronese. 34. Judith, P. Veronese. *16. Portrait, 29. Venetian Am- bassador. *19. The Samaritan Woman, Tintoretto. 47. Adoration, Schiavone. 53. Bearing the Cross, Tintoretto. *50. Virgin and Sts. , P. Veronese. *52. Christ in the House of Jairus, P. Veronese. *48. Venetian Lady, Titian. Room 2. To the right. *2. The Visitation. 6. Virgin and Saints. 9. Venetian Lady. #11, *12. Portraits. 13. Lucretia, Palma, Vec. *7. St. Justinia, Martyr, Mbretto. *8. Madonna and Sts., Bonifazio. 14. A Girl, Palma, Vec. £7. Giacomo Strada, Titian. -26. Judith, Padovanino. *39. Madonna and Saints. *17. Diana and Callisto. *40. Por- trait. 29. Isabella d'Este. *32. Entombment. *19. Ecce Homo. 35. La Bella di Tiziano. *36. Danae' ; all by Titian. 63. Madonna and Saints, and 43. A Venus, Gio. Bellini. 58. Altar-piece, Vivarini. [Basaiti. 62. Calling of James and John, 59. Allegorical Portrait, Titian. 56. John Baptist, Bonifazio. Room 3. To the right. 1. Death of Joseph, Maratta. 9. Madonna, Sassoferrato. *12. Madonna and Saints, Peru- 1 0. Market Scene, Feti. [gino. 31. Madonna enthroned, Perugino. 33. Hagar returning, Cortona. 19. Baptism of Christ, Perugino. 27. "Madonna of the Rosary," Caravaggio. [phael. **55. "Madonna al Verde," Pa- See Madonnas, No. 51, p. 224. 49. Venus, Albani. 56, 57. Battle-pieces, Sal. Rosa. *51. St. Margaret and the Dragon, Romano. [Francis. Circular Room : Bust of Emp. Room A, To the right. 3. Madonna, del Sarto. 9. Madon., " La Zingarella," Cor- 12. Herodias, Luini. [rcggio. 18. Holy Family, Sodoma. *23. Pieta, del Sarto ? lAllori. *20. Judith and Holofernes, C. 35. Magdalen, Furini. *29. Presentation, Bartolommeo. 36. Portrait, Bigio ? [zoli. '-43. Madonna and Saints, Goz- Room 5. To the right. 1. Ecce Homo, Ouido. 3. Madonna, Cignani. 5. Cimon and Daughter, Cignani. *17. St. Francis, Ag. Carracci. 20. St. Francis, Lud. Carracci. 25. Madonna, Ouido. 18. Madonna and Saints, Francia ? 19. John Bap., Guercino. 31. Ecce Homo, Guido. 34. Martha and Mary, Sirani. Room 6. To the right. *10. Portrait, Correggio. [racci. *12. Samaritan Woman, An. Car- 2. Venus and Cupid, L. Carracci. *22. Portrait, Parmegiano. **19. Jupiter and Io, Correggio. See Io, p. 174. 21. Ganymede, Correggio. VIENNA, THE BELVEDERE GALLERY. 499 25. Ecce Homo, Correggio. *28. Fr. de' Medici, Bombelli. 42-45, 47-50. Studies for the '•» Tri- umph of Julius Caesar, "Jfan- tegna. Room 7. To the right. 17. St. Sebastian, Correggio. *12. Venetian Girl, Palma, Vec. *ia Inf. Marg. Teresa. *14. His own Family. 15. Inf. Maria Teresa. *6. Bait. Carlos. 8. Philip IV. , Spain ; Velasquez. 7. Adoration, Signorelli. 2, 3. Portraits, Tintoretto. 24, 26. Saints, Bonifazio. 25. Christ adored, Carpaccio. 38. A Warrior, Sal. Rosa. *40. An Idiot, Velasquez. *44. Michael and Fallen Angels, Giordano. 49. Venetian Lady, Raima, Vec. *47. Inf. Maria Teresa, Velasquez. Netherlandish School. Room 1. To the left. 2. Adam, Eve, and Abel, Cham- paigne. 9. At a Window, Hoogstraeten. 11. Old Man, Flinck. 14, 15. Fish, Es. 27. Boar-hunt, Snyders. 20. Composition, Fyt. *21. Birds, Hondecoeter. 37, 53. Sea pieces, Bakhuisen. 38. Portrait. 28. St. Paul. 40. Portrait. *42. Himself at 45. 45. Himself in Age ; Rembrandt. Room 2. Landscapes. 9, 16. Neer. *29, 36. J. Ruisdael. 5, 8. Moucheron. 55. Wynants. Room 3. Tc the left. *2. Madonna and Saints. 45. Por- traits. 8. Virgin. *10. Young Man in Armor. 18. Venus and Vulcan. 24. Countess von Solms. 25. John dc Montfort. 31. Christ Mocked. 32. Samson and Delilah. 23. Holy Family. 34. Magdalen. 28. Jesuit Scri- bani ; all by van Dyck. 35. Dead Christ, Rubens. Room A. To the left. *1. Loyola healing. 2. Assump- tion. *3. Xavier working mira- cles. 4, 5, 6. Figures. 7. Boar- hunt. *8. St. Ambrose resist- ing Theodosius the Gt. *H>. Four Quarters of the Globe. 1 1 . His own Portrait at 60. 13. Pieta. 16. Cimon and Iphigenia. 22. Wife of Philip IV. of Spain ; all by Rubens. The White Cabinet contains 'i'J flower pieces. Green Cabinet. 1. Palace and Garden, van Deelen. 9. The Lace Maker, Jletsu. *14. A Shop, Mieris. *18. The Doctor, Mieris. 16. Young Woman, Terburg? 20, 52. Old Woman, Dow. *11. Candle-light, Schalken. *103-*4. Portraits, Denner. 68. Cathedral Interior, Neefs. 97. Landscape, Wouverman. 87. Landscape, van de Velde. 92. Landscape, Berchem. Room 5. 1. Retablo, 2 wings. 3. Children. 7. Feast of Venus. 13. Land- scape. 11. Helen Fourment. 21. Holy Family ; all by Rubens. 25^ Madonna and Sts. , Balcn. Room 6. To the left. 3. Peasant Wedding. 5. Sacrifice of Isaac. 7. Brigands pillaging. 10. Butcher Shop. 15. Interior. *16. Kermess. 34. A Gallery of Pictures. 37. Peasants dancing ; all by Teniers, Yr. 500 VIENNA, LIECHTENSTEIN GALLERY. 24. Village Fete, and 28. Soldiers pillaging, Ryckaert. 46. Candle-light, Honthorst. *51. Fete at Brussels, Teniers, Yr. Room 7. To the left. *27. Dutch Feast, Jordaens. 32. Interior, Steen, 47. Mythological, Jordaens. 56. Four Elements, Brueghel and Rottenhammer. II. Floor. Early German and Modem. Room 1. To the left. 1. Madonna and Saints, Afutiua. *5. Max. I., Diirer. *15. Persecution, Diirer. *27. Portrait, Holbein. 23, 28. Madonnas, Diirer. 2 3. Holy Family, Schongauer. *18. Trinity, iJwrer. 58. Triptych, Penez. 47. Altar-piece, German School. 61. Jane Seymour, Holbein. 62. John Chambers, Holbein. 50. Life of Christ, Burgkmair. 71. Christ and Saints, Granach. 78. Head of the Baptist, Amberger. 67, 68. Portraits, Holbein? *81. Triptych, Weydterc. 82. Diptych, Mimling. 83-85. Portraits, Holbein. 88, 94. Portraits, Amberger. Room 3. To Me Ze/2. 5.. Triptych, by the Master of the Death of the Virgin. 6. Madonna, ^oes. 12. Descent, Memling. *18. Madonna, Weydin? 22. St. Catherine, Wcyden. 13. Leeuw, i>< h., 6d., and 1 sh. Edinburgh.— C. (1-4) 1 sh. each, 1 ml. ; fid. extra % ml. ; 1 h., 2 sh. ; extra % h., 6d. Florence..— C. (1-1) 80c; % h., 1.30 fr.; extra % h., 70c Station to hotel, 1 fr. Frankfort. - C. (1-2) 50 pf. ; (3-4) 70 pf.; 1 h. (1-2) 1.70 mk., (3-4) 2.10 mk. Sta., to hotel, 90 pf. Geneva.— C. (1-2) 1.50 fr. ; (3-4) 2.50 fr. ; 1 h. (1-4), 2.50 fr. Sta. to hotel, 30c. by omnibus. Genoa.— C. (1-2) 1 fr.; 1 h., 1.50 fr. ; extra % h., 75c. Glasgow.— C. (1-3) 1 ml., 1 sh.; extra % ml., 6d.; 1 h., 2 sh. ; extra % ml., 1 sh. Hague.— Sta. to hotel (1-2) 60c, (3-4) 85c ; 1 h., 1 g. To Scheveningen (1-4) 2 g. Hamburg.— C. (1-2) 80 pf. ; (3-4) 1 mk. ; 1 h., 1.50 mk. Tariff complicated. Heidelberg.— C. (1, 2, 3, 4) 50, 90,1.20,1.50 mk.; 1 h. (1-4) 2.60 mks. To castle, 3 mks. Leipzic— C. (1, 2, 3, 4) 50, 60, 80, 1 mk.; 1 h., 1, 1.25, 1.75, 2 mks. Sfca. to hotel, 75 pf. Liverpool. — C. (1-4) 1 ml. or less, 1 sh. ; extra % ml., 6d. Two-wheeler, two per- sons only. ,. . ( Hansom (1-2) 1 sh.; extra ml., 6d.; 1 h., 2)4 sh.; extra % h., 8d. „ . . -j Four-wheeler, cab, (1-2) 1 sh. ; extra pers., 6d.; 1 h., 2 sh.; extra m . circ e. J ^ ^ 6d Lucerne.— (1-2) & h-, 80c; (3-4) 1.20 fr. ; 1 h., 2 and 3 frs. Lyons. — C. (1-4) 1.50 fr.; 1 h. (1-4) 2 frs. Omnibus, sta. to hotel, 50c; luggage extra, Marseilles.— C. (1-4) 1.50 fr. ; 1 h. (1-4) 2.25 frs. Sta. to hotel, 50c. to 1.5U fr. Milan.— C. (1-4) 1 fr. ; }£ h., 1 fr. Sta. to hotel (1-4) 1.25 fr. Moscow. — C. (1-2) 15 cop. ; 1 h. (1-2) 25 cop. ; extra h., 15 cop. Munich.— % h. (1-2) 50 pf. ; %h..,l mk. Two horses, (1-4) double rates. Naples.— C. (1-2) 70c. ; 1 h. (1-2) 1.50 fr. ; extra h., 1.10 fr. Two horses, double rates. Paris.— C. (1-2) 1.50 frs.; (2-3) 2 frs. 1 h. (1-2) 2 frs.; (3-4) 2.50 frs. ; extra 5 m. 20c. ; 10 m., 35c, and pourboire. Petersburg. — C. (1-2) 15 cop. ; 1 h. (1-2) 25 cop. ; extra h., 10 cop. Prague.— C. (1-2) 40 kr. ; extra % h., 15 kr. Half day, 2>r. 6. June, of rly. from Havre. 7. Slop 3 m. See Rouen. 8. x the Seine ; tunnels through chalk hills. 9. Chateau, favorite residence of Rich'd I. of Eng. 10. Tower, by Henry I. of Eng., 1123. 11. Stop 5 m. June, for Cherbourg. On the Seine. Burned by Wm. the Conqueror, 1096. Here he received the injury which caused his death. Aft. 3 mis. Rosny Sta., chateau where Sully was born. 12. Birthplace of St. Louis. 13. Confluence of the Oise and Seine. Forest of St. Germain. 14. Rly. to St. Germain. Palace of St. G. on the hills to the w. and enter the Suburbs of Paris. 15. Station, San Lazare, on the northern margin of the city. x the Seine 520 ROUTE NO. 16. Daaaij llbevllel Mpai^ne OantSrai IOUEN JJeativa Vompeign ^Meatus 3 CovJommiers\ HauficJ( w Eoi»leI>u Bv«ao V -^-"•"'^ • i 1 Turnhouti \, - Ma^triat .LIES %^ X i luxenlburl jtfeziere| KOUTE NO. 15. 521 Route No. 15. Rotterdam— Antwerp. 73 mis. ; 3£ hrs. Fares, I. CI., 10 fr. 1. See Rotterdam. Trains frequent. ; II., 8 fr. Mis. 1 4 10 35 50 54 61 67 69 73 1. Rotterdam Fijenoord Mallegat 2. Dordrecht Zevenbergen 3. Roosendaal 4. Esschen Calmpthout Cappellen Eeckeren 5. Antwerp 73 72 69 63 38 23 19 12 6 4 Ml?. 2. On an island in the Maas. Nativity of Cuyp and Ary Scheffer, Bol, and Maes ; x the Oude Maas ; * bridge over the Hollandsch Diep, nearly 1 ml., 14 arches, cost 2)£ million dollars. 3. Dutch custom-house. June, for Flushing and London. 4. Belgian custom-house. 5. See Antwerp. Route No. 16. Antwerp— Brussels. Trains frequent. 28 mis. ; 1 hr. Fares, I. CI., 3.29 fr. ; II., 2 fr. 1. Antwerp. See Route No. 15. Station near the southern limit of the city. 2. Outer line of fortifications. Since 1S49 ex- tensive modern earthworks have been erected entirely around the city, upward of 12 mis. in length. 3. Gothic chateau of Ter Elst. 4. On the Dyle ; pop. 40,000. Extensive mf g of Mechlin lace ; x the Nethe. 5. Memorable as the place of Tyndale's trans- lation of the Bible, and his martyrdom. Ex- tensive penitentiary building. 6. Near the city, w., royal chateau of Laeken. Station G-are du Nord, on the northern margin of the city. See Brussels. Mis. 28 1 27 8 Contich 20 11 3. Duffel Wavre-St. Cath . . . 17 | 16 4. Malines 12 Weerde 5. Vilvorde 28 6. Brussels Mis. Route No. 17. Antwerp— Cologne (Direct). 90 mis. ; about 5 hrs. Fares, I. CI., 20 fr. ; II. , 15 fr. Country comparatively uninteresting. Important stations, Lierre, x the Nethe ; Aerschot, x the Demer ; follow the Demer ; Diest, x the Demer ; Hasselt, capital of Limbnrg ; Maestricht, x the Meuse ; Valkenburg ruins, s. ; Aix-la-Cliapelle to Cologne. See Route No. 19. Route No. 18. Brussels— Paris. 198 mis. ; 6 hrs. Fares, I. CI., 30 fr. ; II., 22.60fr. Brussels, Gave du Midi. Paris, Oare du Nord. Leaving B., follow the valley of the Senne. 1. Stop 2 m. Quarries of Flemish granite. 2. Oh. founded 650. Near Mons x the Schelda Mis. Brussels 198 9 Hal 189 ! 19 1. Braine-le-C 179 B99 ROUTE NO. 19. 22 30 38 l 56 59 64 76 103 117 10 121 i ill 146 12 167 13 i9s; 2. Soignies 176 Neufvilles Jnrbise Ghlin 3. Mons Cuesmes Frameries 4. Quevy 5. Feignies 6. Maubeuge 7. Hautmont Aulnoye 8 Busigny 9. St. Quentin... Tergnier Channy Noyon Compiegne. . . . Creil Paris 3. Stop 5 m. On the Trouille ; strcngly forti- fied ; fortress erected by Cassar. Coal region. 4. Belgian frontier; northward trains stop 10 in. 5. French frontier ; southward trains .stop 10 m. 6. Stop 10 in. Fortified town. 7. June, for Cologne ; follow the Sambre. 8. Stop 5 m. 9. On a height. The Rom. Augusta Viro- mandaorum : on the Somme. In 1557, Philip II. of Spain defeated the French under Coligny ; 1871, the Germans routed the French. 10. Stop 8 m. Buffet. Follow the valley of the Oise to Creil. 1 I - I 11. Castle built by Pepin-le-Bref. Hugh Capet elected king, and Charlemagne crowned here. Nativity of Calvin, 1509. 12. Favorite residence of French sovereigns ; palace erected by Louis XV. Joan of Arc captured near the bridge. Residence of Napoleon III. ; cas. built by Louis XV. and XVI. 13. Creil— Paris. See Route No. 12. 168 160 142 139 134 112 95 81 77 52 31 Mis. Route No. 19. Brussels— Cologne. 141 mis. ; 6 hrs. Fares, I. CI., 23 fr. ; IL, 17 fr. Brussels, Gare du Nord. 1. Ply. leaves to the north, thence to the n. e., until near Louvain, when it joins the rly. from Antwerp, and thence turns to the s. e. 2. Stop 5 in. Hotel de Ville, fine specimen of the later Gothic; large trade in beer: x the Dyle. 3. On the Beck. Birthplace of Pepin of Lan- dem, g'dfather of Charlemagne. In the plain of Neerwinden, between Tirlemont and L., the English defeated by the French, 1693, and the French by the Austrians, 1793. 4. Enter the fertile fields of the Brabant. 5. Stop 10 in. ; pop. 100,000. Extensive manu- factures ; x the Meuse. Scene of Scott's '• Quentin Durward." Numerous mfgs of iron. Broken, wooded country ; along the Vesder ; x the Ourthe. Mf'g of zinc. Cas. of La Rochette ; n. * scenery. 6. Extensive iron and zinc works. 7. Cas. of Le Trooz, s. near rly. Rly. follows the Vesdre. 8. Stop 5 in. Chateau de Masure, hunting seat of Pepin. Mis. 141 » 132 18 24 2. I .ouvain 128 117 Vertrvk 30 Tirlemont 111 38 38 108 103 3. Linden 43 46 Hasoux 98 95 Waremme 53 Fexhe 88 58 4. Ans 83 62 5. Liege 79 65 68 71 76 73 70 7. Le Trooz Nessonvaux 75 78 83 6« 63 58 8710. Herbesthal 54 90 96 51 45 11. Aix-la-Chapelle. . .. 106 13. Eschwciler 35 11614. Diiren ,. 25 129 15. Horrem, 12 133 Konigsdorf 8 14116. Cologne Mis. ROUTE NO. 20. 52:} 9. Stop 20 m. Good buffet. Customs examination* for westward trains. Change cars. Extensive mf g of woollen- ; pop. 35,000. Aft. Dolhain, fortress of Limbnrg. 10. Frontier. Customs examinations for eastward trains ; cas. of Welken- hausen ; x the viaduct of the Geul, 126 ft. high, 17 arches; 2 tunnels, the second 2,200 ft. Cas. of Emmaburg on mountain side. 11. Stop 5 m. See Aachen, x the Wurm ; n. Frankenburg with ruined tower, and lake ; hunting-seat of Charlemagne. Nirmer tunnel, )£ ml. 12. x the Luke. 13. Numerous silver, zinc, lead, and coal mines and works. Nothberg ; Rottger- sehloss, 4 towers, s. Langerwehe. 14. 3 mis. bfr. chateau of Merode ; x the Roer ; fertile plain. 15. Valley of the Erf t ; fine residences ; Konigsdorf tunnel, 1 ml. 16. See Cologne. Route No. 20. Cologne— Mayence. Fares, I. CL, 18.50 fr. ; II., 13.50 fr. By rly. along the bauk of the Rhine, 115 mis., 4-6 hrs. trains. several The Rhine : Steamer from Cologne to Mayence, 127 mis., up 13, down 9 hrs. Fares, I. CI., 9 fr. The tickets, upon application, permit the stopping over at any landing, but are good only for boats of the same line. The fine scenery of the Rhine lies between Bonn and Bingen. Below the former, and above the latter, there is little of interest. Refreshments on the boats. a.m. 6.00 8.15 9.00 a.m. 8.45 10.45 2.45 6.45 8.30 8.45 p.m. a.m. 10.00 12.45 l.ao 2.00 2.15 2.30 4.00 4.30 6.30 7.00 8.00 9.30 7 a. 7.15 8.30 9.15 9.30 a.m. p.m. 1.00 3.45 4.30 5.00 5.15 5.30 7.00 7.30 9.00 a* to p H Jl M. iu CT 3 dep. arr. Cologne Bonn Konigswinter p.m. 4.50 3.15 2.45 2.30 2.15 2.00 1.15 1.00 12.15 11.45 11.15 10.30 915 9.00 8.15 7.45 7.30 a.m. p.m. 6.00 4.45 4.15 4.00 3.45 3.30 2.45 2.30 1.45 1.15 12.48 12.15 11.00 10.'45 10.00 9.45 9.30 a.m. p.m. 7.00 5.30 5.00 4.45 4.30 4.13 3.30 3.15 2.30 2.00 1.15 12.45 11.80 11.15 10.30 10.00 9.45 a.m. p.m. 9.30 8.00 7.30 9.30 9.45 Rolandseck Remagcn 7.15 7.00 10.00 11.00 11.30 1.00 Andernach Neuwied Coblenz 6.45 6.00 5.45 4.45 1.30 2.15 Boppard 4.15 3.45 3.30 5.30 5.45 St. G-oar Ruriesheim 3.15 *.00 1.40 6.45 7.30 Eltville Biebrich 1.05 12.30 7.45 Mayence 12.15 p.m. arr. dep. m. On either bank, from Cologne to Bonn, are several unimportant villages. w. Bonn. The Castra Bonnensis of Tacitus ; pop. 27,000 ; one of the early Roman fortresses on the Rhine ; Emp. Julian rebuilt the walls. Suffered much in the Spanish and Dutch wars ; dismantled 1717. Noted for ita University. The Rhine. ROUTE NO. 20. 525 The Munstcr is said to have been founded by Empress Helena, 320 ; in the Mun- 6ter Platz is a statue of Beethoven, 1845 ; the house in which he was bora is in the Bongasse, No. 515. In the Kirchhof Cemetery are the tombs of Niebuhr, d. 1831 ; Schiller's wife and eldest son ; and Schlegel, d. 1845. Pr. Albert was here a student. The Siebengebirge (seven mountains) are seen in dist. on the e. side of the river. Opp. Bonn, Combahn ; further up e. Obercassel, rly. bridge ; w. Plit- tersdorf. *Godesberg cas., m. ro. tower, \% ml. dist. ; e. Dollendorf ; w. Riingsdorf ; e. Konigswinter, landing for ascent of Drachenfels ; w. Mehlem. e. * Drachenfels Mt. (dragon's rock), 910 ft. high ; cas. ru. on summit, built by Abp. of Cologne, 12th cent.; occupied by the Swedes in the 30 years' war ; captured and destroyed by the Bavarians ; also a hotel, and a monastery erected 1S57, in gratitude for 40 years' peace ; **view. On s. side is seen the quarry from which the stone for the Cologne Cath. was taken. The haunt of the dragon slain by Siegfried is half way up on the Rhine side. See Siegfried. Rolandwerth or Noiiiienwerth, isl. : the building, formerly a nun- nery, suppressed by Napoleon, is now a seminary in charge of the Franciscan Nuns. Vine-clad hills above the village. Scene of the legend of " Roland.'" See Roland. w. *Rolandseck., cas. ru., a single arch (recently rebuilt). w. **Oberwinter, vil. ; magnificent view toward the Drachenfels ; w. B.m- dorf, vil. ; e. Unkel, vil. ; w. Remagen, vil., with Apollinariskirche, a fine Gothic ch., 4 towers ; e. Erpel, vil. Ockenfcls, cas. ru., ivy-clad tower ; e. Linzerhausen, vil.; w. Krippe, vil. at the mouth of the Ahr ; e. Linz, town taken by Charles the Bold, 1476 ; by the Swedes, 1632, and by the French, 16S8 ; e. the ro. tower of Olbruckj cas. ru. dist. On the Hummelsberg, e., 1,434 ft., is a cross in honor of the victory of Leipsic, and on the Kaiserberg, e., one similar, in honor of Waterloo. Wooded hills; e. Leubsdorf, vil., 4 towers ; e. Ariendorf. e. Arenfels, cas. with several ro. towers, restored, owned by Count Wester- holt ; e. Honningen, vil. ; w. Breisig, vil. ; e. Rheinbrohl, vil. w. *Rheineck, cas. ru., sq., 70 ft. high, burned 1785 ; new cas. built 1832. w. Nippies, vil. ; e. Rheinbrohl. vil., tall spire; w. Brohl, vil.; w. Fornich, vil., above which rises an extinct volcano, e. Hammerstein, vil., and Ober Hammer- stein, vil. Above the latter, Hammerstein, cas. ru. ro. ; for a time residence of Emp. Henry IV., occupied by the Swedes during the Thirty Years' War ; de- stroyed, 1660, by the Abp. of Cologne ; e. Leutesdorf, vil. ; w. Andernach, vil. ; watch tower, ro., lower end of the village was a Rom. fortress; conquered by the Alemanni, retaken by Julian ; burned by the French, 1698 ; ch. with 4 towers, 1206. At the upper end of the town are the ruins of the Schloss, destroyed by the French, e. Low fertile hills: w. fertile plain; e. Fahr, vil.; Irlich, vil.; e. the river Wied ; w. the river Nette. e. Neuwied (noi-weed). The palace of the Prince of Wied is below the town, w. Weissenthurm : below the town, sq. watchtjwer. 1370 : modern ch. ; above is the mon. to Gen. Hoche, who here crossed the Rhine, w. Kaltenengers, vil. ; e. Engers, vil., where Csesar crossed, cas. ru. ; e. Bendork, vil. ; w. St. Sebastian, vil. : w. Kesselheim, vil. ; e. Vallendar, vil. 526 ROUTE NO. 20. Niederwerth, isl., for a time the residence of Ed. III. of Eng., 1337. e. Mai- lendar, vil. ; w. Wallersheim, vil. ; e. TJrbar, vil. ; w. Neuendorf, vil. : e. *Ehren- breitstein (honor's broadstone), one of the strongest fortresses of Europe, costing #9,000,000. w. *Coblenz. See Coblenz. w. The palace is above the bridge of boats, e. Fort Asterstein ; e. Pfaffen- dorf, ril. ; rly. bridge, 2 spans ; e. Horchheim, vil. ; w. Capellen, vil. ; above which is w. **Stolzenfels, sq. and several ro. towers; probably built, 1250, by Abp. of Treves ; destroyed by the French, 1638 ; purchased, 1802, by the town of Coblenz, and in 1823 presented to Fred. Wm. IV. Restored 1836, and is now the summer residence of the Emp. of Germany, w. Wooded hills ; e., on the s. bank of the Lahn, is Oberahnstein, vil. ; ancient walls with ro. towers ; ch. with heavy sq. tower ; above is *Lalineck, cas. ; ro. towers, recently restored ; % m ^- beyond, amid a grove on the east bank, is Marien Church., where Emperor Wenzel was deposed by the 4 Rhenish Electors, 1400. The day following they elected Rupert III. at w. Konlgsstwlil (king's seat), erected by Emp. Ch. IV., 1376, as a meeting place for the 4 Rlienish Electors. Here treaties were ratified and emperors elected ; close upon the river edge, near a single white house ; rebuilt, 1843. w. Rhense, vil. , large ro. tower on river bank ; e. Braubach, vil. ; above is e. **Marltsl>urg, cas. sq., alt. 511 ft., on an isolated peak; the only Rhine cas. never destroyed. Aft. tall chimney of iron mines, resembling a monument, w. Niederspay, small vil. ; Oberspay, peculiar style of house, e. Dinkolder, vil. ; wooded hills. The river makes a large turn to the west. e. Osterspay ch., with tall white tower, black spire ; sq. tower of an ancient fort ; above is the chateau of Liebeneck. River turns to s. e. Filzen, vil. ; barren hills ; opposite is w. *3oppard, vil. ; walls in tne interior of the town are of Rom. origin, outer wall of mediaeval times. Round towers at lower, and sq. tower at upper end of vil., ch. with 2 towers (see Conrad), e. Camp., vil. ; Bornhofen, vil. ; vine hills. e. Stcrreiihcrg, cas. ru., sq., and Lieljenstein, ca3. ru., sq., known as ll TJie Brothers,'''' in connection with which is the legend of "Conrad and Heinrich " (see Conrad), w. Salzig, vil. ; w. Weiler, vil. ; e. Kesfcert, vil.; w. *Hirzenach, vil., with rly. embankments in front ; e. Ehrenthal, vil. ; rocky, barren hills; e. Welmich, vil., ch. with tall sq. tower. Above is e. **Tfiurnbcrg, cas. ru., ro., derisively called " The Mouse," in contrast with the Cat of Kat-zen-eln-bo-gen. w. **Rlieiiifels, cas. ru., sq., the most extensive ruin on the Rhine, 1245 ; ten years later it withstood a siege of 15 months ; In 1750 was surprised and ■ taken ; destroyed, 1794. w. St. Goar, walled with ro. and sq. towers ; opp. is e. St. Goarshausen, ro. and sq. ; above is e. **The Katz, or New Katzenelnbogcn, cas. ru., ro., 1393; de- stroyed by the French, 1794. On either side several rly. tunnels. At the foot of the precipitous Lurlei, *450 ft. e., is a sunken ledge, rendering navigation difficult and dangerous, giving origin to the legend of Lurlei, which see. River makes several turns. w. *Oberwesel, Rom. Vesalia, vil., **scencry. On the walls are seen several ROUTE NO. 20. 527 email sq. towers and the chapel connected with the legend of the boy Werner, mur- dered in this place by the Jews, 1286, whose body miraculously floated up stream to Bacharach (see Seven Virgins). Large ro. tower on river bank. Above is w. *Scb.bnburg, cas. ru., ro. and sq. Birthplace of Marshal Schomberg. Destroyed by the French, 1689. Rocky, barren hills, with ledges. e. Caub, vil., ro tower at upper end. Above is e. *Gutenfels, cas. ru. sq., destroyed by order of Napoleon, 1805. See Guta. * Pfalz, an isl. ; erected by the Emp. of Bavaria in the 13th cent, as a toll-house; w. Stahlberg, cas. ru. sq. w. Bacharach (altar of Bacchus)^ noted for its wine ; ruins of the fine ch. of St. Werner, in memory of the boy Werner ; Several s q. towers. w. Stahleck ; cas. ru. sq., above Bacharach ; this castle was taken 8 times by the French between 1620 and 1640 ; destroyed, 1680. Seat of the Palatinate Counts (see Hermann), e. Lorch- hausen, vil. w. *Fiirstenberg, cas., ro., destroyed by the French, 1689 ; now owned by Princess Frederick, sister of Emperor William. Hills with vine. e. Loz'ch, vil., ch. sq. tower ; low ro. tower on bank ; **views. e. Nollingen, cas. ru., ro. ; the cliff on the river side is called the Devil's Ladder (see legend of). w. The scattered village of Nd. Heimbach. w. Hohneck. or Heimhurg, cas., ro., recently restored. w. * Sooneck, cap., sq.. at the entrance of a ravine. Built, 1015; destroyed by Emp. Rudolph ; rebuilt, 14th cent. ; recently restored ; owned by the Prussian royal family, w. Trechtlingshausen, vil. w. Fallseiiburg or Reicbenslein, cas. ru., ro. This haunt of Rhin« robbers was dismantled by the Rhenish Confederation, 1251. Ten years later. 528 ROUTE NO. 21. the owner having rebuilt and commenced again his depredations, Emp. Rudolph attacked and took the castle, and hung the occupants. See Liba. w. **Rheinstein, cas. ; several round and octagonal towers; date un- known, mentioned in 13th cent. ; rebuilt, 1825, by Pr. Fred, of Prussia, and now owned by the royal family (see Gerda). e. Assmannshausen, e. Rossel, sq. tower, above which is a narrow, rapid channel, called the Binger Lock. e. Ehrenfels, cas. ru., ro., built, 1210, by the Gov. of Rheingau; much in- jured by the Swedes, 1635 ; dismantled by the French, 1689. The terraced slopes yield the celebrated Riidesheimer wine. See Uta. Mouse Tower, sq., in the river ; erected in the Middle Ages as a toll -house ; now used as a signal station for steamers. The name is derived from the legend of Abp. Hatto's having been here devoured by mice. See Mouse Tower, w. On height small observatory with colonnade. w. Binge n, at the confluence of the Rhine and Nahe. Rly. may be taken for Darmstadt and Heidelberg. Station not far from the wharf. e. Rndesheim. At the lower end of the village is Bromserburg or Nieder- burg, a massive structure, supposed of Rom. origin ; now owned by the Count of Ingelheim (see Gisela). The fine scenery here terminates, the hills recede, fertile plains intervene, the Rhine broadens, and is filled with numerous low islands. Above the village of Geisenheim is e. *Schloss Johannisoerg, on a commanding eminence, 362 ft.; founded 1106 as a Benedictine convent ; rebuilt, 1716 ; suppressed, 1802 ; in 1807, given by Napoleon to Marshal Kellerman, and, in 1816, by the Emp. of Austria to Pr. Metternich. The vineyards comprise 60 acres. On the west bank there are few villages. On the east, Mittelheim, Oestrich, Schloss Reichartshausen , Hattenheim, Er- Tbach, Eltville, Niederwalluf, Schierstein, Biebrich, the point of debarkation for Wiesbaden, dist. 4 mis. Petersau isl., where Louis the Pious, son and successor of Charlemagne, died, 840. Mayence. Steamboat pier, }4 ml. from station. See Mayence. The Rhine may be ascended to Mannheim, 5 hrs., uninteresting. Route No. 21. Bingen— Mayence— Heidelberg. 81 mis. ; 3 hrs. Mis. | 1. Bingen 5! Gaulsheim 8 Gau-Algesheim 9 2. Ingelheim 32; Heidesheim. . . 16 i Budenheim 18 1 Mombach , 21 j 3. Mayence 26' Bischofsheim. . . 30 j Nauheim 32 j Gross-Gerau 37 Weiterstadt.... 42 4. Darmstadt 46 5. Eberstadt Fares, I. CI., 9.55 m. ; II., 7.35m. ■ 1. Steamer for Cologne. See Route No. 20. 2. Charlemagne had here a celebrated palace, from which the columns of the fountain at Heidelberg cas. were taken. Henry IV. de- throned by a convocation of bishops, 1105. 3. Stop 10 m. ; steamer may be taken for Co- logne, or (preferable) at Bingen. Mayence, see Route No. 20. x the Rhine at the confluence of the Main. 4. Stop 10 m. June, for Frankfort, Nurem- berg, and Worms. Little of interest from May- ence to Darmstadt. 81 76 73 72 69 65 63 60 55 51 49 44 39 35 ROUTE NO. 22 529 51 55 , 57' 61 i 6710 72 81 Bickenbach 6. Zwingenberg. . . 7. Auerbach 8. Bensheim 9. Heppenheim . . . Weinbeim 11. Ladenburg 12. Friedricksfeld . . 13. Heidelberg. 30 28 26 24 20 14 9 6 Mis. Turenne, 1645 and 1674. 10. x 12. June, for Mannheim. 13. 5. e. Frankenstein, r. ; and the Alsbachei Schloss. 6. Along the margin of the Black Forest. 7. w. 2 mis. Auerbacher Schloss, founded by Charlemagne ; destroyed by Turenne, 1674. 8. Unsuccessfully besieged, 1504. 9. e. Starkenburg Schloss, captured in the Thirty Years "War ; unsuccessfully besieged by the Weschnitz. 11. x the Neckar. See Heidelberg. Route No. 22. Heidelberg— Bile. 156 nils. ; 6 hrs. Fares, I. CI., 20.20 m. ; II., 13.40 m. Mis. 1. Heidelberg 156 Wieslock | 148 2. Langenbr'k'n ; 141 3. Bruchsal. ! 136 Weingarten ; 130 4. Durlach : . . . 125 5. Carlsruhe I 123 6. Ettlingen 118 7. Muggensturm | 111 8. Rastatt ' 108 9. Oos (Baden) : 102 56 10. Sinzheim 100 58|ll. Steinbach ! 98 60 12. Buhl | 96 63 Ottersweier [ 93 66'13. Achem 90 74 14. Appenweier. . , 82 79J15. Offenburg 77 87 1 Friesenheim i 69 90: Dinglingen I 66 100 j 16. Kenzingen 56 103 17. Riegel 53 112 18. Denzlingen ! 44 118119. Freiburg j 38 1361 Mulheim < 20 156 20. Bale Mis. 1. June, for Darmstadt, Mannheim, Stutt- gart, and Bale ; usually change cars. 2. Kislau, formerly hunting-seat of the Abps. of Speyer, now a penitentiary. Mingols- heim, place of Tilley's defeat by Count of Mansfeld, 1622. 3. Stop 5 m. ; rly. to Stuttgart. 4. Destroyed by the French, 1688, 5 houses alone remaining. 5. Stop 8 m. (Charles? 7'est.) Rly. for Stutt- gart. Capital of Gd. Duchy of Baden ; streets radiate from the Schloss ; founded, 1715 : pop. 35,000 ; contains a Palace, Hall of Art, and Polytechnic School. 6. e. On a forest-covered hill. 7. e. Black Forest. Height of Mercurius- berg, surmounted by a tower ; nearer Alt-Eber- stein, ru. of a Rom. watch-tower. 8. Burned by the French, 16S9; the statue of Jupiter is seen above the walls of the barracks, the former palace : x the Murg. 9. Stop 5 m. June, for Baden (e., 3 mis. dist. ; season, July, Aug., and Sept.). 10. e. Yburg, a well-preserved old Rom. watch-tower. 11. e. On an eminence, monument to Erwin, architect of Strasbourg Cathedral. 12. e. Castle of Alt-Windeck. r., on mountain slope. 13. aft. The spire of the Strasbourg Cathedral may be seen w. in the horizon. Station Renchen ; x the Rench. 14. Stop 5 m. June, for Strasbourg (10 mis. west). 15. Stop 4 m. June, for Constance — the Black Forest route. Has a statue of Sir Francis Drake, " the introducer of the potato into Europe, 1586." 16. x x the Elz. 17. Volcanic mountain Kaiserstuhl ; aft. x the Elz. 18. *View of the valley of the Elz ; bfr. e.. Hochburg, ru., destroyed by Louis XIV., 1689. Aft., cast, the watch-towers of cas. of Zahringen, ru.; w. broad plainst 530 ROUTE NO. 25. 19. Stop 5 m. ; pop. 22,000 ; **cathedral ; little of interest from Freiburg tn Bale. Rly. skirts the Black Forest the entire distance, approaching the Rhine at Schliengen. Vosges Mts,, w., dist. Stations: St. Georgen, Schallstadt, Krotz- ingen, Buggingen, Schliengen, Kleinkems, x the Kander, Eimeldingen, Leopolds- hohe, Klein Basel. 20. Bale. The town on the north of the Rhine, which here turns to the east, is c :lled Klein Basel, and on the sonth Gross Basel, or Bale. At Klein Basel luggage undergoes customs examination; usually change cars ; rly. diverges f or Schaff- hausen ; x the Rhine. Noted for mf 'g of ribbons. See Bdle. Mis. 9 181 20 24 26 29 34 46 49 53 56 59 59 50 46 1. Bale 2. N. Schonthal . . Liestal 3. Sissach Sommerau I 4. Laufelfingen I 39 5. 01 ten ; 35 6. Aarbourg 33 Route No. 23. Bale— Lucerne. * Scenery. 59 mis.; 3 hrs. Fares, I. CI. 8 fr. ; II., 5.75fr. - -j g ee 2? Ecietas\ L A K & mmm XaxfUwylc f Stanzerliom |= ' 'reiwi?rfe»i' / /,„.. <*£*£ ^ «y*oi /y* l|WalIea5.StSdk, % *£^?#f Terrcrini,-' SWITZEBLAND. 532 ROUTE NO. 25. 5. Alt. 5,905 ft., affording a series of the finest views presented by any locality in Switzerland, including 13 lakes, and innumerable snow-clad peaks. Visitors remaining at the Kulm over night to view the sunset and sunri?e should be well protected against cold, and be prepared for occasional disappoint- ment from fog. See Bigi. Route No. 25. Lucerne— Fluelen— Locarno— Arona. {St. Gothard Route.) 120 mis. ; 11 hrs. Leaving Lucerne, the rly. follows the w. shore of Lake Lucerne to Kussnacht, beneath the base of Rigi. to Brunnen ; and thence, through numerous tunnels, along Lake Lucerne to Fluelen. Thence it follows the narrow valley of the Reuss to the St. Gothard Tunnel. Emerging on the Italian side of the Alps, it follows the valley of the Ticino to Lake Maggiore. In bold engineering skill and hardy enterprise, this great work has hardly an equal in the world. Four times on the Italian side, and once on the Swiss side, where the accent is too great, the road turns, and entering the mountain, makes a complete spiral circuit, emerging directly above the entrance. The traveller is recommended to go via the Lake from Lucerne to Fluelen, taking the cars at that point. Lake Lucerne. (Summer Service. ) Lucerne to Fluelen, 25 mis.; 2 hrs. 5; 8; 10: 11.30; 1.45: 4.40. Fliielen to Lucerne, 6 ; 7.45; 11; 1.40; 2; 4.40; 0.30. Lucerne to Kussnacht, 6.10 ; 2; 5. Return, 7; 12: 3; 6. Lucerne to Alpnacn, 6.45 ; 10 ; 4.10. Return, 8 ; 12; 3 ; 5.45. Fares from Lucerne to Fluelen, 4.50 fr. ; to Kussnacht, 2 fr.; to Alpnacn, 2.40 fr. By steamboat or railway from Lucerne to Fluelen ; by rail from Fluelen to Lo- carno, and by steamboat from Locarno to Arona. **Lake Lucerne — Vierwaldstatter-See, Lake of the Four Forest Cantons, bordered by the Cantons of Lucerne, Uri, Unterwalden, and Schwyz, is about 25 mis. in length, 1-4 in width, and has two bays or arms near the western extremity extending in either direction 5 or 6 mis. In magnificence of scenery it is unsur- passed by any body of water in Europe, and by but few upon the globe ; whilst the name and deeds of Tell add a double charm to the majestic and untamed grandeur of its precipitous and storm-bound shores. Leaving Lucerne, a succession of villas line either side for several miles. In front, is the Biirgenstock, n. Rigi, s. Pilatus. nr., n., Meggenhorn, a small pro- montory with villa, n. Altstadt, isl., with poplars. Formerly the lake terminated at this point. n. Bay of Kussnacht : s. Bay of Stansstad and of Alpnach, beyond which, in the horizon, may be seen the Jungfrau, Monch, and Eiger. Tanzenburg, n., on the point ; aft. cas. Hertenstein, ru. n. Weggis, a pleasant sheltered village with fruit trees, Rigi rly. may be 6een on the mt. side. ROUTE NO. 25. 533 n. Vilznau, landing for the rly. to the Kulm. The upper and Lower Nases, two promontories nearly dividing the lake, beyond which it is called the Lake of Buochs. s. Buochs, burned by the French, 1798 ; above are the Buochserhorn and the Stan ser horn. s. Beckenried, former place of meeting of the Delegates of the Four Cantons. n. Uersau, for 4 centuries was an independent State, with about 1,000 inhabitants. n. Kindlimord (i7tfunticide), the chapel so-called from the legend that here a poor fiddler dashed out the brains of his starving child. A black cross designates < the tragic spot. n. Brunnen, one of the most charming localities on the lake ; beyond this point the lake is called the Lake of UrL s. Near the point of the promontory is Schil- ler's Monument, a pyramidal rock rising 80 ft. from the water, bearing an in- scription to Schiller : 1 ml. beyond is Riitli, or Griitli, the memorable place where the 3 patriots met Nov. 7, 1307, and took the oath of their country's freedom from Austrian oppression. n. Tell's Chapel, said to have been erected 1388, on the spot where Tell leaped from Gessler's boat ; the chapel contains rude frescos of events in Tell's history. **Scenery. Flueleii. Head of the lake. Fliielen— Locarno. 80 mis. ; 5 hrs. Fares, I. CI., 24 fr. ; II., 17 fr. From Flueleo. the St. Gothard road foilows the narrow valley of the Reuss to the very summit of the Pass, thence it enters the valley of the Ticino, down which it threads its way to Lake Maggiore. The line of the railway is essentially the same, with the exception of the tunnel. At Bellinzona the railway divides : one branch leading to Locarno on Lake Maggiore, the other to Lugano, Como, and Milan direct.' Mis. 9, 1. Fliieleu 2. Altorf 91 89 86 85 84 83 82 81 80 78 77 74 73 72 71 70 69 67 I 5 6 Birtschen 7 Kluss 8 Buchholz 9 Riitlenen 10 11 3. Amsteg 13 14 17 18 Intschi (2,168) ... Meitschlengen 4. "Wyler Hubel 19 19 21 22 24 Wasen (2,756).... 6. Gosclienen .... 1. Alt. 1,433 ft. The head of Lake Lucerne. Steamers for Lucerne, tj, 10, 2, 4. Take dili- gence or railway for St. Grothard Pass to Milan. ** Scenery. 2. 1,466 ft. In the centre of the village is a statue of Tell, standing where he shot the apple from his son's head. At a distance of 400 ft. is a fountain marking the place of the tree to which the lad was bound. The vil. of Burg] en, the birthplace of Tell, is near. 3. 1,758 ft. bfr., e., the Windgelle, 10,463 ft. aft., e., the Bristenstock, 10,085 ft. The ascent of the Pass here commences. 4. 2,661 ft. The Pfaffensprung Bridge, where r>u ROUTE NO. 25. 24 9. Urner Loch 67 25 10. Andermatt 67 2711. Hospenthal 33 ■ Cantc niera 3512. Pass (6,936) 3513. Hospice (6.864).. 43 14. Aiiolo (3,868). 47 Piotta 48 15. Ambri 50 16. Fiesso (3,110) ... 51 Rodi 5317. Mairenso 54 18. Faido (2,366). .. . 60 19. Giornico (1,325). 63 1 Bodio (1,068).... 65 20. Polleggio 21. Biasca Osogna (964) 22. Cresciano . . . 23. Claro ;2-*. Castione 77; 25. Arbedo (813) | 14 79 26. Bellinzona ... 12 91J27. Locarno Mis. a monk leaped across the stream with a girl in his arms. 5. 2,998 ft. *Cascade of the Rohrbach. 6. 3,609 ft. Entrance to the St. Gothard rly. tunnel, terminating at Airolo, 9 mis. — the dis- tance by carriage road being 22 mis., and the elevation 3,200 ft. 7. A defile, 2 mis. long, much exposed to ava- lanches. 8. 4,593 ft. Memorable for two obstinate battles between the French and Russians, 1799. 9. 4,642 ft, A tunnel 210 ft. long ; formerly travellers passed around on the face of the rook by means of a bridge hung by chains. 10. 4,737 ft. In the valley of Uri or Urseren, a green, fertile, level meadow, doubtless an an- cient lake bed, whose waters ultimately wore the passage at the gorge of the Devil's Bridge. . ' — -! 11. 4,800 ft. Road is joined by that from the Fnrca Pass ; Lombard tower, ru.: e. glacier of St. Anna ; 2)4 mis. before the sum- mit, Rodont Bridge, 6.621 ft. *views to the north. 12. Snow usual all the summer; e. Sasso di San Gottardo, 8,235 ft.: w. the Fibbia, 8,996 ft. Farther n. Pizzo di Lucendro, 9,708 ft. Several small lakes ; great variety of flowers in summer. 13. Adjoining the Albergo is the Hospice, erected by the Canton, containing a number of beds offered gratuitously to poor travellers. Aft. % ml. x the Ticino, which has its source in the Sella lake on the east. At the first Cantoniera enter the Val Tremola, nearly two miles in length. The road makes a rapid descent by nearly 80 zigzags, gaining, in 8 miles, but 3 in ac- tual distance. Much exposed to avalanches. 14. Italian spoken, although the boundary of Italy is below the head of Lake Maggiore. Entrance to the St. Gothard tunnel, completed 1882. Below A. is the Strettodi Stalvedro.in which a battle between the French end Russian? was fought, 1799. w. Ruins of Lombard tower ; aft. 1 ml., w., *cascade of the Calcaccia. 15. w. The Piz Massari, 9,062 ft. 16. Soon enter *gorge through Mt. Piottino ; x the Ticino several times : *cataracts. 17. w. *Cascade of the Piumogna. 18. Italian village ; aft. *scenery, and numerous *waterfalls ; x the Ticino over a cataract. 19. Lombard fortress, r.; ch. of St. Niccold da Mira on site of a heathen tem- ple ; aft., w., *cascade of Cramosina. 20. e. June, of the Brenno, below which the valley is called the Riviera. 21. Take diligence for the Bernardiuo Pass to Coire. e. Old Romanesque ch. on hill. 22. *Cascades. 23. Above is Mt. Claro, 8,760 ft., with convent at height of 2,074 ft. 24. x the Moe'sa. 25. Battlefield of Swiss and Milanese, 1422. 26. 777 ft. alt. In the Middle Ages was an important military post ; several ol ROUTE NO. 20. 535 the castles yet remain in good preservation. Bridge of 14 arches over the Ticino. From Bellinzona railway may be taken to Lugano, and thence to Como. 27. Take steamer for Lake Maggiore, Arona, and Milan. Lake Maggiore. 37 mis. ; 5* hrs. Fare, 4.50 fr. From Locarno, 10.30 a.m. : 3.30 p.m. ; 12 night. From Arona, 4.30 a.m , 9.40 a.m. ; 5 p.m. The 4.30 a.m. boat from Arona goes to Magadino, a few miles above Locarno ; returning from M. at 10.10 a.m. A boat also leaves Arona at 2.40 p.m. for Ca- nobbio ; leaving C. on the return at 4.30 a.m. Lake Maggiore, the Rom. Lacus Verbanus, is scarcely less renowned for its beauty than the Lake of Como ; the scenery of the Borromean Islands and the bay of Baveno being unsurpassed by any lake of Italy. w. Locarno, principal steamboat landing for the n. end of the lake, and termi- nus of a branch of the St. Gothard Railway ; embosomed in orange and citron groves, giving an appearance of great beauty as seen from the steamer. w. Brissago, charmingly clean and inviting ; hillside covered with fruit orch- ards. w. Canobbio, one of the earliest towns on the lake ; entrance to the Val Can- obbino. e. Luino, landing for diligence to Lugano and Lake Lugano ; popular summer resort, both from its beauty and salubrity. Birthplace of Luini. w. Cannero, a delightful village amid vineyards and groves. On the isl. adja- cent ru. of Cas. Mazzarda, of five brothers, brigands of the 15th cent. e. Germignaga, noted for its silk winding and spinning. w. Approaching Intra, the Strahlhorn, the Mischabel, and the Simplon become visible, w. e. Laveno, Monte II Sasso del Ferro, 5,918 ft. w. Pallanza, the Bay of Baveno extends 4 mis. w. **The Borromean Isles. Isola Madre s. side ; with terraced walks, orange and lemon trees (1 fr.). Isola Bella, with luxuriant tropical garden, grottoes, foun- tains, statues, etc. ; chateau contains a collection of pictures (X fr>)- Isola del Pescatori, occupied by fishermen ; and Isola S. Giovanni, n. * :;: Baveno, landing for the Simplon Route to Sierre and Geneva. Stresa, o- the mt. side, monastery, now a school. Arona, landing for rly. for Milan. See Route No. 44. Route No. 26. Lucerne— Zurich. 39 mis. ; 2 hrs. Fares, I. CI., 6.50fr. ; II., 4.50 fr. 1. Passing the tunnel, diverge to the e. ; x the Reuss and along the Rothsee. 2. During the dissensions of 1S47 several skirmishes occurred at the covered bridge. 3. x the Lorze, follow the margin of Lake Zug. Mis. 5 8 1. Lucerne 2. Gisikon 39 34 31 28 25 23 211 11 14 Rothkreuz 3. Cham 16 4. Zug 18 536 ROUTE NO. 27. 20 22 94 Hedingen 19 IT 15 ; 13 1 9 6 1 Mis. 26 30 S3 Bonstetten Urdorf 38 6. Altstetten 39 4. Stop 3 m. On the n. shore of Lake Zug Train returns a distance on the same line, x the Lorze ; e. the Aeugster Berg, 2,723 ft. 5. Tunnel nearly % mile. 6. e. The Uetliberg, around which the rly. makes an extended curve. 7. See Zurich. Route No. 27. B&le— Zurich. 56 mis.; 3 hrs. Fares, I. CI., 9.20 fr.; II., 6.50 fr. Mis. 8 5 7 11 12 17 19 21 23 26 29 31 36 38 41 43 46 49 51 53 56 1. Bale Muttenz . . . Pratteln Augst 2. Rheinfelden Mohlin Mumpf Stein Biken Frick Hbrnussen . . Effingen Biitzenegg.. . 3. Brugg 4. Turgi 5. Baden Wettingen. . Killwangen. 6. Dietikon. . .. Schlieren. . . Altstetten. . . 7. Zurich... . 56| 53 : 51 J 49! 45 j 44 i 89 ' 37 35 33, 30 27 | 25 20! 18; 15! 13; 10 r 5 3 Mis. I 1. The rly. follows the Rhine eastward for a distance, and then enters the rugged country of the Jura range. 2. Rom. Augusta Rauracorum. During the Roman period, and the Middle Ages, one of th6 most important fortresses of Central Europe. Many times besieged and taken : destroyed by the French, 1744. 3. Stop 4 m. 4. Stop 2 m.; usually change cars. 5. The Rom. Aquce Helvetia, a favorite re- sort ; residence of the Hapsburgs in the Middlo Ages. 6. 1799 the French made the passage of th« Limmat and defeated the Russians. * Scenery. 7. See Zurich. Rlys. for Coire, Lucerne, and Constance Route No. 28. Zurich— Coire. Steamer may be taken from Zurich to Rapperschwyl ; 2 hrs* Fares, I. 01. , 1.90 fr.; II., 1.25 fr. The Lake of Zurich. 2 3 J> 8_ J.0 12 13 15 17 18 2 4~6~7 9 11 14 16 19 Zurich. _' 1 1 Wollishofen. 2 Zollikon. 3 Kussnacht. 4 Ruschlikon. 5 Erlenbach. 9 11 6 Thalwyl. 7 Oberreiden. 8 Herrliberg. 9 Horgen. 10 Meilen. 14 16 11 Au. 12 TJetikon. 13 Mannedorf. 14 Wadenswyl 15 Stafa. Rapperselvwyl Railway. From Zurich to Coire, 81 mis. ; 4 hrs. II., 8.50 fr. 16 Richterswyl. 17 Kehlhof. 18 Uerikon. 19 Freyenbach. 20 Schirmensee. Fares, I. CI., 12 fr.; POJTE IJO. 29. 037 Mis. 1. Zurich 3 2. Oerlikon 6 Wallisellen . . . 9 Diibendorf 11 Schwerzenberg 12 Nftnikon 14 3. TJester 16 A-athal 18 Wetzikon 22 Bnbikon 24 4. Ituti £9 5. Rapperschwyl . 34 6. Schmerikon . . . 36 7. Ueznach 37 Kaltbrunn 42 8. Schanis 44 9. Ziegelbr'ucke.. 45 10. Wesen 49 Miihlehorn 52 11. Murg 54 Unterterzen. . . 57 12. Wallenstadt. . . 59 13. Plums 68 Mels 64 14. Sargans 69 15. Ragatz 71 ; Maienfeld 74 1 16. Landquart 7617. Zizers 81118. Coire 81 78 75 72 70 69 67 65 63 59 57 52 47 45 44 39 37 36 32 29 27 24 22 18 I. See Zurich, x the Sihl and the Limmat ; tunnel % mile. 2. x the Glatt. 3. Mediaeval castle. 4. Forest. 5. Stop 5 m. Station of stmr. to Zurich ; x the Jonen-Fluss ; w. nunnery of Wurmspach ; rly. near Lake Zurich. 6. Grynau, sq. tower on the Untere Buchberg. 7. e. Monastery of Sion. 8. Skirmishes between French and Russians, 1799. *w. view of the Valley of G-larus. 9. Tunnel ; w. snow peaks of Wiggis ana Glarnisch. 10. Stop 5 m. June, for G-larus ; at the west end of the Wallensee, 12 mis. long, 2 wide, one of the finest Swiss lakes. Rly. skirts its entire length. 9 tunnels ; x the Etcher Canal. Opp. side of the lake are the Bayerbach and Seren- bach waterfalls. *Views east. II. *Viewof the lake ; opp. is the Churfirsten, \l i 6,890 ft. 10 ! 12. At e. end of the Wallensee. Enter the val- ^ | ley of the Seez ; w. ruins of castle Graplang. Mis. ' 13. e., on height, pilgrimage ch. of St. . ' ! Georgen. 14. Stop 3 m. ; sometimes change cars. Enter the valley of the Rhine. 15. Opp., on the summit of the Flascherberg, are remnants of fortifications. Thi3 pass was fortified by Emp. Constantine against the barbarians. Cas. of the Tog- genburg. Recently Ragatz has become one of the most popular summer resorts in Switzerland — the visitors numbering 50,000 annually. 2% mis. dist. is the cele- brated Bad Pfaffers, and the **Gorge, one of the most remarkable of the Alps. 16. Confluence of the Landquart and Rhine ; w. the Grauhorner, 9,341 ft. 17. w. the Calanda, 9,213 ft.; e. the castles of Krottenstein, Leichtenstein, and Haldenstein. 18. The Rom. Curies Ehcetorum ; pop., 7,500. The cathedral dates from the 8th cent.; the chapel of the Episcopal pal., within the walls of the Rom. town, is among the most ancient Christian edifices known. Terminus of the rly. } take diligence for the Furca, Bernardino, and Spliigen Passes. The Romansch, a Latin dialect, is still spoken here. Route No. 29. Coire— Como. {The Splugen Route.) By diligence, from Coire to Colico. Leave Coire at 10 a.m. ; 11 p.m. Colico at 1 p.m. ; 8.30. p.m. Leav« Mis. 72 mis.; 15 hrs. Fares, Coupe, 32 fr.; Interior, 26 fr. 1. Coire. See Route No. 2S. Take rly. for 1. Coire (1,935) 2. Ems 3. Reichenau .... 72) 69 1 „. gg ; Zurich. 538 ROUTE NO. 39. 8 m 13 14 15 16 17 18 18 22! 23 1 Bonaduz(2,14fi).. 4. Rhaziins (2,126).. Rothenbrun'n Realta Luvreu 5. Katzia (2,185).... Cas. Tagstein 6. Thusis (2,447).... Verlorne Loch. . . . 7. Rongellen 8. *Via Mala Zillis (3,061) I 9. Donat 24 1 Pigneu 25,10. Andeer (3,212) . 26 11. Barenberg J12. *Roffna Ravine. 29 Schmetz 2. Cas. of Hohenems, r. x the Rhine 85 ft above the waters. 3. Confluence of the Hinter-Rhine and Vor- The Chateau near the hotel con- 64! 63 j 00 ; 59 I der-B,hine. 31! Ruli 33 14. Spliieren (4,776) ... . 35' N. Staffel 361 Rhazuns 38' Berghans (6,677) . . 40 15. Spliigen P. (6,945) 40i 1st Cantoniera ... 4116. Dogana(6 247).... 47 46 43 30 i 13. Sassaplana 42 ' 41 39 37 36 34 32 32 31 31 30 29 28 26 24 23 21 21 20 19 18 17 16 15 14 411 42| 43; 44, 4617. 48! Piano d 1 Casa . 2d Cantoniera. 3d Cantoniera. Mostaccio Pianazzo. AlleCorti 49 18. C. Dolc'o (3,553) Prestone . Vho Cimaganda 53)19. Gallivaggio . 54 1 Martega. . . 55' S. Griacomo 56 20. Ugia 57 21. Chiav'a (1,040).. 58 Prata 59 Malaguardio 60 Porettina 61 Sommaggia j 11 63 22. Riva I 9 72 23. Colico (722) Mis. tains some mementos of Louis Philippe, who sought an asylum here in 1794, and taught a school under the name of Chabot. 4. * Views. Chateau of the Vieli family on an elevation. 5. n. is the Trinseihorn, 9,934 ft. ; the Rin gelspitz, 10,695 ft.; e. Statzerhorn ; St. Michel, 10,371 ft.; s. Piz Curver 9,761 fb. 6. Rom. Tusaun; the cas. of Hohen-Rhaetien, on the banks of the gorge, is the oldest in Switzerland, B.C. 587. 7. *Views. 8. **One of the most celebrated gorges of the Alps ; the old bridle-path was but 4 ft. wide frequently overhanging the torrent below ; the present road was constructed 1822, cross the stream 3 times in the gorge. Enter the valley of Schams. 9. Cas. of Fardiin, r. 10. Tower of Castellatsch. 11. Ruins. 12. 3 mis. long, x the Avereer- Rhein ; numerous *waterfalls. 13. A rocky passage. 14. June, of the Spliigen and St. Bernardino routes, the last village before making the as- cent of the Pass. 2,200 ft. ascent are now made in 7 mis. with numberless zigzags. 15. Alt. 6,945 ft.; boundary line of Italy and Switzerland ; stone e. : w. the Tambohorn, la j 10,748 ft. ; e. the Surettahorner, 9,925 ft. This 12 I pass was used by the Romans. 16. In a broad valley, apparently an ancient lake bed. The old road, to the w., was much exposed to avalanches. In 1800 the army of G-en. Macdonald making this passage in Dec. was here overwhelmed with snow, sausiug enormous loss of life. Many zigzags and tunnels. 17. **Palls of the Madesimo, 700 ft., seen from the roadside. * Views. Zig. sags. On the face of the ledge, e. side, is an inscription recording the date of tha completion of the road. 18. Several detached groups of hamlets. Beyond, is another inscription on the rock, relating to the construction of the road. 19. Ch. with slender spire ; chestnut forests. 20. Zigzags. Vineyards and luxuriant vegetation. 21. Rom. Clavenna. Alt., 1,040 ft. On the Maira, a little above its junction ROUTE NO. 29. 539 with the Ticino — quaint and uninviting. The castle in the village is noted for the numerous sieges it has undergone. 22. Lake Riva ; road follows the shore to Colico ; x the Adda ; ruins of the Spanish cas. of Fuentes. 23. On Lake Conio. Terminus of the diligence route ; take stmr. for Como and Milan. Lake Como. Colico — Como. 30 mis. ; 4 hrs. Fare, 4.50 fr. Leave Colico at 3.30 a.m.; 6.35 a.m.; and 3.20 p.m. Leave Como at 8 a.m.; 9.55 a.m.; 3.40 p.m. The Lake of Como, deeply imbedded in the Alps, with its shores and mountain slopes dotted with towns and villas, and rich in tropical vegetation, though lack- ing in the grandeur of Lake Lucerne, is yet esteemed one of the most beautiful lakes on the globe. It is about 30 mis. in length, 1 to 2 in width, and nearly 2,000 ft. in depth. e. Colico, northern end of the lake, landing for the Spliigen Route. w. Gravedona, the largest village on the lake. Villa of Cardinal Gallio with 4 towers. w. Musso ; cas. of Musso on the height. e. Dervio, at the mouth of the Yarrone. Above are Mts. Legnone, 8,566 ft.; and Legnoncino, 4,951 ft. w. Rezzonico, ruins of a fortress. e Bellano, at the mouth of the Pioverna. Mt. Grigna, 7,254 ft. w. II Sasso Rancio, "the orange rock." e. Gittana, landing for Regoledo, a water-cure, 5C0 feet above the lake. w. *Menaggio, landing for Lake Lugano. Diligence daily at 11 o'clock, s. Villa Mylius. e. Varenna ; >£ ml. s. is the Fiume Latte, or Milk Brook, with cascade of 1,000 ft. fall. w. *Cadenabbia ; *Villa Carlotta. Above is S. Martius ; dist. Monte Crocione. e. *Bellaggio, on the point between the two arms of the lake, the eastern being called Lake Lecco. Stmrs. leave Bellaggio for Lecco at 10.30 a.m. and 6. p.m. ; from Lecco at 8 a.m. and 3.30 p.m. One of the most charming localities on the lake. e. Villa Melzi, seat of the Vice-President of the Ital. Repub., 1802. Near Sala, w., is the isl. of Comacina, with email ch. w. Argegno, at the mouth of the Intelvi Val. e. Above Nesso is Piano del Tivano, 3,742 ft. w. Laglio, with villa Antongina. w. Carate. with villa Colobiano, red and green : also a pyramid to Joseph Frank, physician ; dist. Mt. Bisbino, 4,400 ft. w. Moltrasio, * cascade. e. Pliniana, so named from a spring near by, mentioned by Pliny. e. Torno, on a point ; surrounded by numerous villas. w. Raimondi, the largest villa on the lake. Adjacent is villa d'Este, once oc» cupied by Queen Caroline, consort of Geo. IV. of Eng. e. Villas Taverna, Pasta, Taglioni, the celebrated danseuse, and Napoli, castel- lated. ♦Como, take rly. for Milan ; station 1)4 ml. from the quay. See Route No, 45. 540 ROUTE NO. 30. Route No. 30. Lucerne— Interlaken ( Via the Bmnig). Lucerne to Alpnach-Grestad, by steamboat ; thence to Brienz by diligence ; Btmr. to Bonigan ; and rly. to Interlaken. [Carriages may be taken for the entira route, for parties of four or more, at slight additional cost.] By diligence from Lucerne for Brienz at 6.30-3 ; 10-6. From Brienz for Lucerne, 6.30-1 ; 9-4; 12-7. Distance, 37 mis. Fares, Coupe, 13 fr. ; Interior, 11 fr. 1. By steamer, passing succes- sively on the w. bank, the cha- teaux Tribschen, Stutz, St. Nik- lausen; the villages of Kramer- stein, Kastanienbaum ,' s. at the foot of the Biirgenstock, Kehr- siten, and Huttenort ; curhaus high above. 2. Square tower erected, 1308, as a defence against the Austri- ans. Enter the Alpnacher See t h r o xi g h the Acherbri'icke, or drawbridge. 3. Steamboat landing ; take diligence. 4. Wide fertile valley. Near, n., was the famous " Slide of Alpnach,"' a huge wooden trough 8 mis. in length, for sliding down the timber from Pilatus. 5. Genuine Swiss village ; pop., 4,000; three mis. dist. is the hermitage of St. Nikolans von der Flue, through whose influence the dissensions of the Federal Assembly, 1482, were harmonized. The ascent commences. Lake Sarnen, 4 mis. °y IX- Fine views of lake and mountains to the north. 6. Church contains the bones of St. Nikolaus. 7. Village between lakes Sarnen and Lucerne ; considerable portion of the vil- lage destroyed by an inundation, 1629 ; the barrier made by the debris formed, a lake, which was drained again, 1759. 8. Lake of Lungern, 1)4 ml. long. 9. Usually change horses. Stop a few minutes. 10. Beyond the Pass (Hotel Briinig), come into view **the Valley of the Aare from Meiringen to Brienz, **and an extended panorama of the Bernese Alps : (left to right) the Engelhorn, Wetterhorn, Schreckhorn, Finsteraarhorn, and Jungfrau. In front, the falls of the Oltschibach ; to the 1., fall of the Reichen- bach. Road winds down through numerous cuttings in the overhanging rock. Pass the small villages of Wacht, Brienzwyler, Balm, and Nacht. 11. Lake Briene. Take steamer ; fare 2 fr. Village noted for wood-carving. Small boat may be taken for the evening illumination of **Giessbach Falls, 1)4 fr. Mis. 10.20 a.m. 12.00 1.00 4.00 arr. 6.00 1. Lucerne Steinbach 4.00 p.m. arr. 3.00 1.00 12.00 a.m. 9.00 37 27 26 1 24 i 23 22 21 20 16 14 11 9 Mis. Ratzloch 10 3. Stad 11 13 Schlieren 14 15 16 17 5. Sarnen (1,630) ... Wyssenbach 6. Sachseln. 21 93 7. Giswyl (1,800). , . 8. Burglen 26 28 37 9. Lungern (2,165)... 10. Pass (3,395) 11. Brienz (1,857)... ROUTE NO. 31. 541 Lake of Brienz. Fare, 2 fr. Brienz, East. 1! Ebligen, Winkel, Qberried, Niederried, Schadburg, Mossain, Ringgenberg, 11 2 G-iessback. 6 Iseltwald. 7 Senegg. The Lake, 7 mis. in length and 2 in width, ia surrounded by precipitous mountains, whose barren sides give evidence of the constant slides to which they are subject. Depth, nearly 2,000 ft. 1. Steamboat landing ; take diligence for Lu- cerne and Meiringen. 2. Landing for the Falls; Inclined railway to the hotel ; 1 fr. The Terrace commands a full view of the Giessbach. **The Falls are broken into seven cascades by the projecting rocks, making in all a descent of 1.14S ft. to the lake. **The Illumination of the Falls every evening from June 15 to end of Sept.; guests 1 fr. first evening only ; visitors 1% fr. Recently a popular resort. 8. Aft., cas. Ringgenberg, ru., and an old tower on an isolated hill. 12. Steamboat landing ; take cars (10 min.) to Interlaken. Interiaken, more noted as a convenient rendezvous for tourists than for any spe- cial beauty in itself or its scenery. Situated on the low land between Lakes Brienz and Thun, and about a mile from either (see Interlaken). 12 Bonigan. West. Interlaken. Route No. 31. Interlaken— Berne. Rly. to Darligen ; steamer to Scherzligen ; rly. to Berne ; 3 hrs. Lake of Thun— 10 mis. 765 ft. deep. Fare, 2 fr. East. Interlaken, 1 Neuhaus. Kiiblebad, Sundlaunen, Leeren, Merligen, Ralligen, Gonten, Oertli, Oberhofen, Hikerfingen, Than, 12 13 15 17 191 20 2 Darligen. 6 Herbrig. ' 7 Leissigen. 9 Kralligen. 10 Burghiibel. 11 Spiez. 14 Moos. 10 Ghei. 18 Einigen. 24 West. 21 Gwatt. 22 The Aare. 23 Scherzligen. 2. Steamboat landing. Take rly. for In- terlaken, and stmr. for Berne. 3. The old landing place of the stmrs. 7. Above, is the Morgenberghorn, 7,385 ft. 9. Above, is the Beatenberg. 13. The Ralligstocke, 4,900 ft. ; and the Sigriswyler Rothhorn, 6,736 ft. 12. Above is Niesen, 7,763 ft. 19. Above is the Stockhorn, 7,195 ft. A: the stmr. reaches the lower end of the lake, in the direction of the upper end, may be seen (right to left) in order, the Jungfrau, Mi'mcn, Eiger, Schreckhorn, and the Wetter- horn. 24. s., *Schloss Schadau ; n., Bachigut. 25. Landing of steamer; take rly. for Bemu Take stmr, for Interlaken, 542 ROUTE NO. 31. Mis. 1 3 5 8 9 13 17 19 Railway, 19 mis ; 1 hr. Scherzligen Thwn Uttigen Reisen Miin?ingen Rubigen Giimligen Ostermundigen . Berne Scherzligen (Thun). Berne. Fares, I. 01., 3.15 fr.; II., 2.30 fr. 1. Steamer landing for Lake Thun ; rly. ter- minus. 2. x the A are. In favorable weather the line presents, s., numerous fine views of the Bernese Oberland. 3. On approaching Berne, s. *view of the city and *Alps. Pass the Wyler Feld, or drill- grounds and Botanical Gardens ; x the Aare ; *view of Alps, s. 4. See Berne. 19 18 16 14 11 10 6 2 Mis. Route No. 32. Bale— Berne. 67 mis.; 3 hrs. Fares, I. 01., 10.C0 fr. ; II., 7.45 fr. Mis. 1. B&le 25 2. Olten 27 3. Aarburg 30 Niederwyl 33 Murgenthal .... 35 Roggwyl 38 Langenthal 40 Biitzberg 43 4. H'buchsee 45 Itiedwyl 49 Wynigen 52 5. Burgdorf j 15 55 Lyssach ! 12 56 Hindelbank 11 601 Schonbiihl 7 63! Zollikofen ! 4 67! 6. Berne Mis. 67 42 40 37 34 32 29 27 24 22 18 1. Elys, to Constance and Heidelberg. Cus- tom-house. 2. Stop 10 m.; usually change cars. 3. June, for Lucerne. Town almost wholly consumed by fire, 1840 ; w. castle, 1660, for- merly residence of the governors, and a state prison, now an arsenal. 4. Stop 3 m.; usually change cars. June, for Neuchatel and Paris. Tunnel; x the Grosse Emme. 5. Memorable as the place where Pestalozzi established his school, 1798. 6. Bfr. B., w., cas. of Reichenbach ; pass the Wyler Feld, or drill-ground ; *view of the Ber- nese Alps ; x the Aare. See Berne. Rlys. for Lausanne and Interlaken. Route No. 33. Berne— Lausanne. 61 mis. ; Si hrs. Fares, I. CI., 10.95 fr. ; II, 7.85 fr. 1. Rly. for Interlaken, Bale, and Paris. 2. x The Sense, the boundary of Berne and Fribourg. 3. Stop 3 m. The viaduct of the Sarine, 260 ft. high, % mile long. 4. Stop 5 m., Ger. Freibtirg ; on a promon- tory of the Sarine. Noted for its great organ, supposed to be the largest ever constructed— 67 | stops and 7,800 pipes ; played every evening at Mis 1. Berne 61 58! 55 | 52 | 49 1 45 | 41 37 84 i 32 1 31 j 28 I 8 Biimplitz 6 9 12 16 Thorishaus 2. Flamatt 3. Diidingen 90 94 27 29 30 S3 3S.B The Number* indicate, the {aniens .• __ Railways L /so/ 4 "faulhi, 'acfien , •f*'fafer6rttr Ro,^Jj A \ hiD^hf^ i5^^^^^^S£S5^^^1:#V^ Y/VT *»- 7*a 'olefin. *r*''Jfft J'hoj \ y 'ifcJmadZya*} jit&ej-tuiU*' SWITZ - FrjF.iiicMafin *V/ v \Bj^f&d< fctfMfr/r/i iOSolrwvz '-.that ■S'-v _ 18 **p/ lfe\ ' '^-nvbsJ¥- 1 . Aroovic 2 . Appear oil . o . FJrilr . 4 • Bcrup , .». Frihimi-i^. *7 . (Il.irit*. O. CriHonfl. *) . Liioornc . 10. Neucltwtol , > ;J . Srbaffouso, 1 •> . Sclmy* . I 4. Soletire. 1 .'». TeHsin. IO. Tliur(i«ivi<- 17: UnterCvaJfU 0. Lri. g; Valais. . Vatul . 1. Zn», 2 . Zurich. Jtf" :♦' TO" 0/ilibtfui m 3* 7[hasiJ\_ ditdcer Ju/ierf Chute- \^y ■tftnmttf tr0Krcrnp ne , >B>sllia/oua ■^^v ^^owrfj-, J2nrin;<> font/rio- is?. A/M ,LnoaU If'Cencrc , 1^* C>nw CanuriatAt \t^ J) Y East. ROUTE NO. 34. 543 36 5. Roraont 25 39! Siviriez ^2 41 1 Vauderens \ 20 46 6. Rue 15 48 Palezieux 33 541 7. Chexbres 7 56 Grand Vaux 5 59 La Conversion 2 61 8. Lausanne Mis. tains ; viaduct of nine arches. Rhone valley (see Lausanne). To Geneva. See Route No. dusk, 1 fit. The Suspension Bridge, 900 ft. long, at an elevation of 168 ft. 5. Stop 3 m. Walled town on an eminence ; schloss 10th cent. At intervals may be seen in the distance, e., the Moleson, 6,578 ft. 6. * View ; turreted castle ; x theBroje. 7. Soon after emerging from the tunnel, **view of Lake Geneva and adjacent moun- 8. Stop 10 m. June, of rly. from the Upper 34. Route No. 31 Geneva— Brieg (breeg). 130 mis. ; 9 hrs. Fares, I. CI., 25.85 fr.; II., 17.70 fr. 1. Boat may be taken at 6.30 A.m. for Ville- Mls. & 21 aui 37 43 50 52 54 56 62! 1. Geneva 130 2. Coppet I 121 3. Nyon I 115 Rolle 109 4. Morges 5. Lausanne. Cully 6. Vevey 7. Clarens 8. Veytaux 9. Villenenve. . . . Aigle 65 10. Ollon. 67 11. Rex 71 12. St. Maurice. 13. Evionnaz . . . 7S 14. Vernayaz . . . 81 15. Martigny . . 100 93 87 80 78 76 74 68 65 63 59 52 49 Sax les Bains 44 neuve, at the upper end of the lake, in time tor the train passing Villeneuve at 11.25. 2. Home and tomb of Necker and Mad. de Stael. 3. Castle with 5 towers, 12th cent. Prangins, chateau of the Bonapartes. 4. s. Mt. Blanc may sometimes be seen be- tween the mountains nearer the lake ; x the Venoge. 5. Stop 10 to 20 m. June, of rly. for Berne. See Lausanne. 6. One of the most charming vi'.lages on the lake, commanding a view of unsurpassed beauty. 7. " Clarens ! sweet Clarens, birthplace of deep love." — Byron. 8. The Castle of Chillon is upon a rock 60 ft. from the shore, with which it is connected by a drawbridge ; supposed to have been built prior to fc'00 ; fortified by Peter of Savoy in 13th cent. Now used as an arsenal. 9. Landing of steamer from Geneva. Follow the Rhine to Sierre and Brieg. 10. Rom. tower, 60 ft. in height. 11. Arched bridge of 15th cent.; 70 ft. span ; x the Rhone. 12. Stop 10 m. The Abbey is reputed to be one of the oldest this side the Alps ; 4th cent. Aft., Chapelle de Verolliaz, where 6,000 soldiers of the Theban Legion suffered martyrdom. 13. Desti*oyed by a stream of mud from the mountain in 563. s. *Fall of Pissevache. 14. Route to Chamonix. Aft., 1 ml., *Gorge du Trient, s. 15. Route to Chamonix and St. Bernard. 16. n. On height eas. of Tourbillon, 1294 ; burned 1788 ; below, cas. of Valeria, now a seminary for priests. S6 97 16. 107 116' 1251 130 17. Sion Sierre Loueche Tourtemagne Visp Brieg 33 23 14 Mis. 544 ROUTE NO. 35. 17. Terminus of the railway. Take diligence for the Simplon Road to Arona and Milan ; also diligence for the Upper Rhone Valley, the Rhone Glacier, th» Furca Pass, Andermatt, and the St. Gothard tunnel. Route No. 35. Brieg— Arona. {The Simplon Road.) By diligence ; 75 mis. ; 16 hrs. Fares, 35 fr. ; 26 fr. Brieg, 4.45 a.m. and 10.30 a.m. Arona, 4.15 a.m. and 11.50 p.m. This road was constructed un- der Napoleon I., 1800-1 8C6. 1. 2,244 ft. At junc. of the Sal tine and Rhone. Pop. 1,100 Cas. Stockalper, 4 towers. Furca road continues up the Rhone valley; the Simplon turns southward up the valley of the Saltine to the summit of the Pass. 2. 3,559 alt. : 2d Refuge, 4,334. 3. x the Canter. Road returns on opp. side of the valley — much exposed to avalanches. 4. 5,006 ft. ■ 3d Refuge. In 1801 the Valais here met and routed a greatly superior force of Italians, x the Frombach ; aft., 1 m., x the "Weissbach. Forest. 4th Refuge. 5. Gallery 100 ft.; *view of the Rauthorn and Raut-Glaciers. 6. 6,460. Road describes an Immense curve to the e., passing along the face of Monte Leone; much exposed to avalanches ; passage made beneath the glacier stream by tunnel. Befugex frequent. **View to the n., embracing the Rhone Valley, the Bernese Oberland, and Aletsch Glacier. Brieg is seen below (near by ! ). 7. Large building, e. Travellers kindly received, e. Above is Mt. Leone, 11,- 696 ft. Open valley — probably a lake bed. 8. Old Hospice below, w., now occupied by shepherds, w. The Rauthorn, 10,463 ; Raut Glacier. 9. x the Krummbach ; x the Am Senk bridge ; w. Rossboden Glacier. 10. Stop 15 m., 4,856 ft.; x the Lbwenbach; enter the Laquinthal ; x the Krummbach. 11. Gallery of Algaby ; **ravine of Gondo ; x the Diveria, **Gallery of Gondo. See Swiss Guide. Cascade of the Alpienbach. **Scenery. 12. 2,118 ft. Last Swiss v.; % ml. aft., e. side, is the boundary stone. 13. First Italian town. Customs examination. 14. 2,175 ft. x the Val Cherasca ; village of Trasquora. Mis. 4.45 dep. 7.30 10.30 12.20 noon. 2.30 Schlucht 8.40 4.00 1.00 a.m. 10.00 75 72 68 66 62 61 60 59 58 55 54 52 49 47 45 38 36 31 28 25 23 21 19 13 12 Mis. 3 7 2. 1st Refuge ... 9 13 14 15 16 Pass (6,594 feet)... 17 •?o 8. Hospice, old 9. Esrgen 9,1 23 £6 28 30 11. Gsteig (4,042). ... 12. Gondo 13. S. Marco 14. Iselle 37 39 15. Crevola 16. Domo 44 47 50 52 54 56 62 63 75 19. Fariolo 21. Arona, ROUTE NO. 36. 545 15. Gallery of Crevola ; 2 ra. aft., the village of C; x theDiveria; bridge 100 ft. high. Enter Val d' Ossola ; along the Toce. 16. 1,000 ft. Pleasant village; 1,000 pop. Stop 80 m. Beyond villa x the Antrono — near Vogona x the Toce. 17. x the Toce. 18 Cas. e., ru. The quarry, n., whence the stone for the Ca- thedral at Milan was obtained. 19. Quarries whence the stone columns of St. Paul's, Rome, were obtained. 20. By diligence or boat to Arona. Diligence follows the lake shore. * Views of Lake Maggiore and the Borromean Islands. 21. Diligence leaves Arona for Sierrc at 12 night. 98 mis.; 20 hrs. Take rly. for Milan. See Route No. 44. Route No. 36. Geneva— Chamonix. 50 mis. Fares, 21 fr. ; return 31 fr. By diligence from Geneva, 7 a.m.; 9 hours. From Chamonix, 7 a.m.; 7 hours. The road follows the valley of the Arve the entire distance from Geneva to Chamonix — at first along a broad level plain and farther on through a narrow winding gorge. 1. Boundary between Switzerland and France. 2. Alt. 1,384 ft.; w. dist., chateau of Etram- biere, with 4 towers ; x the Menoge. 3. Aft., Chateau de Pierre ; e., on hillside, Chateau Villy. 4. 1,361 ft. e. On height, 2 ruined towers of Cas. Faucigny. *View w. 5. 1,460 ft. w. The Brezon, 6,100 ft.; e. the Mole ; x the Arve. Mon. to King Ch. of Sar- dinia, 72 ft. high. Valley becomes narrower. June, of diligence routes from Geneva, Cham- onix. and Annecy. Railway to Geneva and to Annecy. 6. Change horses, e. Cas. Chatillon. 7. 1,607 ft.; inhabitants engaged chiefly in watchmaking ; x the Arve. 8. Aft., two can- nons beside the road for making echoes ; 1 fr. 9. e. Aiguilles de Varens, 8,960 ft.; e. cascade of Arpenaz. 11. **View of Mt. Blanc. 17 mis. distant, x the Arve. 12. 1,791ft.; 2,000 pop. ; burned 1840. 13. x the Bon-Nant. 14. 2,066 ft. Dine. Popular watering-place. 15. At the farther end, and over- head, may be seen portions of a passage cut through the rock, supposed to be of Roman origin. Gorge. Cascade. 16. *View of the valley of Chamonix and the Mt. Blanc range, with the glaciers stretching down the vast slopes : the glaciers de Gria, de Taconay, and des *Bossons. 17. Chamonix (sham'-o-ny), 3,445 ft., in a deep narrow valley, at the foot of Mt. Blanc, the highest mountain in Europe. See Chamonix. Mis. 3 4 10 1. 2. 3. 4. 5. 6. 7. 8. 9. 11. 12. 13. 14. 15. 16. 17. Geneva The Foron Annemasse Nangy 50 47 46 40 35 26 25 17 17 14 13 11 6 5 2 Mis. 15 Bonneville Marignier Chatillon 94 Cluses ?5 Magland 33 33 36 St. Martin Sallenches Fayel 37 39 Tunnel 44 45 47 50 Pont de Marie Les Ouches Les Bossons Chamonix 546 KOUTE NO. 37. Mis Chamonix, . Les Praz . Gla. des Bois . . . Les Tines Lavancher La Joux Grasonet 1. Argentiere, .... Trelechamp . . . 2. Col. d. Montets. Val. de Berard j 3. Poyaz 14 23 22 20 19 18 17 16 15 Route No. 37. Chamonix— Martigny (ma Tete Noir). (By private carriage only. ) 23 mis. ; 7 hrs. Follow the Arve an far as Argentiere in a narrow valley of gradual ascent. ^ 42mfL B _ Aiguille verte, 13,450 ft.; n. Aiguille du Chardonnet, 12,543 ft. ; s. **Ai- guille Argentiere ; e. Aiguilles du Tour ; e. valley of the Arve, with bridle-path over the CoL. de Balme to Col. de la Forclaz ; n. the val- ley of CoL des Montets, through which the car- riage road passes. *G-lacier Argentiere. 2. Summit. 4,819 ft.; indicated by a cross. 3. n. Valle de Berard ; road follows the Eau- Noire. ** Views. 4. Ch. protected from avalanches by a wall. 5. Boundary between France and Switzer- land ; stone on east bank, n. side. Arch, for- mer boundary of Savoy. Hotel du Chatelard. Route to Vernayaz diverges here. 6. 4,003 ft. La Roche-Percee, or tunnel of the Tete- Noire. Hotel Tete-Noire. Road leaves the Eau-Noire and follows up the Trient. 7. 4,317 ft. ; road is joined by the path via Col de Balme ; ascend 700 ft. to the Col de la Forclaz ; *view of the Glacier de Trient, w. 8. 5,020 ft. e. **view of the Upper Rhone Valley and the Bernese Alps; de- scend rapidly by numerous zigzags ; ** views. 9. Termination of descent ; St. Bernard road s. ; x the Dranse. 10. Take rly. for Geneva or Sierre ; at the junction of the Dranse and Rhone. St. Bernard road here commences, and prior to the construction of the Simplon road was one of the principal Alpine Passes. The Romans, Charlemagne, Fred. Barbarossa, and Napoleon I. took their armies over this Pass ; now little used. 4. Valorcine Barberine 5. Bridge Chatelard 6. Tete-Noire 7. Trient 8. Col. de Forclaz .... Chav. en Haut Sarmieux 9. Gt. St. Bernard rd. Mart, le Bourg 13 12 11 10 8 6 5 4 2 1 10. Martigny Mis. Route No. 38. Paris— Geneva (Via Pontarlier). 367 mis.; 15 hrs. Fares, I. CI., 70 fr. ; II., 53 fr. Mis. 197 206 209 212 21? 224 227 234 237 239 243 247 253 262 267 1. Paris 2. Dijon Magny , Genlis Collonges 3. Auxonne Champ vans. 4. Dole Gd. Contour Montvarry . . Chateley Arc Senans . , 5. Mouchard. . . Mesnay .... Andelot. . . . La Joux .... 367 170 161 158 155 150 143 140 133 130 127 124 120 114 105 100 1. Paris — Dijon. See Route No. 39. 2. From Dijon the rly. follows the various branches of the Saone to Dole, beyond which it soon enters the Jura mountains. 3. Mt. Roland, 1,116 ft., with monastery, ra. on summit. 4. Stop 5 m.; buffet; on the Doubs; 11,000 pop.; Mt. Blanc visible, s. *View of the Jura range. Remains of Rom. Amphitheatre and Aqueduct. Enter the valley of the Louer. 5. Stop 5 m.; enter the Jura range, through ROUTE NO. 39. 547 271 Boujeailles . 276 Frasue 279; La Riviere . 285 6. Pontarlier . 288 Frambourg 296 Hospitaux . 301 7. Vallorbes . . 309 CroyRom. . 313 • Arnex Orbe 315! Lasarraz... 325 Cossonav. . . 325 Bussigny . . 330 ' 8. Lausanne . . 367 Geneva . 96 91 88 82 ! 79! 71 66 58 54 | 52| 47 ! 42 37 Mis. j which the rly. line is carried with notable engi- neering. 6. Stop 15 to 30 m. ; on the Doubs ; pop. 5,000. Custom-house for westward trains ; for eastward trains at Verms. Passports desirable. Rly. follows the Doubs. *Scenery. June, t r Neuchatel and Berne. Road recently opened from Pontarlier to Lausanne, making the short- est and one of the most picturesque routes from Paris to Switzerland. 7. S<.op 8 m. 8. Stop 10 to 30 m. Lausanne to Geneva. See Route No. 34. Route No. 39. Paris— Geneva («*» Macon). 390 mis.; 12 hrs. Fares, I. CI , 77 fr.; II., 58 fr. Mis. 1 4! 10, 12 27: 37 42 50 1. Paris 2. Charenton 3. V'neuveS.G... 4. M mtgeron 5. Melun 6. Fontaiuebleau, 7. Moret , 8. Montereau 1. Rly. follows the valley of the Seine to Montereau, 50 m. 2. x the Marne; w. Fort Ivry; e. Fort Charenton. 3. e. Upon a forest hillside ; w. fertile valley of the Yeres. 4. e. Hilly. Stas. Brunoy, broken ; Combs- la- Ville, w. dist. on hill. Lieusaint, extensive plains of wheat, long lines of poplars. Cesson, broken country. 5. Pop 11,000 ; x Seine ; taken by the Eng- lish, 1419. e. Bois-le-Roi, broken. 6. Pop. 12,000 ; residence of Francis I., 14th cent.; royal park of 50,000 acres ; extensive for- ests. Pal. 1 ml. w.; not in view. Napoleon I. here divorced; afterward signed his abdica- tion : Nap. III. baptized. Sta. Thomery. 7. Broken ; x valley of the Loing on a bridge of 30 arches, w. chateau occupied by Sully, ru.. *view e. and w. St. Mammes, level, 11.23. 8. Stop 5 m. On the bridge over the Seine the Duke of Burgundy was murdered, 1419, in a friendly (!) interview with and by direction of the Dauphin, afterward Ch. VII. Victory of Nap. I., 1814, over the Allies. Enter valley of the Yonne ; Villeneuve-le-Grand ; Cham- pigny, e. level ; Pont-sur- Yonne, cut. 9. Capital of ancient Senones, B.C. 400. e. *View, vineyards. Becket took re- 70 9. Sens 9910. La Roche 124 11. Tonnerre 127 1 12. Tanlay 140! N.-s.-Ravieres. . 151; 13. Montbard 165:14. Darcey 180 ] 15. Blaisy-Bas 185 16. Malain 197117. Dijon 210|18. N.-s.-Beaune.. 220 ,19. Beaune 229j Chagny 238 20. Chalon-sur-S. . , 256 21. Tournus 275 22. Macon 299|23. Bourg 310! 24. Pontd'Ain 316J25. Amberieu 324 1 26. St. Rambert . . 338!27. Rossillon 350 28. Culoz 363 29. Pyrmimont . . . 370 30. Belleg'de 376 31. Collonges 378 Chancy I 12 390 32. Geneva Mis. 390 386 380 378 363 353 348 340 320 291 266 263 250 239 225 210 205 193 180 170 161 152 124 115 91 80 74 66 52 40 27 20 14 fuge in the cathedral, 1164. Extensive fields of sugar beet: Yonne ; St. Julien Cezy, plain : Joigny, e. Villeneuve-sur- 548 ROUTE NO. 39. 10. e. x the Yonne; enter the valley of the Armancon. Along the Canal du Bourgogne ; charming country. Brienon plain. St. Florentin. 11. Stop 20 m. Good buffet. 12. *Chateau, 1520, rendezvous of Huguenots ; e. fertile valley ; 2 tunnels ; Ancy-le-Franc ; Nuits-s.-Ravieres Aisy ; e. cas. ru., hilly. 13. Nativity of Buff on ; his chateau ro. ; w. his monument. Rolling. Les Laumes, w.,mon. 14. Narrow valley ; Verrey ; hilly. From Macon to Pont d'Ain, rich fertile plain, with corn, potatoes, and grass, and less of the vine. 15. Tunnel of %% mis. pierces the ridge dividing the waters of the Seine from those of the Saone and the Rhone; wild scenery; w. *view, long cut. 16. *View w. ; enter valley of the Ouche. Velars, picturesque ; Plombieres, frequent cuttings. 17. Stop 8 m. ; pop. 40,000 ; ancient cap. of Burgundy ; residence of its Dukes from 1000 to 1500 ; pal. built by Louis XI. is now the Hotel de Ville ; cathedral, 1106. Bombarded and taken by the Germans, 1870. Birthplace of Bossuet, Ch. the Bold, and Vauban ; x the Ouche ; w. hills — the Cote d'Or — extend from Di- jon to Chagny, 30 mis. e. Plains, Gevrey ; Vougeot, celebrated Clos-Vougeot vine- yard. 18. Battle between the French and the Germans, Dec, 1870. Gorgoloin, ex- tensive cuttings and fillings for several miles. 1 9. Important wine district. Meursault ; Chagny (a short dist. w. is Autun, where Caesar spent a winter) ; w. mon. ; Fontaines w., Mts. Cote d'Or to Macon. 20. Stop 3m; pop. 20,000. Abelard died, 1142. In clear weather Mt. Blanc may be seen w. ; the Jura e. ; valley of the Saone, Varennes ; Sennecy-le-Grand w. 21. On the Saone ; birthplace of Greuze ; contains ch. of St. Philibert, a.d. 960 ; rolling. Uchizy, vineyards. Pont-de-Vaux-Fleury ; Senozan ; along the Saone. 22. Stop 10 m. ; buffet ; pop. 20,000. Birthplace of Lamartine. Extensive wine mart ; x the Saone ; view of Mt. Blanc from the bridge ; along the Veyle ; Pont- de-Veyle ; Vonnas, plain ; Mezeriat ; Polliatt ; e., the Jura range. 23. Stop 3 m. Mon. to Bichat, the anatomist. La Varrette. 24. w. Chateau ; x the Ain ; approach the Jura. Ambronay. 25. Stop 15 m. ; buffet. June, to Lyons. 26. Enter the mountain gorge ; e. ruins ; statue ; precipitous cliffs. Tenay, narrow defile. 27. Aft., w., Lakes of Pugieu ; enter the valley of the Rhone. Tunnel. Virieu- le-Grand ; Artemare. 28. Stop 10 m. ; buffet. June, for Turin, Seyssel. 29. Several tunnels. 30. Stop 10 to 20 m. Customs examinations ; show passports. Valserine via« duct; Credo Tunnel, 2)4 mis.; w. the Perte du Rhone, a deep gorge. 31. The last French station; nr. is Fort de l'Ecluse. 32. Station on the n. margin of the city. The most desirable points for breaking the journey are Dijon and Macon. See Geneva. ROUTE NO. 40. 540 Route No. 40. Geneva— Turin. 192 mis.; 10 hrs. Fares, I. CI., 40 fr. ; II., 29 fr. Prom Geneva to Culoz. See Route No. 39. 1. Change cars; connections not always close ; : the Rhone. 2. Along the narrow Lac du Bourget, 12 miles ; *views. 3. Stop 10 m. Noted summer resort, on ac- count of its sulphur springs. Rom. temple and arch of 4th cent. Viviere. 4. Stop 15 m. ; cap of Savoy; pop. 20.000. Ruins of palaces of the Duke3 of Savoy. Aft., e., ru. cas. of Batie and Chignin. 5. June, of line to Grenoble. 6. Cas. besieged by Louis XIII. thirteen months ; destroyed by Louis XIV. Sta. St.' Pierre dAlbigny. 7. e. Narrow valley of the Isere, with vine- yards and chalets. 8. Noted for a celebrated victory of the French and Spaniards over the Savoyards, 1742. x the dark and turbid Arc. 9. Valley becomes narrower ; *wild scenery ; numerous tunnels and bridges, e Rom. tower, ro. St. Michel ; x the Arc. La Praz. 10. Stop 1 hour ; change cars. Custom-house. Buffet poor. Change time, the Italian being 47 m. faster than the French. The rly., after passing the station a mile, doubles back upon the mountain side, and enters the Mt. Cenis Tunnel nearly abreast the station. This great work was commenced 1857 ; completed, 1S70, at a cost of $15,000,000. It is 8 mis. in length, 19 ft. high, 26 wide ; n. end 3,809, centre 4,300, s. end 4,200 ft. above sea level, and 3,500 below the crest of the mountain. Passengers suffer little inconvenience from smoke. 11. s. end of the tunnel. 12. w. Near sta. , Rom. arch, ru. Valley of the Dora Riparia. Numerous tun- nels ; for miles magnificent scenery of wild barren mountains towering on either side of the narrow fertile valley. Salbertrand ; Chiomonte. 13. Approaching M. on the e., in the valley below, is Susa, with Arch of Augustus. Sta. Bussoleno. 14. The Abbey of S. Michele della Chiusa. 15. See Turin. Mis. 1 Geneva 192 42 1. 150 47 2. 145 57 3. 1S5 (56 4. 126 73 5. Lea Marches 119 77 6. Montmelian 115 87 1 7. 105 92 8. 100 96 Epierre 96 88 104l 109 9. 83 125 10. Modane 67 52 140 11. Bardon'chia 143 Beaulard 49 47 33 23 14512 Oulx 159 13. Meana 169 175 14. S. Ambrogio 17 180 Rosta 12 6 1S6 Alpignano 192 15. i Turin Mis. Route No. 41. Paris— Turin. 500 mis.; 22 hrs. Fares, I. CI., 100 fr. ; II., 82 fr. Paris to Culoz. See Route No. 39. Culoz to Turiu. See Route No. 40. 550 ROUTE NO. 42. Route No. 42. Turin— Bologna. 207 mis.; 8 hrs. Fares, I. CI., 100 fr.; II., 83 fr. 1. General rly. centre for western Italy. 2. x the Po ; royal chateau, n., on hill-side 3. June, for Cuneo. Broad fertile plain. Stas. Cambiano, Pessione, Villanuova. 4. x the Bor- bone ; broken. Baldichieri. 5. In the valley of the Tanaro ; pop, 50,000. Nativity of Alfieri ; his statue in the Piazza. Ely. follows the Tanaro ; crossing on fine bridge of 15 arches. Annone, Cerro, and Felizzano. Plain. Solero, s. Alps, dist. 6. Slop 15 in.; usually change cars. June, for Genoa, Bologna, Milan, and Novara. Im- portant military position ; strongly fortified. On the Tanaro ; pop. 60,000 ; founded, 1168. Has little of interest. Point nearest to the battlefield of Maren - go. S. Giuliano. . x the Scrivia ; town entirely destroyed by Fred. Barbarossa. Pontecurone ; Voghera. x rly.; fertile plain. 9. Bom. Clastidium. Important military po- sition since the Punic Wars. Besieged by Han- nibal. Great battles fought here, 1800 and 1859. Stas. : S. Giuletta, Broni, Stradella. Arena Po, Castel S. Giovanni, Sarmato. x the Tidone. 10. x the Trebbai, 23 arches ; s. end column commemorating the 3 great battles of the Trebbia ; Bomans defeated by Hannibal, B.C. 218 ; defeat of French by Austrians, 1746 ; defeat of Suwarrow, 1799. 11. Stop 10 m. On the Po. Founded by the Romans, B.C. 219 ; Pontenure ; Cadeo. 12. x the Arda ; fertile plains ; s. *views; x the Stirone. 13. Ivy -covered castle taken by the Guelphs, 1407. x the Taro ; bridge of 20 arches ; built by Duchesse Marie Louisa, 1816. 14. Stop 4 m. ; pop. 50,000 ; conquered by the Bomans B.C. 187 ; destroyed du- ring the Triumvirate ; built by Julius and Augustus ; has few remains of the Middle Ages, x the Parma ; x the Enza. 15. Nativity of Ariosto. Sta., Rubiera. x the Sechia. 16. The Campanile, 3.5 ft. high. " is one of the four towers of which Northern Italy has reason to be proud." — Knight. 3 mis. x the Panaro. 17. Antony defeated by Octavian and Hirtius, B.C. 43. 18. x the Samoggia. 19. x the La vino ; x the Reno; fine stone bridge. 20. The towers of Bologna seen, s.; and the Monte della Guardia. s., crowned by the church of the Madonna de San Luca, to which a covered walk from the city extends \% mile. Mis. 5 8 1. Turin 2. Moncalieri 3. Trofarello. 207 202 199 197 1S2 177 172 169 151 147 138 126 122 113 101 96 90 77 68 62 54 37 22 14 1 10 8 5 Mis. 10 25 30 35 4. Villafranca S. Damiano ....... 5. Asti 48 56 (50 69 6. Alessandria 8. Tortona 81 Voghera 85 94 106 Sarmato 111 10. S. Nicolo 117 11. Piacenza 130 139 145 153 13. Castelguelfo 14. Parma 170 185 16. Modena 493 197 199 19. Anzola «09 Lavino 207 20. Bologna ROUTE NO. 43. 551 Route No. 43. Turin— Milan. 93 mis. ; 4 hrs. Fares, I. CI.. 16.50 fir. ; II., 11.50 fr. 1. Rly. follows the Po to Chivasso. x the Dora Riparia, the Stura, the Malon, and the Oreo. n. Alps are seen. Mis 1. Turin 93 &3 78 75 71 67 64 62 58 56 53 44 41 36 29 25 17 13 8 Mis. in 15 18 Brandizzo 99 25 29 Livorno 31 Bianze 33 37 40 49 Tronzano 3. Santhia 4. Vercelli 52 57 Borgo Ponzana 64 68 5. No vara 76 7. Magenta 80 Vittuoiie 85 9?, 8. Rho 9. Milan 2. x the Dora Baltea, having its source in Mt. Bianc. 3. Stop 2 m. Road, which lies from Turin to the n. e. : now turns to the s. e. to Vercelli. 4. Stop 3 m. ; pop. 30,000. in Market Place ; x the Sesia. Statue of Cavour n. *Monte Rosa. 5. Stop 4 to. ,' pop. 30,000. Defeat of Pied, montese by Austrians, 1849. Mon. to Cavour in Corso Cavour. June, of lines to Arona and Genoa. 6. x the Ticino ; bridge of 11 arches. Near Magenta, s., mon. by Napoleon III. in honor of the victory of French and Sardinians over the Austrians, 1859. 7. Opp. the station is the cemetery of the slain — a chapel, a charnel-house, and numerous mounds with crosses. 8. Extensive rice fields, with irrigating canals. See Milan. 9. Station outside the walls. Route No. 44. Arona— Milan. 42 mis. ; 2 hrs. Fares, I. CI., 7.G5fr. ; II., 5.35 fr. 1. At the southern terminus of Lake Mag- giore. Take stmr. here for the St. Gothard and San Bernardino Roads, and diligence or stmr. for the Simplon. On the w. margin of the lake, on a height, is the colossal statue of S. Carlo Borromeo, Abp. of Milan, 70 ft. in height, on a pedestal 42 ft. The head, hands, and feet are of bronze ; the robe of sheet cop- per. 2. At the outlet of the lake ; x the Ticino. 3. Defeat of Scipio by Hannibal, B.C. 218. 4. Stop 8 to. Sandy, sterile country. 5. Fred. Barbarossa defeated by the Milanese, 1175. From Gallarate to Milan a low fertile country of rice, corn, and mulberry fields, with canals for irrigation. 6. Confluence of the Olonna and the Laura. 7. Station outside the walls. See Milan, Mis. 6 2. Sesto 42 36 32 30 25 21 17 14 8 4 Mis. 10 19 Vergiate 3. Somma 17 4. Gallarate 91 25 98 5. Legnano Parabiago 34 38 42 6. Rho 7. Milan 552 ROUTE NO. 45. Route No. 45. Como— Milan. 29 mis. ; H hr. Fares, I. CI., 6 fr.; II., 4.20 fr. 1. Harbor 2 m. from station. Situated at the southern extremity of the lake ; surrounded by mountains. Birthplace of the 2 Plinys and Volta. 2. Tower of Castello Baradello, used by Fred. Barbarossa. 3. Follow the Seveso. 4. e. Village of Carate. Dist., Monte Resegone. 5. On the Lambro. In the Cathedral is the Iron Crown of Lombardy, said to have an iron band made from a nail of the true Cross, pi'esented by Pope Gregory to Queen Theodolinda in the 6th cent. To Milan rly. passes a low fertile country of rice, grape, and mulberry plantations ; Near Milan x the Seviso. 6. Station outside the walls. See Milan. Mis. 1 5 2. Camerlata 8. Cucciago 29 2S 24 11 18 15 4 Seregno 14 17 19 91 8 ?*> Sesto 4 9,9 Mis. Mis. 16 20 26 86 41 51 62 65 68 78 80 85 92 94 98 105 114 124 133 Eoute No. 46. Milan— Venice. 165 mis. ; 6 hrs. Fares, I. CI., 30 fr. ; II., 21 fr. 1. See Milan. 2. x the Adda. 1705, battle between Pr. Eugene and Vendome ; 1799, be- tween Suwarrow and Moreau. Fertile plains, with -long lines of Lombardy poplars beside the canals. 3 Stop 4 m. At Verdello x the Morla. Stop 4 in. Burned by the French, 1512; taken by Austrians, 1797; pop., 40,000. Has Rom. Temple of Vespasian. 5. x the Chiese ; slopes dotted with villas. 6. n. ** Views of the Alps and Lake Garda ; viaduct, 17 arches. Battlefield of Solferino, 1859, extending from the lake s. 12 mis. *View of lake. 7. x the Mincio. Austrians defeated by Piedmontese ; 1848. 8. Burned by the Austrians, 1S48. 9. Many cuttings through hills. 10. Porta Nuova ; ]unc. of rly. for Munich ; x the Adige. Aft., 2 mis., Porta Vescovo, or old gate. Stop 20 m.\ good buffet; one of the strongest fortified cities of Italy. Birth- _, place of "Nepos, Vetruvius, and Catullus. "Well preserved Rom. Amphitheatre ; seats for 24,000. x the Pautena. Fortifications; views n. Cas. of Montario, n., formerly of the Scagliers. Sta. San Michele, where the three granddaughters of Titian took the veil. Extensive mulberry orchards; x the Fibia. 11. Defeat of Napoleon I. by the Austrians, 4 days prior to his memorable vie 1. Milan 2. Cassano 3. Treviglio Morengo , Chiari Rovato 4. Brescia 5. Ponte S. Marco . . Lonato , 6. Desenzano 7. Peschiera 8. Castelnuovo 9. Sommacampa 10. Verona P. Nuo 10. Verona P. Vesc . . S. Martino 11. Caldiero 12. S. Bonifacio , 13. Montebello. 14. Vicenza -, Poiana 14215. Padua 146 16. Pon. di Brenta. . . 154 Marano 160 17. Mestre 165J1S. Venice 165 149 145 139 129 124 114 103 100 97 87 85 80 73 71 67 60 51 41 32 23 19 11 5 Mis. ROUTE NO. 4^ 553 tory at Areola, 1796. Villanuova n., with cas. formerly of tho Reagliers. On the hill sq. campanile of S. Vittore. 12. 8. 3 mis. is the battlefield of Areola ; ch. sq. campanile. Stat. Lonigo. 13. n. 2 castles of the Montecchi — the Montagues of Romeo and Juliet. *View of the Alps. River bed above the adjacent land. n. Frequent ruins of cas. on the hills. Fields covered with vines stretching from mulberry trees ; x the Gun. 14. Stop 4 m. Most noted of the Italian cities for its palaces. Birthplace of Palladio. Pass through the Campio Marzio ; x the Bachiglione ; s. Monte Goldo ; dist., s., the Euganean Mts. ; country flat, x the Brentella ; country dotted with villas. 15. Stop 8 m. On the Bachiglione. Cathedral, 7 domes and sq. tower, s. Level and fertile country ; extensive plains ; streams bordered by long lines of willows and poplai-s. 16. x theBrenta; snow-clad Alps n. Extensive fields of corn, without trees. 17. Stop 8 m. June, of rly. for Triest and Vienna ; Fort Malghera. x the la gnne on a bridge 2 mis. long. 18. Station on n.w. of city. See Venice. Route So. 47. Milan— Bologna. 133 mis. ; 5* hrs. Fares, I. CI., 24.80 fr. ; II., 16.50 fr. 1. See Milan. Mis. 5 11 15 20 27 32 35 38 43 133 1 1. Milan Rogoredo . . . 2. Melegnano . . Tavazzano . . 3. Lodi Secugnano . Casalpuster . Codogno . . . S. Stefano . . 4. Piacenza . . Bologna . 43 38 32 28 23 16 11 8 5 90 Mis. 2. 1515 Francis I. of France defeated the Milanese and Swiss ; 1859 French defeated the Austrians. 3. Memorable as the scene of Napoleon's bat- tle of the Bridge of Lodi, 1796. 4. Stop 5 rn. ; usually change cars, to Bologna. See Route A r o. 42. Piacenza Route No. 48. Venice— Bologna. 100 mis. ; 4 hrs. Fares, I. CI., 18 fr. ; II., 13 fr. Venice to Padua, see Route No. 46. 1. Stop 10 m. Rly., leaving the road to Milan, turns southward, x the Canale di Battaglia. 2. Birthplace of Livy and Valerius Flaccus. 3. Aft. beyond the tunnel, e. chateau of Cat- tajo, owned by the Duke of Modena. 4. Watering-place; warm baths. 3 mis. s.w. is Arqua del Monte, where Petrarch died, 1374. Ruins of cas. and fortifications ; a place of great sti-ength and much importance in the Midde Ages. w. The Euganean Hills, with ruins. VTls 100 95 89 87 81 77 1 72 70 67 63 59 54 50 45 ^ 11 Marano 1? Dolo 19 •?3 Pon. di Brenta . . . 28 30 33 37 4. Battaglia 5. Monselice 41 46 50 55 Este 8. Ai-qua 554 ROUTE NO. 49. 6. Bfr. x the Gorzone Canal, country low ; aft. x the Adige, e., fortifications. 7. Stop 5 m % 2 sq. leaning towers ; fine farm-houses. 8. x the Bianco Canal. (9). Extended plain ; houses few, and poor. Reach the Po. Aft. S. M. Maddalena, x the Po. 10. Sto$> 5 m. Vill. on e. 4 peculiar sq. towers ; gaudy-colored houses. Homes of Tasso, Ariosto, G-uarini, Titian, Garofalo, and D. Dossi, and Prison of Tasso. In the 16th cent, was the most elegant court of Europe. The library contains a copy of the ''Jerusalem," in Tasso's hand- writing ; also several cantos of Orlando Furioso in Ariosto's handwriting. Aft. x the Canale Cavo Tassone ; x the Reno. 11. 2 mis. dist., w., is Cento, the birthplace of Gr.ercino. 12. Charming village, with luxuriant gardens. 13. Bfr., junc. of rlys. to Milan and Florence ; x the Reno. The towers of Bologna and Monte della Guardia, with the ch. of Madonna de San Luca, on the w., are visible some distance before arriving. See Bologna. 58 63 68 71 9. Polesella S. Maria Madd Pont Logo Scuro . . 42 37 32 29 21 18 15 11 7 5 Mis. 79 82 Galliera 85 89 93 95 S. P. in Casale 12. Cas. Maggiore Corticclia 100 13. Bologna Route 49. Bologna— Florence. 82 mis. ; 4 hrs. Fares, I. CI., 15 fr. ; II., 10.50 fr. 1. Rly. leaves from the n. margin of the city, makes an extended circuit to the w. and s. w., and thence follows the Reno nearly to the sum- mit of the Apennines. It is carried over the mountain ridge by numberless bridges, viaducts and 45 tunnels — 23 on the e. and 22 on the w. side. The second Triumvirate, between Au- gustus, Antony, and Lepidus, was consummat- ed B.C. 43, on an island in the Reno near Bo- logna. Long bridge over the Reno ; rly. di- verges w. to Milan; e., the Monte della Guardia, which may be seen for many miles. 2. Abreast, e., is the dome of a monastery, behind which lies Bologna. The allied armies of Bologna and Florence defeated by Milanese, 1402 ; the Papal army defeated by the French, 1511. e. Barren hills, furrowed with deep gorges ; *views of mountains e. and w 3. The Setta joins the Reno. Augustus constructed an aqueduct for the city of Bologna ; x the Reno frequently. Bridge of 3 arches ; e. valley narrow, uncul- tivated. Tunnel. 4. w. Castellated Villa Aria. *View, w. Several bridges and tunnels. 5. Dilapidated looking village ; w. fine arched bridge. Valley becomes a nar- row gorge between precipitous mountains. Bridges ; long tunnel ; e. castle. Hillsides, with low oak bushes. Mis. ? 13 1. Bologna Borgo Panigale . . . 3. Sasso 82 79 75 70 66 59 53 46 41 37 28 21 16 11 8 5 3 1 Mis. 16 9,3 29 36 6. Riola 7. Porretta 41 45 Molim delP 8. Pracchia 54 9. Piteccio 61 10. Pistoia 66 11. San Piero 71 12. Prato 74 77 Calenzano Sesto 79 Castello 81 Rif redi 82 13. Florence fSenthfmjfS f> Slvrfthaus \/f )/ Ls&eih) Basel ,ons ]e Saunierf xvfjlonMlp'^'pf \j* 7< u %^IJrienr. tyluntbard iHjon Macoi >.CuCozf- Zouverefi / V» \ *»?V I ' /ZSt.Bcrnai'd Mt.BIanc f4ia! &?&• Bains 'duBolrget Chambery' ^ TR=r •» , " 8... \Cenis a rV* Switzerland a> *%_ I d e <^^^'> s jY-Z < iechtenst~ei}L Giants >\ *\ A x , zUn jj ^ _y •/ p^-^Ji Clftir w, f Ac s V lugrei1 ' 3^ — ■" \. %1 // » .&/ -s \ Innsbruck yJBrixen ( \ r*4 \ Trienf /TV Bellui ? J I »r- villv*l'l/I|lli>»'/[ PA ▼•!*•* ) / \ ( fU.Como J \ Riva JJ ,->* •*\0' ns \Lecco / \ ('jt\ yi \ ri '}Tonzap V/ \c Brescia ^^ « Viuenz a Veroj&i C p /^ JI '4T Ferfara -Fortf U|l|i\ / ^— ' ^FLORENCE Saline o : PTn ^ _ liimw Sun Marinx Arezza ria aTHEBN Italy. East. ROUTE NO. 50. .;;>;> 6. e. Monte Ovolo and Monte Vigese. At the foot of the last the vil. of Vigo, destroyed by a landslide, 1S51. e. Uas. Savignano. 7. Noted for its miueral waters ; village w. Wind along a small stream amid mountains, tunnels, bridges, and overhanging cliffs ; more tunnels ! 8. Summit of the road 2,025 ft. above sea level. Aft., long tunnels, and, be- tween, occasional *views of the mountains, e. **View of the extensive and fer- tile plains of Tuscany. *Magnificent viaduct of 18 arches. Emerge from a lung tunnel to 9. On the edge of a deep ravine, amid wild mountain scenery. Near Pistoia, w. tower on hill ; reputed scene of Catiline's defeat. 11). Stop 7 m. June, for Leghorn and Pisa ; pistols invented here. Ply. now lies along the base of the Apennines to the s. e., through the rich fertile plains of Tuscany. 11. e. Cas. of Monte Murlo. 12. Noted for its manuf. of straw. 13. Station in the n. w. part of the city. See Florence. Mis. 8 12 13 IS, 22 25 30! 33 38 4o; 55 62 196 193 1S4 183 178 171 171 166 im 158 155 151 141 134 130 124 Route No. 50. Florence— Rome. 196 mis. ; 1\ hrs. Fares, I. 01., 38 fr. ; II., 26.25. fr. 1. Leaving the city on the n. side, the rly. makes a wide circuit of 3 mis., and approaches the city again at Porta S. Croce. On the e. the hills are dotted with charming villas and cov- ered with vineyards. Along the Arno, hills with vines and olives. 2. e. The Pratomagno Mts., with the monastery Vallombvosa. 3. x the Sieve. Along the Arno ; wooded hills ; x the Arno ; valley becomes narrower. * Views e. and w. 4. Fine bridge; Apennines, e., dist.; fertile fields. Incisa ; 2 sq. towers, e. Cas. Tunnel ; tower ; numerous villages. Dist., mts. e. and w. Iron works. 5. Birthplace of Masaccio, 1402 ; vil. e. 6. e. Cultivated hills ; vv. fertile gardens. Leave the valley; broken country. Several tunnels ; * viaduct. 7. e. Village in valley be- low ; barren, broken ; e. cas.; x stream ; mts. approach e. and w. 8. Stop 5 m. station outside ; walled ; no spires or elevated towers. Pop. 10,000. One of the 12 confederated Etruscan cities. De- stroyed in the civil wars of the Romans, Goths, Lombards, G-uelphs and Ghibellines. Birth- place of Maecenas, friend of Augustus ; Pe- trarch, Vasari, and the four Aretino. 9. Extended plain ; slopes, with olives ; villas ; w. cas. 10. On a mountain, e., ru., Fortress of Montecchio on hill with olive trees ; w. extended plain, fertile ; mulberries and vines. 1. Florence Flor. P. Croce. . 2. Compiobbi 3. Pontassiev e 4. Rignano Incisa Figline 5. S. G-iovanni 6. Montevarchi. . . Bucine 7. Laterina Ponticino 8. Arezzo 9. Frassineto 66 10. Castiglion 72 11. Cortona 76 12. Terontola 120 82 13. Cas. del Lago 114 86 Panicale 110 94 14. Chiusi I 102 105 15. Ficulle 118 16. Orvieto 126; 17. Castiglione 131 Alviano 136 Attigliano' 140 Bassaho 143>18. Orte Gallese 152 19. Borghetto 160 1 Stimigliano.... 165 20. Montorso | 31 172 21. Pas. di Corese 24 180 22. Mo. Rotondo 16 196 23. Rome. Mis. 556 ROUTE NO. 51. 11. e. On high hill covered with olives ; several low, sq. towers ; picturesque; walled ; one of the most ancient cities of Italy. Birthplace of Luca Signorelli, 1439, and Pietro de Cortona, 1596. w., Wide fertile plain. 12. Stop 4 m. June, for Perugia ; aft., along the shore of Lake Traseinenus, 30 mis. in circ. Memorable as the scene of Hannibal's great victory over the Ro- mans. B.C. 217. Hannibal, taking advantage of a dense fog, posted his troops to command a long defile on the upper side of the lake ; the Consul, supposing Hanni- bal was marching upon Rome, hastened to follow ; the fatal mistake was dis- covered too late ; the Consul with 15,000 of his men fell, and the remnant were scattered, w., Groups of large trees ; e., dist., mountains crowned with castles. 13. On a promontory ; *views. Fine wooded country ; e. low, w. broken hills. 14. Stop 4 m. June, of rly. from Siena. Open fields, with dist. wooded hills. Olive orchards. 15. Picturesquely situated on summit of a dist. hill. Rly. follows the Paglia. Barren, broken country ; villages all on hill-tops ; several tunnels, w., Orvieto seen on hill. 16. Stop 3 m. On a precipitous ledge, nearly 700 ft. high ; one of the strong- holds of the Guelphs. Pleasant wooded hills to the junc. of the Tiber ; thence barren, desolate country. 17. Caves seen on hill-sides, e., Hills with castles ; barren mountains, x the Tiber; w., broad valley; e., desert hills; w., marshes; x the Tiber. IS. Stop 10 m. June, of the rly. from Perugia; old town on hill, e. Rly. along the Tiber ; ruins of villas and villages on nearly every hill-top. 19. e., Caves ; x the Tiber ; w., wide meadows ; dun-colored cattle— horned cattle, x the Tiber. 20. View down the valley, nearly to Rome. 21. Ancient Cures, birthplace of Numa Pompilius. Open country. 22. w. Isolated hill with single house. Immediately after, nearly in front of the train, the dome of St. Peter's comes into view. 23. e. Monte Albano ; the ancient aqueducts. Pass through the walls on the e. side ; sta. in the northern part of the city. Koute No. 51. Florence— Pisa. 50 mis. ; 2$ hrs. Fares, I. CI., 9 fr. ; II., 6.25 fr. 1. Leave from the central station ; pass the Cascine, amid a succession of gardens and villas. 2. Noted for manufacture of straw ; numerous towers ; x the Ombrone. Enter the gorge of the Gonf olina ; x the Arno. 3. Castle built 1203. n. Villa Ambrogiana, with towers built by Ferdinand I. x the Pesa. 4. Stop 5 m. Junc. for Siena. 5. s., On a height, San Miniato dei Tedeschi 6. Confluence of the Arno and Era. 7. De- feat of the Pisans by the Florentines, 1364. 8. Along the Arno. n. The range of Monte Pisani, of which La Verruca (1.765 ft.) is crowned with, ru., cas. of the 15th cent. 9. See Pisa. Mis. 6 9 15 90 1. Florence 3. Montelupo 50 46 41 35 30 25 20 16! 14! 9 5 Mis. 25 30 34 La Rotta 36 41 45 50 9. Pisa ROUTE NO. 52. 557 Route No. 52. Milan— Alessandria— Genoa. 104 mis. ; 5 hrs. Fares, I. CI., 17.30 fr. ; II., 12 fr. 1. SeoJfilan. 2. Pop. 6,000. Country covered with rice fields ; fertilized by irrigation. 3. Bf r., cross the Po. on a bridge of 21 arches. 4. June, of Turin-Bologna rly. Soon x the Bromida ; 1 ml. aft. is the battlefield of Mar- engo; Nap. I., 1800. Plains. 5. Stop S m. Suwarrow defeated the French, 1799; sq. tow. on height, w., marks the bat- tleground. Country broken. 6. Deep, narrow valley ; w., sq. tower. Rly. winds along the gorge of the Scriva, with nu- merous bridges and tunnels ; *scenery. 7. Summit of rly. 1192 ft; tunnel 2 mis. in length. 8. w., On a mountain summit, is the white ch. of Madonna della Guardia ; w., gaudy-frescoed houses. 9. Enter the city by a tunnel; w., near the sta., is the Pal. Doria. See Genoa. Mis. 18 24 1. Milan Abbiategrasso Vigevano 104 86 80 72 63 55 46 33 28 26 14 8 2 Mis. 32 2. Mortara 41 49 58 71 3. Vnlenza 5. Novi 76 7S 6. Arquata 90 7. Bnsalla 96 102 104 8. Pantedecimo S. Pier d' Arena.. . 9. Genoa Mis. 5 1 (i 2 7 3 ii 4 13 17 5 19; 6 21 1 24 7 28 8 35 9 37| 10 41) 4311 46 12 5713 6414 6715 74 16. 7817 85 91 105 18. Route No. 53. Genoa— Pisa. 105 mis.; 5 hrs. Fares, I. CI., 19 fr.; II., 13 fr. From Genoa to Pisa the road lies along the Mediterranean, and affords, w., an almost un- interrupted series of charming views of land and sea. Innumerable tunnels. 1. Probably an old Rom. station— Quarto, 4 ; Quinto, 5. 2. Claims to be the birthplace of Columbus. 3. Gaudy-colored houses ; olive and lemon groves ; * sea views. 4. x lofty arched bridge, with * views e. and w. Sta. Recco. 5. Beyond the tunnel of Ruta ; * views ; chestnut groves. 6. 10,000 pop.; slender campanile ; tower on shore supposed to have been erected 1549. Rly. along the bay of Rapallo. 7. Pop. 10,000 ; houses on arcades ; streets narrow. The aloe abundant along the shore. 8. Stop 5 m. ; on an isthmus. 9. Ruins of a fortress over the tunnel. 10. * View e. Genoa Quarto Quinto Nervi Bogliasco Sori Recco S. Margherita. Rapallo Zoagli Chiavari Sestri Levante Moneglia Deiva Bonassola .... Levanto Monterosso . . . Spozia Areola Sarzana Avenza Massa Pietra Santa . . Viareggio Pisa 105 100 99 98 97 94 92 88 86 84 81 77 70 68 64 62 59 48 41 38 31 27 20 14 :Mls. 11. Encircled by hills ; oranges, lemons, fan-palms, and cacti abundant. 12. Monterosso, Vernazza (48 mis.), Corniglia (50), Manarola (51), Riomaggiora (52) — five cities known as the Cinque Terre ; noted for wine and fine scenery. 558 ROUTE NO. 54. 13. Stop 6 m.; 12,000 pop.; chief naval arsenal of Italy, having one of the best harbors of Europe (Rom. Portus Lanai). Tower, ro. ru., on hill w. Rly. leaves the coast. 14. On a hill ; sq. campanile conspicuous, x the Magra ; 12 arches. 15. Rom. Sergiana. Birthplace of Pope Nicholas V., to which place also th« Bonaparte family trace their ancestry, 1264 ; e. marble hills. Ancient Luna ru. 16. e. with sq. campanile on hill. 17. Montignoso, ru. on height, e. Carrara marble. Olive groves. 18. e. The Cathedral and Campanile come into view; x theArno; station on the western margin of the city, outside the walls. See Pisa. Route No. 54. Pisa— Rome. 221 mis.; 8 hrs. Fares, I. CI., 43 fr.; II, 30 fr. 1. See Pisa. Route may be taken direct or via Leghorn, regaining the direct route at Colle S. Throughout the entire distance the rly. lies along the line of the old Rom. road, built by Scaurus, B.C. 109. 2. Slop 5 m. June, of rly. to Volterra. Ap- proach the coast; w., on promontory, ancient Populonia ; the isl. of Gorgona. 3. e. On hill, ruins. 4. e. On height ; x the Cornica. 5. *Sea view ; w., the isl. of Elba and the prom, of Piombino. w., On height, Castiglioni and the vill. of Massa ; pop., 4,000. Leave the coast ; vills. on summits. 6. View on w. 7. View on e.; herds of Roman cattle. 8. Stop 4 m. x the Ombrone ; ro. tower on hill. 9. *Sea view. The Campagna. Defeat of the Gauls by the Romans ; x the Osa. 10. Rom. Albinia ; w., salt works; x the Albegna. 11. Stop 8 m. ; on an eminence ruins of Cosa, an Etruscan town. 12. x the Fiora, on whose banks, to the e., are the ruins of ancient Vulei, whence large numbers of Etruscan vases have been obtained since 1820. x th« Arrone ; x the Marta. 13. On height, x the Mignonne ; e. *view. 14. Stop 8 m. Rom. Portus Trajani ; destroyed by the Saracens a.d. 828. 15. Middle Ages cas. Mis 1. Pisa 221 199 195 190 185 177 166 162 155 143 135 126 118 104 99 95 83 72 63 51 42 39 36 30 24 16 13 9 Mis. 22 •?6 Colle Salvetti Fauglia 30 Orciano 36 44 2. Cecina 55 59 66 78 3. Castagneto S. Vincenzo 4. Campiglia 5. Follonica 86 95 103 in 199 10. Albegna 196 11. Orbetello 138 Chiai'one 149 12. Montalto 1*>8 13. Corneto 170 179 18<> 14. Civitavecchia 16. S. Severa 18*) 17. Furbara 191 18. Palo 197 19. Palidoro 205 208 212 Maccarese 21 . Magliana 221 ROUTE NO. 54. 559 16. Cas. of the Orsini Family. 17. Towers erected against the Turks in the Middle Ages. 18. Ancient Alsium, residence of Pompey and Ant. Pius. 19. x the Palidoro and Arrone. 20. x the Galera near its junc. with the Tiber, 10 mis. below Rome. 21. x the Magliana near its junc. with the Tiber, 6 mis, from Rome. Aft. 2 mis. the walls of the city become visible in front, s., Across the Tiber, standing alone, ch. of S. Paolo, x the T ber ; approach the city on its south-west- ern side. Above the walls may be seen Monte Testaccio and the Pyramid ( f lSoi XaniVvirui! SIENA ., 'orreriieri •thtur.. iftOSSETO ^ ua P c n^™ -A (kJVbetello \ y°'*iBr __. K8B! SpSSiW. /V-<£-!£k I tl-Maoliano '' NXducalo lU\v*y,\sV,jAi»«no| - pi wm ASCOll PJ CHIETl 1 mmm Cbhtkal Italy. Cestius ; thence the Porta S. Paolo ; Porta S. Sebastiano. x the Via Appia ; ch. S. John Lateran ; S. Croce in Gerusalemme, with lofty tower. Pas3 beneath the Aq. of Aqua Felice, near the Porta Maggiore ; through the wall ; near the r. circular temple of Minerva Medica ; the ch. of S. M. Maggiore, with two domes and tower; and reach the station at the n.e. part of the city, having passed along the 8. western, southern, eastern, and n. eastern walls of the city. 500 ROUTE NO. 55. Route No. 55. Rome— Naples. 162 mis. ; 7 hrs. Fares, I. CI., 34 fr.; II., 23.40 fr. 1. Passing the city walls, on the e. are Fras. cati and the Sabine and the Alban Mts.; w. the arched aqueducts of Aqua Felice and Aqua Marcia and the Campagna. 2. e. On height, Rocca di Papa, monastery ; Castel Gandolfo; Albano. Cuttings through lava beds : olive groves ; broken country. 3. e. Alban Mts.; w. Volscian Mts. 4. w. On an extinct volcanic hill, chateau Doria Pamfili. Enter valley of Sacco. 5. Founded by Tarquin ; various ruins re- main. 6. w. On distant height. 7. e. Disk; de- stroyed in 2d Punic war. w . Plain. 8. Volscian Frusino ; conq. by Rom. B.C. 304. 9. Stop 8 m>; x the Liris. w. Isoletta. 10. Fertile valley of the Garigliano. Desert mts. 11. Birthplace of Thos. Aquinas, Juvenal, and Emp. P. Niger, e. On mt. monastery of Monte Casino. 12. Alliance between Fred. II. and Gregory IX. e. Vills. Cervaro, S. Vittore, S. Pietro. e. Rom. ruins. 13. Open country. *View mts. 14. Rocca Monfina; extinct vol.; 3,400 ft. 15. Valley of the Volturno ; broad fertile plain. 16. Stop 2 m. ; built in the Middle Ages, and is now a strong military position ; was attacked 1501 by Caesar Borgia ; in 1860 Francis II. defeated by Piedmontese. Numerous Rom. ruins. 17. Ancient Capua ; founded by the Etruscans ; had 800,000 pop. Hannibal wintered here b.c. 216 ; taken by the Romans B.C. 214. Under the Rom. Empe- rors again flourished ; destroyed by the Saracens 8th cent. a.d. Subsequently modern Capua was founded. 18. Stop 2 m.; royal pal. opp. sta.; built by Charles III.; extensive and mag- nificent; unoccupied. Vesuvius becomes visible in front, w. ; further on, on the e. 19. e. Vesuvius and Monte Somma. 20. Station on the s.e. margin of the city. See Naples, Mis, 9 10 18 20 26 35 40 46 49 54 60 64 69 76 82 85 93 100 104 109 113 118 121 126 129 135 138 142 146 149 156 162 Rome Ciampino Marino . Albano Civ. Lavinia. Velletri Valmontone . . Segni Anagni Sgurgola Ferentino Frosinone Ceccano Pofi Ceprano. . . . Roccasecca. . . Aquino Cassino Ro. d'Ev'dro. Mignano Presenzano. . . Caianiello. . . . Riardo Teano Sparanisi Pignataro Capua Santa Maria . Caserta Maddaloni . . . Cancello Oasalnuovo . . Naples 162 151 152 144 142 136 127 122 110 113 108 102 98 93 86 80 77 69 62 58 52 49 44 41 36 33 27 24 20 16 13 6 Mis. Route No. 56. Heidelberg— Munich. 218 mis. ; 9 hrs. Fares, I. CI., 28 mk. ; II., 21 mk. 1 . Heidelberg to Bruchsal. See Route No. 22, 3. Stop 5 m. June, of lines to Bale and Stuttgart. Tunnel 400 feet. 3. Cas. ru. ; chateau of Count Langenstein. Mis. 1. Heidelberg . . . 218 21 2. 197 24 Heidelsheim 194 27 3. 191 ROUTE NO. 56. 561 30 36 41 44 47 51 55 BO 63 66 66 69 10 72 11 75 ; 76i 78J12. Esslingen 84j 13. Plochingen . . . 87 1 Reiohenbach 89! 14. Ebersbach.... 95 15. GOppingen . . 97 Eislingen 10016. Siissen 10417. G-ingen , 108 18. Geisl'gen 127|19. Ulm Neu-TJlm Nersingen Leipheim Giinzburg Nen Offingen Offingen Burgau , Jettingen 164 J 22. Dinkels'ben .. 170 Gesserts'sen . , 129 134 1 20 139 142 21 140 148 . 152| 154! 140 134 131 129 123 121 118 114 110 91 89 84 79 76 72 70 66 64 54 48 175128. Westheim j 43 180 24. Augsburg ' 38 183 Hochzoll 189| Mering 195; Haspelraoor 202|25. Maisach ... 214126. Pasing 218 27. Munich . 35 29 23 16 4 Mis. 4. Bretten 188 i 5. Maulbronn 182 6. Miihlacker 177 Illingen 174 Vaihingen 171 7. G. -Sachsenheim . . 167 8. Bietigheim 163 9. Ludwigsburg 158 Kornwest 1 m 155 Znffenhausen | 153 Peuerbach [152 Stuttgart 149 Cannstatt 146 Untert'heim 143 Obertuheim 142 4. Birthplace of Melancthon. 1497; ancient watch-tower. 5. Tunnel from the Rhine valley to that of the Neckar, 1,070 ft. 6. Stop 5 m. June, for Pforzheim. 7. e. Low wooded hills of the Stromberg and the Heuchelberg. x the Enz on a *viaduct 1.000 ft. in length, 115 in height, 21 two story arches 8. June, for Heilbronn. w. Fortress of Ho- henasberg on a height, now a state prison. 9. Pop. 8.000 ; is the great military station of Wurtemberg ; founded 1733 by Duke Ludwig. 6 mis. n.e. is Marbach. the birthplace of Schil- ler, 1759. 10. Stop 10 to 20 m.; cap. of Wurtemberg ; pop. 100,000 ; modern town, with few struc- tures of historic interest. The principal build- ings are the Konigsbau, royal seat ; the Palace of the Queen Dowager; the New Palace, the residence of the King ; the Old Palace ; the Library, 300,000 vols. ; and the Museum of Art. In the Schiller-Platz is a mon. to Schiller. Leaving S., pass the Rosenstein Tunnel, x the Neckar; *views. 11. A suburb of Stuttgart, and a favorite resort on account of its chalybeate springs and salubrious climate. 12. On the Neckar ; pop. 15,000 ; founded by Emp. Fred. II., 1216. On a height above the town is the cas. of Perfried. 13. At the confluence of the Neckar and Fils. J Rly. follows the Fils. e. the Hohenstaufen Mt.; 2,237 ft. 14. Aft. , chateau of Filseck. 15. Destroyed by fire, 1782. 16. Tower of Staufeneck, o. r. 17. e. Cas. of Scharfeneck, r., on height ; w. the range of the Alb. 18. Stop 5 m. ; in a narrow ravine ; *scenery. Above is the town of Helfenstein, destroyed 1552. Leave the. valley of the Fils and ascend the table-land of the Rauhe-Alb, and pass over into the valley of the Danube. Near Ulm pass the citadel, where 30,000 Austrians surrendered to the French, 1805. 19. Stop 10 m.; on the Danube ; pop. 25,000 ; fortified town ; one of the princi- pal garrisons of Wurtemberg. *The Munster, 1377, is one of the finest Gothic cathedrals of Germany ; x the Danube. 20. On the opp. bank, e., are the town and abbey of Elchingen, where the Aus- trians were defeated by the French under Ney, 1805. 21. Rom. Guniia ; on a hill at the confluence of the G'unz and Danube, w. Cas. of Reissenburg and Landestrost, on a wooded height. Leave the Danube. 562 ROUTE NO. 57. 22. Bfr., c, chateau Zusameck ; country level. Aft., x the Zusam ; x tho Schmutter. 23. x the Wertach. 24. Stop 5 m.; Rom. AugustaVindelicorum ; at the confluence of the Lech and the Wertach; pop. 50,000. Was an important city in the 16th cent. In 1530, 1548, and 1555 ; were held the celebrated Diets of Chas. V. ; the cathedral dates from 995. Aft., x the Lech ; ban-en plain, with peat bogs. 25. x the Amper. Pass the Dachauer Moos. 26. x the Wiirm ; nr. M., e., pass the drill-grounds ; further on, Nymphenburg, park and palace ; founded 1663. Near is the Royal Porcelain Manufactory. 27. See Munich. Mis. 3 5 7 10 13 15 IS 23 24 27 31 33 36 38 40 42 46 49 12 14 25 28 32 Route Ko. 57. Zurich— Munich. 198 mis.; 9 hrs. Fares, I. CI., 40 fr. ; II.,28fr. 1. x theSihl; x the Limmat ; iron bridge Tunnel % ml. 2. x the Glatt. 3. Stop 4 m.; Wulflingen, ru.; 1. Zurich. 49 2. Oerlikon j 46 Wallisellen | 44 Dietlikon 42 Effretikon . . Kemp- thai 3. Winterthnr .... Wiesendan'n.. . Islikon 4. Frauenfeld. ... Pelwen j 24 5. Miilheim j 18 Marstetten -. 16 6. Weinfelden 13 Biirglen 11 Sulgen 9 Erlen 7 Amriswyl 3 7. Romans'n V 12 8. Lindau . .j~137 9. Hergatz 10. Rothenbach ,\ Harbatzho'n . . . 11. Oberstaufen 42! 12. Immens't 52 1 Waltenhof en . . . 56 13. Kempten 60 14. Betzigau 68 15. Giinzach 79|16. Biesenho'n 83i Kauf beuren. . . . 95; 17. Buchloe 991 102 1 113: 118: 123 133 1 Igling ... Kaufering Tukenfeld . Grafrath . , Bruck . . . Pasing. 137118. Munich. n. the Griinten, 5,709 ft. ** Scenery to Kempten. June, for Coire. bfr. x the Toss. e. Hoch- pop. 9,500. Important rly. centre. Kyburg cas. s. 4 mis. 4. On the Murg ; pop. 5,000 ; cap. of the Canton of Thurgau; cas. said to have been built by Count von Kyburg in the 11th cent. 5. x the Thur ; cov. bridge. 6. Cas. Wein- felden, n. 7. Take boat for Friedrichshafen, 1 hr., and Lindau, 1% hrs. Lake Constance is about 40 mis. long, 8 in its greatest width, and borders on five States. The banks are generally low ; the water of a clear light green color. Though presenting many scenes of great beauty, it is surpassed by most other Swiss lakes. 8. Take boat for Romanshorn. On an island; Roman fort : place of great importance in the Middle Ages. On the quay bronze stat. of Max. II., 1856. Rly. crosses to the mainland on a long embankment, and thence makes an ascent of 1,360 ft. in 30 miles. 9. Extensive peat bogs. 10. x valley on an embankment 192 ft. high, 2,000 ft. long. 11. **Scenery ; along the valley of the Con- stanzer-Ach. The Alpsee, 2 mis. long. 12. Stop 5 m. *Scenery. s. The Algau- 1 I Alps, with the double Miidele-Gabel. 8,721 ft.; Follow the Illerto Kempten. Nieder Sonthofen-Se» ROUTE NO. 58. 563 13. Stop 10 m.; alt. 2,400 ft.; e. tower of the Burghalde, on site of old Rom, fort. Aft. x the Iller. 14. Wagegg, r., on height ; peat bogs ; ravine. 15. Summit of the rly.; alt. 2,772 ft. Monastery, now a brewery. Deep cut, entering the valley of the Wertach. 16. Bfr. x the Wertach densely wooded country. Aft., on opp, side of the river, is the monastery of Irrsee, now a lunatic asylum. 17. Stop 10 m. June, for Augsburg. 18. Station on the western side of the city. See Munich. Mis. 17 21 24 28 32 40 45 4S 50 55 60 63 73 Route No. 58. Munich — Verona. {The Brenner Route.) 285 mis. ; 14 hrs. Fares, I. CI., 65 fr.; II., 48 fr. 1. Station on the w. margin of the city. Rly. leaves to the w., makes an extended curve around the s. ande. to the n.e.n. The Bavaria may be seen. Pass several unimportant sta- tions to Haidhausen. June, for Vienna, s. View of the Alps. 2. Enter the broad valley of the Attel. w. The Wendelstein. e. The Kaisergebirge and the Venediger. 3. Stop 5 to.; some trains change cars. June, for Munich via Holzkirchen, a longer but more picturesque route ; junc. also for Salzburg. Rly. now follows the Inn to Inns- bruck. 4. Aft. the walled town of Neubeuren ; cas. above. 5. Vill. and Schloss 1 ml. w. Enter the mountains. 6. w. Falkenstein, ru., on a height ; aft. Kirs- tein. 7. Bavarian frontier. Enter the Tyrol, and approach Kufstein through a gorge. 8. Stop from 5 to 30 to.; a fortress of the Middle Ages ; captured by Max. I., 1504 ; now a prison. 9. Bfr. x the Inn ; alt. 1,680 ft. Aft., an- cient watch-tower. 10. Summer resort ; silver and copper fur- naces, x the Inn. e. cas. Kropfsberg, ru.; cas. Lichtwer and Matzen occupied, w. The Vorder-Sonnwendjoch, 7,162 ft. w. chateau of Tratzberg, restored. 11. Burned by the Bavarians, 1809. Copper and iron mines ; w . on height, the abbej r of Viecht, now a seminary. 12. Noted for its salt works ; on height, tow- 1. Munich. Zorneding Kirchseeon . . . Grafing 2. Asling O. Munich 3. Rosen h'm 4. Baubling 5. Brannenburg . . 6. Fisclibaeh Oberaudorf 7. Kiefersfelden . . 8. Kufstein 9. Worgl 77 Kundl 83 10. Brixlegg S5i Jenbach 92 11. Schwiz 101 1 Fritzens 103 12. Hall 109 13. Innsbruck 115 Patsch 122 14. Matrey 125,15. Steinach 129 16. G-ries 133 17. Brenner 138,18. Brennerbad. . 144 19. G-ossensass Sterzing Franzensfeste . Brixen Klausen Waidbruck .... Atzwang Bozen Neumarkt 21025. Salurn 214 26. S. Michele.. .. 219 Lavis 2-25 27. Trient 230 Matarello I 55 240 28. Roveredo I 45 24329. Mori 42 251 30. Ala 34 260 31. Peri : 25 285 32. Verona Mis. 148' 20. 157'21. 166 171 22. 177; 23. 181 188 24. 2041 285 268 264 261 257 253 245 240 237 235 230 225 222 212 208 202 200 193 184 182 176 170 163 160 156 152 147 141 137 128 119 114 108 104 97 81 75 71 66 60 564 ROUTE NO. 58. er of Miinze. Aft., e., the cas. Amras, the residence of Archduke Ferd. II, (1590). x the Inn ; viaduct. 13. Stop 10 m.; cap. of the Tyrol ; pop. 17,000 ; in the midst of the Tyrolean Alps ; alt. 1,870 ffc. The wooden bridge was the scene of several sanguinary bat- tles between the Tyrolese and Bavarians, 1809. The Hofkirche contains the mon. (but not the remains) of Emp. Max. I., surrounded by 28 colossal statues in bronze (1513). From Innsbruck the rly. follows the Sill to Brenner the summit of the pass. w. The abbey of Wiltau. Tunnel 2,200 ft. w. The Rutzbach, stream and gorge. Numerous tunnels ; continuous ascent. Along the east bank of the deep narrow valley of the Sill ; x x the Sill ; ** scenery. 14. 3,241ft.; the chateau of Trautson. x x the Sill. 15. 3,448 ft. Rly. at a great elevation above the valley ; soon makes an extended detour to the e. up the Schmirner-Thal, returning on the opp. side, high up ; **views ; curved tunnel at St. Jodok, returning along the Schmirner-Thal. 16. Bfr. tunnel 4,100 ft. alt. Aft., e., robber cas. of Lueg, r. w. The small deep green Brennersee. 17. 4,485 ft. The summit of the pass. The dividing line of the waters of the Adriatic and Black Seas. Rly. now follows the Eisack. 18. Rly. turns to the w. along the Pflerschthal. Soon enters the mountain ; makes a complete turn in the mountain tunnel, 2,400 ft. long, returning on the opp. side far below. 19. 3,481 ft. Road far above the Eisack ; *scenery. 20. 3,107 ft. Town presents a pleasing and inviting appearance. Aft., e., cas. of Sprechenstein ; w. cas. of Reifenstein ; w. cas. of "Welfenstein, r. Sta. Gras- stein, at the entrance of a defile, in which the Tyrolese defeated the Saxons, 1809. Strongly fortified. 21. Stop 3 m. June, of the Pusterthal rly. 22. 1,791 ft. A single street in the defile. From early times an important mili- tary position, w. On height the former monastery of Seben, afterward a Rom. castle ; now a baronial residence. Valley becomes narrower ; *scenery. 23. Cas. Trostburg ; seat of Count Wolkenstein. * Scenery. Chestnut forests. 24. Stops m.; alt. 850 ft.; pop. 10,000. At the confluence of the Talfer and Eisack. Houses with peculiar roof windows. *Views e. Aft., x the Eisack ; confluence of the Eisack with the Adige. Rly. follows the A. to Verona ; x the Adige. 25. The last German village. Cas. on a rocky pinnacle. 26. Station is an old Augustinian monastery, 1143 ; x the Adige. 27. 715 ft.; pop. 17,000 ; Rom. Tridentum ; mentioned by Strabo and others ; numerous castles and palaces. Above is cas. of Buon Consiglio, formerly the episcopal seat, now a barrack. The celebrated Council of Trent sat in the ch. of S. M. Maggiore, 1545-63, 18 years. 28. Pop. 8,000. Extensive culture of silk, producing annually 120,000 lbs. Below this point, the valley is termed the Val Lagarina. Aft., e., is a castle in which Dante resided for a time, near 1302. 29. Noted for its asparagus. 30. Stop 5 7n.; usually change cars, conductors, language, and time. 31. First Italian station ; rly. enters the narrow defile of Chiusa di Verona, a military position of great strength and importance ; was attacked by the Mila- nese, 1155, and by the French, 1796-97. w. On height Rivoli. Stations : Dom egliara, Pescantina, and Parona. x the Adige. At S. Lucia line unites with rly of Milan to Venice. 32. Verona to Venice or Milan. See Route JVo. 46. fl\oXV\ A- \> HAmburq V y \ AfSy MingeH ^>0 0** J&euznadi i Treves (Trier J KcustS'slatttgfii , 1 FUFtT •-" , llanam Sonncbcr 9 n pim Bamberg oreurg Oppenau Bucliloc, Kanpten 'lijxpizzkjihafejU West Centeai RMANY. East. ROUTE NO. 59. 565 Route No. 59. Cologne— Berlin. 362 mis.; lOhrs. Fares, 1. CI, 53 m.; II., 40 m. 1. See Cologne ; rly. crosses the Rhine, and then, turning to the 1., follows the river to Dus- seldorf. 2. Modern city of S0,000 pop. 3. Btyond is an extensive mining district, with numerous iron works. At Essen are Krupp's celebrated Sceel Works, covering 63 acres, employing 12,0(0 workmen. 4. On both banks of the Leine ; pop., 127,000 ; possesses an art gallery and a palace, which is made an occasional residence by the Emperor. In the Waterloo Platz is the Waterloo Col- \imn, in honor of 500 Hanoverians who fell in that memorable battle. 5. June, of rly. for Leipsic. 6. Birthplace of Wincklemann, the celebrated antiquarian scholar, x the Elbe. 7. For many miles before reaching Berlin, the scenery becomes monotonous. Station on the s.w. margin of the city. For a cab, application should be made to the "controlem-,' 1 or cab-master, at the station entrance, who will hand the traveller a number designating the carriage. Mls.i i 362 1 2 Deutz . . 361 337 25 DQsseldorf 45 3 Oberhausen 317 94 Hamm (19,000) . 268 1631 Minden (17,000) .. 199 191 4 Wunstorf 171 158 148 204 Hanover 214 9?4 128 114 848 ?53l 5. Vorsfelde 109 103 259 Oebisfelde 271 91 290 Vinzelberg 72 | 297 6. Stendal 65 1 305 Schonhausen 57 319 Rathenow 43 j 325 Nennhausen 37 344| 18 354 Spandau 8 mi 7. Berlin Mle. Route No. 60. Berlin— Dresden. 108 mis. ; 3 hrs. Fares, I. CI., 14.50 m. ; II., 11 m. 1. Dresdener Banhof. in the s.w. suburb. The entire line from Berlin to Dresden lies through a country comparatively barren and uninteresting until near the latter city, along the valley of the Elbe. 2. All Berlin trains stop at Friederick Stadt ; the through southward express trains go to the Altstadt station. For a carriage, application should be made to the station cabmaster, who will give the traveller a number designating the carriage. Mis. 1. Berlin 108 88 70 44 32 21 11 Mis. 9,0 38 Golssen 64; 76| 871 97 108 Dnbril 2. Dresden Route No. 61. Dresden— Prague— Vienna. 372 mis. ; 13 hrs. Fares, I. CI., 47 m.; II., 35 m. 1. Soon after leaving Dresden the rly. ap- proaches the Elbe, which it follows with little interruption to Prague. MR1. Dresden 7 Miigein . . . 11 2. Pirna 22 3. Konigstein 25 Krippen. .. 372 365 361 350 347 2. w. Old fortress, now an asylum ; town was 566 ROUTE NO. 62. 29 37 51 65 101 118 15(5 183 207 220 251 276 315 338 354 366 372;9. Schema Bodenbach. Anssig Lobositz Kralup Prague .... Kolin Pardubitz Brandeis Bohmisch Skalitz Briinn Grussbach Mistelbach Wolkersdorf Stadlau Vienna 343 335 321 307 271 254 216 189 165 152 121 96 57 34 18 6 Mis. 8. The capital of Moravia ; pop 9. Approaching Vienna ; x the section of the city. taken by the Swedes, 1639. Fortifications lev- elled, 1758. Aft. numerous quarries. 3. w. Commanding fortress of Konigstein ; e., opp. Lilienstein, memorable for the surren» der of 14,000 Saxons to Fred, the Gt., 1756. ♦Scenery. 4. Frontier ; customs examinations ; traina wait from 30 to 60 min. 5. *Schreckenstein, cas. ru. 6. See Prague. From Prague to Vienna there are several routes, of similar fare and time. 7. w. On eminence, mon. in honor of a vic- tory by the Austriana over Fred, the Gt., 1757. , 75,000. Danube. Station in Leopoldstadt, the eastern Mis. 18 24 34 38| 46 51 59 66 74 111 130 145 15(5 161 172 185 204 210 224 Route No. 62. Munich— Vienna. 262 mis.; 10 hrs. Fares, I. CI., 41 m. ; II., 30 in. (via Salzburg, fare 4 m. more). 1. Train leaves on the w. margin of the city, passes to the s. around to the e. On the n. may be seen the Bavaria ; x the Isar ; n. luna- tic asylum. 2. Battlefield on which, 1322, Emp. Fred, of Austria was taken prisoner by the Bavarians. 3. x the Isen. Tomb of Tilly in the ph. 4. Frontier. Customs examinations ; x the Inn; *scenery. 5. June, of line to Nuremberg. 6. June, of Munich- Vienna line, via Salzburg. 7. A town of 30,000 inhabitants, pleasantly 10i i situated on the Danube. From Linz to Vienna, 1. Munich Schwaben Horlkofen Dorfen Schwindegg . , 2. Ampfing Miihldorf 3. Neu-Oetting . Marktl 4. Simbach Obernberg. .. 5. Neumarkt 6. Wels 7. Linz 8. Enns St. Valentin . St. Peter . Amstetten... Pochlarn 9. Melk St. Poelten . . 238 10. Neulengbach 255 Purkersdorf . 26211. Vienna... 262 2-14 238 228 224 216 211 203 196 18S 151 132 117 106 90 77 58 52 38 24 7 Mis. via the Danube, is a most charming trip, steamer leaving in the morning and arriving at Vienna the same evening. Scenery not less romantic than that of the Rhine. Aft. x the Traun, near which was fought an obstinate battle by the Austrians and French, 1809, in which the latter lost 6,000 men. 8. The fortifications of the place were erected from the money paid by England for the ransom of Richard, Camr-de-Lion. x the Enns. 9. x the Melk ; *scenery. 10. Pass a viaduct and two tunnels ; *scenery. ROUTE NO. 63. 567 11. Station on the w. margin of the city. Ringstrasse, the location of the prin- cipal hotels, is about \% ml. dist. Tramway.'; pass directly from the station to Ringstrasse. For a carriage application should be made to the " controleur " at the station entrance, who will give the traveller a number designating the car- riage. See Vienna. Route No. 63. **The Danube. The most attractive scenery of the Danube is to be found between Passau and Vienna. Four hours below Passau is Linz, a more desirable point for taking or leaving the steamer, as here the railway to Munich may be taken, and also be- cause the trip from Linz to Vienna may be made in a single day. Linz to Vienna, 126 miles ; usual time, down, 8 or 9 hours ; up, 18. Fare, $2.75. Meals can be obtained on board. The scenery of the Danube surpasses that of the Rhine in grandeur and beauty, the mountains being generally more elevated and covered with forests. The river frequently spreads out into a broad, shallow stream, abounding with low islands composed of pebbles. The current is rapid, and the water usually of a clear greenish blue. Linz, with a population of nearly 40,000, but with the appearance of little busi- ness or energy, is delightfully situated on the south bank, the north being dotted with charming suburban residences, and the elevated hills being crowned with churches, monasteries, or other commanding structures. Leaving Linz, the bank on the north continnes mountainous for some miles, that on the south low and uninteresting. The river flows to the n.e. for about 2 mis., and then turns to the s.e. Passing beneath the Prag and Linz railway bridge, the white pilgrimage church of St. Magdalen is seen on the summit, of the high ground to the north. Further on, n., is the Schloss Steyeregg, the seat of Count Weissenwolf. s. Zizelau, vil., near the mouth of the Traun. Numerous islands. s. Enns, vil., with the castle of Ennseck, the fortifications of which were built with the ransom money paid by England for Richard, Coeur-de-Lio?i. 16 mis. (Vienna, 110) ; n. Mauchhausen, vil., with the Schloss Pragstein on the river bank ; two bridges. The river now approaches the hills on the s., leaving the northern hills at a distance. s. Erlakloster, with a large building, formerly a nunnery. 25 mis. (V. 101) s. Wallsee, vil. on a hill, with a schloss, the seat of the Duke of Saxe-Coburg. n. The schloss of Clam, dist. s. Ardagger, vil. River turns to the n.; the hills approach on both sides ; *scenery. 35 mis. (V. 91 mis.) n. Grein, vil., above which is Greinburg, a castle of the Duke of Coburg ; also the large hydropathic institution of Kreuzen, dist. Island of "Worth, with the ruin of Werfenstein. Opp., n., is the ruin of the rob- ber castle of Struden and vil. of Struden. n. Hausstein, a ruined castle on a lofty rock. Navigation through this pass was formerly attended with much dan- ger from sunken rocks, now removed, n. St. Nicolai, *scenery, much frequented by artists. 568 ROUTE NO. 63. n. Sarblingstein, vil. with ancient watch-tower. s. Ruins of Freyenstein ; n. influx of the Isperbach ; s. the small chateau of Donaudorf. n. Persenberg, on a projecting rock, a chateau of the Emperor. 46 mis. (V. 80 mis.) s. Ips, with a conspicuous lunatic asylum and almshouse, s. influx of the river Ips.; s. vil. of Sarling ; railway along the bank ; river turns to the north ; s. Saussenstein, with ruins of the Abbey of G-ottesthal, burned by the French, 1809. River turns to the e. ; 50 mis. (V. 76 mis.) n. Malirbach, vil. Above on a high hill is the Maria Taferl, a pilgrimage church, which is visited annually by more than 100, 000 devotes. 56 mis. (V. 70 mis.) s. Pochlarn, the legendary residence of Rudiger, who here gave the brilliant reception to Chriemhild, of the Nibelungenlied. Opp. is Klein- Pochlarn ; n. Ebersdorf ch.; n. the castle of Weiteneck with towers and pinnacles, said to have been built by Rudiger ; recently restored. n. Lubereck, vil. 60 mis. (V. 66 mis.) s. Melk or Molk, vil. above which is a celebrated Benedictine Monastery, 1089. This abbey has been several times be- sieged. Melk is mentioned in the Nibelungen. s. The influx of the Bilach. The valley of the Danube is now narrowed to a gorge many miles in length, called the Wachau, abounding in romantic scenery. s. Schonbiihl with a monastery and the chateau of Count Beroldingen. s. Aggstein, a robber castle, from the walls of which prisoners were thrown upon the rocks beneath. n. The Teufelsmauer (devil's wall) extending from the river to the summit of the hill. 7 mis. n. Spitz, vil. with ruins of a castle, and an ancient church. n. St. Michael, vil. On the roof of the ch. may be noticed some terracotta hares in commemoration of a snow, which so buried the ch. that hares ran over it. n. Wesendorf, vil. ; n. Weissenkirchen, vil. s. Another Teufelsmauer ; river turns to the s. s. Rossatz, vil. 85 (V. 41) mis. n. *Diirrenstein of the Prince Starhemberg where in 1192-3 Richard Coaur-de-Leon was imprisoned for 15 months, and where he is said to have been discovered by his faithful Blondel singing under his window. *Scenery ; river turns to the e. 80 (V. 46) mis. n. Stein, vil. bridge ; near which are the ruins of a castle, de- stroyed 1486. Adjoining Stein, separated by the old monastery buildings, is Krems, opp. is Mautern, vil. ; s. dist. on an eminence the commanding Abbey of G-ottweih of the Benedictines. Hills to the n. recede, numerous islands : s. dist. ch. of Wetterkreuz on an emi- nence; s. Hollenburg, vil. with ruins and a villa above. Hills on the s. recede. Scenery less inviting, s. influx of the Traisen. 105 mis. (V. 21 mis.) s. Tulln, the Comigena of the Romans, one of the most ancient towns on the Danube ; mentioned in the Nibelungen. Bridge of the Prag Vienna railway. The hills on the south approach the river and afford numerous commanding Bites for the Viennese nobility. 114 (V. 12) s. Greifenstein, the seat of Pr. Liechtenstein. River turns to the south. s. On the summit of the mountain is Klosterneuburg, the wealthiest Abbey of ROUTE NO. 64. 569 the Augustines in Austria, said to own two-thirds of the immediate environs of Vienna. As the Danube approaches Vienna it divides into three channels, the principal of which is at the left. The branch upon which the city is located being com- paratively narrow, the Danube boat stops at Nussdorf, where the river divides 4 miles from the city, passengers being there transferred to a smaller boat. The landing in Vienna is directly in front of the Hotel Metropole. Route No. 64. Spain and the South of France. The most desirable portions of Spain may be comprised in a two weeks' excur- sion, embracing Madrid, the Escuiial, Seville, Cordova, Granada, the Alhambra, and Gibraltar. The usual route via Bordeaux, returning via Marseilles, or vice versa, may be made to include, at a small additional cost, Orleans, Tours, Poitiers, Bordeaux, Bayonne, Valladolid, Malaga, Cadiz, Cartagena, Valencia, Barcelona, Marseilles, Nimes, Avignon, and Nice. Attractive as is Spain in its art, scenery, and historic associations, the visitor will find an occasional demand for a heroic and philosophic acquiescence in Spanish customs and methods of travel. Bradshaw states (1882) : " The railways are slow but comfortable ; the stations indifferent ; the fares high ; the conveniences for ladies and families miserable ; the refreshments dear and indifferent ; the diligences crowded and dirty ; the steamers irregular and not clean ; and everything dear." He also adds: " Do not expect the comforts of a French or a Swiss hotel ; be content with plain food, and keep your temper, as Spaniards will not be hurried, and have a keen sense of personal dignity." The best seasons for visiting Spain are March, April, October, and November. Passports necessary ; should be viseed in London or Paris. Paris to Madrid (via Bordeaux), 900 mis. ; 35 hrs., $37 : $27. Orleans (or'-la-awfi), Fr. ; from Paris, 76 mis. ; 2 hrs., $2.75 ; $2. Hotel cT Orleans ; noted for its cathedral and the houses of Joan of Arc, Fr. I., and Diana of Poitiers. Tours (tour), Fr. ; from Paris, 146 mis. ; 4 hrs., $6 ; $4.25 ; on the Loire ; H. de V Univers. Near by was the celebrated victory of Ch. Martel over the Sara- cens, a.d. 732. Poitiers (pwa-te-a), Fr. ; 2U7mls., Gd. Hotel du Palais. Four mis. dist. the Black Prince defeated and took King John, 1356. Bordeaux (bor-do), Fr. ; 363 mis., 9 hrs. ; $14 ; $11. Hotel de Paris ; pop. 215,000 ; on the Garonne, 70 mis. from the sea. It has an extensive com- merce, especially in wines and brandies. There are few objects of historic interest except the remains of the Pal. of the Rom. Emp. Gallienus. Biarritz (be'-ar-ritz'), Fr., 16 hrs. ; the favorite resort of Louis Nap. and Em- press. Irun (ee-run), the frontier. Burgos (boor'-gos), Sp., pop. 33,000 ; Hotel del Norte ; noted for its *cathedral of the 13th cent. Tlie Es-co'-ri-al (Escurial), Sp., 32 mis. from Madrid ; Hotel Miranda. This magnificent structure, built by Philip II., 1685, after the similitude of a gridiron, and dedicated to St. Lawrence, comprises a palace, a ch., and a monastery, and ia about 740 ft. by 580. The chapel is of magnificent dimensions, being o25 ft. in 570 ROUTE NO. 64. length and 230 in width. Beneath the high altar is the royal vault, 36 ft. in diam. and 38 high, where only kings and the mothers of kings may rest. Here lie the remains of Emp. Ch. V., Philip II., and others. Among the more interesting rooms are the Sacristia, the Cora, Queen Isabella's apartments (shown at one o'clock), the suite of the Infantas, and the room where Philip II. died. Madrid (mah-drid / ) ; H. de Londres ; pop. 400,000 ; is situated on a bleak plain about 2,300 feet above sea level, and possesses an exceedingly uncertain cli- mate. It was located here by Philip II., from the supposition that this place was the exact centre of his kingdom. Among the places of special interest are the Royal Museum (the Prado) ; the Royal Palace ; the Armeria ; the Academy of San Fernando ; the Royal Stables ; the Bull Ring ; the Plaza Mayor, with a statue of Philip II. ; the Puerta del Sol, memorable for the massacre by Murat, 1808; and the Prado, a broad, well-shaded boulevard, the principal resort of fashion and beauty in the afternoon, especially of Sunday. The Eoyal Museum, the Prado. See p. 456. The Royal Palace, Palacio Real, the residence of the royal family, ia a magnifi- cent structure erected by Philip V. Permit obtained of the Mayordomo. Among the more important apartments are the Throne Room : the Royal Chapel, seldom open ; the Library ; and the China Cabinet. In the garden is a *bronze eques- trian statue of Philip IV. (1640). The Royal Stables, la Cochera Real, adjacent to the palace, may be visited on permit from the Caballerizo Mayor. The Museum of Armor, la Armeria Real, upon the s. side of the palace, is open to the public daily, 10-3 : fee ; free on passport, small gratuity. Among the in numerable objects are the armors of Chas. V., Chr. Columbus, Queen Isabella, Philips II. and III. ; the writing-desk and the camp-bed of Chas. V. The Academy of San Fernando contains about 300 pictures, among which are **El Tinoso, St. Francis, **St. Elizabeth of Hungary, and several others by Murillo. On the ground floor is a Coll. of Casts. The Bull Ring, or Plaza di Toros. is a large amphitheatre with seats for about 12,000 spectators. Exhibitions take place on Sun. and Mon. from Apr. to Oct. Scats should be secured for the shady side. The Grand Opera House, or Teatro Real, with 2,000 seats, ranks, both as to the building and the excellence of its representations, as one of the first in Europe. The Churches possess little interest. Royal Marriages are solemnized in the Ch. of the Atocha at the e. end of the Prado. Routes : To Pabis, 900 mis., 37 hrs., $37 ; $27. To Lisbon, 411 mis. ; 21 hrs., $17; $12.50. To Malaga, 393 mis. ; 18 hrs., $16 ; $12.50. To Seville, 356 mis. ; 15 hrs., $14.30; $11. To Granada, 427 mis.; 21 hrs., $18; $14. To Sara- gossa, 211 mis., 10 hrs.; $8.50; $6.50. To Barcelona, 438 mis.; 21 hrs., $17.50 ; $13. To Cordova, 274 mis. ; 12 hrs., $11 ; $8.50. Cor-do - va, pop. 50,000. H. de Paris ; junc. of rlys. from Madrid, Seville, and Granada ; on the Guadalquiver. It was held by the Moors from 756-1236, and abounds in Moorish and Roman antiquities. **The Cathedral, originally a Roman temple, was converted by the Moors into a Mosque. 786, and has 19 naves, 33 aisles, and 800 columns. Cordova is the birthplace of Seneca and Lucan. From. Cordova to Madrid, 274 mis. ; to Malaga, 119 mis. ; to Seville, 81 mis. Se-ville', pop. 135,000. H. de Paris ; the Rom. Hispalis, on the Guadalqui- ROUTE NO. G4. 571 ver, 45 mis. from the ?ea, was conquered by the Moor?, 711. and remained under their domination for five centuries. The Spanish Inquisition was here first es- tablished. Hadnan, Trajan, and Theodosius were born here. The two great objects of interest in Seville are the Cathedral and the Alcazar. **The Cathedral, founded 1403, upon the site of a Moorish mosque, is one of the largest ever erected. The Giralda tower was the ancient minaret. It has 5 naves, 37 chapels ; and its 93 windows are among the finest in Spain. In the Royal Chapel, or Capella Real, are the tombs of Alfonzo X., and Queen Dona Beatrix, wife of Ferdinand ; and in the Sacristia Mayor was that of Murillo : and near the west door, that of Fernando, the son of Christopher Culumbus. One of the organs is repined to have 5,300 pipes. Among the noted paintings are : in the Baptistery, **St. Anthony of Padua, by Murillo ; in the chapel of San Pedro, several by Zur- baran ; in the chap, of N. S. de Belen, * Virgin and Child, by Cano ; in Santiago, St. James, by Roelas ; in the Sacristia Mayor, San Isidoro and San Leandro, by Murillo, and The Descent from the Cross, by Campana ; also a St. Christopher, 30 ft. in height. The Alcazar (al-cah-thar', house of Cassar), the former palace of the Moorish and Catholic kings, dates from the 10th cent. The greatest interest is in the apart- ments of Ferdinand and Isabella, where the latter gave audience to Columbus. This is the Royal residence whenever the family visits Seville. The Museum, daily, 10-4, free (small gratuity). The gem of the collection is Thomas Aquinas, by Zurbaran, taken to Paris by Soult : returned 1815. In the Sala de Murillo are 23 paintings by this master ; among which are **The Concep- tion, and **St. Thomas, considered by the artist himself as his masterpiece. His celebrated Moses Striking the Rock, is in the Hospital Santa Caridad. To Cordova, 81 mis. To Cadiz, 83 mis. Ca'-diz, Sp., pop. 60,000. H. de Paris. The city possesses few buildings or places of interest. In the Capuchin Monastery is Murillo's St. Catheri?ie, around which lingers a painful interest, as it was while painting this picture that the great master fell from the scaffolding, receiving the injury which terminated his life. To Seville, 83 mis. ; 4 hrs., $4 ; $3. Steamers ply nearly every day between Cadiz and Gibraltar, 10 hrs., $4.50. Gibraltar, pop. 20,000 ; If. Royal. The town itself presents few attractions. The fortifications can be visited only by permit, which is readily obtained at the hotels. This place was first made a military position by Tarik in 711. Taken by the English in 1704, unsuccessful attempts t > retake it were made in 1727, 1719, and 1782. Steamers nearly every day to Cadiz and Malaga ; also frequently to Eng., and all Mediterranean ports. Mal'-a-ga, pop. 80,000 ; H. Alameda ; boasts the finest climate and one of the most charming situations in Spain. Its most delightful promenade is the Alameda, ornamented with fountains and statues. It possesses no buildings to detain the visitor. Steamers frequently to Gibraltar, Barcelona, Marseilles, Algeria ; also to Liverpool and New York. To Granada by rail, 118 mis. ; 6 hrs., $6 ; 04.50. Granada (gra-nah'-dah), pop. 75,000: H. Washington frving ; most delight- fully situated on a table-land 2,440 ft above sea level. In the Cath. 8-12 and 3-5, are the magnificent tombs of Ferdinand and Isabella, and Joanna and Philip. The great attraction of Granada is ThtAl-ham'bra (red house, from its red stone) ; 10-12 and 2-5. It is situated upon 572 ROUTE NO. C4. the summit of a hill ; was erected, 1248, by Abu Abdallah, and for two and a half centuries was the residence of the Moorish kings. For many years after the con- quest the palace was given up to decay and ruin ; it is now being restored to ita primitive beauty. As the visitor will need a valet-de-place, it is necessary only to indicate the principal objects of interest : the Gate of Justice ; the Virgin, painted by St. Luke ; the Torre de la Vela, on which the Christian flag was first unfurled at the conquest : the Palace of Ch. V., injured by an earthquake and unfinished ; the Fish Pond ; the celebrated *Alhambra Vase ; the Chapel ; the lloom of Repose; **the Hall of the Abencerrages ; **the Hall of the Ambassa- dors: the Prisons ; the Dressing-Room of the Sultanas; the *Saloon of the two Sisters ; the *Court of Lions ; the Torre de los Pecos ; the Torre de las Infantas ; and the Apartments of Washington Irving. The Generali fe, the summer residence of the Moorish kings, is upon the oppo- site side of a deep ravine. Permit necessary. Only a small portion of the build- ings now remain. Bar-ce-lo'-na, Sp., pop. 300,000 ; LT. de las Cuatro Naciones ; is the most enterprising city of Spain, and has little in common with the other cities of the realm. In the general appearance of many of the streets and buildings, as well as in the evidences of business thrift, it is entirely a modern city. It has a large commerce and numerous manufactories. Here, in 1401, was founded the firs=t bank. The Opera House is said to be the largest in the world. Steamers ply from Barcelona to nearly all Mediterranean ports. From Barcelona to Madrid, 43S mis. ; 21 hrs., $17.50 ; $13. To Marseilles, about 400 mis. ; 20 hrs. Marseilles (mar'-sailz'), Fr., pop. 320,000 ; LT. de Foailles; is the most im- portant commercial city of France. Although supposed to have been founded six centuries prior to A.D., it presents few objects of historic interest. The old town, with narrow, ill-looking streets, lies upon the slope to the north of the harbor ; the new town, to the e. and s., presents the appearance of a modern city with broad avenues, elegant buildings, and numerous fountains. Among the more noteworthy objects are the Exchange, the New Cathedral, the Hotel de Ville, the Zoological Gardens, the Pal. des Arts, and the Mus. of Antiquities. Routes: To Paris, 536 mis.: 15>£ hrs., $21; $16. To Lyons, 218 mis.; 7 hrs., $8.60 ; $6.20. To Nice, 140 mis. ; 7 hrs., $5.50 ; $4. To Barcelona, about 400 mis. ; 20 hrs. Steamers to all Mediterranean ports. To Algeria, 36 hrs. ; $16. Nimes, Msmes (neem), Fr., pop. 60,000 ; R. du Luxembourg ; the Rom. Ne- mausus, is noted for its well-preserved Amphitheatre and Temple, and other Roman structures. **Tke Amphitheatre is 437 ft. in diameter, 140 ft. in height, and had 32 rows of seats, accommodating about 20,000 spectators. The date of its erection is un- known. It was occupied by the Visigoths and Saracens as a fortress, and is now used for an occasional bull-fight. **The Maison Carree (may-zon car-ray'), 88 ft. by 40, is one of the most beau- tiful Corinthian temples existing. It dates probably from the time of Marcus Au- relius. It was afterward converted into a church, and later into a council hall, a stable, a convent, a tomb, a storehouse, and finally into a museum. It has 10 de- tached and 20 engaged Corinthian columns. Within the Museum are numerous ROUTE NO. 64. 573 antiques found in the vicinity. In the museum of pictures is Delaroche's cele- brated " Cromwell and Ch. L" Among the other ruins are two Eom. Gateways ; the Temple of Diana ; and a Bath. Nimes is the birthplace of Guizot. Fifteen miles distant is the renowned ** Punt dn Gard, an aqueduct bridge, 882 ft. in length and 160 in height. It consists of 3 stories, the lower of 7 arches, the middle of 11, and the upper of 35. The whole structure is nearly perfect. It is supposed to have been erected by Agrippa about B.C. 20. Avignon (a-veen-yofi), Fr., pop. 40,000 ; H. de TEurope; is noted especially as the Papal Scat during the " Babylonish Captivity ;" 7 popes and 8 anti-popes having reigned here from 1305-1424. The Cath. (11th cent.) contains the tombs of Pope John XXII. and Benedict XII. In the choir is the Papal throne. Five popes were here consecrated. Tlie Papal Palace, originally both a castle and a monastery, now a barrack, was erected by Clem. V. and Benedict XII. Its walls are 100 ft. in height. Rienzi was imprisoned in the Trouillais tower. The visitor will be interested in visiting the Chamber of Torture ; the Oubliette ; and the Glaciere, the prison of the In quisition, into whose deep vaults 60 persons, dead and dying, were hurled by the Revolutionists in 1791. Here also, in the Revolution, prisoners were gathered in a narrow passage and despatched by grape-shot from a cannon. la the Museum is a considerable coll. of antiquities : and in the garden is a monument to Petrarch's Laura. Vaucluse, the home of Petrarch, is 16 mis. distant. To Lyons, 143 mis. ; 4^ hrs. To Nimes, 31 mis. To Marseilles, 75 mis. ; 2J£ hrs. Nice (nees), Fr., pop. 80,000; R. de France; from its delightful climate, is one of the most desirable winter resorts on the Mediterranean coast. There is no fog. and the winter temperature rarely reaches the freezing point. Flowers are perennial, and fruits abundant in every season. Hotels are numerous and excellent. To Marseilles, 140 mis. ; 7 hrs., $5.50 ; $4.20. To Genoa, 115 mis. ; 6 hrs., $4 ; $3. Steamers also to Marseilles and Genoa. Q [advertisements.] Antwerp] HOTEL DE LA PA IX. E. COLLIN. CENTRAL SITUATION. REASONABLE, CLEAN, AND COMFORTABLE. Arnhem] GRAND HOTEL BELLE-VUE. First-class family Hotel and Pension. Refined home, offering every advantage as to comfort, table, and situation. Baden-Baden,! VICTORIA HOTEL. J First-class house ; beautiful situation on the Promenade ; nearest the Conversation House and new Frederics Bath. Picturesque view ; fine parlors and bath rooms. Lift. Table d'hote at 1 and 6 o'clock. Moderate charges. Pension during the early and the latter part of the season. Principally frequented by Amer- icans and English. Baveno, 1 GRAND HOTEL BAVENO. Lake Maggiore._J ' First-class house. Best situation on the lake ; com- manding most magnificent views of the Alps, the Lake, and the Borromean Isles. Prices moderate. Berlin] HOTEL D'ANGLETERRE. First-class Hotel, within short distance of all the sights of the city. PREFERRED BY AMERICAN TRAVELLERS. RUD. SIEBELIST, Proprietor. Berlin] PENSION KAHRN, Zimmer Str., 37, I. First-class. Noted for its superior comfort, excel- lent table, and good society. Centrally located. Bol ogna] GKRAND HOTEL BKUN. A splendid old palace, and one of the best hotels in Italy. Famous also for its exquisite Italian wines, produced and largely exported by the proprietor. J. F. FRANK. Branch House : Grand Hotel Feder, Turin. [advertisements.] Brussels,"] PENSION JANSENS. Belgium, j Room, board, and attendance, 6 francs per day. ig Rue de l'Arba Benoit. Chamonix] "HOTEL AND PENSION DES ALPES. Eighty well-furnished rooms. Magnificent view of Mont Blanc. Charges very moderate. J. KLOTZ, Proprietor. Cha monix ] GRAND HOTEL D'ANGLETERRE. First-class House. T. CREPAUX, Proprietor. Coblenz] GRAND HOTEL BELLEVUE. Splendid view of the Rhine. Patronized by English and American families. Excellent cooking ; choice wines ; moderate charges. FIRST CLASS. H. HOCHE, Proprietor. Dresden] GRAND UNION HOTEL. Patronized by the Amei-ican and English Colony. Hydraulic lift. Florence] PENSION CHAPMAN. Via Pandolfini 21. American House. Situated in the central part of the city. Comfortable and homelike. American table. Pension from 7 to 10 fcs. — all included. Mrs. M. M. CHAPMAN. Geneva] 'grand hotel de la ietropole. Splendid modern Hotel, on the Promenade, opposite the English Gardens and the steamer landing. Lift. Every Comfort. WILLIAM GREULING. [advertisements.] Geneva] WATCHES, MARC PLOJOUX, Manufacturer, 4r Rue du Rhone. Glasgow] PHILFS COCKBUKN HOTEL, Bath Street. SITUATED IN THE MOST ELEVATED AND DELIGHTFUL PORTION OF THE CITY. Passenger Elevator. Tiarkish Baths. MODERATE CHARGES. The Hague] HOTEL PAULEZ. rVHIS FIRST-RATE HOTEL, situated in the finest 1 quarter of the City, in the vicinity of the Grand Opera, Museums, and Royal Park, cannot be too highly recommended for its accommodation, the excellence of its Table d'H6te and Wines, added to the attention and civility shown to all travellers. " Restaurant a la Carte" at any hour. Splendid Reading Room, contain- ing English, American, and French Newspapers. F. J. PAULEZ & SON, Proprietors. Heidelberg] HOTEL SCHRIEDER. EIRSTCLASS hotel, at the RAIL WAT STATION. 150 Rooms. W. BACK, Wwe., Proprietress. Heidelberg] PENSION INTERNATIONALE. Formerly the "English Pension" — Anlage iS— the finest part of the Anlage. First-class pension. Special arrangements for protracted stay. Prop., Mrs. HOFFMAN, Successor to Mrs. Ellerman. [advertisements . ] Baths of Homburg] HOTEL BELLEVUE. First-class House. Patronized by the Amei-ican Gentry. W. FISCHER. Proprietor. Interlakeri] GRAND HOTEL METROPOLE. In the Centre of the Principal Promenade. 250 Beds. Pension from 8 fcs. Elevator. Interlaken l HOTEL NATIONAL And PENSION "WYDER.. The Proprietor was some time since in America. Leghorn] London] jano,"| Lugano," Swi G-Fl^Km ZZOTBZj. PALAZZO FABBRICOTTI. One of the finest and most comfortable Hotels in Italy, in the middle of a Large Garden, with Lawn Tennis Ground, and a beautiful view of the Sea and Mountains. Hydraulic Lift, Billiards, Bath, etc. Pension all the year round. J. SPATZ, Co-proprietor of the Grand Hotel at Milan, Grand Hotel at Venice. THE INNS OF COURT FAMILY HOTEL, Higrli Holborn, W. C. CENTRAL, QUIET, COMMODIOUS. FIRST -CLASS ARRANGEMENTS. MODERATE TARIFF. WALTER GOSDEN, Manager. HOTEL LUGANO. Situated on the Lake, with Garden. American and English references. A. BROCCA. [advertisements.] Melrose] THE ABBEY HOTEL-Abbey Gate. The Only Hotel Built on the Abbey Grounds ; also The Georie anfl AiotsM Hotel, High Street, Melrose. Both only three minutes' walk from the railway station. Every comfort ; moderate charges. Patronized by leading American and. English Families. The only first-class hotels in Melrose. Horses and carriages of every description. GEORGE HAMILTON, Prop. Milan] HOTEL GRANDE BRETAGNE And REICHMANN. Corso Torino, opposite the Cathedral, and Victor Emmanuel Gallery. First-class family Hotel. Best situated; well known for cleanliness and comfort. Moderate charges. The Proprietor assures American and English visitors he spares no trouble to render their visit most agreeable. Hydraulic lift ; electric light. J. ROSSI, Proprietor. Milan] GRAND HOTEL DE MILAN. VIA ALLESSANDKO MANZONI. The only Hotel in Italy with POST, TELEGRAPH, and RAIL- WAY OFFICE. Hydraulic Lift. Electric light in every room. J. SPATZ, Co-proprietor of the Grand Hotel at Venice and the Grand Hotel at Leghorn. Moscow] HOTEL BILLO. Great Lubianka Street. (Gostinnitza Billo, Bolshaia Lubianca.) New Proprietor, JOSEF FUCHS, many years mana- ger of the Hotel Slawjansky Bazaar. This first-class Family and Commercial Hotel, favorably known for the last twenty years, is furnished with all the requisites of modern times. It is situated in the highest and healthiest part of the centre of the city, with a sunny aspect ; close to the theatre, the Kremlin, Bazaar, Exchange, post and telegraph offices. Table d'hote dinner at 6 o'clock. Separate dinners. English, German, and French newspapers. 6 [advertisements.] Munich] HOTEL D'ANGLETERRE, (English Hotel— Englisher Hof.) FINE FIRST-CLASS HOUSE, IN THE CENTRE OF THE CITY. Specially recommended to American and English Travellers. Every comfort. Omnibus at the Station. Under the personal supervision of HERMANN STROUB. Naples] GRAND HOTEL ROYAL. First Class. Magnificent situation on the Bay. In full view of Vesuvius. Every Comfort. Lift. CAPKAjVI, Proprietor. Nice] WEST-END HOTEL. Promenade des Anglais. First-class House. T. CREPAUX, Proprietor. Paris] HOTEL DE LILLE ET D'ALBION, 223 and 225 Rue St. Honore. CENTRAL LOCATION. COMFORT. MODERATE CHARGES. EXCELLENT CUISINE. LIFT. ABADIE, HENRY BOURGEOIS & CO., Proprietors. [advertisements.] Switzerland. Neuhausen-Schaffhausen. Falls of the Rhine. HOTEL SCHWEIZERHOF. F. WEGENSTEIN, Proprietor. First-class Hotel, replete with every comfort, in the best position, opposite the celebrated Falls of the Rhine, and commanding Splendid Views of the Falls, the Castle of Laufen, and the whole ranges of the alps. Grand Scenery. Healthy Climate. Fine Park and Garden.' Railway Ticket Office in the Hotel. 200 Beds. Special arrange- ments for longer stay. No charge for lights nor service. No fees to the servants. The newly built English Church is in the grounds of the Schwei- zerhof. Omnibuses at the Neuhausen and Schaffhausen Stations. By means of Electricity and Bengal Port-fires, and directed from the Schweizerhof, The Falls of the Rhine are Illumimated every night during the summer season. [advertisements.] Pisa] Rome] MUNROE & GO Paris] 7 Rue Scribe, PARIS. JOHN MUNROE & CO. 4 Post-Office Square, BOSTON. 32 Nassau Street, NEW YORK. PtoJ GRAND HOTEL MINERVA." DIRECTLY AT THE RAILWAY STATION. New Building. Every Comfort. Charges Moderate. Omnibus free from Station. JOSEPH ANDREONI, SCULPTOR, 95 and 97 St. Marie Street. STATUARY PACKED AND SENT DIRECT TO NEW YORK. HOTEL DE PARIS. In the highest and healthiest part of Rome. Four languages spoken. Lift. POSSIDONI, Prof. Rigi, Mt.J HOTEL RIGI KULM. At the summit of Mt. Rigi and the termina- tion of the highest mountain railway in Europe. Commanding one of the most magnificent views in Switzerland. [advertisements . ] Rome] PENSION CHAPMAN. Via San JVicolo di Tolentino. Situated in the most Elevated and De- sirable Part of the City. Building New, Commodious, and Ele- gantly Furnished. AMERICAN ARRANGEMENTS AND AMER- ICAN TABLE. Lift. Pension 8 to 10 Francs per day. Mrs. M. L. CHAPMAN. Stirling] THE ROYAL HOTEL. Opposite the G-eaeral Post-Office and near the Railway Station.. Stratford- on-Avo > n rd -] SHAKESPEARE HOTEL. Turin] Most Centrally and Conveniently Located near the birthplace, home, and tomb of Shakespeare. Charges Strictly Moderate. Grand Hotel de Turin. OPPOSITE THE STATION. Cleanliness, Comfort, and Moderate Charges. CONSTANT KRAFT, Proprietor. 10 [advertisements.] Venice] HOTEL ROYAL DANIELI. FIRST-CLASS HOUSE, ON THE RIVA DEGLI SCHIAVONI. COMMANDS THE FINEST VIEW OF THE TOWN. MAIL STEAMERS ANCHOR IN SIGHT. READING, BILLIARD, SMOKING, AND BAR-ROOMS. TWO HYDRAULIC LIFTS, WITH SAFETY APPARATUS. RAILWAY TICKETS ISSUED, AND LUGGAGE BOOKED AT THE HOTEL. TELEPHONE COMMUNICATION WITH THE CITY. Venice] "gRA^D^HOTBlT (Formerly HOTEL NEW IOEK.) KEPT by OCCHETTI & SPATZ, on the Grand Canal. First-class House, with south aspect. The largest, best appointed, and most richly-furnished Hotel in Venice. Elegant apartments for large and small families, replete with every comfort, and decorated in the ancient style. Excellent cookery ; moderate charges. Venice] Vienna] Hotel Sean Ullage. Riva Schiavoni. View on the Grand Canal. Pension, 8 to 10 fcs. per day. ROSSINI, Proprietor. HOTEL ARCHDUKE KARL FINE, FIRST-CLASS HOUSE IN THE CENTRE OF THE CITY. SPECIALLY RECOMMENDED TO AMERICAN AND ENGLISH TRAVELLERS. PENSION— MODERATE PRICES. Proprietor B. SCHMID. To Travel anil Art-Study in Europe, By LAFAYETTE C. LOOMIS, A.M., M.D. With Plans and Catalogues of the Chief Art Galleries, Maps, Tables of Routes, and 160 Illustrations. One Volume, i6mo, 593 Pages, $3.00. Part. I. — Scenery, Art, Leg-ends, and Myths, including descriptions of places, buildings, monuments, works of art, and the histo- rical facts, legends, and myths connected with these. Part II. — Plans a?id Catalogues of the Art Galleries of Europe. Part III. — Maps, Tables, and Directions for all leadi?ig Routes of Travel. CHARLES SCRIBNER'S SONS, Publishers, 743 and 745 Broadway, New York. OPINIONS OF THE PRESS. " If Americans are wise hereafter, instead of taking their ' Murray,' or ' Baedeker,' or ' Harper,' they will carry their ' Loomis.' Certainly nothing we have ever seen in the way of a guide book tells so fully and in a way so easily to be got at just what the American sight-seer in Europe wants, as this Index Guide." — Cincinnati Com- mercial. "By all odds the best guide for European travellers I have ever seen." — Hon. Horatio King, author of " A Year in Europe." " One of the most compact, comprehensive, and exhaustive travelling companions which has ever been printed." — JV. Y. Tribune. " The Index Guide has met with immediate success. It is one of the best books of its kind ever issued for the guidance of Art-lovers who go abroad to see the works of the great masters, and at the same time has the merit of being a thoroughly ser- viceable handbook for travellers. Every well educated person intending to visit Europe should provide himself with this most valuable and excellent work." — Boston Saturday Evening Gazette. " Only words of praise can be spoken of this -work. Any one who has been abroad and has endeavored to remember where some building or statue was to be found, and. has hunted through guide book after guide book, will appreciate an alphabetical in- dex, by whose aid everything which one needs to know may be found in a moment. One can see how this book would save vexation and expense a hundred times its cost." — Christian Advocate, N. Y. " This work is thorough and comprehensive, and supplies in a compact form an amount of information that would seem incredible to one who has not looked through its pages. It is one of the best books for the intelligent traveller who goes to Europe, not merely for sight-seeing, but to study and enjoy its great works of art and the notable events in its history.' 1 — Boston Post. " Fresh from a trip to Europe, we examined these pages with much interest. It would have been of great service, we saw at once, to have had it as a travelling com- panion. It condenses the contents of a small library." — Zion's Herald. " The amount of information condensed between the covers of the book is marvel- lous. A traveller who desires to make the most of his time in Europe in the study of art cannot have a better companion." — Boston Courier. " The whole work is a marvel of compactness, and there is a notable freedom from commonplace remark and needless comment." — Boston Transcript. " Most admirable. The little scraps of history and criticisms of eminent authors and travellers add largely to the value of the book." — Inter-Ocean, Chicago. " The judgment shown in the choice of material, the clearness of the plans and di- rections, and the thoroughly practical character of the whole work, render it all that need be desired in a work of this kind." — Portland Argus. " The editor and publishers have laid the travelling American public under a debt of gratitude for the Index Guide. It is weighted down like the argosies that we read about in the poets." — N. Y. Mail and Express. "A guide book of exceptional value. It presents all the principal art works of the Old World; all the places most worthy to be seen." — The Critic, N. Y. " The best guide for the European tourist which has yet appeared." — Telegraphy Pittsburg. " The very best guide-book for European travellers that we have seen for a long time. Everybody going to Europe should take this book with him. It can scarcely be too strongly recommended." — Baltimore Churchman. " Of all the works that have been compiled to aid the traveller on his way, this is the best and completest. It is not only a guide book, but a manual of art." — Pioneer Press, St. Paul. " The maps, tables, diagrams of routes, and illustrations are superior to any guide book of Europe we have ever examined." — Journal of Education, Boston. " Is a dictionary of European travel rather than a guide, and it will be of great service to most American travellers, especially when they go abroad for the first time."— fl. Y. World. " Few indeed are the books that have had more packed into them than this one. It is not a guide, but a comprehensive dictionary of travel, of character to be of use to travellers through Europe, whether on their first trip or their tenth. " — Rochester Herald. " The author and publishers of this book have really conferred a precious boon on American travellers." — 2i. Y. Scotsman. " The value of the guide is incontestable. It would be worth purchasing if only for the abundant maps of cities, plans of galleries, and charts of railway and river routes, to say nothing of the art illustrations." — N. Y. Evening Post. 11 In every sense a modern guide book of travel for American tourists in Europe. It omits much of the useless trashy matter of the old style of ^European guide books, and gives compactly, conveniently, and intelligently the information most desirable." — Albany Argxis. " Seemingly there is information given concerning every place and object having an artistic interest that a traveller would see in Europe during an extended tour." — The World. " This is a remarkable condensation of useful knowledge for intelligent European tourists. — Standard, Chicago. L 716