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ÞS.Qae- ·-}ſ=- -- ،-№- -- |×ĶĒ- -· · -№| .:（ ' : „-, -T \ ,È- ~*|n;-- - -- T.%3F- · ,-· · · -- --- : · · ·. , !.●！！！！！!！！ ！！ſ-№jŒ œŒ Œ Œ∞∞∞· -·■■■■∞！Ē-|-~~， , | || ， ， ، ، ، ، ، ، ، ، ، ، ، ،ſiiſiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii†ĒĒĒĒĒĒĒĖĖ' ， （ ） *|-t -·· -. „T“）.·│ │ ~ ~|- -·---- ----+-|-|- -· ș.----}|- --, ， ; F = ----.-*）* ----=====*** _.'， *** - ~~º ： ?| * # : »B 0 -. . . . . ||y H A N D B O O K OF RO ME AND ITS ENVIRON S. . d 3 A HANI) B() ()K OF ROME AND ITs ENVIRONS: FORMING PART II. OF THE HANDBOOK FOR TRAVELLERS IN CENTRAL ITALY. FIFTH EDITION, CAREFULLY REVISED ON THE SPOT, AND CONSIDERABLY ENTARGED. WITH A LARGE PLAN OF ROME, AND A MAP OF THE ENVIRONS. L O N D O N : JOHN MURRAY, ALBEMARLE STREET. PARTS. A. & W. GALIGNANI AND CO. ; STASSIN AND XAVIER, FLORENCE : E.D.W. GOODBAN. ROME: PIALE ; SPITHOVER; GALLARINI. 1858. º THE ENGLISH CH A P E L I, E A Mis"l'E IR D A M Al X-L A- } A NT W ERP * I? A D | N-IBA D F N H E R I, IN . i.e. \} RUSSE LS tº C A R LSR [ ] { } E. ( ; O B L ENTZ COL ( ) GN F. . I) R (ESI) lº N . F R A N [[FU ièT G R ATZ º Tº i ! E i ! A G U E |H AM BURG . | | El DE 1, BE R G . BASLE * © B ERN © * CO I R E & *: CONSTAN ('ſº ST G A L L EN G E N I.V.A . º PO I, O GN A FLO !? E N C {} G E N () A * I, EG [...] () It N L[? C("A $ M1 AN 'I' (JA . Mſ I LAN MO IOEN A . N A PLES . N ICE * P A L E RMO . : A \ll ſº. N S . A N G | 1RS . A W R A N ("H ES BA Y ONN E . RO It D E A ſ] X RO [] [.,.O G NE #3 IR lºST * ( : A F, N . CA I, A IS |}} E PPE j) [N ANT J) () (JA i DITN K FR()[] E G R EN () B L E 14 AV [k E * : J, I L I, E & L YONS & MARS El I, I, ES METZ . . . . . . . . . MONT PEI, LI ICR MAD R ] D . º ST, PET.E IRS- } |BU R G H Malta. *i U [R. CORFU , E UIT IONS OF MURRAY’s ! I A N 1) ROOIKS M A Y l; E O HTA IN I. I.) OF THE FO I, LOW ING AG ENTS : — Germany, Holland, and Belgium. l, A. M. A. Y. E. R. J. M. Ul I, I, Elt. — W. KIR- BE IRG ER. – WAN BAK- KEN ESS. MAX. [O 1&N l CIKER, l), 18. M A. It X. A U () N C [ER. MUQUAIR 1)T. - Kl ESS LING & C().—FROM ENT. A. 13 l E I, I. F ſº I. D. B.A. E. D. E. K. E. R. A. B.A. l. () E R Elk. – El SEN. A lº N () L. D. C. JúG E L. I) A M I A N & SORG E. VAN STOCK U M . PE IRTHES, BESSER & M A UKE. M OH le. IN ISSING EN LE | PZl G . LUX I. M. BOU RG N1 A N N H El M. M A Y F. NCE NI UNICH N (iRNBERG PEST P R A G U E . R ()TT ſºl? () A M STU’ſ”]’ G A RT TR ESTE VI ENNA WIESBA DICN Switzerland. SCH W El G H A USER , – NEU- KI lº C. H. D.A. I.P., H [113 ER, & CO. G R U BEN MANN. M EC JN. || U |} |. R. l, 1.SS M A NN.-M ON ROE – D ESRO GIS. — CH1 ERBU- Ll EZ.—GEX. LAUSANNE [,U)(`El R N E sºt Affti AUSEN SO L E [ ] IRE . ZöRICH . Italy. M. R ( IS ("() NI. P A R MA . GOOD RAN. PISA . . A NTO N E BEUF. P F \{ (JG IA . M A ZZAJ O L [. IRO ME & F. BA ||R ()N. N EG R F. "I’l” I. | EN A e ARTA R A & SON.— †ºre I) (JMO L A R D FR ER E.S.– Túrin . MIO L IN A R [...—SANGN Elk.- P. & J. V. A ſ, LA 1: 1) I. V INC ſº NZ I & IROSS I. I) ET IN EN . VISCO NT I.-G | R A [] D. Clij A 18 L ES BE UF. | | V FN ICE . V Elő ON A I'rance. () A l{ON . N ANCY BA ||R ASS E'. N ANTES A N F |& A Y'. J A Y M E R () N. O R I, F, ANS . (X j4 A (1 M A.S. PA 18 [S WAT I. L. — M. E. RRI DEW’. H E B I. R'ſ', P A U . . V I L I, E N E [TV E. > [. R ] (; A (7 X (XA (JX, lºgnan M.A RAIS. ROCH ſº FORT COST H. A R O ( ; }^N. JACQUART.-L E M A LE. * * * * * * L EYS ("HO CH A RT. V E L LOT ET COM P. COC iſ A R (). – ROUR DIGNON. ST. M. A I, () . ST, QIT ISNTIN —F(.) [TCH FR. sta Asbourg y ANA ( K E B I.-P. E/G H ! N. G | }; ERTON & B RUN, - 43% st A Y N E / F I LS. , is “”. M A D A \l E CA MO 1 N. ºis W A R () N. I $ L EVA. LLF. Spain. MON | ER, | G1 BRALTAR Russia. ISSA KO FF. -N. ISSA KO ſº F.— | MOSCOW B E L T, 1 ZA R D. O DESSA Ionian Islands. . J. W., TAYLOR. Constantinople. WICK. . * . º C. J. (JG E [.,. F. FLE ISCHER.—W’ El G E [.. BUCK. A RTA R J A & FONTAIN E. VON ZAR E R N. Ll'ſ EIRA it lSCH - A RTIST I – SCll E ANSTA LT — J. PA I, M. SCH R A G. H A RTLE THEN.— G. H. ECIS ENAST. ( A LYE. PETRI, IXB AM ERS. P. N EFF. MU NSTEl?. C. G E (ROL D.— B R A ITM tº L I, E.R.— STERNICREL. C. J (jg E L.—C. W. IVREl DEL. H IGNOU & CO, - W E BE ſº. F. KAIS ER. {! II R'TER, J ENT, ll. FūSS LI & CO. — MEYER & ZEſ, I, F.R. F. LFUTHOLD, POST- STRASSE. H. J. Z. A N G H | ER I. NIST RI. -J ()S. V A N N (JCCH I. VINCENz. BARTELLI. GA I, LA RIN I.- SPITFlöVE R. —P I A L I, , –CIWCCION I. O NOI: A TO TO l; R [. H ERMAN F. M. finSTER.— G IA N N IN I & T | { } |& F.— M A G G ! ...— M A R ETTI. — ſłOCCA FR ER ES. II ERM1AN F. M. tº NSTER. H. F. MUNSTER. G O N ET. G U E” It A (7 I) — FOR EST A | N lºſ. G ATI N E A U.-PESTY. GAT, 1 GN AN I. — STASS IN IST X Av 1 Ep. A U.G. BASSY –LAFON. J IT ſ, A )? I, E 1: ES. RRISSA RT BINET, I}() (JCA R D. J. Elº R [] My ENT. I) Eſ, A R U E. | | I" E. I) () I., ()Y. TRE(iTTE L ET WURTZ. —. G R UC K F. R. MONG E ET V. l I.], A M U.S. I] . [.. ERON.—G IM ET. CO (IST'ſ RI ER. LA ſ, O Y. ROWSW' E I, L., W. G A UT'ſ ER. WILLI ETTY, Greece. ATHENS. A. N.A.ST. P. R. E. F. A C E TO THE FIFTH EDITION. _2^ z^ --~~...~...~~~~~~...~...~~~~...~~ A RESIDENCE in Rome during several winters has enabled the Editor of this volume to revise more completely the work upon the spot, and to render it, as he trusts his readers will find, as correct a Guide to the Eternal City as exists in any language, considering the extent to which it has been necessary to restrict it. He has endeavoured to convey in it every in- formation required by the great majority of travellers; and for those who may desire to enter into greater details, he has pointed out the prim- cipal Sources from which more ample information can be derived. As considerable changes have taken place since the publication of the last edition in the arrangement of many of the Public and Private Galleries, it has been necessary to remodel most of the notices of them ; and in giving more correct lists of their contents, plans of nearly all have been introduced, which will facilitate considerably their examination. The same has been done as regards some of the most interesting Ecclesiastical Edifices in the Capital of Christianity. The section which includes the Environs of Rome has been considerably extended, and, for the greater part, from the Editor's personal examinations; whilst the notices on all the most important sites have been brought down to within the last few weeks, including the Excavations in progress amongst the ruins of Ostia, under the direction of the Papal Government, and the equally, if not more interesting discoveries on the Via Latina, due to the zeal of Sig. Fortunati. The interest which the early Christian Cemeteries are now attracting has induced the Editor to give a more detailed description of the Catacombs than existed in the former editions; and the want of any general descrip- tion of the Physical State and Geology of the region in and about the Eternal City, has induced him to insert, for the first time in this Hand- book, a brief notice on the subject. The Editor again begs to refer his antiquarian readers for more extended information on the topography and monuments of the ancient city to Mr. Dyer's excellent article on l'ome in Dr. W. Smith’s “Dictionary of Classical Geography,” by far the best résumé that has hitherto appeared. - The information so useful to the foreigner arriving in Rome, contained under the head of General Information, has been most carefully revised, and brought down to the very latest moment, the close of what may be called the last Roman season. Rome, May 30, 1858. C O N T E N T S. *...º. Zvi ºv.zºº.º.º.º. º. ºvirº-rº-ZN-º-º-e GENERAL INFORMATION:— PAGE Hotels, Tradespeople, Passports, Government and Statistics of Rome, &c. . e & e º e * & g e . viii SECTION I.-DESCRIPTION OF ROME. General Topography & - | Rioni. . . . . . . . 2 Walls and Gates 5 Bridges . © * g. * * * 9 Panoramic View º e º * º te * e • º . 1 () The Seven Hills e * º º o º e e -> • . 12 ANTIQUITIES IN GENERAL. º sº © iº º e e o . 13 Forums . te e w e Q e. º • & º . 20 Palaces . º º * e & t º * te º , 26 Temples o e º * d º tº e tº º . 3() Amphitheatres, Theatres, and Circuses º • . . . 42 Columns • g o º º º º º º º . 49 Arches . tº & º * a g º © e & . 52 Baths . º * º º e g tº º ſº tº . 55 Tombs and Columbaria . © • e º te e e . 61 Aqueducts s º e º º . 74 Miscellaneous Antiquities . º t - º e tº . 76 Obelisks . º * * * * © tº º º e tº . 82 Buildings of the Middle Ages . © © * © * º e . 85 Fountains º º & º e - e º o tº e 87 Piazzas . -> º º º e • tº º e * º 89 Promenades, &c. * º * & • e º * 90 Basilicas . * º & e e º , 9 l Churches. º º tº e e tº º © e º e . 124 Ralaces and Public Museums . e º e º s e o . 172 Private Palaces and Galleries . g º º e e e º . 242 Historical Houses . º º & o g - te º º 266 Artists’ Studios * º e • g - e 267 Colleges, Aeadenies, and Educational Establishments . g º . 27() Hospitals and Charitable Institutions º e -> * tº º . .276 Protestant Cemetery tº • , e. * Climate of Rome e º e º o © 28 l Geology of Country about Rome . º s - º º º . 285 Villas e º + e - º e e º e 29 l Catacombs º & º 303 General Local Arrangement . e º & & * sº º 3| 3 SECTION II. THE ENVIRONs of ROME . • * º º º 31 7 INDEX . . d o º * tº º & te ſº tº . 425 PLAN of THE WATICAN . e e s * º º to face 172 PLAN OF ROME . º º º • º º º º º at the end. H A N D B O O K ; ; § : §. FOR TRAVELLERS IN CENTRAL ITALY. R O M E. GENERAL INFORMATION. CONTENTS. PAGF PAG E 1. Hotels . . . . . . . . viii d. Pastry Cooks, Confectioners. 2. Lodgings and House Agents iN e. Tailors, 3. Trattorie, Restaurateurs . X f. Boot and Shoe Makers. 4. Cafés . . . . . . . . . X g. Hatters. 5. Passports and Police Regu- h. Saddlery. lations . . . . . . X 7. Tobacconists. 6. Clubs . . . . . . . Xi Å. Modistes, Dressmakers. 7. Public Conveyances, Vettu- l. Roman Scarfs and Costumes. rini . . . . . Xl m. Coiffeurs, Hairdressers, Per- 8. Porters, Facchini . . . xiv. fumery. 9. §. o and from Cività * | S 31. Translators . . . . xxii * r - t - - 10. º 3 IA h º with § 32. Copyists of Old Masters . xxii Ł. * t * 9PP” ..., |$ 33. Jewellers . . . . . xxii E i. i. l º's bi C * | $ 34. Cameo Engravers. . . xxii ll. º: º tº § 35. Roman Mosaics . . xxii ges 5 ney § 36. Bronzes, Electrotypes. XX111 Coaches, Horses for hire. XY |& 37. Imtaji’ad Sulphur In- 12. Foreign Ministers & Consuls xvi ° promti & xxiii 13. Bankers . . . . . . xvi | 8 - . . . . . . ~~!º -> - •º § 38. Drawing Materials . . xxiii 14. Pºiº Electric Tele- rvi § 39. Roman Pearls, Rosaries xxiii 15 phº sana surgeons * $ 40. Dealers in Pictures . . x:iii 2. hyººlans and Surgeons ... $ 41. Dealers in Antiquities . xxiii 16. Dentists . º • *Y* $ 42. Baths . © xxiii ls. #."p ish Rºad * $ 43. Ciceroni, Laquais de place xxiii - IV. * I s • * fibraries. º xviii England, Commission wº 7- or so -, -, or - ~~~; ; ; Agents, &c. . . . . xxiv. 19. Engravings and Printsellers xviii § 45. Sporting and Hunting xxiv. - * * -> -- * • K- - > tº . 4. - * º -** * 20. Photographs . . . . . . xix § 46. Protestant Divine Worship xxv 21. Photographic Portraits . . xix § 47. Theatres . XXV 22. Teachers of Italian and other § 48. Public Festivals at Rome * A- + lºgº Govern- xix and in the Environs Y X V S º 4. e e X - e tº tº ë $ 49. Presentations of Foreign- <) : * º S b 23. Tºº of Drawing and XX ers to the Pope . . xxvi 24 Mººn rs . . . . xx § 50. Municipal Government of o; sic 1 eachers . . . . xx Rome, Statistics of the 25. English Masters & XXI City, &c xxvii t? * .* tº * - 2. e te e e º .* > -t. * * * ; ãº, tº e e º § 51. Population, & c. . . . xxviii gº *.*.*.*... . . . . . § 52. Books on Rome and its 28. Teachers of Dancing . XXI Environs xxviii 29. Fencing Master. . . . . . . xxi § 53. Maps of Rome and its 30. Tradespeople, Shops, &c. . xxi | * Environs xxxi a. Grocers. § 54. Tables of Roman Coins, b. Wine Merchants. Measures, and Weights xxxii c. Bakers. viii Rome. § 1. HOTELs. § 1. Hotels. THE greater number of the hotels at Rome frequented by foreigners are situated near the N. extremity of the city, in the space comprised between the Porta del Popolo, the Piazza di Spa- gna, the Via Condotti, and the Tiber. The Europa, kept by Madame Melga, an English woman, in the Piazza di Spagna, still maintains the first place; everything is good and comfortable, but expensive; Several of the apartments look to the S. in the new portion of the hotel, towards the Piazza Mignanelli. Hötel de l’Angle- terre in the Via Bocca di Leone, near the Via Condotti, kept by Gendre, is in every respect a large, comfort- able, and well-managed hotel, in a good situation, and with accommoda- tion well suited for families and bache- lors, with more moderate charges than at the Europa, an obliging landlord, and an excellent table-d'hôte at 6 pauls; bed-rooms 4 to 10 pauls a day, accord- ing to the floor on which they are situ- ated, and the season; a sitting-room with bed and servant's room from 15 to 20 pauls; breakfast, with eggs or cold meat, 4 pauls; a la fourchette, 5 pauls; dinner in apartments, 10 pauls; ser- vant's board, 6 pauls per diem. The Hôtel de Londres, kept by Serny, in the Piazza di Spagna, is on the same system as the Europa : table-d'hôte at 8 pauls, but other charges in general high : an objectionable demand has been insisted upon at this hotel, payment of all bills in gold or silver coin, and which ought to be resisted, although in ordi- nary times the difference between the paper currency and its value in specie seldom exceeds 1 per cent. ; the best plan will be, here as elsewhere, to COme to an understanding beforehand on the subject; or to pay all bills by cheques on a banker, who will resist, in the interest of his customer, such unreasonable pretensions. Hötel d’Alle- m ºffme, in the Via Condotti, kept by Franz Roësler, is a long-established, much frequented, and extensive esta- blishment with moderate charges: it has large apartments for families, and a table-d'hôte at 6 pauls; on the same system and with similar charges as at the Hôtel d'Angleterre; many of the apartments look out towards the S., a very great advantage dur- ing the winter, the Via Condotti being in every respect one of the best situ- ations in Rome. Hötel des Iles Bri- tanniques, and Hôtel de Russie, in the Piazza del Popolo, under the Pincian Hill, also very clean and good, and well suited for families: to the latter is attached the Pension de York, with a table-d'hôte: same charges as at the Europa : the situation of these two ho- tels is not, however, so convenient, from being at the extremity of the city. Hôtel de l’Amérique, in the Via Babuino, clean, much improved of late, and well spoken of, with a table-d'hôte. All the above hotels are in what may be called the strangers' quarter of Rome: Albergo della Minerva, in the Piazza della Minerva, behind the Pantheon, much frequented by French and R. C. ecclesiastics. Hötel Cesaris, in the Piazza di Pietra, in the same quarter, is well spoken of as a bachelor's hotel, also much frequented by French and Germans. The prices of lodgings in the hotels will vary according to the season, being highest in the winter months, and especially during the festivities of the Carnival and the Holy week. A bed-room on an average costs from 4 to 10 pauls a-day, a suite of apartments for 3 or 4 persons from 30 to 40 pauls; but this will depend on the look-out, the floor on which the rooms are situ- ated, their number, &c. Firing and lights are expensive in hotels, some charging 2% for each wax candle, and 10 for every basket of wood, whilst at others these charges are 13, and 6 pauls; as is every kind of wine, both foreign and Italian. 2 pauls a day for each person, but less when a family is numerous, or if the stay be prolonged, is considered ample remuneration for the servants, or service; it is now in- cluded in the bill at all the respectable hotels: a small fee is generaily given to the porter on leaving; in some of the hotels, as at the Angleterre, even this, at the rate of 5 pauls a month, is in- cluded in the bill. Rome. IX § 2. LODG INGS-HOUSE-AGENTS. § 2. Lodgings in private houses may Sermoneta; there is a princely suite be had in all parts of Rome. The best generally let to foreigners in the latter. situations are the Piazza di Spagna, the However respectable the landlord may Via Babuino, the Corso, and the streets appear, a formal written agreement lying between them ; the Via Grego- | (contratto) is meeessary, and a careful riana, the Via Sistina, the Via Felice, delle Quattro Fontané, and generally all the streets between the Corso and the declivities of the Pincian and Quirinal hills: several houses near the Fontana di Trevi, have also good lodgings. Strangers should avoid si- tuations immediately under the hills, where the bed-room windows cannot have a free circulation of air. All houses with confined court-yards or standing water, however agreeable they may be rendered to the eye by trees and verdure, are especially ob. jectionable in summer on account of the mosquitos; the latter are parti- cularly annoying near the Tiber. The Streets that rum in an E. and W. direc- tion are to be preferred to those run- ming N. and S., as they are less ex- posed to currents of cold air during the prevalence of N. winds, and the houses have a better exposition. Both the sitting and bed rooms of delicate in- valids should, if possible, have a southern aspect. Nervous persons should live in the more open and, elevated situations. The price for a furnished sitting-room and bed-room in a good situation is now from 15 to 25 scudi a month. Suites of apart- ments for families may be reckoned in proportion, but this depends greatly on the demand, the season, and the situation. After the holy week, for instance, the price of lodgings is low- ered nearly one half. A good sitting- room, with 3 bed-rooms and a kitchen, in the fashionable quarter, costs on the average from 30 to 50 scudi a month ; or less in the streets which lie beyond the ordinary beat of English visitors, as in retired situations near the Quirinal, and about the N. foot of the Capitol, and the Piazza Trajano, one of the most healthy parts of Rome Families who intend to make a pro- longed stay in Rome may meet with roomy and splendid apartments in some of the great palaces—in those of the Dukes lèraschi, Altieri, Ceva, and verification of the inventory of the furniture still more so. It is also ad- visable to insert in the agreement the clause “meno l'uso,” as a provision against wear and tear. In the Corso it will be as well also to stipulate for the ex- clusive possession of the windows during the Carnival, or the lodger may be sur- prised to find his apartments converted into show-rooms during the festivities, besides being obliged to pay for a place at his own window. In the court of every house there is usually a well, from which the different lodgers supply themselves with water by means of buckets traversing a fixed iron rod, so as to avoid the necessity of servants de- scending from the upper floors. Wood, as we have already remarked, is dear; a cart-load, including porterage, now costs 4 Scudi. A single person generally pays 2 to 3 scudi a month for attendance. The wages of female servants are from 4 to 6 scudi a month with their board. Strangers will fiud lists of apartments at the different English bankers, who will assist in making the necessary arrangement, and especially at Mr. Shea's house agency in the Piazza di Spagna, No. 11, who for a moderate charge undertakes to have all formali- ties regarding agreement and inventory made out en rég/e, receiving and deliver- ing up the furniture, &c. House Agents.-Mr. Shea, No. 11, Piazza di Spagna, has been recom- mended as careful, intelligent, and trustworthy, by a great number of per- Sons who have employed him in the business of house agency, of recent in- troduction at Rome. He also lets out plate, linen, and china, articles not always included in the inventory of furnished houses: and undertakes to forward parcels, luggage, works of art, &c., to England and the United States. Strangers, and especially English and Americans, cannot be too much cau- tioned against certain disreputable cha- racters , who are constantly hanging about the Piazza di Spagna and the a 3 X § 3. TRATTORIE.-$ 4. CAFás.—$ 5. PASSPORTs. Rome. neighbouring streets, offering lodgings fast, and in the evening; Café Nuovo, for hire. Such fellows ought to be avoided ; those who place any confidence in them, as regards procuring apart- ments, will probably have to repent having listened to them. § 3. Trattorie, Restaurateurs. — Most families who live in private lodgings at Rome are supplied with dinner from a trattoria, at a fixed rate per head, and which will, for small families par- ticularly, be found much more conve- nient and economical than marketing, hiring cooks, &c. The charges for dinner ought not to exceed 6 pauls a head exclusive of wine; and so well is the system carried out, that the dishes are sent even to considerable distances perfectly hot, by means of large tim baskets furnished with charcoal bra- ziers. Amongst the best of these trai- teurs are, Gomot No. 15, Via della Propaganda: Pellissier, 28, Via della Croce; and Celles, Via S. Sebastianello. Bachelors will prefer dining at a table- d'hôte or a restaurateur’s : as regards the latter, there is perhaps no capital in Europe so ill provided as Rome; a good restaurant is still one of the desiderata here, although some improvement has taken place of late years. The follow- ing are the best :—Spillman, brothers, 10, Via Condotti, an old and well- managed establishment; and François Spillman, No. 12 in the same street, for dinner parties: both the latter send out dinners to families, but are more expensive than the ordinary traiteurs. Nazzari’s, Piazza di Spagna, with a pastry-cook's shop attached; Lepri’s, in the Via Condotti, much resorted to by artists, meither clean nor comfortable, but cheap; La Bella Venezia, 3, Via Condotti; and the Ristoratore delle Belle Arti, behind the Palazzo Fiano, fair. § 4. Cafés. –The Roman cafés are also much behind those of the other large towns in Italy. The following are the best :—Café Greco, in the Via Con- dotti, the rendezvous of the artists of every country—almost all the artists in Rome may be met here; it is their general rendezvous at 7 A.M. for break- in the Palazzo Ruspoli, in the Corso, an extensive establishment, with seve- ral billiard-tables and a garden; Café della Costanza, in the Via Condotti, near the Corso, is better than it looks; Café Veneziano, in the Piazza Sciarra; Café Bagnoli alle Convertite, in the Corso, very fair and much frequented by the Romans. Breakfast at a café, with tea or coffee, bread, butter, and eggs, costs 2 pauls; a cup of coffee, 3 to 4 baiocchi. The designation corre- sponding to our English waiter, or French garçon, in a café, is bottega. § 5. Passports and police regulations regarding foreigners.-One of the first things the traveller ought to attend to an arriving in any large town in Italy is to conform to the police regulations of the place, and which are very simple at Rome. On arriving at the gate his passport will be taken from him, and a recipt given in return, which must be presented within 2 or 3 days at the head police-office, Piazza di Monte Citorio, to obtain the necessary visa to continue his journey, or, if he intends remaining at Rome, a Carta di Soggiorno, which costs 5 pauls for 3 months, 10 for 6, and 20 for 12, provided with which he may travel without hindrance or molestation throughout the Comarca, or the province in which the capital is situated. The Carta di Soggiorno ought to constantly accompany its owner, even in Rome, where, in consequence of the dis- turbed state of the country, instances of persons having been arrested, and taken to the guard-house, because they could not justify their quality of foreign- ers, have taken place. Before leaving Rome the stranger must apply for his passport at the police-office, where it will be delivered to him on presenting his Carta di Soggiorno: it must then be taken to the representative of his country for his visa; that of the British consul costs 5 pauls, of the American 10. The visa of the police must next be procured, fee 10 pauls; and then those of the representatives of the states to which he is about to proceed. The visa of the Tuscan minister costs 5 pauls; of the Neapolitan minister Rome. xi § 6. CLUBs.—S 7. PUBLIC CONVEYANCEs. (whose office is at the Palazzo Farnese), 10 pauls; of the French ambassador, 3 francs ; of the Sardinian consul, 3. francs (this latter is not required on passports issued by the British Se- cretary of State); and of the minister of Austria, in the Piazza di Venezia, gratis, The masters of the several hotels undertake to have the necessary steps taken for obtaining the Carta di Sog- giorno, and the visas to passports, for a trifling remuneration to the commis- sionaire, by which the traveller is saved time, and the annoyance of personal attendance at a crowded police-office, the presence of the holder not being insisted upon in ordinary cases. The same is done at Piale’s and Spithover's reading- rooms, for which 4 pauls are charged. § 6. Clubs.-There is an English club in the Palazzo del Gallo, No. 78, Via della Croce; candidates for admission must be proposed and seconded by members, as in London, and are elected by ballot. Persons joining the club be- fore the 1st of February pay a sub- scription of 25 scudi ; after that date, or for the remainder of the season, 18, and for 2 months l 6. Absentees do not contribute. There is a table-d'hôte for members putting down their names before a certain hour, at 10 pauls a head, not including wine. The club is closed after the 15th of May during the summer months. There is a club of the German artists, to which all foreign- ers can be admitted, provided they speak German, the subscription to which is 6 scudi a-year, and 1% a- month ; it is now lodged in the l’alazzo Poli: attached to this club is a library of works on Rome and the fine arts, amounting to 3000 volumes. § 7. Public Conveyances. Mallepostes.—For Florence, at 5% P.M. every day except Sunday, in 30 hours, by Viterbo and Siena; 3 places; fare, 16, scudi. For Bologna, by Ancona, on Mond., Wed., and Frid., in 34 hours to Ancona; 2 places; fare, 24 scudi to Bo- logna, 18 to Ancona. To Bologna, by the road of the Furlo and Fano, on Tues., Thurs., and Sat.; fare 22 scudi. For Naples, daily, except Sund., at 5 P.M., in 28 hours; 3 places; fare 15 scudi. For Civita Vecchia, every evening except Sund. at 7 o'clock; and on Sund. when a mail-steamer sails on the following morning for Marseilles or Naples. Persons not having their own carriages can now make an arrangement at the di- ligence-office, to be furnished with a car- riage and post-horses at a fixed price on the principal routes leading from Rome, by which they will be saved much trouble and imposition from the post- masters, who will often insist on putting on a greater number of horses than authorized by the tariff: they may start at any hour, stopping on the road where and as long as they may deem neces- sary. This arrangement, now in force on the roads from Rome to Naples, and from Rome to Florence, both by Siena and Perugia, is so convenient, that we annex a table of the latest charges, although we do not render ourselves by any means accountable for their being maintained, great complaints having been made of the instability of the fares at the dili- gence office : it may enable the tra- veller to control the daily increasing demands of the vetturini. Rome to Naples by Terracina:—3 persons in a calèche, 45 scudi ; 4 to 5 persons, 50 se.; 6 persons (2 on the box), 91%. Sc.—not including the tolls on bridges and extra buonamano to postilions. {ome to Florence by Siena, including railroad:–3 persons in a calèche, 55 scudi; 4 persons, 75 sc.; 5 persons, 80 Sc.; 6 persons in a berline, 110 sc., or 4 inside and 2 on the seat outside 90 Sc.; 7 persons in a diligence carriage, l 10 Sc.; 9 persons in a large diligence, 135 SC. Rome to Florence by Perugia:—3 per- sons in a calèche, 70 scudi ; 4 persons, id., 90 sc.; 5 persons, id., 100 sc.; 6 per- Sons, id., 2 on the box, 120 sc.; 7 per- sons in a diligence carriage, 140 sc. ; 9 persons, id., 180 sc. The above fares include all charges for tolls and barriers on the two roads to Florence, &c., and the postilion's fee, xii § 7. PUBLIC CONVEYANCEs. Iłome. ; S fixed by the tariff, to which must be of the respectable hotels, and not added his ordinary buonamano, from 4 to permit couriers to interfere, as they to 5 pauls per post. (See Handbook of generally exact a percentage, which of Centrºl Italy, Preliminary Information, course will come out of their master's p. 6, “Posting.”) pocket. The diligence administration will Diligences.—The office of the Pon- give one of its conductors, if required, to tifical diligences is in the same building accompany parties, and which will be as the post-office, in the Palazzo Ma- found useful, especially by parties of dama, near the Pantheon. The car- ladies, for which an additional charge of riages are in general good, and on the from 5 to 8 scudi is made. French model, consisting of a Coupé, In- Vetturini abound at Rome, but their terieur, and Banquette. As the Company charges have of late been very high, has a monopoly of the principal lines, especially after the Easter festivities, their charges are very high, especially when the rush to get away from Rome | on the roads most frequented by foreign- is so great. At that period of the year, ers, being upwards of 5d. a mile on the which is when most of our country- || road to Siena, and nearly 4d. on that to men leave Rome, a decent vetturino | Naples; whilst upon those where com- carriage with 4 good horses can scarcely petition is allowed, and most frequented be procured for less than 18 napoleons by the natives, the charges are mode- to Naples, not including the buonamano | rate. Places once taken must be paid of 1 or 2 more, 20 by the Siena road for in full, and, if not occupied, no part to Florence, and 25 by Perugia, em- of the money will be returned ; com- ploying respectively 3, 4, and 5 days. plaints have been made of the want of The principal resort of the vetturini civility and attention to strangers by is about the Osteria dell' Orso, beyond the diligence employes at the Roman the Palazzo Borghese, near which there | office. are also several agency offices. The the arrangements for 1858, and which best plan will be to allow all such ar- are not likely to undergo much alter- The rangements to be made by the masters lation :- For Florence, by Sienna, and from thence by railroad, on Mon., Wed., and Frid., at 5 A.M., in 30 hours to Siena . . . To Bologna, by Ancona, on Wed, and Sat., at 6 A.M., in 84 hours; 3 nights on the road. By this conveyance, places may be taken for Foligno, in 24 hours, fare 444 pauls; for Ancona, in 42 hours, 85 pauls; for Fano, 92 pauls; for Pesaro, 103; for Rimini, 1 12; for Forli, 124 . To Viterbo, by way of Sutri and Vetralla on Tues., Thurs., and Sat., in 10 to 12 hours, at 6 A.M. . . . . . . . To Naples, by Terracina, on Tues., Thurs., and Sat., at 7 A.M., without sleeping on the road, in 28 hours, arriving at Naples about 12 o'clock on the follow- Ing day g © o -> © * e e © To Frosinone, on Tues., Thurs., and Sat., at 6 A.M. in winter, and 6 P.M. in sum- mer, in 12 hours, corresponding with conveyances to Ceprano, Sora, and San Germano, in the kingdom of Naples . Coupé. Sc. B. 14 45 1 4 0 2 50 12 0 2 20 following Interieur. Sc. B. 13 45 14 0 2 40 1 l () 2 20 Banquette. Sc. B. | 3 45 14 O 2 40 10 () 2 20 table gives Rome. § 7. PUBLIC CONVEY ANCEs. xiii Coupé. Intérieur. Banquette. To Rieti on Tues., Thurs., and Sat., at sº B. Sc. B. Sc. º: * 2 35 2 35 2 35 4 A.M., employing 10 hours . . . . To Spoleto, viá Narni and Terni (for which places can be secured), on Tues. - and Frid., at 5 A.M. in summer, and 3 20 3 20 3 20 6 A.M. in winter, returning on Mon. and Thurs. º o * e * & & tº º A diligence starts for Civita Vecchia every evening at 7, and another during the spring and summer months at day- break, from the office in the Piazza Nicosia, performing the journey in 8 hours. (When a sufficient number of travellers present themselves for the sailing of the steamer, the postmaster will put on an additional diligence.) As the morning coach arrives about 2, passengers about to embark will have ample time to have their passports signed, and other formalities gone through, be- fore the sailing of the steamer, which, except in the case of the direct boats to Marseilles, seldom leaves before 3 or 4 o'clock. Families or parties may have diligences starting at their own time, which will take them up at their lodg- ings. Although the postmaster pretends to have a fixed tariff according to the number of persons, no faith can be placed in his adhering to it: there is no esta- blishment at Rome where attempts are more made to impose upon the traveller than at the post-horse office. By leaving Rome early the traveller will be able to stop for a few hours at Palo, giving him time to visit the Etruscan tombs at Cervetri, and to reach Civita Vecchia before dark. Coaches for Civita Vecchia, without changing horses, and halting 2 hours at Palo, start every day from No. 40 in the Piazza della Stelletta; fare 16 pauls. A very good carriage for a party of 4 to 6 persons, for 50 to 60 francs, may be obtained here, performing the jour- ney as quickly as the diligence, in- cluding all stoppages, and with a much more comfortable vehicle. It is scarcely necessary to observe, that, once the railway in operation, the above modes of travelling by the post-road will be done away with. A very fair public conveyance has been recently established between the capital and Narni, following the shorter and more interesting route of the ancient Via Flaminia by way of Civita Castel- lana (see Handbook of Central Italy, Rte. 107, p. 276), starting at daybreak on Tues. and Sat., performing the whole journey by daylight in summer; and in correspondence with a similar conveyance from Narni to Perugia by Todi, that starts from the former place on Wed. and Sund. For the traveller by diligence this will be the most con- venient and economical mode of reach- ing Perugia from Rome. Fares to Narni, 25 pauls; to Perugia, 45. The office is in the Via Clementina, beyond the Borghese Palace. Porto d’Anzio.—During the spring and Summer a coach or an omnibus on Wed. and Sat., from the Via Borgo- gnona, in 8 hours. Public conveyances, consisting gene- rally of ill-appointed calèches, set out for Albano from the Piazza del Teatro Argentina, at daybreak and in the after- noon, in 24 hours, fare 5 pauls; for Palestrina 3 times a week in 6 hours, from the Osteria de’ 3 Re, near the Piazza di Sam Marco, at the foot of the Capitol ; for Bracciano from the Al- bergo del Sole, near San Andrea della Valle, every morning, in 5 hours; for Civita Castellana, Monte Rotondo, and the Sabina generally, every morning; and for Genazzano, Olevano, Paliano, &c., 3 times a week, from au Osteria in the Via degli Orſani, near the Piazza Capranica. Diligences leave the Piazza del Paradiso near the Ch. of San An. drea della Valle, 3 times a week for Anagni by Valmontone, and for Vel- letri. A very fair coach leaves the Piazza degli Orfanelli twice a day for Tivoli in about 4 hours; fare 6 pauls; that starting in the morning continues xiv. as far as Subiaco, arriving there be- fore dark. § 8. Porters, Facchini.-There are few places where the patience of the tra- Veller is put to a more severe trial than on arriving in Rome from this class of persons, or where their demands are more exorbitant. On arriving by the diligence, let him therefore come to a perfect understanding as to what he will have to pay upon reaching his hotel. 2 pauls for carrying a trunk and carpetbag is ample remuneration, and 4 a paul for conveying them to his rooms in the hotel. On arriving at the gates of the city in a post or vetturino car- riage, as many as half a dozen ill-look- ing fellows will jump behind his car- riage, and consider themselves entitled to unload it, preventing the servants at the hotels interfering, and generally making an exorbitant demand for their services. § 9. Railways. – The only line yet open in the neighbourhood is the short branch of 12 m. from Rome to Frascati, which will ultimately be extended to the frontier at Ceprano and to Naples. It is expected that during the present autumn it will be in activity as far as Albano. Trains leave the station out- side the Porta Maggiore 4 or 5 times a day, and an omnibus from the com- pany’s office in the Piazza di Monte Citorio half an hour earlier. At Fras- cati conveyances will be found for Grotta Ferrata, Marino, Albano, &c., aud horses for Tusculum, Rocca di Papa, and other places in the Alban hills. The railway to Civita Vecchia will probably be opened early in next year; the journey to the port will then be performed in 24 hours, instead of 7 or 8, and often more, now employed on the post-road. § 10. Steam communication from Civita Vecchia.-As by far the greater number of visitors to Rome arrive or take their departure by steamers at Civita Vecchia, it will be of use, in addition to what has been said in describing that port (Rte. 98), to state what the latest ar- rangements are as regards steam com- $ 8. PORTERS.–$ 9. RAILWAYS.—S 10. STEAMERs. Rome. munication with the other ports of Italy, Marseilles, &c. There are 5 com- panies which now have steamers calling at Civita Vecchia : the Messageries Im. périales of France and a private French Company, two Weapolitan, and a Sardi- nian. The Messageries Imperiales, carry- ing the mails, are the most to be de- pended upon for their punctuality in arriving and sailing; their boats also are Well found and manned, and the cuisine on board is good. One of their boats arrives from Marseilles every Sund. morning, and sails again on the same day at 3 P.M. for Naples, Malta, and the Levant; returning from the latter ports and sailing from Civita Vecchia on the evening of every Wed. for Leghorn, Genoa, and Marseilles. In addition to these boats the company has established a more direct line between Marseilles and Naples, employing only 4S hrs. instead of 90, and calling at Civita Vecchia. The boats of this line leave Marseilles every Mon. at 10 P.M., reach Civita Vecchia very early on the Wed., so as to enable the traveller to reach Rome before dark, and Naples the following morning; on the return voyage, sailing from Naples on Sat., from Civita Vecchia on Sun. at 10 A.M., and reaching Marseilles on Mom. after- noon, often in time to allow the tra- veller to proceed to Paris by the 7 P.M. railway train. The boats of the Nea- politan Company of the Two Sicilies are large and well appointed ; and with cabins on deck, which the French boats have not : they perform also the direct voyage from Marseilles to Naples, leav- ing the former at l l P.M. on Saturday, reaching Civita Vecchia early on Mon. morning, so as to allow the passengers to get to Rome the same evening, and on their return to Marseilles every Wed. morning, sailing again at 10 A.M. The Sardinian Company's boats generally sail from Civita Vecchia to Leghorn and Genoa on Tues. at 4 P.M. As re- gards size and speed they are inferior to the French and Neapolitan, and are not regular in their arrival and sailing. A steamer belonging to one of the Neapolitan Companies runs during the spring and summer between Civita Vecchia and Genoa, performing the Rome. § 10, STEAMERS.–$ 11. CARRIAGES FOR HIRE. XV voyage in 18 hours. By this convey- ance the often boisterous passage through the Gulf of Lyons will be avoided, and by means of the Pied- montese and Savoy Railways Paris can be reached in an equally short time as by Marseilles; and when the railway to Civita Vecchia and that under Mont Cenis have been completed, in a still shorter one. Persons going from Rome to the N. of Italy or Switzerland will find this the preferable route; it will enable them to avoid the annoyances of late inflicted on all who land at Leg- horn by the police and custom-house officials. Passengers leaving Civita Vecchia for Marseilles by the direct boats, and wish- ing to secure deck cabins, can only do so at Naples, which the agents at Rome—Messrs. Freeborn and Co.—will undertake, paying of course the whole fare between Naples and Marseilles. During the spring and early part of the summer there are frequently steamers which sail for Leghorn at an early hour, arriving before dark, thus ena- bling the passengers to see the whole of the coast and the off-lying islands of the Tuscan Archipelago by daylight. Places had better be secured at the agencies of the Steamboat Companies at Rome: the Office of the Messageries Impériales is at No. 56, Via della Fon- tanella Borghese, and for the Neapoli- tan and Sardinian boats at Messrs. Free- born and Co.'s, ll, Via Condotti. By means of the direct steamers and the railway from Marseilles, travellers can now reach Paris in 65 and London in 80 hours. The outer voyage and journey can be accomplished between London and Rome in 90 h., including a detention of nearly 12 h. in Paris, waiting for the corresponding trains; and from Paris to Rome in 66 h. It may not be useless to state that, employing this mode of conveyance, a person can reach Rome from London, not including hotel expenses on the road, and travelling by first-class trains and cabins, for about 12l. 16s., and from Paris for 230 frs., and by second-class accommodation for 91, and 180 frS. Steamboats on the Tiber.—A boat starts every morning at 5 or 6 o'clock, according to the season, from the Quay of Ripagrande, for Fiumicino, at the mouth of the river, performing the voy- age in 2 or 3 hours, and returning to Rome the same day at nightfall, giving the tourist plenty of time to see the en- virons of Ostia and Porto. The return voyage is very tedious, the steamer having generally coasting vessels in tow. In the month of May the steamer leaves at 6 on Thursdays and Sundays, returning at 3, and not having boats in to W. A steamer leaves the Quay of the Ripetta 3 times a week, on Mon., Wed., and Frid., at sunrise, for Pontefelice, on the upper Tiber, landing passengers at Fiano, Montorso, Ponzano, and La Rosa. The boat seldom reaches Ponte- felice in less than 24 h., anchoring during the night, by which the voyager is exposed to the danger of malaria in summer. The downward voyage is performed in 8 or 9. h. The boat is dirty, and the living on board detestable; fares to Pontefelice, 3, 4, and 7 pauls, according to the classes. § 11. English Livery Stables.—Smith, in the Palazzo di Gregori, 71, Via de' Due Macelli; James, 7 and 8, Via Laurina ; Gamjee, Via dei Miracoli ; Bonafede, 31, Piazza di Spagna ; Bussoni, 93, Piazza di Spagna, and Robba Vicolo del Vantaggio. Most of these persons let riding horses; the usual charge is 30 scudi a month for gentlemen’s horses, 35 for ladies, and 40 when used for hunting, with a monthly gratuity of 3 to the groom ; for a ride l dollar. Carriages, Hackney Coaches. – Open calèches with a hood, and close car- riages, are now met with plying for hire in every part of the city. The princi- pal stands are in the Piazza di Spagna, at the end of the Via Condotti in the Corso, in the Piazzas di San Lorenzo in Lucima, and di Monte Citorio, in the Piazza del Gesu near the Capitol, and | under the Colonnades in the Piazza di | S. Pietro. Fares for a course within a moderate distance, 2 pauls; for half an hour 3 pauls; but it will always be better to fia: the fare before starting, as nothing can come up to the barefaced attempts at imposition of the Roman x vi Rome. § 12. FOREIGN MINISTERS.–$ 13. BANKERs. hackney coachmen, there being no fixed tariff : 3 pauls is amply sufficient for going out to dinner, or in the even- ing, in ordinary weather. There are several persons, and nearly all the hotel- keepers, who let carriages for hire by the day, half-day, or hour. The hire of a carriage for the day, including the coachman's bºonamano, is 30 pauls (in some hotels they may try to charge more), and double for excursions to Tivoli, Frascati, or Albano, when an additional horse must be put on. The hire of a carriage by the month varies with the demand, the smartness of the vehicle, and horses, from 80 to 100 scudi, exclusive of the coachman’s buonamano of 10 scudi, the hirer engaging to fur- mish a close or open carriage according as may be required. On engaging a carriage by the month it will be advis- able to sign a written agreement with the hirer, and to have stated in it that double fares are only to be paid for ex- cursions into the country exceeding 12 miles beyond the gates, such as to Tivoli, Palestrina, Albano, Ostia, Porto, &c., as attempts—and which ought to be resisted –– will often be made to exact 2 or 3 scudi beyond the or- dinary hire for a drive to places only 6 or 7 miles from the gates. Persons having their own horses will be able to keep them well at Rome for about 25 to 30 scudi a month for a pair, all charges included, or for less in pro- portion as the number is greater. The charge for the keep of a saddle horse at the best livery stables is 5 pauls a-day. § 12. Foreign Ambassadors, Ilſinisters and Consuls.-Ambassador of France, the Duc de Grammont, Palazzo Colonna, Piazza degli SS. Apostoli. — Austrian Amb ssador, Count Colloredo, Palazzo di Venezia. — United States Leſſation, Palazzo Braschi. — Tuscún Leſſation, Piazza San Firenze, near the Palazzo Borghese.—Neapolitan Leſſation, Palazzo Farnese. — Prussian Jegation, Palazzo Caffarelli, on the Capitoline Hill.— British Consul, J. Freeborn, Esq., Pa- lazzo Lepri, No. 7, Via Condotti; M. Sul, ; Mr. Ardisson, Vice- Consul, Circo di Ripetta, No. 220. § 13. Bankers.-Messrs. Torlonia and Co., No. 221, Via dei Formari, near the Piazza SS. Apostoli; Messrs. Freeborn and Co., Via Condotti, No. 1 1. Mr. Freeborn is British Consul, and is ex- tremely chliging in obtaining every facility and protection for his country- men, and in procuring orders for ad- mission to the different public establish- ments, galleries, &c. Messrs. Macbean and Co., bankers and wine-merchants, No. 377, in the Corso. Messrs. Plowden, Cholmeley, and Co., 234, Corso. Messrs. Packenham and Hooker, No. 20, Piazza di Spagna, American Bankers, conduct the principal part of the business with the United States. The English and American houses are most obliging to their customers in procuring lodgings, !ºscà passares, &c., in furnishing in- formation generally, and protecting their interests; they also forward to Eng- land and the United States parcels, works of art, &c. The three English bankers above mentioned are agents in correspondence with Messrs. Mc Cracken and Co. of London for the latter purpose. § 14. Post-office.—Owing to the diffi- culty of deciphering English names by the post-office officials, it will be safer for travellers to have their letters ad- dressed to the care of an English or American banker, or to the landlords of the respectable hotels. The mails leave Rome every day, except Sun- days, for Fngland, France, and the N. of Europe generally, via Florence. Letters are despatched every Saturday to France and England, by the direct steamer to Marseilles, and can be for- Warded also, by a banker, or persons having correspondents at Civita Vec- chia, by the direct boat of the Nea- politan Company, on Wed. (they must be sent from Rome on Tuesday), the Post Office at Rome making up no bag by the latter conveyance. The letters by these two modes of transport take 4 days to reach Paris, and arrive in Lon- A. Ercole, Chancellor, and Acting Consul don on the Thurs. and Mond. following; in Mr. F.'s absence.— United States Con- ; those by the more circuitous sea-route Rome. xvii § 14. PosT-OFFICE.-$ 15. PHYSICIANs. of Genoa and Leghorn, employed by the French steamer that leaves Civita Vecchia on the Wednesdays, in 5 and 6 days, and by the land route in 6 and 7. All letters to go by sea must have VIA DI MARE distinctly marked on the address. Letters may be prepaid or not, the postage to Paris being 20, and to England 22 baiocchi, when not exceeding 7% grammes, or ; English ounce, in weight; the Roman postage on letters arriving unpaid from England is 26 baiocchi. Letters for India must have legibly written on the address Wić di Aless (ndria, di Egitto, and prepaid 26 baiocchi: they are despatched, as well as those for Malta, the Ionian Islands, and the Levant generally, every Sat. Letters for the United States are de- spatched daily through France, and had better be prepaid (32 baiocchi). To ensure expedition it may be preferable to send them through Liverpool, letters despatched from Rome on Sat. arriving there in time for the British royal mail packets. The mail between Rome and Naples leaves and arrives daily, except on Sundays. Letters must be prepaid to the Papal frontier, 5 baiocchi; if sent in an envelope, double the ordinary postage will be charged on delivery at Naples. The mail by the land route arrives daily, bringing letters from England in 7 days; if by the direct steamer from Marseilles to Civita Vecchia, in 5; it may be as well to state that a letter takes 2 days from London to Mar- seilles, and that the steamer sails from thence on Mon., by which they reach Rome on Wed., but are seldom given out before Thurs. morn. Persons writ- ing from England must be careful to put “vid Marseilles'' on the address. Letters from India, the Levant, and Malta are due in Rome on Wed. even. or Thurs. morn. Letters are despatched 4 times a month for the Ionian Islands, Greece, and the Levant generally, to meet the Austrian Lloyd's steamer at Ancona ; but the most certain conveyance will be piá. Malta every Sat., as there is great irregularity in making up the mail, vić Ancona, at Rome. Letters to Florence, Austrian Lombardy, Piedmont, and Germany may be sent, daily and unpaid. English newspapers pay at the rate of 4 baiocchi for each sheet, and their de- livery is at times irregular, being often detained at the post-office. Galignani’s Messenger and the French papers are now received free of postage, that charge being included in the subscription. Letters are delivered a domicile, an ad- ditional tax of 1 baiocchi on each being levied for the postman’s trouble. This delivery seldom takes place before 12 o'clock, and never on Sundays or holidays. The Roman post-office is open every day until 5 P.M., except for an hour in the middle of the day in summer, and on Sundays, when it closes at 11, but even then only for despatch of foreign letters by the steamer from Civita Vecchia on the day following, or for the delivery of those which have arrived by sea the day before. Electric Telegraph.-Messages may be sent to every part of Europe from the office in the Piazza Colonna. A de- spatch of 25 words, exclusive of the date and address, costs, to London 71, to Paris 67, to any part of Tuscany 43 pauls, and of the kingdom of Naples 19%. § 15. Physicians. – Dr. Pantaleoni, l()7, Via Babuimo, one of the most emi- ment physicians in Italy, who has lived in England, speaks our language per- fectly, and practises much among our countrymen and foreign residents at Rome. Dr. Deakin, Via Sistina, 64; Dr. Gason, 8, Via di San Sebastiano, out of the Piazza di Spagna—he practises at the Baths of Lucca, during summer, as one of the principal physicians and ac- coucheurs; Dr. Gerard Small, M.D. Oxon., 96, Via del Babuino; Dr. O’Brien, 44, Via Gregoriana ; Dr. O'Dwyer, 43, Via di Capo le Case; Dr. Sargent (of Philadelphia), No 13, Piazza di Spagna; Dr. Smyth, physi- ciam and accoucheur, 9, Piazza di Spagna; Dr. Valery, 87, Via Babuino, one of the physicians to the great hospital of S. Spirito, speaks English, and is well spoken of ; Dr. Alertz, a German, physician to the Prussian Legation, may be heard of at Spit- hover's Library; and Dr. Taussig, xviii Rome. § 17. APOTHECARIES.—$ 18. Books ELLERs. also a German, No. 12, Via delle Due Macelli. -- Homoeopathic Physicians.—Dr. Franco, a Maltese, No. 81, Via della Croce, is the principal practitioner in this line at Rome, and speaks English—he is much employed by the Roman nobility, and foreigners resorting to Rome; Dr. Liberali, 69, Via della Frezza ; Dr. Luzzi, 126, Via Felice. The usual physician’s fee is from 1 to 2 scudi a visit. Surgeons.—Dr. Mazzoni, No. 115, Via della Pedacchia, is now the most emi- ment practitioner and operator in Rome, and surgeon to one of the principal hospitals. § 16. Dentists.--Dr. Burridge, an excellent American dentist, 93, Piazza di Spagna ; Castellini, 41, Via della Colonna; Galassi, 45, Piazza di Spagna. § 17. Apothecaries.—Borrioni, 98, Via Babuino, is well supplied with English medicines. Sinimberghi, No. 135, Via Frattina, has been an assistant at the Apothecaries' Hall in London, and a Member of the Pharmaceutical Society of Great Britain ; he is consequently accustomed to make up English pre- scriptions, and speaks English. § 18. Booksellers, English Reading- rooms, and Circulating Libraries.—Piale's, in the Piazza di Spagna ; the reading- rooms, which are well lighted and heated in winter, are supplied with the principal English and a selection of the United States newspapers, Galignani, the French, German, and Italian generally. Subscription, 8 scudi for the year or season, 41 pauls for 3 months, 21 for 2 months, and 1% scudo for a single month, and a paul for a sitting. The proprietor will also supply Galignani and English newspapers to residents at the following rates—Galignani, on the day of its arrival, until 6 P.M., 2 scudi a month, 2nd day 1% scudi, 3rd day ! scudi; the London daily papers 3 scudi on the day after their arrival, 2% on 2nd, and 1% on 3rd. Attached to the news-room is a circulating li- brary, the subscription to which is 1 scudo per month. Piale keeps a large collection of guides, Handbooks, the works of Canina, and books on Rome generally, Luswerg's photo- graphs, &c. As his assistants speak English, foreigners will be able to obtain all information about fétes, &c.; and he will assist in procuring the necessary admissions to the villas, museums, &c. He also takes charge of having passports viséd, a conveni- ence for travellers not living in hotels. A very useful system has been adopted here and at Spithover's of posting up a list of all the church-fétes dur- ing the week, and in general of everything to interest the sight-seer in Rome. Spithover has lately re- opened the news and reading rooms formerly kept by Monaldini, at No. 80, Piazza di Spagna, under the manage- ment of Mr. Haas, a German who speaks Fnglish well, and who is obliging and able to convey to travellers every information they may require: the . establishment is on the same system as at Piale's, and is very well conducted, and with the same charges; he also sells German and English books, maps, en- gravings, &c.; he is agent for the sale of Anderson’s photographs, and also lets out the English newspapers; he has another shop close by, where there is a large assortment of German works, and where everything published in that country on Rome may be procured. Gallarini, bookseller, 19, Piazza Monte Citorio, is an obliging man, and well supplied with Italian and English works, including Handbooks; he has also an extensive collection of old and rare books. Merle, French bookseller, Piazza Colonna. Rome is celebrated for its white vellum bookbinding, the vellum being manufactured chiefly at Sulmona and Arpino, in the kingdom of Naples; a 12mo. volume costs 3 to 4 pauls, and larger sizes in proportion. , Volpari, No. 69, Via Condotti; Moschetti, 75, Via della Croce; and Bencini, 172, Via Ripetta, are good bookbinders. § 19. Engravinſs, Printsellers, &c.— The great collection of engravings is that of the government, the Calcografia Camerale, 6, Via della Stamperia, near the Fontana di Trevi. Catalogues are Rome. xix § 19. PRINTSELLERs.-$ 20. PHOTOGRAPHERs. hung up, with the price of each print marked. All the engravings executed at the expense of the Papal government may be purchased there. Fabri, 3, Capo le Case, has an extensive assort- ment of ancient and modern engrav- ings; Cuccioni, Via Condotti, No. 18 and 19, has a good shop for engravings, photographs, maps, stationery, &c. The engravings of the modern German school, after Overbeck, Fuhrich, &c., can be procured at Spithèver's. One of the best and most recent collections of Views in Rome is the series by Cottafavi, published by Cuccioni, 62 in all, price 5 scudi ; and those of the ancient monu- ments by Canina, forming the atlas to his Indicazione Topografica, a thick volume in 8vo., represent them as they now stand, with their restoration on the oppo- site pages. A beautiful series of views of Rome has been published by one of our own most accomplished amateur artists, Mr. George Vivian, well known from his previous illustrations of the scenery of Spain and Portugal; the title of the work is “Views from the Gardens of Rome and Albano, drawn by G. Wi- vian, Esq., lithographed by Harding— London, 1848.” Mr. Coleman, an Eng- lish artist, has published at Rome (1851) a series of etchings of cattle and subjects peculiar to the Campagna and the Pontine Marshes, which surpass any- thing of the same class. Small oil- paintings, coloured on the etchings of the ruins and public edifices of Rome, are prettily executed by Signor Pfyffer, 74, Via della Croce. They do not pre- tend to compete with the original works of the landscape-painters, but are useful as reminiscences. $ 20. Photographs.-Photography has of late years been very successfully ap- plied in representing not only the ancient and modern monuments of lèome, but sculpture, and in copying the original drawings of the old masters. A less legi- timate application of it perhaps has been the reproduction of the chefs-d'oeuvre of the old masters from engravings, for it is scarcely necessary to remark that to the present time photography has imper- fectly succeeded in copying oil pictures from the originals. The purchaser Will therefore do well to bear in mind that what may be sold to him as a photo- graphic copy of a painting has been in reality made from an engraving in the greater number of instances, or from a drawing. The three principal artists in photography at Rome are Sig. Cue- cioni, at 18, Via Condotti, and two of our countrymen, Messrs. Anderson and and Macpherson. Cuccioni’s photo- graphs are excellent, and the large ones of the Coliseum, the Roman Forum, St. Peter's, the Castle of St. Angelo, &c., are chefs-d'oeuvres, unique for their size and execution; his reproductions of an- cient sculpture of the museums of the Capitol and Vatican are also extremely good. Mr. Anderson’s photographs are also very good, and of different sizes to suit all purses and purchasers, they can only be procured at Spithover's library. Mr. A. is the most extensive producer of photographs in Rome, and his pro- ductions are said to staud the light well. Mr. Macpherson, who was one of the first to introduce photography at Rome, and lives at 192, Via Ripetta, where his productions may be procured, has extended his labours to the monuments of the other towns of the Roman States: his collection already reaches to nearly 200 subjects. The price of photographs varies with the size: those of Anderson from 2% to 12 pauls; those of Cuccioni from 5 pauls to 1 scudo ; and of Mac- pherson 1 sc. : Cuccioni's magnifi- cent views of the Forum, St. Peter’s, the Castle of St. Angelo, and the Coli- seum, in 2 and 3 sheets, from 5 to 10 scudi. Inferior photographs to the above-mentioned may be had at the principal print-shops; and those adapted for the stereoscope at Spithover's, at Ansiglioni’s, No. 150, Corso, and Susipi’s, 182 in the same street. § 21. Photographic Portraits.—There are two artists at Rome who are very successful in their photographic por- traits, and who can be recommended Alessandri, No. 65, Via del Babuino, 3° piano; and Luswerg, 8, Via dei Canestrari, near the Valle Theatre. § 22. Teachers of Italian and other Languages.—Bonfigli, B.A., 22, Via del XX §§ 22, 23, 24. TEACHERS. JRome. Babuino, author of a good Italian grammar, has lived as tutor in some of our English families, and is an excellent master. Signori Brocchi, 3S, Via della Mercede—Mad. B. also gives lessons to ladies; Giuseppe Rossi, 47, Corso, an excellent teacher, who speaks English ; Lucentini, 17, Via della Stamperia Camerale; Luigi Rossi, inspector of foreign books at the Cus- tom-house, Via de' Prefetti, No. 41 ; Monachesi, 8, Via S. Sebastianello ; A. Maccaresi, 61, Via della Purificazione ; G. Devoti, 72, Via della Pedacchia; Pfyffer, 74, Via della Croce, is a good reader; Prof. Mercurj, Via del Babuino, 135, gives lessons in Italian literature, archaeology, Latin, and Greek—he is the editor of Melchiorris, one of the best Guidebooks of Rome; M. Ardisson, a Parisian, American vice-consul, gives lessons in French and Italian, 222, Circo di Ripetta ; Sig. Sanguinetti, Pa- lazzo Costa, near the ch. of S. Marcello in Corso -in addition to Italian he gives lessons in mineralogy, being keeper of the Museum of the University ; Sig. Gordini, a Tuscan, 31, Via Condotti; Sig. Vannini, also a Tuscan, 101, Corso; Sig. P. Trocchi, 50, Via Bor. gognona ; Mr. Grant, 60, Via di Bocca di Leone, an Englishman, long settled and educated in Rome, gives lessons in Italian, Greek, Latin, and mathe- matics; having been a private tutor in England, he will prove a useful daily preceptor to young English- men. Most of the above speak and read English. The price of lessons for an hour varies from 5 to 8 pauls, and ought not to exceed the latter sum. For Ladies.—Signora Ersilia Nibby, the daughter of the eminent ſtoman archaeologist of that name, Via Sis- tina, No. 55, gives lessons in Italian literature and language, and is highly spoken of; Signora Claudia Garofolini, Sã, Via Babuiño, a lady who has lived in London as an Italian and singing mistress, can be well recommended; Mad. Rinaldini, a Parisian lady who has lived for many years at Rome, 31, Piazza di Firenze, gives lessons in Italian and French, and her daughter, Mad. Guocchi, who gives instruction in French, Italian, music, and dancing, will prove a good daily governess for young persons; Mad. Eléna Montecchi Torti, Palazzo Sabina, Via delle Mu- ratte, is much employed in English families; Mad. Cosimes, and Amalia Sopranzi, her sister, 65, Via del Babuino, for Italian and French ; Mad. Acquaroni, 51, Via della Croce. § 23. Teachers of Drawing and Paint- *ng. - Mr. Arthur Strutt, No. 135, Via del Babuino, a talented English artist long established at Rome, gives lessons in painting; M. Benouville, 61, Via Babuimo, also a very talented artist as a landscape painter, receives ladies and gentlemen as pupils in his studio, giving instruction both in oil aud water-colour landscape-painting ; Guglielmi, 39, Via della Mercede, is an excellent master and a good por- trait-painter in chalks and pastel; Sig. Rocchi, 14, Ripa del Fiume, in chalks and sepia ; Signora Agnese Ruffini Potempska, Palazzo Doria, 107, Piazza di Venezia, in water-colours and miniature-painting ; Sig. Bellolli, 1, Via dell’Orso; Sig. D. Ventura, 14, Carcere Mamertina; Bartolini, Wicolo del Vantaggio. § 24. Music Teachers.-Fiori (singing and piano—is also a composer); Tullio Ramacciotti (violin), 96, Via del Ba- buino: Batocchi, Via di S. Claudio, 82; Giovanini, Via di Mario dei Fiori, No. 89; Domenico Barocci, at Cuccioni's, 18, Via Condotti, is a good singing master; Sig. L. Moroni, 122, Via Toma- celli, one of the best singing and music masters; Sig. D. Mustafa, singing, So- prano in the Sixtime Chapel, No. 175, Via del Pellegrino; Mdlle. Korn; Ga- brielli, Piazza della Chiesa Nova: Mad. Lucentini, Via della Stamperia Came- rale, No. 17; Mad. Rimaldini, 31, Piazza di S. Firenze, and Adele Durani, 68, Via delle Due Macelli, for young people; Sebastiani, 208, Via di Ripetta (piano and singing); Mdlle. Laboureur (for piano and singing), 456, Corso; Sig. C. Ducci, pianist, 96, Via del Babuino, also goes out for evening concerts; Sig. Gaggi, Piazza di Spagna ; Eliza Bºn- giovanni (piano), 68, Via Sistina. The Rome. xxi §§ 25-29. TEACHERs.-$ 30. TRADESPEOPLE. charge of the best masters is from 10 to 15 pauls a lesson. § 25. English Masters. — Mr. Ewing, Palazzo Parisani, Piazza di S. Claudio, and adjoining the ch., can be recom- mended—he is much employed in the best Roman families. § 26. French Masters.-Bonnard, 18, Via della Frezza ; Marchais, 22, Via della Propaganda. § 27. German Masters may be heard of at Spithover's Library. § 28. Teachers of Dancing.—Angelo Costa, 57, Via di Pontifici. $29. Fencing Master.—Calori,Via della Mercede, also keeps a gymnastic esta- blishment for young persons of both S(2XeS. § 30. Tradespeople, Shops, &c. — As a general rule in Rome, as through- out Italy, we would advise our coun- trymen to employ English tradespeople when possible; they are more to be relied upon for punctuality, good articles, and honesty, than the native shopkeepers, and do not, we believe, as the later do, lend themselves to the objectionable, and to persons living in lodgings costly, practice, of bribing servants to obtain their masters' cus- tolm. a. Grocers.-For tea, groceries in general, wines, porter, &c., Lowe, who has for many years been established at 76, Piazza di Spagna, can be strongly re- commended. Campi and Luigioni, also in the Piazza di Spagna : the former sells cutlery and English articles in general; the latter more particularly groceries and wines—he is also an ex- tensive furnisher of firewood to Eng- lish families. b. Wine Merchants.-Messrs. Macbean and Co., the bankers, in the Corso, have an excellent supply of Italian, Spanish, and French wines; Mr. Lowe, 76, Piazza di Spagna. For Wines of the country, Traversi, 2, Via Bocca di Leone. | c, English Bakers.-Mrs. Muller, an English woman, 88, Via della Croce; Menghini, No. 100, Via Babuimo, makes all kinds of bread, biscuits, &c.; Filo- nardi, a good French baker, 79, Via Condotti. * d. Pastry Cooks and Confectioners.— François Spillman, No. 12, Via Condotti; Nazzari, in the Piazza di Spagna; and Spillman, frères, No. 10, Via Condotti, where there are refreshment-rooms where dinner, lunch, and tea may be had ; the Spillmans are the Gunters of Rome, and the general furnishers of ices and refreshments for balls and parties; they also send out dinners. e. Tailors.-Hamilton, Via Babuino; Innocenti, Via Condotti, No. 13; Schräe- der, 29, Piazza di Spagna. f. Boot and Shoe Makers.-Natalini, Piazza San Carlo in Corso ; Jesi, 129, Corso, is perhaps the best in Rome. Shoes and boots are dear in Rome, and indifferent, especially against wet. g. Hatters.—Antonini, 160, Corso; Mancinelli, No. 383 in the same street; Miller, 16, Via Condotti. h. Saddlery.--Barfoot, 151, Via Ba- builio, keeps a depôt of London sad- dlery, whips, &c., and is a general dealer in carriages, executes repairs, &c. i. Tobacco and Snuff shops are now to be met with in every street; one of the principal warehouses for home-made Snuffs and cigars is that of the Con- vertite, in the Corso. Foreign cigars are only to be procured at the Spacio Normale, in the Piazza de' SS. Apos- toli. k. Dressmºthers, Modistes, Marchandes des Modes, &c.—Madame Massoni, in the Palazzo Fiano on the Corso, one of the longest established in Rome. Lucia Ripari, on the opposite side of the Corso, has a very extensive warehouse of French and English mouveautés and fancy articles, with a millinery esta- blishment attached — English spoken. Mad. Borsini Dupres, also in the Corso, perhaps the most fashionable of all, but high in her charges. Madame Clarisse, 11, Via della Vite, keeps a good assort- ment of French nouveautés, and is much more moderate in her charges; Adelaide Poggesi, 82, Via Borgognoma, 1°. p", has been spoken highly of by xxii Rome. § 31. TRANSLATORS.—S 33. JEWELLERs. English families who have employed her. l. Roman Scarfs and Roman Female Costumes. – The best shops for these beautiful fabrics are Arvotti's, Piazza Madama; Bianchi’s, No. 82, in the Piazza della Minerva, and Via Condotti, No. 92; Amadori, 72 in the same street; and for the picturesque costumes of the Roman peasantry, La Farimara's, near the church of the Madonna dei Monti. m. Coiffeurs, Hairdressers, Perfumery. —Giardinieri, No. 424, Via del Corso; Versani, 193, Corso ; Cadabemi, 53, Via Condotti; Simonetti, 2, Via della Croce. § 31. Translators.--English and Ame- ricans may require to have authenticated translations of documents made from English into Italian and French, or from Italian or French into English, in which case Sig. Ificleo Ercole, at the British Consulate, who is one of the approved translators of the law-courts, can be recommended. § 32. Copyists of old Masters.—Cav. Cortazzi, 509, Corso, 2° piano, and Mazzolini, 437, Piazza S. Carlo in Corso, have always a large number of copies of the most celebrated paintings on sale; Cavaliere Chatelain, 226, Via Ripetta; Campanile, 77, Via della Croce; Agnese Potempska, née Ruffini, Pal. Doria, 107, Piazza di Venezia, copies in water-co- lours and in miniature, and gives lessons; Koëlman, 57, Via dell’ Olmo, near Santa Maria Maggiore, is one of the most celebrated copyists in miniature of the old masters; Madame Teerling, 3, Via S. Giuseppe a Capo le Case; Marianecci, Vicolo Babuino, is a good copyist in water-colours, chalks, or guazzo, and gives lessons in it; Ferdinand Flor, 48, Via Margutta ; Casabianca, Pala- zetto Borghese. In Water - colours.- Our country woman Miss Chawner is an excellent copyist of the old masters— she lives at No. 6, Via Laurina; Ga- gliardi, Palazzo Giustiniani, near the Post-office; Mad. Grasselli, 19, Via Condotti, copyist in miniature: Sig. Riccardi, 49, Piazza di Sta. Chiara, in water-colours and oils. § 33. Jewellers.-Castellani, No. 88, Via Poli, is of European celebrity for his reproductions from the Etruscan models, and for the several beautiful designs of the Duke of Sermoneta (Don Mich. Ang. Caetani). It is impossible to surpass in taste and beauty some of his works. On the stairs leading to his show-rooms are placed several speci- mens of antique sculpture discovered on the spot and on the site of one of his villas. Castellani is celebrated amongst the Roman nobility for his taste in setting diamonds and precious stones, most of which, and amongst the most magnificent in Europe, have passed through his hands. Pierret, 31, Piazza di Firenze, is now one of the first artists in Rome for imitations of Etruscan jewellery, in many respects equal to Castellani, and more moderate in his prices. Freschi, 27, Via Condotti, has a very extensive assortment of Roman and Etruscan jewellery, and being cheaper is much employed by the Romans, but his designs and execution are not equal to those of Castellani and Pierret, an observation that applies to all the other jewellers in Rome. Rey, 34 and 35, Via Condotti; Lorenzi, Via della Vite. § 34. Engravers of Camcos. – Princi- pally on shells: Saulini, No. 8, Via della Croce, perhaps the best in Rome for his portraits in cameo—he also engraves in pietra dura ; Gio- vanni Dies, 86, Via Condotti; Civi- lotti, Piazza di Spagna ; also Neri, No. 10, Piazza di Spagna. The charge for cameo likenesses is from 15 to 25 scudi ; a good head likeness only, will cost at Saulini’s 20 Scudj, with bust 25, and the same in pietra dura 200 and upwards.-Cameos in pietra dura, a very superior style of art to that on shells: Girometti, Piazza S. Marcello in Corso, the first artist in Rome in this branch of art; Verge, 61, Piazza di Spagna. § 35. Roman Mosaics.—The mosaicists of Rome may be classed under the 3 heads, Mosaicist Artists, Mosaicist Manu- facturers, and Sellers of Mosaics. Amongst the first is Commendatore Barberi, 148, Via Rasella—he was director of the Rome. mosaic-works of the Government, and obtained one of the great Council medals at the Exhibition of 1851—his studio, which is obligingly shown, will be worth visiting; Cav. Luigi Moglia, Via Babuino, 133, is a first-rate artist —his Madonna della Seggiola, of the same size as the original picture by Raphael, in the Pitti Gallery, is oue of the finest specimens of modern mo- saic—his Temples of Pastum obtained one of the Council medals at the London Exhibition in 1851, and are among the most celebrated works of the kind; Gio. Barberi, Piazza di Spagna, 99; Poggioli, Via Babuino, 65 ; Gabrini, Via del Corso, 36; Boschetti, Via Condotti, 74, has a large assortment, and is said to be a fair-dealing person; Rinaldi, Via Babuino, 125, much employed by the government and public establishments in restoring ancient mosaics ; Verdejo, Via Condotti, 34 ; Salandri, Vicolo di Macedo, 23. — Sellers of Mosaics : Caprani, 56, Via Consulta; Frances- cangeli, Via del Babuino; Dies, 48, Via Condotti; Trebbi and Estrada, 52 in the same street. The same design according to the nature of the work, will vary in price, and at the same shop, from one to five-fold. There is a charitable institution for the relief of distressed artists at No. 105 in the Piazza Borghese, under the patronage of several benevolent persons of the Roman mobility, where cameos, mosaics, bronzes, and works of art gene- rally, may be procured at moderate prices, and which, from the nature of the institution, is well worth a visit and merits the encouragement and sup- port of our benevolent countrymen. § 36. Bronzes, modern, in imitation of the mediaeval and antique.—Hopgar- ten, 72, Via de' Due Macelli, the first in Rome ; Rohrich, Via della Purifica- zione; Soordoni, Via Ripetta; De Rossi, 22, Via Condotti; Freschi, 27, Via Condotti—a largely assorted shop, of bronzes, beads, jewellery, and Roman articles generally. The electrotype pro- cess has been introduced at Rome for copying ancient sculpture. The manu- factory, founded by the late Dr. Braún, is outside the Porta del Popolo, and § 36. BRONZEs.—39. ROMAN PEARLS.–Š 43. CICERONI. xxiii the articles produced may be obtained at No. 84, Piazza di Spagna. § 37. Sulphur casts of medals and small bas-reliefs called Intagli and In- prontë. — Odelli, 145, Via Rasella ; Cades, 456, Corso; Liberotti, Via Con- dotti ; Paoletti, 86, Via della Croce. § 38. Drawing Materials.-Flacheron Hayard, 43, Piazza di Spagna ; Dovi- zielli, Via Babuino, 135. § 39. Roman Pearls. –Rey, , and Sorelle Pozzi, at No. 86, both in the Via del Babuino, have the two best shops for false pearls in Rome. Focardi, Via Condotti, is one of the best assorted in Rome for chaplets, rosaries, cruci- fixes, reliquiaries, &c.; Freschi, 27, Via Condotti, id. The Roman pearls are very different from the French, being solid instead of hollow, and formed of alabaster instead of glass, on the surface of which the pearly substance from the inside of the small fish ("argentina) is applied. $ 40. Picture Dealers. — Menghetti, l 52, Via del Babuimo ; Garofoli, No. 75, and Luchetti, 25, same street; Del Frate, 33, Piazza Nicosia; Fabri, 3, Via di Capo le Case, 1° piano; and at the Monte di Pieta, where there is always a great number to be disposed of as unredeemed pledges. § 41. Sellers of Antiquities.—Basseggio 42, Via Babuimo ; Marchesi for anti- quities, mediaeval objects, majolica, &c., 60, Via Condotti; Depoletti, 31, Via della Fontanella Borghese. § 42. Baths.-Palazzo Bernini, Via Belsiana, and 96, Via del Babuino, but very inferior to those in most other large towns. § 43. Ciceroni, Laquais de place, &c., one of the necessary incumbrances of the stranger at Rome.—Most of the domestiques de place at the hotels have picked up enough learning to guide the casual visitor through the ordi- nary routime of antiquarian sights, &c.; but there is a superior class of per- xxiv § 44. PARCELS CONVEYANCE.-$ 45. Sport.ING. JRome. sons, men of education, who undertake Peninsular and Oriental Company: to accompany parties, and who may be Messrs. M'Cracken have recently es- heard of at the consul’s, or at many of tablished an agency at Malta for the the bankers’.” From the ordinary cice- roui, or laquais de place, travellers must be cautious in receiving their dicta as authority; in other respects, and especially in their dealings with tradespeople, they are not always be- yond suspicion—they generally exact a commission for all purchases made by their masters, and the less they are allowed to accompany them in their dealings the better: the charge for a good intelligent laquais de place is 10 pauls a day. § 44. Conveyance of Parcels to Eng- land, Commission Agents, &c.—Works of art, and packages in general, are regu- larly despatched to England by the dif- ferent bankers, many of whom are in correspondence with Messrs. J. and R. McCracken, of 7, Old Jewry, London. Messrs. Freeborn and Co., Macbean and Co., and Plowden and Cholmeley, despatch packages of every size at re- gular intervals. Mr. Shea, 11, Piazza di Spagna, and Mr. Jackson, No. 38, Piazza di Pietra, in correspondence with Messrs. Chinnery of London, are shipping agents to England and the United States. Heavy packages, such as marbles, statuary, &c., are gene- rally sent from Rome to Leghorn for embarkation in sailing vessels, and seldom reach in less than three months; by the steamers to London and Liver- pool in about one-third of that time, now that regular limes of steam- boats arrive at and leave Leghorn 3 times a month ; and, with equal expe- dition and less risk of breakage, to Southampton, by the French steamers between Civita Vecchia and Malta, and from thence to England by boats of the * Sig Carlo Visconti, Via Belsiana, No. 71, can be recommended for this purpose as a person acquainted with everything connected with the antiquities of Rome and its environs. His ordinary charge for an excursion amongst the ruins is 2 scudi Sig. Rosa, who lives in the Palazzo Marzocchi, Piazza di S. Pietro, the author of an elaborate topographical Survey of ancient Latium, will prove a most instructive guide for the country about Rome, and to whom 20 francs a day will be a fair remuneration. latter mode of conveyance. Parcels may also be forwarded through France by the Messageries Impériales, whose office is in the Via della Fontamella Borghese, when expedition is an object, but the charges for small objects are exorbitant, a parcel under a pound in weight often being charged as high as 20s. from London to Rome; for large packages, the charge from Civita Vee- chia to Paris, including steamer and railway, is about 20s. a cwt., and the time employed 5 days. Mr. Shea, at 11, Piazza di Spagna, has established a correspondence for sending to, and re- ceiving from, London small parcels once a month, a great convenience for persons living at Rome. § 45. Sporting, Hunting, &c.—Sports- men's licences are now obtained with- out difficulty from the Police authorities; a permission, however, must have been previously procured from the Com- mander-in-Chief of the French army at l'ome to possess arms, the city being still subject to military law. This favour is liberally accorded to our countrymen by the French authorities, on a request backed by an application from the British Consul. The prin- cipal sporting about Rome is boar- shooting in the forests of Cisterna and Nettuno, snipe-shooting in the marshy valleys about the city and in the vicinity of Ostia and Porto in the winter, and quail-shooting along the coast, and especially near Fiumicino, on the arrival of the birds in May. The shooting season in the Campagna cornmences in October, and continues during the winter; but the greater part of the large quantity of game exposed for sale in the Roman markets is taken in nets, such as quails, larks, and other small birds. No mar- ket in Europe, perhaps, offers a greater variety of birds than that of Rome, and certainly none where the ornitho- | logist will be able to add more species i to his collections. . It may not be out of place to mention here that all firearms are detailled at the Roman custom-house on entering -º-º/ Rome. the Papal States, until the necessary permission to use them has been ob- tained from the French military autho- rities. A subscription pack of hounds is now kept, numbering nearly all the Roman mobility among the subscribers, and af- fords very good sport to strangers resid- ing at Rome during the winter; as foxes are abundant, and the country well suited for hunting. The annual subscription is 30 scudi : the hounds meet twice a week during the winter and early spring. Persons Ilot subscribers to the hunt, but who avail themselves of its advantages, are expected to send a donation to the secretary towards the maintenance of the hounds and hunts- men, at the end of the season. The meets are very numerously attended, especially in fine weather, when hun- dreds of carriages belonging to the Roman aristocracy aud resident foreign- ers may be seen, treading the Cam- pagna after the hounds, one of the very interesting scenes to be witnessed in the environs during the Roman winter. The days and places of meeting of the hounds are stuck up at the English club and two principal news-rooms. § 46. Protestant Divine Worship.–Di- vine service according to the forms of the Church of England is celebrated every Sunday at ll A.M. and 3 P.M., and the Communion at 9 A.M., in a large apartment appropriately fitted up outside the Porta del Popolo. There is service on every week-day at 10 A.M. and 3 P.M. The ch. is entirely supported by volun- tary contributions, which are collected by the clerk at the residences of the visitors who leave their names at the ch., a more befitting manner than that adopted at Florence of exacting pay- ment at the doors. Attached to the ch. is a lending library of religious books, which are distributed on Sunday to such subscribers to the ch. as may apply for them. The resident clergy- man is now the Rev. F. B. Woodward. The ch. is closed from the end of June until October. Divine service according to the Church of England and Presby- terian forms is celebrated every Sunday at the Legation of the United States, [Rome.] § 46. DIVINE wors.IIIP.—$ 47. THEATRES. f | | XXV in the Palazzo Braschi, in a large apart- ment appropriated for that purpose, and where persons of all countries are ad- mitted gratuitously. § 47. Theatres.—The Teatro di Apollo, in the Via di Tordinona, near the bridge of St. Angelo, for grand operas and the ballet during the Carnival — the two lower tiers of boxes are generally let for the season, the second being occu- pied by the Roman nobility and public authorities; the T. Valle, for operas and comedy; the T. Argentina, in the Via della Rotonda; the T. Metastasio, near the Ripetta, for comedy—a French company play generally here during the Carnival; the T. Capranica, in the Piazza Capranica, near the Piazza Colonna, for Marionetti during the Carnival, and in the spring for comedy. There are some minor theatres during the Carnival. The popular Fantoccini, which were for- bidden of late years, in consequence of certain allusions made by the actors to passing political events, have recently been resuscitated at a small theatre, lighted with gas, in the Piazza della Valle. The price of admission to the pit in the larger theatres is from 3 to 4 pauls. Persons going to the boxes do not pay for admittance to the theatres, as in some other towns of Italy. A box costs from 15 to 20 pauls a night. During the season it is very difficult to obtain one at the 3 principal theatres, the Apollo, Valle, and Argentina, especially at the first. The best plan will be to secure, if possible, a part of a box for the car- mival, and even this cannot always be accomplished. The performances com- mence between 7% and 8 o’clock. § 48. Public Festivals.-The Carnival commences, properly speaking, after New Year's Day, and continues until the beginning of Lent; although the gaieties in the Corso and the masking, when permitted by the police, take place only during the last 10 days, always excepting the Sundays and Fridays. At 2 P.M. the crowd assemble in the Corso, where the pelting with comfits, manufactured for the purpose with flour and plaster of Paris, is car- ried on until mightfall, all the windows xxvi and balconies being gaily decked out and filled with the beau monde. The amusements of each afternoon end with a horse-race. The horses have no riders, but are urged on by balls and plates of metal, covered with sharp spikes, sus- pended from their backs. The prizes are either pieces of rich velvet or sums of money varying from 30 to 100 scudi, which were formerly furnished by the Jews, who were even themselves, in bygone days, compelled to race on foot for the amusement of the people. The horses are stopped at the end of the Corso by a piece of canvas stretched across the street at the Ripresa de' Barberi, which derives its name from the Barbary horses that formerly con- tended for the prizes. The Thursday and the last 2 days of the Carnival are the most exciting; the whole city seems then to be congregated in the Corso. The diversions end on the evening of Shrove Tuesday, with the Moccoli, when every one in the windows and in the streets appear with tapers, and endea- vour to blow out the lights of each other. The Corso is illuminated in this way from one extremity to the other as soon as the last horse-race is over, and when the darkness has set in, the windows of the houses being filled with people holding lights in their hands: the scene is one of the most picturesque and extraordinary attending the cere- monies of the Carnival. This brilliant scene closes at 1 hour after the Ave Maria, or about 7% o'clock, when the middle and lower orders retire to the theatres, and the higher to suppers given by the principal Roman families to their relations and intimate friends, to bury, as it is said, the Carnival. The October Festival.—On Sundays and Thursdays in October the people as- semble about the Monte'Testaccio, where they amuse themselves with dancing and games. This is the great holiday of Rome, and nowhere are the people seen to so much advantage. As a study of costume this festival is unrivalled. The Artists’ Festival, managed by the Ger- man Club, takes place at the beginning of May. Artists of all nations assemble at an early breakfast, and afterwards proceed in procession to some pictu- § 48. FESTIVALS.–$ 49. PRESENTATIONS TO THE POPE. Rome. resque site in the environs, such as Cerbara, 4 m. beyond the Porta Mag- giore and near the Anio, or to the environs of Fidenae, 5 m. outside the Portà Salara. After an incantation to the Sibyl, singing, speechifying, and distribution of mock orders, &c., there is a cold dinner about 1 P.M., followed by horse-racing, spear-throwing, &c. All the hack-horses and carriages in Rome are put in requisition on the occasion. Tickets for the dinner are confined to the artists and their friends, but spectators are freely admitted to witness the subse- quent festivities. The principal Church Festivals are described in our account of the following basilicas and churches:– St. Peter’s, St. John Lateran, S. Maria Maggiore, S. Andrea delle Fratte, S. Antonio, SS. Apostoli, Ara Coeli, S. Carlo in Corso, S. Francesca Ro- mana, Gesù, S. Marcello, S. Marco, S. Maria sopra Minerva, S. Maria in Wallicella, S. Pietro in Vincoli, S. To- masso degli Inglesi, La Trinita de' Pel- legrini: but the traveller who takes an interest in the ceremonies of the Church will do well to provide himself with the Diario Romrtno, an Almanac pub- lished annually at the Stamperia Came- rale : it costs 1 paul, and the festivals for every day in the year in the different churches of Rome are accurately given in it: a very useful system has been adopted at Piale's and Spithover's news- rooms, of sticking up, at the beginning of every week, a list of all the ceremonies that are to take place, the different sights worth seeing, the museums and private galleries that are open, &c., on each day. § 49. Presentations to the Pope.—As many of our countrymen may desire to be presented to His Holiness during their stay at Rome, the following in- formation may prove useful. All foreigners desiring to be pre- sented to the Pope must have an ap- plication to that effect addressed to Monsignore Maestro di Camera, or Grand Chamberlain, by the representative of their country to the Holy See. As re- gards the English, who have no such official (the British Consul not being considered as a diplomatic agent by Rome. xxvii § 50. MUNICIPAL GOVERNMENT. the authorities at the Vatican), and especially Protestants, the application must be made through some private channel. British Roman Catholics will experience no difficulty through the functionaries attached to the Papal Court amongst their ecclesiastical countrymen settled at Rome. As to Americans, there being a minister ac- credited from the United States, they will only have to follow the same rou- time as other foreigners. Gentlemen are received in the private apartments of the Pope on week-days; ladies only on Sundays, and in one of the galleries of the Vatican, it being contrary to etiquette to admit females, except of Royal blood, into his Holi- ness's apartments. Persons soliciting the honour of being presented are informed generally a few days before, and by a letter from the Maestro di Camera, that they will be received at a certain hour, in general about midday; they can either present themselves in uniform or in evening dress; they are ushered individually into the Pope’s cabinet by the Maestro di Camera. It is the etiquette that Protestants should show the same mark of respect to His Holiness as they do on being presented to their own sovereign, by kissing his hand. Roman Catholics will consider it to be their duty towards the head of their Church to kiss the Pope's foot or knee, or to make such an obeisance as to show they desire to do so. The mode of addressing His Holiness is, in Italian, Santita or Santo Padre ; in French, which the present Pope speaks fluently, Sainteté or Saint JPère. The presentation of ladies, except in the case of royal princesses or crowned heads, only takes place on Sundays, after the Pope's dinner-hour. They assemble in one of the halls of the Vatican, generally in the apartment which formerly contained the pictures, and can bring their children with them, as is generally dome to obtain the benediction of His Holiness; arranged in a line as at most continental pre- sentations. The Pope, accompanied by one of the Camerieri Segreti, or under- chamberlains, who introduces them, walks past each, addressing them kindly, and giving, when asked, his benediction, a highly-prized favour by all Roman Catholics, who generally avail themselves of the same oppor- tunity to have rosaries and crucifixes blessed. Ladies must appear in black dresses and veils, and be punctual at the place and hour appointed in the notification from the Maestro di Camera. It is usual to give a small gratuity to the messenger who conveys the latter document to the persons to be presented. . § 50. MUNICIPAL GOVERNMENT. Under this head in the Introduction to Part I. we have entered into all necessary details respecting the general administration of the Roman States ; it will therefore only be necessary here to say a few words on that of the pro- vince in which Rome is situated, and on the municipal institutions of the capital. The province of the Comarca of Rome contained, according to the last census, a Pop. of about 326,509, in- cluding that of the capital. It embraces the districts Tivoli, Subiaco, Palestrina, the towns of Frascati, Albano, and the Agro Romano, or the district more immediately surrounding the capital. The Comarca is governed by a presi- dent, always a cardinal, his authority only extending outside the walls of Rome, the city itself being under the direction of the municipal body and the director-general of police. The pre- sident of the Comarca is assisted by a council of men of property and family, appointed by the government. The present president of the Comarca is Cardinal Roberti. The municipal body of the capital consists of a senator (always belonging to one of the great patrician families), who is appointed by the Pope for 6 years, but may be continued, of 8 conservators (conservatori), and of 40 councillors. The conservators and councillors have been in the first in- stance named by the government, but are in future to be elected by their own body with the adjunction of 2 delegates O * xxviii I’ome. $ 51. POPULATION.—$ 52. Books ON ROME. from each of the Rioni or quarters of the city; their time of office is also for 6 years, but they can be re-elected, one half going out by rotation every 3rd year. The duties of the senator and his council are purely municipal, the police being in the hands of the Di- rector-General. By the new organiza- tion of the municipal body, one half of the conservators and councillors must be selected from the nobility and large proprietors, the other amongst the middle classes and the tradespeople. The mu- nicipality hold their meetings at the Capitol, the Guildhall or Hôtel de Ville of modern Rome. The police of Rome is entirely under the Director-General of Police, a high functionary, subordinate to the Minister of the Interior and the Secretary of State, and who has the prisons and inferior criminal courts in his attri- butions. Under him are the presi- dents of the Rioni, who are selected amongst the noble families; they must have received a legal education, and are charged with the surveillance of their different quarters: they enjoy also a jurisdiction in civil cases to the amount of 5 scudi ; but the secret and political police, as well as the pass- port department, are under the imme- diate superintendence of the Director. General, whose residence and offices are in the palace of Monte Citorio. § 51. The Population of Rome at the commencement of 1858 was 179,950 ex- clusive of strangers. It has been nearly stationary for the last 10 years; the highest point it ever reached in modern times being 180,200 in 1846. It was 153,000 in 1800, from which it decreased gradually until 1813, when it was only 117,900; from then to 1846 it has been constantly on the increase, when it reached 175,214. The average number of births in the last 10 years has been 5164, and of deaths 4791 ; showing that the increase in the population has arisen rather from immigration than natural causes. The number of priests and friars is about 4500, and of nuns 1900. The resident Jewish population was 4196, according to the official returns at the last census, who are still com- pelled to live in the Ghetto, or Jews' quarter—a barbarous system, only now to be met with in the states of the Church, although a relaxation of that rigid rule has been recently made, by allowing some of the most respectable to have shops and counting-houses be- yond the precincts of their filthy quarter. The streets of Rome are in general narrow, and paved with small pyra- midal masses of lava, quarried beyond the basilica of San Paolo, and near the tomb of Caecilia Metella, on the Via Appia: the Corso and the street lead- ing to St. Peter's are the only ones which have a foot-pavement on the sides. They were for the most part lighted with oil-lamps; but of late years the streets in the vicinity of the Piazza del Popolo, the Corso, and other principal thoroughfares, have been lighted with gas, as ultimately the entire city will be, thanks to an English company, who have erected very extensive works on the site of the Circus Maximus. Several of the main lines of streets are long and handsome, broken by frequent open spaces, or piazzas. The town is well drained by a network of sewers chiefly on lines of the ancient Cloacae. § 52. Books on Rome.—As no city bas had so many books written on its history, topography, arts, and institu- tions as Rome, it would be impossible to notice the thousandth part of them in a work like the present ; we must confine ourselves, therefore, to point out those chiefly of modern date which will be the most useful, in affording accurate information to our country- men who resort to the Eternal City on its monuments, antiquities, works of art, &c. We have, to the best of our ability, endeavoured to incorporate in the present volume all that will be re- quired by the great majority of visitors. Of the more modern monuments of Rome, the late Professor Nibby’s Roma Moderna, in 2 vols. 8vo, 1839,” will be found perhaps the most detailed and accurate description. It forms a suite to his more elaborate work, the Roma * Roma nell' Anno MDCCCXXXVIII., descritta da Antonio Nibby, 2 vols. 8vo, Roma, 1839-41. Parte ii. Moderna. - JRome. xxix § 52. BOOKS ON ROME. Antica. Both have been in some mea- sure reproduced in an English form by Mr. Donovan, a clergyman of the convent of SS. Apostoli, who has added details on various subjects, more parti- cularly connected with English history, and of interest to British travellers, and very useful information on Christian edifices and worship in early times.* On the Palaces of Rome, M. Leta- rouilly’s work, entitled Les Edifices de ſome Moderne, 3 vols. 4to., although left unfinished by its author, is the most complete work. Of the innumerable guide-books in Italian, French, and English, the greater number may be said to be more or less reproductions of that first published by Vasi, in the last century. We must ex- cept those, however, of Fea and Mel- chiorri, which have greater claims to originality, their authors having been men of learning and original research. The Roma e suoi Contorni of the latter author, of which a new edition has been recently edited by Signor Mercurj, is perhaps, for the information it contains, the best guide that has hitherto ap- peared, but the general arrangement is very defective.† Robello's Guide de Rome is one of the latest, but it is full of errors, and written in a disagree- ably pedantic style. Of Plattner's and Uhrlich’s abridgment of the Beschreibung we shall speak hereafter. The most re- cent work of this kind we have seen, Dr.Braun's Rambles through Rome, f form- ing the first part of his book entitled Ruins and Museums of Rome, and trans- lated by its author into English, is in a great measure a resumé of Canina's views on the ancient monuments, ar- ranged according to localities, and spread over five days’ excursions. The modern writers on the topo- graphy, monuments, &c., of ancient Rome may be classed under two heads —the Italians and the Germans. The latter, of the school of Niebuhr and Bunsen, have printed much on the subject, but in a spirit of opposition to all archaeologists who preceded them in the same branches of research. Amongst the Italians the great autho- rity of the present day is the late Commander Canina, the president of the Museum of the Capitol, and the most eminent among the Roman archae- ologists of modern times : he has illustrated the ancient monuments of the city in an admirable manner, uniting as he did the talents and in- formation of the antiquarian and Scho- lar with those of the architect, his more immediate profession. Of Ca- nina's works the most generally useful will be found his Indicazione Topo- grafica;* accompanied by a large map, it forms an admirable topographical guide to Rome as it stood during the Imperial period, and consequently to most of the antiquities still existing. This work is accompanied by a series of views of the monuments as they now exist, generally in ruins, with the same restored on the opposite page. A most useful complement to the Indicazione had been completed by its author before his death, and has just been published by his heirs, the Esposizione Topografica di Roma, nelle tre prime Epoche, and in which the description of the city during the ante-Roman, Kingly, and Consular periods is given, forming, with the Indicazione, which may be considered its continuation over the Imperial period, a complete topography of the capital of the Roman world. Per- sons who wish to obtain more detailed descriptions of these ancient edifices will do well to refer to the magnificent Roma Antica, 2 vols. fol., by the same author, which is accompanied by elaborate en- graved plans and topographical details of each edifice and locality. Indeed, the * Rome Ancient and Modern, by the Very Rev. Jeremiah Donovan, D.D. 4 vols., 8vo. Rome, 1842. + Guida Metodica di Roma, e suoi Contorni, dal March. G. Melchiorri. 1 vol. 12mo. Roma, 1856. # The Ruins and Museums of Rome, by Emil Braun. 1 Vol. 12mo. Brunswick, 1854. * Indicazione Topografica di Roma Antica, del Commendatore Luigi Canina. 1 vol. 8vo. Rome, 1850. † Esposizione Topografica di Roma_Antica, nelle tre prime Epoche, Anteromana, Reale, e Consolare, del Commendatore Luigi Canina. 1 vol. Svo. 1855. Published only in 1858. j. Gli Edifizj di Roma Antica e sua Campagna, divisa in due Sezioni. Sezione I., La Citta, 4 vols. folio. Sezione II., La Campagna, 2 vols. folio. Roma, 1855-56. XXX Rome. § 52. BOOKS ON ROME. Roma Antica may be said to have super- seded all the works that preceded it on the monuments of ancient Rome. The several works of Professor Nibby on ancient Rome are a mine of diligent and classical research. His Mure di Jºoma and Foro Romano will well re- pay a perusal. All his laborious re- searches were embodied, a short time before his death, in his Roma Antica.” Of works in the English language may be cited those of Messrs. Forsyth, Burgess, Burton, Sir G. Head, and Mr. Donovan, already referred to. A very able article on ancient Rome has been published in the 2nd vol. of Dr. W. Smith's Dictionary of An- cient Geography. It is written with great erudition, fairness, and talent ; and as it enters more fully than our space has permitted into questions of classical and topographical criticism, we can recommend it to our readers as a valuable archaeological supplement to this Handbook. The reader will derive much instruc- tion, conveyed in an elegant style, by the perusal of a series of articles en- titled “L’Histoire Romaine à Rome,” by M. Ampère, of the Académie Française, published in the Revue des Deux Mondes, founded on its monuments, which their talented author has made for many years, and on the spot, the object of his researches and study. The principal work of the German school is the Beschreibung von Stadt IRom, f commenced in 1828 and com- pleted in 1842, by Bunsen, Plattner, Rostell, Gehrard, Uhlrichs, &c., with a few contributions of an earlier date by Niebuhr. It forms an elaborate guide to the monuments of the ancient and modern city, by persons of learning, industry, and research long resident on the spot. The principal contributor in the archaeological department has been Chevalier Bunsen, formerly Prussian minister in England ; in the portion relative to the modern city, its palaces, churches, &c., Mr. Plattner. The mode in which the work was published, at long intervals between the volumes, and its consisting of a series of separate incompletely connected dissertations, render its perusal unsatisfactory, and detract from its merit as a guide; whilst its systematic opposition to all those who preceded in the study of the topography and determination of the monuments, in unsettling the mind of the visitor, takes away much of his interest in the sites of classical anti- Quity with which he is surrounded. The plates with which the Beschrei- Öung is accompanied are copied from Other works, and are too few for its illustration. No part of the environs of Rome are touched upon in the Beschrei- bung. Persons unacquainted with Ger- man will find a clear and impartial re- view of the views of the archaeologists of the Beschreibung in the article Rome of Dr. Smith’s Dictionary of Ancient Geography. An abridgment * of the Beschreibung was published in a single volume in 1844 by Plattner and Uhrlichs, and will be found to contain the most recent views of the German authors on Rome; it is in fact their handbook, and that used generally by their countrymen. A vast number of works have ap- peared on the museums and galleries of Rome. As regards statuary, the Museo Pio Clementino stands unrivalled. Dr. Braun, in the 2nd part of the work above referred to, has given a descrip- tion of the most remarkable specimens of ancient sculpture, both in the public and private collections. The author, in his notices, has perhaps aimed more at bringing forward his own peculiar views on ancient art, than conveying to his reader the artistic merits and his- tory of the objects noticed. Touching art in the abstract the author’s views are very German. Persons interested in the architecture of the more early Christian edifices of Rome will find excellent plans of all of them, with a copious explanatory text, in Canina's Tempi Christiani;f and of the Basilicas * Nibby, Roma nell’ Anno MDCCCXXXVIII. Parte i. Antica. 2 vols. 8vo. 1838-39. + Beschreibung von Stadt Rom. and Atlas. 1830 to 1842. 5 vols, Swo. * Beschreibung Roms ein Auszug aus der Be- schreibung der Stadt Rom, von Ernst Plattner und Ludwig Uhrlichs. J vol. 8vo. 1845. + Richerche sull'Architettura pur propria dei Tempi Christiani. 1 vol. fol. Roma, 1846. Jæome. xxxi § 53. MAPs OF ROME AND ENVIRONs. in particular in “Die Basiliken Chris- tichen Roms,” by Guttensohn and Knapp, 1 vol. fol., with an explanatory introduction by Bunsen. Fontana's work on the Churches of Rome con- tains a number of good outline illustra- tions and plans of the most remarkable Christian edifices in the modern city and its immediate vicinity, of the tombs and principal works of art contained in them, accompanied by a concise expla- natory text; it will prove a good illus- tration of the Ecclesiastical Monuments in the Capital of Christianity.* On the environs of Rome the most generally useful works will be found to be Nibby's Viaggi, and especially his more recent one, the Dânțorni di Roma, + 3 vols. 8vo., and Sir William Gell’s Topography of Rome and its Vici- nity. . In both works the localities are arranged alphabetically, with descrip- tious of their present state, their ancient remains, &c. In Nibby’s work these notices are much more detailed and better founded on personal observation, whilst there is more space devoted to the recent history of each place, its more modern monuments, &c. Both are ac- companied with very indifferent maps, which have been entirely superseded by the later accurate Austrian and French surveys. Commander Canina, who published at various times a series of notices on several of the more interesting sites in the environs of Rome, collected them together in a large work, a short time before his death—the Gli Edifizi Antichi dei Conformi di Roma,S which forms a suite to his Roma Antica, and embraces in its descriptions all the important sites of ancient Latium; those of Etruria, bordering on the latter, being given in his Etruria Maritima, In the present publication the several classical localities are arranged accord- * Raccolta delle Migliori Chiese di Roma e Suburbane, da Giacomo Fontana. 4 vols. fol. Romo, 1853. 56. + Amalisi Storico-Topografico-Antiquaria della Carta de' Dintorni di Roma, di A. Nibby, 3 vols. 8vo. Roma, 1848-49. † The Topography of Rome and its Vicinity, with Notes by Bunbury. I vol. 8vo. () Gli Edifizi Antichi dei Contorni di Roma, dal Com, Luigi Canina. 2 vols. fol. Roma, 1856. ing to the great highways issuing from the city, on or near which they are situated: they include the Via Appia, the sites on the Alban and Tusculan Hills, the Ports at the mouth of the Tiber, and the line of coast to Antium; Preneste, Gabii, Tivoli, and the valley of the Anio ; the whole accompanied by a large Map, in 6 sheets, of the Cam- pagna and its encircling mountains and valleys, and elaborate plans and resto- rations of all the ancient monuments still standing. $ 53. Maps of Rome and its Environs.— {{aving entered into some detail on the recent surveys executed about Rome, in the Introduction to the Handbook of Central /taly, we must refer our readers to what we have there stated, confining ourselves here to mentioning that, as re- gards the topographical details and phy- sical features of the country, the map, in 4 sheets, published in 1857 by the French Depôt de la Guerre, is the best ; and next to it that of the Austrian Government, forming a part of the general map of Central Italy. As re- gards the local and antiquarian details, Canina's Pianta Topografica, in 6 sheets, will be indispensable to the archaeolo- gical excursionist. Piale has recently published a general map of the Envi- rons of Rome, in one sheet, which will answer the purpose of most visit- ors. Of the modern city, the best is that published by Cuccioni, 18, Via Condotti, Pianta topografica, in 2 large sheets, and a reduction of the same, with additions, in 1 sheet, the most convenient pocket map for the traveller. Letarou- illy's map, in 1 sheet, is very good, and beautifully engraved. Piale's map of Rome is also good. Trojani's small one, published by Gallarini, will be conve- nient for the pocket, and it costs only 5 pauls. We have endeavoured to give to our readers in that annexed to this Handbook as good a plan as possible, founded on the most accurate and recent Surveys and on our own ob- servations, and to place on it every detail, both as regards the ancient and modern city, which visitors will re- quire, to render it unnecessary to burthen themselves with any other. xxxii JRome. § 54. MONEY, WEIGHTS, MEASUREs. Most of the above maps have the prim- cipal ancient edifices marked on them ; but for those who wish to study in detail the topography of ancient Rome Canina's maps will be indispensable —one, of the ancient portion of the city, in 15 sheets, upon which all the ruins, with the restoration of the edi- fices of which they formed a part, are marked; and another, in 4 sheets, of the entire city, with indications of the mo- dern streets and of all the ruins. The latter will serve most purposes of the classical traveller. Like all Canina's works, they may be pro- cured at Garofoli’s, the agent to his heirs, 75, Via del Babuino, or at Piale’s and Spithover's Libraries. For port- ability, the maps of ancient and modern Rome, published by the Society for the Diffusion of Useful Knowledge, will be useful; although, from the limited scale upon which they are con- structed, many interesting details and names of streets are necessarily omitted. The best work on the Physical Geo- graphy and Geology of Rome and its immediate environs is Brocchi’s ‘Suolo di Roma,’ 1 vol., in 8vo., accompanied by a good topographical and geological map of the space within the walls. The geologist will find, in the Museum of the Sapienza (see p. 270), an interesting collection of rocks and fossil organic re- mains, illustrative of Brocchi's descrip- tions, and made under the direction of that eminent naturalist. The Papal go- vernment is now engaged in having geological surveys made of its different provinces; those of the Comarca, Vi- terbo, and Civita Vecchia, have been nearly completed under the direction of Professor Ponzi; and our countryman Sir R. Murchison has published a very interesting paper on the geology of the Latian hills and of the surrounding Campagna. § 54. Table of Moneys, Weights, and . Measures, in use at Rome, showing their English Equivalents.-- RoNAN Coins. Gold. - £. s. d. Scudo = 10 pauls” = 0 4 3} Doppia of 2% scudi .. 0 10 8+ Gregorino of 5 scudi ... l l 4} Silver. Scudo * * . 0 4 3} Mezzo scudo .. . 0 2 l; Papetto, 2 pauls.. 0 0 10% Paul = 10 barocchi 0 0 5% Mezzo paolo.. . 0 0 2% Copper. 5 baiocchi piece ... O 0 23 1 ditto = 5 quattrini, a fraction above #d. Measures of Length. Roman foot = Eng. in. 111; Roman palm • * * * * * 8; Braccio of 4 palms ... 33% Ditto, used in measuring silk goods . . . . 27 Canna of 8 palm ... .. 66% Roman mile ... Eng. yds. 1628 Measures of Capacity. Barile of wine ... Eng. galls. 12.É. Barile of oil - * * * 12.3 . . . 14-T0 Bocale . . Eng. quarts liſh Measure for Land. The rubbio ... Imperial acres 44%, Weights. Roman pound = Eng. avdp. Oz. 13 Roman pound used in weigh- ing gold and silver, divided into 12 oz. or 288 denari Eng. Troy grs. 5187 Roman ounce - ... 4323; Denaro . 18 * At the average rate of exchange, 47 pauls for a pound Sterling. S E C T I O N I. DES C R IB TI O N OF R O M E. CONTENTS. Page Page § 1. General Topograpy . . 1 § 22. Piazzas . . . . . . 89 § 2. Rioni . . . . . . . 2 $ 23. Promenades, Public Walks, or § 3. Walls of Rome . . . . 5 Passeggiate . . . . . 9{ § 4. Gates . . . . . . . 5 § 24. Basilicas . . . . . . 91 § 5. Bridges . . . . . . 9 § 25. Churches . . . . . . . 124 § 6. Panoramic View of Rome 10 § 26. Palaces and Museums . . 172 § 7. The Seven Hills . . . . . 12 § 27. Historical Houses . . . 206 § S. General Review of the Ruins 13 § 28. Artists' Studios . . 267 § 9. Forums . . . . . 20 $ 29. Colleges and Academies 270 § 10. Ancient Palaces . . . . 26 $ 30. Hospitals and Charitable In- § 11. Temples . . . . . . 30 stitutions . . . .276 § 12. Theatres and Amphitheatres 42 § 31. Protestant Burial-ground . 280 § 13. Columns . . . . . . 49 § 32. Climate . . . . 281 § 14. Arches . . . . . . 52 § 33. Geology of the Country about § 15. Baths . . . . . . . . . . . 55 Rome . . . . 285 § 16. Tombs and Columbaria . . 61 § 34. Villas . . . . . . . .291 § 17. Aqueducts . . . . . 74 $ 3.5. Catacºmbs . . . . . . . . . 303 § 18, Miscellaneous. . . . . 76 § 36. Plan for visiting the Sights § 19. Obelisks . . . . . . 82 of Rome in 8 days, accord- § 20. Buildings of the Middle Ages 85 ing to Local Arrangement 313 § 21. Fountains . . . . . . $7 § 1. GENERAL TOPOGRAPHY. ičo ME is situated in the plain of the Campagna, that undulating tract which lies between the Sabine Apennines and the Ciminian range of hills on the N., and the low flat country extending along the shores of the Mediterranean on the W. Its geo- graphical position, at the Observa- tory of the Collegio Romano, is lat. 41° 53/ 52” N., long. 12° 28′ 40' E. ; and its height above the Sea on the mean level of the Tiber under the AElian Bridge, 20 ft. It is 13 geog, m. distant in a straight line from the nearest point of the sea-coast. The modern [Rome.] city is built in the plain which lies on each bank of the Tiber, and on the slopes of the 7 hills which formed the well-known features in the topography of ancient Rome. The height of these hills, within the circuit of the present walls, varies from 120 to 180 ft. above the river. The Tiber divides the city into 2 very unequal portions, traversing it from N. to S. in an irregular winding course of not less than 3 m. On the 1. bank, the Pincian, Quirimal, Viminal, and Capitoline hills form a kind of amphitheatre, enclosing the irregular plaim of the ameient Campus Martius. This area includes the principal portion of the modern city, the seat of trade and IB 4-/ *) O RION I. Jēome. * * § commerce, and contains the great bulk of the population. It is traversed by the Corso, the main street of Rome, about l m. in length, beginning at the Porta del Popolo on the N., and terminating at the Piazza di Venezia, at the northern foot of the Capitoline hill. To the S. and E. of this district are the Palatine, the Aventine, the Esquiline, and the Caelian hills, which, though included within the walls, are almost uninhabited. Their irregular surface is covered with vineyards or gardens, and presents scarcely any other habitations save a few convents and villas. The Corso, which, in its N. portion, follows the line of the ancient Via Flaminia, and nearer the Capitol of the Via Lata, divides the prin- cipal district of modern Rome into 2 parts; that on the E. is built chiefly on the slopes and at the base of the Pincian and the Quirinal, and on part of the plateau which unites these hills towards the E. with the Viminal and the Esqui- line. This is the quarter where foreign visitors chiefly reside ; it contains the best streets and the most modern houses, and is one of the healthiest parts of the city. The higher portion of it is inter- sected by 2 long streets: one of these, the Via di Porta Pia, nearly 1 m. in length, leads from the gate of that name, at the N.E. angle of the city, to the Quirinal Palace; the other in a straight line from the Trinità de' Monti, on the Pincian, to the Basilicas of Santa Maria Maggiore and of Santa Croce, crossing successively the Qui- Final, Viminal, and Esquiline hills, and the valleys that separate them. On the rt. bank of the Tiber is the narrow level which contains the 2 districts of the Borgo and Tras- tevere. It is bounded on the W. by a ridge of hills about 13 m. in length from N. to S. The principal eminences of this ridge within the walls are the Vatican, which preserves its ancient name, and the Janiculum. Beyond the walls the picturesque Monte Mario, with its villas and cypress plantations, may be considered the extremity of this elevated ridge on the N., and the Monte Verde outside the Porta Portese on the S. The Trastevere and the Borgo are built by Sixtus V. in the level space between the Tiber and the declivity of the Janicule. § 2. DIVISION of Roni E INTo QUARTERS OR l; los I. The Rome of the middle ages, which rose from the ruins of the ancient city, had nearly disappeared at the beginning of the 16th century ; and Scarcely any part of the present city is older than the time of Sixtus V., who first began to rebuild it in the form in which we now see it. It is divided into 14 Rioni or quarters, a name derived from the ancient Regiones ; 12 of which are on the 1., and 2 on the rt. bank of the Tiber. They are irregular in their boundaries and outline, having been defined more in accordance with the modern population than with the matural configuration of the ground ; they are consequently very numerous in the mo- dern city, which comprises 10 within its circuit, while the more extensive area of the ancient has only 3. From this it will be seem that they have no kind of correspondence, although agreeing in number, with the Regions into which Rome was divided in the time of Augus- tus. In the middle ages the Rioni had their captains, their councils, and their trained bands; but though they still retain their banners, and carry them in the great processions, their municipal jurisdiction has merged in the Presi- denti de' Rioni, who are magistrates and members of the Tribunale del Campi- doglio, the civil and police court over which the Senator of Rome presides. Of the l l Rioni which the modern city includes, the 2 most northern are intersected by the Corso ; the third spreads over the Quirinal from the Corso to the N.E. angle of the walls; united by the street of the Lungara, 6 lie between the lower half of the Sect. T. § 2. RION I. 3 Corso and the Tiber; and 2 are situated on the 1ſt. bank of the river. A rapid survey of these districts will enable us to pass in review the localities of many interesting objects. 1. The Rione Campo JMarzo begins at the Porto del Popolo, embracing all the northern angle of the city from the Pincian to the river behind the little Piazza Nicosia. About a third of the Corso, at its northern end, lies within the district. On the E. of the Corso it includes the pleasure-grounds on the Pincian, the Villa Medici, the Trinità de' Monti, the Piazza Mignanelli, Piazza di Spagna, the Via del Babuimo, and the Piazza del Popolo. Between the Corso and the river it contains the mausoleum of Augustus, the Hospital of S. Giacomo and Ch. of S. Carlo, the quay called the Porto di Ripetta, the Borghese and the Ruspoli palaces. 2. The Rione Colonna extends along the depression between the Pincian and the Quirinal, from the city walls on the N.E. nearly to the Pali- theon, crossing the Corso, and including its central portion. jects in this district, on the E. of the Corso, are the Ludovisi Gardens, the Porta Pinciana, and the ch. and con- vents of the Capuchins and of S. Isi- doro. W. Gºf the Corso are the Piazza Colonna, with the Antonine column ; the Chigi and Piombino palaces; Monte Citorio, with the palace of the Curia Innocentiana; the Temple of Neptune, now the Custom-house, in the Piazza di Pietra; and the Capranica. Theatre. 3. The Tione Trevé extends from the N.E. walls between the Porta Salara and Porta Pia to the Corso, which forms its boun- dary on the W. On the S.E. it is bounded by the long street of the Porta Pia. It includes the gardens of Sallust and the Villa Rignano Massimo, the Pope’s palace on the Quirimal, and the Pal. Barberini, the Colonna Palace aud gardens, the Piazza of the SS. Apostoli, the Piazza della Pilotta, and the fountain of Trevi, from which it derives its mame. 4. The Rione Pignº joins the former at the Corso, and extends westward over the Campus Martius. It includes the Collegio Romano, and ch. of S. Ignazio, the Pantheon, the Piazza and Ch. of the Minerva, the Bonaparte, Doria, and Altieri palaces, the Ch. of Gesu, The principal ob- the Piazza and Palazzo di Venezia. 5. The Rione S. Eustachio, a long strip in the heart of the Campus Martius, lies along the western side of the former district. It includes the ch. from which it derives its name, the University of la Sapienza, the Post and Diligence offices in the Pal. Madama, the Valle and Argentina theatres, and the churches of S. Agostino, S. Andrea della Valle, S. Luigi dei Francesi, and S. Carlo ai Catinari. 6. The Rione Pontc, another unattractive part of the city, encloses the angle formed by the bend of the Tiber below the castle of St. Angelo. It in- cludes the Apollo Theatre and the Piazza del Ponte leading to the Bridge of St. An- gelo, and the churches of S. M. della Pace, dell'Anima, and S.Gio.di Fiorentini. 7. The Rione Patrione, situated between the two former districts in the heart of the city, comprises the Piazza Navona (the site of the Circus Agonalis), the Palazzo della Cancellaria, the Piazzas Sforza and of the Campo di Fiore, the Massimi and Braschi palaces, the churches of Santa Maria in Vallicella and of S. Lorenzo in Damasso, and the site of the Theatre of Pompey. 8. The liione I'egoid lies along the bank of the river opposite to the upper half of the Trastevere. It includes the Farnese and the Spada palaces, and the English College. The Ponte Sisto, the ancient Pons Janiculensis, crosses the river from its centre. The fine street formed by the Via del Fontanone and the Via Giulia, nearly # m. in length, rums parallel to the Tiber through a great part of this Rione and that of Ponte, extending from the Ponte Sisto to near the bridge of St. Angelo; the ruins of the Theatre of Balbus are situated at its S. E. extremity. 9. The Rione S. Angelo, a small district between the Pigma and the river, lies at the back of the Capitol, and opposite the island of the Tiber. It is a low and dirty quarter; the principal ob- jects of interest in it are the ruins of the Theatre of Marcellus and of the Portico of Octavia, the Orsini Palace, and the Ch. of S. Niccolò in Carcere, on the site of the temples of Juno Matuta, Hope, and Piety. Partly in this region and partly in that of Regola is the Ghetto, the quar- ter of the Jews. The Pons Fabricius, IR 2 4. § 2. RION I. Rome. now the Ponte de Quattro Capi, crosses from this quarter to the island of the Tiber. I 0. The Tºastevere lies between the Jamiculum and the Tiber, and extends along the rt. bank of the river, from the Hospital of Santo Spirito on the N., to the Porta Portese at the extremity of the city walls on the S. It includes at this southern angle the quay or port of the Ripa Grande and the vast hospital and prison of San Michele. The central portion of this Rione covers the site of the Regio Transtiber- ina; and the Ch. of S. Pietro in Montorio occupies a part of the site of the Arx Janiculensis of the kingly period. The most interesting objects in this Rione are the Farmesina, Salviati, and Corsini palaces, the Botanic Garden, the Churches of S. Onofrio, S. Pietro in Montorio, S. Giovanni Crysogomo, Sta. Maria in Trastevere, and Sta. Caecilia, the Fountain of the Acqua Paola, the Benedictine Convent of S. Calisto, the Convent of S. Francesco a Ripa, and the villas Barberini, Spada and Lante. The whole district is inhabited by a peculiar, and in many respects a distinct race ; their language, their customs, their fine physical characteristics, and their spirit of haughty seclusion, which refuses to mix or intermarry with the inhabitants of the other quarters of the city, give great interest to the tradition that they are of the purest blood of the ancient Romans. The Trastevere is separated by high walls from the Borgo, with which it com- municates by the gate of Santo Spi- rito. 1 1. The Borgo, or the Città, Leo- nina, was founded in the ninth century by Leo. IV., who enclosed it within walls to protect it from the attacks of the Moorish pirates. It is the northern district of Rome on the rt. bank of the river. It includes the Castle of St. Angelo, the Hospital of Santo Spirito, the Vatican Palace and gardens, and the Basilica of St. Peter's. It was the district inhabited by the Anglo-Saxon pilgrims in the early ages of the Church. Besides the leading objects of interest already mentioned, the district contains the Giraud Palace, built by Bramante, and interesting to British travellers as the residence of the ambassadors of England prior to the Reformation. These eleven Rioni comprehend the largest and most important portion of modern Rome. The three remaining include the ancient city. 12. The Rione Monti, by far the largest in extent of all these divisions, is inhabited also by a pe- culiar class, who pride themselves on their descent from the ancient Romans. This large district commences at the Porta Pia, and extends along the whole line of the city wall as far as the Porta Metronia, skirting the Coliseum and the Capitol on the W., and embracing the Viminal, the Esquiline, and part of the Caelian hills. It includes within this extensive area the Praetorian camp, the Baths of Diocletian and of Titus, the Forum of Trajan, the Baths of Paulus AEmilius, the so-called Temple of Minerva Medica, the fountain and reser- voir called the Trophies of Marius, the Amphitheatrum Castrense, the 3 Basi- licas of Sta. Croce in Gerusalemme, St. John Lateran, and Sta. Maria Maggiore; the churches of S. Martino ai Monte, S. Clemente, S. Pietro in Vincoli, and Sta. Francesca Romana; the Rospigliosi Pa- lace; the half-deserted Massimi, Negroni, Altieri, and Strozzi villas; and the whole E. side of the Forum Romanum. 13. The Rione Campitelli, on the S.E. of the city, extends from the northern flanks of the Capitoline hill to the gate of St.Sebastian. It comprehends the most interesting portion of ancient Rome, including within its boundaries the Capitol, a part of the Forum, the Coliseum, the Palatine, with the Palace of the Caesars. We find also in this district the Pas- sionist Convent of SS. Giovanni e Paolo on the Caelian, the Church and Convent of S. Gregorio, the Villa Mattei ; near its extreme angle stood the Porta Ca- pena, the commencement of the Appian Way, and beyond it the Tomb of the Scipios. 14. The Rione ſlipa, the last of the modern districts, embraces all the southern quarter of Rome between the Caelian and the river, including the Aventine and Monte Testaccio, the holiday resort of the modern citizens, and the island of S. Bartolommeo. This island, celebrated for the Temple of AEsculapius, and well known to clas- Sect. I. 5 § 3. WALLS.–$ 4. GATEs. º sical readers as the “Ship of the Tiber,” is about 1100 ft. long and 330 ft. wide in its broadest part. It contains the churches of S. Bartolommeo and of S. Giovanni Calabita. The Pons Gra- tianus or Cestius crosses from its south- erm side to the Trastevere. The objects of most interest in the Rione Ripa are the Temples of Fortuna Virilis and of Vesta in the Bocca della Verita, the Arch of Janus, the Cloaca Maxima, the Circus Maximus, the ruined Emilian or Senatorial Bridge now the Ponte Totto, the Baths of Caracalla, the Pyramid of Caius Cestius, the Protestant burial- ground, and the churches of Sta. Maria in Cosmedin, Sta. Sabina, S. Alessio, Sta. Saba, Sta. Prisca, and Sta. Anas- tasia; and all the 1. bank of the Tiber from the Ponte Rotto downwards. § 3. THE WALLs. The Walls of Rome, including those of the Trastevere and the Vatican, are from 12 to 13 m. in circuit. The length of that portion which encom- passes the city on the 1. bank of the Tiber is about 8 m. ; the length of the more recent walls which bound the dis- trict beyond the river is very nearly 4 m. The walls on the l. bank are the same as those commenced by Aurelian in A.D. 271, and completed in the reign of Probus. They were repaired by Honorius, Theodorie, Belisarius, and Narses, and by several popes; many of these restorations were obviously made in a hurried manner and for temporary purposes; hence so many varieties of masonry are visible that it is often difficult to decide to what period their construction severally be- longs. The last general repairs were made in 1749 by Benedict XIV., who rebuilt the parts of the walls which had become dilapidated, and repaired all the gates. The walls throughout their entire circuit on the 1. bank pre- sent an irregular polygonal outline ; they are built generally of brick, with occasional patches of Stonework ; at some points there are spaces of the opus reticulºſtum of the best imperial times (the Muro Torto, near the Porta del Popolo). They have no ditch, but are crested with nearly 300 towers; on the outside they are about 50 ft. in height; on the inner face, where they are strengthened by numerous but- tresses, the accumulation of soil is so considerable that they seldom rise so high as 30 ft. from the ground. There are 20 gates belonging to the modern city, but 7 of them are now walled up. In taking a general Survey of these gates, commencing from the Porta del Popolo, we shall notice such peculiari- ties of the walls as are worthy of obser- vation. This will bring the whole sub- jeet into one view, and prevent repeti- tlOn. § 4. GATES. 1. Porta del Popolo; erected in 1561 by Vignola, from the designs of Mi- chel Angelo. The ancient Porta Fla- minia, which supplied the materials for this gate, and by which the Flami- nian Way entered the city, was situated a little higher up, mearer to the mass opus reticulatum called the Muro Torto. This very curious fragment is well known from the description of Proco- pius: he says that the wall had been rent for some time from top to bottom, that it was so inclined that Belisarius wanted to pull it down and rebuild it, but the people would not allow it to be removed, stating that it was under the protection of St. Peter. The Goths, 6 § 4. GATES. Rome. he adds, never attacked it, which made the people regard the spot with so much veneration that no one has ever at- tempted to rebuild it. This descrip- tion applies so perfectly at the present day that it leaves nothing for us to add, except that the wall, which is about 40 ft. in length, is considerably out of the perpendicular, and that anti- quaries consider it to be as old as the time of the early Caesars. Some writers have endeavoured to connect the Muro Torto with the tomb of Nero, but there are not the slightest grounds for the conjecture. It is true that the tomb of the Domitian family, in which the ashes of Nero were deposited, was situated on the Pincian, near the Fla- minian Way, and was visible from the Campus Martius. Its site therefore may safely be placed on the western slopes of the modern gardens, not far from the Porta del Popolo; but not a vestige remains to enable us to identify the spot. Between this and the next gateway we begin to meet with some walls, after passing the 19th tower from the Porta del Popolo, which exhibit masonry of the period of Honovius. As we advance we shall meet with every variety of construc- tion, from the compact brickwork which would have been worthy of the best times of Rome, to the rude repairs of Belisarius and the patchwork re- storations of the middle ages and the popes. 2. Porta Pinciuna, a stone gate- way, flanked by 2 round towers, men- tioned by Procopius, and supposed to have been built by Belisarius, who had his camp on the Pincian during the siege by Vitiges: it was of secondary import- ance, as no great road entered Rome by it. It is now walled up, but it is interesting as the spot where tradi- tion places the scene of the degrada- tion of Belisarius. If there be any truth in this story, now generally set down as a fable, the great general sat here and begged of the people, “Date obolum Belisario,” as they passed the gates through which he had so often led his troops in triumph. The aque- duct of the Acqua Vergine, 12 m. in Jength, which supplies the fountain of o Trevi, enters the city at this point. 3. # walls at the N.E. angle of the city. over it. Portºt Sºlarct, with 2 round towers in brickwork, built at a short distance beyond the site of the Porta Salaria of the Servian wall, so called from the road by which the Sabines exported their supplies of salt. It is memorable as the gate by which Alaric entered Rome. 4. Portcº Pict : it derives its name from Pius IV., who rebuilt it 1564, from the designs of Michel Alngelo, and left it unfinished at his death; it has been lately completed after the original design. The Porta Nomen- tama, which it replaced, was some dis- tance farther on. At a short distance on the rt. from the angle where the streets which enter the city by this gate and Porta Salara join, once stood the famous Portº Collinº of the walls of Servius Tullius. The well-known reconnoissance of Hannibal, when, according to Livy, he threw a spear over the walls, took place on this side, and, if he had attacked Rome, it is probable it would have been by this gate. Beyond the ancient gate, built by Honorius, was situated the Praetorian camp of Tiberius, whose qua- drangular enclosure projects beyond the It is clear that Honorius included this celebrated retrenchment in his line of walls; 3 of its sides were left standing when Constantine dismantled it, and thus afforded peculiar facilities for the new works. On examining its walls, the rude stonework hastily put together by Belisarius may easily be recognised. Its gateways, which formerly opened on this side, but were closed by Homo- rius, may also be traced. Near the southern angle, the Porta Chiusa repre- sents the Porta Piminalis of the Aure- lian wall; as its name signifies, it is uow walled up. 6. Porta S. Lorenzo, with 2 towers, the ancient Porta Tiburtina, erected in 402, during the reign of Arca- dius and Honorius, by the advice of Sti- licho, and formed by one of the arches of the united Marcian, Julian, and Tepulan aqueducts, as stated in the inscriptions This gate opens on the road to Tivoli. The walls between this and the Porta Maggiore are built on the line of the 3 before-mentioned aque- ducts. On approaching the Porta Mag- giore we see the subterranean canal Sect. I. § A. 7 - *- : * GATES. which carried into the city the waters of the Anio Vetus. 7. I’ort& JJuggiore, a noble arch of travertime, the finest gate in Rome, formed by 2 arches of the Claudian aqueduct. It formerly included the arches over the Porta Dabicanſ, and Porta Praºmestina, both of which were greatly disfigured and concealed by the constructions of the time of Honorius; the Porta Labicana was closed, and the Porta Praenestina was known as the Porta Maggiore. The removal of the more recent constructions between these 2 gates has been amply repaid by the discovery of the tomb of the baker Eurysaces, which is described under the Antiquities (p. 62). The appearance of the fine façade of this gateway, which now shows us the beautiful pro- portions of its 2 arches and 3 piers, is extremely imposing. The circumstance of the Claudian aqueduct being carried over it explains the existence of this very splendid monument. There are 3 inscriptions on it: one recording that the emperor Tiberius Claudius brought into the city the aqueduct which bears his name; the 2nd relating to the restora- tions by Vespasian ; and the 3rd to those by Titus. In the attic are the channels for the water, the lower one being that of the Aqua Claudia, and the upper the stream called the Amio Novus. We see also at this point, built into the wall, the flank of an arch of peperino, in which may be recognised the 3 chan- nels of the Marcian, Tepulam, and Ju- lian aqueducts; the Marcian being the lowest and the Julian the highest. Close by has been likewise traced the subter- ranean course of the Amio Vetus. The remains of the gate of Honorius, which was removed, have been preserved and placed on a wall outside the Porta Maggiore, meat the entrance to the sta- tion of the Frascati and Albano Rail- way. The roads which pass out of the city here lead (on the rt.) to Colonna, Valmontone, &c., which is the high road to Naples by Frosimone and Sam Ger- mano, and (on the 1.) to Gabii and Prae- neste, with an embranchment to Lun- ghezza and the Alban colony of Col- latia. The walls beyond this gate follow the line of the Claudian aque- duct for a short distance, and then pass under the arches of the Acqua Felice of Sixtus V. Farther on they pass behind the Basilica of Santa Croce in Gerusalemme, and skirt the outer wall of the Amphitheatrum Castrense, which was also included by Honorius im his line of fortifications. 9. Porta Sun Giovanni, entirely modern, built by Gregory XIII. in the 16th century. Adjoining this gate is the ancient Porta Asinaria, the best pre- served of all the gates of the Aurelian wall, flanked by 2 round brick towers, which is supposed to have derived its name from the Asinia family, who opened the road leading from it. It is now walled up, and is a very pic- turesque ruin, and memorable as the gate through which Belisarius first en- tered Rome. It was also by it that Totila gained admission, having ob- tained possession of it by the treachery of the Isaurians. The gate of S. Gio- vanni is well known to travellers; the high road to Naples by Albano and the Pontine Marshes passes out of it. A short way beyond this gate the Aqua Crabra, the ancient Maranna, is crossed, and enters the city under a gateway, now walled up, called the (10) Porta Metronią. 1 1. Porta Latinºt, also closed. It has 2 round brick towers, with a groove for a portcullis. The Christian monogram on the keystone has led to the supposition that it was repaired by Belisarius. The Church tradition relates that St. John the Evangelist suf- fered martyrdom within this gate, by being thrown into a caldron of boiling oil, where the circular chapel of S. Giovanni in Oleo now stands. 12. Portº San Sebastictno, the Porta Appiº of the Aurelian Wall, with 2 fine semicircular towers of brickwork rest- ing on substructions of white marble blocks, probably taken from the tombs on the Appian. This gate is well known from its vicinity to the arch of Drusus and the tomb of the Sci- pios; it is a good specimen of the Aurelian construction. Under the arch is a curious Gothic inscription re- lating to the repulse of some invading force, which has given rise to much speculation among antiquaries. The site of the ancient Porta Capema, where 8 § 4. I'ome. GATES. the Appian Way commenced, is 1500 yds. within this gate, between the Via di S. Gregorio and the Baths of Caracalla; the arch of Drusus, the tomb of the Scipios, and the several Columbaria between it and the modern gate, having stood outside the more ancient one of the Tullian circumvallation. Between this gate and the Potta di S. Paolo are the fortifications constructed by Paul III. in the 16th centy., from the de- signs of Sangallo. 13. Portº Sºtn Paolo, rebuilt by Belisarius on the site of the Porta Ostiensis ; a double gate, one of the most picturesque of all the modern entrances to Rome. The immer portion is probably anterior to the time of Belisarius. It is remarkable as the scene of Totila’s second entrance into Rome. The pyramid of Caius Cestius, like all the ancient tombs outside the walls, formerly on the Via Ostiensis, is here included in those of Honorius, which proceed towards the Tiber, round the base of Monte Testaccio, as- cending the I. bank of the river for a short distance, when they are no longer traceable. On the rt. bank of the Tiber the walls present altogether a more modern aspect; the greater part were constructed by Innocent X. and Urban VIII., and are flanked with regular bastions. Within their circuit, particularly behind S. Pietro in Mon- torio, descending to the Trastevere, may be still traced the wall of Aurelian and Honorius, with its towers and ramparts converging to the Porta Aurelia. The following are the gates of the Trans- tiberine district:—14. I’oriuſ Portese, built by Urban VIII., half-way between the Wall of Servius and the P. Por- # tensis of Aurelian, on the road to Fiumicino, the present port of the Ti- ber. 15. Porta San Pancrazio, on the Jamiculum, the Portri Aureliº. The grounds of the Villa Pamfili Doria lie to the westward. The Acqua Paola, the ancient Alsietina, enters the Traste- vere at this point. It was upon the bas- tions to the rt. or S. of this gate that the French besieging army under General Oudinot, in 1849, directed their prin- cipal attack. It was here, also, that they succeeded in making a practicable breach, after hundreds of men had perished on both sides, and all the horrors of war had been lavished with- out restraint. Every spot in the neigh- bourhood is intimately associated with the events of that memorable siege, for here only were its effects felt by the be- sieged, and here especially did the Ro- mans exert their whole means of defence with a determined courage and bravery which no differences of political opinion can refuse to acknowledge and admire. Wherever we turn, from the walls of Sam Pancrazio to the Fontana Paolina and the Ch. of Sam Pietro on the one hand, or to the frequent mounds which mark the successive approaches of the besiegers and the graves of the killed On both sides, we find traces of the awful devastation which followed the pro- longed resistance of the Romans at this point. The existence of a considerable portion of the Aurelian wall within the circuit of the bastioned line of the popes gave the besieged great advantage in this struggle; for as that ancient wall is built chiefly of brick, is more than 4 yards in thickness and from 10 to 12 yards in height, and, mereover, is flanked with towers, it formed a real fortress within the outer wall upon which the French had first to direct their fire. It is due to the honour of the French army to add that, in selecting this gate and the advanced point of the Janiculum for their attack, they were guided by the consideration that from no other spot could their operations be carried on with so little injury to the monuments of the Eternal City. 16. Porta Cavalleſ|ſſieri, near to St. Peter's, on the post-road to Civita Vec- chia, said to be from the designs of Sangallo. It derives its name from a cavalry barrack close by. 17. Portº, Fºdbrictſ, near the former, now walled up. 18. J'ortº Perfusºt, also walled up, in the gardens of the Vatican. It was close to this gate that the French army suffered a most severe repulse in their first approach to Rome in 1849. 19. Porta Angelica, built by Pius IV. on the N. side of St. Peter's, leading to Monte Mario. 20. Portº Cºstello, on the mea- dows behind the Castle of St. Angelo. Sect. I. 9 § 5. BRIDGES. § 5. BRIDGES. Of the bridges of ancient Rome five only are now in use. The remains of the others are still visible, and there is no doubt either as to their names or their position. Beginning with the most northern, and proceeding down the river, we have— 1. Ponte S. Angelo, the ancient Pons AElius, so called from one of the names of the Emperor Hadrian, by whom it was built. This noble bridge crosses the Tiber immediately opposite the Castle of S. Angelo. The whole of it is ancient, with the exception of Some restorations of stone-work and the parapets. Medals of Hadrian repre- sent the bridge as we now see it, with three large arches of equal size in the centre, and smaller ones on each side ; and a dedicatory inscription to the same emperor formerly existed on it, stating it to have been erected in his 3rd consulate. It was constructed by Hadrian to afford the means of reach- ing his mausoleum. In the middle ages it was covered with booths or shops, by which the passage was so much contracted, that the pressure of the crowd during the jubilee of 1450 caused the death of 200 people. In colise- quence of this accident, the booths were removed and the bridge restored to its original form. In 1530 Clement VII. erected at the extremity the statues of St. Peter and St. Paul. In 1688 Clement IX. built the present parapet, and added the 10 angels which stand upon the piers. The one which bears the cross is by Bernini, the others are by his scholars. 2. Pons Triumphalis or Artrelii, or the P. Vaticanus; it was the longest of all the bridges, and supposed to have been built by Nero. It led from the Campus Martius to the Via Triumphalis, which rose over Monte Mario. From a pas- sage in Prudentius it would appear to have been entire in the early part of the 5th centy. Some portions of its piers are still visible, when the river is low, about 300 paces below the bridge of St. Angelo. 3. Ponte Sisto, rebuilt in 1474 by Sixtus IV. on the ruins of the Pons Jani- culensis, connecting the city with the quarter of Trastevere. There is reason to believe it was erected by Probus, the son-in-law of Sept. Severus, in the reign of Caracalla and Geta. It has 4 arches. 4. Potte di Quattro Capi, connecting the city with the island of the Tiber, so called from the four-headed Janus which stand on the piers. It is the an- cient Pons Fºtbricius, built by Fabricius the Curator Viarum, A.U.C. 708–723. It is mentioned by Horace as the spot fe • 7 e - from which Damasippus would have leaped into the Tiber, but for the pre- cepts of Stertinius — “ Unde ego ruira Descripsi docilis praecepta haºc, tempore quo me Solatus jussit sapientem pascere barbalm Atque a Fabricio non tristem pºnte reverti.” IIOR. Sat. ii. 3. It has 2 large arches, with a smaller one in the centre of the pier between them. It retains more of its ancient architecture than any other of the Ro- man bridges except that of St. Angelo. It formerly had the following inscrip- tion, but a part only is now legible – I,. FABRICIUS C. F. C.W. R. VIAR. FACLV N- DVMI, COERAVIT. E. I.D.E.Mº PROBAVIT. Q. LEPIDV S A.I. F. M. LOLLIVS MI. F. COS. EX. S. C. PROTRAVERVNT. 5. Ponte S. Partolonmeo connects the island of the Tiber with the Trastevere. It is the ancient Pows Cestints or Gra- tiants. The name of its founder is un- known, but is supposed to have been Lucius Cestius, during his government of Rome in the reign of Augustus, whilst the Emperor was absent in Spain, in A.U.C. 708. Two long inscriptions B 3 10 Rome. § 6. PANORAMIC VIEW OF ROME. on the parapets show that it was re- stored A.D. 367 by the Emperors Valem- tinian, Valens, and Gratian. It consists of 1 large central arch and a smaller one on each side. 6. Ponte Rotto, on the site of the Pons Jºnilius, called in later times P. Sena- torius and Lapideus. The ancient bridge was begun by M. Aemilius Lepidus and Marcus Fulvius Nobilior, A.U.C. 573, and finished by P. Scipio Africanus and L. Mummius, the censors, A.U.C. 611. It is represented on medals of the AEmilian family. From it the body of the monster Heliogabalus was cast into the Tiber. We know nothing of its subsequent history until We find it memtioned in the middle ages under the name of P. di Santa Maria. In the 13th century it fell down, and was rebuilt by Honorius III. It was restored by Julius III. in 1554, and again by Gregory XIII. in 1575. In 1598 all that portion on the 1. bank of the river was carried away. Two arches were thus lost, and no at- tempt has since been made to restore them. The part remaining (of the time of Julius III.) consists of 3 arches on the side next the Traste- were, with 2 smaller ones in the piers that separate them, through which the water only runs when the river is much flooded. The ruined and broken state of this fragment sufficiently ex- plains the modern name. . It is best seen from the bank of the river, a little above the Temple of Vesta. A sus- pension bridge has been carried from the extremity of the ruined arches to the opposite side of the Tiber, near the Temple of Fortuna Virilis, using what remained of the ruined edifice as its W. pier. 7. Pons Sublicius, a name derived from the beams of which it was constructed, the oldest and most celebrated of all the Roman bridges. It was first erected by Ancus Martius (A.U.C. 14). It was upon this bridge that Horatius Cocles withstood the army of Porsena till the Romans had succeeded in breaking it This act of heroism down behind him. made it so sacred, that it could never afterwards be repaired without the samction of the pontiffs. It suffered frequently from inundations, and was restored by Tiberius and Antoninus Pius, still built of wood, but upon stone piers. A coin of the latter en- peror represents this bridge as a broken arch. In the reign of Adrian I., in 780, it was entirely destroyed by a flood. In the 15th century the stones of the piers were removed to make cannon-balls, and the only traces of the bridge now left are their founda- tions, which may be seem, when the waters are low, a short distance higher up the river than the hospital of San Michele and quay of the Ripa Grande. § 6. PANORAMIC VIEW OF Ronſº. Whoever would enter on the study of the ancient monuments of Rome will find it useful, before he com- mences the examination of particular ruins, to make himself acquainted with their relative position, and classify them in such a manner as will enable him to understand their history, and, above all, to make him- self familiar, mot only with the topo- graphy of Rome itself, but of the classical region in the midst of which it is situated. There is no spot so peculiarly adapted for this purpose as the Tower of the Capitol, from its height and central position; and we advise therefore most strongly the traveller who is desirous to understand the antiquities, to study them with the least difficulty to himself, and to avoid the vexation arising from a constant recurrence to authorities, to proceed, in the first instance, to the Capitol, with a map of the city and of the environs of Rome in his hand. Sect. I. 11 § 6. PANORAMIC VIEW OF ROME. An hour devoted to this will give him a more complete idea of an- cient Rome than days spent in the ordinary mode of investigation; and the information obtained in regard to the surrounding country will mate- rially assist him in his future excur- sions beyond the walls. Independently of these advantages, there is no scene in the world more impressive or mag- nificent than that commanded from this elevated spot. It is not inferior in historical interest to the glorious pano- rama from the Acropolis of Athens, while it surpasses it in those higher associations which appeal so power- fully to the feelings of the Christian traveller. In the first place, it will be useful to take a general survey of the country, as seen from the summit of the tower. The Campagna, or the undulating plain which spreads on all sides around Rome, includes portions of ancient Latium and Etruria. Its length from Cape Linaro, S. of Civita Vecchia, to Terracina is about 90 English m. ; its greatest breadth from the moun- tains to the sea is about 27. On the W.N.W. it is bounded by the range of the mountains of La Tolfa, on the N.W. and N. by the volcanic group that surrounds the Lake of Bracciano, of which the peaks of Rocca Romana and Monte Virginio are the highest points; beyond, and more to the rt., rises the Monte Cimino or Monte di Soriano, and nearer the spectator the hills round Baccano terminated on the E. by the wooded peak of Monte Musino, between which and the Apennimes the Valley of the Tiber occupies the flat re- gion. The Sabine mountains surround like an amphitheatre the whole ex- panse of the north-eastern Campagna : while the more picturesque mountains which bound the plain of Latium on the S.E. are studded with villages, each representing some scene of classical interest. Along the plain from N. to S. the Tiber is seen winding as a long yellow line, marking the ancient boun- dary between Latium and Etruria. In the foreground on one side are the ruins of all that made l'ome the mis- tress of the world; on the other are the palaces and churches of the mo- dern city; so that the Capitol may be said to separate the living from the | dead—the city of the Popes from that of the Caesars. In the chain of hills towards the S.E. the highest point is the Alban Mount, now called Monte Cavo, on which stood the Temple of Jupiter Latialis. Beneath the summit, and about midway between it and the plain on the rt., is Albano, of which the gate alone can be seen ; a little to the 1. is the town and palace of Cºstel Gandolfo amid the dark woods bordering the lake of Al- bano; and farther on the rt. is the low hill of Monte Giove, occupying the site of Corioli, and of Civita Lavinia, the Lanuvium of Cicero. The long ridge forming the opposite hill beyond the lake is the supposed site of Alba Longa, and may be easily recognised by the line of white buildings upon it—the Convent of Palazzuola. On the 1. Of Monte Cavo is an open plaim called the Camp of Hannibal, where the Carthaginian ge- neral took up his position during the siege of Rome. The peak at the oppo- site side of this plain is Monte Pila, the space between these two points being the remains of an extensive vol- eanic crater of elevation. A little below this plain the village of Rocca di Papiſt, perched upon the crest of a rock, is supposed by some antiquarians to occupy the site of the Arx Albana of Livy, to which the Gauls were repulsed in their attack on Rome. On the lower slopes of the Alban group are Mctrino and Grottºſ-Ferrata. Farther to the I., on the nearest point of the chain, is Fritscºtti, the largest town seen on the Alban hills. In the distance be- yond is the lofty summit of Monte Pila. In a line between it and Frascati is the site of Tusculum. Farther to the 1. are the villages of Monte Porzio and Jiſonte Compatri ; and on the last and lowest eminence in this direction is the village of Colonna, occupying the site of the ancient Labicum. In the opening of the plain between the Alban group and the Sabine moun- tains may be distinctly recognised the large village of Zagorolo, between Co- lonna and the more distant town of I 2 § 7. THE SEVEN HELLs. Rome. PALESTRINA, the “frigidum Praeneste” of Horace. Along the range of these hills the principal town to be seen from this point is Tivoli, the ancieut Tibur, surrounded by olive-groves and woods. From that point the Amio flows into the plain towards its junction with the Tiber, in its course separating Latium from the country of the Sabines. Beyond and to the 1. of Tivoli we recognise the lofty pointed peak of Monte (Henaro, the Lucretilis of Horace; at its foot the 3 picturesque hills of Monticelli, of Cesi, and of St. Angelo in Capoccia, the ancient Ilſonics Corniculani ; and farther on the 1., in the foreground, the hill and town of iſolate Rotondo, marked by its lofty tower. Nearer Rome, the bluff hill of Custel Gºbileo, overlooking the Tiber, is the site of the citadel of Fi- denae. At the extreme N.E. end of the Campagna is the classical Sorºcłe, whose isolated mass forms so striking a feature in the Roman landscape. It stands near the northern boundary of the Sabine territory, and close to the Etruscan frontier. We shall now proceed to point out the leading features of ancient Rome, without stopping to describe more than is absolutely necessary for the purpose, as a more detailed account of each ruin will be given in the subsequent pages. § 7. T.I.E SEVEN HILLS. The first objects which will excite the interest of the traveller are the Seven Hills. These may be recognised without much difficulty from our pre- sent position, which commands also many interesting ruins that must ne- cessarily be included in the following general survey. Beginning with the Capitol, it will be observed that the tower on which we stand, and the group of palaces of which it forms a part, occupy a depression between the hill upon which stands the ch. of the Ara Coeli on one side and the Monte Caprino and the Palazzo Caffa- Telli on the other. These summits were occupied by the Temple of Jupiter Capitolinus on the rt. (we suppose the spectator looking to the N. or towards the Corso), and by the Arx Capitolii on the 1. : the space between them, on which we are placed, was called the Intermontium. The ch. of Ara Coeli is supposed by the best authorities to occupy the site of the Temple of Jupiter Capitolinus; on the other summit were situated the Curia Cala- bra, the Temple of Jumo Moneta, the substructions of which may be seem in the Caffarelli gardens, and beyond, and nearer the Tiber, one of the houses of Romulus; nearer to the valley which separates the Capitoline from the Pa- latine, in a garden on the modern Monte Caprino, we still find, although diminished in height by the accumula- tion of soil at its base, a considerable portion of the Tarpeiam Rock. From the Capitol, as a central point, we may trace a semicircle from the Pincian Hill, on the northern side of the modern city, to the Aventine on the S., embrac- ing in its circuit the line of the existing walls. This area includes nearly the whole of ancient Rome as it existed before the time of Augustus. The heart of the city was, of course, the Forum, the open irregular space which lies immediately below us; it will serve as a guiding point in enabling us to fix the limits of the hills. The topo- graphy and monuments of this classical spot will be described in a subsequent page, under the article “Forum,” and need not, therefore, be repeated here. The Capitoline, on which we stand, forms the first of the 7 hills. Above the western angle of the Forum rises the Palatine, the seat of the earliest settlement of Rome, covered with the ruins of the Palace of the Caesars, in the midst of vineyards and gardens. Farther to the rt. is the Aventime, its N.W. base washed by the Tiber, and its summit crowned by the churches of Santa Sabina and Sant' Alessio. In the valley between these 2 hilis was the Sect. I. $ 8. GENERAL OF THE RU INS. 13 REVIEW Circus Maximus, the nearest extremity of which will be easily recognised by the recently erected tall chimney of the Roman gas-works. Over the Coli- seum the eye rests on the magnificent Basilica of the Lateran, marking the extreme N. E. boundary of the Cºelian. N. of the Caelian, and on the 1. of the Coliseum, is the J.'s pºiline, more extensive than any of the other hills, and marked at its southern ex- tremity by the ruins of the 13aths of Titus, at its northern angle by the ch. of Santa Maria Maggiore, while the ruined dome of the so-called Temple of Minnerva Medica and the walls of the city indicate its extreme boundary on the E. The Quirinal, a long narrow emi- mence, begins at the Forum of Trajan, visible from the eastern angle of the tower. We can easily see from this point that a portion of the hill had been removed to make room for Trajan’s Forum, as we shall find stated here- after by the inscription on its column. The massive square tower of the middle ages, called the Torre delle Milizie, and the walls of the Forum of Augustus, assist us in marking the line which separates the base of the Quirinal from that of the Esquiline. The Qui- rinal stretches from the Forum of Trajam to the N.E. behind the Colonna Palace. It is covered with buildings, among which the most conspicuous is the Palace of the Pope on the Monte Cavallo, its highest point. The ſº- minal, between the Quirinal and the Esquilime, is remarkable for its flat surface, which makes it difficult to dis- tinguish as a separate eminence; a part of it is covered by the Baths of Dio- cletian. The ch. of S. Lorenzo in Pane Perma occupies nearly its highest point, and the hill may be traced in the gar- dens extending from it to the Piazza di Termini and the Baths of Diocletian. In walking from the Trinità de' Monti to S. Maria Maggiore, the separation between the Quirimal and Viminal may be distinctly recognised. These are the 7 hills which were included within the walls of Servius Tullius; but there are others beyond those limits, which it is necessary to particularise. N. of the Quirimal is Monte Pincio, the Collis Hortulorum, the favourite promenade of the modern Romans. On the other side of the Tiber is the Janiculum, at the foot of which lies the modern quarter of Trastevere ; at its southern extremity, but without the walls, is the Jİcate Jerde, overlooking the Tiber; beyond, to the N. of the Janiculum, is the Fatican and in the extreme dis- tance, forming the boundary of our present prospect, is the Monte Mario, covered with a villa surrounded with cypress plantations. The area between the Janiculum and the Pincian includes nearly the whole of modern Rome. The last eminence that remains to be noticed is the artificial mound called Monte Testaccio, from the fragments of earthen vessels of which it is formed; it is situated at the southern angle of the Aurelian walls, at the foot of the Aventine, between the river and the pyramid of Caius Cestius, but cannot be distinguished from the point where We are standing, the higher mass of the Aventine intervening. § S. GENERAL REVIEW of THE RUINs. The RUINS OF ROME may be classed under 3 heads: 1. The works of the Royal or Kingly period; 2. Of the Re- publican or Consular ; and 3. Of the Empire, not a trace being visible of the civilization that preceded Ro- mulus, although the sites mentioned as being occupied by Evander and the Trojan Colonists can be easily made out. 1. The Kingly Period (B. c. 753–510). —The consideration of this first period carries us back to the early history of Rome, to enter into minute particulars on which would obviously be out of place in a work of this description, and would involve details with which the traveller may be presumed to be already 14 Rome. § 3. KINGLY ANTIQUITIES. familiar. It will be sufficient for our present purpose to state that the Latin settlement attributed to Romulus was situated on the Palatine, the scene of the earlier settlement of IEvander and his Arcadians, and was probably not more than a mile in circumference. The Sabine colony of Tatius occupied the Capitoline and the Quirinal, the Capitoline being their citadel. The Etruscans had their settlements on the Caelian and parts of the Esquiline, the chief of which was called Lucerum; they were dependent on the others, and had no king, and were at length compelled by the Romans to descend into the space between the Caelian and the Esquiline, which derived from them the name of the Vicus Tuscus. In these times there were small lakes or swamps between the Palatine and Aventine, and between the Palatine and the Capitoline. The union of the three settlements led to the gradual increase of the city, and, in less than 150 years from the foundation by Romulus, the Cloaca Maxima, one of the most ancient architectural monu- ments of Rome, was constructed to drain these marshes. The valley at the foot of the Palatine and the Capitoline was then set apart for the general as- semblies of the united nations, and became, under the mame of the Forum, the seat and centre of Roman greatness. The western slopes of the Palatine were the scenes of those poetical tra- ditions which are identified with the early history of the city, and some antiquaries have even fixed the site of the Ruminal fig-tree, the altar of Her- cules, the Lupercal, and even of the cave of Cacus. The latter is still pointed out in the slopes of the Aventime, on the side overlooking the Tiber : the other poetical antiquities had disap- peared, like the lakes of Curtius and Juturna, before the time of the Empire. The few remains of the kingly period which are now extant are entirely in the Etruscan style, built of large Quadrilateral blocks, like the walls of Volterra, Cortona, and other cities of Etruria. These remains are the Mamertine prisons, begun by Ancus Martius (B.C. 640), and enlarged by Servius Tullius (B.C. 578); the Cloaca Maxima of Tarquinius Priscus (B. c. 616); part of the celebrated rampart or (Jyºr of Servius Tullius (B.C. 578), still visible on the Viminal in the grounds of the Villa Negroni, and of the walls of the same king on the S. and W. declivities of the Aventine; the remains of the quay on the 1. bank of the Tiber, near the mouth of the Clo- aca Maxima; and possibly the massive substructions of quadrilateral blocks of Volcanic tufa, under the ruins of the palaces of Tiberius and Caligula on the western declivity of the Palatine, and which some antiquaries are even inclined to attribute to the first con- . structions of the kings, and even of Romulus. 2. The Consular or Republican Period (B. C. 510–30).-It has frequently been a matter of regret to the classical tra- veller that Rome presents so few monu- ments of the time of the lèepublic. It is certain that there are scarcely any unaltered remains of that period; and in the Forum, where our earliest impressions would lead us to look for ruins which we might associate with the memory of the heroes and patriots of Rome, it is more than probable that there is scarcely a fragment of re- publican times. Various reasons may be assigned for this; but the expla- nation at once the most probable and the most supported by historical evidence is, that the continued wars and transient character of the consular government were unfavourable to the erection of great public monuments. The destruction of the city by the Gauls (B.C. 388), about 120 years after the establishment of the republic, no doubt involved the loss of many works, both of the kingly and republican periods. The reconstruction of the city seems to have been too hurried to allow much attention to the arts, and it was not until a comparatively late period that Rome began to be decorated with temples, and supplied with paved roads and aqueducts of masonry. It was not until the fall of Corinth and of Carthage that it was distinguished by the magnificence of its public Sect. I. 15 § 8. REPUBLICAN ANTIQUITIES. buildings. The introduction of new divinities required other and more splendid temples, and the luxury and taste acquired in the conquest of Greece naturally led to the construc- tion of palaces and theatres on a more spacious and costly plan than had been previously adopted. The boast , of Augustus, that he found Rome of brick and left it of marble, may be taken as a collateral proof of the architectural mediocrity of the republican city. Still, during the last century of the republic, several public works of considerable magnitude were executed. The mili- tary ways, paved with large blocks of lava, and particularly the magnificent Via Appia constructed by Appius Claudius and still perfect through a portion of its course, served as a model for the paved roads of later times; but the remains of other republican struc- tures which can now be recognised are very few. It is probable that the massive substructions under the Pa- lazzo Caffarelli, on the Capitoline, are the foundations of some edifice of the republic. The walls of the Tabularium at the base of the Capitol, and over- looking the Forum, and the Doric por- tico which surmounts it, were con- structed by Quintus Lutatius, Catulus as early as B.C. 77. Like the mili- tary ways, they show that in all the great works of the republic the solidity which marks those of the kings was generally imitated. Of the republican temples, the only one now standing which seems to have claims to this antiquity is that of Fortuna Virilis, now the church of Santa Maria Egiziaca, near the Ponte Rotto. It is known that the original temple on this spot, built by Servius Tullius, was burned and rebuilt during the republic; but how far the present edifice may have undergone subsequent alterations is uncertain. In the ch. of San Niccolò in Carcere are some early substructions of the temples of Juno Matuta, Hope, and Piety. The aqueducts which were begun during this period were mostly under- ground, with the exception of the Marcian. A long line of this noble aqueduct is still standing, but little appears to belong to the consular period except the foundations, and it is almost impossible to distinguish the original work from the additions and restorations made during the early period of the empire. The theatre of Pompey may still be traced in the cellars of the Palazzo Pio, and in some of the neighbouring streets. The foundations of the Emilian Bridge; some portions of the Pons Fabricius, commecting the island of the Tiber with the 1. bank; and the facing of travertine at the south-eastern point of the island, which formed part of the “ship” of AEsculapius; are likewise considered to be republican works. But the principal remains of the con- Sular period are the sepulchral monu- ments. At the foot of the Capitoline, in the Via di Marforio, and near the wall of Servius Tullius, is the tomb of Bibulus, which is universally admitted to be a republican ruin. The principal tombs, however, of this period are on the Appian Way. Be- tween the older walls of Servius Tullius and the Porta di S. Sebastiano of the Aurelian is the most interesting of all the sepulchral monuments of ancient Rome—the tomb of the Scipio family, now a subterranean vault, from which the sarcophagus and inscriptions in the Vatican Museum were obtained. 2 m. beyond the gate is the magnificent circular tomb of Cecilia Metella; i m. farther, in the midst of the plain, is that of some members of the great republican family of the Servilii; and still farther some attributed to the Horatii and Curiatii, but certainly of a very remote date, from their archi- tectural style. 3. The Empire (B.C. 30—A.D. 476).- However much the classical enthu- siasm inspired by recollections of the republic may surpass the feelings ex- cited by those of the empire, there can be mo doubt that this was the era when Rome assumed her greatest mag- nificence, and nearly all the monuments we now see belong to this period. It was the aim of Augustus to extend the limits of the city, and to embel- lish it with works of splendour. The I (; Rome. § 8. IMPERIAL ANTIQUITIES. Campus Martius during his was gradually covered with public edifices, and, like many cities of modern times, the ancient walls of Servius Tullius soon included but a small portion of the city, and were at length lost among the new buildings. The influence of Greek art, and a taste for colossal architecture, may be clearly traced through all the imperial works: the palaces, the aqueducts, the his- torical columns, and the tombs of this period, are all on a scale different from those that preceded them ; and, when compared with the unity and simplicity of earlier times, everything appears ex- aggerated. Another peculiarity is the general adoption of the Corinthian order, not indeed in its original purity, but with a variety of ornament which marks a decline of art. Augustus began on the Palatine the first Palace of the Caesars, and filled the Campus Martius with temples, porticos, theatres, and other buildings. Of the works which have remained to the present time, may be cited the massive walls which enclosed the Fo- rum which bore his name with the Temple of Mars Ultor in the centre, the columns of which, still erect, show that it was one of the most splendid edifices in the city; the 3 beautiful columns at the angle of the Palatine, long called the temple of Jupiter Stator, but now Supposed to belong to that of Castor and IPollux or of Minerva Chalcidica; the theatre of Marcellus; the portico of Octavia; and the mausoleum of the emperor himself, between the Corso and the Tiber. The pyramid of Caius Cestius, near the Protestant burial-ground, was erected about this time. Agrippa, following the example of his master, contributed largely to the embellish- ment of Rome, and constructed a series of baths in the Campus Martius, which served as the model of those immense structures erected by the later emperors. His great work was the Pantheon (B.C. 26), the best-preserved monument of an- cient Rome, and adjoining his baths. The arch of Drusus was raised to his memory by the Senate after reign ) his death (B.C. 9), and is the oldest triumphal arch in Rome. The arch of Dolabella, on the Caelian, was erected, as the inscription tells us, in the con- sulate of Dolabella and Silanus, in the 10th year of our era, and consequently its antiquity cannot be much later than that of Drusus. Tiberius (A.D. 14) began the Praetorian camp, the outline of which may still be traced at the north-eastern angle of the city; and built the Temple of Ceres and Pro- Serpine, whose columns and cella are preserved in the ch. of S. Maria in Cos- medin. Caligula (A.D. 3S) enlarged the palace of the Caesars on the Palatime; and Claudius (A.D. 41) constructed that noble aqueduct that bears his mame, which is still the admiration of the world. But all these works were eclipsed by the magnificent building of Nero (A.D. 54). The fire which he is accused of kindling destroyed the palace that existed on the Palatine, and upon its ruins arose his golden house, occupying a space equal to that of a large town, filling the valley since occupied by the Coliseum, and displacing the house and gardens of Maecenas on the Esquiline. Nero also rebuilt a large portion of Rome, and con- structed baths, now covered by modern palaces, between the Pantheon and the Piazza Navona. He completed the Circus of Caligula, partly occupied by St. Peter's and the Vatican Palace, and memorable as the spot on which many of the early Christians suffered mar- tyrdom. To Vespasian (A.D. 70) we are indebted for the noblest ruin in existence, the Coliseum, or the Flavian amphitheatre. It was dedicated by Titus (A.D. 79), 10 years after the taking of Jerusalem, but probably not completed until the reign of his suc- cessor, Domitian. On the upper slopes of the Esquiline, Titus converted a portion of Nero's palace into substruc- tions for his Baths, so well known by their massive and picturesque remains. Domitian (A.D. 81) enlarged the Palace of the Caesars, and began some baths near those of Titus, which were more extensive in their plan than those of his predecessor, and were finished by Tra- jan. He also erected the beautiful arch Sect. I. 17 $ 8. IMPERIAL ANTIQUITIES. of Titus, to commemorate the con- quest of Jerusalem by his predecessor. Nerva (A.D. 96) finished the Forum Transitorium, which also bore his name; and his great successor Trajan (A.D. 98) erected a temple in it to Minerva, the front of which remained standing until the 17th centy., when it was destroyed by Paul V. Trajan has also left us in the remains of the Ulpian Basilica and his triumphal column two of the most interesting monuments of Rome. The works of Hadrian (A.D. 117) peculiarly mark his taste for the colossal. His Temples of Venus and Tome were erected from his own designs and under his personal direction. His villa near Tivoli was on the most exaggerated scale; and his mausoleum, now the Castle of St. Ali- gelo, is gigantic in all its dimensions. The Pons AElius was also constructed by Hadrian as a passage to his tomb. It is the best preserved of all the Roman bridges, and, with the excep- tion of the parapets and some un- important repairs, is entirely an- cient. The temple at the extremity of the Forum which bears the name of Antonimus Pius (A.D. 138) and his wife Faustina was raised to them by the senate. The column of Marcus Aure- lius Antomimus (A.D. 161), called the Antonine Column, though inferior to that of Trajan, is one of the best- known monuments of Rome. The arch of Septimius Severus in the Forum was erected to him and his sons Caracalla and Geta by the senate (A.D. 205); as the other which bears his manne, in the Forum Boarium, was in honour of the emperor, his wife, and his sons, by the goldsmiths and dealers of that quarter. To this period may be ascribed the square arch of Janus in the same locality. The Baths of Cara- calla (A.D. 211) surpass in magnitude all previous works of the same kind : their ruins still excite the surprise of every traveller, and are remark- able as having supplied the mu- seums of our time with the Farnese Hercules, the Toro Farmese, and other celebrated statues. These baths were completed by Elagabalus (A.D. 218), and his successor Alex. Severus (A.D. 222). Aurelian erected the Temple of the Sun on the Quirinal, whose mas- sive substructions may still be seem in the gardens of the Colonna Palace, and (A.D. 270) accomplished the greatest work of the latter times of the empire, by surrounding Rome with the immense fortification which served as the foundation of the pre- sent walls. With the exception of the Baths of Diocletian (A.D. 302), which have peculiar interest from the tradition that they were built by the Christians during the persecutions of his reign, there are few ruins to detail; us until the time of Constam- time (A.D. 306). The baths of this emperor may still be traced in the Villa Aldobrandini on the Quirinal. His arch, erected in memory of his victory over Maxentius, is near the Coliseum, and is adorned with bas- reliefs plundered from an arch of Tra- jam, the site of which is now unknown. His Basilica constitutes one of the most conspicuous ruins bordering on the Forum : it was built by Maxentius, and consecrated by Constantine after the death of his rival. To the same period belong the temple and circus near the Appian Way, dedicated by Max- entius to the memory of his son Romulus (A.D. 31 l). The Pons Gratianus, con- structed by the emperors Valentimian and Gratian (A.D. 364), still connects the island of the Tiber with the Tras- tevere. The column of Phocas was erected A.D. 608 by the exarch Smarag- dus to the Greek emperor of that mame; but the column is evidently of an earlier date, probably removed from some edifice of the age of the An- tomimes. This rapid review of the leading ruins will be useful to the traveller in en- abling him to understand the age of the different monuments, as it will also in pointing out the chromolo- gical succession to such as wish to study the history of Tome by means of her existing ruins, and to follow the progress of her architecture through its various stages down to the decline of art under the later emperors. It will scareely be less instructive to take a rapid survey of the gradual 18 $ 8. Rome. IM PERIAL ANTIQUITIES. ruin of the city. On the conversion of Constantine to Christianity some of the ancient temples were changed into places for Christian worship, but a still greater number were de- stroyed. Independently of the injuries sustained from the invading armies of Alaric (A.D. 410), Gemseric (455), Ricimer (472), Vitiges (537), and Totila (546), the inhabitants appear to have regarded the ancient buildings as so many public quarries. Belisarius employed the remains of ancient edifices in repairing the walls during his cele- brated defence of the city, and con- verted the mausoleum of Hadrian into a fortress. The aqueducts had been previously destroyed by Vitiges, who burnt everything outside the walls; the baths were thus rendered useless, and the Campagna was re- duced to a state of desolation from which it has never since recovered. Totila is supposed to have commenced the destruction of the Palace of the Caesars. In the 7th and 8th centuries Rome suffered a constant succession of calamities; earthquakes, inunda- tions of the Tiber, and the famine and pestilence of which they were the na- tural precursors, desolated the city more than the attacks of the barbarians or the subsequent sieges of the Lom- bards. From the end of the 7th to the close of the 8th century 5 inundations are recorded, in one of which the whole city was under water for several days. The disputed succession to the papacy, the contests of the popes with the German emperors, and the fre- quent absence of the court, had also considerable influence in leading to the neglect and ruin of the city. The Normans of Robert Guiscard surpassed all previous invaders in the extent of their ravages: they burnt the city from the Antonine column to the Flaminian gate, and from the Lateran to the Capitol; they ruined the Capitol and the Coliseum, and laid waste the whole of the Esquiline. The great monuments were soon afterwards oc- cupied as fortresses by the ruling Roman families. The Coliseum, the Septizonium of Severus, and the Arches of Titus and Janus were seized by the Frangipanis; the tomb of Hadrian and the Theatre of Pompey by the Orsinis; the Mausoleum of Augustus and the Baths of Constantine by the Colonnas; the Tomb of Caecilia Métella was converted into a fortress by the Savellis and the Caetanis; the ruins of the Capitol were held by the Corsis; the Quirinal by the Contis; and the Pan- theon so frequently received the garri- Sons of the Pope that in the time of Gre- gory VII. it bore the name of S. Maria in turribus. Even the Basilicas were not Secure ; that of St. Paul was fortified by the Corsis, and that of St. Peter by the people. But these were not the only calamities of Rome during the middle ages. In 1345 the city was again inundated by the Tiber, and no- thing but the summits of the hills are said to have remained uncovered. In 1349 it was desolated by a fearful carthquake. In 1527 it was cruelly pillaged by the Connétable de Bourbon; and, as Gibbon truly observes, suffered more from him than from the ravages of Genseric, Vitiges, and Totila. The Constable, according to the account of the Marquis de Bonaparte, who was an eye-witness, opened his first trench before the face of the Aurelian wall, on the side of the tomb of Caecilia Me- tella. Thus, fatally pointed in the direction of that part of the Appian road, the artillery injured that tomb and the circus of Romulus, demo- lished the sepulchres bordering the AppianWay, mutilated the church of St. Nereo and St. Achilleo, the tombs of the Scipios, and the baths of Caracalla. In 1530 the city was visited by another in- undation, scarcely less calamitous than the preceding. From a very early period the erection of new churches and the re- pairs of the city walls had continually operated to the destruction of the an- cient monuments; the lime-kilns of the middle ages were supplied from the ruins, and the temples and other build- ings were despoiled of their columns for the decorations of religious edifices. The popes are responsible for a large share of this system of wholesale de- struction. As early as the 8th centy. We find Gregory III. taking 9 columns from some temple for the basilica of St. Sect. I. 19 § 8. IMPERIAL ANTIQUITIES. Peter. Adrian I. destroyed the Tem- ple of Ceres and Proserpine to build S. Maria in Cosmedin. Paul II. built the Palace of St. Mark with materials taken from the Coliseum. By the middle of the 15th century so many monuments had been ruined for build- ing purposes or burnt into lime, that, when Æneas Sylvius was elected pope under the title of Pius II., he issued a bull to prevent the further continuance of the practice: “De Antiquis AEdi- ficiis non diruendis” (1462). Notwith- standing this measure, Sixtus IV. in 1474 destroyed what remained of the stone piers of the Sublician bridge to make cannon - balls, and swept away numerous ruins in his general reform of the city. Alexander VI. destroyed a pyramid near the Vati- cam to construct a gallery leading from the Palace to the Castle of St. Angelo. Paul III. plundered the Temple of Antonimus and Faustina, the Arch of Titus, the Forum of Trajan, and the Theatre of Marcellus, and built the Farnese Palace with blocks of travertine brought from the Coli- seum, although he had issued a bull making it a capital offence to “grind down” statues. Sixtus V. removed the works of art of the Septizonium of Severus to ornament St. Peter's. Ur- ban VIII. destroyed in part the base- ment of the Tomb of Caecilia Metella to construct the Fountain of Trevi, built the Barberini Palace with mate- rials taken from the Coliseum, and stripped the Pantheon of the sheets of bronze which had escaped the plum- der of the emperor Comstans II. in the 7th century, to eonstruct the baldac- chino over the great altar at St. Peter's —an act immortalised by Pasquin in a saying which has now almost become a proverb : — “Quod non fecerunt Barbari, fecere Barberini.” Paul V. removed the entablature and pronaos of the Temple of Pallas Minerva in the Forum Transitorium to build his fountain on the Jami- culum, and the last of the marble columns of the Basilica of Constantine to support the statue of the Virgin in the Piazza of S. Maria Maggiore. Alexander VII. destroyed an ancient arch of Marcus Aurelius to widen the Corso. Most of the statues of saints and prophets in the churches were worked out of ancient columns, and the marbles which so profusely deco- rate the altars may in many instances be recognised as fragments of classical buildings. e. From these details the reader may be surprised that so many relics of a city which has existed for 2600 years are still visible. When we look back on the condition of the great capitals of our own time, how few there are which have preserved unchanged even their monuments of the middle ages If Rome had under- gone as many alterations as London has witnessed within the lapse of a few centuries, we should not find one stone standing upon another which we could identify with her historic annals. After this general sketch of the monuments and their vicissitudes, we shall proceed to describe them one by one, classifying the ruins under separate heads, and leaving it to the convenience or taste of the traveller to combine the classical antiquities with the ecclesiastical edifices and other objects of interest, or examine each class separately. It cannot, how- ever, be too strongly impressed upon his attention that there are few ruins which have not been the subject of antiquarian controversy; and that to enter into these disputes would serve to bewilder him upon almost every question of Roman topography; be- sides, these vexed questions have been impartially reviewed, and treated with mo ordinary judgment and talent, in the article Rome of the ‘Dictionary of Classical Geography,” mentioned in our Introductory Remarks (p. xxxii.) In many instances the doubt which hangs over the name and object of certain monuments will never be removed, and the discovery of their real destination would add but little to the interest of the ruin. For, in spite of all that has been written, the enjoy- ment of the spectator must depend on his own enthusiasm; the ruins are but 20 Iłome. § 9. ForUMs. the outlines of a picture which the imagination and memory must fill up : and they who do not expect too much are less likely to be disappointed than those who look for visible memorials of the heroes, poets, and orators whose fame has consecrated the soil, and in- vested even the name of Rome with imperishable interest. “Where is the rock of Triumph, the high place Where Rome embraced her heroes 2 where the steep Tarpeian 2 fittest goal of Treason's race, The promontory whence the Traitor's Leap Cured all ambition. Did the conquerors heap Their spoils here 2 Yes; and in yon field below A thousand years of silenced factions sleep– The lºorum, where the immortal accents glow, And still the eloquient air breathes—burns with i licer.) | " Chiltle IIc j'olt!. • § 9. ForUMS. !. The Roman Forsſm.—An irregular quadrilateral space at the foot of the Capitoline and the Palatine hills, raised by the accumulation of soil considerably above its ancient level. Its modern name is the Cºpo Vaccino, the greater part of the area having become as early as the 15th century the resort of cattle, a kind of Roman Smithfield. Within this hollow lay the Roman Forum, but what part it really occupied, and what were its true boundaries, has for the last 3 centuries been the sub- ject of much learned controversy ; a simple recapitulation of the theo- ries of successive antiquaries would fill a volume of no ordinary size. In the development of these theories the Forum has changed its place Several times; the names applied to the ruins by one writer have been superseded by the next, and until within the last few years it was a task of lio common difficulty to come to any satisfactory conclusion amidst the multitude of conflicting statements. Indeed, the disputes of the antiquaries had in- volved every ruin in uncertainty, and had either bewildered the traveller into total scepticism, or made him believe that the sole interest of each object of antiquity consisted in the contest for its name. Recent discoveries have re- moved to a considerable extent the doubts which perplexed the writers of former times; we shall therefore touch very slightly on controversial ques- tions, and proceed at once to the facts, following the best modern authorities, amongst whom Camina is undoubtedly the most to be relied upon. The older antiquaries believed that the Forum, properly so called, extended in length from the Arch of Septimius Severus to that of Fabius, now destroyed, but situated nearly in front of the Temple of Antoninus and Faustina. The Space between that temple and the three columns which form so conspicuous a feature of the scene constituted its breadth. In the middle of the 17th century this opinion was superseded by another theory, which assumed as the breadth of the Forum the line formerly considered to be its longest diameter, and sought for its length in the direc- tion of the churches of Sam Teodoro and S. Maria della Consolazione, thus laying down an imaginary rectangle of about 700 feet by 470. This theory was supported by many recent writers, —Nibby, Burgess, Burton, and other antiquaries, in whose time the dis- coveries which have so completely changed the old landmarks of the Forum had not been made. Niebuhr rejected this latter hypothesis, and adopted the old theory as the one most supported by historical facts. The Chevalier Bunsen has since la- boured to support the views of the Prussian historian. But of all those who have endeavoured to clear up the topography of the Forum, Canina de- serves the first place, from his elabo- rate Exposizione del J'oro Romano, and the details given in his more recent general work entitled “Roma Antica.’ Although it is impossible to define exactly the limits of the Forum and Sect. I. § 9. FORUM ROMANUM. 21 its dimensions, it may be said to have extended from the Arch of Septimius Severus to the Temple of Antoninus and Faustina in its longest diameter, and from the front of the ch. of San Adriano to the steps of the Basi- lica Julia in the other. In order to facilitate to our readers the descrip- tion of this celebrated area, we have annexed a reduction of the plan given by Canina in the works above men- tioned. Beginning with the ruins on the slope of the Capitoline, the massive wall which forms the substructions of the modern Capitol is one of the most interesting existing fragments of Roman masonry of the Consular period: 240 ft. in length and 37 ft. in height, it is composed of rectam- gular blocks of that particular variety of volcanic tufa from Gabii, called Lapis Gallinus by the ancients. Upon it, as upon a basement, are the re- mains of 16 Doric pilasters, upon which stood a series of arches supporting the architrave of the Tabularium, or Record Office. Within is an ancient corridor mixed with modern constructions, in which Nicholas V., about the middle of the 15th century, formed a magazine of salt, which corroded the piers and led to their destruction. The following very interesting inscription on the walls, proving that they formed part of the Tabularium, where the “tabu- lac,” or bronze plates recording the de- crees of the senate and other public acts, were preserved, and that they were erected, together with the substruc- tions, by Q. Lutatius Catulus (B.C. 79), has been recently re-discovered, and has been placed over the entrance on the side of the Mamertine prison :- Q. LVTATIVS . Q. F. Q. N. CATVLVS . COS. SWISSTRVCTION EMI . ICT . TABVILA- RIVMI . EX . SEN. SENT. FACIENIDVM . CoERAVIT , EIDEMIQVE . PROB ; they are therefore interesting as repub- lican works, and still more so as remains of the ameient Capitol. In January, 1839, Signor Azzurri, the professor of architecture in the Aca- demy of St. Luke, made an important discovery in connexion with this in- teresting monument. While engaged in works for the enlargement of the prisons then beneath the Palace of the Senator, he found concealed among masses of modern walls the series of Doric arches of the Tabularium. They are 23 feet high, and about 1 1 wide. In his restoration of the Tabularium Canina supposes this Doric portico to have been surmounted by another of the Ionic order, scarcely a fragment of which remains. More recent excavations in the in- terior of the Tabularium have led to the discovery of a flight of steps leading from it to the Forum, the entrance from the latter being long closed by the Temple of Vespasian built against it. These stairs are of the Repub- lican period. They form two fights between walls of the most massive construction, supported upon hori- Zontal arches or lintels, of which we See so few examples in Rome. During the excavations which led to their discovery, several inscriptions were found, amongst which a small altar rudely inscribed c. FANNI vs . M. F. COS. DE SENAT SENT DEDIT, who was the author of the celebrated Sump- tuary Law (161 B.C.). These stairs formed a passage from the Forum into the Tabularium, and it is be- lieved that it was by them that the Vitellian rioters gained access to the Capitol, a circumstance that led pro- bably to their being closed by building against the entrance from the Forum the temple dedicated to Vespasian. The Doric portico of the Tabularium has been recently cleared out for the purpose of forming an Architectural Museum of all the fragments dis- covered in the Forum, a kind of sup- plement to the Museum of the Capi- tol. The collection is now in pro- gress of arrangement, and contains the beautiful fragments found round the Temples of Concord, of Vespasian, and of Minerva Chalcidica, amongst the best existing specimens of Roman architectural decoration. The three temples which stand at the base of the Capitol are amongst the most conspicuous ornaments bordering on the Forum. The 3 beautiful Co- rinthian columns of white marble, long 22 § 9. FORUM ROMANUM. Rome. * º º: of 9 : 5- 93 2% ntºn lauS 23 º Cr' c ** and ---. * S. s g t- Faustixa. Q wº º q.-9 EasyCA A- A. P AV UVs. r— ... -- *** * M O "...--Th" cxxaul W. C.A.: wº C - - -Indos gº tº V , E \ 6ft is - - - -> : G → r: fº gº tº 5 * = 3. : 2- ºn * - - - - - - º *::2, - - -> <=% S:=3&M #(\ - --> . º e º - "..., ‘snuoA as snutt --> TEMPLE OF CONCORD, | O O O O 1. Shops of the Notaries. | 5. Pyramid of the Umbilicus Roma. 9. Entrance to the Forum Transito- 2. Site of Colonna Duillia. 6. Site of Milliarium Aureum. rium 3. Site of Colonna Macmia. 7. Site of the Arch of Tiberius. 10. Site of Basilica AEmilin. 4. Ancient entrance from the 8. Pedestals for Votive Statues, or | * Entrance to the Forum of Juliuts Capitol to the Forum. Colu in ms. l, Sºi ſ. sº Sect. I. 23 § 9. ForUM ROMANUM. supposed to have belonged to , the Témple of Jupiter Tonams, raised by Augustus, have been shown by Canina to form a part of that erected to Ves- pasian by Domitian. On the 1. (look- ing towards the Forum) of these co- lumns is a wide raised space, paved with coloured marbles, the site of the Temple of Concord, where the senate usually assembled. On the other side of the Temple of Vespasian is a raised tri- angular space, surrounded by the re- mains of a portico recently restored. This was the SCHOLA XANTHA, close to which the Roman notaries had their offices. Under the portico were the sta- tues of the 12 Dii Consenti. (See p. 42.) The Ionic portico of 8 granite columns, in the foreground on the rt., was once supposed to belong to the Temple of Fortune, and by the antiquaries of the German school to that of Vespasian, a question that has been set at rest by the discovery of the Milliarium Au- reum, which is known from contempo- rary writers to have stood at the foot of the Temple of Saturn, restored by Au- gustus. The position of the Milliarium Aureum was near the angle of the por- tico of the Temple of Saturn, at the extremity of a semicircular wall faced with coloured marbles, and extending to the Arch of Septimius Severus, near which it terminated in a co- nical pyramid. This semicircular construction represents the ancient Rostra, the conical pillar the Umbili- cus Roma, from which all distances within the walls were measured, as those beyond the gates of Rome were inscribed on the M. Aureum. The Arch of Septimius Severus stands in front of the Temple of Concord; behind it stood the Duillian column, and before it the equestrian statue of Marcus Aurelius, now on the ſitter- montium of the Capitol. The ancient road seem under the arch is of a date long posterior to that of the arch, being considerably raised above the level of the way that it was originally destimed to span. Before the discovery of the ancient Clivus Capitolinus in front of the Temple of Saturn, it was supposed to have led from the Forum to the Capitol. The Clivus Capitolinus, which we now see passing from before the Basilica Julia, and ascending tor- tuously between the Temple of Saturn and the Schola Xantha, offers in this space one of the best preserved speci- mens of a Roman causeway in exist- ence. To the 1. of the Septimian Arch is the Mamertine prison, over which stands the modern ch. of S. Pietro in Carcere. Proceeding now along the 1, or N. side of the Forum, the line of the modern road is supposed to mark the position of the nocap tabernor, the porticoes and shops of the traders. The ch. of S. Luca, or Santa Martina, the site of the Roman Academy of Painters, is supposed to be built on an ancient edifice, the Secretarium Senatus. Behind it stood the Forum of Julius Caesar, some fine portions of the outer wall of which may be seen in the houses of the Via del Ghetarello. The adjoining ch. of S. Adriano is supposed to stand upon the site of the //asilica A. milia, erected by Paulus AEmilius in the reign of Augustus. The brick front is the principal fragment of the ancient build- ing now standing. The mass of mo- dern houses between this ch. and the Temple of Antoninus and Faustina is considered by recent writers to occupy the site of the entrance to the Forum Transitorium, called the Atrium of Minerva, and farther on of the Portico of the Municipii. The Temple of Antoni- mus and Faustinct, now the ch. of S. Lo- renzo in Miranda, may be considered to mark the limits of the Forum, but to have been outside of it. In front of it stood the Arch of Fabius, the con- queror of the Allobroges. On the opposite side of the Forum, proceeding from the Ionic portico of the Temple of Saturn, and at its eastern extremity, once stood the Arch of Tiberius, corresponding nearly to where the modern road ascending to the Capitol crosses the Clivus Capitolimus. On the rt. is the wide open space occupied by the Basilica Julia, recently uncovered, 3 of the pilasters which supported its arches being still erect. The discovery in 1834 of a flight of steps on the ancient road left little doubt as to the 24 Rome. § 9. FORUM ROMANUM. position of this once magnificent edi- fice, but it was reserved to the govern- ment of Pius IX., under the direction of Commendatore Camina, to lay bare already more than one-half of its area and its floor covered with precious marbles. The solitary column, called by Lord Byron “The nameless column with a buried base,” was excavated to its base in 1813, at the expense of the Duchess of Devon- shire; it is no longer nameless, an in- scription upon its pedestal stating that it was raised to the Emperor Phocas, whose gilt statue stood on the top, by the exarch Smaragdus, in A.D. 608. At the base of this column, and bordering on the ancient road which separates them from the Basilica Julia, are 3 pedestals, which probably supported votive statues or pillars. The Temple and Rostra of Julius Caesar stood in the centre of the Fo- rum, near the Arch of Fabius, and op- posite the 3 beautiful Corinthian co- lumns, which architects have long regarded as models of the Corinthian order, and which have been the subject of more controversy than any other ruin in the Forum. In former times they were supposed to have belonged to the Temple of Jupiter Stator, after- wards to the Comitium, and more re- cently they have had the name of the Graecostasis, or hall in which the am- bassadors of friendly powers were received by the senate, and of the Temple of Castor and Pollux, given to them. Recent excavations show that they belonged to an edifice of great extent, and Bunsen considers that they are the remains of the Temple of Aſi- werva Chalcidica, built by Augustus in connexion with the Curiºſ Julia, the magnificent structure erected by that emperor for the senate, to replace the older Curia. The mass of brickwork behind the church of S. Maria Libera- trice, formerly ascribed to the Curia Hostilia, is considered by the same learned antiquary to be part of this new Curia of Augustus. Farther back the church of San Teodoro, once sup- posed to Inark the site of the Temple of Romulus, is now generally considered to be the Temple of Vesta, mentioned by Horace in commexion with the inun- dations of the Tiber. In lime from the portico of the Temple of Saturn to the ch. of Santa Maria Liberatrice, Bunsen places the veteres tabernac, or shops which Tarquinius Priscus allowed to be erected in the Forum, and where Virginius bought the knife which saved the honour of his daughter. We have thus arrived opposite the Temple of Antoninus and Fºustinºſ, and therefore have reached the eastern boun- dary of the Forum. It will be useful now to examine the remainder of the Campo Vaccino, lying between this and the Arch of Titus. Leaving the temple of Antoninus, we enter on a branch of the Sºcrat Tºot. On the 1. hand the first building which requires motice is the small circular temple now the vestibule to the church of SS. Cosma and Da- miano ; it was formerly called the Temple of Remus, and by Bunsen the Pen itium. Near this are 2 half-buried columns of cipallino, which seem to have escaped the momenclature of the Roman antiquaries. The next building is the immense ruin formerly called the Temple of Peace, but now known to be the Basilica begun by Maxentius, and completed by his suc- cessor, whence it took the name of the Basilica of Constantive. The Sacra Via was supposed by some writers to have passed immediately in front of this edifice, while it is now universally admitted to have extended in a straight line from the site of the Arch of Fabius to that of Titus. The Temple of Peace stood near it. Among the facts connected with the destruction of that celebrated temple, not the least in- teresting is that recorded by the phy- sician Galen, who states that he had a shop upon the Via Sacra, which was burnt down in the conflagration of the temple, and that he lost many of his writings in the flames. The classical scholar will hardly require to be re- minded that the Sacra Via was a favourite promeuade of Horace, as recorded in one of his most playful satires (lib. i., ix.):- 27.7 ~3 Lº 7tº S Sect. [. 25 § 9. ForUMs of TRAJAN AND AUGUSTUs. “Ibam forte Viá Sacrá, sicut meus est mos, Nescio quid mºditans mugarum, et totus in illis.” Opposite to the Basilica of Constan- time is the Arch of Titus, interesting not only as the most beautiful of the Ro- man arches, but as having been erected in commemoration of the conquest of Jerusalem. It stood on the Sununct Sacra Vict, the highest point of the Via Sacra. Behind the ch. Of S. Fran- cesca Romana are the ruins of the Temple of Venus and Rome. The Sacra Via passed from the Arch of Titus to the Meta Sudams, in front of the Coliseum, whose gigantic mass rises immediately before us, in the valley separating the Esquiline and Coelian hills. Close to the Meta Sudams is the Arch of Constantine. All the objects mentioned in this general survey of the Forum, of which there are any remains now visible, are described under their several classes, to which the reader is referred for more particular details. Forum of Trºjan.-The remains of the magnificent buildings which were once the ornament of this Forum, and the unrivalled column which still stands in the midst of its ruins, are the best evidences of the splendour which com- manded the admiration of the ancient world. The Forum was begun by the great emperor whose name it bears after his return from the wars on the Danube, and completed A.D. 114. The architect was the celebrated Apollodorus. The ground round the pedestal of the column was excavated in the 16th centy. by Paul III. ; and the French authorities in 1812 caused two convents and several houses to be pull- ed down to lay open the present area. During this operation the basements of the columns were discovered, so that the different fragments have been replaced as nearly as possible in their original positions. The design, so far as can be gathered from the existing ruins and from coins, included the Basilica called Ulpia, from Trajan’s family name, a column, a triumphal arch, amd a temple. The fragments now visible are a portion of the [Rome.] colonnades of the Ulpian Basilica, and are supposed to form about a third of the original building. The rest is buried under the streets and houses which close upon the area on either side. Every excavation made for years past in the vicinity has dis- closed some fresh proof of the extent of the Forum ; the columnns, similar to those now visible in the area, but of larger dimensions, found as far distant as the Piazza SS. Apostoli, are supposed to have belonged to the temple erected to Trajan by Hadrian. The funeral pillar rises in the ob- long area which led from the Ulpian Basilica to the Temple of Trajan: on each side of it stood the celebrated Greek and Latin Libraries. The Ba- silica was surrounded by a double range of columns of grey granite; their original height is estimated to have been 55 feet. Around the area are numerous fragments of marble capi- tals, entablatures, a portion of the marble pavement, and several votive inscriptions. All these remains in- dicate a high state of art, and an elaborate execution even in the mi- nutest details. Restored plans of the Forum and its buildings will be found in Camina’s ‘Roma Antica.’ The Fu- neral Column is described under its proper head at p. 51. Forum of Nortºſ, or Transitorium—the latter denomination from its also serving as a public thoroughfare (per- cium)—parallel to and on the E. side of the Forums of Julius Caesar and Au- gustus, begun and dedicated by Domi- tiam, and finished by Nerva. The remains of this Forum and its temples are described under Temples. – (See Temple and Portico of Pallas Minerva, p. 35.) Forum of Atſustus, adjacent to those of Trajan and Julius Caesar, was erected (A.U.C. 752) by that emperor to enclose the Temple of Mars Ultor, a part of which, as well as one of the en- trances, the modern Arco de’ Pantani, still exists open. (See Temple of Mars Ultor, p. 34.) The outer wall, extend- ing as far as the Piazza del Grillo, is a C 2 S Iſome. $ 10. PALACEs. fine specimen of Roman masonry, con- structed of blocks of peperino, placed alternately in their long and shorter diameters, and divided into nearly equal heights by projecting cornices of travertime: remains of 3 entrances in the form of arches, now walled up, which afforded ingress and egress to the Forum, may be traced along its base in the adjoining Street. Forum of Julius Caesar, founded by him in A.U.C. 708, after the battle of Pharsalia, and out of its spoils; the ground on which it stood having cost the enormous sum of 10,000,000 of sesterces (about 900,000l. Sterling). It was the second erected in Rome, and opened into the Forum Romanum behind the modern ch. of Samta Mar- tima. In its centre stood the Temple of Venus Gemitrix, containing statues of that goddess and of Cleopatra, and in front the bronze figure of his favourite horse. Some very fine spe- cimens of masonry in Lapis Gabinus and travertime belonging to the outer wall of this Forum, on the side of the Capitolime hill, may be seem in the court of the house No. 18 in the dirty lane called the Via del Ghetarello. This Forum became memorable from its connexion with the first offence given to the citizens by Caesar, who, sitting in front of the temple, received the senators, when they had come to him, in great state. Of the other Forums; the F. Botºșum was situated near the ch. Of S. Giorgio in Velabro and the Arch of Janus Quad- rifrons; the F. Olitorium, near the Piazza Montanara, at the S. foot of the Capi- tolime hill, and will be mentioned in the account of the Temple of Juno SOS- pita; the F. of Antoninus is marked by the ruins of the Temple of Neptune in the Piazza di Pietra, and the spiral column in the Piazza Colomna. It may not be out of place to iuform the reader that most of the Forums erected during the Imperial period were destined to enclose Some remark- able edifice or temple, and were used as places of public resort ; in those of Caesar, Augustus, and Nerva, courts of justice were held in Subsequent times, Whilst the Forum Romanum continued to be the great political centre of the Roman world until the fall of the Empire. § 10, PALACES. Palace of the Casars.--The first pa- lace of the emperors on the Palatine was erected by Augustus, on the site of the houses of Cicero, Hortensius, Catiline, and Claudius. He attached to it a temple, dedicated to Apollo, in commemoration of the battle of Actium, and a library, which after- wards became celebrated as the Pala- tine Library. Tiberius increased this palace towards that extremity of the hill which overlooks the Vela- brum. Caligula enlarged it towards the Forum, and connected it with the Capitol by a temporary bridge. He also converted the Temple of Castor and Pollux in the Forum into a vestibule for the new portions he had added. Nero extended the buildings in the direction of the Coliseum, and along the valley between the Caelian and Palatime hills. After the great fire, the golden house which Nero erected on the ruins of his former palace extended to the Esquiline, displacing the house of Maecenas, filling up the valley of the Coliseum, and covering with its grounds a great portion of the Caelian. Titus was the first who seems to have reduced this overgrown edifice within more reasonable limits; he employed the substructions on the Esquiline as the foundations of his Baths, and is supposed to have made such alterations as confined the palace to its original position on the Palatime; and Septimius Severus added his Septizonium in A.D. 198 at the S.W. angle. The imperial residence Sect. I. § 10. PALACE OF THE CAESARs. 27 was repeatedly rebuilt and altered by succeeding emperors; and the greater part of it is supposed to have fallen into decay in the time of Theodoric. In the 7th century the southern por- tion was sufficiently perfect to be in- habited by Heraclius; and there is reason to believe that the plan at least of the palace was entire in the 8th century. Of all these extensive build- ings nothing now remains but a mass of ruins, so shapeless and undefined, that any attempt to discover the plans and boundaries of the several parts would be perfectly hopeless. “(ypress and ivy, weed and wallſlower grown Matted and mass'd together, hillocks heap'd On what were chambers, arch crush'd, co- lumns stroWn In fragments, choked-up vaults, and frescoes steep'd In subterranean damps, where the owl peºp'd, Deeming it midnight:— Temples, baths, or halls 2 Pronounce who can ; for all that Learning reap'd From her research hath been, that these are WallS.– - Behold the Imperial Mount I 'tis thus the mighty falls.” C’), ille Iſarold. The Palatine, as we now see it, is about 1% m. in circuit ; the Soil is colm- posed of crumbled fragments of ma- sonry, and in many parts it covers the original surface to a depth of nearly 20 feet. The hill is portioned out in gardens and vineyards; the grounds of the Orti Farnesiani occupy the whole north-westerm side. Adjoining them on the S.E., and standing nearly in the centre of the hill, is the Pillº Spada or Palatina, known also as the Tilla Mills, from an English gentleman of that name to whom it once belonged; it has now passed into the possession of a community of French nuns. A road commencing at the Arch of Titus leads on the rt. to the convent of S. Bonaventureſ, and separates the above-named villas from the gardens of the convent, and from the J iſ nº di S. Sebastiano on the S.E. On the S. are the Tijma Nussiner, now a public walk, near the ch. of Sant’ Anastasia; the Orti Roncioni; and beyond the Pigma del Collegio Inglese. In each of these localities we shall find some ruins to engage our attention. 1. Farmese Gar- dens (Orti Farnesiani). Ascending the Via Polveriera from the Arch of Titus, we first pass some arches and fragments on the 1., which from their position have been identified with the portico and gardens of Adonis, constructions of the time of Domitian. Not far distant is the en- trance to the Farmese Gardens by a gateway on the rt. The first objects which occur are remains of walls and vaults; and higher up are numerous fragments of entablatures, cornices, and capitals, with trophies apparently in- dicative of a naval triumph ; these fragments have been collected from different parts of the ground, and are supposed to have belonged to the temple erected to Apollo by Augustus, near which stood the celebrated Pala- time Libraries. On the western angle of the hill above the ch. of Sta. Anastasia, in what was formerly the Viſwa Nussiner, but which is now a public walk, having been purchased by the Emperor of Russia for the pur- pose of excavating, but which was sub- sequently presented to the city, are ruins which antiquaries regard as having formed part of the palace added by Tiberius. On the S.S.W. is a semicircular ruin, called by Canina the lſervicino Paleſtino, overlooking the Circus Maximus, the extreme point in this direction of the buildings raised by Augustus, and which formed the entrance in that direction to his house, that stood immediately behind it. On the higher part of the hill, and entered from the Farnese Gardens, are the vaults called by the ciceroni the “Baths of Livia,” Without a shade of authority for such a name. They retain their original stucco, and are still decorated with some beautiful arabesques and gild- ing. They have a place for heating water, and a passage for vapour is left between the main wall and the facing. Near them are con- siderable remains of substructions, which are generally supposed to be- long to the Temple of Apollo, and to another dedicated to Jupiter; the recesses and compartments still traceable in the walls adjoining have C 2 28 JRome. § 10. PALACE OF THE CESARs. been considered with great proba- bility to mark the site of the Pala- tine library. A Casino overlooking the Circus Maximus and the Aventine at this extremity of the hill, said to have been painted by the pupils of Ra- phael, commands one of the finest views of Rome. At the N.W. extremity of the Palatine, and extending from thence for nearly 200 yards behind the ch. of Sam Teodoro, are the ruins of the ad- 3. ditions made by Caligula on the mas- sive substructions formed of square blocks of pumice tufa, supposed by some antiquaries to date from the kingly period, whilst a few go so far as to attribute them to the original fortifications of the Palatime raised by Romulus. At the angle overlooking the Forum Boarium were the stairs leading to the K22% Azra of Plutarch, or quay along the river, traces of which have been lately laid bare: near this, on the rt., was the site of the Porta Mugionis, of the kingly period, and close by the place where stood the Ara Maxima.” At the eastern extremity of Caligula’s additions to the Palace of the Caesars were the edifices raised by Tiberius, and the Imperial Pulvinaria. Considerable excavations have been lately made here, and laid bare some columns, which are supposed to have supported a balcony from which the emperors viewed the games in the Circus Maximus. i. 2. The Pilla Palatina * During the late excavations a very interest- ing altar in travertine was discovered near this point, and may be still seen on the spot ; it is in the early Consular style, with Scroll orna- ments like those on the urn of Scipio Barbatus, and of the Republican tombs, on the Via Appia ; the inscription is remarkable not only for its spelling but its object:-SEI DEO SEI Div AE SAC. —C SEXT lys C. F CALVINVS T R–DE SENAT SEN- TENTIA RESTITVIT. It is supposed to have been dedicated to the mysterious génius locł, or (tius loquens, mentioned by Cicero, in his De Divini- £ate, as having announced the attack of the Gauls, but which being nameless, its sex could not be designated. The tribune F. Calvinus mentioned in the inscription was Son of a per- sonage of the same name, who was consul with C. Cassius Longinus in A U.C. 650, or 128 years before Christ. + Behind this ruin, at the base of the Pala- time, some chambers have been recently opened, the walls of which are covered with names and figures of men and animals roughly scratched upon them. Some are in Greek, and all appear to be not later than the third century. acquired considerable interest from the discoveries of the French Abbé Rancou- reil in 1777, who concluded that it occu- pied the site of the house of Augustus. The villa is entered from the Via Pol- veriera, nearly opposite the convent of S. Bonaventura.” The subterra- mean chambers excavated by Ran- coureil and Barberi are several feet below the present surface: they were probably parts of the palace of Au- gustus. In several of these chambers the stucco is preserved; and from what remains they all appear to have been richly ornamented. Two of the rooms are octagons, with domes ad- mitting light by the top. The forms and architecture of these chambers have been justly admired by pro- fessional travellers. The inscription “Bonis Artibus,” on a fragment of an ancient column, was added by the Abbé Ramcoureil. The Casimo of the Villa had a portico painted by Giulio Romano, from designs of Ra- phael, and restored by Camuccini; but the frescoes, owing to the aversion of its present inmates to look upon naked figures, have been removed. 3. Ortº Roncion the Villa Palatina overlooks these gardens. They are enclosed by 2 parallel walls of great extent, which appear by the recess in the middle and by the curved extremity to justify the name of “Hippodrome” or “Stadium ” given to the locality by the antiquaries. In the upper gardens is the semicircular ruin of a theatre already mentioned. 4, Vignal di S. Bonaventureſ, &c. Re- turning to the Via San Gregorio, oil our way to examine the S. side of the hill, we pass the vineyards of S. Bonaven- tura and S. Sebastiano, in both of which are considerable masses of brickwork, which belonged to edifices, chiefly baths, erected in the time of Nero. In the latter are some remains of the conduits which supplied the pa- lace with water from the Claudian aqueduct, and within the precincts of the convent are ruins which appear to have belonged to the reservoirs * This villa is now closed against visitors, having been converted into a nunnery for sisters. of the order of St. François de Sales. Sect. [. 20 § 10. BASILICA OF CONSTANTIN E. of a bath. 5. Vignº del Collegio In- glese, entered from the side of the Circus Maximus, through a house on the Via de' Cerchi; a steep stair conducts us to the ruins, which are more extensive and picturesque than any now visible on the Palatine. Numerous arches, corridors, and vaults, still retaining their ancient stucco, are interspersed with masses of buildings of different periods, among which are found mosaic pavements and frag- ments of ancient paintings. This is the part erected by Nero, and said to have been inhabited by Heraclius in the 7th century. Amy attempt to describe these ruins or assign them to particular em- perors would be mere loss of time. The names given to the circular chambers and other portions are names and nothing more; and their general accu- racy may be estimated by the fact that the ciceroni show a circular room as the bath in which Seneca was bled to death, although he is known to have died near the 4th m. on the Via Appia. These fine ruins, clothed in ivy and other creeping plants, diversified by laurels and ilex, will supply the artist with varied combinations for his pencil. At the S.E. angle of the hill towards the Piazza di S. Gregorio is a vineyard in which stood the Septi- zonium of Severus, built in A.D. 198 by that emperor, in order, it is said, to meet the eye of his African country- men on their arriving in the capital. It derived its name from its 7 tiers of arcades rising above each other, and formed the last important addition to the Palace of the Caesars. During the middle ages it was converted into a fortress by the Roman barons; a portion of it was still standing in the 16th century, when it was destroyed by Sixtus V. to furnish materials for the building of St. Peter's. The arches of the Claudian aqueduct, which are seen on the eastern declivity of the Palatine, were erected by Nero to carry water to the Imperial edifices, and to his thermae, which covered a consider- able portion of the declivity of the Pala- time on this side, Basilicºt of Constantine, formerly supposed to be the Temple of Peace, erected by Vespasian to receive the spoils brought by his son Titus from Jerusalem. It has, however, been proved that this temple was en- tirely consumed by fire in the reign of Commodus ; and antiquaries were long at fault in discovering the probable purpose of the existing ruins. Nibby was the first who sug- gested that they were the remains of the Basilica of Constantine. The style, indeed, indicates the decline of art, and the execution shows that it is properly referred to the time of that emperor. It is believed that the build- ing was erected by Maxentius from the ruins of the Temple of Peace, and de- dicated, after his death, by his success- ful rival. Small chambers have been found under the ruins, which may have belonged to the Temple raised by Ves- pasian, and some of the bricks in the pavement bear the name of Domi- tian ; both facts supporting the conjec- ture that it was built out of the materials of a pre-existing edifice. A small por- tion only of the original building is now standing, but there is sufficient to permit of its plan being made out with Some approach to accuracy. It ap- pears that it was 320 feet long and 235 wide; and that it consisted of a nave and 2 aisles, supported by 3 large arches, each of about 80 ft. spam. Those which formed one of the naves still remain ; but the rest have disappeared. Recent excavations have shown that one of the entrances faced the Coliseum, where traces of an outer arcade have been discovered, although the principal approach opened towards the Sacra Via. The vaulted roof of the central or great hall was supported by 8 marble columns of the Corinthian order, 62 feet in height, 1 of which was standing in the time of Paul V., who removed it to the Piazza of Sta. Maria Maggiore, where it now supports the bronze statue of the Virgin. In the fragment which remains the vaultings are decorated with large sunk octagonal panels with traces of stucco ornaments. The middle arch is deeper than the others, forming a kind of tribune ; the lateral Ones have 2 rows of smaller 3{) Iome. § 11. TEMPLEs. arches, destroying the effect by insigni- ficant details. The principal tribune was placed at the extremity of the central mave. A flight of winding brick stairs leading to the roof is nearly entire. The pavement was of cipollimo, giallo antico, and other coloured marbles. The whole arrangement of the building seems to have suggested the forms of the early churches; and there is no doubt that at least a portion of the edifice was converted into a place of Christian worship soon after the peace of the Church in the time of Constantime. § 11. TEMPLEs. Temple of Æsculapius, on the island of the Tiber, which was sacred to the god of medicine. This celebrated temple was founded B.C. 293, on the return of the ambassadors who had been sent to FPidaurus in obedience to the instructions of the Sibyllime oracles, for the purpose of bringing AEsculapius to Rome, then suffering from the plague. The story of their voyage is too well known to the readers of Livy to require a repetition here; it will be sufficient to state that, on their return with the statue of the god, it was found that a serpent Thad entered the ship, and that Æscu- Iapius himself was supposed to have assumed that form in order to de- liver the city. On their arrival in the Tiber the serpent, deserting the vessel, hid himself among the reeds of the island. A temple was thereupon erected to him, and the whole island was faced with travertine, its form being reduced to that of a ship. Some remains of this curious work are still visible. The masses of stone which formed the forepart of the vessel are well preserved at the southern end, and may be seen from both bridges. There ble. Were 3 temples in the island, dedicated to Jupiter, Æsculapius, and Faumus. The ch. of San Bartolommeo is sup- posed to stand on the site of the first. By descending from the gardens of the convent upon the massive ruins which form the S. E. point of the island, we may still see the staff and serpent of AEsculapius sculptured on the blocks of travertine of the ship's bow. The marbles in the convent gardem, and the 24 granite columns in the interior of the ch., most probably be- longed to the temple of Jupiter, or to that of Æsculapius. In the centre of the island was an Egyptian obelisk placed so as to represent the ship’s mast; from the remains of a basement discovered by Bellori in 1676, it is supposed to have been of great size, and the frag- ment of the obelisk found here in the last century was probably but a small portion of it. This fragment was long preserved in the Villa Albani, but it has now passed to Urbino, where it has been erected. The Temple of AEsculapius stood in the centre of the island on the site of the modern hospital of San Giovanni Calabita, where an inscrip- tion has lately (1854) been discovered connected with a well filled with stipa, or ex-voto offerings by those who had obtained cures at the shrine of the divinity; the third temple, dedicated to Faunus, was at the N.W. extremity of the island, but all trace of it has disappeared under the houses which Inow cover where it once stood. Temple of Antonin's and Faustinct, at the N.E. extremity of the Roman Forum, now the ch. of S. Lorenzo in Miranda. This interesting ruin is shown by its inscription to be the temple dedicated by the senate to the emperor Antoninus Pius and to his wife Faustina the elder. It consists of a pro- naos of Corinthian columns, 6 in front, and 2 on the flanks. Each column is composed of a single block of cipol- lino, about 45 feet in height, with bases and capitals of white marble. The cella, of which 2 sides remain, is built of large blocks of peperino, which were formerly faced with mar- The ascent to the temple was Sect. I. 3]. § 11. TEMPLE OF CERES AND PROSERPINE. ascertained, by excavations made in 1810, to be by a flight of 21 marble steps. The cella and portico have preserved a considerable portion of their magnificent entablatures. The frieze and cornice are exquisitely sculptured with griffons, vases, and candelabras; over the portico is the inscription, “DIvo ANTONINo ET DIVAE FAUSTINIE. Ex. S. C.” The columns are beautifully proportioned, and the whole building is in the finest style of art; in front was an oblong portico extend- ing towards the Forum, the foundations of which are now entirely concealed. It is supposed to have been erected about the year 165 of our era. This temple is represented on coins of Faustina, and on an ancient bas-relief at the Villa Medici. Temple of Bacchus, or of the Canema', most doubtful designations given to a ruin near the pretended Grotto of Egeria, in the valley of the Almo, now the deserted church of S. Urbano, and partly converted into a farm-house. It was formerly called the Temple of Honour and Virtue. It is a rectangular building, with a portico of 4 white marble columns of the Corinthian order, of the time of the Antonines. The intercolumniations were walled up when the building was adapted for Christian worship ; half the co- lumns are consequently concealed. The interior retains a portion of its ancient stucco frieze, representing various warlike trophies, but greatly damaged; in the vault were sunk octa- gonal panels; in the centre of the roof are the remains of a bas-relief, repre- senting two persons sacrificing with un- covered heads. The building was con- verted into a church by Urban VIII., when the circular altar now seen close to the entrance of the ch., with a Greek inscription, was found in the subter- ranean oratory. This inscription refers to Bacchus, and has given the building its present name. The paint- ings on the walls, representing events in the life of Christ, S. Cecilia, &c., are curious frescoes of the 11th century. Temple of Ceres and Proserpine, now forming part of the church of S. Maria in Cosmedin, better known as the Bocca della Verita, and near the Temple of Vesta. The temple was rebuilt by Ti- berius. Three columns of the peristyle, in white marble, and finely fluted, are partly walled up in the modern portico, and 3 others in the sacristy and pas- sage leading to it. By ascending to the gallery above, the capitals may be examined; they are of the com- posite order, beautifully sculptured. The great width of the intercolum- niations is amongst the peculiarities of this fragment. In the 1.-hand nave of the ch. are 3 other columns, which formed a part of the pronaos or front which was turned towards the Arch of Jamus, or at right angles with the mo- dern façade; and behind the ch. are some remains of the cella, constructed of large blocks of travertime, which Adrian I. is known to have pulled down for the purpose of enlarging the old basilica. Under the modern portico is the huge marble mask which has given the manne of “Bocca della Verita, ’’ to this ch. and the adjoining piazza. It represents a large round face, with an open mouth, and probably served as an impluvium or entrance of a drain in the centre of a court to let the water run off. The vulgar motion, and from which it has derived its name, is that a sus- pected person was required, on making an affirmation, to place his hand in the mouth of this mask, in the belief that it would close upon him if he swore falsely. The church, built on the ruins of this temple, by St. Dionysius, in the 3rd centy., is interesting as an example of the early basilica. (See p. 149). Temple of Concord, first erected by Camillus, after the expulsion of the Gauls, to perpetuate the concord be- tween the Plebeians and Patricians on the disputed question of the election of the Consuls; entirely rebuilt by Tibe- rius A.U.C. 763; and repaired by Septi- mius Severus. It is situated at the base of the Capitol, behind the Arch of Sep- timius Severus. This mame was for- merly given to the portico of 8 columns of the Temple of Saturn, and the true site of the Temple of Concord *T) { 32 Rome. § 11. TEMPLE OF THE DIvus REDICULUs. was unknown before the year 1807, when the French, in excavating the soil around the 3 columns of the Tem- ple of Vespasiam, discovered a cella and 2 inscriptions, in which the mame “Concordia '' left no doubt of the real character of this ruin. Subsequent excavations have exposed a great part of the basement, and particularly a portion of the flank, which is tolera- bly well preserved. The existing re- mains show that the portico was mar- rower than the cella, in order to adapt it to the form of the ground, and that the cella was wider than long, a very unusual circumstance in ancient tem- ples, and probably owing to the edifice being more especially dedicated to pub- lic assemblies than for purposes of re- ligion. The pavement was of various coloured marbles. On the threshold of the cella is the impression of a cadu- Caeus, a supposed allusion to the divi- nity to whom the temple is dedicated. From the state of the numerous fragments of ornaments and carvings discovered among the ruins, it is be- lieved that the building was destroyed by fire. On the side next the arch of Severus is a mass of brickwork, the re- mains of some building of the middle ages, oftem confounded with the temple. The inscriptions alluded to above, and the style of architecture, show that the present fragment is an imperial ruin; there is little doubt, however, that it occupies the site of the republican Temple of Concord, so celebrated in the history of the Catiline conspiracy as the place where Cicero convoked the Senate before the arrest of the envoys of the Allobroges, at the Milvian bridge. In the middle ages a church, dedicated to S. Sergius, stood between it and the Arch of Septimius Severus, and was very probably constructed with marbles taken from its ruins. There are some elegant specimens of the bases of the columns, which stood inside the edifice, and fragments of the freize, in the Museum of the Capitol, and in that of the Tabularium. Temple of the Dicus Jęediculus : a name given to an elegant tomb situated in the valley of the Almo or Caffarella, near the pretended Nymphaeum, or Grotto of Egeria, from the belief that it Was the temple founded in commemo- ration of Hannibal’s retreat from before Rome. There is, however, no authority for the name Rediculus given to it, as Pliny mentions the site as being 2 m. from the city, on the rt.-hand side of the Via Appia. The period of its con- struction is unknown, but the variety and beauty of the ornaments show that it is not a republican work, but an imperial structure, probably of the time of the Antonines. “So fresh are its red and yellow bricks, that the thing seems to have been ruined in its youth; so close their adhesion, that each of the puny pilasters appears one piece; and the cornice is sculptured like the finest marble. Whether it be a temple or a tomb, the rich chiselling lavished on so poor a design convinces me that it was fully as late as Septimius Severus.”—Forsyth. It is nearly square, and is built of yellow brick, with a basement and pilasters of red. On the southern side, where a road (the Via Ardeatina) seems to have passed, it has small octagonal half-columns sunk in the wall. The modillions of the cornice and other ornaments are well preserved, and are beautifully executed. On the northern side is the pediment, on which stood probably a portico of peperimo columns, fragments of which may be seen scattered about. On the side of this portico was the principal entrance to the interior by a square doorway, over which is a niche for a ststue. Before the destruc- tion of the vaulting the inside was divided into 2 floors; the uppermost, a large square chamber, was decorated with stucco ornaments. Temple of Fortuna Virilis, near the Ponte Rotto, now the ch. of Santa Maria Egiziaca, belonging to the Armenian Catholics. It was originally erected by Ancus Martius or Servius Tullius; after having been destroyed by fire, it was rebuilt in the time of the republic, and has undergone many restorations. It is an oblong building, constructed of travertime and tufa, standing on a basement of travertine, which has Sect. I. § 11. TEMPLE OF JUPITER CAPITOLINUs. 33 recently been laid open to the level of the ancient road. The front had a portico of 4-columns, the interco- lumniations of which have been walled up ; the only flank now visible has 7 columns, 5 of which are sunk in the walls of the cella. These columns are Ionic, and support all entablature and frieze, ornamented with heads of oxen, festoons supported by cande- labras, and figures of children. The columns and entablature were covered with a hard marble-like Stucco, some portions of which remain. The base- ment is much admired, and the details of its Ionic decorations are generally regarded as the purest specimen of that order in Rome. Temples of Juno Sospita, Hope, and Piety. The Ch. of S. Niccolò in Car- cere, in a small recess out of the Piazza Montamara, is built on the site of 3 temples, which may still be identified by some of their columns standing in their original positions. The ch. oc- cupies the space of the middle temple, and portions of the others are built into the side walls. Of the one on the 1. hand, attributed to Juno Sospita, 6 Doric columns remain. The third Temple, that of Piety, has 6 Ionic columns, with their capitals, still stand- ing. The style of these ruins has gene- rally been considered to refer them to the period of the republic; and if we admit the names under which they have long passed, they would mark the site of the Forum Olitorium. Many attempts have been made to identify the central ruim with the Temple of Piety, which was erected on the site of the Decemviral prisons, to com- memorate the celebrated and affect- ing story of the “Caritas Romana.” It appears, however, from the state- ment of Pliny, that the sites of the prison and temple were both occupied in his time by the Theatre of Marcel- lus, and it would therefore be useless to enter into any of the contro- versies on the subject. Those writers who have identified the site with the Forum Olitorium have recog- mised in the central ruin the Temple of Piety, built by Acilius Glabrio, the duumvir, in A.U.C. 572, in fulfilment of his father's vow at the Pass of Thermopylae, where he defeated Antio- cus in A.U.C. 562. There is a cell at the base of the columns, which is shown to strangers by torchlight as the scene of the affecting story to which we have alluded. Whatever may be the amount of the traveller's belief in the locality, he will not forget that it in- spired those beautiful lines in the fourth canto of ‘Childe Harold' in which the poet pictures the scene which has given an imperishable cele- brity to the devotion of the Roman daughter:—- “There is a dungeon, in whose dim drear light What do I gaze on 2 Nothing : Look again Two forms are slowly shadow'd on my sight— Two insulated phantoms of the brain : It is not so ; I see them full and plain— An old man, and a female young and fair, Fresh as a nursing mother, in whose vein The blood is nectar:—but what doth she there, With her unmantled neck, and bosom white and bare 2 But here youth offers to old age the food, The milk of his own gift:—it is her sire, To whom she renders back the debt of blood IBorn with her birth. No : he shall not expire While in those warm and lovely veins the fire Of health and holy feeling can provide Great Nature's Nile, whose deep stream rises higher Than Egypt's river:-from that gentle side Drink, drink and live, old man Heaven's realm holds no such tide. The starry fable of the milky-way Has not thy story's purity; it is A constellation of a sweeter ray, And Sacred Nature triumphs more in this Reverse of her decree, than in the abyss Where sparkle distant worlds:— Oh, holiest nurse : No drop of that clear stream its way shall miss To thy sire's heart, replenishing its source With life, as our freed souls rejoin the universe.” Temple of Jupiter Capitolinus.--—Al- though this magnificent temple, the pride and wonder of amcient Rome, has entirely disappeared, a catalogue of the Roman temples would be incomplete without some motice of its site. It was long supposed to have stood on the space now occupied by the Cafarelli Palace, but it has been shown by Ca- nina, the best authority on the topo- graphy of Rome, to have occupied the summit of the opposite hill, the present site of the ch. and convent of the Ara C 3 34 Rome. § 11. TEMPLE OF MARS ULTOR. Coeli. The temple, as we learn from Livy, was founded by Tarquinius Pris- cus, and was 200 ft. im length, and 185 ft. in width. It was burnt down B.C. 83, during the civil wars in the time of Sylla, and rebuilt from its foundations by him, who decorated it with columns of Pentelic marble, brought from the Temple of Jupiter Olympius at Athens, but not completed until after the Dic- tator's death, 69 years B.C., by Q. Luta- tius Catulus; it was entirely destroyed during the Vitellian riots, in A.D. 69, when so many monuments suffered from the barbarism of an undisci- plined soldiery : re-erected by Vespa- sian, it was burned for the third time in A.D. 80, under Titus, and rebuilt by Domitian. It is accurately de- scribed by Dionysius, who says that it was divided into 3 cellae, that in the centre being dedicated to Jupiter, that on the rt. to Minerva, and that on the 1. to Juno. As there is no trace of the building itself, it would be superfluous to dwell upon its de- tails further than to mention that it was this temple which was struck by lightning B.C. 64, when the celebrated bronze wolf was injured, as described by Cicero. In the cell of Jupiter stood the statue of the god, which is repre- sented, on medals still extant, in a sit- ting posture, with the foot extended. A well-known tradition states that Leo I., in the middle of the 5th cen- tury, melted down this statue to cast the bronze figure of St. Peter, now in the Vatican Basilica; but the tradi- tion, though repeated by numerous writers, does not seem to rest on any recognised authority. Several fathers of the Church—St. Jerome, St. Augustin, St. Ambrose, and others— mention the temple as existing in their times; and there are other autho- rities which notice it as late as the 8th century, after which period every trace of it is lost. Temple of Jupiter Feretrius.—This temple is also supposed to have stood on the same summit of the Capito- line hill, and in latter times to have formed with the 3 smaller edifices— dedicated to Mars Ultor, Venus Vic- trix, and Jupiter Sponsor—the temples placed at the 4 angles of that of Jupi- ter Capitolinus. The original temple was the first erected in Rome, and was built by Romulus to receive the spoils taken from Acron king of Coenima. Temple of Mars Ultor, between the Roman Forum and that of Trajan. This beautiful fragment was formerly considered to mark the position of the Forum of Nerga, or the Forum Tramsi- torium, and to be the remains of the magnificent temple erected to that em- peror by his successor Trajan ; how- ever, most antiquaries now adopt the opinion of Palladio, and regard it as the Temple of Mars Ultor, erected by Augustus in the centre of his Forum. Niebuhr, on the other hand, like most of the modern German archaeological school systematically opposed to all who preceded them in the study of Roman topography, has given it another name, by supposing it to have formed part of the Baths of Caius and Lucius Carsºr. The ruin, which has been ex- cavated to its base, consists of a portion of the cella, with 3 Corinthian columns and a pilaster of the rt. peristyle, all 54 feet high and of white marble. The ornaments are in the purest style, and the proportions are regarded by architects as a model of the Corinthian order. Behind the columns, and partly resting on them, are the buildings of the convent of the Annunziata, which is believed to conceal the inner peri- style of the temple. Close to the ruin is an ancient archway, called l'Arco de’ Pantani, half buried in the Soil, which formed one of the ancient entrances to the Forum of Augustus. The wall of the Forum may be traced as far as the Piazza del Grillo; it is a stupendous fragment, between 500 and 600 feet in length, of great height, and built of square blocks, laid alter- nately on their sides and ends, as in the so-called Etruscan style, showing that this early mode of building was continued until a late period. It makes 3 or 4 angles, and was originally pierced with 4 arches, now walled up, and half buried under the accmulation of the soil. Sect. I. 35 § 11. TEMPLES OF MINERVA. Temple of Miner:ſt Chalcidica, in the Toman Forum, between the Palatine and the Basilica Julia. This ruin has been keenly contested by the anti- quaries, having been called at various times the Temple of Jupiter Stator, the Graecostasis, the Temple of the Dioscuri, a part of the Comitium, a senate-house, and even the bridge of Caligula. The present name is that given to it by Chev. Bunsem, who connects it with the Curia Julia, whilst Canina supposes it to have been the Curia Julia itself. It consists of 3 fluted columns of Greek marble of the Corinthian order, on a basement of travertime. The columns support an entablature of great richness, and beautifully proportioned. The flutings are about 9 in. across; the columns are 47% ft. high, and 4 ft. 9 in. in diameter. In execution and propor- tion this fragment is universally considered of the highest order of art, and architects still regard it as the most perfect model of the Corinthian order. In 1817 it was ex- cavated to the base for the purpose of finding the angles, and more recent investigations have proved that it formed a portion of an extensive edi- fice, of which the foundations may be traced for a considerable distance. Numerous mouldings and fragments of columns have been discovered in the recent excavations of the Ba- silica Julia, and the north-western foundations laid open. The fragments of the Fasti Consulares, preserved in the Capitol, were found near this ruin in the 16th century. Temple of Minerra Medica, a pictu- resque ruin on the Esquilime, near the Porta Maggiore, consisting of a building of lo sides, 80 ft. in dia- meter, with a large dome of brick, which forms a conspicuous object from all parts of the surrounding gardens. The circumference has 9 large niches for statues, which suggested the idea that it was a pantheon dedicated to Minerva Medica. The discovery of 7 of these statues at various times, and particularly of those of Minerva and AEsculapius, has been adduced in con- 3u £l. firmation of this view. The bare walls and some vestiges of buttresses alone remain; but the building appears to have been lined with marble. The age of the temple is not known, but it is generally referred to the time of Gal- lienus, and the best antiquaries of the present day consider that it formed a part of the baths founded in the Lici- mian Gardens by that emperor. Tºmple, more properly the Portico, of Pallas Illinerva, commonly called by the people of the quarter Le Colon- Macce, not far from the ruins of the Temple of Mars Ultor. This fragment, which is well known from Imodels and engravings, is one of the beautiful ruins of Rome, although the details may be considered to mark the period of the decline of art. It consists of 2 columns of the Corinth- ian order, supporting a fine entab- lature and continuous frieze. The columns are more than half buried in the earth; their height is esti- mated at 35 feet, and their circum- ference at 11. They stand in front of a wall of peperino, on which the capital of a pilaster is still visible. The frieze is richly ornamented with sculptures, representing the arts pa- tromised by Minerva. In the attic above the 2 columns is a full-length statue of that goddess; and among the figures on the frieze are females weav- ing; others weighing the thread, or measuring the webs; others again car- rying the ca'ſthus; and a sitting veiled figure of Pudicitia. In the angle is the reclining figure of a youth with an urn of water. These columns are supposed to have formed a portion of a portico or inner recinct of the Forum Transito- rium, in the centre of which stood the Temple of Minerva, and of which not a trace now remains, although its hexastyle pronaos was still erect in the early part of the 17th century, bear- ing an inscription that it had been erected by Nerva in the 2nd year of his reign. Inigo Jones in 1614 saw a part of it, and a sketch of it is given by Mr. Burgess from Camucci's ‘Antichite.” It was pulled down by Paul V., and its beautiful Corinthian columns cut up to 36 Rome. § 11. TEMPLES: PANTHEoN. decorate his fountain on the Janiculum. A very exact idea of the building may be formed from Palladio’s drawings of it. (See his Architettura, lib. iv.) Temple of Neptune, formerly called that of Antonimºus Pius, in the Piazza di Pietra, the site of the Portico of the Argonauts, founded by Agrippa. The reader will probably be already familiar with this temple, under the name of the Dogama di Terra, or Ro- man custom-house. The l l columns now remaining have suffered severely from the action of fire ; they belonged to one of the sides of the temple, which, according to the plan of Palla- dio, originally consisted of 15 columns. They are of white marble, in the Corinthian style, 4% feet in diameter, and 42+ feet high. The bases and capitals have almost disappeared, and very little of the ancient architrave has been preserved. Innocent XII. built up a wall between the columns to form the front of his custom-house, and completed the present entablature with plaster. In the interior are some remains of the vaulting, composed of enormous masses of stone, together with fragments of the cella, which form apparently the foundation of the modern wall. The blocks of marble, forming the immer parts of the archi- trave and entablature, as seem from the court of the Dogama, are stupen- dous in size. Some ruins in the ad- joining Palazzo Cini belong to the por- tico of the Argonauts that surrounded the temple. Pantheon, commonly called Jº 180- to ada.-This celebrated edifice is one of those relics of ancient Rome with the general appearance of which most travellers are familiar long before they cross the Tiber. It is situated in a piazza between the Corso and the Piazza Na- vona. The proportions of its portico have been for ages the admiration of travellers, and its name has become identified with architectural beauty. The ancients described it with admira- tion 18 centuries ago, and it still re- mains the best-preserved monument of ancient Rome. “Though plundered,” says Forsyth, “ of all its brass, except the ring which was necessary to pre- serve the aperture above; though ex- posed to repeated fire; though some- times flooded by the river, and always open to the rain, no monument of equal antiquity is so well preserved as this rotunda. It passed with little altera- tion from the Pagan into the present worship; and so convenient were its miches for the Christian altar, that Michael Angelo, ever studious of an- cient beauty, introduced their design as a model in the Catholic Church.” “Simple, erect, severe, austere, sublime— Shrine of all saints and temple of all gods, From Jove to Jesus—spared and bless'd by time, Looking tranquillity, while falls or nods Arch, empire, each thing round thee, and man plods His Way through thorns to ashes –glorious dome ! Shillt, thou not last 2 rants' rods Shiver upon thee –sanctuary and home Of art and piety—Tantheon I pride of Rome !” Childe Iſºtrold. Time's scythe and ty- The inscription on the frieze shows that it was erected by Agrippa in his third consulate (B.C. 27). A second inscription, engraved in 2 lines on the |border of the architrave, records the subsequent restoration of the building by Septimius Severus and Caracalla. In 608 Boniface IV. obtained permis- sion from the emperor Phocas to con- secrate it as a Christian church, under the name of S. Maria ad Martyres; and to this circumstance the world is pro- bably indebted for the preservation of the only monument of ancient Rome which has retained its original ap- pearance. The Portico, which was raised 5 steps above the Piazza, has been admitted by most writers to be almost beyond criticism. Forsyth de- clares that it is “more than faultless; it is positively the most sublime result that was ever produced by so little ar- chitecture.” It is l 10 feet long, and 44 deep, and is composed of 16 Corinthian columns of granite, with capitals and bases of white marble. 8 of these columns are in front, and the re- maining S are arranged in 4 lines be- hind them, so as to divide the portico into 3 portions. All the columns are in their original position except 3 on the Sect. I. § 11. PANTHEON. 37 E.; one of these was added by Urban VIII. in 1627, and may easily be re- cognised by the bee, the armorial bear- ing of the Barberinis, on the capital : the other 2 were added by Alex- ander VII. in 1662, and are distin- guished by the star over three hills of the Chigi family, introduced in a simi- lar manner. Each column is composed of a single block 46% English feet in height, and 5 feet in diameter. The vestibule is supported by fluted pilas- ters of white marble, corresponding with the columns. On the frieze of the entablature is the inscription, “M. AGRIPPA. L. F. Cos. TERTIVM. FECIT.” The whole is surmounted by a pedi- ment, which still retains the marks by which its bas-reliefs were attached. In the vestibule on the 1. of the door- way is a Latin inscription, recording that Urban VIII. melted the remains of the bronze roof into columns to serve as ornaments of the high altar over the Apostle's tomb in the Vatican, and into cannons for the Castle of St. Angelo. Venuti states that no less than 450,250 pounds weight of metal were removed on this occasion. As a part of the roof had been previously strip- ped by the emperor Comstans II, in 657, the reader may form some idea of the original magnificence of the temple. The marble doorway corre- sponds in its architecture with the portico. Within it are bronze pilas- ters, on which the doors are hung ; the opening is about 39 feet high and 19 wide. Over it is the ancient bronze grating, which has been preserved un- altered. The bronze doors have been the subject of much controversy, but there appears to be no ground for doubting their antiquity, or referring them to other than classical times; and the best authorities agree in re. garding them as the identical doors of the original edifice. The interior of the temple is a rotunda, covered by a dome. The rotunda is 142 feet in diameter, exclusive of the walls, which are said to be 20 feet thick in some places. The height from the pavement to the summit is also 143 feet, and the dome occupies one-half of the height, or 71% feet. In the upright wall are 7 large recesses, 4 of which have fituted columns of gially antico of the Corinthiam order, and 2 have similar columns of pavonazzetto marble. The 7th, facing the entrance, is open, and has 2 columns of stained pavonazzetto standing on each side. Between the larger recesses are 8 “acdiculae,” which have been converted into modern altars. Above these altars rums a marble cormice, richly sculptured, perfectly preserved, and supporting an attic, with 14 miches, surmounted by a 2nd cornice. From this rises the majestic dome, divided into square panels, which are supposed to have been originally covered with bronze. In the centre a circular opening, 28 feet in diameter, supplies the only light which the temple receives. The pavement is composed of porphyry and different marbles, dis- posed alternately in round and square compartments. Some feet below this pavement is a drain to carry off the water which enters by the opening in the dome. Michel Angelo attributed the portico and body of the rotunda to Agrippa, the 1st story of the interior to Hadrian, and the 2nd to Septimius Severus. There has been much con- troversy in regard to the original des- timation of the Pantheon, many con- tending that it was commected with the baths constructed by Agrippa in this neighbourhood, and that the Corinthian portico was added subsequently. What- ever value we may be disposed to attach to these conjectures, it is worthy of remark that a pediment and enta- blature are distinctly visible behind the present portico, which seems to have been intended to conceal them, and that the portico was added to a pre-existing edifice. The form also of the Pantheon, separated from the portico. is simply that of the ancient cºllidarium, as may be seen on com- paring it with the circular chamber at the baths of Caracalla. The body of the building is of brick- work, strengthened by numerous blind arches; it was formerly coated with marble on the outside, which has shared the fate of the bronzes and statues. The tasteless belfries which de- form the portico were added by Bernini, 38 § 11. TEMPLE OF QUIRINUS. JRome. at the command of Urban VIII. In the sacristy behind the building some remains of the baths of Agrippa may still be recognised. The Pantheon in more recent times has acquired an interest very different from these re- cords of the empire and of Papal Vam- dalism. It is sacred in the history of art as the burial-place of Raphael, whose tomb is in the 3rd chapel on the left, which was endowed by him, and is distinguished by the statue of the Ma- donna del Sasso, executed at his request by his friend and pupil Lorenzo Lotto. The Roman archaeologists, after having unsettled the faith of ages on every matter connected with the antiquities, began to raise doubts on Vasari’s state- ment respecting the last resting-place of Raphael. It was at length deter- mined to settle the question by exa- Imining the spot, and accordingly, on the 14th September, 1833, the place was opened in the presence of several ecclesiastical dignitaries, and of Cam- muccini and other artists resident in Rome. The statement of Vasari was completely verified, and the bones of the immortal painter were discovered precisely as he describes, behind the altar of the chapel. “Four views of the tomb and its contents were en- graved from drawings by Camuccimi, and thus preserve the appearance that presented itself. The shroud had been fastened with a number of metal rings and points; some of these were kept by the sculptor Fabris, of Rome, who is also in possession of casts from the skull and the right hand. Passavant remarks, judging from the cast, that the skull was of a singularly fine form. The bones of the hand were all per- fect, but they crumbled to dust after the mould was taken. The skeleton measured about 5 feet 7 inches; the coffin was extremely narrow, indicat- ing a very slender frame. The pre- cious relics were ultimately restored to the same spot, after being placed in an antique marble sarcophagus from the Vatican Museum, presented by Pope Gregory XVI. The mem- bers of the Academy of St. Luke were interested in this investigation, as they had been long in possession of a skull supposed to be that of Raphael, and which had been the admiration of the followers of Gall and Spurzheim. The reputation of this relic naturally fell with its change of name, the more irretrievably as it proved to have be- longed to an individual of no cele- brity.” — Quart. Rev. On one side of the same chapel is the tomb of Ammibale Caracci, and on the other of Taddeo Zucchero; and in other parts of the building are buried Baldassare Peruzzi, Pierino del Vaga, Giovanni da Udine, and other eminent painters. The monument containing the heart of Cardinal Consalvi, who was titular car- dinal of this ch., erected by his friends, with a bas-relief likeness by Thorwald- sen, will not fail to command the respect of every traveller who can appreciate the merits of that excellent man and enlightened and patriotic statesman. The Pantheon, formerly surrounded by shops and houses, has been considerably laid open of late years, and it is expect- ed will be soon entirely so, the govern- ment having purchased the greater number of those still built against it for the purpose of pulling them down: in consequence of the removal of these modern buildings, the foundations of a considerable portion of the portico, which flanked the principal edifice towards the E., were discovered in 1854. Temple of Quirinus.—This celebrated temple, founded by Numa, rebuilt, according to Livy, by the consul Papirius, and again by Augustus, occupied the spot where Romulus miraculously disappeared during the thunder-storm. The Jesuits’ gardens, behind the ch. of S. Andrea in Monte Cavallo, on the Quirinal, are supposed to mark its site. Fulvio states that he saw the foundations of the temple on this spot, and that Otho of Milan, then Senator of Rome, removed all the re- mains and ornaments which were dis- covered, to form the steps leading to the ch. of the Ara Coeli on the Capitol. Several fragments of antiquity have been discovered at various times in these gardens, but no remains of the temple are now visible. In the sub- Sect. H. § 11. TEMPLES OF ROMULUs. 39 jacent valley, where the ch. of S. Vitale jow stands, is supposed to have stood the Portico of Quirinus. Temple of Remus, or of Romulus ac- cording to some authorities, beyond the Roman Forum, called by Bunsen and his followers the Aºdes Penatium—a cir- cular edifice of the time of the Empire, about 30 ft, in diameter, more than half buried under ground. In the year 527 it was adapted by Felix IV. as the vestibule to his basilica of SS. Cosma and Damiano. Urban VIII. is said to have added the an- cient bronze doors, which were found at Perugia, and to have placed in their present position the 2 columns of porphyry, with the cornice, taken probably from the ancient portico. The cornice serves as the jambs of the doorway, and its sculpture does not appear to be earlier than the latter part of the 2nd century. Beyond this entrance are 2 cipollino columns, one with a capital, and part of an en- tablature, deeply buried; they were formerly supposed to have belonged to the original portico, but nothing cer- tain is known of their date or of the edifice to which they belonged. The church behind is raised about 20 ft. above the level of the ancient temple, which may be seen by descending into the oratory in the crypt below. In this crypt were found the fragments of the celebrated Plan of Rome, called the Pianta Capitolina, which are now pre- served in the museum of the Capitol. (see p. 230); they are supposed to have been engraved in the time of Septimius Severus or Caracalla, and to have served as the pavement of this temple. The original entrance appears to have been towards the adjoining street. Temple of Romulus.-The ch. of Sam Teodoro, situated at the southern ex- tremity of the Campo Vaccino, under the Palatine, has been supposed by some antiquaries to occupy the site of this temple. Its form is circular, from which circumstance, and from its be- ing mentioned by Ovid, as standing on the Via Nova, and subject to frequent inundations as stated by Horace, it has been considered by Canima and the Roman archaeologists to be the celebrated Temple of Vesta. The antiquaries who refer it to Romulus rely chiefly on the circumstance that the bronzewolf now in the Capitol, and said to have been found in this meighbour- hood, was that mentioned by Dionysius as standing at the Temple of Romulus. But there is no proof that the statue in question (see p. 225) was found there; and therefore no value is to be attached to this doubtful statement. Another presumption might be deduced from the fact that the lºoman matrons carried their children to the Temple of Ro- mulus to be cured, as they now do to the ch. of S. Teodoro every Thurs- day morning. Whatever may be the true state of the case, there is no doubt that the ch. is of high antiquity (see p. 169). Temple of Romulus (son of Maxen- tilts).-The name given by recent an- tiquaries to the building known as the “Scuderia,” adjoining the pre- tended circus of Caracalla, on the 1. of the Via Appia, and near the tomb of Caecilia Metella. Few ruins have been more disputed ; some call- ing them the stables of the circus, others the Mutatorium Caesaris, and others a Serapeon. The circus is known, from an inscription found there in 1825, to have been consecrated by Maxentius, A.D. 311 ; and the present building is regarded as the temple erected by him to his son Romulus. It is a circular edifice, with a vaulted roof, and is enclosed in a large rectam- gular court, surrounded by the remains of a Corinthian portico. In the base- ment are niches for sepulchral urns, so that it seems to have been used both as a tomb and a temple. The diameter of the building is about 106 feet, and the thickness of the walls not less than 14. There are two representations of this temple on coins of Romulus, one with a portico, the other with a dome. A few years ago the ruin was called the Torre de' Borgiani; from this circumstance it is supposed to have been converted into a stronghold by the Borgia family. 40 Rome. § 11. TEMPLE OF SATURN–or vBNUs AND Rosiº. Temple of Saturn, on the Clivus Capitolinus, overlooking the Roman Forum, called by Poggio Bracciolini in the 15th century, and others, the Temple of Comcord. The ruin consists of a rude Ionic portico of 8 granite Columns standing upon a basement of travertime. Six of these columns are in front, and 2 on the flanks; but they have been so clumsily restored that the intercolumniations are unequal; the columns are of different diameters, the mouldings of the base are irre- gular, and the capitals of white marble are in the lowest style of the Ionic order. The pediment is a mixture of brick and travertime with fragments taken from other buildings, and has arches over the intercolumniations. On the archi- trave is the inscription, SENAT vs. POPULVSQWE . ROMANVS — INCENDIO CONSVMIPTVMI. RESTITVIT. The restor- ation, whenever it took place, was conducted without any regard to the principles of art; and the portico as it stands is the most tasteless monu- ment of the Forum. Poggio, who describes it, saw it nearly entire in the 15th century; during his stay in Rome the greater part of the temple was demolished, and he mentions having witnessed the destruction of the cella and many of the marble orna- ments, for the purpose of making line. The destination of this temple has been settled by the recent discovery of the Milliarium Aureum at one of its angles, on the side of the Clivus Capi- tolinus, which passed before it; and which is further confirmed by an in- scription on an altar found near it, now in the Museum of the Capitol, which refers to the AErarium or Treasury, which it is well known formed a part of the Temple of Saturn. Temple of the Sun. — Under this name have been described some colos- sal masses of masonry on the terrace of the Colonna gardens on the Quirinal, and under the adjoining Piazza della Pilotta. They consist of part of an architrave and frieze and the angle of a pediment, all highly ornamented in the Corinthian style. In point of size ments in Rome. They have been sup- posed to belong to the Temple of the Sun built by Aurelian. Their style and ornaments are certainly in favour of the opinion which fixes their age at a period when art was beginning to de- cline; although the work appears too good to be as late as the time of Aure- liam. The colossal horses which we now see on the Piazza di Monte Ca- vallo stood before this temple. Temple of Venus and Cupid, a ruin long known by this name, called by the German antiquaries the Nympha-um. of Ale.cander, aud by Camina the Sesso- rium built by Constantine: it is situated in a garden near the ch. of Santa Croce in Gerusalemme, between the Aurelian wall and the Claudian aque- duct. The name of Temple of Venus and Cupid has been given to it from the discovery, among the ruins, of a statue, now preserved in the Vaticam, of a Venus with Cupid at her feet; on the pedestal is an inscription showing that it was dedicated to Venus by a certain Salustia; in the features an- tiquaries have discovered the likeness of Salustia Barbia, the wife of Alex. Severus. The ruin possesses little in- terest, and consists merely of 2 walls of brick and a large miche. Temple of Tenus and Rome, between the ch. of Santa Francesca Romana and the Coliseum ; a double temple, designed and built by Hadrian, to show that he was superior as an architect to Apollodorus, whose skill in erecting the Forum of Trajan had excited the envy of the emperor. The building is also interesting in connexion with the fate of that great architect, for, when asked by Hadrian for his opinion on his plans for this temple, his criticism, that they were good for the production of an Emperor, was too homest to be forgiven, and he paid the penalty with his life. The only portions now stand- ing are the remains of the cellae, each terminated by the vaulted niches which contained the statues of the deities. Considerable fragments, however, have been brought to light, which have they are the most stupendous frag- enabled architects to trace the plan Sect. I. § il. TEMPLE OF VESPASIAN. 41 and ascertain its dimensions. It ap- pears from these fragments that the building consisted of 2 cellae turned back to back. At each end was a por- tico of 10 fluted marble columns 6 feet in diameter, one facing the Forum, the other the Coliseum. The cellae joined each other by the vaulted tribunes which form the most conspi- cuous portions of the existing ruins. The building was raised on a plat- form 510 feet long and about 300 feet wide, surrounded by a portico composed of nearly 200 columns of grey gramite, of which numerous fragments are still seen in different parts of the ground. From the dia- meter of these fragments the columns are supposed to have been nearly 40 feet in height. This colonnade and platform rested on a rectangular basement raised 26 feet above the level space in front of the Coliseum. The flank, which may be traced from the Arch of Titus to the Meta Sudans, has been constructed in platforms of different lengths, so as to obviate the difficulty caused by the inequality of the ground. The basement of the front facing the Coliseum has at each end the remains of 2 large fiights of steps. The apertures in it, now walled up, at one time gave rise to Some controversy as to their original purpose: they were believed by some to be sepulchral vaults excavated during the middle ages; by others, cellars in which were stored the moveable decorations of the Coliseum. The Square mass in fromt of the steps at the eastern angle is supposed to be the pedestal of the colossal statue of Nero. The Prussian antiquaries in the ‘Beschreibung,” and Burgess in his ‘Antiquities,” give plans and re- storations of the whole structure; but those in Canina's great work on Rome are much more correct and elabo- rate: these plans, which are certainly borne out by the existing ruins, show that, in spite of the criticism of Apollodorus, it was one of the grand- est edifices of Rome, distinguished by a remarkable regularity of design, and by great splendour of decora- tion. Temple of T'espasian, on the Clivus Capitolinus, above the Roman Forum, called the Temple of Jupiter Tomans by the older Roman antiquaries, the Temple of Vespasian by Camina, and that of Saturn by Niebuhr, Bunsen, and other German archaeologists. Prior to the French invasion, the 3 beau- tiful columns which compose this ruin were buried nearly to their capitals in the accumulated rubbish. The French ascertained, by perforating the soil, that the basement had been partly re- moved ; it was therefore necessary to remove the entablature and secure the columns by scaffolding; the basement was then carefully restored, the ground was cleared, and the entablature re- placed in its original position. To this ingenious restoration we are indebted for one of the most picturesque ruins of the Forum. The only portion of the basement which was found in its proper place contained the marks of steps in the intercolumniations, show- ing how carefully every foot of ground was economised on this side of the Capitol. The columns are of white marble, in the Corinthian style, deeply fluted ; in some parts they retain the purple colour with which they appear to have been painted, like the temples of Pompeii and of Sicily. The basement also was coated with marble. On the entablature in front the letters ESTITVER are still visible, the remains of the word Restituére, proving that it was a restored building. On the frieze are sculptured various instruments of sacri- fice—the knife, the axe, the hammer, the patera, and the flamen’s cap. The columns are 4 feet 4 inches in diame- ter, and the general appearance of the ruin indicates that the temple was highly ornamented. We have stated that these columns were formerly sup- posed to belong to the Temple of Jupiter Tomams. It is known that a temple of that name was erected by Augustus in gratitude for his escape from lightming during the expedition in Spain, but it was on the Capitoline hill ; the Temple of Vespasian was restored by Septimius Severus and Caracalla, to which the inscription on the enta- blature above moticed probably refers. 42 I'ome. § 12. THEATRES AND AMPHITHEATREs. To the 1. of the temple are some chambers, and a portico of Corinthian columns with capitals adorned with trophies, which has just been restored. It is called by Bunsen the Schola Vantha, from the name of a Fabius Xanthus, curator of the monuments, and who placed here the silver images of the Dii Consentes, and which were again reinstated under the portico by Vettius Pretextatus in A.D. 367, as we see by an inscription upon its entabla- ture. Temple of Pestſ, or, according to Canina, of Mater Matuta, a circular temple at the Bocca della Verita, near the Ponte Rotto, and the Temple of Fortuna Virilis, and first consecrated under the name of St. Stefano delle Carrozze, and now the church of S. Maria del Sole. This elegant little temple has been for ages the admira- tion of travellers, and the numerous models of it have made it better known than perhaps any other ruin in Rome. The name of Vesta seems to have been given to it on account of the cir- cular form of the building. It must mot, however, be supposed that this is the famous Temple of Vesta erected by Numa, amd mentioned by Horace in connection with the inundations of the Tiber— “ Vidimus flavum Tiberium, retortis Littore Etrusco violenter undis, Ire dejectum monumenta regum Templaque Vestas"— which was situated between the Pala- time and the Capitoline hills, in the valley of the Velabrum, subject to being flooded, from its inconsiderable height above the Tiber. That celebrated temple, in which the Palladium was preserved, was undoubtedly nearer to the Roman Forum, and was probably on the site of the ch. of S. Teodoro (see p. 39 and 169); and the building now before us is most probably one of those which were erected, in ac- cordance with the institutions of Numa, in each curia. The edifice we are now describing is generally Teferred to the time of the Antonines, though there is evidence that it ex- isted in the reign of Vespasian, one of whose coins gives a representation of a temple of the present form. It consists of a circular cella surrounded by a peristyle composed originally of 20 Corinthian columns, of which one only has been lost. The entablature has entirely disappeared, and the roof has been replaced by an ugly covering of red tiles. The ancient portion of the cella and the columns are of white marble. The diameter of the cella is 26 feet, the circumference of the peristyle 156, the diameter of the columns about 3, and their height 32. Soune authors have identified this circular edifice with one of the several dedicated to Hercules in the Forum Boarium. § 12. THEATRES AND AMPEIITHEATREs. Theatre of Balbus, erected A.U.C. 741, by Cornelius Balbus, at the desire of Augustus. It was the smallest in Rome, although it is said to have con- tained 1 1,600 spectators. The Palazzo Cenci stands upon the eminence formed by its ruins, but the only fragments now visible are a portion of one of the “cunei,” which may be seen below that palace near the gate of the Ghetto, and 2 columns with a portion of an architrave on the sides of the door of a house, No. 23 in the ad- joining street of Sta. Maria in Caca- beris, supposed to have belonged to the cryptoporticus of the theatre. Near this the 2 colossal statues of Castor and Pollux, which now stand at the top of the stairs leading to the Piazza of the Capitol, were found during the pontificate of Pius IV. Theatre of Marcellus, the second theatre opened in Rome, in the Sect. I. 43 § 12. THEATRE OF POMPEY. level space occupied by the Forum Olitorium, or great vegetable market, between the S. declivity of the Ca- pitoline Hill and the Tiber. It was begun by Julius Caesar, finished by Augustus, and dedicated by that emperor to the young Marcellus, son of his sister Octavia, whose name he gave to that magnificent portico near to the theatre which he restored as a place of shelter for the spectators in unfavourable weather. The ruins, though encumbered by the Orsini Pa- face, and disfigured by the dirty shops which occupy the lower tier of arches, are still highly interesting. The build- ing is supposed to have consisted of 2 tiers of the Doric and Ionic orders, upon which rose a closed wall decorated with Corinthian pilasters; the latter has entirely disappeared, and of the tiers of arches only 11 on each, and part of the 12th, now remain. This fragment, which may be seen near the Piazza Montanara, shows that the theatre was built externally of large blocks of travertime. The lower story, now half-buried beneath the street, is Doric ; the capitals of the columns and the entablature, though much mutilated, still supply us with many interesting details. The second story is Ionic. The third was probably Co- rinthian, but it has been superseded by the upper stories of the modern houses. Notwithstanding the objec- tions of recent critics, it is known that the building excited the admiration of the ancients; Vitruvius praised the beauty of the whole structure, and the existing fragment supplied Palladio with the model for the Roman Doric and Honic orders. The ruins have formed a hill of some size, on which the Palazzo Orsini was built by Baldassare Peruzzi. In the stables of the Osteria della Campana, some of the sloping walls, or “cunei,” which sustained the seats, may be still seem ; and there is no doubt that many valuable fragments are con- cealed by the mass of houses between the outer wall of the theatre and the Tiber. It is stated by the Regionaries that the building was capable of con- taining 20,000 spectators. In the llth century it was converted by Pierleone into a fortress, and was afterwards a stronghold of the Savellis. From them it passed to the Massimi and Orsini families. . A fragment of the ground- plan of this theatre, with the name annexed, is preserved in the Pianta Capitolina. Theatre of Pompey, the first theatre erected in stone at Rome. It was built by Pompey the Great, repaired by Tiberius and Caligula, injured by fire in the reign of Titus, and restored by several of the later emperors. It was also repaired by Theodoric, and may therefore be considered to have been entire in the middle of the 6th centy. In the middle ages it was converted into a fortress, and was the stronghold of the Orsinis during the troubled times of the 11th and 12th centuries. There are few monuments with which so many historical associations are con- nected as this theatre. It is recorded by ancient writers that the opening of this mew place of amusement was re- garded by the older citizens as a cor- ruption of morals; and that Pompey, to evade their opposition, built over the theatre a temple dedicated to Venus Victrix, and pretended that the seats of the theatre were mere additions to the temple. The plan of Rome, in the Museum of the Capitol, gives us a very accurate idea of the form and propor- tions of this theatre, but unfortunately the portion which contained the plan of the portico is imperfect. The site occupied by the theatre lies between the chs. of S. Andrea della Valle, on the N., and San Carlo di Catinari, the Piazza di Campo di Fiori, on the W.; the Via de' Chiavari, the Via de' Giuppomari, and the Via di Torre Argentina on the E. The Palazzo Pio is built upon its ruins. The semicir- cular form of the theatre, and even the inclimation given to the ground by the vaultings upon which rested the seats, may be traced by following the houses from the ch. of S. M. della Grotta Pinta to the Piazza dei Satiri. In the cellars and vaults of the Palazzo Pio Some arches and fragments of massive walls may be examined; but it is to be regretted that so little of a building of 44 § 12. JRome. COLISEU NI. such peculiar interest in the history of the Roman people is accessible. In front of the theatre, extending in the direction of the modern Teatro Argen- tima, was the famous portico of 100 columns, celebrated by many of the poets, adorned with paintings, statues, and plantations, and containing a Basilica or Regia. In this portico Brutus is said by Appian to have sat in judgment as praetor on the morning of Caesar's death. Close to the theatre was the memorable Curia, or senate- house, in which “Even at the base of Pompey's statue, Which all the while ran blood, great Caesar fell.” . The celebrated statue, well known as the Spada Pompey, was found in the Vicolo de’ Leutari, between the Can- cellaria and the Piazza di Pasquino, in 1553. We know from Sueto- mius that it was removed by Augustus from the Curia, and placed before the basilica on a marble Janus. The spot where it was discovered corresponds precisely with the position indicated by the description of Suetonius. The statue is well known as the chief trea- sure of the Spada Palace. Among the historical facts connected with this theatre, Aulus Gellius mentions the grammatical question which arose in regard to the inscription for the temple, whether the third consulate of Pompey should be expressed by c0s. tertium or tertio. The learned men consulted on the point were divided in opinion, and Cicero, without meeting the question, suggested that the difficulty should be avoided by writing cos. tert. Subse- quent grammarians seem to have in- clined to tertium, as we see inscribed over the portico of the Pantheon. Coliseum, or Colosseum.—There is no monument of aucient Rome which artists have made so familiar as the Coliseum ; and there is certainly none of which the descriptions and drawings are so far surpassed by the reality. The amphitheatre was begun by Vespasian, in A.D. 72, on the site of the Staguum Neronis, and dedicated by Titus in his eighth consulate, A.D. 80, ten years after the destruction of Jerusalem ; but only completed by Domitian. As high as the third division of the seats was finished by Vespasian, and the portion above this by Titus and his successor. The Church tra- dition tells us that it was designed by Gaudentius, a Christian architect and martyr, and that many thousand captive Jews were employed in its construction. It received successive additions from the later emperors, and was altered and repaired at various times until the beginning of the 6th century. The gladiatorial spectacles of which it was the scene for nearly 400 years are matters of history, and it is not necessary to dwell upon them further than to state that, at the de- dication of the building by Titus, 5000 wild beasts were slaughtered in the arena, and the games in honour of the event lasted for nearly 100 days. The gladiatorial combats were abo- lished by Honorius. A show of wild beasts, which took place in the reign of Theodoric, and a bull-fight at the expense of the Roman nobles in 1332, are the last exhibitions of which his- tory has left us any record. During the persecution of the Christians the amphitheatre was the scene of fearful barbarities. In the reign of Trajan St. Ignatius was brought from Antioch purposely to be devoured by wild beasts in the Coliseum ; and the tradi- tions of the Church are filled with the names of martyrs who perished in its arena. The building was originally called the Amphitheatrum Flavium, or Fluvian Amphitheatre, in honour of the family name of the emperors by whom it was commenced, continued, and completed ; and the first mention of the name Coliseum, derived from its stupendously colossal dimensions, occurs in the fragments of the Vene- rable Bede, who records the famous prophecy of the Anglo-Saxon pil- grims : — “While stands the Coliseum, Tome shall stand ; When falls the Coliseum, Rome shall fall ; And when Rome falls, the World.” This prophecy is generally regarded as a proof that the amphitheatre was: tolerably perfect in the 8th century. Sect. I. 45 § 12. Col.ISEUM. Nearly all authorities agree that two- thirds of the original building have en- tirely disappeared. The western and southern sides are supposed to have been destroyed during the siege of Rob. Guiscard, who showed as little rever- ence for the monuments of Rome as he did for the temples of Paestum. We have already seen that, after the ruin had been converted into a fortress in the middle ages, it supplied the Roman princes for nearly 200 years with materials for their palaces, and that the palace of St. Mark, the Farnese and the Barberini palaces, were in great part built from its ruins. After these spoliations the popes ap- pear to have been anxious to turn the edifice to some profitable purpose. Six- tus V. endeavoured to transform it into a woollen manufactory, and employed Fontana to design a plan for convert- ing the arcades into shops; but the scheme entirely failed, and was aban- domed after it had cost the pope 15,000 scudi. Clement XI., a century later, enclosed the lower arcades, and esta- blished a manufactory of saltpetre with as little success. To prevent fur- ther encroachments, Benedict XIV., in 1750, consecrated the building to the memory of the Christian martyrs who had perished in it. The French cleared the porticoes and removed from the arena the rubbish which had ac- cumulated for centuries. Pius VII. built the wall which now supports the south-western angle, a fine speci- men of modern masonry; his suc- cessors have liberally contributed to- wards the preservation of the fabric; and very extensive works have been carried on during the reign of Pius IX., directed by Canina, to prevent any further degradation of this most colossal of Roman ruins. A cross now stands in the middle of the arena; and 14 representations of Our Lord’s Pas- sion are placed at intervals around it. In the rude pulpit a monk preaches every Friday ; it is impossible not to be impressed with the solemnity of a Christian service in a site so much identified with the early history of our common faith. The amphitheatre is built primcipally of travertime, though large masses of brick-work are to be seen in dif- ferent parts of the interior. Its form, as usual, is elliptical. The outer elevation consists of 4 stories : the 3 lower are composed of arches supported by piers faced with half- columns, and the fourth is a solid wall faced with pilasters, and pierced in the alternate compartments with 40 square openings. In each of the lower tiers there were 80 arches. The first, of the Doric order, is nearly 30 ft. high ; the second, Ionic, about 38 ft. high ; the third is Corinthian, of the same height; and the fourth, also Corinthian, is 44 ft. high ; above the last is an entablature, and many of the consoles which projected in order to support the poles of the velarium, or awning, still remain. The height of the outer wall, according to Messrs. Taylor and Cresy, is 157 English feet; the major axis of the building, in- cluding the thickness of the walls, is 584 ft. ; the minor axis 468. The length of the arena is 278 ft., the width 177 ft. The superficial area, on the same authority, is nearly 6 acres. The arches were numbered from I. to LXXVI., as may still be seen on the N. side ; the numbers com- mencing from the entrance towards the Caelian, which, occupying the space of 4, makes the total number 80. Between those numbered 38 and 39 is one facing the Esquiline, which has neither number nor cornice; it is about one-sixth wider than the others, and is supposed to have been the entrance of the emperor. On the opposite side there was a corre- sponding entrance from the Palatine, With a subterranean passage, still visible. This passage was constructed by Commodus, who narrowly escaped assassination in it. The state en- trances for the solemn processions were at the extremities of the major axis. In the interior the centre is, of course, occupied by the arena. Around this, were arranged, upon vaultings gradually sloping down towards the centre, the seats for the spectators. There were 4 tiers of seats corre- sponding with the 4 outer stories. The 46 Rome. § 12. COLISEUM. first story was composed of 3 circular porticoes. At the base surrounding the arena was the Podium, a kind of covered gallery, on which the em- peror, the Senators, and the vestal virgins had their places. Above this, and separated from it, were 3 orders of seats called the catcat, and an attic or roofed gallery, as may be seen on se- veral coins on which the building is represented. The first order is sup- posed to have contained 24 rows of seats; it terminated in a kind of land- ing-place, from which rose the Second order, consisting of 16 rows. A lofty wall, part of which still exists, sepa- rated this from the third order, and is supposed to have been the line of demar- cation between the patricians and the plebeians. Above the third order was the attic and the covered gallery or por- tico already mentioned, both of which have entirely disappeared. The Region- aries state that the amphitheatre could contain S7,000 spectators. The floor of the arena (probably of wood) rested on walls, forming 4 rows of Small cells, in which the wild beasts were, it is Sup- posed, confined. A staircase opens near the old Hermitage, by which visitors may ascend to the upper stories, and from thence as high as the parapet. During the ascent they will traverse the cºmbulacrº and galleries, and will thus be enabled to form a better idea of the whole fabric than they could do from pages of description. At the summit they will observe fragments of columns, cornices, &c., built up in the walls, as if the upper portions had been hastily finished with materials origin- ally destined for other purposes. The scene from the summit is one of the most impressive, and there are few travellers who do not visit the spot by moonlight in order to realise the magnificent description in Manfred,’ the only description which has ever done justice to the wonders of the Coliseum : — * I do remember me, that in my youth, When I was wandering, upon such a night I stood within the Coliseum's Wall, Midst the chief relics of almighty Rome ; The trees which grew along the broken arches Waved dark in the blue midnight, and the Stal:S ſ Shone through the rents of ruin ; from afar The watchdog bay’d beyond the Tiber; and More mear from out the Caesars' palace came The Owl's long cry, and, interruptedly, Of distant sentinels the fitful song Begun and died upon the gentle wind. Some cypresses beyond the time-worn breach Appear'd to skirt the horizon, yet they stood Within a bowshot where the Caesars dwelt, And dwell the tuneless birds of night, amidst A grove which springs through levell'd battle- ments, And twines its roots with the imperial hearths; Ivy usurps the laurel's place of growth ; – But the gladiator's bloody Circus stands, A noble wreck in ruinous perfection While Caesar's chambers, and the Augustan halls, Grovel on earth in indistinct decay.— . And thou didst shine, thou rolling moon, upon All this, and cast a wide and tender light, Which soften’d down the hoar austerity Of rugged desolation, and fill'd up, AS ’twere anew, the gaps of centuries; Leaving that beautiful which still was so, And making that which was not, till the place Became religion, and the heart ran o'er With silent worship of the great of old:— The dead but scepter'd sovereigns, who still rule Our spirits from their urns.” Considerable speculation has been occasioned by the holes which are seen in the walls of the building, and some learned dissertations have been written on the subject. There is no doubt, as Nibby states, that they were made during the middle ages in ex- tracting the iron cramps which bound the blocks together, when the value of this metal was very great compared to what it is at present. This state- ment seems to set at rest the opinion of the older antiquaries, who supposed that they were made to receive the poles of the booths erected in the cor- ridors during the fairs which were held there. Among the numerous writings to which the Coliseum has given rise is one of higher interest to the naturalist than the disputes of the antiquaries, the quarto volume of Professor Sebastiani, entitled the Flora Coliserſ, in which he enumerates 260 species of plants found among the ruins, and the still more complete * Flora of the Colosseum,” by Dr. Deakin, an English physician residing at Rome, who has increased the cata- logue of species growing on it to 420. siccus, it is surprising that the Romans With such materials for a hort (3 Sect. I. 47 § 12. THEATRES AND AMPIIITHEATREs. do not make collections for sale, on the plan of the Swiss Herbaria; we cannot imagine any memorial of the Coliseum which would be more acceptable to many travellers. The Coliseum is now lcept in excellent order, and neither filth nor dirt is allowed to accumulate as in most other of the Roman ruins. Close to the Coliseum is the ruin of the comical fountain called the J/etc/ Sudans, which formed an important appendage of the amphitheatre. It ap- pears to have been a simple jet issuing from a come placed in the centre of a brick basin, 75 feet in diameter. It was rebuilt by Domitian, and is sup- posed to have been intended for the use of the gladiators after the labours of the arena. It is represented on several medals of the amphitheatre, of the time of Vespasian, Titus, Domi- tian, &c. The fountain was construct- ed of brickwork, in the best style; the central cavity and the channels for carrying off the water are still visible. It was repaired a few years since, but these modern restorations may easily be distinguished from the ancient work. Two other objects con- nected with the games of the amphi- theatre were the Vivarium and the Spoliarium (p. 80). In a line with the Meta Sudans, and at the foot of the substructions of the Temple of Venus and Rome, are the remains of a huge quadrangular pedestal upon which the celebrated Colossus of Nero is supposed to have stood, after its removal by Hadrian to make room for his Temple of Venus and Rome; it is represented on medals of the Coliseum of the later emperors, Gordian, Alex. Severus, &c. Amphitheatre of Statilius Taurus.- There appears to be little doubt that the Monte Citorio is one of the many artificial eminences which we meet with in different parts of the city, made up of the ruins of ancient edifices; and the discovery of some masses of brickwork still retaining the form of “cunei,” in laying the foundation of the palace built by Innocent X., has led some Roman antiquaries to conclude that this hill had risen on the ruins of this amphitheatre; it is more probable, however, that it stood nearer the Tiber, perhaps on the site of the Monte Giordano and the Palazzo, Gabrielli. Be this as it may, the Statilian Amphitheatre was finished in the 4th consulate of Augustus; but from the silence of the Latin writers it appears to have been soon eclipsed by the greater attractions of the Coli- seum. No trace of the amphitheatre remains, but behind the palace of Monte Citorio was discovered a co- lossal column of cipollino, which evi- dently from its unfinished state had never been raised, 42 ft. long by 43 ft. in diameter, consequently one of the largest known monolith masses of this marble. It has been lately erected in the Piazza di Spagna, before the Pro- paganda College, surmounted by a statue of the Virgin, in honour of the newly introduced dogma of the Im- maculate Couception. Amphitheatrum Castrense.—Between the Porta S. Giovanni and the Porta. Maggiore, and adjoining the ch. of Santa Croce in Gerusalemme, are the - remains of this amphitheatre, con- structed for the amusement of the troops. Its precise date is unknown, but it is generally believed to have been erected in the reign of Tiberius, It is built entirely of briek. During the reign of Aurelian one of the sides was included to form a part of the Inew walls of the city. On the out- side we see the arches of the lower tier filled up; but the half-columns of the Corinthian order, with their brick capitals, are still visible. The inside exhibits little beyond the out- line of the greatest axis of the ellipse. In the arena, bones of animals have been discovered, with an Egyptian Statue and numerous fragments of marble, which show that the building was richly decorated. Outside the city wall, and close to it, are traces of a circus, which antiquaries suppose to have been the Circus Varianus. Circus Ilſa.ºrºus, in the valley between the Palatine and the Aventine, cele- brated as the scene of the Sabine rape. This famous circus was founded by Tar- 48 Rome. § 12. THEATRES AND AMPHITHEATREs. quinius Priscus, restored with consi- derable additions during the republic, and rebuilt with unusual splendour by Julius Caesar. Augustus embellished it, and erected on the Spina the obelisk which we now see in the Piazza del Po- polo. The circus was destroyed in the fire of Nero, and restored by Vespasian and Trajan. Constantine enlarged and decorated it, and his son Constantius erected a 2nd obelisk on the Spina, that which is now in front of the ch. and palace of the Lateran. Theodoric lmade the last attempt to restore it to its former splendour, but after his time it fell rapidly into ruin. Dio- nysius describes the circus as he saw it after its reconstruction by Julius Caesar; he gives the length as 21.87 feet, and the breadth as 960. The circuit of the seats was 5000 feet. The porticoes alone, exclusive of the attics, could accommodate 150,000 persons; and the whole number of seats was pro- bably not less than 200,000. The end nearest the Tiber was occupied by the carceres, under which the chariots stood before they started for the race. The other extremity, towards the S.E., was curved. It was surrounded by the porticoes and seats for the spectators. At this extremity are the only remains now visible. They consist of shapeless masses of brickwork, which still show the direction of the curve. The first meta is supposed to have stood nearly opposite the Jewish burial-ground, and the foundations of the Carceres are probably concealed by the church of S. Maria in Cosmedin. The little stream called the Maranna, the Aqua Crabra, forming its Euripus, runs through the circus in its way to the Tiber. The new gas-works of Rome, which have been recently erected near the N.W. extremity, have destroyed the oval shape of the circus, and form an eyesore in the beautiful vista which the classical traveller formerly enjoyed over it from the summits of the Palatine and Aven- time hills. Circus of Romulus or Macenlius, erroneously called the Circus of Card- calla, situated beyond the Basilica of San Sebastiano, on the I. of the Via Appia, and of the tomb of Caecilia Metella. The mame of Circus of Caracalla, given to these ruins, was exploded by the discovery of 3 inscriptions in 1825, recording that it was erected in honour of Romulus, the son of Maxentius, A.D. 311. This is the most perfect circus which has been preserved to us, and is therefore the most convenient for studying the general arrangement of this class of monuments. It forms an oblong space, 1580 feet in length and 260 in breadth. The outer wall is nearly entire, and is constructed of brick and Small stones, enclosing large earthen vases, introduced to lighten the build- ing ; on the inner side a terrace has been formed by the fall of the seats. At one end of the circus are the Carceres for the chariots, 6 on each side of the principal entrance, flanked by 2 towers, supposed to have been the seats of the umpires. At the other, which is semicircular, is a wide gate- way with a flight of steps leading from it. Two other entrances may be traced near the Carceres, and a fourth in the S.W. angle. On the E. side of the circus is a balcony, or pulvinariº, supposed to have been the station of the emperor ; and mearly opposite are some remains of a correspond- ing building, where the prizes were probably distributed. The Spina may be traced throughout its whole length ; it is not in the middle of the arena, but runs obliquely, being at its commencement about 36 feet nearer the eastern than the Western side. It is supposed to have been 892 feet long, 20 broad, and from 2 to 5 feet high. It was decorated with va- rious works of art; among which was the obelisk mow standing in the Piazza Navona. At each extremity of the Spina, an eminence, on which the lſetae stood, may be recognised. In 1825 the greater part of this circus was excavated by the banker Tor- lonia. During these works, the Spina, the Carceres, the Great Gate- way, &c., were laid open, together with many fragments of statues and bas-reliefs. The most valuable of these were the 3 inscriptions already *N-- Sect. I. 49 § 13. COLUMNS. mentioned; all of them bearing the name of Maxentius. The follow- ing, which is the most perfect, has been placed at the great entrance; it states that the circus was consecrated to Romulus, son of Maxentius:-DIVO . ROMVLO . N. M. V. COS . ORD. II. FILIO . D. N. MAXENTII . IN VICT. VIRI . ET . PERP. AVG, NIPOTI . T. DIVI . MAXI- MIANI . SENIORIS . AC . DIS . AVGVSTI. The circular temple adjoining is de- scribed as the “Temple of Romulus.” (p. 39). Circus Agonalis, or Ale.cºndi'i, built by the emperor Alexander Severus, is clearly identified with the modern Piazza Navona, which still preserves the outline of the circus, and even the elliptical end. It is about 750 feet in length, and occupies the area of a Roman Rubbio, about 4% Eng. acres. Some ruins of the arches of the Circus may be seen under the ch. of S. Agnese. ' The Circus of Flora was situated in the space between the Quirinal and Pin- cian hills, now partly occupied by the Piazza Barberini. The Flaminian Circus has entirely disappeared, though con- siderable remains existed in the 16th century, when the foundations of the Palazzo Mattei were laid. The circus was long used as a rope-walk, and the church of S. Caterina de' Fumari, whose name is a memorial of the fact, is supposed to stand nearly on the centre of it. Some sculptured decorations of its Carceres are pre- served in the court of the Pal. Mattei. The Circus of Sallust, called also the C. Apollinaris, was situated in the depres- sion between the Pincian and Viminal hills, and outside the Porta Collina of the Serviam Wall. Its outline may be easily traced. Remains of the Car- ceres are to be seen in the villa of Duke Massimo, and other ruins in the adjoining Villa Barberini. The the Piazza with the Basilica of St. Peter’s and the Palace of the Vaticam, was destroyed by Constantine when he erected the church, in the 4th centy. It is said by the Church tradition to have been the scene of many Christian mar- tyrdoms. The obelisk now in the Piaz- za of St. Peter's stood upon its Spina. In the meadows behind the Castle of St. Angelo some remains of another circus, supposed to have been that of Hadrian, were discovered in the last century; but the excavations were subsequently filled up. § 13. ColuMNS. Column of Antoninus Pius, discovered in 1709 on the Monte Citorio, in the gar- dens attached to the house of the Mis- sions, and erected to him by his sons Mar- cus Aurelius and L. Verus. The shaft was a single piece of red granite 48 ft. high. Fontana was employed by Cle- ment XI. to raise it, but, the operation having failed, and the column broken, the fragments were used to repair the obelisk in the Piazza di Monte Citorio. The pedestal was taken to the Vatican, where it may be seen in the centre of the Giardino della Pigma; it is ornamented with high reliefs, representing funeral games and the apotheosis of Antoninus and Faustina. The following is the inscription on it : — DIvo ANTONINo AvgvsTo PIO – ANTONINVs Avg.VSTV's ET – VERVS AVGVSTV's FILII. Upon the bottom of the granite shaft exists an inscription in Greek, a cast of which obelisk which now stands before the may be seen in the long gallery of the Ch. of La Trinità de' Monti was found in this circus. The Circus of Nero, partly covered by [Rome.] Museo Chiaramonti at the Vatican, stating that it was sent from Egypt by Dioscurus, an agent of Trajan, in the ninth year of his reign. ID j () Itome. § 13. ANTONINE COLUMN. Column of Marcus Aurelius Antoninus, commonly called the Antonine Column, in the Piazza Colonna, to which it gives its name. This column was long confounded with the pillar represented on the coins of Antoninus Pius; and the error was perpetuated by the in- scription placed upon its base when Sixtus V. restored it in the 16th cen- tury. The discovery of the latter on the Monte Citorio, and of an in- scription, now in the Vatican Museum, containing the grant of a piece of ground, close by, to a certain Adrastus, freedman of Sept. Severus, charged to guard this column, as procurator or cus- tode, has removed all doubt on the sub- ject; and the present column is now known to be that erected to Marcus Aurelius by the Senate and Roman people, A.D. 174. It is a repetition of the historical pillar of Trajan, and exhibits the same mixture of styles ; the bas-reliefs surround the shaft in a spiral of similar design, but they are inferior in taste and execution. They represent the conquests of the Mar- comams; and are in higher relief than those of Trajan, exhibiting nearly the same amount of battles and military manoeuvres. One of these reliefs has attracted comsiderable at- tention from its presumed commection with the legion composed of Christians from Mytilene. It represents Jupiter raining, with the water falling from his outstretched arms, and is regarded as a version of the story related by Eusebius, that the army was reduced to great distress for want of water, and that the devotional practices of the Christian legion induced the em- peror to request them to pray for rain. Their prayers were successful, and the Christians had the merit of saving the army by their piety. A letter is given by Justin Martyr, in which the emperor acknowledges the fact; but the authenticity of this docu- ment is open to suspicion, although the Church has always upheld the tra- dition, and this sculpture has been regarded with peculiar interest by ecclesiastical historians. The pedestal of the column was added by Fontana, shaft. The height of the entire column is 122 feet 8 inches, including the base: the shaft being 97 feet, the pedestal 25 feet 8 inches. The shaft, includ- ing its base and top (excluding the pedestal of the statue), is exactly of the same height as that of Trajan, 100 Roman feet (29.635 metres = 97; English): hence the name of Columna Centenaria, given to it in the inscrip- tion of Adrastus above referred to. The diameter of the shaft is 114 feet. The pillar is composed of 28 blocks of White marble. On the summit is a statue of St. Paul, 10 feet high, placed there by Sixtus V. The interior is as- cended by 190 steps, and is lighted by 42 openings ; it has frequently suffered from lightning, attracted by the bronze statue on its summit. It is supposed that it stood in the same forum as the Temple of Antoninus, the site of which is now occupied by a part of the modern Piazza and the Chigi Palace. Column of Phocas.—Prior to 1813 this column had baffled all the conjectures of the antiquaries, as noticed by Lord Byron— “ Tully was not so eloquent as thou, Thou nameless column with a buried base." In the year mentioned it was ex- cavated to the pedestal, when an in- scription was found proving that it was erected to the emperor Pho- cas, by Smaragdus exarch of Italy, A.D. 608. The name of Phocas had been erased by Heraclius, but that of Smaragdus and the date prove that the column was dedicated to him. The pedestal is surrounded by 4 flights. of steps discovered in 1816, during the excavations made at the cost of the late Duchess of Devonshire; the construc- tion of the steps indicates the lowest style of art, and leaves no doubt that the column was originally taken from some ancient edifice. The skaft is composed of eight pieces of white marble, in the Corinthian style; it was formerly surmounted by a gilt statue of the emperor to whom it was dedi- cated. At the base, bordering the Sacra and is not well proportioned to the Via, are some pedestals, on which Sect. I. § 1 § 13. COLUMN OF TRAJAN. probably stood other honorary columns Ol' Statues. Column of Trajan, the most beautiful of all the historical columns, dedicated, as the inscription on the pedestal tells us, in honour of the emperor by the Senate and Roman people (A.D. 114), For 17 centuries this noble pillar has been regarded as a triumph of art; and there can be no doubt that the great architect Apollodorus, in erecting such a monument to his benefactor, created at the same time the most lasting memorial of his genius. It is composed of 34 blocks of white marble, 9 of which form the basement, and 23 the shaft; the remaining 2 the torus and capital. The column is in excellent proportion, but the architec- ture is mixed ; the base and capital being Tuscan, the shaft Doric, and the mouldings of the pedestal Corinthian. The pedestal is covered with bas-reliefs of warlike instruments, shields, and helmets; and bears an inscription Sup- ported by 2 winged figures. A series of bas-reliefs forms a spiral round the shaft, so that the whole presents a continuous history of the military achievements of the emperor. These matchless sculptures are in a high state of preservation and in the best style of art. They form a perfect study of military antiquities; indeed, as a re- cord of costumes, perhaps no ancient monument which has been preserved to us is so valuable. The bas-reliefs are 2 feet high in the lower part, in- creasing to nearly 4 as they approach the summit. They begin with a re- presentation of the passage of the Danube on a bridge of boats, and are carried on through the successive events of the Dacian wars, represent- ing the construction of fortresses, attacks on the enemy, the emperor addressing his troops, the reception of ambassadors who sue for peace, and other incidental circumstances of the campaign. All these details will be found engraved in De' Rossi’s work entitled “La Colonna Trajana diseg- mata.” The mature of the sculptures will be better appreciated by the fact that they contain no less than 2500 human figures, besides a large number of horses, fortresses, &c., than by any minute description. In the interior is a spiral staircase of 184 steps, lighted by 42 openings, leading to the summit, on which stood a colossal statue of Trajan holding the gilded globe which was erroneously supposed to have contained his ashes. This globe is now in the Hall of Bronzes at the Museum of the Capitol (p. 229). A statue of St. Peter in gilt bronze, 11 feet high, was placed upon the column by Sixtus V. about the end of the 16th century, when the feet of Trajan's statue are said to have been still visible upon the block of marble that supported it. The height of the shaft is 100 Roman feet, 97. English, and of the entire column from its base, exclusive of the statue and its pedestal, 127% feet, which re- presents the height of the neck of land or isthmus which united the Capitoline and the Quirinal hills, that was cut away to make room for the Forum, as expressed in the fol- lowing inscription, which states also that the column was dedicated while Trajan held the Tribunitian power for the 17th time, and in the 6th year of his reign :-SENAT vs . POPVLV sqv E . TOMIANVS– IAIP . CAESARI . TXIVI NER- VAIE F . NERVAE – TIR A JANO . AVG . GERM . DACICO PONTIF–IMIAXII\! O . TRIB. POT. XVII. IMIP. VI. COS. VI. P. P-AD. DECLARAND VMI QUANTAE . ALTITV DINIS —MONS ET LOCVs. TANTis. oper IBUs. SIT. EGESTVs. This fixes the date about the period of the Parthian wars, from which the emperor did not live to Teturn, so that he never saw this most remarkable monument of his reign and greatness. The ashes of Trajan, originally placed in a golden urn, were deposited by his successor Hadrian under the column, in a vault walled up in 1585 by Sixtus V. 5 2 IRome. § 14. ARCHES. § 14. ARCHES. Arch of Constantine, built over the road (the Via Triumphalis, the mo- dern Via di S. Gregorio) leading from the Coliseum to the Via Appia, in the valley between the Coelian and Palatime, to commemorate the em- peror's victory over Maxentius. It is one of the most imposing monu- ments of Rome, although it exhibits the decline of art and is composed of fragments taken from one of the arches of Trajan, probably from that which stood on the Appian, near the Temple of Mars (see p. 319). Some writers have considered that the form and propor- tions of the arch are too good for the time of Constantine, and regarded it as the Arch of Trajan, adapted by Com- stantime, and loaded with additional ornaments. It has 3 archways, with 4 fluted columns of the Corinthian order on each front; 7 of these are of giallo antico; the 8th was originally of the same material, but it was taken away by Clement VIII. to decorate a chapel in the Lateran. On the attic are 4 bas-reliefs, and over each of the smaller arches circular medallions, all relating to the history of Trajan. The large reliefs on the flamks of the attic and the 8 statues of the Dacian captives on the architrave over each column, also belonged to the time of Trajan, and are easily distinguished from the inferior sculptures of Constantine 200 years later. The upper reliefs on the front facing the Coliseum represent— 1. The triumphal entry of Trajan into Rome—the temple represented on the background is supposed to be that of Mars, which stood outside of the Porta Capena, on the Via Appia; 2. The em- peror raising a recumbent figure, an allegorical allusion to the repairs of the Appian Way, or of the Via Trajana; 3. His distributing food to the people; 4. a person, supposed to be Parthamasiris, king of Armenia, is brought before him. Some of these reliefs are inte- resting as showing monuments existing at Rome at the period, such as the Rostra, the Basilica Julia, &c. On the southern side are — 1. Trajan crowning Parthamaspates, king of Parthia ; 2. The discovery of the conspiracy of Decebalus, king of Dacia ; 3. The emperor havanguing his soldiers; 4. The sacrifice of the Suovetaurilia. On the flanks of the attic are the 2 reliefs supposed to have formed originally a single sub- ject, the victory of Trajan over Decebalus, amongst the finest works of the whole. The circular medal- lions over the small arches represent the sports of the chace and their attendant sacrifices. The works of Constantine do not harmonise with these beautiful sculptures. The frieze which encircles the middle of the arch represents, in a series of indif- ferent bas-reliefs, military processions and various events in the life of the first Christian emperor. On the flanks are 2 circular medallions represent- ing the chariots of the sun and moon, typifying the emperor’s dominion over the East and West. The figures of Fame over the arch ; the bas-reliefs inside the larger opening, representing the conquest of Verona and the fall of Maxentius; the victories on the pe- destals of the columns, also belong to the age of Constantime, and show how much sculpture had degenerated even at that period. Over the reliefs in the interior of the great arch are the words FVNDATORI QVIETIS. LI- BERATORI VRBIs : the former, no doubt, alludes to the cessation of the Chris- tian persecutions. The inscriptions VOTIs x. Votis xx. on the face towards the Coliseum over the smaller arches, and SIC X. SIC XX. in the same posi- tion on the opposite side, refer to the practice introduced by Augustus of offering up vows for 10 and 20 years for the preservation of the empire. In the last century the arch was par- tially buried. Pius VII. excavated down to the ancient pavement; and The emperor on a chair of state, while as it now stands, it is, with all the Sect. I. 5 § 14. ARCHES. 3 faults of its details, one of the most interesting and best preserved monu- ments in Rome, which it owes pro- bably to its having been dedicated to the first Christian sovereign. Arch of Dolabella and Silamus, on the Caelian, beyond the ch. of S. Giovanni e Paolo. It is supposed to have formed one of the entrances to the Campus Martialis, where the public games in honour of Mars were celebrated when the Campus Martius was inundated by the Tiber. It is a single arch of travertine, with an ancient inscrip- tion, from which we gather that it was erected by the consuls P. Cor- nelius Dolabella and Caius Julius Si- lanus (A.D. 10). Nero availed himself of it by including it in the line of the Claudian aqueduct to the Palatine. [A short way beyond this arch, going towards S. Stefano Rotondo, is a fine mediaeval arch, surmounted by a canopy, with a mosaic, one of the most beautiful specimens of the architecture of the 13th century, having been erected by one of the Cosimati; it formed the portal of a church destroyed of late years.] Arch of Drusus, on the Appian Way, close to the gate of St. Sebastian, the most ancient of the triumphal arches now existing in Rome. We learn from Suetonius that an arch was erected on the Via Appia by the Senate to Drusus, the father of the emperor Claudius, the youthful conqueror whom Horace has immortalized in two mag- mificent odes (lib. iv. 4, 14, et seq.):- “Widere Rhaeti bella sub Alpibus - Drusum gerentenn, et Vindelici;” &c.— It is a single arch, built chiefly of travertime, with cornices of marble, and 2 marble columns on each side, of the Composite order. Above the entablature the remains of the pedi- ment may be distinguished among the ivy and weeds which mow clothe the summit. There is no trace of an inscription. Caracalla included the arch in the lime of the aqueduct, to convey Water to his Thermae, of which a portion remains; to his restorations belong probably the composite columns and decorations now on it. Coins exist on which this arch is represented sur- mounted by an equestrian statue be- tween 2 military trophies. The Porta di S. Sebastiano, seen in perspective through this arch, is one of the fa- vourite subjects of the Roma!, artists. Arch of Gallienus, called the Arco di San Vito, from the ch. of that saint adjoining. It is supposed to occupy the site of the Esquiline gate of the Servian Wall, and was dedicated to Gallienus and his wife Salomina, by a certain Marcus Aurelius Victor, a prefect of Rome about A.D. 260. It is a simple arch of travertime, with 4 Cor- inthian pilasters and 2 buttresses. The inscription on the frieze is more than usually characterized by the falsehood of the flattery which was applied to the most profligate of emperors. Arch of Janus Quadrifrons, in the Velabrum, supposed to occupy the centre of the open space to which was given the name of Forum Boa- rium. This is supposed to have been one of the numerous arches of the same kind which were constructed at the junction of different streets, either as places of shelter or as covered ex- changes. It is a high Square mass, pierced in each fromt with a large arch, forming a vault in the centre. It is constructed with the utmost solidity, and the base is composed of marble blocks of immense size, which, from the existence of bas-reliefs on their inverted surfaces, evidently belonged to earlier edifices. The fronts are hollowed into niches intended to re- ceive statues, and separated by small stumpy pilasters. Each fromt is 54 feet in length. All the proportions and details are in a degenerate style of art. It has been generally attributed to the age of Septimius Severus, although by some it has been referred to as late a period as that of Constantine. On the summit are some remains of massive brickwork, the ruins of a fortress erected upon the arch by the Frangipamis in the middle ages. h: , 54 Rome. § 14. ARCHES. Arch of Septimius Severus, in the N.W. angle of the Forum Romanum, erected A.D. 205, by the Senate and people, in honour of the emperor and of his sons Caracalla and Geta, to com- memorate their conquests of the Par- thians and Persians. It is constructed entirely of white marble, and con- sists of 1 central and 2 lateral arches, with transverse ones in the flanks. On the summit, as may be seen on coins of both Severus and Caracalla, stood a car drawn by 6 horses abreast, containing the statues of the emperor and his sons. Each front has 4 columns of the Composite order, and a series of bas-reliefs representing different events of their Oriental wars. Although these sculptures are of in- different execution, they exhibit some curious details of military life. They represent harangues, sieges, the ar- rangement of camps, the assault with the battering-ram, and the submission of the captives. On the side towards the Forum we recognise the emperor addressing his troops, the taking of Carrha, the siege of Nisibis and the flight of its king. On the rt. of the arch the emperor is seem receiving the king of Armenia and another prince, who comes to offer assistance; in the lower part the battering-rann is seen at work. On the front facing the Capitol, the sculptures on the rt. represent in the upper part another harangue, and in the lower portion the siege of Atra. In the upper part of the opposite com- partment we see the passage of the Eu- phrates and the capture of Ctesiphon; in the lower, the submission of an Arab chief, the passage of the Tigris, and the flight of Artabamus. In one of the piers is a staircase of 50 steps leading to the top. In the lengthy inscription on the attic we may easily recognise the erasure made by Cara- calla of the mame of his brother Geta, after he put him to death A.D. 213. The words added are, OPTIMIIS FORTISSI- MISqve PRINCIPIBVs, in the 4th line, in lieu of P. SEPT. LVC . FIL GET.E. NOBI- LISS. CESARI, which has been made out, on examining carefully the effaced portion and the marks of the holes in it by which the bronze letters of this part of the inscription were ori- ginally inserted. The arch was half- buried when Pius VII. commenced his excavations in the beginning of the present century. In 1803 it was laid open to its base, when an ancient pavement was discovered, probably of the middle ages, being much above the level of the floor of the arch, and to- tally unconnected with the ascent to the Capitol by the Clivus Capitolinus, which passed some yards further on the 1., as it was once supposed to be. Arch of Septimius Severus in the Pela- brum, also called the Arcus Argentarius, Arch of the Silversmiths, situated close to the church of S. Giorgio in Velabro. A long inscription shows that it was erected by the silversmiths (Argentarii) and merchants of the Forum Boarium to Septimius Severus, his wife Julia Pia, and their sons Caracalla and Geta, but the name of the latter was removed also here after his murder by Cara- calla. As in the other arch of this em- peror in the Forum, the line occupied by the name of Geta and his titles has been replaced by the words ForTISSIMO FELICISSIMoQVIE PRINCIPI. This arch consists of a mere square aperture, formed by a straightlintel or entablature Supported on broad pilasters of the Composite order. The front is of marble; the basement and cornice at the back are of travertime. The pi- lasters are loaded with ornaments and military trophies; the other reliefs represent various sacrificial instru- ments and the act of sacrifice. Some of the decorations are elaborate, but the style and execution of the whole indicate the decline of art. The in- scription is of importance, as marking the site of the Forum Bearium, since it states that the persons who erected it lived on the spot (ARGENTARII ET NEGOTIANTES BOARII HUJ US LOCI QUI INVEHENT). Arch of Titus, erected by the Senate and people in honour of Titus, to com- memorate the conquest of Jerusalem. It stands on the Summa Sacra Vict, or highest point of the Via Sacra. It is the most elegant of all the triumphal Sect. I. J5 § 15. BATHS. arches, and as a record of Scripture history is, beyond all doubt, the most interesting ruin in Rome. It consists of a single arch of white marble, with fluted columns of the Composite order on each side. In the time of Pius VII. it was falling into ruin, and would have perished but for the judicious restorations them made. It is easy to distinguish these modern additions, which are in travertime, from the aucient portion. The front towards the Forum has suffered more than the other, and has preserved only a portion of the basement, and about half of the columns, with the mutilated figures of Victories over the arch. On the side facing the Coliseum the columns are more perfect, and nearly all the cornice and the attic are in tolerable preservation. The sculp- tures of the frieze represent a proces- sion of warriors leading oxen to the sacrifice; on the keystone is the figure of a Roman warrior, nearly entire. On the attic is the original inscription, finely cut, showing by the introduction of the word “ divo” that it was erected after the death of Titus, and without doubt by his successor Domitian: SENA- TVS . POPVLVSQVE . ROMANVS — DIVO . TITO . DIVI . VESPASIANI . F — VIESPA- sIANO . Avg|VSTO. The bas-reliefs on the piers under the arch are highly interesting. On one side is a repre- sentation of a procession bearing the spoils from the Temple of Jerusalem, among which may still be recognised the golden table, the silver trumpets, and the seven-branched candlestick of massive gold, which fell into the Tiber from the Milvian bridge during the flight of Maxentius, after his defeat on the Via Flaminia by Constantine. The size of this candlestick, as here represented, appears to be nearly a mam's height: so that both in size and form these bas-reliefs perfectly correspond with the description of Josephus, and are the only authentic representations of these sacred objects. On the other pier the emperor is repre- sented crowned by Victory in his tri- Rumphal car, drawn by four horses, and Surrounded by Romans carrying the fasces. The vault of the arch is richly ornamented with sunk panels and roses; in the centre is a bas-relief representing the divinization of Titus. § 15. BATHs—THERNIAE. Baths of Agrippa, erected B.C. 24, in the Campus Martius, behind the site of the Pantheon, and bequeathed by Agrippa to the Roman people. They are supposed to have extended as far as the Via delle Stimate, and to have been bounded on the sides by the street of the Torre Argentina and by the Via del Gesù, occupying a space of about 900 feet from N. to S., and 950 from E. to W. They contained the famous bronze statue by Lysippus, representing the youth undressing, called the Apoxy- omnenos, which Tiberius removed to his palace, but was obliged subse- quently to restore, in order to appease the clamours of the people. Consider- able remains of these baths have been found in the rear of the Pantheon, and particularly in the sacristy. The Pan- theon, dedicated to Jupiter Ultor and several other divinities, has been supposed by some antiquaries to have originally served as the hall of entrance to the baths. The largest portion of these baths now existing, after the Pantheon itself, may be seen in the Via dell' Arco della Ciambella; it is a portion of a circular hall, which antiquaries suppose to have been the Laconicum, out of which opened the cold baths. Attached to the Thermae were extensive gardens and an artificial lake, the Stagnum Agrippa, which occu- pied the site near the ch. of S. Andrea della Valle. Baths of Caracalla, or Thermae An- toninae, situated in the level space be- 56 Rome. § 15. BATHS OF CARACALLA. tween the Via Appia and the N.E. declivity of the Aventime. They are the most perfect of all similar edifices in Rome, and occupy an area of 140,000 square yards, or nearly of a mile in circuit. They were commenced by Caracalla about A.D. 212, enlarged by Elagabalus, and completed by his successor Alexander Severus. Accord- ing to Olimpidorus, they could accom- modate 1600 bathers at a time. As it Would be difficult for the visitor to un- derstand from a simple description the disposition of the different parts of the extensive ruin, we have had a ground-plan of them engraved on the map of Rome which accompanies this Volume, to enable him to follow us in the following details. The baths properly speaking occupied an oblong rectangular space 720 feet long by 375 feet wide, in the centre of a large square enclosure, surrounded by por- ticos, gardens, a stadium, and a large reservoir, into which the Antonine Aqueduct, carried from the Claudian over the Arch of Drusus, emptied itself; in front of this enclosure ran the Via Nova, one of the most magnificent in Rome during the time of the Anto- mines; the principal entrance to the Paths was from it, or on the side to- wards the Via Appia, the modern Via di San Sebastiano. As an example of Roman magnificence, if we except the Coliseum, there are no ruins that leave on the mind a stronger impression than the Baths of Caracalla. We will suppose the visitor entering by the Jane which strikes off from the Via Appia, where it is crossed by the Marrana stream : the gate opens into an oblong hall of great magnitude (t), having on one side a circular tribune (0), which retains a part of its ancient stucco. This hall, which has a similar one (a) at the opposite extremity of the baths, was richly paved in mosaic, especially the tribune. Opening out of this hall, which was surrounded with porticos, and destined probably for gladiatorial exercises, we enter a large oblong apartment (c) called the Pinacotheca, and corresponding in some degree to that bearing the same name in the Baths of Diocletian: it is more probable that it served as the Cella Calidaria, from the openings which may be seen for vapour- conduits in the floor. On the right of this hall is a vast circular edifice, the Laconicum, a kind of gigantic vapour-bath, which had in the centre a large basin for cold water. This Laconicum (e) was surrounded by chambers. To the 1. of the Cella Calidaria is another oblong apartment (d), but at a lower level; this was probably the Cella Frigidaria, and by the best authorities is identified as the Cella Solearis described by Spartian. The passage in which he speaks of the Cella as a masterpiece of archi- tecture, states that the roof was flat, supported by bars of brass, interwoven like the straps of a Roman sandal. The Cella Calidaria must have been one of the most magnificent halls in the Thermae : it was surrounded by columns of grey granite, as we now see in the church of Sta. Maria degli Angeli, in the Baths of Diocletian, the last of which was removed in the 16th centy. by Cosimo de' Medici, to support the statue of Justice in the Piazza di Sta. Trinita at Florence. Be- yond the Cella Calidaria, and forming the S.E. portion of the rectangle of the Antomime Thermae, is a second hall (d), similar to that by which we entered. Considerable excavations have been made here of late years, particularly at the expense of the late Count Velo of Vicenza, and large portions of the pavement in mosaic laid bare; this pavement, chiefly of a fish-scale form, is very beautiful, and formed of pieces of red and green porphyry and White marble. The mosaics of the Athletes in the Lateran Museum were found here (see p. 240). The roof, which has long since fallen in, was also covered with white and black mosaic, as may be seen on many of the huge fragments lying about. Occupying the Space be- tween the baths and the Aventine is supposed to have been the Arena (f), now a vineyard, behind which was the Theatridium (g), and still higher up the reservoir (h) for the water to supply the Thermae. A convenient staircase leads up Sect. I. § 15. BATHS of CONSTANTINE. 57 one of the massive pillars of the Cella Calidaria to the top of the build- ing, from which there is a splendid view, not only over the mass of ruins, but the Campagna, with its aque- ducts, and the Alban hills beyond; we also see from here numerous channels for carrying the water from the roof. One of the most interesting facts connected with these baths is the discovery of many precious fragments of ancient sculpture, which now en- rich the Italian museums, and at the same time attest the splendour of this majestic edifice. Among these are the Farnese Hercules, the colossal Flora, and the Toro Farmese, disco- wered in the 16th century, and now in the museum at Naples; the Atreus and Thyestes, the two gladiators, the Venus Callipyge, the baths in green basalt in the Museum of the Vatican, the granite basins in the Piazza Farnese, with numerous bas-reliefs, cameos, bronzes, medals, and other treasures, most of which have been lost to Rome with the other property of the Farnese family. The baths are described by contemporary historians as the most magnificent edifice of Rome. They are supposed to have been tolerably entire in the 6th cen- tury, until the destruction of the aqueducts by Vitiges during the siege in 537 rendered these and the other Thermae completely useless. From that time they fell rapidly into ruin. It is related that, when the granite columns of the Great Hall were re- moved, the roofs fell in with so fear- ful a concussion that the inhabitants of Rome thought it was the shock of an earthquake. These extensive ruins were the favourite haunt of the poet Shelley. In the preface to the ‘ Pro- metheus Unbound he says, “This poem was chiefly written upon the mountainous ruins of the baths of Caracalla, among the flowery glades and thickets of odoriferous blossoming trees which are extended in ever- winding labyrinths upon its immense platforms and dizzy arches suspended in the air. The bright blue sky of Rome, and the effect of the vigorous awakening spring in that divinest climate, and the new life with which it drenches the spirits even to intoxi- cation, were the inspiration of the drama.” The ruins on either side of the quadrangle formed by the baths were, towards the Via Appia, parts of the portico with which they were sur- rounded, and, on the declivity of the Aventime behind, of the reservoir into which the aqueduct emptied its waters for the supply of the thermae. Puths of Constantine, on the summit of the Quirimal, extending over the ground now covered by the Consulta, the Palazzo Rospigliosi, and the Villa Aldobrandini. They were erected about A.D. 326, and, according to an inscription in the Rospigliosi Palace, were restored by Petronius Perpenna, a praefect of the city, in the 4th centy., after they had been long neglected. Considerable remains of them existed until the 16th, when they were removed by Paul V. to build the Rospigliosi Palace. The most interesting parts now remaining are Some bas-reliefs, busts, inscriptions, and statues, collected together in the Casimo of the Rospigliosi palace, nearly all of which were found here. In the time of Clement XII. the re- mains of a portico, painted with his- torical subjects, and an ornamented ceiling, were discovered. The well- known colossal horses before the Qui- rinal palace, and the statues of the Nile and the Tiber at the foot of the stairs leading to the Palace of the Senator at the Capitol, were discovered among these ruins. Baths of Diocletiºn, situated at the junction of the Quirinal and Viminal hills. These magnificent Thermae were begun by Diocletian and Maximian about A.D. 302, and finished by Constan- tius and Maximinus. Cardinal Baro- mius states, on the authority of the martyrologies, that 40,000 Christians were employed upon the works, and it is added that some bricks have been found bearing the sign of the cross. It is very probable that the tradition led to the consecration of the ruins, and that we are indebted to this for the D 3 : ,S Rome. § 15. BATHS OF DIOCLETIAN. preservation of the finest hall which has been preserved from ancient times. The Thermae were of immense size, co- vering a space of 150,000 square yds. ; and capable of furnishing double the number of baths which those of Caracalla, them the largest in Rome, could, or upwards of 3200 ; the ruins, with the buildings surrounding them, cover an area nearly a mile in cir- cuit, including all the space at pre- sent occupied by the Piazza di Termini, the Carthusian convent and its gardens, the convent and gardens of San Ber- nardo, the public granaries, and prisons. The buildings occupied a rectangular space, having in front a semicircular Theatridium, with two circular halls at the angles, which opened into the area, but the use of which it is difficult to de- termine. Both of these latter still exist: one forms the modern ch. of Sam Bernardo; the other, situated at the corner of the Via dei Strozzi, is much dilapidated and has been converted into a public granary. Between them was the semicircular Theatridium, the remains of which may be traced in the gardens of the Bernardine monks. Between this and the two circular halls just described is the supposed site of the Libraries, to which the literary col- lections of the Ulpiam Basilica had been removed. The main portion of the Thermae, properly speaking, ap- pears to have formed an oblong square in the centre of the area. The prin- cipal entrances were on the N. and S., opening from the Streets leading to the Porta Viminalis and Porta Collina. The great central hall, called formerly the Pinacotheca, but now generally admitted to be the Cella Calidaria, was converted by Michel Angelo into the noble ch. of Sta. Maria degli Angeli. By including the circular vestibule at the entrance, and adding the tribune which stands opposite, Michel Am- gelo was enabled to convert the whole edifice into a Christian temple in the form of a Greek cross. The vaulted roof still retains the metallic rings to which the ancient lamps were sus- pended, and 8 massive columns of Egyptian granite are standing in their original position. This church, although considerably altered, as we shall see, by Vanvitelli, in the last century, is still one of the most im- pºsing edifices in Rome. (See p. 147.) The ornaments of the baths and the style of the whole building indicate the decline of art: the columns did not support the continuous hori- Zontal entablature of more ancient buildings, but sustained a series of lofty arches resembling the basilicas of later times. In this respect the modern ch. has a great advantage. “Michael Angelo,” says Forsyth, “im reforming the rude magnificence of Diocletian, has preserved the simpli- city and the proportions of the original, has given a monumental importance to each of its great columns, restored their capitals, and made one noble entablature pervade the whole cross.” Behind this hall was the Natatio, now partly occupied by the tribune of the ch., and farther back still by the cloisters of the adjoining convent. In the gardens of the latter are some additional ruins, cosisting chiefly of large masses of brickwork: some of these still retain part of their vaulted ceiling, and are apparently the remains of halls whose arches must have been of immense span. In the grounds of the Villa Massimi are the traces of a large reservoir which received from an aqueduct the supply of water for the Thermas. Paths of Nero and Alexander Severus. —There is some contradiction between the Regionaries and the other ancient authorities on the subject of these baths; some distinctly affirming that they are identical, and others stating that the Baths of Severus were near those of Nero. The only way of solv- ing the difficulty appears to be by supposing that the baths of Severus were an addition to those of Nero, as the latter were probably to those of Agrippa. They seem to have stood between the church of S. Eus- tachio, the Piazza Navona, the Piazza Madama, and the Pantheon. The ch. of S. Luigi de' Francesi is built on a part of them. The Baths of Nero, according to Eusebius, were built A.D. § 15. BATHS OF TITUS. 59 *_ 65; those of Alexander Severus, on the same authority, about A.D. 229. Considerable remains have been dis- covered at various times under the Piazza Navona, the Palazzo Giusti. niami, and the Palazzo Madama. The ch. of S. Salvatore in Thermis, near the post-office, also identifies the site. The only remains now visible is the hemi- cycle, which exists in the stable of an imm in the Piazza Romdanini. The 2 columns added to the portico of the Pantheon by Alexander VII. are sup- posed to have been taken from these baths. Baths of Titus, on the Esquiline, overlooking the northern side of the Coliseum. It would hardly be pos- sible to make any description of these ruins intelligible to the stranger with- out first apprising him that consider- able portions of the existing buildings, and especially those now the most in- teresting from their arabesque paintings, are undoubtedly anterior to the age of Titus. It is well known that the house and gardens of Maecenas spread over that part of the Esquiline which faces the Coliseum, and that the site was subsequently occupied by a part of the Palace of Nero. In the construction of this new edifice Nero included the villa of Maecenas; and hence it is possible that even some of the lower parts of the chambers now visible belonged to the dwellings of that celebrated personage. When Titus (A.D. 80) constructed his baths upon this site, he availed himself of the buildings of his predecessors, and erected vaults and walls in the apart- ments in order to form a substruction for his baths, which consequently lie directly over the more ancient con- structions. Domitian, Trajan, and other emperors, enlarged or altered the design towards the N.E., but the ruins are scattered over so many vine- yards that it is impossible to distin- guish their additions with any degree of precision. The Baths of Titus, which were constructed, as we know from contemporary historians, with great haste, are supposed to have occupied the space between the Via Polveriera and thre high road on the northern side of the Coliseum, and covered an area of about 1150 ft. by 850. Those of Trajan, begun by Do- mitiam, extended in the direction of S. Pietro in Vincoli, and are supposed to have occupied an area of 600 ft. by 500. The crypt under the ch. of San Martino is supposed to have formed part of these baths. One of the hemicycles was converted by the French into a powder magazine (Polveriera), which gives name to the adjoining street. The other hemicycle forms with the adja- cent vaults a kind of terrace, from which the best view of the ruins is obtained. On the side nearest the Coliseum are the ruins of a semicir- cular theatre, with some remains of seats. The chambers of the Palace of Nero lie under the baths in an ob- lique direction, and are divided by walls and vaults, and were probably the dwellings of the imperial palace, one set opening to the S. and the other to the N. Among these more ancient remains a large oblong square, ori- ginally forming an open court, may be traced ; it was apparently sur- rounded on 3 sides by columns, whose position may still be made out. The ruins of the fountain which occupied the centre are also visible. Further on is a bath-room, with a niche and pedestal for a statue, where it is said the Meleager of the Vatican stood. Opening upon this, and extending along one of the longest sides, are the principal apartments. The largest is opposite the fountain; one of those at the side is pointed out by the ciceroni as the place where the Lao- coon was discovered in the pontifi- cate of Leo X., although it is proved on the clearest evidence that it was found in the Vigna de' Fredis, between the Sette Sale and S. M. Maggiore. The walls still retain their ancient stucco, and are beautifully painted. It is generally supposed that these chambers belonged to the Palace of Nero, founded on that of Maecenas, as we have already stated, in which case the tomb of Horace could not have been far distant, as we know on the authority of Suetonius that among the ruins of his 60 Rome. § 15. BATIIs of TITUs. patron's villa was the last resting-place of the poet. On the northern side of these chambers runs a long corridor, a kind of crypto-porticus, discovered in I 813. It is celebrated for its beautiful painted ceiling, the colours of which are still vivid, though the walls are damp, and the whole corridor a few years back was partly filled with earth. These interesting works are the most perfect specimens of ancient paintings which have been preserved in Rome; they represent arabesques of flowers, birds, and animals, all of which exhibit the most graceful outline and remark- able facility of design. One of the curi- osities of these baths is a painting representing 2 smakes with a basin be- tween them; the inscription explains the meaning of this mystic emblem, and conveys in unambiguous language the caution implied by the “commit no nuisance” at the corners of our streets at home. A room bears the name of Thea Sylvia, from the painting on the vault representing the Birth of Ro- mulus. In excavating, a small chapel, dedicated to S. Felicita, was discovered inear the modern entrance to the Camere ICsquilime, the name by which those now subterranean halls are designated. It is supposed to have been used for Chris- tian worship as early as the 6th centy. ; on the wall was found a Christian calendar, which has been engraved by De Romanis. Many of the other apart- ments retain traces of very rich deco- rations, but the ruins are so confused that no very intelligible plan has been yet made out of them. The French have been erroneously supposed to deserve the credit of making known the existence of these baths; they certainly merit great praise for clear- ing out many of the chambers, but there is reason to believe that the greater part had been accessible for centuries. In the time of Leo X. some excavations were made which brought to light the frescoes of the corridors. Vasari mentions this fact in his Life of Giovanni da Udine, and states that Giovanni and Ra- phael were so much pleased with the paintings, that they studied and copied them for the Loggie of the Wa- tican. The unworthy story which attributes to the jealousy of Raphael the filling up of the chambers after he had copied the paintings, is unsup- ported by the slightest authority, and is indeed contradicted by the fact that the great painter, who was too enthu- siastic an antiquary to have even sug- gested their concealment, proposed a plan to Leo X. for a complete survey and restoration of ancient Rome. The chambers and the paintings are de- scribed by several writers of the 17th century, and it was even later than this that they were filled up by the authorities to prevent their becoming a shelter for banditti; in 1776 they were again partially opened by Mirri, for the purpose of publishing the paint- ings; and in 1813 the whole site was cleared as we now see it, when Roma- mis’ work entitled “Le Camere Esqui- line’ was published. There is no doubt that many interesting fragments still remain buried under the accumulations of soil. - To the E. and at a short distance from the baths is the ruin called the Sette Sale, a massive building of 2 stories, one of which is still buried; it was probably a reservoir connected with the Thermae. The arrangement of the interior is peculiar; it is divided into 9 parallel compartments by 8 walls. These compartments communicate by 4 arched apertures, placed so as to al- ternate with each other, and thus pre- vent the pressure of the water on the outer walls. This arrangement allows the spectator, standing in the first chamber, to look through all of them at once in an oblique direction. The length of the central compartment is stated by Nibby to be 40 feet, the height 9 feet, and the breadth 13 feet. The walls still retain the incrustation formed by deposits from the water. Near the Sette Sale is a high brick ruin, with 2 rows of niches for sta- tues; it is supposed to have formed a part of the palace of Titus, but no- thing whatever is known which will enable us to identify it. The same observation, indeed, may be applied to all the masses of brickwork behind the Camere Esquiline, extending towards Sect. I. 61 $ 16. TOMBS AND COLUMBARIA. Sam Martino ai Monti, and S. Pietro in Vincoli, although it is probable they belong to the successive constructions raised by Domitiam and Trajan, to ex- tend the original Thermae of the con- queror of Jerusalem. § 16. ToMBS AND COLUMBARIA. Mausoleum of Augustus, between the Via dei Pontefici and the Strada di Ripetta, erected by Augustus during his lifetime, and in his 6th consulate (B.C. 27), in the then open space about midway between the Via Flaminia and the Tiber. It was a circular building, stated by ancient writers to have been 220 Roman feet in diameter. Strabo describes it as the most remarkable monument in the Campus Martius, and says that it “was raised to a consider- able elevation on foundations of white marble, and covered to the summit with plantations of evergreens. A bronze statue of Augustus surmounted the whole. In the interior were sepulchral chambers containing his ashes and those of his family and friends. The ground around the mausoleum was laid out in groves and public walks.” The entrance, which was on the S. side, was flanked by 2 Egyptian obelisks, of which one now stands in front of the Palace of the Quirinal, the other in the Piazza of S. Maria Maggiore. The mau- soleum contained the ashes of Augustus himself, of Marcellus, Octavia, M. Agrippa, Livia, Drusus, Germanicus and his wife Agrippina, Tiberius, and Caligula; of Drusus the son of Tiberius, Antonia, Claudius, Britannicus, and Nerva. No one was buried here after the time of the latter emperor. The first member of the imperial family whose ashes were deposited here was the young Marcellus, who died A.D. 22; and, so long as a fragment of this monument remains, the spot on which it stands will be hallowed in the estimation of the scholar, by those lines in which the greatest of Latin poets alludes to the newly-erected mausoleum :— “Quantos ille virum magnam Mavortis ad urbem Campus aget gemitus ! Vel quae, Tiberine, videbis Funera, cum tumulum praeterlabere recen- term Nec puer Iliacá quisquam de gente Latinos : In tantum spe tollet avos; nec Romula quon- ChâII]. Ullo se tantum tellus jactabit alumno. Heu pietas, heu prisca fides, invictaque bello Dextera ! non illi se quisquam impune tulisset Obyius armato, seu cum pedesiret in hostem, Scu spumantis equi foderet calcalibus armos. Heu, miserande puer si qua fata aspera runnpas, Tu Marcellus eris.” AEmeid, vi. 873. The mausoleum is supposed to have been first devastated by Robert Guis- card ; it was converted into a fortress in the 12th century by the Colonna fa- mily, who were dislodged by Frederick Barbarossa, in 1167, when the tomb was reduced to ruin. It was converted into an amphitheatre for bull-fights until the time of Pius VIII., by whom all cruel representations of that kind were finally suppressed; it is now occasionally used for displays of fire-works, or for exhi- bitions of rope-damcing ! The ruin is so surrounded by houses that it is difficult to examine it, or to form any idea of its original magnificence. The most accessible part is in the court of the Palazzo Valdambrini, in the Via Ripetta. The modern entrance to the arena is through the Palazzo Correa. in the Via dei Pontefici. The walls are of immense thickness, offering Some good examples of opus reticu- latum, and, though the interior is in a great extent filled up with rub- bish, the part accessible is sufficiently capacious to hold many thousand per- Sons. The only remains now visible, in addition to the outer circular wall, are some masses of reticulated work in tufa, beneath the modern seats for the spectators. Connected with the mausoleum, and corresponding nearly to the modern Piazza di San Carlo in the Corso, was the Bustum, men- tioned by Strabo, where the bodies $32 § 16. TOMB OF EURYsACEs. Rome. of the imperial family were burned. The site of this was discovered in the last century, between the ch. of San Carlo in the Corso and the end of the Via della Croce. Some blocks of traver- time were found, bearing the names of members of the family of the Caesars. Five of them may still be seen in the Hall of the Statues (see p. 190) at the Museum of the Vatican, where they serve as pedestals. One bears the fol- Howing inscription :-TI. CAESAR GER- MANICICAESARIS . F HIC CREMATV's EST; another, less perfect, LIVILLA GERMA- NICI C . . . . HIC SITA EST; a 3rd, TITVs CAESAR DRVSI CAESARIs F HIC SITV's EST; and a 4th, C. CAESAR GERMANICI CIESARIS F HIC CREMIATV's EST; the latter the Son of Germanicus, so great a favou- rite with Augustus. Among the re- Imarkable circumstances which have invested many monuments of Italy with interest for the British traveller, may be mentioned, that the Palazzo Correa, adjoining the Mausoleum of Augustus, was the first place in which the Church of England service was publicly performed in the capital of Christendom. Tomb of the Baker JJurysrices, outside the Porta Maggiore, on the Via Labi- cana, the present road to Naples by way of Frosinone and Sam Germano. This very curious monument was discovered in 1838 imbedded in the walls built by Honorius, close to the colossal monu- ment of the Claudian aqueduct; it was consequently so effectually con- cealed that its existence was un- known to the older antiquaries. It is a quadrilateral building of unequal sides, and of 3 stories or divisions, covered with slabs of travertine. The 1st story, or basement, is plain ; the 2nd is composed of stone mortars, such as were used by bakers for kneading their dough. On the band above is the following inscription, which is repeated on each of the faces of the tomb : —EST EIOC MONIMIENTVMI MARCEI VERGILEI EVRYSACIS PISTORIS REDEMITORIS APPA- RET; showing that Eurysaces was not only a baker, but a public contractor to the apparetores, certain officers charged to inspect the aqueducts. Above this are 3 rows of stone mov- tars, placed on their sides, so that their mouths face the spectator. The angles are terminated by pilasters, supporting a frieze, which still retains several frag- ments of interesting bas-reliefs, re- presenting the various operations of baking, from the carrying of the corn to the mill to the final weighing and distribution of the bread. On the front is a bas-relief, representing the baker and his wife, with a sarcopha- gus being a representation of a bread- basket which held the ashes, and the following inscription :-FVIT ATISTIA VXOR MIIHEI-FEMINA OPTVMIA WEIXSIT —QVOIVS CORPORIS RELIQVIAE—QVOD SV PERANT SWNT IN–HOC PANARIO. Of the ancient Panarium, or bread-bas- ket, mentioned in the concluding word of this inscription, and which formed the sarcophagus of Eurysaces and his wife, a fragment has been found in the excavations. The workmanship and the spelling of the inscription in- dicate the end of the republic, or the first years of the empire. Altogether the monument is a valuable illustra- tion of the domestie habits of the ancient Romans. Tomb of Bibulus.-One of the few remaining monuments of republican Rome, situated at the extremity of the Corso, under the north-eastern angle of the Capitoline hill. It forms part of the wall of a house in the Via di Marforio, on the 1.hand side on entering from the Via della Ripresa de' Barberi. It was a matter of dispute among antiquaries whether this tomb was placed within or without the walls of Servius Tullius; it is now admitted that it stood without the walls, in accord- ance with the law of the 12 tables, that all tombs should be outside the city gates, and that it was close to the am- cient Porta Ratumena, on the road lead- ing from the Campus Martius to the Forum. It is a massive quadrangular building of 2 stories, in the Doric style, and constructed of travertime. The upper story is decorated with 4 pilas- ters diminishing towards the capitals; part of the entablature and ornamented frieze are still standing. In the centre Sect. I. * * 63 § 16. ToMB of CECILIA METELLA. is a niche or doorway, with a moulded architrave. On the pedestal is an in- scription recording that the ground on which it stands was given by a decree of the Senate and by order of the people (SENAT vs consvi.To Popv LIQVI, JYSSV) to erect on it the sepulchre of C. Pobli- cius Bibulus, the plebeian aedile, and his posterity, “HoNoris VIRTUTISQUE CAUS- sA.” This tomb cannot be much less than 2000 years old. A part of a simi- jar inscription exists on another face of the monument, partly built into the wall of the adjoining house. Nearly opposite, in the same street, are the remains of another sepulchre, called, without any kind of reason, the Tomb of the Claudium Family. It is now a huge shapeless ruin ; but some subterranean vaults under the modern dwelling are still visible, which evidently belonged to a tomb. The Flaminian Way passed between these two tombs in its course to the Forum. Tomb of Caecilia Iſetellº, about 2 m. from the Porta di S. Sebastiano, on the Appian Way, and 3 from the ancient Porta Capena, erected more than 19 centuries ago to the memory of Caecilia Metella, the wife of Crassus, and daughter of Quintus Metellus, who ob- tained the surname of Creticus for his conquest of Crete, B.C. 67. This noble mausoleum is one of the best pre- served monuments about Rome, and so great is the solidity of its construction that it would seem as if it were built for etermity. It stands on the ex- tremity of a remarkable stream of lava, which has proceeded from an eruption at the base of the Alban hills near Marino. A circular tower, nearly 70 feet in diameter, rests on a quadram- gular basement. This basement is com- posed of rubble-work, consisting of small stones and fragments of brick, united by a cement formed of lime and Pouzzolana, strengthened by large square key-stones of travertime, which project at regular intervals from the mass. The external coating was stripped at various times for making lime, and Clement XII. removed the larger masses to construct the fountain of Trevi. The circular part of the tomb is coated with magnificent blocks of the finest travertime, fitted together with great precision. It has a beautiful frieze and cornice, over which a conical roof is supposed to have risen. The battlements which have usurped its place were built by Boniface VIII. in the 13th century, when the tomb was converted into one of the strongholds of his family. The frieze is decorated with bas-reliefs in white marble, represent- ing festoons alternating with bulls' heads, from which the tower probably obtained the modern name of “Capo di Bove.” On a marble panel below the frieze, on the side towards the Via Appia, is the inscription :- CAECILIAE—Q. CRETICI . F.—METELLAE . CRASSI.-Immediately over the in- scription is a bas-relief representing a trophy; on one side is a figure of Victory writing upon a shield; under- neath is a captive bound, in a sitting posture: the figures on the opposite side have been effaced. The inte- rior contains a plain circular cham- ber, lined with brick, contracting as it ascends; the diameter of this chamber is about 15 ft. ; the sarcophagus of white marble, now standing in the court of the Farmese Palace, is stated on doubtful authority to have been found in it; the roof has entirely disappeared, but the inclination of the walls proves that it was comical. Neither the plunder of this noble monument by the popes, nor their conversion of it into a fortress in their wars with the Roman barons, so seri- ously injured it as the siege operations of the Constable de Bourbon in 1527. According to the Marquis Bonaparte, who was an eye-witness of Bourbon’s siege, it was them as perfect as in the days of Crassus. Lord Byron’s de- scription of this tomb, in the fourth canto of ‘Childe Harold,” is one of those eloquent bursts of feeling which appeal irresistibly to the heart. It is impossible to describe the interest with which the genius of our great poet has invested the monuments of Rome, even to the most indifferent of English travellers; and there are few who will not agree with Sir Walter Scott, that 64 IRome. § 16. PYRAMID OF CAIU's CESTIUs. “ the voice of Marius could not sound more deep and solemn among the ruined arches of Carthage, than the strains of the pilgrim amid the broken shrines and fallen statues of her sub- duer.” “There is a stern round tower of other days, Firm as a fortress, with its fence of stone, Such as an army's baffled strength delays, Standing with half its battlements alone, And with two thousand years of ivy grown, The garland of eternity, where wave The green leaves over all by time o'er- thrown ;- What was this tower of strength? within its C81.VC What treasure lay so lock'd, so hid?—A woman's grave. But who was she, the lady of the dead, Tomb'd in a palace? Was she chaste and fair? Worthy a king's—or more—a Roman's bed 2 What race of chiefs and heroes did she bear 2 What daughter of her beauties was the heir |How lived—how loved—how died she Was she not So honour’d—and conspicuously there, Where meaner relics must not dare to rºt, Placed to commemorate a more than mortal lot Perchance she died in youth : it may be, low'd With woes far heavier than the ponderous tomb That weigh’d upon her gentle dust, a cloud Might gather o'er her beauty, and a gloom In her dark eye, prophetic of the doom Heaven gives its favourites—early death; yet shed A sunset charm around her, and illume With hectic light the Hesperus of the dead, Of her consuming cheek the autumnal leaf-like red. Perchance she died in age—Surviving all, Charms, kindred, children—with the silver gray On her long tresses, which might yet recall, It may be, still a something of the day When they were braided, and her proud array And lovely form were envied, praised, and eyed - - By Rome—but whither would Conjecture stray? , -º - Thus much alone we know—Metella died, The wealthiest Roman's wife : Behold his love or pride l'' Adjoining the tomb are the extensive ruins of the Caetani fortress. As early as the beginning of the 13th century the Savelli family had converted the ruin into a stronghold; the Caetanis, before the close of the same century, obtained possession of it, and built those towers and battlemented walls which now form, from many points of view, a ruin scarcely less picturesque than the massive tomb itself. Their armorial bearings are still visible on the walls. The ruined chapel, with its pointed windows, bears a resemblance to many English churches of the same period. It was founded in 1296 by the Cae- tanis, who seem to have converted the locality into a colony of their dependants. On a wall adjoining the monument of C. Metella are some fragments of 2 marble tombs, disco- vered in 1824, belonging Q. Granicus Labeo, the Trib. Mil. of the 3rd Le- gion, and of a certain T. Crustidius. The pavement of the Appian Way, which is remarkably perfect at this spot, was laid open at the same time. There is a subterranean passage lead- ing from the fortress to the catacombs, which is supposed to have been ex- cavated by the Caetanis. A short way on the 1. beyond this tomb are the quar- ries of lava which have furnished a large proportion of the paving-stones of ancient and modern Rome. The lava of Capo di Bove, the siles of Pliny, a very different substance from the silex of the moderns, is celebrated among mineralogists as containing many interesting minerals—Mellilite, Breislakite, Pseudo-Nepheline, Comp- tonite, Gismondite, &c.; of which the scientific traveller may see some fine specimens at Rome in the Museum of the Sapienza (see p. 270). Pyramid of Caius Cestius, the only sepulchral pyramid in Rome, situated close to the Porta di San Paolo. The spot is well known to every English traveller as being near to the last resting-place of so many of his country- men, the Protestant burial-ground. The monument is partly within and partly without the wall of Aurelian, who included it in his line of fortifi- cations. It is a massive pyramid of brick and tufa in the centre, covered with slabs of white marble from the base to the summit. It stands on a square basement of travertime 3 feet high. The height of the monument is 114 feet, the length of each side at the base 90. In the centre is a small chamber, 13 feet long, the stuc- coed sides and ceiling of which are covered with arabesques, which were Sect I. 65 § 16. ToMB of ST. HELENA. first brought to light by Ottavio Falconieri, and described by him in a dissertation annexed to the work of Nardini. These arabesques ex- cited great interest before the dis- covery of the paintings at Pompeii; they still retain their original bright- ness of colour, though somewhat in- jured by the damp and the smoke of torches, and represent 4 female figures with vases and candelabra. The en- trance is on the side of the cemetery. [The key to this chamber is kept by the custode of the Protestant burial- ground, close by..] At 2 of the angles are fluted columns of white marble, of the Doric order, discovered during the excavations of 1663. At the other angles 2 pedestals with inscriptions were found, which are now preserved in the museum of the Capitol. On one of them was a bronze foot, also in the same museum, which probably belonged to a colossal statue of Caius Cestius. The inscriptions relate to the completion of the Pyramid by the exe- cutors of C. Cestius, two of whom bore names well known in the time of Augus- tus — M. Valerius Messalla Corvinus and L. Junius Silamus. There are 2 ancient inscriptions on the monument; the first, in letters of large size, is re- peated on the easterm and western sides: —C. CESTIUS. L. F. POB. EPVLO. PR. TR. PL.—VII. VIR. EPVLONYM. The other is on the front facing the road to Ostia: it records the completion of the pyramid in 330 days : the letters are consider- ably smaller than those of the former inscription :-oPVs. ABSOLVTVM . EX . TESTANIENTO . DIEBVS . CCCXXX. —ARIBI- *TRATV .. — PONTI - P. F. C.L.A . MIELAE . HEREDIs . ET . POTHI. The monu- ment is of the age of Augustus, and, as shown by the inscriptions, was completed in 330 days by his heir, Pontius Mela, and his freedman Pothus; C. Cestius was of the Poblician tribe, a praetor, a tribune of the people, and one of the 7 epulones, appointed to prepare the banquets for the gods at public solemnities. He was probably the person mentioned by Cicero in his letter to Atticus from Ephesus, and in his oration for Flaccus. In the 17th century the base of the pyramid was buried under 16 feet of soil. It was cleared and restored in 1663 by Alex- ander VII., as recorded by an inscrip- tion placed beneath those already men- tioned, and was laid open towards the road by Gregory XVI. a few years ago. Tomb of St. Constantia, beyond the Porta Pia, near the church of S. Ag- mese: erected by Constantime the Great to contain the magnificent Sarcophagus of porphyry, now in the museum of the Vatican, in which the ashes of his daughter were deposited. The tomb is a circular building, decorated with mosaics. It was supposed by the older antiquaries to have been originally in- tended as a baptistery for the church of S. Agnese. It had also been consi- dered to be older than the time of Constantine, chiefly on the evidence afforded by the capitals of the double Corinthian columns which support the dome. But the architecture is not sufficiently pure to give much weight to this opinion. The construction and style of the edifice seem conclusively to indicate the decline of art under Constantime, to whose time the building is no doubt correctly referred. It was converted into a church by Alexan- der IV. in the 14th century (for a description of which see p. 139.) Tomb of the Empress St. Helena, 1% m. beyond the Porta Maggiore, on the Via Labicana, leading to Colonna. It is now called the Torre Pignattara, from the pignatte, or earthen pots, which are seem in the construction of the roof. The tradition of the Church, from the time of Bede and Anastatius, has pointed out this ruin as the mau- soleum of the empress Helena, wife of Constantine, who died in Palestime at a very advanced age. There is indeed no doubt that the second fine porphyry sarcophagus in the Hall of the Greek Cross at the Vatican was removed from it by Anastatius IV., and de- posited in the Lateran Basilica, from where it was transferred to the museum by Pius VI. The remains now visible are those of a large circular hall, with walls of great thickness. In the inte- rior are 8 circular recesses. From in- {}{3 Rome. § 16. MAUsolº LM of HADRIAN. scriptions still preserved, it appears that the spot was either the camp or the cemetery of the Equites Singulares, from the 2nd to the 4th century of our era. One of these inscriptions, on the 1. of the entrance, with a curious bas-relief of a knight and his page, bears the name of Aug. Claudius Wi- runus, “Nat. Norie.,” supposed by Cluverius to have been an ancestor of the existing German family of Volckmark. A farmhouse, and a ch. dedicated to St. Helena, have been built in the interior of the ruined edifice. A quarter of a mile farther on the road, in the Pigna del Grande, has been recently discovered a very inte- resting Series of Catacombs, to which the name of St. Helena has been given. The Mausoleum of Hadrian, now the Castle of St. Angelo, the celebrated Papal fortress of Rome. This massive edifice was erected by Hadrian about A.D. 130, on the rt. bank of the Tiber, within the gardens of Domitia, the aunt of Nero. The idea was proba- bly suggested by the mausoleum of Augustus, which stood on the opposite bank of the river, the last imperial miche in which having been occupied by the ashes of Nerva, rendered another necessary. “Turn to the Mole which Hadrian rear'd on high, Imperial mimic of old Egypt's piles, Colossal copyist of deformity, Whose travell'd phantasy from the ſar Nile's JEnormous model, doom'd the artist's toils To build for giants, and for his vain carth, His shrunken ashes, raise this dome ! How Smiles The gazer's eye with philosophic mirth, To view the huge design which sprung from such a birth ! ” The tomb was probably completed by Antoninus Pius, who removed the ashes of Hadrian from Puteoli, where they had been deposited in a temporary sepulchre. Hadrian died at Baiae, but we know on the authority of Dion Cas- sius that he was interred near the AElian bridge, in a tomb which he had himself erected; his remains were therefore de- posited here. After the time of Hadrian it became the sepulchre of Lucius Verus and the Antonines, and of many of their successors down to the time of Septimius Severus. Antoninus Pius Was buried here A.D. 161 ; Marcus Aurelius, 180; Commodus, 192; Sep- timius Severus, 211. It is a massive circular tower, 987 feet in circum- ference, cased on the outside with huge rectangular courses of peperino, and standing on a square basement, each side of which is 247 ft. in length. Pro- copius, who saw it in the 6th century, before it was despoiled, is the oldest Writer by whom it is described. His description still affords a better idea of the original structure than any conjectural restorations. “It is built,” he says, “ of Parian marble; the Square blocks fit closely to each other without any cement. It has 4 equal sides, each a stone’s-throw in length. In height it rises above the walls of the city. On the summit are statues of men and horses, of admirable work- manship, in Parian marble.” He goes on to state that it had been converted into a fortress considerably before his time, but without injury to the decora- tions; and he tells us that in the sub- sequent wars against the Goths the statues were torn from their pedestals by the besieged, and hurled down upon their assailants. Its first conversion into a fortress dates probably from the time of Honorius, about A.D. 423. In the wars of Justinian we know that it was successively held by the Goths and the Greeks, and that it at length passed into the possession of the Ex- archs, and became their citadel in Rome. At the close of the 6th century, according to the Church tradition, while Gregory the Great was engaged in a procession to St. Peter's for the pur- pose of offering up a solemn service to avert the pestilence which followed the inundation of 589, the Archangel Michael appeared to him standing on the summit of the fortress, in the act of sheathing his sword, to signify that the plague was stayed. In commemo- ration of this event the pope erected a chapel on the summit, which was sub- sequently superseded by a statue of the archangel. The name of St. Angelo was dérived from this circumstance, but it does not appear to have been applied for several centuries after Sect. I. § 16. MAUSOLEUM OF HADRIAN. 67 the event. In the 10th century the mausoleum was the fortress of Maro- zia, and the scene of many of those events which have rendered her Ilame and that of her mother Theodora so disreputably celebrated in the history of that troubled period. John XII., the grandson of the latter, about A.D. 960, was the first pope who occupied it as a place of military strength. In 985 it was seized by Crescenzio Nomentano, the consul, who increased the fortifica- tions to defend himself against the emperor Otho III., who had marched an army into Rome in defence of the pope. From this personage it acquired the name of the Castello di Crescen- zio, under which it is described by several old writers. The history of the fortress from this time would be little less than an epitome of the history of Rome through the troubles of the middle ages. It will be suf- cient to mention that in the 11th and 12th centuries it was held by the 'Orsinis. It is supposed to have been reduced to its present form in 1378, when it was occupied by the French cardinals who opposed the election of Urban VI. Boniface IX. repaired the fortress, and Alexander VI. about the year 1500 raised the upper part, and strengthemed the base by erecting the iyulwark of travertine between it and the bridge ; he completed the co- vered gallery which leads from the castle to the Vatican, begun by John XXIII. On the foundations of the Reomime walls. Urban VIII., in 1644, constructed the outworks of the fortress from the designs of Bernini, and com- pleted the fortifications by furnish- ing them with cannon made with the bronze stripped from the roof of the Pantheon. The ancient portion of the building, forming the circular mass below the brickwork, may easily be distinguished from the latter additions of the popes. All the upper part is modern. The ancient quadrangular basement was laid open on one side in 1825, and found to consist of blocks of peperimo mixed with brickwork. About the same time the original entrance facing the bridge was laid open, and ex- cavations were commenced in the in- terior, which were attended with very interesting results. It was ascertained that the immense mass contained in the centre a large Square sepulchral cham- ber, to which led a high and wide winding corridor from a species of atrium opposite the entrance, the greater portion of which the visitor is now enabled to examine. This spiral corridor—which we now descend with the aid of torches from a door leading out of the modern staircase—is 30 feet high and ll feet wide, built of brick in the very best style, and still re- tains traces of its marble facing and some fragments of the white mosaic with which it was paved. It was lighted by two perpendicular pyramidal aper- tures, which serve to show the enor- mous thickness of the walls. The entrance is a massive and very lofty arch of travertine, opening towards the AElian bridge, but now blocked up. Opposite this doorway is a niche which contained the colossal head of Hadrian, now in the Vatican Museum. The sepulchral chamber, in the form of a Greek cross, is in the centre of the mausoleum ; the largest niche is Supposed to have contained the urn enclosing the ashes of Hadrian, whilst those of his successors were placed in the others. It is lighted by two windows perforated in the thickness of the walls ; the modern stairs lead- ing to the upper part of the edifice pass over it. Excavations have laid open a portion of the ancient level, and the lateral niches are seen by de- scending into the cells beneath the steps. The workmanship is of the best kind: the immense blocks of peperino are fitted with the utmost nicety, and yet the holes in the walls, and the ornaments discovered during the excavations, prove that they were covered with marble. Among the ob- jects found at various times among the ruins of the Moles Hadriani are the large granite sarcophagus and the bust of Hadrian in the Vatican ; the Barberini Faun, now at Munich; the Dancing Faum, in the Florence Gallery; and the porphyry urn, removed by Innocent II. to the Lateran, for his own tomb. Some of the sepulchral inscriptions of 6S JRome. § 16. TOMB OF THE NASOs. the Antonines existed until the time of Gregory XIII., by whom they were removed, and the marble on which they were engraved cut up to decorate the chapel of St. Gregory in St. Peter's. In the modern part of the building, the saloon, painted in fresco by Pierino. del Vaga, is worthy of motice. Its roof is decorated with elegant ara- basques and ornaments in stucco ; on the Walls are represented battle-scenes, painted by G. da Scioccolante ; on that upon the right on entering is the portrait of P. del Vaga. Ascend- ing higher is the square saloon, now converted into a barrack-room orna- mented with frescoes and stucco re- liefs by Giulio Romano ; the latter are very beautiful, as well as the paintings of sea-nymphs, although both have suffered greatly from neglect. Open- ing out of this hall is a circular apartment surrounded by presses, in which were once preserved the Secret archives of the Vatican. In the centre stands a huge iron-bound chest, in which were placed the papal trea- Sures when the pope was forced to take refuge in the castle of St. Angelo. Ascending still higher are several dark and dismal cells: one larger than the rest contains a great number of oil- jars, and is supposed to have served as a store for that commodity, whilst others will have it that the oil pre- served here was heated and used as a means of defence by being poured on the assailants. Near this are some small cells, evidently used to contain criminals, in one of which the custode will have it that Beatrice Cenci was confined—more probably her brothers. A winding stair now leads to the plat- form on the summit, from which the view over the city, and the N.E. part of the Campagna, is very fine. There is no point from which the gigantic mass of St. Peter’s and the Vatican is seen to more advantage. The bronze statue of the archangel was cast by the Flemish sculptor Wenschefeld, for Benedict XIV., to replace one in marble by Raffaele da Montelupo, now preserved in a niche at the top of the great stairs. The celebrated girandola is no longer dis- played from this castle at Easter, and at the feast of St. Peter and St. Paul, on the 28th and 29th of June; it was the grandest exhibition of fireworks in the World: since the occupation of the Castle of St. Angelo by the French, who have made it the head-quarters of their artillery, it is exhibited on the Monte Pincio. The strength of the castle as a military position is by no means remarkable; and it is consi- dered by engineers to be quite inca- pable of any long defence against the improved system of modern warfare. It is necessary to obtain permission to see the interior of the castle from the French general commanding the place at Rome, which is always oblig- ingly granted on making a written application, an intelligent Sergeant being appointed to do the duty of cicerone to the visitor. Tomb of Plautius, noticed in the ex- cursion to Tivoli (see p. 325). Tomb of the Nasos. Of this interest- ing sepulchral monument of the family of Ovid very little now remains; it was discovered in 1674, and described by Santi Bartoli and Bellori, who have luckily left careful drawings of its paintings, in their Pictura Antiquae. It is situated on the Via Flaminia, be- yond the fourth mile, a short way before reaching the modern Casale di Grotta Rossa. Partly excavated in the sides of the tufa rock which forms the escarpment on the 1. of the road, it had a Doric front, surmounted by a pediment in masonry, facing the road. The interior, elegantly decorated, con- tained inscriptions to Quintus Ambro- sius Naso, to his wife and freedmen. The paintings represented a poet con- ducted by Mercury to the Elysian Fields, supposed to be Ovid, and several subjects from his Metamorphoses; hence it has been concluded that this was the last resting-place of one of his collateral descendants. Tomb of the Scipios, in a vineyard near the Porta S. Sebastiano, on the left of the Appian, perhaps the most ancient and certainly one of the most historic- Sect. I. § 16. TOMB OF THE SCIPIOS. 69 ally interesting of all the tombs yet discovered. In 1616 an inscription on red tufa, now in the Barberini library, was discovered on this spot, bearing the name of Lucius Scipio, son of Scipio Bar- batus, consul in A.U.C. 495, as founder of the temple of the Tempests, after his conquest of Corsica. At that time it was supposed that the tomb was situated on another part of the Appian, and Maffei and other antiquaries of the period did not hesitate to pronounce the inscription a forgery. In 1780 another inscription was dug up acci- dentally on the same spot, which left no doubt that the sepulchre of the illustrious family was not far distant. Further excavations were commenced, and the tomb and its sarcophagi were brought to light, after having been undisturbed for upwards of one-and- twenty centuries. Several recesses or chambers were discovered, irregularly excavated in the tufa, with 6 sarco- phagi and numerous inscriptions. The ancient entrance was towards a cross road leading from the Appian to the Via Latina : it has a solid arch constructed of 11 blocks of peperino, resting on half-columns of the same material, and supporting a plaim moulding. Upon this rests the base of a Doric column, indicating either a second story, or that it was surmounted by an entabla- ture. In one of the recesses was found the celebrated sarcophagus of pepe- rino, bearing the name of L. Scipio Barbatus, now in the Vatican. The chambers at present contain nothing be- yond copies of the inscriptions attached to the different recesses in the place of the originals, which have been trans- ferred to the Vaticam, together with a laurelled bust, long supposed to be that of the poet Ennius. “The Scipios' tomb contains no ashes now ; The very sepulchres lie tenantless Of their heroic dwellers.” Childe Harold. In one part of the sepulchral excavations additions of brickwork may be recognis- ed, with some works of a later period. The members of the Scipio family in- terred here, and of whom inscriptions have been found, were Lucius Scipio Barbatus, and his son, who, being Con- sul, conquered Corsica; of Aulla Cor- melia, wife of Gneus Scipio Hispalis; of a son of Sc. Africanus; of Lucius Cor- nelius, Son of Sc. Asiaticus; of Cor- nelius Scipio Hispalis; and of his son Lucius Cornelius. Several inscriptions bearing the names of persons of the great consular families of the Cornelii, Cossi, and Lentuli have also been dis- covered, and are considered to have been interred here when the family of the Scipios became extinct. It must not be forgotten that Scipio Africanus was buried at Litermum, where he died; but we know from Livy that his statue, with those of Lucius Scipio and Ennius, were placed in front of the family mausoleum at Rome. Tombs on the Appian.—As the prin- cipal monuments on the Via Appia will be described in our Section of Excur- sions about Rome (see p. 317), we shall only notice those near the gates. Of all the approaches to Rome, the Via Appia was the most remarkable for the number and magnificence of the sepul- chral monuments which lined the road, like those which we see in the Street of the Tombs at Pompeii. Many of them are now nameless masses of brickwork. The most important tombs upon the Appian, mentioned by ancient writers, were those of the Scipios, the Metelli, the Servilii, Ca- latinus, &c. In his Tusculan Dis- putations Cicero alludes to them in the following passage:—“When you go out of the Porta Capena, and see the tombs of Calatinus, the Scipios, the Servilii, and the Metelli, can you consider their inmates unhappy?” The only one of these four yet dis- covered with any degree of certainty is that of the Scipios. On each side of the road are several ruins of minor tombs of which nothing is known, and no light probably will now be thrown upon them. There is one, how- ever, close to the classical stream, which still retains the name of the “brevis- simus Almo,” which has been con- sidered the Tomb of Priscilla, the wife of Abascantius. The high ruin nearly opposite to the tomb of Priscilla, and on the 1., of the road, is sup- posed to be the sepulchre of Geta. Near the ch. of Domine quo Vadis 7 () § 16. TOMBs ON Ičome. THE VIA LATINA. are the remains of another tomb, long considered to be that of the Scipios before the real sepulchre was dis- covered. It is surmounted by a round tower of the middle ages. It appears to have been a circular building faced with travertime, and stands on a square basement. It had 12 niches for statues and a circular roof. About half a mile beyond the Porta Sam Sebastiano is a massive ruin called the Tomb of Ho- ratia ; the style of construction and the fragments of marble and orna- ments which have been found near it show that it was an imperial work. Tombs on the Pia Zettinct.—Amongst the most recent and important dis- coveries in the neighbourhood of Rome, none are more interesting than that of these sepulchral chambers. Those who have travelled from Rome to Albano by the modern post- road will have remarked how the line of sepulchres which bordered the Via Latina, and marks its direction, crosses the modern road diagonally at the 2nd milestone on the Via Appia Nova, and in the direction of Frascati and Tusculum. road here, and extending to the arches of the Claudian Aqueduct, is the Tenuta of the Arco Travertino del Corvo–the first name derived from one of the large arches of the aqueduct in that stone, under which the Via Latina passed ; the second supposed to be an abbreviation of Corvinus, a Roman family who had possessions, as appears from inscriptions discovered hereabouts. In the course of last autumn an enterprising searcher after antiquities, Signor Fortunati, seeing that this district had not been exca- vated in modern times, set about the work at his own risk and cost, the first result of which was the discovery of the basilica of St. Stephen’s, mentioned else- The farm on the 1. of the lined, as the other great highways in the vicinity of Rome, with sepulchraf monuments. The road itself consists as usual of polygonal blocks of lava, much worm, with a very wide footway, evidently of the Lower Empire, judg- ing from the careless manner of its construction and the materials em- ployed. On each side have been already dug into two most interesting tombs; that on the rt. preceded by a tetrastyle portico facing the road, foll- lowed by an atrium and triclinium paved in mosaic, from which led a double flight of stairs descending into the funereal vaults, which consisted of two large chambers: the outer one, which has been much injured, has a large niche containing a very mutilated marble sarcophagus; the inner one is an oblong chamber 15 ft. long, with a Vaulted roof covered with most beau- tiful and well-preserved bas-reliefs in stucco, and in square and circular compartments, representing nymphs riding on winged and sea monsters, mereids, &c. The side walls and floor were covered with marble slabs, of which a portion still remains in situ; whilst around were placed several sepulchral sarcophagi on which were bas-reliefs of excellent sculpture. These sepulchral chambers are con- siderably below the level of the Via Latina; the last was surmounted pro- bably by a monument similar to the two in brickwork, still standing above- ground and close by. As to the owner of this splendid mausoleum nothing is known. From the Sigma Tegularia on Some bricks employed inits construction, it appears to date from about A.D. 160. On the opposite side of the road, but less preserved near the surface, is what may be called the Painted Tomb, discovered at the end of April of this year; on the level of the road is also a triclinium, from which a single flight of steps descends into a double sepulchral chamber—the outer one surrounded by low arches with paint- ings of birds, on which rest sarcophagi, where (p. 356), and of extensive sub- structions of a Roman villa of the family of the Servilii originally, and which in Íater times belonged to that of the Asinii. Here were found some good specimens of sculpture of the times of Commodus, and numerous coins. Following up his researches, Sig. F. soon after came on the pavement of the Via Latina, some of which appear to have be- longed to the family of the Pancratii; the inscription upon one being still preserved. The sculpture on these urns shows that they belong to the 3rd Sect. I. 7 I § 16. TOMBS.—COLUMBARIA. or perhaps to early in the following cent. As we shall see in the catacombs and other sepulchral excavations, the por- traits of their owners have been left unfinished, or indeed merely sketched in outline, probably being purchased in this state at the undertaker’s shop, who had always a stock in hand, only re- quiring the inscription and likenesses to be added, the latter of little use in a situ- ation like the present where they could with difficulty be seen. The inner cham- ber, which is square, has a vaulted roof covered with the most beautiful stucco- reliefs and paintings, the colours of the latter as fresh as when laid on 17 cen- turies ago. The reliefs represent chiefly subjects relative to the history of the Trojan war, the Judgment of Paris, Achilles at Scyros, Ulysses and Diomed with the Palladium, Philoctetes at Lemnos, Priam at the feet of Achilles, and detached figures of Hercules Ci- tharedes, Jupiter and the Eagle, and a set of lovely groups of Centaurs hunt- ing lions, panthers, &c. There are S landscape subjects, with graceful groups of men and animals, in Square com- partments, and infinite arabesque deco- rations in relief, almost equalling the fineness of cameos in their execution, Round the base of the vault are remains of a cornice, and at the angles four figures in stucco, all now mutilated, although one of them was perfect when discovered, but which was stolen by Some early visitors to the excava- tion. The walls appear to have been also covered with stucco, but of which not a trace remains. On the floor are several sarcophagi, some of a good period of sculpture, representing the fables of Adonis, of Phaedra and Hip- polytus, of Bacchus and Ariadne, &c., probably of the time of the An- tonines; and in the centre a huge one in marble 9 ft. long, of a much later period, and in the same style as the urns of the family of Theo- dosius in the ch. of SS. Nazario e Celso at Ravenna. It has places for two bodies, the skeletons of which were nearly entire ; the sides and pyramidal or house-roof cover are without any kind of ornament. Dating probably from the 5th or 6th cent., it was evidently placed here long after the original construction of the tomb; indeed, from the door being enlarged and the vault of the outer chamber broken down, it is clear this Sarcophagus, of a semi-barbarous period of art, had nothing to do with the original owners of this magnificent mausoleum. No trace has been yet found to enable the archaeologist to fix the date of this second tomb; but from the elaborate nature of the decorations, and from the total absence of cinerary urns, all the monuments being for corpses entire, it cannot date from a later period than the reigns of the Antonines. * Tomb of Vibius Marianus, near the 6th m. on the Via Cassia, the modern road from . Rome to Florence (see p. 267, Handbook of South Italy), commonly called the tomb of Nero, for what reason is an enigma. It consists of a massive square urn, covered with a block of marble; in front is an inscription to Vibius Marianus, who was Procurator of Sar- dinia, Prefect of the 2nd Italian Legion, and a native of Dertona (the modern Tortoma), and to his wife Regina. Maxima ; the monument was raised by their daughter Vibia to her parents, and dates probably from the end of the second century. Cºlumburict.—On all the great roads leading out of ancient Rome consider- able numbers of this class of sepulchres have been found, and particularly on the Appian, Latin, and Flaminian Ways. They bear so great a similarity to each other, that the description of one will, with few exceptions, apply to all. They were called Columbaria, from the rows of little miches, resem- bling the nests in a modern pigeon- house, which contained the ollar, or urns, in which the ashes of the dead were deposited. In some cases the ashes are contained in marble urns, on which are engraved the mames of the deceased ; but they are more generally placed in earthenware ollap, sunk into the brick-work of these recesses, with the names on a marble tablet above. * An account of these interesting discoveries will be found in Sig. L. Fortunati’s “Relazione degli Scavi in Via Latina: Roma, 1858.’ 72 JRome. § 16. COLUMBARIA. These Columbaria, from their construc- tion, were capable of containing the ashes of large numbers of persons: they were more generally set apart for the middle classes, freedmen, and per- sons attached to the service of great families, and were often erected near the tombs of their patrons. Many of the extensive Columbaria about Rome appear to owe their origin to speculators; in which places for urns were sold, as a certain number of square feet or mètres of burying-ground are now-a-days at Kensal Green or Père la Chaise. Such was evidently the origin of the numerous Columbaria recently laid open along the Via Appia and Via Latina, between the tomb of the Scipios and the Aurelian wall. It will not be out of place here to add a few words on the mode of burial adopted by the Romans at different periods. In early times, and until towards the 6th century of Rome, the bodies of almost all classes were buried entire, as appears to have been also the more usual custom amongst the Etrus- cans. About the 6th century of Rome burning the remains of the dead became nearly general, although the great Pa- trician families still continued to follow the ancient mode of interment. During the first Caesars cremation was uni- versal, and continued to be so until the age of the Antonines, when the system of burying the bodies entire was again introduced, and generally followed in the latter half of the 2nd, the 3rd, and 4th centuries of our era. It is to this latter period that are to be referred most of the large sepulchral urns to be met with in our museums. At a still later period coffins of terra cottº became Qommon, especially in the 5th and 6th centuries. It is scarcely necessary to add that the early Christians were interred in coffin- like urns, or in miches in the catacombs, but the bodies always entire ; no instance to the contrary, in the hun- dreds of Christian cemeteries, and from the earliest period, having been yet discovered. Tomb in the Vignº di Zoºtno, about 3 mile beyond the Porta Pia, on the rt. of the gate, near the E. wall of the Castrum Praetorium, and probably on the line of the Via Patinaria, which led out of the Porta Viminalis. It con- sists of a cruciform chamber of tra- vertime ornamented with a cornice, and contained three marble sarcophagi covered with bas-reliefs representing Orestes and the Furies, and the Nio- bides, which have been removed to the Lateran Museum. An upper chamber, supposed to have been circular, had entirely disappeared. The masonry of the existing fragment is of the best kind, but nothing has been discovered to emable us to fix the date of its con- struction. The following are the Columbarict about Rome best worth visiting:— Columbarium called of the Freedmen of Augustus, on the Appian, beyond the ch. of Domine quo coºlis, mow partly con- cealed by the vineyard Vagnolini. It had 3 chambers, one of which con- tained 6 rows of miches for urns. Seve- ral inscriptions were found, but most of them, together with the sculptures and marbles, have been removed. 3 plates of this Columbarium have been published by Piranesi. This also ap- pears to have been a burying-place in common, so that there is no authority for the name given to it. Columbarium of the Liberti of Livia, also situated on the Via Appia, immedi- ately beyond the latter, and on the same side of the road, in the Benci vineyard. It was discovered in 1726, and was justly considered by an- tiquaries as a valuable relic ; but it has been recently destroyed, and no trace of the building now exists; It is well known by the works of Gori and Piranesi; the latter published upwards of 300 inscriptions found among the ruins, most of which may now be seen in the Vatican and Ca- pitoline museums. Columbaria in the Vigna Codini, on the Appian Way, immediately beyond the garden in which the tomb of the Scipios is situated. These Columbaria, of which 3 are very well preserved, contain the cinerary urns chiefly of persons attached to the family of the Sect. I. { § 16. COLUMBARIA. 3 Caesars, and are by far the most inter- esting and instructive monuments of the kind that now exist in Rome or its environs. That most anciently dis- covered consists of a large Square chamber, with a massive pier in the centre, supporting the roof, and pierced throughout with pigeon-holes for re- ceiving urns. An ancient flight of steps leads from the door above into the bottom of the Columbarium, the walls of which were covered with frescoes and arabesques, some of which are still well preserved, representing birds and animals. Near this is a second Columbarium equally capacious, but without the central pier; it is called improperly that of the Liberti of Pompey; in it are several inscriptions to persons attached to the household of the family of the Caesars, as J/e- dicus, Obstetriw, Argentarius, Cimbulistſ, and to a certain Hymnus Aure- lianus, the librarian of the Latin Library in the Portico of Octavia. On the floor are 2 rows of smaller urns belonging to the members of a musical confraternity or club. A third Colum- barium, but nearer the road, discovered in 1853, is perhaps the most interesting of the three, and appears to have been tenanted by a superior and more wealthy class of occupants than the other two ; it contains what might be designated family vaults, as several of the ollae or pigeonholes are the property of a single person, purchased, as stated on the inscriptions, to receive the ashes of himself and his descendants, and often enclosed in a larger and deco- rated recess. The greater number of the inscriptions appear to belong to the time of Tiberius, as many of his household are named—amongst others two employés in the Library of Apollo on the Palatine ; a certain Sotericus, librarian of the Greek Li- brary in the Portico of Octavia; Scurramus, a native of the province of Lyons, in France, who had jour- meyed to Rome, where he died ; after his titles on the sepulchral tablet follow the names of the 15 servants who at- tended on him, with the designations of their several occupations. A curious record, placed by a Roman lady, named [Rome.] Synoris Glauconia, over the ashes of her favourite dog, whose portrait heads the inscription, in which he is designated the pet or delicium of his mistress. A very touching one in verse, of Julia Prima to her husband, &c. Out of this Columbarium open a series of dark sub- terranean chambers, excavated in the tufa rock, containing graves of slaves, it being of rare occurrence to find that persons of that class were burned, their bodies being thrown pellmell into pits near the sepulchycs of their masters; or, according to others, of Gnostic Chris- tians. The paintings in this Colum- barium are well preserved. The larger urns on the floor were placed here long after the original construction of the columbarium. The triangular space comprised be- tween the Via Appia and Via Latina, and the more modern city wall of Au- relian, appears to have been occupied by numerous Columbaria, forming a vast necropolis. That called the C. of Campana, from its discoverer, near the Porta Latima, contains several well- preserved inscriptions of the time of the early Caesars. The key of it is kept at the ch. of San Giovanni Evangelista close by. Columbarium of Lucius Arruntius, &c. —Between the Porta Maggiore and the temple of Minerva Medica are two Columbaria situated one on each side of the road which follows the di- rection of the ancient Via Praenestina. That on the 1. hand was constructed (A.D. 6) by L. Arruntius, the consul, to receive the ashes of his freedmen and slaves, as we learn by an in- scription found over the entrance in 1736. It has 2 small subterra- mean chambers with cinerary urns. The other is supposed to have be- longed to different plebeian families: it consists of a single chamber, decorated with stucco ornaments on the walls, and a painted ceiling. It has been preserved entire, and the urns and the inscriptious may still be seem in their original positions. Columbarium in the Willºt Pumfli- Doria.-A very interesting and exten- E 74 Rome. $ 17. AQUEDUCTs. sive series of sepulchral chambers were discovered a few years ago in the grounds of this villa. In one of them are paintings of the story of Niobe and her children, of Hercules and Prometheus, &c. Of some since filled up, the inscriptions found in them have been collected and preserved. Several tombs, marking the line of the Via Aurelia, were found near this Columbarium, and in the grounds of the neighbouring Villa Corsini, but they are now closed. § 17. AQUEDUCTs. No monuments of ancient Rome are at onee more picturesque and stupen- dous than the Aqueducts, and many tra- vellers are more impressed with the grandeur of their long lines of arches, bestriding the plain of the Campagma, than with any ruins within Rome itself. The following are the prin- cipal ancient aqueducts, arranged in their chronological order. With the exception of the two first, some ves- tiges above ground of all the others still remain. 1. Aqua Appia, the oldest aqueduct of Rome, constructed by Appius Clau- dius Caecus, B.C. 311, after the com- pletion of his Appian Way. It had its source near Rustica, on the Via Colla- tina, about 5 m. from the city ; in later times another aqueduct, the A. Au- gusta, was added to it, and their united Srreams entered Rome near the Porta S. Lorenzo (Tiburtina), from which they were carried along the Caelian and Avertine as far as the Porta Trige- mina, and were entirely subterranean, except a portion 60 paces long mear the Porta Capena. Its waters were distributed over the oldest quarters of the city, and in the Transtiberine region. Some portions of the watercourse were discovered in 1857 on the declivity of the Aventine, below the ch. of Santa Sabina; it is high and pointed, its course subterranean, and extending to near the Porta Trigemina. The whole length of the Appian aqueduct was 11,190 paces; and its water, from its Sources being in the volcanic district, must have been good, and similar to the modern Acqua Vergine. 2. Anio Vetus, constructed by Man- lius Curius Dentatus, B.C. 272. It had its source near Augusta, in the valley of the Anie, 20 m. beyond Ti- voli, and pursued a course of 43 m. to the walls of Rome: only 221 paces were above ground. The only frag- ment now visible is on the level of the road, and under the A. Marcia, outside of the Porta Maggiore. 3. Aqua Marcia, constructed by Q. Marcius Rex, the praetor, B.C. 145. Its source was near the 37th m. on the Via Sublacensis, at the modern Jaghetto di Santa Lucia. It was sub- terranean except for the last 6 m. This portion is that magnificent line of arches near the roads to Frascati and Albano, which still forms so grand a feature in the Campagna ; but there are strong reasons for believing that a great portion of the existing arches belong to the time of Augustus. The arches mow standing are built of pepe- rino. Near the Arco Furba, on the road to Frascati, this aqueduct is crossed by the Claudian, which runs parallel to it for some distance. The specus may be seen in the ruined fragment form- ing part of the Aurelian wall outside the Porta Maggiore; and its fine chan- nel, 6 ft. in height, built of massive blocks of travertine, within and under the Aurelian wall, and a short way on the rt. of the Porta S. Lorenzo, with the diverticulum by which a part of its waters were thrown into the Rivus Herculaneus, which, after being dis- tributed over the Caelian hill, ended near the Porta Capena. 4. Aqua Tepula, , constructed by Cneius Servilius Caepio, and L. Cassius Sect. I. 75 § 17. AQUEDUCTS. Longinus, B.C. 126. It had its source near the 10th m. on the Via Latina, and was carried into Rome over the Marcian arches. The specus may be seen at the Porta S. Lorenzo and P. Maggiore, between those of the Marcian and the Julian. 5. Aqua Julia, constructed by Augus- tus, B.C. 34, and so called in honour of Julius Caesar. Its source Was 2 m. beyond that of the Tepulan, and the water was conveyed in a channel con- structed above that aqueduct, and con- sequently upon the Marcian arches. The specus may also be seen in the city wall, outside and on the 1. of the Porta Maggiore, from whence it passed to the Porta S. Lorenzo, on which is the inscription of the time of Augustus. 6. Aqua Virgo, constructed by Augus- tus, A.U.C. 735. It derives its name from the tradition that its source was pointed out by a young girl to some soldiers. The sources may be seen at the Torre Salona, between the 7th and 8th m. on the Via Collatina. Its course is sub- terranean, with the exception of about 1240 paces, of which 700 are on arches. It was restored by Nicholas V., under the name of the Acqua Vergine, and is still in use. Its water is the best in Rome, and supplies 13 large fountains, including the Fontana di Trevi, those of the Piazza Navona, of the Piazza Farmese, and of the Barcaccia of the Piazza di Spagna, furnishing daily a mass of 66,000 cubic metres of water; it enters Rome on the Pincian hill, near the Porta Pinciana. A portion of the aqueduct which conveyed the Aqua Virgo from the Pincian to the Campus Martius may be seen in the house No. 12 of the Via del Nazzaremo, near the Stamperia Camerale, before it reaches the Foutama di Trewi. The arches and piers are completely buried in the ground, but on the face of the aqueduct is an interesting inscription stating that they were repaired by Claudius in A.D. 52, after having been ruimed (DISTUR- BATos) by Caligula in the construction of his wooden amphitheatre. It is probable that the line of the aqueduct at this point crossed a public thorough- fare. 7. Aqua Alsietina, constructed by Augustus on the rt. bank of the Tiber, for the use of his Naumachia, It was afterwards restored by Trajan, who introduced a new stream collected from sundry sources along the hills on the W. side of the Lake of Bracciano, the ancient sources of the Augustan aqueduct being round the smaller, La- cus Alsietinus, the modern Lago di Martigmano, W. of Baccano. It was about 30 m. long. It was again restored by the popes, and especially by Paul V., and now enters the Trastevere, under the name of the Acqua Paola. It supplies the fountains in the piazza of St. Peter’s, the Fontana Paolina, and turns nu- merous flour-mills on the declivity of the Janicule, one of its principal uses in ancient times. 8. Aqua Claudia, commenced by Ca- ligula, A.D. 36, continued and finished by the emperor Claudius, A.D. 50. Its source was at the 38th m. on the Via Sublacensis. It pursued a course of more than 46 m. in length. For about 36 m. it was subterranean, and for the remain- ing 10 m. it was carried over arches. Of this magnificent work, a line of arches no less than 6 m. in length still bestrides the Campagna, forming the grandest ruin beyond the walls of Rome. It was repaired by Septimius Severus and by Caracalla. Sixtus V. availed himself of its arches in constructing his aqueduct of the Acqua Felice, which has its source near the Osteria de’ Pantani, on the road to Palestrina, and sup- plies the Fontana de' Termini, near the Baths of Diocletian, the Tritone in the Piazza Barberini, the fountain of Monte Cavallo, and 24 others in differ- ent parts of the modern city. 9. Anio Novus, brought to Rome also by Claudius. Its source was of all the waters the most distant, being near the 42nd m. on the Via Subla- censis. It was the longest of all the aqueducts, no less than 62 m., of which 48 were underground; it entered the city at a higher level than all the E 2 76 Ičome. § 18. TARPEIAN Rock. others, on the 1. bank of the Tiber, The specus may still be seen above that of the Claudian over the arches of the Porta Maggiore. From what precedes it will be seen that few modern cities were better sup- plied with water than ancient Rome; out of the 8 aqueducts on the l. bank of the Tiber, of which we have spoken, only one is still in use, the Aqua Virgo. The great supply was on this side, from sources in the upper valley of the Amio; but as all these, even to the present day, contain a certain quantity of calcareous matter in solution, it is probable the aqueducts became choked up with travertine concretions and rendered useless. This was cer- tainly the case with the Anio Novus, as we see at the Villa Braschi near Tivoli (see p. 333). In consequence of the sources from which the modern aqueducts of Rome derive their sup- plies being situated in the volcanic strata, the water is excellent and salu- brious, and unattended with detriment, from deposit or incrustation, to the aqueducts which convey it. Such are the Acque Vergine, Felice, and Paola. The aqueducts that entered Rome on the 1. bank of the Tiber, with the single exception of the Acqua Vergine, did so nearly at the same spot, between the Porta Tiburtina (St. Lorenzo) and Porta Praenestina (Maggiore), the highest point on this side of the city " (about 150 ft. on the surface, and above the sea, and superior to the levels of the Caelian, Capitoline, and Quirimal, which rendered the distribution of their waters over the whole of the ancient city possible. The * It may prove useful to inscrt a table of the greatest height (above the Sea) of the principal hills about Rome:— Eng. Ft. . I 97 . 1 S7% Janiculum, at S. Pietro in Montorio Esquiline, at Sta. Maria Maggiore. I’alatine, ch. of Sta. Buenoventura . . ] 70% Viminal, at St. Lorenzo Pane-Perna . 170} Caelian, floor of St. Giovanni in Late- rane . . . . . . . . . . . 1683 Capitoline, floor of ch. of Ara Coeli . . . 159 Pincian, floor of ch. of la Trinità de' Monti . . . . . . . . . . . 15.9% Quirinal, ground floor of Pope's Palace. 157+ Aventine, floor of ch, of St. Alessio . 155} Vatican, floor of St. Peter's . 99 point to which all these aqueducts con- verged was known by the name of Spes Vetus, so called from a very ancient temple of Hope, which dated from the 3rd century of Rome. The following table shows the level of the bottom of the channels of the several ancient aqueducts, where they entered Rome,at the Porta Maggiore:– Eng. Feet. Aqua Appia. . . . . 121 Auio Vetus . . . . 149 Aqua Marcia . . . . 173 Aqua Tepula . . . . 182 Aqua Julia . . . . 191 Aqua Claudia . . . 203 Anio Novus . . . . 212 § 18. MISCELLANEOUS. Turpeian Rock. — On the south-eastern Summit of the Capitoline hill, which faces the Palatime and is now called the Monte Caprino, antiquaries place this celebrated rock. It is surrounded by buildings, and covered with the garden annexed to the Instituto Archae- ologico and the German hospital : the soil has accumulated in such consider- able quantities at the base as to have taken away considerably from its height; but enough remains to mark “ the steep Tarpeian, fittest goal of Treason's race, The promontory whence the Traitor's leap Curcq all ambition.” Childe Harold. There are two precipices, however, which enjoy this celebrated name. If we enter from the Piazza di Ara Coeli, by the Via di Tor di Specchi, the first lane on the l. will bring us to an open court, in which one front of the precipice may be seen, beneath the Sect. I. 77 § 18. MAMERTINE PRISONs. Palazzo Caffarelli. On the other side of the hill, towards the Palatime, in the gardens of the German Hospital, on the Monte Caprino, we may look down on another abrupt precipice which cannot be much less than 70 feet in height. Both consist of a mass of red volcanic tufa, belonging to the most ancient igneous productions of the La- tian volcanoes. The latter is the cliff more generally shown to strangers as the Tarpeian Rock. The custode of the Instituto Archaeologico keeps the key of the garden; it may also be seen from below in the court-yard of the house No. 18 in the Via di Monte Ca- prino. This certainly answers better to the descriptions of ancient authors; for Dionysius tells us that Cassius was hurled down from the precipice in view of the people assembled in the Forum, which could only have occurred on this side of the hill; there would seem, therefore, to be more reason for regard- ing it as the “Traitor's Leap.” Mamertime Prisons, on the declivity of the Capitoline, near the arch of Septimius Severus. This celebrated prison is one of the few existing works of the kingly period: it is built in the most massive style of Etruscan archi- tecture. It was begun by Ancus Mar- tius, and enlarged by Servius Tullius, from whom it took the name of Tul- lian. It consists of two chambers or cells: the upper one is still below the level of the surrounding soil. Livy mentions the prisons of Servius Tullius in the following interesting passage (lib. i. cap. 33):—“Carcer ad terrorem increscent is cºndacia, medict urbe, imminens Foro, a dificatºr.” In another passage, in his 34th book, describing the punishment of Quintus Pleminius, he says, “In inferiorem demissils car- cerem est, mecatusque.” The first of these passages at once sets at rest all question as to the locality, and the latter distinctly points to the lower of the 2 prisons which are still visible. If any other evidence were required, it is supplied by Sallust; and we think that it is hardly possible to imagine any ancient description more applicable than that in which this historian relates the circumstances attending the fate of the accomplices of Catiline:—“In the prison called the Tullian,” he says, “there is a place about 10 feet deep, when you have descended a little to the 1. : it is surrounded on the sides by walls, and is closed above by a vaulted roof of stone. The appearance of it, from the filth, the darkness, and the smell, is terrific.” To these interesting facts we will simply add that the peculiar style of their construction proves a very high antiquity, approaching to that which we see in the Etruscan monuments of Caere, and of other sites anterior to the Roman period. The prison consists of 2 chambers, evidently excavated in the tufa rock, and placed one over the other. They are situated some feet beneath the ch. of S. Giu- seppe dei Falegnami. A flight of 28 steps conducts us to the upper cham- ber, into which a modern door has been opened for the accommodation of the devotees, who are attracted by the Church tradition which has given pecu- liar sanctity to the spot. This chamber is about 16 feet high, 30 feet in length, and 22 in breadth; and is constructed With large masses of peperino, with- out cement. This is considered the most ancient portion of the prison, and the original construction of Ancus Mar- tius. The lower cell, called the Tul- lian prison, forms nearly two-thirds of a hollow globe 20 ft. in diameter, ori- ginally lºtutumia or a quarry. Its sides are formed, like those of the upper chamber, of large masses of peperino, arranged in 4 courses, converging to- wards the roof, not on the principle of an arch, but extending horizontally to a centre, as in some of the tombs at Tarquinii and Caere. On examining the stones which form the roof of this lower chamber, it will be seen that they are held together by strong cramps of iron. In the centre of the vault is a circular aperture, through which it is supposed the prisoners were let down into it. It is hardly possible to ima- gime a more horrible dungeon. Ad- mitting that these are the Mamertime prisons, it must have been in this cell that Jugurtha was starved to death; 7S Rome. § 18. CLOACA MAXIM.A. that the accomplices of Catiline were strangled by order of Cicero; and that Sejanus, the minister of Tiberius, was executed. It would appear that the Mamertine prisons were exclu- sively reserved for state criminals, which will meet the argument advanced by some of the older antiquaries, who eonsidered their small size insufficient for the requirements of the population. The well-known passage of Juvenal, referring to those happy times under the kings and tribunes when one place of confinement was sufficient for all the criminals of Rome, is considered to allude distinctly to this prison :- “ Felices proavorum atavos, felicia dicas Saecula, qui quondam Sub Regibus atque Tri- bunis Widerunt uno contentam carcere Roman.” Sat. iii. We know from Livy that the de- eemvir Appius Claudius constructed a prison for plebeian offenders near the Forum Olitorium ; and other au- thorities might be adduced which strengthem the opinion that the Mamer- tine prisons were peculiarly set apart for political prisoners, and were con- sequently mot disqualified by their size for the necessities of the state. The following inscription on the frieze upon the front, C. VIBIvs . C. F. RVTINvs M. CoCCEIVS : NERVA . COs . Ex. S. C., records the names of the 2 consuls by whom the prison is supposed to have been repaired, A.D. 22. The Scalae Ge- Inoniae, from which the bodies of exe- cuted criminals were exposed to the people, were in front of the prison, towards the Forum. The Church tra- dition has consecrated this prison as the place in which St. Peter was con- fined by order of Nero. The pillar to which he was bound is shown, toge- ther with the fountain which mira- eulously sprang up to enable him to baptize his gaolers, Processus and Martinianus; although it is distinctly alluded to by Plutarch in the excla- mation of Jugurtha when thrown into the prison. The upper chamber is fitted up as an oratory, dedicated to the Apostle. The ch. above it, dedicated to S. Giuseppe de' Falegnami, the pa- tron of the Roman joiners, was built in 1539. Cloaca Macima, a subterranean canal, extending through the Velabrum to the river, well known as the opening of the great common sewer of ancient Rome into the Tiber. This stupendous Work is a lasting memorial of early Roman architecture. It is still as firm as when its foundations were first laid, and is one of the very few monuments of Rome whose antiquity has never been assailed by the scepticism of an- tiquaries. It was built by Tarquinius Priscus, the 5th king of Rome, 150 years after the foundation of the city, for the purpose of draining the marshy ground between the Palatine and the Capitoline hills. Livy records the fact in the following passage :- “Infima urbis loca circa Forum, alias- q246 interject&s collibus convalles, quia ec plants locis haud facile evehebant aquas, cloacis e fºstigio in Tiberim ductis sic- cat.”—Lib. i., c. 38. Strabo says that a waggon laden with hay might have passed through the cloaca in Some places; and Dionysius describes it as one of the most striking evidences of the greatness of the Romans in his time. Pliny speaks of it with admi- ration, and expresses surprise that it had lasted for 700 years, unaffected by earthquakes, by the inundations of the Tiber, by the masses which had rolled into its chammel, and by the weight of ruins which had fallen over it. Nearly 25 centuries have now passed over since its foundation, and this noble struc- ture of the Roman kings still serves its original purpose. There are no Other remains of ancient Rome which present so many elements of durabi- lity, and promise more to excite the admiration of posterity for an equal lapse of centuries. The archway where it opens on the Tiber is composed of 3 concentric courses of large blocks of that variety of peperino called gabina, put together without cement. The borings executed by Lenotte give this archway a height of at least 12 feet where it enters the Tiber; but the surface of the river rarely sinks more than 4 feet below the keystone. The Sect. I. SERVIUS TULLIUS. 79 § 18. AGGER OF interior of the sewer is constructed of red volcanic tufa, similar to that of the Tarpeian rock. Many of the blocks are more than 5 feet in length, and nearly 3 feet in thickness. The length of the cloaca, from opposite the ch. of St. Giorgio in Velabro to the Tiber, is 800 feet; it forms two bends, passes before the façade of the ch. of Sta. Maria in Cosmedin, and nearly under (a little to the rt. of) the round Temple of Mater Matuta (Vesta). The engi- neer who executed the work had pro- vided for the cleansing of the channel, 1st, by a considerable fall; 2ndly, by the oblique angle of 60° at which it enters the Tiber; and 3rdly, by the gradual contraction of the diameter from 13 to 10% feet. In consequence of the rise in the level of the bed of the Tiber, this channel has been choked up to at least 2-5ths of its original height. The part which may be most con- veniently examined is near the arch of Janus, following a narrow alley opposite the ch. of S. Giorgio in Velabro; from this point the channel is entire throughout its course to the river, into which it opens at a short distance below the Ponte Rotto. This portion was the only part covered in originally, an open drain extending to it, from the site of the Lake of Curtius, the Forum, and the Velabrum. At a subsequent period this open canal was also arched over, as we may see under the floor of the Basilica Julia, where it still serves for its original purpose. Close to its extremity, in the Velabrum, is a bright clear spring, called the Acqua Argentina, still held in repute by the lower orders as a remedy in certain maladies: it is considered by some antiquaries as one of the sources of the Lake of Juturna, and as the spot where Castor and Pollux were seen watering their horses after the battle of the Lake Regillus. Higher up is a more copious one, issuing from beneath an arch of brickwork: it is used as a washing-place by the poor inhabitants of the quarter. Quay called the Pulchrum Littus.- At the mouth of the Cloaca Maxima we may trace the commencement of a line of wall, built of large blocks of travertime, which evidently formed a quay or embankment on the 1. bank of the Tiber. Its construction would seem to refer it to the period of the kings, and it may possibly be identified with the xzxz &zºn, or the “pulchrum littus,” mentioned by Plutarch in his description of the house of Romulus. A road led from this quay to the foot of the Palatine. Agger and Walls of Servius Tullius.-- In the grounds of the Villa Barberini, on the 1. of the Via di Porta Pia, among the ruins of the house of Sallust, are vestiges of this celebrated rampart, which may be traced in the rear of the Baths of Diocletian, through the Villa Negroni, to behind the church of St. An- tonio on the Esquiline, and the arch of Gallienus, in different parts of its north-eastern circuit. The most per- fect fragment is that in the gardens of the Villa Negroni, now Massimi. At this angle of the Servian circumvalla- tion the Agger is said to have been 50 feet broad and a mile in length; the ditch which protected it was 100 feet wide and 30 feet deep; they have sub- sequently had imperial constructions placed on them, or rather outside the wall. 2 very fine portions of the walls of Servius Tullius have been recently discovered in the Vigna of the Collegio Romano on the S. side of the Aven- time, not far from the ch. of Sta. Prisca (opposite to which is the gate leading to them), composed of large quadri lateral blocks of tufa quarried near the spot; these blocks are laid alternately long and cross ways, as in Etruscan constructions ; and another fragment on the declivity of the Aventime, over- looking the Tiber, in the gardens below the ch. of Sta. Sabina, the continua- tion of the Servian wall towards the Porta Trigemina. Campus Seeleratus.-Near the point where the Strada di Porta Pia is in- tersected by the Via del Maccao stood the Porta Collina of the walls of Ser- vius Tullius; outside which, in the Space between it and the Aurelian wall, antiquaries place the Campus Scele- SO JRome. § 18. PORTICO OF ocTAvLA. ratus, the spot where the vestal virgins who had broken their vows were buried alive, like the nuns in the middle ages. House and Gardens of Sallust.—The gardens of the Vigma Barberini, in the Via di Porta Pia, enclose some inte- resting objects. Besides the Agger of Servius Tullius, we find there the ruins of the Temple of Venus Erycina, the Circus Apolliuaris, and vestiges of the luxurious palace of the historian Sal- lust, the favourite retreat of Nero, Nerva, Aurelian, and other emperors. It was destroyed by Alaric, and little Ilow remains but traces of founda- tions. Extensive ruins, belonging pro- bably to the carceres of the Circus, exist in the neighbouring villa Ri- gnano-Massimo (see p. 49). Portico of Octavia, erected by Augustus on the site of that raised by Quintus Metellus, and near the theatre of Mar- cellus, as a place to which the spec- tators might retire for shelter in case of rain. Of all the edifices of ancient Rome, the architectural disposition of none is better known, a considerable portion of the plan of it and of the tem- ples within its area being preserved on the general one of the ancient city (the Pianta Capitolina) preserved in the Capitoline Museum. It appears to have formed a parallelogram, sur- rounded by a double arcade, supported by 270 columns, enclosing an open space, in the centre of whióh stood the temples of Jupiter and Juno, erected by the Greek architects Batracus and Saurus. The ruins which now remain are situated in the Pescheria, the modern fish-market, one of the filthiest quarters in Rome, and formed the en- trance to the portico. This vestibule had 2 fronts, each adorned with 4 fluted columns and 2 pilasters of white marble of the Corinthian order, supporting an entablature and pediment. The portico was destroyed by fire in the reign of Titus, and was restored by Septimius Severus and Caracalla. Two columns of the fragment now remaining disap- peared in this fire, and the restorations of Septimius Severus may easily be re- cognised in the large brick arch con- structed to supply their place, as a sup- port to the entablature. The 2 pillars and pilasters in the front, and the 2 pillars and 1 pilaster in the immer row, towards the portico, are sufficient to show the magnificence of the original building: the style of the existing ruin is grand and simple, and the proportions and details are in every respect worthy of the Augustan age. On the architrave is an inscription recording the restorations by Septimius Severus and Caracalla. The portico is celebrated by ancient writers for its Greek and Latin libraries, which stood behind the temples, and its valu- able collections of statuary and paint- ing, among which were the Cupid of Praxiteles, a Venus by Phidias, an AEsculapius and a Diana by Praxiteles, &c. Most of these doubtless perished in the fire; but the group of Mars and Cupid, in the Villa Ludovisi, is said to have been discovered within the pre- cincts of the portico. Santo Bartoli tells us that the Venus de’ Medici was also found here, in opposition to those writers who state that it was discovered among the ruins of Hadrian's villa near Tivoli. In the house No. 12 in the Via della Tribuna di S. Maria in Campitelli are 3 columns and a portion of the Cella of the Temple of Jupiter, which stood, as we have seen, in the area of the portico. And in the dirty alley on the 1. of the ruins in the Pescheria, are 2 Corinthian columns built into a wall, which formed a part of the portico. Wiccarium and Spoliarium.—At the base of the Caelian hill, extending from below the Passionist Convent of S. Gio- vanni e Paolo to the Coliseum, are some extensive ruins, which are consider- ed to belong to the ancient Vivarium, the place in which the wild beasts were kept before they were turned into the arena. Below the convent they consist of 8 immense arches of blocks of travertine: there are 2 stories, the lower is now interred. The older antiquaries gave them the name of Curia Hostilia, but their position and arrangement sufficiently justify their modern name; more recent authors, however, suppose that these arches Sect. I. 81 § 18. FOUNTAIN OF EGERIA. were destined to support the area in which was placed the Temple of Clau- dius, now occupied by the garden and grounds of the convent. Beneath are some subterranean caverns, excavated in the tufa as quarries in ancient times. which still retain marks of the work- men's tools. Practorian Camp, built by Sejanus, the minister of Tiberius, outside the walls of Servius Tullius. It is now occupied by the Villa Maccao, an ex- tensive vineyard of the Jesuits, situ- ated at a short distance behind the Baths of Diocletian. The camp was dismantled by Constantine, and 3 sides of the enclosure were included by Aurelian in his new wall. To this circumstance we are indebted for the preservation of the exact form of this celebrated camp, memorable as the scene of the principal revolutions which occurred during the first 3 cen- turies of the Christian era. The vine- yard no doubt conceals much of the ancient foundations; but considerable remains of the corridors are still visi- ble, retaining in some places their stucco and even their paintings. Se- véral inscriptions have been found from time to time, confirming the his- tory of the locality. The circuit of the 3 sides, which now forms a qua- drangular projection in the city walls, is stated to be 5400 feet. A part of the southern side has been roughly re- built with large and irregular stones, probably the work of Belisarius. There is a coin of Claudius, on which this camp is represented. Reservoir or Nympha-um, called the Trophies of Marius, a picturesque ruin at the head of the Via Maggiore, so called from the trophies now on the balustrade in front of the Capitol which were found here. There is no longer any doubt that the name of Marius has been erroneously applied both to the trophies themselves and to this ruin. Winckelmann regards the style of the sculpture of these trophies as indicating the age of Domitian ; and more recent writers have referred them and the building on which they stood to an age as late as Alexander Severus. Excavations made a few years back by the French Academy fully confirmed the opinion of Piranesi, that this ruin was either a reservoir for the waters of one of the aqueducts, or a fountain. He found by measure- ment that the building must have served as the reservoir of the Aqua Julia, which was conveyed from the Porta S. Lorenzo by an aqueduct, of which 6 arches are still standing. Fa- bretti considered that it must have served likewise as one of the reser- voirs of the Claudian aqueduct, whose waters were brought to it from the Porta Maggiore. Nibby refers the building to Septimius Severus, who re- stored the aqueducts, but agrees with the other authorities in considering it a reservoir. From the works of art which have been found in the vicinity, the monument appears to have been richly decorated. r - - - - W - Fountain of Egeria, placed by the more ancient Roman antiquaries, in opposition to all classical authority, in the valley of the Almo, now called the Valle Caffarella, about a mile from the Porta di San Sebastiano, and imme- diately under the so-called Temple of Bacchus, midway between the modern high road to Naples and the Via Appia. It is a mere vaulted chamber with niches, hollowed out of a steep bank, and built chiefly of reticulated brickwork, which appears from its con struction not to be older than the reign of Vespasian. It has 3 niches on each of the sides, and a larger one at the extremity, containing a recumbent male statue much mutilated. The in- terest of the spot was derived from the tradition that it represents the sacred fountain where Numa held his mightly consultations with the nymph, and which he dedicated to the Muses in order that they might there hold counsel with Egeria. The authority for this tradition is the following passage from Livy (lib. i. 21):— “Lucus erat quem medium ex opaco specu fons perenni rigabat aquà : quo quia se persæpe Numa sine arbitris, velut ad congressum deae, inferebat, Camoenis eum lucum Sacravit; quod E 3 82 Rome. § 19. OBELISKs. earum ibi consilia cum conjuge sua Egeria essent,’’ The older antiquaries implicitly be- lieved the tradition, and a few years since the Romans still repaired to the grotto on the first Sunday in May to drink the water, which they considered to possess medicinal virtues, being im- pregnated with carbonic acid gas, like many issuing from the volcanic strata. For nearly 3 centuries the name pre- vailed almost without contradiction ; but since the recent excavations it has been generally admitted that, even if the valley of the Almo had been the Egerian valley described by Juvenal, the grotto is merely one of several similar cells that formerly existed in it, and that it had been converted either into a nymphaeum or a bath. The discovery of small reservoirs around the spot, the remains of con- duits still traceable in walls of the chamber, of passages for collecting the water from the springs in the hill behind, and the copious supply which continually flows through the build- ing, give great weight to this opinion. Perhaps the best explanation of the poetical legend is that expressed so beautifully by Lord Byron :- “Egeria! sweet creation of some heart Which found no mortal resting-place so fair As thine ideal breast : whate'er thou art Or wert, -a young Aurora of the air, The nympholepsy of some fond despair ; Or, it might be, a beauty of the earth, Who found a more than common votary there, Too much adoring ; whatsoe'er thy birth, Thou wert a beautiful thought, and softly bodied forth.” From the fragments of various kinds which have been found among the ruins, it appears that the grotto was paved with green porphyry, and the walls covered with slabs of marble. The ruin is now clothed with moss and evergreens, the Adiantum capillus waves over the fountain, and long tufts of creeping plants hang over its roof. The quiet seclusion of the spot is well cal- culated to make the traveller desire to be a believer in the truth of the tradition. The real position of the Egerian valley was immediately outside the ancient Porta Capena, and within the present walls, on the 1. of the modern municipal nursery-grounds, and the ch. of S. Sisto, which stands nearly upon the site of the grove of the Camaemae, alluded to by Livy, and by Juvenal in the well-known verses of the 3rd Satire (see p. 318). . § 19. ODELISKs. There are no monuments of Rome of such undoubted antiquity as the stupendous obelisks which the em- perors brought from Egypt as memo- rials of their triumphs, and which the popes have so judiciously applied to the decoration of the modern city. Sixtus V. has the honour of having first employed them for this purpose. The obelisk of the Vatican was the first raised, and Fontana was considered by the engineers of the 16th century to have accomplished a task not far short of a miracle when he successfully placed it on its pedestal. The follow- ing is a list of the obelisks in the order of their erection on their present sites. Obelisk of the Vatican, erected by Sixtus V. in 1586. This obelisk is one solid mass of red granite without hieroglyphics. It was found in the circus of Nero, and is therefore stand- ing not far from its original situation. It was brought from Heliopolis to Rome in the reign of Caligula. The account of its voyage is given by Pliny, who says that the ship which carried it was nearly as long as the left side of the port of Ostia. Suetonius confirms the immense imagnitude of this ship, by telling us that it was sunk by Claudius to form the foundation of the pier which he constructed at the mouth of Sect. I. 83 § 19. OBELISKs. his new harbour, near the mouth of the Tiber and the modern Porto. obelisk previous to its removal stood nearly on the site now covered by the sacristy of St. Peter's. It is the only one in Rome which was found in the place it was originally intended for, which may account for its being still entire. As stated above, it was placed on the present pedestal in 1586 by the celebrated architect Domenico Fontana, who has left a highly in- teresting account of the operation. No less than 500 plans had been sub- mitted to the pope by different engin- eers and architects, but the result fully justified his choice. 600 men, 140 horses, and 46 cranes were employed in the removal. Fontana calculated the weight of the mass at 963,537 Roman pounds; the expense of the operation was 37,975 scudi ; the value of the machinery and materials, amounting to half this sum, was presented to Fontana by the pope as a reward for his successful services. The operation is described at length by the writers of the time, and a fresco representa- tion of it is painted on one of the walls in the Vatican library (see p. 215). Many curious facts connected with the process are mentioned:—the ceremony was preceded by the celebration of high mass in St. Peter’s ; the pope pro- nounced a solemn benediction on Fon- tana and the workmen; and it was ordered that no one should speak during the operation, on pain of death. It is stated, however, that the pro- cess would have failed from the ten- sion of the ropes, if a man named Bresca had not infringed the order by calling upon the workmen to wet the ropes. The common story of tra- vellers attributes this suggestion to an English sailor, but there is not the slightest ground for the statement. The Bresca family, indeed, still possess the privilege of supplying St. Peter’s with palm-leaves (which are brought from the vicinity of Bordighera, in Li- guria, whence the Brescas originally came) on Palm Sunday, which Sixtus V. granted them as an acknowledgment of the service of their ancestor on this occasion. The height of the shaft, The exclusive of all the ornaments, is 82 ft. 6 in. ; the height of the whole from the ground to the top of the ; its weight 360 tons; the breadth of the base is 8 ft. 10 in. The cross at the top was renewed in 1740, when some relics of our Saviour were deposited in a per- foration made to receive them. The following is the dedication by Caligula to Augustus and Tiberius, which is still visible on 2 sides of the lower part of the shaft:—DIVo. CAES. DIVI . IVLII . F. A.V.G.VSTO — . TI. CAESARI DIVI - AVG. F. — AWGVSTO SACRVMI. bronze cross is 132 ft. 2 in. : Obelisk of S. Maria Maggiore, erected also in 1587 by Fontana, and during the pontificate of Sixtus V. It is of red granite, broken into three or four pieces, and is without hieroglyphics. It was one of a pair which originally flanked the entrance to the mausoleum of Augustus. They are supposed to have been brought from Egypt by Claudius, A.D. 57. The present one was disinterred by Sixtus V. ; the other was placed on the Monte Ca- vallo by Pius VI. The height of this obelisk, without the ornaments and base, is 48 ft. 5 in. Obelisk of the Lateran, the largest obe- lisk now known, erected equally by Fon- tana, in the pontificate of Sixtus V., in 1588. It is of red granite and is covered with hieroglyphics. It was brought from Heliopolis to Alexandria by Con- stantine the Great, and was removed to Rome by his son Constantius, who placed it on the spina of the Circus Maximus. It was conveyed from Alexandria to the mouth of the Tiber in a vessel of 300 oars, and was landed 3 m. below Rome, A.D. 357. Accord- ing to Champollion’s interpretation of the hieroglyphics upon it, it comme- morates Thothmes IV. of the 18th dynasty, the Moeris of the Greeks. When it was discovered it was lying in the Circus Maximus, broken into 3 pieces. In order to adapt these frag- ments, it was necessary to cut off a portion of the lower part; notwith- standing this, it is still the loftiest obelisk in Rome. The height of the $4 Ičome. § 19. OBELISKs. shaft, without the ornaments and base, is 105 ft. 7 in. ; the whole height from the ground to the cross is 141 ft. The sides are of unequal breadth at the base : two measure 9 ft. 84 in., the other two only 9 ft.; one of these sides is slightly couvex. The weight of the shaft has been estimated at 455 tons. Ohelisk of the Piazzº del Popolo, erected by Fontana in 1589, during the pontificate of Sixtus V. It is of red granite, broken into 3 pieces, and is covered with hieroglyphics. This is one of the most interesting obelisks which have been preserved. It stood before the Temple of the Sun at Heliopolis, where, according to Cham- pollion, it was erected by one of the two brothers Maudouci and Susirei, who reigned before Rhamses II. : whilst Lepsius attributes it to Me- neptha, only 1500 years before our era, and Ungarelli to Rhamses III. (Sesostris). It was removed to Rome by Augustus after the conquest of Egypt, and placed in the Circus Maximus. It had fallen from its pedestal in the time of Valentinian, and remained buried until 1587, when Sixtus V. removed it to its present site. The height of the shaft, without base or ornaments, is 78% feet; the entire height from the ground to the top of the cross is about 112 feet. On the sides facing the Porta del Popolo and the Corso is the following inscription, show- ing that Augustus renewed the de- dication to the Sun : — IMP. CAEs. JDIVI . F. — AVGVSTVS — PONTIFEX . MAXIMIWS — IMP. XII. COS . XI. TRIB . POT - XIV. — AEG VPTO . IN. POTESTA- TENI . — POPV LI . ROMANI . RED ACTA. — SOLI . DO NV AI . IXEDIT. Obelisk of the Piazza Narona, erected in 1651 by Bernini, in the centre of his great fountain, during the pontificate of Innocent X. It was formerly called the Pamphilian Obelisk, in honour of the pope's family name. It is of red gra- hite, covered with hieroglyphics, and is broken into 5 pieces. It was found in the Circus of Romulus, near the Via Appia, and from the style of the hieroglyphics is now supposed to be a Roman work of the time of Domitian. It was made, however, the subject of a long and elaborate dissertation by Father Kircher, who endeavoured to show that it was one of the obelisks of Heliopolis, but this conjecture has been exploded by modern researches. In its present position it stands on a rock about 40 ft high. The height of the shaft itself is 51 ft. - Obelisk of the Piazza della Minerva, erected in 1667 by Bernini, in the pontificate of Alexander VII. It is a small obelisk of Egyptian granite with hieroglyphics indicating that it dates from the reign of Hophres, a king of the 26th dynasty; it is supposed to have been one of a pair which stood in front of the temple of Isis and Serapis in the Campus Martius, whose site is now occupied by the gardens of the Domenican convent of the Mi- nerva. Both these obelisks were found here in 1665; one was erected in front of the Pantheon; the other, the one now before us, was placed by Bernini in the worst taste on the back of a marble elephant, the work of Ercole Ferrata. Its height without the base is about 17 ft. Obelisk of the Pantheon, erected in 1711 by Clement XI. It is a small obelisk of Egyptian granite, with hieroglyphics of the time of Psam- mitichus II., the fellow of the pre- ceding one. It stands in the midst of the fountain of the Piazza, to which it was removed by Clement XI. Its height without the base is about 17 feet. Obelisk of the Monte Cavallo, erected in 1786 by Antinori, in the pontificate of Pius VI. It is of red granite, with- out hieroglyphics, and is broken into 2 or 3 pieces. It formerly stood in front of the mausoleum of Augustus, being the fellow of that in front of S. Maria Maggiore, and was consequently brought from Egypt by Claudius, A.D. 57. The height of the shaft, without the base, is 45 feet. At the sides of this obelisk stand the Colossal Equestrian Group which have been called Castor Sect. I. 85 $ 20. HOUSE OF RIENzo. and Pollux by recent antiquaries. They are undoubtedly of Grecian workmanship, and, if we could believe the Latin inscription on the pedestals, they are the work of Phidias and Praxiteles. But as they were found in the Baths of Constantime, there is good reason to doubt the truth of the in- scriptions; the statues are evidently centuries older than the age of Con- stantine, and no inscriptions of his time can be worth much as authority. Canova entertained no doubt of their Greek origin, and admired their fine anatomy and action. Obelisk of the Trinità dei Montº, erected also by Antinori in 1789, during the pontificate of Pius VI., an obelisk of red granite, with hieroglyphics. It formerly stood in the Circus of Sallust. The height of the shaft, without the base and ornaments, is about 48 feet. Obelisk of Monte Citorio, also erected in 1792 by Antinori, an obelisk of red granite, covered with hieroglyphics, and broken into 5 pieces. This is one of the most celebrated of these monuments : it has been illustrated with great learning, and has been admired for the remarkable beauty of the hieroglyphics which remain. According to Lepsius' interpretation of these hieroglyphics, it was erected in honour of Psammitichus I., of the 26th dynasty, 6% centuries before Christ. It was brought to Rome by Augustus, from Heliopolis, and placed in the Campus Martius, where, as we learn from the well-known description of Pliny, it was used in the construc- tion of a celebrated gnomon or sun-dial. It was first discovered, underground be- hind the ch. of S. Lorenzo in Lucina, in the time of Julius II., but was not removed until that of Pius VI. The fragments of the Aurelian column, which was found near where this obelisk now stands, were employed to repair it, and to form the pedestal. The height of the shaft without the base and ornaments is 72 feet; the height of the whole, from the ground to the top of the bronze globe, is 134, feet. Obelisk of Monte Pincio, sometimes called della Passeggiata, from being placed in the centre of the handsome public promenade on the Pincian, in 1822, by Pius VII. : a small granite obelisk, with hieroglyphics, found near the ch. of Santa Croce in Geru- salemme, on the site of the Circus Varianus. According to Champollion's interpretation of the hieroglyphics, it was erected in honour of Antinous, in the name of Hadrian and Sabina. The height of the shaft without the base is 30 feet. There is a small obelisk in the grounds of the Villa Mattei, on the Caelian, found near the Capitol. It is partly ancient, and was found, with that of the Minerva, on the site of the temple of Isis. It bears an hieroglyphical inscription of the time of Psammi- tichus II. $ 20. BUILDINGS of THE MIDDLE AGES. House of Cola di Rienzo, called by the people that of Pilate, and formerly described as the Torre di Manzone, a remarkable brick building of 2 stories, at the end of the Vicolo della Fonta- nella, near the Temple of Fortuna Virilis, and the E. side of the Ponte Rotto. This strange and incongruous structure is covered with fragments of columns and ancient ornaments of various periods, capriciously thrown together, without any regard to the principles of taste or architectural uni- formity. On the side fronting the V. della Fontanella is an arch, supposed to have been once a doorway, over which is a long inscription, which has 86 $ 20. TOR 2 - DE CONTI. Rome. given rise to more than the usual amount of antiquarian controversy. It is in the worst style of the old rhyming verse, of which the last 5 lines may be quoted as an example:— “Primus de primis magnus Nicolaus ab imis, Erexit patrum decus ob renovare Suorum, Stat Patris Crescens matrisque Theodora Inomen, Hoc culmen clarum caro de pignore gessit, Davidi tribuit qui Pater exhibuit.” At the upper part of this inscription are numerous imitial letters, which would be an inexplicable enigma to any but a Roman antiquary; the Padre Gabrini, however has endeavoured to show that they represent the titles of Rienzo, the last of the Roman tribunes : the following explanation of a part of them may be received as a specimen of the whole:–N. T. S. C. L. P. T. F. G. R. s. NIC. D. D. T. D. D. F. S. Wicolaus, Tri- bºnus, Severus, Clemens, Laurenti (Libe- rator 2), P. (Patriæ 2), Teuthonici, Fiſius, Gabrinius, Roma, Servator, Nicolaus, dedit, dom:ſm, totam, Davidi, Dilecto, Filio, suo. This conjecture assumes that the long Latin inscription refers also to Cola and to the bequest of the house to his son David. Whatever may be thought of the ingenuity or imagination of the antiquary, it is cer- tain that this pompous phraseology corresponds with the titles assumed by Cola di Rienzo in his official acts. In that extraordinary document, dated from the Piazza of St. John Lateran, Aug. 1. 1347, citing the emperors and electors to appear before him, which will be found quoted by Zeferino Re, in his curious work “La Vita di Cola di Rienzo,” published at Forlì in 1828, the Tribune styles himself, “ Nicola severo e clemente, liberatore di Roma, zelatore dell' Italia, amatore del mondo intero, Tribuno augusto.” On the archi- trave of one of the windows is the following inscription, ascribed by the antiquaries to Petrarch :—ADSV . Ro- MANIs. GRANDIS . HONOR . POPVLIS. It can hardly be expected that the true meaning of these inscriptions can ever be much more than mere matter of conjecture; and it would be an un- profitable task to pursue the subject further. It will be sufficient to state that recent antiquaries consider the architecture to belong to the 11th century, and gather from the inscrip- tions that, Nicholas, son of Crescen- tius and Theodora, fortified the house and gave it to David his son; that this Crescentius was the son of the celebrated patrician who roused the people against the Emperor Otho III. ; and that the building may have been inhabited by Nicola di Rienzo 3 cen- turies later (1347). Other writers sup- pose that it was destroyed 1313 by Arlotto degli Stefaneschi, and rebuilt by the Roman tribune in its present form. The popular tradition is in favour of this opinion, and there is no doubt that the interest of the building is entirely derived from its presumed connection with the “Spirto gentil " of Petrarch, to whom the author of Childe Harold has given additional immortality:- “Then turn we to her latest tribune's name, Prom her ten thousand tyrants turn to thee, Redeemer of dark centuries of shame— The friend of Petrarch—hope of Italy— Rienzil last of Romans | While the tree Of Freedom's wither'd trunk puts forth a leaf, Even for thy tomb a garland let it be — The forum's champion, and the people's chief— Her new-born Numa thou—with reign, alas ! too brief.” The style of the building and its de- corations marks the period when art was at its lowest ebb ; and the strange collection of ornaments and fragments of antiquity may perhaps be regarded as an apt illustration of the taste and character of “the last of the Roman Tribunes.” Tor de' Conti, a huge brick tower at the foot of the Quirinal, in the street of the same name, and near the Piazza delle Carette, erected by Nicholas I. in 858, and rebuilt in 1216 by Inno- centi III., both popes being of the Conti family, from whom it derives its name. It formed, like the other towers of the same kind, a place of safety and defence during the troubled times of the middle ages. It was in- jured by the earthquake of 1348, and was partly pulled down by Urban VIII. The view from the summit will well repay the fatigue of the ascent. This Sect. I. § 21. FOUNTAINS. 87 tower, or what now remains of it, is supposed to stand on the temple of the Earth, which was situated near the house of Pompey. Torre delle Milizie, on the Quirinal, at the head of the Via Magnanapoli, and within the grounds of the con- vent of Sta. Catarina da Siena. This large brick tower has been called by the ciceroni the Tower of Nero, and pointed out to unsuspecting travellers as the place from which Nero beheld the fire of Rome. We know from Tacitus that the emperor witnessed the destruction of the city from the Esquiline, and the masonry of this building shows that it is of mediaeval period. Its construction is generally attributed to I’andulfo della Subarra, senator of Rome, in 1210, although some antiquaries suppose that it dates from the reign of Boniface VIII., a century later (1303), and is supposed to stand on a site occupied by the barracks in which the troops of Trajan were quartered. § 21. FountAINs. Pontana Paolina, on the Janiculum, the most abundant, and perhaps the most imposing, of all the Roman fountains. It was constructed by Paul V. in 1612, from the designs of Fontana : both their names are com- memorated in that of the fountain. The elevation of the fountain is an imitation of the façade of a ch. ; it has 6 Ionic columns of red granite, taken from the Temple of Minerva, which stood in the Forum Transitorium (see p. 35). Between the columns are 5 miches, 3 large and 2 smaller. In the larger ones 3 cascades fall into an immense basin, and in the Smaller niches are 2 dragons, the armorial bearings of the pope, each of which pours out a stream of water into the same basin. The water is collected from springs about the lake of Brac- ciano, aud conveyed to Rome by the aqueduct called the Acqua Paola, which, after forming this noble foun- tain, serves to turn the chief part of the city flour-mills, situated in the streets between the Janicule and the Tiber. The style of the fountain is not in the best taste, but the effect of the water can hardly be surpassed. The view from this fountain over the whole of Rome and the Campagna is very fine. Fontana del Tritone, the fountain in the Piazza Barberini, which now oc- cupies the site of the Circus of Flora. It is composed of 4 dolphins supporting a large open shell, upon which sits a Triton, who blows up the water through it to a great height. It is from the design of Bernini. Fontana delle Tartarughe, in the Piazza of the same name, Ilear the Palazzo Mattei, so called from the 4 tortoises which ornament it. It has 4 bronze youthful figures in very grace- ful attitudes; one supports a vase, from which the water flows into the basin. The design is by Giacomo della Porta; the figures are by Taddeo Landini. Fontana di Trevi, the largest and most celebrated of the modern fountains in Rome, was erected by Clement XII. in 1735, from the designs of Niccolò Salvi. The water is made to fall over artificial rocks; above which, in a large niche in the centre of the façade, is a colossal figure of Neptune standing in his car drawn by horses and attended by Tritons. It was scarcely to be ex- pected that the very questionable taste of this design would escape the cri- ticism of Forsyth: he calls it “another pompous confusion of fable and fact, gods and ediles, aqueducts and sea- monsters; but the rock-work is grand, proportioned to the stream of water, and a fit basement for such architecture as a castel d'acqua required, not for the 88 Rome. § 21. FOUNTAINs. frittered Corinthian which we find there.” The Tritons, horses, &c., and other figures of the fountain, are by Pietro Bracci. The façade of the Palazzo Conti, against which it stands, has 4 columns and 6 pilasters of tra- vertime, of the Corinthian order; between the columns are statues of Salubrity and Abundance, sculptured by Filippo Valle; above them are 2 bas-reliefs, one by Andrea Bergondi, representing Marcus Agrippa, who brought the Aqua Virgo into Rome; the other by Giovanni Grossi, repre- senting the young virgin who pointed out the springs to the soldiers of Agrippa, as mentioned in the account of that aqueduct (see p. 75). Between the pilasters are 2 rows of windows. The whole is surmounted by an attic, bearing an inscription in honour of Clement XII. Fountains of the Piazza Navona.-- This piazza contains 3 fountains. Those at the extremities were erected by Gregory XIII. The Triton holding a dolphin by the tail is by Bernini; but there is nothing in any of the figures to call for particular notice. The central fountain, which supports the obelisk brought from the Circus of Romulus, was raised by Beruini in the pontificate of Innocent X. It forms a circular basin, 73 feet in di- ameter, with a mass of rock in the centre, to which are chained 4 river- gods, representing the Danube, , the Ganges, the Nile, and the Rio della Plata. In grottoes pierced in the rock are placed a sea-horse on one side, and a lion on the other. The figures and the design of the whole fountain are almost below criticism ; Forsyth calls it “a fable of AEsop done into stone.” The Piazza Navona has been already mentiomed as the site of the ancient Circus Agonalis, or Circus Alexandri. During the summer months it is in- undated twice a week for the amuse- ment of the people, when the appear- ance of the piazza recalls an ancient Naumachia. Fontana della Barcaccia, in the Piazza di Spagna, in the form of a boat, from which it derives its name. It was designed by Bernini. It has little beauty to recommend it. The Piazza di Spagna is more celebrated for the magnificent flight of steps leading to the Trinità de' Monti, begun in the reign of Innocent XIII., at the expense of the French ambassador, Gouffier, and finished in 1725, from funds bequeathed by him for that purpose. Fontama dell’ Acqua Felice, more generally called the Fontana de' Ter- mini, near the baths of Diocletian. Under the former name it has been celebrated by Tasso in some of his finest Rime. This fountain was de- signed by Domenico Fontana. It has 3 miches. In the central one is a colossal statue of Moses striking the rock, by Prospero da Brescia, who is said to have died of grief at the ridi- cule excited by his performance. In the side niches are figures of Aaron, by Giobattista della Porta, and of Gideon, by Flaminio Vacca. The fountain was formerly adorned by 2 ancient Egyptian lions, which he ve been replaced by modern ones in grey marble; the originals, of black granite, have been removed to the Egyptian Museum in the Vatican. They were found in front of the Pantheon. Formtains in the Piazza of St. Peter’s. —These magnificent but simple vases are better calculated to give general pleasure than any other fountains in Rome. They were designed by Carlo Madermo. The water is thrown up to a height of about 18 feet, and falls back into a basin of Oriental granite, 15 feet in diameter; it runs over the sides of this into an octagonal basin of travertime, about 28 feet in diameter, forming a mass of spray, upon which the sum at times paints the most beau- tiful rainbows. The height of the jet above the pavement of the piazza is 64 feet. - Fountains of the Piazza Farmese.— Like the fountains in the Piazza of St. Peter's, these are simple jets falling into magnificent oblong basins of Egyp- Sect. I. § 22. 89 PIAZZ.A.S. tian granite, each 17 feet long, found in the Baths of Caracalla. Fountain of the Ponte Sisto, placed op- posite the Via Giulia, near the bridge from which it takes its name. This pretty fountain was constructed by Paul V., from the designs of Fontana. It is formed of 2 Ionic columns, Sup- porting an attic. From an aperture in the large niche the water falls in a body into a basin below. Fontana del Campidoglio, at the foot of the flight of steps leading to the Palace of the Senator on the Capitol. It was erected by Sixtus V., and is ornamented with 3 ancient statues. That in the centre is a sitting marble figure of Minerva, draped with por- phyry, found at Cora. The colossal recumbent figures at the side represent the Nile and the Tiber. They were found among the ruins of the Baths of Constantine on the Quirinal, and are referred to the time of the Antonines. Fountain of the Monte Cavallo, erected by Pius VII., a simple but pretty jet, flowing from a noble basin of grey Oriental granite, 25 feet in diameter, which was found in the Roman Forum, and brought to the Monte Cavallo, to complete the decorations in front of the Quirinal palace. § 22. PIAzzAs. The Piazza di Spagna, Piazza Na- vona, Piazza del Popolo, and all the great squares in front of the principal churches, are sufficiently described in the accounts of the monuments or public buildings from which they de- rive their names. The only one which remains to be moticed is the least at- tractive, though mot the least cele- brated, the Piazza di Pasquino, at the angle of the Braschi Palace, near the Piazza Navona. It derives its name from the well-known torso called the statue of Pasquin, a mutilated fragment of an ancient statue found here in the 16th centy., and considered to repre- sent Menelaus supporting the dead body of Patroclus. Notwithstanding the injuries it has sustained, enough remains to justify the admiration it has received from artists. Baldinucci, in his Life of Bernini, tells us that it was considered by that sculptor the finest fragment of antiquity in Rome. It derives its modern name from a tailor called Pasquino, who kept a shop opposite, which was the rendez- vous of all the gossips of the city, and from which their satirical wit- ticisms on the manners and follies of the day obtained a ready circula- tion. The fame of Pasquin is per- petuated in the term pasquinade, and has thus become European ; but Rome is the only place in which he flourishes. he statue of Marforio, which for- merly stood near the Arch of Septi- mius Severus, was made the vehicle for replying to the attacks of Pasquin, and for many years they kept up a constant fire of wit and repartee. When Marforio was removed to the museum of the Capitol, the Pope wished to remove Pasquin also ; but the Duke di Braschi, to whom it belongs, would not give his consent. Adrian VI. attempted to arrest his career by ordering the statue to be burnt and thrown into the Tiber; but one of the pope's friends, Lodo- vico Suessano, saved him, by Sug- gesting that his ashes would turn into frogs, and croak more terribly than before. The modern Romans seem to regard Pasquino as part of their social system : in the absence of a free press, he has become in some measure the organ of public opinion, and there is scarcely an event upon which he does not pronounce judgment. Some of his sayings are extremely broad for the atmosphere of Rome, but many of them are very witty, and fully main- tain the character of his fellow-citizens for satirical epigrams and repartee. On the visit of the emperor Francis of Austria to Rome, the following ap- peared : — “ Gaudium urbis, Fletus pro- 90 Rome. § 23. PROMENADEs. *inciarum, Risus mºundi.” On the elec- tion of Pope Leo X., in 1440, the following satirical acrostic appeared, to mark the date MCCCCXL. :- “Multi capci cardinales creaverunt capcum deci- mitm (X) Leonem.” During a bad har- vest in the time of Pius VI., when the pagnotta, or loaf of 2 bajocchi, had decreased considerably in size, the passion of the pope for the inscription which records his munificemce on so many of the statues in the Vatican was satirised by the exhibition of one of these little rolls, with the imscrip- tion “Munificentiá Pii Secti.” The proceedings of Pius VI. were fre- quently treated by Pasquino with con- siderable severity. When the sacristy of St. Peter's was completed the fol- lowing inscription was placed over the principal door:-‘‘Quod ad Templi Paticani ornamentum publica vota flag it&- bant, Pius VI. fecit,” &c. Pasquin’s reply was as follows:– “Publical mentiris; Non publica vota fuere, Sed tumidi ingenii Vota fuere tui.” Canova exhibited his draped figure of Italy for the monument of Alfieri during the French invasion; Pasquin immediately exhibited this criticism:— “Canova questa volta l' ha sbagliata, Hal' Italia vestita, ed e Spogliata.” Soon after certain decrees of Napoleon had been put in force, the city was desolated by a severe storm, upon which Pasquin did not spare the em- peror.:— “ L'Altissimo in su, ci manda la tempesta, L'Altissimo qua giu, ci toglia quel che resta, E fra le Due Altissimi, Stiamo noi malissimi.” His satires frequently consist of dia- logues, of which the following are fair examples:– “I Francesi son' tutti ladri. Non tutti—ma Buonaparte.” On the marriage of a young Roman, called Cesare, to a girl called Roma, Pasquin gave the following advice :- “Cºve, Caesar, ne tua Roma Respublica fiat I’’. On the next day the man 'replied, “Cesar imperat!”, Pasquin; however, would not be outdone, and answered, “Ergo coronabitur.” His distich on the appointment of Hol- stenius and his two successors, as librarians of the Vatican, is histo- rically interesting. Holstenius had abjured Protestantism, and was suc- ceeded in his office by Leo Allatius, a Chian, who was in turn succeeded by a Syrian, Evode Assemani. Pasquin noticed these events in the following lines:— “IPraefuit has reticus. At nunc Præest Turca.” Petri bibliotheca, vale !” Post hunc, Schismaticus. Another remarkable saying is recorded in connection with the celebrated bull of Urban VIII., excommunicating all persons who took snuff in the churches of Seville. On the publication of this decree Pasquin appropriately quoted the beautiful passage in Job, “Wilt thou break a leaf driven to and fro? and wilt thou pursue the dry stubble P’’ Contra folium, quod vento rapitur, ostem- dis potentiam tuam, et stipulam siccam persequeris Ž § 23. PROMENADES, PUBLIC WALKs, oR PASSEGGIATE. The municipal authorities of Rome have done much of late years towards increasing and ornamenting these places of public resort. The most beautiful and frequented is that in the Monte Pincio, occupying all the level space between the Muro Torto and the gardens of the Villa Medicis. These gardens are ap- proached by a fine drive rising from the Piazza del Popolo, constructed in the reign of Pius VII., and by another from the ch. of la Trinita dei Monti. They are handsomely laid out in flower-gardens, drives, and walks. In the centre is the obelisk, discovered in the Circus of Varianus, noticed at p. 85, and dedicated by Hadrian to Antinous. On the side overlooking the Villa Borghese has been placed an immense urn in Egyptian granite, which formed a fountain in the Piazza di Venezia, but originally found in a vineyard beyond the Porta S. Lorenzo; it is * Or, Türcă prést. Sect. I. 91 § 24. BASILICAS. one of the largest masses of this material in Rome, measuring nearly 850 cubic feet. From the terraces overlooking the Piazza del Popolo we descry one of the finest prospects of Rome, with the Vatican and Jani- cule hills in the background. It is from here that the celebrated Giram- dola, or fireworks on Easter Monday and on the evening after the festival of St. Peter's, are now exhibited. This promenade is the most fashionable and resorted to at Rome, especially during the fine afternoons of winter and spring. The Passeggiata di S. Gregorio, be- tween the ch. of that name and the Coliseum, is planted with mimosas, and affords an agreeable place of re- sort for the inhabitants of the neigh- bouring poor quarters during the heat of the summer months. Connected with the public walks, may be mentioned the municipal mur- sery grounds, nearly opposite the Thermae of Caracalla, for the purpose of raising plants to ornament the gar- dens and thoroughfares. They are near the ch. of S. Sisto, and on the site of the gardens of the Camenae, and close to the real locality of the fountain of Egeria (see pp. 81 and 318). § 24. BASILICAS. There are 5 great Basilicas, and 8 lesser ones, in Rome and its imme- diate vicinity. The first are called Patriarchal, in honour of the patriarchs of the Catholic Church, viz. of Rome itself, of Constantinople, Alexandria, Antioch, and Jerusalem ; and are, the Vatican or St. Peter's, the Lateran or St. John’s, the Liberian or Santa Maria Maggiore, the Ostian or San Paolo, and San Lorenzo, the two latter being without the walls. Of the minor basilicas, the most remarkable are the Sessorian or Santa Croce in Gerusa- lemme, the Appian or S. Sebastiano, the Constantinian or SS. Apostoli, the Eudoxian or S. Pietro in Vincula, &c. The five principal basilicas we shall describe first, as constituting the most important ecclesiastical edifices in the capital of Christianity ; the minor ones will be included in our description of the churches properly speaking. Many of the first churches were un- doubtedly those edifices which, during the Pagan rule, had served as courts of justice, or seats of the public tri- bunals, and which as such bore the name of Basilicas. On the establish- ment of Christianity, or, more properly speaking, when its exercise was per- mitted in public, after the Peace of the Church under Constantine, the churches which were erected expressly for the new worship appear to have been built on the plan of these pre- existing edifices. Their design was at once simple and grand: the form was oblong, consisting of a nave and two side aisles, which were separated by lines of columns; arches sprang from these columns, supporting the high walls which sustained the wooden roof. These walls were pierced with windows, by which the whole building was lighted. In most instances, the tribune, or absis, was raised above the level of the nave, and its vault covered with mosaics. In front there was a square building called the quadripor- ticus, having a colonnade round 3 of its sides; both of which dispositions may be seen in the interesting ch. of San Clemente (see p. 137). The Roman basilicas have undergone mu- merous additions and alterations in modern times, and many of them have lost their characteristic features; but they still retain their ancient rank as metropolitan churches. The old ch. of St. Peter's had all the peculiarities of the basilica; and for this reason the present building preserves the same title, although all that characterised the original edifice have disappeared, We shall commence our description of the churches with this most mag- nificent of Christian temples, which the great historian of the Decline and Fall of the Roman Empire has so truly designated as “the most glorious struc- ture that ever has been applied to the use of Religion.” 92 Jēome. $ 24. BASILICAs—ST. PETER's. 1. ST. PETER’s. – As early as A.D. 90, St. Anacletus, bishop of Rome, who had received ordination from St. Peter himself, erected an oratory on the site of the present structure, to mark the spot where the remains of the Apostle were deposited after his crucifixion on the hill of S. Pietro in Montorio, and where so many of the early Christians had suffered martyr- dom. In 306 Constantine the Great founded a basilica on the spot, which continued from that time to be the great attraction of the Christian world. The façade of this basilica may be seen in Raphael's fresco of the Incendio del 13orgo; and the interior is introduced in that representing the coromation of Charlemagne, and still better on a paint- ing in the chapel of Sta. Maria in Portico in the subterranean ch. In the time of Nicholas V.(1450) ruin menaced it, and that pope had already begun a new and more extensive building on the plans of Leon Battista Alberti and Bernardino Rossellini, when the pro- gress of the works was arrested by his death. Paul II, continued the design ; but it was advancing very slowly at the accession of Julius II., who determined, with his well-known energy, to resume the works on a grander and more systematic plan. Vasari tells us that he was animated to the task by the design for his tomb, which Michael Angelo had just com- pleted. He accordingly secured the assistance of Bramante, who entered upon his duties in 1503, and began by pulling down a part of the walls which had been erected by his predecessors. His design was a Greek cross, with an hexastyle portico, and an immense cu- pola in the centre, to be supported upon 4 colossal piers. In 1506 Julius II. laid the foundation of Bramante's building, under the pier against which the statue of S. Veronica now stands. The 4 piers, and the arches which spring from them, were the only parts completed before Bramante's death in 1514. In the previous year Julius had been succeeded by Leo X. The new pontiff appointed as his architects Giu- iiano di Sangallo, Giovanni da Verona, and Raphael, who has left some very interesting letters relating to his ap- pointinent. Sangallo, however, died in 1517, and Raphael was carried off pre- maturely in 1520. Raphael’s plan, which may be seem in Serlio's work on architecture, was a Latin cross; but neither he nor his colleagues had dome much more than strengthen the 4 piers, which had been found too weak before the death of Bramante. Leo X. then employed Baldassare Pe- ruzzi, who, despairing of being able to meet the expense of Taphael's plan, changed the design from a Latim to a Greek cross. The death of Leo in 1521 checked the progress of the works, and his two immediate successors were unable to contribute in any material degree towards the execution of the design, so that Peruzzi could do little more than erect the tribune, which was completed during the pontificate of Clement VII. The next pope, Paul III., on his accession in 1534, employed Antonio di Sangallo, who returned to Raphael's plan of a Latin cross, and altered the arrangement of the whole building, as may be seen from his designs which are preserved in the Vatican, but he died before he could carry any of them into effect. The pope appointed Giulio Romano as his successor; but here again the same fatality occurred, and the death of that artist in the same year prevented his entering on the engagement. The work was them committed to Michel Angelo, then in the 72nd year of his age. The letter conferring this appointment is still preserved. The pope gave him unlimited authority to alter, or pull down, or remodel the building, pre- cisely on his own plans. Paul III. died in 1549, and his successor, Julius III., in spite of all opposition from con- temporary artists, confirmed the ap- pointment of Michel Angelo. Several letters are in existence, in which the illustrious artist describes the annoy- ances to which he was subjected in the progress of his task; and ome written to him by Vasari is well known, in which he advises him to “fly from the ungrateful Babylon, which was un- able to appreciate his genius.” Michel Angelo immediately returned to the Sect. I. PETER’s. Q3 $ 24. ST, design of a Greek cross, enlarged the tribune and the 2 transepts, strength- ened the piers for the second time, and began the dome on a plan different from that of Bramante, declaring that he would raise the Pantheon in the air. The drum of the dome was com- pleted when the great artist was carried off in 1563, at the age of 89. The chief peculiarity of his dome consisted in being double, leaving a consider- able space between the outer and inner walls—a plan which was fortunately adopted by his successors, who finished it on the precise plans and measure- ments which he had laid down. Another part of his design was to make the front a Corinthian portico like that of the Pantheon, which, combined with the ground plan in the form of a Greek cross, would have allowed the whole mass of dome to be visible from the piazza below. Three years after his death, in 1566, Pius V. appointed Vignola and Pirro Ligorio as his successors, with strict injunctions to adhere in every parti- cular to the designs of M. Angelo. Vignola erected the 2 lateral cupolas, but neither he nor his colleague lived to complete the dome. This honour was reserved for Giacomo della Porta, who was appointed under Gregory XIII. ; he brought it to a successful termination in 1590, in the pontificate of Sixtus V., who was so anxious to see it finished, that he devoted 100,000 gold crowns annually to the work, and employed 600 workmen upon it night and day. When the dome was finally completed it was calculated that 30,000 lbs. weight of iron had been used in its construction. Giacomo della Porta continued to be employed by Clement VIII., and adorned the in- terior of the dome with mosaics. Up to his death, in 1601, the plans of Michel Angelo had been faithfully followed so far as the works had then ad- vanced, and the only portions re- maining to be added were the façade and portico. In 1605 Paul V. was elected pope, and, being desirous of see- ing the whole building completed during his reign, pulled down all that was then standing of the old basilica, and laid the foundation of the front as it now stands, in 1608. He employed Carlo Maderno, the nephew of Fon- tana, as his architect, who abandoned the plan of Michel Angelo, and re- turned to the Latin cross, as originally designed by Raphael. He also built the façade, which all critics concur in condemning as ill suited to the ori- ginal design. Its great defect is that it conceals the dome, which is so much hidden by the front, that there is no point of the piazza from which it can be combined in its full pro- portions with the rest of the fabric. The effect of its gigantic size is there- fore lost, and the front, instead of being subservient to the dome, is made to appear so prominent that the grandest feature of the building hardly seems to belong to it. Notwithstanding this defect, it can scarcely be doubted that Maderno has been more severely criti- cised than he deserved. The circum- stances which controlled his design seem to have been altogether forgotten, for, although the heavy balconies which intersect the columns of the façade lessen the effect and size, it is obvious that they were necessary for the papal benediction, and that any front in which they did not form an essential part would have been as great an ano- maly as the balcony in our own St. Paul's, where it is not required. The judgment of Forsyth, which it has been the fashion to adopt without reflection, dwells on Maderno's works with a harshness of criticism strangely in contradiction to his praise of the nave and vestibule. The plan of the Latin cross was not a novelty, but merely a return to the designs of Raphael : a pro- ceeding rendered necessary by the de- termination of the pope to include that portion of the site of the old basilica which had become sacred from its shrines, and which had been entirely excluded in the plan of Michel Angelo. The nave was finished in 1612; the façade and portico in 1614; and the ch. was dedicated by Urban VIII. on the 18th November, 1626. Under Alexander VII., Bernini began in 1667 the magnificent colonnade which surrounds the Piazza. Pius VI., in 1780, erected the sacristy from the de- 94. Rome. $ 24. BASILICAs—ST. PETER’s. signs of Carlo Marchiomni, gilded the roof of the interior, and placed the 2 clocks on the façade. From the first foundation, therefore, in 1450, to the de- dication of the basilica by Urban VIII., the building occupied a period of 176 years; and if we include in the calcu- lation the works of Pius VI., we shall find that it required 3% centuries to bring the edifice to completion, and that its progress during that period extended over the reigns of no less than 43 popes. The expenses of the works were so great that both Julius II. and Leo X. resorted to the sale of indulgences for the purpose of meeting them. The excess to which this practice was carried is well kuown to have created that re- action which led to the Reformation. At the close of the 17th century the cost was estimated by Carlo Fontana at 46,800,498 scudi (10,000,000l.), ex- clusive of the sacristy (900,000 scudi), bell-towers, models, mosaics, &c. The space covered by the buildings of St. Peter's is said to measure 240,000 Square feet; the original plan of Bra- mante would have covered 350,000, or about 8 English acres. The annual expenditure on repairs, superintend- ence, &c., is now 30,000 scudi (6300/.). After this general sketch of the his- tory of this grandest of Christian temples, we shall proceed to a more detailed description of its different parts, beginning with the Colonnades.—It is scarcely possible to imagine anything so perfectly adapted to the front of the basilica, or so well contrived to conceal the build- ings on each side of the piazza, as these noble porticoes. They were designed by Bernini, in the pontificate of Alex- ander VII. (1657–67), and are generally considered as his masterpiece in archi- tecture. They are semicircular, 55 feet wide, supported by 4 rows of columns, 48 feet high, arranged so as to leave sufficient room between the inner rows for the passage of 2 car- riages abreast. The number of co- lumns in the 2 colonnades is 284, be- sides 64 pilasters. On the entablature stand 192 statues of saints, each 12 feet in height. The whole structure and the statues are of travertime. The area enclosed by these colonnades measures In its greatest diameter or breadth 787 English feet. The colonnades ter- minate in 2 Galleries, 360 feet long and 23 feet wide, which lead to the yestibule of St. Peter's. These gal- leries are not parallel to each other, converging towards the E., and form- ing with the front an irregular square, which becomes broader as it ap- proaches the façade of the basilica. This arrangement tends to diminish considerably the effect of the building when seen from the opposite extremity of the piazza; for the eye is quite unable to appreciate the great distance from the end of the colonnades to the façade, and it is only by walking up to the steps that the visitor can be- lieve that there is a space of 296 feet from the point where the colonnades terminate to the front of the basilica. At the bottom of the flight of steps are 2 colossal statues, of St. Peter by De Fabris, and St. Paul by Tadolini, erected by Pius IX. The Fººde is built entirely of tra- vertine, from the designs of Carlo Ma- dermo. It is 379 feet long and 1483 feet high. It has 3 stories and an attic, with 8 columns and 4 pilasters of the Corinthian order. Each story has 9 windows, and is disfigured by the heavy balconies from which the pope bestows his benediction on certain festivals, The columns are 8; feet in diameter and 92% feet high, including the capitals. On the attic are 13 colossal statues, 18% feet high, representing the Saviour and the Twelve Apostles. The inscription on the frieze of the entablature records its completion by Paul V. Five open entrances lead into the magnificent Westibule (K K), 468 feet long, 66 feet high, and 50 feet wide, including the 2 extremities. At each end of the vestibule is an equestrian statue; that on the rt. (M) is Bernini's of Constantine, that on the l. (N) is Charlemagne by Cornacchini. Over the central en- trance, and consequently opposite the great door of the basilica, is the celebrated mosaic of the Navicella, Sect. I. $ 24. ST. PETER’s. 95 representing St. Peter walking on the sea, sustained by the Saviour. It was executed by Giotto in 1298, assisted by his pupil Pietro Cavallini, and was placed over the E. entrance to the qua- driporticus in front of the old basilica. On the destruction of that edifice, the mosaic changed places several times, and was at length placed in its present position. It has suffered much from restorations, and Lamzi says it “ has been so much repaired, that it has lost its original design, and seems to be executed by an altogether different artist.” There are 5 entrances leading into the basilica, corresponding with these to the vestibule. The bronze doors of the central one, which are only opened on great occasions, belonged to the old basilica, and were executed in the 15th century, by Antonio Filarete, and Simone, brother of Donatello. The bas-reliefs of the compartments repre- sent Our Saviour and the Virgin above, and below the martyrdoms of St. Peter and St. Paul, and some events in the his- tory of Eugenius IV., during whose pon- tificate they were cast, particularly the coronation of the emperor Sigismund and the council of Florence. The bas- reliefs of the frame-work are by no means in character with the other sub- jects; they consist of medallions of Ro- man emperors, satyrs, nymphs, and even mythological subjects, such as Leda and the Swan, Ganymede, the fable of the Fox and the Stork, &c. One of the side doors on the l. (L), which is walled up and with a bronze cross in the centre, is called the Portº Santa, which is pulled down by the pope on the Christmas-eve of the jubilee, which has taken place every 25th year. The pope begins the demolition of the door by striking it 3 times with a silver hammer, and at the close of the ceremony the dates of the last 2 jubilees are placed over the entrance. The jubilees which have taken place in the present century have been those of 1800, in the pontificate of Pius VII. ; and of 1825, in the pontifi- cate of Leo XII. ; that of 1850 was not celebrated, owing to the political events of that eventful year. Between the doorways opening into the ch. are 3 inscriptions of some historical interest, and which stood in front of the ancient basilica: the copy of the bull of Boni- face VIII. granting certain indulgences on the occasion of the institution of the jubilee in 1300; the verses com- posed by Charlemagne in honour of Pope Adrian I. ; and the grant of certain olive-grounds by Gregory II. to supply oil for the lamps of the church. The Interior, in spite of all the criti- cisms of architects, is worthy of the most majestic temple of the Christian world. Whatever may be the defects of particular details, whatever faults the practised eye of the architect may detect in some of the minor ornaments, We believe that the minds of most persons who enter it for the first time are too much absorbed by the unrivalled unity of its proportions to listen to such professional pedantry. The one great de- fect is the apparent want of magnitude which generally strikes every one at first sight. The mind does not at once become conscious of its immensity, and it is only after its different parts have been examined, and perhaps only after several visits, that the gigantic scale of the building can be appreciated. There can be no doubt that the colossal size of the statues contributes to a certain degree to diminish the real magnitude of the building; the eye is so unaccustomed to figures of such proportions, that they supply a false standard by which the spectator mea- Sures the details of the edifice around, without being immediately sensible of the fact. “But thou, of temples old, or altars new, Standest alone—with nothing like to thee— Worthiest of God, the holy and the true. Since Zion's desolation, when that He Forsook his former city, what could be, Qf earthly structures, in his honour piled, Of a sublimer aspect? Majesty, Power, glory, strength, and beauty—all are aisled In this eternal ark of worship undefiled. Enter: its grandeur overwhelms thee not; And Why? it is not lessen'd ; but thy mind, Expanded by the genius of the spot, Has grown colossal, and can only find A fit abode wherein appear enshrined Thy hopes of immortality ; and thou Shalt one day, if found worthy, so defined, See thy God face to face, as thou dost now His Holy of Holies, nor be blasted by his brow.” Childe Harold. GROUND PLAN OF ST. PETER's. G. Entrance to Sacristy. H. Entrance to Cupola. K K. Great Westibule. I,. la Porta Santa. M. N. Statues of Constanting sº and Charlemagne. A A. Nave. }}, "Tribune. C C. Transepts. 1) I), D3 D3. Pilasters of Great }}ome. E. Statue of St. Peter. ..” F. Chair of St. Peter. 23 The portion in a lighter tint represents the subterranean church; the circular dotted lines the several cupolas. Sect. I. § 24. ST. PETER’s. 97 The measurements of St. Peter's have been stated very differently by the different authorities. On the centre pavement of the nave are marked the respective lengths of St. Peter's and the other principal churches of Christen- dom. St. Peter’s is there stated to be 837 palms within the walls, without 862-8 (additis parietibus), which, calcu- lating the palm at 8-795 English inches (or 84 nearly), will give 613; Eng. ft. ; St. Paul’s, London, 710 palms (520% ft.); Milan Cathedral, 606 palms (443 feet); St. Paul's, Rome, 572 palms (4.19% ft.); St. Sophia, Comstantinople, 492 palms (36.0% feet). The height of the nave near the door is 152% ft., the width at this portion is 119 palms (87% ft.). Towards the baldacchino the width decreases to 78% ft. The width of the side aisles is 46 palms (33% ft.). The width of the nave and side aisles, including the pilasters that separate them, is 262 palms (1973 ft.) The ex- treme length of the transepts, from end to end, is 44.6% feet. The height of the baldacchino, from the pavement to the top of the cross, is 94% feet. The circumference of the 4 great pillars which support the dome is 253 feet. The diameter of the cupola, includ- ing the outer walls, is 195% feet; the diameter of the interior of the cupola is 139 feet, 3 feet less than that of the Pantheon. The height of the dome from the pavement to the base of the lantern is 405 feet; from the pave- ment to the top of the cross outside, 611 palms (448 feet). According to these measurements, St. Peter's exceeds our St. Paul's Cathedral, in length, by 93% feet; in height to the top of the cross, by 64 feet; and in the diameter of the cupola, including the thickness of its walls, by 50 feet.* * To render our description of St. Teter's more intelligible, we have inserted an accurate ground- plan of the interior of the Basilica; to the place of each object worthy of notice letters and num)- bers are affixed—the Roman letters to indicate the great features of the building, the numerals the chapels and altars, the smaller letters the sepulchral monuments. The same system has been adopted in the more detailed plan of the subterranean church, at p. 103, and in those of the other ecclesiastical edifices inserted in the text. In the plan of St. Peter's the outliue of the crypt has been introduced, but in a lighter [Rome.] The Nave (AA) is vaulted and orna- mented with sunken coffers, richly decorated with gilding and stucco ornaments. Five massive piers, sup- porting 4 arches, separate the nave from the aisles: each pier is faced with 2 Corinthian pilasters in stucco, having 2 miches between them; the lower niches contain colossal statues of saints, founders of the different re- ligious orders. Corresponding with the great arches of the nave are cha- pels in the side aisles, which tend to break the general effect by their interrupting lines, and reduce the aisles to the appearance of passages. With the exception of the pilasters, the walls and piers are generally faced with slabs of marble, richly varied with medallions and other sculptures. Many of the upper decorations are in stucco; the two recumbent Virtues over each arch are of this material. The pavement is entirely composed of marbles, arranged from the designs of Giacomo della Porta and Bernini. The holy water Basins, sustained by cherubs, give a striking example of the immense scale of the building. On entering the ch. the cherubs appear of the size of ordinary children, and it is only when they are approached or compared with the human figure that they are found to be in reality that of full-grown persons. The Dome is the great object which commands the admiration of the stranger who visits St. Peter’s for the first time. Its measurements have already been given. Nothing can sur- pass the magnificence of its stupen- dous vault, resting on the 4 colossal piers; and no language can do justice to its sublime effect. The surprise of the beholder is increased by the recol- lection that there is another outer cupola, and that the stairs which lead to its summit pass between the two. Each of the 4 piers that support it has 2 recesses, one above the other, shade, to show its form and place relative to the more modern church. The circular dotted lines show the position of the dome arid several cu- polas, hy which the interior of the Basilica re- ceives its light, F 9S Rome. $ 24. BASILICAS–ST. PETER’s. looking towards the high altar (15). the ceiling of the lantern is a mosaic The lower ones (D, D', D*, Dº) contain the statues of S. Veronica holding the Sudarium, by Francesco Mochi ; S. He- lena with the Cross, by Andred Bolgi ; S. Longinus, the soldier who pierced the side of our Saviour, by Bernini; and St. Andrew, by Fiammingo (Du Quesnoy). Each of these is about 16 feet high. The St. Andrew is the only one which possesses any merit as a work of art. Above them are 4 balconies, in which are preserved the relics of the respective saints. In that over the statue of S. Veronica is kept the Sºlarium, or handkerchief, contain- ing the impression of the Saviour’s features, which is exhibited with so much ceremony to the people during the holy week. In the balcony over St. Helena is a portion of the true cross; and in that over St. Andrew the head of the saint, which was stolen in 1848, but subsequently re- covered, having been hidden outside the walls between Porta di Cavalligeri and Porta S. Pancrazio, where a sta- tue of St. Andrew has been erected by Pius IX. No one is allowed to visit these relics who has not the rank of a canon of the Church; and it is said that the sovereigns and princes who have been admitted to examine them have first received that rank as an honorary distinction. The spiral columns in the recesses of the balconies belonged to the old basi- lica. Above these recesses, on the spandrils of the arches, are 4 mosaic medallions, representing the Evan- gelists, with their emblems; the pen in the hand of St. Luke is 7 feet long. On the frieze, running round the cir- cumference of the base of the dome, is the following inscription in mosaic; the letters are 6 ft. long: Tv. Es. PETR vs. ET. SVPER , HANC . PETRAM . AEDIFICAIBO. EC- CLESIAM , MEA.M. ET. TIBI. DABO . CLAVES. REGNI. COELORVM. The drum of the cupola is formed of 32 coupled pilasters of the Corinthian order, with 16 win- dows. The cupola above is divided into 16 compartments, ornamented with gilded stuccoes and 4 rows of mosaics, the lowest representing the Saviour, the Virgin, and the Apostles. On of the Almighty, by Marcello Pro- vençal, from a painting of Cav. d'Arpino. “The cupola,” says For- syth, “is glorious, viewed in its design, its altitude, or even its de- corations; viewed either as a whole or as a part, it enchants the eye, it satisfies the taste, it expands the soul. The very air seems to eat up all that is harsh or colossal, and leaves us nothing but the sublime to feast on :- a sublime peculiar as the genius of the immortal architect, and comprehensible only on the spot. The 4 surrounding cupolas, though but satellites to the majesty of this, might have crowned 4 elegant churches. The elliptical cupolettas are mere expedients to pal- liate the defect of Maderno’s aisles, which depend on them for a scanty light.” The Baldacchino, or grand canopy covering the high altar (15), stands under the centre of the dome. It is of bronze, supported by 4 spiral columns of the composite order, and covered with the richest ornaments and foliage, which are gilt. It is 953 feet high to the summit of the globe and cross. It was cast from the designs of Bernini in 1633, partly from the 837.4 lbs. of bronze stripped from the Pantheon, partly from metal purchased at Venice by Urban VIII., whose armorial device, 3 bees, may be recognised on several parts of the work. The cost of the gilding alone is said to have been 40,000 scudi ; of the whole canopy 100,000, nearly 22,000l. The High Altar, under the baldacchino, stands immediately over the relics of St. Peter. It is only used on the great festivals of the Church, and the Pope alone can celebrate mass at it, or a cardinal, when authorised by a special Apostolic brief. The sunk space before the Confessional is surrounded by a circular balustrade of marble. On this are suspended 93 lamps, which are burning night and day. A double flight of steps leads down to the shrine. The first object which attracts attention is the kneeling statue of Pius VI. (H), one of the finest works of Canova. Sect. I. PETER’s. 99 § 24. ST. The pope is represented praying before the tomb of the Apostle : the attitude and position of the figure were pre- scribed by Pius himself during his captivity. On the rt. side of the nave, placed against the last pier, is the well- known bronze Statue of St. Peter (E), on a marble chair, with the foot ex- tended. On entering the basilica, de- votees kiss the toe of this foot, pressing their forehead against it after each Salutation. Some antiquaries state that it was cast by St. Leo from the bronze statue of Jupiter Capitolinus; other writers of more recent date assert that it is the identical statue of Jupiter himself, transformed into that of the Apostle. The rude execu- tion of the figure conclusively proves that it is not a work of classical times; and it seems much more likely to be- long to the early ages of Christianity, when sculpture, like architecture, was copied from heathen models. The Tribune (B), decorated from the designs of Michel Angelo, is very rich in ornaments: at the bottom is the famous Chair of St. Peter in bronze (F), which encloses the identical one in which, according to the Church tradi- tion, St. Peter and many of his succes- sors officiated. The bronze covering was executed by Bernini in 1667. It is supported by four fathers of the Church,-St. Augustin and St. Ambrose of the Latin, St. Chrysostom and St. Athanasius of the Greek. The side walls of the Tribune have been dis- figured by inserting a series of inscrip- tions on slabs of marble relative to the proclamation here, in Dec. 1854, of the dogma of the Immaculate Conception, with lists of the names of all the car- dinals and prelates who were present on that occasion. 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. Many of them have allegorical figures in the style of Bernini. The altars of the chapels are, with few exceptions, de- corated with mosaic copies of cele- brated paintings, and as a whole it is difficult to imagine a series more beautifully executed. We shall notice the most remarkable of these, and the principal tombs, in making the circuit of the basilica. Beginning from the tribune, on the rt. of St. Peter’s chair is the mausoleum of Paul III. (n), by Guglielmo della Porta, to whom its execution was confided, by the advice of Michel Angelo. The statue of the pope is of bronze : the 2 allegorical female figures, re- presenting Prudence and Justice, are of marble. The Justice is said to have been so truly modelled to mature, as to render drapery necessary; the present in stucco was added by Bernini. This monument, which formerly stood where the statue of St. Veronica now is, cost 24,000 scudi ; the statues of Peace and Abundance, at present in the Farmese Palace, formed pendants to those re- maining, and were removed when the tomb was placed where it now stands by Urban VIII. On the opposite side of the tribune is the monument of Urban VIII (m). The bronze statue of the pope is by Bernini; those of Justice and Charity, in marble, by his pupils. Proceeding onwards along the S. side of the building by the 1. transept, the first mosaic we meet with (16) is a copy of Mancini’s St. Peter and St. John. Opposite to it is the tomb of Alexander VIII. (o) (Ottobuoni), by Arrigo di Sam Martino : it has a bronze statue of the pope, and 2 marble figures of Religion and Prudence, by Angelo Ross' ; the bas-relief represents the canonization of 5 saints by this pope. Near it is the altar of St. Leo (17), over which is the immense bas-relief by Algardi, representing that pope threat- eming Attila with the vengeance of St. Peter and St. Paul if he should approach Rome: it is perhaps the largest bas- relief ever executed in marble. In front of it is a circular marble slab covering the remains of Leo XII., With an inscription written by himself. Further on towards the transept is the tomb of Alexander VII. (p), the last work of Bernini. The pope is re- presented kneeling, surrounded by 4 allegorical figures of Justice, Prudence, Charity, and Truth: the latter, only by Berniui, was considered by Innocent ; : ... ... :::: F 2 : : ... : :" :*:: 100 Rome. . § 24. BASILICAs—ST. PETER’s. XI. so naked as to necessitate the drapery which now covers it. Opposite this tomb is a finely-coloured oil paint- ing on slate by Francesco Vanni (19), representing the Fall of Simon Magus; ! | | | | | it is one of the few pictures in oil in this basilica. Entering the S. transept, at the central altar (21) is a copy in mosaic of Guido's celebrated picture of the Crucifixion of St. Peter. The mosaic of the Incredulity of St. Thomas at the adjoining altar, dedicated to him (20), is from a picture by Camuc- cini, and, on the opposite side, in the chapel of the Stiſmata (22), of St. Fram- cis, after the painting by Domenichino, now in the ch. of the Cappuccini. Farther on, over the altar of St. Peter aud St. Andrew (23), is the mosaic of Ananias and Sapphira, from Roncalli’s picture in S. Maria degli Angeli. The mosaic over the altar of St. Gregory the Great (25) represents the Miracle of that saint, from A. Sacchi’s picture in the Pinacotheca. Close by is the tomb of Pius VII., by Thorvaldsen (7), erected at a cost of 27,000 scudi, be- queathed for that purpose by his devoted minister and friend Cardinal Consalvi. The pope is represented seated upon his throne between 2 angels or genii representing History and Time, and lower down 2 larger figures of Power and Wisdom. By some the tomb is not regarded as worthy of its great sculptor, or of one of the most be- nevolent and virtuous pontiffs who ever wore the triple tiara. Against the pier opposite is the altar of the Transfiguration (24), over which is the mosaic copy of Raphael’s celebrated picture of that subject, the copy here being somewhat larger than the original painting. From here entering the 1. aisle, under the arcade is the tomb of Leo XI. (r), by Algardi, with a bas-relief representing the abjuration of Henry IV. of France, before the pope's legates, one of whom was Car- dinal de Medicis, afterwards Leo XI. Opposite is that of Innocent XI. (8) (Odescalchi), by Monot, a French artist: St. Peter's. the bas-relief represents the raising of the siege of Vienna by John Sobieski; e e • * : • *e o e e = e o 'º e e Y * º of Giacomo della Porto. Sta. Maria degli Angeli. ſ i | y the 2 marble figures Religion and or the ſpense of this monument was defrayed Choir (26) near this, in which divine service is celebrated daily before the assembled canons, has 3 rows of stalls and 2 fine organs; the walls and ceiling are richly decorated with gilding and stucco ornaments, from the designs The mosaic altarpiece of the Conception is a copy of the picture by Pietro Bianchi in Under the arch leading to the neighbouring chapel is the tomb of Innocent VIII. (w), of the Cibo family: it is entirely of bronze, and is a very fine work of Pietro and Antonio Pollajuolo; on a bracket is a sitting statue of the Pope, holding a spear-head, in allusion to the gift of Bajazet II. to the pontiff of the spear which pierced the side of our Saviour. Opposite is the stucco monument of Gregory XVI. (t), which has replaced that of Pius VIII. ; the place it occupies is appropriated as the temporary resting-place of the last pontiff, whose remains lie here until the death of his successor, when they are removed to the subterranean ch. or placed in a separate monument. A monument, by Tenerani, will soon be raised to Pius VIII., from a fund be- queathed for that purpose by Cardinal Albani, Secretary of State during his short pontificate. The Chapel of the Presentazione (27) contains a mosaic copy of the Presentation of the Virgin in the Temple, by Francesco Romanelli. Close to this chapel are 2 monuments which will not fail to interest the English traveller. The first on the rt. hand, over the door (H) leading to the roof and the cupola, is that of Maria Clementima Sobieski, wife of the Pretender James III., called here Queen of Great Britain, France, and Ireland: she died at Rome in 1745. It consists of a porphyry sarcophagus with alabaster drapery and a Genius holding a medallion portrait of the queen in mosaic, and was designed by Filippo Barigioni, and executed by Pietro Bracci, at the expense of the “Fabbrica” of Opposite to this is Ca- novº's Monument of the Stuarts (v), It represents the entrance to a mausoleum guarded by genii. The principal ex- Sect. I. $ 24. ST. PETER’s. 101 from the privy purse of George IV. The following is the inscription :- JACOBO III. JACOBI II. MAGNAE BRIT. REGIS FILIO, KAROLO EDVARDO, ET HENRICO, DECANO PATRVM CARDINALIVM, JACOBI III. FILIIS, REGIAE STIRPIS STV ARDIAE POSTREMIS, AN NO MDCCCXIX. BEATI MORTUI QUI IN DOMINO MORIUNTUR. “Beneath that unrivalled dome,” says Lord Mahon, “lie mouldering the remains of what was once a brave and gallant heart; and a stately monument from the chisel of Canova, and at the charge, as I believe, of the House of Hanover, has since arisen to the memory of JAMES THE THIRD, CHARLES THE THIRD, AND HENRY THE NINTH, KINGs of ENGLAND,-names which an Englishman can scarcely read without a smile or a sigh Often at the present day does the British traveller turn from the sunny crest of the Pincian, or the carnival throng of the Corso, to gaze in thoughtful silence on that mockery of human greatness, and that last record of ruined hopes | The tomb before him is of a race justly expelled; the magnificent temple that enshrines it is of a faith wisely re- formed; yet who at such a moment would harshly remember the errors of either, and might not join in the prayer even of that erring Church for the de- parted, ‘ REQUIESCANT IN PACE ’’’ The title of King of England is only given here to the first Pretender, whilst We shall see it applied to all three in the subterranean church, where their remains are in reality deposited. The chapel of the Baptistery (28), the last on this side of the basilica, contains the ancient vase of red porphyry which formed the cover of the tomb of the emperor Otho II. ; it now serves as a baptismal font. The mosaic of the Baptism of Christ is a copy from Carlo Maratta; the St. Peter baptizing his gaolers in the Mamertine prisons is from Passeri; and the Baptism of the Centurion is from a picture by Pro- caccini. In the N. side aisle beginning from the entrance door, the first chapel is called the Capella della Pietà (1), from the celebrated Pietà by Michel Angelo, a marble group represent- ing the Virgin with the body of the dead Saviour on her knees. It was one of the great sculptor’s first works, being executed when he was only in his 24th year, at the expense of the French ambassador, Cardinal Jean de Villiers, abbot of St. Denis. The critics of Michel Angelo's own time objected to the youthful appear- ance of the Virgin, and to the Son being represented older than the mother; but he justified it on the ground that it afforded an additional proof of the pure and spotless charac- ter of the Virgin. The group is not seen to advantage in its present posi- tion, and indeed seems lost: Some por- tions of it are extremely beautiful, and it is much to be regretted that it is not better placed. Michel Angelo has inscribed his name on the girdle of the Virgin; it is said to be the only work on which he ever did so. In the well-known letter written by Francis I. to Michel Angelo in 1507, in which the king requests him to send some of his works to Paris to adorn one of the royal chapels, this Pietà and the statue of Christ in S. Maria sopra Minerva are particularly mentioned. The king entreats M. Angelo to sell to the bearer of his letter, who was the painter Prima- ticcio, some works of the same kind, “ pour l’amour de moi,” and de- scribes these productions “comme de choses que l’on m'a asseuré estre des plus exquises et excellentes en votre art.” On each side of the altar of the Capella della Pietà are 2 smaller chapels, enclosed by bronze doors: that on the 1., built from the designs of Bernini, called Del Crocifisso(2) from containing a crucifix sculptured by Pietro Caval. lini, and a mosaic by Cristofari, repre- senting St. Nicholas of Bari. Here are preserved the principal relics belonging to St. Peter's, from which they are conveyed in great ceremony to the balcony over the statue of St. Helena when exposed to public view on great : : . $ 102 JRome. § 24. BASILICAS–ST. PETER’s. festivals. The other chapel, called the Capella della Colonna Santa, contains a column, in white marble, said to have been brought from the Temple at Jerusalem, and to be the one against which our Saviour leaned when he disputed with the doctors; it is highly ornamented with reliefs and spiral flutings, and is enclosed in a pyra- midal cage of iron-work. Here also is a marble Sarcophagus, on which for- merly stood the baptismal font, and bears the name of Amicius Tºrobus, pre- fect of Rome in the 4th century. It has five compartments with bas-reliefs re- presenting Christ and the apostles; and, though highly interesting as a Christian monument, is less remark- able as a work of art than the sarco- phagus of Junius Bassus in the subter- ranean church. Returning into the aisle, is the statue of Leo XII. (a) by Fabris, raised by Gregory XVI., who caused that of Innocent XIII., which stood here, to be removed ; and opposite to it the monument of Christina queen of Sweden (b), who died at Rome in 1689. It was erected by Innocent XII., from the designs of Curlo Fontana, and is ornamented with a bas-relief by Teudon, a French artist, representing the queen’s abjuration of Protestantism in the cathedral of Innspruck, in 1655. The mosaic in the adjoining chapel of St. Sebastian (3) is a copy of the pic- ture of the martyrdom of the saint, by Domenichino, now in Sta. Maria degli Angeli. Under the next archway are the tombs of Innocent XII. (c), by Filippo Valle, in which the pope is re- presented sitting, supported by Charity and Justice; and that of the Countess Matilda (d), by Bernini; she died in 1115, and was buried in the Benedic- tine monastery near Mantua, but Urban VIII. removed her remains to St. Peter’s in 1635; the bas-relief on the front of the sarcophagus represents Gregory VII. giving absolution to the emperor Henry IV. in the presence of the countess. The Chapel of the Holy Sacrº- ment (4) contains, among other rich ornaments, a beautiful tabernacle of lapis lazuli and gilt bronze in the form of Bramante’s circular temple at S. Pietro in Montorio. The altarpiece • 2 sº e Q ** •: • * : a *s : o o dº º e & T_T & 2 * a * of the Trinity is a fresco by Pietro da Cortona, who designed the stucco bas- reliefs and mosaics of the roof and cupola. This chapel contains, before the altar of St. Maurice, the tomb of Sixtus IV. (e), in bronze, ornamented with bas-reliefs by Antonio Pollajuolo, a very beautiful specimen of sepulchral sculpture. Julius II., of the same fa- mily, is buried by the side of this monument ; the only memorial to this extraordinary pontiff, who so mainly contributed to the raising of the mag- nificent edifice in which his ashes now lie so neglected, being a small white marble slab let into the pavement; the wish of the ambitious pope to be interred in the tomb by Michel Angelo now erected in the ch. S. Pietro in Vincoli having never been fulfilled—an eternal disgrace to his family, whom he had enriched and raised to power, and to the heads of that church whose in- terests he had so greatly advanced. Under the adjoining arch is the tomb of Gregory XIII. (f), of the Buon- compagni family, during whose pom- tificate took place the reform of the calendar: it is by Camillo Rusconi ; the statue of the pope is supported by figures of Religion and Power. The bas-relief in front represents the cor- rection of the calendar. Opposite is the tomb of Gregory XIV. (ſſ), a simple urn in stucco with an empty undeco- rated fiiche, owing probably to his having made few cardinals during his short reign, or not having laid the foundation of a princely house like that of his opposite neighbour, as was the case with his namesakes Gregory XIII. and XVI., whose fami- lies and cardinals have raised such costly memorials to them. The mo- saic on the altar of St. Girolamo (6), on the great pier, is a copy of Domenichino’s Communion of St. Jerome. The Chapel of the Madonna del Soccorso (5), erected by Gregory XIII., from the designs of Michel Angelo, was built by Giacomo della Porta. The cupola is covered with mosaics designed by Girolamo Muziami, which have been highly praised. In this chapel St. Gregory Nazianzenus is buried. Before the altar is the slab- Sect. I. PETER’s. 103 § 24. ST. tomb of Gregory XV. ; and on one side the gorgeous monument of Gre- gory XVI. (h), from the designs of Amici, erected at the expense of the cardinals he created during his long pontificate. Near it is the tomb of Benedict XIV. (; ), by Pietro Bracci : with a statue of the pope, and 2 figures of Science and Charity. This learned pontiff was worthy of a monument by the first artist in Italy. The opposite chapel, dedicated to St. Basil (7), has a mosaic altarpiece, after Subleyra's pic- ture of the saint celebrating mass before the Emperor Valens. In the rt. transept are some mosaics and statues: St. Wenceslaus, king of Bohemia, from Caroselli’s painting (8); the Martyrdom of SS. Processus and Martimianus (9), from Valentin’s; the Martyrdom of St. Erasmus (10), from Poussin's; the sta- tues of S. Jerome, by Pietro Bracci ; S. Cajetano, by Carlo Monaldi; S. Giuseppe Calasanzio, by Spinazzi; and S. Bruno, by Stoldtz. Under the arch beyond this the mosaic at the altar of la Navicella (11), of Our Saviour coming to the rescue of St. Peter when the vessel is sinking, is from a picture by Lam- franco. Opposite is the magnificent Tomb of Clement XIII. (k), by Canova, one of the few specimens of really fine sculpture in St. Peter's. This was the work which established Canova’s fame, and is still considered by many as his masterpiece; it was finished when he was 38 years of age, and after 8 years' labour. The pope, a fine expressive figure, is represented praying ; on one side is the genius of Death sitting with his torch reversed, the most perfect piece of sculpture in the basilica ; on the other is the figure of Religion hold- ing the cross. The lions at the angles have received unqualified admiration; the sleeping one ranks among the finest efforts of moderm sculpture. The mosaic beyond it (12) is a reproduction of the St. Michael by Guido at the Ca- puccini church. That of S. Petronilla (13), at the extremity of the aisle, is a copy from Guercino's picture in the Pinacotheca of the Capitol, and is considered the finest work of this class in St. Peter's. The tomb of Cle- Rossi : the statue of the pope is by Ercole Ferrata. The mosaic of St. Peter resus- citating Tabitha (14), over the oppo- site altar, is after a painting by Cos- tanzi. Most of the altars in St. Peter’s are flanked by elegant Corinthian columns, many of grey and red Sardinian granite, others of a very beautiful red marble, with numerous white veins, called Cot- tanella, from the Sabine mountains. .. Jºse Crypt of St. Peter's. . Chapels of SS. Veronica, Andrew, and Longinus. 6. Circular corridor. 7. Confessional of St. Peter. S. Ch. of S. Maria in Portico. 9. Ch. of S. M. della l'artorienti. . Ch. of I) Salvatorino. . Ch. of Il Salvatore. 12. Nave and aisles of Grotte Vecchie. Tombs of a Junius Bassus; c c c of the Stuarts; d Gregory W.; e Otho II. ; f Alexander VI. ; g Pius II. and Ilſ.; h Boniface VIII. ; i. Ad- rian IV. ; l Paul III. ; m Julius III. ; m. Nicho- las III. : o Urban WIl. ; q Marcellus II. ; ). In- nocent IX, ; S Card. Eroli; t Agnese Colonna. Helena, The Grotte Vaticane, or subterranean Church.-(Admission for gentlemen is easily obtained on applying at the Sa- cristy in the forenoon between 9 and ll, except on festivals; but no female is ment X. (Altieri) (l), near it, is by allowed to enter, except on Whit Sun- 104 Fome. § 24. BASILICAS–ST. PETER’s. day, or with a special permission from the Cardinal Arciprete of St. Peter's, to procure which it is necessary to ad- dress a petition to the Cardinal Secre- tary of State. This will be managed by the people at Piale's and Spithover's Libraries without any trouble, and on payment of a small gratuity to the em- ploye.) The subterranean ch. consists of 2 distinct portions—the Grotte Nuoce and Grotte Vecchie. The Grotte Nuove being a circular corridor, from which open some more ancient chapels, and the 4 under the statues of SS. Veronica, Andrew, Lon- ginus, and Helena, in the basilica above, with the chapel of the Confessional in the centre, they correspond, conse- quently, to the area beneath Michel An- gelo's dome. The Grotte Vecchie oc- cupy the space beneath the nave of the modern basilica, extending to nearly opposite the chapel of the Sacrament and Choir; they formed the crypt, properly speaking, of the more ancient edifice erected by Constantine. The Grotte Nuove were in a great measure remodelled by Paul V., retain- ing some of the more ancient chapels, who made them a receptacle for seve- ral monuments of art that existed in the old basilica. The Grotte Vecchie have undergone little change, except in having the pavement of the old ch. laid down on their floor, and having had several of the sepulchral urns of the early popes and historical personages, which stood under the portico and in the aisles of the old basilica, removed to them. The entrance to the subter- ranean ch. is by a flight of stairs behind the statue of S. Veronica (2), and opening into the circular corridor of the Grotte Nuove ; on entering which and turning to the rt. are 2 of the original chapels, the first dedicated to Sta. Maria in Portico, also called the Madonna della Bocciuta, from a picture of the Virgin in it, attributed to Simone Memmi, which stood under the portico of the old basilica. On either side are several ancient tombs, statues of Saints John and Matthew from the monument to Nicholas V., and one of St. Peter, which stood under the primitive portico; several early Christian inscriptions, a Statue of Benedict XI., and a view of the old basilica of St. Peter's. Re- entering the circular corridor, and oppo. site to the entrance of the last chapel, is the Cºpella del Salvatorino (10), and near it the marble cross which crowned the front of the primitive basilica. Between the chapel of S. M. del Portico and the next, dedicated to the Madonna delle Partorienti (9), is a curious mosaic of our Lord giving his benediction : it is of the 10th centy., and stood over the tomb of Otho II. This chapel contains statues of the two St. James' from Ni- cholas W.’s monument, several Chris- tian inscriptions of the 5th and 6th centuries, a mosaic of the Virgin of the 8th, and another of an angel, after Giotto (?), &c. In the recess on the rt. of the altar were interred Popes Leo II., III., and IX., until removed to the upper ch. by Leo XII. In other parts of this chapel are a half-figure of Boniface VIII., attri- buted to Andrea Pisano, a portrait in mosaic of Pope John VII., and the painting of the Virgin, which gives its name to the chapel, &c. In the corridor (6) beyond and leading to the chapel of St. Andrew (4) are several inscriptions, one relative to the drain- ing of the cemetery of the Vatican by S. Damasus in the 4th century, remark- able, like all those of that pope, for the elegant form of the letters; it is in Latin verse; and numerous fragments of sculpture, the most remarkable being, statues of Saints Bartholomew and John, from the monument of Calixtus III. ; of 4 Doctors of the Church, with 2 angels, from that of Nicholas V. ; an in- scription of the time of Gratian, Valen- tinian, and Theodosius, relative to cer- tain properties held by the basilica, &c. The entrance to the Grotte Vecchie is near here. The Grotte Vecchie consist of 3 parallel corridors, separated by massive pilasters supporting low arches, on which rests the floor of the central nave of the basilica above. In these grotte have been placed the sepulchral urns of several of the popes and histo- rical personages which stood in the old basilica, or who have been interred here since the erection of the modern Sect. I. I 05 § 24. ST. PETER’s. one.” Near the entrance of what we may removed on the destruction of the old call the S. nave or corridor is the marble inscription or copy of the celebrated donation to the Church of all her pos- sessions by the Countess Matilda in 1102. The altar of the Salvatore (1 I), at the • * ~ * the outer wall on this side of the grotte extremity of the central corridor, has a curious bas-relief of the Virgin by Ar- 700lfo, which once stood over the monu- ment of Boniface VIII.; and before it are the graves of Charlotte Queen of Cyprus Under one (ob. 1487) and of Pius VI. of the neighbouring arches in the S. aisle are the urns (c c c) of the 3 last princes of the house of Stuart, who died at Rome—James III., Charles III., and Henry IX., as they are here designated, and a little beyond that of Pius VIII. Near the extremity of this corridor are the tombs of Pope Gregory V. (d), and (e) of the Emperor Otho II., who died at Rome in 983—it formerly stood under the portico of the ch. above; and the empty urn, with his recumbent statue on the cover, of Alexander VI. (f), the body having been removed, with that of Calixtus III., to the Spanish lational ch. of the M. di Monserrato in the Via Giulia, where they now lie neglected. Near the extremity of the central nave are the receptacle for the praecordia of Christina Queen of Sweden and of Benedict XIII.; the greater number of the popes are laid in the northern aisle. Commencing at its W. extremity, are the sarcophagi of Boniface VIII. (h), by Arnolfo, interesting as a work of art; of Pius II. and III. (g), whose monuments now stand in the ch. of S. Andrea della Valle, where they were * The popes who died at Rome were, with very few exceptions, interred in S. Peter's, and nearly all had monuments in the old basilica, on the de- struction of which several of the latter were re- moved to other churches in Rome (Pius II. and III., and Eugenius IV.) : a few were set up in the new ch. (Sixtus IV., Innocent VIII.); others transferred to churches or chapels founded by their families (Clement VIII., Sixtus V.); whilst some again were interred in churches they had selected as their last resting-places (Paul IV., Leo X., Clement VII., Innocent X., Clement. XII.); and, last of all, Clement XIV. in the ch. of the SS. Apostoli, attached to the convent of the religious order of which he had been a member before his accession. On this subject the reader will find much interesting informa- tion in Mr. Gergovianu's little volume in Ger- man, on the Tombs of the Popes. | basilica : next is the urn of Adrian IV. (i) (N. Breakspear), in red gramite, and opposite to it that of Nicholas V. (k), the inscription upon it from the pen of AEneas Sylvius (Pius II.). Following stand successively the urns of Paul II. (!), with a recumbent figure of the pontiff, by Mino da Fiesole; of Julius III. (m); Nicholas III. (n); Urban IV. (o); Marcellus II. (q); Innocent IX. (r); and of Card. Eroli (s), once celebrated for its sculptures; and in a recess beyond (t), amongst several others, that of Agnese Caetani Colonna, the only lady not of royal descent who has a monu- ment in St. Peter's. Re-entering here the circular corridor of the Grotte Nuove is the chapel of S. Longinus (5), With a mosaic of the patron saint over the altar, from a picture by A. Sacchi. Between this and the chapel of St. Helena (3) are several mosaics and statues : those of our Saviour and S. Andrew from the monument of Nicholas V. ; the bas-relicfs of Adam and Eve, of the Last Judgment, and the statue of Cha- rity, by Jſino da Fiesole, from that of Paul II. . The large bas-reliefs repre- sentilg histories in the lives of SS. Peter and Paul, on either side of the entrance to the Confessional, formed a part of the ciborium of Sixtus IV. in the old church. The paintings in the chapel of St. Helena are chiefly relative to events in the life of St. Andrew, whose relics Were originally deposited here. The Chapel of the Confession Confessional (7), in the form of a Latin cross, is beneath the space occupied by the high altar in the basilica above ; the Confessional being the spot where had been depo- sited, since the middle of the 4th centy., the body of St. Peter, brought here by S. Cornelius from the catacombs of St. Ca- lixtus, on the Via Appia. The chapel is richly decorated. Over the altar are two pictures of SS. Peter and Paul, cf. the time of Calixtus II. (1122). One of the Very interesting monuments of the Grotte Vaticane is the sarcophagus of Junius Bassus (a), Prefect of Rome, who died in 359; it was discovered in 1595, in excavating for the Grotte Nuove, F 3 106 JRome. $ 24. BASILICAS–ST. PETER’s. near the spot where it now stands, op- posite to the entrance to the chapel of the Confessional. The urn is covered with sculptures, divided into compart- ments by columns, some torse, others covered with arabesques in relief, each bas-relief representing a subject from the Old and New Testament. They are of importance as specimens of the best style of early Christian sculpture. The Sacristy, entered by a door (G) in the 1. transept, was built by Pius VI. from the designs of Carlo Marchionni (1775). In the corridor leading to it are the statues of St. Peter and St. Paul, by Mimo da Fiesole, which stood in front of the old basilica. Fixed into the walls are several ancient in- scriptions, discovered in digging the foundations of the building ; and the celebrated one of the Fratres Arvales, of the time of Domitian and Elagabalus, so learnedly illustrated by Moroni. The Sacristy consists of 3 noble halls, decorated with a richness of ornament scarcely inferior to that of St. Peter's itself. The 8 fluted pillars of grey marble in the central one, or Sugresticſ Commune, are from Hadrian’s villa. The picture of the Deposition is by L. Sabattini, but said to have been sketched by M. Angelo. The gilt- bronze cock over the clock on the arch once stood on the Summit of the bell- tower of the ancient basilica. Out of the Sagrestia Commune opens, on the left, the Styrestic de' Conomici, which contains paintings of the Madonna and Child with St. John, by Giulio Romano, and a Holy Family, by Il Fattore. In the chapter-house opening from the S. de' Canonici are 3 paintings on panel by Giotto, representing our Saviour with Card. Stefaneschi, for whom they were painted, the Crucifixion of St. Peter, and the Martyrdom of St. Paul ; and some frescoes by Melozzo da Forlì. The Saffrestiº de’ Beneficiati, which opens out of the S. Commune on the rt., con- tains a picture of the Saviour giving the keys to St. Peter, by Muziani, and the image of the Madonna della Febre, which gave its name to the ch. On the site of which Pius VI. erected the mo- dern splendid Sacristy. In the Guarda- roba, or Tesoro di S. Pietro, opening out of this, are preserved the church ornaments. Among the church plate are some crucifixes and camdlesticks from the designs of Michel Angelo and Benvenuto Cellini. The “Dalmatica,” Worm by Leo III. at the coromation of Charlemagne, is also preserved here. In the Archives, entered at the end of the corridor (over the door of which are fragments of the chains of the port of Smyrna and of the gates of Tunis, the latter presented to Sixtus IV. by Charles V.), are a MS. Life of St. George with miniatures by Giotto, the famous parchment codex of the Philippics of Cicero, a Terence, and a Persius of very early date. The statue of Pius VI., near the entrance to the Sugrestic, is by Agostino Penna. Ascent of the Dome.—No one is al- lowed to ascend without an order from the director of the Fabbrica of St. Peter's, which is granted on appli- cation from the consul, and visitors are mot admitted after 11 o’clock, although they can remain until 1. The ascent to the summit is the only means by which an idea can be formed of the immensity of St. Peter's. It presents one of the most extraordinary spec- tacles in the world. A broad paved spiral staircase & Cordon; leads us to the roof by so gentle am ascent that horses might mount it. On the walls of this staircase are inscriptions recording the opening of the Porta Santa on several occasions of the jubilees, others the names of members of the reigning houses of Europe who have accomplished the ascent. A series of passages and staircases carries us from the roof to the different stages of the dome, winding between its double walls, and opening on the inner great circular gallery, from which the stranger may look down on the church below. It is from these two circular galleries at the base and top of the drum of the cupola that we can best appreciate the stupendous size and pro- portions of the building. The people moving on the pavement scarcely appear like human beings, and the mosaics of the dome, which seemed Sect. I. 107 $ 24. ST. PETER’s—CEREMONIES. from below to be minute and delicate works, are found to be coarsely exe- cuted in the only style which could produce effect at such a distance. The stairs from this point lead between the two walls of the dome to the top of the lantern, from which another flight takes us to the base of the ball: from this a nearly vertical ladder will allow the visitor to ascend, without danger, into the latter. The Bull, formed of copper plates, is 8 ft. in diameter, and large enough to hold 16 persons. A small iron ladder winds round the exterior of the ball and leads to the cross, which is 16 feet in height. The view from the balcony below the ball is one of the finest. The whole of Rome with her desolate Campagna is spread out like a map in the fore- ground, bounded on the one side by the chain of Apennines and the Alban Hills, and on the other by the Medi- terranean. There is scarcely any pro- minent object of interest in the city which may not easily be distinguished, and the leading features of the Apen- nines and the other encircling moun- tains are from nowhere seen to greater advantage. The Illuminations of St. Peter's on Easter Sunday are too well known to require a detailed description. To those who have witnessed them the impression produced by their magnifi- cent display is too strong to be oblite- rated : and those for whom the spectacle is yet in store will find that any de- scription falls far short of the reality, Every column, cornice, and frieze, the bands of the dome, and all the details of the building to the summit of the cross, are lit up with lines of lamps, and its gigantic architecture stands out against the dark sky in a complete firmament of fire. The illu- minations are repeated at the Festival of St. Peter’s (June 29) on 2 successive evenings, and on each occasion are said to cost 600 Crowns. 382 men are em- ployed to light the lamps; and when we consider the hazardous nature of their task, it is surprising that the number of accidents is very small. There are 2 illuminations on each evening; the 1st, called the silver illumination, be- gins at dusk, and consists of 5900 lanterns; the 2nd, called the golden one, begins at 8 on Easter Sunday, at 9 on St. Peter's day, when, at the first stroke of the clock, 900 lamps are lighted so instantaneously that it seems the work of enchantment. The whole process is generally completed before the clock has finished striking the hour, or in about 8 seconds : the entire building is them lit up by no less than 6800 lamps. The lanterns used for the silver illumination are of white paper, those for the golden are iron cups filled with blazing tal- low and turpentime. The principal Ceremonies and reli- gious services in St. Peter's and the Sixtine Chapel are the following:- January 1st : Grand mass at 10 A.M., in the Sixtine chapel, by the pope in person, unless the pope is in re- sidence at Monte Cavallo, when it is celebrated in the chapel of that palace. This applies to all the cere- monies except those at Easter and Christmas, and at the festival of St. Peter. 5th : Vespers in the Sixtine, at 3 P.M. 6th, the Epiphany : high mass in the Sixtime, at 10 A.M. 18th, the Feast of the Catedra di S. Pietro; high mass by the cardinal archpriest, in presence of the pope and sacred college at S. Peter's. The pope is borne pro- cessionally on this occasion: at 3 P.M. the vocal music in the choir is very fine. February 2nd, Purification of the Virgin : high mass by a cardinal-priest, in presence of the pope, preceded by the pontiff’s bemediction of the candles, and a procession round the basilica, and followed by a Te Deum in com- memoration of Rome's escape from the effects of the earthquake in 1703. Candles are distributed to Catholics who go up to receive his holiness's blessing: as upon Palm Sunday, gentlemen must present themselves in uniform or even- ing dress. The music is generally very fine both during mass and at vespers. The pope is also carried in and out of the ch. processionally on this festival. On Ash Wednesday, high mass, and the sprinkling of ashes on the heads of the 108 Rome. § 24. BASILICAs—ST. PETER’s. cardinals. March and April.—Holy evening, after the services at the Week, Palm Sunday : at 9% A.M. the Vatican are finished, the Trinità de' pope is borne into St. Peter's, where, on arriving in the pontifical chapel, he receives the homage of the as- sembled cardinals, habited in violet robes: immediately afterwards his holiness consecrates the palms, and distributes them first to the cardinals, them to the archbishops and bishops, the corps diplomatique, the canons of St. Peter's, and the heads of the different religious orders, and last of all to the military, and such private individuals as may wish to receive them—the latter must be in uniform or evening dress. After the distribution the pope is carried round St. Peter's in proces- sion, followed by all those who have received palms, which they carry in their hands; on their return to the pontifical chapel the cardinals change their violet for scarlet robes, and high mass in music is performed by a cardinal priest, which generally lasts from 11 until 1 : this terminated, the pope is carried to his unrobing-room, in the chapel of the Transfiguration. The whole of the ceremony on this day is very imposing: gentlemen in uniform are admitted into the ponti- fical chapel; ladies have places as- signed to them on either side before the high altar, and for which tickets are distributed by the pope's Major- domo. Wednesday in Holy Week : at 4% P.M. the first miserere is chanted in the Sixtine chapel in the presence of the pope. To secure seats where the chanting takes place, it is neces- sary to go at 2 o’clock, and ladies must be provided with tickets, as mentioned hereafter. A triangle of candles is prepared previous to the service, and one candle is extinguished at the conclusion of different psalms, till one alone is left. This is removed during the singing of the miserere behind the altar, and on its conclusion is again brought out, when a general knocking with a stick takes place,— the whole significant of the light on earth during our Saviour’s presence, his death and descent into the tomb, and his resurrection, with the circum- stances which attended it. In the Pellegrini may be visited, to see the feet of the pilgrims who have journeyed to Rome for the holy week washed by the great dignitaries and nobles, who also attend on them, like servants, at their meal, and afterwards assist them to prepare for rest. The men and Women are placed in separate parts of the hospital, and the persons re- gularly engaged for those charitable offices are enrolled in confratermi- ties, numbering many of the aris- tocracy of Rome, including his Holi- ness and the cardinals; several kings have been so likewise. To be en- titled to admission, the pilgrims must have come from a distance of more than 60 m., and bring certificates from their bishop, attesting that they have re- paired to Rome for the purpose of visiting the holy places; these are examined by persons called ricevitori, for security against deception. At Easter, Italian pilgrims are entertained for 3 days, Ultramontanes for 4, Por- tuguese for 7; at other times of the year, Italians for 1 day, Ultramontanes for 2, Portuguese for 5; the latter receive each, on their departure, a Roman se- quin, and the Bohemians a scudo. This ceremony is repeated at the Trinità de’ Pellegrini every evening during the week. Thursday: High mass in the Sixtine chapel at 10 A.M. by a cardinal, in general the Dean of the Sacred College, about midday. If the weather permits, his Holiness about noon pro- ceeds to the balcony in front of St. Pe- ter's, and pronounces his benediction to the assembled multitude below ; in case of rain the benediction is given inside the ch. At the conclusion of the bene- diction the pope descends to St. Peter's, where in the rt.-hand transept, fitted up for the occasion, he washes the feet of 13 priests, who represent the 12 apostles, and the 13th who appeared miraculously to pope Gregory the Great on a similar occasion. About 11 the washing of the feet is concluded, after which the pope, in the gallery over the portico of St. Peter's, waits on the same 13 priests at table. It may not be uninteresting to mention that these Sect. [. 109 $ 24. ST. PETER's—CEREMONIES. representatives of the apostles are se- lected from every country, the diplo- matic agents of several Courts having a right of presentation. 2 Italians are chosen by the pope's major-domo, a Swiss by the captain of the Swiss guard, and 2 Oriental Catholics by the heads of the united Armenian and Greek Churches at Rome. Each priest receives a gold and silver medal after his feet have been washed, and carries away all the viands placed before him, as well as the mapkin, and white dress in which he is attired. The pope commences by putting on a richly em- broidered apron, which is afterwards the perquisite of the Grand Chamber- laim (Maestro di Camera), after which bishops and prelates present him with the plates which he lays before each pilgrim : during the repast the pope's crossbearer (Crocifero) reads prayers. At 4% P.M. the 2nd miserere is chanted in the Sixtime chapel, after which his Holiness, at- tended by his household, proceeds to pray in the Capella Paolina. Gentle- men in evening dress are admitted to all the ceremonies of this day, and ladies by tickets issued by the major-domo. The Vatican Museum, the Etruscan and Egyptian collec- tions, are open to the public on Holy Thursday, from 1% to 5 P.M. The cardinal penitentiary sits in the N. transept of St. Peter's to give abso- lution for mortal sins which cannot otherwise be absolved. The high altar in St. Peter’s is washed. The Pauline chapel and the different “sepulchres,” more particularly those in the Spanish and Portuguese churches, and S. Ignazio, are illuminated. Among the sights of this evening may be men- tioned the shops of the Pizzucaruoli, or sausage and pork dealers, in the neigh- bourhood of the Pantheon and the Piazza Navona, which are arranged in every sort of device, and brilliantly illuminated. Good Friday : The Holy Sacrament, which yesterday was blessed at the mass in the Six time chapel, is this morning carried back to it from the Pauline, where it was deposited, and the sacrifice con- summated by the cardinal grand penitentiary at 9% A.M. The pope and Sacred College afterwards hear a sermon preached by a friar of the Black Franciscan Order. The last miserere is chanted this day in the Six time chapel and in St. Peter’s at 4 P.M.; after which the pope pro- ceeds in procession with the cardi- nals through the Sala Regia to St. Peter's to pray before the tomb of the apostle; at the conclusion of which the relics of the Holy Cross, the Volto Santo, and the spear are exhibited from the balcony over the statue of St. Veronica. The great illuminated cross, which was formerly suspended from the dome on this evening, has ceased to be so since the time of Leo XII. The figure of our Saviour, which is covered up during Lent, is this day unveiled. The cardinal penitentiary gives abso- lution as on Thursday. Saturday : Ordination at St. John Lateran, and public baptism of Jews and other non- Christians in the baptistery of Constan- time at # past 8 A.M. At the same hour, or even earlier, blessing of candles, fire, &c., in the Sixtine chapel. High mass in the Sixtine at 9 A.M. Easier Sunday, the grandest festival of the Roman Catholic Church, without exception. Daybreak is ushered in by the cannon of the castle of St. Angelo. At 9% A.M. high mass in St. Peter's, the pope himself officiating. The pope enters the ch. in solemn procession, every incident of which has a mystical meaning. His Holi- mess is carried on a portable throne, which is symbolical of his elevation as the vicar of Christ. Before him are carried 2 fams of ostrich-feathers, in which the eyes of peacock’s feathers are set, as a symbol both that vigi- lance is required of the pontiff, and also that the eyes of all men are fixed upon him. The triple crown, it need searcely be added, is equally sym- bolical. The lower circlet represents the crown of temporal dominion, while the mitre represents the spiritual; the second circlet shows the union of the spiritual and temporal authority, and the third the union of the pontifical, imperial, and royal power. The 7 candelabras carried before the II () Rome. § 24. BASILICAs—ST. PETER’s. pope by Acolytes represent the 7 ecclesiastical riomi, or divisions of the city; mystically they bear reference to the candlesticks amid which the vision of the Son of God appeared to the Evangelist, as described in the Apocalypse; and are also typical of the 7 gifts of the spirit. On entering St. Peter's, when the pope arrives opposite the chapel of the Holy Sacrament, the procession stops; the pope descends from the throne and adores the Host, which is exposed on the illuminated altar of that chapel. The corteſe then passes on to the throne erected on this occasion at the epistle-side of the tribune, where the homage is performed, and after read- ing to himself the prayers preparatory to saying mass, whilst the office of Tierce is sung, his Holiness is vested for the celebration. A procession is then formed towards the throne at the end of the tribune, which, suddenly turning to the rt., faces the high altar and approaches it. It consists of the Thurifer, Crossbearer, Greek and Latin deacons and subdeacons, car- dinal bishop and three cardinal deacons, the pope with two private chamber- lains, and an auditor of the rota bearing his mitre, the patriarchs and other prelates assistant at the throne. Near the altar it is met by the 3 junior car- dinals, who successively do reverence to his Holiness and embrace him with a kiss on the cheek and breast, mystic- ally exhibiting the homage paid by the 3 Magi to the Saviour. The epistle and gospel are sung, first in Latin, them in Greek, to denote the union between the Eastern and Western Churches, but the primacy of the Latin. Towards the con- clusion of the creed (his Holiness hav- ing retired before the epistle to the farthest throne) the sacred vessels are washed at what are called the credence tables, for the utensils of the mass. When the pope has returned to the altar, the sacristan eats in his pre- sence two particles, pointed out by the deacon, from the three wafers, and also drinks of the wine and water prepared for the mass. This precaution against poison, though a mere form, is of almost immemorial usage at the papal high mass. At the offertory is sung the motette Christus resurgens with the beautiful music of Felice Anerio, considered one of the finest concerted pieces of the papal choir. This is followed by the sing- ing of the Sequence, Victime Paschali, generally to the music of Simonelli. The music and poetry of the Church for Easter-day is the most beautiful in the whole range of sacred music. This Sequence especially is probably one of the earliest specimens of the ecclesi- astic hymn now extant, its authorship having never been ascertained: like the magnificent anthem for Christmas, Quem widistis Pastores, it partakes of the dramatic, introducing, as interlo- cutors, Mary, who returns from the Sepulchre, and the disciples, who ques- tion her what she has seen. It con- cludes with a kind of chorus, which swells into a noble strain, after a con- fession of faith in the resurrection. Before the preface two junior car- dinal deacons take their station beside the altar, facing each other, to repre- sent the two angels who stood at the sepulchre. Them is sung, as prepara- tory to the consecration, the form which offers up the praises of the Church with those of angels, arch- angels, thrones, and dominations; and after the choir has continued it in the Sanctus, a dead silence follows, to be interrupted by that burst of the silver trumpets at the consummation of the sacrifice, the effect of which can never be forgotten. The consecration of the Elements by the pope takes place at the high altar, to typify, it is said, the sufferings of the Redeemer in sight of the multitude; the altar represents the table where the eucharist was instituted, and the throne the mount where the sacrifice was offered. A second elevation of the host and the chalice is made, after the pontiff has left the altar, by the assistant car- dinals, and each is carried solemnly to the throne, where his Holiness par- takes of both, drinking from the chalice through a golden tube, a vestige of the ancient practice at the time when com- munion under both kinds was general. The deacon and subdeacon then receive Sect. I. I 11 § 24. ST. PETER’s—CEREMONIES. from his hands the remainder of the consecrated elements. A Giborium con- taining other consecrated particles is brought with the same solemnity to the throne, and out of this the holy father administers communion, in one kind, to the cardinal deacons present, the Roman princes, the Senator of Rome, and the Conservators. After the con- clusion of mass the pontiff, assuming the triple crown tiara, reseats himself in the portable throne, when the car- dinal archpriest of St. Peter’s presents him with a purse of white velvet con- taining the offering made to him for singing mass in that basilica—pro Missºt bene cantati, t. The whole cere- mony within St. Peter's lasts from 9% to 11; o'clock A.M.; but to secure places, strangers ought to be at the ch. at least an hour before the service commences. At a little after 12 o'clock the pope pronounces his benediction from the balcony of St. Peter's, in the same form as on Holy Thursday. The following are the words of the bene- diction, the Amen being four times chanted, and breaking finely upon the silence in which, unless one is very near, the whole seems to pass : — “May the holy apostles Peter and Paul, in whose power and authority we confide, intercede for us with the Lord. Amen. Through the prayers and merits of the blessed Mary, ever Virgin, of the blessed Michael the Archangel, of the blessed John the Baptist, of the holy apostles Peter and Paul, and all Saints, may the Omni- potent God have mercy upon you, may all your sins be remitted, and Jesus Christ lead you to etermal life. Amen. Indulgence, absolution, and Temission of all your sins, space for true and faithful repentance, hearts ever contrite, and amendment of life, may the Omnipotent and merciful God afford you. Amen. And may the bless- ing of the Omnipotent God, Father, Son, and Holy Ghost, descend upon you and remain with you ever, Amen.”* * The traveller who may desire greater details on the imposing ceremºnies of the Holy Week will find them in a small volume, entitled Delle Ponteſicie Funzioni della Settimama Samta, di Gaetano Moront; in English Versions by Dr. At the last clause, et benedictio, the pope rises and signs the cross in front and on each side, over the people, as he pronounces the holy names; at descendat he stretches out his arms to heaven, and then folds them over his breast. The benediction concluded, a cardinal deacon reads in Latin and Italian (afterwards throwing the docu- ments among the people) the bull of the plenary indulgence conceded to all who have attended the sacra- ments in the spirit of true repent- ance, whose hearts are purified from the malignancy of sin, and who are, therefore, in a state of reconciliation with the Church. The military bands strike up, the bells of St. Peter’s and the artillery of St. Angelo raise their chorus, as final to the celebration of the resurrection. At 7 P.M. the illu- mination of St. Peter's commences; but it is necessary for carriages to go there sometime before to obtain a place. At S P.M. the whole bursts out into a brilliant running flame, which is seen beautifully either from the Piazza of St. Peter's or the Pincian Hill; and, if people are quick in their movements, it may easily be seen from both places. Easter Monday : high mass on this and the following day in the Sixtine chapel by a cardinal priest. The celebrated girandola, which formerly took place from the castle of St. Angelo, is now transferred to the Monte Pincio; it commences between 8 and 9 P.M., and is, perhaps, the finest exhibition of fireworks in the world; and can be well seen from the seats erected on the occasion in the Piazza del Popolo. Should the evening prove unfavorable, it is postponed to the following Monday. May.—Whitsunday: high mass in the Sixtine chapel when the pope resides at the Vatican ; it is sometimes per- formed at S. Maria Maggiore. After 12 o'clock females are allowed to visit the Grotte Vaticame, or subterranean chapels, and the Confessional. Corpus Domini : the solemn procession of the England, late Bishop of Charleston, and Monsi- gnore Bºggs; and in the French pamphlet of the Abbé Hery on the same subject; ail which may be procured at Piale's, Spithover's, or Galla- riui'S libraries. 1 12 JRome. § 24. BASILICAS–LATERAN. Holy Sacrament, in which the pope, the clergy, and the court take part. June 28th, the Eve of the Festival of St. Peter and St. Paul : at 6 P.M. vespers in St. Peter's in the presence of the pope, who afterwards blesses the Pallia; the Confessional of St. Peter's is thrown open on this occasion; the illuminations of St. Peter's and the girandola on the Pincian take place on this and the succeeding evenings, 29th: high mass in St. Peter's, the pope officiating, at 10 A.M. At 3, vespers in St. Peter’s, in the presence of all the cardi- nals. November 1st : high mass in pre- sence of the pope at 10 A.M. in the Six- time chapel. At 3 P.M. vespers for the dead in the same, in the presence of the pope and the whole court. 2nd : high nass at 10 A.M. by the pope, in com- memoration of the dead. 3rd and 5th : a similar ceremony for the souls of all deceased popes and cardinals, Decem- ber.—First Sunday in Adcent : high mass in the Sixtine chapel, and procession of the pope to the Capella Paolina, which is illuminated for the occasion. On each Sunday in Advent divine service is performed in the pope's chapel, either at the Vatican or the palace on Monte Cavallo. 8th, Conception of the Virgin : high mass in the Sixtine chapel. 24th, Christmas ſce: vespers in the Sixtine chapel at 5. At 8 P.M. high mass, generally in the presence of the pope, which lasts till midnight. The pope On this occasion blesses the hat and sword, which he afterwards sends as a present to some Roman Catholic prince. 25th, Christmas Day: grand mass at 10 A.M. in St. Peter’s by the pope in person, attended by the cardinals, the clergy, and the whole court. 26th : mass at 10 A.M. in the Sixtine chapel, in honour of St. Stephen. 27th : a similar service in honour of St. John the Evangelist, and vespers in St. John Lateran. 3 list: vespers in the Six time chapel, at which the pope is generally present. Vespers are sung every day at from 3 to 4% P.M., according to the time of year, in the Choir at St. Peter’s : they are much frequented on Fridays and Sundays, on account of the fine music by which they are generally accompanied. Tickets of admission for the ceremo- nies of the holy week at St. Peter's and the Sixtine chapel are necessary for ladies only ; ladies who wish to avail themselves of seats must be dressed in blºck, without bonnets, and with veils, gºing all the ceremonies. Gentlemen, if in black evening dress or in uniform, are admitted into the body of the Six- tine and Pontifical chapels. Ladies’ tickets may be procured through their diplomatic representative or bankers. British subjects will find the Consul most obliging in this as in every other respect, but they must make applica- tion some time beforehand. (No tickets tº'e , equired during the ceremonies that tºke place here at other periods of the Mear.) Admission to the loſſgirt of the ambassadors and princes during the illuminations, but which are better seen from the Piazza, is only to be obtained on application to the pope’s majordomo. 2. Basilica of the Lateran (San Gio- vanni in J.atterano).--This celebrated basilica occupies the site of the house of the senator Plautius Lateranus, from whom it derives its name. He is mentioned by Tacitus as having been implicated in the conspiracy of Piso, for which he was put to death by Nero. The site afterwards passed to the family of Marcus Aurelius, who was born near the palace. In the 4th cen- tury the Lateran house was conferred by Constantine on the bishop of Rome as his episcopal residence. Constantine then founded this basilica, at the in- stigation of St. Sylvester, assisting with his own hands to dig the foulida- tions. It was long regarded as the first of Christian churches, and the in- scription over the door styles it omnium mºrbis et orbis Ecclesiarum Mater et Caput. The chapter of the Lateran still takes precedence of that of St. Peter’s ; the ceremony of taking possession of the Lateran Basilica, is one of the first forms observed on the election of a new pope, whose coronation takes place in it, so that for 1500 years it has preserved its rank and privileges. It is one of the 4 basilicas which have a “Porta Santa.” It is also * Sect. I. I 13 $ 24. LATERAN. remarkable for the 5 general councils which have been held here, and to which we shall refer hereafter. The old basilica was nearly destroyed by fire in the pontificate of Clement V., but it was restored by that pope, and subsequently enlarged and remodelled by many of his successors. Clement VIII. enlarged the transepts and aisles from the designs of Giacomo della Porta. In the time of Innocent X. (1644) Borromini loaded the nave with ornaments, and surrounded the granite columns, no longer capable of Sup- porting the roof, with the present cumbrous piers. Clement XII. com- pleted the work of renovation in 1734, by adding the principal façade from the designs of the Florentine archi- tect Alessandro Galilei. After these numerous restorations and changes it will hardly be expected that the basilica has preserved much of its original character. The façade is a fine specimen of the architecture of the last century: it is built entirely of travertine, and has 4 large columns and 6 pilasters of the composite order sustaining a massive entablature and balustrade, on which are placed colossal statues of our Saviour and 10 saints. Between the columns and pilasters are 5 balconies; from that in the centre the pope gives his benedicton to the people on Ascension Day. The whole from t is broken into ornaments and de- tails, which lessen the general effect. In the vestibule is an ancient marble statue of Constantine from his baths on the Quirinal. There are 5 entrances under the portico to the basilica; the middle one has a bronze door, brought by Alexander VII. from the ch. of S. Adriano in the Forum, and supposed to have belonged to the Basilica AEmilia; the next door is the Porta Santa, and is of course walled up. The interior has lost the distinctive characters of the basilica under the hands of Borromini; the roof and walls are covered with medallions and stucco ornaments, which do not compensate for the dis- figurement of the ancient edifice. The interior, as we now see it, consists of a nave with 2 aisles on each side, sepa- rated by 4 rows of piers. Those of the nave, in which Borromini has encased the columns of the old basilica, are pierced with niches containing statues of the Apostles. These statues are characteristic specimens of the school of Bernini, with all its extravagances, and yet, with their acknowledged faults, the effect of so many colossal figures is imposing. The St. James the Great, the St. Matthew, the St. Andrew, and the St. John, are by Rusconi; the St. Thomas and St. Bartholomew are by Le Gros; the St. James the Less is by Angelo Rossi; the St. Thaddeus is by Lorenzo Ottoni; the St. Simon by Francesco Maratti; the St. Philip by Giuseppe Mazzuoli ; and the St. Peter and St. Paul are by Monot, a French sculptor. The one which has perhaps the greatest merit as a work of art is the St. James the Less, by Rossi. “The Apostles appear to me to fall under the censure of an injudicious imitation of the manner of the painters. The drapery of those figures, from being disposed in large masses, gives un- doubtedly that air of grandeur which magnitude or quantity is sure to pro- duce; but though it be acknowledged that it is managed with great skill and intelligence, and contrived to appear as light as the materials will allow, yet the weight and solidity of stone was not to be overcome.”—Sir J. Rey- molds. Above them are some good bas- reliefs. The great ornament of the ch., opening out of the 1. aisle, is the Corsini Chapel, built in the form of a Greek cross by Clement XII., in honour of his ancestor St. Andrea Cor- sini, and from the designs of Alessandro Galilei (1729). Nothing can surpass the magnificence of this very beauti- ful structure: the richest marbles, the most elaborate ornaments and gilding, columns of precious marbles, bas-re- liefs, and even gems, have been lavished on its decorations with a profusion quite without a parallel in any other private chapel in Rome, except perhaps that of the Borghese family in Sta. Maria Maggiore. Notwithstanding this ex- cess of Ormament, the whole has been controlled and subdued by a correct taste, which cannot fail to be appre- ciated after the deformities of Borro- 114 JRome. § 24. BASILICAs—LATERAN. mini's nave. The altarpiece is a mosaic copy of Guido's picture of S. Andrea Corsini. The porphyry sarcophagus which forms the tomb of Clement XII. formerly stood under the portico of the Pantheon; the cover is modern ; the bronze statue of the pope is by Maini; and the 2 lateral figures are by Carlo Monaldi. Opposite is the tomb of Cardinal Neri Corsini, with his statue and 2 sitting statues by Maini. The figures in the niches, representing the Cardinal Virtues, are by Rusconi and other followers of Bernini, but they are not remarkable as works of art. In a vault under- neath this chapel is a good Pietà by A. Montauti, The HIGH ALTAR of the Basilica stands beneath a magnificent Gothic tabernacle, supported by 4 Columns of granite, curious as a work of the 14th century. It was erected in the reign of Urban V., and partly at the expense of Charles V. of France, to receive the heads of St. Peter and St. Paul, which were found during his reign among the ruins of the old church. It bears the arms of the pope and the king of France, the pro- tector of the basilica. Within the high altar is enclosed a table of wood, upon which St. Peter is said to have officiated. The high altar and tabernacle have been recently restored and decorated with much magnificence, at the expense of Pius IX. In the enclosed space below and in front of the Confessional of St. John, is the bronze tomb of Martin V., of the house of Colomna, a fine work by Simone, brother of Donatello. It formerly stood in the middle of the nave, mow marked by an inlaid co- lumn, the arms of the family, on the pavement. The tribune has 4 pointed windows, which, from the inscription attributing this part of the basilica to Nicholas IV., belong to the 13th cen- tury. It contains a modern picture by Agricola of the Saviour, St. John, and the Virgin. The vault is covered with mosaics, executed in 1292 by Jacopo da Turrita, and Gaddo Gaddi. They re- represent our Saviour in the heavens, with the rivers of Paradise, the Virgin and Saints; the figure near the Virgin is that of Nicholas IV. : they are in- teresting as examples of this branch of art in the 13th century. In the 1.-hand transept is the splen- did altar of the Holy Sacrament, from the designs of Paolo Olivieri. The 4 gilt bronze columns, with composite capitals, are traditionally said to have belonged to the temple of Jupiter Capitolinus, and to have been cast by Augustus from the bronze rostra of the vessels captured at the battle of Actium. Above is a fresco of the Ascension by Cav. d’Arpino, and on the tympanum the Almighty, by Roncalli. Near this, in a recess opening out of the corridor called the Portico Leonino, surrounding the tribune, a table is shown as that on which the Last Supper was eaten; it is of cedar-wood and was once encased in silver. The second chapel on the rt. on entering the basilicabas been purchased by the Torlonias and converted into a mausoleum for their family; it has been magnificently decorated in gold and marble, and is said to have cost upwards of 65,000l. sterling. Over the altar is a Descent from the Cross, in high relief, a fine work by Temerami, and on either side sepulchral monu- ments to the first duke and his wife, the latter habited as a Roman matron, in a rather theatrical attitude, with statues of Charity and Hope on either side. The chapel beyond this, of the Mas- simo family, from the design of Giac. della Porta, has a good Crucifixion by Sicciolante. Out of the 1. hand transept, and near the Altar of the Sacrament, opens the winter choir of the canons: the painting of the Saviour, with the two Saints John, over the altar, is by the Cav. Arpino; the Coronation of the Virgin on the vault, by B. Croce; and on one of the walls, a portrait of Martin V., by Scipione Gaetano. The tomb near the altar, in black marble, is of a lady of the Colonna family. A circular corridor, called the Leonine Portico, supposed to have been erected by Leo I., surrounds the Tribune. On its walls are several sepulchral monuments; amongst others, those of the painters Andrea Sacchi and Cav. Arpino, and of A. Gallilei the architect of the façade. In the centre is a small Sect. I. COUNCILS. 115 § 24. LATERAN altar, over which is a crucifix attri- buted to Giotto, and on each side rude statues of SS. Peter and Paul, proba- bly as old as the 10th century. Open- ing on the 1., out of the Leonine por- tico, a passage leads into the sacristy ; on the walls are several inscriptions, a curious bas-relief view of the old Lateran palace, and some fragments of leaden water-pipes bearing the name of Sextus Lateranus. The bronze door leading to the outer sacristy (de' Bene- ficati) is as old as Celestin III. (1196). The inner sacristy (S. de' Canonici) has over the altar of S. Anne a drawing attributed to Raphael, of his picture called the Madonna di Casa d’Alba, now at St. Petersburg. Besides the sepulchral monuments already mentioned, the following are worthy of notice: of Card. di Pippo, a good specimen of the style of the 14th century, in the rt. hand transept; of popes Sylvester II., Sergius IV., and Alexander III., well known in our history as the friend of Becket and St. Bernard. These 3 monuments, of Pontiffs buried in the ch., are in the rt. aisle, the last was raised by Alexan- del VII. On the second pier of the first aisle on the rt. is the portrait of Bomi- face VIII. by Giotto, who has repre- sented the pope between two cardinals, announcing from the balcony of this ch, the jubilee of 1300. It is the only fragment remaining of the frescoes of Giotto which covered the loggia of the old Lateran palace. The other paintings in the basilica scarcely re- quire notice : the best are the Daniel by Procaccini, and the Jonas by S. Conºct. The principal Church ceremonies which take place in St. John Lateran are:— On the Saturday before Easter after the baptism of the Jews and non-Chris- tian converts in the baptistery, the car- dinal grand vicar of Rome holds an ordination in this basilica. On Ascen- sion-day high mass is celebrated in the presence of the pope, who afterwards pronounces his benediction from the balcony. The pope again is present at high mass here, with the college of cardinals, on the Festival of St. John the Baptist, the 24th of June. The heads of SS. Peter and Paul are ex- posed to the adoration of the faithful on Easter Sunday and Monday, on the 29th of June, on the 6th of July, on the 9th Nov., and 27th Dec. Opening on the Piazza del Laterano, is the handsome portico erected by Sixtus V. from the designs of D. Fontana. At one extremtiy is the bronze statue of Henry IV. of France, by Nicolo Cor- dieri, erected by the canons out of gratitude to the French monarch, who bestowed on their church the rich monastery of Clerac in Gascony. As a work of art this statue has little merit. The 5 General Councils which have given celebrity to this basilica, and known as the Lateran Councils, were the following:—I. March 19, 1123, in the pontificate of Calixtus II., at which the questions connected with the In- vestiture were settled. II. April 18, l 139, under Innocent II., at which the doctrines of Peter de Bruys and Arnold of Brescia were condemned, and measures taken to terminate the schism of the Antipope Analectus II. III. March 5, 1179, under Alexan- der III., at which the schism caused by Frederic Barbarossa was termi- mated, and the doctrines of the Waldenses and Albigenses were com- demned. IV. November 11, 1215, under Innocent III., at which the Latin Patriarch of Constantinople, the Patriarch of Jerusalem, 400 bishops, and the ambassadors of England, France, Hungary, Arragon, Sicily, Cyprus, &c., were present. At this council the doctrines of the Albigenses were again condemned, and the errors of Almaric and the Abbot Joachim, the pretended prophet of Calabria, in regard to the Trinity, were denounced as heresies. W. May 3, 1512, sum- moned by Julius II., and continued for a long time under Leo X. This council is remarkable for the abolition of the Pragmatic Sanction, and for the conclusion of the Concordat between the Pope and Francis I., by which the liberties of the Gallican Church were sacrificed. The only general council which has been held since that time was that of Trent, A.D. 1525. 116 JRome. Š 24. BASILICAs—LATERAN. The Cloisters retain their beautiful Gothic of the 12th or 13th century. The old episcopal throne, said to be that of St. Silvester, was removed there in the last century. There are many curious monuments in these cloisters which deserve notice; the columns ex- hibit some good examples of the mosaic ornaments of the period. Among the relics here is the mouth of a well, in marble, in the centre of the cloister, having several Christian emblems, such as Runic knots in relief, &c., of an early period; 2 columns of Pilate’s house; a column said by the tradition to have been split when the wail of the Temple was rent in twain on each side of the porphyry slab on which the soldiers cast lots for the Saviour’s raiment; a slab supported by 4 columns, which are said to be the height of our Saviour (the columns are 6 feet high); a miraculous altar-table, in which, on a priest doubting of the real pre- sence, the consecrated wafer fell from his hand through the slab, and left a hole ; several slab-tombs from the an- cient church, and a few Roman inscrip- tions. Some interesting remains of the decorations of the old basilica, in the rear of the modern edifice, may be seen from the cloisters. The Baptistery, or church of S. Gio- vanni in Fonte, built by Constantime, and decorated with the remains of more ancient edifices, is an octagonal build- ing in brickwork. On the sides of the entrance are 2 magnificent red por- phyry columns of the composite order, half-buried in the wall. Eight superb columns of the same material sustain a cornice which rums round the building, supporting 8 smaller columns of white marble, which again support the lan- tern of the roof. The exterior, and the general arrangement of the inte- rior, have very probably been pre- served since the time of Constantine, but the building is known to have been repaired by several popes down to the 17th century, when Urban VIII. and Innocent X. restored it as we now see it. The paintings on the 8 sides of the Cupola, illustrating the Life of the Baptist, are by Andrea Sacchi ; the fres- coes on the walls are by Giacinto Gimi- | gnani, Carlo Maratta, and Andrea Camas- sei, and represent the principal events in the life of Constantine. The Baptismal Font, in the centre of the octagon, is of green basalt. It was in this urn, which, from the earliest times of Christianity, has been held sacred, as that in which Constantine re- ceived the rite of baptism by St. Sylves- ter, that Cola da Rienzo bathed, on Aug. 1, 1347, the night before he appeared with his insignia of knighthood, and summoned Clement VI. and the elec- tors of Germany to appear before him. He was then crowned in the basilica of the Lateran with the 7 crowns of the Holy Spirit, which he pretended to be typical of the gifts he had received from heaven. Before the close of the year this pompous display terminated in his captivity at Avignon ; and it was superstitiously believed by many of his own followers that his downfall was a divine judgment for the profanation of this font. Opening out of the Bap- tistery are 2 chapels—that on the rt. dedicated to S. John the Baptist, with a bronze statue by Valadier; that on the 1. to S. John the Evangelist. The O * baptistery is now used on the Satur- day before Easter for baptizing Jews converted to Christianity. In the neighbouring Oratory of San Ven- anzio, erected, as is supposed, by Pope John IV., exists a curious cotempo- rary mosaic, containing the portraits of that pontiff, and of Theodorus I., his successor (A.D. 640–648). The Scala Santa.—Under a portico on the N. side of the Basilica, erected from the designs of Fontana, is the Scala Santa. Sixtus V., in rebuilding the Lateran palace, religiously preserved that portion of the chapel and triclinium of Leo III. which had escaped the fire by which the ancient palace was de- stroyed, and constructed this portico over the Scala Santa, which had also escaped the flames. The stairs con- sist of 28 marble steps, stated by the Church tradition to have belonged to Pilate’s house, and to have been the identical ones which our Saviour de- scended when he left the judgment- seat. They are only allowed to be Sect. I. I 17 $ 24. STA. MARIA MAGGIORE. ascended by penitents on their knees; and the multitude of the faithful who visited them was so great that Clement XII. found it necessary to protect them by planks of wood, which are said to have since been three times renewed. In the Gothic chapel at the summit, called the Sancta Sunctorum, formerly the private chapel of the popes, and the only part which remains of their ancient palace, is a painting of the Saviour, 5 ft. 8 in. in height, of Greek workmanship, but, like so many others, attributed to St. Luke, and said by the tradition to be an exact likeness of our Lord at the age of 12. This chapel contains also a large collection of relics; no woman is allowed to enter it. Pon- tana’s portico, before it was enclosed by Pius IX., was a fine structure, consist- ing of a double arcade of 2 orders, the lower Doric, and the upper Corinthian. The Scala Santa is in the middle, and on each side are 2 parallel flights of steps, by which the penitents descend. Out- side, and on the S side of the Scala Santa, looking towards the Porta S. Giovanni, is a tribune erected by Benedict XIV. to receive the mosaics which covered the triclinium of Leo. III. They are, how- ever, only copies, what remained of the originals having been deposited in the library of the Vatican. They repre- sent the Saviour in the midst of the Apostles, and on the face of the vault Christ delivering the keys to St. Peter with one hand, and St. Peter, seated, giving a consecrated banner to Charle- magne, and the Pallium to St. Leo. The buildings enclosing the Scala Santa have recently undergone extensive re- pairs and decoration, at the expense of Pius IX. The Lºtterſtn Palace and Museum are described in a subsequent page, under the head of Palaces and Museums (p. 236). 3. Basilica of Santa Maria Maggiore, also called the Liberian Basilica, the third in rank, and one of the 4 which have a Porta Santa. It was founded on the highest summit of the Esquiline, A.D. 352, by Pope Liberius, and John, a Roman patrician, in con- sequence of a miraculous fall of snow in the month of August, which covered the precise space occupied by their basilica. From this legend, which is represented in a bas-relief in the Borghese chapel, the edifice was at first called S. Maria ad Nives; it afterwards took the name of S. Maria Mauſſiore, from being the prin- cipal of all the Roman churches dedi- cated to the Virgin. The interior has undergone numerous alterations and additions, which have impaired the simplicity of its original plan; but in spite of these changes it has retained more of the characters of the basilica than any other ch. within the walls of Rome. It was enlarged in 432 by St. Sixtus III. On its present plan, which has been preserved amidst all the sub- sequent reparations. The tribune and mosaics were added in the 13th cen- tury by Nicholas IV. The whole building was repaired by Gregory XIII. in 1575, and the principal façade was added in 1741 by Benedict XIV., from the designs of Fuga. At the same time the interior was completely renovated, the columns were polished and had adapted to them new Ionic bases and capitals, and the building generally was reduced to the state in which we now see it. There are 2 façades, the principal facing the S.E., and the other at the rear of the basilica. The first, by Fuga, is one of the least happy of the many faults exhibited in the church architecture of Rome. From the balcony in the upper portico of the great façade the pope pronounces his benediction on the Festival of the Assumption. The vault of the portico is covered with, mosaics; they were on the old façade, are well preserved, and were restored Some years ago under the direction of Camuccini, when the name of the artist, Philippus Rostitus, probably a pupil of the Cosimati school, was dis- covered. The other front constructed by Carlo Rainaldi, in the pontificate of Clement X., is in better taste. There are 5 doors in the principal front, in- cluding the walled-up Porta Santa. The interior is perhaps the finest of its class in existence. It consists T 18 Rome. $ 24. BASILICAS–STA. MARIA MAGGIORE. of an immense nave, divided from the side aisles by two rows of Ionic co- lumns of white marble. These support a continued entablature, which has um- fortunately been broken by the modern arches flanked by columns of grey granite constructed by Sixtus V. and Benedict XIV. as entrances to the great side chapels. Upon the entablature rests the upper wall of the nave, with a range of fluted Corinthian pilasters corresponding in number to the co- lumns beneath. The length of the nave is 280 English feet, and the breadth about 60 feet. The roof, de- signed by Sangallo, is flat, and divided into 5 rows of panels. It is elaborately carved, and gilt with the first gold brought to Spain from South America, presented to Alexander VI. by Ferdi- mand and Isabella. The side aisles are comparatively low and narrow, and have vaulted roofs little in character with that of the nave. The whole building is richly but tastefully deco- rated. The sides and extremity of the nave above the arch of the tribune are covered with mosaics of great interest in the history of art. They represent in compartments different subjects of the Old Testament, illustrating chiefly the lives of Moses, Joshua, Abraham, Isaac, and Jacob. They are known by a letter from Adrian I. to Charlemagne to have been in existence in the 8th century, and are generally considered to date from the pontificate of Sixtus III., whose name is on the top of the arch. The vault over the tribune is covered with mosaics by Jacopo dat Turrita, in 1299, the same who executed a part of those in the Lateran basilica : they represent the Coronation of the Virgin with angels and 3 saints on each side, and are inscribed with the name of the artist; those below and between the windows are by Gaddo Gaddi. The high altar is formed of a large urn in porphyry, supposed to have contained the body of the founder of the church, over which rises the bal- dacchino erected by . Benedict XIV. from the designs of Fuga it is sup- ported by 4 Corinthian columns of red porphyry, entwined with gilt bronze palm-leaves, and surmounted by 4 angels in marble by Pietro Bracci. Beneath the high altar is the Confes- sional of St. Matthew, where sundry relics are preserved. The Sictine Chapel, or of the Holy Sº- crament, near the end of the rt. aisle, was erected by Sixtus V. from the designs of Fontana, and is rich in marbles and other ornaments. It contains the tomb of Sixtus V., with his statue by Val- soldo ; and that of Pius V., the urn of which is a fine mass of verde antico with bronze ornaments. The altar has a fine tabernacle sustained by 4 angels in gilt bronze. It is said that this chapel was commenced when Sixtus was a cardinal, and that Gre- gory XIII. suspended his allowance on the ground that he must be a rich man to incur such am expense. The work would have been postponed in consequence, if Fontana had not placed at the disposal of Sixtus, then Cardinal di Montalto, the whole of his savings, an act of generosity which he repaid by his constant patromage after his accession to the pontificate. The fres- coes of the chapel are by Pozzo, Cesare Nebbia, and other contemporary artists; and the bas-reliefs round the monu- ments of the two popes, representing different events during their reigns— those of the battle of Lepanto, which took place during the pontificate of Pius V., by Cordieri ; the statue of St. Dominick, by G. B. Porta. In the centre of this chapel is the smaller one of the Presepe, where is preserved the sacred Presepe, or the boards of the manger in which the Saviour lay after his birth, which forms the subject of a solemn ceremony and procession on Christmas Eve, at which the cardinal- vicar generally officiates. The cradle consists of five boards of the manger wherein the infant Saviour was deposited at the Nativity; they are enclosed in an urn of silver and crystal, with a fine gilt figure of the child on the top. As to their history, they were brought to Rome from Bethlehem when the re- mains of St. Jerome were also removed, in the middle of the 7th century, by Pope Theodorus. In the small chapel of Sta. Lucia, on the rt. before entering Sect. I. 119 § 24. Borgh ESE CHAPEL. the more gorgeous one of Sixtus, V., the altar consists of a very curious Christian sarcophagus of the 4th cen- tury, with bas-relief in 2 compartments, by some supposed to belong to Petro- nius Probus, consul in A.D. 341, whose portrait is in a medallion in front. The richness of this chapel is far surpassed by the Capella Paolina, or Borghestant, belonging to the Borghese family, on the opposite side of the basilica, built by Paul V. from the designs of Flaminio Ponzio (1608), and remark- able for the magnificence of its archi- tecture and decorations. The altar has 4 fluted columns of jasper, and is celebrated for the miraculous painting of the Virgin and Child, traditionally attributed to St. Luke, and pronounced to be such in a papal bull attached to one of the walls. It is the same which St. Gregory the Great carried in pro- cession to stay the plague that desolated Rome in A.D. 590; above it, and sur- mounting the altarpiece, is a bronze bas-relief representing the miracle of the snow, above alluded to. The fres- coes on the sides of the windows above the tombs, and those on the great arches, are by Guido, with the exception of the Madonna, which was painted by Lanfranco. The frescoes around the altar and on the penden- tives beneath the cupola are by Cºw. d'Arpino ; those of the cupola, repre- senting the Virgin standing on the half-moon, are by Ciſſoli. The sepul- chral monuments in this chapel are remarkable : that of Paul V. is covered with bas-reliefs and small statues by Buonvicino, Ippolito Buzi, and others of the school of Bernimi. That of Clement VIII., of the Aldobrandini family, who gave Paul his cardinal’s hat: the bas-reliefs on it are by Mochi, Pietro Bernini, and other sculptors of the same school. The statues of both pontiffs are by Silla di Viggiu. The 2 smaller chapels on each side of the entrance of the Capella Borghesiana are dedicated to S. Carlo Borromeo and Sta. Francesca Romana, their paintings by B. Croce and Baglioni. Beneath the Borghese Chapel are the sepulchral vaults in which the members of the family are interred, the last occupants being our countrywoman Princess Gwendaline Talbot Borghese and her 3 infant children, who followed her so soon to the grave. Few members of the Roman nobility have been so uni- versally regretted by all classes as Princess Borghese ; her charities and benevolence were unbounded, her death at the time was considered a public calamity, and her memory is still vene- rated as that of one worthy of the highest honours with which such a life of virtue and good works is rewarded by the church of which she was so bright an ornament. On the same side of the ch. are the chapels of the Sforza family, designed by M. Angelo, now the winter choir of the canons, with a painting of the Assumption over the altar by Gir. da Sermoneta ; and next to it the Capella Cesi, con- taining 2 Sepulchral monuments of cardinals of that celebrated family, by Guy. della Porta. The Baptistery, on the rt. on entering the basilica, for- merly the choir, was fitted up for its present use by Leo XII. ; the font is a fine urn of red porphry. Opening out of the baptistery is the Sacristy, contain- ing a picture of the Virgin and Child, by Sc. Gaetani ; and frescoes, by Passi- gnani. In other parts of the basilica are the Gothic tomb of Cardinal Con- salvo Rodriguez, bishop of Albano, by Giovanni Cosmati, at the N. end of the rt. aisle, with an inscription dated 1299, and a mosaic of the Virgin and Saints above ; the monument to Cle- ment IX., with sculptures by Guidi, Fancelli, and Ercole Ferrata; a monu- ment raised by Sixtus V., when cardi- nal, to Nicholas IV. ; the sepulchral stone of Platina, the historian of the popes, near the N. extremity of the 1.- hand aisle; and at the opposite end, near the great entrance, the tomb of 2 mem- bers of the French family De Levis, one a cardinal, another an archbishop—a handsome specimen of the sepulchral monuments of the early part of the 16th century. The pavement of Sta. M. Maggiore is very beautiful, consisting of alternate compartments of mosaic and marble. The ceremonies in this basilica during the year are of a very imposing kind. 120 Ičome. $ 24. BASILICAS–SAN PAolo. At the Feast of Pentecost the pope performs high mass here, unless it takes place in the Sixtine chapel. On the Festival of the Assumption, August 15th, high mass is always performed in this basilica by the car- dinal archpriest of the basilica in pre- sence of the pope, who afterwards pro- nounces from the balcony his benedic- tion on the people. The ceremony on Christmas Eve, in which the Presepe is carried in procession, has been already noticed; it takes place at 3 A.M., but is not calculated to repay the expectation of the visitor who looks only to ceremonial display. The Presepe is exposed over the high altar the whole of the next day, and the Paoline and Sixtine Chapels opened and brilliantly illuminated. On the 5th of August the Feast of Santa Maria ad Nives is celebrated in the Borghese chapel. In front of the basilica is one of the most beautiful Corinthian columns in Rome, called the Colonna della Fergine. It is of white marble, and is the only one which has been preserved to attest the magnificence of the basilica of Constantine, although it probably belonged to an edifice of a much earlier period. It is 47 feet high without the capital and base, which are not pro- portioned to the size of the column. It was erected here by Paul V. in 1613, under the direction of Carlo Madermo. On the top is a bronze statue of the Virgin standing on the half-moon, by Bertelot. Near this is a small pillar in the form of a cannon surmounted by a cross, to commemorate the absolution given by Clement VIII. in 1595 to Henry IV. of France, on his conversion from the Protestant faith. 4. Basilica of San Paolo fuori le Mura, about 1+ mile beyond the Porta Sam Paolo, and on the road to Ostia, hence called the Basilica Ostiensis. Thirty- five years ago there was no monument at Rome which the lover of early Christian art regarded with more lively interest than this magnificent temple of the first ages of our faith. It was commenced by the emperors Valenti- nian II. and Theodosius in 388, on the site of a more ancient basilica founded by Constantine, over the Ca- tacombs of Lucina, an early Christian Roman lady, and completed by Ho- norius in 395 : Leo III. restored it in the 8th century. In all its sub- sequent alterations the original plan was carefully preserved; and it was one of the first places to which the Christian traveller endeavoured to perform a pilgrimage. The length of the basilica was 411 ft., of the transepts 279 ft.; the body of the building was 295 ft. by 214 ft., and was divided into a nave and 2 aisles on either side by 4 rows of Corin- thian columns of different kinds of marble, 20 in each ; and the whole building presented an assemblage of columns amounting to no less than 138, most of them ancient, and form- ing by far the finest collection in the world. Under the high altar was the tomb which the tradition of the Church, from the earliest times, had pointed out as the burial-place of St. Paul, whose body, on the same authority, had been removed here from the Vati- can in A.D. 251, and enclosed in a stone urm, on which was engraved the name of the Apostle. The mosaics of the tribune, the bronze gate cast at Con- stantinople, the series of portraits of the Popes, its monuments and altars, all combined to increase the interest of the sacred edifice. For British tra- vellers this basilica possessed an addi- tional interest, since it was the church of which the Kings of England were protectors previous to the Reforma- tion, as the sovereigns of Austria, France, , and Spain are still of the basilicas of the Vatican, of the Lateran, and of Sta. Maria Maggiore. All this, however, has passed away, and the edifice in which Christian worship had been uninterruptedly celebrated for nearly fifteen centuries was reduced to a heap of ruins on the 16th July, 1823. The roof took fire during some repairs, and fell into the nave and aisles, where it raged with such fury, that the marble columns of the nave were com- pletely calcimed, and the large por- phyry columns of the altars and those which supported the great arch of the Sect. I. 121 $ 24. SAN PAOLO. tribune were split into fragments. The only portions which escaped were the western façade, with its mosaics of the 13th century; a colonnade erected by Benedict XIII.; the tribune, and the mosaics of the 13th century on its vault; some portions of the portraits of the popes; part of the bronze gate ; 40 columns of the side aisles; and some sarcophagi with bas-reliefs. Since this disaster, large sums have been contributed by the Catholic sovereigns and princes, and by each successive pope, for the restoration of the building; and the work is now completed as far as the interior is concerned. The transept ånd the high altar were finished and dedicated in 1840 by Gregory XVI., and the whole edifice in Dec. 1854, by Pius IX., in the presence of an immense concourse of Church dignitaries and prelates from every part of Christendom. Nothing can exceed the richness of the whole edifice. The splendid nave and aisles have been completed by Pius IX. The roof of the nave is a magnificent specimen of modern carved woodwork and gilding, having the armorial bear- ings of the reigning pontiff in the centre. The effect of the 4 ranges of granite columns is unparalleled, cer- tainly much finer than what the basilica presented before it was burned down. There are 80 columns of granitein all, between the nave and aisles, of the Co- rinthian order, the capitals being of white marble, the columns on each side of the nave being the largest; in addi- tion to which, there are 2 more colossal than the rest, of the Ionic order, sup- porting the arch over the high altar between the transept and the nave, and which in the original church was erected in 440 by Galla Placidia, the sister of the Emperor Honorius. All these magnificent pillars are monolites, from the quarries at Montorfano, near Baveno, on the Lago Maggiore, from where they were conveyed on rafts to the sea, and from the mouth of the Po to their present site in sailing vessels. Beneath the arch of Galla Placidia stands the high altar, under a mag- nificent canopy supported by 4 columns of white oriental alabaster, presented [Rome.] to Gregory XVI. by Mahomet Ali, the late Viceroy of Egypt; and in the Confessional, over which it stands, lie portions of the remains of St. Peter and St. Paul. In the centre of the transept, and behind the high altar, is a magnificent tribune, the vault over which is covered with mosaics executed, probably, by Pietro Cavallini, the pupil of Giotto, in the pontificate of Honorius III., in the 13th century; in the centre stands a modern richly- decorated episcopal chair in marble, and on either side 4 columns of violet marble saved from the ruins of the ancient basilica; above, in a lunette, is a painting by Cammuccini repre- senting St. Paul borne to Heaven by Angels. On either side of the tribune are 2 chapels; on the 1. those of St. Stephen, a very beautiful edifice by Poletti (the statue of the patron saint over the altar is a good work by Rinaldi), and of the Crucifix, with a statue of St. Bridget by Carlo Maderno: the Crucifix over the altar is attributed to Pietro Cavallini, and supposed to be that which spoke to St. Bridget. On the opposite side of the tribune is the choir, by Carlo Maderno, which remains nearly as it stood before the fire ; and near to it the chapel of St. Benedict, with a good statue of the saint by Temerani: the small columns of grey marble which surround it were brought from the ruins of Roman Veii. The altar at the extremity of the N. transept is dedi- cated to St. Paul; the large picture over it, by Cammuccini, represents the Conversion of the saint; the statues on the sides, of St. Gregory the Great and St. Romualdo, are by Laboureur and Stocchi; the altar in the opposite transept has a painting of the Assump- tion, by Agricola, and statues of St. Benedict and Sta, Theresa ; the frescoes above are by Podesti. The mosaics of the tribune only required repairing after the fire; but as those on the arch of Placidia were destroyed, these now upon it, representing our Saviour in the centre, with the 24 wise men of the Revelations on either side, are modern fac-similes. The modern frescoes in the transept form part of a series of 36, representing the principal events in G 122 Rome. $ 24. BASILICAS–SAN LoBENzo. the life of St. Paul, by Gagliardi, Po- desti, Balbi, Coghetti, de Sanctis, and Con- soni; they are to be continued over the arches of the nave. The series of portraits of the popes in mosaic have been already completed round the tram- Sept; they include all those who oc- cupied the Papal Chair down to John IV., most of whom have been acknow- ledged as Saints by the Church: they are now in progress of being continued round the nave and aisles, and will embrace the whole of the Roman Pon- tiffs from St. Peter to Pius IX. These portraits are executed at the mosaic establishment at the Vatican; it will be scarcely necessary to inform the visitor, that, except of the later popes, the like- messes are apocryphal and imaginary. A handsome bell-tower has been erected at the extremity of the tribune. The façade of the basilica towards the river is in progress of being rebuilt by Pius IX. ; and there is a very hand- some Corinthian portico, supported by 8 columns of grey cippolino, at the end of the N. transept, on the side where the basilica is approached from Rome. The total length of the new basilica is 396 feet, not including the tribune; the length of the nave 306; the width of the mave and side aisles 222; the width of the transepts 250; and the length of the transept, exclusive of the tribune, 90 feet. For many years prior to the destruction of San Paolo the monks were compelled by malaria to leave the spot before the Summer heats set in ; and unhappily there is reason to believe that the pestilence is increasing rather than diminishing in intensity. The principal Cloister of the Bene- dictine monastery adjoining the basi- lica forms a square, surrounded by arcades supported by very beautiful coupled columns of various shapes, and is highly curious as an example of the monastic architecture of the 12th and 13th centuries. The columns present almost every known variety of form; spiral, twisted, fluted, and sometimes 2 or 3 of these fanciful varieties combined. Many of them, as well as the entablature, are covered with mosaics. On the walls are nume- rous Roman and early Christian in- Scriptions, and several sepulchral monu- ments that once stood in the ruined basilica. In this monastery Pius VII. lived for many years as the Benedictine monk Barnabe Chiaramonti. 5. Basilica of San Lorenzo, 10 min. walk beyond the Porta di San Lorenzo, on the road to Tivoli. The founda- tion of this ancient basilica is generally attributed to Constantime, in 330; it appears to have been enlarged by the empress Galla Placidia in the 5th cen- tury. It was partly rebuilt in 578 by Pelagius II. In 1216 Honorius III. reversed the plan of the building by adding a new nave behind the place of the tribune of the Pelagian basilica, and bringing the entrance, which formerly opened to the E., to the W. and opposite the altar; he at the same time added the present vestibule-portico.” This vestibule-portico (A) is supported by 6 columns, 4 of which have spiral flut- ings, and, as well as the Ionic capitals, are of good workmanship; the other 2, except the capitals, are less elaborate, surmounted by a handsome marble frieze, with palms and lions' heads, of an earlier Christian period. On it are mosaics; in the centre one are Honorius III. and S. Lorenzo, in a very rude style, The paintings under the portico are referred to the time of Honorius III.; they represent different events in the history of St. Lawrence * In visiting S. Lorenzo it must be constantly borne in mind that the ch. of the time of Con- stantine, as restored by Pelagius, and that added by Honorius, formed 2 distinct edifices; indeed, some ecclesiologists even suppose that the two churches existed contemporaneously, having each its separate entrance, and were turned back to back, as we have seen in the temples of Venus and Rome (p. 40). The parts belonging to the earliest period are the vestibule (E), the columns and the sides of the presbytery, and the great arch of the tribune ornamented with mosaics of the time of Pelagius, and facing the E. Honorius pulled down the apse, erected the present nave and vestibule, and converted the ch. Of Constan- tine and Pelagius into a raised presbytery, as we now see it, on which he placed the bigh altar over the original confessional. In the annexed ground plan of the edifice as it now stands, the portions of the early basilica, almost similar in plan to that of S. Agnese (p. 126), are marked in a darker tint; the place of its tribune, now de- stroyed, by a dotted semicircular line; and the edifice of Honorius, with the more recent addi- tions, in a lighter shade. Sect. I. 123 § 24. SAN LORENZO. and of that pope—amongst the latter the coronation of Peter Courtenay, count of Auxerre, as emperor of the East, which took place here in 1217. º : # º2. sº - #-> 2 ººº [. :º Pasilica of S. Lorenzo. A. Vestibule. B. Nave. C, C. Aisles. D. Tribune. E. Vestibule of the primitive ch. F. Choir of more modern ch. G. Lateral portico. 1. High altar. 2. Confessional of St. Lawrence. 3. Episcopal throne. 4, 4. Dotted lines showing the site of the apse of the primitive ch. 6,6. Altars. 7. Entrance to the Catacombs. a. Tomb of Cardinal Fieschi. b. Tomb of St. Zosimus. The Interior of the basilica has a nave (B) divided from the 2 side aisles (c) by 22 columns with Ionic capitals, 16 of which are of grey Corsican or Sardinian granite, the remainder of cipollino: the granite columns are of different di- mensions; some, short and stumpy, be- longed evidently to a Doric edifice. The tribune (D), which constituted the nave of the church built by Pelagius II., is raised above the floor of the mave, as in most of the old basilicas; it is surrounded by 12 magnificent fluted columns of pavonazzetto marble, evi- dently taken from some ancient build- ing. They were buried half-way up their shafts below the present pave- ment until 1821, when they were laid bare to the pedestals. Ten of them have Corinthian, and 2 very richly sculptured Composite capitals orna- mented with military trophies. The entablature is also formed of frag- ments of more ancient Sculpture, among which friezes and other Ormaments may be recognised. Above this is a second range of 10 Smaller columns of the same marble, and 2 of black Egyptian granite, which formerly en- closed the gallery set apart for females, as we shall see still existing in the ch. of Sta. Agnese fuori le Mura (p. 126), which this more ancient portion of the basilica of S. Lorenzo resembled; behind the Tribune, and considerably below its level, is the vestibule (E) of the primitive ch. The pavement is of that variety of mosaic called opus Alexan- drinum, The whole of the sides of the Tribune have been recently excavated to a considerable depth, and, in laying bare the base, have led to the discovery of some curious inscriptions of an early Christian period. In the centre of the floor of the nave is a mosaic of 2 men in armour, with triangular shields, and surrounded by griffons; it is pro- bably of the period of Honorius III. The high altar (1) and its baldacchino, supported by 4 porphyry columns, stand above the Confessional (2), where, in a marble urn, are deposited the remains of St. Lawrence, St. Ste- phen, and of St. Justin Martyr. The scene of the martyrdom of St. Law- rence is now marked by the ch. of S. Lorenzo in Pane Perna, on the sum- mit of the Viminal Hill, within the city. Behind the high altar is an elaborate screen in mosaic with panels of red and green porphyry, and in its centre an ancient episcopal chair (3). Upon the face of the arch (4), overlooking the presbytery, is a curious mosaic repre- senting our Saviour and 5 saints, and Pope Pelagius II. himself, with his name beneath. This part of the edifice was originally turned towards the entrance of the ch. and the mave, as we see in | all the ecclesiastical edifices where they G 2 124 Rome. § 25. CHURCHES. have been left as primitively erected— St. Paul’s, Sta. M. Maggiore, &c. It is believed to date from the construc- tion of the latter pope in the 6th cen- tury. In the mave are the two ambones (5, 5), or marble pulpits, interesting relics of the early times of Christianity. They stand on each side of that raised portion of the nave which corresponded to the Presbytery (F) in the basilica of Honorius; the Epistle was chanted from the one on the S. side, which has a double row of steps leading to it, the reading-desk turned towards the nave; and the Gospel from that on the N.; mear the first is a mosaic candelabrum standing on a Roman cippus reversed. In the volutes of the 8th column of the nave on the rt. are sculptured a lizard and a frog, which led Winckelmann to suppose that all these columns were taken from one of the temples in the Portico of Octavia. Pliny tells us that the architects of the temples and Por- tico of Metellus, which occupied the site of that of Octavia, were two Spar- tans, called Sauros and Batrachus, and that, being wealthy, the only reward they asked was the permission to in- scribe their names upon their work. This was refused; but they introduced them into the ornaments of the build- ing, under the figures of a lizard and a frog. The identity of the column seems to be confirmed by discoveries, among the ornaments of the en- tablature, of fragments representing trophies and naval memorials, which are supposed to allude to the victory of Actium. Near the principal en- trance is an ancient sarcophagus (a) with beautiful bas-reliefs representing a Roman marriage ; it was converted in the 13th century into the tomb of Cardinal Guglielmo Fieschi, the ne- phew of Innocent IV. : the bas-reliefs on the cover are also very good. In the left aisle is a small subterranean chapel (7), celebrated for the indul- gences and privileges conferred on it by different popes. Close to this chapel is the descent into the Catacombs of Sta. Ciriaca, in which the body of S. Lorenzo is supposed to have been at first in- terred. These catacombs consist of low galleries with loculi or graves on the sides. They are seldom visited, as those of Sta. Agnese, St. Sebastian, and St. Calisto are more easily examined (see Pp. 306–311), and convey a much better idea of the general disposition and arrangements of these early Christian eemeteries. Under the lateral portico (G) leading from the church to the convent is a curious sarcophagus (b), which formerly stood behind the pres: bytery or in the vestibule of the ch. of Pelagius, with bas-reliefs represent- ing a vintage, the vine-gatherers being Cupids, or Genii, with different birds and animals; it is believed to have contained originally the remains of Pope St. Zosimus (ob. A.D. 417), and subsequently of Damasus II., who died in 1048. There are some curious ancient fragments and inscriptions in the cloisters of the adjoining monas- tery. Very extensive excavations have been recently executed to insulate the ch. of S. Lorenzo by cutting away the hill of tufa against which it was built, as well as the eastern front of the early Basilica, and where its connexion with the pre-existing catacombs can be well SČ011. A public cemetery, the only one about Rome, formed during the French go- vernment, is close to the basilica of San Lorenzo ; it has been greatly extended of late years, since burying in churches has been in a great measure and very properly interdicted ; it is now con- fined to the noble families who pos- sess proprietary chapels in them, and to ecclesiastics and members of the monastic orders. In the sides of the walls of tufa-rock, cut away to enlarge the cemetery, the visitor will observe numerous galleries of the catabombs of Santa Ciriaca laid open, with the loculi or graves excavated in their sides. § 25. CHURCHES. The 54 parish churches of Rome form but a small proportion of the whole number. Upwards of 300 churches are enumerated, independently of those classed under the head of Basilicas. As might be expected in so large a number, there are comparatively few which possess much interest for the Sect. I. 125 § 25. S. AGATA—s. AGNESE. stranger. In the following descriptions are included all those which are in any way remarkable for their architecture, the works of art they contain, or their history. In visiting the churches the usual fee to the sacristan who shows the pictures, &c., is 2 pauls for a party; one-half is amply sufficient for a single visitor. The churches, except the principal basilicas, which are open all day, are generally closed from 12 to 2. Many of those attached to monasteries and convents are only open at an early hour, and some only on the festival of the patron Saint. S. Agata de' Goti, or in Suburra, in the Via Magmanapoli, and on the E. declivity of the Quirinal, is said to have been founded by Ricimer the leader of the Goths, about the year 470. Polluted by the Arians, it was subse- quently abandoned, but re-established by St. Gregory the Great, who dedi- cated it to its present patron Saint in 693. No part of the ancient edifice remains, the present ch. having been restored, as we see it, in 1633. It con- sists of a nave and aisles separated by 16 columns of grey granite, with Ionic capitals, several of the latter from some ancient edifice. The only objects of interest to the traveller are the tomb of Lascaris and the monument to D. O'Connell: the former, a simple sepulchral slab, is between the two columns on the right on entering ; the latter against the wall in the 1. aisle. John Lascaris was one of the Greek refugees who fled their coun- try after the fall of Constantinople, and amongst the most efficient introducers of Greek literature into western Europe. The inscription, written by himself in Greek, is to the following effect:- “Lascaris lies here in a foreign grave; but, O stranger, he does not feel uncomfortable on that account— he rather rejoices; yet is not without a pang, as a Grecian, that his father- land cannot afford him an emancipated sod of earth.” The monument which contains the heart of O'Connell, which he bequeathed to this ch., will prove more interesting to the British visitor. It was raised at the expense of Charles Bianconi, Esq., of Irish car notability, who has styled himself on the dedicatory inscription the “faithful friend of the immortal Liberator.” The bas-reliefs on it, as well as the whole monument, exe- cuted by Benzoni in 1856, is of a very mediocre style of sculpture. The re- presentation of O'Connell refusing to sign the Declaration at the Bar of the House of Commons in 1839 is a poor production, both as to subject and de- sign, in spite of the praise bestowed upon it in a work on Rome lately pub- lished by an Irish M.P.; the inscrip- tion is a strange mixture of vanity and misrepresentation. In the opposite aisle is a good monument to Cardinal Mario y Catalan, in the cinquecento style. The ch. of St. Agata is now attached to a college for the educa- tion of young Irish priests, of whom there are about 40 at present on the establishment. S. Agnese, in the Piazza Navona, built on the spot where St. Agnes is said to have been publicly exposed after her torture, and to have struck with blindness the first person who saw her degradation. This is one of the good examples of a ch. in the form of the Greek cross. It was entirely rebuilt in 1642 by the princes of the Pamfili family, from the designs of Girolamo Raimaldi, and is generally regarded as his masterpiece. The façade is by Borromini. The cupola was added by Carlo Raimaldi. The interior is rich in marbles and ornaments, and has 8 fine columns of red Cotanella marble. The entrance and 3 splendid chapels form the arms of the Greek cross; they are decorated with statues and large bas-reliefs by Algardi; the latter scarcely merit the praises bestowed on them. The cupola was painted by Ciro Ferri and his pupil Corbellini. Among the sculp- tures most deserving of notice are the St. Sebastian, in the chapel on the 1., an antique statue altered by Paolo Campi ; the St. Agnes, in the opposite one, by Ercole Ferrata; the group of the Holy Family by Domenico Guidi ; and the bas-relief of St. Cecilia by Antonio Raggi. The tomb of Inno- cent X., over the entrance, is by Mainí. In the subterranean chapel the bas- relief over the altar, which is supposed to stand on the very spot of the Circus 126 Rome. § 25. CHURCHES.—s. AGNESE. where St. Agnes was martyred, repre- who have their burying-place in the senting her miraculously covered with hair, is by Algardi. This magnificent ch, has been recently restored, in a splendid manner, by the present Prince Doria Pamfili, the head of the family, "nºn- I5 - g Fr. * : --> - -*.J. & tº š. -; # º vaults beneath. S. Agnese fuori le Mura, a basilica [-T- ------> T D | s s §§§s N. º * º §§§ Section and Plan of S. Agnese. - 1. Stairs leading to the ch. 2. Entrance from the primitive atrium. 3, 3. Vestibule. 4. Stairs leading to gallery. 5. Nave. Chapel of S. Jerome. of columns. 14. Upper ditto. has preserved its ancient form and arrangement without change, and in this respect one of the most in- teresting Christian edifices in or about Rome. It was founded in 324 by Constantine, at the request of his daughter Constantia, on the spot where the body of St. Agnes was discovered. The ch. being below the level of the soil, 6. Confessional. 10. Chapel of the Virgin. 15. Wall supporting roof. 8. High altar. 9. 7. Episcopal throne. 13. Lower range 11. Tribune. 12. Sacristy. we descend into it by a long flight of marble stairs (1), whose walls are covered with sepulchral inscriptions, chiefly of the early Christians, found in the neighbourhood. Some of these in- * The basilica of S. Agnese being the most unaltered of the early Roman churches, we have annexed a ground plan and elevation of it on the same Scale. Sect. I. 127 § 25. S. AGOSTINO. scriptions are interesting, as giving their dates, by having the names of the con- suls of the period upon them ; others, al- though written in the Greek character, express Latin words. One of the most remarkable is a large Square tablet, covered with an inscription in verse, in honour of St. Agnes, by Pope St. Damasus (in 366-385); the letters are in the ordinary beautiful form used in all such memorials of the reign of that pontiff. Entering the ch. from here, the interior presents some strik- ing characteristics of the unaltered basilica; it consists of a nave (5) separated from the 2 side aisles by 16 ancient columns (11), 10 of which are of Serravezza brecciº, 4 of the rare porta-Santa, and 2 of pavonazzetto, with good Corinthian capitals—some of them curiously fluted. Above rises a second range (11) of columns of the same material, but of smaller di- mensions, upon which rests the wall pierced with windows and supporting the roof. These columns enclose the gallery, resembling in some respects the triforium of our Gothic churches, one of the characteristics of the Pagan basilica, as described by Vitruvius, and which, in the early Christian ones, was set aside for females, as it was in the Pagan edifices: this gallery in Sta. Agnese surrounds 3 sides of the ch. Between the windows are paint- ings of virgin martyrs. Under the high altar (8), with a baldacchino sustained by 4 porphyry columns, is the confessional (6) of St. Agnes, where her remains are deposited. Her statue on the altar is composed of an antique torso of Oriental alabaster, with modern head, hands, &c., in bronze gilt. The vault of the tribune is covered with a mosaic representing St. Agnes between popes St. Symachus and Ho- norius; very interesting in the history of the art, and of the time of the latter pontiff (A.D. 630), with an inscription in Latin verse. At the altar of St. Jerome (9), first on the rt., is a fine head of our Saviour, in marble, attributed to M. Angelo. The next chapel has a good bas-relief altarpiece in the cinquecento extremity of this aisle occupies the place of the ancient sacristy, and the modern sacristy (12) probably that of the ancient baptistery. At the side of the high altar is a beautiful antique candelabrum in marble, found in the adjoining catacombs. This ch., having undergone a thorough repair at the expense of the reigning pope, is now one of the most beautiful about Rome : the hand- some roof has been restored ; a new marble pavement laid down ; the in- tervals of the lower tier of aisles de- corated with mosiacs, and portraits of several of the popes most connected with the basilica. The festival of St. Agnes, on the 21st of January, and at a period when our countrymen visit Rome, will be well worth attending. High mass, accompanied by excellent music, is generally celebrated by the titular cardinal of the ch., and is followed by a curious ceremony, the blessing of the lambs, which are placed upon the altar, decorated with flowers and garlands, and are afterwards handed over to the nuns of a convent in Rome, by whom they are reared for their wool, which is employed in mak- ing the palliums distributed by the pope to great church dignitaries, Ad- joining this ch. is that of Sta. Costanza (p. 139). S. Agostino, in the piazza of the same name, near the extremity of the Via della Scrofa, which forms the S. con- tinuation of the Via di Ripetta, built in 1483 by Cardinal d’Estouteville, ambassador of France, from the designs of the Florentine architect Baccio Pintelli. The whole building was re- stored in the last century by Vanvitelli (1740). The elegant but simple front is of travertime taken from the Coliseum : the cupola was the first constructed in Rome. The interior retains some traces of the original pointed roof of the mave. One of the great objects of interest in this ch. is the celebrated fresco by Raphael on the third pilaster on the 1. of the nave; it represents the prophet Isaiah and 2 angels holding a tablet. According to Vasari’s account, style, representing St. Lawrence and | Raphael painted this fresco after he had St. Stephen. The small chapel at the seen the prophets of Michel Angelo 12S Rome. § 25. CHURCHES.—s. ANASTASIA. in the Sixtine chapel. The fresco was injured in the time of Paul IV. by attempts to clean it, and was restored by Daniele da Volterra. In the chapel of St. Augustin is a fine picture of the Saint and 2 lateral paintings by Guercino. The statue of St. Thomas of Villanova is by Ercole Ferrata. The fine group in marble, representing the Virgin and the infant Saviour, near the entrance to the ch., is a remarkable work of Jacopo da Sunsorino, and is held in great veneration, and covered with rich ornaments—all the jewellery upon it, and the numerous silver ex-votos in the shape of hearts, which we see covering the pillars of the ch., having been offered to it by devotees. The high altar and its 4 angels are from the designs of Bernini. The Madonna over it is a Greek painting brought from Constantinople. There are few works of art of transcendant merit in this ch., except those already men- tioned : the Madonna di Loreto in the first chapel on the 1. is by M. A. J. Carºtectſ/fio, and the fine group in marble of the Virgin and St. Anne by Andred da Sansovino. There are several sepulchral monuments of celebrated members of the Augustinian order, amongst others, of Panvinio the anti- quarian, and Card. Norris (ob. 1704). The ch. is at this moment undergoing a thorough restoration. In the adjoining convent, a fine building designed by Vanvitelli, is the Bibliotect, Angelicºt, so called from Cardinal Angelo Rocca, who founded it in 1605. It is the third library in Rome in point of the number of volumes, containing nearly 90,000 printed books and 3000 MSS. In this number are comprised many valuable works from the collection of Holste- nius, presented by Cardinal Barberini. It contains some valuable cinquecento editions, some inedited Chinese and Coptic MSS., a Syriac Gospel of the 7th century, a Dante of the 14th cem- tury with miniatures, and an edition of Walton’s Polyglot, with the preface acknowledging the encouragement of Cromwell, the “Serenissimus Prin- ceps,” which was afterwards altered to suit the dedication to Charles II. The library is open daily, except on holi- days, from 8 A.M. until moon. S. Alessio, on the Aventine, supposed to mark the position of the Armilus- trum, where Plutarch tells us that Tatius was interred. It was origin- ally dedicated to St. Boniface, the first ch. being built on the site of the house of the father of St. Alexis, in the 9th century. In a recess from the passage leading to the Sacristy there is a good recumbent statue of Card. Guido di Bagno, who lived in the reign of Leo X., by C. Murena. It had a narrow escape in 1849, during the French bombardment, a shot hav- ing broken through the mosaic roof Over it, and fallen within a few inches of the statue. There is a curious in- Scription in the convent to one of the Massimo family, showing that it existed in the 10th century. The ch. of St. Alessio is attached to a convent of the Somaschi fathers, and is seldom open except at an early hour. S. Anastasia, at the foot of the Pala- time, towards the Tiber, a very ancient foundation, giving a title to a cardinal priest. It is built over some large Roman reservoirs, connected with the neighbouring Circus Maximus, and near where stood in the earliest times the Porta Mugnonia, and the Ara Maxima of Hercules. The present ch., erected in 1636, is chiefly remarkable for 9 fluted Ionic columns of Pavon- azzetto marble, said to have belonged to the Temple of Neptume on the Palatine, which, as well as others of grey granite, are built into the pilasters of the nave. The celebrated Cardinal Mai, who was titular of this ch., is buried in it, where a handsome monu- ment has been erected during the present year to his memory ; in dig- ging the foundations for which, Some curious portions of the walls of Romu- lus, and of a tower supposed to belong to the Porta Mugnonia, were dis- covered. S. Andrea delle Fratte, which belonged to the Scottish Catholics before the Sect. I. 129 § 25. s. ANDREA. Reformation, and behind the College of the Propaganda, was restored at the end of the 16th cent. from the designs of Guerra, except the cupola and steeple, which are by Borromini. The front is by Valadier (1825), and erected at the expense of Cardinal Consalvi. The 2 angels on each side of the high altar are by Bernini ; being found too small to stand on the bridge of St. Angelo, for which they were intended, they were presented to this ch. by the sculptor's descendants. The statue of St. Anna, in the chapel dedicated to that saint, is by Pucetti. In this ch. are the tombs of the Prussian sculptor Rudolph Schadow, by his countryman Wolf; of Angelica Kauffmann; of George Zoega, the learned Danish anti- quary, the well-known author of the work on the Obelisks; and of Miss Falconet, a young English lady, with a beautiful recumbent figure, by the talented American sculptress, Miss Hosmer. In the second chapel on the 1. is a modern picture of the Madonna, by Cades, and 2 others on the side wall representing her mira- culous salutation, in 1842, to a French Jew named Ratisbonne, who was wan- dering about the church, and which was followed by his conversion to Christianity—an event which created a good deal of sensation in Rome at the time. This ch. is remarkable for the ceremony of the Tre Ore, or 3 hours of Christ's agony on the cross, and the Sette Dolori of the Virgin, which takes place on Good Friday, from 12 to 3 P.M. Sermons in English are often preached here during Lent, it being the parish ch. of the Piazza di Spagna and adjoining streets — the principal resort of our countrymen at Rome. S. Andrea al Quirinale, in the street leading from the Quattro Fontane to the Piazza of the Quirinal, an elegant little ch., built by prince Ca- millo Pamfili, nephew of Innocent X, from the designs of Bernini; it is at- tached to the convent of the Noviciate of the Jesuits. It has a Corinthian façade, and a semicircular portico with Ionic columns. The interior is oval, and richly decorated. In the chapel of St. Francis Xavier, the first on the rt., are 3 paintings by Baciccio; they re- present St. Francis Xavier baptizing a queen in India, and the death of the saint in the desert island of Sancian in China. The chapel of St. Stanislaus Kostka, second on 1., has an altarpiece representing the patron saint kneeling before the Virgin, by Carlo Marattu : the other paintings are by Odazzi and Mazzanti, pupils of Baciccio. Under the altar the body of St. Stanislaus is preserved in an urn of lapis lazuli. In the recess between this chapel and the high altar is the tomb of Charles Emanuel IV., king of Sardinia, who abdicated in 1802, and became a Je- suit in the adjoining convent, by Festa, a Piedmontese sculptor. The painting at the high altar, represent- ing the Crucifixion of St. Andrew, is by Borgognome; on each side are fine columns of Cotamella marble. In the convent is shown the chamber of St. Stanislaus, converted into a chapel by Chiari. It contains a singular statue of the dying saint, by Le Gros : the head, hands, and feet are of white, the robes of black, and the couch is of yellow marble. It was near this church, probably in the gardens be- hind, extending to the valley between the Quirinal and the Viminal, that stood the celebrated Temple of Quiri- mus, erected by Romulus. S. Andrea delle Valle, one of the best specimens of more modern church architecture in Rome. It was built in 1591, from the designs of Olivieri, and finished by Carlo Maderno. The fine façade is by Carlo Rainaldi; between its coupled columns of the Corinthian and composite orders are niches con- taining statues by Domenica Guidi, Ercole Ferrata, and Fancelli. The interior is celebrated for its frescoes. The cupola, one of the most beauti- ful in Rome, is painted by Lanfranco, and is one of his most successful works. He devoted 4 years to its execution, after a long study of Correggio’s cupola at Parma. The glory which he introduced in the centre of the lantern was considered - G 3 130 Pome. § 25. CHURCHES.—s. ANGELo. to form an epoch in art. At the 4 angles are the Evangelists by Dome- nichino ; on the vault of the tribune the Flagellation ; and in the central Compartment, behind the altar, the Glorification of St. Andrew. The latter is most remarkable for its clear and powerful colouring. Of the evangelists, the St. John is an admi- rable figure, powerfully coloured and beautiful in expression. Amidst the outcry against these frescoes, Domemi- chino is said to have visited them some time after their execution, and to have said, “Non mi pare d’esser tanto cattivo.” Lanzi, speaking of the evangelists, says that, “ after a hun- dred similar performances, they are still looked up to as models of art.” On the walls of the choir are 3 large frescoes representing different events in the life of St. Andrew, by Calabrese. In the Strozzi chapel, the 2nd on the rt., erected from the designs of M. Angelo, is a bronze Pietà, copied from that in St. Peter's, and of the Elias and Rachel which stand beside the Moses at S. Pietro in Vincoli. In the rt. transept is a picture of S. Andrea di Avellino, by Danfranco. In the nave are the fine sepulchral monuments of Pius II. and Pius III., by Paolo Romano and Pasquino of Montepulciano; they formerly stood in the old basilica of St. Peter’s, from which they were removed on its being pulled down. The St. Sebastian in an adjoining chapel is by Giovanni de' "ecchi. In the Rucellai chapel, the 2nd on the 1., is the tomb of Giovanni della Casa, the learned archbishop of Benevento, who died in 1556. He was the biographer of Cardinals Bembo and Contarini, and the author of the Galateo, or Art of Living in the World. Another tomb of some interest is that of Cardinal Gozzadino, nephew of Gregory XV. The 1st chapeſ on the 1. contains an Assumption by Doménico Passignani; and 4 statues, of which S. Martha is by Francesco Mochi, St. John the Evangelist by Buonvicino, the Bap- tist by Pietro Bernini, and the Magdalen by Cristoforo Santi. This ch, is sup- posed to stand on the site of the Curia of Pompey, and very near to where Caesar fell. S. Andrea dei Scozzesi, in the street leading from the Piazza Barberini to the Quirinal, is chiefly interesting to our northern fellow-countrymen from being the last resting-place of many Scottish families who died at Rome; it dates from 1649, when it was erected by the Marchioness of Huntley and Count Leslie ; it is now annexed to the College for the Education of Ca- tholic Priests from Scotland. S. Angelo in Pescheria, close to the por- tico of Octavia, supposed to occupy a part of the site of the Temple of Juno, noticed under the head of Anti- quities in our description of that por- tico; but it is chiefly remarkable from its connexion with the history of Cola di Rienzo. It was upon the walls of this ch. that he exhibited the alle- gorical picture of Rome, which first roused the people against the nobles. It was here also that he assembled the citizens by sound of trumpet to meet at midnight on the 20th May, 1347, in order to establish the “good estate.” After passing the might in religious observances, Cola marched out of the eh. in armour, but with his head un- covered, attended by the papal vicar and numerous followers bearing alle- gorical standards of Peace, Liberty, and Justice. He proceeded in this way to the Capitol, and there, standing before the lion of basalt, called on the people to ratify the articles of the Good Estate. This memorable scene terminated by the elevation of Cola to power as the Tribune and Liberator of Rome. The Jews, whose Ghetto is close by, are compelled to pay an annual tax to this ch., as well as to the neighbouring Casa dei Neofiti, or House of the Converts amongst their co-religionists to Christianity. S. Antonio Abate, near Santa Maria Maggiore, supposed to stand upon the site of a temple of Diana; the only part remaining of the ch. rebuilt in i481 is the handsome Lombard arch, which now forms the principal en- trance. In the chapel of the saint, on the rt. on entering, are two curious specimens of coloured mosaic repre- Sect. I. 131 § 25. ss. APOSTOLI. senting tigers tearing young bulls, The walls in the interior, which was restored in the last century, are covered with frescoes representing scenes in the life of the saint, painted by Gio- vanni della Marca, in all of which the Devil plays a conspicuous part ; those of the cupola of the chapel of the patron saint are by Pomarancio. On the feast of St. Anthony (January 17th) and during the whole of the follow- ing week the ch. is much resorted to by the peasantry to have their domestic animals blessed and sprinkled with holy water. On the 23rd, or octave, all the postmasters about Rome send their horses mounted by their postilions in their smartest liveries for the same purpose. Those of the pope, of the Church dignitaries, and Roman princes, are brought between 12 and 1 o’clock, decorated in their richest trappings. The ceremony was for- merly an interesting one, and enabled the visitor to see the finest studs of the Roman aristocracy, but of late years the great families have ceased to send their horses to be blessed. Sant Antonio di Portoquesi, near the Via della Scrofa, the national ch. of the Portuguese, is a handsome edifice in- ternally, of the 17th century, its walls being richly decorated with various kinds of coloured marbles and Sicilian jasper; none of the paintings are of any great merit; it contains numerous tombs of Portuguese who have died at Rome. S. Apollinare, in the square of the same name, near the ch. of S. Agos- tino, is a handsome edifice, supposed to stand on the site of a temple of Apollo, converted into a Christian ch. by St. Silvester. The present edifice dates from the time of Benedict XIV., and consists of a large vestibule, and an undivided mave; the choir and high altar were erected by the architect Fruga at his own expense. In the vestibule at the altar on the l. is a painting of the Umbrian school of the 16th century, representing the Madonna with SS, Peter and Paul, erroneously attributed to Perugino. The adjoining extensive convent, formerly possessed by the Jesuits, is now the ecclesiastical seminary of the diocese of Rome. This ch. is celebrated for its collection of sacred relics. SS. Apostoli, in the piazza of the same name behind the Corso, founded by Pelagius I. in the 6th century, rebuilt by Martin V. about 1420; it is known amongst early writers as the Basilica Constantiniana. The tribune was added by Sixtus IV., and the portico by Julius II. when Cardinal della Rovere. The interior was restored by Francesco Fontana. Under the portico in front of the church is an antique bas-relief of an eagle standing in a crown of oak, much admired as a specimen of ancient decorative art. Opposite is the simple monument erected by Canova to his early friend and countryman Volpato, the celebrated engraver: it repre- sents in bas-relief a figure of Friend- ship weeping before the bust of the deceased. The interior of the ch. is remarkable for another fine work of Canocq, the tomb of Clement XIV., placed over the door in the 1. aisle which leads into the sacristy. Hy the inscription on the monument of Volpato we are told that this interesting work was executed by Canova in his 25th year, and we may therefore regard it as one of the first successful efforts of the new school of sculpture. It consists of a sitting statue of the pope, and 2 figures representing Tem- perance and Meekness. This monu- ment was raised to his patron entirely at the expense of Carlo Giorgi, who had received many favours from Cle- ment XIV., and who commissioned his friend Volpato to employ Canova. A Latin inscription, placed on one of the pilasters on the rt., marks the spot where the praecordia of Maria Cle- mentina, wife of the first Pretender, are deposited: her tomb we have already noticed in St. Peter's. The paintings in this ch. are not remarkable : the picture over the high altar, represent- ing the Martyrdom of the Apostles Philip and James, to whom this church was originally dedicated, and whose remains are beneath the high altar, 132 Rome. § 25. CHURCHES.--ARA COELI. is by Domenico Muratori : it is one of the largest altarpieces in Rome; and is painted on the wall. The Triumph of the Franciscan Order in the middle of the roof is by Bºciccio. The St. Anthony, in the chapel of that saint, by Benedetto Luti, is mentioned by Fanzi as one of his most esteemed works. In the choir is a good sepul- chral monument of the 15th century, raised by Sixtus IV. to his kinsman Pietro Riario; and opposite to it those of Garundo Anseduno in the same style, and near it of Cardinal Raphael Riario, from the designs of Michel Angelo. The festival of St. Bonaven- tura is celebrated in this ch. on the 14th July, in the presence of the col- lege of cardinals. The adjoining con- vent is the head-quarters of the Order of the Black Friars, or Minor Conven- tuals, of which Sixtus V. and Cle- ment XIV. were members ; in it were written the celebrated letters of the latter which made so much noise in the last century. In the clois- ters of the convent are several monu- ments, removed for the most part from the older church, amongst which are worthy of notice two to the memory of Cardinal Bessarion, the eminent Patriarch of Constantinople, who con- tributed so much to the introduction of Greek literature into Western Europe since the revival: born at Trebizond, he attached himself to the Roman church, and became bishop of Tus- culum in 1466; he raised, during his lifetime, one of these memorials, with a Greek and Latin inscription from his own pen; the other was placed in the church, after his death at Ravenna, in 1472, by the monks, when his remains were brought here ; it is surmounted by a very characteristic portrait of the deceased in relief. The cenotaph to Michel Angelo, who died in this parish, and who was buried here be- fore his remains were conveyed to Florence, has upon it a recumbent figure of the old man, with his very striking likeness; it is without any inscription, and on the 1. of the side door leading from the cloister to the ch. Immediately opposite to it is one of the memorials to Bessariën; in the centre of the outer cloister is a large ancient marble vase, supposed to be the Cantharus, or vessel used for ablutions, which stood in the atrium of the primi- tive basilica. Ara Caeli, or Santa Maria di Aracºeli, near the Capitol.—We have already stated, in the description of the Anti- quities, that the ch. of Sta. Maria di Ara Coeli occupies the site of the Temple of Jupiter Capitolinus. The ch. is of high antiquity, probably as old as the 4th century, when it was dedicated by St. Gregory the Great as Santa Mariº in Capitolio. The façade of brick- work is more recent, and was formerly decorated with mosaics; the fragment of Gothic which it retains in its pointed windows and cornice would refer it to the 13th or 14th cents. The interior has a mave and 2 aisles, separated by 22 columns of different sizes and mate- rials, taken from various ancient buildings. 18 are of Egyptian gra- mite, 2 fluted of white marble, and 2 of cippolino. Their bases and capitals are also dissimilar; and some are so much shorter than the others that it has been necessary to raise them on pedestals. On the third column on the l, of the main entrance is engraved, in letters evidently of the Imperial period —A CVBICVLO’ AVGVSTORUM. Its au- thenticity has not been doubted, and it would therefore indicate that it was brought from the ruins of the Palace of the Caesars. The floor is of mosaic, of an ancient kind, encircling slabs of marble, containing some specimens of rare varieties, amongst which a great abundance of green or ophite porphyry. The name of Ara Coeli has given rise to considerable con- troversy: the tradition of the Church tells us that it is derived from the altar erected by Augustus to commemorate the prophecy of the Cumaean Sibyl respecting the coming of our Saviour. It is said to have borne the inscription Ara primogeniti' Dei, from which the legend has derived the modern title. Others reject this as an invention of the monks, and tell us that the ch. in the middle ages bore the name of S. Maria in Aurocielo. The ch. and adjoining Sect. I. 133 § 25. ARA COELI. convent belonged to the Benedictines until 1252, when Innocent IV. trans- ferred it to the Reformed Franciscans, who have held it from that period to the present time. On entering the ch. by the principal door, the first chapel on the rt. contains an admirable series of frescoes by Pinturicchio, illustrating the life of St. Bernardino of Siena: they were restored some years ago by Camuccini, and represent the Saint assuming the habit of a monk, his Preaching, his Vision of Christ, his Penitence, his Death, and his Glori- fication. The paintings on the roof are attributed to his pupil Francesco da Citta da Castello and to Luca Si- gnorelli. The floor of opus Alexan- drinum, in this chapel, is very beau- tiful. Of the other pictures in the ch. the most remarkable are the Ascen- sion, by Girolamo Muziani, in the 6th chapel on the 1, ; the S. Jerome by Giovanni de' Vecchi; the paintings in the chapel of St. Margaret of Cortona, representing the Conversion and Death of the Saint, by Benefiel; the Trans- figuration, in one of the last chapels, cited by Lanzi among those works of Girolamo Siciolante in which he ap- proached nearest to Raphael; and the frescoes on the roof of the chapel of St. Antomy,. by Niccolò da Pesaro. There are some interesting tombs. In the Savelli chapel, dedicated to St. Francis, in the rt.-hand transept, is the Gothic monument of Luca Savelli (1266), the father of Pope Honorius IV., and of his son Pandolfo, by Agos- tino and Affmolo da Siena, from the de- signs of Giotto; the base on which it rests is formed of an ancient sarco- phagus covered with bacchamalian em- blems; opposite is that of the mother of the Pope, upon which lies the statue of the Pontiff himself, removed here from his monument which stood in the old basilica of St. Peter's. Near the high altar is the tomb of Cardinal Giambat- tista Savelli (ob. 1492), a good speci- men of the school of Sansovimo ; and on the floor the gravestone of Sigis- mondo Conti, secretary to Julius II., for whom Raphael painted the cele- brated Madonna da Foligno. This exquisite work, which stood over the high altar in this church, was re- moved to the convent of the Contesse at Foligno in 1565, when Conti’s sister became a nun in that establish- ment. The celebrated traveller of the 17th centy., Pietro della Valle, is buried opposite the first altar in the rt. aisle. Another interesting tomb, in the 1. transept, without an inscrip- tion, is that of Cardinal Matteo di Acquasparta, general of the Francis- cans (1302), who was employed by Boniface VIII. in his negotiations with the Florentines, and mentioned by Dante for the moderation with which he administered the rules of his order. The 2 ambones at the extremity of the nave are covered with mosaics of red, green, and gold. The insulated octa- gonal chapel in the 1. transept, dedicated to S. Helena, is supposed to stand on the site of that raised by Augustus, the Ara primogeniti Dei above mentioned. The altar-table, an urn of red porphyry, once contained the body of the mother of Constantime. The present chapel was erected in 1798, when a pre-exist- ing one of the 17th centy. was destroyed. The Ara Coeli is held in great venera- tion by the Romans on account of a miraculous figure of the infant Saviour, the Santissimo Bambino, whose powers in curing the sick have given it extra- ordinary popularity. The legend tells us that it was carved by a Franciscan pilgrim out of a tree which grew on the Mount of Olives, and painted by St. Luke while the pilgrim was sleep- ing over his work. The bambino is richly decorated with gems and jewel- lery, the offerings of the pious, and is held in such sanctity in cases of sick- ness, that it was said to receive at one time more fees than any physician in Rome. In the early part of 1849 the Republican triumvirate made the monks a present of the pope's state coach for the use of the bambino ; but after the return of his Holiness the gorgeous vehicle was taken from them, and the bambino again resumed the old brown vehicle in which for many years it had been accustomed to pay its visits to the sick. The Festival of the Presepe, or of the Bambino, which takes place from Christmas-day to the Feast of the 134 Rome. § 25. CHURCHES.—s. BARTOLOMMEo. Epiphany, is attended by crowds of peasantry from all parts of the sur- rounding country. The 2nd chapel in the 1. aisle is converted on this occa- sion into a kind of theatrical stage, on which the Nativity is represented by figures as large as life, represent- ing the Adoration of the Shepherds, with the Virgin kneeling before the image, and statues of Augustus and the Sibyl, in a tawdry theatrical cos- tume, on each side of this species of theatre. During this festival, and es- pecially on the 26th of Dec., a singular exhibition takes place. A kind of stage is erected opposite the Presepe, on which children are made to declaim, and act certain sacred dramas in con- nection with the Advent of our Saviour. This takes place generally between 3 and 4 o'clock in the evening. To English travellers the ch. of the Ara Coeli has peculiar interest from its connexion with the greatest of our his- torians, Gibbon. It was in it, as he himself tells us, that “on the 15th of October, 1764,” as he “sat musing amidst the ruins of the Capitol, while the barefooted friars were singing ves- pers, that the idea of writing the De- cline and Fall of the city first started to his mind.” In front of the ch. are the 124 marble steps said to have been erected from the ruins of the Temple of the Sun on the Quirinal. An inscription on the left of the great entrance states that they were constructed in 1348, the year of the plague, by Maestro Lo- renzo, of the Rione Colonna, the ex- penses being defrayed by charitable contributions. Before the principal entrance is the grave of Flavio Biondo, one of the earliest writers on Roman antiquities in the 15th centy. The adjoining convent is very large, em- bracing the ancient palace of the popes, erected by Paul II. on the Capitoline; the library is extensive, and rich in ecclesiastical literature. The head of the order of the Reformed Franciscans, the Grey Friars of England in olden times, resides here. Sta. Balbina, a very ancient ch, on the Aventine. It is in the form of a basilica, with 3 wheel windows in the front; the interior has been entirely modernized, the only objects worthy of notice being the tomb of Stefano Sordi, by one of the Cosimatis, adorned with mosaics and having a recumbent figure of the deceased. The bas-relief on the oppo- site side of the ch. was brought from an altar erected by Cardinal Barbo in the old basilica of St. Peter's. The convent of Sta. Balbina, which is sur- rounded by mediaeval walls, when it served as a stronghold of the Roman barons, has been lately converted into a penitentiary for young criminals. The ch. is seldom open ; its principal inte- rest is in its situation, commanding such fine views over the Caelian and the Baths of Caracalla. S. Bartolommeo in Isola, in the island of the Tiber, and on the site of a temple of Jupiter, or, as some antiquaries will have it, on that of Æsculapius. The present ch., as we read in an inscription in hexameters under the portico, was erected in ll 12 by the Emp. Otho III., to receive the bodies of certain martyrs; it was successively restored by Popes Paschal II., Gelasius II., and Alexander III., and was nearly ruined during the frightful inundation of 1557. It ac- quired its present form in the reign of Gregory XIII., from the designs of Martino Longhi. The interior consists of a nave and 2 aisles, separated by 14 ancient granite columns. The urn under the high altar is a fine specimen of red porphyry, containing the relics of St. Bartholomew and other saints; before it is a puteal or mouthpiece of a well, with bas-reliefs of the 12th century. The paintings in the differ- ent chapels are chiefly of the 17th cen- tury; none of them are worthy of par- ticular notice. In the garden of the adjoining Franciscan convent may be seen remains of the substructions which surrounded the island, giving to it the form of a ship, as stated in our chapter on the Antiquities (p. 30). S. Bernardo, in the Piazza de' Ter- mini, a circular building of consider- able interest as one of the halls which stood at the angles of the outer circuit of the Baths of Dio- Sect. I. 135 § 25. CAPPUCCINI. cletian. It has been preserved entire by the pious care of Caterina Sforza, countess of Santa Fiora, who in 1598 converted it into a ch. dedicated to St. Bernard, and presented it to the Cister- cian monastery which she founded and endowed. The ch. has been lately com- pletely restored; and the rents which menaced ruin to the beautiful roof, with its sunk square panels, repaired. There are several inscriptions to members of the Sforza family interred here. A very good monument to the sculptor Tinelli, by Rinaldi, has been lately placed in this ch. S. Bibiana, not far from the Porta di San Lorenzo, founded in the 5th cen- tury on the site of the house of the saint, near the Licinian Palace, and entirely remodelled by Urban VIII. from the designs of Bernini, who added the façade. The 8 columns, 6 of granite and 2 of marble, with flutings and Corinthian capitals, separating the nave from the aisles, are an- tique. On the walls of the nave are 10 frescoes of events in the life of the saint; those on the rt. are by . Agostino Ciampelli ; the opposite ones by Pietro da Cortona. The statue of S. Bibiana at the high altar is gene- rally admitted to be the masterpiece of Bernini. It is graceful and pure in style, and forms a remarkable con- trast to the fantastic taste which cha- racterises his later works. Beneath the altar is a magnificent sarcophagus of Oriental alabaster 17 feet in cir- cumference; it contains the remains of Bibiana and of 2 other saints. Near the door, enclosed in an iron cage, is the stump of a column, to which Sta. Bibiana is said to have been tied when she suffered martyrdom. This ch. is rarely open, except on the anniversary of the patron (Dec. 2nd) and on the 4th Friday in Lent. The Cappuccini, or S. Maria della Con- cezione, in the Piazza Barberini, built by Cardinal Francesco Barberini, brother of Urban VIII. It is celebrated for the picture of the Archangel Mi- chael by Guido (in the first chapel on the rt.), classed by Lanzi among his best works in his softer man- ner. Forsyth calls it the Catholic Apollo. “Like the Belvedere god,” he says, “ the archangel breathes that dignified vengeance which animates without distorting; while the very devil derives importance from his august adversary, and escapes the laugh which his figure usually pro- vokes.” The Lucifer is said to be a likeness of Cardinal Pamfili, after- wards Innocent X., who had dis- pleased Guido by his criticisms. The common story tells us that it is the portrait of Urban VIII. ; but the fact that the picture was painted for Cardinal Barberini, the pope's bro- ther, must throw discredit on the statement, even if it were not esta- blished that the satire was directed against his predecessor, Innocent X. In the same chapel is a fine picture. by Gherardo della Notte, of Christ in purple robes, &c. Cardinal Barbe- rini is buried in the ch. before the high altar; his grave is marked by the simple inscription on the pave- ment, Hic jacet pulcis, cinis, et nihil. Over the entrance door is the car- toon by Francesco Beretta, represent- ing St. Peter walking on the waters, used in restoring the Navicella which Giotto executed in mosaic, now under the portico of St. Peter's. In the chapel opposite to Guido’s Arch- angel is the Conversion of St. Paul, one of the best works of Pietro da Cor- tona. “Whoever,” says Lanzi, “would know to what lengths he carried his style in his altarpiece should examine the Conversion of St. Paul in the Ca- puchin ch. at Rome, which, though placed opposite to the St. Michael of Guido, nevertheless fails not to excite the admiration of such professors as are willing to admit various styles of beauty in art.” The Ecstasy of St. Francis, by Domenichino, in the third chapel on the rt., was painted gratui- tously for the ch. A fresco by Dome- nichino, formerly in the convent, repre- Senting the death of St. Francis, has been recently placed here. The Dead Christ, in the third chapel, is by his pupil, Andred Camassei. On the 1.-hand side of the high altar is the tomb of prince 136 Rome. $ 25. CHURCHES.—s. CARLo. Sobieski, son of Alexander III., King of Poland: he died in Rome in 1714. Under the ch. are 4 low vaulted chambers, which constitute the ceme- tery of the convent. The earth was originally brought from Jerusalem. The walls are covered with bones and skulls, and several skeletons are stand- ing erect in the robes of the order. Whenever a monk dies, he is buried in the oldest grave, from which the bones of the last occupant are then removed to this general Ossuarium. The adjoining convent is the head- quarters of the Capuchin Friars, so widely distributed over the Roman Catholic world, and the residence of the General of the Order. S. Carlo a Catinari, so called from the manufacturers of catini or dishes and earthenware in general, who lived in the vicinity. The ch. was built in 1612, from the designs of Rosati and Soria. The cupola is one of the highest in proportion to its diameter in Rome, and is celebrated for the 4 frescoes on the spandrils of the cupola, by Domenichino, representing the Cardinal Virtues, Prudence, Justice, Temper- ance, and Fortitude. opening out of the sacristy, is a fine half-figure of S. Carlo, in fresco, by Guido, formerly on the façade of the ch. Over the high altar is the large picture representing the Procession of S. Carlo bearing the Sudario during the Plague at Milan, by Pietro da Cortona. The vault above is painted by Lam- franco. The death of St. Anna, in the second chapel on the 1., is the master- piece of Andred Sacchi. The Annun- ciation, in the first chapel on the rt., is by Lanfranco. This ch. is now under- going extensive repairs. S. Carlo in the Corso, the mational ch. of the Lombards, with a heavy, ill- portioned front. The interior is from the designs of Martino Lunghi (1614), completed by Pietro da Cortona: it consists of a nave and side aisles di- vided by Corinthian pilasters, and is handsome. At the high altar is the large picture of S. Carlo Borromeo In the choir, Sebastian, considered to be one of the best works of Carlo Maratta. The rich chapel of the rt. transept has a mosaic copy of the Conception, by the same painter, now in the Cibo chapel at S. Maria del Popolo ; the statue of Da- vid, by Pietro Pacilli ; and that of Judith, by Lebrum. The St. Barnabas in the next chapel is by Francesco Mola. On the floor of the nave and near the pulpit is the slab tomb of count Ales- sandro Verri, the author of the * Notti Romane,” who died at Rome in 1816. The festival of S. Carlo Borromeo, on the 4th November, is celebrated with great pomp here, high mass being performed at 10 A.M. by a cardinal priest, in the presence of the pope and the sacred college. S. Cecilia, at the extremity of the Trastevere, near the Quay of la Ripa Grande, built on the site of the house of the patron saint. Its foundation dates from 230, in the pontificate of Urban I. It was rebuilt by Paschal I. in 821, and entirely restored in 1599 and 1725 by Cardimals Sfrondati and Doria, when the rows of columns which formed the nave of the original ch. were converted into the present heavy pilasters, by building round them, to support the roof. In the forecourt is an antique marble vase or cantharus, which stood in the quadriporticus of the primitive basilica. The portico which precedes the ch. has on the frieze some early ara- besques in mosaic, with portraits of saints, supposed to date from the 9th cen- tury. On each side of the cross which forms the centre is a rude likeness of St. Cecilia. Entering the ch., and on the rt. of the door, is the tomb of Cardinal Adam, of Hertford, who was adminis- trator of the diocese of London (ob. 1398) and titular cardinal of this ch. This prelate, a very learned man in his time, took part in the opposition to Urban VI., and, having been arrested, with five other cardinals, at Lucera, was carried by that vindictive pope to Genoa: he alone was saved by the interference of the English crown, the others being barbarously put to death in the convent of S. Giovanni di Pre, in glory, with St. Ambrose and S. where their remains were discovered a Sect. I. 137 § 25. S. CECILIA—s. CESARIO. few years ago. On the sarcophagus are the arms of England, at that time 3 leopards and fleurs-de-lisquartered. On the 1. of the entrance is the handsome urn of Cardinal Fortiguerra, who played an active part in the contests of Pius II. and Paul II. with the Malatestas in the Romagna, the Savellis, and the Counts of Anguillara, in the 15th cent. The body of St. Cecilia, which lay originally in the catacombs of St. Calisto, from which it was removed by Paschal I. to this ch., is deposited in the confessional beneath the high altar; the silver urn in which it had been placed disappeared during the first French occupation. The re- cumbent statue of St. Cecilia, by Stefano Jſaderno, is one of the most expressive and beautiful specimens of sculpture which the 17th century has produced. It represents the body of the saint in her grave-clothes, in the position in which it is de- scribed to have been found when her tomb in the catacombs was opened. In the right aisle, and near a cinque- cento bas-relief of the Virgin and Child, is a painting of St. Cecilia ap- pearing to Paschal [., to make known where her remains lay in the catacombs: it stood under the outer portico in former times, and is supposed to be as old as the 9th century. The tribune contains an ancient episcopal seat and some curious mosaics which date from the ch. as it was rebuilt by Pas- chal I. in the 9th century. Those on the vault represent Our Saviour holding the book of the Law in one hand, and giving his benediction with the other, having St. Paul, St. Cecilia, and St. Paschal on one side, and St. Peter, St. Agnes, and St. Valerian on the other. The paintings on the vault of the nave of the ch. are by Seb. Comca. From the extremity of the rt. aisle, near the entrance, a pass- age leads to the chapel of Santa Ce- cilia, erected in a part of the house in which she lived, and which appears, from the traces of a furnace and leaden pipes, to have been connected with a bath-room. The martyrdom of the saint has been attributed to Guido ; the landscapes are by Paul Brill, but nearly effaced by damp. The adjoining monastery, one of the largest in Rome, is inhabited by nuns of the order of St. Benedict. The ch. of St. Cecilia, except on feast-days, is closed at an early hour in the fore- 11OOLl. Srm Cesareo, called in Palatio, from its vicinity to what was the palace and baths of Caracalla, a ch. On the rt. of the Via Appia, a short way before reaching the Porta St. Sebastiano. It has much the form of its neighbour S.S. Nereo ed Achilleo (p. 158). It is princi- pally remarkable for its raised presby- tery, and the handsome tabernacle over the high altar, behind which stands an ancient episcopal chair, ornamented with mosaics; and for its marble pulpit on torse columns decorated with mosaics and heads of sphinxes, sheep, &c. The mosaics of the tribune are from designs by Cav. Arpino. San Clemente, on the Esquiline, near the Baths of Titus, in the street lead- ing from the Coliseum to the Lateran, is one of the most interesting and unaltered early Christian edifices in Rome. According to an ancient tra- dition of the Church it stands on the site of the house of Clement, the fel- low-labourer of St. Paul, and the third bishop of Rome. It is men- tioned by St. Jerome as existing in his time, and was a ch. of importance in the reign of Gregory the Great, who read here his 33rd and 38th homilies. In 772 it was restored by Adrian I. ; the choir was repaired about A.D. 880, by John VIII. ; the mosaics of the tribune were added in the 13th cen- tury; and Clement XI., in the be- ginning of the last, repaired and restored the whole edifice as we now see it. In front is the atrium or quad- riporticus (B), surrounding a court 62 ft. long by 50 ft. wide, supported on 3 of its sides by granite columns with Ionic capitals, and paved with débris of ancient marbles, amongst which the fragments of green ophite porphyry are very numerous; the entrance to it (A) is under an arch resting on Ionic and Corinthian columns, which dates pro- 138 Rome. $ 25. CHURCHES.—s. CLEMENTE. bably from the 8th century.* The in- terior consists of a nave (C), separated San Clemente. A. Entrance to B. Atrium, and b. Quadri- porticus. c. Entrance to monastery. C. Nave. D. Presbytery. 1, 2. Ambones. 3. Ancient marble screen. 4. High altar. E. Tribune. 5. Episcopal chair. 6, 7, 8, 9. Chapels of St. John, of the Rosary, of the Passion, of Jesus Christ, and of St. Dominick. Ct. Side entrance to the ch. from the Street. * The quadriporticus, although retaining its original plan and dimensions, was originally surrounded by pilasters, as we see on the E. side; the open portico of Ionic columns is of a more recent date. from the side aisles by 16 columns of different marbles and granite with Ionic capitals, and which evidently be- longed to more ancient edifices. Infront of the altar is the enclosed Choir (D), bearing the supposed monogram of pope John VIII. on its marble walls, and therefore as old as the 9th centy. At the sides are the ambones, or pulpits: from that on the l. (1), which has a double stair leading to it, and flanked by a beautiful mosaic candelabrum, the gospel was read, the papal edicts were proclaimed, and the priests preached to the people ; whilst from the oppo- site one (2), which has reading-desks turned towards the nave and the choir, the epistle was read by a subdeacon. Be- hind this is the tribune (E), raised above the rest of the ch., and separated from it by a screen (3, 3) formed of panels of handsomely carved marble network; in the centre is the high altar (4) over the Confessional of St. Clement, and be- hind it an episcopal chair (5) in marble, bearing the name of Anastasius, who was titular cardinal in the early part of the 12th century. The pavement is of opus Alexandrinum ; that of the choir, which dates probably from John VIII., is, perhaps, the most perfect spe- cimen of this beautiful description of mosaic work to be seen in Rome. The ambones and altar are of varied coloured marbles, and covered with mosaics. The tribune is also covered with mosaics, executed, as appears from the inscriptions, at the ex- pense of Cardinal Caetani, a nephew of Boniface VIII., in 1299 : they re- present, on the vault, the Crucifixion, surrounded by beautiful arabesques; at the foot of the cross issue the 4 rivers of Paradise, with peacocks, emblems of Eternity, and shepherds with their flocks; and still lower down, between the two cities of Bethlehem and Jeru- salem, the mystic Lamb surrounded by his sheep, which typify our Saviour and the Apostles. The mosaics on the face of the arch represent Our Saviour, having on each side the emblems of the Evangelists, and below St. Peter, St. Clement, and St. Jerome, on the rt.—St. Paul, St. Lawrence, and Isaiah on the 1. The paintings on the Sect. I. 139 § 25. S. COSTANZA. walls beneath are attributed to Gio- vemale da Orvieto, who lived about A.D. 1400. In the chapel on the rt. of the tribune (6) is a statue of St. John the Baptist, by Simone, brother of Donatello, and in that of the Rosary (7), on the opposite side, a Madonna del Rosario, by Sebastiano Conca. The Capella della Passione (8), on the 1. of the great entrance, con- tains the interesting frescoes by Ma- saccio, representing the Crucifixion of the Saviour, and the History of St. Clement and St. Catherine. They have suffered much from restorations. The chief subjects are as follows:– The Annunciation and St. Christopher; St. Catherine forced to Idolatry; her Instruction of the daughter of king Maximilian in prison; her Death ; her Dispute with the Alexandrian Doctors; the Miracle of her Deliver- ance; her Martyrdom. Opposite is the History of St. Clement, and over the altar the Crucifixion of our Lord. In the rt. aisle, near the high altar and the chapel of St. John the Baptist, is the tomb of Cardinal Roverella, an interesting work, bearing the date of 1476. Among its bas-reliefs the thyrsus and other bacchanalian em- blems used as symbols by the early Christians are conspicuous. As few churches offer a better or more in- structive example of the earlier Chris- tian edifices, we have annexed a ground plan of it. Beneath the ch. several vaulted chambers have been lately opened, some of Roman work, others of an early Christian period, which evidently served as places of Christian worship. On the walls are rude paintings representing the Mar- tyrdom of Saints — of St. Clement, St. Catherine, &c. The Roman sub- terranean vaults consist of very fine masonry or brickwork, and probably belong to the substructions of the time of Nero or Titus, and are reached by a high-roofed inclined plain; they are now used by the friars as wine- cellars. This ch. and the adjoining convent now belong to the Irish monks of the order of St. Dominick. SS. Cosma e Damiano, in the Roman Forum, a very ancient ch., built near the site of the Temple of Remus, and noticed under that head in the de- scription of the Antiquities (p. 39). Over the tribune is a very ancient mosaic, the part representing the mys- tic Lamb being supposed to date from A.D. 530, whilst those on the vault with the figure of St. Felix are much posterior, and consist of our Saviour and 6 saints. The circular vesti- bule opening into the ch. has been formed out of the ancient temple. S. Costanza, beyond the Porta Pia, near the ch. of S. Agnese, erroneously considered by the older antiquaries to be a temple of Bacchus. It was built by Constantine as a baptistery, in which the two Constantias, his sister and daughter, are supposed to have been baptized. The building is circu- lar, 73 ft. in diameter, surrounded by 24 coupled granite columns with Corinthian capitals supporting the vault. The circular space between the range of columns and the outer wall is covered with mosaics of animals and birds; some of the latter—pheasants, guinea-fowl, and partridges—very cor- rectly represented, with vine-leaves and bunches of grapes, and different operations of the vintage, which gave rise to the idea that it was a temple of Bacchus. But, independently of the evidence afforded by the style of archi- tecture and the construction of the building, which belong clearly to the decline of art, the porphyry sarco- phagus of the family of Constantine, which was removed from the recess behind the altar to the museum of the Vatican by Pius VI., is covered with bacchanalian symbols of the same kind, which are now well known to have been frequently adopted as emblems by the early Christians. The festoons of grapes and pomegranates surround- ing the mosaics of Christ, with 2 of the apostles on the side doors, are very accurately delineated, and in the same style, and of the same period, as the bacchanalian representations on the vault. The columns were evidently taken from some ancient edifice. The capitals are richly worked. It 140 Rome. § 25. CHURCHES.–S. CRoCE. was consecrated as a ch. by Alexander IV., in the 13th century, and dedicated to St. Constantia, whose remains were then removed from this porphyry urn, and deposited, with the relics of other Saints, under the altar in the centre of the edifice. Beyond but close to this ch. is an oblong enclosure, formerly called the Hippodrome of Constantine. It is now proved by excavations to have been a Christian cemetery, at- tached to the basilica of St. Agnese. Sam Crisogono, an interesting ch. in the Trastevere, which is supposed to date from the time of Comstantine the Great, and dedicated to St. Chrysogonus, who suffered martyrdom at Aquileja under Diocletian ; it was rebuilt in 731 by Gregory III., and restored in its pre- sent form by Cardinal Scipio Borghese, in 1623, after the designs of Soria. The interior, like the neighbouring more magnificent edifice of Sta. Maria in Trastevere, consists of a mave and 2 aisles, separated by 22 fine granite co- lumns with modern Ionic capitals. The arch before the tribune is supported by 2 magnificent columns of red porphyry. The high altar is under a canopy resting on columns of modern yellow alabaster, only remarkable for their size. In the centre of the highly decorated roof is a copy of Guercino's picture of the patron Saint borne to heaven by angels (the original is now in England); and above the Tabernacle, the Virgin and Child, by Cav. Arpino. The other pic- tures here are little worthy of notice. Before the ch. is a portico supported by 4 fine Doric columns in Oriental granite. Stephen Langton, who filled the see of Canterbury at one of the most interesting periods of our history, was titular cardinal of this ch. 4. Basilica of Santa Croce in Geru- s ulemme, the 4th of the Roman basilicas, was founded in 331 by Constantine, on the site of the Sessorian Palace of Varianus, the father of Elagabalus, from which it is also called the Sessoriam Ba- silica, and close to the Amphitheatrum Castrense. It derives its present name from the portion of the true cross de- posited in it by the Empress Helena, and from the earth from Jerusalem which was brought here and mixed with the foundations. It was consecrated by St. Silvester, and was entirely repaired by Gregory II. in the 8th century. It underwent frequent alterations under later popes, and was reduced into its present form by Benedict XIV. in 1774. The façade and the oval por- tico were then added, and many of the columns were cased with masonry. forming piers to support the roof. Eight of the original columns, 3 of which are fine masses of red Egyptian granite, still remain, and divide the nave from the two aisles. The high altar is remarkable for the ancient urn in green basalt, with 4 lions’ heads, in which the remains of SS. Caesarius and Anastasius are deposited. Two of the 4 columns which support the baldacchino are of the marble called Breccia Corallina. The vault of the tribune is covered with frescoes re- presenting the Discovery of the Cross, and the transfer of a portion of it by St. Helena to this church. The author is unknown, although Pinturicchio has been supposed, but on very doubtful au- thority, to have painted them, Under- meath the basilica is the chapel of St. Helena, the roof of which is de- corated with mosaics of the l6th cen- tury, erroneously attributed to Baldas- sare Peruzzi ; they replaced others said to have been of the time of Valen- tinian III. ; the statue of St. Helena oc- cupies the place of a picture by Rubens, now in England; the floor of this chapel is said to be formed of earth brought by St. Helena from Jerusalem. At the entrance to it is an altar of the period, dedicated by a certain Julius Maxi- milianus to Sta. Helena. Ladies will observe a notice upon a marble slab near it, that their entrance to the chapel is forbidden, under pain of excommu- nication, except on the 20th of March, the anniversary of its dedication. The consecration of the golden rose, which the popes in former times sent an- nually to sovereign princes, took place in this basilica. At present it is re- markable only for its large collections of relics, among which are some bones of Thomas à Becket. During the Sect. I. 141 § 25. S. FRANCESCA ROMANA. French administration the library was removed to the Vatican; it was sub- sequently restored, but many of the rarer manuscripts had been stolen or lost. The fragment of the true cross is exhibited on one day in Easter-week. SS. Domenico and Sisto, on the Quirinal, at the head of the Via di Magnanapoli, a very handsome ch. attached to a large convent of Domini- can nuns. It was erected by the archi- tect della Grecca in 161 k. The front, built of travertime, is handsome, and approached by a double flight of steps. The interior is highly decorated, although the principal ornaments are in stucco: the frescoes over the mave and the high altar are by Cunuti ; the marble group of our Saviour and the Magdalen by Itaqqi, in the Ist chapel on the rt. ; the Crucifixion in the 3rd chapel on 1. is by Lanfranco. On the anniversary of the marriage of St. Catherine (July 19) her desiccated hand is exhibited for the veneration of the faithful, in her chapel, the 2nd on l., over the altar of which stands a picture of her martyrdom, by Allegrani. S. Francesca Romand, near to the Basilica of Constantime, partly built on the site of the Temples of Venus and Rome, by Nicholas I. in the 9th century, and restored by Paul V. It contains some curious mosaics of the time of Nicholas I. on the vault of the the apse; between the 2 flights of steps leading to the tribune is the tomb of St. Francesca, covered with rich mar- bles and bronzes, by Bernini ; and a monument to Gregory XI., erected in 1384 by the senate and people, with a bas-relief of the return of the Papal Court to Rome from Avignon, after an absence of 72 years, from the designs of Pietro Paolo Olivieri. Near this monument are 2 stones let into the wall, bearing a double depression, made, it is averred, by St. Peter's kneeling on them when Simon Magus was carried off by the demon. Over the door of the sacristy is a painting by Sinibaldi Ibi on panel, signed and dated. There formerly existed, in the Sala Capitolare of the adjoining convent, a picture, by Pierino del Vaga, of Paul III. and Card. Pole. At the festi- val of S. Francesca Romana, on the 9th March, high mass is celebrated in this ch. in the presence of the college of cardinals. Santa Francesca Romana was a noble lady of the Ponziani family, remarkable for her piety, who founded the order of Oblate nuns, who principally occupy them- selves with education, and of which the convent of Tor di Specchi, near the Capitol, is their principal house in Rome. Gentile da Fabriano, the cele- brated painter of the Umbrian school, is buried in this ch. ; the bell-tower, probably of the 9th or 10th century, is a fine specimen of this class of mediaeval edifices. S. Francesco a Ripa, at the extre- mity of the Trastevere, founded in the 13th century, in honour of St. Francis of Assisi, who lived in the convent and hospital adjoining during his visits to Rome. The present ch. and con- vent were rebuilt by Cardinal Lazzaro Pallavicini, from the designs of Matteo Rossi. The ch. contains some works of art, among which are the Virgin and Child with St. Anne, by Baciccio; a Nativity by Simon Fouet; and the re- cumbent statue of the blessed Luigi Al- bertoni, by Bermini, in the Altieri chapel, on the 1. of the high altar, a very cha- racteristic specimen of this master’s stlye. In the convent the apartments occupied by St. Francis are still shown. Il Gesù, the principalch. of the Jesuits, in the Piazza del Gesù mear the north- ern foot of the Capitol, one of the most gaudy churches of Rome, begun in 1575 by Cardinal Alessandro Farnese, from the designs of Vignola. The façade and cupola were added by Gia- como della Porta. The interior is rich in marbles of the rarest kinds, and is decorated in the most gorgeous style. The frescoes of the cupola, tribune, and roof, are by Baciccio. The paintings at the different chapels are not of the first order. Over the high altar, de- signed by Giacomo della Porta, has been lately placed a painting of the Presentation of the infant Saviour in 142 Rome. $ 25. CHURCHES.—s. GIORGIo. the Temple, by Capalti. The Death of St. Francis Xavier, in the rt. transept, is by Carlo Maratta. The chapel of S. lgnazio, in the 1. tran- sept, is one of the richest in Rome. It was designed by Padre Pozzi, and is brilliantly decorated with lapis lazuli and verde antique. The marble group of the Trinity is by Bernardino Ludovisi: the globe below the Al- mighty is said to be the largest mass of lapis lazuli known. The altarpiece of St. Ignatius is by Padre Pozzi. Be- hind this picture is the silver statue of the saint. His body lies beneath the altar in an urn of gilt bronze. The 2 allegorical marble groups at the sides of the altar, representing Christianity embraced by the barbarous nations, and the Triumph of Religion over Heresy, are fantastic works of the French sculptors Thºodon and Le Gros. By the side of the high altar is the monu- ment of Cardinal Bellarmino, the cele- brated controversialist of the Roman Church. It was designed by Rainaldi; the 2 figures of Religion and Wisdom are by Bernini. 2 great ceremonies take place annually in this ch.-the first, in honour of St. Ignatius, on his festival, the 31st July; the second, and most important, on the last day of the year, when a solemn Te Deum is sung in the presence of the pope and sacred college for the blessings received during the year about to close. The adjoining convent is the head-quarters of the Jesuits, and the residence of their general, the supreme chief of the order. This ch. is about to receive an increase of ornamentation at the ex- pense of a member of the Torlonia family. S. Giorgio in Velabro, near the Bocca della Verita and the arch of Janus, the only ch. in Rome dedicated to the tutelary saint of England. It is of high antiquity, the foundation dat- ing from the 4th century. It was re- built in the 7th, under Pope Leo II. In the 13th it was restored by the prior Stefano, who added the portico, as we see by the metrical inscription in Gothic characters upon its front. The interior has 16 columns, of dif- ferent materials and styles, taken from the ruins of ancient edifices. These columns support a series of arches, upon which rests the wall pierced with windows, and again the flat roof, as in the early basilicas. At the ex- tremity of the 1.-hand aisle several early Christian inscriptions, and a bas- relief with Runic knots, &c., are built into the wall. The tribune was once covered with frescoes by Giotto, painted at the expense of Card. Stefaneschi in the reign of Boniface VIII., of which scarcely a trace remains, having been painted over. Beneath the high altar and its marble tabernacle of the 13th centy. is preserved the head of St. George, deposited here by Pope St. Zacharias. This ch. has an histo- rical interest in connexion with Cola di Rienzo, which gives it strong claims upon the protection of the Roman antiquaries. On the first day of Lent, 1347, Cola affixed to its door his celebrated notice announcing the speedy return of the Good Estate : —In breve tempo li Romani torneranno al loro antico buomo stato. Notwithstand- ing this, the ch. would have fallen into ruins some years ago if the con- fraternity of S. Maria del Pianto had not obtained a grant of it from Pius VII. as their private oratory. The ch. of St. Giorgio is seldom open to the public. On the day next to Ash Wednesday, the Holy Sacrament being exposed here, it is much resorted to, when the several relics it possesses are exposed to the veneration of the faithful, one of which is the banner, or ve:cillum, of red twilled silk tissue, borne by the patron saint of the church and of our country. St. George became the tutelary saint of England under our Norman kings, and is still much revered by the Greek church. Born in Cappadocia, he suffered for his faith, in the reign of Diocletian. S. Giovanni dei Fiorentini, the national ch. of the Tuscans, at the extremity of the Via Giulia, overlooking the Tiber, built by the Florentimes in 1588, from the designs of Giacomo della Porta. The fine façade was added by Clement XII., from those of Ales- Sect. I. 143 § 25. ss. GIOVANNI E PAOLO. sandro Galilei (1725). The chapel of S. Girolamo, in the rt. aisle, contains an altarpiece representing St. Jerome praying before a crucifix, by Santi di Tito ; and a fine picture of St. Jerome writing, by Cigoli, which has all the de- sign and expression of Raphael, with the colour and force of Titian. The paint- ing upon the opposite wall is by Pas- signani. In the rt. transept is the cele- brated picture by Salvator Rosa, repre- senting S. Cosma and S. Damiano con- demned to the flames. The tribune is ornamented with fine columns of Cotanella marble, and contains the tombs of the Falconieri family; the marble group of the Baptism of our Saviour, over the altar, is by Raggi. The chapel of the Crucifix was painted by Lanfranco. In 4th chapel on 1. S. Francis, by Santi di Tito ; in 3rd-chapel 3 small frescoes on roof, by Tempestºſ, relative to S. Lorenzo. Cigoli is buried in this ch. SS. Giovanni e Paolo, the ch. attached to the Great Passionist Convent on the Caelian, a short distance beyond the Coliseum and Arch of Constantine. It was built by Pammachus, a friend of St. Jerome, in the 4th century, on the site of the house occupied by the saints to whom it is dedicated, who were officers in the court of Con- stantia, and were put to death in the reign of Julian. It has a portico in front, supported by 8 granite and marble columns. The interior is hand- Some, consisting of a nave and 2 aisles, supported by pilasters and 16 ancient composite columns. The pavement is of opus Ale.camdrinum. The vault of the tribune is painted by Pomarancio. In the fourth chapel on the rt. is an altarpiece by Marco Benefial. Within a railing in the nave is a stone on which the patron Saints are supposed to have suffered martyrdom. Adjoining this ch. are some remains of the Vivarium, and of a Temple of Claudius, moticed under the Antiquities, S. Giovanni a Porta Lating, an ancient ch, founded on the site of a temple of Diama, and near the spot where the Evangelist suffered martyrdom. It is chiefly remarkable for its good mediaeval bell-tower. The interior contains some ancient marble columns. Founded by Adrian I., it was restored in the 12th century by Celestin III., nearly as we now see it. Close by is the small cir- cular ch. of S. Giovanni in Oleo, on the spot where stood the caldron of boil- ing oil into which the Evangelist was cast : both are near to the closed Porta Latina of the Aurelian wall. S. Gio- vanni in Oleo has a handsome frieze in terracotta, and was erected by a certain French auditor of the Rota, Benedict Adam, in the reign of Julius II. (1509). On the opposite side of the road is the ruin of a huge tomb, which stood on the side of the Via Latina, before the Aurelian wall was built, S. Giuseppe de' Falegnami, the ch. of the Confraternity of Carpenters, over the Mamertine Prisons, has, at the 2nd altar on 1., a Nativity, the first work which Carlo Marattoº exhibited in public. Beneath is a subter- ranean chapel, containing a curious ancient crucifix, an object of great veneration. S. Gregorio, on the Caelian, founded in the 7th century on the site of the family mansion of St. Gregory the Great. The square atrium was added in 1633 by Cardinal Scipio Borghese, from the designs of Soria; and the ch. was rebuilt in 1734 from those of Francesco Ferrari. The interior has 16 columns of granite. In the chapel of the saint are some sculp- tures of the 15th century, represent- ing events in his life. The Salviati chapel, on the 1. of the tribune, has a copy of An. Caracci’s picture of St. Gregory, which once stood here, but is now in England ; a good predella of the school of Perugino; and a fine Ancona, with reliefs of the 15th centy. Detached from the ch. are 3 chapels, erected originally by St. Gre- gory himself, and restored by Card. Ba- ronius. The first, dedicated to St. Silvia, mother of the Saint, has a statue of the patron by Niccolò Cordieri, and a fresco 144 Rome. § 25. CHURCHES.—s. IGNAzio. on the roof representing the Almighty with Angels, by Guido. The second, de- dicated to St. Andrew, contains the cele- brated frescoes painted as rival per- formances by Guido and Domenichino. The St. Andrew adoring the cross as he is led to execution is by Guido : the Flagellation of the saint is by Dome- nichino. Among the criticisms on these pictures, that of Annibal Caracci is not the least remarkable : “Guido’s,” he said, “is the painting of the mas- ter; this of Domenichimo is the paint- ing of the scholar who knew more than the master.” Lanzi tells us that, while Domenichino was painting one of the executioners, he endeavoured to rouse himself to anger, and was sur- prised in the act of violent gesticula- tion by Annibal Caracci, who was so much struck with the spectacle that he embraced him, and said, “ Dome- nichino, to-day I must take a lesson from you.” So novel, says Lanzi, and at the same time so just and natural, did it appear to him that the painter, like the orator, should feel within him- self all that he undertakes to repre- sent to others. The third chapel, dedicated to S. Barbara, has a statue of St. Gregory by Niccolò Cordieri, begun, it is said, by his master, Michel Angelo. In the middle of the chapel is preserved the marble table on which St. Gregory is said to have fed every morning 12' poor pilgrims. In the ch. is interred the celebrated Imperia, the Aspasia of the court of Leo X. In the chapel at the extremity of the 1. aisle is a monu- ment raised by Gregory XVI. to Car- dinal Zurla, his successor as the head of the Camaldolese order, a very learned writer on the geographical literature of the middle ages. In the atrium before the ch. are several sepulchral monuments, amongst which is one of some interest to the English tra- veller—that of Sir Edward Carne, of Glamorganshire, doctor of civil law of the University of Oxford, who was united with Cranmer in 1530 in the celebrated commission appointed to obtain the opinion of the foreign uni- versities on the divorce of Henry VIII. He was ambassador to the emperor Charles V., by whom he was knighted. He afterwards became envoy to the court of Rome; and Bishop Burnet, in his History of the Reformation, has published several of his despatches. On the suppression of the English embassy by Elizabeth he was recalled, but Paul IV. detained him at Rome, where he died in 1561. The late pope, Gregory XVI., was for many years the abbot of the adjoining monastery, the head-quarters of the Camaldolese order, of which he was a member before his elevation to the pontificate, did much to embellish the ch. and the convent. The terrace in front of the ch. commands one of the most pic- turesque views over the S.E. extremity of the Palatine and the imposing ruins ºne Palace of the Caesars on this S1(162. ' St. Ignazio, behind the Doria Pa- lace, the ch. of the Jesuits’ college, the Collegio Romano, with its mas- sive front by Algardi, is rich in elaborate decorations. It was built entirely at the expense of Cardinal Ludovisi. Its magnificence is not in the best taste, but is interesting from its excessive ornament. The paintings of the roof and tribune are by Padre Pozzi, and are remarkable for their perspec- tive. The Lancelotti chapel contains the tomb of S. Lodovico Gonzaga, with a bas-relief of the Apotheosis of the saint, by Le Gros. Near the door leading into the convent is the monu- ment to Gregory XV., by the same sculptor. On the massive piers of the cupola, luckily left unfinished for the finances of the Ludovisi family and for the interests of astronomical science, has been erected the observa- tory of the Collegio Romano, now one of the most efficient and well-conducted establishments of the kind on the con- tinent of Europe (p. 272). This ch., with the adjoining oratory of La Cara- vita, the latter one of the most fre- quented during Lent by the higher and fashionable female classes of Rome, are attached to the Gregorian Univer- sity, or Collegio Romano, directed by the Jesuit fathers. Sect, I. 145 § 25. S. S. LORENZO. St. Isidoro, on the Pincian, founded in 1622. The ch. is attached to the monastery of Irish Grey Friars, or Reformed Franciscan Observants. The edifice owes its present form in a great measure to the celebrated Luke Wadding, one of the most learned members his order has produced. Enter- ing the ch., the picture of St. Isidore, over the high altar, is by Andred Sacchi. All the paintings in the chapel of St. Joseph, the 1st on rt., are by Carlo Maratta, as are those of the Comception in the chapel of the rt. transept, of the Crucifixion in the sacristy, and the frescoes in the Piombino chapel, 1st on 1. The high altar has two hand- some columns of oriental alabaster. Several sepulchral monuments in this ch. will interest our countrymen; that of Luke Wadding, near the chapel of St. Amme, the 2nd on rt., consists of a marble slab with a long inscription, placed here by his friend Ronconi, a Roman advocate. Born in Ireland, Wadding, who from his youth embraced the rules of the Reformed Franciscans, became censor of the Inquisition, but is better known for his voluminous history of the Franciscan Order, ‘Am- males Ordinis Minorum,’ in 8 large folios. He died here in 1557, aged 70. In the 1. transept is a handsome monu- lment by Galassi to Miss Brian, who died at Rome ; and in the rt. a me- morial to Amelia, the daughter of John Philpott Curran, who also died here, raised to her memory by the late Lord Cloncurry in 1848. S. Lorch 20 in D. (mºso, close to the magnificent palace of the Cancelleria, erected in 1495 by Cardinal Riario, mephew of Sixtus IV., from the de- signs of Bramante. It contains several modern monuments of the princely house of Massimi, and one lately erected to the lamented Count Rossi, so barbarously murdered in the adjoin- ing palace in December, 1849. The bust over it is by Tenerani, who has sculptured the beautiful statue of that remarkable man for his friend and admirer the Duke Massimo, and now in his villa on the gardens of Sallust. -u of the statue of St. Hypolitus, in the Lateran Museum. The accomplished scholar and poet Annibale Caro, who died at Rome in 1566, is buried in this ch.-his bust, on one of the piers, is by Dosto; and Sadoleto, the celebrated secretary of Leo X. The statue of S. Carlo Borromeo in the sacristy is by Stefano Mºderno. The most remark- able paintings here are the frescoes in the 1st chapel on rt., by Seb. Conca, and the picture over the high altar, by F. Zucchero. S. Lorenzo in J/irandºt, in the Forum, is only remarkable as occupying the cella of the Temple of Antoninus and Faustina, and for the magnificent por- tico in front. Its appellation is derived from the latter admirable ruin. The Martyrdom of S. Lorenzo, over the principal altar, is attributed to Pictro da Cortona. S. Dorenzo in JLucinº, near the Corso, founded by Sixtus IV., in the begin- Ining of the 5th century, and restored in its present form by Paul W. in 1606, from the designs of Cosimo da Bergamo. At the high altar, which was designed by Raimaldi, is the celebrated Cruci- fixion by Guido. The chapel of S. Francesco has a painting by Marco Benéfial. This ch. contains the monu- ment to Poussin, designed by Lemoine, and executed by French artists, at the suggestion and cost of Chateau- briand, when French ambassador at Rome : the bas-relief upon it is a reproduction of Poussin's well-known landscape of the Arcadia. Amongst the inscriptions under the vestibule is a cotemporary one relative to the dedi- ation of the ch. by Celestin II. in 1196, in the presence of numerous prelates, at the head of the list of whom is an Archbishop of York. S. Lorenzo in Patnis-Perºſ, on the summit of the Viminal, and in the street leading from the Forum of Trajan to Santa Maria Maggiore. It is supposed to stand on the spot where Near the monument of Rossi is a copy i St. Lawrence was martyrized, and to [Rome.] H 146 ſtoine. tº ºr § → *). CHURCHES-S. LUIGI. derive its singular name from Perpen- mia, a Roman lady, whose inscription was found on the spot. The interior has some frescoes by Biccherai. All arm of St. Bridget, who died in the adjoining convent of the nuns of Sta. Chiara, is preserved amongst the relics il el’e. S. Luigi de' Frances, in the Piazza of the same name at the southern extre- mity of the Via della Scrofa, the con- tinuation of the Via di Ripetta, erected in 1589 at the expense of Catherine de Medicis, from the designs of Gia- como della Porta. The second chapel on the rt., dedicated to St. Cecilia, con- tains 2 brilliant frescoes by Domeni- chino on the roof; they represent the angel offering crowns to S. Cecilia and her husband Valerian ; and on the side walls, S. Cecilia expressing her contempt for the Idols; her distribu- tion of her clothes among the poor; her Death and Apotheosis. These interesting works, though somewhat theatrically treated, are good ex- amples of Domenichino's peculiar style of composition and colouring. The fine copy over the altar, of Ra- phael's St. Cecilia, now in the Gallery at Bologna, is by Guido. The As- sumption, at the high altar, is one of the finest works of Bassrºo. In the chapel of St. Matthew, on the 1. of the high altar, are 3 pictures, representing the calling of the Saint, by M. Angelo Coravaggio. The paintings on the roof, and the Prophets on the sides, are by Cav. d’Arpino. This ch. contains many tombs of eminent Frenchmen, including those of Cardinals d’An- gennes and de la Tremouille ; of Car- dinal de la Grange d’Arquien, father- in-law of Sobieski, who died at the age of 105; of Cardinal d’Ossat, am- bassador from Henry IV. ; of Seroux d'Agincourt, the celebrated archaeolo- gist and writer on Italian art; of Pau- line de Montmorin, erected by Cha- teaubriand, by whom the inscription was written, and of the painters Guerin and Sigalon. A massive memorial has been erected to the French officers and soldiers who perished during the military operations against Rome in 1849, and another to Claude Lor- raine, at the expense of the French nation. It is difficult to imagine why this tardy tribute to the great painter was not placed over where his remains lay, in the ch. of the Trinita de' Monti. San Luigi is the national ch. of the French at Rome, and under the special protection of the sovereigns of that country. During the French occupa- tion military mass is performed here with great pomp and in music every Sunday morning at 9. S. Marcello, in the Corso, belonging to the Servites, dating as far back as the 4th century. It was rebuilt in 1519 from the designs of Sansovino, with the exception of the façade, which was added by Carlo Fontana. The chapel of the Crucifix (the 4th on the rt.) is celebrated for the fine paintings on the roof by Pierino del Vaga, repre- senting the Creation of Eve, “where,” says Lanzi, “there are some infantine figures that almost look as if they were alive : a work deservedly held in the highest repute.” The St. Mark and the St. John on the I. wall are by the same painter, with the exception of the hand and bare arm, which were finished by Daniele da Volterra. In this chapel is the tomb of Cardinal Consalvi, minister of Pius VII., one of the most em- lightened statesmen of Italy, the honest and liberal reformer of the papal administration, whose death is still involved in that painful mys- tery which strengthens the popular belief that it was hastened by poison. The monument, which con- tains also the remains of his brother, is by Rinaldi. In the 4th chapel on the 1. the picture of the Conversion of St. Paul is by Federigo Zucchero; the fres- coes on the side walls by his brother Ta /deo. Another tomb, to the 1. on entering the ch., of some interest, is that of Pierre Gilles, the French traveller and writer on Constantinople and the Bosphorus, who died in 1555. In the 3rd chapel on the rt. is the tomb of our countryman, Card. Weld, who was titular cardinal of S. Marcello. The ceremony of the Exaltation of the Cross takes place in this ch., in Sect. 1. 147 § 25. S. MARCO—s. MARIA DEGLI ANGELI. the presence of the college of cardi- mals, on the 14th September. S. ſurco, a very elegant and interest- ing ch., built on the plan of an ancient basilica, within the precincts of the Palace of Venice. It is said to have been founded by Pope S. Mark in 337, and dedicated to the Evangelist. It was re- built in 833 by Gregory IV., who deco- rated the interior with mosaics. In 1468 Paul II., after the construction of the palace, rebuilt entirely the ch. in its present form, with the exception of the ancient tribune, which was preserved with its mosaics of the 9th century, and the subterranean ch., containing the body of St. Mark the pontiff. The portico was then added, from the de- signs of Giuliano da Majano. The mosaics of the tribune represent our Saviour and 3 saints on either side, one of whom, Gregory IV., holds the church in his hand; below the mystic Lamb and 12 sheep, with the cities of Jerusalem and Bethlehem, as we have seen at San Clemente (p. 137). The interior has a nave and 2 aisles separated by 20 columns cased in jasper, and contains a few paintings. The most remarkable are (at the first altar on the rt.) the Resurrection, by Palma Giovane, erroneously attributed to Tintoretto; St. Mark the Pope, by the School of Gian Bellini (at the altar on the rt. of the tribune); the Adoration of the Magi, by Carlo Maratta (third on the rt.). The monument of Leo- nardo Pesaro of Venice, in the 1. aisle, is by Canova. On the Festival of St. Mark, April 25th, there is a proces- sion of all the clergy of Rome from this ch. to St. Peter’s, Under the portico are some early Christian in- scriptions, found amongst the ruins of the original ch. S. Mariº deſli Angeli, in the Piazza di Termini. This magnificent church occupies the Pinacotheca, or, accord- ing to more recent opinions, the Cella Calidaria, of the Thermae of Diocle- tian, which was altered by Michel Angelo during the pontificate of Pius IV., to adapt it to Christian worship. It is one of the most imposing churches in Rome. The arrangement of the ancient baths is described under the head of “Antiquities” (p. 57). The great hall was converted by Michel Angelo into a Greek cross by the addition of the present entrance, and of the tribune opposite. Vanvitelli in 1740 reduced the ch. to its present form by adapting the circular hall, or Laconicum, as a vestibule, and lengthen- ing the choir on the opposite side. The hall, which Michel Angelo had pre- served as a nave, was thus converted into a transept; the chapels opening out of it, in the intervals of the columns, closed up ; and the transept lengthened, by converting into the chapels of the Beato Nicolo Albergati,and of S. Bruno, two halls of the baths. On account of the dampness of the ground Michel Angelo was obliged to raise the pavement about 8 feet, so that the original bases of the columns remain buried to that depth, which, by the accumulation of the débris of the baths, were considerably lower than the circumjacent soil. Of the 16 columns of the church, the 8 in the transep- only are antique, and are of red Egypt tian granite, with attached bases of white marble. The others, of brick, covered with painted stucco, in imi- tation of granite, were added by Van- vitelli. In the circular vestibule are the tombs of Salvator Rosa; of Carlo Maratta ; of Cardinal Parisio, pro- fessor of jurisprudence at Bologna ; and of Cardinal Francesco Alciati, the learned chancellor of Rome under Pius IV. The tomb of Salvator Rosa (1673) has an inscription which de- scribes him as the “Pictorum sui temporis nulli Secundum, poetarum omnium temporum principibus parena;” a friendly eulogy, which the judgment of posterity has not confirmed. At the entrance of the great hall is the noble statue of S. Bruno, by the French sculptor Houdon. It is recorded that Clement XIV. was a great admirer of this statue : “It would speak,” he said, “if the rule of his order did not pre- scribe silence.” The hall, now form- ing the transept of the ch., is 297% H 2 * 148 Rome. § 25. CHURCHES-S. MARIA DELL ANIMA, feet long, 91 feet wide, and 84 feet high : the length of the present nave from the entrance to the high altar is 336 ft. The granite columns are each of a singe piece, 45 ft. high and 16 ft. in circumference. The ancient capitals, 4 Corinthian and 4 Composite, are of white marble, as is also the entablature, although so whitewashed over as to make them have the look of stucco. This ch. contains several large and fine paintings which were once altar- pieces in St. Peter's, where they have been replaced by copies in mosaic when the originals were transported to Stº. Jſtrict degl’ Angeli — amongst them the most celebrated is the St. Sebastian by Domenichino, on the rt.- hand side of the choir; it is 22 ft. high, and, being painted on the wall, it was removed with consummate skill by the engineer Zabaglia. Opposite to it is the Baptism of Our Lord, a fine work of Carlo Marºtta. The other paintings in the choir are the Presentation in the Temple, by Romanelli, and the Death of Amanias, by Roncalli. The 8 pictures in the transept, commencing on thert. hand on entering, are, l. copies of Guido’s Crucifixion of St. Peter, and 2. of Vanni's Fall of Simon Magus; on the opposite side, 3. St. Peter resuscitating Tabitha, by Mancini, and 4. St. Jerome and St. Francis, by Jſusciano—the landscape in the background by Paul Brill ; beyond the entrance to the choir, 5. the Resus- citation of Tabitha, by Constanzi, and 6. the Assumption, by Bianchini; whilst on the opposite side are, 7, the Fall of Simon Magus, by P. Bºttoni, and 8. St. Basil celebrating Mass before the Emperor Valens, by Suhleyras. At each extremity of the transept are large chapels formed out of halls of the baths; that on the rt., and which formed the vestibule to Michel Angelo's ch., is dedicated to the Beato Niccolo Albergati ; that on the 1. to St. Bruno, over the altar of which is a painting of St. Peter appearing to some Carthusian monks, by Odazzi, aud on the sides two, by Trevisiºni, of the death of the Macca- bees. On the pavement is the meridian line traced by Bianchini and Ma- yaldi, in 1701. Behind the ch. is the Carthusian convent, with its cele- brated cloister designed by Michel Angelo. It was founded and en- dowed by the Orsini family. The cloister is surrounded by a portico sus- tained by 100 columns of travertine of the Doric order, forming four fine cor- ridors. In the centre of the square are the immense cypresses planted round the fountain by Michel Angelo when he built the cloister: they measure 13 feet in circumference. The “Pope's oil-cellar,” as it is called, is a mere hall of the ancient thermae, but it presents nothing of any interest. S. Maria dell’ Anima, in the street of the same name, on the W. side of the Piazza Navona, begun in 1400, with money bequeathed for the purpose by a native of Germany, and completed from the designs of Giuliano Sangallo. The fine interior, supported on massive pi- lasters in the Italian Gothic style, con- tains at the high altar the Madonna with angels and saints, by Giulio I?0- *nºmo, much injured; an indifferent copy of the Pietà of Michel Angelo, by Nanni di Baccio Bigio, in the 4th chapel on rt. ; the frescoes of Ser- moneta in the chapel of the Crucifix : and those by Francesco Salviati in that del Cristo Morto, 4th on 1–the figure of our Saviour rising over the altar is very fine. The fine tomb of Pope Adrian VI., on the It. of the high altar, was designed by Baldassare Peruzzi, and executed by iſ. Angelo Samese and Niccolò Tribolo ; opposite to it is that of the Duke of Cleves, by German artists of the 17th century. On the J. side of the door of the sacristy is that of Lucas Holstenius of Hamburgh, the cele- brated librarian of the Vatican. Two small tombs by Fiammingo are interest- ing examples of that sculptor. In the passage leading to the sacristy is a bas-relief, formerly belonging to the tomb of the Duc de Cleves, repre- senting Gregory XIII. giving him his sword. On the 1. of the principal en- trance is the tomb of Cardinal Andrea of Austria (ob. 1500), and on the 1. that of Cardinal Enckenworth (ob. 1534), an inferior work. S. M. dell’ Anima is the national ch. of the Germans, and under the special protection of Austria. Sect. I. 149 § 25. s. MARIA IN COSMEDIN–DI Loreto. S. Maria dell’Aracºeli (see Art Cooli). S. Maria Aventina, called also the Priorato, from a priory of the Knights of Malta to which it is at- tached, is chiefly remarkable for the fine views which it commands over a large extent of the city and suburbs. The ch. was restored in 1765 by Cardinal Rezzonico, from the designs of Piranesi, who has over- loaded it with ornaments. An an- tique marble sarcophagus, with bas- reliefs of the Muses, serves as the tomb of a bishop Spinelli. This ch. Suffered greatly in 1849 from the French artillery, the besieged having placed a formidable battery in front of it, which it became necessary to silence. A more detailed account of the Aventine will be found under the head of S. Sºbinſt (p. 165). S. Mariºt in Campitelli, in the square of the same name, near the Capitol, and on the site of the Carceres of the Flaminian Circus, built in 1659, by Alexander VII., the architect being Rinald; ; it is a fine building, internally of the Corinthian order; it contains a miraculous image of the Virgin, which is said to have stayed the pestilence in Rome at that period. The picture over the altar in the 2nd chapel on the rt., representing the Descent of the Spirit, is by Luca Giordano. In one of the windows at the base of the dome are 2 portions of a spiral column of translucid oriental alabaster, in the form of a cross, found in the neigh- bouring Portico of Octavia, from its vicinity to which this ch. is also called S. Maria in Portico. S. Maria in Cosmedin, in the Bocca della Verita, already noticed under the Antiquities (p. 31) as standing on the site of a temple of Ceres and Proserpine. It is said to have been built by S. Dionysius in the 3rd cen- tury. It was restored by Adrian I. in 782, in the form of a basilica. Being intended for the Greek exiles who were driven from the East by the Iconoclasts under Constantine Copro- nimus, and having a Scholaſ, or hall of meeting, attached to it for their use, it acquired from that circumstance the name of Schola Greca : in later times the name of Bocca della Verita has been given to it by the people, from the marble mask which we see tº rider the portico. The name of Cosmedin is supposed to refer to the ornaments of the ch. It has a mave divided from 2 side aisles by 10 ancient marble columns. Before the tribune is a raised floor of the ancient choir, as in the early Christian churches, with am- bones on each side, and torse mosaic candelabra ; the pavement is a good specimen of opus Alexandrium. The Gothic canopy over the high altar is supported by 4 columns of red por. phyry; beneath is a red granite urn ; and behind, an episcopal chair of the 12th centy. The picture of the Virgin in the tribune is a very good speci- men of early art ; although said to have been brought by the Greeks when they fled from Constantinople, it is more probably an Italian work of the 13th century. The tabernacle of white marble and mosaic is by Deodato Cosi- mati. There is an interesting mosaic of the time of John VII. (705) in this ch., brought from St. Peter's ; in the subterranean chapel under the tri- bune, or the confessional, are preserved the remains of Saint Cyrilla. The ch. contains the tomb of the learned Cres- cimbeni, the founder and historian of the Arcadian Academy, who died in 1728, while canon of this ch. S. Maria di Loreto, a handsome octa- gonal ch. at the northern extremity of the forum of Trajan, erected by Antonio di Sangallo in 1507, with a double dome, like that of St. Peter's, and chiefly remarkable for the statue, in the 2nd chapel on rt., of St. Susanna by Fiammingo, one of the finest speci- mens of modern sculpture in Rome, and one of the most classical works produced by the school of Bernini. In the 1st chapel on rt. are mosaic pictures of Sta. Barbara and 2 other saints, by | Rosetti (1594); and at the high altar a picture of the school of Perugino. This ch. belongs to the corporation of 150 180me. § 25. IIURCHES-S. MARIA sopra MINERVA. bakers, whose hospital and cemetery are behind it, S. Maria ad Martyres. See Pantheon (p. 36). S. Maria sopra Minerra, so called from standing on the site of a temple of Minerva, erected by Pompey after his victories in Asia. It was re- built in 1370 under Gregory XI., and granted to the Dominican monks; it was restored in the 17th century by Cardinal Barberini, from the designs of Carlo Maderno. It is the only ch. in Rome in the pointed Gothic style. On the bare and unfinished façade are inscriptions marking the height of the waters in different inunda- tions of the Tiber from 1422 to 1598. The interior, imposing before the late restorations, executed between 1849 and 1854, at an expense of 125,000 scudi, is now magnificently gaudy, the walls and columns being covered with cippolino marble and gilding, and the roof painted in the most florid style of Gothic decoration. On the 1. of the high altar is the full- length statue of Christ by Michel Angelo, one of his finest single figures, highly finished, although perhaps de- ficient in that expression of divinity which we look for in a representation of the Saviour. This statue is men- tioned in the letter of Francis I. to Michel Angelo, referred to at p. 101, in our account of the Pietà in St. Peter's, as one of those works which made the king desirous to enrich his chapel at Paris with some productions of the same matchless genius. In the corresponding place opposite is a good modern one of St. John, by Obicci. In the 2nd chapel on the rt. is the S. Lodovico Bertrando, by Bite?ccio ; the Gabrielli chapel, the 3rd on the rt., has some good frescoes on the vault, by Musciano. The chapel of the An- nunciation (5th on the It.), painted by Cesare Nebbia, contains a beautiful altarpiece, attributed to Fººt Angelico dº Fiesole, but more probably by Jºe- nozzo Gozzoli, and the tomb of Urban VII. by Buonvicino. In the Aldobran- dini chapel is the Last Supper, by Bº- roccio. The father and mother of Cle- ment VIII. are interred here ; the recumbent statues on their monuments, as well as those of Charity and of St. Sebastian, are by Cordier: ; that of Religion is by Mariani; the statue of Clement VIII. by Ippolito Buzio. The 2 Sepulchral monuments in the right transept, of Superanzio, bishop of Ni- cosa, and of Coca, bishop of Cala- horra, are good specimens of the 16th century. In the small Gothic chapel is a Crucifix attributed to Giotto. The Caraffa chapel, at the extremity of the rt, transept, and dedicated to St. Thomas Aquinas, has some interesting frescoes, representing events in the life of the Saint, by Filippino Lippi. The picture over the altar represents Car- dinal Caraffa, the founder of the chapel, presented to the Virgin by St. Thomas; the great composition, on the rt.-hand wall, of the Disputation of St. Thomas is very fine ; and the frescoes behind the altar (although partly hidden by it), the Assumption with the Apostles; all these paintings, by F. Lippi, have been too much restored. The roof is painted by Raffaellino del Garbo. The tomb of Paul IV., of the Caraffa family, is by Pirro Ligorio. The mext, or Altieri chapel, has an altarpiece by Carlo Maratta, representing the 5 saints canomised by Clement X. conducted before the Virgin by St. Peter. In the adjoining chapel of the Rosary, the paintings on the side walls, much injured, of the history of St. Catherine of Siena, are by Giovanni de' Vecchi; the ceiling, representing the Mysteries of the Rosary, by Marcello ſcrust. Be- tween the chapels of the Rosary and of St. Thomas Aquinas, in the rt. transept, is the Gothic tomb of Guillaume Du- rand (ob. 1304), the learned bishop of Mende, author of the ‘Rationale Divi- morum Officiorum,’ supposed to have been the first book printed with move- able types. His tomb is remarkable for its mosaics and sculptures by Giovanni Cosimati. Behind the high altar is the choir, containing the monuments of Leo X, and Clement VII., designed by Baccio Bandinelli. The statue of Leo is by Raffaele di Montelupo, that of Clement by Baccio Bigio. The floor, which has Sect. I. § 23. S. MARIA SOPIRA. Aſ INEIRV_*. I 5.1 been recently new-laid in marble, is covered with sepulchral inscriptions, chiefly to ecclesiastical dignitaries con- nected with the Dominican Order. Below the monument of Leo X. is the gravestone of the celebrated Cardinal Bembo, the friend of Michel Angelo, of Raphael, and Ariosto, and one of the great restorers of letters in the 16th century. Ranged in a semicircle beyond are the moderm inscriptions to £ardinal Casanate, the founder of the library which bears his name, to Padre Mammachi, and to Cardinal Howard, a gravestone interesting to English travellers. Cardinal Howard was Great Almoner of England, and grandson to Thomas Earl of Arundel. He died at Rome in 1694, aged 61. It is to be re- gretted that, in their rage for restora- tion, the monks have torn up all the original gravestones of the choir and aisles, and that the present inscrip- tions do not mark the places under which the remains of the persons referred to once lay. It is even stated that, with the still less laudable object of increasing the extent of the vault accommodation, and for the purpose of augmenting their worldly means from burial-fees, the whole of the original vaults have been pulled down, and their contents removed pele-mêle into a remote corner. It is certain that the vaults have been rebuilt and are very extensive. The high altar has been gorgeously restored, and the body rof St. Catherine of Siena placed beneath in an open shrine, in which she is re- presented, in the habit of her order, extended upon a sarcophagus, round which tapers are always burning. A passage out of the 1. transept leads to the Sacristy, over the altar, in which is a Crucifixion by Andred Sacchi ; and over the door leading to it from the ch, a fresco representing the Election of Eugenius IV. and Nicolas V., which took place here in 1431 and 1447. Re- &urning to the ch., the principal chapel in the 1. transept, which is dedicated to St. Dominick, has some good columns of black marble, and contains the monument of Benedict XIII. by Carlo Harchionni. In the chapel of S. Vin- cenzo Ferrerio, 5th out of the 1. aisle, is a picture of the saint by Bernardo Caste//, the Genoese painter and the well-known friend of Tasso. In the next chapel, belonging to the Maffei family of Verona, are two small statues of St. Sebastian and of the Baptist, on each side of the altar, by Mino dat Fiesole. The sepulchral monuments to two of the Maffeis are good speci- mens of the cinquecento sepulchral style. There are several other in- teresting sepulchral monuments in this ch. In the passage leading to the door on the 1. of the choir are the tombs of Cardinal Alessandrino, by Giacomo dellº Porta ; of Cardinal Pimentel, by Bernini; and of Cardinal Bonelli, by Carlo Rajnaldi. Near them, let into the wall, is the slab-tomb of Fra Angelico da Fiesole, the celebrated painter, whose devotional works and purity of life are expressed in the in- scription :- Non mihi sit laudi quod eran velut alter, -Apelles, Sed quod lucra fuis Omnia, Christe, dabam. Altera nam) terris opera extant, altera coelo Urbs me Joannem flos tulit Etruriae.” Fra Angelico is represented under an emaciated figure in the habit of his Order, at the feet of which is written, “J/ic jacet ſene. Pictor F. Jo. ordin's Predicatorum, 1404.” On the last pilaster of the mave is the monument of Raphael Fabretti, the learned anti- quary of Urbino, who died at Rome in 1700. Near the principal entrance to the ch. are some monuments worthy of notice: of Francesco Tornabuoni, by JIino dº Piesole ; that of Cardinal Te- baldi, near to it, is by Andrewſ del Veroc- chio, and of one of the Pucci family, by Gitc. della Portat. The memorial to Paulus Manutius, the son of Aldus, who died at Rome in 1574, and was buried here, has disappeared, like many others, during the recent Vandalic restorations by the monks. The Festival of St. Thomas Aquinas, on the 7th March, is observed in this ch. with great so- lemnity, and high mass is performed in the presence of the College of Cardimals. On the Festival of the Ammunciation, on the 25th of the same 152 § 25. CHURCHES-S. MARIA DELLA PACE. Rome. month, the pope attends high mass here, and afterwards distributes their dowries on the young girls portioned by the Society of the Amnunziata. The ſongstery attached to this ch. is the head-quarters of the Do- minicans, and the general of the order resides in it. The Inquisition, or Congregation of the Santo Uffizio, holds its sittings here, since the Palace of the Inquisition, called “the Tri- bunal of the Holy Office,” near St. Peter's, has been converted into a bar- rack; as well as the Congregation of the Index. The Library of the Minerva, called the Biblioteca Casanatense, from Car- dinal Casanate, its founder, contains upwards of 120,000 printed books and 4500 MSS. The most ancient of the latter is a Pontifical on parch- ment of the 9th century, illuminated with miniatures. A large Bible on parchment, stamped by hand with wooden characters, is interesting in the history of printing. This li- brary is richer in printed books than any other in Rome, and is only Surpassed by the Vatican in manu- Scripts. It is open daily from 7% to 10# A.M., at all seasons, and for 2 hours in the afternoon, which vary according to the time of the year. S. Mariº della Nitricella, also called S. M. in Domnica, on the Caelian, the first mame from a small marble ship which Leo X. placed in front of it, a copy of an ancient one which stood here. The ch. is one of the oldest in Rome, on the site of the house of S. Ciriaca, which stood where the foreign soldiers were quartered on the Mons Caelius—the Castrº Periſrinorum. It was entirely restored by Leo X., when Cardinal de Medicis and titular of this ch., from the designs of Raphael. The portico is by Michel Angelo. The interior has 18 fine columns of granite and 2 of red porphyry. The frieze of the nave is painted in chiaro-scuro by Giulio Romano and Picrino del Jºaga. The mosaics of the tribune are of the 9th century, when the ch. was restored under Paschal I., and are very remark- able for their execution; those of its Vault represent the Virgin and Child in the centre, with Paschal I. at her feet. S. Mariº del Orto, in the Trastevere, near the Ripa Grande, deserves notice for its architecture. It was designed by Giulio Romano, about 1530, with the exception of the façade, which was added by Martino Lunghi. It contains an Annunciation by Taddeo Zucchero. The architecture of the high altar is by Giacomo della Porta. S. Maria della Pace, in a narrow Street beyond the W. side of the Piazza Navona, built by Sixtus IV. in 1487, in commemoration of the peace of Christendom, after it had been threatened by the Turks in 1480. It was designed by Baccio Pintelli, and restored by Alexander VII. from the designs of Pietro da Cortona, who added the semicircular portico. The interior consists of a short nave fol. lowed by an octagonal transept, sur- rounded by chapels and surmounted by the cupola. On the face of the arch of the first chapel on the rt. in en- tering, are the Four Sibyls by Raphael, —the Cumaean, Persian, Phrygian, and Tiburtime, – universally classed aimong the most perfect works of this illustrious master. Unlike the Isaiah in S. Agostino, these frescoes do not show the imitation of Michel Angelo for which that painting is re- markable. They were very probably suggested by the works of the Sixtine chapel, but they bear distinct evidence of the peculiar grace of Raphael’s own style. . In regard to the common story of the jealousy of the two great artists, it is said that, when Michel Angelo was consulted by the banker Chigi on the price which Raphael was en- titled to for these Sibyls, he replied that every head was worth a hundred crowns. They have recently been re- Stored, but had unfortunately suffered from former repainting in oil. The Pro- phets above are by Rosso Florentino, from Raphael’s drawings. The 4 paint- ings on the walls beneath the cupola have been much admired : the Visita- Sect. I. § 25. s. MARIA DEL POPOLO. 153 tion is by Carlo Maratta ; the Presenta- tion in the Temple is a fine work of Baldassare Peruzzi’s the Nativity of the Virgin is by Francesco Fanni; the Death of the Virgin is considered the masterpiece of Morandi. The high altar, from the designs of Carlo Ma- dermo, has some graceful paintings on the vault by Albano, when young ; the Adoration of the Kings and the other paintings are by Passignani, and the 4 saints on the pilasters by Lavinia Fon- tawa. The first chapel on the rt. On entering the ch. belongs to the Chigi family, and is chiefly remarkable for the Sibyls by Raphael on the arch above; the bas-reliefs, children with the instruments of the Passion, and S. Bernardino, are by E. Ferrata. The second, to the Cesis, has, on the front towards the nave, very beautiful reliefs, rich in arabesque designs, by Simone lſosca. The chapel itself, designed by Michel Angelo, contains 2 good Sepul- chral monuments of the family. On the opposite side of the nave, in the first chapel on the 1., is a lovely fresco by Baldassare Peruzzi, recently dis- covered under a modern painting. It represents a Domatorio, one of the Ponzetti family, to whom the chapel belonged, presented to the Virgin by SS. Bridget and Catherine. The Na- tivity over the altar in the next chapel is by Sermoneta, from a design, it is said, of Michel Angelo's. The large clois- ter, with its double tier of porticos, was designed by Bramante (1494). S. Maria del Popolo, close to the gate of the same name, founded, it is supposed, by Paschal II, in 1099, on the spot where the ashes of Nero are said to have been discovered and scattered to the winds. The tradition states that the people were constantly harassed by phantoms which haunt- ed the spot, and that the ch. was built to protect them from these super- natural visitants. It was rebuilt by the Roman people in 1227, whence its name; restored by Sixtus IV., from the designs of Baccio Pintelli, in 1480; and completed and embellished by Julius II., Agostino Chigi and other wealthy citizens contributing to the expense. Alexander VII. modernised the whole building on the plans of Bernini, as we now see it. The Sculptures and paintings collected in its numerous chapels make it one of the very interesting churches in Rome. The 1st chapel on the rt. of the en- trance, dedicated to the Virgin and to St. Jerome by Cardinal Cristoforo della Rovere, contains the monument of the cardinal on one side, and on the opposite of Cardinal di Castro ; the frescoes in the 5 lunettes of the vault, represent- ing subjects from the life of St. Jerome, and the celebrated altarpiece of the Nativity, are all by Pinturicchio. The 2nd, or Cibo chapel, designed by Carlo Fontana in the form of a Greek cross, is rich in verde and nero antico, pa- vonazzetto, alabaster, and jasper: the picture of the Assumption is by Carlo Maratta. The 3rd chapel, dedicated to the Virgin by Sixtus IV., is remarkable for its frescoes by Pinturicchio, repre- senting the life of the Virgin, in 5 lu- nettes, restored of late years by Cºmuc- cini, as well as the picture of the Virgin and 4 saints over the altar. In the 4th is the bas-relief of St. Catherine between St. Antomy of Padua and St. Vincent, an interesting work of the lăth century; the frescoes here are also by Pinturicchio ; on the rt. is the handsome monumental figure of M. A. Albertoni, who died of the plague in 1485; and opposite to it that of Cardinal Costa (1508). The vault of the choir is covered with frescoes by Pinturicchio in his best style: the Virgin and Saviour in the centre; lower down the 4 Evange- lists and as many beautiful recumbent figures of sibyls; and in the corners St. Gregory, St. Ambrose, St. Jerome, and St. Augustime, the whole surrounded with beautiful arabesques. The win- dows, in coloured glass, are by Claude and Guillaume de Marseilles, who were invited to Rome by Julius II. : these are the only good specimens of ancient painted glass in Rome. Under these are the magnificent tombs of Cardinal Ascamio Sforza, and Car- dinal Girolomo Basso, nephew of Sixtus IV., by Andred dº Sunsocino, the sculptor of the beautiful bas-re- liefs at Loreto ; they are amongst the H 3 1 54 Rome. § 25. CHURCHES-s. MARIA IN TRAST EVERE. finest sepulchral monuments of the early part of the 16th century : San- sovino was brought to Rome by Julius II. to execute them, and at whose ex- pense they were raised. Over the high altar stands the miracle-working image of Sta. María del Popolo, traditionally attributed to St. Luke. In the chapel on the 1. of the high altar is the Assumption, by Annib de Catrºcci. The Crucifixion of St. Peter and the Con- version of St. Paul on the side walls are by M/. Angelo Caravaggio. The frescoes over the altar of the Falconieri chapel, the 3rd on the J., are by Giovanni da S. (#ior inni, and the monuments of Ur- bano and Garzia Millini by Aljºtºdi. The Chigi chapel, the 2nd on the 1., dedicated to the Virgin of Loreto, was erected and decorated from the de- signs of Raphael. The mosaics on the vault of the cupola represent the creation of the heavenly bodies. Ac- cording to an idea which prevailed in the middle ages, and may be found in the poetry of Dante, each planet is represented under the guidance of a guardian angel. The initials on the torch of Cupid indicate the name of the artist, Lodovico di Pace, who executed these mosaics during the lifetime of Raphael and from his de- signs. The original plan was to cover the ceiling with a series of subjects from the Creation to the fall of Adam ; the walls were to have been painted with subjects from the New Testament; and these two series were to be commected by 4 statues of the Prophets. The mosaics of the Crea- tion have recently been made known in England by the outline engravings of Grüner. The Nativity of the Virgin over the altar, and the oil-paintings between the windows, were begun by Sebasti no del Piombo, and finished by Sºleiºtti, after his cartoon. The STATUE of JoMAH sitting on a whale, supposed to have been modelled by Raphael, was sculptured by J.orenzetto Dotti. The Elijah, also from a design of Ra- phael, was executed in marble by the same sculptor; the Daniel and the Habakkuk are by Bernini, by whom are also the tasteless pyramidal monu- ments of Agostino and Sigismondo Chigi. Near this chapel is the tomb of a Princess Odescalchi Chigi (1771), by Paolo Posi, remarkable only for its bad taste. Besides the sepulchral monuments already noticed, those of Cardinal Lomato in the 1. transept and of Cardinal Podocathero in the rt. are good specimens of the 16th centy. Opposite to the latter is one recently erected to Girometti, the celebrated engraver of cameos on pietra durat. In the corridor leading to the sacristy is a monument to Guglielmo da Pereira. in the style of B. da Rovezzano ; in the sacristy a fine tabernacle in marble in the cinquecento style, which formerly stood over the high altar in the ch., where it contained the painting of the Madonna del Popolo: the sepulchral monuments of Bishops Gomiti and Rocca, who lived in the time of Sixtus IV., are in the most elaborate style of the 16th centy. The monument of the Duke of Candia, murdered by Caesar Borgia, formerly in this ch., has dis- appeared through negligence or de- sign. The neighbouring convent is tenanted by monks of the order of St. Augustine. S. Maria in Trastevere, said to have been the first ch. publicly conse- crated to divine worship in Rome under the invocation of the Virgin (Prima Jºles Deipara dicuta). It was founded as a small oratory by St. Calixtus in 224, on the site of the Taberna Meritoria, a kind of Chelsea Hospital for old soldiers, where a source of petroleum is said to have sprung up in the year of the birth of our Saviour, and from which the ch. is called Fons Olei in some early ecclesiastical docu- ments: rebuilt in 340 by Julius I., it was subsequently restored by John VII., Gregory II., Gregory III., Adrian I., and Benedict III. The cli. as it now stands was almost entirely erected in 1139 by Innocent II. : the tribune, high altar, and the mosaics of the former are of his period. Nicho- las V. reduced it to its present form, on the plans of Bernardino Rossellini. The mosaics of the façade represent the Virgin and Child, and the 10 wise virgins bearing offerings: they were Sect. I. { § 25. S. MARIA IN TRASTEVERE. | } '') * begun in the 12th century under Euge- mius III., and completed in the 14th by Pietro Cavallini. There were several ancient inscriptions on the walls under the portico, chiefly early Christian, which have been removed to the Mu- seum of the Lateran and replaced by casts; one, however, of an earlier period, still remains, and is curious, as showing that there were some happy ménages in ancient Rome : — MAR- CUs CoCCEUS LIB. AUG. AMBROSIUS |PREPoSITUs, WESTIs ALBAE TRIUM- PHALIS, NICE CoNJUGI SL.E CUM QUE VIXIT ANNOS XXXXV., DIEBUs XI., SINE ULLA QUERELA. Few husbands in Rome now-a-days could, perhaps, say so much. Follows the measure in length and breadth occupied by the tomb of this model of conjugal felicity. The inscription is probably of the time of Trajan. Another is to a certain Attidia, the wife of Flavius Antoninus, who is designated as “uxor rarissima.” The mosaic of the Annunciation here is by P. Cavallini. Entering the ch., the 22 granite columns which divide the mave from the aisles were evidently taken from edifices of classical times: some have Ionic and some Corinthian capitals. Many of the Ionic capitals have either in the volutes or the flow- ers small heads of Isis, Serapis, and Harpocrates. These columns support a beautiful cormice, also ancient. Do- menichimo designed the magnificent roof, and painted the Assumption of the Virgin in the centre of it; he also designed the chapel of the Madonna di Strada Cupa, on the rt. of the high altar, and commenced the graceful figure in fresco of a child scattering flowers in one of the corners of the vaulting of the latter. The tribune has 2 series of mosaics: the upper ones, representing the Saviour, the Virgin, and 6 saints, were executed in the 12th centy., when the ch. was restored by Innocent II. ; those below, in 6 compartments, of the Nativity of the Virgin, the Annunciation, the Birth of our Saviour, the Adoration of the Magi, the Presentation in the Temple, and the Virgin's death, are by Pietro Cavallini, nearly 2 centuries later, Lower down, between 2 large frescoes by Ciampelli, is a good mosaic by Catallini, representing the Virgin, with St. Peter and St. Paul presenting Bertoldo Stefaneschi to her. The mo- saics above were executed at his ex- pense in 1290. On the face of the arch are the four Evangelists, with the Pro- phets Isaiah and Jeremiah. The high altar is over the confessional, and is covered with a canopy supported by 4 columns of red porphyry. The con- fessional contains the remains of St. Calixtus, and 4 other early popes. This ch. has a floor of opus Alexandrinum and some interesting tombs: amongst which may be mentioned those of Lanfranco and Ciro Ferri, the painters; and of Giovanni Bottari, the learned librarian of the Vatican, editor of the Dictionary of the Della Crusca Academy, an able writer on art, who died a canon of this ch. in 1775. In the 1. transept are the monuments of Cardinal d’Alençon (ob. 1403), bro- ther of Philip le Bel, and of Cardinal Stefaneschi, by Paolo, the celebrated Roman sculptor of the lăth century; the handsome Gothic altar, dedicated to SS. Philip and James, between these tombs, was also erected by the Cardinal d’Alençon; the picture over it, and which has been mercilessly re- painted, was of the period; the portrait on the 1. is supposed to be that of the cardinal himself. Innocent II. is buried in this ch., the only memorial to him being a marble slab, with an inscrip- tion in Gothic characters, on the wall of the rt. aisle, and which was placed over his grave when his remains were removed here from the Basilica Constan- tiniana by Clement V. when that edifice was burned down. Near the arch of the tribune the visitor will remark two singular relics—a slab of marble on which the credulous may discover marks of a drop of the blood of Sta. Dorothea, and the weight hung round the neck of St. Calixtus when he was precipitated into the well at his martyr- dom. In the sacristy is a handsome Ciborium by lºſino da Fiesole, and over the altar a picture of the Virgin and Saints, attributed to Perugino. Near S. M. in Trastevere is the Benedictine Conrent of San Calisto, in which is pre- 1jö IRome. § 25, CHURCHES-S. MARIA IN VALLICELLA. served the Latin Bible of S. Pauli, a beautiful MS. of the Sth century, said to have been a present from Charle- magne to the monks. This building serves as the summer residence of the monks of S. Paolo fuori le Mura, when the malaria renders their convent at the latter uninhabitable. S. Mariſ in Tricio, a Trevi, or de' Cro- ciferi, said to have been founded by Belisarius. This ch., situated near the Fountain of Trevi, derives its popular mame from the order of the Crociferi, to whom it was presented by Gregory XIII. in 1573. It was rebuilt by Alex- ander VII., from the designs of Gia- como del Duca. It contains some pic- tures of the Venetian school, princi- pally by Palma Vecchio. The small historical subjects round the altar of the Crocifisso are by Il Bolognese. Another altar has a picture of the Eaptism of our Lord, probably by one of Palma’s scholars. S. Mariº in Wallicella, better known by the name of La Chiesa Nuovº, one of the largest and most imposing churches in Rome, not far from the Ponte S. Angelo. It was built by S. Filippo Neri, assisted by Gregory XIII. and Cardinal Cesi, from the designs of Martino Lunghi, in 1575. The interior, rich in marbles and ornaments, was designed by Pietro da Corton'ſ, who painted the roof, the cupola, and the vault of the tribune. In the first chapel on the rt. is the fine Crucifixion, by Scipione Gaetani. The Coronation of the Virgin in the chapel of the transept is by Car. d’Arpino; the statues of the two SS. John by Flaminio Vaccº. The high altar is remarkable for 3 paintings by Rubens in his youth : that over the altar represents the Virgin surrounded by a glory of angels; the one on the 1., St. Gregory, S. Maurus, and S. Papias; and the third, S. Domi- tilla, S. Nereus, and S. Achilleus. In the chapel of the 1. transept is a fine Presentation in the Temple, by /3 ºroccio. The highly-decorated chapel near this is dedicated to the patron- saint, his remains lying beneath the altar, the mosaic over which is a copy of the picture in the gallery of the Vati- can, the portrait of the saint by Guido. The roof of the Sacristy is painted by Pietro da Cortomu ; the subject is the Archangel bearing the symbols of the Passion to Heaven : it is finely coloured, and remarkable for the effect of the foreshortening. The statue of S. Filippo over the altar is by Algardi, Beyond this is the chamber of S. Filippo, still retaining the furniture which he used, and his portrait attributed to Guercino. In the small chapel is pre- served the picture, by Guido, which So powerfully affected the saint : the ceiling is painted by Pietro da Cor- tona. Returning to the ch., the third chapel on the 1. has a Visitation, by Baroccio : the last chapel on this side is painted by Cup. d'Arpino. This ch. contains the tombs of the Cardinal Baronius, the celebrated annalist of the Church, of Cardinal Taruggi, and of Cardinal Maury. S. Filippo was the inventor of those compositions of sacred music which took the name of Oratorios, from the Oratory which he founded, annexed to the ch., built by Borromini, con- taining frescoes of the Coronation of the Virgin by Romanelli, and of St. Cecilia by Jºanni. Oratorios are still performed in this Oratory at 1 hour after Sunset during Lent, to which men only are admitted. S. Filippo is also entitled to honourable praise for having induced Cardinal Baronius to write his celebrated Annals. At his festival, on the 26th May, a grand mass is celebrated in this ch., in the presence of the pope and Sacred Col. leges. The adjoining Convent of S. Filippo Neri, the head-quarters of the Order of the Oratorians, is one of the best works of Borromimi. The flat roof of the oratory is an imitation of that of the Cella Solearis of the Baths of Caracalla. The Library con- tains some interesting works. The * Enarrationes in Psalmos,’ by St. Augustin, on parchment, is the oldest MS. A. Latin Bible of the 8th century is attributed to Alcuin. Several in- edited manuscripts of Cardinal Baro- mius are also preserved here. S. Maria in Jia Latº, in the Corso, Sect. I. § 25. S. MARIA DELLA S. MARTINA. 157 WITTORIA and by the side of the Doria palace, is said by the Church tradition to occupy the spot where St. Paul lodged with the centurion. The ch. was founded by Sergius I. in the 8th century, rebuilt by Innocent VIII. in 1485, and restored in 1662 by Alexander VII., when the façade was added by Pietro da Cortona, who con- sidered it his masterpiece in architec- ture. In the subterranean ch. is a spring of water, which according to the legend sprang up miraculously, to enable the apostle to baptize his disciples. This church contains the tombs of J. G. Drouais, the eminent French painter; of Dodwell, the English traveller in Greece; and of Princess Zenaide Bonaparte, the daughter of Joseph King of Spain, and wife of Prince Charles L. Bonaparte, better known as Prince of Canino. She died at Naples in 1854. S. A/aria del/a Tittoria, in the Via de Porta Pia, so called from a miraculous picture of the Virgin, whose inter- cession is said to have obtained many victories over the Turks. It was built in its present magnificent style in 1605, by Paul V. The imposing façade was added from the designs of Gio. Battista Soria, at the expense of Car- dimal Borghese, in return for the statue of the hermaphrodite found in the gardens of the adjoining Carmelite convent, and now in the Museum of the Louvre. The interior is by Carlo Madermo. Some of the flags suspended from the roof were captured from the Turks at the battle of Lepanto in 1571, and when they were compelled to raise the siege of Vienna in 1683. The Virgin and St. Francis in the second chapel on the rt., and the 2 pictures on the side walls, are by Domenichino. The chapel of S. Teresa contains the sta- tue of the Saint in ecstasy, with the Angel of Death descending to transfix her with his dart, by Bernini, in his most affected style. The group of St. Joseph and the Angel in the opposite transept is by D. (htidi. Those in the chapel of Sta. Teresa represent members of the Venetian family of Corner. The next chapel contains the Trinity, by Guercino ; a Crucifixiofi is a copy of that by Guido now in the gallery of the Duke of Northumberland; and his portrait of Cardinal Cornaro. S. Martina, in the Forum, one of the very ancient churches in Rome, sup- posed to stand on the site of the Secre- tarium Senutus, was rebuilt in the 13th cent. by Alexander IV., and dedicated to Santa Martina. In 1588 Sixtus V. gave it to the Academy of Painters, who rebuilt it in the pontificate of Urban VIII., and dedicated it to Santa Martina, their patron, whose remains had been recently discovered beneath. The designs for this new ch. were fur- mished by Pietro da Cortona, who was so much pleased with his work that he called it his daughter. It contains the original model of Thorwaldsen's statue of Christ bequeathed by him. The Assumption, by Sebastiano Conca, is a work of great merit. The subterra- mean ch., containing the tomb of S. Martina, is remarkable for its flat roof, and for the chapel erected by Pietro da Cortoma at his own cost. This artist was a liberal benefactor to the ch. ; he bequeathed to it his whole fortune, amounting to 100,000 scudi. The adjoining Academy of St. Luke, with its gallery of pictures, is described under the head of Colleges and Academies (p. 273). S. Martino ai Monti, called also S. Silvestro c S. Martino, a very handsome ch. on the Esquiline, on the rt. of the road leading from Sta. M. Maggiore to the Lateran, stands on the ruins of the Thermae of Trajan, and was built by S. Symmachus, A.D. 500, on the site of a more ancient one founded by S. Silvester in the time of Constantine. After being restored by several popes in the mid- dle ages, it was modernised in 1650 by P. Filippini, the general of the Car- melites. The nave is divided from the aisles by a double range of 24 ancient columns, of the Corinthian order, and of different marbles, said to have been brought from Hadriam’s villa near Tivoli. The present hand- I 38 § 25. CHURCHES NEREO ED ACHILLEO. Rome. SS. some roof was added by S. Carlo Borromeo. In the aisles are a series of landscapes in fresco by Gaspar Poussin, with the prophet Elijah and other figures by his more celebrated brother-in-law, Nicholas Poussin. The high altar is raised upon a platform richly paved with marbles of various colours. Beneath a flight of steps leads to the Confessional, arranged and decorated by Pietro dº Cortona, containing the bodies of popes S. Sil- vester and S. Martin. Below this is the Subterraneam Ch., a kind of crypt, formed out of a part of the Baths of Trajan. The ancient pavement is of black and white mosaic, and the antique Madonna at the altar is of the same imaterial. It was in the ancient ch., where the present stands, that were held by St. Silvester the councils of A.D. 324 and 330, when the Arian and Sabellian doctrines were condemned. S.S. Nereo ed Achilleo, on the Appian, the modern Via di S. Sebastiano, near the Baths of Caracalla, built by Leo III. towards the end of the 8th cen- fury, and restored in 1597 by Cardinal Baronius, who was titular cardinal of the ch. It is remarkable chiefly for the enclosed choir, with the 2 a.m- homes on it, as in the early Christian churches; surrounding the altar, before which stands a handsome marble can- delabrum, with elaborately sculptured "ornaments. The mosaics of the tribune are very interesting, and probably of the time of Leo III. They repre- sent on the face of the arch the Trans- figuration. The canopy over the high altar rests on 4 columns of African marble. In the Confessional beneath are the ashes of the patron Saint and of Sta. Domitilla. Behind the altar is the ancient episcopal chair from which St. Gregory the Great read his 26th Homily; a portion of this homily is engraved on the back of it. The paint- ings of the Apostles, and of Sta. Domi- tilla, over an altar on the 1., are by Roncalli. On a marble slab is still pre- served the impressive appeal of Car- dinal Baronius to his successors not to alter the building, or remove any of its `- antiquities. The touching prayer of the father of ecclesiastical history might be advantageously followed by Some of the Restorers of our own times. The following is the inscrip- tion:—Presbyter, Card. Successor ºptis- Twis fiteris, rogo te, per gloriam Dei, et per meritº horum martyrum, nihil demito, nihiſ minuito, nec mutato; restitutam an- tiquitatem pie servato ; sic Deus martyrum Suorum precibus semper adjuvet ! This interesting ch. is seldom open, but, being in the care of a hermit, a few baiocchi will always procure admission. S. Onofrio, on the Janiculum, above the Porta di San Spirito, built in the reign of Eugenius IV. (1429), for the monks of St. Jerome. Originally in the pointed or Gothic style, subsequent restorations have left few traces of that architecture. S. Onofrio possesses a deep interest as the last resting-place of Tasso, who died in the adjoining convent in 1595, when he repaired to Rome to be crowned in the Capitol. Under the portico, and covered with glass, are 3 lunettes, in which are paintings representing scenes from the life of St. Jerome, by Domeniching, by whom also is the fresco of the Virgin and Child over the door of the ch. The remains of the immortal author of the Gerusalemme, which, until last year, lay on the 1. of this entrance, under the spot where we See an inscription, stating that they were removed in 1857, on the anniver- sary of the poet’s death, are now placed under a gaudy tomb erected by sub- Scription in the chapel of St. Jerome, first on 1. The monument is in the cinquecento style, has a bas-relief of the poet’s funeral, and a statue of Tasso by the sculptor Fabris, one of the worst specimens of modern sculp- ture in this capital of the fine arts. The chapel was erected at the expense of Pius IX. ; the picture over the altar, and the decorations around, being per- fectly in keeping with Fabris's monu- ment. Amongst the other sepulchral memorials here are those of Alessandro Guidi the lyric poet, who died in 1712; of John Barclay, the author of Sect. i. § 25. I 59 S. PANCRAZIO-S. I’AOLO TRE FONTA NE. • Argenis, who spent the last 6 years of his life at Rome, where he died in 1621; of Cardinal Mezzofante, in the last chapel on the 1., a simple slab, with a modest inscription to that extraordi- mary man, who was titular cardinal of the ch. ; and, on the opposite side of the nave, near the door leading into the sacristy, a good cinquecento turn of Cardinal Sacco (ob. 1595), surrounded with handsome sculptured arabesque ornaments. Around the tribune, behind the high altar, are some interesting frescoes; the lower ones by Baldºtssare Peruzzi, the upper ones by Pinturic- chio; of the former, the Virgin and Child in the centre, unfortunately in- jured by restoration, the Flight into Egypt, and the Massacre of the Inno- cents, are very good ; and of the latter, and in the second row, the two com- partments of the Sibyls. In the chapel of the Madonna di Loreto, the altarpiece is by An. Curacci. In one of the upper corridors of the adjoining monastery, now hermetically closed to ladies, is a beautiful fresco of the Madonna and Child, by Leonardo da Vinci, with a Donatorio kneeling before her; and in one of the adjoining rooms, said to have been inhabited by the poet, several relics of Tasso are preserved— the wax mask taken after death, his crucifix, belt, inkstand, and some of his autographs. The terrace in front of the ch, and the gardens of the convent, command a magnificent view over the N. part of Rome, and of the Sabine and Alban hills, with Soracte in the distance. The tree which bore the name of Tasso's Oak, consecrated by the tradition that under its shade the poet was used to retire for medi- tation and study, is in the convent garden. It was partly blown down during a storm in the autumn of 1842, but numerous branches have already sprouted from what was spared. A new tree, planted to replace it, grows much less luxuriantly. S. Pancrazio, beyond the gate of the same name, and adjoining the grounds of the Villa. Paumfili. It stands near the ancient Via Vitellina, and was founded by Pope Simmachus in the early part of the 6th century, over the | site of the cemetery of Calepodius. After being long abandoned it was restored in 1609 by Cardinal Torres. During the siege of Rome by the French in 1849, the ch. of San Pan- crazio became a position as important to the besiegers as were the villas in its neighbourhood. It was there- fore taken by storm by two French columns, under Gen. Regnault de St. Jean d’Angely ; and though the building was several times fired by the Romans, and the French were as often compelled to abandon it, they ulti- mately succeeded in retaining it, and made it the centre of their operations. This ch. is remarkable as the burial- place of Crescentius Nomentanus, the celebrated consul of Rome in the 10th century. His epitaph existed prior to the restorations of Cardinal Torres, but it has unfortunately disappeared, and no trace of a memorial so interest- ing to the historian of Rome during the middle ages can now be discovered. In this ch. Narses, after having defeated Totila, met the pope and cardinals, and marched in procession to St. Peter’s to return thanks for his victory. It was here also that Peter II. of Aragon was crowned by Innocent III., and Louis king of Naples was received by John XXII. In the Confessional are the deposited remains of St. Pancratius and St. Victor. One of the flights of steps in the aisles leads to the spot where the former suffered martyrdom; the other to the entrance of the cata- combs of Calepodius, celebrated as the burial-place of many early martyrs. S. Ptolo alle tre Fontane, anciently called Ad Aquas Sºlricts, 1% m. beyond the Basilica of S. Paolo fuori le Mure, built on the spot where St. Paul is said to have been beheaded. The present ch, was built by Cardinal Aldobrandini, from the designs of Giacomo della Porta, in 1590. The interior is cele- brated for the 3 fountains which we are told by the legend sprang up where the head of the apostle bounded as many times from the earth. It contains also the short marble pillar on which he is said to have been decapitated. The 160 § 25. Rome. CHURCHES-S. PIETRO IN MONTORIO. black porphyry columns of the altar are remarkable for their size. Close to this ch. are 2 others, dating from the early times of Christianity. The first of these, S.S. ſincenzo ed Anustusio, was built in 624 by Honorius I., and repaired in 796 by Leo III., and is one of the good and unaltered speci- mens of the early Christian basilicas of the second period, having 8 arches on either side, supported by pilasters instead of ancient columns, as We have seem in most similar edifices in Rome, their only ornamentation being frescoes of the Apostles, from the designs of Raphael, and painted by his pupils. In front of this ch. is a portico supported on columns (of granite), like that at S. Lorenzo fuori le Miura. The 3rd ch., called S. Matria Sºtſit Cºeli, is built over the cemetery of St. Zeno, in which were buried the 12,000 Christians who had been employed, according to the tradition, in erecting the Baths of Dio- cletian. The ch. derives its name from a vision of St. Bernard, in which, when celebrating mass for certain Souls, they appeared to him ascending by a ladder to heaven. It was restored in 1582 by Cardinal Farnese, from the designs of Vignola, and completed by Giacomo della Porta. It is an octa- gonal building, with a cupola. The apse is of some interest for its mosaics by Francesco Zucca : they are consi- dered to be the first work of this kind, and in good taste, executed by the moderns. These 3 churches are in an uninhabited district of the Campagna, interesting to the geologist from its numerous pits of pozzolana, which is procured hereabouts in great abun- dance, and of the best quality, from whence it is carried to the neighbour- ing quay, on the 1. bank of the Tiber, for shipment to all parts of Europe. S. Pietro in Montorio, said to have been founded by Constantine near the spot where St. Peter was crucified, and rebuilt at the expense of Ferdinand and Isabella of Spain, from the designs of Baccio Pintelli, towards the close of the 15th century; it stands on the site of the Arx Janiculensis, founded by Ancus Martius, and is supposed to derive its name of Mons Aureus, or Monte d’Oro, Montorio, from the yellow- coloured sand and gravel which forms the part of the Janicule on which it is built. This interesting ch. narrowly escaped utter demolition during the siege of Rome in 1849. It was fortified and occupied by the Romans, as the head-quarters of their cavalry. From its vicinity to the Porta disan Pancrazio, the centre of operations of the French besieging force, it was also exposed to the fire of the besiegers. The tribune and steeple were completely destroyed, and have been since rebuilt, as well as the western wing of the adjoining convent. Among the parts which happily escaped injury was the Borghe- rini chapel (1st on the rt.), celebrated for the paintings of Sebastiano del Piombo, executed from the designs of Michel Angelo. Vasari tells us that they were the result of a combination between these two great masters, for the purpose of counteracting the par- tiality evinced at Rome for Raphael. The principal subject is the Flagella- tion of our Saviour. The frescoes on the roof represent the Transfiguration. These works cost Sebastian the labour of 6 years. Lanzi says that he painted the Flagellation in the new method he had invented of paintifig in oils on stone ; “a work,” he says, “as much blackened by time, as the frescoes which he executed in the same church are well preserved.” Of the other works of art which were in the building prior to 1849, some were damaged during its occupation by the Roman soldiery. The Conversion of St. Paul in the chapel of the saint, next to the side door on the rt., is by Pasari, who intro- duced his own portrait: the sepul- chral monuments of the Monti family, as well as the statues of Religion and Justice, were designed by him, and sculptured by Bartolomoneo Ammanati. The chapel of St. John the Baptist (5th on the 1.) was painted by Francesco Salviati; the painting of St. John is by D. da Volterra. The Dead Christ and the different subjects of the Passion in the next chapel (4th on the 1.) are probably by Stellaert, although attri- Sect. I. 161 § 25. S. PIETRO IN VINCOI, I. buted to Vandyke. receiving the Stigmata, in the 1st chapel on the 1., is said to be from a design of Michel Angelo. Behind the high altar is a modern copy of Guido's Crucifixion of St. Peter. Before the first French invasion, the Transfigura- tion of Raphael stood there ; and Sebastiano del Piombo painted as a rival to it the Raising of Lazarus, which is now in our National Gallery. On the return of the Transfiguration from the Louvre it was placed in the Vatican, and an annual stipend granted to the ch. in compensation for its loss. This ch. has an interest for the Irish traveller, as containing the graves of Hugh O'Nial, Baron Dungannon, son of the Earl of Tyrone, and O'Donnell Earl of Tyrconnell (1608), who, implicated in the intrigues against Eiizabeth and James I., fled their country, and died at Rome in the early part of the 17th centy.: their slab tomb- stones are in the nave. In the cloister of the adjoining convent is Bramante's celebrated Temple, built at the ex- pense of Ferdinand of Spain, on the spot on which St. Peter is supposed to have suffered martyrdom. It is a small circular building, sustained by 16 granite columns of the Doric order: it has been universally admired as a bijou of architecture and is in every respect one of the most elegant works of modern times. In its upper chapel, before the altar, is a sitting statue of St. Peter, and in the crypt below, richly decorated with stucco reliefs, is shown the hole into which was struck the Cross upon which the Prince of the Apostles suffered martyrdom. This beautiful edi- fice had a narrow escape during the siege of 1849, one of the French shells having burst within 6 feet of it. The view from the platform in front of San Pietro in Montorio can hardly be surpassed : it is to modern Rome what the view from the Capitol is to ancient; and strangers should take an early opportunity of visiting the spot, in order to acquire a knowledge of the localities and principal buildings of the more modern portions of the city. The St. Francis S. Pietro in J incol; (the Basilica Eudoxiana of ecclesiastical writers), on the Esquiline, not far from the Baths of Titus, built in 442, during the pontifi- cate of St. Leo the Great, by Eudoxia, wife of Valentinian III., to preserve the chain with which St. Peter was bound at Jerusalem. It was repaired by Pelagius I. in 555, as we learn by an inscription in the ch. ; rebuilt by Adrian I. in the 8th century; and re- stored in 1503 by Julius II., from the designs of Baccio Pintelli. In 1705 it was reduced to its present form by Francesco Fontana. It is a most in- teresting edifice, offering in nearly an unaltered form all the characters of the Christian basilica, consisting of a portico, out of which opens the fine have separated from 2 side aisles by 20 ancient fluted marble columns of the Doric order, terminated by a semi- circular tribune, the arch of which is Supported by 2 Corinthian columns of grey granite. Beside its architecture the chief object of interest in this ch. is the MoSEs of JIichel Angelo, one of the most celebrated creations of his gi- gantic genius. It was intended to form a part of the magnificent tomb of Julius II., the plan of which was So imposing that it is said to have induced the pope to undertake the rebuilding of St. Peter's. Michel Angelo's design was a parallelogram, Surmounted by 40 statues, and covered with bas-reliefs and other ornaments. The colossal statue of Moses was to have been placed upon it. The vicis- situdes of this monument form one of the curious chapters in the history of art. The quarrel of Michel An- gelo with Julius II. suspended its pro- gress for 2 years; but on their recon- ciliation the great sculptor returned to Rome, and continued to work upon it until the death of the pope in 1513. It was then suspended during the greater part of the reign of Leo X., and was not fairly resumed until after his death. The original design, after all these interruptions, was never executed : Michel Angelo had only completed at his death the statue of . Moses and the 2 figures supposed to represent Religion and Virtue. These were placed, not in the basilica of St. l62 l’IETRO IN VINCOLI. J'oine. § 25. CHURCHES-S. Peter's, as originally imtended, but in their present comparatively obscure position: two of the figures of slaves, which were intended to serve as Ca- ryatides on the monument, are now in the . Louvre, and the 3rd is in the Bo- boli gardens at Florence. To com- plete this list of misadventures, the pope is not buried under his monu- ment, but near his kinsman Sixtus IV., in the chapel of the Sacrament, in St. Peter's, and without any memo- rial, except a mean marble inscription. These facts are necessary to be borne in mind, because the Moses is not so advantageously seem as it would have been if surrounded by all the acces- gories of a finished monument. There are few works of art which have been more severely criticised ; but in spite of all that has been advanced, it is impossible not to be struck with its commanding expression and colossal proportions. The hands and arms are extremely fine, and rival the grandest productions of the Grecian chisel. ** Here sits,” says Forsyth, “the Moses of Michael Angelo, frowning with the terrific eyebrows of Olympian Jove. Homer and Phidias, indeed, placed their god on a golden throne ; but Moses is cribbed into a miche, like a prebendary in his stall. Much wit has been levelled of late at his flowing beard and his flaming horns. One critic compares his head to a goat’s ; another, his dress to a galley-slave’s. But the true sublime resists all ridi- cule; the offended lawgiver frowns on unrepressed, and awes you with inherent authority.” The figures in the niches on each side of the Moses are by the same great sculptor, those of Elias and the Sibyl above by Raffaello dº ſontelupo, the recumbent figure of Julius II. by Mitso dal Bosco, and the Virgin and Child by Scherano da Settignano. At the first altar on the rt. hand is a picture of St. Augustin, by Guercino. Beyond it are the monu- ments of Cardinals Margotti and Agucci, from the designs of Domeni- chino, who painted the portrait of the latter on his. The Deliverance of St. Peter, at the 2nd altar, is a copy of the painting by the same master now pre- served in the sacristy. The chapel beyond the Moses contains the finely finished picture of St. Margaret, by Guercino. The tribune is painted by Jº- copo Coppi, a Florentine artist of the 16th century, representing scenes in the life of St. Peter. Below these on the rt. is the monument, with his bust in relief, of G. Clovio, the celebrated miniature-painter of the 16th centy., who was a canon of this ch. At the bottom of the apse is an ancient epis- copal seat in white marble. In the 1. aisle is a curious mosaic of St. Sebas- tian, of the year 680, with the name, and in which he is represented with a beard ; it is one of the interesting examples of this branch of art, and was placed here on the occasion of the Saint's having been supposed to have averted a pestilence then raging. In the next chapel, with a picture of a Pietà over the altar, is the tomb of Card. Cinzio Aldobrandini, the pro- tector of Tasso and nephew of Clement VIII. Farther on is a bas-relief of St. Peter and the Angel, executed in 1465 for Cardinal di Cusa, whose gravestone is beneath it; and near the door the tomb of Antonio Pollajuolo, and of his brother Peter, with their busts; the fresco over it is allegorical to the power of the popes in liberating souls from purgatory, and was painted by Pollajuolo's pupils. The chains which give name to the ch. are not shown to visitors, but are publicly exhibited on the Festival of St. Peter in Vinculis, on the 1st August: they are preserved in a bronze tabernacle executed by Polla- juolo, in the sacristy, where is also the Hope of Guido, perhaps the most beautiful of his smaller works, and the Deliverance of St. Peter, one of the most celebrated works of the younger days of Domenichino. In this ch. Hildebrand was elected pope in 1073, when he assumed the name of Gregory VII. The adjoining convent was built by Giuliano di Sangallo; one of the best views of the Coliseum is to be had from its upper Loggia. The cistern in the court was designed by Michel Angelo. The street which leads from before the ch., the Via di St. Pietro in Vincula, to the Piazza Suburra, Sect. I. § 25. s. PRASSEDE. | 63 is supposed to correspond with the Wºus Sceleratus, infamous in Roman history as the scene of the impiety of Tullia, who there drove her car over the dead body of her father after he had been assassinated by her husband Tarquin. In the garden of the Maro- mite monks, on the opposte side of the piazza, may be remarked one of the finest specimens of the date-palm in Rome. The large building which occu- pies the third side of the square is the convent of San Francesco di Paola, the belfry of which is perched on a good mediaeval tower of the Frangipanis. S. Prassede, near to the basilica of Santa Maria Maggiore, founded on the site of a small oratory built by Pius I. A.D. 160, as a place of security to which the early Christians might retire during the persecutions. The present edifice was erected in 822 by Paschal I., restored in the 15th century by Ni- cholas V., and modernised by San Carlo Borromeo, who was titular car- dinal of the ch. It is remarkable as the place of the attack of the Frangipanis on Pope Gelasius II. in 111S. The principal entrance from the Via di S. Martino consists of an ancient portico, supported by two Ionic columns of granite; but that open to the public is in the adjoining street, by a side-door. The interior presents a mave divided from 2 side aisles by 16 columns of granite, with composite capitals, which have birds on the fo- liage. The tribune is ascended by a double flight of steps, composed of slabs of rosso antico, amongst the largest known. The mosaics of this ch. are very remarkable, and are of the period of Pope Paschal I., consequently of the 9th centy. On the face of the great arch of the nave we see the Saviour with an angel on either side, in the centre of a city, the gates of which are guarded by angels; the figures outside and below bearing palm- branches are supposed to represent the faithful. Over the arch of the tribune is the mystical Lamb in the centre, having 3 candlesticks and 2 angels on either side, and emblematical figures of the 4 lºvangelists nearer the ex- tremities. The 12 figures draped in togas, and bearing crowns in their hands, are supposed to represent the 24 wise men of the Apocalypse. On the vault or apse our Saviour stands in the centre of a group of 6 saints: the 2 female ones bearing crowns in their hands, presented to Christ by SS. Peter and Paul, are SS. Prassede and Puden- tiana; whilst the one bearing a church is evidently intended for Paschal H., the restorer of this edifice. The band beneath, of a lamb bearing a cross, with 6 others on either side, are emblem- atical of our Saviour and the Apostles, as the rude representations of cities at either extremity are of Bethlehem and Jerusalem. On each side of the high altar, under the music galleries, are pillars of white marble, remarkable for their foliage ornaments. In the 1. side aisle, near the door, is the slab of nero-bianco granite on which S. Pras- sede slept, and in the middle of the nave a well in which she is said to have collected the bodies and blood of the martyrs who suffered on this hill. The 3rd chapel on the rt., of S. Zeno, or of la Colonna Santa, is entered by a door formed of 2 columns of the rare black porphyry and granite (porjido e granito mero-bianco), supporting a portion of an elaborately sculptured frieze ; the interior is covered with mosaics of the time of Paschal I. ; from their richness this chapel was formerly called the Orto del Paradiso: it derives its present name from a portion of a column to which our Saviour is said to have been bound at his Flagellation; and which was brought from Jeru- Salem in 1223 by a Cardinal Colonna. Amongst other relics contained in this chapel are the bodies of SS. Zeno and Valentinian. The tomb of Cardinal Cetivo (1474), in the adjoining chapel, with his recumbent statue, and those of St. Peter, St. Paul, S. Prassede, and S. Pudentiana, is interesting as a good work of the 15th century. The tomb of Cardinal Anchera bears the date 1286. The bust of Monsignore Santoni, by Bernini, opposite the chapel of S. Zeno, is said to have been exe- cuted when the artist was only 10 years old. The 3rd chapel on the 1. 164 Rome. § 25. CHURCHES-S. PUDENTIANA. contains a picture of Christ bearing the Cross, by Federigo Zucchero ; the Ascen- sion, on the roof, is by Cav. d’Arpino. In the large chapel of S. Carlo Bor- romeo are his seat, and the table on which he distributed food to the poor. The Confessional has 4 sarcophagi of early Christians. The sacristy con- tains a picture of the Flagellation, attri- buted to Giulio Rom mo. Amongst the relics here, but not shown, is the Por- trait of the Saviour, which St. Peter is said to have presented to Pudems, the father of S. Prassede and S. Pudenziana. The Church tradition tells us that Pudens was the first person converted to Christianity by St. Paul in Rome; the apostle lodged in his house from the 1st year of Claudius to the 9th, and again A.D. 62, when he returned a 2nd time to Rome. The departure of the Jews from Rome is mentioned in Acts xviii. 2; “because that Clau- dius had commanded all Jews to de- part from Rome.” The apostle men- tions Pudens in the Second Epistle to Timothy, iv. 21 : “ Eubulus greeteth thee, and Pudens, and Linus, and Claudia, and all the brethren.” Linus is considered by the historians of the Church as the successor of St. Peter; Claudia is believed to have been the wife of Pudens, and the daughter of the British chief Caradoc or Carac- ta. CllS. S. Prisca, on the Aventine, a very ancient ch., supposed to occupy the site of the house in which St. Prisca was baptized by St. Peter. It was conse- crated by pope S. Eutichianus in 280, and rebuilt or restored by Cardinal Giustiniani from the designs of Carlo Lombardi in 1600. It has 24 ancient columns in the nave, and at the high altar the Baptism of the Saint, by Pas- signano. This ch. is supposed to occupy the site of the celebrated Temple of Diana, founded by Servius Tullius as the common sanctuary of the Latin League. S. Pudentianº, behind Sta. Maria Maggiore, in the valley between the Viminal and Esquiline, off the modern Via Urbana, the ancient Vieus Patri- cius, is very interesting from its his- torical relations, and the works of mediaeval art contained in it; it is sup- posed to be the most ancient of all the Christian edifices of Rome (omnium ccclesiarum urbis vetustissima), to have been considered in early times as the cathedral of the Christian city, and to occupy the site of the house of the senator Pudens, where St. Peter lodged from A.D. 41 to 50, converted his daughters Praxedes and Pudentiana, and baptized many thousands of the first followers of our faith, and to the latter of whom the ch. was dedicated by St. Pius, A.D. 145. It was successively restored by Adrian I. in the 8th centy., by Gregory VII. and Innocent II. in the 12th, and reduced to its present form in 1597 by Card. Caetani. It consists of a nave, and formerly of side aisles (the latter having been divided off into chapels) separated by 14 ancient columns of grey marble. The mosaics over the tribune are amongst the finest in Rome, considering the period ; and were executed in 884, by order of Pope Adriam III. They represent our Sa- viour surrounded by the Apostles, in Roman costume, with S. Pudentiana and S. Praxedes standing behind. In the neighbouring chapel, on the 1., dedi- cated to St. Peter, is a large marble group by G. della Portº, representing our Saviour delivering the keys to the Prince of the Apostles; the floor of this chapel, as of several other parts of the ch., retains the old Roman mosaic pave- ment, supposed to have formed part of Pudens' house. There are some early Christian inscriptions let into the walls —one recently discovered in the cata- combs, of Cornelia of the family of the Pudentiani, with a rude portrait; the table on which St. Peter ate is placed under the altar. , Opening out of the 1. aisle is the richly decorated chapel of the Caetanis; the Adora- tion of the Magi over the altar, in high relief, is by Paolo Olivieri; on each side are fine columns of Lumachella marble, and in the roof are introduced some ancient mosaics of the 4Evangelists, and of S. Pudentiana collecting the blood of the martyrs; the tombs on either side are of members of the family of Caetani in Sect. I. 165 § 25. s. sabb A–s. SABINA. the 17th centy. The paintings of the oval cupola of the ch. are by Pond- rancio. On each side of the entrance to the ch. are ancient torse columns, supporting a lintel, on which are some early Christian bas-reliefs. tower is a good specimen of the style of these edifices of the 9th and 10th cents. The present titular cardinal of this ch. is our countryman Dr. Wise- man. S. Pudentiana, being annexed to a convent of Bernardine nuns, is seldom open, except at an early hour. The great conventual establishment on the opposite side of the Via Urbama, called the Bambino Jesu, is one of the most extensive in Iłome ; it belongs to nuns of the order of St. Augustine, who are principally occupied with educating young females. Santi Quttiro Incoronºti, an interest- ing ch. built on that ridge of the Coelian which extends from the Coliseum to the Lateran, and, it is supposed, on the site of a Temple of Diana. The pre- sent edifice was built by Paschal II., but to replace a more ancient one of Honorius I. in 626; it is now attached to a conservatory of young females, and is seldom open, except at an early hour. Before the ch, are two square courts; the inner one, originally the quadriporticus, has, built into its walls, several columms of different marbles, evidently from ancient edifices. The interior consists of a mave separated from the aisles by 8 Corinthian columns, and surmounted by a gallery, with an equal number of smaller Ionic pillars, in imitation of Sta. Agnese fuori le Mura, and which, as we have stated, was intended for females alone. The tribune, which is very wide and ample, has in the centre an episcopal chair, and its vault and walls covered with frescoes of martyred saints by Giovanni di S. Giovanni. Beneath in a subter- ranean chapel are the relics of SS. Carporferus, Severus, Severianus, and Victoriamus, to whom the ch. is dedi- cated, in 4 urns placed here by St. Leo. Opening (on the rt.) from the outer court is a chapel dedicated to S. Sil- vester, erected by Innocent III., with Some curious paintings representing The bell- events in the life of Constantine the | Great. | S. Sabbºt, on the eastern portion of the Aventine, near where is supposed to have stood the Porta Raudusculana of the Wall of Servius Tullius, and i on the site of the house of Silvia, the mother of St. Gregory the Great, a very ancient ch., standing isolated on the southern summit of the hill. It is more remarkable for its posi- tion, and for the view from its portico, which contains an ancient Sarcophagus, than for its architecture. The interior consists of a nave, separated from the aisles by 7 ancient columns on either side; and of a tribune, on the vault of which are mosaics, probably of the time of Adrian I., of our Saviour, having on either side St. Sabba and St. Andrew, with the usual emblematical band of the Saviour and the Apostles, repre- sented as a lamb and 12 sheep. S. Sabinº, on the Aventine, supposed to occupy the site of the Temple of Juno Regina, founded by Camillus after the taking of Veii, and of the Atrium erected by Asimius Pollio, in which he placed the Library of Varro. S. Sabina was built in the form of a basilica in 423, by Peter, an Illyrian priest, where the house of St. Sabina stood, as we learn by a mosaic inscrip- tion over the principal door. Sixtus W., in 1587, reduced it to its present form. It has been restored at various times, but has lost a great deal of its original character, and consists of a nave and 2 aisles, separated by 24 fluted white marble columns of the Corinthian order. Arches spring from the columns, as in the basilicas. The chapel of the Rosary, on the rt. of the high altar, contains the fine picture of the Virgin of the Rosary, with S. Domimick, and St. Catherine of Siena, by Sussoferrato. The chapel of St. Hyacinthus, in the rt. aisle, has an altarpiece, by Liciº Fontamºſ; the fres- coes representing the Canonization, and subjects from the life of the saint, are by the two Zuccheros; in the 1. aisle is the handsome chapel of St 166 Iłóme. § 25. CHURCHES-S. SABINA. Catherine; its cupola is painted by Odazzi. Of the sepulchral monuments in this ch. the most worthy of notice is that in mosaic of Munio di Zamora upon the floor of the nave; he was general of the Dominican order, and lived in the pontificate of Boniface VIII. (1300). At the S. end of the nave is the an- cient portico or vestibule, now enclosed in the conventual buildings; it is sup- ported by fine spirally fluted marble columns, and on the walls are some interesting early Christian inscrip- tions; the great door which opens from it into the ch. has richly sculp- tured marble jambs of the 12th centy. ; the doors are in sculptured cypress wood, probably of a later period. Be- yond the portico is one of the gardens of the convent, in which may be seen a lemon-tree planted by St. Dominick himself, when a recluse here. The adjoining monastery, which belongs to the order of St. Dominick, contains an extensive cloister, Surrounded by a 4-sided portico, formed of small marble columns that support marrow Lombard arches; this cloister is con- temporaneous with the foundation of the convent, in the 13th centy., when Pope Honorius I. approved of the rules of the Dominican order, and gave to its brethren the present site, then his palace, to erect their convent upon. From the cloister a door leads to the declivity of the Aventine towards the river, from which a magnificent pano- rama of the Transtiberine region will open before the visitor. Some interesting archaeological dis- coveries have been lately made on this declivity, which will be well worth a visit (being within the conven- tual precincts, ladies are precluded from entering): they consist of several chambers with paintings on the walls, and which probably formed the lower apartments, destined for the dwelling of menials or slaves of some magnifi- cent Roman edifice. In one of these chambers some curious inscriptious scratched on the stucco may be seen, amongst which can be deciphered a list of the names of slaves, the mode of spelling of which would refer them to the time of the early Caesars. The houses to which these chambers be- longed were built on either side of the Servian wall, which ran along this part of the hill, and a considerable fragment of which is seen included in them. The artistic merit of the paintings in these chambers has been much exag- gerated. Lower down the declivity a gallery leads into a series of intricate subterranean passages, cut through the tufa rock, and which have been par- tially explored : it is difficult to say what they were intended for, possibly to drain more effectually the soil; several vertical shafts from the surface open into them, ensuring perfect venti- lation. At a lower level are another series of subterranean galleries, into which we may descend by a flight of circular steps, near the bottom of which is a chamber paved with mosaic with Some traces of painting on the walls. From here an arched tunnel cuts at right angles a narrow gallery excavated in the tufa, and which, from its level, its direction, and its sides being covered with calcareous incrustations, the de- posit of water, there is reason to believe formed the canal for the Aqua Appia, which emptied itself at the Castellum, near the Porta Trigemina, not far from this spot, and from which that earliest of Roman aqueducts distributed its waters to the regions of ancient Rome, at the base of the Palatine and Capito- line hills, and to that beyond the Tiber. Although perhaps out of place here, it may prove useful to the visitor to: Santa Sabina to be informed that the site on which the ch. and its gardens stand was formerly covered, beginning from the N., by the Temple of Juno. Regina, founded by Camillus after the fall of Veii; by that of Jupiter Libertas, erected by Caius Gracchus, restored by Augustus, and to which Asimius Pollio added an extensive atrium, in which he placed the library of Varro, the first opened to the public in Rome. A part of the ch., and of the garden before it, is probably on the site of the latter, whilst the Temple of Juno stood farther back, extending to the modern descent to the Bocca della Verita, which follows the direction of the Clivus Publicius of ancient times. On these Sect. I. 167 § 25. S. SEBASTIANo. sites in the middle ages rose the for- tresses of the Savellis, and the resi- dence of Honorius III. of that family, which he made over to the Dominican monks, for their gardens, in the 13th centy. If we prolong our walk farther E. over the Aventine, where the ch. of Santa Prisca stands was probably the site of the Temple of the Diana Aventina, near which Sura, the friend of Trajan, erected his Thermae; and not much farther was the house of Trajan himself, before he became emperor. In the vineyard on the opposite side of the road from Santa Prisca ( ſignat del Col- ſeſſio Romano) are two of the best pre- served specimens of the walls of Servius Tullius that exist—one nearly 40 yards long, consisting of massive blocks of volcanic tufa admirably adjusted, and upon which, as below Santa Sabina, less durable constructions of the Imperial period were erected. At the foot of the Aventine, and on the narrow level space between it and the Tiber, stood the portico of Fabarius, and nearer the river bank the portico of Emilius, which ex- tended to the Porta Trigemina of the wall of Servius Tullius, the position of which corresponds very nearly with that of the modern Arco Salara. S. Salvatore in Lauro, near the Via de' Coronari, on the site of the Laurel- grove which stood near the Portico of Europa ; it was originally of the Gothic style of the 15th centy., but all traces of that have disappeared under modern restorations: it contains at the 3rd altar on the rt. P. da Cortona’s early work of the Nativity. The tomb of Eugenius IV., removed from the old Basilica of St. Peter's to this ch., has a long inscrip- tion relative to the Council of Basle, held in his pontificate. Sun Sebastiano, about 2 miles beyond the gate of that name on the Via Appia. The foundation of this basilica is scarcely less ancient than that of the others we have described, and is also attributed to Comstantine. But the present edifice is not older than 1611, when it was entirely rebuilt by Cardi- mal Scipio Borghese, from the designs of Flaminio Ponzio. All traces of the ancient basilica have disappeared, and neither the architecture nor the deco- rations present anything which requires notice. The chapel of St. Sebastian, in the S. aisle, designed by Ciro Ferri, has a recumbent statue of the saint by Antonio Giorgetti, after his master, Bernini. The remains of St. Sebastian are buried under the altar in a marble urn, having been removed here from the Vatican by Honorius III. On the opposite aisle is the handsome chapel of the Albani family, erected by Clement XI. as the burying- place of his house, and dedicated to St. Fabianus; and near it another celebrated for its relics, an emumeration of which would make a long list; the most cu- rious perhaps is the stone which is said to contain the impression left by the Saviour's feet, when he was met by St. Peter at the spot now occupied by the little ch. of Domine quo radis, which was built to commemorate the event, and so called from the words which St. Peter addressed to our Lord (see p. 319). On the 1. of the principal door the visitor will remark a large marble slab, on which are inscribed 12 hexameter and pentameter verses in honour of the martyr Eutychius: they were composed by pope St. Da- masus, and are in the same beautifully formed letters so peculiar to the reign of that pontiff, and in the same style of metrical composition as we shall find at the catacombs of Sta. Agnese, S. Calisto, &c. (p. 306). A door on the 1. of the entrance leads into the Catacombs ; indeed it was to a portich of the subterranean cemetery on this spot, situated be- hind the high altar of the ch., that the name of Catctoombs, ad Cotacwmbas was first and more particularly ap- plied.* The only probable explanation * The high altar offers nothing remarkable, but beneath it is the Confessional, containing a bishop's seat, in which Pope St. Stephen is said to have been martyrized. It was here also that the remains of St. Peter and St. Paul lay, from the time when they wore recovered from certain Greek emissaries who. were detected in attempting to carry them off to their country, in the reign of Vespasian, to the translation of those of St. Peter to the cemetery J 68 Rome. $ 25. CHURCHES-S. sILVESTRO. of these immense subterranean gal- leries is, that they were originally ex- cavated by the early Christians for the purpose of depositing their dead, and subsequently for religious worship and meeting, and not for extracting stone or pozzolana, as has been conjectured by many modern writers; it was pro- bably to minor excavations of the latter kind that Cicero is supposed to allude in his oration for Milo when he men- tions the hiding-place and receptacle for thieves on the Via Appia, and not, as was at one time supposed, to the Christian cemeteries, which consist of a series of passages or galleries, from the principal of which others branch off in different directions; here and there are open spaces which served as chapels or places of meeting, and on each side of the passages are the niches for the dead in tiers above each other. There can be mo doubt that the early Christians were accustomed to assemble in such places for divine worship and for concealment, as in all the cata- combs about Rome we meet with small chapels or oratories; generally Square, some vaulted and forming chambers, which still retain traces of stucco and painting. The graves of children occur in a large proportion : sarcophagi were seldom found in them, being more fre- quently discovered in the ruins of the chapels situated on the surface, near the passages by which they were en- tered. In the passages yet explored ‘very little marble, except that used for closing the loculi or graves, and for the inscriptions, has been found. The ex- tent of these catacombs is very consi- derable, although there is no founda- tion for the stories told that some of them reach to Ostia. There is no doubt however that the excavations now seem are but a small portion of what has been already explored; but the danger of allowing such a labyrinth of subterranean passages to remain open has made it necessary to close many of them. It is also well known of St. Calixtus, and of St. Paul to llis basilica (ºn the Via Ostiensis. It was to this particular spot, beneath the ch. of St. Sebastian, that the name Catacomb appears to have been originally and particularly applied. that the catacombs of St. Sebastian, although extensive, are by no means the most so of the kind; we have already alluded to those of Santa Ciriaca, and there are many others of considerable magnitude in every direc- tion around Rome, to which we shall refer in a subsequent part of this Work (see p. 303). Nearly all the monu- ments and inscriptions found in the catacombs of St. Sebastian have been removed to the Museums of the Vatican and the Lateran. The large inscription of pope Damasus, above noticed, was found here. S. Silcestro di Monte Cºcallo, or in Cºpite, is remarkable for the 4 circular paintings on the pendentives of the cupola in the 1. transept, by Domeni- chino. They represent David dancing before the Ark, the Queen of Sheba sitting with Solomon on the Throne, Judith showing the Head of Holo- fernes, and Esther in a swoon before Ahasuerus. Lamzi classes them among his finest frescoes, and says that, for the composition and the style of the drapery, they are by some preferred to all the rest. In the Bandini chapel of the 1.-hand transept is the Assumption, considered the best work of Scipione Gaetani; it is painted on slate. The 2nd chapel on the 1. has a roof painted by Cav. d'Arpino, and some paintings on the lateral walls by Polidoro da Cara- vaggio; the picture of St. Dominick and St. Catherine, over the altar, is by Jſariotto Albertinelli. The cardinals as- semble in this ch. before going in pro- cession to the conclave. Cardinal Ben- tivoglio, the historian of the war in Flamders, is buried in this ch. S. Stefano ſºotondo, on the western part of the Caelian hill, one of the remarkable churches in Rome; it is probably the adaptation of an ancient edifice to ecclesiastical purposes, and not, as supposed by Some, one of those circular churches built expressly for Christian purposes, like that of Sta. Costanza (p. 139); the most gene- rally received opinion now is, that it was the circular portion of the Mº- cellºn (#, ande, or great market for Sect. I. I (39 § 25. s. TEODORO–S. TOMMASO. butcher's-meat, erected in the time of Nero; all that is known, and on the authority of Anastasius, is, that it was consecrated as a place of Christian worship by Pope St. Simplicius, A.D. 467. The name expresses its circular form. The original edifice consisted of 2 concentric rows of granite columns of the Ionic order. The intercolum- niations of the outer one were filled up by Nicholas V. (1447), to form the wall of the present building, outside of which are still traces of a third circuit of solid wall, which formed the outer enclosure in more ancient times. The interior, 133 ft. in diameter, has 56 columns; 36 of these are in the outer circle, and 20 in the inner. The former have a series of low arches springing from them. In the central area are 2 Corinthian columns, higher than the rest, which, with 2 pilasters, support a cross wall : it is probable they were added at a later period to support the roof, as the two pilasters occupy the places of Ionic columns in the inner circular row, and which were removed to make room for them. The plan and details of this curious build- ing are given in Camina’s work on Christian Temples. The windows bear a resemblance to those in early Gothic buildings beyond the Alps. The walls are covered with frescoes by Pomarancio, representing the mar- tyrdoms of different saints: a series of paintings which are displeasing to the eye and imagination, having little to recommend them as works of art. The chapel of S. Primus and S. Felix has behind its altar some mosaics of the patron saints of an early period. In the vestibule is an episcopal chair, from which St. Gregory the Great is said to have read his fourth homily. The ch. is only opened for divine service early on Sunday morning, and on the 26th of December, the anni- versary of St. Stephen ; but admittance through the Sacristan can always be obtained. S. Stephen's Basilica on the Via La- tima (see p. 356). Stat. Susanna, in the Piazza di Ter- [Rome.] mini, near Santa Maria della Vit- toria, a church attached to a convent of Bernardine nums; its handsome front was erected in 1603 by Carlo Maderno. The interior is rich in ornament, and frescoes representing events in the life of the saint, by B. Croce; the painting over the high altar is by Lauretti, and those of the choir by C. Nebbia. The chapel dedicated to St. Lawrence was erected at the expense of a sister of Sixtus V., and has a good altarpiece by the latter painter. S. Teodoro, commonly called S. Toto, a circular building in the street lead- ing from the Forum to the Bocca della Verita, and under the Palatine hill, on the site of a Temple of Vesta, or of Romulus. The present building shows by its construction that it be- longs to the decline of art: it is Sup- posed to have been built by Adrian I. in the 8th century, restored by Nicho- las W. in 1450, and by Clement XI. in 1700. The mosaics of the tribune are of the time of Adriam I. The claims of this ch. to be considered an ancient temple are considered in our descrip- tion of the Antiquities (p. 39). A very ancient custom of carrying infants to be blessed in this ch. is still continued (every Thursday morning), especially after their recovery from the effects of vaccination. In the centre of the Court before the ch. is a mutilated Pagan altar, and beneath some curious vaults belonging to a pious confra- termity. S. Tommaso deſili Inglesi, or St. Thomas of Canterbury, in the Via di Monserrato, near the Farmese palace, was attached to the English college, but was de- secrated under the French republic. The college has been restored, but not the ch., which was founded in 775 by Offa king of the East Saxons, and dedicated to the Holy Trinity. The hospital was afterwards built by a wealthy Englishman, John Scop- pard, for English pilgrims. The ch. was destroyed by fire in 817, and rebuilt by Egbert. Thomas-a-Becket, during his visit to Rome, lodged I 17 () Rome. § 25. CHURCHES-TRINITA DE’ MONTI. in the hospital; and on his canoni- zation by Alexander III., 2 years after his death, the church was dedicated to him as St. Thomas of Canterbury. In addition to this institution, another hospital and an oratory, dedicated to St. Edmund, king and martyr, were founded by an English merchant, near the Ripa Grande, for the benefit of English sailors frequenting Rome; but as the commerce of the two countries declined, the new establishments were incorporated with that of St. Thomas. The united hospitals were converted into a college for English missionaries by Gregory XIII. in 1575, and the ch. was afterwards rebuilt by Cardinal Howard. It is said to have been en- dowed with considerable property by the above-mentioned John Scoppard. The hall of the college contains some curious portraits of the Roman Catho- lics who were put to death in the reigns of Henry VIII. and Elizabeth. One of the arms of ā Becket is preserved among the relics. On the 29th Dee., the Festival of St. Thomas, high mass is performed in the college chapel, in the presence of the cardinals. During Cardinal Wiseman’s mastership, several sepulchral monuments from the dese- crated ch. were placed in the lower cor- ridors of the college; that of Cardinal Bainbridge, Abp. of York and British Envoy to Julius II., has a fine recum- bent statue of the deceased in full pon- tificals and in the style of Mino da Fiesole. Cardinal Bainbridge died at Rome in 1514. Sir Thos. Dereham, a follower of the Stuarts (ob. 1739), has a monument here ; as also a young lady of the Swinburne family, upon which her charms and accomplishments are detailed in language little Suited to the severe lapidary style. Attached to the English college, the object of which is to educate young English- men for the Church, has been lately added another establishment, under the denomination of Collegio Pio, to receive converts to Romanism and prepare them for the Roman Catholic ministry. ſcº Trinità de' Monti, well known to English visitors from its conspicuous position above the Piazza di Spagna, and from the fine flights of steps which lead to it. The ch. was built in 1494 by Charles VIII., king of France, at the instigation of S. Francesco di Paola. It suffered severely at the time of the French revolution, and was abandoned in 1798, but was restored by Louis XVIII., from the designs of Mazois. It now belongs to a convent of nuns of the Sacré Coeur, who devote them- selves to the education of young females, and is the most frequented institution of the kind in Rome. The ch, is closed after morning prayers, at 9% A.M., but strangers are admitted at the side door. In the second chapel on the rt. hand is a picture of S. François de Sales. In the third are the Assumption, the Presentation in the Temple, and the Massacre of the Innocents, by Daniele da Volterra, the two others from the master's designs. The Massacre of the Innocents is said to have been retouched by Michel An- gelo. The Assumption has suffered considerably in its lower portion; on the rt. we recognise in the old man with outstretched arm the portrait of Michel Angelo. The 5th chapel is painted by the school of Sodoma, but the frescoes are much injured ; the 6th by that of Perugino, and are in better condition ; the high altar is an execrable specimen of modern French taste. The Coronation of the Virgin in the 1. transept is by Fed. Zucchero, and the prophets Isaiah and Daniel, with the histories of the Virgin, on the vault, by Pierino del Vaga and Salviati; the one representing the Procession of St. Gre- gory the Great, by an unknown hand, is interesting for the view of the Mausoleum of Hadrian as it existed in the time of Leo X. The great painting of this ch. was in the first chapel on the 1., the DESCENT FROM THE CROSS, the masterpiece of Daniele da Volterra, executed with the assistance of Michel Angelo, and considered by Poussin to be the third greatest picture in the world, inferior only to Raphael's Transfigura- tion, and to the Communion of St. Je- rome of Domenichino. “We might,” says Lanzi, “almost fancy ourselves spectators of the mournful scene,—the Redeemer, while being removed from Sect. I. 171 § 25. TRINITA DE' PELLEGRINI. the cross, gradually sinking down with all that relaxation of limb and utter helplessness which belongs to a dead body; the assistants engaged in their various duties, and thrown into different and contrasted attitudes, in- tently occupied with the sacred re- mains which they so reverently gaze upon; the mother of the Lord in a swoon amidst her afflicted com- panions; the disciple whom he loved standing with outstretched arms, ab- sorbed in contemplating the myste- rious spectacle. The truth in the re- presentation of the exposed parts of the body appears to be nature itself. The colouring of the heads and of the whole picture accords precisely with the subject, displaying strength rather than delicacy, a harmony, and in short a degree of skill, of which M. Angelo himself might have been proud, if the picture had been inscribed with his name. And to this I suspect the author alluded, when he painted his friend with a looking-glass mear it, as if to intimate that he might recog- mise in the picture a reflection of him- self.” A few years ago the fresco was detached from the wall of the 3rd chapel on the 1., transferred to canvas, and removed to where it now stands.” The 2nd chapel on l. contains a paint- ing of our Saviour delivering the keys to St. Peter, by M. Ingres, of the French Academy, which does not appear to ad- vantage in the midst of the more ancient chefs-d'oeuvre that surround it. In the mext chapel on the 1. is a Virgin by Veit, in the pre-Raphael style, with frescoes of the Annunciation and Salu- tation on the side walls. In the Mas- sino chapel, 5th on the 1., is a Noli tne tangere, attributed to Giulio Romano or il Fattore, and on the rt. Soume fres- coes of the modern French school. (See p. 146.) The grave of Claude de Lor- * As this sheet was passing through the press, the papers bave announced the removal of this painting to the Academy of France, preparatory to its being transferred to the Louvre, founded on a pretended right of the French Government to the contents of the church, arising out of its being placed under its protection. This painting was originally the gift of a Roman family, who have protested against this act of Spoliation, and which in the interest of the arts it is to be hoped will be prevented. raine was in front of the 2nd column on the 1. before his remains were trans- ferred to the monument raised to him by the French government in the ch. of St. Luigi. On Sundays and great festivals vespers are sung by the nuns; the music in general is very good; the Service commencing at half an hour be- fore sunset. La Trinita de' Pellegrini, near to the Ponte Sisto, built in 1614, with a façade designed by Francesco de' Sanctis. It is remarkable chiefly for the celebrated picture of the Trinity, by Guido, over the high-altar; a Ma- donna and Child with Saints, by Cae. d'Arpino ; and the same subjects by Bor- gognone. On the Wednesday, Thurs- day, and Friday of Holy Week, the Roman mobility and several of the car- dinals assemble in this ch., and wash the feet of the poor pilgrims. The ladies of the nobility may also be seen here on these occasions, performing the same office towards the female pilgrims. Annexed to this ch. is an hospital for convalescent patients, and for pilgrims arriving at Rome, who are lodged for a certain number of days depending on the distances from which they have come (p. 279). San Vitale, in the street of the same name, which runs down the valley of Quirinus, that separates the Quirinal and Viminal hills, is a very ancient ch, retaining its form of a Christian basilica. After having remained long neglected, it has been restored during the presest year; and although it has lost much of its original charac- ter, it will be worth visiting, as pre- senting in its outer walls, at least, a good example of the earlier Christian edifices of Rome. Except the carved wooden doors leading from the vesti- bule into the ch., there is little worthy of motice in it. It is attached to the Novitiate of the Jesuits of San Andrea al Quirinale. Its foundation dates from the end of the 5th centy., under Inno- cent I. ; and it is supposed to stand near the site of the Temple of Quirinus (see p. 38). - § 26. PALACES AND MUSEUMs. I'ome. § 26. PALACES AND MUSEUMIs. THE WATICAN.—There is no palace in the world which approaches the Vatican in interest, whether we regard its prominent position in the history of the Church, or the influence exercised by its collections on the learning and taste of Christendom for mearly 300 years. It is an immense pile of build- ings, irregular in their plan, and com- posed of parts constructed at different times, without a due regard to the ge- neral harmony of the whole. There seems to have been a palace attached to the basilica of St. Peter's, probably as early, as the time of Constantine. It certainly existed in the 8th century, for Charlemagne resided in it at his coro- nation by Leo III. In the 12th cem- tury this palace had become so dilapi- dated that it was rebuilt by Innocent III., who entertained Peter II., king of Aragon, in the new edifice. In the fol- lowing century it was enlarged by Nicholas III., whose additions occu. pied the site of the present Torre di Borgia. The popes for upwards of 1000 years had inhabited the Lateran palace, and did not make the Vatican their permanent residence until after their return from Avignon, in 1377. Gregory XI. then adopted it as the Pontifical palace, chiefly on account of the greater security given to it by the vicinity of the Castle of St. Angelo. John XXIII., in order to increase this security, built the covered gallery which communicates between the pa- lace and the fortress. From that time the popes seem to have vied with each other in the extent and variety of their additions. Nicholas W., in 1450, conceived the idea of making it the largest and most beautiful palace of the Christian world, but he died before he could accomplish his design, of the old edifice. Alexander VI, com- pleted that part of the building nearly as we now see it. The chapel of San Lorenzo, the private chapel of Nicholas W., well known from the frescoes of Fra Angelico, is considered to be the only part of the cdifice which is older than his time. The buildings of Alexander VI. were distinguished from the later works by the name of the Old Palace, and are mow called, from their founder, the Apartamento Borgia. To this struc- ture Sixtus IV. in 1474, added the Six- time Chapel, from the designs of Baccio Pintelli. About 1490 Innocent VIII. erected at a short distance from the pa- lace the villa called the Belvedere, from the designs of Antonio di Pollajuolo. Julius II. conceived the idea of uniting the villa to the palace, and employed Bramante to execute the design. Under his direction, the celebrated Loggie were added, and the large rectangular space between the palace and the villa was divided by a terrace separating the garden of the villa from the lower courts of the palace, which he intended to convert into an amphitheatre for bull- fights and public games. In the gar- dens of the Belvedere, Julius laid the foundations of the Vatican museum. This honour has been often attributed to Deo X. ; but Cabrera, in his cu- rious Spanish work on the Antiqui- ties, published at Rome in 1600, emu- merates the Laocoon, the Apollo, the Cleopatra, and other statues placed there by Julius II. After his death Leo X. completed the Loggie under the direction of Raphael. Paul III. built the Sala Regia and the Pauline Chapel, from the designs of Antonio di Sangal- lo; and Sixtus V. completed the design of Bramante, but destroyed the unity of the plan by constructing across the rec- tangle the line of buildings now occu- pied by the library. When Cabrera wrote his description, Sixtus V. had begun a mew and more imposing palace on the easterm side of the court of the Loggie, and it was then advancing to- wards completion under Clement VIII. This is now the ordinary residence of and was only able to renew a portion the Pope, and is by far the most con- PALACE OF THE WATICAN. REFERENCES TO PLACES IN UPPER FLOOR. | | 8. § | | | § 1. Anti 4. Sculpture . . | a 9 1. Anticamera delle Stanze. * 2: S 5. Terra Cottas | § 2. Chapel of S. Lorenzo. 6, 7, 8. Vases Etruscan |10 7 § 3. Hall of the Biga, ... p... . . [Museum. Hi 10. Paintings . . 9 |* § S 5 ºlº - >{- Gallery of Caºzva'edacáros —i Arazzº H. Gallery of May, r ***ś *::: ** REFERENCES TO DIVISION OF LOWER FLOOR. e tº º & © º E §4. 1. Scala Regia. | 13. Christian Antiquities. §º Halls of the Torso. Vase, and 14. Papyri $º ** 2, 3, 4.4 p 3. ... I’apyri. \\ º: º: the Apollo Belved 15. Early Christian Paintings. fº §2) f & ribunes of the Apollo Belvedere, * $1 oc ... Kr - O º * *, *, *, *{ isocoon, Antinois, and Boxers. 16. Roman Frescoes, Mosaics, Tiles, &c. **. Cowſ t; a so & 9. Hall of the Masks. 17. Printed Books. * C s pº º 10. Hall of the Muses. | 8. Museo Profano. • 13 recº w 11. Anterooms of Library. 19. Hemicycle of the Pigna. ... of 2? *...* º 12. Archivio Secreto. 20. Base of the Aurelian Column. gº * § & yººſ.g - - . . . . . . . . - … ... Tº ºf . , , , -a- Rºc - F = ºrº, ºr ºr F.C. F. . . ºº ſº *- º K----> º - ºù 2. \, , § . Mac & e-o-º: : --- Ga Zery -ºf-s /2 sor&6ton. --- sº Yºº- =gº-º-º-º-º-º-º-º-º-º-eº. zºr ITE:Lºkº" * º”.: Fºg --Geº-ºr-ºr-tº- E. --iº i. º sº § H-H -A sº § c IS & * sº § ºš = Ça ralcºn of É is: # Co 2”f a {e aſt §§ § § † Tº. G oS >. F-º ; : 20 ( O } gº • @: tº EH La Pºgna. | t | * * E = ′ = ** = SY | g : 2 *—- º: U. 2 i-º-º-º-º-i----- *= *Prſ Ezº | To face page 172. Sect. I. § 26. THE 173 VATICAN. spicuous portion of the mass of build- ings which constitute the Vatican Pa- lace. Numerous alterations and addi- tions were made by succeeding pontiffs. Under Urban VIII. Bermini constructed his celebrated staircase, called the Seala Regia; Clement XIV. and Pius VI. built a new range of apartments for the Museo Pio-Clementino; and Pius VII. added the Braccio Nuovo, a new wing covering part of the terrace of Bramante, and running parallel to the library. Deo YTI. began a series of chambers for the gallery of pictures, which were ſimished by Gregory XVI., during whose ponti- ficate also the Etruscan Museum was placed in its present position. It can hardly be expected that an edifice whose development may thus betraced through upwards of four centuries should have preserved any uniformity of plan ; and lence the general effect of the palace is far from pleasing. It is rather a collection of separate buildings than one regular structure. The space it Occupies is immense : its length is 1151 English feet, and its breadth 767. The number of its halls, chambers, galleries, &c., almost exceeds belief; it has 8 grand staircases, 200 smaller ones, 20 courts, and 4422 rooms.” From this statement the stranger may form some idea of the extent of its contents. [Before entering on a description of the several collections it may be useful to advert to the regulations mow in force as regards making drawings and copying in the Vaticam and other public galleries at Rome. If at the Vatican, an applica- tion in writing must be addressed to the Maggiordomo, to whose department the Museum and Picture Gallery be- long ; if at the Capitol, to the Presi- dente Antiquario, now the Commenda- tore Tenerami—the applicant must state specifically what objects he wishes to copy. Copying is mot permitted on * In the following description of the Vatican we will follow the order in which the stranger generally visits its several collections for the first time on the public days, carrying him through each part of it consecutively. For greater facility we have annexed a ground plan of the different apartments open to the visitor. the public days, so that at the Vatican the artist will obtain admission on every day except Monday ; and in the Capitoline collections except on Mon- days and Thursdays, always excluding feast-days.] - The Scala Regia, the great stair- case by Bermini, is one of his most re. markable works, and is celebrated for the effect of its perspective. It consists of two flights, the lower decorated with Ionic columns, and the upper with pilasters; the stucco ornaments are by Algardi. This staircase leads from the extremity of the rt.-land portico of Dermini to the Sala Regia, built by Antonio di Sangallo, in the pontifi- cate of Paul III., as a hall of audience for the ambassadors. It is decorated with stucco ornaments by J)amiele da Wolterra and Pierino del Vaga, and is covered with frescoes, illus- trating various events in the history of the popes. The most remarkable of these paintings are the Absolu- tion of the Emperor Henry IV. by Gregory VII., in the presence of the Countess Matilda, by Taddeo and Fe- derigo Zucchero ; the Attack of Tunis in 1553, by the same ; the Massacre of St. Bartholomew, the Removal of the Holy See from Avignon by Gregory XI., the League against the Turks, by Pasaji : and Frederick Barbarossa re- ceiving the Benediction of Alexander III, in the Piazza of St. Mark, by Giuseppe Porta. The Sala Regia serves as a vestibule to the Capella Sistina and the Capella Paolina. The Capella Sistina, or Sirtine Cha- pel, is so called from Sixtus IV., who built it in 1473, from the designs of Baccio Pintelli. It is a lofty oblong hall, about 135 feet long and 45 feet wide, with a gallery rumming round three of the sides. The walls beneath the windows are divided into two por- tions: the lower one, now painted with representations of drapery, was im- tended to be covered with the tapestries executed from the cartoons of Raphael; the upper contains a series of remark- 174 Jēome. § 26. PALACES-THE VATICAN. able frescoes by eminent artists of the 15th century, whom the pope employed to decorate the chapel. “It was designed,” says Tamzi, “to give a re- presentation of some passages from the life of Moses on one side of the chapel, and from the life of Christ on the other, so that the Old Law might be confronted by the New, the type by the person typified.” Two of these subjects are on the wall over the main entramce, and six on each side of the chapel. They stand in the follow- ing order. First Series (on the left, looking towards the Last Judgment): —1. Luca Signorelli, the Journey of Moses and Zipporall into Egypt, one of the best ; 2. Sandro Botticelli, Moses killing the Egyptian, Moses driving away the Shepherds who prevent the Daughters -of Jethro from drawing Water, and the Appearance of the Lord in the Fiery Bush ; 3. Cosimo Rosselli, The Overthrow of Pharaoh in the Red Sea ; 4. Cosimo Rosselli ; Moses de- livering the Commandments; 5. Sandro JBotticelli, the Rebellion of Korah ; 6. Luca Signorelli, the Delivering of the Commandments. Second Series:–1. Jºerugino, the Baptism of Christ ; 2. Sandro Botticelli, the Temptation ; 3. Don. Ghirlandajo, the Calling of the earnest entreaty of Julius II., was finished in 1512; it is generally stated that the actual execution of the work, after the completion of the cartoons, occupied only 20 months. The design was evidently a continua- tion of the scheme of Scripture history, already begun upon the walls by the older masters, but it is remarkable as containing a much larger proportion of subjects from the Old Testament than from the New. It is evident at the first glance that no one but an architect and a painter could have conceived the architectural decorations which form, as it were, a framework for the principal subjects. No language can exaggerate the grandeur and majesty of the figures, which are subservient to the general plan, and carry out the sublime idea which presides over it, even in the mi- mutest details. On the flat central por- tion of the roof is a series of 9 com- partments and subjects, from the Crea- tion to the Deluge. Commencing from the side of the Last Judgment:-1. The Separation of Light and Darkness; 2. The Creation of the Sun and Moon ; 3. The Creation of Trees and Plants; 4. The Creation of Adam ; 5. The Creation of Eve; 6. The Fall and the Expulsion from Paradise; the serpent is here re- St. Peter and St. Andrew; 4. Cosimo presented after the manner of the early Posselli, the Sermon on the Mount ; masters, with the body of a female; the 5. Perugino, Peter receiving the Keys, Eye is admitted by all critics to be one very fine; 6. Cosimo Rosselli, the Last of the most faultless personifications of Supper. At the sides of the entrance female beauty which painting has ever doorway are the Archangel bearing produced. The whole subject was so away the body of Moses, by Francesco much admired by Raphael, that he Salviati, and the Resurrection, by made a drawing of it, which formed a Dom. Ghirlandajo, both much injured part of Sir Thos. Lawrence's collection. by repairs in the time of Gregory XIII. 7. The Sacrifice of Noah. 8. The Deluge, Between the windows is a series of with a multitude of small figures : this popes who lived at the time, by the was the first subject which Michel authors of each of the paintings. Angelo painted, and it is conjectured These paintings are highly interesting that he found the effect unequal to his in the history of art, but they lose their expectations in consequence of the importance when compared with the small size of the figures, and therefore creations of MICHEL ANGELO, whose adopted a more colossal proportion in genius has given such celebrity to the the other subjects. 9. The Intoxica: Sixtine chapel. tion of Noah. The curved portion of the ceiling is divided into triangular he Roof, begun after Michel An- compartments, in which are 12 sitting gelo's return to Rome in 1508, at figures of Prophets and Sibyls, tle GIHL '93 Š "I j99S Q/ I *NWOIALWA -oid out, put ‘piſow att] uttojo.1 UTI joſ : palpaulo.1 od on KIISea puu ‘Utſje [[Utus 'e ºnq SI SIU, Tuul odod out, TIAL, ‘plus Otoñuv Iouloſ IN ‘UIOIJooſqo sodod out) Jo Suſſeau UO pokollsop od O, OIOUIA où polls. 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PALACES-THE VATICAN. tures will reform themselves.” The pope, however, employed Daniele da Wolterra to cover the most prominent figures with drapery, an office which procured for him the mickname of Bra- ghettone, or the breeches-maker. Michel Angelo submitted to the pope's will, but revenged himself on Messer Biagio of Siena, the master of the ceremonies, who first suggested the indelicacy of the figures. He introduced him in the right angle of the picture, standing in hell as Midas with ass's ears, and his body surrounded by a serpent. Biagio com- plained to the pope, who requested that it might be altered : but M. Angelo declared that it was impossible ; for though his holiness was able to effect his release from purgatory, he had no power over hell. In the last century Clement XII. thought that the process of Daniele da Volterra had not been carried far enough, and in his fastidious scruples did serious injury to the paint- ing by employing Stefano Pozzi to add a more general covering to the figures. We see it therefore under many dis- advantages: the damp of three centu- ries, the smoke of the camdles and incense, and the neglect which it has evidently experienced, have obscured its effect and impaired the brightness of its original colouring. The accidental explosion of the powder magazine in the castle of St. Angelo in 1797, which shook the buildings to their founda- tions, is said to have seriously injured all the frescoes in the Vatican. [The Church ceremonies which take place in the Sixtine chapel are described in the account of St. Peter's, at p. 107.]* Capella Paolina.-Near the Sixtime chapel, and opening likewise from the Sala Regia, is the Capella Paolina, built in 1540 by Paul III., from the designs of Amtonio di Sangallo. It is only used in great ceremonies. It is remarkable for two frescoes by Michel Angelo, which were so much injured by the smoke of the candles in the time of Tamzi, that it was even then * A person attends daily at the Sixtine chapel to admit visitors to it and the Paolina. difficult to form an opinion of their colouring. The first and the best pre- served is the Conversion of St. Paul, who is represented lying on the ground, With the Saviour in the cloud, sur- rounded by angels. The composition is very fine, and full of dignity. The other subject is under the window, so that it is impossible to see it in a good light. It represents the Crucifixion of St. Peter, and, though blackened by smoke, still retains many traces of the master-hand. The other frescoes of this chapel, including the portraits of 28 popes, are by Lorenzo Sabatini, and Fe- derigo Zucchero, who painted the roof. Sala Ducale.—The great Hall leading from the Sala Regia to the Loggie of Bramante is called the Sala Ducale, in which the popes in former times gave audience to princes; it was reduced to its present form by Bermini under Alexander VII. It is now used for Jholding the public consistories, when the recently created cardinals are ad- mitted into the sacred college. The Loggie were begun by Julius II., from the designs of Bramante, and com- pleted by Raphael in the pontificate of Leo X. They form a triple portico, of which the 2 lower stories are supported by pilasters, and the third by columns. The only part finished by Raphael is that which faces the city. The two other sides in continuation were added by Gregory XIII. and his successors, in order to complete the uniformity of the court of San Damaso. The Loggia of the lower story is covered with stuccoes and arabesques, executed by Giovanni da Udine from the designs of Raphael. The second contains the celebrated fres- coes which have given to it the name of the “Loggia of Raphael.” It is composed of 13 arcades, sustained by pilasters covered with stucco ornaments and arabesques painted by Giovanni da Udine, from the designs of Raphael, who is said to have derived the idea from the then recently discovered paintings beneath the Baths of Titus. Nothing can surpass the grace and Sect. I. 177 § 26. THE VATICAN. delicacy of these decorations: figures, flowers, animals, mythological subjects, and architectural ornaments are com- bined with the most delightful fancy ; and though seriously injured by the troops of Charles W. and by the re- storations of Sebastiano del Piombo, they are full of interest. Each coved roof of the 13 arcades contains 4 fres- coes connected with some particular epoch of Scripture history, executed from Raphael's designs by Giulio Ro- mano, Pierino del Vaga, Pellegrino da Modena, Francesco Penni, and Raffaelle del Colle. There are, therefore, 52 sepa- rate subjects. Of these, 48, being those of the first 12 arcades, represent different events in the history of the Old Testa- ment ; the last 4, close to the en- trance of the Stanze, are taken from the New, and serve to connect the typical subjects of the former series with the establishment and triumph of the Church, represented in the frescoes of the adjoining Stanze. The Old Testa- ment subjects begin with the Creation, and end with the building of the Temple of Solomon ; they stand in the following order.—1. The Creation of the World, executed by Raphael with his own hand, as Lanzi tells us, in order to serve as a model for the rest. 2. The history of Adam and Eve. 3. The history of Noah. These 3 subjects are by Giulio Romano ; the Eve in the Fall, in the second arcade, is supposed to be by Raphael himself. 4. Abraham and Lot; 5. Isaac ; both by Francesco Penni. 6. Jacob, by Pellegrino da Jſodena. 7. Joseph ; S. Moses; both by Giulio Romano. 9. A continuation of the same subject, by Raffaelle del Colle. 10. Joshua ; and 11. David, by Pierino del Taga. 12. Solomon, by Pellegrino da Modena. 13. New Testa- Iment subjects, the Adoration of the Magi, the Adoration of the Shepherds, the Baptism of the Saviour, and the Last Supper, by Giulio Romano. Lanzi justly says that “the exposure of the gallery to the inclemency of the weather has almost reduced it to the squalid appearamee of the ancient grotesques; tºut they who saw it after it was finished, when the lustre of the gilding, the snowy whiteness of the stuccoes, the brilliance of the colours, and the fresh- mess of the marbles, made it resplendent with beauty on every side, must have been struck with amazement as at a vision of Paradise. Vasari says much of it in these few words, that “it is impossible either to execute or imagine a more beautiful work.” The other wings of this loggia have less interest by the side of these beautiful composi- tions: they contain a series of frescoes in continuation of the New Testament history, painted by Sicciolante da Ser- moneta, Tempesta, Lorenzo Sabbatini, &c. Those of the gallery forming the continuation of the Loggia of Raphael, and which were executed in the time of Gregory XIII., have been recently very judiciously restored by Signor Manto- vami : that next the Pope's apartments, and which had never been decorated, is about to be so, by the same talented artist. [The Stanze and the Museum are open to the public on Mondays, except on Festas, from 12 to 3 o'clock, in the winter and spring. They may, however, be seem on any day by applying to the custodes, who will expect a gra- tuity; the Gallery of Pictures every day except Monday. To see the statues by torchlight am application must be made to the major-domo, through the consul or a diplomatic agent, which is mever refused ; his order will admit 12 persons on each evening. The fee to the custode on this occasion is S to 10 scudi. The Swiss guard expect 1 scudo, and the wax torches, of 4 lb. each, which the party are required to provide, cost nearly 5 scudi more.]* * These excursions are best arranged at Spit- hover's and Piale's libraries, where the names of persons are set down, until a sufficient number to constitute the party offers. The charge for 13 persons, everything included, is 18 scudi, which is distributed in fees to the attendants, Swiss Guards, and in payment for the wax torches. The excursion embraces all the halls except those of the Candelabras, the Egyptian, and Etruscan Museums I 3 § 26. PALACES-VATICAN MUSEUM. Jēome. MUSEUM. The entrance to the Museum is at the extremity of the Lower Loggia, to the left on leaving the Sala Ducale. The Gallery of Inscriptions, or Gal- !eria Lapidaria, a long corridor, 230 yards in length, is occupied almost ex- clusively with ancient sepulchral in- scriptions and monuments, arranged in classes by Marini. On the rt. hand are the Pagam inscriptions in Greek and Latin : those om the 1., with the ex- ception of a few near the entrance, are early Christian. The collection con- tains upwards of 3000 specimens, and is in every respect the finest known. The Pagan inscriptions are classified according to ranks and professions, from divinities to slaves. Nothing is so striking in the Roman inscriptions as the frequent disregard of grammar and Orthography; and many of the verses are quite irreconcilable with the laws of metre, showing that the epitaphs of the ancients are as little to be trusted as indications of literary taste as those of our own times. Some of the Roman trades are extremely curious. We recog- mise the Numularius, or banker; the Medicus Jumentarius, or cattle-doctor; the Lanio, or butcher ; the Marmora- arius, or mason; the Holitor, or greem- grocer; the Invitator, or agent; the Negotiantes Pinari, or wine-merchants; the Caesaris Prasignator, or imperial motary; the Econerator Calcarius, or scavenger; the Pistor Magnarius, or wholesale baker ; and the Navicularius Cur. Corporis Maris Hadriatici, the commissioner of the Hadriatic Com- pany. Besides the inscriptions on the walls there are many interesting sarco- phagi, funeral altars, and cippi, with some finely worked fragments of archi- tectural ornaments, found chiefly in the neighbourhood of Ostia. On one of the largest sarcophagi are lions devouring horses and other animals in bold relief. The cippus bearing the name of Lucius A timetus is ornamented with bas-reliefs representing a cutler's shop on one side, with a customer bargaining for an article, and his workshop on the other. On the left side of the corri- dor are the early Christian inscriptions, found in the catacombs. These are not arranged on the classified plan observed in the Pagan ones. It is impossible to imagine a series of more interest- ing illustrations of the first ages of Christianity, whether we regard them as illustrating the funeral rites and re- ligious symbols of the early Christians, or in commexiom with the history of the Church and the chromology of the consuls during the 4th and 5th cen- turies. The errors of orthography and grammar moticed in the Pagan inscrip- tions are still more glaring in those of the Christians: they show the rapid corruption of the Latim language, and sometimes enable us to fix the pe- riod when matters of faith were intro- duced, The inscriptions are frequently very touching: the influence of a purer creed is apparent in the constant refer- ence to a state beyond the grave, which contrasts in a striking manner with the hopeless grief expressed in the Pagan memorials. The representations which accompany the inscriptions are gene- rally symbolical: the most frequent are the well-known monogram of Christ, formed by the Greek letters X and P; the fish, or the 12:49;, composed of the initial letters of the common Greek epi- graph, expressing “Jesus Christ the Som of God, the Saviour; ” the vine, the dove with the olive-branch, the anchor, the palm, and the sheep. The Christian bas-reliefs of the 4th and 5th centuries are taken in a great measure from the history of the Old Testament and from the life of the Saviour pre- vious to the crucifixion. The repre- sentation of the godhead does not occur on amy monument which is referred upon good evidence to the first 3 cen- turies; and the subject of the cruci- fixion is so rarely met with, that it would seem to have been purposely omitted for at least 2 centuries later. The Virgin and Child has been sup- posed to have been introduced in the Sect. I. 179 § 26. MUSEO CHIARAMONTI. 6th century for the first time as a dis- tinct composition, but recent discoveries in the Catacombs show distinctly that representations of the Mother and Child existed at a much earlier period in the paintings of these early Christian cemeteries. An examination of these monuments will prove an appropriate and instructive study after a visit to the Catacombs (p. 303). At the ex- tremity of the Galleria Lapidaria we enter The Museo Chiaramonti, founded by Pius VII., whose family name it bears, was arranged by Canova. It constitutes the second division of the gallery, and, independently of the new wing called the Braccio Nuovo, con- tains upwards of 700 specimens of ancient sculpture, arranged in 30 compartments. Many are, of course, of secondary interest; but, taken as a whole, the collection in any other place but Rome would be considered a museum in itself. The following are the most remarkable objects : — Compartment I.-1.* Bas-relief of a sarcophagus, with winged bacchama- lian figures, supposed to be engaged in the Pythian games. 2. Apollo seated, a bas-relief, found in the Coliseum during the excavations of 1803. 5. A beautiful fragment of a draped female figure, found at Ostia. 6. Autumn, a recumbent figure surrounded by bac- chamalians, found at Ostia, placed on a sarcophagus, with bas-reliefs of a hus- band, wife, and a child wearing the bulla. 13. Winter, a recumbent figure of the same kind, surrounded by genii playing with swans and tortoises, also found at Ostia, and placed on a repub- lican sarcophagus, with bas-reliefs of a husband amd wife, and their son, bear- ing the name of Publius Elius Verus. * The numbers given here were those placed on the different objects in May 1858, but we by no means hold ourselves responsible for any alterations since that period. The cata- logues of the Vatican Museum are not worthy of the collection ; their price is exorbitant, con- sidering the information they convey, - a cir- cumstance to be attributed to their being a monopoly in the hands of the principal custode. Compartment II.—14. Euterpe, found in the gardens of the Quirinal. Com- partment III.—23. Fragment of a bas- relief of the Calydomian boar-hunt. 26. Bust of Septimius Severus. 30. An. tomimus Pius. 49. M. Agrippa. Com- partment V. —70. A Bacchic priest. 74. Pluto and Cerberus, a small sitting statue, found in the Villa Negroni. 81. Ceres. 84. A Faun playing on the flute, found in Hadriam's villa. 107. Julius Caesar. 113. AEsculapius, with a prayer of a certain Gela- sius to the Divinity engraved upon it. Compartment VI.-120. A vestal, found in Hadriam’s villa. 121. A sitting female figure, restored to be Clio. 122. Diana, of Greek workman- ship. 124. Statue of Augustus on a cippus of Aurelius Bassus, a prefect of engineers. Compartment VII,_130. A bas-relief of considerable interest, illustrating some religious mystery, con- nected probably with the worship of the sum ; the style indicates the decline of art. 135. Julius Caesar (?) veiled as the Pontifex Maximus. 144. A bearded Bacchus. 148. The stork’s nest, am allegorical allusion to filial love. 157. Flavia Domitilla, wife of Vespasian, and mother of Titus. 159. T) omitia, the wife of Domitian. 165. A female bust, a portrait, as Venus. 173. Si- lenus thrown from the ass, a bas-relief. Compartment VIII.-176. A mutilated figure, but remarkable for the drapery, found in Hadrian's villa. Sarcophagus of C. J. Evhodus, and of Metilia Acte his wife, a priestess of Cybele, found at Ostia, with bas-relief of the fable of Admetus and Alceste. 181. Diana tri- formis. 182. A square altar, with in- teresting bas-reliefs representing Venus and Cupids, with bacchantes, at the Dionysiac festivals. Compartment IX. —197. Colossal bust of Minerva, found at Tor Patermo, near the site of ancient Laurentum, much restored. 198. Cip- pus of large size, with fine mythological reliefs, found in the Villa Giustiniami. 219. Bust of Isis. 221. Antonia, wife of Drusus (?). 230. Large cippus of Lucia Telesina, richly ornamented with sphinxes, rams' heads, &c., and a bas- 1SO JRome. § 26. PALACES-VATICAN MUSEUM. relief containing an allegorical allusion to the death of Telesima and her twim children. 232. Scipio Africanus : the bust of white marble, and the head of mero antico. Compartment X. — 244. A colossal bearded mask of Oceanus, apparently belonging to some fountain. 245. Polhymnia. Compartment XI.- 254. Niobe. 255. A small Jupiter Serapis. 264. Torso of a boy. 284. A boy with a bird in his hand and a bird’s nest in his apron, very graceful. 287. The sleeping fisher-boy. Com- partment XII.-294. Colossal statue of Hercules, restored, from the designs of Canova. 297. A wrestler reposing, found near Porto d’Anzio. 295. A fine torso of Bacchus, with the head. Conv- partment XIII.-300. Fragment of a shield, with fighting Amazons in relief. 308. A child riding on a Dolphin. 309. A leopard, very spirited. 315. A panther, in Egyptian granite. , 329. Eragment of a bas-relief representing the story of Diana and Actaeon. 349, 350, 351. Fragments of sitting Muses, Polhymmia, Clio, and Melpomeme. Com- partment XIV.-352. Venus Amadyo- mema. 353. Venus on a rock. 354. Another Venus, supposed to be coming out of the bath. 355-6. Two beautiful female statues, evidently portraits, sup- posed to be members of the family of ÍRutilia from the inscriptions on the plinths, one of whom was consul A.U.C. §49. They were discovered at Tuscu- lum. 357. A captive king, in pavonaz- zetto, from the Willa Negroni. Com- partment XV., 360. A bas-relief, with 3 finely draped dancing female figures, of an early period of art; found near the Lateran Palace. Few of the nume- rous busts in this division have been identified. 392, Hadriam. Compart- onent XVI.-399. Tiberius, a fine colos- sal bust, found in the excavations at Veii. 400. A sitting statue of Tiberius, in the toga, with a crown of oak : this interesting statue was also found at Veii in 1811; on the wall above is the restored dedicatory inscription which was found close to where the statue Was discovered, giving its date Trib. Potest. XXIX. A.D. 401, Augustus, a colossal head, from the same locality. Com- partment XVII. — 408. A bas-relief of a four-wheeled cart, very like a modern brake, with a male and female figure behind the driver. 417. BUST OF THE YOUNG AUGUSTU's, one of the most beautiful busts known, found at Ostia, in the begimming of the pre- sent century, by Mr. Fagan, the British consul. It represents the em- peror at the age of about 14, and the most eminent modern sculptors dwell with admiration on its exquisite beauty. 418. Bust, supposed to be of Julia, the daughter of Augustus, dis- covered at Ostia in 1855. 421. Demos- themes. 437. Septimius Severus. 441. Alcibiades. Compartment XVIII. — 451. A mymph. 453. Meleager re- stored as an emperor, holding a globe and a Victory. 454. AEsculapius. Compartment XIX. —456. Fragment of an urn, with a representation of public games, and genii. 461. A stork. 463. A wild boar in mero antico. 464. A. Mithratic sacrifice. 466. A phoenix on a burning pile. 473. Bust resem- bling Antonia, wife of Drusus. Com- partment XX.—493. Statue of Didu- menianus, som of the Emperor Macrinus. 494. The sitting statue of Tiberius, found at Pipermo : it was purchased for 12,000 scudi, and is one of the most remarkable statues of the kind. 495. A repetition of the CUPID OF PRAXI- TELEs. Several other copies of this statue are known : that now mentioned, one in the Capitol, another in the Villa Albani, one in London, and one in Paris. 497. Bas-relief belong to a sarcophagus of a corn-mill turned by horses: interest- ing as showing how little the Romans were advanced in the mechanical arts. 497A. Portion of a sarcophagus, repre- senting children playing at the modern common game of castelletto. 498. A female statue found in Hadrian's villa, restored as Clotho. Compartment XXI. —505. Antomimus Pius with the civic crown. 509. Ariadne. 510A. Cato. 511. Jumo, found mear St. John Lateran. 511A. Marius. 512, Venus, in Greek marble, found in the Baths of Diocle- tian. 533. A female figure as Proser- 'I 109S ‘OAOn N OIOOVAIGI '93, § ISI -Uffizio alta w s]smq out, Jo Auuru asſur[ ‘AS Jo Autopboy out, Jo Juapisaid out où ‘ilmotnoquT Aq pasodutoo ÁDaytto butu pošttu.LUE *sjøſſø.I-seq Jo pasodutoo SI 320ſ.[] ouſ.T. aquetá Tºuloſ.[O pot Jo SUUUUImloo-JIUU Uto putuls sqsud oup) $ Soutoſtl III paould Kūsout allu som]uys où3 : UOI)00IIoo out, UT Slshq OS ALIEau but sonquis Of Jo sp.tºwdu ole atou I ‘patolsot ATTujatºo sorgsout quoroute put oIq.(8UI (IAIAA paved sº IOOU out.J. ‘BIO)3]\I UTIIoaº) Jo quio) ai1} UIO.J. 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The black and white mo- saic in the pavement represents Ulysses in his boat listening to the song of the Sirens; it was found at Tor Ma- rancio. 17. Fine portrait statue as AEsculapius: supposed to represent Musa, the physician of Augustus. 18. Colossal bust of Claudius, found at Piperno. 20. Statue in a toga, restored as Nerva. 25. Pudicitia; a fine draped figure. 26. Statue of Titus, found in 1828 near the Lateran, with those of his daughter Julia (Nos. 56 and 111); it appears to have been painted. 27, 40, 93. Colossal masks of Medusa, found in the ruins of the Temple of Venus and Rome. 28. Statue of Silenus, 29, 30. Standing faums. 31. A priestess of Isis. 32, 33. Seated Fauns, found at Quintiliolo, the site of the villa of Quintilius Varus near Tivoli. 38. Statue of Ganymede, found in the ruins of some baths at Ostia : on the bark of the tree against which he rests is engraved the name of Phaedimos. 39. A large vase in green Egyptian basaſt, exquisitely worked with reliefs of masks and bacchamalian emblems, found in fragments mear the ch. of S. An- drea, on the Monte Cavallo. The mosaic round the granite pedestal on which it stands, representing bacchamalian figures, birds, &c., was found at Tor Ma- rancio, on the Via Ardeatina. 41. A small statue of a Faun playing on the flute, found in the ruins of the villa of Lucullus, on the Circeian promom- tory. 44. Statue of the wounded Ama- zon. 47. A Canephora. 48. Bust of Trajan. 50. Statue of Diana terrified at seeing the dead Endymion, 53. Statue of Euripides holding a mask. 56. Julia, daughter of Titus, with a curious coiffure. 59. Statue of Abund- ance, with the cornucopia. 62. STATUE OF DEMOSTHENES, one of the finest and most celebrated in the collection. It was found near the Villa Aldobrandini at Frascati, and was formerly in the col- lection of Camuccini. 67. ATHLETE, a semi-colossal statue, found in the Vicolo delle Palme in the Trastevere in 1849, mear the spot where the Bronze Horse, in the Capitoline Mu- seum, was discovered. So admirably has this statue been preserved, that, although one arm and both legs were broken, mone of the pieces were missing, and the only restoration necessary was a small fragment of the nose and some of the fingers of the rt. hand, which have been carefully restored by Profes- sor Tenerami. It is of Greek marble, and represents a wrestler, or athlete, in the act of cleaning his arm with a “stri- gil.” Canina, who directed the excava- tion in which it was found, and the Roman artists generally, regard it as a work of the highest art, and declare it to be the production of Lysippus (B.C. 325), his celebrated Azožvoazºvos, which is said by Pliny to have so pleased Tiberius, that the emperor caused it to be transported from the Baths of Agrippa to his own palace, but from the clamour of the people was obliged to restore it to the original situation. To the objection that Pliny’s description of that statue ap- plies to a work in bronze, Camima replies that it may be a repetition of the bronze one by Lysippus. If this hypothesis be correct, the statue is the first work of Lysippus which has come down to us, and is additionally interesting as being one of the few mentioned by Pliny. Whatever be its origin, it is one of the few examples which have yet been found in statuary of an athlete smoothing or cleaning his skin with the strigil, though paintings of such are to be seen at Naples, and on Etruscan vases. The present statue is holding the strigil with his 1. hand, and is cleaning with it his rt. arm, which he holds extended for the pur- pose. His countenance is ideal; his head is small, his neck rather thick, Sect. I. 183 § 26. BRACCIO NUOVO. and his shoulders show vigour and force, while his legs hardly surpass the natural size. This apparent incongruity is explained by the Roman artists as indicating that the sculptor wished to represent not only a wrestler but a rum- mer; his strength being showm by the size of his shoulders, his small head, and his short neck, as in the statues of IHer- cules; while his lightness and quickness in running are shown by his legs, which are strong, nervous, and rather long. The dice, in the rt. hand, is a modern and unauthorised addition, 68. Bust of the young Marcus Aurelius. 69. The emperor Gordian the Elder (?). 70. Caracalla, young. 71. Statue of the fighting Amazon; the arms are modern. 72. Bust of Ptolemy, son of Juba king of Mauritania. 77. Statue of Antonia, wife of the elder Drusus, and mother of Germanicus, Claudius, and Livia; an interesting statue, re- markable for the drapery. It was found among the ruins of Tusculum. 80. Statue of Plotima, wife of Trajan (?). S1. Bust of Hadriam. 83. Statue of Diana, found at the Villa Adriama. 86. Statue of Fortune, wearing a dia- dem, and a veil hanging over the back of the head to indicate her mysterious origin ; she holds the rudder and the cornucopia : a valuable and beautiful statue, finely preserved ; found at Ostia. S7. Bust bearing the mame of Sallust, very doubtful, on a torso of oriental alabaster. S8. Bust of Lucius Amto- nius, brother of Marc Antony. 91. Bust of Marciana, sister of Trajam. 92. The Venus Amadyomena. The mosaic pavement in the centre of the hemicycle is an interesting specimen, well known by the illustrations of the Wisconti. It represents Diana of Ephe- sus, with arabesques and figures of birds around. It was found at Poggio Mirteto, among the Sabine hills, 95. Apollo with the lyre, in Greek marble; 96. Bust of Marc Antony, found in a cavern with that of Lepidus (No. 106), and one of Augustus, at Tor Sapienza, beyond the Porta Maggiore. 97, 99, 101, 103, 105. Athletes, placed in the niches of the hemicycle; the third was found with the Faun (No. 41) near the Lacus Circeii; the other 4 are from the villa of Quintilius at Tivoli. Above, in the middle of the hemicycle, is a bust of Pius VII., the most ex- cellent of pontiffs and the generous founder of this gallery, by Canova. : 100. Bust of the young M. Aurelius. 102. Dust of Augustus. 102A. Com- modus. 106. Bust of Lepidus, found with No. 96. 107. A small statue of Minerva Polias. 108. A small statue of Diama. 109. The colossal group of the Nile, found near the church of the Minerva, the site of a Temple of Isis, in the pontificate of Leo X. The Nile is one of the grand- est figures in the Vatican : the 16 children who play around him are sup- posed allegorical allusions to the 16 cubits at which the rise of the river begins to irrigate the land: nearly all these children are modern. On the base are symbolical representations of the river, the Nile boats, the ibis, the stork, the hippopotamus, the ichneu- imon, OX, lotus in flower, and croco- dile. 111. Statue of Julia, the daugh- ter of Titus, found with the statue of Titus (No. 26) near the Lateran. 112. Bust of Juno Regina, 114, MI- NERVA MEDICA, one of the finest draped statues in Rome, found on the Esqui- line in the ruins called the temple of this Divinity. It is of fine Parian marble, and was formerly in the Gius- tiniani collection. The rt, forearm and 1. fingers are modern. 117. Good statue of Claudius in a toga. 120. An antique copy of the FAUN OF PRAXITELEs. 121. Bust of Commodus, one of the finest known ; found at Ostia. 123. Heroic statue of Lucius Verus, restored. 118. Colossal head of a Dacian prisoner, belonging probably to a full-length figure, from the Forum of Trajan. 124. Good bust of the elder Emperor Philip. 129. Statue of Domitiam, 132. Fine STATUE OF MERCURY. It was formerly in the gardens on the Quirinal, and was recognised by Canowa, who had it re- moved to the Vatican. The head, which does not belong to the statue, was found in the Coliseum in 1803, 184 Rome. § 26. PALACES-VATICAN MUSEUM. and replaces that of Hadriam, formerly upon it. 134. Head of Vespasian, re- cently adapted to a bust with a tumic of verde antico. 135. Hermes, with a modern head, and an inscription in Greek hexameters on the base, which states that it bore the bust of the sculptor Zemo, of Aphrodisia, in the island of Cyprus, who lived in the time of Marcus Aurelius. It was formerly in the Villa Negroni. Re-entering the long gallery of the Museo Chiaramonti, and continuing to its further end, we ascend a few steps to reach the Museo Pio-Clementino, so called from Clement XIV. and Pius VI., from whom it received its most important accessions. It contains the collections formed by Julius II., Leo X., Clement VII., and Paul III., and is, without exception, the most magnificent mu- seum of ancient sculpture in the world. Pius VI. contributed more munifi- cently to its completion than any of his predecessors; there is hardly a corner of it in which some object does mot bear the inscription, Ilſu- nificentiá Pii Seacti. The frequent re- currence of this record has been ridiculed by Pasquim ; but the best apology for the pope is the simple fact that he en- riched the musuem with more than 2000 specimens, and built from their foundations the Hall of the Animals, the Gallery of the Muses, the Rotonda, the Halls of the Greek Cross and of the Biga, the Grand Staircase, and other por- tions of the building, which have justly been classed among the most splendid works of papal times. Enfrance.—I. VESTIBULE OF THE TORSO (2),” adorned with arabesques by Daniele da Volterra, in the reign of Julius III. They repre- sent histories of the Old and New Testa- ment, and landscapes. 3. The TORSO BELVEDERE, sculptured by Apollonius, son of Nestor of Athens, as we learn by a Greek inscription on the base, * The numbers in a parenthesis correspond to those of the different halls on the ground-plan. The apartments without numbers have their names printed upon the plan. found in the Campo dei Fiori, near the site of the Theatre of Pompey, to whose times it is generally referred. This moble fragment has commanded the admiration of the first sculptors of modern times. Michel Angelo declared that he was its pupil, and was indebted to it for his power in representing the human form ; and Winckelmann consi- dered that it approached nearer to the sublime than the Apollo Belvedere. It is generally supposed to represent Her- cules in a state of repose after labour. Winckelmamm thought that it had the left arm over the head, but Wisconti contends that it formed part of a group, and that the arm surrounded some other figure. Flaxmam adopted this opinion, and introduced it into one of his finest compositions. In the miche op- posite the window is the SARCOPHAGUS OF L. SCIPIo BARBATUS.–Few objects in this museum have been made so well known by models and engravings as this celebrated relic of republican Rome. It is of the coarse peperino, or grey volcanic tufa, of the Alban hills, in the early Doric style, ornamented with a frieze of rosettes and triglyphs. The inscription bears the name of Lucius Cornelius Scipio Barbatus, great-grand- father of Scipio Africanus, and the conqueror of the Samnites, who was consul B.C. 297 (A.U.C. 455). It is one of the most ancient Latim inscrip- tions which have been handed dowm to us, and is often so incorrectly given on the models, that the following copy may prove acceptable : – CORNELIVS . LW CIWS . SCIPIO . BARBATWS . G.NAIVOD . PATRE . PROGNATVs . FORTIs . VIR . SAPIENSQWE . QVOIWS . FORMA . WIRTV- TEI . IPARISVMA . FWIT . CONSOL . CEN- SOR . AIDILIS .. QVEI . FWIT. AIPVD . WOS. TAWEASIA . CISAVN A . SAMNIO . CEPIT . SVBIGIT . OMNIE . LOVCANA. OPSIDESQV . ABDovcIT. When the sarcophagus was first opened in 1781, upwards of 2000 years after the death of Scipio Barbatus, the skeleton was found entire, with a ring upon one of the fingers. The bones were carefully collected by the Venetian Senator Angelo Quirini, who removed them to Padua. The ring Sect. I. 185 § 26. M. PIO-CLEMENTINO.—C. BELVEDERE. found its way to England, where it is still preserved in the collection of the earl of Beyerley. The history of this interesting relic is given by the anti- quary Dutems, in his ‘Recherches sur I'Usage des Voûtes.’ He had left Eng- land in 1768 on his travels with Lord Algernon Percy, and was in Rome at the time of the discovery. He says, “Le squelette était très entier. Il avait au doigt ume bague, que le Pape Pie VI. me fit l’honneur de me domer, et que j’ai placée dans le beau recueil des antiques de Lord Beverley.” The se- pulchre of the Scipio family, on the Appian, is noticed at length under the head of Tombs. The bust of peperino crowned with laurel, upon the sarcophagus, has been supposed to be that of Ennius. On the wall are the original inscriptions of other members of the Scipio family found in the re- cesses of the tomb ; amongst which those of Aulla Cornelia, the daughter of Sc. Hispalus, and of Lucius Corn. representing—20, AEmeas and Dido; 22, a Roman galley; 21, a colossal head of Trajan ; and an interesting historical inscription relative to the foundation of a temple to Hercules, by the Consul Mummius, the conqueror of Corinth, in accordance with a vow made by him during his celebrated campaign in Achaia. Cortile di Belvedere, built from the designs of Bramante. This court is an octagon, of unequal sides, surrounded by 4 open porticos, with 4 cabinets in the angles, which contain some of the most celebrated examples of ancient sculpture. The porticos contain mu- merous statues, bas-reliefs, and Sarco- phagi, which we shall notice as we pass on, alternately with the cabinets. Be- ginning on the rt. hand as we enter, the following are the most interesting objects : — First Portico (S').-Alarge oval sarco- Scipio, the son of Sc. Darbatus, and phagus, with bas-reliefs of fauns and conqueror of Corsica (B. C. 259), very bacchantes, found in 1777 in laying remarkable for the singular orthography the foundations for the sacristy St. of of the Latin. In the recess of the Peter's : it contained 2 skeletons. 31. window is an indifferent recumbent Sarcophagus with a Greek and Latin statue called Cleopatra. II. Round Tes- inscription to Sextus Varius Marcellus, fibule (3)-4, 5. Fragments of 2 sta- father of the emperor Elagabalus : tues: remarkable for the fine arrange- ment of the drapery. 6. Bas-relief of Cupid and Psyche before Pluto and Proserpine. In the centre of this hall is a handsome basin in Pavonazzetto marble. On the balcony an antique anemoscope or 12-sided dial, each side containing the mame of corresponding winds in Greek and Latin. The view from this balcony is so beautiful that it gave the name of Belvedere to this por- the designation of the different dignities with which he was invested is curious ; it was discovered near Welletri. 29, 100. 2 fine baths with lions' heads, one in black granite, the other in greem basalt, found in the Baths of Caracalla. 26. 2 fine columns of white marble covered with foliage in relief. First Cabinet (8).—The Perseus, and the 2 boxers, Creugas and Damoxenus, tion of the palace. There is no point | by Canova. These celebrated figures from which the panorama of the Alban were brought here when the ancient sta- hills and Sabine Apemmines, with the tues were carried off to Paris; the evening sum shiming on them, is seen to Perseus was placed on the pedestal greater advantage. III. Hall of Ilſe- of the Apollo, and obtained the name leager (4)–10. Statue of Meleager with of the Consolatrice. On the resto- the boar's head and the dog, found near ration of the Apollo and the Lao- the Porta Portese in a nearly perfect | coom, the Perseus and the boxers were state, the left hand, which is supposed to ordered to remain here, in oppo- have held a spear, only wanting. On the sition to the wishes of Canova, who felt walls are some sepulchral bas-reliefs that they would challenge comparison 186 Rome. § 26. PALACES-VATICAN MUSEUM. when standing by the side of those masterpieces of ancient art. 34. Mer- cury Argoreus. 35. Minerva Argolica. Second Portico (7").-37. A sarcopha- gus with a fime bas-relief of Bacchus and Ariadne, found at Orte, 43. Statue of Venus and Cupid : the principal figure is supposed, from the inscription beneath, to represent Sallustia Barbia Orbiana, wife of Alexander Severus, raised to her by two of her libertae, IHelpidia and Sallustia. 44. A square altar with low reliefs of the Judgment of Paris, scenes from the Siege of Troy, the birth of Romulus and Remus &c., bearing the mame of T. C. Faventius. 45. An oblong altar of the Lares Augusti, much damaged; still 3 figures can be made out, on one of the sides, of Augustus, of Livia, and Octavia; on another, those of his ancestors ; on the third, Augustus holding a sceptre. This relic, probably of the time of the emperor himself, was found on the Palatine. 49. Targe sarcophagus, with bas-reliefs representing a battle of the Amazons, with the contest of Achilles and Pemtesilea : the two figures on the cover belong to another tomb of a much later period. 50. A fine column of the rare brecciaform Tºgyptian porphyry. Second Cabinet (7).-35. The BEL- VEDERE ANTINOUS, comsidered by Wis- conti to be Mercury, found near S. Martino ai Monti, in the ruins of an edifice erected by Adriam, and thence called Adrianello, in the pontificate of Paul III. The loss of the right arm and left hand seriously inter- feres with the symmetry of the figure, and the foot on which it rests is so badly restored that it produces an appearance of deformity. The pro- portions of this beautiful statue have received unqualified praise: its high ſinish is combined with elegance of form and with all the gracefulness of youth. Domenichimo made it his constant study, and declared that he was in- debted to it for his knowledge of the beautiful. Its anatomy is pronounced by John Bell, a most competent judge in this respect, to be faultless in every point: he dwells with enthusiam on its just proportions, the balance and living posture of the figure, the exqui- site formation of the legs and ankles, and its entire freedom from insipid flatmess of feature and from strained anatomy. 54. Bas-relief, from the front of a sarcophagus, representing combat of the Amazons ; and another, 55, a procession of Isis, proceeding to a sacrifice. 57. Statues of Hercules and Vertumnus. Third Portico (6').-61. A sarco- phagus, with bas-reliefs of the Nereids bearing the arms of Achilles; another, 58, with reliefs of the seasons; 69, a third with a battle of the Amazons; 73, a fourth with bacchamalian figures. On the latter a female as a recliming mymph, probably the portrait of the person to whom the sarcophagus be- longed. Two fine baths of Egyptian granite. At the entrance of the Hall of Animals are two mastiff dogs (64, 65). Third Cabinet (6).-74. The LAOCOON, found in the Wigma de' Fredis, on the Esquiline, between the Sette Sale and S. Maria Maggiore, in 1506, during the pontificate of Julius II., who rewarded the discoverer," Felice de' Fredis, by bestowing on him half the receipts derived from the gabella of the Porta San Giovanni. Some idea may be formed of the value attached to its discovery by the fact that the tolls thus appropriated were entirely the property of the basilica of St. John Lateran, and that Leo X. compro- mised the matter by granting to the family of de' Fredis the lucrative office of Apostolic Secretary, on condition that the revenue granted, by his en- thusiastic predecessor should be re- stored to the Church. Michel Angelo, who was in Rome at the time of its dis- covery, called it the wonder of art ; and a curious letter, written by Cesare Tri- vulzio to his brother Pomponio, July 1, 1506, describing the excitement pro- duced by the event, is preserved in the Lettere Pittoriche. After a good deal Sect. I. 187 § 26. VATICAN MUSEUM. of controversy there is no longer any hand in a similar position. Vasari tells doubt that the Laocoon is the group described by Pliny in the following | | us that Baccio Bandinelli made an arm for the Laocoon in wax in 1525, which interesting passage : —“The fame of he followed in his copy, now in the many sculptors is less diffused, because gallery of the Uffizi at Florence. This the number employed upon great works restoration, which was not adopted, prevented their celebrity; for there is seems to have suggested the present no one artist to receive the honour of the work, and where there are more than one they cannot all obtain an equal fame. Of this the Laocoon is an example, which stands in the palace of the emperor Titus, a work which may be considered superior to all others both in painting and statuary. The whole group, the father, the 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, Polydorus, and Athenodorus, natives of Rhodes, and sculptors of the highest class.”—(Lib. xxxvi, c. 4.) The great difficulty in this passage is the statement that the group was cut out of a single block; Michel Angelo is said to have denied the fact on its first discovery, and subsequent investigation has fully confirmed the accuracy of his opinion. Three separate pieces can be clearly made out : Out of the first is formed the son on the 1., out of the second the upper part of Laocoon himself as far as down to the knees, and the rest of the group out of the third. Winckelmann no doubt suggested the true mode of reconciling these facts with the statement of Pliny, by advert- ing to the probability that the joinings were imperceptible in his time; indeed it is said to have required the practised eye of a sculptor to discover them in the time of Michel Angelo. The rt. arm of the father, and those of the 2 sons, are restorations. In the opi- miom of Canova the rt. arm of Lao- coon is not in its proper position, as a projection on the head of the figure shows that the hand, or some other part of the group, rested on the head. At present the angles formed by it are disagreeable to the eye, and detract from the effect of its intense action. Another knob on the serpent shows that the son on the 1. had his form, for the group is represented as we now see it in Marliami's engraving, pub- lished in 1544. Fra Giovanangelo da Montorsoli began a restoration of the arm in marble by order of Clement VII. He made it bend back, so as to come over the head of the figure; but it does not appear to have been com- pleted, as Winckelmann mentions an arm of this kind, which is that now lying near the statue in an unſimished state. The common story, that Michel Angelo began the restoration of the figure, and gave up the task in despair, “ because he found he could do nothing worthy of so admirable a piece,” can- mot, we believe, be traced further than ‘Spence's Anecdotes,’ and probably had its origin in the attempt of Mont- orsoli above mentioned. The present arm is of terra-cotta, and is said by Winckelmann to be the work of Ber- mini. The arms of the children were added by Agostino Cormacchini of Pis- toia, who merely followed Bandinelli’s design for the first restoration. The group of the Laocoon is in very fine- grained Greek marble. Scholars have often desired to connect this group with the fine description of the fate of Lao- coon in the 2nd AEmeid; but the pas- Sage will not bear the application, and affords not the least evidence that it was suggested by the sculpture. There can be no doubt, however, of its hav- ing inspired the passage in ‘Childe IHarold,” which has invested the statue with additional interest for the English traveller: — “Or, 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 long envenom'd chain Rivets the living links,—the enormous asp Enforces pang on pang, and stifles gasp on gasp,' 188 JRome. § 26. PALACES-VATICAN MUSEUM. The bas-reliefs in this cabinet repre- sent—75, the triumph of Bacchus over the Indians; 76, a bacchamalian pro- cession. The statues in the niches are Pollymmia, and a nymph with a shell, found near the basilica of Constantime. Fourth Portico (5').-79. Alto-relievo, representing Hercules and Telephus, Bacchus and a Satyr; 80, a sarco- phagus, with Cupids carrying arms; another, with tritoms and mereids below ; another with a bas-relief of 2 winged genii opening the tomb for its owner Clodius Apollimaris; a bas-relief on the wall, repre- 81, senting an Emperor with a sacrificial procession, probably from some ancient triumphal arch; S4 and 87, altars found in the sepulchre of the Volusii on the Via Appia—one in the shape of a house is richly sculptured—the first repre- sents a sitting senatorial personage; 85, statue of Hygeia; 8S, a bas-relief representing Rome accompanying a Vic- torious emperor; 2 large baths of red and grey granite, and 2 fine masses of that he has just slain the serpent Pythom. The l, hand and rt. fore- arm have been restored by Montor- soli. Both ankles and the rt. leg wer broken when it was discovered ; the Original fragments were fortunately not lost, but they have been joined in so careless a mammer as to impair the action of the figure in the eye of a sculptor or amatomist. It is now generally admitted that the statue is of Lumi or Carrara marble; the opinion of Wisconti that the marble is Greek, though neither from Pentelicus mor Paros, has found few supporters. Canova mot only rejected this idea, but considered that the statue is a copy from a work in bronze ; and that the peculiarities of style in which a bronze statue differs from one in marble are distinctly traceable, more particularly in the drapery. The first sculptors of our time coincide in the opinion of Canova ; some have even fixed the age of the statue, and referred it to the time of Nero. The Italian writers describe it as the work of Agasias of alabastro a peccorelle, brought from Ephesus, the sculptor whose name the Villa Adriana, the most beautiful occurs on the Fighting Gladiator in known specimens of this very rare the Louvre, which was also found at marble. Antium ; but there is no evidence to support the conjecture. Lord Byron Fourth Cabinet (5).-92.The APOLLO has thrown the influence of his genius BELVEDERE, found in the end of the over this statue in one of his finest 15th century at Porto d’Anzio, the descriptions :- ancient Antium. It was purchased . . . . • ...; - by Julius II., when Cardinal della ºdº ſº Rovere, and was one of the first speci- The Sun in human limbs array'd, and brow mens of ancient sculpture placed in All radiºt frºm his triumph in the fight : the Belvedere Palace, so that we may rºº hath just been shot—the arrow regard it as the point from which with an immortal's vengeance; in his eye the Vatican museum commenced. It is And mostril beautiful disdain, and might, supposed to have stood in the baths pº º: by, of one of the imperial villas at An: e tium, which was a favourite retreat of many of the early emperors, and the birthplace of Caligula and Nero. Some doubt has been expressed as to the character in which Apollo is repre- sented. Wisconti considered it the statue described by Pausanias, and dedicated to the god in his medical capacity after , the great plague of Athens. Winckelmann was of opinion But in his delicate form—a dream of Love, Shaped by some solitary nymph, whose breast Long'd for a deathless lover from above, And madden'd in that vision—are express'd All that ideal beauty ever bless'd The mind with in its most unearthly mood, When each conception was a heavenly guest- A ray of immortality—and stood Starlike, around, until they gather'd to a god!" The bas-reliefs in this cabinet repre- sent a hunt, and female figures with Sect. I. § 26. 180 VATICAN MUSEUM. a bull about to be sacrificed. The sta- tues in the niches are a Minerva and a Wenus Victrix. The Octagonal court of the Belvedere was erected by Simonetti, in the ponti- ficate of Clement XIV. The 8 large marble masks were brought from the Pantheon; on the walls above are bas- reliefs from Roman sarcophagi, and below, ancient statues, which stand on altars and cippi. JHall of the Animals, divided by a vestibule into 2. parts, and paved with mosaics chiefly found at Palestrina. The sculptures of animals in this hall con- stitute the finest collection of the kind ever formed, and fully confirm the state- ment of Pliny respecting the excellence of the Greek sculptors in their represen- tations of animals. It has been with truth called a menagerie in marble. The animals, of course, will be recognised at once, without the mecessity of a parti- cular description. The following are the most remarkable objects. Left branch. —A group of an anomalous animal and a Nereid. 215. Hercules leading away Cerberus. 205. A camel's head; a crocodile; a splinx, in flowered ala- baster. 194. A sow and pigs, sup- posed to allude to the history of Alba Longa ; the head of an ass crowned with ivy. 213. A group of Hercules slaying Geryon, and carrying off his oxen. 195. A lion tearing a horse. Right branch.-116. The beautiful grey- bounds playing. 124. The celebrated group of Mithras stabbing the bull, with the dog, the serpent, and the eagle, the mystical types of the Mithratic wor- ship. 132. A stag in flowered alabaster; a lion im yellow breccia, with the teeth and tongue of differently-coloured mar- ble. 156. A large lion in grey marble, 170. A lion with a ball under his paw. The rape of Europa. 134. Hercules and the Nemaean lion. 137. Group of Diomede and his horses slain by Her- cules. 139. Equestrian statue of Com- modus throwing a javelin. 153. A beau- tiful small group of goats with a sleep- ing shepherd, called Endymion, 154. Pantlier in Oriental alabaster, the spots formed by imlaid black and yellow marble. 247. A large basin of Breccia di Serravezza, supported by 3 double Hermes. 119. A pointer pointing, in the same material. - Gallery of Statues. – On the rt. hand (248) an armed statue of Clo- dius Albinus; the head of an inferior style to the armour, which is beauti- fully sculptured, standing on a tra- vertime pedestal, brought from the IBustum near the Mausoleum of Au- gustus, and bearing the inscription, C. C. ESAIR, GERMANICI CESARIS FIIC CREMAT vs EST, 250. The half-figure of the supposed Cupid of Praxiteles, called the GENIUS OF THE WATICAN, in Parian marble, found on the Via Labicama, outside of the Porta Mag- giore; it was evidently winged, the holes for the insertion of the wings being visible on the shoulders, 255. A sitting statue of Paris holding the apple; it is placed upon an altar dedicated to Tſercules by the artisans of the imperial mint, in the reign of Trajan, whose names are engraved &n one of the sides. 256. Hercules. 259. Minerva Pacifera with the olive- branch, 262. Caligula; the bas-relief below represents a gold-beater, with his mame and calling, Aurifer Bac- tiarius, 261. A muse, or Penelope. 264. A copy of the Apollo Sauroctomos of Praxiteles, found in the Villa Spada; there is a celebrated repetition of it in bronze in the Villa Albani. 265. The AMAZON, Ome of the finest statues in this collection, but inferior to that of the Museum of the Capitol; from the inscription on the pedestal it appears to have once stood in the portico or schola of the Physicians, erected in the time of Augustus. 270. A sitting female figure as Urania, found in the villa of Cassius at Tivoli; the head does not belong to the statue. 271. A sitting figure of the celebrated comic poet Posi- dippus, found mear the ch. of S. Lo- 190 Rome. § 26. PALACES-VATICAN MUSEUM. renzo in Panis Perma, on the Wiminal. Left Side.—390. A corresponding statue of Memander, found at the same place. These 2 statues, which formerly stood in the ch. of St. Lorenzo Pamis Perma, were converted into saints, as is evident from marks of the points of the metal halos of glory on the heads, and the bronze samdals on the feet, to protect them from the kisses of the devotees. 393. Statue of the Abandoned Dido. 394. Neptume. 396. A wounded Adonis, called also the Barberini Narcissus. 397. A reclining statue of Bacchus. 406. The second repetition of the celebrated Faum of Praxiteles, disco- vered at Fallerone, in the March of Ancona. 414. The celebrated recum- bent statue of the ARIADNE, formerly called Cleopatra, because the bracelet has some resemblance to a serpent. The drapery is managed with consum- mate skill, and altogether it is one of the most interesting draped statues in the Museum. It is celebrated by Cas- tigliome, under the name of Cleopatra, in a beautiful Latin poem written in honour of its discovery. 412,413. The Barberini candelabras, on each side of the Ariadne, were found in Tſadriam's Villa at Tivoli. The bas-reliefs on the bases represent Jupiter, Juno, Mercury; Mars, Venus, and Minerva. 416. A bas- relief in 3 compartments, the central one of Ariadne abandoned, resembling the statue (414). 420. Statue of Lucius Werus, on a pedestal, inscribed TI. C XESAR. DIR. W. S.I . CAES AIRIS . If . IIIC. SITV's . EST. There are other pedestals here, inscribed with the names of Caius Caesar, the son, and of Livilla, the daughter of Germanicus (see p. 62), from the bustum of the mausoleum of Augustus. In the centre of the Hall of the Statues is a large bath, in beau- tiful oriental alabastar, discovered near the ch. of the Santi Apostoli, at Rome. At the extremity of this apartment, leading to the Hall of the Masks, in the recess of the window Overlooking the Giardino Belvedere is the cele- brated, 422, Puteal, called the Pozzo Giustiniani, from having formed a part of the marbles in the palace of that family; on it are sculptured three bacchamalian groups, in each of which Bacchus and Silenus are represented as the principal personages; it is of a good period of art, and, as its name indicates, served as the mouth of a well or cistern. JHall of the Busts, the continuation of that of the Statues. 273. Alexander Severus. 274, Július Caesar. 276. Au- gustus. , 280. Marcus Agrippa. 2SS. Marcus Aurelius. 293. Memelaus. Co- lossal mask in rosso antico, on a pedes- tal of nero antico marble, valuable for the rare material. 299. A colossal head of Jupiter Serapis, in basalt. 302. Julia Mammoea. 304. Caracalla. 306. Au- gustus, at an advanced age, remarkable for the circlet round the head. The cameo worn on the forehead is supposed to be a portrait of Julius Caesar. 307. Septimius Severus. 308. Nero, as Apollo. 311. Otho. 350. Livia Dru- silla, 4th wife of Augustus. 353. Julia, daughter of Titus. 357. Anti- mous. 361. Hadrian. 359. Sabina his wife. 383. Bust in porphyry of the Emperor Philip the Younger. 325. Colossal statue of Jupiter seated, hold- ing the thunderbolt; on the pedestal a bas-relief of Silenus and a Faun. 382, 384. Two unique representations in marble of the Organs of Respiration, interesting as showing the knowledge of the ancients in human anatomy. An expressive group of half-figures of an aged man and his daughter, called without any authority Cato and Por- tia. 421. Cimerary urn of Oriental ala- baster found on the site of the Bºis- łum, near the Mausoleum of Augustus, in the Piazza San Carlo in Corso : it is supposed to have contained the ashes of some member of the Imperial family not deposited in the mausoleum, as was the case of those who met with a vio- lent death, like Agrippina, Tiberius, Gemellus, &c., whose inscription, under the statue of L. Verus (420), instead of stating he was burned here, has upon it “hic situs est.” Of the numerous other § *T) tº Tº 93. Sect. I. 19 | § 26. VATICAN MUSEUM. busts in these chambers, there are scarcely any which have been identified with certainty. Cabinet of the Masks (9), remark- able chiefly for the scenic masks in mosaic forming the floor, which, as well as the beautiful border that surrounds them, were found in the Villa Adriana; they have been much restored. 433. A faun in rosso antico, from the same place. 431. Diama Lucifera. 432, 444, 2 good bas-reliefs of the Labours of Hercules. 428. The apotheosis of Ha- drian. 436. A square tassa in rosso antico. 439. A Sella balnearia of the same material, formerly in the Lateran palace. In the niches, besides the satyr already mentioned, are statues of 443. Adonis; 438. Minerva; 442. Ganymede; and 429. Venus coming out of the bath. Re-entering the Hall of the Animals, from its centre opens The Hall of the Muses (10), adorned with 16 Corinthian columns found in IHadrian's villa. Nearly all the statues and busts were found in the villa of Cassius at Tivoli. The mosaic pave- ment contains some interesting frag- ments. That of a tiger was found in the March of Ancoma, the head of Medusa near the arch of Galliemus, and the theatrical figures, at Porcareccia, near the site of ancient Lorium. Some of the Hermies of the philosophers and great men of antiquity have their names inscribed in Greek characters; they are highly interesting as portraits, The Muses are also fine characteristic figures. 498. Epicurus. 499. Mel- pomeme. 500. Zeno. 502. Thalia. 503. AEschines. 504. Urania. 505, Demos- themes. 506. Clio. 507. Antisthemes. 508. Polymnia. 509. Metrodorus. 510. Alcibiades, found on the Caelian. 511. Erato. 512. Epimenides. 514, Calliope. 515. Socrates. 516. Apollo Musagatus. 517. Themistocles, 518. Terpsichore. 519. Zeno, 520. Euterpe. 521. Euri- pides. 523. Aspasia, with the name : this unique bust was found at Castro Sappho. 525. Pericles, very fine and full of expression. 529. Bias. 530. Lycurgus. 531. Periander. 489, 497, 526, and 527. Four headless IHermes, bearing the names of Thales, Cleobulus, Solon, and Psittacus. Rotonda or Circular Hall, built by Pius VI. from the designs of Michel- Angelo Simonetti. In the centre is a grand basin in porphyry, 41 ft. in cir- cumference, found in the Baths of Dio- cletian. It stands on the fine mosaic pavement found at Otricoli in 1780, representing the head of Medusa in the centre, with the battle of the Centaurs and the Lapithae; wreaths of flowers and fruit and groups of sirens, all in concentric bands around. On each side of the entrance are 2 colossal hermes, found in Hadrian's villa, representing Tragedy and Comedy. Round the hall are statues and colossal busts in the following order, beginning on the rt. hand :-539. Jupiter, found at Otri- coli, very fine. 540. Group of Her- cules and Telephus, or of Ajax and Telamon, discovered near the Theatre of Pompey. 541. Faustina, wife of Antomimus Pius, from Hadrian’s villa. 542. A veiled Augustus. 543. Bust of Hadrian, found in his mausoleum, a work of very fine sculpture, perfectly entire, interesting as a work of art, and as a grand intellectual head; it is sup- posed to have belonged to the colossal statue of the Emperor that stood in the vestibule of his tomb (see p. 67). 544. Statue of a draped female, restored as Ceres. 545. Colossal bust of Antimous, from THadriam’s villa. Heroic statue of Antoninus Pius, with an interesting bas-relief on the pedestal of the Games in the Circus. 547. The Ocean, by others called the Sea Divinity Glaucus, a colossal hermes. 548. Statue of Nerva. 549. Colossal head of Serapis. 550. The colossal statue, called the Barberini Juno, of an excellent sculpture. 551. Claudius, crowned with oak-leaves. 554. Julia Pia, wife of Sept. Severus. 553. Plotina. 540. Hercules carrying the young Ajax. 552. Juno Sospita, or Nuovo, mear Civita Vecchia, 524, |Lanuviana, with the goatskin, shield, I92 £ome. § 26. PALACES-VATICAN MUSEUM. and samdals. 555. Bacchus and a faum, with a tiger. 556. Bust of the Em- peror Pertinax. Opening out of the Rotonda is the - Hall of the Greek Cross, built from the designs of Simonetti, a noble hall, with one of the finest modern doorways, ornamented by 2 colossal Egyptian sta- tues in red granite, found in Hadrian’s villa ; they serve as Caryatides to sup- port the massive entablature. The pave- memt is composed of ancient mosaics, with arabesques and a head of Minerva in the centre, found among the ruins of Cicero's villa at la Rufinella, below Tus- culum. The principal objects in this hall are the 2 immense sarcophagi of red Egyptian porphyry, the largest known, and probably the largest ever made out of that material. One of these (566) is the SARCOPHAGUS OF CON- STANTIA, the daughter of Constantime, found in the tomb erected to her by the emperor mear the church of S. Agnese fuori le Mura. It is orna- mented with bas-reliefs representing a vintage, a Christian as well as a bacchamalian emblem. Comstantia died A.D. 354, and, although the style of sculpture indicates that decline of art which is evident in all the works executed in the time of Constantime, some antiquaries are disposed to com- sider it older than the 4th century. IPaul II., shortly before his death, had begun to remove it from the tomb to serve as his own monument in the Tateran. Sixtus TV., his successor, restored it to its original position, but it was ultimately brought to the Vatican by Pius VI. as a companion to the SARCOPHAGUS OF THE EMPRESS HE- LENA, 589. This interesting sarco- phagus exhibits a better style of art than that of St. Constantia ; it is covered with high-reliefs representing a battle, with the capture of prisoners and portraits of Constantine and his mother ; the cover is ornamented with figures of Victory and festoons of flowers and fruit. It was found in the tomb of St. Helena, our country- woman, now called the Torre Pig- mattara, beyond the Porta Maggiore, and was removed by Anastatius IV. to the Lateran, from where it was brought to this museum by Pius VI. The sarcophagi of Sta. Com- stantia and Sta. Helena were so much mutilated when removed to the Vatican as to require extensive restorations, especially the latter, owing to the high- reliefs with which it is covered ; its re- storation required the labour of 25 artists during as many years, in conse- quence of the great hardness of the material, and the excessive difficulty of working it, and cost upwards of 90,000 scudi — very nearly 20,000l. sterling. The most remarkable statues in this hall are—571. Euterpe with the lyre. 572. Didius Julianius; 585. Marciana, the sister of Trajan ; 597. A veiled Augustus as Pontifex Maximus. The 2 Sphinxes (581, 582) in grey gra- mite were found near the Vaticam. Be- hind the sarcophagus of St. Helena is a curious cippus, found in the ruins of a villa near Tivoli, bearing the name of Syphax king of Numidia, who was brought to Rome by Scipio Africanus to grace his triumph. There is much doubt as to its authenticity; indeed by some it has been pronounced to be an absolute forgery. Livy refers to the statement of Polybius that Syphax was led in tri- umph, and contends that he died pre- vious to that event at Tibur; at the same time admitting that Polybius is an au- thority by no means to be slighted. As it is clear from this that the circum- stances attending the death of Syphax were doubtful in the time of Livy, it would be useless to attempt to recon- cile them with this inscription. It is, however, worthy of remark that his death is placed by that historian at Tibur, where this monument was discovered in the 15th century. The principal facts it relates are the death of Syphax in captivity at Tibur in his 48th year, and the erection of this monument by P. C. Scipio. The following is a copy of this in- scription :-SYPHAX NVMIDIAE REX-A SCIPIONE AFRC. J.UIR, DEL. CAUSA.- ROM, IN TRIVM PEI. SUMI, ORNU. CAPTIVS Sect. I. 193 § 26. HALL OF THE BIGA. BERDUCTU.S.—IN TIBURTINO TERRI RE- LIGATU–SUAMQUE SERVIT V IN ANI T.EWOI-SUPIREMAIM ID CLAUSIT-ETATIS ANN. XLVII. M.V.D.Y.I. CATPTIVITS V. OBRUT — P. C. SCIPIO CONID ITO SEPUIL. On the wall above this is a finely-en- graved inscription recording the re- storation by the Empress Helena of her Thermae, near Sta. Maria Maggiore. At the bottom of the stairs is (600) a recumbent statue of a river god, sup- posed to represent the Tigris; the re- storations of the head, right arm, and left hand are attributed to Michel Angelo : and on the landing-place, near the entrance to the Museo Gregoriano, bas-reliefs (604) of Cybele enthroned, and of (605) a Dacian prisoner; and 2 columns of the rare black Egyptian porphyry. The Hall of the Biga, a circular room, so called from the ancient chariot on 2 wheels in white marble which stands in the centre of it. It has two horses yoked to it, and seldom fails to receive the admiration of travellers ; but unfortunately, it derives nearly all its beauty from the art of the restorer. The seat of the car, and the body of one of the horses, are the only parts which are ancient, and even these were found in different places ; the wheels, the second horse, and all the remain- ing portions, are modern additions. In the niches and round the room are sta- tues of 608. The bearded Bacchus, or Sardanapalus, with the name in Greek characters engraved on the mantle. 611. Alcibiades, with his foot resting on his helmet. 612. Colossal statue of a veiled personage in the act of sacrificing. 614, Apollo, with his lyre. 613, 617. Sarcophagi, with reliefs of horse and chariot races in the circus, the riders and drivers being genii. 615. A Discobolus, in the act of hurling the discus; supposed to be a copy of the bronze original by Nauky- des, found by our countryman Gavin Hamilton near the tomb of Gallienus on the Via Appia : the head unfor- tunately was wanting, and has been replaced by another, however antique. [Rome.] 616. Statue of a warrior, called Phocion. 618. A repetition of THE DISCOBOLUs of MYRON, whose name is engraved on the trunk of the tree close to which he stands; found at the Villa Adriana. The arm, right leg, and head are restored; it is consequently less perfect than that in the Palazzo Massimi. 619. An auriga, or charioteer of the Circus. 620. A philosopher holding a scroll—the head is supposed to be that of Sextus of Cheronea, the uncle of Plutarch. In front is a sarcophagus with the race of Pelops in relief. Gallery of the Candelabras, a fine hall nearly 300 ft. long, erected by Simonetti, in the reign of Pius VI., on what was once an open gallery. It derives its name from several ancient candelabras placed in it; it is divided into 6 compartments separated from each other by columns of alabaster from la Tolfa, near Civita Vecchia, and other precious marbles. Besides several interestimg specimens of ancient sculp- ture, it contains a series of modern urns, sculptured in different species of porphyry and granite, to illustrate the materials derived from the harder rocks used by the ancients. The following are the most remarkable objects in this gallery :—Hall I. — Nos. 2 and 66, trunks of trees with birds'-mests ; seve- ral torsos, amongst others-–7. a very fine one of a Bacchus, in Parian marble. 52. A recumbent figure of a Faun, in fine green basalt. Hall II.-74. A satyr, with a Faun extracting a thorn from his foot. 81. An Ephesian Diana, from the Villa Adriana. 82. Sepulchral urm ; the bas-reliefs representing the death of Agamemnon and Cassandra, by Egisthus and Clytemnestra. 84. Hand- some cinerary urn of Titus Geminius Stella, a centurion. 90. A tassa sup- ported by 3 kneeling figures, bearing wine-skins on their shoulders. 112. Sarcophagus with bas-reliefs of the story of Protesilaus and Laodinia. Hall III. —All the objects in this divi- sion were discovered in 1827, at Tor Marancio, on the Via Ardentina, 3 m. from the Porta di San Sebastiano, dur- IC 194 Rome. § 26. PALACES-VATICAN MUSEUM. ing excavations made by the Duchess of Chablais on the site of an extensive Roman villa of the time of Commodus, which belonged to a certain Numasia Procula. They were presented by the discoverer to the Watican, with the fres- coes of Myrrha, Pasiphae, &c., now in the hall of ancient paintings in the Library. 131. A mosaic forming a part of the floor of one of the apartments, probably the diming-room, representing groups of fish, prawns, sepia, dates, grapes, asparagus, &c. 140. Bust of Socrates. 141. Statue of a Bacchus with a panther. 153. Another Bacchus holding a vase, in Parian marble. 8 small ancient frescoes let into the wall. 143. Head of an idiot. Hall TV. —173. Sarcophagus, with reliefs of Bacchus and Ariadne. An old fisherman, called Seneca, by Winklemann. 198. A fine vase, standing on a puteal, on which is a bas-relief representing Charon landing souls from his bark. 179. A large marble vase, also upon a puteal, sculp- tured with vines and Bacchamalian subjects. 204. A fine Sarcophagus, with reliefs of Diana and Apollo de- stroying the children of Niobe. 208. Statue called the young Marcellus, found at Otricoli. 203. An Amorino. Hall W.—222. Statue of a female rumming, the drapery in the Etruscan style. 231. Comic figure wearing a mask. Several cippi with inscriptions. Hall VI.—250. Vase in white marble with Neptune and sea-horses. 255. Large oval urn, with vime-leaves and grapes in relief, and handsome handles. 259. A Faun. A milestone of the time of Maxentius, marked W., and supporting a handsome marble urn (266) with Cupids engaged in the vintage in relief. 264. Statue of one of the sons of Niobe. 269. Sarcophagus representing the rape of the daughters of Leucippus by Castor and Pollux. THE ETRUSCAN MUSEUM, or Mu- seo Gregoriano (to be seem every day except Mondays, from 10 till 2, on application to the Custode, at the entrance of the Museo Chiaramonti; it is only open to the public on Thursday in the Holy week, in consequence of many of the objects not being yet en- closed in presses, and serious injury having occurred to some of them from an over-crowded attendance), one of the most interesting departments of the mu- seum, created entirely by the late Pope, whose memory will ever be honoured by the student of Etruscan antiquities, for the zeal and liberality with which he added these valuable objects of art to the treasures accumulated in the Vatican by his predecessors. Many of them would have been dispersed, per- haps irrecoverably lost, if Gregory XVI. had not secured them for the museum. They have been arranged in a series of 13 rooms. The first contain a col- lection of terra-cotta monuments, sar- cophagi with recumbent figures, and other remains, which it would require a volume to describe in detail. Our limits, therefore, will only allow us to point out the most remarkable objects in each chamber, referring the visitor to Denmis’s ‘Cities and Cemeteries of Etruria,’ where most of the objects in the collection are very accurately noticed. First Chamber, or Vestibule (4).-In the walls of this apartment are placed numerous portrait heads, found in different Etruscan sites. The 3 recum- bent and full-length figures in terra- cotta formed the lids of sarcophagi found near Toscanella. The 2 horses’ heads in menfro (volcanic tufa) were found over the entrance to a tomb at Vulci. Second Chamber. — This narrow corridor contains two large tombs, one in travertime, remarkable for its fine recumbent bearded figure and its bas-reliefs in low archaic charac- ter, representing a man in a chariot, a procession of musicians, &c., the figures of which have been painted red, the colour still perfect: the other large urn, without a lid, has also in- teresting reliefs: an extensive series of cinerary urns in terracotta, and alabaster urns chiefly from Wolterra and Chiusi, with recumbent figures on their lids, and decorated in front with the popular my- thological sculptures which we have mentioned as characteristic of these Sect. I. 195 § 26. ETRUSCAN MUSEUM. urns in our descriptions of Chiusi and Volterra. Third Chamber. The most remarkable objects in this room are the interesting series of small hut urns, upon the shelves in the corners, still containing the ashes of the dead, and formerly supposed to be inscribed with Oscan characters. They were incor- rectly described as having been found some years back under a bed of volcanic tufa between Marino and Albano, and are considered to represent the huts inhabited by the Latim tribe to which they belonged. Independently of their high antiquity, they are extremely curious as illustrations of a style differ- ing from all other sepulchral monu- ments which have come down to us. A large sarcophagus standing in the centre of the room, found at Tarquinii in 1834 ; on the lid is a male beardless figure holding a scroll, the 4 sides are ornamented with reliefs representing the story of Clytemnestra and Ægis- thus, of Orestes persecuted by the Furies, of the Theban brothers, and of Clytemnestra immolated to the Mames of Agamemnon ; head of a Medusa in mefro; and a slab from Todi, with bilingual inscriptions in Latin and Umbrian. Fourth Chamber. In the centre of this room is a statue of Mercury in terra-cotta, found at Tivoli, elegantly proportioned; it is sup- posed to be of Roman workmanship. Among the other objects are a terra- cotta urn found at Toscanella, bearing the recumbent figure of a youth with a wound in his thigh and a dog at his feet; fragments of 3 female statues found in excavating the tunnel of Monte Catillo near Tivoli; several small urns; am extensive collection in terra-cotta bas- reliefs, amongst which one of Hercules destroying the Hydra, of the Roman period, and which shows that the artist had before him the ordinary Polypus or Octopus, in designing the amomalous classical monster; votive offerings, small portrait busts and profiles, with ornamented tiles, and Etruscan and Greek glass vessels and ornaments, &c. Fifth Chamber (5). This and the three next chambers contain the Wases and Tazze. The collection comprises examples of all the known varieties of Etruscan workmanship, the elegant forms of Magna Graecia and the Campania contrasting with the peculiar outlines of those which be- long more particularly to Etruria. Here are collected the light yellow vases, with particoloured griffins, sphinxes, and mythological animals, in which we trace Etruscan art to its Egyptian origin; mostly from the tombs at Cervetri. In another part we see the pure red vases with black figures, marking the period when Etruscan workmanship was independent of Egyptian inſlu- ence; in another we find examples in which the manufacture attained its highest perfection, as shown in the black vases with red figures, where the skill of the designer has realised the most beautiful forms. The black vases of Sarteano and Wolterra, and the red ones of Arezzo, all with reliefs may also be recognised. Amongst the great number of vases may be particu- larised one found at Vulci, with parti- coloured figures on a pale ground, repre- senting Mercury presenting the infant Bacchus to Silenus ; and the celebrated Poniatowski vase, representing Tripto- lemus sent by Ceres to instruct in agri- culture. In a corner near the window of the first room of the vases is a humorous representation of Jupiter serenading Alcmena seated at a window, and Mer- cury carrying a ladder on the opposite side to assist his father—as Mr. Den- mis says, the scene is worthy of ‘Punch.” In the recesses of the windows which look out on the Giardino della Pigma are some small Etruscan objects, and a few good specimens of coloured glass, similar to that of Magna Grecia. Sæth Chamber (6). Large square hall, containing fine vases, of which the 5 most important are placed on pedestals in the centre. Three of these were found at Vulci, and 2 at Cervetri. Of the Vulci vases, one repre- sents Apollo attended by 6 Muses; another, of great interest and beauty, represents, on One side, Achilles and Ajax playing at the modern game of R 2 196 Rome. § 26. PALACES-VATICAN MUSEUM. ºmorra, the diniscatia digitorium of classical gamesters, the mames of these personages being inscribed in Greek letters, as well as the numbers that are issuing from their mouths; and, on the other side, Castor with his horse and dog; the 3rd represents the death of Hector, and is also remarkable for its beauty. Of the 2 Cervetri vases, one of globular form represents, in 4 rows, chimaeras, wild boars, lions, &c., and the combat of Greeks and Trojans over the dead body of Patroclus; the other, on one side, Peleus and Thetis re- ceiving the dead body of Achilles; on the opposite, Bacchus driving a quadriga. Seventh Chamber (7). A large semicircular gallery correspond- ing to the hemicycle of the Giardino Belvidere outside. Along the walls are arranged some of the very fine painted vases of the collection ; in 3 of the niches are the larger Amphorae, one from Ruvo ; the finest perhaps is that in the central niche, representing a meeting between Minerva and Eſercules ; ano- ther, the last interview between Hector and Hecuba; two prize vases, one of which, allusive to a cock-fight, shows Minerva surrounded by the combatants; another the contest between Cycnus and Hercules, where Minerva and Mars ap- pear acting as seconds. Eighth Cham- ber : Hall of the Tazze (8). A long gallery containing a large mumber of vases and tazze arranged on shelves. A few of them were found in Magma Graecia and among the Sabine hills, but by far the greater number are from Vulci and Cervetri. The collection of tazze in this and the 2 preceding rooms is perhaps the most interesting in the museum ; it contains numerous specimens of the highest rarity, and beauty, many of which can hardly be surpassed in size, in delicacy of form, or in the interest of the subjects painted upon them. Two of the most beau- tiful had been mended when discovered, a proof of the value set upon them by the Etruscans themselves. The subjects present us with a complete epitome of ancient mythology; we recognise most of the deities with their sym- bols, many well-known episodes in the Trojan war and the siege of Thebes, the labours of Hercules, the history of Theseus, gymnastic exercises and games, races, combats, nuptial proces- Sions, and religious rites. The col- lection of paterae and goblets, found chiefly at Vulci, is perhaps unrivalled ; the most remarkable have been illus- trated in the work entitled the ‘Museo Gregoriano.” Some of these paterae are most interesting for the subjects repre- sented on them, and as works of art : one representing the Dragon vomiting Jason; the rape of Proserpine; another the young Mercury as a cattle-stealer; and a third, Ajax bearing away the body of Achilles, may be particular- ized. The press in this hall contains some good examples of black ware, and a remarkable painted vase found at Vulci, representing Menelaus hastem- ing to avenge himself, on entering Troy, upon Helen, when he is arrested by Love, who appears between them as a winged figure bearing a wreath, on which the warrior lets fall his sword before the goddess of Persuasion, and Helen flies to Minerva for protection. The name of each personage is in- scribed in Greek characters. The bust of Gregory XVI. in this hall is by Cav. Fabris, the present Director of the museum. Ninth Chamber (9), containing the Bronzes and Jewellery. The collection of bronzes in this cham- ber is most interesting, indeed almost unique. On entering the room the attention is at once arrested by the bronze bier, or funeral couch, with 6 legs, found at Cervetri, the ancient Caere, in the sepulchre which was ex- cavated in 1826 by Monsignore Rego- lini and General Galassi, from whom it derived the name of the Regolini- Galassi tomb, as will be described in our account of Cervetri. Near it are several tripods, each supporting a caldron decorated with dragons' and lions' heads, and a bronze tray, Sup- posed to have served as an incense- burner. Among the other treasures of this chamber may be mentioned the statue of a boy wearing the bulla, Sect. I. 197 § 26. ETRUSCAN MUSEUM. found at Tarquinii, having an Etruscan inscription on the left arm;--a statue of a warrior in armour, found at Todi in 1835; the helmet is a restoration, the coat of mail, which is beautifully worked, bears an Etruscan or Umbrian inscription on the girdle, supposed to be the name of the artist ;-a very beauti- ful cista mistica, found at Vulci, with handles formed of female figures riding upon swams, and decorated with ex- quisite reliefs representing the combat of Achilles and the Amazons ; this cista contained, when found, various articles of a lady’s toilette, hair-pins, rouge, 2 bone combs, a mirror, now pre- served in one of the glass cases in the recess of the window, &c.;-a small statue of Minerva, winged, with an owl in her hand, found at Orte ;-several braziers from Vulci, with tongs, rakes, and shovels;–a statue of an Aruspex, in his sacrificial costume, with an Etrus- can inscription on his left thigh, found near the Tiber;-a war chariot of Ro: man times, found amongst the ruins of the Villa of the Quintilii, on the Via Appia; it is elaborately orna- mented, and, with the exception of the pole and wheels, which are modern restorations, it is so perfect, that doubts of its antiquity were long enter- tained. By the side of the car are 2 fragments of colossal statues : the one, a portion of an arm, found in the harbour of Civita Vecchia, and is con- sidered to equal any ancient work in metal which has come down to us; it pro- bably belonged to the colossal statue of Trajan, represented as Neptune, which existed there; the second, a portion of the tail of a gigantic dolphin found at the same time, and supposed to have formed a part of the same colossal marine group, Arranged round the walls are several circular shields in bronze, found in the Regolini-Galassi tomb with the objects already de- scribed; some of them are 3 ft, in diameter;-another shield found at Bo- marzo, of the same size, with a lance- thrust though it, and its wooden lining and leather braces still perfect; a bronze hand studded with gold mails; several | helmets, spears, battle-axes, cuirasses, greaves, and other pieces of armour; a very curious bronze vizor; a long curved Etruscan trumpet or piticus, such as we see represented in the painted bas-reliefs of the tombs at Cervetri; some fans : numerous beautiful candelabra, of great variety of form; and an almost countless collection of specchy, or mirrors, many of which are highly polished, some gilt on the concave sides, and others ornamented with engraved figures or inscriptions. In cases placed in different parts of the room are most curious collections of house- bold utensils—flesh-hooks, cups, cal- drons, strainers, jugs, locks, weights, handles of furniture richly ornamented; a series of idols in black earthenware, found at Caere; small figures of ami- mals; comic masks; strigils, or scrapers, used in the baths; hair-pins; coins ; stamped clay-pieces, supposed to be Etruscan money; a pair of jointed clogs, the frame-work of bronze, with a wooden liming, found at Vulci; writing imple- ments of various kinds; and last, though not the least in interest, an Alphabet, scratched on a vase, or ink-bottle, of comm- mon terra-cotta, and arranged in single letters and in syllables, so that it might serve both as an alphabet and a spelling- book. This remarkable relic was found in one of the tombs of amcient Caere; it has 25 letters, supposed to be of the Pe- lasgic character, read, unlike the Etrus- can, from left to right. Lepsius regards it as the most ancient known example of the Greek alphabet and its arrange- ment, and the letters as the most ancient forms of the Greek characters. Among its other peculiarities, the letters Eta and Omega are altogether wanting, while we find the Wau and Koppa. The Jewellery is contained in a stand in the centre of the room, which revolves on a pivot for the convenience of visitors. The compartments into which it is divided contain a miscellaneous col- lection of gold ornaments, most varied and beautiful. The extent of the col- lection is surprising when it is con- sidered that most of the objects in it were found in the single Regolimi- Galassi tomb at Cervetri. The gold 198 JRome. § 26. PALACES-VATICAN MUSEUM. and silver filigree of Genoa, the chains of Venice and Trichinopoly, do not surpass them in minutemess of exe- cution, and rarely approach them in taste. The patterns of the female or- maments are exquisitely beautiful, and might be worn as novelties in any court of modern Europe. In one compart- ment are wreaths for the head, chaplets for the priests and magistrates, and bands for the female head-dress; some are simple fillets, while others are com- posed of leaves of ivy, myrtle, and olive, most delicately wrought. In other compartments are necklaces, bracelets, earrings, and armlets of solid gold, in every variety of pattern ; many of them are elastic, and several are in the form of a serpent, either single or coiled. The bullae, or amulets, worn on the breast, are of large size, and elaborately worked. The rings are of various kinds; some are set with pre- cious stones, others are jointed, others are simply composed of scarabaei set on a swivel. The earrings are even more varied in their patterns; some com- sist of a single stone set in gold, while others are in the form of a ram’s head, a bird, or other animals. The fibulae for fastening the toga, the chains for the meck, the gold lace, &c., are so beautiful and minute in workmanship, that modern skill can produce few spe- cimens of equal delicacy. One of the most remarkable objects in this table is the embossed breastplate of the warrior buried in the sepulchre. It is of gold, with fibulae of an elaborate descrip- tion. Among the silver articles are cups and vases, decorated with reliefs of an Egyptian character, some of which are inscribed with the name “Larthia” in Etruscan letters. In an adjoin- ing glass case is a collection of Ro- man bronzes and glass, discovered at Pompeii in 1849 during an excavation at which Pius IX. was present ; there are some good pieces of window-glass, a marble bas-relief of Alexander and Bucephalus, and an iron spade similar in form to those used at this day in England. Tenth Chamber. A passage containing a series of Roman water-pipes in lead, dug up near the aqueduct of Trajan, close to the Porta Aurelia; a bronze statue of a boy found near Pe- rugia, having an Etruscan inscription on the leg, and holding a bird in his hand; and an Etruscan urn, with an in- scription, from Vulci, leads us to— Ele- venth Chamber, or of the Tombs (10), in which are preserved copies upon canvas of the paintings discovered in the prim- cipal tombs of Tarquinii, and in the Painted Tomb of Vulci; they do not give the complete series of any single tomb, but are a selection of the choicest subjects. The Etruscan paintings here copied are noticed in our account of Tarquinii, at the close of this volume. The Vulci paintings are from one of the few painted tombs discovered on that site. As this tomb is now en- tirely destroyed, and as the paintings at Tarquinii are rapidly perishing from damp and exposure to the atmosphere, these copies are of great value as repre- sentations of costume and domestic manners. On one we see a boar- hunt, with huntsmen in full chace; in amother a horse-race, with the judges, the stand, the prize, and all the anxiety of the start ; on a third is represented a death-bed scene of touch- ing interest ; on others are various dances, games, funeral feasts, and re- ligious ceremonies. This room also contains several red and brown fluted jars for oil and wine from Veii and Caere; a sarcophagus in the form of an Ionic temple, with an inscription re- cording the name of Tamaquil (Thanch- vilus); an inscribed cippus in the form of a millstone; earthen braziers; some specimens of IEtruscan sculpture in marble ; an inscription of A. D. 305 found at Vulci, interesting as fixing the name of the site, &c.—Returning through the Hall of the Bronzes, is the Twelfth Chamber, off which is a fac- simile of an unpainted tomb; it is éntered by a low door, and guarded on each side by lions couchant from Vulci. It is divided in the interior into 2 vaulted cells with 3 couches of rock, on which the bodies were placed, while on the walls are hung Sect. I. I 99 § 26. EGYPTIAN MUSEUM. tazze, and other objects of domestic use. In a glass case in the centre of this chamber are several handsome vases in bronze, some of a peculiar yellow metal, one a kind of patera, with an Etruscan inscription. Most of these objects were found last year in a tomb of the family of the Herennii, near Bolsena. The singular bronze vase in the form of two comes, placed over this case, joined by their summits, was found in the Regolini- Galassi tomb at Cervetri. vases, THE EGYPTIAN MUSEUM, entered from the Museo Chiaramomti and Hall of the Greek Cross, although inferior to many similar collections N. of the Alps, presents much interest. It was commenced by Pius VII., by a collec- tion purchased from Andrea Gaddi, and with various Egyptian antiquities formerly in the Capitoline and other museums : numerous additions have been made to it since them. It consists of 10 rooms, placed undermeath the Etruscan collection. First Room.— Sundry Cuphic and Arabic inscriptions on the walls; a model of the great Pyra- mid, and some Steles. Second Room. Several papyri in frames. Third Room. —Surrounded with glass cases contain- ing small figures in stone and earthen- ware of Egyptian divinities. Fourth Room.—The smaller Egyptian bronzes, &c. Fifth Room.–Egyptian divinities, scarabaei, &c. Siacth Room, or semicir- cular hall, corresponding to the hemi- cycle of the Giardino della Pigma outside, surrounded by mummies and mummy- cases, and statues of the larger Egyp- tian divinities in granite and basalt. Seventh Room.—Smaller Egyptian di- vinities in stone, and a collection of Camiopi and vases in oriental alabaster. Eighth Room.—A large hall, contain- ing for the most part Roman imita- tions of Egyptian statues, for the most part from the Villa Adriana. They are mot genuine Egyptian momu- ments, being merely copies of the time of Hadrian. Their interest, therefore, consists in being illustrations of the work of art, one of the most remark- able is the colossal statue of Antinous, in white marble, and a recumbent figure of the Nile. Ninth Room — contains colossal statues of Egyptian divinities, chiefly of the lion-headed goddess Bu- bastes or Pasht. The two antique lions in granite formerly stood at the Fontana dei Termini, near the Baths of Diocletian. From the Cartouches which are engraved on them, they ap- pear to date from Nectanebo I., in the beginning of the 4th centy. B.C. The large female statue between these lions is supposed to represent a daughter of Rhamses II. or Sesostris. In another part of the room are statues of Ptolemy Philadelphus and his wife Arsinoë, with hieroglyphical inscrip- tions ; they formerly stood in the Palace of the Senators at the Capitol, and were discovered among the ruins of the gardens of Sallust. Tenth Room, opening near the Hall of the Greek art and taste of the period: as a Cross.-2 fine mummy-cases in green basalt, and 4 richly painted ones in wood. Returning Camdelabras, enter that of to the Gallery of the described at p. 193, we The Arazzi or Tapestries of Raphael, which are arranged in a hall, preceding the Gallery of Maps. They are called Arazzi, from having been manufactured at Arras in Flanders. In 1515 and the following year Raphael designed 11 cartooms for the tapestries which Leo X. required to cover the walls of the Sixtine chapel. These car- tooms were executed by Raphael himself, assisted by his pupil Francesco Pemni; the English traveller will scarcely re- quire to be informed that 7 of the number are preserved at Hamptom Court Palace, having been purchased in Flanders by Charles I. The tapes- tries from these cartoons were worked under the direction of Bernhard vam Orley, the pupil of Raphael, then resi- dent in the Low Countries. Ten of the subjects represent the history of St. Peter and St. Paul; the 11th, of which all trace is lost, was the Coroma- 200 O Rome. § 26. PALACES-VATICAN–ARAzzI. tion of the Virgin, for the high altar. A second series of 13 tapestries was executed at a later period, and not alto- gether from the designs of Raphael : they represent various scenes in the life of Christ, and some among the mumber are so much inferior to the first series in design, that there is little doubt of their being by his scholars. During the sack of Rome by the Com- stable de Bourbon, in 1527, these tapes- tries were seriously injured and stolem from the Vatican : they were restored in 1553 by the Constable Anne de Montmorency, but some valuable por- tions of them were lost for ever. They were again carried off by the French in 1798, and were sold to a Jew at Genoa, who burnt one of them for the sake of the gold and silver threads used in the bright lights. The specula- tion fortunately did not pay, and the IHebrew offered to sell the remainder ; when they were purchased for the govern- ment. During the siege of 1849 they were again exposed to injury from the fire of the French artillery. Two balls penetrated the gallery, but fortunately one fell on the floor, and the other at the foot of the “Miraculous Draught of Fishes.” First Series.—The 10 sub- jects of this series have suffered much from time, and are greatly faded, but the beauty of their composition is im- perishable, and, considering the diffi: culty of the material, they are worked with surprising fidelity to the original designs. In the Hall of the Arazzi; preceding the Gallery of Maps, erected iy Pius VIII., are the following : 1. The Death of Amanias; on the margin below, the return of Cardimal de' Medici, afterwards Leo X., to Flo- rence in 1512. 2. Our Lord delivering the keys to St. Peter ; and below, the flight of Cardinal, de' Medici from Florence in 1494, disguised as a Fram- ciscan friar. 3. Paul and Barnabas at Lystra; and below, the Farewell of St. Paul and St. John. 4. Paul preach- ing at Athens. 5. Qur Saviour appearing in the Garden to Mary Magdalene. 6. The Supper at Emmaus. 7. The Presen- tation in the Temple. 8. The Nativity. 9. The Ascension. 10. The Adoration of the Magi. 11. The Resurrection. 12. The Light of the Holy Spirit descend- img on the Apostles. 13. The Stoming of St. Stephen ; and below, the return of Card. de' Medici to Florence as Papal Tegate. 14. An Allegorical composi- tion representing Religion between Jus- tice and Brotherly Love, by Van Orley and other pupils of Raphael. A second Hall, or that beyond the Gallery of Maps, is now closed to the public, but may be secn on applica- tion to the custode—1. Paul in prison at Philippi during an earthquake, which is here represented by a giant in a cavern beneath. 2. Paul healing the lame man in the Temple ; below, Cardinal de' Medici made prisoner at the battle of Ravenna. 3. The Massacre of the Im- nocents, in 3 portions, part of the car- toons for which are now in our Na- tional Gallery. 4. The Miraculous Draught of Fishes; and below, the entrance of Card. de' Medecis into the Conclave, where he was elected Pope Leo X. 5. The Conversion of St. Paul. 6, Elymas struck blind. The Gallery of Maps.—This fine hall, 500 feet in length, is celebrated for its series of geographical maps of Italy and its islands, painted in the reign of Gre- gory XIII., 1572-1585, by Padre Ignazio Danti, afterwards Bishop of Alatri. They are interesting chiefly as illustra- tions of the geographical knowledge possessed at the period of the different provinces of the peninsula. PINACOTHECA, OR GALLERY OF PICTURES. Although the Vatican Pinacotheca does not contain in all 50 pictures, it has more real treasures than any Sect. I. 201 § 26. VATICAN–PICTUREs. co''< *; on in the world. The Trans- figuration, the Madonna da Foligno, and the Communion of St. Jerome, are a gallery in themselves; it is rather an advantage, perhaps, that there are so few inferior works to distract the atten- tion of the visitor from these chef. d’oeuvres. The collection, which was formerly placed in a series of small, ill- lighted rooms at the extremity of the 2nd Gallery of the Arazzi, and between the latter and the Stanze of Raphael, has been recently removed to a hand- some suite of halls, forming part of the palace erected by Gregory XIII., and opening out of the upper Loggia, where the pictures are seen to much more advantage. Instead of simple numbers, as formerly, the painter's name and the * of the picture are affixed to ©aC The annexed plan will be useful to the visitor in following our notice of the contents of the Pinacotheca, PLAN OF THE PINACOTHECA AT THE WATICAN. T I -> —º- II - IV" I V- & ô & Great Court of Palace. : 3 | : A. t a. Entrance. b b. Upper Loggia of Palace. c. The Communion of St. Jerome. Before the French invasion of the Papal States at the close of the last century, almost all the pictures in the Pinacotheca belonged to churches from which they were carried to the Louvre; and on being restored in 1815, instead of being returned to where they formerly stood, were retained by Pius VII., acting on the advice of Cardinal Consalvi and d. The Madonna da Foligno. e. The Transfiguration. Canova, to form this now incomparable collection. BOOM II. Leon. da Vinci.-(I.) St. Jerome a sketch, or cartoon. IC 3 202 PICTURES. Ičome. § 26. PALACES-VATICAN Perugino. — (II.) St. Benedict, S. Placido, and Sta. Flavia, formerly in the Benedictine ch, of S. Pietro de' Casi- mensi at Perugia, from which it was taken away by the French. JBenozzo Gozzoli.-(III.) A predella with the miracles of St., Hyacinthus in compartments, Raphael. –(TV.) The Annunciation, the Adoration of the Three Kings, and the Presentation in the Temple: 3 ex- quisite little pictures in Raphael’s early manner, which originally formed the predella of the Coromation of the Virgin (No. XXVII.) in the 3rd room. Andrea Mantegna. — (W.) A Pietà, an excellent and expressive picture, for- merly in the Aldrovandi Palace at Bologna. Fra Angelico da Fiesole. — (VI.) The legend of St. Nicholas of Bari re- presented in two predella pictures, for- merly in the sacristy of S. Domenico at Perugia, from which they were carried by the French to Paris, where the third still remains. F. Francia.-(WII.) The Virgin and Child, with St. Jerome. Raphael.—(VIII.) The 3 Theological Virtues, or Faith, Hope, and Charity, beautiful circular medallions; these lovely subjects formed the predella to Raphael's picture of the Entombment now in the Borghese Gallery. Benvenuto Garofalo. — (X.) The Holy Family; the Madonna and Child; St. Joseph and St. Catherine; formerly in the Picture Gallery of the Capitol. Carlo Crivelli, one of the old Vene- tian masters.—(XI.) The dead Christ, the Mater Dolorosa, with St. John and the Magdalen. Guercino.—(XII.) The Incredulity of St. Thomas, a fine composition; the head of the Saviour is particularly grand. Murillo.—(XIV.) The return of the Prodigal Son.—(XV.) The Marriage of St. Catherine of Alexandria with the Infant Christ; a lovely picture. Both these paintings were recently presented to Pius IX. by the Queen of Spain. An inferior work, the Adoration of the Shepherds, lately placed in this room, is attributed to the same master. Guercino. — (XVI.) St. John the Baptist, formerly in the Capitoline Collection. ROOM III. Domenichino.—(XVII.) The CoMMU- NION OF ST. J.EROME.-This magnifi- cent work, the undoubted masterpiece of Domenichimo, is generally considered second only to the Transfiguration of Raphael. The composition is remark- able for its unity and simplicity of ac- tion, which explain the subject at the first glance. It was painted for the ch. of the Ara Coeli, at Rome, but the monks quarrelled with Domenichino and put the picture out of sight. They after- wards commissioned Poussin to paint an altarpiece for the ch., and, instead of supplying him with new canvas, they sent him the St. Jerome to be painted over. He mot only refused to commit such sacrilege, but threw up his engage- ment, and made known the existence of the picture, declaring that he knew only 2 painters in the world, Raphael and Sect. I. § 26. VATICAN PICTURES. 203 Domenichino. To him therefore we are indebted for the preservation of this masterpiece of the Bolognese school. The painting afterwards belonged to the ch. of S. Girolamo delle Carita, from which it was removed to Paris. St. Jerome, who died at Bethlehem, is re- presented receiving the sacrament from St. Ephraim of Syria, who is clothed in the robes of the Greek Church : the deacon bearing the cup wears the dalmatica, and the kneeling attendant holds the book of the Gospels. Santa Paola, on her knees, kisses the hands of the dying saint. The Arab and the lion give variety to the composition, and identify it with the scene in which the action is laid. Raphael.—(XVIII.) The Madonna da Foligno, painted originally for the high altar in the ch. of the Ara Coeli, and transferred in 1565 to the convent of Sant' Anna, or delle Contesse, at IFoligno. It was executed about the time (1512) when Raphael commenced the frescoes in the Stanze. The Madonna is represented with the Child throned on the clouds, surrounded by cherubs. Below, on one side, is St. Jerome, re- commending to her protection Sigis- mondo Conti, a mative of the town, uncle of the abbess of Foligmo, and secretary of Julius II., at whose cost it was painted. On the other side are St. Francis and St. John the Baptist. In the middle, between these two groups, is an angel holding a tablet, which is said to have borne an inscription recording the names of the donor and the painter, with the date 1512. In the background is the city of Foligno, with a bomb falling on it—an allusion, it is supposed, to the pre- servation of S. Conti during the siege of Foligno, or from lightning. This picture is one of Raphael's most re- markable examples for the expression of character: the angel is the personi- fication of beauty, and the figure of Sigismondo Conti has all the reality of life. In the St. Francis we see the fervour of devotion combined with the expression of those heavenly as- pirations which were the characteristics of his holy life. The picture was taken to Paris, where it was transferred to canvas (having been originally painted on wood), in doing which it was a good deal injured, and, what is still worse, considerably retouched; indeed, one of the arms of St. Johm appears to have been entirely repainted. Raphael. – (XIX.) The TRANSFI- GURATION, the last and greatest oil picture of the immortal master, and justly considered as the first oil painting in the world. It was undertaken, as Vasari tells us, to redeem his reputation, which had suffered from the numerous works whose execution he had intrusted to his pupils, and which were ma- turally inferior to those executed by his own hand. The Transfiguration was painted for the cathedral of Nar- bonne by order of Cardinal Giulio de’ Medici, archbishop of that city, and afterwards Clement VII. ; it was not completed when the illustrious artist was cut off by death at the early age of 37, and was suspended over the couch on which his dead body lay in state, and afterwards carried before it at his funeral, while the last traces of his master-hand were yet wet upon the Call Włł.S. “And when all beheld Himºre he lay, how changed from yester- $UW– Him º that hour cut off, and at his head IIis last great work; when, entering in, they look’d Now on the dead, then on that masterpiece— Now on his face lifeless and colourless, Then on those forms divine that lived aud breathed, And would live on for ages—all were moved, And sighs burst forth and loudest lamenta. tions.” I'Ogers. For several years the picture was pre- served in the church of S, Pietro in Montorio, from which it was removed to Paris by the French. On its re- turn in 1815 it was placed in the Vatican, a compensation being granted to the church in the form of an annual stipend. The twofold action of the picture has been frequently criticised, 204 IPICTURES. Rome. § 26. PALACES-VATICAN but it appears to be in perfect accord- ance with the intention of the painter to produce a work in which the cala- mities of life should lead the afflicted to look to Heaven for comfort and relief. In the upper part of the composition is Mount Tabor; the 3 apostles are lying on the ground, un- able to bear the supernatural light pro- ceeding from the divinity of Christ, who is floating in the air, accompa- nied by Moses and Elijah, as a per- sonification of the power of the Lord and the source of Christian conso- lation. Below is a representation of the sufferings of humanity : on one side are 9 apostles; on the other a crowd of people are bringing to them a demoniac boy. His limbs are fear- fully convulsed, and every countenance wears an expression of terror. Two of the apostles point upwards to indicate the only Power by whom he can be cured. “In the fury of the pos- sessed,” says Lanzi, “in the steady faith of the father, in the affliction of a beautiful and interesting female, and the compassion evinced by the apostles, he has depicted the most pathetic story he ever conceived. And yet even all this does not excite our admiration so much as the primary subject on the Mount. There the figures of the 2 prophets and the 3 disciples are truly admirable; but still more admirable is that of the Saviour, in which we seem to behold that eſſul- gence of etermal glory, that spiritual lightness, that air of divinity, which will one day bless the eyes of the elect. In the head of the Saviour, on which he lavished all his powers of majesty and beauty, we see at once the last perfection of art and the last work of Raphael.” The figure of the demoniac boy is said to have been finished by 3iulio Romano, as well as a consider- able part of the lower portion of the picture. The 2 ecclesiastics who are seen kneeling at the extremity of the mount in adoration of the mysterious scene are St. Julian and St. Lawrence, introduced at the request of Cardinal de' Medici, in honour of his father Giuliano and his uncle Lorenzo the Magnificent. ROOM IV. Titian. — (XX.) The Madonna and Child surrounded by Angels, with vari- Ous Saints underneath; St. Sebastian, a fine figure, pierced with arrows; St. Francis with the cross, St. Anthony of Padua with the lily, St. Nicholas, St. Ambrose, and St. Catherine. The co- louring of the St. Sebastian is of the finest kind, and the details of the dresses, &c., are elaborately worked. It was once semicircular at the top, which is said to have given it the effect it now appears to want : this upper part was removed, in order to make it a companion picture to the Trans- figuration. In the middle is the in- scription “Titianus faciebat,” who painted it for the ch. of S. Nicola dei Frari at Venice. Moretto da Brescia.-The Virgin and Child enthromed, between St. Je- rome and St. Bartholomew, recently added to the collection, and a good specimen of the master. Titian.-(XXI.) A Doge of Venice —probably A. Gritti—a fine portrait, formerly in the Aldrovandi palace at Bologma. Guercino.—(XXII.) The Magdalen, restored by Camuccini; painted for the ch. of the Convertite in the Corso. Pinturicchio.—(XXIII.) The Coro- nation of the Virgin : below, St. Francis kneeling with other saints and bishops in adoration, painted for the ch. of La Fratta in Perugia. Perugino.—(XXIV.) The Resurrec- tion, painted for the ch, of S. Fram- cesco de' Conventuali at Perugia. The soldier flying in alarm is said to be a Sect. I. 205 § 26. PALACES-VATICAN–PINACOTHECA. portrait of Perugino, painted by Raphael, whom Perugino, on the other hand, has represented as a young soldier asleep. Giulio Romano and il Fattore — (XXV.) The Madonna di Monte Luce, painted for the convent of Monte Luce near Perugia. It was ordered in 1505, when Raphael was in his 22nd year; but the multiplicity of his engagements did mot allow him to do more for many years than make a finished study for the pic- ture, which was in Sir Thomas Law- rence's collection. His occupations in- creasing, he had only commenced the upper part of the composition shortly before his death : it was afterwards fin- ished by Giulio Romano and Francesco Penni. It bears all the evidence of infe- rior hands, and can scarcely be classed among the works of the great painter. The upper part, painted by Giulio Romano, representing Christ and the Virgin crowned in the heavens, is by far the best. The lower, representing the Apostles assembled round the tomb of the Virgin, is by Francesco Pemmi. School of Perugino, (XXVI.) The Adoration of the Magi: the Virgin and Joseph are kneeling on each side of the infant Saviour; in the background are the shepherds and the 3 kings. The greater part of the picture is supposed to be the work of Pinturicchio and Lo Spagna ; the head of Joseph and the 3 kings are attributed to Raphael. Some critics attribute the whole picture to Lo Spagna. In the new arrange- ment of the gallery, this picture, called il Santo Presepe, is attributed to Ra- phael, Perugino, and Pinturicchio ; it was painted for the ch. of La Spinetta near Todi. Raphael.—(XXVII.) The Coronation of the Pirgin, painted for the ch. of the Benedictims at Perugia. It is one of the earliest works of Raphael, and was executed during his residence at Città di Castello. The Madonna and the Saviour are throned in the heavens, surrounded by angels bearing musical instruments. Below are the Apostles standing round the empty tomb, which seems to have suggested the idea im- perfectly followed out by Francesco Penni in the picture just described. The Predella formerly attached to this picture is preserved in the first room (No. IV.). Perugino. — (XXVIII.) The Ma- donna and Child, throned, with S. Lorenzo, S. Louis, S. Ercolano, and S. Costanzo in adoration. This picture was formerly in the Palazzo Comunale at Perugia. Sassoferrato.—(XXIX.) The Virgin and Infant Christ. M. A. Caravaggio.—(XXX.) The Entombment of our Lord, one of the finest specimens of light and shade, powerfully painted, but deficient in religious expression. It formerly stood in the Chiesa Nuova at Rome, and is copied in mosaic in the chapel of the Holy Sacrament in St. Peter's. Nicolo Alumno, or da Foligno, a large Gothic altarpiece in several compart- ments: the Coromation of the Virgin in the centre; above an Ecce Homo, with Saints, Angels, and Cherubs on either side; the whole surrounded by portraits of the 6 Doctors of the Church; whilst on the predella below are the Apostles and 17 female Saints: painted in 1476, lately removed here from the Museum at the Lateran. Melozzo da Forlì.—(XXXI.) Sixtus IV. with his cardinals and officers of state, giving audience; a fresco originally painted on the walls of the Vatican li- brary, and removed by Leo XII. Many of the figures are portraits, and are full of character: the cardinal and pre- late near the pope are his 2 nephews— Giuliano della Rovere, afterwards Ju- lius II., in a Cardinal's dress, and Cardinal Pietro Riario in that of the monastic order to which he belonged. In the centre, the kneeling figure is 206 Rome. § 26. PALACES-VATICAN–STANZE. Platina, Prefect of the library of the Vatican and the historian of the popes. In the background are 2 young men; ome, Giovanni della Rovere, brother of Julius II. ; and the tallest, Girolamo Riario, nephew of Cardinal Pietro, who became celebrated in commection with the conspiracy of the Pazzi, and perished miserably in the castle of Forli. This fresco was commissioned by him and by his brother the cardinal, to both of whom, while in possession of the sovereignty of his mative city, Melozzo was indebted for encourage- ment and patronage. Nicolo Alumno, another Ancona in 3 compartments; in the centre the Cru- cifixion with the 3 Marys, and on each side 2 Saints : also recently removed from the Lateran collection. ROOM W. Valentin.—(XXXII.) The Martyr- dom of S. Processus and S. Martinianus, an imitation of Caravaggio by the ablest of his French pupils, but it seems hardly worthy of a place in this collection. It has been copied in mosaic in St. Peter's. Guido.—(XXXIII.) The Crucifixion of St. Peter, a magnificent painting, classed among Guido's best works. It is said to have been painted in imita- tion of Caravaggio, and to have been so much admired that it procured him the commission for the Aurora in the ROS- pigliosi Palace. N. Poussin.—(XXXIV.) The Mar- tyrdom of St. Erasmus, the largest his- torical subject he ever painted. It is copied in mosaic in St. Peter's. J3aroccio.—(XXXV.) The Annum- ciation, frequently described as the masterpiece of Baroccio, who made himself an engraving of it. It is a beautiful composition. It formerly stood in one of the chapels of S. Maria at Loreto, but was carried to Paris in 1797. On its restoration it was retained in Rome, in exchange for a copy in mosaic. - Andrea Sacchi. — (XXXVI.) The miracle of St. Gregory the Great. Baroccio.—(XXXVII.) The Ecstasy of S. Michelina is considered as one of Baroccio's finest works. It was formerly in the ch. of S. Francesco at Pesaro. Paolo Peronese. — (XXXVIII.) St. Helena, the mother of Constantime, with the Vision of the Holy Cross. Guido.—(XXXIX.) The Madonna amd Child in glory, with St. Thomas and St. Jerome; the heads are beautiful. Cesare da Sesto.—(XL.) The Ma- donna della Cintura between S. John and S. Augustim, signed and dated 1521. The expression of the saints is very fine. Correggio.—(XLI.) Christ sitting on the rainbow, with extended arms, sur- rounded by a host of angels: formerly in the Marescalchi Palace at Bologna. Andrea Sacchi.-(XLII.) S. Romu- aldo. The saint and his 2 companions are represented in the act of recog- mising the vision of the ladder by which his followers ascend to heaven, typifying the glory of his new order. STANZE OF RAPHAEL. The Stanze are 4 chambers adjoin. ing the loggia. Before Raphael's visit to Rome Julius II. had em- ployed Luca Signorelli, Pietro della Francesca, Pietro Perugino, and other celebrated artists of the period, to decorate these halls. They were still proceeding with their task, when Ra- Sect. I. § 26. VATICAN STANZE OF TRA PIHAIEL. 207 phael was summoned to Rome by the pope in order to assist them. He was then in his 25th year, which fixes the date in 1508. The first subject which he painted here was the Disputa, or the Dispute on the Sacrament, in the Camera della Segnatura. The pope was so delighted with it, that he ordered the works of the earlier masters to be destroyed, in order that the whole might be painted by him. A ceiling by Perugino, to which we shall advert hereafter, was preserved at Raphael's intercession as a mark of respect to his master, but all the other works were effaced, with the exception of a few minor paintings on some of the ceil- ings. Raphael immediately entered upon his task, and the execution of the work occupied the great painter during the remainder of his life, which was too short to allow him to complete the whole. Those subjects which were un- finished at his death were executed by his pupils. The prevailing idea, which may be traced throughout these paint- ings, is an illustration of the establish- ment and triumphs of the Church from the time of Constantine. The subjects of the loggia were intended to be the types of the history of the Saviour and of the rise and progress of the Church; and hence the connected series has an epic character which adds considerably to its interest, and in a great measure explains the subjects. Those which seem to have less connexiom with this scheme, as Philosophy, Theology, &c., are sup- posed to have been executed before Raphael had conceived the idea of making the whole work subservient to a comprehensive cycle of Church history. With the exception of the 2 figures of Meekness and Justice in the Sala di Constantino, all the paintings are in fresco. A few years after they were completed they were seriously injured during the sack of Rome by the Constable de Bourbon, whose troops are said to have lighted their fires in the centre of the rooms. In the last century they were carefully cleaned by Carlo Maratta; but the smaller compo- sitions underneath the principal sub- jects were so much obliterated that he found it necessary to repaint many of them. The Stanze are now entered, on public days, from the Loggia of Ra- phael, and on others from the Ante- camera delle Stanze at the head of the great stairs. The order in which they thus stand is—the Sala di Constantino, the S. di Eliodoro, the S. or Camera della Segnatura, and the S. del Incendio del Borgo; but it will be better for the visitor to follow the reverse arrange- ment, as more chronological, although not strictly so. - The Camera della Segmatura, as we have already mentioned, was the first painted; the Stanza of Heliodorus and the S. del Incendio the next ; and the Sala di Constantino the last, after the death of Raphael, and by his scholars. I. The Stanza of the Incendio del Borgo.—The subjects of the paintings in this room are the glorification of the Church, illustrated by events in the his- tory of Leo III. and Leo IV. The selec- tion of these pontificates is supposed to be complimentary to the name of the then reigning pontiff, Leo X. The roof is remarkable for the frescoes of Perugino, which Raphael's affection for his master would not allow him to efface when the other frescoes of the early painters were destroyed to make room for his works. It contains 4 circular paintings, representing the Almighty surrounded by angels, the Saviour in glory, the Saviour with the Apostles, and his glorification between Saints and Angels. The walls are partly painted by Ra- phael, and were completed in 1517. 1. Incendio del Borgo, representing the destruction of the suburb called the Borgo, or the Città, Leomima, in the pontificate of Leo IV., A.D. 847. This district was inhabited by the Anglo- Saxon pilgrims, from whom, according to Anastatius, it derived the name of “Saxonum vicus.” The same authority tells us that, in the language of these pilgrims, to whom he gives the name | of Angli, the district was called Burgus, 208 Rome. $ 26. PALACES-VATICAN–STANZE. and that, in consequence of their meg- lect, it was burnt to the ground. The Church tradition relates that the fire was approaching the Vatican, when the |pope miraculously arrested its progress with the sigm of the cross. In the background is the front of the old basilica of St. Peter's : in the balcony for the papal benediction is the pope, surrounded by the cardimals; on the steps below, the people who have fled to the sanctuary for shelter are raising their outstretched arms, in the act of imploring his inter- cession. On each side are the burning houses. On the rt. a group of men are endeavouring to extinguish the flames, while two fine female figures are bearing water to their assistance. On the 1. are several groups escaping with their kindred. Another group of distracted mothers and their children, in the centre of the composition, are earnestly stretching out their arms to the pope and imploring succour. The composition of this subject is of the very highest order: the forms and ac- tion of the principal figures bear evident marks of the influence of Michael An- gelo. The details seem to have been suggested by the burning of Troy: the group of the young man carrying off his father recalls the story of Æneas and Anchises, followed by Ascamius and Creusa. A considerable part of this picture was painted by the scholars of Raphael : the group of Æneas was coloured by Giulio Romano. 2. The Justification of Leo III, before Charle- magne.—The pope is represented clear- ing himself on oath of the calumnies thrown upon him by his enemies, in the presence of the emperor, cardinals, and prelates. 3. The Coronation of Charlemagne by Leo III., in the old basilica of St. Peter's: a fine composition, partly painted by Raphael, and partly, it is said, by Pierino del Vaga. The pope and emperor, as in the former painting, are portraits of Leo X. and Francis I., as almost all in the picture are likenesses of persons belonging to the court of Leo X. 4. The Pictory of Leo IP. over the Saracens at Ostia, painted from Raphael's designs by Giovanni da Udine. The chiaroscuro subjects of this chamber are by Polidoro da Caravaggio : they are portraits of the princes who have been eminent benefactors of the Church. One of them will not fail to interest the English traveller: it bears the inscription, Astulphus Rea, sub Leone IV. Pont. Britanniam Beato Petro vectigalem fecit. Ethelwolf was king of England during the reign of Leo TV. (847-855). The inscription confirms the opinion of those historians who regard him as the first sovereign of England who agreed to pay the tri- bute of Peter's pence to the Holy See. The doors and window-shutters of all the Stanze are celebrated for their ela- borate carvings by Giovanni Barile. They were carefully copied by Poussin at the command of Louis XIII., who intended to use them as models for the the Louvre : they are supposed to have been designed by Raphael. Of the intarsia work, by Fra Giovanni da Verona, little remains. The mosaics, composed of baskets of fruit and the four winds in the corner, have lately been laid down on the floor here; they are from an ancient Roman villa. II. The Camera della Segnatura, often called the Chamber of the School of Athens, contains subjects illustrative of Theology, Philosophy, Poetry, and Jurisprudence. The roof:-The ar- rangement of the compartments and several of the mythological figures and arabesques were completed by Sodoma, before the arrival of Raphael, who pre- served them without change. The sub- jects painted by Raphael are the cir- cular pictures containing the allegorical figures of the Virtues just mentiomed, and a corresponding number of square ones illustrating their attributes: thus we have Theology and the Fall of Man, Poetry and the Flaying of Mar. syas, Philosophy and the Study of the Globe, Jurisprudence and the Judg- ment of Solomon. The walls —The four subjects on the walls are ar- ranged immediately under the alle- gorical figures on the roof, with which Sect. I. 209 § 26. VATICAN–STANZE OF RAPHAEL. each subject corresponds. 1. Theology, better known as the Dispute on the Sa- crament, suggested by the “Triumphs.” of Petrarch. In the centre of the picture is an altar, with the eucharist overshadowed by the dove, as the sym- bol of Christ on earth : the fathers of the Latin Church, St. Gregory, St. Jerome, St. Ambrose, and St. Augustin, sit beside it. The name of each is in- scribed on the “glory” above his head. Near them are the most eminent theo- logians and divines; while at each side is a crowd of laymen attentively listen- ing to the tenets of the Church. These groups are remarkable as containing several interesting portraits; Raphael has represented himself and Perugino in the background, on the 1. ; near them, the figure leaning on a parapet is Bramante; in the rt. corner is a profile of Dante, crowned with laurel; mear him are St. Thomas Aquinas and Duns Scotus. On the same side is Savomarola, immediately behind Dante, dressed in black, in profile like the others. In the upper part of the compo- sition are represented the Trinity, with the Virgin and St. John the Baptist in glory, surrounded by a group of 10 majestic figures, representimg patri- archs and the evangelists; the Saviour and the evangelists have gold glories, in the manner of the older masters. Underneath this composition is a chiaro-scuro, by Pierino del Vaga, re- presenting the Angel appearing to St. Augustin on the sea-shore, and warming him mot to inquire too deeply into the mysteries of the Trinity. 2. Poetry, represented by Mount Parnassus, with Apollo and the Muses, and an assem- blage of Greek, Roman, and Italian poets. Apollo is seated in the midst of the picture playing on a violin, and surrounded by the Muses and the epic poets; on his rt. are Homer, Virgil, and Dante, in a red robe, and crowned with laurel, Homer, a fine inspired figure, is reciting, while a young mam is engaged in writing down his inspira- tions. Below these, and om each side of the window, are the lyric poets ; on one side is Sappho holding a book which bears her name, and addressing a group of four figures, representing Corimma, Petrarch, Propertius, and Ovid, a fine tall figure, in a yellow dress. On the other side of the window is Pindar, a venerable old man, en- gaged in earnest conversation with Horace. Close by are Callimachus, with his finger on his lips, and a beard- less figure, supposed to be Sanmazzaro. Above these is Boccaccio. Near this frescois inscribed the date 1511. 3. Phi- losophy, well known by the popular title of the “School of Athens.” A Portico, or Temple, of imposing architecture, is crowded with the greatest philosophers of ancient times. On a flight of steps in the centre of the composition stand Plato and Aristotle, holding a vo- lume in the act of disputation, and surrounded by the most celebrated followers of the Greek philosophy. Plato, as the representative of the spe- culative school, is pointing towards heaven; Aristotle, as the founder of the ethical and physical philosophy, points towards the earth. On the 1. is Socrates, explaining his doctrines to Alcibiades and other disciples. On the lower platform are the philosophers of lesser note. On the 1. is Pythagoras writing on his knee, surrounded by Empedocles and other followers; one of these wears a turban, and another holds a tablet inscribed with the harmonic scale : behind him a youthful figure in a white cloak, with his hand in his breast, is supposed to be the portrait of Francesco Maria della Rovere, duke of Urbino, the friend and patron of Baphael, and the nephew of Julius II. On the rt., Archimedes, under the likeness of Bramante, is represented tracing a geometrical figure on the floor, surrounded by a group of graceful youths attentively watching the pro- gress of the figure: the young man in blue by his side is Federigo II., duke of Mantua. Behind this group, in the angle of the picture, are Zoroaster and Ptolemy, ome holding a celestial and the other a terrestrial globe, as the repre- sentatives of Astronomy and Geo- graphy : they are both in the act of 210 Rome. § 26. PALACES-VATICAN–STANZE. addressing two figures in the back- ground, which are portraits of Raphael himself and of his master Perugino. Between this group and that of Pytha- goras a solitary and half-naked figure on the steps is Diogenes with his tub. This masterly composition contains 52 figures, all characterised by the variety and gracefulness of their attitudes, and their masterly connexion with the principal action of the picture. The arrangement of the subject may be regarded as a proof of the learning of the period : there is abundant evidence that Raphael, although a very young lman, was well versed in the history of ancient times ; he was also probably assisted by the learned men who lived at the court of Julius II. in the details of the composition, and a letter is preserved in which he asks the advice of Ariosto on the leading argument of the picture. The original cartoon, from which some slight varia- tions may be traced, is preserved in the Ambrosian library at Milan ; some of the old engravings converted it into Paul preaching at Athens, and altered several of the figures to correspond with that subject. The historical chiaro- scuro underneath, by Pierino del Vaga, represents the death of Archimedes while absorbed in his studies. During the siege of Rome in 1849, one of the French balls penetrated this chamber, and slightly damaged a corner of the vaulting. 4. Jurisprudence, represented in three compartments: in the first over the window are three allegorical figures of Prudence, Fortitude, and Temperance; the first has two faces, one with youthful features, the other with those of bearded old age, indicative of her knowledge of the past and future. On one side of the window, underneath the figure of Fortitude, Justinian is presenting the Pandects to Tribonian, in allusion to the civil law ; on the other, under Temperance, Gregory IX. delivers the Decretals to an advocate of the Consistory, in allusion to the canon law. The arrangement of this subject, in which law is made dependent on morals, seems to have been suggested by the ethics of Aristotle. The pope is the portrait of Julius II. ; near him are Cardinal de' Medici, afterwards Leo X., Cardinal Farmese, afterwards Paul III., and Cardinal del Monte. III. Stanza of the Heliodorus, finished in 1514: the subjects illustrate the tri- umphs of the Church over her enemies, and the miracles by which her doctrines were substantiated. The roof is ar- ranged in 4 compartments, containing subjects from the history of the Old Tes- tament : the Covenant of Abraham, the Sacrifice of Isaac, Jacob’s Dream, and the Appearance of God to Moses in the fiery Bush. The walls 2–1. The Ea:- pulsion of Heliodorus from the Temple, taken from the 3rd chapter of the 2nd book of Maccabees, an allusion to the successful efforts of Julius II. in over- coming by the sword the enemies of the papal power. In the foreground is Heliodorus with his attendants in the act of bearing away the treasures of the temple, and flying before the two youths who are scourging them with rods. Heliodorus himself has fallen beneath the feet of the horse on which sits the avenging angel, who drives them from the temple. In the background is Omias the high-priest, at the altar, praying for the divine interposition. In the 1. of the fresco is a group of amazed spectators, among whom is Julius II., borne by his attendants on a chair of state, and accompanied by his secretaries; one of the bearers in front is a portrait of Marcantonio Raimondi, the celebrated engraver of Raphael's designs; the person with the inscription “Jo. Petro de Folicariis Cremonen.” was the Secretary of Briefs to Julius II. “Here,” says Lanzi, “you may almost fancy you hear the thunder- ing approach of the heavenly warrior and the neighing of his steed; while in the different groups who are plundering the treasures of the temple, and in those who gaze intently on the sudden conster- mation of Heliodorus, without being able to imagine the cause, we see the expres- sion of terror, amazement, joy, humility, and every passion to which human na- Sect. T. 211 § 26. VATICAN–STANZE OF RAPHAEL. ture is exposed.” The whole of this fine composition is characterised by the ex- ceeding richness of its colouring : in this respect the Heliodorus and the Miracle of Bolsena are justly regarded as the very finest productions in the series. The Heliodorus shows how far Raphael had profited by the inspi- rations of Michel Angelo, but he has here combined the dignity of form, the variety and boldness of the fore- shortening, which characterise the work of that great master, with a grace and beauty of sentiment peculiarly his own. 2. The Miracle of Bolsena, illustrating the infallibility of the doc- trimes of the Church by the representa- tion of that celebrated miracle. Over the window is the altar, with the offi- ciating priest regarding the bleeding wafer with reverential astonishment ; behind him are the choir-boys and the people pressing forward with mingled curiosity and awe. On the other side of the altar is Julius II. praying, at- tended by two cardinals, one of whom is Raf. Riario, and his Swiss guard. This fresco was the last work completed by Raphael during the reign of this war- like pontiff. 3. Attila, or S. Leo I. pre- venting Attila's entrance at the gates of Pome, in allusion to the victory of Leo |X. over Louis XII. at Novara in 1513, in driving the French out of the states of Milan. On the rt. of the picture Attila is represented in the midst of his ca- valry shrinking in terror before the apparition of St. Peter and St. Paul in the heavens; his followers are already flying in amazement. On the other side is the pope, attended by two car- dimals and the officers of his court; their calm expression contrasts strongly with the wild terror of the Hums. The pope is a portrait of Leo X. ; he may also be recognised as one of the at- tendant cardinals, which has been ad- duced as a proof that the painting was commenced in the reign of Ju- lius II., while Leo was yet the Car- dinal de' Medici. On the 1. of the pope are three figures on horseback : the one in a red dress om a white horse is supposed to be a portrait of Peru- gino, the crossbearer to be Raphael him- self. 4. The Deliverance of St. Peter, an allusion to the liberation of Leo X., while cardinal and papal legate at the court of Spain, after his capture at the battle of Ravenna. It is remarkable for the effect of the 4 lights. Over the window, the angel is seen through the gratings of the prison awakening the Apostle, who is sleeping between the two soldiers. The interior is illumined by the rays of light proceeding from the angel. On the rt. of the window the angel is leading St. Peter from the prison while the guards are sleeping on the steps; the light, as in the former case, proceeds from the person of the angel. On the other side of the win- dow the guards have been alarmed and are rousing themselves to search for their prisoner; one holds a torch, from which, and from the moon shining in the distance, the light of the group is derived. Vasari tells us that one of the frescoes painted in the Stanze by Pietro della Francesca was destroyed to make room for this picture. The chiaro- scuro subjects in this chamber are alle- gorical allusions to the reigns of Julius II. and Leo X. IV. Sala of Constantine.—This large hall was not painted until after the death of Raphael. He had pre- pared the drawings, and had begun to execute them in oil. The figures of Justitia and Mansuetudo, on each side of the great painting, were the only portions of the composition which he actually painted, for the work was in- terrupted by his death, and ultimately completed in fresco by Giulio Romano, Francesco Penni, and Raffaelle del Colle. The subjects are illustrative of the sovereignty of the Church, and their mode of treatment seems to have been suggested by the fres- coes of Pietro della Francesca in the ch. of S. Francesco at Arezzo. 1. The Battle of Constantine and Maarentius at the Ponte Molle, entirely designed by Raphael, and executed by Giulio Romano; the largest historical subject ever painted. No other composition 212 STANZE, § 26. PALACES-VATICAN Rome. by Raphael contains such a variety of figures, such powerful and vigorous action, such animation and spirit in every part of the picture. Bellori says that he appears to have been borne along by the energy of the warriors he was painting, and to have carried his pencil into the fight. It represents the very moment of victory : Maxen- tius is driven into the Tiber by Con- stantime, whose white horse rushes forward as if partaking of the energy of his rider. One body of the troops of Maxentius is flying over the bridge in disorder, while another on the l. hand is gallantly sustaining the last struggle of despair. In the midst of this tu- multuous scene an old soldier is seen raising the dead body of a young standard-bearer, one of those touching episodes which are so peculiarly cha- racteristic of the gentle spirit of the master. The colouring, on the whole, is rough and dusky in the middle tints, but very powerful in parts. Lanzi says that Poussin praised it as a fine specimen of Giulio's mammer, and con- sidered the hardness of his style well suited to the fury of such a combat. 2. The Cross appearing to Constan- time while addressing his troops prior to the battle. This and the succeeding subjects are the least interesting of the series: it is said that many deviations were made from Raphael's designs, and several episodes may be recognised which could not have entered into any composition dictated by his genius. In the background are several Roman monuments. The execution of this subject is by Giulio Romano. 3. The Baptism of Constantine by St. Sil- vester, painted by Francesco Penni (Il Fattore), who has introduced his por- trait in a black dress with a velvet cap. The scene is interesting for the view it gives of the baptistery of the Lateran in the 15th centy. 4. Constantine's dona- tion of Rome to the Pope, painted by Raffaelle del Colle. The 8 figures of popes between these 4 subjects are said to be by Giulio Romano, The chiaro-scuro subjects are by Polidoro da Caravaggio; the Triumph of Faith on the roof is an inferior work by Tom- maso Lauretti; the other paintings of the vault are by the Zucchero. During the siege of Rome in 1849 a French musket-ball passed through the window of this chamber, but did no further damage than the erasure of half of the letter T in the inscription, “SIXTUS W. Pont.” The mosaics which form the floor of this hall were discovered near the ch, of the Scala Santa, on the Lateran, in 1853, and recently placed here by order of Pius IX. ; the arrange- ment is different from what it was in the ancient edifice, to adapt it to its present site. From the Sala of Costantime a low door leads into the Anticamera delle Stanze (1), or Sala delle Chiaroscure, from which open the Chapel of San Lorenzo on one side, and the Loggia of Raphael on the other; the former is not open to the public, but can be seen on application to the custode of the Stanze. Capella di San Lorenzo (2).-This little chapel is interesting in the history of art for its remarkable frescoes by Fra Angelico da Fiesole. It was built by Nicholas W. as his private chapel, and, as we have already remarked, is probably the only decorated portion of the Vatican palace which is older than the time of Alexander VI. The frescoes repre- sent different events in the life of St. Stephen and St. Lawrence. Those on the walls are—First or Uppermost Series : 1. The Ordination of Stephem. 2. Stephen giving charity ; 3. His preaching, a fine expressive composition; 4. His appearance before the Council at Jerusalem ; 5. His being dragged to Execution; 6. The Stoning of the Martyr. Second or Lower Series: 1. The Ordination of St. Lawrence by Sixtus II., umder the likeness of Nicho- las W.; 2. The Pope delivering to him the Church treasures for distribution among the poor; 3. Their Distribution by St. Lawrence; 4. The Saint carried before the Prefect Decius ; 5. His Mar- tyrdom, A.D. 253. In the arches over the window and door are 4 Fathers and Sect. I. LIBRARY. 213. § 26. VATICAN 4 Doctors of the Church, two of whom, SS. Athanasius and Chrysostom, are nearly obliterated, the others have been badly restored; on the roof are the 4 Evangelists. Most of these interesting works have been well preserved ; Lanzi says that all critics were delighted to be- stow upon them the highest praise. It is related that, so completely had these beautiful frescoes been forgotten or lost sight of in the last century, that, when search was made by Bottari to discover them after Vasari’s indications, it was ne- cessary to effect an entrance to the chapel through the window ; and we have it on the authority of Goethe that it was one of the merits of a German artist then residing at Rome, in exploring the labyrinths of the Vatican, to have dis- covered the chapel of Nicholas W. The paintings were restored under the su- perintendence of Camuccini in the reign of Pius VII. LIBRARY. The entrance to the Library is by one of the doors on the l. near the extremity of the Galleria Lapidaria of the Museum, and may be visited every day except when the Museum is open to the public, on giving a gratuity to the custode. The Vatican Library may be con- sidered to have been founded by Ni- cholas W. (1447), who transferred to his new palace the manuscripts which had been collected in the Lateran The library at the death of Nicholas V. is said to have contained 9000 MSS., but many of them were dis- persed by his successor Calixtus III. These losses were not repaired until the time of Sixtus IV., whose zeal in restor- ing and augmenting the library is cele- brated by Ariosto and by Platina, who was appointed its librarian about 1480. The present building was erected by Sixtus W. in 1588, from the designs of Fontana, a new apartment having be- come necessary to receive the collec- tions made by his immediate prede- cessors, and particularly by Leo X., who, like his father Lorenzo the Magni- ficent, had sent agents into distant countries to collect manuscripts. The celebrity of the library dates properly from the close of the 16th century, when the munificence of the popes was aided Joy the acquisition of other important collections. The first was that of Fulvius Ursinus in 1600, fol- lowed by the valuable collections of the Benedictine monastery of Bobbio, composed chiefly of Palimpsests. The library then contained 10,660 MSS., of which 8500 were Latin, and 2160 Greek. The Palatine library, belong- ing to the Elector Palatine, captured at Heidelberg by de Tilly, and presented to Gregory XV. in 1621 by duke Maximilian of Bavaria, was the next accession ; it contained 2388 MSS., 1956 of which were Latin, and 432 Greek. In 1658 the Vatican received the library of Urbino, founded by duke Federigo, whose passion for books was so great, that at the taking of Wolterra in 1472 he reserved nothing but a Hebrew Bible for his own share of the spoil. This collection emriched the Vatican with 1711 Greek and Latin MSS. In 1690 the Bibliotheca Alex- andrima, the collection of Christina queen of Sweden, was added to the library ; it comprehended all the lite- rary treasures taken by her father Gustavus Adolphus at Prague, Wurtz- burg, and Bremen, and amounted to 2291 MSS., of which 2101 were Latin and 190 Greek. Clement XI. in the beginning of the last century presented 55 Greek MSS. to the collection ; and in 1746 it received the splendid library of the Ottobuoni family, containing 3862 MSS., of which 3391 were Latin and 474 Greek. About the same time it was augmented by 266 MSS. from the library of the Marquis Capponi. The last addition of importance was that of 162 Greek MSS. from the con- went of S. Basilio at Grotta Ferrata. At the peace of 1815 the late king of Prussia, at the suggestion of W. Hum- boldt, applied to Pius VII. for the restoration of some of the manuscripts 214 Rome. § 26. PALACES-VATICAN–LIBRARY. which had been plundered from the Heidelberg library by De Tilly. A more favourable moment for this re- quest could not have been chosen : the service rendered to the Church by the restoration of the pope to his throne was acknowledged by that enlightened and virtuous pontiff on all occasions; and in this instance the request of the king of Prussia was immediately an- swered by the restoration of many MSS. of great importance to the Ger- man historiam. At the present time the Vatican Library contains in the Oriental collection 590 Hebrew, 787 Arabic, 80 Coptic, 71 AEthiopic, 459 Syriac, 64 Turkish, 65 Persian, 1 Samaritan, 13 Armenian, 2 Iberian, 22 Indian, 10 Chinese, and 18 Sclavonic manuscripts. The amount of the whole collection of Greek, Latin, and Oriental manuscripts is 23,580, the finest col- lection in the world. The number of printed books was not more than 30,000, though it had been loosely stated at double that figure, until the addition of the library of Count Cicognara, chiefly relative to the fine arts and their his- tory, and, in 1855, of the collection of Cardinal Mai, a munificent donation of Pius IX. to the Library of the Vatican. The library is open daily for study from 9 in the morning until moon, excepting during the recess, which begins on June 16th, and con- tinues until Nov. On Thursdays, and on numerous feast-days, it is always closed, and the accommodation is so limited that only those who wish to consult MSS. can find places. The printed books are little available for study; indeed, no catalogue of them ap- pears yet to have been made. The fee to the custode who shows the library, for a party, is from 2 to 4 pauls. The Anteroom (11) contains in a glass case a fine papyrus relating to the funeral rites of the Egyptians; and two casts of columns with Greek inscrip- tions, found in the Triopeum of Herodus Atticus on the Via Appia (the ori- ginals are now in the Museo Borbonico at Naples). A series of portraits of the cardinal librarians hang round this room ; that of Cardinal Giustiniani is by Domenichino. In the adjoining room, called the Chamber of the Scribes, round which sit the principal librarian and assistants, in stalls decorated with intarsia-work by Frate Giovanni da Verona, are tables for persons admitted to study and consult the MSS. in the Library. The ceiling is painted by Paul Brill and Marco da Faenza. The Great Hall, which is 220 ft. long, is divided by pilasters into 2 portions, and is decorated with frescoes by Scipi- one Caietami, Paris Nogari, Cesare Neb- bia, and other artists ; it underwent a complete restoration under Pius VI., and is one of the most magnificent halls of the kind. The beautiful marble pave- ment has been laid down by Pius IX. in place of the original one in red tiles, and which adds greatly to the splendour of the Hall. Attached to the pilasters and the walls are the painted cabinets or presses which com- tain the MSS. ; these are shut with closed doors, so that a stranger might walk through the entire suite of apart- ments, and have no suspicion that he was surrounded by the first literary trea- sures in the world. Between the pilas- ters are placed several valuable modern works of art. Two fine tables of granite, supported by bronze figures by Valadier; a beautiful column of Oriental alabas- tro fiorito ; a Candelabrum of Sèvres china presented to Pius VII. by Na- poleon ; a fine vase from the same manufactory to Leo XII, by Charles X. ; a vase of Malachite by the Em- peror of Russia, and a very large speci- men of the same valuable material by Prince Demidoff; a fine vase of Oriental alabaster, made in Rome from a block presented by the Pasha of Egypt; the large vase in Sèvres porcelain, covered with Christian emblems in an early style, presented by the present Em- peror of the French to Pius IX. on the occasion of the baptism of the heir to the Imperial throne; and a beautiful basin in Aberdeen granite, a gift from the Duke of Northumberland to Car- Sect. I. 215 § 26. VATICAN–LIBRARY. dinal Antonelli, and by him presented to the library. The frescoes on the walls represent on one side the founda- tion of the most celebrated ancient libraries, and on the other the different councils of the Church ; those on the pilasters the inventors of the characters used in expressing the principal known languages. Out of the great hall a door on the rt, leads into the Archivio Secreto (12), where are preserved the most inter- esting manuscript historical documents connected with the government of the popes, diplomatic correspondence, &c. The door leading into it is a fine speci- men of modern intarsia-work, repre- senting some of the principal monuments erected during the reign of Pius IX. The Galleries which open from the extremity of the Great Hall, and which occupy a length of 1200 feet, contain also presses with the manu- scripts; they are divided into several halls. Entering on the 1., on each side are presses containing the MS. collec- tions of Queen Christina of Sweden, on the outside of which have been painted the several monuments of Rome re- stored during the present pontificate. On the end wall of the second Hall is an interesting view of St. Peter's, as designed by Michel Angelo, surrounded with a square portico; and opposite amother of the raising of the Vatican obelisk by Fontana. To these succeed 5 other halls; the first contains the con- timuation of the MS, collection and a cabinet in which are shown the most curious manuscripts of the Library to the general visitor. The 3 Halls (13, 14, and 15 of plan), forming the Museo Cristiano, follow. In the first, enclosed in cabinets, is a most interesting col- lection of lamps, glass vessels, gems, personal ornaments, instruments for domestic use of the early Christians, chiefly from the Catacombs; there are also various imstruments of torture em- ployed against the early sufferers for our faith, amongst which deserves notice a plumbatum, or copper ball, filled with lead and attached to a chain, found alongside the body of a Christian martyr in his tomb. Among the other objects are amber vessels with reliefs and Chris- tian symbols, carvings in ivory. In the press marked No. 14 is the Diptychon Rambonense of Agiltrude, wife of Guido da Spoleto, a curious specimen of Italian art of the 9th century; in another a very fine diptych of the 5th, on which may be seen one of the earliest represen- tations of the Cross. Beyond this is the hall called the Stanza de' Papiri (14), containing a series of diplomas and charters from the 5th to the 8th centy., the oldest being of A.D. 469; on the ceiling and walls are historical frescoes by Mengs. The room (15) that follows contains a very interesting collection of Byzantine and mediaeval Italian paint- ings to the end of the 15th century, and a Russian Calendar of the 17th, covered with minute figures, in the form of a Greek cross. On the end wall is a fine crucifix in rock crystal, with two medallions, engraved in in- taglio, the latter with scenes of our Lord's Passion. They were executed by a certain Valerius of Vicenza, and added to the Library by Pius IX. Opening out of the hall of Christian paintings, and on the rt., is an apart- ment of 2 rooms (16), recently very handsomely restored. The first, with the Samson on the ceiling, painted by Guido, is specially destined to ancient frescoes, of which the most celebrated is that called the Nozze Al- dobrandini, found near the Arch of Gallienus, in 1606. It became the property of Clement VIII., and has from this circumstance been desig- mated by the name of his family. For many years it was the chief ornament of the Willa Aldobrandini, and was considered the most precious specimen of ancient painting, until the disco- veries at Herculaneum deprived it of that pre-eminence. Many cele- brated painters made it the object of their study, and a copy by Poussin is preserved in the Doria gallery. Al- though injured by restorations, it was considered so valuable in 1818 that it was purchased of Cardinal Aldobran- dini by Pius VII. for 10,000 scudi. It 216 Rome. § 26. PALACES-VATICAN–LIBRARY. represents, in the opinion of Winck- elmann, the Marriage of Peleus and Thetis. The composition consists of 10 figures: the bridegroom is sitting at the foot of a richly-carved couch, on which sits the bride, attired in white drapery, accompanied by a female, who seems to be advising with her; on the extreme 1. of the picture a priest and two youths are standing at a circular altar preparing for the lustral offering. Between them and the couch is a finely draped female figure leaning on an altar, and holding what appears to be a shell. On the rt. of the picture is a group of 3 figures standing near a tripod : one holds a tazza; the second, a fine commanding personage, wears a crown; the third is playing on a harp of 6 strings. The bridegroom, in the opinion of John Bell, is the finest thing he had ever seen. “His brown colour gives a singular appearance of hardihood and token of having grappled with danger and felt the influence of burning suns. The limbs are drawn with inimitable skill, slender, of the finest proportions, making the just medium between strength and agility; while the low sustaining posture, resting firmly on the rt. hand, half turning towards the bride, is wonderfully conceived. A pleasing tone of purity reigns through the whole composition, in which mo- thing bacchamalian offends the eye or invades the chaste keeping of the scene.” A good terracotta relief, in the Campana Collection, is an exact reproduction of the principal group in the Nozze Aldo- brandini. The other ancient paintings here are, a Race of Tigers, Antelopes, and Apes, in which the Egyptian A. oryx is very accurately represented; all these animals bearing feathers on the head, as we see in the modern Roman races of the Corso : six figures of Scylla, Phaedra, Pasiphae, Canace, and Myrrha, discovered on the walls of a villa near Tor Marancio on the Via Ardeatina: and a series of subjects from the Odyssey, found in the ruins of a Ro- man house in the Via Graziosa, on the Esquiline; they have been described in a work by Padre Matranga, who en- deavoured to prove that the building formed part of the house of Livia. The floor of this room has inlaid as its pavement an ancient mosaic, from a Roman villa near the Porta di San Lorenzo. Opening out of the room containing the Nozze Aldobrandini is a smaller one containing a collection of in- scriptions or Sigma Tegularia stamped on Roman tiles; some Christain frescoes, the most worthy of motice amongst which are—Our Saviour amongst the Apostles, or the Last Supper, of a dove with the olive-branch, and a copy of a female figure in the act of adoration (an Orante), from the Catacombs of St. Nereo. The pretended painting of Charlemagne is of very doubtful au- thenticity. A curile seat, in bronze, a fragment of the mosaic which co- wered the Triclinium of Leo III. near the Lateran Palace ; and a good Ci- borium in La Robbia ware. Returning to the Library, in the farthest room, formerly the chapel of Pius W., was placed the collection of medals, which was plundered of so many of its trea- sures by one of its own curators during the absence of the court in 1849. The number ascertained to be missing is con- siderable. Many of these medals were of great rarity, and their loss is a public misfortune, the greater part having been melted down. Some were unique gold coins, chiefly of the Roman series, amongst which was a medal of Antinous, one of the largest specimens in gold which had been handed down from anti- quity. The collection is now in pro- gress of arrangement by Padre Tessieri, the eminent numismatist ; when com- pleted, the most important specimens will be exposed to the public view. Beyond the former medal-room is a series of several chambers called the Gabinetto Borgia (17), containing. printed books, illustrated works, the library on the history of the Fine Arts formed by Cicognara, and that of the late Cardinal Mai, recently purchased by Pius IX. : the sculp- tures which were formerly here have been removed to the Lateran Museum. These chambers were built by Alexander Sect. I. 217 § 26. v.ATICAN–LIBRARY. WI., from whom they derive their name; they are well worth visiting for the paintings on the vaults and walls, and will be shown if desired by the person who accompanies strangers over the Library; they are preceded by some smaller rooms, also filled with printed books. Chamber I., remark- able for its ceiling, decorated with paintings and stuccoes by Giovanni da, Udine and Pierino del 7 aga; the planets are said to be from the de- signs of Raphael. Chamber II., the roof painted in fresco by Pintu- ricchio. In the lunettes are repre- sented the Ammunciation, the Nativity, the Adoration of the Magi, the Re- surrection, with a portrait of Alex- ander W.T., the Ascension, the Descent of the Holy Spirit, the Assumption. Chamber III., the roof painted in fresco by Pinturicchio, representing St. Ca- therime before the Emperor Maximian ; St. Antony the Abbot visiting St. Paul the Hermit ; the Visitation; the Martyrdom of St. Sebastian ; Susamma in the Bath; St. Barbara flying from her father. Over the door is the por- trait of Giulia Farmese, the favourite of Alexander VI., as the Madonna. Cham- ber IV., painted by Pinturicchio with allegorical figures of the Virtues and Sciences. The Gallery on the right of the Great Hall of the Library, contains also presses with manuscripts, surmounted by Etrus- can vases, and is ornamented with imdif- ferent frescoes illustrating the principal events in the troubled reigns of Pius VI, and Pius VII. It is separated into halls by columns of ancient marbles and red porphyry. In one—that pre- ceding the Museo Profano — are two curious statues of the god Mithras, in the form he was venerated in the temples, consisting of a human figure with a lion's head, the body entwined with a serpent, and holding keys in each hand. On two of the porphyry columns meat this are sculptured twin figures, in high relief, of warriors, similar in style and costume to those at the corner of the Basilica of Sam Marco [Rome.] at Venice ; they were in all probability brought from the East during the Lower Empire. At the extremity of the rt.-hand gallery is the so-called Museo Profano (18), to distinguish it from the M. Cristiano in the opposite gallery of the library; it contains a very valuable collection of small Greek and Roman antiquities in bronze, ivories, glass, &c., consisting primcipally of lamps, vases, and personal ornaments ; some antique mosaics. The carvings in ivory, aſſixed to the shutters of the cabinets, having, for the greater part, been found attached to the Christian sepulchres in the catacombs : they date from the 2nd to the 7th cem- tury : amongst them is a remarkable group of a triumphal car drawn by four horses, a close resemblance to that of the large bas-relief of Marcus Aurelius on the stairs of the Palazzo de' Conservatori, in the Capitol. The collection of modern cameos in pietra- dura by Girometti, purchased by Gre- gory XVI., and a very beautiful cup in amber, with reliefs. Two works of Cellini, representing the fable of Perseus, and the wars of the Trojans, have recently been placed here. Here also are the mails, tiles, and other fragments of the framework of Caesar's villa, found in the lake of Nemi, and long supposed to be the timbers of an ancient ship. The principal manuscript treasures of the library are the following:—The celebrated Codea, Taficanus or Bible of the end of the 4th or beginning of the 5th century, in Greek, containing the oldest version of the Septuagint, and the first Greek one of the New Testament. This most important do- cument in biblical literature, which had remained so long unedited, has at last been published by the late Cardimal Mai; although printed several years since, scruples had arisen to prevent its publication, until the present year, when the reigning Pontiff withdrew the interdict of his predecessor.” The Fir- * Vetus et Novum Testamentum, ex antiquis- Simo Codice Vaticano, ed. ANGBLUS MAIUs, S.R.E., Card, Rome, 1857, Spithūver. L 218 Rome. § 26. PALACES.—VATICAN–LIBRARY. gil of the 4th or 5th century, with 50 miniatures, including a portrait of Vir- gil, well known by the engravings of Santo Bartoli. The Terence of the 9th century, with miniatures. These ver- sions of Virgil and Terence belonged to Cardinal Bembo, and passed with his other collections into the ducal library of Urbino : the Terence was pre- sented to his father, Bernardo Bembo, by Porcello Pamdomio, the Neapolitan poet. A Terence of the 4th or 5th century, the oldest known. Fragments of a Virgil of the 12th century. The Cicero de Republica, the celebrated pa- limpsest discovered by Cardinal Mai under a version of St. Augustin's Com- mentary on the Psalms. This is com- sidered the oldest Latin MS. extant. The Palimpsest of Livy, lib. 9], from the library of Christina queen of Swe- dem. The Plutarch from the same col- lection, with notes by Grotius. The Seneca of the 14th century, with com- mentaries by the English Dominican monk Triveth, from the library of the dukes of Urbino. A Pliny, with interesting figures of animals. The Meno- logia Graeca, or Greek calendar, of the 10th century, ordered by the emperor JBasil: a fine example of Byzantine art, brilliantly illuminated with representa- tions of basilicas, monasteries, and mar- tyrdoms of various saints of the Greek Church. The Homilies of St. Gregory Nazianzen of the year 1063, and the Four Gospels of the year 1128, both Dyzantime MSS. of great interest; the latter is from the Urbino library. A Greek version of the Acts of the Apostles, written in gold, presented to Innocent VIII. by Charlotte queen of Cyprus. The large Hebrew Bible, in folio, from the library of the duke of Trbino, for which the Jews of Venice offered its weight in gold. The Com- mentaries on the New Testament, with ruiniatures of the 14th century, by Nic- colò da Bologna. The Breviary of RMatthias Corvinus of the year 1492, beautifully written and illuminated by Attavanti. The Parchment Scroll of a Greek MS. of the 7th century, 32 feet long, with miniatures of the history of Joshua. The Officium Mor- tis, with beautiful miniatures. The Codea Mexicanus, a calendar of im- mense length. The dedication copy of the Assertio Septem Sacramentorum adversits Martinum Lutherum, by Benry VIII., printed on vellum at London in 1521, with the king's sigma- ture and the autograph inscription on the last page but one, “Fimis. Henry Rex.” “Anglorum rex Henricus, Leo Decime, mittit. HOC opus et fidei teste et amicitie.” Letters from Henry PTII. to Anne Boleyn, 17 in number; 9 are in French, and 8 in English. The Dante of the 15th century, with miniatures by Giulio Clovio. The Dante del Boccaccio, in the very beautiful writing of the author of the Decameron, to which his sig- nature as Johammes do Certaldo is affixed, and with notes said to be by Petrarch. Tasso's Autographs, containing a sketch of the first 3 Cantos of the Gerusalemme, written in his 19th year, and dedicated to the duke of Urbino ; and several of his lºssays and Dialogues. Pet- rarch's Autographs, including the Rime. The Latin poem of Donizo, in honour of the Countess Matilda, with her full-length portrait, and several historical miniatures of great interest; among which are the repent- ance of the emperor Henry IV., his absolution by Gregory VII., &c. The Lives of Duke Federigo di Montefeltro, by Muzio, and of Francesco Maria I. della Rovere, by Leoni, the latter with 5 fine miniatures by Giulio Clovio, The autograph copy of the Annals of Cardinal Baronius, in 12 volumes. The Treatise of the Emperor Frederick II. on Hawking, from the Heidelberg library. Several Manuscripts of Luther, and the principal part of the Christian Catechism, translated into German by Melanchthon, 1556. The most interest- ing, to the general visitor, of these MSS. are now exhibited to the public, being placed in a handsome inlaid mahogany cabinet, in the large hall of the 1.-hand gallery of the library, which Sect. I. GATRID ENS. 219 § 26. VATICAN will be opened by the custode; to examine the others a special permission of the Prefect of the library is necessary. Mangfactory of Mosaics.-Persons who have admired the beautiful mosaics of St. Peter's should visit, before they leave the Vatican, the studio in which they are manufactured. The number of enamels of different timts preserved for the purposes of the works amounts to no less than 10,000. The manu- facture is by no means so mechanical as is generally supposed : great know- ledge of art is requisite to do justice to the subjects which are thus invested with durability; some idea of the dif- ficulty of the process may be formed from the fact that many of the large pictures have occupied from 12 to 20 years in their execution. Visitors are admitted daily, by means of an order, easily procured through their bankers: the entrance to the manufactory is from a corridor at the corner of the Court of S. Damaso, and on the ground floor. Gardens of the Tafican.—Few tra- vellers visit these interesting gardens, which deserve to be better known: they are entered from the further end of the long gallery of the Museo Chiara- momti. The first portion is that called the Giardino della Pigna, in the quad- rangle formed by the Museo Chiara- monti, the Braccio Nuovo, the Etruscam Museum, and the long gallery of the library: it was begun by Nicholas W., and enlarged by Julius II. from the designs of Bramante, who constructed the 4 façades. In front of the primci- pal façade is a large semicircular miche, containing the 2 bronze peacocks and the colossal pigna or pime-cone, 11 feet high, found in the mausoleum of Hadrian, and supposed to have stood on the summit of the building. In the centre of the gardem is the pedestal of the Column of Antomimus Pius, found om Monte Citorio in 1709, and removed to this spot after the in- effectual attempt of Fontama to raise the shaft, which was discovered at the same time. each of its sides, and ornamented with high reliefs, representing the apotheosis of Antomimus and Faustina, funeral games, allegorical figures of Rome, and a genius holding an obelisk. The in- scription has been already quoted in the account of the column (p.49). A flight of steps descends from the quadrangle of the Giardino della Pigma to the terrace of the Navicella, so called from a large fountain with a bronze ship in the centre, from every point of which water is made to flow. The view from this terrace over the northern part of Rome is very fine. Several very ingenious devices of waterworks play in this gar- den. In one place the visitor is made to stand on a circular space to admire the bronze Pigma, when water spouts from invisible openings in the ground around him. A similar mischievous device awaits him as he unpreparedly passes down the stairs to the terrace of the Navicella. The Gardens of the Vatican, properly speaking, extend beyond the long line of buildings of the library and palace, along the declivity of the hill, to the fortified emceinte of the walls. They are very extensive, with easinos, formal flower-gardens, long alleys bordered with box hedges, and even rides where the pope can take horse exercise, which court etiquette would not permit his doing outside his own grounds. No order to visit the gardens is necessary; a couple of pauls to the custode will be the best passport. The Casino del Papa, built by Pius IV. from the designs of Pirro Ligorio, is one of the most elegant villas in Rome. It is decorated with paintings by Baroccio, Federigo Zucchero, and Santi di Tito, and has a beautiful foun- tain which pours its waters into a basin of pavonazzeto, adormed with antique groups of children riding on a dolphin. Among its antiquities is an interesting series of bas-reliefs in terra-cotta, col- lected by d'Agincourt and Canova. In the upper part of the gardens a portion of the mediaeval wall with It is 11 ft. high, 12 ft. On two fine round towers is still standing, L 2 220 Rome, § 26. PALACES.–CAPITOL. beyond which Pius IV. and Urban VIII. extended the present bastions. It was from the most Western and elevated point of the latter, which enfi- lades the road from Civita Vecchia, that the French army suffered so severe and unexpected a repulse on their first ap- proach to Rome in April 1849. The Pontifical Armoury, near the Sacristy of St. Peter's, contains the iron armour of the Constable de Bourbon, a melancholy record of the cruel pillage which devastated Rome more than all the attacks of the barbarians, meither sparing the monuments of antiquity mor the works of the great masters of the Revival. His sword is preserved in the Rircherian Museum at the Collegio Romano. THE CAPITOL. The square of palaces which now covers the summit of the Capitoline Hill under the mame of the Piazza del Campidoglio, was built by Paul III. from the designs of Michel Angelo. The effect as we approach it from the Corso is imposing, although it may dis- appoint our preconceived ideas of the magnificence of the Roman Capitol. The easy ascent by steps a cordoni was opened in 1536, on the occasion of the entrance of the emperor Charles W. At the foot of the central stairs are 2 Egyptian lions, brought here by Pius IV. from the ch. of S. Stefano in Cacco. At the summit of the steps, on the angles of the balustrades, are 2 colossal statues, in marble, of Castov and Pollux stand- ing by the side of their horses : they were found in the Ghetto, in the middle of the 16th century. Near these are the celebrated marble sculp- tures called the Trophies of Marius. We have already noticed this misno- mer in the description of the ruins (p. 81) near which they were disco- vered. Their style shows that they are imperial works; Winckelmann referred them to the time of Domitian, and recent antiquaries have even assigned to them so late a date as that of Alexander Severus. Next are the sta- tues of Comstantime and his son, found in his baths on the Quirinal. At the extremity of the balustrade, on the rt. of the ascent, is the Mil. liarium, or milestone, which marked the first mile on the Via Appia : it was found in 1584 in the Wigma Naro, a short distance beyond the modern Porta di Sam Sebastiano, and has in- scribed on it the names of Vespasian and Nerva: as a pendant, on the opposite balustrade, is that which stood at the 7th mile on the same road, and which was brought here from the Giustiniani palace; the inscriptions are identical. In the centre of the piazza is the bronze equestrian statue of Marcus Aurelius. In the middle ages it was supposed to be a statue of Constantime, a fortunate error for the interests of art, since it was this belief which preserved it from destruction. It first stood near the arch of Septimius Severus ; it was then placed in front of the Lateran, and was removed to its present position by Michel Angelo in 1538. It stands on a pedestal of marble formed from a single block of an architrave found in the Forum of Trajan. It is the only ancient eques- trian statue in bronze which has been preserved entire, and, as a specimen of ancient art, is admitted to be the finest in existence. It was originally gilt, as may be seen from the traces of the gold still visible on the horse's head. The admiration of Michel Angelo for the statue is well known ; it is related that he said to the horse “Cammina,” and declared that its action was full of life. So highly is it prized, that even in recent years an officer was regularly appointed to take care of it, under the name of the Cus- tode del Cavallo. A bunch of flowers is annually presented to the chapter of the Lateran basilica as an acknowledgment that it belongs to them. While the statue stood in front of the Tateran in Sect. I. 221 § 26. CAPITOL. 1347, it played an important part in the festivities celebrated on the eleva- tion of Cola di Rienzo to the ramk of tribune. On that occasion wine was Imade to flow out of one mostril and water out of the other. On the 3 sides of the piazza are the separate buildings designed by Michel Angelo. The central one is the Pa- lace of the Senator; that on the rt. the Palace of the Conservators; that on the 1. contains the Museum of the Capitol. PALACE OF THE SENATOR, Founded by Boniface IX. at the end of the 14th century, on the ruins of the Tabularium, as a fortified residence for the Senator. The façade was orna- mented by Michel Angelo with Corin- thian pilasters, and made to harmonise with his new palaces. In front it is approached by a double flight of stairs. At the base is a large fountain con- structed by Sixtus W., and ornamented with 3 statues: that in the centre is Minerva, a fine statue in porphyry, found at Cora, and commonly called Rome triumphant; the marble head and arms are modern : the 2 others are co- lossal figures of the Nile and the Tiber, found in the Colomna gardens, and referable to the time of the Antomimes. The principal apartment in this palace is the hall in which the Senator holds his court : it contains statues of Paul III., Gregory XIII., and Charles of Amjou as Senator of Rome in the 13th centy. In the upper rooms are the offices of the Municipality, the local police courts, the apartments of the Academy of the Limcei, and, high above all, the recently constructed Observatory of the Capitol. From this we may ascend to the summit of the Tower, remark- able for one of the most instructive views of Rome, described in a pre- ceding page (p. 10). The great bell of the Capitol, the celebrated Patarina, captured from Viterbo in the middle ages, is suspended in this tower, and is rung only to announce the death of the pope and the beginning of the Carnival. In the lower floor, occupying the portico of the Tabula- rium, is the Museum of Amcient Architec- ture, and lower down still the passages leading to some interesting remains of the substructions of the Capitol and of the Tabularium, which well deserve a visit. (See p. 21.) [The museum and gallery of the Capitol belong to the municipal body and are supported from its funds : they are open to the public on Mon- days and Thursdays, from 12 until 4 P.M. Admission at other times is easily obtained by a small fee to the custodes.] PALACE OF THE CONSERVATORS, On the W. side of the square, contain- ing the Protomoteca, or collection of busts of illustrious Italians, the Gallery of Pictures, the Bronze Wolf, &c. Under the arcade, within the court, on the rt. hand is a colossal statue of Julius Caesar (2 a); on the 1. one of Au- gustus (2 b), with the rostrum of a galley on the pedestal, an allusion probably to the battle of Actium. In different parts of the court are several interesting fragments: a colossal marble head of Domitian ; the large marble cippus on which stood the cimerary urn of Agrippina (3 a), wife of Ger- manicus, discovered mear the Mauso- leum of Augustus, with the very inter- esting inscription—OSSA—AGRIPPINAE. M. AGRIP.P.E F—DIVI. AUG. NEPOTIS. WXORIS.–GERMANICI CESARIs.-MA- TRIS C CESARIS AUG — GERMANICI PRINCIPIs;–a cavity cut in it served as the standard measure for grain– Rubiatella di grano—in the middle 222 § 26. PALACES.–CAPITo L. Rome. PLAN OF THE PALACE OF THE CONSERVATORs—GROUND FLoor. F-T- º * RS e © E IQ © Eº () © ſ"::=::r---------r". C § i 6. t; g "; -3 $ # , : r : | : Z! 7.2 → 72 7~ * (9 QEG) © 3 & •- —ſ 2 -- 2 **º -- . r ... 6 3. - &; —" - 73° - - 7? 4. !--- | | | - i le © @ © 69 © (º) d Piazza del Campidoglio. 1. Entrance from Piazza. 2. Lower Corridor. 3. Great Court. C. Cippus of Agrippina. 4 a. Rome Triumphant. ages; the inscription to Agrippina is of the time of Caligula, when he caused the ashes of his mother to be removed to the imperial mausoleum, from the place where Tiberius had caused them to be buried ; –a fragment of a colossal column in red porphyry, found in the basilica of Comstantine. The feet and hand of 2 colossal statues, in marble, are interesting fragments; they are supposed to have belonged to the statue raised on the Capitoline by Tucullus to Apollo, and to a second effigy of the same god, 30 cubits high, fragments of which were found behind In the rooms the Basilica of Constantine. 5. Stairs leading to Upper Floor. 6 G, b, c, d. Bas-reliefs of M. Aurelius. 7. Rooms of Protomoteca. back part of the court are the statue of Rome Triumphant (4 a), and on its pedestal the keystone of an Arch of Trajan, with a bas-relief of a captured province, probably Dacia ; 2 captive kings, in grey marble; the group of the lion attacking a horse, found in the bed of the Almo, remarkable for its fine workmanship and for the restora- tions by Michel Angelo; a hand and head of a colossal bronze statue, sup- posed to be portions of that of Com- modus. The Protomoteca (7), a suite of 7 presented to the Arcadian Sect. I. 223 § 26. CAPITOL–PROTOMOTECA. Academy by Leo XII. They con- tain a series of busts of illustrious personages, including those which for- merly stood on the cormice of the Pantheon. Room I. (a) In this room are suspended the regulations of Pius VII., defining the privilege of ad- mission to this new Temple of Fame. The busts of emiment foreigners pre- served here, placed in the Pan- theon among the mative celebrities, on the ground that they had become entitled by their long residence at Rome to the honour of maturalised Italians, are those of Nicholas Pous- sin, Raphael Mengs, Winckelmann, Angelica Kauffmann, d'Agincourt, and Joseph Suvée, director of the French Academy. Room II. (b) contains busts of celebrated musical composers — Sacchimi, Zingarelli, Corelli, Palestrina, Pasiello, and Cimarosa, the latter sculp- tured by Canova, at the expense of Car- dinal Consalvi. Room III. (c), or the great gallery, has the busts of celebrated artists, orators, litterati, and scientific men — Marchi, Mantegna, Domatello, Giotto, Fra Angelico, Masaccio, Coreg- gio, Palladio, Perugimo, Raphael, Dante, Petrarca, Tasso, Columbus, B. Cellini, Titian, Michel Angelo, Aldus Manu- tius; and of Victoria Colomna, pre- sented by her collateral descendant, the present Princess Torlonia; and a good bust of Camova, by Baruzzi. In Room IV. (d) is the fine bust of Pius VII., by Canova, and, round the walls, of the great artists of Italy, from the 13th to the 16th century—L. da Vinci, Bramante, P. Veronese, Brumelleschi, N. da Pisa, Oreagma, L. Ghiberti, Fra Bartolommeo, L. Sigmorelli, A. del Sarto, G. Romano, Garofalo, D. Ghirlamdajo, Gio. d’Udine, Seb. del Piombo, Fred. Zucchero, M. A. Rai- mondi, Galileo, Muratori, and Tira- boschi. Room V. (e) Artists of the 16th, 17th, 18th, and 19th centuries— M. Benefial, A. Caracci, Domenichino, l?. da Cortona, Bracci the sculptor, Rapimi, Pickler the engraver of gems, Piramesi, &c. Room VI. (f) Mem of emi- memce in every department — Goldoni, Venuti the archaeologist, Giorgio Tris- sino, Alfieri, A. Caro (a bust presented by the late Duchess of Devonshire), JBeccaria, Verri the author of the Notti Romane, Morgagni the amatomist, Di Cesaris the poet, Bodoni the celebrated printer, and A. Saluzzo. Room VII. (g) This chamber contains a monument to Canova, erected by Leo XII., executed by Fabris, and the bust of Duke Emanuel Philibert of Savoy. By far the greater number of these busts were executed at the expense of Canova, others by the families of the persons represented, and a few by public-spirited benefactors. Be-entering the square court of the palace at the foot of the staircase, Mi- chel Angelo's restoration of the Duilian Column (o), with the fragment of the ancient inscription, will not fail to at- tract attention : the fragment of an in- scription on the pedestal is relative to the first naval victory over the Cartha- ginians, by Caius Duillius, A.U.C. 492. On the staircase are some interesting bas-reliefs: that of Curtius leaping into the gulf is curious, the gulf being here represented as a marsh : it is of a very rude style of art, and was found near where the event represented is supposed to have occurred, opposite the church of Sta. Maria Liberatrice. The long inscription on the opposite wall in Gothic characters is relative to the gift of the Caroccio, or Chariot, sent to Rome as a trophy by the Emperor Frederick II., by whom it was taken in 1237 from the Milanese, at the battle of Corte Nuova. The series of large bas-reliefs, on the walls of the first and second landing- places, represent events in the life of the Emperor Marcus Aurelius, and are mot only interesting as works of fine sculp- ture, but as showing several monuments of Rome as they existed during the reign of that sovereign. The four on the first landing-place represent (6a) Marcus Aurelius sacrificing in the Temple of Jupiter Capitolimus; (6b) his triumphal entry into Rome; (6c) his granting peace to the Germans; and (6d) the Emperor presented with globe of power by Rome: these four fine reliefs had 224 Rome. § 26. PALACES.–CAPITOL. long been preserved in the church of Santa Martina in the Forum ; the other two, at the head of the stairs, represent- ing an harangue by Marcus Aurelius (3.a), and the Apotheosis of Faustina (3b), were taken from the arch dedi- cated to that emperor and to Lucius Verus, which formerly existed in the Corso, near the Palazzo Fiano, and which was taken down in 1563 by Alexander VII. to widen that great thoroughfare of the modern city. Of the others which were on the same arch, one is in possession of Duke Tor- lonia. PLAN OF THE PALACE OF THE CONSERVATORS —UPPER FLOOR. 2. Stairs. 3. Upper Corridor. - 4, 5. Rooms leading to Picture Gallery. 6. Landing-place, with Bas-reliefs of M. Au- relius. 7. Halls of the Conservators. 7 (t. Great Salone. 7 b. Hall of Capitani. Halls of the Conservatori, not open to the public, but access is easily ob- tained by a small fee to the custode. 1st Room (7a), painted in fresco by Cav. d'Arpino, with subjects taken from the history of the Roman kings: the —- 7 c. Hall of the Wolf. 7 d. Hall of the Fasti Consulares. 7 e. Hall of Audience. 7f. Hall of the Throne. 7 h. Chapel. 8. Passage to Picture Gallery. 9. Passage leading to Monte Caprino. finding of Romulus and Remus, the foundation of Rome, the rape of the Sabines, Numa Pompilius sacrificing with the vestals, battle between Tullus Hostilius and the army of Veii, battle of the Horatii and Curiatii, &c. The other objects of interest are the marble Sect. I. 225 § 26. CAPITOL–HALLS OF CONSERVATORs. statues of Leo X. (a very poor produc- tion by G. del Duca), of Urban VIII. by Bermini, and of Innocent X, in bronze, by Algardi; medallions of Christina of Sweden, and of Maria Casimira queen of Poland; and a re- presentation of a sturgeon of the size beyond which all caught in the Tiber belong to the Senatus Populusque Ro- l]] allllS. 2nd Room, Sala dei Capitani (70), painted by Laureti, with subjects from the history of republican Rome : Mu- tius Scaevola burning his rt, hand be- fore Porsenma, Brutus condemming his two sons to death, Horatius Cocles on the Sublician bridge, the battle of Lake Regillus. The statues in this room are of celebrated Roman generals in modern times: Marc Antonio Colomna, the conqueror of the Turks at Lepanto; Tommaso Rospigliosi; Francesco Aldo- brandini; Alessandro Farmese, duke of Parma, distinguished as a commander in Flanders; and Carlo Barberini, brother of Urban VIII. 3rd Room (7c), painted in fresco by Jaureti, wrongly attributed to Dani- ele da Polterra, with subjects taken from the wars with the Cimbri. This hall contains the celebrated Bronze Wolf of the Capitol, one of the most interest- ing relics of the early arts and history of Italy. “And thou, the thunder-stricken nurse of Rome I She-wolf! whose brazen-imaged dugs impart The milk of conquest yet within the dome Where, as a monument of antique art, Thou standest:—Mother of the mighty heart, Which the great founder suck'd from thy wild teat, Scorch'd by the Roman Jove's etherial dart, And thy limbs black with lightning—dost thou yet Guard thine immortal cubs, nor thy fond charge forget?”—Byron. It would be easy to fill a volume with a recital of the controversies to which this specimen of ancient art has given rise. Some authorities identify it with the wolf mentiomed by Diony- sius and Livy, others regard it as that alluded to by Cicero, while Winckel- mann and later antiquaries confound the two, and describe the wolf men- tioned by the historian as the same which was struck with lightning in the time of the great orator. The wolf of Dionysius was “an ancient work of brass,” standing, when he saw it, at the temple of Romulus under the Palatine. The wolf of Cicero is mentioned by him, both in the Catiline orations and in his poem on the Consulate, as a small gilt figure of Romulus sucking the teat of a wolf which was struck with light- ming, and which his hearers remembered to have seen in the Capitol:—“Tactus est ille etiam qui hamc urbem condidit Romulus, quem imauratum in Capitolio parvum atque lactantem, uberibus lu- pimis imhiamtem fuisse meministis.”— Catilin., iii. 8. It is generally admitted that the wolf of Cicero is not the ome mentioned by Dionysius; while the gilding, still traceable on that before us, and the fracture in the hind leg, which to credulous eyes appear to have been caused by lightning, have in- duced some writers to regard it as the one celebrated by Cicero in the passage above quoted. There is little doubt of its high antiquity : the workmanship is manifestly of an early period, at least the workmanship of the wolf; for the twins are moderm. The great diffi- culty which has arisen in the solution of the question is the discrepancy in the statements of the antiquaries respecting the precise spot on which it was dis- covered. It would lead us beyond our limits to follow the authorities on this subject ; but the reader will find the whole question ably examined in Sir John Hobhouse's note to the pas- sage of Childe Harold quoted above. In regard to the main fact, “it is,” he says, “a mere conjecture where the image was actually dug up ; and perhaps, on the whole, the marks of the gilding and of the lightming are a better argument in favour of its being the Ciceronian wolf than any that can be adduced for the contrary opinion. At any rate it is reasonably selected in the text of the poem as one of the most im- teresting relies of the ancient city, and L 3 226 £ome. § 26. PALACEs.—CAPITOL. is certainly the figure, if not the very animal, to which Virgil alludes in his beautiful verses:— ‘‘‘ GeminoS hilic ubera circum Ludere pendentes pueros, et lambere matrem Impavidos: illam tereti cervice refleXam Mulcere alternos, et corpora fingere linguā.’” Among the other objects in this cham- berthe following areworthy of motice:— The bronze statue of the youth extract- inga thorn from his foot, called the Shep- herd Martius; a bronze bust of Junius Brutus, a noble head; a bust of Michel Angelo, said to have been executed by himself; a small marble Diana Tri- formis; a bas-relief of a sarcophagus, representing the gate of Hades between genii, mot older probably than the 4th century; and an interesting bas-relief, representing a splendid edifice called the Temple of Solomon, with a team of oxen or buffaloes drawing a vehicle laden with architectural decorations. The picture of S. Francesca Romana on the wall is a good work by Romanelli; that of the Dead Christ opposite is Piazza. by Cosimo 4th Room (7d), containing the cele- brated Fasti Consulares, found near the three columns in the Roman Forum, supposed to belong to the Temple of Mi- merva Chalcidica. These inscriptions con- tain a list of all the consuls and public officers to the time of Augustus: they are much mutilated, and broken into numerous fragments; but they are still legible, and have been illustrated with great learning by Cav. Borghesi of Sam Marino : they give the manºes of the consuls from A.U.C. 272 to the reign of Augustus. The records preserved by these inscriptions, however, had not been uniformly kept ; after A.U.C. 600 (B.C. 143) they become imperfect, several magistrates after that time are alto- gether omitted, only one of the 10 tribunes being mentioned. These in- teresting marbles, attributed by some to Werrius Flaccus, were discovered in the reign of Paul III. hear the by Romanelli. Temple of Castor and Pollux, when they were arranged by Bottari, Michel Angelo having designed the architec- | tural decorations by which they are surrounded : some portions more re- cently found were added by Fea in 1820. The bust of Gabriele Fraerno in this room is one of the few executed by Michel Angelo. 5th Room (7e) (Hall of Audience), containing a bust in rosso antico, sup- posed to be Appius Claudius, a bust of Tiberius, 2 bronze ducks found among the ruins in the gardens of Sallust, a Small head of Isis in bronze, a head of Medusa by Bernini, and a Holy Family, after Raphael, attributed to Giulio Romano. There are several ancient busts in this room—Alcibiades, So- Crates, Diogenes, and Sappho. 6th, the Throne Room (7f.), is orna- mented with a frieze in fresco by Daniele da Tolterra, until recently attri- buted to A. Caracci, representing events in the life of Alexander the Great, in 8 compartments. The walls are hung with tapestry, made in the hospi- tal of San Michele from the designs of Rubens and Poussin. The busts in the four corners of this room have had the names of Ariadne, Poppaea, wife of Nero, &c., given to them. 7th Room (79), painted in fresco with subjects taken from the history of the Pumic wars, by Daniele da Tolterra: they were at one time attributed to Perugino and his scholars. The mames of Cicero and Virgil, given to two Senatorial statues in this room, are unsupported by any authority. The sitting female statues have been named, on no better, Cybele, Ceres, Polhymnia, &c. &c. 8th Room (7%), a chapel containing on the 1. Wall a Madonna and Child throned, with adoring angels on either side, by Pinturicchio : the 4 Evan- gelists, by M. A. Caravaggio ; the Almighty, on the roof, by the School of the Caracci; Sta. Cecilia, S. Alexis, S. Eustachius, and B. Luigia Albertoni, The altar-picture, the Madonna and Child with St. Peter and St. Paul, is by Avanzino Nucci. On the walls of the two rooms (4 and Sect. I. 227 § 26. CAPITOL–PICTURES. 5) leading to the Picture Gallery are placed the modern Fasti Consulares Capitolini, a series of inscriptions of the names of the Roman Conserva- tors, from the middle of the 16th centy. to the present time; a pedestal (4a), on which probably stood a statue of Ha- driam, with a dedicatory inscription by the Magistri Wicorum of the 14 Regi- ones of Rome, with the names of the streets of 5 of these quarters; and 4 standard measures of wine and oil in the 14th centy. GALLERY OF PICTURES. Although, as regards actual numbers, much more extensive than the Pima- cotheca of the Vatican (there are about 230 pictures in all), the Capitoline gallery is greatly inferior as regards the value of its contents. It has few works, indeed, of first-rate merit, the greater number being of a second and third rate class. It was founded by Benedict XIV. in the last century, and is open on the same days, and under the same regulations as to copying, &c., as the Museum. No printed catalogue being yet published, we annex a de- tailed list of all the paintings worthy of motice. I’īyst Room.–6, F. Romanelli, Santa Cecilia. 7, Pietro da Cortona, The Triumph of Bacchus. 9, .4lbani, A Magdalene. 2, Guido, The Blessed Spirit rising to Paradise. 10, L. Gior- dano, Worshipping the Golden Calf. 13, Guercino, St. John the Baptist. 14, N. Poussin, The Triumph of Flora, a repetition of the same subject in the Louvre. 16, Guido, The Magdalene. 18, D. da Tolterra, St. John the Bap- tist. 20, Domenichino, The Cumaean Sibyl, an inferior repetition of the same subject in the Borghese gallery. 21, P. Romanelli, David with the head of 3oliah. 23, Mazzolino da Ferrara, The Marriage of the Madonna. 25, Ag. Caracci, Sketch of his large picture of the Communion of St. Jerome in the Gallery at Bologna. 26, Tintoretto, The Magdalene, bearing the painter's signa- ture. 27, Fra Bartolommeo, The Pre- sentation in the Temple. 28, An. Ca- racci, A copy of Correggio's picture of St. Catherine in the Gallery at Naples. 30, Albani, A Holy Family. 31, Maria Sublegras, A copy in miniature of the Magdalene before Christ, painted by her husband. 32, 33, An. Caracci, Two Madonnas. 34, Guercino, The Sibilla Persica. 36, F. Mola, Hagar and Ishmael. 29, Dosso Dossi, Christ dis- puting with the Doctors. 40, Pietro da Cortona, Portrait of Urban VIII. 41, Poussin, Orpheus. 42, Palma Tec- chio, The good Samaritam. 44, Gau- denzio Ferrari (?), Madonna and Child. 46, Giacomo Bassano, The Adoration of the Magi. 47, Pietro da Cortona, The Rape of the Sabines. 4S, Lud. Caracci, St. Francis. 49, Domenichino, S. Sebastian. 52, Sandro Botticelli, A. Virgin, with SS. Martin and Nicholas. 55, Ag. Caracci, A Holy Family. 54, 56, Garofalo, Sta. Catherime and a Holy Family. 58, Pietro da Cortona, Iphi- genia. 61, Guido, His own Portrait. 61, Lud. Caracci, The Baptism of Our Saviour. 62, Scarsellino, The Adora- tion of the Magi. 65, 67, Garofalo, A Madonna im Glory, and Sta. Lucia. 69, 74, Giorgione, Portraits. 76, Pol. di Caravaggio, Meleager, in chiaro- scuro. 78, Francia, Madonna and Saints. 79, 87, Gio. Bellini, S. Sebas- tian, and the portrait of a Bishop. 80, Pelasquez, His own portrait; 89, Romulus and Remus. 91, Guido, A. Sketch of the Holy Spirit ascending to Paradise. Second Room.–94, G. Bassano, The Forge of Vulcan. 97 and 99, Guido, Cleopatra, and Lucretia. 198, Ilſan- tegna, A Holy Family. 101, Fil. Lippi, Christ disputing with the Doctors. 103, Domenichino, Sta. Barbara. 104, Maz- zolino da Ferrara, The Infant Saviour 100, 106, Tandyke, Portraits of persons unknown. 108, Tintoretto, The Bap- tism of Our Saviour. 109, Guercino, St. Johm the Baptist. 114, Tintoretto, 228 Rome. § 26. MUSEUM OF THE CAPITor. The Flagellation. 117, Guercino, Au- gustus and Cleopatra. 115, 118, Bas. sano, Christ driving the Dealers from the Temple, and our Saviour crowned by God the Father. 119, 122, 125, Lud. Caracci, St. Sebastian, a Holy Family, and St. Francis. 124, Titian, The Baptism of Christ, with the painter's portrait in profile. 126, Guercino, St. Matthew. 127, Perugimo, A Madonna and Child. 128, M. Caravaggio, A for- tune-teller. 131, Guido, Christ and St. John. 132, 136, &io. Bellini, Portraits, the first supposed to be his own. 133 and 135, An. Caracci, Madonnas with St. Francis ; 134, Portrait of Michel Angelo, formerly attributed to himself. 137, Domenichino, Hercules, with a Tandscape. 139, Gio. Bellini, St. Ber- mard, 142, Albani, The Nativity of the Virgin. 143, GUERCINO, Santa Petro- milla, considered as one of the finest productions of the master, and certainly the chef-d'oeuvre of the Gallery of the Capitol. The lower part of this large composition represents the grave of the martyr, where her body is shown to Flaccus, a Roman Semator, to whom she had been betrothed : in the upper part the Saint is ascending to heavem. This picture formerly stood in St. Peter's, where it has been replaced by a copy in mosaic, perhaps one of the most successful facsimiles in that branch of copying. 145, 146, Cola dell'Amatrice, (a rare master at Rome), The Assump- tion, and the Death of the Virgin. 147, Andrea Sacchi, A Holy Family. 148, 149, P. Peronese, Peace and Hope. 154, Id., The Magdalene. 123, Gau- denzio Ferrari, The Woman taken in Adultery. 150, Giulio Romano, The Formarina. 151, Scarsellino, The Flight into Egypt. 153, Cav. Arpino, Diama. 157, Giulio I?omano, Judith. 159, 162, Teodone, Two peasants. 161, 164, 166, Garofalo, The Annunciation, and the Madonna and Child in Glory. 163, Gaudenzio Ferrari, Christ in the cradle. 169, Carlo Cignani, A Madonna and Child. 170, Claude, A doubtful land- scape. 175, 177, 178, Guido, Small pictures attributed to. 176, Tinforetto, The Crowning with Thorns. 180, Ti- fian(?), The Woman taken in Adul- tery. 188, Guido, Europa. 189, Sear- sellino, The Conversion of St. Paul. 190, Pietro da Cortona, The Defeat of Darius at Arbela. 193, Ltd. Caracci, Santa Cecilia. 193, P. Peronese, The Ascension. 196, Giorgione, A Holy Family. 200 and 204, Garofalo, A Madonna with certain Doctors of the Church, and the Adoration of the Magi. 203, 206, Polemburg, Landscapes. 208 to 217, G. Tanvitelli, Views of the Ponte Sisto, of Monte Cavallo, of the Ponte Rotto, of the Castel Sant'Angelo, and other monuments at Rome. 218, I'. Mola, David and Natham, 222, Bassano, Christ in the house of Simon the Pharisee. 223 and 224, P. Te- ranese, SS. Mary and Anna with Angels. The Rape of Europa, a repetition of the picture in the Ducal Palace at Venice. 228, Luca Cambiasi, A Virgin and Child. The pictures formerly in the Secret Cabinet at the Capitol have been trans- ferred to the gallery of the Academy of St. Luke's ; and will be found noticed at p. 273. MUSEUM OF THE CAPITOL. The building on the E. side of the piazza, opposite to the palace of the Conservators, contains the Museo Capi- tolino, or Gallery of Sculpture. It was begun by Clement XII., and aug- mented by Benedict XIV., Clement NIII., Pius VI., Pius VII., and Leo XII. It is a most interesting col- lection, although much less extensive than that of the Vatican. The old cata- logue, no longer sold, is very imperfect: s new one is in preparation. At the bottom of the Court (6) is the colossal recumbent statue of the Ocean, known by the popular mame of Manſforio, de- rived from its having stood in the Fo- rum of Mars (Martis Forum) near the Capitol, and celebrated as having had pasted on it the replies to the satirical witticisms of Pasquin. The 2 sarco- phagi on either side (a, b) were found in the catacombs of S. Sebastian. Con- Sect. I. § 26. MUSEUM of THE CAPITOL. 229 MUSEUM OF THE CAPITOL–GROUND FLOOR. O O Zagºg act canyºlogº & O O y 7 [] L– H-H-H O [T] 3 ſ 3. O C | d | A. | Q H H O [T-l !-- J -e- —=- 3 * Q | | O FE - ź b d E - | /ºlf T\L6-L/Ts. |→ º 1. Portico, on Piazza. 2. Entrance from ditto 3. Lower Corridor. sular fasces in bas-relief. In the Lower Corridor (3) on each side of the en- trance are the following objects:–1. Endymion and his dog. 3. Colossal statue of Minerva. 4. Fragment of a statue of Hercules with the Hydra. 5. Apollo. 6. A Sarcophagus, with good Bacchamalian reliefs. 9. A Roman pro- vince. 10. Colossal head of Cybele, found at Hadriam's villa. 21. Colossal statue of Diana. 23. Polyphemus. 24. Mercury. 26. Hadrian in sacrificial robes, found near S. Stefano Rotondo. 29. Colossal statue of a warrior, called Pyrrhus or Mars, found on the Aven- time; the armour is elaborately sculp- sured. 30. Hercules slaying the Hydra. Near this is a portion of a colossal statue in red porphyry. There are several beautiful fragments of the bases and capitals of the columns from the Temple of Concord in this vestibule, which will interest the architect, from the elaborate manner in which they are executed; and the pedestals found mear the Pyramid of Caius Cæstius (see p. 65), with inscriptions relative to its erection, with the names of his executors, Messalla Corvinus, S. Ruti- lius Rufus, and Junius Silamus, names well known in history, and of M. 4. Hall of the Bronzes. 5. Halls of the Urns. 6. Hemicycle and Statue of Marforio. Agrippa. At the extremity of the cor- ridor, on the 1., is the IIall of the Bronzes (4).-Here are preserved most of the bronzes belong- ing to the Capitolime collection. In the centre is the bronze horse disco- vered in the Trastevere in 1849, with fragments of a bull from the same lo- cality; the foot of a male figure with an elaborately ornamented sandal ; another foot of a colossal statue found on a pedestal before the pyramid of Caius Caestius, and supposed to have belonged to a statue of that personage; the statue of a boy, called one of the young Camilli, or youthful priests, insti- tuted by Romulus; a fine bronze vase found in the sea at Porto d’Amzio—the Greek inscription on it states that it was presented by Mithridates King of Pontus to a Gymnasium of the Eupa- torists. Of the two large globes, one stood formerly upon the Milliarum be- fore the Capitol, and is said to have been that held by the colossal statue of Trajan on the summit of his column (p. 51), and, by a simgular error, to have contained the ashes of that em- peror; the origin of the second globe is unknown. A small group of the 230 JRome. § 26. MUSEUM OF THE CAPITOL. Diama Triformis. On the wall is a tablet having engraved on it an inscrip- tion in honour of Septimius Severus and his sons, with portraits of the em- peror and Caracalla ; the name of Geta has been effaced on it, as we have Seen on their arches. A Diana Multi- mammaea, the head and hands in bronze. Besides several smaller bronze objects. Halls of the Urns (5, 5’, 5").-At the opposite extremity of the ground floor corridor are 3 rooms, containing a series of Imperial and Consular inscriptions, arranged on the walls, down to the reign of Theodosius, and some interest- ing specimens of ancient sculpture. In the first room (5), a square altar of Pentelic marble (c), found at Albano, with bas-reliefs of the Labours of Hercules, in the best Greek style, is particularly worthy of motice; upon it stands a good portrait bust, attached to a mediæval torso of oriental alabaster. In the 2nd room (5'), called the Hall of the Sarcophagus, is a sarcophagus (d) discovered some years since near the second mile on the Via Appia ; the bas-reliefs in front represent a battle between the Gauls and Ro- mams, in which the former are seen with cords round their mecks, as on the statue of the Dying Gladiator. The Gaulish king killing himself is supposed to be Ancorestus, defeated in A.U.C. 417 by the Consul Atilius Regu- lus. In this same room is a sepulchral cippus (No. 13) of T. Statilius Aper, measurer of the public buildings, with reliefs in which the trowel, the com- passes, the plummet, a measure of length, and various instruments of his profession, are introduced. The latter shows that the ancient Roman foot, divided into 16 parts, was not quite 12 English inches (11:59). A Mil- Ziarium, marked VII., of the time of IMaxentius, the spelling much altered. The walls of this room are covered with an interesting series of inscriptions, ex- tending from the reign of Nero to those of Honorius and Valentinian. In the 3rd room (5") the most remarkable object is the fine sarcophagus (e), cele- brated for its bas-relief represent- ing the history of Achilles; the sub- ject in front is the discovery of the hero amidst the daughters of Lyco- medes. On one of the sides is the de- parture of Achilles from Scyros; and on another his resolution to avenge the death of Patroclus. At the back, but very roughly finished, is Priam interceding for the body of Hector. This interesting urn was found in the tumulus called the Monte del Gramo, 3 m. from the modern Porta Mag- giore, on the road to Frascati. The Portland Vase, now in the British Mu- seum, was found inside of it. The 2 figures on the lid of the sarco- phagus have been supposed to be Alexander Severus and Mammaea his mother, but without any kind of autho- rity. A sitting statue of Pluto with Cerberus, found in the Baths of Titus. Several early Christian inscriptions from mear the ch. of Santa Costanza are let into the walls of this room. A good Roman mosaic of a lion sur- rounded by Cupids, with a male figure standing by and spinning, the whole subject allegorical probably to Hercules conquered by Love. The circular bas- relief, called the Shield of Achilles, from representing events in the life of that hero, formed a part of one of the Ain- bones in the ch. of the Ara Coeli, which explaims the cause of the mediaeval mo- saic in the centre. Staircase (7).-On the walls of the staircase leading to the upper halls of the Museum are the fragments of the celebrated Pianta Capitolina, the ground-plan of ancient Rome en- graved on marble, found beneath the ch, of SS. Cosma and Damiano, on the site of the Temple of Romulus and |Bemus (see p. 39), near the Roman Forum : its date cannot be earlier than the time of Septimius Severus or Cara- calla, having marked upon it edifices erected by these emperors. These frag- ments, in 26 compartments, are invalu- able to the Roman topographer, and have more than once enabled him to throw light on disputed questions con- Sect. I. 231 § 26. MUSEUM OF THE CAPITOL. nected with the position of several Octavia, with the Temples of Jupiter monuments. One of the most perfect fragments contains a large portion of the ground-plan of the Theatre of Pompey; another of the Portico of and Juno within that enclosure; a third of the Basilica Ulpia; and a fourth of the Theatre of Marcellus, with the names annexed. MUSEUM OF THE CAPITOL–UPPER FLOOR. F--T- | -R o " Cº. —T-—T-- <-- a -i- + , -ī- tº h9 E if : 3 & 4 3 E* O 9 ° /O // /3 /? ––– — 4 — O - —!- — /5 Pºº-º-º: 7. Stairs, Pianta Capitolina. 8. Upper Corridor. 9. Hall of Dying Gladiator. 10. Hall of the Faun. 11. Saloon. The Gallery (8).-At the top of the staircase are 2 finely-preserved busts (1 and 3) of Marcus Aurelius and Septimius Severus. The walls of the gallery are covered with the in- scriptions found in the Columbaria on the Appian Way; many of which are ery curious as conveying the mames of persons attached to the imperial household, and especially the desigma- tion of their occupations, &c. Among the busts and statues are the following: –2. Bust of Faustina, wife of Anto- mimus Pius. 5. Silemus. 10. A curious sepulchral relief: the deceased ap- pears to be in the act of making his will. 12. Satyr playing on a flute. 13. An antique repetition of the Cupid of Praxiteles, of which we have already moticed others in the Museum of the Vaticam. 16. Statue of Trajamus De- 12. Hall of Illustrious Men. 13. Hall of the Emperors. 14. Reserved Cabinet. 15. Hall of the Doves. cius. 17. Cecrops. 19. Agrippina and Nero. 20. Am old Bacchante. 21. Mar- cus Aurelius. 23. A laughing Bac- chus. 27. Paris, 28. Sarcophagus, with bas-reliefs of the Rape of Proser- pime. 29. An octagonal cinerary urn, with 7 finely-sculptured Cupids, in re- lief, 33. A Satyr playing on the flute. 36. A Discobolus, badly restored, as a wounded warrior. 37. A wine-vase, with satyrs and bacchantes in low re- lief. , 38. Colossal bust of Juno, very grand, beautiful, and feminime, and finely preserved. 40. A statue like the children of Niobe. 42. The Della Valle bust of Jupiter, so called from the family to whom it belonged. 44. Diama Luci- fera. 48. Sarcophagus, with bas-reliefs of the birth and education of Bacchus. 53. Psyche with the wings of a butterfly. 54. Bust of Antimous. 55. Venus. 56. 232 § 26. Rome. MUSEUM OF THE CAPITOL. A female sitting; the drapery, though coarsely executed, has comsiderable grandeur of style. 57. Hermes of Jupiter Ammon. 59. Ceres. 62. Bust of Tiberius. 63. Bacchus, with the panther. 64. Fine statue of Jupiter, with the eagle. On the altar under- meath is a bas-relief of the history of the vestal Quinctia. 65. Jupiter Serapis. 67. Bust of Hadriam, in alabaster. 70. Bust of Commodus, young, with a graceful bas-relief on the pedestal, of a female giving birds to children. 71. Minerva, found at Welletri. 73. Silenus. 74. Domitius AEmobarbus, father of Nero, 75. Caracalla. 76. The fine marble vase which formerly gave the name of “Hall of the Wase ’’ to the next room, in which it stood. It was found near the tomb of Caecilia Metella. It stands on a circular pedestal, with bas-reliefs of 12 divinities, found at Net- tuno, considered by some as a speci- men of Etruscan art, and by others as an example of the early Greek style. It was evidently the puteal (mouth) of am ancient cisterm, the marks of the cords used in drawing the water being still visible; the divinities are arranged in the following order:–1. Jupiter; 2. Jumo ; 3. Minerva; 4. Hercules; 5. Apollo; 6. Diana; 7. Mars ; 8. Venus ; 9. Vesta; 10. Mer- cury; 11. Neptune; 12. Vulcan. Hall of the Dying Gladiator (9).— Mearly all the sculptures in this hall are of the highest order as works of art, the greater part of which, having been carried to Paris, were brought back here in 1816. The first is the celebrated figure from which it de- rives its name : —— 1. THE DYING GLADIATOR (a). There is little doubt that this wonderful figure is a Gaul, probably a Gaulish herald, and it is generally supposed by the most emi- ment modern sculptors that it formed one of a series of figures illustrat- ing the incursion of the Gauls into Greece. The cord round the neck is seen as one of the distinctive characters of the Gauls in the bas-relief on the sarcophagus found on the Via Appia, and moticed at p. 230, and the horm has been considered conclusive as to the office of the herald, Montfaucon and Maffei supposed that it is the statue by Ctesilaus, the contemporary of Phidias, which Pliny describes as “a wounded man dying, who perfectly ex- |pressed how much life was remain- ing in him.” But that masterpiece was of bronze, and, if the present statue be considered to agree with Pliny’s description, it can only be re- garded as a copy. The rt. arm and the toes of both feet have been ad- mirably restored. “I see before me the gladiator lie : He leans upon his hand—his manly brow Consents to death, but conquers agony, And his droop'd head sinks gradually low— And through his side the last drops, elbing Slow From the red gash, fall heavy, one by one, Ilike the first of a thunder-shower ; and now The arena swims around him—he is gone, Ere ceased the inhuman shout which hail'd the Wretch who won. He heard it, but he heeded not—his eyes Were with his heart, and that was far away; He reck'd not of the life he lost nor prize, But where his rude hut by the Danube lay, There were his young barbarians all at play, There was their Dacian mother—he, their sire, Butcher'd to make a Roman holiday. All this rush’d with his blood—shall he ex- pire, And unavenged? Arise, ye Goths, and glut your ire l’” Childe Harold, One of the most accurate critics, John Bell, describes the amatomy of the Dying Gladiator as perfect in every respect. “It is,” he says, “a most tragical and touching representation, and no one can meditate upon it with- out the most melancholy feelings. Of all proofs this is the surest of the effect produced by art. Although not colossal, the proportions are beyond iife, perhaps 7 feet; and yet from its symmetry it does not appear larger than life. The forms are full, round, and manly; the visage mournful; the lip yielding to the effect of pain; the eye deepened by despair; the skin of the forehead a little wrinkled ; the hair clotted in thick sharp-pointedlocks, as if from the sweat of fight and exhausted strength ; the body large; the shoulders square; the Sect. I. 233 § 26. MUSEUM OF THE CAPITOL. balance well preserved by the hand on which he rests; the limbs finely rounded; the joints alone are slender and fine. No affectation of amatomy here; not a muscle to be distinguished, yet the general forms perfect as if they were expressed. The only amatomical feature discernible is that of full and turgid veins, yet not ostentatiously ob- truded, but seen slightly along the front of the arms and ankles, giving, like the clotted hair, proof of violent exertion. The singular art of the sculptor is par- ticularly to be discerned in the extended leg : by a less skilful hand the posture might have appeared constrained ; but here, true to nature, the limbs are seen gently yielding, bending from languor, the knee sinking from weakness, and the thigh and ankle-joint pushed out to support it. The forms of the Dying Gladiator are not ideal or exquisite, like the Apollo; it is all mature, all feeling.” It was found among the ruins in the gardens of Sallust, and was for some time in the gallery at the Villa Ludovisi; it was purchased by Clement XII. 2. Apollo with a lyre, or the Lycian Apollo, found at the Sol- fatara, on the road to Tivoli. 3. A Roman Matron, as Priestess, with a consecrated vessel in her hand. 4. Bust of Bacchus. 5. The AMAzoN, one of the grandest figures of its class—much finer than the repetition in the Vaticam. 6. Bust of Alexander the Great. 7. Colossal statue of Jumo or Ceres, known as the Juno of the Capitol. 9. Bust of Jumius Brutus. 10. Isis, called also Electra or Pandora. 11. Flora, finely draped, found in Hadrian’s villa. 13. The ANTINOUS of the Capitol, found also in Hadrian's villa. This exquisite sta- tue has commanded the admiration of all critics by its exceeding beauty, “In the Antimous,” says John Beli, “the amatomist would look in vain to detect even the slightest mistake or miscom- ception; yet such is the simplicity of the whole composition, so fine and un- dulating the forms, that a trifling error would appear as a gross fault. Every part is equally perfect: the bend of the head and decliming of the neck most graceful; the shoulders manly and large without clumsiness; the belly long and flat, yet not disfigured by leanness; the swell of the broad chest under the arm admirable; the limbs finely tapered; the ease and play of the disengaged leg wonderful, having a serpentine curve arising from an accurate observance of the gentle bending of the knee, the half turning of the ankle, and the elastic yielding natural to the relaxed state in that position from the many joints of those parts.” The statue contains on the rt. leg a red stain; and a smaller one on the breast, produced by iron. 15. A repetition of the FAUN of PRAXI- TELES. We have already noticed others in the Vatican ; this is the most beau- tiful of all, and in Carrara marble; it was found in the Villa d’Este at Tivoli. 16. A girl playing with a dove, terrified by the approach of a snake. 17. A good statue of Zeno, found at Civita Lavinia, in the ruins of a villa of Antomimus Pius. A large column of the finest variety of white Orientalalabaster: it was found at the Marmorata, or quay, on the Tiber, at the foot of the Aventime, where the marbles were landed. Hall of the Faun (10).-On the wall is the celebrated Table of Bronze, im- scribed with part of the Lex Regia, or the Decree of the Senate conferring the imperial power on Vespasian—the very table on which Cola di Rienzo ex- pounded to his followers the power and rights of the Roman people. It was found near St. John Lateran. The reliefs on the walls occur in the follow- ing order: —A. Four cars drawn by elephants, leopards, deer, and sheep, led by Cupids, with the attributes of Apollo, Bacchus, and Mercury. B. Vulcan as an armourer. C. Front of a Christian sarcophagus, representing Cupids employed in the operations of the vintage. 1. The celebrated Faun (c) in rosso antico, found in Hadrian’s villa, valuable mot only for the rare material but for its fine sculpture : it stands on an altar dedicated to Serapis, 3. Colossal head of Hercules, on an altar dedicated to Neptune. 6. A fine 234 Ičome. § 26. MUSEUM OF THE CAPITOL. colossal head of Bacchus, also on a rostral altar. 7. This altar, dedicated to Neptune, and the 2 preceding to Tranquilitas and the Winds, were found in clearing the harbour of Porto d’Anzio, and are supposed to have been votive offerings from sailors. 13. Sar- cophagus, with bas-reliefs representing the story of Diana and Endymion. 15. The boy with a comic mask, full of mature, and very fine as a work of art. 20. Isis, restored with a head of Juno. 21. A repetition of the boy and goose in the gallery of the Vatican, but in- ferior in execution; the altar beneath it is dedicated to the Sun. 26. Sar- cophagus (b), with bas-reliefs of the battle of Theseus and the Amazons, among which is a group of extraor- dinary beauty, representing a soldier dragging an Amazon from her horse, while another seizes his hand and inter- cedes for her companion. It is men- tioned by Flaxman in his lectures as one of the finest specimens of bas- relief; on the lid is another fine group of mourning Amazons. This fine Sarco- phagus was found near Torre Saloma, on the Via Collatina. Upon the walls are numerous Roman inscriptions, with an interesting series of the Sigma Tegu- Varia, or marks of the Roman brick- makers. The Saloon (11).--The 2 fluted co- lumns of porta Santa marble, which are such conspicuous ornaments of the niche in this saloom, were found near the tomb of Caecilia Metella. The 2 Victories which support the arms of Clement XII. are said to have belonged to the Arch of Marcus Aurelius in the Corso. In the middle of the hall are —1. Jupiter (f), in black marble, on a circular altar found at Porto d’Anzio. 2 and 4. The 2 beautiful centaurs in Callimachus, found at Orte. bigio-morato (gg), amongst the fine works of ancient sculpture in Rome, were found in Hadrian's villa. On the base are the names of the sculptors, Aristeas and Paphias of Aphrodisium. A colossal statue of the infant Her- cules, in green basalt (d), found on the (e), on a circular altar, with reliefs rela- tive to Jupiter, both found at Porto d’ Anzio. 6. Roman matron (Julia Pia P). 7. Lucius Antonius. 8. Apollo with a lyre. 9. Statue of Marcus Au- relius. 10 and 25. Amazons wounded. 11. Statues as Mars and Venus, found On the Isola Sacra at the mouth of the Tiber. 12. Isis with a lotus on the head. 15. The Pythiam Apollo. 3, 16. 2 statues of Minerva Bellica. 17. Co- lossal bust of Trajan with a civic crown. 18. A maked statue with the head of Augustus. 19. Female statue with the head of Lucilla. 21. Naked statue of Hadrian, as Mars, found mear Ceprano. 22. A Roman in his toga, called Marius, from which Chantrey copied his statue of Camming in Palace Yard. 24. Hercules (h), in bronze gilt, found in the Fo- rum Boarium; one of the few statues in which the gilding is preserved. The altar undermeath has in front a bas- relief of a recumbent figure of Fortune. 27. A gladiator. 28. A Praefica or hired mourner at funerals. 31. Co- lossal bust of Antoninus Pius. 33. A hunter with a hare, found near the Porta Latima. 34. Harpocrates, with bis finger on his mouth, found in Hadriam’s villa in 1744. IIall of Illustrious Men (12).--The bas-reliefs on the walls are the follow- ing:—A. Frieze, consisting of 5 pieces, probably from a temple of Neptune, representing sacrificial instruments, prows of ships, and other naval em- blems. B. Death of Meleager, the front of a sarcophagus. E. Calliope instruct- ing Orpheus. F. An interment. G. Conveying a dead body to the funeral pile. I. A victory. L. A sacrifice to Hygeia, in rosso-antico. M. A bacchic scene, with the name of the sculptor, In the centre of the hall is a fine sitting statue (?), supposed to be of Marcus Claudius Marcellus, one of the greatest generals of antiquity, the conqueror of Viridomar, B.C. 222. Round the room, on 2 ranges of shelves, are placed 93 busts of philosophers, poets, and his- Aventime. 5. AEsculapius, in nero antico torians:–1. Virgil, very doubtful; by Sect. I. 235 § 26. MUSEUM OF THE CAPITOL. some called Alexander the Great, 4, 5, 6. Socrates. 7. Alcibiades. 8. Carmeades. 10. Seneca. 11. Aspasia (?). 13. Lycias. 16. Marcus Agrippa, a very interesting bust. 17. Hieron. 19. Theophrastus, colossal. 20. Marcus Aurelius. 21. Diogenes. 22. Plato. 23. Thales. 24. Asclepiades. 25. Theon. 27. Pytha- goras. 28. Bust, called Alexander the Great, found at Pipermo in 1839. 30. Aristophanes (?). 31, 32. De- mosthenes. 33. Pindar. 34. Sopho- cles. 37. Hippocrates. 38. Aratus. 39, 40. Democritus. 41, 42, 43. Euri- pides. 44, 45, 46. Homer. 48. Cor- bulo. 49. Bust of Scipio Africanus, with the wound on the left side of his head carefully worked out. 51. Pompey. 52. Cato the Censor. 53. Aristotle. 54. Sappho. 55. Cleopatra. 57. Lysias. 59. Herodotus (?), according to others Arminius. 60. Thucydides. 62, 94. Bpicurus. 63. Double Hermes of Epicurus and Metrodorus. 68, 69. Masinissa. 70. Antisthenes. 72, 73. The Emperor Julian. 75. Cicero, sup- posed by some to be Asinius Pollio. 76. Terence, discovered on the Via La- tima. 82. AFschylus. There are several heads which bear the name of Plato, but they are more probably busts of the bearded Bacchus. Hall of the Emperors (13).-On the walls are interesting bas-reliefs, arranged in the following order:—A. Triumphs of Bacchus, and children at the games of the Circus. B. Bacchus on a tiger, with fauns and satyrs. C. The Caly- donian boar-hunt, not antique. E. The Muses. F. A good bas-relief of Perseus delivering Andromeda. G. Socrates with Philosophy, and Hesiod with a Muse; the 2 latter reliefs are casts from a sarcophagus in Paris. H. A sleeping Endymion with his dog, found on the Aventime. I. A bas-relief de- dicated by a freed man of Marcus Aurelius to the Fountains and Nymphs: in front a river-god, with a group of 3 Nymphs, exactly similar to the celebrated group of the Graces in the Cathedral of Siena; and on the other side, Hylas carried off by the river-nymphs. In the middle of this hall is the celebrated sitting Statue (ſc) of Agrippina, the daughter of M. Agrippa, the wife of Germanicus and mother of Caligula, remarkable for the ease of the position and the arrange- ment of the drapery ; archaeologists are not, however, agreed on the per- somage whom it represents. Around the room are arranged 83 busts of the Roman emperors and empresses in chronological order, a collection of great value, presenting us the por- traits of some of the most remarkable personages in history. The follow- ing are the most interesting:–1. Julius Caesar. 2. Augustus. 3. The young Marcellus (?). 4, 5. Tiberius. 6. Dru- sus, his brother. 7. T)rusus, his son. 8. Antonia, the wife of the first Drusus, mother of Germanicus and Claudius. 9. Germanicus. 19. His wife, Agrippina, 11. Caligula, in green basalt. 12. Claudius. 13. Messalina, the fifth, and, 14. Agrippina, the sixth wife of Claudius. 15, 16. Nero. 17. Poppoea, his wife... 18. Galba. 19. Otho. 20. Vitellius. 21. Vespasian. 22. Titus. 23. Julia, his daughter. 24. Domitiam. 26. Nerva, supposed to be modern and by Algardi. 27. Trajam. 28. Plotina, wife of Trajan. 29. His sister Marciana. 30. His daugh- ter Matidia. 31, 32. Hadrian. 33. Julia Sabima, his wife. 34. HElius Caesar, his adopted som. 35. Antomimus Pius. 37. Ammius Verus. 38. Marcus Aurelius. 39. Faustina, his wife. 41. Lucius Verus. 42. His wife, Lucilla. 43. Commodus. 44. Crispina, his wife. 45. Pertimax. 46. Didius Julianus. 48. Pescennius Niger. 49. Clodius Albinus. 50,51. Septimius Severus. 52. His wife, Julia Pia, with a wig. 53. Caracalla. 54. Geta. 55. Macrinus. 56. Didumenianus. 57. Elagabalus. 58. Amma Faustima, his wife. 59. Julia Maesa. 60. Alexander Severus. 61. Julia Mammaea, his mother, 62. Maxi- minius. 63. Maximus. 64. Gordian the elder. 65. Gordian the younger. 66. Puppienus. 67. Balbinus. 68. Gordianus Pius, 70. Trajamus Decius. 71. Quintus Herennius. 72. Hostilianus. 73. Trebonianus. 74, 75. Volusianus. 236 Rome. § 26. PALACES.–LATERAN. 76. Gallienus. 77. Salomina, wife of Gallienus. 78. Salomimus, their som. 79. Carinus. 80. Diocletian. 81. Com- stantius Chlorus. 82. Julian. 83, Magnus Decentius, a specimen of the lowest degradation which sculpture had reached. The Reserved Cabinet (14), a small room on the rt. of the gallery, may be seen on any other than the public days by giving a paul to the custode. It con- tains the VENUS OF THE CAPITOL, one of the most noble of all the representa- tions of that goddess; is in Pentelic marble; and was found, it is said, in a walled-up chamber in the Suburra on the Viminal, and so entire that the only parts fractured were the point of the nose and one of the fingers. Leda and the Swan, of very inferior workman- ship ; and the Cupid and Psyche found on the Aventime, two graceful figures. The Hall of the Doves (15).-37. The Iliac Table, a bas-relief repre- senting the principal events in the history of the Iliad and the fall of Troy, by Stesichorus, with the deliver- amce of Æneas; engraved and illus- trated by Fabretti, who refers it to the time of Nero. 41. Triumph of Bacchus. 69. The fine sarcophagus of Gerontia, with bas-reliefs of the history of Diama and Endymion. Above it are 2 mosaic masks, found in the vineyard of the Jesuits on the Aventime. 77. 1)iama of Ephesus, or Multimammea. 100. A small sarcophagus, with interesting reliefs, representing the creation and destruc- tion of the soul according to the doc- trimes of the later Platonists, 101. The celebrated DOVEs of PLINY, one of the finest and most perfectly pre- served specimens of ancient mosaic. It represents 4 doves drinking, with a beautiful border surrounding the com- position, and is formed of natural stones, so small that 160 pieces are contained in a square inch. It is sup- posed to be the mosaic by Sosus, de- scribed by Pliny as a proof of the per- fection to which that art had reached in his day. He says there is at Pergamos a wonderful specimen of a dove drinking, and darkening the water with the shadow of her head; on the lip of the vessel others are pluming themselves. “Mirabilis ibi columba bibens, et aquam umbra capitis infus- cams. Apricantur aliae scabentes sese in cathari labro.” It was found in Villa Adriana in 1737 by Cardinal Furietti, from whom it was purchased by Clement XIII. In the recess of one of the windows is an interesting collec- tion of writing styles, discovered a few years ago in cleaning out the flight of steps leading from the Tabularium of the Capitol to the Forum (see p. 21); and on the shelves a large collection of busts, evidently portraits, several of which are finely executed; and upon the walls above several Pagan and early Christian inscriptions. The Tabularium of the Capitol has been recently fitted up to form a kind of Architectural Museum. It contains several fragments discovered in the excavations of the neighbouring Forum and Basilica Julia : two very fine specimens from the Temple of Ves- pasian and from that of Minerva Chal- cidica have been placed here, and re- stored so as to convey a correct idea of the entablature and friezes of these chefs-d'oeuvre of the Roman Corinthian style (see pp. 35, 41). THE LATERAN. The Lateran was the palace of the popes from the time of Constantime to the period of the return of the Holy See from Avignon (1377), when Gre- gory XI. transferred the papal residence to the Vatican. The ancient palace was destroyed by fire in the pontificate of Clement W., and was rebuilt by Sixtus V. from the designs of Fontana. It was converted into a public hospital by Innocent XII. in 1693 ; and in 1843 into a Museum by Gregory XVI., as the best means of preventing the build- ing from falling into a state of dilapi- dation, and of providing a suitable de- pository for the works of art for which Sect. I. 237 § 26. LATERAeS MUSEUM. room conld not be found at the Vatican and the Capitol; and for a museum of Christian antiquities. The Lateran Museum is not yet open to the public, but a paul to each of the custodes (there are 2) will procure ad- mission at any time. The museum consists of a series of rooms on the ground and the first floors: in the former are contained the marbles, in the latter some interesting pictures and mosaics. On entering the palace from the Biazza di San Giovanni we will com- mence our visit by the 4 rooms on the right hand, continuing afterwards through those on the left. As there is no catalogue, and as very few of the ob- jects are named, we shall endeavour to point out the most remarkable in each room, as they were in the spring of 1858, without being responsible for visitors finding them still in the same places: the Lateran Museum being the eceptacle for all recent discoveries and acquisitions, the arrangement of its contents is constantly varying. Room I., now chiefly occupied by the marbles formerly in the Appartamento or Gabinetto Borgia at the Vatican, and from which they were removed to make room for the library of Cardinal Mai purchased by Pius IX. There are several interesting bas-reliefs here, among which deserve to be noticed — a procession of lictors and sema- tors, found in the Forum of Trajan, with the figure of that Emperor; 2 boxers in high relief, only a frag- ment of a larger composition; portion of a sarcophagus, with Mars, Diana, Rhaea, and Endymion ; a representa- tion of a circus-race, an emperor giving the signal for the start ; Helen and Paris; the Tages from Falerii; a leave- taking between a soldier and his wife; and portions of frieze which belonged to the Basilica. Ulpia, representing ara- besques, with children, chimaeras, &c., beautifully worked out. Room II. The marbles here were also brought from the Appartamento Borgia, and consist chiefly of architectural frag- ments, many of great beauty. Room III. The Braschi Antinous, a colossal statue, found at Santa Maria della Villa, near Palestrina, on the site of one of Hadriam's villas; it is of Carrara marble, and 11 ft. in height : this statue belonged to Duke Braschi, from whom it was purchased for 12,000 scudi by Gregory XVI. Room IV. Several am- cient marbles, amongst which are a statue of Mars; a repetition of the Faum of Praxiteles; a good bust of the young Tiberius; a bas-relief of Medea and the daughters of Pelias; statues of Mars and of a maked Germanicus, and several sepulchral cippi and bas-reliefs, discovered during the recent excava- tions on the Via Appia. Crossing the gateway are, Room W., a stag, in grey marble ; a cow of the short-horned va- riety; a mutilated female figure seated on a lynx, the original idea, pro- bably, of Daneker's celebrated group of Ariadne on the panther; a good bust called Scipio; a cippus with a bas- relief of a cock-fight, the backers being Cupids, or Genii, one of whom is car- rying off the dead bird, in a weeping mood, whilst the victor is borne to an altar, round which laurel crowns are suspended : although of diminutive dimensions, there is much character in the different groups. Room VI. Statues of several members of the family of Germanicus, discovered at Cervetri, the ancient Caere, in 1839, where they decorated the theatre of the Roman Mumicipum, in the ruins of which they were found, consisting of full-length draped and erect figures of Drusus, Agrippina the wife of Ger- manicus, and Livia; 2 sitting statues of Tiberius and Claudius, crowned with wreaths of oak-leaves—the heads and torsos are very fine, the legs ard arms wanting ; 2 statues in armour of Ger- manicus and Britamnicus; a colossal bust of Augustus; a bas-relief sup- posed to have belonged to an altar, with figures, having inscriptions be- meath, of the inhabitants of the Etrus- can cities of Vetulonia, Vulci, and Tar- quinii, the 3 first letters of Tulcentami being alone wanting; 2 recumbent statues of Silenus; and several frag- 238 Mºome. § 26. LATERAN MUSEUMI. memts of dedicatory inscriptions: all the objects in this room were found at Cervetri. Room VII. Statue of Sophocles, found at Terracina: it is the finest specimen of sculpture in the Lateran Museum, and very simi- lar to that of AEschines (miscalled Aristides) in the Museo Borbonico at Naples. A Faum found with the Athlete of the Vatican in the Traste- vere; a good female draped figure; an Apollino from Caere. Room VIII. A statue of Neptume from Porto, the legs and arms restored; bas-relief, probably representing a mask-shop, although it has been called a poet immersed in study ; and several unimportant busts. Room IX. Several architectural frag- ments; the base of a handsome cam- delabrum from the Forum. Room X. Bas-reliefs of a sepulchral monument of the Aterii, discovered in 1848 at Cento Celle, on the Via Labicama ; amongst which are two fragments, one representing a tomb in low relief, in the form of a temple, with a crame alongside moved by a tread-wheel for raising stones, a curious specimen of the mechanical arts of the ameients; on the top of the crane is a bouquet of flowers and palm-branches; the other represents several monuments of Tome, amongst which am arch of Isis, and the better-known one of Titus, with the name, ARCU'S IN SACRA VI& SUMMA ; a draped statue called Cato; a fine male bust in high relief, with a serpent. Room XI. A pedestal with bas-relief representing instruments used in coining, from Roman Veii; bas-relief of Psyche and Cupid, and of a Nereid on a sea-monster. Room XII. 3 large sarcophagi, discovered at the Wigma Lozzano (see p. 72), with reliefs representing the slaughter of Niobe and her children; the history of Orestes and the Furies. Room XIIſ. Fragment of a bas-relief of the storming of Olympus by the Titans, and another of Pylades and Orestes in a good style of art. Room XIV. The most interesting ob- ject in this room is the unfinished statue of a captive barbariam, found near the Theatre of Pompey, still pre- serving the sculptor's points to guide the workman in preparing the marble for the artist’s chisel; 2 fine columns of unpolished Pavonazzetto marble, with the name of the emperor Hadrian cut on their bases, indicating their destina- tion,-they were discovered a few years ago at the Marmorata, the quay on the Tiber at the foot of the Aventime, where all the marble arriving at Rome was landed in ancient, as it continues to be in modern times. The First-floor consists also of a large suite of apartments, in which have been deposited sundry paintings and ancient mosaics, and the Christian Museum, the first in importance being the latter. The CHRISTIAN MUSEUM, founded by Pius IX., has been very judi- ciously arranged by Padre Marchi and Cav. de' Rossi. The entrance to it is from the It.-hand corner of the great quadrangle, or lower portico. Near the door stands a very large Christian candelabrum in marble, covered with curious sculptures: it was formerly be- side the High Altar in the Basilica of S. Paolo fuori le Mura : it dates from the 10th cent. Entering the Mu- seum by a corridor that leads to the great hall, now formed out of what was formerly the state passage leading from the palace to the basilica, the roof of which is covered with arabesques and other frescoes of the time of Sextus V., at the bottom of the stairs is one of the most remarkable sarcophagi in the col- lection, as it is also the largest. It was discovered some years ago under the floor, and near the Confessional of the Basilica of St. Paul's, in sinking the foundations to support the new taber- nacle and its gorgeous columns in Orien- talalabaster (p. 121). This sarcophagus, which is supposed to date from the last third of the 4th cent., when the basilica was re-erected by Theodosius, is remark- able for its sculptures. In the centre are two unfinished busts in relief of its occupants: the other bas-reliefs are also partly in an unfinished state, and ar- "I j99S *Wſhgis/n W. 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Ollou （) out, ſo Smolſ.Ind all U. Kup A.1043 Joout oA Toru A sout -Ottàoſs Aud Aa.IqoH or sItalouattio osotil jutosold OUAA puu ‘deo Jo ULIOj ostrºus tº Ito w OUA ‘SAAoſ out, Aq Mottos.ſtd. JJO polittºo louT.IOJ ou! “Inol AeS Imo but talaq ‘AS alu sºul puo Koq shooſqus QUIL ºbuolu out, UU LA).It UI tº quoso.Ido.I O) payolloq VIIe touoš AOU. SI ‘IoſueCI aq O) posoddus oolio ‘suoll z U20Aqaq oſqueo ot|] Itſ own3j pox{EU ou" ; puſ(q 9tſ] on qūārs 3U.IO)set Jo oſobutu au, sºul.[3];o Tſoul 5uſ]uoso.Id ‘s]oultoq Uteſ;&tud UI ‘sºupſ oatuſ) out, unIA ‘pUILO put ulfill A. où1 Juosa.Idot SjøItal Jo of uſed to AOI oul, AOIoq àu Taoux bulle WI (UIAA ‘sm.Iezerſ Jo UOIloa.I.Insol out, put soAgoſ otſ] Jo IIOI) goûdſ)|nuI ouſ, fouTA OpUI JoyºA oup Jo 5uiñuelſo out, opis lotſ)o ou! uo : Juod.IoS alſ] pub% Agſ ºutepWUIATA’sºtuſ) Jo dino.13 e soutoo qxoti touge I out! O! poleo.10 a.AGI out, Jo almăg otſ, 5uTuos -old Inoſ Ai:S at , ; AquT.II, alſº quosold -at ol posoddins ‘luo.1) up paſtIn tº pub putſoq (othoug (IATA ‘ūOI!otpouoq Jo Joe où uſ ‘paneos almăj oſeul e SI “I oug uo ‘ouo Maddn alſº uſ ; SAOI OA) up poſſue,t 240 Rome. § 26. LATERAN MUSEUM. Opening from near this, we enter the upper corridor of the Palace, on the walls of which are mow being placed most of the early Christian inscriptions dis- covered of late years, chiefly in the cata- combs. In the central compartments are facsimiles of several of those whitten by Pope Damasus, which we have seem im some of the basilicas, and which we shall find in certain subterranean ceme- teries. Out of ome corner of this corridor we enter a suite of rooms formed by closing up the arches of one side of the fine portico of Fontana : in the two first are arranged a series of accurate copies of some of the most important paintings in the catacombs, prepared for Marchi’s publication. One of these cartoons contains 3 subjects of the Adoration of the Magi, remarkable as representing 2, 3, and 4 kings; the most ancient is that from the Catacombs of SS. Nereo ed Achilleo, and believed to have been executed at the end of the 2nd cent. (see p. 311). In the 3rd room have been placed a series of frescoes, cut from the walls of S. Agnese fuori le Mura, interesting in the history of Italian painting, being of the 13th cent., and attributed to the school of the Cosi- matis, known for their works in mosaic. From here we enter the State apart- memts of the palace by the IHall of the Mosaics, at the N.E. cormer : form- ing the floor is the great mosaic of the Athletes, found in the Baths of Caracalla, consisting of full-length figures and busts of boxers; the mosaic is rough when examined closely, but the effect of the whole, when viewed from the gallery round the room, is very fine : each boxer, occupies a sepa- rate compartment ; the names of JO- VINvs ALvMINVS, TOBIANVS, &c., upon it may be those of some of the com- batants. On the walls are hung draw- ings to show how these mosaics were originally placed in the halls of the Thermae. In the next Room (II.), on the N.side of the palace, are the following pictures: —Sir Thos. Lawrence's portrait of Geo. IV., presented by that sovereign to Pius VII. Guercino, the Ascension of the Virgin. Cav. Arpino, the Amnuncia- tion. Toom III.- Giulio Romano, the Martyrdom of St. Stephem. Cam muc- cini, a cartoon of his picture of St. Thomas. An interesting series of an- cient mosaics : one set consisting of theatrical masks, with the name of He- raclitus, possibly the artist by whom they were executed, beneath; another, more recently discovered in the Wigma Lupi, mear the Porta di S. Paolo, repre- sents the remains of a banquet, well- picked fish-bones, lettuce-leaves, claws of cray-fish, &c.; and a third, relative to Egypt, with amimals and emblems of that country. Room IV. Marco Pal- mezzano, a painter of Forli, little known out of Italy : 2 large pictures of Virgin, Child, and Saints, with the artist's mame: one of these paintings is very fine, it represents Our Lady enthroned, surrounded by SS. John the Baptist, Lorenzo, Francis, Benedict, Domimick, and Peter, and bears the artist’s name and date (1481). C. Crivelli, Virgin surrounded by 4 saints. Fra Angelico da Fiesole, the Madonna with Angels above, with several small subjects on the predella beneath. Giovanni Sanzio, St. Jerome, Room W. Carlo Crivelló, a Madonna, signed and dated 1481. Sassoferrato, portrait of Sixtus V. M. A. Caravaggio, Christ appearing to the Apostles ; 2 good specimens of modern Roman tapestry after pic- tures of Fra Bartolommeo. Room VI. Cola di Amatrice, the Ascension of the Virgin : Andrea del Sarto, a Holy Family. Room VII. Cesare da Sesto, the Baptism of Our Saviour. Fra Filippo Jippi, an Ancona of the Coro- nation of the Virgin and Saints. Luca Signorelli, 2 pictures of SS. Cathe- rine of Siena and Ursula, SS. Law- rence and Benedict. The 2 rooms that follow (VIII. and IX.) are at present unfurnished. Room X., or the Great Hall of the Council, surrounded by por- traits of the popes. The immer court of the palace is very fine; the frescoes which decorate its corridors were painted by T. Zucchero. It will be worth the vi- sitor’s while to ascend to the Belvedere at the top of the palace, from which the Sect. I. 241 § 26. QUIRINAL PALACE. view of the Alban and Sabine hills, and over the Campagna extending from their base to Rome, is magnificent. QUIRINAL PALACE. Palazzo Pontificio or del Quirinale, the pope's palace on Monte Cavallo. The present edifice was begun by Gregory XIII. in 1574, continued by Sixtus W. and Clement VIII. from the designs of D. Fontana, enlarged by Paul V. and Immocent X., and by Cle- ment XII., from the designs of Ber- nini. The gardem was added by Trban VIII. It was the favourite residence of Pius VII., and has been since inhabited by his successors during a part of the summer. It has been the seat of the Conclaves for the election of the pope for many years; the new pontiff’s name is announced to the people from the balcony over the prim- cipal entrance. As it now stands, the IPalace of the Quirinal is the most ha- bitable and princely of the Papal re- sidences in Rome, Gregory XVI. and Pius IX. having done much to em- bellish it, and opened several new apart- ments, decorated with fine specimens of tapestry and other gifts from dif- ferent sovereigns to the Head of the Church. To see the apartments, which are open every day from 10 until 2, an order from the pope's major-domo is necessary, which may easily be ob- tained through the consul or banker. As at present shown, the visitor, on ascending the great stairs on the l., enters by the Sala Regia, a grand hall 190 feet long, built in the pontificate of Paul V., having a richly decorated but heavy carved and gilt ceiling. From this hall we enter the series of 14 rooms fitted up by Pius VII, and Gregory XVI., and inhabited by the pope during his resi- dence at the Quirimal, forming the whole S.W. front of the palace, on the side of the Piazza di Monte Cavallo. In the fourth of the rooms are several pictures, amongst others Correggio's [Rome.] Madonna, with S. Jerome, and the Last Supper, by Baroccio. In the 5th, a fine specimen of old Gobelims tapestry, repre- senting the marriage of Louis XIV. In the 6th and 7th some magnificently em- broidered ecclesiastical vestments—fine specimens of this kind of work. In the 8th and 9th, 4 very large specimens of tapestry representing the miraculous draught of fishes and the Last Supper : above are some frescoes by Borgognone and Salvator Rosa. These 2 rooms, and that of the Throme which follows, each 100 ft. long, are magnificently decorated. Beyond the latter is the suite that constitutes the apartments in- habited by the pope, consisting of his hall of private audience, his study and bedroom. In the latter, simply furnished with a brass bedstead, expired Pius VII. Beyond these an elegant suite of apartments, overlooking the Quirinal garden, was fitted up by that Pope, for the reception of the emperor of Austria during his visit to Rome in 1819, in one of which, No. 19, are some good paintings : St. Peter and St. Paul, by Fra Bartolommeo, one of which is said to have been finished by Raphael; St. Bernard by Sebastiano del Piombo ; St. George, by Pordenone; a Sibyl, by Garofalo ; the Adoration of the Magi, by Guercino; Adonis, by Paul Peronese; SS. Eustachius and Liberius, by An. Caracci ; Sta. Cecilia, by Tammi : the Resurrection, by Pandyke : a Holy Family, by P. Battoni; and a handsome Sèvres china vase, a present from Na- poleon to Pius VII. Following this picture-gallery is a series of 7 rooms, chiefly fitted up by the present pope, one of which, called the Sala d’Audien- cia de' Principi, has a frieze and bas- relief by Thorwaldsen, representing the entrance of Alexander into Babylon; a modern Gobelims tapestry of S. Ste- phem ; and in the floor an ancient mo- saic of Mercury. In the next room is a picture of the Court of the Begum of Sirdama, painted in India, containing her own portrait and that of Dyce Sombre, by whom it was presented to the Pope, and of her spritual adviser, Bishop Julius Caesar. Farther on, in M. 242 Rome. $ 26. PRIVATE PALACEs. Room XXIII., are Finelli's bas-reliefs of the Triumphs of Trajan, converted, like other monuments of that emperor, into those of Comstantime. Another picture-gallery contains an ancient copy of Raphael's St. John in the Desert; David and Goliah, by Guer- cino ; a battle-field, by Salvator Rosa ; an Ecce Homo, by Domenichino ; the Three Kings, by Tandyke. The private chapel of the pope opens from the second picture-gallery, and contains one of Guido's finest works, the An- nunciation, and Albani's frescoes of the life of the Virgin. In a room beyond the picture gallery, leading to the great hall, or Sala del Consistorio, are views of the interior of the ancient basilicas of St. Peter's, S. Paolo, Sta. Maria Maggiore, and St. John Lateran, as they were before the moderm restora- tions, and of the present basilica of the Vatican, beyond which opens the Sala del Consistorio, or great hall of the Consistory, a bare room, having a fine fresco of the Virgin and Child, by Carlo Maratta, on one of the walls. The gardens can be visited on any day from 8 until 12, with an order, also from the pope's major-domo. They are of considerable extent, stiff and formal, in spite of the statues and fountains. Among these curiosities is an organ played by water. The casino, designed by Fuga, is decorated with frescoes by Orizonte, Pompeo Battoni, and Pan- mini ; two views of the Piazza of Monte Cavallo, and the Piazza of S. Maria Maggiore, by the latter artist, are much admired. PRIVATE PALACEs. The palaces of Rome constitute one of its characteristic features. No less than 75 are enumerated in the guide-books; but without including those which have slight pretensions to the honour of such a designation, there can be no doubt that Rome contains a larger number of princely residences than any other city in the world. The Roman palaces are in many respects peculiar in their archi- tecture, and present a valuable field for the study of the artist. In mo capital do we find such grand effects of size and of magnificence. No class of buildings has been more severely criticised, and yet architects have been compelled to admit that no edifices of the same kind in Europe are so free from what is mean and paltry in style. All this magnificence, however, is com- fined to the architecture. The inte- riors, with few exceptions, present the most striking contrasts, and ill accord either in their decorations or their fur- niture with our English ideas of palaces. The plan is generally a quadrangle, with a large staircase opening on the court. The windows of the ground- floor are usually barred, giving the lower part of the building the ap- pearance of a prison : the apart- ments of this floor are often let out to tradesmen, or used for stables, coach- houses, or offices. The staircase lead- ing to the upper rooms is frequently of marble, but often so badly cared for that the effect of the material is com- pletely lost. The upper floors form suites of apartments running round the whole quadrangle, and frequently communicate with each other. These chambers are so mumerous that one floor affords sufficient accommodation for the family: hence it often happens that the owner reserves this portion for his own use, and lets out the remainder. Columns of marble and gilded ceilings are not wanting, but the supply of furniture is not abundant, and its style is clumsy and antiquated. The apartments occupied by the family are less liable to these objections, whilst in some (Pal. Doria) there is a degree of splendour and magnificence unsur- passed in the dwellings of Royalty North of the Alps. In the palaces of the Roman princes and old mobility the ante-chamber contains a lofty canopy on which the armorial bearings of the family are emblazomed, with a throne, the emblem of their once feudal rights. Sect. I. 243 § 26. P. BARBERIN.I. In the following list we have not confined our notices to those palaces which have obtained celebrity for their moveable works of art, but have in- cluded those also which have permanent attractions as specimens of architecture. [The usual fee to the custode, who shows the visitor the picture galleries of the palaces, is from 2 to 4 pauls for a party, and 1 paul for a single person.] Palazzo Altemps, near the ch. of S. Apollinare, built or renewed in 1580 by Martimo Longhi the elder, and con- sidered one of his most important works. The porticoes of the court are by Baldassare Peruzzi, which is much admired for its fine architectural de- tails. JPalazzo Altieri, in the Piazza del Gesu, with one of the most extended façades in Rome, built by Cardinal Altieri in 1670, during the pon- tificate of his kinsman Clement X., from the designs of Giovanni Antonio Rossi. It was formerly celebrated for its fine library, rich in MSS. ; but this has disappeared with all the other col- lections of this princely family. Palazzo Barberini, begun by Urban VIII. from the designs of Carlo Ma- dermo, continued by Borromini, and finished by Bermini in 1640. It is one of the largest palaces in Rome, and contains a small collection of paintings and a valuable library. The winding staircase is the best example of this species of construction in Rome. The bas-relief of the Lion on the landing-place of the grand staircase was found near Tivoli. The large sa- loom or antechamber on the first floor is remarkable for the frescoes on its ceiling by Pietro da Cortona, classed by Lamzi among those compositions in which he carried the freedom and elegance of his style to its utmost length. They are allegorical repre- sentations of the glory of the Barbe- rimi family, and present a singular mix- ture of sacred and profane subjects. The few statues and sarcophagi mow remaining, after the dispersion of the once celebrated Barberini collection, were found at Palestrina and in the gardens of Sallust. The gallery of pictures, now considerably reduced in number, contains still some fine speci- mens of art. It is arranged in 2 rooms on the ground-floor (on the rt. in enter- ing the court), and is open daily from 1 to 4. 1st Room.—1. Poussin. The JDeath of Germanicus. – 2. Claude. Landscape at the Acqua Cetosa. 3. A Marina. 4. Another Landscape.— 5. Domenichino. Adam and Eve.—7. Titian, or more probably Palma Vee- chio. The Schiava, or Slave, in red and white costume.—8. Lanfranco. Santa Cecilia.-10. Scipione Gaetano. Por- trait of Lucrezia Cenci, the step-mo- ther of Beatrice.—11. Raphael. The so-called FORNARINA, very differently treated, and very unlike the Forma- rina of the Tribune at Florence : the armlet bears Raphael's name. — 12. GUIDO, PORTRAIT OF BEATRICE CENCI: one of the most celebrated portraits in Rome. According to the tradi- tion, it was taken on the night before her execution ; other accounts state that it was painted by Guido from memory after he had seen her on the scaffold. The terrible tra- gedy which has invested this picture with so much interest took place at Petrella, and is noticed in the Hand- book for South Italy.—2nd Room.— 13. Albani. Galatea with Tritons. 2 pictures of Children and Nymphs. —16. Beliverti. Joseph and Poti- phar’s wife. — 17. Francia. Virgin, Child, and S. Jerome; a fine picture, especially the head of the saint.—19. A. del Sarto. A good Holy Family.— 20. School of Raphael, Virgin, Child, and S. Joseph.-21. Sodoma. Virgin and Child.—24. Baldassare Peruzzi. Pygmalion.—25. Guido, S. Urbano.— 26 and 27. Locatelli. Acteon and Diana, Calista and Nymphs. – 28. Innocenzo da Imola. Virgin and Child.—29. Al- bert Durer. Christ disputing with the Doctors.—30. Gio. Bellini. Virgin and Child. In an anteroom are some inferior pictures and copies, and a M 2 244 Rome. § 26. PRIVATE PALACES.—P. Borg HESE. few good ones in the private apart- ments of the family, but which are not shown. The Library (Bibliotheca Bar- berini) is celebrated for its MSS. and its other literary treasures. It is situated on the uppermost floor of the palace, at the top of the circular staircase ; and is open to the public on Thurs- days from 9 till 2. The MSS., 7000 in number, form the peculiar feature of this library; they were collected principally by Cardinal Francesco Bar- berini, the nephew of Urban VIII. Among the most interesting are the letters and papers of Galileo, Bembo, Cardinal Bellarmino, Benedetto Cas- telli, Della Casa, &c.; and the official reports addressed to Urban VIII. on the state of Catholicism in England during the reign of Charles I., which are full of inedited materials for the history of the Stuarts. There is a long and interesting correspondence between Peresc and Cardinal Barberini: a fine copy of the Bible in the Samaritan cha- racter : a most interesting copy of the Holy Scriptures, which dates from the early part of the 4th century, copied by a certain Peter “in the Mesopotamia of Babylon;” this date, which would make it the oldest MS. on parchment in existence, is very doubtful; it is more probable that it was copied, some centu- ries later, from a MS. bearing the earlier date. A beautiful Greek MS. of the Liturgies of St. Basil of the 7th or 8th century. There are several MSS. of Dante : one of the most remarkable of which is a folio volume on parchment, with a few miniatures of 1419, copied by one Filippo Landi of Borgo San Se- polcro. A missal with fine illumina- tions, by Giulio Clovio, executed for Card. Ximenes; and another by Ghir- landajo, or Girolamo dei Libri. A most interesting volume to the archaeologist and architect contains numerous draw- ings and plans of the ancient mo- numents of Rome, by Giuliano da Sangallo: it bears the date of 1465: amongst the drawings which it contains are a series of the triumphal arches, many of the temples still standing in the 15th century at Rome, which have since disappeared, and sketches of galleys, in one of which are introduced paddle-wheels like those in use in Our modern steamboats, but moved by a windlass. The printed books amount to 50,000 : many of them are valuable on account of the autograph motes in them by celebrated personages and scholars. The Hebrew Bible of 1488 is one of the 12 known copies of the first complete edition by Soncino. The Latin version of Plato, by Ficino, is covered with marginal notes by Tasso, and his father Bernardo ; the rare Dante of Venice, 1477, is filled with ammotations by Bembo; and another edit. of the “Di- vina Commedia' has some curious notes by Tasso : a few very early Christian sculptures in ivory are also preserved here. In the court behind the palace is the fragment of an inscription which will not fail to interest British travel- lers. It is a portion of the dedication of the triumphal arch erected to the emperor Claudius by the senate and Roman people, to commemorate the conquest of Britain. It was found near the Sciarra palace, where that arch is known to have stood. The letters are of the finest form of the imperial period, and were of bronze, sunk into the marble. Palazzo Borghese, in the Piazza of the same name. This immense palace was begun in 1590 by Cardinal Dezza, from the designs of Martino Lunghi, and completed by Paul W. (Borghese) from those of Flaminio Ponzio. The court is surrounded by porticoes sustained by 96 granite co- lumns, Doric in the lower and Corinth- ian in the upper story. Among the colossal statues preserved here are Julia Pia as Thalia; another Muse; the Apollo Musagetes; and a fragment of an Amazon. The gallery, which is one of the richest in Rome, is on the ground-floor, and is liberally thrown open to artists and visitors every day, except Saturday and Sunday, from 9 A.M. until 3 P.M. It is arranged in 12 rooms, in each of which there are hand- catalogues for the use of visitors. We Sect. I. 245 § 26. P. BORGHESE. GROUND PLAN OF THE PICTURE GALLERY AT THE BORGEIESE PALACE. →- —- - VI º- ºr —t- º →- —t- l H] 3 III c A IV | A' y 9. | A. _r=1-T- iv. ! Great Court ºxII I XI X] | of Palace. →-- --- *F- Scaſe I l l l i is joy.” a. Entrance from Court. b. Raphael's Entombment. c. Correggio's Danaë. d. Domenichino's Sibyl. c. Chace of Diana. shall therefore only notice here the most remarkable paintings out of upwards of 850 which constitute this magnificent collection. Room I. — 1. S. Botticelli. Madonna and Child.—2. Lor. de Credi. A Holy Family. — 3. Paris Alfani. A Holy Family.—30, 34. Perugino. A Naz- zareno and Madonna.— Mazzolimo da Ferrara. ANativity.—33. Leonardo da Pºinci. The Saviour.—35. Raphael. A Portrait of himselfin his youth (?).—36. F. Lippi. Portrait of Savomarola.—48, Perugino. Sam Sebastiano. —- 49, 57. Pinturicchio. Events in the life of Joseph ; the names of the principal persons are written under them,-43, 61, Francia, Virgin and Child, and a half-figure of St. Anthony.—69. A. Pollajuolo. The Nativity. And several pictures of the schools of Perugimo, Raphael, and Leonardo da Vinci. Room II.-2 handsome fountains in ala- bastro fiorito are placed in the centre o this room.—1, 2, 5, 8, 10, 13. Garofalo. The Deposition, No. 8, a fine picture.— 6. Francia. Madonna and Saints.-20. Raphael. Portrait of a cardinal: a very fime portrait.—23. Dosso Dossi. Circe. –25. RAPHAEL. A portrait called Caesar Borgia.-28. Giulio Romano. Copy of f, g. Albano's Seasons. h. Raphael's Archers. 7. Sacred and Profane I.Ove. k. Vandyke's Entombment. Raphael's Julius II.-31. Fra Barto- lommeo. A Holy Family.—34, A. del Sarto. Holy Family.—37. RAPHAEL. His magnificent picture of the Deposi- tion or Entombment of Christ (b). The ENTOMBMENT was painted by Raphael in his 24th year. It was executed by the illustrious artist after his return from Florence for the ch. of St. Fran- cesco at Perugia, being a commission from Atalanta Bagliomi, soon after Giovanni Paolo Baglioni had regained the sovereignty of that city. On one side of the composition the Saviour is borne to the sepulchre by 2 men, whose ve- hement action contrasts strongly with the lifeless body; the intensity and varied expression of grief are finely shown in the S. Peter, the S. Johm, and the Magdalem, who surround the corpse, while, on the other side, the Virgin, overwhelmed by her affliction, has fainted in the arms of her attendants. It bears the signature Raphael Urbinas, and date M.D.VII. Some sketches for this picture were in Sir Thos. Law- remce’s collection ; the finest im that of the Uffizi at Florence. The subjects of the predella, -3 figures of Faith, Hope, and Charity, are in the Pima- 246 JRome. § 26. PRIVATE PALACES.—P. Borgh ESE. cotheca at the Vatican. — 39. So- doma. A Holy Family.—50. FRANCIA. S. Stephen, a very fine picture; and 42. A Madonna. – 64. Giulio Romano. A copy of Raphael's Formarina of the Barberini Gallery.— 34, 35. Andrea del Sarto. Holy Families.—52. Timoteo da Orbino. A very interesting portrait of Raphael. – 54, Garofalo. The Ma- donna, with S. Peter and S. Paul, a small picture; and several others by the same painter, under the Nos. 55, 56, 57, 60, 61, and 67. — 58. Maz- zołżno da Ferrara. The Adoration of the Magi. — Room III. — A. Solario. Christ bearing the Cross. 4. Pasari. Lucretia.-6. A. del Sarto. The Mag- dalen.—7, 8. Michel Angelo. 2 Apos- tles, paintings on panel, in his early manner.—ll. Giulio Romano, Copy of Raphael’s S. John in the Desert.—18. Tasari. Leda.-24, 28, and 29. Andrea del Sarto. Madonna and Child, with An- gels and S. John, the second a fine pic- ture.—32 and 33. Pierino del Taga. A Madonna and a Holy Family. — 34. IPontormo. S. Sebastian. — 35. Andrea del Sarto. Venus and Cupid.—39, 40. Carlo Dolce. Madonna and Child, and the Adoration.—40. CORREGGIO. DA- NAE (e); a very fine and celebrated pic- ture.—42. Bronzino. Portrait of Cosi- mo I. de Medicis.-46. Sassoferrato. Virgin and Child.—48. SEBASTIAN DEL PIOMBO. Our Saviour at the column, said to have been sketched by Michel Angelo as the original design for the well-known painting in S. Pietro Mont- orio. 49. Sassoferrato. A fine Mag- dalen. Room IV.- An. Caracci. A Deposition from the Cross.-2. Do- MENICHINo. THE CUMEAN SIBYL (d), one of his most celebrated and graceful paintings.-3. Lod. Caracci. S. Caterina da Siena borne to Heaven by Angels.- Ag. Caracci. A Pietà.—10. Cav. Arpino. The Rape of Europa. — 15. Guido Cagnacci. A good Sibyl.–18. An. Ca- z-acci. S. Francis.-19. Luca Giordano. S. Ignatius devoured by wild beasts in Lucretia. 39, 40. A Madonna ; an Adolorata. 45 and 18. Carlo Dolce. A good Madonna ; Our Saviour.—46. Sassoferrato. Madonna and Child. Room V.-5. Scipione Gaetano. A Holy Family. – 6. Cav. Arpino. The Fla- gellation.—11, 12, 13, 14. ALBANo. 4 fine circular pictures (f, g), representing the Seasons.—15. Domſ ENICHINo. The Chase of Diana (e), a very celebrated picture ; the goddess, attended by her nymphs, is awarding the prize of the bow and quiver to one of them who has just shot off her arrow.—21. Iſrancesco Mola. S. Peter released from prison. –25. Fed. Zucchero, A Deposition.— 26. Caravaggio. Madonna and Child, with Santa Anna.-27. Padovanino. Venus dressing. Room VI.-1. Guer- cino. La Madonna Adolorata.—3. An- drea Sacchi. Portrait of Orazio Giusti- niami.-5. Guercino. The Return of the Prodigal Son.—7. Pietro da Cortona. Portrait of G. Ghislieri, in imitation of Vandyke’s style.—10. Ribera. St. Sta- mislaus with the infant Christ.—13. Sassoferrato. Copy of Titiam's Three Ages of Man.—24, 25. Gaspar Poussin. 2 landscapes. Room VII.-A long gal- lery, called the Stanza degli Specchi, the walls being covered with mirrors. On 2 tables of red porphyry are an- tique bronze statuettes, and in the centre one formed of an immense variety of ancient marbles. The paintings on the mirrors are for the putti by Crociferi; the flowers by Mario dei Fiori. Room VIII. — 2, 3. Borgognome. Battle- pieces.—33. Salvator Rosa. A land- scape.—100. Paul Potter. Cattle feed- ing.—87. Paul Brill. Madonna with animals. There are some mosaics by Matteo Provenzale in this room ; the best, No. 1, a portrait of Paul W. I?oom IX.-1, 2, 3. Frescoes from the Casino of Raphael, afterwards the Villa Olgiati, which once stood in } } i the grounds of the Villa Borghese, from the walls of which they were detached; the two first (1 and 2) the ampitheatre.—23. Guido. Head of represent the marriage of Alexander S. Joseph.-30. Gigoli. S. Francis—32. and Roxana. No. 3 (h) is the cele- An. Caracci. S. Dominick. — 34. Id. brated painting of Archers Shooting at Head of Christ.—24. Elisabetta Sirani. a target with the arrows of the sleeping * Sect. I. 24.7 § 26. P. CAMPANA. Cupid ; a magmificent composition, perhaps unequalled in fresco-painting. There are some other frescoes of the school of Giulio Romano, from the Villa Lante on the Janiculum. Room X. — This and the following room are chiefly dedicated to the Venetian school.—2. TITIAN. The Three Graces.—3. Paul Peronese. Sta. Cecilia.-Luca Cambiase. Venus and Adonis. – 13. Giorgione. David bearing the head of Goliah. —14. Paul Veronese. St. Johm preaching in the Desert.—16. Titian. San Dominick. —19. Bassano. His own portrait.—21. TITIAN. SACRED AND PROFANE LOVE (i); an allegorical composition representing 2 figures sitting near the edge of a foun- tain : one clothed in white with a red sleeve, the other with a red drapery over the l. shoulder; a young Cupid is looking into the water. 22. Lionello Spada. A Concert. 34. P. Teronese. SS. Cosimo e Damiano. — 43. The Preaching of Our Lord : a sketch for a large picture. Room XI.-1. Lorenzo Lotto. Paul Peronese. S. Amtomy preaching to the Fishes.—3. Titian. Holy Family with St. John.—8, 11. pid.—ll. Luca Cambiaso. Venus on a Dolphin.—15, 16. Bonifazio. Jesus in A Madonna and Saints.—2. the designs of Gio. de' Rossi. JP. Peronese. The Crucifixion; and a Venus and Cu- Cranach. A portrait. , 43. A Venus and Cupid.—40. Handthorst. Lot and his Daughters. Palazzo Braschi, forming the angle of the Piazza di Pasquimo, built at the | close of the last century by Pius VI., for his mephew the duke Braschi, from the designs of Morelli. It is remarkable for its imposing staircase, ornamented with 16 columns of red oriental granite, and 4 statues of Commodus, Ceres, Achilles, and Bacchus. The palace once contained a small collection of pictures, but they have been all dispersed within the last few years. The minister from the United States now occupies a por- tion of this fine palace. The celebrated statue of Pasquin, which stands against one of the walls of this palace, has already been noticed at p. 89. Palazzo Buonaparte, formerly Ri- nuccini, at the corner of the Piazza di Venezia and Corso, built in 1660 from It was formerly the property of Madame Mère, the mother of Napoleon, who died here, and at present belongs to her great- grandson, Prince Joseph Buonaparte. It contains some modern pictures con- mected with the history of the first the house of Zebedee, and the Return French empire, chiefly portraits of mem- of the Prodigal Son, 2 good specimens of the master.—17. Titian. Samson.— 33. Palma Pecchio. Madonna and Saints.-26. Carlo Cricelli. Christ on the Cross, with SS. Jerome and Chris- topher.—34. Licino da Pordenone. His own portrait, surrounded by his family. — 32. Gian Bellini. Madonna and Child, with S. Peter. Room XII. The pictures in this room are of the Dutch and Flemish schools. – 1. Pandyke. Christ on the Cross. 7, 27. The EN- TOMBMENT (k).—22. Paul Potter. Cat- tle.—21. Rembrandt (?) Boors on the Ice. Portrait of Marie de Medicis.-15. JRubems. The Visitation of S. Elizabeth. –20, 24, 35. Holbein. 3 unknown por- traits.—19. Albert Durer. Portrait of Louis VI., duke of Bavaria.-23. Back- huysen. A magnificent sea-piece.—26. Teniers. Boors drinking.—36. Luca bers of the Imperial family. Palazzo Campana, at the corner of the Via Babuimo and Piazza del Popolo, is celebrated for its rich collection of Etruscam bronzes and jewellery, formed by its owner, Marquis Campama, formerly director of the great public pawnbroking establishment, the Monte di Pieta. The Campama Museum is quite unique as regards Etruscan art; in many respects superior to the Museo Gregoriano at the Vaticam. The specimens consist for the most part of gold ornaments, earrings in the form of genii, mecklaces of scarabaei, filigree brooches, bracelets, and neck- chains, torques, chapelets in form of foliage, &c.; the head of the horned Bacchus, and a gold fibula with an Etruscan inscription, equal, if they do mot surpass, the finest productions of 248 § 26. BORGHESE PALACE.-P. DELLA CANCELLERIA. Trichimopoly or Genoa. One of the most remarkable objects in this collec- tion is a superb Scarabaeus in sar- domyx, representing Cadmus destroying the Dragon. The collection of Etruscan vases is also very fine, several pre- senting historical scenes, with Greek and Etruscan inscriptions. That of Bronzes comprises a fine series of Etruscam and Roman objects: 2 beau- tiful tripods, a mirror of extraordinary beauty and size, and a cimerary urn of most rare occurrence in metal ; it was found mear Perugia, containing the ashes of the dead, with a golden neck- iace, now amongst the jewellery; a bier of bronze, with the bottom in lattice- work, like that in the Museo Gregoriano, with the helmet, breastplate, greaves, and sword of the warrior whose body reposed upon it. There are several fine specimens of Etruscan helmets, with delicate wreaths of gold foliage placed upon them. The collection of glass and enamels is most interesting, consisting of elegant tazze of blue, white, and yellow glass mounted on filigree stands precisely as they were taken from the tombs. The series of Tºtruscam vases, not only from Etruria proper, but from Magna Grecia, is rich and extensive. In addition to the col- lection of more valuable objects at his own residence, Marquis Campana pos- sesses a very extensive one of his finest Etruscan vases, especially from Cervetri, in a series of rooms at No. 509 in the Corso, and another at the Monte di Pietà, consisting of perhaps the finest known series of terracotta bas-reliefs of the Roman period, described in his work entitled ‘Antiche Opere di Plastica,’ of miniature works of sculpture from Magna Grecia, and of various Etruscan sculp- tures, amongst which are a very curious sarcophagus discovered at Cervetri, with two very characteristic figures, with an almost Chinese physiognomy, on the covers, some ancient frescoes, &c. The marbles, which form a very important collection, are placed in a series of rooms in the neighbouring Via Mar- gutta, and a part have been removed to the Willa Campama on the Cae- lian, near St. John Lateran, for which strangers can obtain admission ; it is rich in inedited inscriptions, cine- rary urns, Etruscan sarcophagi, with some good busts (amongst others a fine one of Hadrian), and specimens of am- cient sculpture. The gardens are orna- mented with exotic plants, fountains, grottoes, &c., and an exact fac-simile of an Etruscan sepulchre. Besides the objects above moticed at the Palazzo in the Via Babuimo, two collections have been recently added to them : one of Majolica, filling 4 rooms, and contain- ing some of the, perhaps, finest speci- mens in existence of Urbino and Gub- bio ware; and a gallery of several hun- dred pictures, mome, however, of first- rate character; perhaps the Wallom- brosa copy or replica of Raphael’s Madonna del Carduellino is the most remarkable. From the recent misfor- tunes of the owner, it is to be feared these magnificent collections will be ere long dispersed. Palazzo della Cancelleria, one of the most magnificent palaces in Rome, begun by Cardinal Mezzarota, and completed in 1495 by Cardinal Riario, nephew of Sixtus IV., from the designs of Bramante. It was built with tra- vertime taken from the Coliseum ; the 44 columns of red granite which sustain the double portico of its court are sup- posed to have belonged to the Theatre of Pompey. The gateway was de- signed by Fontana. The great saloon is decorated with frescoes by Tasari, Salviati, &c., the first representing events in the history of Paul III. This palace is the official residence of the Cardinal Vice-Chancellor, and the seat of several Ecclesiastical Boards or Con- gregazioni. In June 1848 it was the place of meeting of the Roman Par- liament, summoned by Pius IX. at the commencement of the reforms which finally drove him from his capital. In the mext month it was the scene of the me- morable outrage in which the mob burst into the chamber while the deputies were sitting, and demanded an immediate declaration of war against Austria. In Sect. I. § 26. P. CENCI—p. CIII.G.I. 249 the November following it acquired an infamous celebrity as the scene of the assassination of Count Rossi, the en- lightened minister of Pius IX., on going to a meeting of the Chambers, then as- sembled here; this atrocious crime took place at the foot of the great staircase, On the 1., near to a door now closed. The immer court of the palace is very beautiful, surrounded by a double Doric portico, surmounted by an elegant attic ornamented with Corinthian pilasters. The front, towards the Piazza and ad- joining street, is also very fine, although spoiled near the W. angle by some un- seemly constructions, and by the mean bell-tower of the ch. of St. Lorenzo in Damaso ; the great entrance of Fon- tana is not in the best harmony with the architecture of Bramante's edifice. Palazzo di Caserta, or Caetani, for- merly a portion of the P. Mattei in the Via delle Botteghe Scure, the residence of the Duke di Sermoneta, the head of the great family of Cae- tani. The first floor, which is hand- somely furnished, contains several fa- mily pictures, and is generally let to rich foreigners, the situation near the foot of the Capitol being healthy at all seasons. The family archives pre- served in this palace are perhaps the most complete of any of the great Roman houses ; several deeds and donations to the Caetanis being of the 9th and 10th centuries. The Caetanis were once lords of all the country from Welletri to Fondi; they gave 2 popes to the throme of St. Peter, Gelasius II, and Boniface VIII., and were the rivals of the Colonnas and Orsinis in their long contests with the popes in the 11th and 12th centuries. The present head of the family is the talented Duke of Sermoneta, well known to many of our countrymen who have visited Rome. Palazzo Cenci.-There are 2 palaces known by this mame in Rome. The first, called also P. Maccarami, from its present owner, is situated oppo- site the church of S. Eustachio, near the Pantheon ; it was built in 1526 from the designs of Giulio Romano, and is only remarkable for its archi- tecture. The second Cenci Palace, the ancient residence of the family, stands partly on the site of the Theatre of Balbus, near the western entrance to the Ghetto. Opposite to the pa- lace is the little church of S. Tommaso a’ Cenci, founded in 1113 by Cencio bishop of Sabina, and granted by Julius II. to Rocco Cencio, whose descendant, the motorious Count Francesco, re- built it in 1575. The palace, an immense and gloomy pile of massive architec- ture, was for many years deserted and left without doors or windows or any sign of human habitation, to tell, as forcibly as a building could, the record of crime : it seemed to have been stricken with the curse of which Bea- trice Cenci was the victim. Within the last few years, however, it has been made habitable, and a part of it was long occupied as a studio by the celebrated German painter Overbeck. It has re- cently been purchased by the Govern- ment. Shelley notices the court sup- ported by granite columns, and adorned with antique friezes of fineworkmanship, and built up according to the ancient Italian fashion with balcony over bal- cony of open work. He was particularly struck with one of the gates, formed of immense stones, and leading through a dark and lofty passage opening into gloomy subterranean chambers. Its position in the most obscure quarter of Rome, and its gloomy aspect, are per- fectly in accordance with the atrocities perpetrated within its walls, which led to the tragedy enacted at another place (Petrella — Handbook of South Italy, Rte. 142), which has given such melan- choly interest to the name of Cenci. Palazzo Chigi, forming one of the sides of the Piazza Colonna, built in 1526 from the designs of Giacomo della. Porta, and completed by Carlo Ma- dermo. In one of the antechambers are the Skull and the Sleeping Child, sculptured by Bernini, as emblems of life and death. In the saloon are 3 * M 3 250 Rome. § 26. PRIVATE PALACEs. amcient statues: a Venus, in Parian marble, with a Greek inscription ; Mercury with the caduceus; and an Apollo, supposed to be of the time of , Hadrian. The pictures are in the apart- ments occupied by the family, and are consequently mot generally open to the public. Among them the following may be moticed:—I.—Guercino. St. Francis.-Guido. St. Cecilia; a Na- tivity.—Caravaggio. St. Johm the Bap- tist drinking at a spring. II.-Pietro da Cortona. A Guardian Angel.–Guer- cino. Christ at the column.—Agostino Caracci. A dead Christ.—Salvator Rosa. A satyr disputing with a phi- losopher, who is said to be a portrait of Salvator himself—Titian. Two por- traits. – Spagnoletto. A Magdalen. III.-Andrea Sacchi. Sketch for the picture of S. Romualdo, in the Vatican : a Saint ; the Blessed Bernardo Tolomei of Siena.-Guido. A Pietà. In the upper rooms is a cabinet adorned with sketches by Giulio Romano, Bernini, Andrea Sacchi, &c. The Library is the most interesting part of the palace. It was founded by Alexander VII., and is rich in MSS. of great interest. Among these are the Chronicles of St. Benedict and St. Andrew, an in- edited Chronicle of the Monastery of San Oreste or Soracte, a Dionysius of Halicarnassus of the 9th century, a Daniel of the Septuagint version, an illuminated Missal of 1450, a folio vo- lume of French and Flemish music, containing motettes and masses, dated 1490; a letter of Henry VIII. to the Count Palatine, requesting him to show no mercy to Luther ; several imedited letters of Melanchthon, some sonnets of Tasso, 20 volumes of original documents relating to the treaty of Westphalia, and a large collection of inedited and almost unknown materials for the literary and political history of Europe. Near the Palazzo Chigi, forming the W. side of the Piazza Colonna, is that belonging to the Hospital of San Mi- chele, remarkable for its fine Ionic por- tico; the principal part of the columns having been discovered amongst the ruins of the Roman Municipium of Veii. This palace, formerly occupied by the Post and other public offices, is now a guard-house for the French gar- rison. On the first floor is the club of the French officers belonging to the latter. The other palaces forming the sides of the Piazza Colomna are on the E. the Palazzo Piombino, inhabited by the head of the Buoncampagni Ludo- visi family; and on the S. the Palazzo Nicolini. Palazzo Cicciaporci, now Falconieri, in the Via de' Bamchi Nuovi, not far from the S. extremity of the Ponte di S. Angelo, built in 1526, is remarkable for its architecture by Giulio Romano. Near this is the Palazzo Cesarini, inha- bited by the ducal family of that name, long inhabited by Alexander VI. as Cardinal Lenzuoli Borgia, before his elevation to the pontificate. Palazzo Colonna, in the Piazza di SS. Apostoli, commenced by Pope Martin W. in the 15th century, and completed in later times. It formed at one period the residence of Julius II., and subsequently of San Carlo when Cardinal Borromeo. It still belongs to the princely family whose name it bears; a portion of the state apartments have been let for several years past, and now form the residence of the Ambassador of France. The apartment on the ground- floor contains some frescoes of Tem- pesta, of Pomarancio, and Gaspar Poussin ; those on the ceilings have been even attributed to Perugino. The Colonna picture gallery, once the most considerable in Rome, has been much reduced by division amongst mem- bers of the family; it still contains some fine works, which are arranged in a series of rooms leading to the Ball or Gallery for which the palace is so celebrated. The gallery is open every day, except holidays, to the public. The names of the masters only are affixed on each painting. In the three rooms (A B C) preceding those of the pictures are some specimens of Gobelins and Arras tapestry, and a good bust of Witellius. Room. I.-S. Botticelli. Ma- Sect. I. 2 5 1 § 26. P. COLONNA. GROUND PLAN OF THE PICTURE GALLERY AT THE COLONNA PALACE. * - T- C A. | - B | . T | II III IV ſºl W. I § | ł 3'cºe * t | I Í 35 spy& donna and Child.— Giovanni Sanzio. historian. Portrait of a Boy in a red cap.–Luino. Virgin and Child.—Giacomo Avanzi. A Crucifixion, — Albano. Two large Landscapes, with groups of figures.— Giulio Romano, The Madonna and Child. — Gentile da Fabriano. A Madonna surrounded by angels.-Par- migianino. A Holy Family.—Innocenzio da Imola. A Holy Family.—Guercino. Moses.—P. da Cortona. The Resurrec- tion ; below are portraits of several persons rising from their sepulchres. Passing through the Throne-room (II), is, Room liſI.—Titian. A fine portrait of Onofrio Panvimo, the celebrated anti- quariam, as an Austin friar.—Girolamo da Trevigi. A portrait, supposed to be of Poggio Bracciolini, the Florentine These portraits were long considered to be by Titian, and called Luther and Calvin, for which there was not the remotest foundation. — Bronzino. A Holy Family.—Carletto Cagliari. A Lady playing on the guitar. —Guercino. The Guardian Angel.— Albano. The Rape of Europa.-An. Carraci, the Mangia Faggioli, a ridi- culous caricature, but true to life.—Lo Spagna. S. Jerome in the Desert.— JParis Bordone. Madonna, with St. Sebastian and other Saints.-Holbein. A portrait of Lorenzo Colonna, brother to Martin W.-Paul Veronese. A fine male portrait.—D. Crespi. San Carlo.— IF. Mola. Death of Abel.—Guido. S. Agnes.—Sassoferrato. A Madonna.— Guercino. The Angel Gabriel.-Giov. 252 Rome. § 26. PRIVATE PALACEs.-P. coloxNA. JBellini. S. Bernardo.—Salviați. The Resurrection of Lazarus. – Rubens. Joseph and his Brethren; a sketch.- Scarsellini. The Apparition of the Virgin to some Franciscan friars. The paintings in the centre of the ceiling, representing the Apotheosis of Martin W., are by Lutti and Pompeo Battoni. Ičoom TV.—This room, which forms one of the extremities of the great gal- lery, is covered with landscapes; eight ân tempera, by Gaspar Poussin.—A small pretty Claude.—Poussin. Apollo and Daphne.—Wouvermans. 2 large battle-pieces.—Salvator Rosa. A sea- shore scene. 2 good landscapes by Swanevelt; several by Orizonte and Crescenzio di Onofri ; some Berghems, JP. Brills, and Canalettis. On one side of this hall is a handsome cabinet, with 27 bas-reliefs in ivory, executed by the German artist Steinhart, and copied from Michel Angelo's Last Judgment in the Sistine Chapel, and from 26 of Itaphael’s subjects in the Loggie.— The Great Hall or Gallery (V.), one of the finest in Rome, is ornamented with ancient statues, none of which are of any merit; the walls are de- corated with Venetian mirrors, painted with wreaths of flowers and Cupids, the former by Mario dei Fiori, the latter by Carlo Maratta. In the recess of one of the windows a good bas-relief of a gigantic head of Minerva. On the tables are antique bronzes, and a small bronze statue of a faun, by Sansovino ; the roof is covered with frescoes relative to the deeds of the Colonna family; the largest, in the centre, by Coli and Gherardi, represents the Battle of Lepanto. The following are the principal pictures on the sides of the Great Hall, and the raised one beyond it towards the garden : — Rubens. An Assumption.— C. Allori. The Descent into Hades.—B. Strozzi. La Carita Romana. — Subtermans. Portrait of Federigo Colonna.-Two St. Jeromes by Guercino and Spagnoletto.—Salviati, Adam and Eve in the Garden.— Pan- dyke. Fine portrait of C. Colonna, Duke de' Marsi.- Guercino. Martyrdom of S. Emerenziana. — Albano. An Ecce Homo.—Sc. Gaetano. Portrait of Antonio Colonna.-Several members of the Colonna family round a table, with their names, by the same artist.—G. Cagliari. Portrait of Stefano Colonna. —Salviati. Adam and Eve.—Tinto- oretto. Narcissus.--Tasari. Two re- cumbent figures of Venus. – Ghir- landajo. Two pictures of the Rape of the Sabines, and the Peace celebrated between the Romans and Sabines.— Palma Pecchio. St. Peter presenting a Donatario to the Madonna and Child. —TITLAN. A Holy Family.—Vandyke. Portrait of Lucrezia Colonna. – L. de Leyde. The Temptations of St. Antony.—Bronzino. Venus and Cupid. —Ag. Caracci. Portrait of Cardinal Pompeo Colonna.— Giorgione. Portrait of Giacomo Sciarra Colonna.-Simone da Pesaro. S. Sebastian. — Poussin. Shepherdesses asleep. — S. Rosa. St. John in the Desert, and St. John preaching in the Wilderness; the painter is said to have introduced his own like- ness into the first picture.—Two fine male portraits. – Nicola da Foligno. A curious picture of the Madonna libe- rating a child from the Demon.—An. Caracci. The Magdalen in Glory.— Lanfranco. St. Peter in Prison.—Guido. S. Francis and Angels. In the centre of (VI.) the hall next the garden is the so- called Colonna Bellica (b), a torse column in red marble, surmounted by a statue of Mars; round the column run a series of low reliefs, commencing with a sacri- fice and continued with military pro- cessions, the whole probably a work of the 16th century. The gardens behind the palace extend along the western slope of the hill, and are well planted in box and ilexes. There are some colossal ruins in the Colonna gardens, which belong probably to the Temple of the Sun, erected by Aurelian on the Quirinal. Palazzo della Consulta, on Monte Cavallo, built by Clement XII., from the designs of Fuga, in 1730. Attached to it are cavalry barracks. The palace is considered one of Fuga's most suc- cessful works. Sect. I. CORSINI. 253 § 26. P. PLAN OF PICTURE GALLERY AT THE CORSINI PALACE. T –– | TXI IX. IX. "VIII H A 2XI: -- sº | I II - —- A A c. * ! . . - 'ſ | Y VI l O l III -V- *} Scale ---- # Hºyº JW 5 --> — Palazzo Corsini, in the Lungara of Sarto. Holy Families.—10. Lodovico the Trastevere, built by the Riario family, Caracci. The Nativity of the Virgin. enlarged and altered into its present form by Clement XII., in 1729, from the designs of Fuga. In the 17th century it was the residence of Chris- tima queen of Sweden, who died in it in 1689. A grand double staircase leads to the gallery, which is open every day, except Sunday, from 10 until 2; there are hand-catalogues in Italian and French in all the rooms. Opening out of the great hall of the palace (XII.), we enter Room I. A marble sarcophagus, found near Porto d’Amzio, ornamented with reliefs of Tri- tons and Nereids; and over the entrance door a portion of an early Christian urn, with reliefs representing the vintage.—9. Teresa Muratori. The Plague at Milan. –6. Baroccio. Holy Family. — 10. C. Maratta. Marriage of St. Catherine. —17, 18, 20, 21. Locatelli. Rural scenes in the style of Teniers.-24, 26. Canaletti. Views of Venice. Room II. contains no paintings worth moticing : out of it opens on the 1. Room III., or the Gallery, where there are some fine pictures. 1. Guercino. An Ecco Homo. 2. Carlo Dolce. Madonna and Child,— —15. A. del Sarto. A small Virgin and Child.—17. Michael A. Caravaggio. The same subject.—26. Fra Barto- lommeo. A Holy Family.—28. Teniers. Dutch Boers.-36. Garofalo. A Holy Family.—39. Albano. Mercury and Apollo. — 44. Portrait of Julius II., attributed to Raphael.—45. Pietro da Cortona. The Nativity of the Virgin. –49. Carlo Dolce. St. Apollonia.-- 50. Titian. Portrait of Philip II. of Spain. – 54. C. Maratta. A Holy Family; and 70, the Flight into Egypt. 52. C. Sarracini. Vanity, personi- fied by a female arranging her dress, with an attendant holding a mirror before her. — 61. Tasari. A Holy Family.—88. C. Dolce ; and 89, Guido. Two Ecce Homos, placed, with the same subject (1) by Guercino, near each other, , to show the respective powers of expres. sion by these three masters. Room IV. 11. GUERCINO. Herodias.-18. Andrea Sacchi. A small Crucifixiom of St. Andrew.—19. Guido. The Crucifixion of St. Peter.—20. Guercino. St. John, –22. F. Baroccio. Our Saviour and the Magdalene. — 27. An. Caracci. 6. Inn, da Imola, and 9. Andrea del | Two good colossal heads.-28. Titian. 254 Rome. § 26. PRIVATE PALACES.—P. CoItsINI. St. Jerome.--41. RAPHAEL. Replica of the Fornarima of the Florentine gallery.—43. Carlo Maratta. A Holy Family.—44. Albert Durer. A hare. —45. Carlo Dolee. A Magdalene.— 51, 52. Albano. Two oval paintings of Venus and Cupids.--53. Spagnoletto. Death of Adonis.-55. Lodovico Caracci. A Deposition. And 11 small subjects by Callot representing scenes in the life of a soldier. An ancient chair (b) in marble, Supposed to be Etruscan, discovered near the Lateran; the low reliefs upon it represent a procession of warriors, a boar-hunt, and sacrificial ceremonies. On one of the tables is an ancient silver vase, enclosing another covered with beautiful reliefs representing Orestes before the Council of the Areopagus. Room W. 12. Carlo Dolce. St. Agnes. —14. Carlo Maratta. An Annunciation. —16. Schidone, and 19. Del Rosso. Holy Families.—23. Albano. Virgin and Child.—24. Guercino. Christ and the Samaritam; and 40, id. An Annuncia- tion.—28. Giorgione. Christ and St. Peter. — 30. Parmigiano. A Holy Family. — 37, 38, 39. Guido. Am Adolorata, Ecce Homo, and St. John ; and 45. A small Crucifixion. Room VI. All the paintings in this room are portraits. Titian. Two Sons of Charles V.—31, 35. Holbein. His own and his Wife's portraits.-43. Albert Durer. Portrait of Cardinal Albert of Bramden- burg.—40. Bronzino. Portrait of Car- dimal Bibiena, very doubtful. — 47. Campiglia. Portrait of Rubens.—50. Titian. Card. Alessandro Farmese.— 54. Portrait of Lorenzo de' Medicis.— 67. A pretended miniature of Mary Queen of Scots, attributed to Oliver.— 68. Baciccio. Card. Neri Corsini. Room VII. 11. MURILLO. Fine picture of WIR- GIN AND CHILD.—21. Luca Giordano. Christ disputing with the Doctors.-13. G. Poussin. Finelandscape.—22,23, 24. Fra Angelico. 3 small paintings repre- senting the Descent of the Holy Spirit, the Ascension, and Our Lord in Glory. These three portions formed one pic- ture; the miniature heads of the Saints are fine.—15. Rubens. St. Sebastian. —18. Garofalo. Christ bearing the Cross, the head of the Saviour remark- able for the resignation and placidity of its expression.—20, 25. G. Poussin. Good Landscapes.—26. Lodovico Car- acci. Martyrdom of St. Bartholomew. —27. C. Maratta. Am Annunciation. –28, 34. Origonte. Two good Land- scapes. – 30. Titian. The Woman taken in Adultery.—35. Domenichino. Portrait of a Gonfalomiere of the Church.-48. Pomarancio. Charity. Jºoom VIII. 2. Francia. Virgin and Child.—6. Claude. A good specimen. –8. Vandyke. Jesus before Pilate.— 10. P. da Caravaggio. A drawing of Niobe and her Children, dated 1567.- 11. Poussén. A Holy Family.—13. Guido. Contemplation.—15, 21, 25, 40, 41, 42. G. Poussin. 6 landscapes.— 18. Domenichino. Susannah at the Dath.-24. Guercino; and 25. Spagno- letto. Two pictures of St. Jerome. –29. Correggio (?). Christ in the Garden.—Mosaic portraits of Clement |XII, and of his nephew Cardinal Neri Corsini.-Room IX. 2. Teniers. Inte- rior of a Dutch Farmhouse.—6. N. Poussin. The Triumph of Ovid.—9. Pelasquez. Portrait of Innocent X. —12. Salvator Rosa. Prometheus de- voured by the Vulture.—14. Solimena. St. John in the Desert.—C. Maratta. The Trinity.—25, 28, 29, 35. S. Rosa. —Battle - pieces. – 32. Domenichino. Christ laid in the Sepulchre. In a room (X.) beyond this, but generally closed, are—a bronze bas-relief of the Rape of Europa, attributed to Cel- limi; an antique mosaic representing oxen frightened by thunder ; and a portrait of Clement XII. in pietra dura. The Corsini Library, founded by Clement XII., contains upwards of 1300 MSS., some autographs of Chris- tima of Sweden, and a great number of cinquecento editions. It is open to the public every day, except on festi- vals, for 3 hours before sumset. The number of printed books is about 60,000, well arranged, with good cata- logues, and easily accessible; the col- lection of engravings is one of the largest in Italy. Behind the palace are the gardens and the pretty Pºlla Corsini, Sect. I. § 26. P. DORI A-PAMPHILI. 255 placed on the declivity of the Jami- culum. The view from it embraces magnificent panorama of Rome. & Palazzo Costaguti, in the Piazza delle Tartarughe, built by C. Lombardi : it is remarkable for its fine ceilings, painted in fresco by Domenichimo, Guercino, Albano, and other eminent artists of their time. There are 6 ceilings, in the following order:—I. Albano. Her- cules wounding the Centaur Nessus. II. Domenichino. Apollo in his car; Time discovering Truth, &c. III. Guer- cino. Rimaldo and Armida on a cha- riot drawn by dragons. IV. Cav. d'Arpino. Juno nursing . Hercules; Venus with Cupids and other divini: ties. W. Lanfranco. Justice and Peace. WI. Romanelli. Arion saved by the dolphin. GROUND PLAN OF TH © Curia Innocentiana, more generally known as the P. di Monte Citorio, from the piazza in which it is situated, an imposing edifice, begun in 1642 by Immocent X. from the designs of Ber- nini, and completed by Immocent XII. from those of Carlo Fontama. It was appropriated by the latter pontiff as the seat of the higher courts of law, under the name of the Curia Innocem- tiana. It contains on the ground-floor the offices of the Director-General of Police and of Passports; on the first- floor those of the Auditors of the Ca- mera and Segmatura, and the Civil Court of the First Instance. This palace is supposed to stand on the site of the Amphitheatre of Statilius Taurus. E DORIA GALLERY, º : III XI [...] l, !— wi II ºf T —- XIV —! V. I XIII ! - —— 2 ºr | A. * VI g } |->|->|- A. G- w-r-w Tw is | w –3) c Palazzo Doria-Pamphili, in the Corso. —This immense edifice, the most magnificent perhaps of all the Roman palaces, interesting to English tra- vellers from its connexion with our noble house of Talbot, was erected at various times and by different architects. The side facing the Corso is from the designs of Walvasori; that facing the Collegio Romano was designed by Pietro da Cortona, the vestibule being added by Borromini; the façade which fronts 256 Rome. § 26. PRIVATE PALACES.–P. DoRIA-PAMPHILI. the Piazza di Venezia is from the de- signs of Paolo Amati. The Gallery, which is open on Tuesdays and Fridays, contains many first-rate works, with a greater number naturally of a second- rate character. There are upwards of 800 pictures, distributed over 18 rooms and galleries, which are most liberally thrown open to the public, with good hand catalogues in each room of its contents. In the order in which strangers visit the gallery, the following are the most remarkable pic- tures –Entering from the principal stairs, in the l. hand corner of the great quadrangle (A), the great Hall (I), a very beautiful apartment lately erected : it is decorated with ancient marbles and pictures, chiefly land- scapes, the most worthy of notice being several by Gaspar Poussin, espe- cially No. 23 and 19, and a Marina by N. Poussin. Amongst the marbles are 3 sarcophagi with bas-reliefs; a statue of a bearded Bacchus; a frag- ment of a Chimaera, found in the ruins of Lorium ; a group of Ulysses con- cealed under the body of a sheep; and a portion of the table of a Triclinium with handsome arabesques, discovered in the ruins of Pompey’s Villa at Albano, the site of the modern Villa Doria. Opening out of this Hall, on the 1., are a series of rooms, occu- pying 3 sides of the palace. The paintings which cover their walls are in general second-rate; the following, how- ever, may be noticed. Room II.-5. Gian. Bellini. A Circumcision.—27. Taddeo Bartolo. An Ancona, with Madonna and Saints.-28. Fra Filip- po Lippi. The Annunciation. – 33. Guercino. St. Agnes : the fine group of the Centaur in rosso and mero an- tico marbles in the centre of the room, lately discovered in the grounds of the Villa Doria at Albano: the 2 groups of children are by Algardi. room (III.), opening on the rt., are a Holy Family by A. del Sarto, and, 9, a Virgin by Sassoferrato. Room IV. —Several bronzes, amongst which a curious water-pail, with subjects rela- tive to the life of David scratched upon In the bed-" it, in the Byzantime style of the 4th century; a recumbent figure of Jupiter; and a bath. Room W.-1. Pasari. A Holy Family.—17. Quentin Matsys. The Misers.-21. Beccafumi. The Marriage of St. Catherine. The marble group of Jacob and the Angel is by the school of Bernini. Room VI. —5. Sandro Botticellì. A Holy |Family.—22. Domenichino. A small Assumption. In the adjoining Octagon Cabinet (b), opening out of Room VII., are several small subjects attributed to Breughel. A bust, by Algardi, of Olym- pia Madalchini Pamfili, and a modern one of the present Prince Doria. In the 4 following rooms, VII., VIII, IX, and X., there is little to detain the visitor : from the latter he will enter the quadrangular gallery surrounding the 4 sides (A) of the Great Court of the palace, in which are placed the best pictures in the collection. GREAT GAL- LERY, XIII. W. Branch, on the 1. (Braccio a Sinistra).-3. A. Caracci. The Magdalene.—4. Pierin del Vaga. Galatea.—9. Sassoferrato. A Holy Family.—15, 37. A. del Sarto. Holy Families.—16. Breughel. The Creation. —21. Guercino. The Prodigal Son.— 25. Claude. The Flight into Egypt.— 26. Garofalo. The Visitation of St. Elizabeth.-36. The Flight into Egypt; the landscape by Gaspar, the figures by Nicholas Poussin.—38. N. Poussim. A copy of the Nozze Aldobrandini (see p. 215): the differences between this copy and the original fresco arise from re- storations made on the latter and since removed.—47. Albano. Holy Family and 2 female Saints.— 51. Dosso Dossi. The Expulsion of the Wendors from the Temple. West Branch of Gallery, XIV. (2° Braccio).--5. Guercino. St. Peter. — 14. RAPHAEL. Portraits of Baldo and Bartolo.—17. Titian. A fine Male Portrait. — 21. Pandyke. Portrait of a Widow.—25, 30, 60, 65. Breughel. The Four Elements; the animals and plants beautifully rendered. —26. Titian. Sacrifice of Isaac.—37. Rubens. Portrait of his wife; and 50, of a Friar, called his Confessor. — 53. LEONARDO DAVINCI. Portrait of Joanna Sect. I. 257 § 26. P. FARNESE, II, of Aragon, Queen of Naples, a lovely picture.-61. Benvenuto da Or- tolamo. The Nativity, a good painting of this rare master.—63. Breughel. The Creation of Eve ; and 70. ſal. Para- dise.—66. Garofalo. A Holy Family. –69. Correggio. A cartoon of Glory crowning Virtue. — 76. Teniers. A Village Feast.—80. Portraits of Titian and his wife, attributed to himself. N. Branch of Gallery (3° Braccio)–1, 6, 19, 28, and 34. An. Caracci. A series of good paintings, in the form of lu- mettes, of the Assumption, the Flight into Egypt, the Nativity, the Adora- tion of the Magi, and the Entombment of Our Saviour.—18. Id. A Pietà or Dead Christ.—5. CLAUDE. Mercury stealing the Cattle of Apollo.—12. Id. The celebrated Molino, one of Claude's finest landscapes.—23. Id. The Tem- ple or Sacrifice of Apollo.—33. Id. The Hunting Diana, a small picture inferior to the 2 last.—11. The por- trait of Machiavelli, attributed to A. del Sarto and Bronzino, with the in- scription Nicolaus Maghiavellius, His- toriarum Scriptor.—10. Titian. Por- trait of his Wife.—16. Christ on the Cross, attributed, on doubtful grounds, to Michel Angelo.—21. Garofalo. St. Catherine.—25. Schidone. St. Roch.- 27. Giorgione. A fine portrait.—29. Paul Peronese. A pretended portrait of Lucretia Borgia.-30. Guercino. Endy- mion.—31. Fra Bartolommeo, Holy |Family. In the Cabinet (c) at the extre- mity of this branch of the gallery have been placed some pictures connected with the history of the Doria family. —No. 2. A portrait of the cele- brated Andrea Doria, surrounded by naval emblems, attributed to Seb. del Piombo. — 3. Another of Gianetto Doria, by Bronzino.--5. Immocent X., the founder of the Pamfili family, by Velasquez. The bust of Princess Mary Talbot Doria is by Tenerani.— 6. The Deposition, with the portraits of the Donatorii, a good specimen of Hans Hemeling. The Gallery of the Mirrors, XVI. (G. de Specchi), which rums parallel to the Corso, is profusely decorated with looking-glasses and an- cient statues, mone of any great value; the frescoes on the roof are by Mellani, a painter of the last century. Beyond the Great Gallery are a series of rooms (XI., XII., &c.) communicating with those inhabited by the family, which, as well as the elegant chapel, can only be visited with a permission from Prince Doria. One of these, the Throne Room, contains several works of Poussin's, amongst others his celebrated land- scape of the Ponte Lucano. Palazzo Falconieri, in the Via Giulia, built in the 17th century from the designs of Borromini. This palace was formerly celebrated for the gallery of Cardinal Fesch, by whom it was oc- cupied for many years prior to his death in 1839. Palazzo Farnese, the property of the king of Naples, by whose family it was inherited, as the descendants of Eli- zabeth Farnese, the last of her line; be- gun by Paul III., while Cardinal, from the designs of Antonio di Sangallo, it was finished by his nephew, Cardinal Alessamdro Farmese, under the direction of Michel Amgelo (1526). The façade towards the Tiber, with its Loggia, was added by Giacomo della Porta. The architecture of this palace is beyond all doubt the finest in Rome; but it loses much of its interest when we know that the blocks of travertime of which it is constructed were taken from the theatre of Marcellus and the Coliseum, of whose ruin, says Gibbon, “the nephews of Paul III. are the guilty agents, and every traveller who views the Farmese palace may curse the sa- crilege and luxury of these upstart princes.” The piazza, adormed with 2 handsome fountains, is arranged in such a mammer that the palace is seen to great advantage. The granite basins of the fountains, 17 feet in length and 4 feet in depth, were found in the Baths of Caracalla. On entering the palace the size of the blocks of travertime, and the precision with which they are 258 Rome, $ 26. PRIVATE PALACEs.-P. FARNESE. fitted, will mot fail to attract attention. Nothing can surpass the solidity of the construction: the basement of the court, which was laid down by Vignola on the original plan of Sangallo, and the first story, by Vignola himself, are worthy of the best times of architecture. All the upper part of the building, with the imposing entablature, are by Michel Angelo. The court was originally sur- rounded by two ranges of open porticos, as we have seen at the P. della Cancel- leria (p. 248), the lower Doric still open; the upper Ionic has had its arches closed in recent times with brickwork and windows, which takes much away from the grandeur of this once superb atrium. Above the Ionic portico rises the attic with its Corinthian pilasters, by Michel Angelo. In the lower portico of the court is the sarcophagus, said, but on doubtful authority, to have been found in the tomb of Caecilia Metella. Its form, as well as the rude style of the bas-reliefs of scenes of the chace upon it, are evidently of a period posterior to the times of the wife of Crassus. During the siege of Rome in 1849 the palace was struck by several shot from the breaching batteries of the French, the marks of which were evident until lately on the façade towards the Tiber: its cornice and roof were somewhat injured, but no damage was dome to the interior. In former times the pa- lace was remarkable for its fine collection of statues. The frescoes of An. Caracci and his scholars are the great attraction of the Gallery on the upper floor. These fine works occupied no less than 8 years in execution, and were rewarded with the small sum of 500 gold crowns (120l.). The centre-piece represents the Triumph of Bacchus and Ariadne, attended by fauns, satyrs, and bac- chantes, and preceded by Silenus on an ass. The other subjects are, Pam bringing goatskins to Diana; Mercury presenting the apple to Paris ; Apollo carrying off Hyacinth ; the Eagle and Ganymede ; Polyphemus playing on the Pipes; the pursuit of Acis ; Perseus and Andromeda (by Guido); contest of Perseus and Phineus; Jupiter and Juno; Galatea, with tritoms and nymphs; Apollo flaying Marsyas ; Boreas carry- ing off Orythia ; recall of Eurydice; Europa on the Bull; Diana and Endy- mion; Hercules and Iole; Aurora and Cephalus in a car; Amchises and Venus; Cupid binding a Satyr; Sala- mucis and Hermaphroditus; Syrinx and Pan ; Leander guided by Cupid swim- ming to meet Hero. The 8 small sub- jects over the niches and windows are by Domenichino; they represent Arion on his dolphin ; Prometheus; Hercules killing the dragon of the Hesperides; his deliverance of Prometheus; the fall of Icarus; Calisto in the bath; the same nymph changed into a bear ; Apollo receiving the lyre from Mercury. In another apartment, called the Gabi- netto, are other frescoes by An. Caracci; on the roof is an oil-painting of Hercules ; on the cross-road (between Vice and Vir- tue), a copy of a picture by this master which has been removed to Naples. The frescoes are, Hercules supporting the globe; Anapius and Amphinome saving their parents from an eruption of Ætma; Ulysses and Circe; Ulysses passing the island of the Sirens; Per- seus and Medusa ; Hercules and the Nemaean Lion. Other rooms are painted in fresco by Daniele da Polterra, Tad- deo Zucchero, Francesco Salviati, and | Pasari, but they are not open to the public. The principal subjects repre- sent the signing of the treaty of peace between Charles V. and Francis I., and the dispute between Luther and the papal numcio Card. Cajetan (Caetami). The colossal group of Alessandro Farmese crowned by Victory, with the Scheldt amd Flanders at his feet, the work of Moschino, was sculptured out of a column taken from the Basilica of Com- stantime. Some of the rooms are re- markable for their beautifully carved ceilings. There are some specimens of sculpture still remaining, but of little value; all the best, having been transported to Naples, form the prim- cipal riches of the Museo Borbonico. The Farmesina, in the Lungara of the Trastevere, opposite the Corsini Palace Sect. I. § 26. P. FARNESINA. 259 (open every day, except Sundays and of Tritons on the rt of Galatea, it was feast-days), also the property of the king entirely painted by Raphael. The fres- of Naples, built in 1506, by Agostino coes of the roof, representing Diama in Chigi, the great banker of the 16th her car, and the fable of Medusa, are by century, from the designs of Baldassare Beruzzi. It is celebrated for its fres- coes by Raphael and his scholars, Giulio Romano, Francesco Penni, Gio- vanni da Udine, and Raffaello del Colle. Several of them were repainted and much injured by Carlo Maratta, so that, although we still have the designs of the illustrious master, the original Baldassare Peruzzi. The figures in chiaroscuro and the other ornaments are by the same artist. It is said that when first painted the effect of those in chiaroscuro was such, that Titian thought they were ornaments in relief, and desired that a ladder might be brought, in order that he might ascer- tain the fact. The lunettes, painted by colouring has disappeared. I.--The Sebastiano del Piombo soon after his large entrance-hall facing the court-yard: arrival in Rome, and Daniele da Vol- the painting upon the ceiling represents terra, represent Diana on her car, the story of Psyche, designed by Ra- phael, but executed for the greater part by his scholars. 1. Venus showing Psyche to Cupid. 2. Cupid showing and Medusa. In one of them is a colossal head, said to have been sketched in charcoal by Michel Angelo. As the story runs, the great painter had paid Psyche to the three Graces; the mearest a visit to D. da Volterra, and, after of the Graces is by Raphael’s own hand. waiting for some time to no purpose, 3. Juno and Ceres interceding with he adopted this mode of apprising Venus in behalf of Psyche. 4. Venus in her car hastening to claim the inter- ference of Jupiter. 5. Venus before Jupiter praying for vengeance against Psyche. 6. Mercury sent to publish the ºrder of Jupiter. 7. Psyche borne by genii, with the vase of paint given by Proserpine to appease the anger of Venus. 8. Psyche presenting the vase to Venus. 9. Cupid complaiming to Jupiter of the cruelty of his mother, one of the most graceful compositions of the series. 10. Mercury carrying Psyche to Olympus. On the flat part of the vault are 2 large frescoes, one representing the judgment of the gods on the appeal of Cupid ; the other, the marriage of Cupid and Psyche. In the lunettes are graceful figures of young Cupids, with the attributes of different divinities who have acknow- ledged the power of Love. II. Hall of the Galatea.—In the exquisite compo- sition from which this room derives its mame, Galatea is represented in her shell, drawn by dolphins, surrounded by tritons and mymphs, and attended by genii sporting in the air, the whole characterized by a grace and delicacy of feeling which bespeak the master- hand. With the exception of the group | Daniele of his visit. The landscapes on the walls were painted long subse- quently by Gaspar Poussin. III. In the upper story are 2 halls: in the first and largest the architectural paintings are by Baldassare Peruzzi ; the Forge of Vulcan, and the large frieze repre- senting subjects from the Metamor- phoses of Ovid, are attributed to Giulio Bomano ; in the second room the Mar- riage of Alexander and Roxana, and the Family of Darius at the feet of Alexander, are by Sodoma. The Far- mesima Palace acquired great celebrity during the reign of Leo X. as the resi- dence of Agostimo Chigi. He was a liberal though an ostentatious patron of literature and the arts, whose chief pride was the exhibition of princely magnifi- cence, not only as the Mecanas of his time, but as the great Amphitryon of Rome. His entertainment to Leo X., the cardinals, and the ambassadors, in 1518, was the most costly banquet of modern times. Tizio, who was present on the occasion, tells us that the price of 3 fish served up at the banquet amounted to 250 crowns; and it is related that the plate used was thrown into the Tiber, by Chigi's orders, as it was removed from table. The Farmesima 260 I'ome. § 26. PRIVATE PALACEs. is said to have been built purposely for the entertainment, and as a monu- ment of his luxury and taste. The palace afterwards became the property of the Farmese princes, and has passed, like all their other possessions, into the hands of the royal family of Naples, who established in it an Academy of Painting, where a number of pupils were maintained at the expense of the Government of Naples until lately. In the garden are some frescoes in the style of Raphael, and on the outer wall are remains of paintings by Bal- dassare Peruzzi. Palazzo di Firenze, in the Piazza of the same name, not far from the Palazzo Borghese, rebuilt by Vignola about 1560, remarkable only for its architecture. It is the property of the Tuscan govern- ment, and is the residence of its mi- nister to the Holy See, and the seat of the Tuscan Academy of Fine Arts. Palazzo Giraud, in the Piazza Scos- sacavalli of the Borgo. It has an in- terest for English travellers as the palace of the representatives of England at the Court of Rome before the Reformation. It was built in 1506 by Bramante, for Cardinal Adriano da Corneto, who presented it to Henry VIII., and for some years it was the residence of the English ambassador. It was given by Henry VIII. to Cardinal Cam: peggio, and was subsequently converted into an ecclesiastical college by Innocent XII. On the removal of the college to near the Ponte Sisto, the palace was purchased from the Government by the Marquis Giraud, who rebuilt the prin- cipal gateway. A few years since it became the property by purchase of the banker Torlonia. Cardinal Wolsey resided in it during his last visit to Rome. Palazzo Giustiniani, near the ch. of San Luigi dei Francesi, and the post- office, begun by Giovanni Fontana in 1580, and completed by Borromini, formerly celebrated for its paint- ings and sculptures. It is built on a portion of the site of Nero's Baths : its museum was celebrated for its an- tiquities, many of which were found upon the spot. The greater part of these treasures have been dispersed; amongst those remaining are a statue of Westa and some bas-reliefs in the walls round the court, which belonged to sepulchral urns, one of which, more remarkable than the rest, represents a Bacchamalian procession, in which are Asiatic elephants and dromedaries, well delineated, and a chariot drawn by lions. Palace of the Inquisition, a vast edifice built by Pius V., behind St. Peter's, and used as a prison for members of religious communities, or for persons in holy orders. The archives which have been collected in this Im- stitution for centuries past are said to be of the highest interest, includ- ing the details of many important trials, such as those of Galileo and of Giordano Bruno, the correspondence relating to the Reformation in England, and a series of Decrees from the year 1549 down to our own times. ‘The institution had also two very interest- ing libraries, one of which contained copies of the original editions of the works of the Reformers in the 16th and 17th centuries, now become ex- tremely rare. The tribunal of the In- quisition was suppressed by the Roman Assembly in February, 1849, but was re-established in June of the same year by Pius IX., in an apartment at the Vatican. The building has been of late years occupied as a barrack by the French troops. JPalazzo Lante, near the ch. of St. Eustachio. It contains a few ancient statues, of which the most remarkable is the group placed on the fountain in the court, and supposed to represent Ino nursing Bacchus. Palazzo Madama, built in 1642 by Catherine de'. Medici, from the designs of Paolo Marūcelli. It occupies a por- Sect. I. 261 § 26. P. MASSIMI–P. OIRSINI. tion of the site covered by Nero's Baths. It contains nothing to interest the stranger, and is remarkable only for its architecture. It is now occupied by the offices of the Minister of Finances, and the Post and Diligence offices. Palazzo Massimi, delle Colonne, near the ch. of S. Andre della Valle, begun in 1626 from the designs of Baldassare Peruzzi. The fine portico of 6 Doric columns, the double court and its pretty fountain, may be classed among the good examples of moderm architecture; the palace is considered as Baldassare's masterpiece. It is also interesting as the last work be exe- cuted. It contains the celebrated Dis- cobolus, found on the Esquiline in 1781, mear to where the so-called Trophies of Marius stood. This noble statue is supposed to be a copy of the famous one in bronze by Myron, and is one of the finest specimens of ancient sculpture in Rome. The lesser front of the palace, towards the Piazza Navona, has some frescoes in chiaro-scuro by Daniele da Polterra. In a room on the upper floor, now converted into a chapel, took place the miraculous resuscitation of one of the Massimi family by S. Filippo Neri, in 1584. It was in the adjoining Pal. Pirro, so called from the statue of Pyrrhus or Mars, now in the Capitoline Museum, that Pietro de’ Massimi, in 1487, established the earliest printing- office in Rome, and where the first works that issued from it, the Apuleius, and St. Augustine’s de Civitate Dei, were printed by Sweynheim and Pan- martz. Palazzo Mattei, built on the site of the Circus of Flaminius by duke Asdrubal Mattei, from the designs of Carlo Madermo (1615). It is a fine building, and still contains some an- cient marbles in the court and under the portico of the 1st floor. The gal- lery of pictures, once celebrated, has been dispersed since the extinction of the family in the male line; of the few works of art that remain the follow- ing are only worthy of notice :-T. The roof of the first room is painted in fresco by Pomarancio. The principal pictures are Charles I. and Charles II. of England, by Vandyke ; Sta. Bona- ventura, by Tintoretto ; 4 landscapes, by Paul Brill. II. The two Seasons, by Paul Brill ; Holy Family, by the school of the Caracci ; 4 pictures of dealers in fish and other eatables, by Passerotti. III. The two Seasons, by Paul Brill, forming the suite to those in the preceding room. IV. The roof painted by Lanfranco. The Sacrifice of Isaac, by Guido. W. The gallery; the roof painted by Pietro da Cortona. —Lanfranco. The Sacrifice of Isaac. —Tempesta. The Entry of Charles W. into Bologna. — Pietro da Cortona. The Nativity. IV. The roof painted in chiaro-scuro, by Domenichino. This palace forms only a portion of what it once was ; the present P. di Caserta, towards the Via delle Botteghe Sacre, having formed one division ; and the Pal. Longhi, from the designs of Wig- mola, in the Piazza Paganica, another. Palazzo Muti-Papazurri, in the Piazza of the SS. Apostoli, interesting to English travellers from having been the residence for many years of the Pretender Charles Edward, who died in it in 1769. Palazzo Niccolini, nearly opposite Giulio Romano's Cicciaporci Palace, in the Via de' Banchi Nuovi, remarkable for its fine architecture by Giacomo di Sansovino (1526). Palazzo Odescalchi, or Bracciano, opposite the ch. of the SS. Apostoli, formerly a Chigi palace, built by Car. dimal Fabio Chigi from the designs of Bernini, and completed from those of Carlo Madermo: the façade is by Bermini. The collections of pictures, statues, and especially of gems, once preserved here, have been sold and dis- persed. Palazzo Orsini, formerly the P. Savelli, built in 1526 by Baldassare 262 § 26. Rome. PRIVATE PALACES.— P. ROSPIGLIOSI. Peruzzi on the ruins of the Theatre of Marcellus. It is remarkable chiefly for the vestiges of the ancient theatre which are still traceable beneath and around it. Palazzo Pamfili, in the Piazza Na- vona, on the 1. of the ch. of S. Agnese, built by Innocent X. from the designs of Girolamo Rainaldi, in 1650. The roof of the gallery was painted by Pietro da Cortona, the frescoes representing the adventures of AEmeas: there are also some by Romanelli and G. Poussin in the different apartments. This palace was the residence of Olimpia Maidal- chini Pamphili, whose adventurous life has been moticed in our description of Viterbo. (Handbook of Central Italy.) Palazzo Rospigliosi, on the Quirimal, built in 1603, by Cardinal Scipio Borghese, from the designs of Flamimio Ponzio, on the site of the Thermae of Constantine. It afterwards belonged to Cardinal Bentivoglio, and was pur- chased from him by Cardinal Mazarim, who enlarged it from the designs of Carlo Maderno. It was from that time until 1704 the residence of the IFrench ambassadors, and finally passed into the Rospigliosi family. The ca- simo, which alone is shown, and is open to visitors on Wednesdays and Saturdays, consists of 3 halls on the garden floor; on the roof of the cen- tral ome is the AURORA by GUIDO, one of the most celebrated frescoes in Rome; Aurora is represented scattering flowers before the chariot of the sum, drawn by 4 piebald horses; 7 female figures, in the most graceful action, surround the chariot, and typify the advance of the Hours. The composi- tion is extremely beautiful, and the colouring brilliant beyond all other ex- amples of the master. A large mirror has been so arranged as to enable the visitor to view the fresco with greater facility. The frescoes of the frieze are by Tempesta, the landscapes by Paul Brill. There are some busts round this hall, a statue of Diana, 2 columns ofrosso antico, remarkable for their size, and a bronze horse found in the ruins of the Baths. In the adjoining rooms are —I. Hall on the right. A large and fine picture of Adam and Eve in Para- dise after the Fall, by Domeni- chino; the Death of Samson, by Lodo- vico Caracci; the Head of Guido, by himself; a portrait, by Pandyke.-II. Hall on the left. The Triumph of David, by Domenichino ; 13 pictures of the Saviour and the 12 Apostles, by Rubens, many of them copies; the Saviour bearing the Cross, by Daniele da"Tolterra ; Poussin, his own portrait; Tobias, by Cigoli ; a Pietà, by Pas- signan: ; busts of Semeca, Hadrian, Septimius Severus, &c.; and in the centre of the room a small antique bronze horse, found near the Baths of Titus. During the siege of Rome in 1849, a 24 lb. shot (it is preserved with an inscription in one of the rooms) from the French batteries, after pass- ing close to the equestrian statues on the Monte Cavallo, struck the roof of one of the lateral pavilions of the Casimo, and knocked to pieces some of the woodwork; but no mischief was dome to the works of art. In the garden are several fragments of antique sculp- tures, found chiefly among the ruins of the Baths, and one of the largest trees in Europe of the South American Schinus Molle. The apartments of the palace inhabited by the family contain several fine paintings, and an interest- ing bust of Scipio Africanus in green basalt, said to have been found at Lin- ternum: they are not shown to strangers. Palazzo Ruspoli, in the Corso, built in 1586 by the Rucellai family, from the designs of Bartolommeo Ammanati. The staircase, composed of 115 steps of white marble, erected by Martino Lunghi (1550) for Cardinal Caetani, is considered the finest construction of this kind in Rome. The ground floor is occupied by the Café Nuovo. Palazzo Sacchetti, in the Via Julia (No. 66), built by Antonio di Sangallo for his own residence, early in the 17th century, and completed by Nammi Ligio. Sect. I. § 26. P. SCIARRA. 263 The architecture is much admired. Only 2 sides have been completed, those to- wards the E. and N., which show the beautiful cornice by which the walls are surmounted. At the death of San- gallo the palace became the property of Cardinalſticci, who formed in it a valu- able collection of statues and antiques. The palaceamd its antiquities passed suc cessively from the Ricci family to those of Caroli, Acquaviva, and Sacchetti, and ultimately came into the possession of Benedict XIV., who removed the sculptures to the Capitol, where they became the foundation of the present museum. The palace once bore the arms of Paul III., and the inscription, Tu Anihi quodcumque hoc rerum est, a grateful record of Sangallo's obligations to the pope, who first discovered his genius, and encouraged it by his con- stant patromage: both, however, have been wantonly effaced. Palazzo Sciarra, in the Piazza Sci- arra, built in 1603 by Labacco, with a JDoric doorway, attributed to Vignola. The gallery is small, but contains some ſirst-rate works of art : it is arranged in 4 rooms on the first floor, and is open to the public on Saturdays only. Many of the best pictures were formerly in the Barberini collection :- Room I. 2, , Cav. Arpino, an Ecce Homo ; 3, P. da Cortona, Santa Bar- bara ; 9, Lanfranco, Cleopatra ; 10, a copy of Raphael's Transfiguration, attributed to Giulio Romano ; 13, Inn. da Imola, Virgin and Child; 5 and 15, Talentino, two large pictures of the De- collation of St. John the Baptist, and of Rome Triumphant; 16, Garofalo, the Samaritan at the well; 19, Carlo Dolce, a small Crucifixion; 20, Tilian, a small but very pretty Madonna and Child. Room II, is chiefly filled with land- scapes. 14, 22, Paul Brill, two good landscapes in his second mammer ; 17, 18, Claude, the Flight into Egypt, and a beautiful Sumset ; 26, a large pic- ture of a religious ceremony in the Church of il Gesu, the figures by A. Sacchi, the architectural portion by Galiardi; 37, 39, Claude (?), two Land- scapes; 36, N. Poussin, St. Matthew and the Angel; Canaletti, a View of the Castel Novo, at Naples; 54, Paul Brill, a good Landscape in his first manner. JRoom III. 6, Baroccio, a Deposition; Francia, a Holy Family; 8, Eliz. Serani, Charity; 9, Garofalo (?), a hunting scene; 17, Gaudenzio Ferrari, a large allegorical picture, called the Old and New Testament—there is a good group of an angel leading a Franciscan monk to the judgment-seat in the foreground, below a strange rocky landscape; 19, P. da Cortona, a small picture of S. Bruno; 23, Garafalo, a small Noli me tangere; 26, Id., La Pestale Claudia ; Albano, a Holy Family; 32, C. Maratta, id: ; 33, Giulio Romano, a copy of the Barberini Formarina ; 36, Lucas von Leyden, Madonna and Angels, signed and dated 1504, an elaborately worked small picture; 41, Garofalo, the Ado- ration of the Magi; and four large indif- ferent Bassanos. Poom IV. 1, Fra Bartolommeo, a beautiful group of the Madonna, Child, and St. John ; 5, 7, Guercino, St. John the Evangelist, and St. Mark; 6, RA- PHAEL, THE PLAYER ON THE WIOLIN, dated 1518; 8, Giorgione, the Execu- tioner presenting the Head of St. John to Herodias ; 12, Agostino Caracci, Conjugal Love ; 16, Caravaggio, the Three Gamesters ; 17, LEONARDO DA VINCI, MODESTY AND WANITY, one of the finest and most characteristic pictures of the master; 19, Guido, a Magdalen ; 15, 20, Breughel, two small Landscapes; 22, a small picture in six compartments, representing events in the life of our Saviour, attributed to Giotto ; 26, Perugino, a beautiful St. Sebastian ; 27, N. Poussin, Martyrdom of St. Erasmus ; 28, Guercino, St. James; 29, TITIAN, the so-called BELLA DONNA DI TIZIANO, one of Titian's finest portraits; 31, Albert Durer, the Death of the Virgin ; 32, GUIDo, THE MAGDALEN DELLE RADICI. P. De Regis or Silvestri, formerly Farmesina (sometimes called della Li- notta), in the dirty lane called the Via 264 Rome. § 26. PRIVATE PALACEs.-P. SPADA. dell’Aquila, leading from the Via de' Baullari to opposite the Palace of the Cancelleria, is a very beautiful speci- men of the domestic architecture of the 16th cent. Little is known of its his- tory; it bears on the frieze the lilies of the Farmeses, and has been attributed to Bramante, A. di Sangallo, and B. Pe- ruzzi, and even to Michel Angelo, and was once known as the Farmesima of M. Angelo. Its small Doric cortile is very handsome : umfortunately it is sur- rounded by mean buildings, and is in a dirty quarter: it is now in a sadly ne- glected state. Palazzo Spada (alla Regola), in the Piazza di Capo di Ferro (open daily from 10 to 3), near the Farmese Palace, begun by Cardinal Capo di Ferro in 1564, from the designs of Giulio Maz- zoni, a pupil of Daniele da Volterra's. It was decorated by Borromini, who has left in one of the courts a proof of his capricious taste in the fantastic colonmade of Doric columns, erected for the sake of its perspective. The great treasure of this palace is the Statue of Pompey, which stands in the principal antechamber which pre- cedes the picture-gallery, on the 1st floor, a colossal figure holding the globe, found, as we have elsewhere stated, in the Wicolo de' Leutari, near the Can- celleria, in 1553. This noble figure has been regarded for about 300 years as the identical statue which stood in the Curia of Pompey, and at whose base “great Caesar fell.” It is 11 feet high, and of Greek marble. We are told by Suetonius that Augustus removed it from the Curia, and placed it on a marble Janus in front of the basilica. The spot on which it was found corresponds precisely with this lo- cality. When it was discovered the head was lying under one house and the body under another: and Flami- nio Vacca tells us that the two pro- prietors were on the point of dividing the statue, when Julius III. inter- posed, and purchased it for 500 crowns. The disputes and scepticism of anti- quaries have led, as usual, to abundant controversy on its authenticity, but, after having been called Augustus, Alexander the Great, and an unknown emperor, by successive critics, the am- cient belief has triumphed, and it is likely to preserve the title of the Spada Pompey long after all its critics have been forgotten. “And thou, dread statue | yet existent in The austerest form of naked majesty, Thou Who beheldest, 'mid the assassins' din, At thy bathed base the bloody Caesar lie, Folding his robe in dying dignity, An offering to thine altar from the queen Of gods and men, great Nemesis I did he die, And thou, too, perish, Pompey P have ye been Victors of countless kings, or puppets of a Scene º '' In a mote to this passage of Childe Harold, Sir John Hobhouse examines the evidence on the authenticity of the statue. “The projected division of the Spada Pompey,” he says, “has already been recorded by the historian of the Decline and Fall of the Roman Empire. Mr. Gibbon found it in the memorials of Flaminio Vacca; and it may be added to his mention of it, that pope Julius III. gave the contending owners 500 crowns for the statue, and presented it to Cardinal Capo di Ferro, who had prevented the judgment of Solomon from being executed upon the image. In a more civilized age this statue was exposed to an actual opera- tion ; for the French, who acted the Brutus of Voltaire in a neighbouring theatre, resolved that their Caesar should fall at the base of that Pompey which was supposed to have been sprinkled with the blood of the original dictator. The hero was therefore removed to the arena of the amphitheatre, and, to facilitate its transport, suffered the temporary amputation of the right arm. The republican tragedians had to plead that the arm was a restoration ; but their accusers do not believe that the integrity of the statue would have pro- tected it. The love of finding every coincidence has discovered the true Caesarian ichor in a stain on the l. leg and foot ; but colder criticism has rejected Sect. I. § 26. P. SPADA. 265 not only the blood,” but the portrait, and assigned the globe of power rather to the first of the emperors than to the last of the republican masters of Rome. Winckelmann is loth to allow an heroic statue of a Roman citizen, but the Grimami Agrippa, a contemporary al- most, is heroic ; and naked Roman figures were only very rare, not abso- lutely forbidden. The face accords much better with the ‘hominem in- tegrum et castum et gravem,” than with any of the busts of Augustus, and is too sterm for him who was beautiful, says Suetonius, at all periods of his life. The pretended likeness to Alexander the Great cammot be discerned, but the traits resemble the medal of Pompey. The objectionable globe may not have been an ill-applied flattery to him who found Asia Mimor the boundary, and left it the centre, of the Roman empire. It seems that Winckelmann has made a mistake in thinking that no proof of the identity of this statue with that which received the bloody sacrifice can be derived from the spot where it was discovered. Flaminius Vacca says sotto una cantina, and this cantina is known to have been in the Vicolo de' Leutari, mear the Cancelleria; a posi- tion corresponding exactly to that of the Jamus before the basilica of Pom- pey's Theatre, to which Augustus trams- ferred the statue after the curia was either burnt or taken down. Part of the Pompeian shade, the portico, ex- isted in the begimming of the 15th cem- tury, and the atrium was still called Satrum. So says Biondo. At all events, so imposing is the stern majesty of the statue, and so memorable is the story, that the play of the imagination leaves no room for the exercise of the judgment, and the fiction, if a fiction it is, operates on the spectator with an effect not less powerful than truth.” During the siege of Rome in 1849 the statue had a wonderful escape from destruction ; several shot from the * Red stains of this description are frequent in statues of Greek marble, and produced by the alteration of a minute quantity of iron pyrites; not so in those of Carrara or Paros. [Rome.] French batteries struck the walls of the palace, some breaking through the mas- sive structure, and two struck the wall of the room next to that in which stands the statue without injuring it. Among the other antiques of this palace (in a room on the ground-floor), the most remarkable are the sitting statue of a philosopher, generally believed to be Aristotle, not only from the best authenticated likenesses, but from the first letters (ARIS) of the name, al- though some antiquaries will have it that itis Aristides; and the beautiful bas- reliefs which formed the pavement of St. Agnese beyond the Porta Pia, where they were discovered in the last century, with the sculptured sides downwards. Their subjects are, 1. Paris on Mount Ida ; 2. Bellerophon watering Pegasus; 3, Amphion and Zethus; 4. Ulysses and Diomede robbing the temple of Mi- nerva ; 5, 6. Paris and CEnome ; 7. Adonis or Meleager; 8. Adrastus and Hypsipyle finding the body of Arche- morus; 9. Pasiphaë and Daedalus. The two casts are from the bas-reliefs in the Capitol. The Gallery has a collec- tion of pictures, the greater mumber of which are of very doubtful authenticity, arranged in 4 rooms on the upper floor. IRoom. I.-10. Sc. Gaetano. Portrait of Julius II.—32. Lanfranco. Cain and Abel.—41. Canuccini. Portrait of Car- dinal Patrizzi.-45. Guercino. David. —56. Luca Giordano. The Sacrifice of Iphigemia. Room II.—9. Guido, Judith with the head of Holofermes. —19. N. Poussin. Jacob and his Bro- thers.—17. Leonardo da Pºinci. A copy of his Dispute with the Doctors, in our National Gallery.-8,10. Breughel. The Preaching of St. John.—2. Titian. Por- trait of Cardinal Fal. Spada.-26. Albano. Bacchantes.—32, 33. Guercino. St. John the Evangelist, and Santa Lucia. Room III., or Gallery.—20. Guido. The Rape of Helen.—24. Titian. A good Portrait of Cardinal Spada. — 27, 28. Mantegna. Christ bearing the Cross, with the Almighty above.—33. Tandyke. A Man playing on the Violomcello. 2. A copy of the St. John in the Borghese Gallery, attributed to IN 266 § 27 Rome. . HISTORICAL HOUSES. J’aolo Teronese.—48. Guercino. The 1)eath of Dido.—49. M. A. Caravaggio. Goliath.—71. A Portrait of Balthasare Castigliome. In the room between the liall of the Pompey and the Picture Gallery are some frescoes by Luzio Pomano. Palazzo Torlonia, in the Piazza di Venezia, built by the Bolog- netti family, about 1650, from the designs of Carlo Fontama, and pur- chased at the begimming of the present century by Torlonia, the great Roman banker. All its collections were formed by him, and the principal works it contains are the productions of modern artists. The ceilings of the rooms are painted by Camuccini, Pelagi, and JLandi : and in a cabinet built for the purpose is Canova’s statue of Hercules throwing Lycas into the sea. Palazzo di Penezia, at the extremity of the Corso, the ancient palace of the republic of Venice. This castellated palace was built in 1468 by Paul II., a Venetian, from the designs of Giuliano da Majamo. The materials, like those of the Farmese Palace, were taken from the Coliseum. The palace was sold by Clement VIII. to the republic of Venice. It remained in the possession of the re- public until its fall, when it passed to the emperor of Austria. Its battle- mented walls give it the air of an old feudal fortress. It is now the resi- dence of the Austrian minister, and is undergoing a very judicious restora- tion, having been much mutilated and neglected of late years. Palazzo Vidomi, formerly the P. Caffarelli and P. Stoppani, mear the ch. of S. Andrea della Valle, interest- ing as the most important building in Rome designed by Raphael (1513). The upper part is a subsequent addi- tion, and harmonises badly with the Jhanidsome architecture of the two lower floors. At the foot of the stairs is a statue of Marcus Aurelius. Amongst other objects of interest in this palace are the fragments of the ancient Roman Calendar found in the last century at Palestrina by Cardinal Stoppami, and illustrated by Nibby. The Emperor Charles W. inhabited this palace during his visit to Rome. The palace has lately undergone a thorough restoration, both in and outside, the latter in harmony with the original state it was when built; it suffered much in 1849, having been at one time converted into a mili- tary hospital. § 27. HISTORICAL Hotſs Es. The attractions offered to the tra- veller by the palaces and the museums of Rome too frequently distract atten- tion from the unobtrusive houses which are identified with the memory of great names in the history of the fine arts. The first in interest is the House of Raphael, situated in the Via dei Coronari, a small street near the Ponte di S. Angelo. In this house the great painter resided for many years before he removed to that built for him by 13ramante in the Piazza Rusticucci, in which he died, and which was pulled down to enlarge the Piazza of St. Peter's. It is the house with which he endowed the chapel in the Pantheon where his ashes still re- pose. It was renovated and partly rebuilt in 1705, when Carlo Maratta painted on the façade a portrait of Ra- phael in chiaro-scuro. This interesting record is almost effaced. - Płouse of Pietro da Cortona.—In the street called the Via Pedacchia is the house built and inhabited by Pietro da Cortona : there is a marble Sect. I. 267 § 28. ARTISTS' STUDIOs. slab with an inscription over the door. His skill and judgment in architecture are shown even on the small scale on which his house is constructed; the windows, the door, the portico, and the little court are of the Doric order, and still exhibit many traces of the peculiar taste of this talented artist. House of Bernini, now Silvestrelli, No. 11, Via della Mercede, was the resi- dence of the artist : in another, bearing the same name and temanted by his descendants, in the Corso, opposite to the P. Ruspoli, is under the gateway his semi-colossal statue of Truth. House of the Zuccheri. — At the morthern extremity of the Via Sistina is the house formerly called the Palazzo della Regima di Polonia, in comme- moration of Maria Casimira queen of Poland, who resided in it for some years. It is interesting as having been built by Taddeo and Federigo Zuccheri for their private residence. The ground- floor was adorned by Federigo with frescoes, representing portraits of his own family, conversazioni, &c. A few years ago the palace was the resi- dence of the Prussian consul-general Bartholdi, under whose auspices it became remarkable for a high class of frescoes, painted in one of the upper chambers by some of the most eminent German artists of the day. They are illustrative of the history of Joseph : the Joseph sold by his brethren is by Overbeck ; the scene with Potiphar’s wife, by Ph. Peit ; Jacob's Lamentation, and the interpretation of the Dream in prison, by W. Schadow ; the inter- pretation of the king's dream, &c., by Cornelius ; the 7 years of plenty, by Ph. Peit; the 7 years of famime, by Overbeck. House of Poussin, in the Piazza della Trinità, No. 9, near the Trinità de' Monti. For nearly 40 years this house was occupied by Nicholas Poussin. Many of the great painter's most in- teresting letters are dated from it, and he died there at an advanced age in printing press at Rome in 1467. 1665. The Pincian is identified with the mames of the most celebrated land- scape-painters. Opposite the house of Poussin was the House of Claude Lor- Taine; and that of Salvator Rosa is not far distant. House of Conrad Sweynheim.—Ad- joining the Palazzo Massimi delle Co- lomme is the Palazzo Pirro (see p. 261), in which Conrad Sweymheim and Ar- mold Pannartz established the first They had settled previously at Subiaco; but in consequence of a disagreement with the monks they removed to Rome in 1467, and established here the second printing press in Italy. The imprint of their works specifies the locality “ in domo Petri de Maximis.” The De Oratore of Cicero and the De Civitate Dei of St. Augustin were printed here in 1468. The house was restored about 1510 by Baldassare Peruzzi. § 28. ARTISTs’ STUDIOS. Among those characteristics of Mo- dern Rome which are capable of afford- ing the highest interest to the intellectual visitor, we know none which possess a greater charm than the studios of the artists. Travellers in general are little aware of the interest which these studios are calculated to afford, and many leave Rome without making the acquaintance of a single artist. In the case of English travellers, in particular, this meglect is the more inexcusable, as some of our countrymen are amongst the most eminent artists of the Eternal City, and many of their finest works are to be found in the private galleries of Great Britain. The instruction to be N 2 268 Rome. § 28. ARTISTS' STUDIOs—sculptors. derived in the studios of these gentle- men is afforded on all occasions in the most obliging mammer. The following list only embraces the most celebrated of the artists of Rome, and more particularly those of English and American origin. A very useful little book in English, “The Artistical Directory, or Guide to the Studios of the Italian and Foreign Painters and Sculptors Resident in Rome,’ by Sigmor Bonfigli, containing a complete list of all, may be had at Spithover's and Piale’s libraries. SCULPTORs. – John Gibson, R.A., No. 4, Via della Fontamella, between the Via Babiuno and the Corso. First amongst our countrymen resident at Rome is this distinguished sculptor, who merits the high praise of having united the styles of the two greatest sculptors of modern Rome, Camova and Thorwald- sem : most of his works are in England, but models of all will be found in his stu- dio.— Macdonald, Stalle di Barberini, 7, T’iazza Barberini. In addition to some imaginative works of a very high order, Macdonald has obtained more fame for the truth and beauty of his busts than any artist in Rome.—Tenerani, No. 40, Via delle Colomette, in Piazza IBarberini. Temerami’s style of sculpture is in the finest dramatic taste, combined with deep feeling for mature. He is the first Roman sculptor now living, uniting the beautiful forms of nature with the charms of Greek art. Iſis Descent from the Cross in the Torlonia chapel at the Lateran, his wounded Venus, and his Psyche, are among the fine produc- tions of modern art.—Spence, No. 10B, Via degli Incurabili, an English sculptor, who has produced some very beautiful works of late years, the Highland Mary, the Seasons, and a Venus and Cupid, amongst the number.—Miss Hosmer, a very talented young American lady, and ome of the very few pupils of our great sculptor Gibson, adjoining whose studio she has also hers, and where her principal works may be seen: her statue of AEmome, her recumbent figures of Beatrice Cenci and of Miss Fal- connet on her tomb in the ch. of Sant’ Andrea della Frate, and her Puck, are well worthy of the admiration bestowed upon them. —Alfred Gatley, a very talented English artist, 29, Vicolo delle Lavandare, Piazza dell’ Oca, near the Piazza del Popolo : his large bas-reliefs of the Passage of the Red Sea, and of the Song of Moses, for the monument of Mr. Miller at Craigentinny, near Edinburgh, are remarkable works, not only for their general composition, but for the strict observance of the cotem- porary costume, &c. — Tadolini, No. 150A, Via Babuimo, a sculptor from the Republic of San Marino, very popular in Italy.—-Wolf, a Prussian artist, No. 151, Via delle Quattro Fontame, belongs to the school of Thorwaldsen.—Rinaldi, One of the few remaining pupils of Canova, at Canova's studio, No. 27, Via delle Colonette, out of the Corso, behind the church of S. Giacomo degli Incurabili, the present Professor of the Academy of St. Luke: his Ulysses recognised by his Dog, in the Marquis of Westminster's collection, and the Joan of Arc executed as a commission for king Louis Philippe, are very beautiful.—Shakespear Wood, No. 504 in the Corso, a clever English sculptor for statues, busts, and medal- lion likenesses.—Mr. Jackson, 8, Via di Porta Pinciama, has been successful in his small portrait busts. – Mozier, am American artist, No. 54, Via Mar- gutta, and Rogers, 4, IPiazza Barberini : the former has acquired some cele- brity for his statue of Pochontas, and the latter for his groups of Indians ; and Ives, also from the U. S., 18, Via S. Basilio, has lately produced a good statue of Pandora.-Risetti, No. 45, Vicolo del Vantaggio, near the Corso, a clever Piedmontese sculptor, whose groups of Hope and Immocence are much admired. — Benzoni, No. 73, Vicolo del Borghetto, near the Hôtel de Russie, is a sculptor of considerable reputation.—Imhoff, a Swiss, No. 8, Piazza Barberini; his Atalanta and Rebecca are two fine works.-Troschel, from Berlin, Professor of the Academy, No. 11, Via de' Cappuccini; his Girl Sect. I. 269 § 28. ARTISTS' STUDIOS—PAINTERs. asleep over her Spimming in Queen Vic- toria’s collection, and his Graces at Potsdam, are amongst his most admired works.--Strazza, 54, Via Sistina, who obtained a medal for his statue of Ishmael at the Great Exhibition in 1851, and author of one of the Peri of Lalla Rookh.-Bienaimé, No. 16, Via di San Basilio–Cav. Fabris, No. 14, Via Felice, Director of the Vatican Museum, has acquired reputation for his busts and sepulchral monuments. — Gott, No. 155, Via Babuimo, remark- able for his execution of dogs and animals generally.—Jacometti, No. 41, Piazza Barberini; his most celebrated works are his groups of our Saviour and Judas, and Pilate showing Christ to the people.—Gajassi, No. 1, behind the Tribuna of S. Carlo in Corso, author of Milton’s Eve and several large works.--Stocchi, No. 28A, Wicolo di Jesu Maria.-4. Kolberg, a pupil of Thorwaldsen’s, 29, Via della Purifica- zione, an artist of considerable merit. PAINTERs.-Overbeck, No. 9, Via dell’Olmo, near Santa Maria Maggiore, (His studio is open on Sundays and festas from 12 to 2.) This eminent Ger- man was one of the first masters of the modern school who recurred to the simple mammer of the early Italian paint- ers, or, as it is now designated, the pre- Raphaelite style. His subjects are chiefly of a religious character, and are particularly adapted to the devotional feeling which characterises the period of art which he has adopted as his model. — Cavaliere Capalti, No. 14, Ripa del Fiume, near the Piazza del Popolo, without a rival in Rome, or in Italy, as a portrait-painter, and well known in England by his mumerous works of the latter description painted for our country mem.—Penry Williams, No. 12, Piazza Migmamelli. No artist is entitled to more honourable mention than Penry Williams: his style is pecu- liarly his own ; his feeling for everything that is beautiful in mature is combined with the most delicate yet powerful execution ; his views of scenery about Rome, combined with groups of pea- santry and cattle, are unrivalled. No painter has better succeeded in repre- senting with accuracy the magnificent outline of the distant mountains, the details of the ancient edifices, and the splendid colouring cast by an Italian sun over the Campagna and the ruins scattered over it. — Dessoulavy, No. 33, Via Margutta, behind the Via Babuimo. One of the very talented of our English landscape-painters : his great merits are well known to admirers of this beautiful branch of art. Few artist in modern times has invested the ruins and classical scenery of Rome with a greater interest.— Page, 39, Via Dabuimo, an American painter, chiefly of portraits.-Arthur Strutt, Via del Dabuino, No. 135, a very clever painter of landscapes and Roman costumes; he has produced some large paintings on the Via Appia, and other parts of the Campagna, which have been much ad- mired; and is the author of an interest- ing book of Travels in Calabria. Mr. S. gives lessons, and can be highly recom- mended as a master for landscape drawing and painting.—Mr. Charles Coleman, No. 26, Via dei Zucchelli, out of the Via Felice, author of a series of very talented etchings of the amimals and scenery of the Campagma, and of groups of its cattle, published at Rome. —Mr. Dunbar, water-colour artist,4, Via in Arcione.—Mr. Boardman, portrait and historical painter, No. 15, Wicolo de' Greci : he executes clever small works of peasant groups, cattle, &c.— Minardi, Palazzo Colomma, considered one of the first draughtsmen in Italy. —Podesti, No. 86, Via S. Claudio, in great repute as an historical painter. Several eminent painters from the United States have of late years settled at Rome:–G. Brown, No. 7, Wicolo de' Aliberti, off the Via del Babuimo, land- scapes.—Thompson, 68, Via Sistina, historical and portrait painter.—Chap- man, 135, Via Babuino, landscape painter, and author of a good work on ‘the Elementary Principles of Art.”— Lehman, 192, Ripetta, a German his- torical and genre painter.—Nicholls, 4, Wicolo dei Greci, landscapes. – Miss 270 Rome. $ 29. COLLEGES AND ACADEMIES. Chawner, 6, Via Laurima, well known as one of the cleverest copyists in Rome of the old masters.—Toërmer, Hôtel de Russie, Via Babuimo, a Saxon artist, who excels in the Flemish style. — Achille Benouville, 61, Via Babuimo, a Trench landscape-painter in oils and water-colours, of considerable talent. M. B. receives a limited number of pupils at his studio, having separate rooms for ladies and gentlemen.— Pallati, No. 5, Via Margutta, the first painter of wild animals, especially boars, in Italy: his experience as a sportsman in former days particularly qualifies him for this class of subjects.-Meyer, No. 42, Via della Croce, a Danish painter of comic subjects: his studies of the Italian character in its comic features are um- rivalled.—Newbold, No. 6, Via de' Cap- puccini, an English landscape-painter, whose studio will enable the traveller to supply himself with admirable re- miniscences of Roman scenery at very reasonable prices. – Mr. Eagles, 123, Via Felice, for Roman costumes.—Cane- vari, 110, Piazza Borghese, 2nd floor, portrait-painter in oils and chalks, often considered to approach the charms of Vandyke in colouring.—Castelli, 33, Via Margutta, perhaps the best landscape- painter among the Italian artists at Rome.—Gagliardi, Palazzo Guistiniani, a good historical and fresco painter.— Mariannecci, 7, Vicolo del Babuimo, makes good copies of the old masters in crayons, guasso, and water-colours. —Cavalleri, No. 49, Via Margutta, a portrait-painter.—Coghetti, an histori- cal painter, Palazzo Altemps, Piazza S. Apollinare.—Consoni, No. 7, Vicolo di Vantaggio.—Chierici, 33, Via delle Mercede, a very talented artist.— Prof. Pasqualini, historical painter, Palazzo di Firenze.—Guardabassi, from Peru- gia, Via della Croce, historical painter. – Riedel, No. 55, Via Margutta, for his effects of lights and shades.—Koelman, a Belgian artist, No. 57, Via dell’Olmo, one of the best copyists in miniature of the works of the old masters. Amici, 42, Via Margutta, painter, in water- colours, of landscapes and peasant groups, and author of a good collection of engraved views of Rome.—Knebel, 330, Via Margutta, landscape painter, gives lessons in drawing.—The prin- cipal copyists of the old masters are— Cortazzi, 509, Via del Corso; Mazzo- lini, 437, Piazza di Sam Carlo in Corso —perhaps the two best copyists of his- torical and large pictures in Rome; Cav. Chatelain, 226, Via Ripetta : Ratti, No. 75, Piazza di S. Silvestro ; Campa- mile, No. 77, Via della Croce; Casa- bianca, Palazzetto Borghese : at whose houses extensive collections of copies may always be seem. § 29. CoILEGES AND ACADEMIES. Collegio della Sapienza, the Univer- sity of Rome, founded by Innocent IV. in 1244, as a school for the canon and civil law. It was enlarged in 1295 by Boniface VIII., who created the theo- logical schools; the philological profes- sorships were added in 1310 by Cle- ment V. Subsequent pontiffs enlarged the plan by the introduction of scienti- fic studies, and endowed the university with the taxes on various articles of excise. The present building was begun by Leo X. from the designs of Michel Angelo, and finished in 1576, under Gregory XIII., by Giacomo della Porta. The oblong court, with its double por- tico, sustained in the lower tier by Doric and in the upper by Ionic pilas- ters, was built by this able architect. The ch. and its spiral cupola are in the most fantastic style of Borromini. The university derives the title of the Sapi- enza from the inscription over one of the entrances, Initium Sapientiae timor Domini. Its organisation was entirely remodelled by Leo XII. in 1825. It Sect. I. 271 § 29. CoILEGIO ROMANO. is under the direction of the Cardinal- President of the Congregation of Stu- dies, of the Cardinal Camerlengo, and of a rector: it has 5 faculties—theology, law, medicine, natural philosophy, and philology. The number of profess- ors is 42, 5 of whom are attached to the college of theology, 7 to the col- lege of law, 13 to the college of medi- cine, 11 to that of matural philosophy, and 6 to that of philology. All their lectures are gratuitous, their salaries, about 400 scudi yearly, being paid by the government. The number of stu- dents at present exceeds 500. At- tached to the university is a Library, founded by Alexander VII., and liberally increased by Leo XII. It is open daily from 8 to 12, and for 2 hours in the aftermoon, with the exception of Thurs- days. The Museum contains a very good collection of minerals, recently much increased by the purchase of the collection of Monsigmore Spada, par- ticularly rich in Russian specimens; a collection of gems bequeathed by Leo XII. ; an extensive series of geological specimens illustrative of Brocchi’s work on the “Suolo di Roma; ” a col- lection of fossil organic remains of the environs of Rome; a series of the prin- cipal varieties of marbles and stone used in the ancient monuments of Rome, formed by Signor Belli; a col- lection of zoology and comparative anatomy ; an extensive cabinet of phi- losophical instruments. Attached to the medical faculty is a small Botanic Garden, adjoining the Salviati Palace, in the Trastevere, and to that of matu- ral philosophy, the Astronomical Ob- servatory on the summit of the Capitol. Collegio Romano, built in 1582 by Gregory XIII., from the designs of B. Ammanati; it is also called the Universita Gregoriana, and is exclu- sively under the management of the Jesuits. The course of imstruction em- braces the learned languages, theology, rhetoric, and different branches of natural philosophy, astronomy, and mathematics. Attached to the college are a library; the museum founded by the learned Father Kircher ; and the Observatory. The Library—very rich in Bibles and works on biblical literature —contains Several Chinese works on astronomy collected by the Jesuit mis- sionaries, and some editions of the classics with notes by Christina queen of Sweden. It was formerly cele- brated for its literary treasures, but many of the most valuable works have disappeared. The Kircherian Museum contains a very rich collection of classi- cal antiquities and other objects, many of which are most interesting. Gentle- men are admitted on Sundays from 10 to midday, when they will experience every civility and information from its learned Director, Father Marchi, the most learned of the living Roman archaeolo- gists. The cabinet of medals embraces a very complete series of Roman and Etruscan coins, and the most perfect known of the Roman As. The Etrus- can antiquities were long considered unique, but the Gregorian Museum in the Vatican llas now thrown this part of the Kircherian collection into the shade. Among the specimens of Etrus- can workmanship are chains, bracelets, necklaces, and curious ornaments. The Roman bronzes are numerous, all kinds of vases for domestic uses, balances, mirrors, and some vessels in a peculiar yellow metal, an alloy of copper with about 4 per cent. of tin, remarkable for the little alteration it has under- gome. Amongst the very interesting objects is the celebrated Cista Mistica, a cylindrical bronze vase and cover, a prize-box given to gladiators, and by them used for containing all the requisites for their toilette before enter- ing the arena : it is supported upon 3 elaborately-worked eagle's claws press- ing on as many toads, and covered with engravings, representing on one side a gladiator landing from a boat with the cista in his hand, and on the other Amycus vanquished, attached to a tree by Pollux, and surrounded by the Argonauts; this curious specimen of an- cient art, discovered mear Praeneste, has been illustrated by Padre Maschi in his ‘Descrizzione della Cista Mistica * :- .* 272 Rome. $ 29. COLLEGIO ROMANo. trovata a Palestrina.’ Another is a fine bronze seat lately discovered mear Cºsimo : the bars of the feet are beauti- fully inlaid with silver tracings, with very chaste figures of the heads of a Swan, of an ass, and of a Silenus on the arms. The bronze sculptures and terra- cottas are also interesting: amongst the former a very beautiful statue of Bac- chus; a series of the so-called Phoenician bronze figures found in the island of Sardinia; a very important collection of Roman weights and measures—amongst the former some standard ones, having marked upon them the weight, and the inscription of TEMPLI opis AUG, in relief characters of silver, such stan- dards were preserved in that temple ; and an unique collection of Missilia, or Glandes Missiles, in lead, as thrown from slings, several bearing inscrip- tions or messages between the be- siegers and besieged. Some found at Perugia are very curious, and date from the siege of that town by Au- gustus ; in one, the besiegers tell their adversaries that they are aware they are reduced to the last straits, ESAVRIS ET ME CELAs, one of the replies to which is in terms not to be repeated. Among the recent additions to the Kir- cherian Museum are a series of silver vases, some of great beauty from their exquisite ornaments, discovered at Vicar- ello, the ancient Aquae Aureliae, on the Lake of Bracciano; 3 of these vases have engraved upon them itineraries from Cadiz to Rome, giving the name of the several stations and the dis- tances between each, forming important documents for the ancient geography of this portion of the Roman world. They appear to date from the reigns of the earlier Caesars, certainly anterior to that of Trajan, as places founded by that emperor are not included in their lists; these vases are supposed to have been thrown into the mineral springs, where they were discovered, by inhabitants of Gades, who, having been cured of their infirmities at these baths, offered them to the divinity that presided over the waters. Round the walls are hung several mosaics (one of guinea-fowl is interesting). In the anteroom, which opens out of the cloister into the Museum, are numerous Roman cippi and inscriptions. Among the other curiosities preserved here is the sword of the Constable de Bourbon, of Eastern manufacture, bearing his mame on the blade and those of 2 Italian generals to whom it had previously belonged; a collection of walking-sticks of the common came, covered with engravings in the Marc Antonio style; a large beam, with its mails, of the sup- |posed ship of Tiberius, discovered at the bottom of the lake of Nemi; and in the long gallery several ancient marbles and frescoes, most of the latter ruined by restorations. At the extremity of this gallery opens a room entirely de- dicated to early Christian antiquities: round the walls are placed a series of inscriptions, and sepulchral bas-reliefs from the Qatacombs and the churches which stood over the latter; in glass cases are several small lamps in terra- cotta, with Christian emblems, one hav- ing a relief of Constantime, with the Cross on his helmet and shield, is worthy of notice; two handsome tazze in agate, found in graves in the Cata- combs ; a figure of our Saviour in silver and enamel, found in the ch. of Sta. Maria in Trastevere, and sup- posed to date from the 5th century, the oldest specimen of this kind of work yet discovered. In a long gallery, form- ing another side of the quadrangle, is deposited the Collection of Natural His- tory formed by Father Kircher; it is in great confusion as to arrangement, but contains many interesting specimens, especially of fossil organic remains of the country about Rome. [Ladies are only admitted to this museum by a special permission from the Pope, which it is very difficult to obtain, in consequence of its being in the interior of a convent.] The Observatory of the Collegio Romano is one of the most important of the recent additions to this seat of learning, and at this time the most complete establishment of the kind Sect. I. 273 § 29. ACADEMY OF ST. LUKE. in Italy; formerly placed in a rickety tower at the S.E. quadrangle of the convent, it now stands on two of the immense solid piers raised by Car- dinal Ludovisi to support the cupola of his church of S. Ignacio. Besides the instruments for current astrono- mical researches, such as the transit clocks, mural circle, &c., it possesses a magnificent equatorial by Merz of Munich, a donation from a member of the order, aided by the Pope, who has contributed most liberally from his private funds to the flourishing state of the Observatory. The ap- paratus for registering the atmospheric pressure, invented by the present di- rector, will interest our scientific coun- trymen. Attached to the establishment is a good Astronomical Library and a Magnetic Observatory with English apparatus. The visitor will always experience every attention and facility from the able director, Father Secchi, a foreign Fellow of the Royal Society and of most of our British scientific societies, in visiting the Observatory, which he has made one of the most efficient and really useful working esta- blishments of the kind on the conti- ment of Europe. Strangers are admitted (not ladies) every Sunday from 10 to 12 o'clock A.M. The Collegio di Propagandé Fide, in the Piazza di Spagna. The College” of the Propaganda was founded in 1622 by Gregory XV., for the purpose of educating as missionaries young foreigners from infidel or heretical countries, who might afterwards return and spread the Catholic faith among their countrymen. The present build- ing was erected by Urban VIII. from the designs of Bermini, and completed under the direction of Borromini. The celebrated printing-office established here is rich in Oriental characters, and has produced many works of great typo- graphical beauty. The annual examina- tion of the pupils, which takes place in January, is an interesting scene, which few travellers who are them im Rome omit to attend ; the pupils reciting poetry and speeches in their severallam- guages, accompanied also by music, as performed in their countries. In front of the college has been erected a column of cippolimo marble, of the Corinthian Order, surmounted by a bronze statue of the Virgin, in commemoration of the publication by Pius IX., in 1854, of the Bull establishing the dogma of the Im- maculate Conception. Round the base are statues of David by Tadolini, Moses by Revelli, and Ezekiel by Chelli, with indifferent bas-reliefs; that looking to- wards the College, of the ceremony in St. Peter’s on the occasion, contains several cotemporary portraits of Car- dimals, &c., but as a work of art the whole monument is a very poor affair. The fine shaft of cippolimo is sadly spoiled by the fantastic bronze met- work extending up two-fifths of its height. The Academy of St. Luke, in the Via Bonella, near the Forum.—The Roman Academy of the Fine Arts was founded in 1588 by Sixtus V., who endowed the confratermity of painters with the ch. adjoining, formerly dedicated to St. Martina. The academy is composed of painters, sculptors, and architects, who direct the schools of the fine arts. The collection of pictures, which has been lately much enlarged, contains several very fine specimens, amongst others all those which formed the Secret Cabinet at the Capitol, and which, from a false feeling of delicacy, were there shut up from public view. The paintings are arranged in one long hall, into which two smaller open, of which we have annexed a plan showing the places of the principal pictures — I. Large Hall, or New Gallery. – Poussin, Bacchus and Ariadne; Tandyke, Virgin, Child, and 2 Amgels; Id., St. Jerome, a sketch for a large picture; Wernet, two seapieces; Pietro da Cartona, a good copy of Raphael’s Galatea in the Farmesima Palace ; Paolo Peronese, Vanity, personified by a lady looking at herself in a mirror; Titian, Vanity, a recumbent naked figure; Pandyke, a female por- trait, called erroneously Queen Eliza- |beth ; Harlow, Wolsey receiving the N 3 27.4 $ 29. ACADEMY of ST. LUKE. Rome. 11’ II. R. O. O M 11 O Hº PO R T R A IT S. tº º ( -º sº ºf 5 7 ë $) 10 I. 6 N E W G. A. L L E R Y. 4' 4. 2 I - Oſ, ºmºmº tº Cº- ammºn a. Entrance to Gallery from Anteroom. 13 1. Poussin......Bacchus & Ariadne. ANTE- - - Virgin, Child, and 2. Pandyke... { Angels. y ROOM. 3. Tittan... . . . . . St. Jerome. III. 14 4, 5. Pernet. . . . . . . Maecentis. 4'. Albani. . . . . . . Holy Faumily. º H A L 6. C. Maratta ſ Copy ºf Galatea of LS A L L 7 P. P. yºael. O F 15 . P. Veronese ...Vanity. 8. Harlord . . . . . . Cardinal Wolsey. B A C C H U S A N D 9. Claude. . . . ...Seaport. * - * 10. Carp, Arpino,. Andromeda. 17 A R l A D N E, 1 1. Raphael..... Fresco of Child. 16 1 l’. T • * * * * * * * * * * Portrait of Zuccari. B Y 13. Tilian.......Calista and Nymphs. 14. Guercino. ... Magdalen. ymp G U ID O. 15. Guido Cagnacci. . Lucretia. 16. Guido. . . . . . . º: h St. Luke painting the 17. Raphael...{ Madonna and Child. 18. Schnetz...... Prometheus. PLAN OF GALLERY OF ACCADEMLA DI S. LUCA AT ROME.-APRIL 5, 1854. cardinal’s hat from the hands of the Archbishop in Canterbury Cathedral; Claude, a beautiful picture of a seaport; Cav. Arpino, Andromeda, a very pretty small picture ; H. Hemling, the Virgin and Child; Antonio and Jacopo Palma, 4 pictures, of the Graces, Susanna and the Elders, &c.; Paolo Veronese, Su- samma; Titian, his sketch for the large picture of Paul 11.I. and his 2 nephews, now in the gallery at Naples; Hayez, a gladiator; Handhörst, a vestal aban- doned to die in prison. II. Room of Portraits of Members of the Academy, mostly modern; that of T. Zuccaro by himself is an exception. Amongst other academicians figure the father of the present King of Spain, and the late Duke of Sussex in a Highland costume, the two veriest daubs in the collection; Telasquez, Portrait of Innocent XI. ; an excellent Portrait of our British Canova, Gibson, by his talented friend, Penry Williams; RAPHAEL, a fresco of a Child, a lovely composition, given by Wicar. III. — On the roof Guido's pic- ture of Bacchus and Ariadne. Ti- tian, Calista and Nymphs : this picture, which belonged to the Ossuna family, being purchased in England by Signor |Piºni, was given by him to the Sect. I. § 29. ACADEMIES. - 27.5 t Academy; it is a fine, but mot very delicate picture to look on. Guercino, a Magdalen, painted originally in fresco and transferred to canvas. Guido Cag- nacci, Tarquim killing Lucretia, one of the best productions of the master; this was one of the pictures most screened from public view in the Secret Cabinet. GUIDO’s celebrated For- tume. RAPHAEL, St. Luke painting the portrait of the Virgin and Child, on panel; a ſine fragment. There is reason to believe that only a portion of this picture, the Madonna and infant Christ, is by Raphael. Titian, the Saviour and the Pharisee. Baroccio, St. Bartholo- mew and St. Andrew. Schnetz, the present director of the French Academy in Rome, Prometheus. In one of the presses in this room is now shut up the skull which for so long a time passed as that of Raphael, until the real one was found on opening his grave in the Pan- theon (see p. 38). The skull in ques- tion is now considered to be that of Raffaele Adjutorio, who founded a re- ligious confratermity of painters in the same ch. In a suite of apartments under the gallery are preserved the pictures and drawings which have received the aca- demical prizes of late years, some casts of the works of Camova, Thorwaldsen &c., and a series of those of the Egina marbles presented recently by the King of Bavaria to Pius IX. The galleries of the Academy of St. Luke are open every day, on giving a small fee to the custode. There are neither numbers, names, mor catalogues of the paint- ings, so that the custode's assistance is necessary. Accademia Archeologica includes among its members some of the most learned archaeologists of Europe. It has published several volumes of trans- actions; it holds its meetings monthly (on Thursdays), in one of the halls of the University of the Sapienza. Accademia degli Arcadi.—Few of the Italian societies are so celebrated as the Arcadian Academy of Rome, founded in 1690 by Gravina and Crescimbeni. Its laws, says Mr. Spalding, “were drawn out in 10 tables, in a style imi- tating the ancient Roman. The con- stitution was declared republican ; the first magistrate was styled custos; the members were called shepherds; it was Solemnly enacted that their mumber should not exceed the number of farms in Arcadia; each person on his admis- Sion took a pastoral name, and had an Arcadian name assigned to him ; the business of the meetings was to be con- ducted wholly in the allegorical lan- guage, and the speeches and verses as much so as possible. The aim of the academy was to rescue literary taste from the prevalent corruptions of the time : the purpose, the whim, and the celebrity of some among the originators made it instantly fashionable; and in a few years it numbered about 2000 members, propagating itself by colonies all over Italy. The association colm- pletely failed in its proposed design, . but its farce was played with all gravity: during the 18th century; and besides Italians, scarcely any distinguished foreigner could escape from the City of the Seven Hills without having entered its ranks. In 1788 Goethe was en- rolled as an Arcadian, by the title of Megalio Melpomemio; and received, under the academic seal, a grant of the lands entitled the Melpomenean Fields, Sacred to the Tragic Muse. The Ar- cadia has survived all the changes of Italy; , it still holds its meetings in Rome, listems to pastoral somets, and christens Italian clergymen, English Squires, and German counsellors of state by the mames of the heathems. It publishes, moreover, a regular jour- mal, the Giormale Arcadico; which, although it was a favourite object of ridi- cule with the mem of letters in other provinces, condescends to follow slowly the progress of kmowledge, and often furnishes foreigners with interesting information, not only literary but scientific.” - Accademia de' Lince?, the earliest' scientific society in Italy, founded in +. 276 JRome. $ 30. HOSPITALS AND CHARITABLE INSTITUTIONs. 1603 by Prince Federigo Cesi and other contemporary philosophers, amongst others Galileo. It derives its name from its device, the lymx, emblematical of watchfulness. It was re-organized in 1849 by Pius IX., and is still devoted to the natural and mathematical sci- emces. The meetings are held at 1 o'clock on the first Sunday of every month, in the upper rooms of the Palace of the Senator at the Capitol. Duke Massimo, the most eminent of the Roman nobility for his scientific ac- quirements and general learning, is the President, and Professor Volpicelli, a talented writer on Physics, the Secre- tary. It publishes regularly its transac- tions. Accademia Tiberina, founded in 1812 for the promotion of historical studies, especially those relating to Rome. The meetings take place every Monday in the Palazzo Maccarani. Accademia Filarmonica, an insti- tution of recent date, whose concerts afford proof of the taste for music a- mong the educated classes of Rome. The academy is under the direction of a president and council, and holds its assemblies in the Palazzo Altieri, where concerts are given during Advent and Lent when the theatres are closed, and sometimes in one of the theatres. These assemblies are often very bril- liant, the seats in the pit being the most fashionable; those in front being reserved for the ladies of the Roman aristrocracy. Foreign visitors will be able to procure admission on applica- tion to the president, or to the members of the Academy. Archaeological Institute, founded some years since under the auspices of the king of Prussia, who contributes most libe. rally, indeed almost entirely, to its sup- port. Many eminent German scholars have delivered lectures at the Institute, and Bunsen, Gerhard, Lepsius, and Eraun have contributed to the Transac- tions it has published—a most interest- ing collection on Archaeological Science. The meetings are held weekly, generally On Fridays at 3 P.M., and to which strangers are freely admitted, in the apart); lents of the Institute on the Monte Caprimo behind the Capitol, when papers are read on archaeological subjects. Dr. Henzel is the present learned and talented secretary of the society. The Academies of France, Florence, and Naples are establishments where a number of young artists, selected from their respective countries, are educated at the expense of their go- vernments for a certain period. The Academy of France is lodged in the Villa Medici, on the Pincian ; that of Florence in the Palazzo di Fivenze, the residence of the Tuscan minister; and that of Naples in the Farmesina. § 30, HOSPITALS AND CHARITABLE INSTITUTIONS. Few cities in Europe are so distin- guished for their institutions of pub- lic charity as Rome, and in none are the hospitals more magnificently lodged, or endowed with more princely liberality. The annual endowment of these establishments is no less than 258,390 scudi, derived from lands, from grants, and from the Papaltreasury,”for- * According to the Returns published by Monsignore Morrichini in 1842, Scudi. Scudi. The total amount expended in * charities in Rome, including hospitals, poor-houses, ele- mentary Schools, marriage portions for girls, orphans, &c., was . . . . . . º 4 780,700 Of which, from private re- venues and contributions . 349,846 By the general treasury . . 430,854 The . Sect. I. 277 § 30. HospitaLS AND CHARITABLE INSTITUTIONs. merly administered by separate confra- termities. The hospitals were placed by the French government under one gene- ral board, as in Paris, from which the best results were obtained ; but of late years the ancient system has in some degree been restored, each establish- ment being placed under a separate direction, a system fraught with job- bing and abuses, although there is a prelate at their head. In ordinary times the hospitals can receive about 4000 patients. Formerly ill-administered and badly managed in their domestic ar- rangements, considerable improvements have been introduced of late years, espe- cially since 1849, from diminishing the interference of the clergy and monks, and limiting it to its purely spiritual duties. One of the great ameliorations as re- gards the interior economy of the hos- pitals dates from the introduction, by the The annual receipts of the 8 hospitals at the same period were, from property and pri- Vate endowments 156,770 Contributed by the genera treasury . . . . . . 102,620 —— 258,390 The poor-houses of S. Michele, With 530 inmates. . . . 50,000 Ditto of Sta. Maria degli An- geli, 950 inmates. . . . 43,200 Of which 39,000 sc. were contributed by the trea- Sury. S3,200 13 institutions for distributing 97.0 marriage portions . . tº a 14 Conservatories for the edu- cation of 597 female orphans, 35,356 from private sources. 23,570 By the general treasury . 28,620 52,190 Charity distributed à domicilio from the Pope and private charities . . . . . . 46,392 Contributed by the Govern- ment . . . . . . 160,000 —— 206,392 Contributed by the Govern- ment by employing the poor in public Works . . . . tº o 52,000 Percentage on the receipts of the lottery for alms . . . e - 29,376 The number of children receiving education in the Scuole infantile (5.136), Scuole regionarie (1592), Scuole regolare (4030), and the Scuole parrochiale (1100), was 11,758. late Princess Doria, of those admirable women, the Sisters of Charity, whose services have brought about a complete revolution in what may be called the domestic management. It is to France, under the direction of the benevolent lady above-mentiomed, that the poor of the Eternal City are indebted for this amelioration, and which, however strange it may appear, met with great opposition at first from the ecclesiasti- cal element in the management of these useful institutions. Notwithstanding, however, their great wealth, the Roman hospitals are still behind those of Flo- rence and of Milan, and it is a remark- able circumstance that, with such a wide field for pathological investigation, the Roman medical school is by far the least advanced in Italy, behind those of the secondary provincal towns of Tuscany and Lombardy, a better proof of which cannot be adduced than that in the present century Rome has not produced an eminent medical man from its own school, and that there is not a single medical periodical published in this great centre of disease and suffering, and, what may appear still more strange to our medical readers, not a medical society of any description in the capital of the Christian world, with its 180,000 inhabitants. In general the hospitals are clean and well ventilated, owing to the large wards, which in the climate of Rome can be adopted. In the larger establishments the wards generally converge towards a centre, where the altar stands under a dome, a form also contributing to good ventilation. This system of large wards also renders the general service easier and more econo- mical. The principal hospitals of Rome 31°6– The great one of Santo Spirito, on the right bank of the Tiber, near St. Peter's. Founded at the end of the 12th centy, by Immocent III., it has gome on increasing, so as now to form almost a small town within itself: it is so richly endowed that it has acquired the title of il piu gran Signore di Roma, possessing large property in the city,and |a considerable extent of the country 278 Rome. § 30. HOSPITALS AND CHARITABLE INSTITUTIONs. which the traveller passes over be- tween Rome and Civita Vecchia. Its finances are said to be ill-managed, being under the direction of an ecclesiastical administration. Santo Spirito consists of an hospital properly speaking for the sick, of the male sex only, of a clinical ward, and of one for the military, of a foundling hospital, and a lumatic asy- lum for both sexes. The hospital com- tains in ordimary times about 600 me- dical and surgical cases, 430 lunatics, and about 400 foundlings ; but on ex- traordinary occasions, as on the outbreak of an epidemic, or when ague sets in during the summer months amongst the labouring population of the Campagna, the accommodation for the sick can be mearly doubled in an adjoining building kept in readiness for the purpose. All diseases are admitted, and the number of patients annually falls little short of 15,000 ; the deaths averaging little more than 7% per cent. This small amount of mortality is to be attributed to the circumstance that a large proportion of the admissions are cases of the ordinary intermittent fever, which seldom proves fatal in the outset, and which is soon relieved by, an early administration of quinine. Attached to the hospital is a clinical ward of 18 beds. There is also a Pa- thological Museum, and a library, a great part of the books and instruments in which were bequeathed by the emi- ment physician Lancisi. The Foundling Hospital in S. Spirito is capable of containing upwards of 3000 children; the number annually received is about 800. In 1846, the last period for which we have seen returns, embracing a pe- riod of 5 years, out of 5382 received in the hospital 2941 died, giving a mor- tality of 57 per cent. It must be ob: served that the great proportion of the foundlings are sent out to nurse in the country, where the mortality is still more considerable. In addition to this hospital, there are several others in Rome, which swell the number of foundlings to upwards of 3000 annually: they offer such facilities for admission, that children are brought here from all parts of the Papal States, and from the neighbouring provinces of the kingdom of Naples. The Lunatic Asylum contains about 430 immates, the average deaths ll per cent. Owing to the confined nature of the locality, to the want of gardens and large courts, the hospital is a real prison; whilst the neighbourhood of the river engenders bad air—the situation in every way unfit for its object. The wards are very cleanly kept, and the poor immates well attended to, especi- ally in the female division, since the introduction of the Sisters of Charity. One of the most frequent predisposing causes of mental alienation met with here arises from religious scruples; the relative proportion of ecclesiastics and nuns to the other inmates is therefore considerable. The other hospitals in Rome are the Santissimo Salvatore, near S. Giovanni di Laterano, for sick and aged females, founded soon after Santo Spirito, by Cardinal Colomma; it can admit 600 patients. The mortality is here greater than in any other hospital in Rome, being upwards of 14 per cent., owing to the imsalubrious situation in which it is placed, and to its containing many old people affected with chronic diseases. —San Giacomo in Augusta, in the Corso, a surgical and Lock hospital for both sexes, with about 400 beds; the annual admissions exceed 2000. This hospital has been lately enlarged, but its situation is not good, and the ventilation might be better managed. In general, as to clean- liness, this hospitalis behind San Spirito. —La Consolazione, or Santa Maria della Consolazione, on the S.E. declivity of the Capitoline hill, receives patients of both sexes for surgical diseases, and especially accidents. The number of beds is about 160, but rarely more than half of that number are occupied. From being situated near the populous quarters of the Monti and Trastevere, most of the cases of stabbing are taken to it. The wards are clean and airy, and the situation healthy, which will account in some measure for the low annual rate of mortality—5.3 per cent.—Sara Sect. I. 279 § 30. HOSPITALS AND CHARITABLE INSTITUTIONs. Giovanni di Calabita, or dei Benfratelli, in the island of the Tiber, and, curiously enough, on the site of an hospital at- tached in ancient times to the temple of Esculapius : its more recent name of Fate bene, fratelli, “Do good, brethren,” has been derived from the inscription on the begging-box of the friars of the order of the Spanish Sam Juan de Dios de Calabita, by whom it was founded in 1538 : it only receives male patients affected with acute dis- eases. It has 74 beds, but the average mumber of patients does not exceed 40; the mortality 7% per cent.—San Galli- cano, in the Trastevere, for diseases of the skin and for persons of both sexes. The building, founded in 1724, is well suited for the purpose, and contains 2 large and well-ventilated wards with accommodation for 240 in-door patients. The principal cutaneous diseases found here are psora and ringworm, the latter still treated by a cruel and painful me- thod long abandoned in other parts of Europe; it is very prevalent in the maritime districts about Rome, particu- larly on the declivities of the Volscian hills, about Sezze, Pipermo, &c.—Sta. Trinità de' Pellegrini, mear the Pomte de' Quattro Capi, chiefly used as an hospital for convalescents, where poor patients are removed from the other institutions: on their recovery they are admitted here for 3 days or more, and receive clothing if necessary on leaving. The number of patients who can be received amounts to mearly 500. This institution, the utility of which cannot be too highly spoken of, forms a part of the great establishment for the reception of pil- grims, founded by S. Filippo Neri in 1500. In ordinary years about 4000 of these travellers are lodged in it, but in those of Jubilees (every quarter of a century) 300,000 have received re- lief; in 1625, as many as 582,760; in 1725, 382,140 ; and in 1825, 263,592 pilgrims received assistance here.-San Rocco, a small lying-in hospital, near the Ripetta, with 20 beds, the only one of the kind in Rome. There is great liberality as to the admission of patients, and nothing can exceed the precautions l tution. adopted to ensure secresy, and to avoid everything that can hurt the feelings or injure the reputation hereafter of those who are admitted into it. In addition to these public hospitals, there are several small institutions of a more private nature belonging to different nations and corporations: the Germans, Spaniards, Portuguese, Lom- bards, Florentimes, and Lucchese have each their separate hospitals; that of the German Protestants, founded by subscriptions, chiefly at the instigation of Chevalier Bunsen, on the Monte Ca- prino, near the Capitol, for poor Pro- testants, deserves particular mention. It can accommodate 8 or 10 patients, who are received gratuitously, or, if they can afford it, on payment of a small daily retribution. The hospital is under the protection of the Prussian Legation, near to which it is situated: the sick ward forms a floor in a large building overlook- ing the Forum and the Palatime, the upper part of which is occupied by the officers of the Archaeological Institute, its li- brary, &c., and by apartments let out chiefly to artists or foreign literary men visiting Rome. The hospital depart- ment is well deserving of the support of our countrymen who visit Rome, as the only one where poor British Protestants can be received without being subjected to the persecution of the friars and attendants in the other hospitals to bring about their conver- sion to Romanism ; upon no charity in Rome can the contribution of the English Protestant be more worthily bestowed Besides the other charitable institu- tions of the city, there are numerous confratermities for visiting the sick, for burying the dead, and for distributing marriage portions to young girls. In the latter way a sum of 35,000 scudi, distributed in 925 portions, is ammu- ally granted, mot including similar gifts from private families. It is not to be sup. posed, however, that this figure repre- sents the mumber of marriages, as in many cases the same girl will receive a portion from more than one insti- Amother very laudable mode 2SO Iſome. § 31. PROTESTANT BURIAL-GROUND. of charity is the distribution of relief at the homes of the poor by different confratermities or Commissioni de' Sus- sidº, as they are designated. In this way upwards of 225,000 scudi (45,000l.) are expended annually, of which the general treasury contributes 179,364 scudi. All this is independent of the large sums given by local confratermi- ties, and the rich aristocratic families, whose estates are many of them heavily burdened for the purpose. It may sur- prise the traveller therefore, with such a profusion of charities in every shape, that mendicity exists at Rome to such a glaring extent. There is no doubt that public charity is in many cases in- discriminately, and often injudiciously bestowed, and offers a premium to idleness ; it has the effect of drawing to the capital those hordes of sturdy beggars by whom the stranger is assailed at every turning; but it is also to be feared that this system is encouraged by the Catholic Church to an extent that is attended with con- sequences the contrary to those in- tended to be obtained. There is no large city in which street-begging is practised with more ammoyance to the public than Rome, and few places where, from the large sums bestowed in charity, it ought less to exist. The Hospital of San Michele, at the Ripa Grande, is an immense establish- ment, formerly intended as an asylum for poor children and infirm persons; but of late years converted into an establishment for industrial purposes. The hospital, properly so called, now consists of a house of industry for chil- dren of both sexes, a house of correction for women and juvenile offenders, and schools of the industrial and fine arts, in which drawing, painting, music, sculpture, &c., are taught: in the indus- trial portion upwards of 800 persons are employed ; the organization of this part of the establishment is due to the efforts of the present director Car- dinal Tosti. The school of arts per- haps aims at an education beyond the powers of the pupils, although it has produced some men of eminence, amongst others the celebrated engravers Calamata and Mercurij. The educa- tion of the boys might be turned perhaps to more useful objects. An- mexed to this hospital, but entirely dis- timet from it, is a large prison, chiefly for the reception of political offenders, and for persons accused of serious crimes. Workhouse of Sta. Maria degli An- geli.—This establishment, founded by Leo XII. in 1824, in the gramaries of the Government, at the Baths of Dio- cletian, contains nearly 1000 boys and girls, who are selected among deserving objects in different parishes of the city. The boys are taught trades and music, the girls what is necessary for domestic service. The establishment is sup- ported chiefly by the Government, which contributes 39,000 scudi an- mually, and from the profits of the labour of its inmates. There is no poor or work house in our English sense for old people in Rome, which may be considered as one of the reasons for the excessive amount of street memdicity. § 31. PROTESTANT BURIAL-GROUND. The Protestant Burial-ground is one of those objects which all foreign tra- vellers will regard with melancholy interest. It is situated near the Porta di S. Paolo, close to the Pyramid of Caius Cestius. The silence and seclu- sion of the spot, and the inscriptions which tell the British traveller in his native tongue of those who have found their last resting-place beneath the bright skies of the Eternal City, ap- peal irresistibly to the beart. The cemetery has an air of romantic beauty, Sect. I. § 32. 281 CLIMATE. which forms a striking contrast with the tomb of the ancient Roman and with the massive city walls and towers which overlook it. Among those who are buried here are the poets Shelley and Keats, Richard Wyatt the sculp- tor, and Johm Bell the celebrated sur- geon. The tombstone of Shelley is in the upper part of the new burial- ground, under the Aurelian wall, with this inscription : — “ Percy Bysshe Shelley. Cor Cordium. Natus IV Aug. MDCCXCII. obiit VIII Jul. MDCCCXXII. “Nothing of him that doth fade, But doth suffer a sea change Into Soulething rich and strange.” The expression Cor Cordium, “the heart of hearts,” is in allusion to the asserted fact, that, when his body was burnt on the shores of the gulf of Spezia, the heart was the only portion that the fire did not consume. In the old cemetery is the grave- stone of his friend John Keats, with the following inscription : — “This grave contains all that was mortal of a young English poet, who, on his deathbed, in the bitterness of his heart at the malicious power of his enemies, desired these words to be en- graven on his tombstone : ‘Here lies one whose name was writ in water.’ February 24, 1821.” The grave of John Bell is close by. By far the greater mumber of mouwments bear the mames of Englishmen; the other Protestants interred here are chiefly citizens of the United States, Germans, and Swiss. There are also several Russians, the fol- lowers of the Greek Church being consi- dered at Rome as beyond the pale of its church, or “Acºttolici.” The monuments are in better taste than those of the Eng- lish cemetery at Leghorn, although less so perhaps than one might expect to find in this capital of the Fine Arts: there is a great deal too much affecta- tion, and a display of sentimentalism in many of the inscriptions which would be better placed at Père la Chaise. There are, however, exceptions, and We would direct the steps of our fellow countrymen to the plain travertime slab, with its simple and feeling inscrip- tion, erected by Captain Spencer, R.N., to 5 British sailors who were drowned, “when on duty from their ship off Fiumicino, in May, 1825, as a testimony of respect and regret of their captain.” Near the entrance is a memorial to the amiable Chev. Koestner, well known amongst the British com- munity of Rome, raised by his friends, chiefly English. The ground is re- markably well kept. A deep trench surrounds the old cemetery, which was abandoned as the plantations round the graves were likely to mask the view of the pyramid of Caius Cestius. The new burial-ground, which has been recently much enlarged, is en- closed by a wall at the expense of the papal government. A sum amounting to about 1000 scudi, subscribed by British and other Protestants, is in- vested in the Roman funds, the in- terest of which is applied to defray the salary of a sexton, who is always in attendance, and the expenses of repairs. The burial-fees are, at least for the purchase of the ground, ex- tremely moderate. § 32. CLIMATE. The notice of the Protestant burial- ground, where so many monuments bear the names of our countrymen who have visited Rome in the pur- suit of health, may naturally lead to the consideration of its climate. Sir James Clark, in his work on Climate, describes it as “mild and soft, but rather relaxing and oppressive. Its mean annual temperature, as deter- mined by 26 years’ observations at the Collegio Romano, is 59°7', or 94° higher than that of London, 19 below that of Naples, and 4° below that of Madeira. The mean temperature of winter still remains 10° higher than 282 Rome. § 32. CLIMATE. that of London, and is somewhat higher than that of Naples, but is 11° below that of Madeira. In spring the mean temperature is 9° above London, 1° colder than Naples, and 4° colder than Madeira. In range of tem- perature Rome has the advantage of Naples, Pisa, and Provemce, but not of Nice. Its diurnal range is nearly double that of London, Pen- Zance, and Madeira. In steadiness of temperature from day to day Rome comes after Madeira, Nice, Pisa, but precedes Naples and Pau.” In regard to moisture, Rome, although a soft, cannot be considered a damp climate. Upon comparing it with the dry, parching climate of Provence, and with that of Nice, we find that about one-third more rain falls, and on a greater number of days. It is, how- ever, considerably drier than Pisa, and much more so than the S.W. of France. The frosts which occur in December and January are sel- dom of long continuance, being more the effect of radiation under a brilliant clear sky than of a freezing atmo- Sphere, as in more northern latitudes, generally occurring during the might and disappearing before the moonday sun. . (The month of January, 1858, afforded a remarkable exception to this, it having frozen nearly every night during the last half of the mouth, the thermometer falling on two occasions to 22° Fahr.) The thermometer in an ordinary winter seldom falls lower than 25° Fahr., although it has been as low as 17° (in February, 1845). January and December are the coldest, and July the hottest months in the year, their re- spective mean temperatures being 44°6' and 74° 7', and the greatest heat in the shade 83° 5'. Snow is not common, and seldom lies on the ground for more than 24 hours. The N. wind, or tramon- tana, prevails often for a considerable time during the winter and Spring, as it did during the present year for nearly 3 months: when long-continued, it is mo- derate and agreeable; but it is some- times harsh and penetrating, which sel- dom extends beyond 3 days. The Sir- occo, or S. and S.E. wind, although relaxing, produces little inconvenience during the winter months; in summer its debilitating effects are more marked and oppressive. All classes at Rome agree in regarding the hour immediately following sunset as the most unhealthy part of the day, and in summer especially few of the natives expose themselves to its in- fluence. Another local peculiarity is the care with which the Romans avoid the summy side of the street and exposure to the sun generally : it is a saying that none but English- men and dogs walk in the Sunshine at Rome, aud the practice of our countrymen certainly justifies the pro- verb. In a city built like Rome the native practice in this instance is un- questionably the most prudent; for the rapid transition from a powerful sun to shady streets open to the keen spring winds is severely felt by inva- lids. The malaria fevers, which have existed from the earliest period of which we possess any correct history, have no doubt been increased by the depopulation of the country. They are of the same nature, both in their pro- ducing causes and general characters, as the fevers which are so common in the fens of Lincolnshire and Essex in our own country, in Holland, and in marshy districts over every part of the globe, and at inconsiderable height above the sea. The form and symp- toms under which these fevers manifest themselves may differ according to the intensity of the producing cause, or to local circumstances in the nature of the climate or season when they occur; but it is the same disease, from the fells of Lincolnshire and the swamps of Walcherem to the pestilential shores of Africa, only increased in severity, catteris paribus, as the temperature in- creases. Malaria fewers seldom occur at Rome before July, and they cease early in October with the first au- tumnal rains, a period during which few strangers reside there. The fevers of this kind which exist at other seasons are generally relapses, or com- plicated with other diseases, such as catarrhal affections: the months of January and February of the present year (1858) have been remarkable in- Sect. I. 283 § 32. CLIMATE. stances of this fact, when the mortal- ity amongst the native population was at one time increased three-fold by influenza, accompanied by fever. One of the most frequent predisposing causes of this fever is exposure to currents of cold air, or chills in damp places, immediately after the body has been heated by exercise and in a state of perspiration. This is a more fre- quent source of other diseases also atmong strangers in Italy than is gene- rally believed by those who are un- acquainted with the nature of the climate. Exposure to the direct in- fluence of the sun, especially in the spring, is also an exciting cause, and a frequent determining cause of re- lapses. Another is improper diet. An idea prevails that full living and a liberal allowance of wine are necessary to preserve health in situations sub- ject to malaria. This is an erroneous opinion; and many of our countrymen suffer in Italy from acting on it. Sir James Clark remarks the long-observed exemption of the populous parts of large towns, in consequence of the greater dryness of the atmosphere, and adds, “A person may, I believe, sleep with perfect safety in the centre of the Pontine marshes by having his room kept well heated by a fire dur- ing the night.” According to the experience of the Romans, the mias- mata which produce malaria fevers rise chiefly from the Campagna, and from the damp grounds of the de- Serted villas; they are dense and heavy, hanging upon the ground like the night fogs of Lincolnshire. They are invariably dispelled by fire, and their advance is prevented by walls and houses. Hence we find that the com- vents on some of the hills within the immediate circuit of the city walls are occupied from year to year by reli- gious communities with comparative innocuity, while it would be dangerous to sleep outside the same walls for a single might. Nothing is now better understood than that the progress of malaria at Rome is dependent on the state of the population. Whenever the population has diminished, the dis- trict in which the decrease has taken place has become unhealthy; and whenever a large number of persons has been crowded into a confined space, as in the Ghetto and the highly- peopled quarters around the Capito- line Hill, the salubrity of the situation has become apparent in spite of the uncleanly habits of the people: to persons affected with gout, rheumatism, and nervous affections, a Southern aspect in their dwellings is of the greatest im- portance. The Roman writers, who have collected some curious proofs of these facts, state that street pavements and the foundations of houses effectually destroy malaria by preventing the ema- nation of the miasmata; and that, whenever a villa and its gardens are abandoned by the owners as a mere appendage to the family palace, the site becomes unhealthy, and remains So as long as it continues uninhabited. It is also well known that the body is more susceptible of the influence of malaria during sleep than when awake : hence the couriers who carry the mails at all seasons between Rome and Naples make it a rule not to sleep whilst crossing the Pontine marshes, and generally smoke as an additional security. In regard to Rome as a residence for invalids, it is generally considered one of the best in Italy in the early stages of consumption. In this class of ma- ladies, the symptoms which had con- timued during the outward journey frequently disappear after a short residence; but in the advanced stages the disease generally proceeds more rapidly than in England. In bron- chial affections and in chronic rheu- matism it has been found beneficial ; but with persons disposed to apo- plexy, or who have already suffered from paralytic affections, and vale- tudinarians of a nervous melancholic temperament, or subject to mental despondency, the climate of Rome does not agree : in many such cases, indeed, a residence at Rome is fraught with danger; mor is it proper for persons disposed to haemorrhagic affec- tions, or for those who have suffered from intermittent fevers, at a preced- ing period, however distant. The 284 Rome. § 32. CLIMATE. following remarks are of import- ance to the invalid : — “There is no place where so many temptations exist to allure him from the kind of life which he ought to lead. The cold churches, and the still colder mu- seums of the Vatican and the Capitol, the ancient baths, &c., are full of danger to the delicate invalid; and if his visits be long or frequently re- peated, he had better have remained in his own country. It is a griev- ous mistake to imagine that when once in such a place the evil is over, and that one may as well remain to see the thing fully. This is far from being the case : a short visit to these places is much less dangerous than a long one. The body is capable of maintaining its temperature and of resisting the injurious effects of a cold damp atmosphere for a certain length of time with comparative impunity; but if the invalid remain till he be- comes chilled, and till the blood for- sakes the surface and extremities amd is forced upon the internal organs, he need not be surprised if an increase of his disease, whether of the lungs or of the digestive organs, be the con- sequence of such exposure. Excur- sions into the country when the warm weather of Spring commences, particu- larly when made on horseback, are another and a frequent source of mis- chief to delicate invalids, especially if returning after sunset.” In selecting their place of residence, invalids cannot be too careful in avoiding damp quar- ters, and should bear in mind the well- known Roman saying, that, where the sun does not enter, the physician invariably 7/w/St. The following notice on the climate of Rome, especially in its relation with disease, has been drawn up for the Editor by one of the most eminent Italian physicians there, more than any other consulted by our countrymen:– “It has been a fashion of late years to abuse the climate of Rome in con- sumptive cases, just as much as its beneficial action had been overrated before. It is the usual course of human opinions. We shall endeavour to repre- sent things as they really are, for the information not only of invalids, but of medical men, who do not seem generally to possess very clear notions on the nature of the Roman climate. “It is a common impression annongst the natives that the air of Rome thickens the blood (addensa il sangue). The fact is, this climate is particularly favourable to the sanguification, in- creasing the quantity and improving the quality of the blood. The climate will, therefore, prove very beneficial in scrofulous cases, to persons of a lymphatic disposition with debilitated constitutions, and generally in cases accompanied with languid circulation and general debility. It is well known that pulmonary consumption originates in the greater number of instances in Such constitutions, and, therefore, the climate of Rome proves particularly beneficial in all cases of slow or pro- tracted consumption and in the first stages of the disease, or when it is not so far advanced as to be accompanied with fever and an inflammatory action of the system. Should this last be the case, or consumption be suddenly de- veloped in a sanguineous temperament and an inflammatory constitution, the climate of Rome produces a very prejudicial action, and the disease hurries at a rapid pace to its fatal termination — a remark applicable to all southern climates. “The peculiarities already noticed as belonging to the Roman climate will explaim how it acts unfavourably in full or plethoric habits, disposed to apoplexy and to abdominal congestions. “Rome is very injurions in what is generally known by the designation of weak stomachs ; and it is particularly prejudicial in cases of atomic dyspepsiſ and hypochondriacal affections. On the contrary, it is beneficial to per- sons affected with inflammatory action or irritation of the mucous membranes, and in well-characterised gastritis. “It is a very common prejudice amongst foreigners that the climate of Rome is unfavourable to children. If they are delicate, it is quite the re- verse; for in general it proves very advantageous to the youngest ages; it Sect. I. 2S5 $ 33. GEOLOGY. is true, however, that the English will persist in sending out their children clothed as they would do at home, with bare legs and in light dresses. This is a system strongly to be reprobated, being the most frequent cause of illness amongst your infantine countrymen. “It has also been said that the climate of Rome is prejudicial to per- sons subject to diarrhoea and dysentery. *uch is not the case, excepting in the hottest months of the year, when no foreigners, and few of the better classes amongst natives, remain in the city. “Much idle talk has been circulated about Roman fevers. The real Roman fever is nothing else than the ordinary intermittent fever or ague, the same which exists in all marshy countries of temperate and Southern Europe. This fever, however, at Rome, in rare cases, assumes sometimes a very ma- ligmant character, there called the Jebbre Perniciosa, and if not attended to or cut short in time is very likely to prove fatal; on the other hand, if properly attended to at the outset, it is easily subdued. The other fevers which are occasionally met with at Rome are exactly the same as every- where else, and only ignorance of their mature has given to them the name of Roman fecers. Typhus fever, so preva- lent in more northern countries, is almost unknown at Rome. Instead of it, another form, called Febbre nervosº, or nervous fever, by the natives, which presents some of the characters of the typhus, is not rare amongst foreign visitors; but it is altogether different, less dangerous, and, above all, not con- tagious. “Atomic gout is generally deve- loped, or thrown out on the joints, with much advantage to the constitution, by the climate of Rome, and chiefly if the residence of the invalid has been protracted through the hotter months. “There is a good deal of difference in the intensity of action of the cli- mate on health and disease in the different quarters of Rome. Consump- tive, delicate, and feeble persons will find a situation better suited to their ailments in the level or lower portion of the city — in the Rione di Campo Marzo, for example, where little move- ment exists in the atmosphere, and where the temperature is more equable, and less subject to sudden changes. But persons endowed with better health would do well to fix their residence in the higher, hilly portion of the city, about the Via Sistina, Via Gregoriana, or Via delle Quattro Fontane, and avoid the Via di Babuino, which is considered by all physicians as less healthy, espe- cially towards the Piazza del Popolo, than the other portions of the foreign quarter of the city. But in every case it will always be matter of the greatest importance that the apart- ments should have a Southern or western aspect, as in no place more than in Rome is the saying true—dove non ca il Sole vå il medico.” § 33. ON THE GEOLOGY OF THE CountRY ABOUT Roxie. As many travellers take an interest in this attractive branch of natural science, a short description of the physical structure of the district in which the Eternal City is situated may not be entirely out of place in a work like the present. As has been already stated (p. 1), the extensive low country which bears the general name of the Campagna, forms a kind of amphitheatre, closed towards the N.E., E., and S.E. by the last declivities of the Umbrian and Sabine Apennines, and of the Volscian mountains, whilst it is open towards the shores of the Mediter- ranean. Jn this amphitheatre have risen the volcanic groups of the Alban hills, so fine an object in the Roman landscape, and of the Monte Cimino, forming the , southern boundary of the great plain of Etruria; and the 286 Rome. § 33. GEOLOGY. two insulated offshoots from the Sabine Apennines — the Montes Corniculani, or hills of Monticelli, and the classical Soracte. The highest points of the encircling mountains of the E. of the Campagna are the Monte Genaro to the N. of Tivoli, 4165 feet; and the Monte di Semprevisa, south of Rocca Massima in the Volscian mountains, 5038. The geological formations that enter into the composition of the part of Italy under consideration are refer- able to the Secondary, Tertiary, and Quaternary periods, and to the volcanic eruptions of different ages. SEconDARY RocKs.—The great mass of the Umbrian and Sabine mountains consist of limestone, referable, as far as has been hitherto ascertained, to the Oolitic and Neocomian periods. The greater part of the Apennines between Narni and Palestrina appear to belong to the former, as well as the detached groups of Soracte and of the Corniculan hills: whilst a large portion of the Volscian range, extending from Rocca Massima to Terracina, with the outly- ing mass which forms the Circeam promontory, appear to belong to the older Cretaceous or Neocomian. The most ancient beds appear to be referable to the inferior oolite, or even to the lias, of which they contain charac- teristic fossils (at Monticelli): some traces of the amonnalous fossil Aptycus, found in the same locality, and in the rocks behind Tivoli, would indicate for certain beds an age contemporaneous with that of our British middle oolites and Oxford clay. The insulated ridge of Soracte, which rose as an island in the Tertiary sea, and amidst the dejec- tions of the most ancient volcanoes of the district, as it still stands in the midst of the Campagna, consists en- tirely of limestone containing fossils analogous to those of our inferior Oolite. Upon some of the higher points of the Sabine Apennines, beds of Neocomian limestones have been discovered; but these are much more developed in the mountains of the Hernici and the Volsci, the latter separating the Pontine marshes from the valley of the Sacco, and which, after having thrown off the spur, the “saaeis late can- dentibus,” at the base of which Ter- racina stands, the Monte Circello, and the promontory of Gaeta, continue into the kingdom of Naples, to where the Liris rounds, its S.E. extremity, before emptying itself into the sea as the modern river Garigliano. The best locality for examining the secondary strata in the more imme- diate vicinity of Rome will be at Monticelli (p. 339), one of the group of the Montes Corniculani, at the foot of Monte Genaro, and about 18 miles from the capital. The conical hill on which that picturesque village is situated is formed entirely of beds of limestone, the base consisting of a white variety, which, from the great number of Terebratulae (T. resupinata) it contains, may be referred to the middle lias of the British Islands, whilst the central part, remarkable for a red bed, gene- rally known by the Italian geologists as their calcareo ammonitico rosso, and which is extremely abundant in am- monites (A. insignis, A. tatricus, A. bifrons, A. discoides, A. comensis, A. fimbritus, A. heterophyllus, A. norman- ianus, A. thouarensis, A. sternalis, &c.), is referable to the upper lias and inferior oolite. Higher up still the existence of the Aptychus would indicate an age con- temporaneous with the Oxford clay and middle oolites of N. Europe. The cal- careous rock is partially dolomitized at Monticelli, where it is extensively quarried for making lime, supplying in moderm times the whole of that material used in the constructions of the capital. No trace of cretaceous rocks exists in this neighbourhood, but all round the base of the 3 hills of Monticelli, S. Angelo in Capoccio, and Poggio Cesi, may be observed the Pliocene marls in horizontal strata, characterised by fossils similar to those of the Vatican, particularly at Formello, at the S. extremity of the group, where clay- pits to supply brick-kilns have been opened in them. The geologist who visits this dis- trict may obtain much useful infor- mation from the Abbate Carlo Rus- coni, who lives at Monticelli: he is Sect. I. 287 § 33. GEOLOGY. well acquainted with the localities where fossils are to be met with, and of which he possesses a large collection. The rocks of the cretaceous period consist of a compact grey limestone containing Hippurites, Inocerami, &c., and of a macigno or calcareous sand- stone entirely similar to that so com- mon in Tuscany, and by some geologists referred to the Eocene rocks of the Tertiary period. This macigno is ex- tensively developed in the upper valley of the Anio and in the mountains of the Hernici, and nearer the Mediter- ranean in the mountains of the Tolfa, forming their last declivities towards the coast, as may be seen near to Civita Vecchia, forming the line of shore between that port and Santa Marinella, the ancient Punicum ; it may be well examined in the cuttings for the railway between these two sta- tions. TERTIARY Rocks.-If we include the Macignos noticed in the last paragraph amongst the cretaceous rocks, as is now generally done, the tertiary rocks of this part of Central Italy in general, and of the environs of Rome in particular, can be only referred to the pliocene period, described by Brocchi and the Italian geologists under the general designation of Sub- apennine marls and sands; it is doubt- ful that any rocks of the eocene or miocene periods exist in the district under consideration. The pliocene group in the more immediate vicinity of the capital con- sists of, l, a very thick mass of blue argillaceous marls, known by the local name of Creta, with numerous remains of fossil cephalopodous mollusca— Cleodora, Cymbulia, Cuvieria, Hyalea, &c. (base of the Vatican hills, &c.); 2, an extensive series of strata of greyer marls, passing gradually into, 3, the sands which constitute the upper part of the series. All these beds are well developed on the range of hills parallel to the right bank of the Tiber, between the Monte Mario and the S. extremity of the Jamicule, where the blue marls are extensively dug for making bricks and tiles; and the yellow sands and gravel on the road leading from the Porta de' Cavallegieri to the Villa Pamphili-Doria, a part of the lovely grounds of which is situ- ated upon them. Professor Ponzi, who has consider- able geological knowledge of the for- mations about Rome, has subdivided these tertiary beds into several sepa- rate zones, but the whole belong to one and the same period, and are in every respect identical with the great tertiary marl deposits of other parts of Italy, so well described by Brocchi, and consisting of an inferior argilla- ceous deposit, and a superior one of sands and gravel. The best localities for obtaining the fossil shells are—for the different species of cephalopodi, in the blue marl pits behind the Vatican palace and St. Peter's, and in the Val d’Inferno, lead- ing towards Monte Mario; and for those in the grey marly superimcum- bent beds, and of the sands above, on the E. declivity of the Monte Mario, near the Villa Madama, and in a ravine to the N. of the military exercising ground on the rt. bank of the Tiber, on the 1. after crossing the Ponte Molle (see also p. 301). More than 300 species, identical for the most part with those of the Sub- apennine formations of the valley of the Po, and described in Brocchi’s ‘Conchiologia Fossile Subapennina,' have been hitherto discovered in the environs of the Eternal City, chiefly by the late lamented Count de Raymeval, for many years French ambassador at Rome, who had com- pleted a beautiful geological mono- graph of the district, with a descrip- tion of its fossils, and which was on the eve of publication, when that ex- cellent man, and talented public ser- vant, was cut off, to the loss of science and of the public service of his country, of which he was so brilliant an orna- Innent. The localities best adapted for the examination of the tertiary strata will be the line of hills bordering the rt. side of the valley of the Tiber, from about a mile N. of the villa Mel- lini that crowns the Monte Mario, to 2SS JRome. § 33. GEOLOGY. Pozzo Pantaleo and S. Passera at the S. extremity of the Monte Verde, and in the cuttings of the railway as far as La Magliana. Monte Mario itself is formed of Pliocene marls and sands, on which rest the more modern vol- camic conglomerates of the Campagna. Behind the Vatican Basilica and Palace are numerous clay-pits in the lowest Pliocene beds, covered with beds of yellow marine sands, which form the continuation of the Janicu- lum. Farther S. the compact or older volcanic tufas rest immediately on the latter; the series of longi- tudinal ridges which are crossed by the roads that lead from Rome to Civita Vecchia, and to Porto, being com- posed, in the bottom of the inter- vening valleys between them, also of tertiary rocks. Within Rome itself, and on the 1. bank of the Tiber, the only trace of the marine deposit hitherto discovered has been on the E. side of the Capitol in excavations under the hospital of la Consolazione (p. 278). On the N.E. part of the Campagna the l’liocene beds are largely developed on the limes of the Vias Nomentana and Salara, forming the greater part of the lower hilly region between the Tiber and the base of the Sabine Apennines, characterised by its oak-woods and vineyards, and beneath the volcanic conglomerates on the opposite bank of the river. In the bottom of the valleys of Leprignano, and in the environs of Rignano, the tertiary marls, as moticed elsewhere, contain remains of a species of fossil elephant, a very rare occurrence in the lower Pliocene beds of Italy. Between Soracte and the Tiber are the tertiary hills of Pomzamo, extend- ing to Ponte Felice, beyond which the formation is connected with the Plio- cene region of Central Italy, Tuscany, &c., along the valleys of the Nera, of the Tiber, and of the Chiana. VolcANIC Rocks.-By far the greatest part of the surface of the Campagna in the environs of the capital is formed of materials of 1gneous Origin. They may be classed under two heads, very different in their mine- ralogical characters, as they are in the mode in which they have been depo- sited, their age, &c. The more ancient, which appear to have immediately succeeded the ter- tiary marine deposits, or even to have been contemporaneous with them, and to be the result of submarine volcanic action, consists, in the more immediate vicinity of Rome, and within the city itself, of a red volcanic tufa formed by an agglomeration of ashes and frag- ments of pumice: it has been desig- mated by the name of Tufa lithoide by the local geologists; and was, and still is, much used for building purposes. It forms the lower part of most of the Seven Hills on the l. bank of the Tiber, constituting the Tarpeian rock beneath the Capitol, the lower portion of the Palatine, Quirimal, Esquiline, and Aven- time. It reposes directly on the marine beds, but hitherto no marine organic remains have been discovered in it. In the more northern part of the Cam- pagma, this rock, there composed of white ashes and pumice, offers passages to the subjacent marine strata, and is entirely similar to the pumice tufa of Naples mineralogically, as by its age and position. No trace of the craters which produced this older tufa can now be discovered. A certain interval appears to have existed between the latter deposit and the more modern volcanic rocks of the Campagna, during which the land seems to have been raised, and several, parts of it covered with freshwater lakes or marshes. It is to this period that belong the strata of cinders, ashes, &c., which form the more immediate Sur- face, which are often very regularly stratified, and contain impressions of leaves of land plants, and here and there beds of calcareous gravel and marls, with land and freshwater shells. Of the first, the beds forming the Mons Sacer, on each side of the Via Nomen- tama, may be cited as an example; of the latter, the marls with lymneae be- meath the statue of Marcus Aurelius on the Intermontium of the Capitol, and the tufaceous beds, on which rests Sect. I. § 33. GEOLOGY. 289 the city wall, above the Porta di S. around; a fourth protrudes under the Spirito in the Trastevere. But the hill on which Velletri stands; whilst greater part of these more recent several less extensive are cut through volcanic rocks have been deposited by the line of railway between Albano on dry land; the beds are in general and Frascati. In the northern part of horizontal : the deposits of Pozzolama the Campagna we have the great cra- or volcanic ashes, so extensively used teriform depressions, now filled by the for making mortar, belong to this Lakes of Bracciano and Bolsena; and period of subaerial volcanoes, the tufa farther still, the picturesque elevation granolace in which the Catacombs or crater of Vico, on the S. declivity, of early Christian cemeteries are hol- the Ciminian range. The designation lowed out, and probably the more com- of craters given to the Lakes of Gabii pact varieties of tufa known under the and of the Solfatara are misnomers. name of Peperino, quarried at Albano | That of Leprignano, which a few years and Marino.” and that which borders ago burst forth, is of the nature of the the Lago di Castiglione, the ancient Modenese and Sicilian Salses or mud Lacus Gabinus. volcanoes, being produced by a sudden To this second period of volcanic development of carbonic acid gas action belong also all the modern through the Subjacent tertiary strata. craters in the vicinity of Rome, and There can be little doubt that all the numerous masses of lava which the existing volcanic openings were appear in the shape of currents, pro- sub-aērial vents, and that, whilst those truded masses, or dykes. which vomited the earlier igneous Craters. — The most remarkbale deposits were submarine, and have en- * crater of the Latian volcanoes is tirely disappeared, those of the sub- the Monte Cavo, forming the highest ačrial craters of the Roman Campagna point of the Alban range ; the central have all the characters of volcanoes opening at the summit now forms the actually in operation on the surface of so-called Campo d'Annibale (see p. our continents. 351). It is one of the finest examples | To the mineralogist the volcanic of that species of volcanic vents called rocks of the vicinity of Rome will craters of elevation by the late cele-furnish several interesting species of brated Von Buch. Numerous masses simple minerals. In the lava, so ex- of lava have protruded from its sides; tensively quarried for paving stone at its base are several smaller craters, in the quarries of Capo di Bove, a of which the lakes of Albano and Nemi, short distance beyond the tomb of and the Val Lariccia on its west side, Caecilia Metella, he may procure pseu- are the most remarkable. Extensive do-nepheline, gismondite, breislakite, currents of lava descend from the de- meiomite, &c.; and in the masses of elivities of the Alban hills, one of the pre-existing rocks imbedded in the longest being that which can be traced peperino or tufa of Marino and Albano, from near Marino to the tomb of Cae- many of the same simple minerals cilia Metella on the Appian Way, as are found in the dejections of giving of a branch which runs to the Fosso Grande on the declivity of near the Tiber at l’Acquacetosa, a short Vesuvius — such as fine crystals of distance beyond the Basilica of S. leucite, of lazulite, garnet, vesuvian, Paolo. Another underlies the hill of pleonaste, augite, meionite, nepheline, Tusculum ; a third forms the eminence mica, and numerous fragments of on which Colonna is perched and a compact and dolomitized limestone. considerable extent of the country Gaseous emanations, Mineral springs, &c., abound in the vicinity of Rome, * Professor Ponzi supposes, from the exist- and may be considered as one of the ence of fossil wood in the Alban peperino, that last or expiring efforts of volcanic it, has been the result of mud eruptions º,” action. The most remarkable now in greater solidity may perhaps with more proba- * * - bility be attributed tº subsequent gaseous ena.|activity are those called Solfataras, mations passing through it. emitting carbonic acid and sulphur- [Rome.] O 290 Rome. § 33. GEOLOGY. etted hydrogen gases; and when in contact with springs giving rise to those acidulated waters which abound round the capital. When rising through the purely volcanic rocks, these waters con- tain but a small quantity of mineral substances, whereas nearer to the lime- stone beds of the Apennines they are largely impregnated with calcareous matter, and have produced those ex- tensive deposits of travertime or fresh- water limestone so abundant in many parts of the Campagna. The most re- markable of these springs are the small lakes of the Lago di Tartari and Solfa- tara near Tivoli (see pp. 324, 325); that they were formerly much more widely distributed is evident from the masses of calcareous incrustations found amongst the stratified volcanic deposits, as we see within Rome itself on the declivity of the Aventine towards the Tiber, and on the northern prolongation of the Monte Pincio between the Villa Borghese and the Ponte Molle. The mineral spring of the Acquacetosa, near the Ponte Molle, so much resorted to by the Romans in the summer, and of the Acqua Santa on the road to Albano, are the best known near the capital. DILUVIAL. QUATERNARY DEPOSITs, Fossil Mammalia, &c.—It is an ex- tremely difficult point in the classifi- cation of the tertiary deposits around Rome to fix with certainty where those belonging to the Pliocene end, and those of the Post-Pliocene or Dilu- vial period commence. The upper por- tion of the former, consisting of beds of sand and calcareous gravel, appears to pass insensibly into those similarly composed, but characterised by the presence of scattered remains of fossil animals. As a general character, how- ever, the diluvial deposits contain a greater proportion of débris of volcanic rocks. The best localities for examin- ing them will be in the gravel-pits on the N. side of the Ponte Molle, where they form the line of elevations which extend from the ancient Via Flaminia on the rt. bank of the Tiber to the base of the range of Monte Mario, crossed by the modern roads to Civita Castellana and to La Storta (the Via Cassia), and bordering on the N. the military ex- ercising ground of the Farmesina. In this diluvial deposit, consisting of sands and gravel, are bones of the elephant (E. meridionalis), rhinoceros (tichori- nus), hippopotamus, one or two extinct species of ox, horse, hog, and deer, with those of a species of Felis, very nearly allied to the lynx, which still lives in this country. Fossil Mammalicſ.—The list in the preceding paragraph embraces nearly all the species of extinct quadrupeds that are found in the most modern geological deposits of the environs of Rome. There is one circum- stance, however, which deserves to be more particularly noticed, the existence of two species of elephants, and of different geological ages; the one in the lower Pliocene marls, the other in the diluvial and contempo- raneous volcanic deposits. The ex- istence of the elephant in the lower part of the Pliocene is a recent dis- covery in the history of palaeontology, having been found in the tertiary ma- rine beds near Rignano at the foot of Soracte, where an undisturbed skeleton was dug out during the present year. The species appears to be the Ele- phas antiquus of Falconer. The second, or E. meridionalis, is remarkable for its colossal stature and the large dimen- sions of its tusks; its bones, scattered in the beds of diluvial sand and gravel, have seldom been found united ; some of the largest have been discovered in the beds of fluviatile volcanic tufa on the declivity of Monte Verde, outside of the Porta Portese, and in the cuttings for the railway, beyond the latter, in the Monte delle Pichi, near la Magliana; it is very doubt- ful that the Elephas primogenius, so abundantly found in Northern Europe, has been yet met with in Central Italy, QUATERNARY Post-PLIOCENE DE- PosLTs — ALLUVIAL FORMATIONS. — The most remarkable deposits of this kind are those at the mouth of the Sect. I. 291 § 34. VILLAs. Tiber, and which will be noticed more particularly in describing the classical sites of that district, under the heads of Excursions to Ostia, Porto, &c. (pp. 391, 394). The Isola Sacra, which occupies an area of several Square m., has been entirely formed within the historical period by the alluvium of the Tiber, and which is still en- croaching on the sea at the rate of upwards of 12 ft. annually. The district of the Pontine Marshes is an immense quaternary deposit of a simi- lar nature, extending from the base of the Volscian mountains on the E., and the volcanic region of Latium on the N., to the shores of the Mediterra- nean, and which is also extending from similar causes, and the banks of sand thrown up by the sea. A quaternary deposit of another kind consists of a loose and porous calcareous rock, which forms the plain parallel to the coast, nearly in the whole extent from Palidoro, on the road from Rome to Civita Vecchia, to Leghorn; it con- tains recent marine shells, and con- sists of a loose travertime and agglo- merated sand, with extensive beds of gravel regularly stratified; it is quar- ried for building-stone between Pali- doro and Palo, and beyond the latter forms the low land at the base of the hills of Cervetri and La Tolfa, as it does in the environs of Civita Vecchia; it is similar to that quarried so exten- sively behind Leghorn for the hy- draulic works of the port; in some places it is seen as high as 40 and 50 ft. above the present sea level. Travertine may, in general, be con- sidered as a quaternary deposit, al- though some of it is contemporaneous with the last tertiary period, whilst others are still in a state of actual deposit. The most extensive masses of travertime exist near the base of the calcareous Apennines, and espe- cially in the plain below Tivoli, and have furnished all that stone so exten- sively used in the ancient and modern monuments of Rome. In former times the action which produced it was much more active than at present, and, as already remarked, may be considered the expiring effort of the volcanic agency in this part of Italy. The travertine seldom contains traces of other organic bodies than vegetables. The non-existence of animal remains may be attributed to the waters by which it was deposited containing in solution sulphuretted hydrogen gas, which rendered it unfit for animal life. The geologist will find in the Mu- seum of Mineralogy, at the University of La Sapienza (p. 27 l), avery extensive collection of the rocks and fossils of the hills within the walls of Rome, formed by the eminent geologist Broc- chi, to illustrate his work “Descriz- zione del Suolo di Roma,’ 1 vol. 8vo. ; and a fine series of the simple minerals from Capo di Bove and Albano, forming part of the collection sold by Count Spada to the Roman government. § 34. WILLAs. “A few cardinals,” says Forsyth, “created all the great villas of Rome. Their riches, their taste, their learly- ing, their leisure, their frugality, all conspired in this single object. While the eminent founder was squandering thousands on a statue, he would allot but one crown for his own dinner. He had no children, no stud, no dogs to keep. He built, indeed, for his own pleasure, or for the admiration of others; but he embellished his coun- try, he promoted the resort of rich for reigners, and he afforded them a high intellectual treat for a few pauls, which never entered into his pocket. O 2 292 Rome. § 34. VILLA ALBANI. His taste generally descends to his heirs, who mark their little reigns by successive additions to the stock. How seldom are great fortunes spent so elegantly in England How many are absorbed in the table, the field, or the turf 1–expenses which centre and end in the rich egotist himself.” Villa Albani (to be seen on Tuesdays, by an order, to be obtained at the palace of Don Vincenzo Colonna, near the ch. of Gesu, or through the Consul or a banker), a short distance on the rt, be- yond the Porta Salara, built in the middle of the last century by Cardinal Alessandro Albani. The design was en- tirely his own, and was executed under his superintendence by Carlo Marchi- onni. “Here,” says Forsyth, “is a villa of exquisite design, planned by a pro- found antiquary. Here Cardinal Al- bani, having spent his life in collecting ancient sculpture, formed such porti- coes and such saloons to receive it as an old Roman would have done : porticoes where the statues stood free upon the pavement between columns proportioned to their stature ; Saloons which were mot stocked but embel- lished with families of allied statues, and seemed full without a crowd. Here Winckelmann grew into an an- tiquary under the cardinal's patronage and instruction; and here he projected his history of art, which brings this collection continually into view.” At the French invasion under Napoleon the Albani family incurred the dis- pleasure of the conquerors, who carried off from the villa 294 pieces of sculp- ture. At the peace of 1815, the spoils, which had been sent to Paris, were restored to prince Albani, who, being unwilling or unable to incur the ex- pense of their removal, sold them, with the single exception of the Anti- mous, to the king of Bavaria. Notwith- standing these losses, the villa is still rich, being surpassed only by the Mu- seums of the Vatican and the Capitol. Fortunately for the interests of art, the mansion did not suffer, as some others about Rome did, during the insurrec- tionary movements in 1849, and it therefore remains in all its beauty, with its charming grounds, its sculp- tures, and other artistic treasures un- touched. The objects of art are com- tained in the Casino and the Coffee-house, between which is an extensive parterre, or Ornamental gardem, laid out with great taste. I. The Casino consists of a fine portico, decorated with columns of granite and cippolimo, surmounted by a suite of rooms, and having on each side wings in the form of galleries, opening from as many vestibules, all of which are decorated with sculptures. There are no catalogues, but each ob- ject has its name attached, most of the determinations having been made by Winckelmann. Commencing with the Portico, the most remarkable objects in it are sitting statues of Julius Cæsar, Augustus, and Agrippina, and of ano- ther female, supposed to be Faustima, Statues in niches of Tiberius, Lucius Verus, Trajan, Marcus Aurelius, An- toninus Pius, and Hadrian ; few, if any, of these statues have however their original heads. 2 altars with re- liefs of a dance of the Hours and 3 fine basins in pavonazzetto and cippolimo marble. Of the many Hermes, that of Mercury with a Greek in- scription is the most interesting. On the 1. of the portico is (II.) the Vesti- bule or Atrio of the Caryatid, so called from a statue of a Caryatide, or Cane- phora, bearing on the back of the bas- ket the names of the sculptors Criton and Nicholaus of Athens, who are sup- posed to have lived in the time of Augustus. From the vestibule opens the 1. gallery, used as a conservatory, in which are placed a series of busts, the most remarkable being those of Alex- ander the Great, Scipio Africanus, Han- nibal, Homer, and Epicurus; of the statues in the niches the most worthy of notice are—a male figure grasp- ing a dagger, called Brutus without any reason, being probably a com- batant in the arena; Venus; a Faun with fruit in his lion-skin covering, a Muse, and a handsome Vase, with dolphins for the handles. Return- ing through the great portico, on the rt. are a series of rooms forming the corresponding wing of the casino, Sect. I. 293 § 34. VILLA ALBANI. a vestibule, followed by the Con- servatory, out of which opens a series of smaller rooms, divided off as follows:–1. Atrio di Giunone con- tains a statue of Juno and several busts. 2. A Faun and young Bacchus, in the centre a vase with Bacchanalian reliefs ; Hermes of Euripides and Numa. The next room, 3. Sala delle Co- lonne, is paved with an ancient mosaic, and has a remarkable column of ala- baster of the beautiful variety called Fiorito, found near the Navalia in the Vigna Cesarini. The sarcophagus which stands here, with reliefs of the marriage of Peleus and Thetis, has been pro- nounced by Winckelmann to be one of the finest bas-reliefs in existence ; a circular altar with reliefs repre- senting a triumphal dance; an Etruscan priestess; Livia as Juno Sacrificing. 5th Room, or of the Terracottºs. –Busts of Caracalla and Pertinax ; a curious bas-relief representing Diogenes in a large jar receiving Alexander; a bas- relief of Dædalus and Icarus in rosso- antico a colossal mask of a river-god ; an ancient fresco representing a land- scape ; several interesting terracotta bas-reliefs, found in the grounds of the Villa Caserta, now the Convent of the Liguorini, on the Esquiline, the most remarkable being, the fitting out of the Argo; Latona and Artemis; a frieze of the Hours; Silenus in a bacchana- liam scene, &c. 6th Room.–Im the centre a large tazza with the Labours of Hercules, found near the temple of that demigod erected by Domitiam on the Via Appia ; Leda and the Swan ; on the walls are several Ro- man inscriptions. 7th Room.—Small bas-relief representing Iphigenia in Tauris sacrificing Orestes and Py- lades at the altar of Diana; an inter- esting mosaic of the inundation of the Nile ; a bas-relief in Pavonaz- zetto marble of a bacchamalian feast; a bust of Lucius Verus. 8th Room.— A Faun in Parian marble; a statue of Apollo on a tripod ; a repetition of the Faun of Praxiteles. This room opens on a terrace shaded with ilexes, lead- ing to the Bigliardo, and on which are placed numerous sepulchral cippi. Over the door is a bas-relief, supposed to represent a combat of Achilles. The Bigliardo is handsomely decorated with marbles, and has a few indifferent statues; it is generally closed. Re- turning to the great portico, from am oval vestibule of the casino opens a flight of steps leading to the 1st floor of the palace: in this vestibule are statues of Ceres and Isis, Bacchus and Hercules, and some colossal masks. At the foot of the staircase are a statue of Rome triumphant ; and an ancient painting of two females, called Livia and Octavia, sacrificing to Mars; and as we ascend bas-reliefs of the death of the children of Niobe; a colossal mask in rosso-antico; and a large bas- relief of dancing peasants: 2 very curious bas-reliefs representing a poul- terer's shop, on one of which are en- graved, as a puff, some limes of Virgil : and over the side doors 2 fragments of friezes, supposed to represent the distribution of corn to the people by Antoninus Pius in honour of his wife, and a procession of draped females, called the orphan children of Faustina. APARTMENTS ON 1st FLOOR.—l, Sala Ovale : in the centre a fine large tazza, with good bas-reliefs of a bacchanalian feast, where we see Hercules, with a satyr when his head is turned emptying the demigod’s goblet. The statues round the room are the supposed Ptol- emy by Stephanus; a Cupid bending the bow; Fauns; a Silenus; and a Mer- cury. On each side of the window are 2 very good columns of giallo- (tºtico ; and above a curious bas-relief of a race of children; in which are represented the carceres of a circus. The door on the rt, leads into the, 2, 3alleria Nobile, a fine room, opening out of which are several smaller ones: the roof is painted by Mengs, and represents Parnassus with Apollo and the Muses; the walls are richly ornamented with marbles and mosaics, and have several bas-reliefs let into them, the most remarkable of which are Hercules and the Hesperides; Daeda- lus and Icarus; a male personage called Antimous holding a horse in front of a Corinthian portico; Alexander and Bucephalus; figures of Antoniuus and Faustina, personifying Peace and 294 Ičome. § 34. VILLA ALBANI. Rome. Over the principal entrance a bas-relief in the archaic style, representing a sacrifice, with a tem- ple in the background: the figures sacrificing are those of Hebe, Diana, Venus, Apollo. In the 1st room on the rt. are Hermes of Socrates, Theophras- tus, and Hippocrates, those of Socrates and Marcus Agrippa being the best ; and over the chimney a very ancient bas-relief of Zeto, Antiope, and Am- phion. In the 2nd room is a small collection of pictures removed from the Palazzo Albani, at Rome, the best of which are–Perugino, a painting in 5 compartments, representing the Adoration of the infant Saviour by the Virgin with saints, the Crucifixion, the Magdalen, and an Assumption, signed and dated 1491, consequently one of Pe- rugino's early works. Giulio Romano, 2 compositions in water-colours of baccha- malian scenes. Guido, the head of an old man. Titian, small portrait of Paul III. Jucá, Giordºmo, 2 pictures of children. Giorgione, a good male portrait. Tinto- retto, a Crucifixion. Albano, a small Holy Family. Wanderwelf, a Descent from the Cross. Luca Signorelli, the Virgin and Child, with SS. Lawrence, James, Sebastian, and the Donatorio, for whom the picture was painted ; in the next room are Domenichino's cartoons for the paintings in the church of Sta. Maria della Vittoria; one by A. Caracci ; and another of a Crucifixion, by B. Iroccio. Returning to the Galleria Nobile, the 1st Room on the left contans the celebrated bas-relief of ANTINOUs cRow NED WITH THE LOTUS-FLOWER, found in the ruins of the Villa Adriana, and which Winckelmann has described with rapture : “as fresh and as highly finished,” he says, “as if it had just left the sculptor’s studio. This work, after the Apollo and the Laocoon, is perhaps the most beautiful monument of antiquity which has been transmitted to us.” 2nd Room.—Four Etruscan sepulchral urns in alabaster; bas-reliefs, Hercules and Apollo contesting for the tripod ; a series of bas-reliefs in an ar- chaic or Etruscan style, of a procession of Mercury, Minerva, Apollo, and Diana; a sacrifice by Berenice, the wife of Ptolemy Evergetes; and of Leu- cothea with young Bacchus and Nymphs. In the 3rd Room are some more car- toons by Domenichimo. From this We enter the Gabinetto at the eastern extremity of the casino, which contains Several fine specimens of ancient art: the bronze Apollo SAURoctonos, con- sidered by Winckelmann as the original statue by Praxiteles, described by Pliny —it was found on the Aventine, and has been much restored ; a small bronze statue of Minerva; an ancient copy, also in bronze, of the Farnese Her- cules; fine bas-relief of the Repose of Hercules, with a Greek inscription, and another supposed to be of the poet Perseus ; a Diana in alabaster, with head and hands of bronze; a Canopus, probably of the time of Hadrian, with reliefs, in green basalt; a legless statue of AEsop, a fine specimen in Pentelic marble; a small one of Diogenes. In the remaining rooms have been placed several pictures of little interest, chiefly portraits, brought from the Palazzo Albani, and a series of indifferent tapestries from Flemish designs, exe- cuted at Rome. The Coffee-house.—The second part of the Villa Albani consists of a semicir- cular portico, supported by columns of granite. Under the arcade are several statues, busts, and masks. Amongst the former, those most worthy of notice are Isocrates, Hortensius, Chrysippus, a veiled Caligula, Antisthenes, Balbinus, Hadrian, 2 statues of Caryatids, and others of Bacchus and Hercules. In the vestibule, leading from the portico to the Gallery, is a fine tazza in Egyp- tian breccia, with statues of Marsyas, Juno, Silenus. The Gallery.—Ancient mosaics form the pavement; statues of Juno and a nymph—on the pedestals on which they stand are ancient mo- saics, one of which, found at Atina, near Arpino, represents the delivery of He- sione from the monster—the other, from Sarsina, in the Romagna; an Ibis with a serpent in rosso-antico; a handsome candelabrum ; statues of Atlas bearing a Zodiac and its signs on his shoulders, with Jupiter in the centre; and of the Bona Dea with a Fawn ; a large bust of Jupiter Serapis in red por- phyry; and a Cupid concealed behind Sect. I. 295 § 34. VILLA BORGHESE. Jºe’ a comic mask. Egyptian Hall.–In an open portico beneath the coffee-house have been arranged several Egyptian statues, one of the goddess Pascht, in black granite, and another, colossal, of Ptolemy Philadelphus; in , the centre of the room is an elephant in the same material, true to mature, of the Asiatic species: several speci- mens of sculpture and inscriptions are let into the adjoining wall, which forms one of the foundations of the parterre. Near the entrance to the grounds on the 1. is a marble pillar, supposed to have been a Meta from some circus. The Villa Albani is now the property of the Count di Castelbarco, a Milanese nobleman, to whom it has descended as heir in the female line, on the death of the last prince, Cardinal Albani, secretary of state during the pontifi- cate of Pius VIII. ; it is most liberally kept up for the benefit and instruction of strangers visiting the capital. The view of the Sabine and Alban ranges from the upper part of this villa is very fine. Tillº, Borghese, outside the Porta del Popolo, and extending to near the Via Salara; open to the public every day, after 12 o'clock ; and the Casimo, with its galleries of statues, on Saturdays, from 12 until 4 in winter and spring, and after 3 P.M. during the summer months. The Villa Borghese, one of the favourite resorts of the Roman people in summer, and the most con- venient promemade for the upper classes and foreign residents at all seasons, had remained comparatively closed of late years, in consequence of the restorations and new laying out of the grounds, rendered necessary by the devastations committed, and the cutting down of the plantations during the siege in 1849. It has been recently reopened with increased facilities, and, during the winter and Spring months, forms the most fashion- able and agreeable of all the drives and walks round the capital. A French corps having succeeded in forming a lodgment on the range of heights ex- tending from the Ponte Molle to the Porta del Popolo, and in the grounds of . the Villa Borghese itself, in 1849, the Roman Commission of Defence was obliged, from strategic considerations, to order the destruction of the trees extending on the slopes towards the city walls, to deprive the besiegers of a cover in case of their attacking Rome on this side. It is to be regretted, however, that the unjustifiable de- struction of an aqueduct, for the less honourable motive of stealing the leaden pipes, was perpetrated by per- soms unconnected with the authori- ties, as well as other very extensive damage, and for which the noble owner has received no compensation. The Casino remained luckily untouched, as did the specimens of sculpture which it contains, although at one time it was proposed to remove the latter to the Vatican for the sake of security. The principal attraction of the Villa Borghese is the Casino, formerly used as a summer residence, but now con- verted into a museum of statuary. It was erected by Card. Scipio Borghese, from the designs of Vamsanzio, en- larged during the last century, and converted into a gallery of sculpture by the present Prince Borghese, under the direction of the eminent architect Camina, to whom also are due the interior arrangements, de- corations, &c. The Borghese family formerly possessed a very rich col- lection of ancient sculpture found in excavating on their numerous posses- sions, and especially at Gabii, which were arranged here and in another casino close by called the Museum Gabinum. The most valuable of these were removed to Paris by Napoleon, for which an indemnity of 15 millions of francs was granted to Prince Bor- ghese, but of which a large sum re- mained, as it still does, unpaid at the fall of the French empire. A great portion, therefore, of the present col- lection of the Villa Borghese has been made by the two last princes The Casino consists of 2 floors, the rooms on the lower one being confined to ancient Sculpture, those above to modern statuary and pictures. There 296 § 34. VILLA BORGHESE. JRome. PLAN OF GALLERY AT CASINO BORGHESE—GROUND FLOOR. r § Z. NO & WI y 6 ill ut C &o WIE 63 W. <— -e- <- -] . º d | | | º |--| i º"' . ſc *— —s- gº? - Ö [] d. Entrances. --- Hy IX. II |- b. Stairs to Second —- Story. II: [] c. Cabinet. & 20-yazz/ jºya 3' I. Vestibule. d, d. Candelabras. VII. Hall of the Hermaphrodite. h. Statue II. Salone. of Hermaphrodite. III. Hall of Juno. b. Statue of Juno. VIII. Hall of Tyrteus. i. Statue of Tyrteus. IV. Hall of Hercules. e. Amazon. IX. Egyptian Hall. k. Statue of Palaemon. W. Hall of Apollo. g. Statue of Apollo, X. Hall of the Faun. l. Statue of Faun. VI. Galleria. are catalogues for each floor, which will be lent to the visitor, upon appli- cation to the custode. I. The entrance is from a portico 70 ft. long, enclosed by an iron grating, under which are ranged—2, 11, 23. ancient candelabras; three mutilated bas-reliefs from the Arch of Claudius, which stood near the Piazza Sciarra ; 14. a sarcophagus, with bas-reliefs of naval sports, with the representation of a harbour and a lighthouse.—II. Great Hall or Salone. This magnificent room, the ceiling of which, painted by Mario Rossi in the last century, represents the ar- rival of Camillus at the Capitol, is paved with ancient mosaics of gla- diators and combatants in the amphi- theatre, discovered in 1834, amongst the ruins of a Roman villa at la Giostra, near Torre Nuova, one of the Borghese possessions on the Via Prae- nestina. These mosaics are interesting for the costumes of the figures repre- sented, and the animals they are com- bating—lions, tigers, panthers, oxen, deer, buffaloes, and even the oryx antelope and ostriches. Many of the figures have their names annexed: a certain Astacius waves a flag over his fallen antagonist Astinus ; another, de- signated as Alumnus Victor, holds up in mark of triumph the bloody knife which he has just drawn from the mortal wound inflicted on his adver- sary. As a work of art this mo- saic has little pretensions, and dates probably from the latter part of the 3rd century. It is supposed, like a somewhat similar one discovered in the Thermae of Caracalla and now in the Lateran Museum, to have deco- rated the gladiators' unrobing-room in the Roman villa above mentioned. The principal specimens of sculpture in the Salone are—1. a statue of Diana; 5. the colossal bust of Juno ; and 3. another of Isis; 4. a colossal dancing faun; 7. a statue of Tiberius; 9. Augustus; 11. a statue of Bacchus, forming part of a group of that divi- nity and Ampelus; 15. a colossal figure Sect. I. § 34. VILLA BORGHESE. 297 of Bacchus; a statue of Caligula ; 14 and 16. colossal busts of Hadrian and Antoninus Pius.-Bas-reliefs of young Bacchus and Pan, beneath No. 11; and the large alto-relievo of Curtius leap- ing into the gulf. The busts of the 12 Caesars, in coloured marble, are modern, as well as the medallions on the pilasters; the frescoes of animals on the roof are by Peters. Opening out of the Salone on the rt. is Room, III., the Sala di Giunone, so called from the statue of Jumo Pronuba (b), which stands in the centre, discovered in a Roman villa near Monte Calvi, at the 32nd mile on the Via Salara : the other statues are, 3. Urania; 9. Leda and the Swan with Cupid ; 4. Ceres; 5. a Venus Genitrix ; 20. an interesting bas- relief, discovered at Torre Nuova, representing the birth of Telephus; 11. an archaic bas-relief of Cassandra. The paintings of the roof are by De Angelis; that in the centre represent- ing the Judgment of Paris.-Room IV., called the Sala di Ercole, from the many sculptures relating to Hercules which it contains. The group in the centre is that of a combating Amazon (f); 2 bas-reliefs (ee) (3, 4, 17, and 18), which formed the sides and covers of sarcophagi, of the Labours of Hercules; another sarcophagus, with, 10. a bas- relief of Father Ocean surrounded by Sea Nymphs; 21. a statue of Venus, not unlike that of the Capitol; several statues, and, 6. a gigantic bust of Her- cules; one, 5, representing Hercules in female attire with a distaff.- ſtoom V., or Camera di Apollo. This room, decorated with columns of Egyp- tian granite, has paintings of Apollo and Daphne, by Angeletti; of the Valle of Tempe, by Moore; and of Apollo and Diama, by Labruzzi: in the centre is, 1. a statue of Apollo (g); and round it others of the Muses. 3. A bust of Scipio Africanus; 4. A statue of the Metamorphosis of Daphne into a laurel- tree; 6. A good torso of a Venus; 7 and ll. Busts of Bacchantes; 8. A statue of Melpomene; 10. of Clio; 19. A sitting figure of Anacreon, from Monte Calvi; 14. A colossal bust of Lucilla, wife of Lucius Verus; 16. Erato; 18. Polymnia. A narrow passage (c) leads to Room VI., the Galleria, or Great Gallery, a magnificent hall, 60 ft. long, opening on the garden, decorated with paintings by Marchetti and De Angelis. The story of Galatea is painted by the latter. 2 columns and the pilasters are in oriental alabaster; the medallions by artists of the last century. The series of busts, in porphyry, of the 12 Caesars are modern. The red por- phyry urn is said to have been brought from the Mausoleum of Hadrian. 32. A bronze statue of Geta in his youth. — Joon VII. Gabinetto, or of the Her- maphrodite. 7. The statue (h) of that fabulous creation, was found near the ch. Of Sta. Maria della Vit- toria, with that of the same subject now in the Louvre. 3. A statue of a Faun or Satyr ; 6. Bust of Titus; 9. Bust of Sappho ; 11. A copy in marble of the bronze statue of the shepherd Martius in the Palazzo dei Conservatori at the Capitol; 10. A bust of Tiberius; 13. A bust of Corbulon; 15. A headless statue of a youth, supposed to be Ilo, of fine workmanship, discovered in 1830 near Mentana, the ancient Nomentum. The ancient mosaics on the floor, repre- senting fishing scenes, were found near Castel Arcione, on the road to Tivoli, and are interesting as showing that the mode of fishing with a round or cast met was exactly the same as is now practised on the banks of the Tiber.— Room VIII. Camera di Tirteo, formerly called della Candelabra, the candelabra, having been lately re- moved to the Westibule to make room for—1. the statue of Tyrtaeus (), now in the centre of this apartment. The Borghese Gladiator, one of the finest statues in the Louvre, formerly stood here. The paintings, by Pecheux and Thiers, represent the Death of Milo, Polydamas, and Theseus. Of the other statues the most remarkable are —2. Minerva Polias; 4. Apollo in a toga, with a griffon and a tripod : 5. A colossal bust of Lucilla.; 7. A triple Caryatid or Canephora; 10. Leda and the Swan, discovered mear Frascati in 1823; 15. Alºsculapius and his son Telesphorus. – Room IX., or Camera Jºgiszictcºt. In the centre stands a mar- O 3 298 Rome. § 34. VILLA BORGHESE. ble group of a boy on a dolphin (k), try- ing to force open its mouth, and called Palaemon, son of Alamos and Ino; 3. Isis; 4. Paris; 8. Ceres in black marble; 10. A modern statue of a Gipsy, in bronze and marble ; 19. A colossal bust of Hadrian ; 20. An in- different statue of a Venus.-lè00m X. Camera del Fawno. 1. The fine statue of the Faun in the centre of this room was discovered in 1832, with several others purchased by P. Bor- ghese, in the ruins of a Roman Villa at the 32nd mile on the Via Salara. 2. Statue of Ceres; 3. Mercury Liri- cinus, or inventor of the lyre; 4. Co- lossal Satyr; 8. Copy of the Faun of Praxiteles; 9. Pluto ; 14. Sitting statue of Periander. Busts : 6. of Seneca ; 7. of Minerva Gorgolapha, or with the head of Medusa on her helmet. 19. Group of Bacchus and Libera. The Upper Story is reached from the (#alleria at b by a winding staircase, and is entered by — Room I., or the Galleria. The frescoes on the ceiling are by Lam- franco ; the Landscapes on the side- walls by Hackaert and Marchetti. The three principal groups of statues in the centre are by Bernini, and represent, 2, AEneas carrying off Anchises, one of the artist's earliest works, said to have been executed when he was only 15 years old; 1, Apollo and Daphne, when he was in his 18th year; and, 3, David in the act of slaying Goliath, one of Hermini's finest works, executed in the short space of seven months. The several marble vases are modern.— Room II. Camera dei Ritratti. 1, The bust of Paul V. by Bernini; 27, the portrait of Marc Antonio Borghese, father of that pope, by Guido; 1, that of Paul V., by Caravaggio; the bust of Card. Scipione Borghese is also by Bernini. The numerous other family portraits here are of little interest as works of art. Opening out of this room is one painted with architectural subjects by Mar- chetti; and beyond the latter a cabi- net, on the ceiling of which is a good, although not very chaste, painting of a Satyr, Cupid, and sleeping Venus, by Gagnereau, called also Jupiter and Antiope. —Room V. Camera della Jenere Vincitrice, so called from the, 1, statue of Princess Pauline Borghese, sister of the first Napoleon, by Ca- Inova, who has represented her as Venus Victrix. She was one of the most beautifully-elegant women of her day. The bas-reliefs over the four doors, in giallo-antico, by Pocetti, re- present – 2, Jupiter , and his Eagle; 3. Venus and Cupid ; 6. Paris; 7. Apollo. The statues, 4 and 5. of Venus and Paris are by Penna. The paintings of Helen and Paris, the Death of Achilles, the Departure of Helen, on the walls, and those on the ceiling, are by Gavin Hamilton, an English artist settled in Rome in the last century. The Presentation of the Infant Paris to Hecuba, in the octagon above the central window, is one of the earliest works of Cammuccini. —Room VI., Camera di Orizonte, has its walls covered with pictures, painted by Bloemer, of Antwerp, called Ori- zonte by the Italians. The sculptures on the chimney-piece, in rosso-antico, of a bacchamalian procession and sacri- fice are by A. Penna; and the modern statue of a Bacchante playing on the lyre, with a Cupid, by Tadolini. On the opposite side of the Casino, and on the same floor, are 2 rooms containing a number of indifferent pictures, amongst which, several of animals by Peters; a San Marino, by Pompeo Battoni; a representation of a tournament at the Vatican, in the presence of the pope and his court, is interesting for the costumes, and for the view of St. Peter's, then in progress, when the raising of the dome had only been commenced ; and an indifferent modern statue of Diana by Cavaceppi. In the upper part of the grounds was situated the Villa Olgiati, better known by its traditional name of the Casino of Raphael. It consisted of 3 rooms deco- rated with frescoes, arabasques, and medallions, in which Raphael's beauty of design was combined with the most delicate fancy. They were fortunately removed to the Borghese Palace before the events of 1849 (see p. 245), when the casino was demolished. The fresco, doubtfully attributed also to Itaphael, of the Rape of Helen, was removed before the Casino came into Sect. ſ. 299 § 34. VILLA LUDOVISI. Prince Borghese's possession, and is now in the Campana collection: it is well known, as being frequently repro- duced, entire or in part, on the earthen- ware of Urbino and Gubbio. In another part of the park is a fac-simile of a small Roman temple dedicated to Faus- tina, the peristyle of 2 granite columns with their ancient Corinthian capitals, and with copies before it of the Greek inscriptions, now at the Louvre, found in the Villa of Herodus Atticus, on the Via Appia. Villa Ludovisi, was founded by Card. Ludovisi, the nephew of Gregory XV., and is now the property of the prince of Piombino, of the Buoncompagni family, the descendant also of the Ludovisis, with whose order it may be seen on Thursdays, during the winter and spring, when not inhabited by the family. The grounds, which are very extensive, reaching from the Porta Pinciana to the Porta Salara, include a portion of the Gardens of Sallust. They contain 3 casinos. The largest, on the 1. of the entrance, built from the designs of Domenichino, has nothing worthy of notice in the interior; it is inhabited by the younger members of the family. The 2nd casino, on the rt., contains a rich collection of ancient sculpture, arranged in two rooms on the ground floor, with good catalogues for the use of visitors.-Room I. The prin- cipal objects in this hall are statues of AEsculapius, Apollo, the bearded Her- cules, Venus, Antoninus Pius, Mercury with a youth placing a wreath on his head; busts of Claudius, Julius Caesar, Vespasiam, and Antinous; Hermes of Victory, Minerva, Theseus, and Her- cules; 34. A bas-relief of the rape of Europa; a fine theatrical mask in rosso- antico; 9. The sitting statue of a Sen- ator, with the name of the sculptor, Zeno, on the drapery.—Room II. Con- taining, 1. the fine group of the sitting Mars with a Cupid at his feet, found within the precincts of the Portico of Octavia, and restored by Bernini; another of Apollo and Diana; a third of Pan and Syrinx; a statue of Cleopatra; a sitting gla- diator; statues of Hercules, Bacchus, Mercury, and Agrippina; 7. The cele- brated group considered by Winckel- mann to represent Orestes discovered by Electra, bearing the name of a Greek sculptor, Mamelaus son of Ste- phanus; 9. A fine statue of a Satyr, the torso and legs alone ancient; 23. Good statue of Marcus Aurelius; 26. A torso, supposed to be of Bacchus; 30. A statue of Bacchus ; 28. The group called Paetus and Arria, or the Gaul slaying his wife, considered by Winckelmann to represent Camace re- ceiving the sword sent by her father AEolus; 34. A colossal figure of the Venus of Cnidos; 41. The fine colos- sal head known as the Ludovisi Juno ; 43. Bernini's group of Pluto carrying off Proserpine; 44. A bust of Hygeia; a colossal Minerva, by An- tiochus of Athens; 51. A bronze bust of Julius Caesar; 54. The sitting statue of a Hero. In the Casino of the Aurora, occupying the highest part of the grounds, and inhabited by the family in May and June, is the cele- brated fresco, by Guercino, represent- ing Aurora in her car driving away Night and scattering flowers in her course. In one of the lunettes is Day- break, represented as a youth holding a torch in one hand and flowers in the other. In another opposite is Evening, as a young female sleeping. In one of the adjoining rooms are 4 landscapes in fresco, with a circle of angels in the centre; 2 painted by Domenichino, and 2 by Guercino; and in another some very beautiful groups of Cupids, by T. Zucchero. On the ceil- ing of the upper saloon, over the Hall of the Aurora, is a fine fresco of Fame, accompanied by Force and Virtue, also by Guercino ; from the terrace on the roof opens one of the most extensive panoramas over Rome and the ad- joining Campagna. The garden con- tains many statues, antique marbles, and other sculptures ; among which are a Satyr attributed to Michel Angelo : a very fine Sepulchral Urn, with high reliefs of a combat between Romans and some barbarous nation ; and opposite the entrance gate a co- lossal block of lºgyptian granite, on which is supposed to have stood the 300 Rome. § 34. VILLA MADAMA.—v. MATTEI. Sallustian Obelisk (p. 85); it measures 323 cubic feet, and weighs mearly 25 tons; it was found within the precincts of this villa. The grounds are taste- fully laid out in pleasure-grounds, and well pierced with drives and alleys of box, evergreen oaks, and cypresses: near the entrance, on the 1., are two gigantic specimens of the Platamus orientalis, amongst the largest that exist of this tree. |Willa Lante, on the Janiculum, built from the designs of Giulio Romano, contained 4 rooms painted in fresco by Giulio Romano and his scholars. These frescoes have been removed to the Pa- lazzo Borghese. As the villa has been converted into a convent of the nuns of the Sacré Coeur, it is closed except to ladies. Villa Madama, on the eastern slopes of Monte Mario, about 1% m. from the Porto del Popolo. This interesting villa derives its name from Margaret of Austria, the natural daughter of Charles V., who married Alessandro de’ Medici. It became the property afterwards of Ottavio Farnese, duke of Parma, and now belongs to the king of Naples, but has long remained un- tenanted. It was built by Cardinal Giulio de’ Medici (afterwards Clement VII.) from the designs of Raphael. The villa consists of a beautiful loſſgia, opening on a terrace garden, and richly decorated with paintings by Giulio Romano and Giovanni da Udine : the central cupola of its vault is particu- larly beautiful, especially, its frieze in fresco of griffons, and the white reliefs upon a blue ground on the pendentives. In two rooms on the E. side of the building are some good frescoes; those forming the frieze round the large hall and the ceiling, representing Apollo and Diana in their chariot, with birds and animals, are by Giulio Roman0. These frescoes are engraved in Grüner’s work on ‘The Architec- tural Decorations of Rome during the 15th and 16th Centuries.’ A road opening out of that connecting the Ponte Molle with the Porta Angelica leads to the Villa Madama, which can now be visited, the family of the gar- demer of the neighbouring grounds re- siding in it. The house is better cared for than it formerly was, and the beautiful loggia enclosed in glass. From the ter- race opening out of the great hall there is a lovely view over the plain of the Tiber, the N. part of the city, and the Sabine Mountains. On the summit of the hill above is the Villa Mellini, until lately belonging to the Falconieri family. The view from the terrace in front is highly interesting, and may be enjoyed for a small fee to the custode; it commands not only the modern city and many of the ancient monuments, but the immense plains of the Campagna from the Sabine hills to the sea-coast (see p. 301). Villa Massimi, formerly Giustini- rtni, near the Lateran, remarkable for its interesting frescoes illustrating the chefs-d'oeuvre of Dante, Ariosto, and Tasso, by modern German masters. The first room contains subjects from the Divina Commedia, by Koch and Ph. Teit ; the subjects of the 2nd, by Schnorr, are from the Orlando Furioso ; those of the 3rd, by Overbeck and Fihrich, are from the Gerusalemme Liberata, Villa Mattei, on the Caelian, now be- longing to a confraternity of foreign nuns, and, being converted into a con- vent, is closed to male visitors. The grounds command splendid views— that of the Alban hills, with the aqueducts of the Campagna and the walls of Tome in the foreground, is, perhaps, unsurpassed; the view over the baths of Caracalla and the Aventine is also very fine. Several spe- cimens of ancient marbles are placed in different parts of the grounds, many of which have been found on the spot; of the latter, om each side of the fine alley of ilexes, two pedestals of statues dedicated to Marcus Aurelius by the officers and soldiers of the 5th cohort of the Vigili, who were stationed here; their names are all inscribed on them. The principal interest of the Villa Mattei is from its situation and the magnificent views from its Sect. I. § 34. v. MEDICI.-v. PALATINA. 301 © grounds. The wall of Servius Tullius encircled the part of the Caelian on which the Villa Mattei stands, and the modern bastion, raised by Paul III. at its extremity, rests upon the ruins of these more ancient defences. Villa Medici...—This fine villa, the seat of the French Academy, and the pro- perty of the French government, was built by Cardinal Ricci, of Montepulci- ano, from the designs of Annibale Lippi, with the exception of the garden façade, which is attributed to Michel Angelo. It was subsequently enlarged by Card. Alessandro de’Medici, prior to his being elected Pope as Leo XI. The situation is one of the finest in Rome, and the grounds of the villa are nearly a mile in circuit. The villa contains a fine collection of casts, and in the garden is a colossal statue of Rome. The French Academy, founded in 1666 by Louis XIV., was established in this villa in the beginning of the present century; an annual exhibition of pic- tures by French artists takes place here every year in May. The gardens have been liberally opened to strangers of late years, a great advantage to the foreign families residing about the Piazza di Spagna. Upon the walls of the palace towards the garden are several interesting fragments of an- cient sculpture, amongst others a curious relief of H. Coccles on the Sublician Bridge. Villa Mellini, on the summit of the Monte Mario, about a mile from the Porta Angelica by an excellent car- riage road : it having lately changed hands, to see the grounds an order from the new owner is necessary. It was built by Mario Mellini, from whom the hill on which it stauds derived its name. It is placed in one of the finest situations about Rome, its great attraction being the magnificent view it commands over the city, the Campagna, and the dis- tant mountains. The casino offers little interest, except for the view from the Belvidere on its summit. The Monte Mario is an interesting point in a geological point of view, being com- posed of beds of the tertiary marine strata clays and sands, on which rest those of volcanic tufa. The marine beds, especially those of gravel and sand, are rich in fossil shells of the Subapen- nine or Pliocene period, more than 300 species having been obtained from this locality; the best points where they can be procured are on the slopes toward the Tiber, behind the Villa Madama, and along a path leading through oak woods, and particularly in the ravine which opens into the meadows of la Farnesina, now used as a military exercising ground, and at its N.W. extremity. Villa Negroni, or Massimi, near S. Maria Maggiore, formerly one of the most beautiful villas within the walls of Rome. It is now let, after having been long deserted, and its extensive grounds are converted into kitchen- gardens. The famous agger of Servius Tullius may be traced through a great portion of this villa. The mound on the upper part of it, planted with cypresses and cedars, commands one of the most extensive views of ancient and modern Rome. Nearly all the antique statues and marbles which have been dug up at various times within the precincts of this villa are now dispersed. Villa Palatina, formerly the Villa Spada, and now converted into a com- vent of French nuns, and therefore closed to visitors. The remains of the Palace of the Caesars, still visible in the grounds of this interesting villa, and the Casino, painted by Giulio Romano, have been already moticed. The gardens are prettily laid out, but the house—half Chinese, half Gothic—offers a singularly dis- agreeable contrast with the classic scenery and ruins by which it is sur- rounded. The entrance is from the street leading from the Arch of Titus to the ch. of San Bonaventura, and close to the latter. Villa Pamfili-Doriſ, entered by a gate about 4 m. beyond the Porta S. Pan- crazio, the most extensive villa on this 302 Pome. § 34. VILLA PAMFILI-DORIA. side of Rome, the grounds exceeding 4 m. in circuit. It was presented by Innocent X. to Olimpia Maidalchini, the wife of his brother, in 1650, and was arranged from the designs of Antinori and Algardi. The grounds, which are most liberally thrown open at all hours and seasons to the public, even when the family resides there (May and June), are laid out in gardens, avenues, terraces, and plantations, among which the lofty pines, which form so con- spicuous a feature in all views of Rome on this side, add considerably to the beauty of the spot. The fountains and cascades are in the fantastic style of the last century. The Casino was also built by Algardi. In 1849 the casino and the grounds of the villa were occupied by the republican troops of Garibaldi, who maintained his position here for many weeks against the whole power of the French army. The advantages of the situ- ation soon made it essential to the success of General Oudinot's opera- tions that the Romans should be dis- lodged, and, after having been taken and retaken several times, the casino and its grounds were finally occupied by the French troops. Some portions of the building suffered during these operations, but have since been com- pletely restored, the loss falling en- tirely on the owner. During the fre- quent struggles between the contend- ing armies on this spot, several men fell on both sides; and it is needless to say that the gardens, fountains, statues, and other edifices, were seri- ously injured. From the side of the grounds overlooking St. Peter's we have a better view perhaps of the flank of the basilica than can be ob- tained from any other place. The columbaria and tombs discovered in these grounds mark the line of the ancient Via Aurelia. The most com- plete columbarium, a very large one, and surrounded by several Smaller, is immediately behind the Casino; it also suffered during one of the last combats in 1849, by the fall of its walls; it contains some hundred urns, but few inscriptions; and is considerably below the surface. Near it has been recently erected a semicircular church decorated With ancient Corinthian columns for the use of the family, and communicating with the casimo by a subterranean passage, and on the opposite side a Swiss cottage and dairy; the former tenanted by the junior members of the family. A handsome monument to the French who fell in the san- guimary struggles about the villa has lately been raised, with much good feeling and taste, by Prince Doria, at the extremity of one of the great avenues of evergreen oaks; it consists of an Octagonal temple, having a statue of the Virgin on its front, crowned by a canopy supported by 4 white marble Doric columns, with the names of Several of the dead who lie beneath in- scribed on the pedestal. The popular name of Belrespiro, given to the Villa Pamfili by the Romans, can allude only to the delightful variety of its scenery, not to the salubrity of its air, as the park is uninhabitable from ma- laria in July and August. The in- juries sustained by the casino and grounds of the Villa Pamfili during the military operations of 1849 were very great, principally during the occupa- tion of Garibaldi; but those acquainted with the locality will be glad to learn that the beautiful groups of pines still remain standing, except where age has thinned these picturesque giants of the Koman landscape. Nearer the Porta di San Pancrazio, the villas of the Vascello, Valentini, and of the Quattro Venti, being nearer to the walls, and exposed to the fire and the frequent sorties of the besieged, were reduced to an irremediable state of ruin. The two latter have been since purchased by Prince Doria, and a part of their grounds added to the Villa Pamfili, forming a new and more appropriate approach from the Porta di San Pan- crazio to that most beautiful resort so generously thrown open to all comers. An ancient paved way has been dis- covered near the Orangery of the Villa Pamfili, which is supposed to have been a cross-road from the Via Aurelia to the Via Vitellia. Sect. II. § 35. CATACOMBS. 303 when dead, to these places of retirement and repose. A very erroneous explanation of the origin of these subterranean cemeteries has been long entertained, that they were originally Arenariae, or Sandpits, from which the Romans extracted that peculiar variety of volcanic ashes ealled Arena by the ancients and Pozzolana by A review of the Pagan and Christian the moderns, so extensively used in the monuments of l'ome would be incom- composition of their mortars. A more plete without a brief notice of those careful examination of the several subterranean excavations which served catacombs now scarcely permits of as places of refuge and of worship to attributing any portion of those used for the earliest followers of our faith interment to such an origin; but on the during the persecutions they had to contrary, renders evident that they were suffer under the predecessors of Con- formed expressly for the purpose we stantine, and of repose after death to now see them used, and in no ways so many thousands, from the earliest connected with the Arenariae, except, period of Christianity to the 6th cent. when lying beneath these Pagan exca- of our era. -- vations, the latter were converted into It is not easy to fix the origin of the passages leading to them, and of which name of Cºſtacomb, now generally we shall see a remarkable example in applied to all these excavations; it the Catacombs of Sant'Agnese (p. 306). appears to have been first employed in In order to understand the mode of the 7th cent. to designate a limited excavation employed, it will not be out space or vault beneath the Basilica of of place to inform our readers how the St. Sebastian, on the Appian Way, ad region about Rome in which the cata- 'atacumbas, where the remains of St. combs are situated is mineralegically Peter and St. Paul were deposited constituted The more immediate sur- when recovered from certain Greeks face of the Campagna consists of vol- who were carrying them off by stealth canic rocks, and in the part which to their country. Its general appli- more particularly interests us, as con- cation, however, to all these Christian | nected with the catacombs, and on the sepulchres, was only at a much later | 1. side of the Tiber, almost exclusively period, for we find these caverns of so. These volcanic rocks are, however, Christian resort and interment uni- of different natures and ages; the most versally designated, in the Acts of ancient a rather compact conglomerate, the Martyrs and early fathers of the called tufa lithoide by the local writers, Church, as Cemeteries, or Places of the most ancient deposit of the Latian Jºepose. | volcanoes, and still extensively em- The Catacombs are distributed in ployed as building-stone; and of inco- considerable numbers—about sixty in herent dejections of ashes and scoriae, all—in every direction outside the | which, lying on the former, constitute, walls of the city. It is very doubtful with a few currents of solid lava, a great that any exist within the precincts of portion of the surface of the Campagna. modern Rome, or inside of the Aurelian It is in the second deposit, which often wall, much less of the more ancient solidified from having been deposited recinct of Servius Tullius, a circum- under water, and called tufa granulare, stance easily accounted for by the strict that nearly all the Catacombs have been observance of the enactment of the excavated, its dry and porous nature 12 Tables which forbade intramural rendering it easy of being hollowed interment, and by the secrecy which out, whilst it afforded a comparatively the early Christians were compelled to healthy retreat for the living who fre- observe, in resorting when alive, and quented them. The pozzolana above conveying the remains of their brethren referred to generally forms insulated § 35. CATACOMBS. 304 Rome. § 35. CATACOMBs. deposits, rarely of considerable extent, in the tufa granulare. The Catacombs consist of an immense net-work of subterranean passages or galleries, generally intersecting each other at right angles, sometimes tor- tuous, more rarely diverging from a centre, as may be seen in those near S. Lorenzo fuori le Mura. These galleries vary in length and height ; in general they may be stated to be 8 ft. high by 3 to 5 ft. wide ; the roof is either horizontal or slightly vaulted, and seldom requires any other support than its walls in the tufa, in the sides of which are excavated the sepulchral loculi or graves, forming tiers above each other. These graves are irregular in size, persons of all ages being interred close to each other, as well as in depth, sometimes being destined to contain a single corpse, in other cases two or three. The average mumber of graves in each tier is about 5, and their length 8 ft., and when undisturbed are: found closed with marble slabs or tiles, on which inscriptions and Christian em- blems are often cut or painted. Besides these loculi confined to the walls of the galleries, wider spaces called Arcisolia, consisting of an arch over a grave, or a sarcophagus hollowed in the tufa, are frequent, forming a kind of Small apse over the place where the body was deposited. A third class, in the shape of sepulchral chambers, surrounded with loculi and arcisolia, occur at intervals, and which have often also been con- verted into family vaults and places of worship : to these the name of Cubiculu has been applied. A fourth descrip- tion of crypts or chapels of larger dimensions were destined for places of meeting and worship. Very exaggerated notions have been entertained as to the horizontal extent of the Catacombs, even to supposing them to reach as far as Tivoli on one side and to Ostia on the other; from the most accurate surveys made of late years, it is now certain that most of them form insulated systems of excava- tions, having an inconsiderable lateral extent and seldom communicating with each other. About sixty have been enumerated on either side of the Tiber, most within a circle of 3 m. of the modern walls, the farthest removed being that of St. Alexander, about 6 m. on the Via Nomentana. An attempt has been made to calcu- late the number of Christians deposited in these early cemeteries by the num- ber of graves which exist within a given area in those already explored ; but as the knowledge possessed of the extent of galleries in each is very in- complete, the results deduced from such calculations are very unsatisfactory, amounting to little better than guess- work. Padre Marchi, who has paid more attention to Christian archaeology than any living author, supposes that each cemetery contains 100,000 graves, and, there being sixty in all, it would follow that up to the end of the 6th cent., after which the Christians enjoyed liberty of worship and of interment for their dead above ground, the number deposited in the Catacombs would amount to six millions. As to the age of the Catacombs, some date soon after St. Peter’s martyrdom, but by far the greater number subsequent to the first cent. and a half; they were often repaired during the middle ages, when they became the resort of penitents to the tombs of the martyrs and early popes, Many of the crypts or Cubicula, originally family vaults, were sub- sequently converted into places of wor- ship, and may be considered as anterior to the time of Constantine: it was only after the conversion of that Emperor to Christianity that its rites were per- mitted to be celebrated in public, but long afterwards, from the sanctity of the localities, these Cubicula continued to be resorted to for devotional pur- poses. It was in later times that oratories and churches were erected over the entrance of the principal cemeteries, with more convenient means of access in the form of stairs. Several of these churches have been subsequently amongst the most celebrated in and about Rome. St. Peter's was erected over the cemetery of the Vatican, St. Paul's over that of Santa Lucina, St. Sebastian and San Lorenzo over those of Sect. I. § 35. CATACOMBs. 305 S. Hypolitus and S. Cyriaca, and the beautiful basilica of S. Agnese over the catacomb in which that virgin martyr was interred. Although the greater number of the Christian dead were deposited in Loculi, Arcisolia, or Cubicula, a few were placed in marble urns decorated with Christian emblems; some of these Sarcophagi may be still seen in situ, and others in the Christian Museum at the Lateran, although it is probable that the greater number of the latter were in the churches at the entrance of the Catacombs, or in the vestibules of the basilicas subsequently erected on their sites. The history of the Christian ceme- teries about Rome has occupied a good deal of attention of late years. They were for the first time most thoroughly explored by a Maltese named Bosio : his researches being published after his death in a ponderous folio,” which contains a detailed description of most of the catacombs then known, with good ground-plans and copies of their paintings and inscriptions. The perusal of this work will well repay those interested in Christian archaeology. It is only, however, during our own times that this branch of antiquarian research has been resumed in a really scientific manner, and with the view of connecting the early Christian paint- ings and sculptures with the history and ceremonies of the primitive Church : for this we are indebted in a great measure to Father Marchi, a learned Jesuit, the most accurate modern interpreter of early Christian archaeology. His work f is a model of learning and diligent research ; it is to be regretted that circumstances have prevented his following it up as was intended with a description of the im- mense number of inscriptions, sculp- tures, paintings, &c., which exist in the Museums of the Vatican, of the Lateran, Collegio Romano, &c. A * La Roma Sottoranea di Antonio Bosio 1 Vol. folio. Roma, 1632. + Monumenti Primitivi delle Arte Christiane, nella Metropoli del Christianismo, designati ed illustrati, in 4°. Roma, 1844–45. The work, with its 70 plates, is confined to the topography and architecture of the catacombs, French work on a magnificent scale has been recently published under the patronage of the Académie des In- scriptions, and at the expense of the Imperial Government, on the Roman Catacombs, by Mr. Perret; * it contains copies of many of the inscriptions pub- lished by Bosio, and of the most re- markable paintings discovered in them : it is to be regretted that the latter have been too artistically worked upon, to give them a degree of pre-Raphael- like beauty which does not exist on the originals, thus depriving them of much of their primitive interest and rude artistic character. Following in the steps of Padre Marchi, his pupil Cav. de Rossi, an eminent Roman scholar, is now engaged, under the patronage of Pius IX., in preparing for publication a complete collection of all the Christian inscriptions, extending to the end of the 6th cent., amounting to upwards of 10,000. The works of Ger- bet, Gaume, Raoul, Rochette, &c., in French, of Maitland and Macfarlane in English, are compiled from Italian sources, and have little pretensions to originality. A useful, and, as far as its limited size permitted, a very accurate little work+ upon the Roman Catacombs has been lately published by the Rev Spencer Northcote, a Catholic clergy- man, who has made them the subject of his studies during a prolonged residence at Rome; his book is by far the best we have seen on the Christian cemeteries round the Eternal City, and its museums of early Christian art, and will prove a valuable manual to those who take an interest in this branch of archaeology. Cardinal Wiseman’s Fabiola contains much useful infor- mation on the Catacombs, mixed up with a great deal of fiction : although it cannot serve as a Guide, the elegant style of its author, and his extensive knowledge on the history of the early Church, will render its perusal interest- ing after visiting the sacred localities referred to in its pages. Connected with * Les Catacombes de Rome, par Louis Perret. 6 vols. folio, Paris, 1852, 1853. - + The Roman Catacombs, or some Account of the Burial place of the early Christians in Rome, by the Rev. J. Spencer Northcote, 1 vol. 12mo. London, 1857, 306 Rome. § 35. CATACOMBS.—s. AGNESE. the Catacombs, the work of Father Garucci now in progress of publication, on the minor monuments, utensils, &c., of the early Christians, and discovered for the most part in these ceme- teries, will prove a valuable addition to this department of antiquarian research. The catacombs are placed under the jurisdiction of the Cardinal Vicar of Rome, assisted by a Board of Sacred Archaeology, of which Father Marchi and Cav. de Rossi are the mainsprings. Except for those of St. Sebastian, which are at all times accessible, a special permission to visit the others must be obtained at the Cardinal Vicar's office, in the Via della Scrofa, where it is always very obligingly granted on application to the Secretary of His Eminence, or it may be obtained through the managers of Piale's or Spit- hover's Libraries. These permissions are generally issued for the Catacombs of S. Agnese, S. Callisto, and SS. Nereo and Achilleo, all situated in the same neighbourhood, and are only available for Sundays; the custodes will in general procure the necessary lights, for which a small gratuity will be expected. Persons who wish fo exa- mine the Catacombs in a more detailed manner will do well to make the acquaintance of Padre Marchi at the Collegio Romano, who generally dedi- cates one day in every week to an excur- sion to those of S. Agnese, and of Cav. de' Rossi, who oftem goes over those of S. Callisto and of SS. Nereo ed Achilleo, with foreign visitors recommended to him. To visit the Catacombs and Ba- silica of S. Alexander on the Via Nomen- tana a permission will also be necessary, to be obtained either from the Cardinal Vicar's office, or from the Secretary of the Propaganda College, to which the site belongs. After this general sketch of the Cata- combs we shall now give a rapid sketch of the most remarkable in their topo- graphical order, entering more into de- tail on those best worth the stranger's notice, as we pass in review the Several localities. Commencing on the l. bank of the Tiber; outside the Porta del Popolo, commences a ridge of hills which extend to the river near the Ponte Molle, being the prolongation of the Pincian ; it is chiefly composed of a freshwater deposit, in which have been excavated several cemeteries; the most remarkable are those of Pope St. Julius and of St. Valentinus, before reaching the Casino di Papa Giulio. There are Some paintings in the latter, a Virgin and Child, and a representation of the Cross, but dating probably from as late a period as the 12th cent. On the opposite side of this hill are the Catacombs of SS. Gianutus and Basilla, and farther on in the direction of the Via Salaria those of Santa Priscilla, St. Brigida, and St. Hermes; in the first of these is one of the longest galleries yet discovered, and in the last a very curious circular chapel, and a Cubiculum decorated with mosaics—of rare occurrence in the cata- combs—representing Daniel in the lions' den, and the resuscitation of Lazarus. The space which lies between the modern Viac Salaria and Nomentana is rich in sepulchral excavations, the soil, a friable volcanic tufa, being well suited for the purpose. On the Via Nomen- tama, and at 14 m. from the gates, is one of the most interesting of all the early Christian cemeteries— The Catacombs of Saint Agnese. The present entrance is from a vineyard on the 1., about 3 m. beyond the beautiful basilica of the same name (see p. 126); the descent is by a staircase of a very early Christian pe- riod. The cemetery of S. Agnese has long been celebrated for its good preservation, for the many paintings contained in its cubicula, for its places of worship, and for its con- nection with an extensive arenaria, which covers a part of its extent ; there are two tiers of galleries, the uppermost as usual the most ancient. Descending the stairs, which probably date from the time of Constantine, we find ourselves in a gallery of consider- able height, the walls of which are hol- lowed out into loculi, all of which have been long rifled of their contents. The visitor will remark the unequal size of these graves—that some are much Sect. I. 307 § 35. CATACOMBs.—s. AGNESE. deeper than others, when destined to contain side by side more corpses than one. Near some may be yet seen the impression of the glass vessel attached to the wall of his grave, in which was preserved the blood of the martyr. About 150 yds. from the entrance is the first cubiculum of any importance. It contains two altar tombs or Arciso- lia, and, near the entrance from the gallery, a Sedia, or arm-chair, cut in the rock. This chamber is supposed to have served as a place of meeting for Cata- chumens, the seat being that of the in- structing priest or deacon. Not far from this is a chamber for female cata- chumens, devoid of all kind of orna- ment, but having a seat on each side of the door, it being the rule amongst the primitive Christians that there should always be two priests present in assem- blies of females. Proceeding farther, We enter a cubiculum with a vaulted roof; the altar, as usual, is under an arcisolium, near which in one of the corners is a credence table, cut out of the tufa rock. The whole of this chapel is covered with stucco, on which are paintings of Moses taking off his sandals before ascending to the Mount, and his striking the rock; and Over an arcisolium on the rt., the Good Shepherd, with Daniel in the Lions' Den on one side, and the Three Children in the fiery Furnace on the other. From here turning into the neighbouring gallery, we find a cubi- culum, the paintings on which are well preserved. Over the arcosolium facing the entrance we see Christ between six of the Apostles, the latter without mimbi round the head. The roof is divided into compartments in which are painted Jonas under the arbour, Moses striking the rock, Adam and Eve, and an Orante or female with uplifted arms in the act of adoration, with the Good Shepherd in the centre, surrounded by representations of fruits and flowers, &c. There is also in this chamber a small credence-table. One of the most interesting recesses in this catacomb is that known by the name of Cathedral or Basilica; it is not far from the entrance, but in the lower tier of galleries; it consists of | 3 divisions; the most remote, the Pres- bytery, contains the episcopal chair, having low seats on each side for the priests. From the damp mature of the rock here, there are no paintings on the walls or vault, but on a projecting cornice are supposed to have stood moveable pictures during the celebra- tion of the sacred rites. The visitor who can afford time will do well before leaving this catacomb to examine the arenariae or pits from which pozzola- na was extracted before the excava- tion of the cemetery, and which cover a part of them. They are at its farthest extremity, nearly under where the basilica of S. Agnese stands, and con- sist of a series of large gloomy caverns, very different in form from the sepul- chral galleries. They appear to have been made use of as a vestibule to the latter, as a stair leads from them into the sepulchral galleries, and a deep well- excavated shaft, by which the corpses were lowered to their last resting places. It would exceed the limits of a work like this to describe even a tenth part of its chambers and particularities; but there is one which no visitor ought to omit to see. From a painting in it, it is generally known as the crypt or chapel of the Virgin ; it is in the lower tier of galleries, and not far from the entrance to the catacomb ; it consists of a square cubiculum approached by a flight of steps, and preceded by an oblong vestibule ; at the farthest ex- tremity is an altar under an avciso- lium, over which is a painting—which unfortunately has been mutilated by a grave being cut through it in more recent times—of a feudale with out- stretched arms, as an Orante, with a boy in front, supposed to represent the Virgin and the Infant Saviour; whilst on either side is the labarum or mono- gram of Constantine, which shows that it is at least not older than the 4th cent. On the arch above is a figure of our Saviour with females in adoration on either side. In passing through the sepulchral galleries it will be seen that, although most of the graves have been opened, there are many still intact, some of which bear inscriptions either cut on the slabs of 308 § 35. CATACOMBS.—s, AGNESE. Rome. CUBICULI IN CATACOMBs of S. AGNESE. * * * * * - - -----, t ; : ! : ; : | ! . . . . ; ; ; ; } ; ( i I I I l º l | l !------ | ! !------ A, A. Gallery of Cemetery. B, C. Cubiculi, or Sepulchral Chapels, opening out of it. d, d, d. Arcisolia, or Altar Sarcophagi. marble, or painted on the tiles, by which they are closed; on some are roughly scratched, upon the closing cement, Christian emblems; amongst others, rude representations of a palm-branch, supposed to mark the resting-place of those who suffered martyrdom. The visitor will also remark that the numerous chambers used for worship are for the most part double in this cemetery, that is, that two open opposite to each other, out of the sepulchral gallery, as is shown in the annexed woodcut, in which A represents this gallery; B C the altar cubiculi; d the arcisolia behind the altars; e e seats for instructors or priests cut in the tufa ; f fledges near the en- trance, on which are supposed to have been placed moveable paintings; g (ſ loculi or graves cut subsequently in the walls of the cubiculum. The opposite cubiculum C is supposed to have been destined exclusively for females. Resuming our topographical review, about 4 m. beyond S. Agnese, and close to the Via Nomentana, is that of S. Alessandro, over which has been dis- º # 5|zne/res' g, g. Ordinary Graves, or Loculi. e,é. Seats for Priests or Instructors. J, i. Projecting Ledge for moveable Paintings. covered of late years the basilica dedi- cated to that pontiff of the 2nd cent., and which will be more fully noticed in our excursions from Rome (see p. 377). On each side of the Via Tiburtina, and before reaching the Anio, are several cemeteries, especially near the basilica of San Lorenzo, which is placed over that of Santa Cyriaca : the late excava- tions behind this ch. and for enlarging the adjoining Campo Santo have laid open several of its sepulchral galle- ries (see p. 124). On the opposite side of the road is the Cat. of St. Hypo- litus. The most remarbable cemeteries On the Via Labicana, which follows, are those of S. Castulus, 1 m. outside the Porta Maggiore, of SS. Peter and Mar- cellinus, and of St. Helena, noticed in our description of the tomb of that empress (p. 65) at Tor Pignatarra. The vicinity of the Via Latina is rich in catacombs; 1 m. beyond the Aure- Jian wall is that of Santa Eugenia ; and at the 2nd milestone beyond the Porta Maggiore, where the ancient road is intersected by the modern one to Albano, is the cemetery of Santi Sect. I. § 35. CATACOMBS—s. CALIXTUS. 309 g easy of access, greater facility. which St. recent discoveries of the UlS S CONTAINING: F ST. CALIXTU Calixtus on the former, and SS. Č The Catacombs of S. Calixtus, MITES O have acquired an historical intere tina, which in classical time was occu- pied by the Campus of the Div sepulchral inscriptions of several of g| the early popes, are situated beneath S, I] e3. I’ stin g the that triangular space which separates the The other atima, THE PAPAL CRYPT. Tertullinu But of all the roads leading from th I] OIlê 3. S ghbouring em- the Via Appia from the Via Ardea- 3. Ill lS i ei Via Arde ed of which are those of avations than alon N OF THE PART OF THE CATACO et with more intere and its n excavations which have led, amongst Nereus and Achilleus on the latter, other discoveries, to that of the basilica and which now, bein of St. Stephen, erected by St. Leo I. in can be visited with Quattro, on the 1., near the modern S. the 5th cent. (see p. 356). catacombs on the Via Latina are those of Apromianus, Gordi &c. out of Rome there which we me Christian exc Via Appia, branchment the most celebrat GROUND PL. 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Claudii ..}< ...; 2- - - 9. - … CZa`ſ. ...” | | º, &º --, º, Yºf z. - - #}sº tastel di. | y Tº ºn-vetrºyº lene Caert \ ‘s. *W '. º 2: … . . . * olò ‘cºgliano Sil aw reintin ºnae º gemae ( Au//ished by , ſohn Murran'.4//emanſ, ſtreet Zond/or ſºn'ſ 17:53. -* - <--....*... • SECTION II. EXCURSIONS IN THE ENVIRONS OF ROME. PAGE PAGE I’AG F. Affile . . . . . 337 Gabii. . . . . . . 373 || Pitigliano . . . . . 420 Agosta . . . . . 335 Galera . . . . . . .387 Poli . . . . . . . . 373 Alba Longa. . . . . .348 Gallicano . . . . . 372 Ponte della Badia . . . 416 Albano . . . . . . 358 Genazzano . . . 337, 370 Ponte Galera . . . . 392 Allia . . . . . . 379 Genzano . . . . . 361 Ponte di Nono . . . 373 Ampiglione . . . . .333 Graviscae . . . . 415 Porcigliano . . . . 400 Anguillara . . . . . 390 Grotta Ferrata . . . . 345 Porto. . . . . • 392 Anio, Falls . . . . . 331 Horace's Sabine Farm . . 337 Porto d'Anzio . . . . 402 Antemmae . . . . . .385 Ischia . . . . . 420 Pratica . . . . 400 Anticoli . . . . . . 335 | Isola Farnese . . . . 384 Rio Torto . . . . . 400 Antium . . . . . . 402 Lake of Albano. . . . .353 Rocca di Cave . . . . 370 Ardea . . . . . 401 — Bracciano . . . . 389 Giovine . . . . 337 Aricia . . . . . .359 — Gabii . . . . . 375 di Papa . . . . 350 Arsoli . . . . . .335 — Nemi . . . . . 362 Priora . . .344, 369 Astura. © e. * * 404 Regillus . . . 363 Roviano . . . . . . 335 Bovillae . . . . . . .357 Lanuvium . . . . . 361 Rustica . . . . 337, 375 Bracciano . . . . 388 Lariccia . . . . . . 359 Sambucci . . . . . 335 Canino . . . . . . . 418 Laurentum . . . . . 399 San Cosimato . . . . . . 334 Cantalupo . . . . 334 Lavinium . . . . . 400 Sant' Angelo in Capoccia. 324 Canterano . . . . .335 Licenza . . . . . 337 Santo Polo . . . . 334 Castel Arcione . . . . .324 Lunghezza . . . . 375 Saracinesco . . . . . 335 Castel Fusano . . . . 398 || Magliana . . . . 391 . Saturnia. . . . . . 422 Castel Gandolfo. . . . 353 Marcigliana , . . . . 379 Siciliano . . . . . 335 Castel Giubeleo . . . 386 Marano . . . . . 335 Solfatarra tº 3.25 Castel d'Osa . . . . 375 Marino . . . . . 347 Sorano . . . . . . 421 Castiglione . . . . . 374 Mentana. . . . . . 378 Sovana . . . . . . 420 Castro . . . . . . 420 | Monte Cavo. . . . . 351 Subiaco * g º . 335 Cave . . . . . . . 370 — Compatri . . . 363 Tarquinii . . . . . 411 Cavo, Monte . . . . 351 — Genaro . . . 338 Tivoli . . . . . . 328 Cecchina, la . . . . . 377 | — Giove . . . . . 361 Tor Paterno - . . 399 Cerbara . . . . .335, 376 — Porzio . . . . . 363 Tor Pignatarra . . . . 364 Cere Nuova . . . . 410 Rotondo . . . 379 Tor de' Schiavi . . . . 373 Cervetri . . . . . . 406 Sacro . . . . . 376 Tortre Teste . . . 373 Civita Lavinia. . . . . 361 || Monticelli . . . . . .324 Torre Lupara . . . 378 Civitella, la . . . . . 337 || Musignano . . . . . 418 Torre Nuova . . . . 364 Coazzo . . . . . . 377 | Nemi. . . . . . . 362 Toscanella . . . . . 418 Collatia . . . . . . 375 Nettuno . . . . . 404 Trevignano . . . . 399 Colonna . . . . . . 363 | Nomentum-. . . . . 378 Tuscania. . . . . . 418 Corioli . . . . . 361 | Numicus . . . . . 400 Tusculum . . . . . 343 Corneto . . . . . . 411 Olevano . . . . 337,370 Veii . . . . . . . 379 Decima. . . . . . . .394 i Oriolo . . . . . . 389 Via Appia . . . . . 317 Farnese . . . . . . 420 Ostia . . . . . . 394 Via Appia Nova . . . .356 Ficulea . . . . . . 378 Palazzuola . . . . . 350 Vicarello . . . . . 390 Fidena? . . . . . 386 Palestrina . . . . . 364 Vicovaro . . . . . 334 Fiumicino . . . . . .393 || Paliano . . . . . . 371 Villa Adriana. . . . . 326 Frascati . . . . . . 34l Palo . . . . . . . 406 Vulci . . . . . . 416 Frattocchie . . . . . .357 | Palombara . . . . . 324 Zagarolo. . . . . . 372 carriages in its entire extent, from the city gates to Albano. For the THE WIA. APPIA. casual visitor a few hours will suf- - fice; but the antiquarian traveller This is one of the most interest- will find matter for several visits, in ing excursions from Rome, and one the many curious monuments and of those most easily accomplished, inscriptions which lime this Regina the ancient road being now open for Viarum, between the Porta San Sebas- 3.18 Iſome. EXCURSIONS IN THE ENVIRONS OF ROME. tiano and Frattocchie, in an extent of nearly 11 Roman miles. The Via Appia was one of the most celebrated lines of communication which led from the capital of the Toman World: it was commenced A.U.C. 442, or B.C. 312, by Appius Claudius Caecus, the Censor. At first it only extended to Capua, but was afterwards prolonged to Brundusium, and became not only the great line of communication with Southern Italy generally, but with Greece and the most remote Eastern possessions of Rome. qua limite noto APPIA longarum teritur T. EG INA V (Altú M. Stat. Sylv. II. 2. Until the reign of Pius IX. the greater part of the Via Appia, beyond the tomb of Caecilia Metella, or between the 3rd and 11th m., was almost con- founded with the surrounding Cam- pagna, and only marked by the line of ruined sepulchres which form such picturesque objects in that solitary waste: it was reserved for the present Pontiff, aided by the late Commander Jacobini, his enlightened Minister of Public Works and Fine Arts, to lay it open in the most interesting part of its extent to the study of the archaeologist. Commenced in 1850, the works of excavation were com- pleted in 1853, under the direction of the late Commendatore Canina, who published a most interesting work on the discoveries made, with de- tailed topographical plans and restora- tions of the principal monuments, one of the very important contributions made of late years to ancient topo- graphy by that Jamented archaeo- logist, and which ought to be in the hands of all those who wish to examine in detail this very classical locality.* Referring therefore to Camina’s work for more ample information, Weshall confine ourselves here to point out the most remarkable objects between Rome and le Frattocchie, near the site of the ancient Bovillae. * La prima parte della Via Appia dalla Porta Capena a Boville, descritta e dimostrata con i Monumenti superstiti : Roma, 1853. 2 vols. 4to. It may not be unnecessary to inform the reader that the Via Appia com- menced nearly 1 m. within the Porta Appia of the Aurelian wall, the modern gate of S. Sebastiano, at the Porta Capena, the position of which he will see marked on a wall—-P C–about 300 yards beyond the modern Via di San Gregorio, corresponding to the narrow- est part of the valley, between the Caelian and Aventine hills, respec- tively crowned by the Villa Mattei on the 1., and the ch. of Santa Balbima on the rt. The distance from this point to the modern Porta di Sam Sebastiano is 1480 yards, the space included be- tween the more ancient wall of Servius Tullius and that of Aurelian. Leaving the Porta Capena, we soon after cross the Marcmna, the ancient Aqua Crabra, which, entering the city near the Porta Metronia, after running through the valley of the C’ “cus Maximus, flows into the Tiber near the Cloaca Maxima: beyond this and on the 1. the modern Horticultural Gardens are supposed to occupy the site of the grove and Temple of the Uamenae, near which, in more ancient times, were the Fountain and Valley of Egeria, the site of Numa’s interviews with that mysterious nymph. The locality is very clearly fixed by Juvenal in describing the journey of his friend Umbricius and himself, in whose time the place appears to have lost all its romance, being inhabited by the lower orders, chiefly Jews Sed dum tota domus rheda componitur liná, Substitit ad veteres Arcus,madidamgue Capenam; Hic, ubi nocturmae Numa constituehat amica?, Nunc sacri fontis nemus, et delubra localitur Judeis. . . . - In vallem Egeria descendimus et speluncas Dissimilis Veris Juv. Sat. III. The site is further confirmed by a very ancient scholiast of Juvenal, who states, when commenting on the above verses, “Stetit expectans rhedam, ubi solent Proconsules jurare in Viâ Appiá ad Portam Capenam, id est ad Camaenas.” Farther on still on our 1. stands the ch. of San Sisto, the supposed site of the Temple of Honour and Virtue, founded by Marcus Marcellus, and mentioned by Cicero. Here the Via Latina sepa- Sect. II. 319 VIA APIPIA. rated on the 1., and in the triangular space between it, the Via Appia, and the Aurelian Wall, are the tombs of the Scipios and the Columbaria of the neighbouring Vigna Codini, which are described at p. 72, and some substruc- tions of sepulchres on the opposite side of the road. The Arch of Drusus fol- lows, and 120 yds. beyond the Porta S. Sebastiano on the rt. was found the 1st milestone of the Via Appia, which is now placed on the balustrade before the Capitol. It was in the space on the 1. outside of the modern gate that the best authorities place the Temple of Mars, where the armies entering Rome in triumph used to halt; the descent being the ancient Clivus Martis men- tioned on a beautifully cut inscription in the Galleria Lapidaria at the Vati- can. Crossing the Almo, the huge mass of ruin on the 1. is supposed to be the sepulchre of Geta, and that on the opposite side of the road of Pris- cilla, the wife of Absacanthus, a minion of Domitian's, at the base of which is the modern Osteria di Acquataccio : the tomb of Priscilla is surrounded by niches, which probably contained st.- tues; the circular tower placed upon it is a mediaeval construction. A few hundred yards farther, the Via Ar- deatina branches off on the rt.; in this Bārium or bifurcation is the ch. of Domine quo vadis, so called from the tradition that it was here St. Peter in his flight from Rome met our Sa- viour, who to the above inquiry of the Apostle replied iſenio Romtun iterum Crucifeſſi. On the floor of the ch. is a marble slab, with a fac-simile of the foot-marks of our Saviour, which are said to have been left upon the block of the road pavement on which he stood; the original, in black lava, is preserved amongst the most precious relics of the neighbouring basilica of Sam Sebastiano. After passing Domine quo vadis, the road leading to the Valle Caffarella and the so-called Fountain of Egeria, and the Temple of Bacchus, branches off on the 1. : the space which intervenes between this and the descent to the ch. of S. Sebas- tian is a kind of table-land, the centre of which corresponds to the second m. On the 1. are the Columbaria of the Liberti of Augustus and of Livia, and of the family of the Volusii, and on the rt. of the Cecilii : behind the latter, in the Wigma Amendola, the best authorities place the small Temple or AEdicola of the Divus Rediculus. The Osteria delle Pupazze is built on the massive ruins of a tomb, and nearly opposite is the entrance to the Cata- combs of St. Calixtus, remarkable for the many interesting monuments of the early Christians lately discovered in them, and the sepulchres of some of the popes of the 2nd and 3rd centuries. It is known that the remains of St. Peter and of his immediate successors, which had been deposited in the catacombs of the Vatican, were removed by the Chris- tians to these catacombs when the space over the former was converted into a circus by Nero, A. Severus, and Elaga- balus. At the invasion of the Longo- bards most of the relics of the early Bishops of Rome interred here were re- moved by Pascal I., but the inscriptions were left behind, and it is by the dis- covery of these that the last resting- places of S. Damasus, S. Cornelius, and Several other early popes, were ascer- tained in 1854. On the descent to S. Sebastian are numerous sepulchral re- mains, that nearest the ch, being of Claudia Semme. The Temple of Romulus and the Circus of Maxentius on the l. have been fully noticed already (p. 39). The 3rd milestone on the Appian corresponds to half way between the tomb of Caecilia Me- tella and the eastern portion of the ma- chicolated wall of the Caetani fortress. The ruined chapel of the Caetanis is interesting as one of the few Gothic edifices about Rome: it consists of an oblong nave, at the extremity of which are the ruins of an apse: there are traces of a circular wheel window in the opposite gable, and 6 pointed ones on each side : the roof is destroyed, but the spring of the arches shows that they were pointed and corresponded in number with that of the windows. The tomb of Caecilia Metella is situ- ated, as already stated, at the extre- mity of a lava current, which de- scended probably from near Marino 320 Rome. EXCURSIONS IN THE ENVIRONS OF ROM E. and which may be well seen in the numerous quarries opened on it, to the 1. of the road, and from which a con- siderable portion of the paving-stone of the modern city is obtained. From this point the Via Appia runs almost in a straight line as far as Albano, its direction being very nearly S. 39° E. 1 m. beyond this, on the 1., or close to the 4th m., on a modern pier, have been placed several fragments of sculpture, and an inscription belonging to the tomb of M. Servilius Quartus, of the great Servilian family, which stood here: it was excavated by Canova. A few yards beyond this on the 1. is a very interesting bas-relief, placed upon a modern pedestal, sup- posed to represent the death of Atys, the son of Croesus, killed in the chace by Adrastus; the sitting figure is Croesus, before whom Adrastus is kneeling, the body of Atys borne behind, and followed by the Fates, emblematical of his des- tiny as predicted to the father. This bas-relief, one of the most interesting discoveries during the late excavations, was evidently the ornament of a sepulchral monument; and as it is well lºmown, as stated by Tacitus, that it was at the 4th m. on the Appian, and consequently near this spot, that Seneca was murdered in one of his villas, by order of Nero, there is reason to sup- pose that the tomb of the philoso- pher was here, and, as no inscrip- tion would have been permitted to be placed upon it during the tyrant's life- time, that this bas-relief, emblematical of the instability of life in the midst of the greatest apparent prosperity, and of the unerring hand of destiny, was placed on the tomb of Seneca, who, as Solon did of old by Croesus, endeavoured to reform the mind and ways of his imperial pupil. Beyond this interesting site is the sepulchre of the sons of Sextus Pompeius Justus, a freedman of one of the Sexti, descendants of Pompey the Great, with an inscrip- tion in verse: close to it are the ruins, in the form of two massive fragments of wall, of a small temple supposed to have been dedicated to Jupiter, where numerous Christians suffered martyr- dom. This temple, which might have been , easily and appropriately con- Verted into a ch. dedicated to the mar- tyrs who had suffered near it, was de- spoiled by Prince Torlonia, the owner of the soil, in 1850, before the govern- ment excavations were commenced, in order to remove its granite columns to adorn his villa on the Via Nomentana. From this point we enter on a real street of tombs, which continue uninterrupt- edly for nearly 4 m. : between the 4th and 5th m, the most remarkable are— on the rt. a cippus raised to Plinius Eutychus by Caius Plinius Zosimus, a favourite freedman of Pliny the younger, who speaks of him in his 19th Letter; then comes the tomb of Caius Licinius, and still farther a Doric tomb, a very ancient republican construction in peperino, with bas-reliefs representing a warrior and warlike instruments; and one of a later period to several members of the family of the Secun- dini, an inscription on which is curious -TITO . CLAVIDIO . STECVN DO . PHILIP- PIANO . COACTORI . FI, AVIA . IRENE , VXORI INDVLGENTISSINIo; from which it would appear that the deceased was a tax-gatherer, and the best of hus- bands, in modern lapidary phraseo- logy; the monument is probably of the time of Trajan;– of Rabirius Her- modorus, of Rabiria Demaris, and Usia Prima, a priestess of Isis, with bas- relief portraits of each ; and a little farther another republican monument in peperino, of a very early style, but without an inscription. After passing the 5th m., on the rt. is a circular mound, on which stands a modern tower, where antiquaries place the Fossa Cluilia, raised by the lomans in their contests with the Albans; and a short way beyond 2 large circular mounds, surrounded by a basement of blocks of peperino, which Canina supposes to be the tombs of the Horatii aud Curiatii: their form and construc- tion are very different from the sepul- chres of the Imperial period; they | resemble some of those decidedly | Etruscan, such as the Alsietian mound i tombs near Monterone on the road to | Civita Vecchia, whilst their position corresponds exactly with the distance from Rome where we are told by Livy + Sect. II. 321 VIA A PPIA. those heroes fell ; in which case the level ground behind would be the entrenched camp of the Albans in their attempt to oppose the progress of the Romans under Tullus Hostilius. This space appears to have been sub- sequently converted into an Ustrinum, or open space where human bodies were consumed, some fragments of its enclosing wall being still visible. On the opposite side of the road, and extend- ing considerably in every direction, is a large mass of ruins, formerly confounded under the denomination of Roma Vecchia, but which are now considered to have formed a large sub- urban villa belonging to the Quintilii, and afterwards to the Emperor Com- modus. The huge pyramidal ruin on the l. near this, called without any foundation the Sepulchre of the Metel- li, is at the same time one of the most picturesque objects on the Via Appia, the most remarkable from its massive solidity: the narrow pedestal on which the great mass is supported, like a mushroom on its stalk, is owing to the large blocks of stone which formed the outer part of the base being carried away in more recent times for build- ing purposes. Near this is an inscrip- tion of a member of the family of Caecilii, in whose sepulchre, as we are told by Eutropius, Pomponius Atticus was buried, near the 5th m. on the Appian ; and of the Terentii, the family of the wife of Cicero. Between the 5th and 6th m., on the 1., are the me- morials of Sergius Demetrius, a wine- merchant (Vinarius), who lived in the Velabrum, of Lucius Arrius, and Septimia Galla. At the 6th m. is one of the most remarkable ruins on the Via Appia, the large circular sepulchre called Casale Rotondo, of such huge dimensions, that not only there is a house and farm-buildings, but an olive-garden, upon its summit. The excavations have led to the discovery of several fragments of sculpture and inscriptions, one bearing the name of Cotta in fine large letters. There is reason to believe that it was erected to Messalla Corvinus, the orator, poet, and friend of Augustus and Horace, one of the most wealthy and influential of the great senatorial families of the time— * * * * * * Cotta Pieridum lumen, presidiumque fori. Maternos Cottas cui Messallasque paternos Maxima nobilitas ingeminata dedit— Ovid. Epist. xvi.— who died in the 11th year of our era, by his son Marcus Aurelius Messallinus Cotta, who was Consul A.D. 20. The inscription on it has been thus restored by the learned Cav. Borghesi–M. AURE- LIUS M. F. M. N. COTTA, MESSALAE CORVINO PATRI. The tomb was one of the most colossal outside the gates of Rome: as it now stands, it is 342 Eng. ft. in diameter, or one-third more than that of Caecilia Metella; it is built of small fragments of lava, embedded in a strong Pouzzolana cement in the centre, bound together by large blocks of travertime, and was cased in a coat- ing of the same stone, and covered with a pyramidal roof formed of slabs so sculptured as to imitate thatch or tiling; recent excavations have shown that the base was formed by huge masses of the same material, and the whole monument surrounded on the side of the Campagna with a wall of peperino, on which stood pedestals and cippi, which probably supported ornamental vases and statues. Some fine specimens of sculpture were found near it; amongst others, a short column, which probably formed a pedestal for a statue, with a circular bas-relief of Tritons and marine animals of beau- tiful design; in front of the tomb are remains of hemicycles for seats, or resting-places, for travellers on the side of the Via Appia. The view from the summit of this tomb is one of the finest over the Campagna and the Alban hills. Beyond Casale Rotondo stood, on the rt, the tombs of P. Quin- tius, Tribune of the 16th Legion; of a Greek comic actor; of Marcus Julius, a steward of the emperor Claudius; of Publius Decumius Philomusus, the inscription being flanked by what might be called an armorie parlante, 2 well-executed bas-reliefs of mice; and of Cedritius Flaccianius, a military P 3 - 322 F.XCURSIONS IN THE ENVIRONS OF ROME, Rome. Tribune: whilst on the 1. are the Torre di Selce, a tower of the middle ages, erected upon a huge circular sepulchre belonging to some great un- known; the tombs of Titia Eucharis, and of Atilius Evhodus, a seller of ornaments of female attire, who had his shop on the Sacra Via : the in- scription on it is entire and curious; it appeals to those who pass to respect it, with an eulogium of the deceased MARGARITARIUS DE SACRA VIA, and the names of the persons who were to be interred in it. Between the 6th and 7th m. the road descends, and deviates slightly from the straight lime, to avoid the too rapid descent, and to follow the escarpment of the lava-current at a higher level. It would appear, how- ever, that in the origin the road fol- lowed the direct course, as indicated by some more ancient tombs which are seen on the 1. ; the large semicir- cular ruin on the 1. is supposed to have been an Exhedra or resting-place for Wayfarers, erected probably when Ves- pasian or Nerva repaired the road, Between the 7th and Sth m. there is no tomb of any mote; the large cir- cular mound on the rt. is probably of the republican period. Corresponding with the site of the 8th m. are consider- able masses of ruins, and particularly several columns in an early Doric style and of Alban peperino, Surround- ing a portico, which, from the dis- covery of an altar dedicated to Silva- nus, is supposed to have been the area of that divinity raised during the re- public ; between this and the neigh- bouring large circular mound faced with blocks of Alban stone, stood the temple of Hercules, erected by Domi- tian, and to which Martial alludes in several of his Epigrams; the more ancient AEdicula of Hercules, near which it stood, was probably in the area of Silvanus. Behind the temple was the villa of Bassus, and further on and on the same side that of Persius, of which there are some walls standing. A few yards far- ther is an inscription to Q. Cassius, a marble-contractor (redemptor); and be- yond and on the 1. of the road the only tomb bearing an inscription is that of Q. Verranius, probably the same who Was consul A.D. 49, and who died in Britain A.D. 55; the ownership of the high ruin called the Torraccio, with a shepherd's hut on the summit, near it, has not been ascertained. Exactly corresponding with the site of the 9th m., and on the rt. side of the Via Appia, is a considerable ruin supposed to be the tomb of Gallienus, and in which at a later period was buried the Emperor Alexander Severus, who died at the Mutatio or halting-place of the Tres Tabernae. The mass of walls behind mark the site of the villa of Gallienus, which we know from Au- relius Victor was here. This site was excavated during the last centy., by Gavin Hamilton, an English artist settled at Rome, when the Discobolus, now in the Museum of the Vatican, and several other good specimens of ancient sculpture, were discovered. The Roman station al Nonam, or Tres Tabermae, was close to this spot. From the tomb of Gallienus the road descends to the torrent of the Ponticello, beyond which stood the 10th milestone ; the most remarkable sepulchre in this space being on the rt., a massive circular one, like those of the Horatii and Curiatii, and for its size one of the most remarkable on all the road we have described: it marks the S.E. limit of the Agro Romano. From the Ponticello the Via Appia ascends gradually for the next m. ; half way on the 1. is a large round tomb of the Imperial period, decorated with columns and niches. About 150 yards beyond the place corresponding to the 11th m., and on the 1., is a massive ruin, with a chamber in the form of a Greek cross in the centre, and with a pointed roof, which now serves as a dwelling for shep- herds. This is the last monument of any importance before reaching le Frattocchie, where the recently exca- vated portion of the Via Appia joins that now forming with the Via Appia Nova, the post or direct road between Rome and Albano. It was probably the summit of this latter sepulchre Sect. II. 323 TIVOLI, which was used by Boscovich as the S.E. extremity of the base-line mea- sured by him and Maire, in 1750, by order of Benedict XIV., the other being the tomb of Caecilia Metella. The length of this base-line was about 12,200 English yards, the object of the measurement being to connect by a series of triangles the shores of the Adriatic and the Mediterranean, and to furnish data for a more correct topographical survey of the States of the Church. The ancient pavement exists on a great part of the road we have travelled over for the last 8 m., and in many places with the sideway for foot pas- sengers bordered by a parapet, espe- cially between the 8th and 10th m. The sile.” employed for the pavement was obtained from the numerous quar- ries of lava which border the road on either side. It is in general much worn into deep ruts by the wheels of the vehicles that passed over it, so as to make it nome of the smoothest for the visitor in his modern carriage. Traces of fountains, and circular exhedrae for the use of the traveller, may be seen alongside some of the tombs. All the milestones have disappeared, but their positions have been carefully determined, adopting the distance be- tween the Porta Capena and the spot where that bearing the inscription VIA APPIA. I. was discovered; and which, as well as a similar one found at the 7th m. on this road, have been removed to the balustrade in fromt of the inter- montium of the Capitol. It may not be out of place to men- tion that the whole expenditure for re-opening the Via Appia has little exceeded 3000l. sterling, in which has been included, not only the re- moval of several feet of earth and rubbish that had accumulated during so many centuries, but the erection of walls to defend it from the encroach- ments of the neighbouring lamdowners, many of whom (considering the ancient monuments as their property) threw difficulties without end in the way of the praiseworthy operation which by Commendatore Jacobini's and Canina's perseverance was so happily brought to a conclusion. It still remains to place many of the frag- ments of sculpture and inscriptions which have been discovered, in such a manner as to be more available to the antiquarian visitor, and to pre- vent their mutilation ; and carry down the excavations to the level of the Via Appia of Imperial times; for there is reason to believe that a good deal of the road, formed of poly- gonal blocks of lava, as now exposed, is of a more recent date, and that the causeway over which Horace and Virgil, Augustus and Germanicus, travelled on their way to Brundusium, will one day be discovered, beneath the more barbarous work of the time of the Exarchs and of the middle ages. TIVoII, 18 MILEs. There are few places in the envi- roms of Rome which present so many objects of natural beauty as Tivoli and its surrounding valleys. The enjoy- ment of the excursion depends in a great measure on the time which the traveller can devote to it. It is not unusual to start from Rome at an early hour, visit the cascades and the temples, and return in the evening of the same day. A hurried excursion of this kind will be scarcely satisfactory: the fine scenery about Tivoli cannot be properly explored in less than 2 or 3 days; and those who are desirous of visiting the classical sites among the neighbouring mountains will find it necessary to make arrangements for a still longer visit. The usual charge for a carriage to go and return in the same day is from 4 to 5 scudi, 324 EXCURSIONS IN THE ENVIRONS OF ROME. Ičome. exclusive of the driver's bºonamamo. Public conveyances start twice a day from the Piazza degli Orfanelli, per- forming the journey in 4 hours. Leav- ing Rome by the Porta S. Lorenzo (p. 6), We Soon pass the basilica of that name; and following the Via Tiburtina, at a distance of 4 m. from the city gate cross the Anio, the modern Teverome, by the Ponte Mum- molo. This bridge, the ancient Pons Mammaeus, derived its name from Mam- maca, the another of Alexander Severus, by whom it was repaired. In later times it was destroyed by Totila, and rebuilt by Narses in its present form. It was partly destroyed by the French in 1849. The Anio, or Teverone, which We here cross for the first time, rises on the frontier of the kingdom of Naples; it separates Latium from the country of the Sabines, and falls into the Tiber 2 m. from Rome, below the Ponte Salara. After crossing the river, an ascent of a mile brings us into the wide plain through which flows the torrent of Le Molette, descending from the group of hills of Santangelo and Monticelli—a mile after crossing which, by a gradual rise, we reach the Osteria del Formaccio, and 2 large farm-build- ings belonging to Princes Borghese and Torlonia. Before reaching this place some curious monticules of tufa and square mediaeval towers are seen on the rt., bordering on the Anio, and in which are excavated the caverns or ancient quarries of Cerbara near the opposite bank. From Il Fornaccio a road branches off on the 1., which now leads to Monticelli, and the first 2 m. of which was the ancient Via Ti- burtina, the modern road for the next 3 m. running more to the rt. At the 9th m. is the Osteria delle Ca- pamacce, the highest point between the Amio at Ponte Mammolo and Ponte Lucano. About the 10th m. We pass over a considerable portion of the ancient road, paved with polygonal blocks of lava. Near the 12th m. is the Osteria of Le Tavernucole, close to which a column on the road-side marks the boundary between the Agro Romano and the territory of Tivoli. Before reaching Le Tavernucole are Seen on the 1., and at a short distance from the road, the extensive ruins of Castel Arcione, a mediaeval stronghold which belonged to the family of that name. Having become, in the early part of the 15th centy., a resort of brigands, it was reduced to its present dismantled state by the people of Tivoli. The wooded region seen on the ºt. beyond the Anio comprises the Zenºte (farms) of Lunghezza and Castigliome, the former near the site of Collatia, the latter of the no less celebrated Gabii. It was not far from the 12th m. that the monument erected to Julia Stemma by her children, now in the Vatican, was discovered a few years ago. The appearance of the coun- try alters near this, and the vegetation is less luxuriant, owing to the change in the geological mature of the soil, which from Rome has been entirely volcanic, whereas we now enter on the Travertine region, which extends to the base of the Apemmines. The view of the hills be- fore us is very fine from hereabouts, and indeed all the way to Tivoli. The 3 low pointed hills on the 1., capped with castles and villages, are Santangelo in Capoccia, on the site of Medullia, Poggio Cesi, and Monticelli, on that of Cormiculum ; whilst between the latter and Monte Genmaro, the highest peak in this part of the Apemmines, we dis- cover Palombara, the ancient Came- ria. About 1% m. beyond le Tavernu- cole, and close to the road, on the 1. hand, is the Lago de' Turtari, so called from the incrusting quality of its waters, which produce the stone called Travertine, and deposit a calcareous coating on vegetable and other sub- stances. The margin has been so much contracted by the deposits from the water that its surface goes on gradually diminishing in extent. Its sides are formed by large masses of a coarse cal- careous incrustation. Near this a road on the l. leads to Palombara and Mon- ticelli; and another, a branch of the ancient Via Tiburtima, to Tivoli by the Ponte del Acquorio, the ancient Pons Aureus, but is superseded by the more recent one over the Ponte Lucano. 1 m. Sect. II. TIVOLI. 325 O beyond the Lago de' Tartari we arrive at the bridge which crosses the canal that drains the lakes of JLa Solfatatra, the ancient Aquae Albulae, and carries its sulphurous waters into the Teverone. The canal is 9 ft. wide and 2 m. long. It was cut by Cardinal Ippolito d’Este, whilst governor of Tivoli, in order to prevent the inundations and ma- laria to which the country was liable from the overflow of these lakes, the more ancient and tortuous emissary having been choked up. The water is of a milky colour: it runs in a strong current, and is always marked by a strong smell of sulphuretted hydrogen gas. The lakes are less than 1 m. from the bridge, and are filled with reeds and aquatic vegetables: the petrifying quality of the water is continually adding to the rocky margin around them. In the middle of the 17th cent. the larger of the two was a mile in cir- cuit, but is now so contracted that its greatest diameter is scarcely 450 ft. The floating masses of vegetable matter on its surface have been called “Isole Na- tante.” The lake is mentiomed by Strabo, who says that its waters were used medicinally, and that they were much esteemed in various maladies. Near it are the ruins of the Baths of Agrippa, frequented by Augustus and enlarged by Zenobia, in recollecion of whom they are still called “Bagni di Regima.” The water was examined by Sir Humphry Davy, who ascertained that the temperature is 80° Fahrenheit, and that it contains more than its own volume of carbonic acid gas, with a small quantity of sulphuretted hydro- gen. The sulphurous odour impreg- mates the air for a considerable dis- tance, and the depth of water may be proved by the volumes of gas which rise to the surface a certain time after a stone thrown into it has reached the bottom. These lakes were once con- sidered as unfathomable, but recent measurements have shown that their greatest depth does not exceed 120 English ft. Besides the principal lake, called of the Isole Natante, nearest the road, there are 2 others; the largest, of Le Colonelle, is 160 ft. deep, com- municating with that of the Solfa- tara, and which, from its higher level, furnishes the water to the baths. The classical traveller will look in vain for any traces of the grove of the lofty Albunea, or of the Temple of Faunus, which Virgil celebrates in the seventh AEneid as the oracle of all Italy :- “lucosque sub alta Consulit Albunea ; memorum quae maxima SãCl’O Fonte Sonat, phitim. Hinc Italae gentes, onnisque AEmotria tellus, In dubiis responsa petunt.” saevamque exhalat opaca mo- A little more than 2 m. beyond the canal we cross the Anio by the Ponte Lucano, one of the most picturesque objects in the whole route, which G. Poussin has rendered celebrated by the well-known picture in the Doria Palace. The tomb of Plautius Lucanus, which adds so much to the peculiar character of the landscape, is one of the best preserved of the many sepulchral monuments about Rome. It is similar in form, although of smaller dimensions, to that of Caecilia Metella, on the Via Appia. Like it, it stands on a square base, and is surmounted by mediaeval fortifica- tions of the time of Pius II. The de- corated front, flanked by pilasters, although ancient, is posterior to the body of the tomb, which was erected in the year preceding our era (752 of Rome), by M. Plautius Silvanus, for himself and his wife Lartia, and his child by a former marriage, Urgula- ricus. It was subsequently used by his descendants, one of whom, Tiberius Plautius Silvanus, served in Britain, and died in A.U.C. 829, as we see by the long inscription on its eastern side. The entrance to the sepulchral chamber was behind. Near this bridge, at Barco, and in different parts of the plain between the road and the Anio, are the quarries from which ancient Rome derived her supplies of traver- time. Those that supply the modern city are along the modern road. The piers of the Ponte Lucano and 2 of the arches are ancient, but are not re- markable for their masonry. A short 326 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. distance beyond the bridge some ruins may be seen in a garden on the rt., Supposed, by Canima, to have belonged to the approaches to the Villa Adriana, on one of which is a mutilated bas- relief of a man and horse, called by the local ciceroni Alexander and Buce- phalus. Farther on, the old road, the Via Constantiana, proceeds to the 1. in a direct line to Tivoli, the more modern one passing to the rt.: from the latter the road to Hadrian’s villa branches off; the carriage-road ascending to the town amidst plantations of gi- gantic olive-trees. Near the foot of this ascent may be seen some por- tions of an ancient road that led from Gabii to Tibur. The rise from the Anio to the hill on which Tivoli is built is well managed. The road, about 1% m. in length, with an ascent of 650 ft., was made by the Braschi family in the last centy., and who, during the pontificate of Pius VI., the founder of their prosperity, purchased large posses- sions in the vicinity. As the traveller will probably return by the carriage- road, arriving, he will do well to leave the vehicle where the old road to Tivoli branches off on the 1. ; ascend- ing the latter he will see on the side an inscription of the time of Constan- time relative to its repairs, and be able to visit before reaching the town (in a vineyard) on the rt. the circular edifice called the Temple of la Tosse, higher up the iron-works and the villa of Mecacnas, the cathedral, &c. Villa of Hadrian (Villa Adriana) (to be seen only by an order to be obtained at the palace of the duke of i | | i | | 22. 22 § *- §§ %§§§ -ſ> SS § º - X: :- - - 1. Portico. 2. Odeum. 3. Nymphaeum. Thermº. 12. Passage to the Tartarus. 18. Roads from Rome and Tivoli. 4. Palestra. - e 10. Imperial Palace, with Temples of Diana and Venus, and Libraries. 15. Serapedn of Canopus. Villa Adriana. 7. Scuola. 6. Paecile. 1]. Stadium and 17. A second Theatre. 5. Latin Theatre. Sect. II. 327 TIVOLI—VILLA ADRIANA. Braschi, its owner, at Rome). This villa is situated on the plain at the base of the hill of Tivoli, and was built from the emperor's designs, in order to include in one spot all he had seem most striking in the course of his travels. It covered a space said by the Roman antiquaries to be from 8 to 10 m. in circuit; when first built it must have been more like a town than a villa. Nothing in Italy can be compared to its imposing ruins, It contained a Lyceum, an Academy, a Paedile in imitation of that at Athens, a Vale of Tempe, a Serapeon of Ca- mopus in imitation of that at Alexan- dria, a stream called the Euripus, Greek and Latin Libraries, Barracks for the Guards, a Tartarus, Elysian Fields, and numerous temples. Hadrian was residing here when he was seized with the illness of which he died at Baiae. The villa is supposed to have been ruined during the siege of Tibur by Totila: for many cen- turies subsequent to that event it was plumdered by the Romans, who con- verted its marbles into lime, and re- moved its statues and columns to adorn their palaces and churches. The most remarkable ruins are the follow- ing:—The entrance-gate and the alley of trees beyond are supposed to occupy the site of the portico (l), which leads to the Odémim, or Greek Theatre (2), one of three which formerly existed in the villa. The seats, the corridors beneath them, and a portion of the proscenium are still traceable. The modern casimo is supposed to stand on the Nymphaeum (3), on the 1. of which, and extending to- wards the valley and the Peneus which runs through it, is a confused mass of buildings called the Palestra (4). On the opposite side of the river are the re- mains of the Latin Theatre (5). Crossing the olive-garden to the rt. We arrive at the Paºcile (6), built in imitation of that at Athens, described by Pausanias. The lofty reticulated wall of the portico, nearly 600 feet in length, is still stand- ing, the most remarkable, perhaps, of all the ruins of the Villa Adriana. At its eastern extremity is a circular building, to which the name of Scuola (7) has been given by Camina, but which is more generally known by the desig- nation of the Hull of the Seven Philo- sophers, with 2 niches for statues, supposed to have been lined with slabs of porphyry. Teatro Maritimo, from the discovery of a mosaic with representations of sea-monsters on the pavement. On the J. of this latter are some ruins called the Greek and Latin Libraries. Beyond the Hall of the Philosophers, are two semicircular buildings, called the,9. Temples of Diamº and Venus, probably, at least the latter, baths, and at their S.E. extremity the Temple of Castor and Pollux. Im- perial Palace (10), a name given to an extensive ruin apparently of two stories: in the lower one are some re- mains of paintings, with crypts or cel- lars. The upper story has a large quadrangular portico : in many parts the walls are double. Near this is a long line of arches communicating with a corridor divided into 3 floors, proba- bly the dwelling of slaves or servants. Upon it rise the ruins called the Palace of the Imperial Family, opposite to which is a large circular hall, belonging to a block of buildings called The Thermap (11), the roof of which is well preserved, and has some fragments of beautiful stucco reliefs. Returning to the Paecile (5), and traversing the great square Space in front, in the centre of which are traces of a piscina, are the Barracks of the Praetorian Guard, a number of chambers of two and three stories, called the Cento Camerelle, with re- mains of galleries on the outside from which they were originally entered. On the rt. of the barracks is the great square, nearly 600 ft. in length, supposed by Some antiquaries to be the site of the Circus or Hippodrome. Following a terrace towards the Thermae, and bordered on the I. by large vaulted chambers, we arrive at an oblong depression surrounded by ruins; this was the Serapeon of Canopus (15), in imitation of the edifice bearing the same name at Alexandria. The oblong Atrium in front is supposed to have been filled with water, as several conduits and covered channels may be seen behind the temple. Some chambers called the apartments of the priest, and a 328 Rome, EXCURSIONS IN THE ENVIRONS OF ROME. semicircular gallery with a painted ceiling, are still standing. The works of art discovered among these ruins are preserved in the Egyptian Mu- seum of the Vatican. Beyond the Sera- peon are the ruins of the Academia, and of another Theatre (17). On the 1. of the circus is a fosse (12) leading to some subterranean corridors, supposed to be connected with the Tartarus; and the presumed site of the Elysian Fields. Still farther on to the 1. is the Vale of Tempe, which has little resem- blance to the famous vale of Thessaly, although a small stream is carried through it bearing the name of Peneus, Beyond the ruins of the Academy and the Roman theatre, and on the space between the valleys of the Peneus and Alpheus, which bound on either side the Villa Adriana, are confused ruins, to which the names of Prytaneum and Cynosargus have been given ; aud # m. farther still, near the church of San Stefano, a large fragment of walls, known by the name of Torre di Timone, which is supposed to have formed part of the Lyceum, close to which are the ruins of a bridge or aqueduct upon a double tier of arches. The number of precious works of art discovered in Hadrian's villa add greatly to the inte- rest of the spot: the beautiful mosaic of Pliny’s Doves in the Capitol, many of the Pseudo-Egyptian antiquities in the Vatican, and mumerous statues of the highest class, noticed in the account of these museums, were found among its ruins. It disputes with the Portico of Octavia the honour of having con- tained the Venus de Medicis, and many of the museums of the great European capitals are indebted to it for some of their most valuable treasures. The ascent to Tivoli by the carriage- road, through a grove of olives, is pic- turesque. On the height on the rt. before reaching the gate are the ruins of the villa of Cassius. The principal entrance to the town on this side is by the Porta di Santa Croce, from the terrace near which, called the Vedutº, and in front of the Jesuits’ College and the Palazzo Santa Croce, there is a magnificent view over the Campagna. TIVOLI. Inns: La Regina, improved, although there is still much wanted to make it as comfortable as it might be.—La Sibilla, situated close to the Temple of the Sibyl, and with the best views of the falls, has only its situation to recommend it, for the fare and espe- cially the sleeping accommodation are very inferior. All the inns at Tivoli are so indifferent that parties will per- haps do better to provide themselves with a cold lunch before leaving Rome, which they can eat more comfortably at the conclusion of their excursions under the shady avenues of the Villa d’Este, or on the terrace below the temple of the Sibyl, than at the dirty hostelries in the town.” As regards its inns, Tivoli is far behind Albano and Frascati. By leaving Rome early, in the season when these excursions are made with most enjoyment, April and May, the visitor will have plenty of time to see everything, and to get back before dark. The following itinerary of the prin- cipal objects of interest in the more immediate vicinity of Tivoli will oc- cupy about 4 hours:– Temples of Vesta and the Sibyl ; Grotto of Neptune, tun- mels of the Anio cut through the Monte Catillo; Ruins of the Villa of Topiscus and of the ancient Roman bridges; excursion by the Church of St. Antonio and the Madonna di Quinti- liolo to the Ponte dell’Acquorict, return- ing to Tivoli by the ameient Via Tibur- tima, and visiting the Tempio della Tosse, the Iron-works, and Roman ruins round the latter; the Willa d'Este and the Ca- thedral. Leaving the inn on the return journey to Rome the old Castle near the Porta di Santa Croce, and the Aqueduct at the Villa Braschi, can be visited. A quarter of an hour will bring us to the Villa Adriana, to go over the ruins in which will require above an hour, and by which the day’s explora- tions will terminate. From the Villa Adriana the journey to Rome will occupy 2% hours. - Tivoli, the ancient Tibur, a city of the Sicami, founded nearly 5 centuries before Rome, was one of the early rivals of the Eternal City, and was reduced Sect. II. TIVOLI. ' 329 to obedience by Camillus. The Roman historians tell us that the Sicami were expelled by Tiburtus, Corax, and Ca- tillus, grandsons of Amphiareus, who came from Greece with Evander ; and that the settlement derived its name from the eldest of these brothers. This circumstance is frequently alluded to by the poets:— “ Tum gemini fratrès Tiburtia moemia lin- Quunt, Fratris Tiburti dictam cognomine gentem, Catillusque, acerque Coras, Argiva juventus.” Virg. Æn. vii. 670. “Mania Tiburis Udi Stabant Argolicas quod posuere manus.” Ovid. Fasti, V. 74. “Nulla Vare, sacrā vite prius severis arbo- Iterri Circa mite solum Tiburis, et moenia Catili.” JIO), (/d. I. xviii. 1. The classical associations of Tivoli have made it a memorable spot in the estimation of the scholar; its scenery inspired some of the most beautiful Lyrics of Horace, who has sung its praises with all the enthusiasm of a fond attachment :— “Me nec tam patiens Lacedæmon, Nectam Larissae percussit campus opimae, Quâm domus Albunese resonantis, Et praeceps Anio, et Tiburni lucus, et uda Mobilibus pomaria Tivis.”—Lib. I. vii. 10. He tells us that he often composed his verses while wandering among the groves and cool pastures of the sur- rounding valleys, and expresses his anxious wish that it may be his lot to spend his old age in its retreats :- “Tibur Argeo positum colono, Sit mea: Sedes utinam Senectac, Sit modus lasso maris et Viarum Militiasque.” Lib. II. vi. 5. In the early period of the empire Tibur was the favourite residence of many of the poets, philosophers, and states- men of Rome, the ruins of whose villas are still shown in different parts of the valley. The epithet of “Sit- perbum Tibur,” given to it by Virgil, is still borne as the motto on the city arms; and Catullus and Propertius have commemorated the beauty of its position with a partiality scarcely less remarkable than that of Horace. Among the historical records of the city, we know that Syphax king of Numidia died in its territory B.C. 202, 2 years after his captivity. He had been brought from Alba Fucensis to grace the triumph of Scipio, and was honoured, as Livy tells us, with a public funeral. Zenobia also, after gracing the triumph of Aurelian, spent the latter years of her life in the neigh- bourhood of Tibur, surrounded with all the pomp of an eastern princess. During the Gothic war, when Rome was besieged by Narses, Tibur was occupied by the troops of Belisarius. It was afterwards defended by the Isau- rians against Totila, and treacherously Surrendered by the inhabitants, whom the Goths repaid with such fearful barbarities that Procopius declares it impossible to record their cruelties. Totila, after being defeated in his attempt to take Rome, retired to Tibur, and rebuilt the town and citadel. In the 8th century it lost its ancient name, and assumed that of Tivoli. Its history during the middle ages is a con- tinued record of sieges and struggles against the emperors and the popes. Among these, the most interesting to English travellers is the retreat it afforded to our countryman Adrian IV. and Frederick Barbarossa after the insurrection caused at Rome, in 1155, by the coronation of the emperor, who is said, by the car- dinal of Aragon, to have issued a di- ploma exhorting the people of Tivoli to acknowledge their allegiance to his Holiness. At this period Tivoli appears to have been an imperial city inde- pendent of Rome, and to have been the frequent subject of contention between the emperors and the Holy See. In 1241 it was seized by Frederick II., assisted by the powerful house of Co- lonna, and was for some time the stronghold of the Ghibeline party. Tivoli appears to have been the head- quarters of the Ghibeline chiefs until the cardinals assembled at Anagni elected Sinibaldo dei Fieschi to the papal chair under the name of Innocent IV. In the 14th century Cola da Rienzo made it 330 Jæome. EXCURSIONS IN THE ENVIRONS OF ROME. his head-quarters during his expedition against Palestrina : he resided there for Some days, and harangued the people in the Square of S. Lorenzo. In the following century it was occupied by Braccio Fortebraccio of Perugia and the Colonnas. To control the people and reduce them to obedience, Pius II. erected the present castle. Modern Tivoli is one of the most im- portant cities of the Comarca. It is situated on the slopes of Monte Ripoli, supposed to have been so called from Rubellius, the proprietor of one of the Tiburtine villas. Its height above the level of the sea is 830 feet. The popu- lation of the city is about 6750. The chief interest of Tivoli is derived from its picturesque position, from the falls of the Anio, and from the ruins of the temples and villas which still attest its popularity among the rich patricians of ancient Rome. It has little modern interest. Its uncertain and stormy cli- mate, and the number of deaths annu- ally, which give a bad impression of its salubrity, are commemorated in the popular distich :- “Tivoli di mal conforto, O piove, o tira vento, o suoma annorto.” Two of its churches, S. Andrea and La Carita, date from the fifth century Among the ancient edifices of the town the most important is the Temple of Vesta, although generally attributed to the Tiburtine Sibyl, a beautiful building of the best period of art, finely placed on the rock overhanging the valley of the cascades, on which is supposed to have stood the Arx of the ancient Greek colony, and from which in more recent times this part of Tivoli received the name of Castro Vetere; Nibby, how- ever, contends that it is the Temple of Hercules Saxonus. It is a circular edi- fice, 21% feet in diameter, surrounded by an open portico of 18 columns, 10 of which remain. They are of stuccoed travertine, of the Corinthian order, and are 18 feet high exclusive of the capitals, which are ornamented with lilies. The entablature is sculptured with festoons of flowers and heads of oxen; and the architrave bears the inscription L. GELLIo. L. The cella is composed of small polygons of tufa and travertine, and has two windows. Close to this temple is that now gene- rally considered to have been dedicated to the Tiburtine Sibyl (Sibilla Albumea). It is an oblong edifice of travertine, with an open portico of four columns of the Ionic order. It is now converted into a church dedicated to St. George. From the Temple of the Sibyl a pretty path, commenced by General Miollis, and greatly improved of late by the Govern- ment, which has done much to render this lovely locality as accessible as possible to the visitor, leads to the Grottoes of Neptune and the Sirens, the two points from which the Falls of the Anio were seen, a few years since, to the greatest advantage. The water was carried over a massive wall erected by Sixtus V., and fell into the dark gulf called the Grotto of Nep- tune, producing by its contrast with the foam and spray of the cataract one of the most striking scenes of the kind. The inundation of 1826 completely changed the character of the cascade: a great portion of the wall of Sixtus V. was destroyed by the rush of waters, which swept away the church of S. Lucia and 36 houses on the 1. bank of the river. It undermined the base of the rock below the temple, and made it necessary to divert the course of the river, in order to preserve it and the part of the town where it stands, from destruction. These changes have de- prived the grottoes of much of their in- terest, but they are still well worth a visit for the purpose of studying the fine sections of the travertime rock. The new Falls were formed by cutting two tunnels of 885 and 980 Eng. ft. through the limestone rocks of Monte Catillo, on the other side of the valley. This was ably executed by the Roman engineer Folchi, and the Anio was turned into its new channel in 1834, in the presence of Gregory XVI. The river falls into the valley in one mass from a height of about 320 feet. The effect of its cascade is scarcely inferior to that of the upper portion of the Falls of Terni. The catastrophe of 1826, by Sect. II. 331 TIVO LI. diverting the course of the river, laid bare the ruins of two ancient bridges and several Roman tombs. The first bridge, at the eastern extremity of the town and highest up the river, was probably the Pons Valerius, over which the Via Valeria passed in its course up the valley. The subsequent works of Folchi for the new tunnels discovered the second bridge near their mouth : it is better preserved than the first, and may also have led to the Via Valeria; it is generally designated as the Poms Vopisci, from the name of the owner of the adjoining Roman villa, with which it appears to have been connected ; some antiquaries suppose that it was ruined by the inundation which took place A.D. 165, recorded by Pliny. The cemetery near this ruin was discovered at the same time: it contained many sepulchral monuments; the most remarkable was that of Lu- cius Memmius Afer Senecio, pro-consul of Sicily, who died A.D. 107. Good walks have been cut on both sides of the valley leading to the different points which command the best views of the Falls. There is also a road lead- ing, along the base of Monte Catillo, to the circular terrace constructed by General Miollis, from which was had the finest view of the old falls, and to the Oratory of St. Antonio, from where the modern ones are best seen ; and farther on to the Madonna di Quin- tiliolo, the best point for seeing the Cascatelle : a path along the margin of the valley amidst a grove of magnificent olive-trees, and from every point of which the views of the Lower Casca- telle are the finest, leads from the Ma- donna di Quintiliolo to the Ponte dell’ Acquaria, where one of the massive arches of the Roman bridge by which the Via Corniculana crossed the Anio to reach Tivoli, is still in excellent preservation. A steep ascent from here leads to the lower part of Tivoli, by the ancient Clivus Tiburtinus, on which several portions of the Roman road may be seen in good preservation. Near to where the Clivus Tiburtinus joins the Via Constantia, is the Tem- pio della Tosse, and higher up the Villa of Mecanas and the modern Villa d'Este. After the objects already mentioned the most worthy of notice are the pre- tended Villa of Mecanas and the Tempio della Tosse, amongst the ancient; the Villa d’Este, the Old Castle, and the Cathedral, amongst the modern. The Villa of Mecanas is the most ex- tensive ruin about Tivoli ; the name it now bears rests on no kind of autho- rity, and dates from the time of Pirro Ligorio. It is generally considered to have formed a portion of the lower porticoes which constituted the ap- proaches to the great Temple of Her- cules, that occupied a large portion of the space covered by the modern town, as we shall see the Temple of Fortune did at Praeneste. The present ruins consist of massive substructions, since converted partly into the iron- works, and of the remains of a square atrium, which was surrounded by a Doric portico, with a temple on the raised space in the centre. The Via Constantiana, or road leading from the Ponte Lucano to Tivoli, passed under the long covered way or corridor now occupied by the forges and mills of the ironworks. These ruins were converted by Lucien Buonaparte into workshops, where large quantities of bars and other objects in iron are still manufactured. The visitor ought to ascend to the ter- race over the works to enjoy the view over the valley, and from which a gate leads into the garden, round which may be examined the Doric portico above mentioned. The Tempio della Tosse, on the rt. of the Via Constantina, and a short way below the iron-works. The singular designation of Temple of the Cough appears to date from the 16th cent., and to be a corruption of the name of Turcia, a family of whom it was probably the sepulchre, and which, from the inscription relative to the repairs of the road, referred to above, had existed here in the 4th cent., Lucius Arterius Turcius having exe- cuted this work in the reigns of Con- ** 332 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. stans and Constantius. The Tempio della Tosse is a circular edifice covered with a dome having an opening to admit the light in the centre, like the Pan- theon ; around are circular miches—one larger than the rest had traces of early Christian paintings representing the Saviour and the Virgin, which led some antiquaries to consider the edifice as a Christian temple. The general form and the style of the masonry bear so great a resemblance to the tomb of S. Helena, the modern Tor Pigmatara, that it is more probable it was intended for a sepulchral monument; and the best authorities now consider that it was erected about the same period as that of the mother of Constantine, and to contain the ashes of the Turcia family. The Cascatelle, a series of pretty cas- cades formed by the waters of the Anio, which are diverted from the main stream above where it enters the tunnel under Monte Catillo, and after they have served the purposes of the many mills in Tivoli, and the iron manufactories. The first and largest stream forms two cascades ; the other those which issue from the Villa of Mecanas, and fall into the valley from a height of more than 100 ft. The effect of these cascades, contrasted with the brilliant vegetation of the valley and the rich colouring of the massive brickwork of the villa, produces a scene of striking interest. Of the many villas of the Roman period which existed about Tibur, the sites of only a few can now be deter- mined. The church of the Madonna di Quintiliolo is built on the ruins of the ſilla of Quintilius Purus, com- memorated by Horace : its situation on the slopes of Monte Peschiavatori is one of the most beautiful that can be imagined: the ruins are of great ex- tent, and the upper terrace commands a fine view of the Villa of Mecacnas, the Cascatelle, and the Campagna of Rome, extending in fine weather to the sea. The magnificence of the villa is proved by the numerous statues, mo- saics, and other works of art which have been found among its ruins, many of which have been already noticed in our description of the Vatican museum. The other villas which are known to have existed at Tivoli, and of which the local antiquaries profess to show the ruins or the sites, are those of Vopiscus, Piso, Cassius, Munatius Plan- cus, Ventidius Bassus, Fuscus, l’roper- tius, &c. With the exception of the Villa of Cassius, many of these ruins are mere conjectures, and it would be an unprofitable task to follow the specu- lations upon which their doubtful au- thenticity depends. The walls which support the terraces of the villas of Brutus and of Bassus are polygonal ; and that of Fuscus, below the Strada di Carciano, is a fine specimen of Roman work, more than 100 ft. in length. At Carciano, under the Casino of the Greek College, are all that remains of the Villa of Cassius. The ruins of this noble villa are still very extensive, and have con- tributed largely to the great museums of Europe. In the 16th century Car- dinal Ferdinando de' Medici and Arch- bishop Bandini of Siena made con- siderable excavations and brought to light many beautiful specimens of ancient art. The researches of De Angelis in 1774 were still more im- portant : the statues and marbles which he discovered were purchased by Pius VI. for the Vatican, and are justly classed among the valuable trea- sures of that museum. Nearly all the statues and busts in the Hall of the Muses were found here, together with many others which have been noticed in our description of the Museo Pio-Cle- mentino. We have already mentioned the Villa of Vopiscus, near the modern cascades. There is no clue to enable us to discover where the Villa of Horace stood, although placed by the local ciceroni near the church of S. Antonio. Near to the eutrance of Tivoli, by the Porta Santa Croce, is the Villa d’Este, built in 1549 from the designs of Pirro Ligorio by Cardinal Ippolito d'Este, Son of Alfonso II., duke of Ferrara: it now belongs to the Duke of Modena as successor of that celebrated family. Though picturesquely situated, it is Sect. II. TIVOLI. 333 W now uninhabited. The casimo, decorated | picturesque objects in the view of the with frescoes by Federigo Zucchero, town, especially from the road to Su- Muziano, and other painters, represent-|biaco. ing events in the history of Tivoli, is Beyond the Porta S. Giovanni, lead- perishing from neglect. Its formailing to Subiaco, about 3 m. distant, are plantations and clipped hedges find few admirers after the natural beauties of the surrounding scenery; and the wa- terworks, called the Girandola, are 110w justly regarded as a strange perversion of taste in the neighbourhood of the grand cascades. Notwithstanding these defects, the beautiful ilexes and cy- presses of the gardens make them a favourite resort of artists and of picnic parties, and the view from the terrace over the expanse of the Campagna is one of the finest scenes in Tivoli. The Casino and the gardens are liberally thrown open to the public. Villa d’Este stands the church of St. Francesco, once a Gothic edifice, but entirely modernized in the interior, only the entrance, with a canopy over it, and a pointed arch under the gal- lery remaining, of the original archi- tecture. Outside the Porta di Santa Croce is the College of the Jesuits, from the terrace in front of which, called Da Veduta, opens one of the finest panoramic views over the Cam- pagna, with Rome in the distance, and in fine weather even the sea in the background; a little way beyond this point is the Villa Braschi, from which this splendid panorama is still more ex- tensive. This villa, the property of the nephew of Pius VI., is built over the Aqueduct of the Anio Novus, which may be well seen in the wine-cellars beneath ; those of the Anio Vetus and Aqua Marcia running at a lower level, close to the modern road, leading to Carciano. The specus or channel, 9 ft. high by 4 wide, had become choked up with calcareous incrustations; where this has been removed its fine Roman brick-work lining may be seen. Of mediaeval Tivoli the most re- markable monument is the Castle, erected in its present form by Pius II. ; it is near the Porta Sante Croce, and may be visited on leaving the town; it consists of an enclosure surrounded by fine circular towers, which form very Near the the remains of a circular tomb supposed to be that of C. Aufestius Soter, a phy- sician, whose inscription was found near the spot. About 3 m. farther, the road leading to Ampigliome, the ancient Empulum, passes under the arches of the Marcian aqueduct, where it crosses the valley, and near this the specus of the Anio Vetus is vi- sible. Further on we see the magni- ficent arches of the Claudian aqueduct, surmounted by a tower of the middle ages, built by the Tiburtimes as a de- fence against the attacks of the Orsinis, lords of Castel Madama: they are 45 ft. high and 25 ft. span. Travellers who are desirous of ex- ploring the classical sites of the Sabine hills should make Tivoli their head- quarters for some days, and arrange a series of excursions to the most interest- ing localities. It would be impossible within the limits of a work of this kind to describe the numerous objects of historical interest and natural beauty for which every valley in the neighbour- hood is remarkable. Many of these sites are celebrated by Horace, and others still retain in their names and ruins the traces of cities whose origin is anterior to that of Rome. The most interesting excursions from Tivoli are those to Subiaco, up the valley of the Anio ; to Licenza, the site of Horace’s Sabine farm ; to Ampiglione, the ancient Em- pulum ; to St. Angelo, Monticelli, and Palombara ; and the ascent of Monte Genaro. The road to Subiaco, follow- ing for some miles the Via Valeria, is good the whole way, and practi. cable for carriages; but that to Li- cenza and the ascent of Monte Genaro must be accomplished for several miles on horseback or on foot. The pedes- trian will find an endless source of enjoyment in the mountains around Tivoli, provided, as he now can be, with the excellent topographical sur- veys published by the French and Austrian Governments. * 4. f * * EXCURSIONS IN THE ENVIRONS OF ROME. Rome. SUBIACO, 26 m. from Tivoli, and 44 from Tome. The road, which is very good for carriages, during the whole distance ascends along the rt, bank of the Anio. (A public conveyance leaves Tivoli daily for Subiaco on the arrival of the early coach from Rome.) On leaving Tivoli it runs round the base of Monte Catillo, presenting on its sides nu- merous fragments of ancient walls in Opus reticulatum. About 1 m. beyond the town, a portion of the Claudian aqueduct consisting of several arches, crowned by a square tower, spans the valley on the rt. leading to Ampigliome. At the 4th m. a bridle-road strikes off (on the 1.) to Santo Polo, a mountain village perched on the declivity of the Apennime above, and by which the ascent to Monte Genaro is most con- veniently effected. Between the 5th and 6th m. from Tivoli, Castel Ma- dama, a large village, rises on an emi- mence beyond the Anio, and soon after close to the road the ruined mediae- val fortress of Sacco Muro, built on a monticule of volcanic tufa. Near this, but on the opposite side of the Anio, are seen some arches of the Claudian aqueduct spanning the torrent which washes the E. base of the hill on which stands Castel Madama; and a short dis- tance farther, on the road-side, has been placed an inscription discovered here in 1821, recording the name of C. Maenius Bassus, praefect of the Fabbri (chief engineer) at Carthage, under Marcus Silamus, the father-in-law of Caligula, whose name is so often men- tioned by Tacitus. The tomb of C. Bassus stood probably near this spot, judging from the numerous fragments of marble found around. At this place the geologist will remark a very interesting superposition of the semi- columnar volcanic conglomerate on the ancient travertime breccia of the valley of the Anio. At the 7th m. from Tivoli is Picovaro, the ancient Varia, with a population of 3000 Inhab.; the road runs at the foot of the hill of travertine and calcareous breccia on which the Village stands. Some portions of the ancient walls may be seen on ascending from the ch. of St. Antonio, on the roadside, to the town, of very fine construction, formed of huge oblong Square blocks of travertine, some of which measure 160 cubic ft. The style is entirely similar to that of the walls of the Tribularium at Rome, but more colossal in the dimensions of the blocks. In the upper town is a beautiful octagonal chapel, dedicated to St. James, in the Italian Gothic style of the 15th centy. ; it was built for one of the Orsinis of the branch of the counts of Tagliacozzo, from the designs of Simone, a pupil of Brunelleschi, who, according to Vasari, died here when engaged on the work. The front turned towards the E. is decorated with small statues of saints; the interior has been modernized, except the Gothic pilasters in the angles, and the two Gothic windows on the sides. Vicovaro is a fief of the Bolognetti family, who have a large straggling palace in it, built on the ruins of a mediaeval castle. 2 m. from Vicovaro is the church and convent of S. m. Cosim (to, on a narrow elevated plateau between the rivers Licenza and Anio, and beneath which, at a considerable depth, the latter river. runs in a most picturesque ravine : in the vertical cliffs of travertine which form its sides are several curious ca- verns, in one of which St. Benedict is said to have passed some time. From S. Cosimato a new and good road of 1 m. (on 1.), after crossing the Licenza, leads to Cantt (lupo, on a high hill, oc- cupying the place of the Mandela of Horace; the large palace on the site of its baronial castle belongs to the Marquis of Roccagiovine. A short distance from San Cosimato the Licenza torrent is Sect. II. suBIAco. 335 crossed on a modern bridge near its frontier-station is at the little village of junction with the Anio. The wide Arsoli. The road from Roviano to Su- valley beyond the latter river, on the biaco is beautiful. On the 1. bank of the rt., is that of Sambucci, up which Anio, nearly opposite to Roviano, is a bridle-path leads to Siciliano, the Anticoli, and nearer to the river, and ancient Cicelion, and from thence farther on, the village of Marano, a across a mountain pass to Olevano. The short way beyond which the road passes mountains on the 1. bank of the Teve- below Agosta, a picturesque village; rone hereabouts are wooded. Opposite before reaching which are the springs the 10th m. from Tivoli, and perched | called Le Sirene, which burst in large like an eagle’s nest on a conical peak at volumes of bright crystal water from the a height of 2500 ft. above the river, base of the mountains: the ancients is the village of Saracinesco, with believed that they were derived through 600 Inhab., and in a most singular subterranean channels from the lake of and inaccessible position. This town Celano. Beyond Agosta, on a peak is said to have been founded by a 3300 feet high, and apparently inac- colony of Saracens, after their defeat cessible, is the populous village of Cer- in the 9th centy, by Berengarius; and it bara, close to the Neapolitan frontier, is remarkable that many of the inhab. and on the opposite side of the Amio have preserved their Arabic mames: se- the towns of Cunterano and of Rocca veral of the mountaineers in picturesque Canterano, high above the valley, tower- costumes seen at Rome during the win-ling over it on the 1., and out of the reach ter, and who loiter about the Piazza of the malaria which desolates the lower di Spagna, offering their services as grounds in the autumn. Subiaco is seen painters' models, come from this village. for the first time from here; nothing can The valley of the Anio was desolated be more picturesque than its position by the incursions of the Saracens about among the richly-wooded hills by which the year 876, and there is no doubt that it is surrounded. a party of the invaders formed a settle- ment on this spot, as the name occurs in Subiaco (Inns: Locanda della Pernice, an inscription of the year 1052, pre- kept by Gori, very good, with a most served in the monastery of Santa Scolas- attentive landlord; the L. dell’ Europa, tica at Subiaco, under the designation of civil people), the ancient Sublaqueum, Roccasarracemiscum. The valley widens is the chief town of a distretto of the before reaching the Osteria of La Scar- Comarca, with a population of 6330 pa, the halfway halting-place between souls. It derived its ancient name from Tivoli and Subiaco. Beyond this, and the 3 artificial lakes of the Villa of Nero, perched upon a hill on the 1., is the below which (sub lacu) it was built. village of Rociano, with a feudal castle The modern town is more remarkable belonging to the Sciarra family, to whom for the beauty of its situation than it giyes the title of prince. From this for any object of interest within its point the valley bends to the S.E. as far walls. The falls of the river below the as Subiaco. 1 m. beyond Roviano the town, the fine old castle on the summit Tia Sublicensis separates from the ſaleria, of the hill, which for many ages was the latter branching off on the 1., the the summer residence of the popes, the former continuing along the Anio to magnificent forests of the valley, and Subiaco. The Via Valeria, after passing the noble monasteries which have given by Arsoli, a fief of the Massimis, soon it such celebrity in the ecclesiastical reaches the Neapolitan frontier at Cava- history of the middle ages, all combine liere, and continues through Carsoli, the to make it oue of the favourite resorts ancient Corseoli, into the Abruzzi (see of the landscape-painters in the sum- H indbook for S. Italy, Rte. 144). It is the mer. The dark and narrow streets of most direct road from Rome to the lake the town itself are by mo means inviting of Fucino, but is to be travelled only on to the stranger ; the houses have an air horseback or in the common cars of the of antiquity which carries us back to country, as far as Tagliacozzo. The papal the middle ages more than any other 336 EXCU RSIONS IN THE Rome. EN VII? ONS OF ROME. town in the vicinity of Rome. The church was built by Pius VI., who was abbot of the monastery for many years before his elevation to the pontificate: the palace of the abbots was also en- larged and modernised by the same pontiff. About a mile from the town, on a hill above the river, we may still trace the ruins of Nero's Pilla. It was here, as we are told by Tacitus, that the cup of the tyrant was struck by lightning while he was in the act of drinking, and the table thrown down by the shock. Near this is the cele- brated Monastery of Santa Scolastica, founded in the 5th century, and restored in 981 by the abbot Stefano. It has 3 cloisters: the first is of recent date, but contains some ancient monuments; among which may be noticed a sarco- phagus with bacchanalian bas-reliefs, a bacchic head, a fine column of por- phyry and another of giallo antico, said to have been found in the ruins of Nero's villa. The second cloister dates from 1052, and is very interesting as one of the earliest examples of the pointed style of architecture: one of the arcades is of marble, ornamented with bas-reliefs, and surmounted by a statue of the Virgin throned between 2 lions. Under the portico is a curious relief of 2 stags drinking ; one bears an inscription recording the founda- tion of the building in 981 ; another relates to the construction of the tower, and enumerates the possessions of the monastery in 1052. The third cloister, as well as the Refectory, was erected by Abbot Lando, in 1235; the mosaics on the arcade of the cloister are by the Co- simati. The ch., dedicated to S. Scolas- tica, contains nothing which calls for particular notice; founded originally by Benedict VII., in 937, it was com- pletely altered in the last century: beneath, in the crypt, is a finely painted chapel, in which are preserved the remains of a venerable Bede, not our countryman, who lies at Durham. The monastery was once famous for its library, rich in MSS. and charters. Nearly all these have been dispersed; but it has obtained a cele- brity in the history of typography as the first place in Italy in which the * printing-press was established by the Germans Sweynheim and Pannartz. Their edition of Lactantius was their first production : it appeared in 1465, and a copy is still preserved in the monastery. They remained at Su- biaco until 1467, when they removed to l'ome. I # m. from S. Scolastica is the Sacro Speco, the well-known inomas- tery of St. Benedict. The ascent is steep, and the scenery is grand. St. Benedict retired here about A.D. 450, when only 14 years old. The monastery was rebuilt in S47; the lower ch. dates from 1053, the upper from 1066, and the cloister from 1235. It is built against the rocky hill on 9 arches of considerable height, and consists of 2 long stories. The cavern in the lower part, the retreat of St. Benedict, is supposed to be of great antiquity, and is identified by some authorities with the oracle of Faunus. A huge mass of rock overhangs the monastery, where it is believed to be miraculously sus- pended : it was over it that Romanus is said to have lowered his food to St. Benedict, when he retired to this cavern. The chapel St. Laurence, leading to it, was painted in 1219 by Comciolo, one of the earliest Italian masters, who has re- corded his name in “Conviolus pin.cit.” This painter, who preceded Cimabue by some years, is supposed to have come from Greece; the paintings represent the Consecration of the ch. by Gregory IX., with a Madonna and Child. In other chapels of the Sacro Speco are some paintings worthy of notice. Rude sketches on the sides of the lower grotto, in the style of what we see in the catacombs, may date from the 6th centy. ; those of the middle and upper chapels, of scenes in the lives of St. Benedict and Santa Scholastica, are of the early part of the 15th. In the little Chapel of S. Lorenzo Loricato is a Virgin and Child, by Stamatico, a Greek painter, which, if it did not bear the date (1489), we might from its style attribute to a considerably earlier period. The architecture is pointed, and by many attributed to as early as the 10th centy. ; if so, the oldest specimen of what has been called the Gothic style in Italy. The gar- Sect. II. 337 HORACE’s SABINE FARM, AND MONTE GENARO. den below is still remarkable for its plantations of roses, said to be descended from those which St. Benedict culti- vated. Another legend states that they were originally a bed of thorns on. which St. Benedict rolled himself to extinguish the violence of his passions, and were miraculously converted into roses by St. Francis when he visited the monastery in 1223. On the oppo- site bank of the river is the picturesque mass of Monte Carpineto, covered with hornbeams (carpini), from which it de- rives its name. On the slopes of the hill are ruins of a Nymphaeum, sup- posed to belong to Nero's Baths. From Subiaco a bridle-road, afford- ing a very delightful ride of 4 hours, leads over the lower slopes of Monte Carpineto to the picturesque towns of (Roccº Giunone). Near the ch. is pre- served an ancient inscription recording the restoration of a Temple of Victory by Vespasian. Antiquaries regard this as a proof that it is the Fanum Va- cunae, or the Temple of Juno Vic- trix, celebrated by Horace, which would confirm the etymology of the modern name. On the opposite side of the torrent is seen Cantalupo, Horace's Mandela, between which and the Li- cenza are fragments of polygonal walls, on which it is supposed stood a temple. About 2 m. beyond Rocca Giovine, farther up the valley, is Ziccmza, the ancient Digentia. “Me quoties reficit gelidus Digentia rivus, Quem Mandela bibit rugosus frigore pagus.” Bor. Ep. I. xviii. Oletano and Genazzano by Affile (which It is a mountain-village of 930 Inhab., has preserved unaltered its ancient beautifully situated on a hill above name). Genazzano 17 m. from Subiaco ; but as they are more generally visited from Palestrina, we shall reserve our account of them for our excursion to the latter place; a carriage-road is now in pro- gress to Palestrina, passing near Civi- tella, from which there is a noble view of the Campagna and the mountains of the Hermici : this road will soon be continued to Genazzamo and Pales- trina: the scenery along it is very beautiful. HORACE’s SABINE FARM, AND MONTE GENARo. The distance from Tivoli to the Sabine Farm of Horace is 11 m. The road, as far as Vicovaro, is described in the preceding excursion ; beyond which a new one, practicable for carriages, has been recently carried as far as Rocca Giovine, from which the journey must be performed on horseback or on foot. R. Giovime, 3 m. from Vicovaro, is situated on a steep rock above the road, and supposed to be the Arx Junonis [Iome.] Olevano is about 13 m. and the bright clear stream which Horace celebrates under the same name. The site of the villa of Horace is placed by some on the rt. of the road, about midway between it and the river, a short dis- tance before we reach the village. Little now remains but some fragments of a White mosaic pavement partly covered by a vineyard. There are 3 terraces and some massive substructions of a more magnificent villa, and of a later date, on the site of that of the poet. The names of many places in the neighbourhood preserve some record of classical times: gli Orasini, or Oratini, on the slopes of the Monte Rotondo, cannot be mistaken; and La Rustica, on the rt. side of the valley as we ascend, recalls the Ustica of the poet:— “ Utcundue dulci, Tyndari, fistulá Valles, et Usticæ cubantis Lævia personucre Saxa.” . Od. I. 17. Higher up the valley, in a romantic spot under Monte Cornazzano, are two Springs; identified by some antiquaries With the Fons Blandusiae, or Ban- dusia — “O Fons Blandusias, splendidior vitro Dulci digme mero, lion sine floribus Cras donaberis haedo.” Od. III. 13. Beyond Licenza is the village of Cie i- tella, from which a bridle-path leads Q 338 ENVIRO NS OF ROME. #ome. S |EXCURSIONS IN THE over the mountains to Palombara, 6 m. distant. The Ascent of Monte Genaro is made more conveniently from Rocca Giovine than from any other point in the valley of the Licenza. The excur- sion to Monte Gemaro from Tivoli will require 4 or 5 hours, for which guides are easily obtained ; the hire of horses for the journey is S pauls, and the guides will expect 5 or 6. Those who ascend direct from Tivoli follow the route taken by the peasants in going to the festa of the Pratone, the mea- dow between the two summits of the mountain. They take the road leading to Santo Polo, situated 2250 ft. above the sea. The road here ceases, and we follow for some distance a bridle-path commanding fine views of the valley of the Licenza, and at length strike into the forest beneath the singular insulated limestone mass of Monte della Morra. The last ascent to the Pratone from this side is steep, but the opening of the plain is so beautiful, that the contrast of scenery renders it by no means the least interesting portion of the journey. The ascent from the side of Licenza to the Pratone is less dif- ficult, and follows the depression in the chain between the Monte Morica on the rt. and Monte Rotondo. The Pratone is celebrated for its pastures, and the tra- veller will generally find it covered with cattle. The annual festa at its little chapel is attended by the peasantry from all parts of the Sabine hills. From this plain we ascend to the summit of Monte Gemaro, which is 4165 feet above the sea, and, with the exception of Monte di Semprevisa (5038 ft.), above Rocca Mas- sima, is the highest point of the chain which bounds the Campagna on the E. There is no doubt that the Mons Lucre- tilis, which Horace has celebrated in his beautiful ode already quoted, was one of the peaks of this ridge, and many writers identify it with Monte Gemaro itself. The view commanded during the ascent over the immense plains of the Campagna is one of the finest in Italy, and will amply repay the fatigue of the excursion. It embraces the line of coast as far as Monte Circello, the line of the Volscian mountains beyond the Alban hills, and commands nearly all the valleys of the Apennines from the Neapolitan frontier to Soracte and the Monte Cimino on the N.W. On the summit is a pyramid of loose stones, used as a trigonometrical sta- tion by Boscovich, in his trigonome- trical survey of the Papal States. Travellers who are desirous to vary their route in returning to Tivoli may descend by the pass called La Scar- Pellata, a mountain zigzag, con- structed in parts with solid masonry. During the descent we command some fine views of the small group of hills which stand detached from the Sabine chain, and form so conspicuous an object from Rome. On one of their Summits is the picturesque town and castle of Monticelli ; on another the village of Sant' Angelo, in Cappoccia, the ancient city of Medullia. The pass leads down to the hollow called La Mar- cellina, at the foot of the Monte Morra. Near this are some fine examples of poly- gonal walls. Farther on we pass the ruins of a Roman villa at a spot called Scalzº- came, opposite to which are the low hills named the Colli Farinelli. Between them and the road is a small valley, in which we may still see some ruins of a temple, and a cippus with the in- Scription — L. MVNATIVs . PLANCVs . TIE. COS. IVIP. INTER . VII. V.R. EPVLON . TRIVMIPH . EX . RHAETIS . Ex . TEMPLO. SATWRNI . ET • COS . IMIP . EXERCITI . IN ITALIA . ET . GALLIA. The name of the temple is no doubt given in this in- scription, which records the name of an illustrious Roman, whom the beautiful lines of Horace have made familiar to the scholar :— “Sic tu sapiens finire memento Tristitiam vitaeque labores Molli Plance mero ; scu te fulgentia signis Castra tenent, Seu densa tenebit Tiburis umbra tui.” Od. I. 7. Beyond this we leave the convent of Vitriano on the rt., and enter the valley of the Anio through the fine groves of olives which clothe the slopes of the Monte di Quintiliolo, as far as the Ponte dell’Acquoria. The excursion from Licenza to Pa- lombaro is by a bridle-road, passing by the Fonte Blentusia, and to the foot of Monte Gemaro: from the summit of Sect. II. FRASCATI. the mountain a path more to the lum, the extinct crater of la Molara, the N. than that to Marcellina and Tivoli different villas about Frascati, and espe- descends near the Romitorio di S. cially the Villa Aldobrandini: 2nd day, Nicola, through a rocky ravine. To the By starting early the party can breakfast geologist this excursion will prove most at Grotta Ferrata or Marino, visiting the interesting, as affording an excellent section of the secondary strata so rarely found together and within so limited a space in the Southern Apennines. Leaving Licenza, the path crosses suc- cessively the lias and oolitic strata; the second forming the most elevated point of Monte Gemaro, the neocomian and cretaceous strata being entirely want- ing. In the depression separating Palom- baro from the group of St. Angelo and Monticelli will be found the pliocene or subapennine series (well characterised at Formello between Monticelli and Tivoli), whilst the hills on which these 3 towns are so picturesquely situated are formed of a compact limestone, in places changed into dolomite, and con- taining well-characterised fossils (am- monites and a species of aptycus) of the age of our British lias and inferior and middle oolites. [The Abbate Rus- comi at Monticelli has formed an inte- resting collection of the fossils from these secondary strata, which will inte- rest the geological excursionist.j—See p. 286. FRASCATI, 12 MI. Since the completion of the railway the excursion to Frascati, including a visit to the ruins of Tusculum, and to Grotta Ferrata, can be easily performed in a day, by leaving Rome by an early train and returning by the latest. [An excursion of 4 days will enable the tourist and even parties of ladies to ex- plorevery conveniently the differentloca- lities about the Alban hills, commencing with Fraseati, and in the following order: —1st day, Frascati, the ruins of Tuscu- ch. of the Greek convent at the former, and the valley of the Aqua Ferentina close to the latter town; and proceed from thence (on foot or horseback) by the supposed site of Alba Longa to Rocca di Papa and Monte Cavo, descend- ing afterwards to Albano by the convent of Palazzuola : 3rd day, Castel Gan- | dolfo, the Emissarium of the Alban Lake, and Lariccia by the road leading from the convent of the Cappuccini of | Albano; from Lariccia we would advise the pedestrian to follow the old Via |Appia below the town on his way to Gen- zano, which will enable him to examine the massive substructions over which it is carried, and the opening of the Emis- sarium of the lake of Nemi beyond, and arrive in an hour at Genzano : from Genzano a foremoon will be suffi- cient to see the lake and town of Nenni and to return to Albano or even to Rome to sleep; visiting on his way the viaduct of Genzano, the still more gigan- tic One between Lariccia and Albano, and the Tomb of Aruns: a 4th day may be well spent at Albano, combining an excursion to Civita Lavinia and Tor Savelli, and returning to Rome by the ancient Via Appia. Families would do well to engage a carriage at Rome for the whole excursion, the only part duriug which it cannot be used being the ascent to Monte Cavo, in which case it can be sent round to Albano.] | The charge for a carriage with 2 horses, to go to Frascati and return to Rome on the same day, is 4 scudi, or 5 including the coachman’s buona- namo. Tourists may find it convenient to proceed by railway to Frascati, where they will find vehicles for hire for the rest of the excursion. Trains leave the station near the Porta Mag- giore, performing the journey in , h. ; and omnibuses are always in waiting at the Frascati terminus to convey them to the town. We shall describe, in the first instance, the carriage-road, which leaves Rome by Q 2 340 JRome. EXCURSIONS IN THE ENVIRONS OF ROME. the Porta S. Giovanni: for a few hun- dred yards beyond the gate it follows , the ancient Via Asinaria, the Via La- tina running parallel on the rt. It Soon after crosses the Maranna, and, passing over the raised causeway of the Via Appia Nova to Albano, branches off on the 1. . About 3 m. from the gate we pass under the arch of the Acqua Felice, called the Porta Furba, con- structed on the line of the Claudian and Marcian aqueducts, a short way beyond which and on the 1. is the lofty tumulus of the JMonte del Grano, called without a shadow of authority the sepul- chre of Alexander Severus. It is an im- mense mound, 200 ft. in diameter at the base, which is constructed of masonry. Towards the end of the 16th century it was explored from the summit: an entrance was made by removing the stones of the vaulted roof, and a sepul- chral chamber was discovered con- taining the magnificent sarcophagus of white marble which gives its name to one of the rooms in the museum of the Capitol, and is noticed in our account of that collection (p. 230). The cele- brated Portland Vase, preserved in the British Museum, was found in this Sarcophagus. The road here crosses the railway. About 1% m. beyond the tumulus, on the rt. hand, and on the line of the Via Latina, are some ruins, near the Osteriº del Tacolato, interest- ing as marking, in the opinion of the modern antiquaries, the site of the temple of Fortuna Muliebris, erected in honour of the wife and mother of Corio- lanus, who here dissuaded him from his threatened attack on Rome. The dis- tance from the capital and the locality both agree with the accounts of Diony- sius and Valerius Maximus, who place it at the fourth milestone on the Via Latina. There are no ruins of any consequence, although the walls of the casale are composed of fragments of marble, and numerous remains of co- lumns, &c., have been found in the vicinity. There is no other spot to which the site of the temple can with so much probability be assigned, and we may therefore regard it as the spot where Coriolanus found that he was not “of stronger earth than others:”— dour of the edifice. “Ladies, you deserve To have a temple built you : all the swords In Italy, and her confederate arms, Could not have made this peace.” About 2% m. beyond the Porta Furba are, on the rt. of the road, the ruins called the Sette Bassi, also La Romº Vecchia di Frascºtti, on the farm of the Arco Travertino. The first name is supposed to be a corruption of Sep- timius Bassus the consul, A.D. 317: it is interesting as marking the site of an imperial villa of great mag- nificence and extent. The ruins now visible are at least 4000 ft. in circum- ference: their construction shows two distinct periods; that portion towards Rome corresponds with the style of the buildings under Hadrian, while that towards Frascati belongs to the time of the Antomines. Antiquaries generally agree in regarding it as a suburban villa of Hadrian or Commo- dus: the quantity of marble discovered among the foundations attests the splen- Less than a mile farther is the Osteria del Curato, or di Mezza Vict, the half-way house, near which the road divides; that on the rt. leads to Grotta Ferrata, and that to the 1. to Frascati. The large plantations of stone-pine trees seen on the 1. Sur- round the farm of Torre Nuova, be- longing to Prince Borghese. At the foot of the ascent to Frascati is a hand- some fountain, and a mile farther the Osteria di Vermicino: the ruins seen on the rt. belong to the Julian aqueduct. A road on the rt. leads to the Villa Muti, long the residence of Cardinal York. The high road now crosses a valley, from which a long ascent brings us to Frascati. Jºy Railway : onnibuses leave the office in the Piazza di Monte Citorio # h. before the departure of each train. Leaving the station outside the Porta Maggiore, the railway runs for some distance parallel to the aqueduct of the Acqua Felice until reaching the Monte di Grano, from which it follows the line of the Maranna stream in the direction of Marino, as far as the 9th m., where, suddenly changing its drec- tion to E. by N., it runs along the foot of the hilly region that extends from Sect. II. 341 FRASCATI. Marino to Frascati; at Castel di Cam- pini it cuts through a lava-current, descending from Marino by means of a tunnel, and from thence through a series of cuttings in the recent volcanic dejections of the Alban volcanoes, and through a lovely region of olive- grounds and vineyards, until reaching the station of Frascati in a very pic- turesque situation, but at a considerable distance from the town, and nearly 400 ft. below it. Omnibuses are in attend- ance to convey the passengers, employ- ing 20 minutes in the long and steep a SCCnt. FRASCATI. — This town is prettily gustan period, which is said to have afforded shelter to the inhabitants after the cruel destruction of their city by the Romans in 1191. The modern name is a corruption of Frascata, the appella- tion given to the hill as early as the Sth century, as a spot covered with trees and bushes. The town itself is less re- markable than the beautiful villas which surround it. Some of the older houses retain their architecture of the 14th and 15th centuries; the ch, of S. Rocco, formerly the cathedral of St. Sebastian, and still called the Duomo Vecchio, is supposed to have been built by the Orsinis, lords of Marino, in 1309. The principal edifice of recent times is the situated on one of the lower emi- Cathedral, dedicated to St. Peter, from mences of the Tusculan hills, with a the designs of C. Fontana. It was com- population of 5000 souls. (Inns: A pleted under Clement XI., in 1700. It large hotel outside the Porta S. Pietro, contains a mural monument erected by by which Frascati is entered from Rome, Cardinal York, who was for many years and kept by Spillmann of Rome, is by far the best.—H. de Londres, in the town, very fair. Persons wishing to make a stay during the Summer at Fras- cati will be able to make arrangements with Spillmann for their residence on terms perhaps as economical and with bishop of the diocese, to his brother Charles Edward, the young Pretender, who died Jan. 31, 1788, with the follow- ing inscription :-Heid’ situs est Harolus Odoardus cui Pater Jacobus III., Rex Anglice, Scotice, Francia, Hiberniæ, Prº- mus Natorum, pºſterni Juris, et Regia: more comfort than by going into private lodgings.--The Railway Company has erected a large building before enter- dignitatis successor et heres, qui domicilio sibi Roma delecto comes Albanyemsis dictus est. Vi.vit annos 67 et menSem ing the town, something on the plan decessit in pace.—Pridie, Kal. Feb. Anmo of the Kurshauls and Casinos of the 17SS. The Duomo Vecchio has a low German watering-places, with a café, campanile built in the Gothic style of restaurant, reading-rooms, and even a the 14th centy. Near it is the old small theatre, where persons visiting castle, now the Palazzo Vescovile, a Frascati for the day only will be able building of the 15th, restored by Pius to procure every necessary refreshment, VI. The fountain near it bears the dimner, &c. Surrounding the Casimo date 1480, and the name of Cardinal are handsomely laid-out gardens.) Fras- d’Estouteville, the ambassador of France cati is one of the favourite resorts of , and the founder of the ch. of S. Agos- the Roman families during the villeg- |tino at Rome, to whom the foundation giatura season, and in the summer of the castle is also attributed. The months every house is filled with com- ch. of the Cappuccini, finely situated pany. English families who spend the above the town, has some interesting summer in this part of Italy prefer it pictures: among these may be noticed to every other place in the neigh- the Holy Family, attributed to Giulio bourhood of lºome : the climate is Romano ; the St. Francis, by Paul Brill ; healthy, and the excursions in its and the Crucifixion by Muziano. In neighbourhood, if not more beautiful, the sacristy is Guido's sketch for his are more accessible, than those in the celebrated picture of the Crucifixion vicinity of Tivoli. Fraseati arose in over the high altar in the ch. of S. Lo- the 13th century from the ruins of an- renzo in Lucina at Rome. cient Tusculum. The walls are built | The only Roman remains at Frascati on the ruins of a villa of the Au- are a huge circular tomb, called the 342 Rome. EXCURSIONS IN THE ENVIRONS OF ROM. E. Sepulchre of Lucullus, in the road leading to Tusculum ; there is no au- thority for the ownership attributed to it. Tillas.-The villas of Frascati, which constitute its most remarkable feature, date chiefly from the 17th century. The most important is the Villa Aldo- brandini. Shortly before we arrive at the gate of this noble villa, by the road that leads to Tusculum, we pass on the 1. hand the small casino of the Villa Piccolomini, remarkable as the retreat in which Cardinal Baronius composed his celebrated Annals. The Villa Aldo- brandini was built by Cardinal Pietro Aldobrandini, nephew of Clement VIII., after he had succeeded in attaching the duchy of Ferrara to the States of the Church. It was designed by Giacomo della Porta, and was the last work of that architect. The buildings were completed by Giovanni Fontana, and the waterworks were designed by the same artist and finished by Olivieri of Tivoli. From the extreme beauty of its position, and the extensive prospect which it commands over the Campagna, it was long known by the mame of the Belvedere. The villa subsequently passed by inheritance into the Pamfili family, and in the last century became the pro- perty of prince Borghese; it now belongs to prince Aldobrandini, the head of the second branch of that family. The casino, built upon a massive terrace, is richly decorated with marbles and frescoes by Cap. d’Arpino. The subjects of these paintings are taken from the Old Testament, and represent the death of Sisera, David and Abigail, the history of the Fall, the death of Goliath, and Judith. The walls of the anterooms are hung with maps of the manorial possessions of the house of Borghese. Opposite the entrance to the casino to- wards the hill is a large hemicycle with two wings, and , a fine cascade Near it is a building in the centre. called Il Parnasso, once remarkable for its frescoes by Domenichino. It con- tains a large relief of Parnassus with the different divinities, and a Pegasus. The water is made to turn an organ, one of those fantastic applications which seem to have been popular in the Roman villas of the period. The grounds of the villa can hardly be surpassed in picturesque beauty. At the extremity of the park Prince Aldobrandini has established a manufactory of pottery, the clay being derived from the decom- posed volcanic ashes of the neighbour- ing Tusculan volcanoes.— Villa Mon- tºllo, now the property of the college of the Propaganda, built on the ruins of an ancient villa towards the close of the 16th centy. The casino is deco- rated with frescoes by the scholars of Domenichimo, the Caracci and the Zuccheri. — Villa Conti, now Torlonia, situated outside the Porta S. Pietro. The grounds are very beautiful.— Villa Taverna, about 3 m. beyond the town, on the road to Monte Porzio and Co- lonna, built by the cardinal of that name in the 16th centy., from the designs of Girolamo Raimaldi. For many years it has been the property of the Borghese family, and one of their most frequented country seats; it was the favourite residence of Paul W. Not far from here is the more ex- tensive Villa Mondragone, also belong- ing to Prince Borghese, founded by Cardinal Altemps as an agreeable Sur- prise to Gregory XIII. The casino, designed principally by Vamsanzio, con- tains no less than 374 windows. The grand loggia of the gardens was de- signed by Vignola, the fountains and waterworks by Giovanni Fontana; this villa, long uninhabited, is now under- going repairs. — Willº Fulconieri, for- merly the ſuffina, the oldest of all the Frascati villas, founded by bishop Ruffini in 1548. The casino, built by Borromini, is remarkable for a ceiling painted by Carlo Maratta, and an in- teresting series of caricatures by Pier Deone Ghezzi.- Tilla Pallavicini, on the rt. of the ascent to Frascati, and the Tillo, Ilſuti, on the supposed site of a villa of Cicero’s.- Pilla Ruffinellaſ, now belonging to the king of Sardinia, and formerly to Lucien Buonaparte. The casino, built by Vanvitelli, is supposed to stand on the site of the Accademia of Cicero's villa. Under the portico are collected numerous inscriptions and other antique fragments discovered among the ruins of Tusculum. In Sect. II. 343 TUSCUTLUM. one part of the grounds is a hill called Parnassus, arranged by Lucien Buona- parte. On the slopes were planted in box the names of the most celebrated authors of ancient and modern times. In Nov. 1818 the Villa Ruffinella ob- tained a disagreeable motoriety from a daring attack of banditti, who ob- tained admission while the family were at dinner, intending to seize the daughter of Lucien Buonaparte, who was on the point of being married to prince Ercolani of Bologna. The family made their escape, but the brigands seized the secretary and two servants, and carried them off to the hills above Welletri, from which they were not re- leased until the prince paid a ransom of 6000 scudi. struggle with Rome. In 1167, on the march of Frederick J. into the Papal States, the Romans attacked Tusculum in the name of the pope. Count Rainone of Tusculum was assisted by a Ghi- belline army under Raynaldus arch- bishop of Cologne, and Christian arch- bishop of Mentz: a general engagement took place in the plain near the city (May 30, 1167), in which the Romans, 30,000 strong, were totally defeated, with great slaughter ; the Romans are stated to have left 2000 dead upon the field. Machiavelli says that Rome was never afterwards either rich or populous, and the contemporary historians confirm the accounts of the carnage by calling the battle the Cannae of the middle ages. The action | lasted from 9 in the morning until Tusculum.—[This excursion, the most might; and on the next day, when the interesting about Frascati, can be made Romans came out to bury their dead, the in a couple of hours, the distance being about 2 m. ; there are plenty of donkeys and horses for hire, the charge being 3 and 4 pauls. The tourist will do well to go by the road, passing by the Villas Ruffini, Taverna, and Mondragome, and the convent of the Camaldoli ; and after visiting Tusculum, to return to Frascati by the Villa Ruffinella, the Ca- puccini, and the Villa Aldobrandini, thus embracing all the most remarkable sites about Frascati.] The ruins of this celebrated city occupy the crest of the count of Tusculum and the archbishop of Mentz surrounded them, and refused to grant the privilege of burial except on the humiliating condition that they should count the number of the slain. In the following year the Romans again attacked the city, and the inhabit- anis, abandoned by their count, Sur- rendered unconditionally to the pope (Alexander III.). The cause of the pope was not then the cause of the Roman people, and the surrender of Tusculum to the Church was regarded hill above the Villa Ruffinella. Its foun- as an act of hostility by Rome, whose dation is ascribed by the poets to Tele- vengeance was deferred but not extin- gonus, the son of Ulysses and Circe :- guished. The pope however repaired to Tusculum, which became for many years his favourite residence. It was here, in 1171, that he received the ambassadors sent by Henry II. of The position of Tusculum, fortified England to plead his innocence of the by Pelasgic walls of great solidity, murder of Becket. On the death was so strong as to resist the attacks of Alexander in 1181, Tusculum again of Hannibal, and the Romans set became an imperial city. The Romans so high a value on its alliance that renewed their attacks, and in 1191 ob- they admitted its inhabitants to the tained possession of the citadel by the privileges of Roman citizens. It after- cession of Celestin III., and put the wards became more memorable as the inhabitants to the sword. They razed birthplace of Cato, and as the scene the houses to their foundations, destroyed of Cicero's Tusculan Disputations. the fortifications, and reduced the city It is known that the city was entire at to such a state of desolation that it was the close of the 12th century, when impossible to recover from its effects. it embraced the Imperial cause, and | No attempt was ever made to restore for some years maintained a gallant the city on its ancient site, and Fras- Et jam Telegoni, jam Moenia Tiburis udi Stabant: Argolicæ quod posuère Manus. Ovid, Fast. IV. . 344 Rome. EXCURSIONS IN THE ENVIRONS OF ROM E. cati, as we have already stated, rose from its ruins on the lower slopes of the hills. A visit to the ruins is highly interesting : and the view alone is an inducement which even in this district of beautiful scenery will amply repay the trouble of the ascent. Pro- ceeding from the Villa Ruffinella by a shady road, the ancient Via Tusculana, the first object of interest which we meet, in a depression between two hills overlooking the valley of the Rufinella, is the Amphitheatre, of re- ticulated work, 225 feet long and 1663 broad : the style does not show an anti- quity corresponding to the other ruins, and it is regarded as the most recent Roman building of Tusculum yet dis- covered. Near it, along a rising ground commanding a fine panoramic view over the Campagna, including Rome and the sea beyond Ostia, are extensive ruins, called by the local ciceroni the Villa di Cicerone. They formed, apparently, the substructions or ground floor of an ex- tensive building; and are regarded, with some probability, as the lower part of a villa of Tiberius, which may have been built on the site of that of Cicero. Near this we find an ancient pavement formed of polygonal masses of lava, some remains of baths, and the ground floor of a house with an atrium and cistern. Proceeding from the Amphi- theatre along the ancient pavement, we arrive where a road strikes off on the 1. ; the road on the rt. leads to a wide open space, the supposed site of the Forum of Tusculum, behind which is the Theatre, the best preserved monu- ment of the ancient city; beyond it are fragments of the city walls. The thea- tre was first excavated by Lucien Buo- naparte, and afterwards, in 1839, by the queen of Sardinia; it was a diurnal one, and is very perfect, most of the seats for the spectators, as well as the or- chestra and scena, being well preserved. On one side of the theatre runs a lºo- man road, and on the other are some remains of steps, called by the ciceroni a theatre for children; behind is a large subterranean piscina or cistern, which was arched over, the roof supported by 3 rows of square piers. At the back of this reservoir rises abruptly the hill on which stood the citadel; its top is about 200 ft. above the level space of the city below, and 2218 above the sea. The site of the arx occupied an oval plateau, the sides of which descend precipitously on every side, and which have been in some places cut down for purposes of defence. It had two gates, one towards the west, which may be easily traced behind the theatre, and the other towards the valley and the Via Latina, excavated in the volcanic rock. From the sum- mit the view is grand beyond de- scription, and on a fine day there is scarcely a more interesting point from which one can gaze over the classical region of ancient Latium. Looking towards the N. we see the Camaldo- lese convent, beyond it Monte Porzio, and in the plain, between the Alban and Sabine mountains, the sites of Col- latia and Gabii; still farther on the whole range of the Sabine Apennines, with Tivoli, Monticelli, Palombara, Soracte, and on the more distant hori- zon the volcanic chain of Monte Ci- mino. Towards Rome stretches the great breadth of the Campagna, with the sea beyond, and the thickly wooded hills of Frascati with its villas in the foreground. In the opposite di- rection, looking east, the eye extends over the whole Latin valley, separating the central mass of Monte Cavo and Monte Pila from the outlying range, on which Rocca Priora, Monte Com- patri, Monte Porzio, and Tusculum are situated. Closing in this valley on the E. is the Monte de' Fiori; beyond which is easily made out the bluff of the Volscian mountains, on the sides of which stands the Pelasgic town of Segni; more to the rt. the peak of Rocca Massimi in the same range, followed by Monte Pila, the Campo di Annibale, with Rocca di Papa, the long ridge of Alba Longa, and the more distant one of Castel Gandolfo, with Marino and Grotta-Ferrata on the declivity. The Via Latina is seen at our feet, passing by the farm of La Molara, and bounded on either side by the farms of Prince Aldobrandini. The hill of the citadel of Tusculum is very interesting in a geological point of view ; formed Sect. II. GROTTA FERIRATA. 345 chiefly of a volcanic conglomerate of rival, by Tullus Hostilius. The in- yellow cinders, under which has risen troduction of the arch, properly so a protruded mass of lava, which con- called, cannot be traced to an earlier stitutes the precipice on the S. side. period than the times of Tarquinius In the vicinity of this lava the volcanic | Priscus. The water was brought into conglomerate dipping N.W. has been this chamber by a conduit, 5% ft. high so hardened, or baked, as to form a and 2 ft. broad. About l m. from Tus- very solid rock, called by the Italian writers sperone, the lapis Tusculanus, and which is seldom met with elsewhere amongst the Latian volcanoes; it is composed almost entirely of garnet, and is the stone used in all the sub- jacent ruins, which has proved nearly as durable as travertime. There are traces of ancient edifices on the plateau of the citadel, which antiquariesidentify with temples known to have been erected to Jupiter Maxi- mus, to Castor and Pollux, &c. &c. Descending from the Arx, at a short distance from the theatre, may be seen Some good specimens of the walls of the ancient town, formed of square blocks of sperome, and of the gate, flanked by 2 fluted Doric pilasters, which led on the N. side of the forum to the Via Labicama. A milestone, marking the 15th m. from Rome, stands a little lower down. The road is paved with the ordinary polygonal blocks of lava: on its side is a fountain with an inscription recording its having been built by the Ediles Q. C. Latinus and Marcus Decimus, by order of the Senate ; close to it is a singular sub- terrameam chamber, the roof in the shape of a pointed arch, formed like the gates of Arpino and Mycenae, like a Gothic arch, but composed of hori- zontal courses, laid so as to converge culum the tourist can visit the Camaldoli, a monastery most beautifully situated. It was the retreat of Card. Passionei, who built for himself some cells on the plan of those occupied by the monks, decorated their walls with engravings, and converted a small spot of ground adjoining into a pretty garden, which he cultivated with great taste. He col- lected in his garden no less than 800 inscriptions found among the ruins of Tusculum, and indulged his classical tastes by the addition of a valuable library. One of his frequent guests in this retreat was the Pretender, James III. of Fngland. GROTTA FERRATA, about 3 m. from Frascati, in the direc- tion of Albano. The road is beautiful, passing through the fine old wood of Grotta Ferrata. The village, which con- tains 800 Inhab., is a mere dependency of the immense castellated monastery of S. Basilio. [Grotta Ferrata may also be reached by the road that branches off from below, and the projecting por- from that between Rome and Frascatinear tions afterwards cut away so as to the Osteria di Mezza Via, following the form the ogive. This chamber, which ancient Via Latina. At the 9th milestone served as a reservoir for water collected the ascent commences through olive- from sources under the hill of the cita- grounds and vineyards, passing on the 1. del, has been considered one of the some extensive ruins of the Julian aque- oldest constructions of Tusculum, ante- duct, and, 2 m. farther, the old castle of rior to the use of the circular arch, and Borghetto, an imposing mediaeval strong- coeval with the Mamertine prisons at hold of the 10th centy. ; it belonged Rome, whilst the adjoining walls of the to the Savellis during the time of their city are supposed to belong to the period power.] This monastery of Basilian when the lower town was founded, or monks of Grotta Ferrata is the only one when its population increasing de- of the order in the Papal States. The scended from the citadel above, after the destruction of Alba Longa, its tradition tells us that the place derives its name from an ancient grotto closed with Q 3 340 IEXCU RSIC, NS IN Rome. THE ENVIRONS OF ROME. an iron grating, in which a miraculous image of the Virgin, now in the church, was formerly preserved. The monastery was founded in the beginning of the 10th century by St. Nilus, who was invited to Rome by the emperor Otho III., at the time when the shores of southern Italy were ravaged by the in- cursions of the Sicilian Saracems. In the 15th century it was given by Sixtus IV., in commendºm, to a cardinal ; and the first cardinal-abbot whom he ap- pointed was his celebrated nephew Giuliano della Rovere, afterwards Ju- lius II. This warlike prelate converted it into a fortress, strengthening it with towers, and surrounding the whole building with a ditch. His armorial bearings may be seen on various parts of the castle, and in the capitals of the columns in the palace of the abbot. The ch. was in part rebuilt in 1754 by Cardinal Guadagni, abbot of the monas- tery. The vestibule, which is much more ancient, is remarkable for the bas- reliefs of the outer entrance, said to have belonged to the original monas- tery of St. Nilus. The portion which forms the architrave appears to be part of an ancient Sarcophagus, an imperial work, probably of the time of Septimius Severus. The door of the church belonged also to the old building erected in the 11th century. The Greek inscription on the archi- trave, exhorting all who enter to put off impurity of thought, is perhaps of an earlier period. In the interior, on the vault over the high altar, are mosaics of the 12 apostles. In the right aisle is a curious Greek inscription, containing the names of the first 12 zyovº, ºvoi, or abbots, from the foundation of St. Nilus : the dates are reckoned in the Greek manner, from the creation of the World, 6513 being given instead of A.D. 1005, the year in which St. Nilus died. Another interesting monument of the middle ages is the Sepulchral slab in the 1. aisle, with an eagle in mosaic, the armorial bearings of the counts of Tusculum. It is said to have belonged to the tomb of Benedict IX., who was a member of that family. The Chapel dedicated to St. Nilus and St. Bartholomew, both ab- bots of this monastery, is celebrated for its frescoes by Domenichino. He was employed by Odoardo Farnese, while abbot, to decorate it, at the particular recommendation of his mas- ter Annibale Caracci. He was then in his 29th year, as we learn from the date, l 610, which may be observed on the ceiling. These fine works have generally been classed among the masterpieces of Domenichino: they represent the acts and miracles of St. Nilus and St. Bartholomew. Begin- ning from the 1. of the altar, the sub- jects occur in the following order:— l. The demoniac boy cured by the prayers of St. Nilus with oil taken by St. Bartholomew from the lamp of the Virgin. In the lunette is the death of St. Nilus, surrounded by the monks. 2. The Virgin in glory, surrounded by angels, giving a golden apple to the two Saints. 3. The meeting of St. Nilus and the emperor Otho III., one of the finest compositions and most powerful paintings of the series: the trumpeters are justly regarded as a prodigy of expression. The figure in green hold- ing the emperor's horse is Domeni- chino himself, the person leaning on the horse is Guido, and the one behind him is Guercino; the courtier in a green dress dismounting from his horse is Giambattista Agucci, one of Dome- michino's early patrons; the youth with a blue cap and white plume, retreat- ing before the prancing horse, is the young girl of Frascati to whom Dome- michino was attached, but was unable to obtain from her parents. 4. The miracle of the saint sustaining the fall- ing column during the building of the monastery : remarkable for its per- spective and for the great number of episodes introduced. 5. St. Nilus pray- ing for the cessation of a storm which threatens the harvest. 6. The saint praying before the crucifix. 7. The Annunciation. These frescoes, which had suffered greatly from damp and neglect, were cleaned and very well restored in 1819 by Camuccini, at the cost of Cardinal Consalvi, who died abbot of the monastery. This en- lightened statesman at the same time placed in the ch, the marble bust Sect. II. MAIR I NO. 34.7 -4- 4. of Domenichino executed by Signora Teresa Bellincampi, a favourite pupil of Canova's. The altarpiece, an oil painting representing the two saints praying to the Virgin, is by Annibale Curucci. The service of this ch. is performed in the Greek language and according to the Greek ritual. The principal MSS. of the conventual library were removed a few years since to the library of the Vaticam. The Palace of the Abbot, remarkable for its fine architecture, contains some interesting fragments of ancient sculp- ture found in the neighbourhood of the monastery and among the ruins of a Roman villa. In one of the rooms is a monument to the memory of Cardinal Consalvi, who died here, The circumstances attending his death are still involved in painful mystery, and the few facts which have come to light rather tend to confirm the popular belief that he fell a victim to poison. Travellers should endeavour to attend the Fair here on the 25th of March, to see the varied costumes of the peasantry of the environs. ! | MARINo, about 4 miles from Grotta Ferrata, prettily situated mear the extremity of one of the offshoots descending from Monte Cavo. The road descends from Grotta Ferrata to the Ponte di Squar- ciarello, by which it crosses the river, which drains the Latin Valley. The hill on the 1. is formed by a current of lava, resting upon a bed of red tuft. After crossing the bridge a road (34 m.) on the l. leads to Rocca di Papa, whilst that to Marino, narrow, hilly, and much out of repair, continues to ascend for about 3 m. among vineyards. Close to and before entering the town is the Villa di Belpoggio on the rt., from which there is a splendid view over the Campagma. [Marino may be also reached by a more direct route than by Grotta Ferrata from Frascati; and the Railway will have a station belovy the town during the present year.j Marino occupies the site of ancient Castrimoenium, and contains a popu- lation of 6530 souls. It is interesting in the history of the middle ages as a stronghold of the Orsini family, who first appear in the 13th century in com- nexion with their castle of Marino. In 1347 it was attacked by Rienzi and gallantly defended by Giordano Orsini, whom the tribune had just expelled from Rome. In the following century Marino became the property of the Colonnas, who still retain it as one of their principal fiefs in the IRoman States. It was the residence of Martin V. in 1424. During the contests of the Colonnas against Eugenius IV. it was besieged and captured by Giuliano Ricci, archbishop of Pisa, the com- mander of the papal troops. The Co- lonnas, however, recovered the town, and again fortified it against Sixtus IV. in 1480, by erecting the strong walls and towers which still surround it, and add so much to its picturesque beauty. From the situation of Marino, on a height above the plain (1330 ft. above the sea), the climate is healthy; during the summer it is frequented by families from Rome, who are at- tracted by the cool pure air and by the shady walks in the neighbourhood. Before the restoration of the Via Appia by Pius VI., the high post-road from Rome to Terracina passed through it. The long street called the Corso, the piazza of the Duomo, and the fountain, would do credit to many towns of more importance. The Cathedral, dedicated to St. Barnabas, contains a picture of St. Bartholomew by Guercino, seriously injured by restorations; and another, of St. Barnabas, by one of Guercino’s scholars. The ch. of La Trinità, on the 1. of the Corso, has a picture of the Trinity, by Guido. In the Madonna delle Grazie is a St. Roch, by Domeni- chino. The direct road from itome to Ma- rino (14 m.) is the same as that to Al- bano, by the Via Appia Nova, as far as the 9th m., from which it ascends, 348 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. gradually at first, bordered by cliffs of volcanic tufa or pepcrino, which has been extensively quarried, this district offering the best qualities, and that most extensively used in ancient times for building purposes at Rome; the rise to the town is precipitate, and the road in bad condition. At the foot of the hill of Marino, lying between it and the ridge which encloses the Lake of Albano, is a beau- tifully wooded glen, called the Parco di Colonna. This valley will interest the classical tourist as the site of the Aqua Ferentina, memorable as the locality on which the Latin tribes held their general assemblies, from the de- struction of Alba to the consulship of P. Decius Mus, B.C. 33S. Many coun- cils of the confederation which took lace in this valley are mentioned by Þjº and Livy : among these were the assemblies at which Tarquinius Su- perbus compassed the death of Turnus Herdonius; that at which the deputies decided on war with Rome to restore the Tarquins to the throne; that held during the siege of Fidena ; and that which preceded the battle of Lake Regillus. One of the interesting facts commected with these meetings is that recorded by Livy, in describing the death of Turnus Herdonius, the chief- tain of Aricia. He tells us that Tar- quinius Superbus had convened an assembly of the chiefs at daybreak, but did not arrive himself till even- ing, when Turnus, who had openly expressed his anger at the neglect, indignantly quitted the meeting. Tar- quin, to revenge himself for this pro ceeding, hired a slave to conceal arms in the tent of Turnus, and then accused him of a conspiracy to assassinate his colleagues. The arms were of course discovered, and Turnus was thrown into the fountain, “caput aquae Ferentinae,” where he was kept down by a grating and large stones heaped upon it, until he was drowned. The traveller may trace the stream to the “caput aquae,” which he will find rising in a clear volume at the base of a mass of tufa. From Marino an admirably managed road and viaduct, dangerous descent to the bottom of the Valley, here extremely picturesque and deeply excavated between precipices of massive peperino, on the edge of one of which Marino stands, which from this point appears to great advantage. Crossing the Aqua Ferentina, an ascent of # m, through a lovely wood of oaks and ilexes brings us to a little roadside Oratory, where the whole of the lake of Albano suddenly bursts upon us. Here is the lowest point of the lip-crater in which the lake lies, and over which at a very remote period the waters flowed into the Vallis Feren- tima, before the cutting of the emis- Sarium by which, as we shall see, it is now emptied. From here a path on the 1. strikes off to Palazzuolo and Monte Cavo along the ridge on which Alba Longa is supposed by some topo- graphers to have stood. A little farther we cross another depression, in which Sir W. Gell thought he could discover traces of the road that once connected Laurentum and Alba, and through which he considered the lake emptied itself into the Rivus Albanus, a theory no longer tenable. The view from here over the Campagna, extending to the Sea on one side, and over the Alban Lake with the Monte Cavo behind on the other, is particularly fine. Follow- ing the ridge of Monte Cucco we soon reach Castel Gandolfo (see p. 353). ALBA LONGA. For many years most of the Roman antiquaries had fixed the site of this celebrated city at Palazzuola, on the eastern side of the lake of Albano, although the space appeared too limited to agree with the descriptions of Livy and Dionysius. The expression of the former historian, “sub Albano Monte . . . quae ab situ porrecta in dorso urbis Longº, Alba appellata,” could with difficulty recently made, obviate the former have applied to the knoll of Palaz- Sect. II. 349 ALBA LONGA. There are few spots in the neighbour- hood of Rome which the poetry of Virgil has made so familiar to the scholar as Alba Longa :— “Sigma tibi dicam : tu condita mente teneto. Quum tibi sollicito secreti ad fluminis un- dam, Litoreis ingens inventa Sub ilicibus sus Triginta capitum foetus enixa jacebit, Alba, solo recubans, albi circum ubera nati. Is Jocus urbis erit; requies ea certa labo- rum.” -En., iii. 385. It would be out of place here to exa- mine the arguments by which Niebuhr has established the mythic charac- ter of the early history of Rome. By separating history from poetic fable, the great historian by no means questions the existence of the ancient cities which figure so conspicuously in the legends of the poets. No one who has explored the country, and has examined the gigantic ruins still standing on the spots described by zuola itself; Sir William Gell, believ- ing that the older antiquaries had not examined the locality, undertook its survey for the purpose of deciding this doubtful point of classical topography. The pointing out of a new site for Alba Longa is due to our learned country- man. He supposes that it was situated on the ridge stretching along the north- ern side of the lake. The road we have travelled over from Marino leads us to a depression near the base of Monte Cucco, about 3 m. N. of Castel Gandolfo, where he supposes the Ro- mans made an artificial cutting to carry the waters of the lake into the Rivus Albanus before the construction of the Emissary. Here he also thought he had discovered some traces of an ancient road which ran from near the ruins of Bovillae on the high post-road to Albano, marked by a line of ruined tombs, and traces of cuttings in the rock high above the N. shore of the lake, to allow of the passage of the road. The whole space is now covered with vegetation, without a trace of wall or edifice older than the Imperial period, except some massive blocks of peperino, which our author considers to be sub- structions of the ancient city. This ridge, bounded on one side by the pre- cipices towards the lake, and on the other by the valley of the Aqua Feren- tina, may explaim how a city so situ- ated was designated by the term longa. There is room only for a single street, whose length could not have been less than 1 m. According to Gell’s views, Palazzuola was one of the citadels which defended the town at the south-eastern extremity: Nie- buhr's idea that Rocca di Papa was the chief citadel of Alba is quite irrecon- cilable with the distance and localities. The road leading from this site to the plain across the Rivus Albanus was sup- posed by Sir W. Gell to be the line of communication between Alba and La- vinium. The place where the latter stood may easily be recognised by the high tower of Pratica, the modern representative of that famous city.” * We have given a sketch of Sir W. Gell's views as to the position of Alba Longa, although we must confess that where our countryman would fix its site is open to insuperable objec- tions, since Dionysius, on whose authority he chiefly relies, states that Alba was backed by a mountain, between which and the lake the town stood, and no such mountain exists belhind Gell’s Alba; but all researches on the site of a place destroyed centuries before any description of it that has come down to us, are little better than idle speculations, founded as they are on the vague topographical indications of Livy and Dionysius. Our readers will recollect that Alba was destroyed at least 650 years before the time of these historians. Some light may be thrown on the subject, however, by the labours of Signor Rosa, who has made a detailed topographical survey of the districts bordering on the Lakes of Albano and Nemi, and who has come to the conclusion that the most probable site of Alba was at Palazzuolo. Connected with this vexed question, we insert an extract from the note- book of a friend, written during the present year. “I have walked over the whole ridge, along the N. shores of the Alban Lake, where Gell places the site of Alba Longa; and with the exception of some walls of a villa of the period of the Antonines, I have becn unable to discover a trace of any ancient constructions. I cannot understand how Alba could have occupied a site deprived of water, and so difficult to defend ; and I am obliged to side with the older topographers in placing it near Palazzuola, probably in the level space beyond—a site to which the ‘sub Albano Monte condidit (Ascanius) quae ab situ porrecta in dorso urbis Longa Alba appellata ? of Livy, and the short notice of Dionysius, will apply. As to fixing the Arx Albana at Rocca di Papa, I am afraid its distance must exclude it, as at no time could the town of Ascanius have extended so far.—J. B. P.” - 350 Itome. EXCU IRSIONS IN THE ENVIRONS OF ROME. the Roman writers, can regard their existence as a romance; and the fact that the poets have associated them With the events of their legendary history must at least be received as an argument in favour of their high anti- quity. There can hardly be a doubt that Alba was a powerful city anterior to the foundation of Rome: Niebuhr considers that it was the centre of a confederation, distinct from that of the Latins, but in alliance with it. The Roman writers state that Alba was destroyed by Tullus Hostilius (B.C. 650), after the famous contest of the Horatii and Curiatii ; but Niebuhr doubts whether its destruction took place at that period, and believes that the city was first seized by the Latin confederation. All the authorities, however, agree that after the ruin of Alba its inhabitants removed to Rome, and settled on the Caelian hill. In later times the Julian and other il- lustrious families traced their descent from these Alban colonists. Returning to the road from Marino, the tourist can visit Castel Gandolfo and descend to the shore of the lake, for the purpose of examining the ancient Emissary; or he may proceed along the ridge overlooking the lake to Palazzuola, by a bridle-path of about 4 m., and from thence by the beau- tiful road through the woods of the Madonna del Tufo to Rocca di Papa and Monte Cavo. PALAZZUOLA, a Franciscan monastery, beautifully situated at the foot of Monte Cavo, overlooking the lake of Albano, and commanding a splendid panorama over the subjacent lake, with the Campagna and Rome itself, even including, in fine weather, the shores of the Mediterra- nean. The garden of the monastery is remarkable for a consular tomb. It is excavated in the rock, and is supposed to be as old as the 2nd Pumic war. It was first discovered in 1463 by Pius II. (AEneas Sylvius), who had it cleared of the ivy which had concealed it for ages. It was not completely exca- Wated until 1576, when considerable treasure is said to have been found in the interior. The style of the monu- ment closely resembles that of the Etruscan sepulchres — a fact which bespeaks its high antiquity, inde- pendently of the consular fasces and the emblems of the pontiff sculptured on the rock. Ricci considers, with con- siderable probability, that it may be the tomb of Cneius Cornelius Scipio, the only person who died invested with the double dignity of consul and Pon- tifex Maximus, and who is mentiomed by Livy as having been seized with paralysis while visiting the temple on the Alban mount (A. U. C. 576): he died at Cumae, but his funeral obsequies were celebrated at Rome, where his remains were brought for that purpose: and it is very possible they were deposited where he was first attacked with his fatal malady. This tomb must have stood on the side of the road that led from the Via Appia to the Via Numinis and Temple of Jupiter, on the Monte Cavo above. Near the monastery are the remains of extensive artificial caverms, supposed to have belonged to a Nymphaeum of the Imperial period. RocCA DI PAPA. From whatever side we approach this picturesque mountain-village, whether from the valley of Grotta Ferrata and Marino, or through the magnificent woods behind Palazzuola, it is scarcely possible to convey any idea of the scenery which presents itself at each turn of the road. Rocca di Papa occupies the site of the Latin city of Fabia, mentioned by Pliny as existing Sect. II. 351 MONTE CAV. O. gº) in his time, and is supposed by Some topographers to mark the position of the Arx Albana of Livy, to which the Gauls were repulsed in their attack on Rome. Many antiquaries consider the modern mame a corruption of the ancient Fabia, whilst others derive it from the circum- stance that it was one of the strong- Holds of the popes as early as the 12th century. It is a straggling village of 2600 souls, at an elevation of 2648 ft. above the sea, built on a steep de- clivity of lava thrown up on the edge of the great crater of the Alban mount, It is first mentioned under its Ino- dern name in the chronicle of Fos- samuova, where it is stated that pope Lucius III. (1181) sent Count Bertoldo, the Imperial lieutenant, to defend Tusculum against the Romans, and to recapture Rocca di Papa. In the 13th century it became, like Ma- rimo, a fief of the Orsini family, who held it until the pontificate of Martin V. in 1424, when it passed to the house of Colonna, who still possess it. During the 2 following centuries it was a stronghold of that celebrated family, and was frequently besieged and captured in the contests between the Roman barons. In 1482 it was taken by the duke of Calabria; in 1484 by the Orsinis; and in 1557, during the contests between the Ca- raffeschi and the duke of Alba, it was besieged by the people of Velletri, and compelled by famine to surrender. On the extreme point of the rock some ruins of the ancient citadel may still be seen. From this village we ascend for about 2 miles to Monte Cavo, through chesnut forests of great luxuriance and beauty. MonTE CAvo. Immediately behind the village of Rocca di Papa commences the circular crater-like depression, the plain form- ing the bottom of which is called the Campo di Annibale, from a tradition that it was occupied by Hannibal in his march against Tusculum and Rome. It is more probable that it was the position of the Roman garrison which, Livy tells us, was placed here to com- mand the Appian and the Latin Ways during the invasion of the Carthagin- ians. The outline of the crater may be distinctly traced during the ascent: the side nearest Rome has disappeared, but Rocca di Papa, situated upon one of the several lava eruptions of the volcano, occupies the N.W. portion of its margin. In different parts of the plain are deep roofed pits, in which the Snow collected on the neighbour- ing heights for the supply of Rome is preserved. Monte Cavo, the highest point of the Alban group of hills which bound the Campagna on the E. and S., is 3130 English ft. above the level of the sea. The easiest way to reach Monte Cavo will be by Palazzuola, and from thence to Rocca di Papa, passing the chapel of La Madonna del Tufo (3 m.); from here a road in the midst of the chesnut forest will bring the tourist in half an hour to Rocca di Papa; or he will find a path a short way be- yond the chapel, which, by taking him to the upper part of the village, will much abridge his walk, and bring him at once into the road leading to the Monte Cavo. There are some shorter paths through the woods, suited only for pedestrians, but which no one unaccompanied by a guide ought to attempt. Monte Cavo is about 7 m. from Albano, and 6 from Nemi ; on horseback it can be reached in less than 2 hrs. from the former. The best season for visiting it will be in April or May, and in the morning or evening, the subjacent country being often enveloped in fog at other times. In a spring day the excursionist will be able to ascend the mountain, examine the Campo di Annibale, descend to Nemi, and, foll- lowing the west side of its beautiful lake, return to Albano before dark; once the railway open to Albano, this interesting excursion may be per- formed in a single day from Rome.] 3 52 Rome. EXCU RSIONS IN THE ENVIIRONS OF ROME, On the summit stood the Temple of Jupiter Latialis, erected by Tarquinius Superbus, as the common place of meet- ing of the Romans, Latins, Volsci, and Hernici, and memorable in Roman history as the scene of the Feriae Latinae, the solemn assemblies of the 47 cities which formed the Latin confederation. In the last mile of the ascent from the Campo di Amnibale we join the ancient Piº Triumphalis, the road by which the generals who were allowed the ho- mours of the lesser triumph, or ova- tion, ascended on foot to the tem- ple. Amongst those who enjoyed this honour were Julius Caesar, as dictator; M. Claudius Marcellus, after his victory at Syracuse; and Q. Minu- tius Rufus, the conqueror of Liguria. The pavement of this ancient road is perfect during the upper part of the ascent, and, by pushing through the underwood, may be followed for a long distance; the kerb-stones are entire in many parts of it, and about 9 feet apart. Many of the large po- lygonal blocks of which it is com- posed bear the letters N. V., Sup- posed to signify “. Numinis Via.” On the summit is a broad platform, on annals which stood the celebrated temple, commanding the extended plains of In the beginning of ancient Latium. the last century the ruins then exist- ing were sufficient to show that the temple faced the S.; that it was 240 ft. long and 120 ft. broad; and that it had been decorated with columns of white marble and giallo antico. Many statues and bas-reliefs were also found upon the spot, which proved the mag- nificence of the edifice under the em- perors. In 1783 all these remains were destroyed by Cardinal York for been allowed to remove a stone of an edifice so sacred in the early of Tome. The only frag- ment now visible is a portion of the massive wall, on the southern and eastern side of the garden of the convent, composed of large rect- angular blocks, and evidently a part of the ancient substructions of the temple. The ch., dedicated to the Holy Trinity by Cardinal York, con- tains Ilothing worthy of notice. At the foot of the Inountain are the lakes of Nemi and Albano, with the towns of Genzano, Lariccia, Albano, and Castel Gandolfo. Beyond this rich foreground are the wide-spread plains of Latium, on which, as upon a map, we may follow the principal events of the last 6 books of the AEmeid, and the scenes of the first achieve- ments of Rome. Immediately at the foot of the Alban hills we see the vine-clad hill of Monte Giove, the Supposed site of Corioli, and Civita Lavinia, the modern representative of Lanuvium. On the S.E. the Pon- time marshes are concealed by the ridge of Monte Artemisio, but we may trace the line of coast from the pro- montory of Porto d’Anzio, the ancient Antium, to near Civita Vecchia; and as the eye moves along the dark band of forests which spread along the shore for nearly 60 miles, we may recognise the position of ancient Ardea; of Lavinium, the modern Torre di Pratica ; of Lau- rentum, at Tor Paterno; of Ostia, near the double mouth of the Tiber; the Etruscan Caere, at Cervetri; the crater of the lake of Bracciano; and the hills of La Tolfa. On the N. and E. we recognise the Monte Cimino, the in- sulated mass of Soracte, Monte Genaro, with the group of the Montes Cornicu- the purpose of rebuilding the ch. of the Passionist convent. The Roman antiquaries justly denounced this pro- ceeding of the last of the Stuarts as an act of Vandalism, and it hills we see Tusculum, the site of is greatly to be regretted that so Gabii, and the heights of Tivoli; the ardent an admirer of ancient art as view of Palestrina is intercepted by Pius VI. did not interpose his authority Monte Pila, which rises above the to prevent it. The temple was one south-eastern extremity of the Campo of the national monuments of Italy, di Annibale. Behind Monte Pila, to and no profaning hand should have the rt., is the “gelidus Algidus” of lami at its base, and far beyond the lofty outline of the Apemmines which en- circle the valley of Rieti. Within the amphitheatre formed by the Sabine Sect. II. 353 LAKE OF ALBANO.-CASTEL GAN DOLFO. Horace, on which Lord Beverley dis- covered, a few years since, the ruins of a circular temple. This may pos- sibly be the temple of Diana which Horace celebrates:— “ Quaeque Aventinum tenet Algidumque, Quindecim Diana preces virorum Curet; et votis puerorum amicas Applicet aures.” Beyond this, at the opening of the plain of the Sacco, is the town of Valmon- tone. The last and greatest feature of the landscape is Rome itself, which is seen from this point to great ad- vantage :- “Quâque iter est Latiis ad summan fascibus lbam, Excelså de rupe procul jam conspicit Ur- bem.” JLucan, V. The Summit of this hill is well known to the classical reader as the spot from which Virgil makes Juno survey the contending armies previous to the last battle of the AEneid:— “At Juno é summo, qui nunc Albanus habe- tur, Tum neque nomen erat, nec homos, aut gloria, nonti, Trospiciens tumulo, campum adspectabat, ct almlyas Laurentum Troñmque acies. urbenque La- tini.” AEm. Xii. 134. LAKE OF ALBANo. The ascent from Marino to Castel Gandolfo, through the Woods which clothe this side of the lake, commands one of the most beautiful scenes in Italy: it crosses the depression of the edge of the crater, over which ran the primitive watercourse by which the lake emptied itself before the ex- cavation of the present emissarium, from whence it ascends gradually along the Monte Cucco to Castel Gandolfo. Another road leads from Rocca di Papa to Castel Gamdolfo, through Pa- lazzuola, and along the Southern margin of the lake, traversing the lower avenue (galleria) below the con- vent of the Cappuccini of Albano, through a thick wood, and from thence through the magnificent upper galleria of ilexes, passing by the Franciscan convent and the Villa Barberini, be- fore reaching the E. gate of Castel Gandolfo. From whatever side the lake is approached, the traveller can- not fail to be struck by its exceeding loveliness. CASTEL GANDOLFO, a town of 1446 Inhab., derives its chief importance from the summer palace of the popes, which forms so conspicuous an object from all parts of the country around. In the 12th century it was the property of the Gandolfi family, whose Turris or Cas- trum de Gundulphis is mentioned in many documents of the period. Un- der Honorius III., in 1218, it passed into the hands of the Savellis, who held it as their stronghold for nearly 400 years, defying alternately the popes, the barons, and the neigh- bouring towns, although they were occasionally driven from their posi- tion by superior force. In 1436 it was sacked and burnt by the troops of Eugenius IV., because Cola Savelli had afforded an asylum in it to Antonio da Pontedera, who had rebelled against the pope. On this occasion the castle was confiscated; but the Savellis again obtained possession of it in 1447, in the time of Nicholas W. This illus- trious family continued to hold it, with occasional interruptions, until 1596, about which time Sixtus W. had erected it into a duchy in favour of Bernardino Savelli; but the fortunes of his noble house were too much reduced to support the dignity, and he sold the property to the government for 150,000 scudi, an immense sum for the time. In 1604 Clement VIII, in- 354 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. corporated it with the temporal pos- sessions of the Holy See. Urban Viſſ., about 1630, determined to convert it into a summer residence for the sovereign pontiffs, and began the palace, from the designs of Carlo Maderno, Bartolommeo Breccioli, and Domenico Castelli. In 1660 the plans were enlarged and improved by Álex- ander VII., , and the whole building was restored and reduced to its pre- sent form by Clement XIII. in the last century. Since that time several Roman families, and particularly the Barberinis, the Albanis, and the Tor- lonias, have erected villas in the vi- cinity. The situation of Castel Gan- dolfo is extremely picturesque: it occupies an eminence above the north- Western margin of the lake; and from its lofty position, 1450 feet above the Mediterranean and 460 above the lake, its climate is pure and its air bracing, whilst it is free from malaria, the pest of the subjacent Campagna on one side, and of the shores of the lake on the other. The Papal palace, the most frequented country residence of the Sovereign, is a plain, unorna- mented building, with some large and convenient apartments: the view from it, over the lake, is extremely fine. The ch. adjoining, dedicated to St. Thomas of Villanuova, was built in 1661, by Alexander VII., from the designs of Bernini, in the form of a Greek cross. In the interior is an altar-piece by Pietro da Cortona, and an Assumption by Carlo Maratta. A path leads down from the town to the shores of the lake, which swarm with frogs in the summer. The lake of Albano, one of the most beauti- ful pieces of water in the world, and, in respect to scenery, beyond compari- son the finest of those of purely vol- canic origin in Italy, is 3825 yels. (2} m.) in length, 2300 yds. (1} m.) in width, and about 6 m. in circuit, and is evidently one of those craters of elevation well known to geologists, its sides being formed of beds of volcanic tufa dipping away from the centre. THE EMIssa RIUM. The most remarkable circumstance connected with the Alban lake was the formation of the emissary, by which the Romans, while engaged in their contest with the Veientes (B.c.394), suc- ceeded in lowering the waters, which by their accumulation threatened to inundate the subjacent country. This emissary is a subterranean canal or tunnel, 1509 yds. in length, excavated in the tufa ; it varies in height from 5% to 9 or 10 feet, and is never less than 3% in width. The upper end is of course on a level with the surface of the lake, or 964} Eng. feet above the sea, the lower 954, giving a fall of 10 ft. or of 1 in 151. It runs under the hill and a little east of the town of Castel Gandolfo, and opens at la Mola, 1 m. from Albano, from which its waters run to the Tiber by a stream which passes by Vallerano. The sum- mit of Monte Cavo, on the opposite side of the lake, rises 2166 feet from its waters. Certain vertical openings or shafts, by the Romans called Spira- ninº and Spiracula, intended to give air to the tunnel below during its ex- cavation, are said to be visible in vari- ous parts of the hill under which it runs. In summer the water is seldom more that 2 feet deep in the emis- Sarium, and does not run with rapidity, as may be observed by means of a candle placed upon a float and allowed to follow the current. Over the open- ing towards the lake is a low flat arch of 7 stones; the blocks with which it is constructed are large, and of the pe- perino of the country; they form what may be called a flat arch: the blocks, Sect. II. LA IX E OF ALBANO-THE EMISSARIUMI. 355 being wedge-shaped,support each other j not into the sea. The connexion of the —a style we see employed by the emissary with the siege of Veii is easily Etruscans, and even during the Repub- explained: the oracle directed the lican period at Tome, in the Tabula- construction of the emissary, in re- rium of the Capitol. It is now indeed ference to the hint of the Etruscan sustained by a modern round arch, and soothsayer that they would enter Veii by a wall of masonry. Within the by means of a mine, the art of form- enclosure formed by this arch and wall ſing which was then unknown to the are some ancient stone seats, with a Romans. By the exercise of their skill moulding, the place having probably in the operations of the emissary they been converted at a subsequent period obtained sufficient knowledge to enable into a Nymphaeum, which existed when them to sink a mine, which gave them Domitian took so much delight in this possession of the citadel of Veii.” locality. A quadrilateral court, well Travellers who visit the lake from walled in with large stones in parallel Albano will always find donkeys in courses, succeeds to the flat arch ; oppo- the town ready for hire at 3 pauls site to which the water enters a nar- each. The cicerone will expect 5 pauls, rower passage, and then passes into the and the custode at the emissary who interior of the mountain. The fine old finds lights 2. A very beautiful road trees which overshadow the Alban lake of 2 m., shaded by ilexes, and skirt- render it a cool and delightful retreat ing the grounds of the Villa Barberini, in the hot months; and the number passing before the Convent of S. Fran- of blocks, the remains of terraces and cesco, leads from Castel Gandolfo to buildings, at the water's edge all round Albano. It is called the Galleria di its shores, prove how much the Ro- Sopra, and is well known as a de- mans, during the period of the first em- lightful drive, and for its fine views perors, enjoyed its picturesque beauties. over the lake and of Monte Cavo. A large grotto or cave, near the water, and at a little distance to the N. of the emissarium, decorated with Doric tri- glyphs, was probably used as the summer triclinium of the emperor Domitian, whose palace was situated on the hill above. These retreats were of course constructed long after the emissary, when the experience of ages had shown that there was no further danger to be apprehended | * The lowest part of the rim of the crater from the rising of the water. To these which enclºses the Lake of Albano, and over observations we may add, that, from which only its WaterS could have flowed before ~ : the excavation of the emissarium, is situated appearances on the sides of the lake, j top of the ascent by the road from it is evident, as confirmed by his- Marino (p. 34s) and the base of Monte Cucco. tory, that its waters were considerably tº §..." *. º hº higher than the present surface : the latter in. and hence madº the isiºn * depression between Castel Gandolfo to flow into the dry bed of a river in the ravine and Marino, at the lowest edge of the below, and which he considered to be the Rivus grate; sºying to carry ºf the Waters ...r.º.º.º.º.º.º. into the little stream which now flows ºf the in isºthºli". below the hill on which Marino Stands. tioned at p. 31s, rendering it probable that over . The terms of the oracle of Delphi, this point once ran, the Waters ºf the lake, and as handed down by, Livy, however, lºº.º. cannot refer to this channel, directing, confirmed by the discovery of an inscription at as it did, that the waters should not be | Marino, in which the latter stream is desig- allowed to escape by their own river, nated &S the Rivus Albanus. According to the in mºre manare (aquam) swo flumine, as Fºch surveyºrs, the lºwest part of the edge - - -> - 3. of the crater is 246 feet above the level of the it would have flown into the Tiber, and | lake. 3 6 ſtome. |EXCU RSIONS IN THE ENVIRONS OF ROM E. VIA APPIA NOVA—ALBANo. During the present year the Frascati Railway will be prolonged to Albano; but will not approach nearer than 3 m. from the town, where omnibuses will be in readiness to convey passengers to it. Public conveyances in the mean time start from Rome twice a day for Albano, at daybreak and in the after- moon, from the Piazza del Teatro Ar- gentina, performing the journey in 2% hrs. ; fare 5 pauls. As many travellers may wish to visit Albano from Rome, or on their way to Naples, it may be as well to describe here the road leading to it from the capital, which comprises the first 2 posts on the Via Appia Nova. Leaving Rome by the Porta San Gio- vanni, the road immediately crosses the Maranna stream, and soon after separates from that leading to Frascati: at the second milestone we cross the ancient Via Latina, the direction of which is marked by a line of ruined sepulchres; two of which in brick, and now converted into temporary farm-buildings, at a short distance on the 1., are in good preservation. At this point, and immediately beyond where the modern road intersects the Via Latina, and in the space between them, upon the farm of the Arco Trct- vertino, or del Corco, excavations have been made during the last few months, which have led to the discovery of some most interesting Sepulchral monu- ments of the age of the Antonines (p. 70), and of the basilica of St. Stephen, founded in the pontificate of St. Leo in the 5th century. Several marble columns, with ancient Corin- thian and Ionic capitals, have been already dug out, some of the latter with the cross sculptured on them, and 2 curious inscriptions, one rela- tive to the foundation of the ch, by Demetria, a member of the Asinia family; the other to the erection of the Bell Tower by a certain Lupus Gri- garius, in the middle of the 9th cen- tury, 30 years after the rebuilding of the Basilica by Pope Leo III. The ground-plan of the basilica, which is mow laid open, shows that it was similar to the sacred edifices of the same period, and of which St. Agnese fuori le Mura (p. 126) is the most unaltered example. The edifice, dedicated to St. Stephen by St. Leo, consisted of a vestibule and portico, forming the front turned to- wards the E., opening into the aisles and nave, which were separated by a range of marble columns, unfortunately now removed. At the extremity of the mave is a semicircular tribune, with remains of the altar; and on the rt. or N. side of the latter a square baptistery, with a sunk font in the centre, evi- dently for baptism by immersion. One of the peculiarities of this basilica is the edicola in the centre of the nave, and which, placed over the relics of a martyr, was retained and included in the Leonine edifice. From the mass of ruins laid open during the excavations between the basilica and the road, this part of the Via Latina must have been lined by an extensive villa, of which probably the ruins opposite the 2nd mile on the 1. formed a part, and by a line of tombs like those on the Via Appia. Not far from these ruins are the Catacombs of i Santi Quattro, in the J’iynct del Fiscale. Between the 3rd and 4th m. is the Osteria del Tºrolato, on the rising ground between which and the arches of the aqueduct is supposed to have stood the Temple of Fortuna Mu- liebris, where Coriolanus was dissuaded by his wife and mother from marching on Rome. From this point and for the next 7 m. the post-road runs parallel to the ancient Via Appia, which is marked on the rt. by the well-known tomb of Caecilia Metella, followed by a long lime of others, the most remark- able of which are noticed in our ex- cursion to that most celebrated of the great roads leading from Tome. The magnificent line of arches on the 1. mark the course of the united aqueducts of the Aqua Claudia, and Amio Novus. 3 m. from the gate and on the 1. is the Torre Fiscale, a lofty mediaeval tower. Opposite to the 5th milestone, on the rt., are extensive ruins called by some Roma Vecchia, which extend to the Via Appia, and which are now gene- rally supposed to belong to a villa Sect. II. 357 VIA APIPIA NOVA.—ALBANO. of the Quintilii; they occupy a mile in length, and stand on an escarpment of the lava current, which ends at the tomb of Caecilia Metella. A tomb at the Casale delle Capanelle, between the 5th and 6th milestones, has been erro- neously confounded with the Temple of Fortuna Muliebris. The great cir- cular tomb on the Appian seen to the rt., and covered with farm-build- ings and an olive-garden, is Casale Rotondo, the Sepulchre of Messalla Corvinus (see p. 321). Before the 7th m. is the Torre di Mezza Via, the first post-station out of Rome, close to which a ruined aqueduct crosses the road in the direction of the Villa of the Quintilii, to convey water to which it appears to have been ex- clusively destined, A dreary plain is traversed by the post-road for the next 3 miles. Near the 9th milestone the road to Marino branches off on the 1., and soon after a small stream called the Fossa del Ponticello is crossed. Between this and the foot of the Alban hills some emanations of sulphuretted hydrogen gas are seen and smelt in the space lying between the modern and ancient Appian Ways, the most extensive being designated by the name of la Solfarata ; it is marked by white efflorescence on the surface. At this point the Railway crosses the Via Appia Nova. Before reaching the 11th milestone the post- road bends to the rt., to the Osteria delle Frattocchie, where it joins the ancient Via Appia, the line of which it follows to Albano: the villa on the 1. of the road here, belongs to the Colonna family : from Frattocchie the high road to Nettuno and Porto d’Anzio strikes off to the rt. Between le Frat- tocchie and the next m. (12), several ruined sepulchres and massive sub- structions in Alban peperino bound the ascent on either side, and on the rt. are the ruins of Bovillar, with the remains of a circus and a theatre. Higher up is the site of the more ancient Bovillae, founded by Latinus Sylvius, well known for its conquest by Coriolanus, and as the Sacrarium of the Julian family. Frattocchie is supposed to be the site of the fatal quarrel be. tween Milo and Clodius, and which forms the subject of Cicero’s celebrated oration ‘ Pro Milone.” The ascent from le Frattocchie to Albano is very gradual, although considerable, the difference of level from the bottom of the hill to the gate of the town being nearly 650 feet. A little beyond the 12th mile- stone the road crosses the dry bed of the river by which Sir William Gell supposes the Alban lake to have dis- charged its waters anterior to the exca- vation of the emissary. A modern road leads on the 1. from near this to the Villa Torlonia at Castel Gan- dolfo: a short distance beyond this traces of an ancient one have been discovered, which is supposed to have led from Laurentum to Alba Longa. Numerous tombs, many of which are shown by inscriptions to have be- longed to eminent families of an- cient Rome, border the road on each side during the ascent to Albano. About $ mile before reaching the town a massive square tomb, built in the form of a sepulchral cippus and about 30 feet high, with 3 niches within and places for vases or Sarcophagi, was long supposed to be the tomb of Clodius, in spite of the express statement of Cicero that his body was burnt in the Roman Forum and east out half consumed to be preyed upon by dogs, “ spoliatum im'ſ in ºus, crequits, pompet, litudatione, infelicissimis liſmis, semiustulatum, noc- turn is cºmibus dil, mitrul:tin.” The view looking back during the ascent presents one of the most impressive scenes in Italy. It commands the whole Cam- pagna as far as Soracte: in the middle of the plaim Rome is seen with its domes and towers in solitary gran- deur, like an oasis in the desert, amidst the ruins of the desolate plain. Beyond, on the 1., the long line of the Mediterranean completes this striking picture. Close to the gate of Albano, and on the l. of the road, are the re- mains of a high tower-shaped sepulchre, with binding-blocks of white marble, and with which the entire structure of 4 stories appears to have been origin- ally covered. It contains a sepulchral 35S Rome. EXCURSIONS IN THE ENVIRONS OF ROME. chamber 12 ft. by 8, and is generally admitted to be the tomb of Pompey the Great, whose ashes were brought from Egypt and deposited here by his wife Cornelia. The statement of Plutarch, who tells us that the tomb of Pompey was close to his villa at Albanum, per- fectly corresponds with this locality. On the rt. of the gate is the Villa Altieri, and on the 1. a road leading to Castel Gandolfo. After entering the town, we pass on the rt. the Villa Doria, in the finest situation of the modern city. ALBANo, 14 m. from Rome (2% posts). (Inns: the Hôtel de la Poste, now very good; and the H. de Russie, by Calpini, fair; both with fine views from their back windows.) An episcopal town of 6260 souls, 1250 Eng. ft. above the sea, celebrated for the beauty of its scenery and the purity of its air. Albano and Lariccia have been called the Hamp- stead and Highgate of Rome, and during the summer months they are much frequented by visitors. Albano, particularly, is a favourite resort of the Itoman nobility during the cil- leſſgiatura season from June to October. Although the situation is generally healthy, its close vicinity to the Cam- pagna below, and to the region of malaria, cannot be regarded without suspicion; during the extreme heats of summer intermittent fevers sometimes show themselves, even at this consider. able elevation. The present town occu- pies part of the grounds of the villas of Pompey and Domitian: traces of the former exist in the masses of reticulated masonry in the grounds of the Villa Doria, and in still more extensive ruins within the precincts of the Villa Barberini on the road to Castel Gandolfo ; but as Domitian included both the villas of Pompey and of Clo- dius in his immense range of buildings, it would be extremely difficult to de- termine the position of the more ancient structures. The neighbourhood of the town was covered with villas of the Ro- man patricians, many of which are still traceable. The most remarkable re- mains at Albano are those of the Amphi- theatre erected by Domitian (between the ch. of S. Paolo and the Cappuccini), mentioned by Suetonius and by Juve- mal as the scene of the most revolting cruelties of the last and worst of the 12 Cæsars; it was nearly perfect in the time of Pius II., with its seats partly excavated in the rock. Near the ch. of S. Paolo are the ruins of the Praetorian camp : a great portion of the walls and one of the gates still exist. The walls are built of quadrilateral blocks of peperino, many of which are 12 ft. long. Adjoining the western wall is a cir- cular building now called the ch. of Sta. Maria della Rotonda, on the door of which are some beautiful acamthus- leaves and other ornaments in marble, brought from the villa of Domitian: the building is supposed to have been originally a temple dedicated to Mi- nerva. In the Strada di Gesù e Maria are remains of baths. The ch. and convent of the Cappuccini, between the town and the lake, celebrated for its lovely position and its magnificent views, occupies a part of the villa of Domitian. More extensive remains are found among the pine-groves of the Villa Barberini. The principal modern villas at Albano are those of Prince Doria, near the Roman gate, and of Prince Piombino, at the opposite ex- tremity of the town, both commanding fine views over ancient Latium and the Mediterranean. The wine of Albano, from the vine- yards on the slopes below the town, still keeps up the reputation it enjoyed in the days of Horace:— “Ut Attica virgo “Cum sacris Cereris, procedit ſuscus Hydaspes, Caecuba Vina ferens: Alcon Chium maris ex- pers. IHic llerus : Albanum, Maecenas, sive Faler- 1]ll ill Te magis appositis delectat ; habemus utrum- que.” Sat. II. viii. 13. Albano has been the seat of a bishop since A.D. 460. Adrian IV. (Nicholas Breakspeare), the only Englishman who ever sat on the papal throne, was bishop of Albano for some years prior to his Pontificate; it forms one of the six suburban sees always filled by a cardinal bishop, the present incumbent being Card. Patrizzi, the Vicar-General of Rome. Sect. II. 3 ALBANO. —LARICC I A. 59 The Via Appia passes in a straight line through Albano, and the post- road after leaving the town traverses it, until reaching the gigantic via- duct that connects it with Lariccia. A short distance beyond the last houses of the town, before arriving at the viaduct, the sepulchral monument so often described as that of the Horatii and Curiatii is seen on the rt. The older Italian antiquaries who sug- gested this idea had taken no pains to examine how far such a suppo- sition was borne out by history ; but in recent years a diligent search into authorities, and above all a more accurate acquaintance with Etruscan remains, has not only entirely dis- proved the assertion, but has established beyond a doubt the Etruscan origin of the tomb, and the probable occasion of its erection. The base is 49 ft. long on each side, and 24 high : upon this rise at the angles 4 cones, in the centre of which is a round pedestal 26 feet in diameter, containing a small chamber, in which an urn with ashes was discovered in the last century. The traveller who will take the pains to compare this with the descrip- tion of the tomb of Porsenna at Chiusi, as given in the 36th book of Pliny, on the authority of Varro, will hardly require a stronger argument in favour of the conclusions of Piranesi, D'Hancarville, and Nibby, that it is the tomb of Arums, the son of Porsenna, who was killed by Aristodemus in his attack upon Aricia. The tomb of the Horatii and Curiatii stood near the spot where these heroes fell, which was distant only 5 miles from Rome, and on the Via Appia (p. 322). Until 1853 a steep descent, and a proportionately dangerous ascent, led from Albano to Lariccia, to obviate which a gigantic viaduct was undertaken by Pius IX., to connect these towns, and by which travellers now pass on a level from one to the other. This celebrated work, perhaps one of the most remarkable of its kind in modern times, spans the deep ravine which separates Albano from Lariccia : it was commenced in 1846, and completed in 1853, the archi- tect being the late Cavaliere Ber- tolini, under the direction of the en- lightened Minister Jacobini, who pre- sided over the department of public works, and whose death was, at the time (1854), so justly considered by the Romans as a public calamity. This magnificent viaduct consists of 3 superposed ranges of arches, 6 on the lower tier, 12 on the central, and 18 on the upper one, the height of each being 60, and the width 49 feet between the piers. The length of the way is 1020 feet, including the ap- proaches, and of the upper line of the arches alone, or of the viaduct properly speaking, 890 feet, and the greatest height above the bottom of the valley 1924 feet. The whole is constructed of square blocks of peperino quarried near the spot, the quantity employed being 8,000,000 cubic feet, and, what is not the least surprising circumstance connected with this extraordinary work, at a cost of only 140,000 scudi (30,000l. sterling). The viaduct opens immediately on the Piazza of Lariccia, before the ch. and the Chigi palace. The view from the pathway and to- wards the sea is very fine. LARICCIA, about 1 m. from Albano, separated from it by a deep hollow : there is a small clean-looking Inn on the Piazza (the Hotel Martorelli). The old post- road left the Appian mear the tomb of Aruns, and proceeded by a steep but picturesque ascent to Lariccia, through which the interest of the Chigi family succeeded in carrying the modern one, although the old line of the Via Appia afforded a straight and more direct course. The deep ravine which separates Lariccia from Albano abounds in beautiful Scenery. The modern town, with a population of 1675 Inhab., is on the Summit of the hill, and occupies the site of the citadel of Aricia, one of the con- federate cities of Latium, whose his- tory and connexion with the nymph Egeria are so often alluded to by the Latin poets. It was supposed to have 360 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. * been founded by Hippolytus, who was worshipped under the name of Virbius, in conjunction with Diama, in the neigh- bouring grove. We gather from Virgil that it was one of the most powerful towns of Latium at the arrival of AEneas:— “At Trivia Hippolytum secretis alma recondit Sedibus, et nymphae Egeria memorique rele- pººl. I, a sº ubi in sylvis Italis ignobilis avum Exigeret, versoque ubi nomine Virbius esset.” - En. vii. 761. It was the first day's resting-place out of Rome in Horace's journey to Brun- dusium :— “Egressum magnä me accepit Aricia Româ Hospitio modico.” I. Sat. V. l. Its importance in the time of Cicero is shown by his eloquent description in the third Philippic, when he replies to the attack of Antony on the mother of Augustus, who was a native of the town. During the retreat of Porsenna’s army from Rome it was attacked by a detachment under his son Aruns, who was defeated and slain by Aristodemus of Cumae : the Etruscan prince was buried mear the battle-field in the tomb above described. lay on the southern slope of the hill, extending to the plaim traversed by the Via Appia, where numerous ruins still exist. Among these are the city walls, and a highly curious fragment with a perpendicular aperture, through which a sufficient quantity of water is discharged to give rise to the question whether it is the emissary of the lake of Nemi or the fountain of Diana. The most important ruin is that dis- covered by Nibby, who considered it to be the Temple of Diana, whose site had been previously sought for on the side of the lake of Nemi. There are several circumstances in favour of this opinion : the account of Strabo, who says that the temple overlooked a sea, does not cor- respond so well with the lake of Nemi as with the extensive hollow below these ruins called the Pulſe- ricciº, a crater 4 m. in circumference, which was probably filled with water in his time, like the other volcanic Hakes of Albano, Nemi, &c. A still The ancient city more conclusive argument is the bas- relief found here in 1791 by Cardinal Despuig, who unfortunately sent it to Palma in the island of Majorca, repre- senting the priest of the temple in the act of slaying his predecessor, con- firming the account of Strabo, who tells us that the barbarous ordinances of the temple required that the high priest, called the Rex Nemorensis, should have killed his predecessor ill single combat. The founder of this temple, according to Pausamias, was Hippolytus; but other writers ascribe it to Orestes, after he had taken refuge at Aricia with Iphigemia. The modern town of Lariccia has a large palace belonging to the Chigi family built by Bernimi, and the ch. of the Assumption, raised by Alex- ander VII. in 1664, from the de- signs of the same architect. Its imposing cupola is decorated with stuccoes by Antonio Raggi. The fresco of the Assumption, and the picture of S. Francesco de Sales, are by Porgo- gnome ; the St. Thomas of Villanova by Vanni ; and the S. Joseph and S. Antomy by the brothers Gimignani. About 10 minutes' walk from the vil- lage, descending into the valley, is the magnificent causeway, 700 feet in length, and about 40 in width, by which the Via Appia was carried across the northern extremity of the Vallericcia : it is built of quadrilateral blocks of peperimo, and is pierced by 3 arched apertures for the passage of water, and in the deepest part of the valley its height is not less than 40 feet; a short distance from its S.E. extremity is the opening of what ap- pears to be the emissarium of the Lake of Nemi, from which flows an abundant and pellucid stream, which carries with it fertility into the subjacent plain of Vallericcia. The pedestrian may from this point follow the line of the ancient Via Appia to below Genzano. MonTE GIov E (CoRIOLI), AND CIVITA LAVINIA (LANUVIUM). From Lariccia and from the road to Genzano, looking over the wide crater Sect. II. 6] CIVITA LAVINIA.—G ENZANO. ºn • J of the Vallericeia, is seen the hill riccia, forming, as it were, a con- of Monte Giove, a low eminence of tinuation of that of Albano, a second of the range which descends from Monte Cavo towards the plain. It is covered with vineyards, and is situated on the left of the road leading to Porto d’Anzio. Monte Giove is interesting as the spot where many antiquaries agree in fixing the site of Corioli, so famous in the history of Coriolanus:— “Cut me to pieces, Volsces, men and lads, | Stain all your edges on me. Boy! false hound ! If you have writ your annals true, ’tis there That, like an eagle in a dovecote, I Flutter'd your Volsces in Corioli: Alone I did it.” There are no ruins of the ancient city to be discovered; indeed, Pliny states that it was deserted in his day, and that its site was without a trace of its existence (periere sine vestigia). On a projecting hill to the E. is the pic- turesque town of Civitrº Lucinia, with 950 Inhab., occupying the site of ancient Lanuvium, supposed to have been one of the confederate cities of Latium founded by Diomede. It is celebrated by Livy for its worship of Juno Sospita, or Lanuviana. It is also memorable as the birthplace of Milo and of Muraena, well known by the able advocacy of Cicero, of Roscius the comedian, and of the 2 Antonines and Commodus. The modern town is built in part of massive rectangular blocks, evidently the remains of ancient buildings. At the W. and S.E. ex- tremities of the hill are the ruins of extensive walls, composed of large square blocks, and of an ancient road. The fine statue of Zeno, in the Museum of the Capitol, was found in the ruins of a Roman villa here. GENZANo, about 4 m. from Albano. Among the most remarkable objects presented by the modern post-road is the fine viaduct of six arches on leaving La- [Rome.] 8 arches beyond Galloro, and a third over the ravine before reaching Gen- Zano, by which the former tedious route from Lariccia to Genzano is avoided, which was so beset with beg- gars, who seemed to be the true re- presentatives of those who infested this hill in the time of Juvenal:— “T)ignus Aricinos qui mendicaret ad axes, Blandaque devexas jactaret basia rhedae.” Sat. iv. A fine triple avenue of elms called the Olmatº, planted by duke Giuliano Cesarimi in 1643, forms the entrance to Genzano. The point where the 3 planted avenues branch off is called the pict 2 za : one of these leads to the Cappuccini and to Nemi, the central one to the palace of the dukes of Cesarini, and the third to the town. Travellers who wish to visit the lake will do well to quit their carriage at this piazza : the descent to its shores will occupy half an hour, and a road leads direct from the lake to Genzano, where the carriage can wait their return. Genzano (Inn - La Posta), a pic- turesque town of 4850 Inhab., cele- brated for its annual festival on the eighth day of the Corpus Domini, called the Infiorata di Genzano, from the custom of strewing flowers along the streets, so as to represent ara- besques, heraldic devices, figures, and other ornaments. The effect produced by this kind of mosaic of flowers is extremely pretty ; during the festa the town is filled with visitors from Rome and the surrounding villages. On one of the hills above the town is the mansion of the dukes of Cesarini, in a beautiful position, on the lip of the crater, in the bottom of which is the lake of Nemi. Higher up is the convent of the Cappuccini, which enjoys a prospect of even greater beauty. Before leaving Genzano we would advise the traveller to visit the prettily situated casimo Jacobini, on the Monte Parco, outside the town, from which R. 36.2 EXCURSIONS IN THE ENVIRONS OF ROME. Rome. the view is most interesting, extend- ing over the sea-coast from the mouth of the Tiber to Cape Circello, embrac- ing the Pontine Marshes, the Volscian Mountains, and the Ponza Islands on the far distant horizon. A great deal of wine is made about Genzano and Nemi, in which a considerable trade is carried on with the capital, and in no part of the Papal States does the pea- Sautry appear more comfortable and prosperous. LAKE OF NEMI. From the post-house of Genzano a short walk brings us to the lake of Nemi, the Lacus Nemorensis of the ancients. This beautiful little basin occupies the site of an ancient volcanic crater. It is of an oval form, like that of Albano, though considerably smaller, being only 3 miles in cir- cumference, the level of its surface 102 ft. higher, or 1066 above the sea. The road leads to Nemi from Gen- zano, passing by the Cappuccini, and brings the traveller to the Fountain of Jºfferiºt, one of the streams which Strabo mentions as supplying the lake. This fountain, which so many poets have celebrated in conjunction with the lake and temple, is beau- tifully described by Ovid, who repre- sents the nymph as so inconsolable at the death of Numa, that Diana changed her into a fountain :- “Non tamen Egeriae luctus aliena levare Damna valent ; montique jacens radicibus Liºur in lacrymas: donec pietate dolentis Mota soror Phoebigelidum de Corpore fontem Fecit, et aeternas artus lentavit in undas,” Metºn. XV. Like the Alban Lake, that of Nemi appears to have stood in former times at a higher level than now attained by its waters, and to have been also drained in the same way by an Emissarium, which opens into the Vallericia, on the lime of the Via Appia. As no mention is made of this work by any ancient author, it is impossible to fix its date; it is 1649 yards long, exceeding that of the lake of Albano. The village of Nemi, with a popu- lation of 870 souls, is beautifully placed on a height above the shores of the lake. It belongs, together with a large extent of the neighbouring country, to prince Rospigliosi, having passed to that family in the last century, after having belonged suc- cessively to the houses of Colonna, Borgia, Piccolomini, Cenci, Frangi- pani, and Braschi. The old feudal castle with its round tower was chiefly built by the Colonnas. From the hills above, the eye wanders over the vast plains of the Campagna from the Cir- caean promontory to Porto d’Anzio, and from thence to the mouth of the Tiber, comprehending within this range the scene of half the AEneid. The lake of Nemi acquired considerable notoriety in the 16th century from the disco- very of a quantity of timbers, which Leon B. Alberti and Marchi described as the remains of an ancient ship, which was said to be 500 ft. in length, and was attributed either to Tiberius or to Trajan. The existence of a vessel of this size on the lake of Nemi carries with it an air of impro- bability; and it is now explained by the researches of Professor Nibby, who carefully examined the locality. He found that the beams recovered from the lake were parts of the frame- work of an ancient building, of larch and pine, from which mumerous metal mails and other fragments were ob- tained. The pavement, consisting of large tiles, was laid upon an iron grating, marked in many places with the name CAISAR. The tiles, grating, nails, and some of the beams, are now preserved in the Vatican Library and in the Kircherian Museum at the Collegio Romano. From the account of Sueto- mius, who says that Caesar began a villa at a great cost upon this lake, and in a fit of caprice ordered it to be pulled down before it was completed, Nibby infers that these fragments were the founda- tions of the villa, which escaped de- Sect. II. 363 NEMI.-COLONNA. struction by being under water. - º | the sides of the lake are Some vestiges of ancient buildings. We have already stated the grounds upon which the Temple of Diana is supposed to have been situated below Lariccia. The ciceroni, however, point out its ruins near the lake; but travellers who are practised in the examination of ancient buildings will see at once that they consist of opus reticulatum, which of course belongs to a much later period than the date of the temple. The grove of Diana extended, as it still does, over the surrounding country and hills for many miles. A short distance beyond Genzano we leave the province of the Comarca to enter into the legation of Welletri. At the castle and bridge of San Gennaro (the Roman station of Sub-Lanuvium) the post-road quits the Appian, which it has followed from Genzano, and makes a detour of some miles in order to pass through Welletri before again joining the ancient line of road near Cisterna. The Via Appia may be seen from this spot traversing the plain in a straight line, marked by a line of tombs. From this and other parts of the road Civita Lavinia, noticed in a preceding page, to which a road branches off on the rt., is a conspicuous object. Welletri and the remainder of the road to Terracina and Naples, in- cluding the excursions to Cora and Norba, are described in the Handbook for Southern ſtaly (Rte. 140). CoLONNA. A very interesting excursion may be made from Frascati to Colonna, and from Colonna to Palestrina and Genaz- Zamo, visiting the site of the lake of Gabii on the return to Rome. The dis- tance from Frascati to Colonna is 5 m., aud to Palestrina about 14, requiring 43 hours; ponies may be hired at Fras- On cati for these excursions. The road traverses the ancient line of com- munication between Tusculum, Labi- cum, and Gabii. About a mile from Frascati it passes near the dried up lake of the Cornwfelle, supposed by Some antiquarians to be the site of the lake Regillus, the scene of the me- morable battle in which the Romans, under the dictator Posthumius, assisted by Castor and Pollux, defeated the most powerful confederation of the Latin tribes, under the Tarquins and Mamilius the chief of Tusculum. The position of the lake immediately under the hills of Tusculum is some argu- mentin favour of this locality, which, as Livy distinctly tells us, was in the Tus- culan territory, but there are few points in the ancient topography of the en- virons of Rome more difficult to esta- blish, some placing it near the Monte di Fiore, between the 20th and 21st m. on the Via Latina, and others in the great level space occupied by Pantano below Colonna. The lake of Cornufelle was drained in the 17th century by the Borghese family, before which it could not have been much smaller than that of Gabii, It is a curious basin, and its artificial emissary may still be Seen. Beyond this the road skirts the base of Monte Porzio, a village of 1390 Inhab., situated on the summit of the hill, and supposed to derive its name from a villa of Cato of Utica, the site of which is placed between Monte Porzio and Colonna, at a spot called Le Cappellette, where there are some ruins. The modern village was built by Gre- gory XIII., whose armorial bearings, the Buoncompagni dragons, may be seem over the principal gateway. The only object of interest is the ch., con- Secrated by Cardinal York in 1766. Beyond this the road passes, at the base of Monte Compatri, another town perched upon a height belonging to the Borgheses, with a population of 2540, and a baronial mansion. It is Supposed to have risen after the ruin of Tusculum in the 12th century; it contains nothing of any interest. Co- !onnºt occupies the site of the cele- brated Latin city of Labicum, a colony of Alba:— R 2 364 FXCURSIONS IN THE Rome. ENVIRONS OF ROM. E. “Insequitur nimbus peditum, clipeataque totis Agmina densentur campis, Argivaque pubes, Aurumcºeque manus, Rutuli, veteresque Sicani, lºt Sacraute acies, et picti Scuta Labici.” - Ert. vii. 793. The history of the ancient city pre- sents few facts which require notice, except its capture and sack by Corio- lanus, and the mention made of it Palestrina. by Cicero, who describes Labicum, Bovillae, and Gabii as so much de- populated in his time that they could scarcely find any one to represent them at the ceremonies of the Feriae Latinae. a conspicuous rank among the towns of the middle ages, as the place from which the princely house of Colonna derives its name, if not its origin. The first mention of the family occurs in the middle of the 11th century (1043), when a countess Emilia of Palestrina, the heiress of a branch of the counts of Tusculum, married a baron described as de Columna. The history of this place during the 12th and 13th cen- turies is a continuous record of the contests of the Colonnas with the popes and with the other Roman barons. It was seized in 1297 by Boniface VIII., and again by Cola da Rienzo in 1354, on his expedition against Palestrina. In the 17th centy., on the extinction of the branch of the Colonna family to whom it belonged, it, together with Gallicano and Zagarolo, passed to the Rospigliosis, their present possessors. The village is now in a state of decay, the number of Inhab. amounting only to about 300. At the base of the hill of Colonna runs the Via Labicana, now the high road to Naples by Frosinone and Sam Germano. On the rt. of the road to Rome, and about 14 m. below the Osteria della Colomma, and in a line between Colonna and the lake of Gabii, is a small pool, not a quarter of a mile in circumference, also regarded by the Roman antiquaries as the lake Regillus, An excellent road of 10 m. leads from the Osteria di Colonna to Palestrina, which as well as the direct road to Colonna from Rome will be described in the following paragraph. the second by the Via Gabina. making this excursion the tourist can go by the one and return by the other, | thus embracing some of the very inter- low-in vri | g :--> º The modern village of Colonna holds esting localities of the Campagna; the best plan will be for a party to PALESTRINA, ETC. Two roads lead from the capital to , the best, although some miles longer, is by the Via Labicana, In hire a carriage for the whole time they may be absent. The excursion to Pales- trima, and the places to be visited from it, will occupy, with the journey there and back, 3 or 4 days. We shall describe here the route by the Via Labicama, reserving that by the Via Gabina to our notice on Gabii, &c. Leaving Rome by the Porta Mag- giore, we enter immediately on the Via Labicama (on the rt.), which runs for the first mile parallel to the Clau- dian Aqueduct. 14 m. from the gate is the Tor Pigmatarra, the mausoleum of the Empress Helena (see p. 65); and 3% miles farther, Torre Nuova, an | extensive farming establishment be- longing to Prince Borghese, surrounded by those gigantic pine-trees which produce so fine an effect in the land- scape of this part of the Roman Cam- pagna, and extensive plantations of mulberry-trees, the cultivation of which has been recently introduced here for the first time in the Roman Cam- pagna, and with great success. 3 m. beyond Torre Nuova is the solitary Osteria di Finocchio, from which a bridle-road on the 1., of 2 m., leads to Osa and Castigliome, the site of the ancient Gabii. A gradual ascent of 1 m. brings us to a high ground, from which there is an extensive view over Gabii, and the subjacent plain of Pantano with its extensive farm-build- ings; a road from the Ponte di Celsi at the bottom of the descent leads to the latter—near it are the ruins of an aqueduct of the time of Hadrian. Crossing the plain of Pantano, the Sect. II. PALESTRINA, ETC. 3 65 sources of the Aqua Felice are seen on places in the neighbourhood of Rome the 1., marked by their numerous white afford the traveller so many examples pyramidal spiracºla. From here to the of the different styles of building Osteria di Colonna the ascent is long and which prevailed in Italy in the early gradual, passing (on the 1.) the ex- periods of her history. The ruins of tensive quarries of il Laghetto, Sur- the walls, and of the other edifices for rounding a small circular basin, now dried up, and by some considered tº mark the site of the Lake Regillus The whole of our road for the next 2 m., as well as the hill of Monte Falcone, overlooking the plain of Pan- tano on our l., is situated upon a current of lava, extending to beyond the Osteria della Colomna, the latter about 1 m. below the representative of Labicum, perched upon the volcanic height above. The distance from this osteria to Palestrina is about 10 m., the road good, and the country through which it passes beautiful. 3 m. beyond l’Osteria is S. Cesareo, from which it descends into a rich valley, where that to Palestrina branches off on the 1. ; the Via Labicama continuing by Val- montone to Anagni, Frosinone, &c. 2 m, further still we cross another valley ; here a road on the l. leads to Zagarolo. Some Roman tombs exca- vated in the tufa rock are seen on the road-side. From the birium to Zagarolo an ascent of 2 m. brings us to the Parco dei Barberini, a large villa and farmstead, approached by two hand- some alleys of elm-trees. During the greater part of these 2 m. the ancient Roman road which connected Tusculum with Izabicum and Praemeste, with its kerb-stones on either side, is well preserved parallel to the modern road. 1 m. from the Parco dei Barberini, or the Villa del Triangolo, as it is more generally called, the road to Cavi and Genazzano branches off on the rt., whilst a gradual ascent brings us to the lower part of Palestrina, which is entered by the Porta del Sole. (There is a fair country Inn, kept by Arena, in the Corso, with tolerable beds, but it will be neces- sary to make beforehand a bargain). Palestrina is the modern representative of the celebrated Praeneste, one of the most ancient Greek cities of Italy, and the residence of a king long before the foundation of Rome. Few which the ancient city was remaikable, present us with four distinct epochs: in the enormous polygonal masses of the city walls we have a fine example of Pelasgic architecture; in the smailer polygonal constructions we recognise a later period, when the Pelasgic style was generally imitated in those dis- tricts where the local materials were of limestone; in the quadrilateral massive substructions we see the style of the age of Sylla and of the latter times of the republic ; and in the brickwork, known as the “opera laterizia,” we have some good specimens of impe- rial times when Praeneste became a Roman municipium. The contests of Praeneste with Rome, and its conquest by Cincinnatus and Camillus, are well known to every reader of history; Pyrrhus and Hannibal reconnoitred Rome from its citadel; and the young Caius Marius, after his defeat by Sylla, killed himself within its walls. Qm his return from the war against Mithridates, Sylla revenged himself on Praeneste for the support given to his rival by destroying the town and putting the inhabitants to the sword ; but he afterwards rebuilt the walls, and to atone for his cruelties embel- lished the Temple of Fortune, the magnificence of which made the Athe- nian philosopher Carneades declare that he had never seen a Fortune So fortunate as that of Praeneste. Under the emperors, the city was the frequent residence of Augustus, Ti- berius, Nero, and Domitian ; Hadrian built a magnificent villa in its vicinity, of which considerable remains are still visible. The partiality of Horace for Praemeste is well known : in his epistle to Lollius he tells him that he read the Iliad during his residence in the city (Ep. ii. 1); and in one of his most beautiful odes he mentions it among his favourite retreats, classing it with Tibur, Baiae, and his Sabine farm :— 3 (36 EXCU RSIONS IN THE ENVIRONS OF ROME. Rome. “ Wester, Camaenae, wester in arduos Tollor Sabinos; seu mihi frigidum Præneste, Seu Tibur supinum Seu liquidae placuere Baiae.” Od. iii. 4. The modern name of Palestrina oc- curs in ecclesiastical documents as early as A.D. 873. Its whole history during the middle ages is associated with that of the great Colonna family, who obtained it in 1043 by marriage with the countess Emilia, the descend- ants of the Contis, or Counts of Tus- culum, as mentioned in our motice of Colonna, to whom it had been infeu- dated by Innocent IV. The ancient citadel and its Pelasgic fortifications were probably perfect at that period, and gontributed to render it celebrated as the mountain fastness of the Co- lonnas, and as one of the strongholds of the Ghibelines. It would carry Montefeltro, who had entered the mo- mastery at Assisi as a Franciscan friar, His perfidious advice, to “promise much and perform little,” has been noticed in our account of Assisi, and has been stamped with imperishable infamy by Dante. The pope, acting on this treacherous counsel, absolved the Colonnas from their excommunica- tion, and granted them his pardom, at the same time holding out the hope that they would be restored to the possession of Palestrina, whilst he secretly ordered Teodorico Ramieri, bishop of Pisa, to take possession of the city, to dismantle the fortifica- tions, and raze all the buildings to the ground, with the exception of the cathedral. So rigorously was this order fulfilled, that the ancient custom of driving the ploughshare over the * g ruins and sprinkling salt upon the fur- us too deeply into the history of rows was observed. The property of Rome at this disturbed period to the inhabitants was confiscated; they trace the records of the Colonnas were all driven into the plain below, during their memorable struggles with the site of the Roman municipium of the Popes ; but the destruction of the Imperial period, and there com- the city is so much associated with pelled to build a new town near the ch. the reign of Boniface VIII, that it of the Madonna dell’ Aquila. After Will be necessary to refer briefly, to these disasters the Colonna family the events which marked the turbu- were hunted out of Italy, and the lent career of that Pontiff. The elec- narratives of their wanderings given tion of Cardinal Caetani as Boniface by the contemporary chroniclers Sup- VIII. was opposed by the two car- dinals Giacomo and Pietro Colonna, who retired to Palestrina with their kinsmen Sciarra and Agapito, and refused to admit a papal garrison into any of their patrimonial strongholds. The pope instantly excommunicated them, and issued a bull breathing most violent anathemas against their family, offering plenary indulgence to all who would take up arms against them. He obtained reinforcements from Florence, Orvieto, and Matelica, and in 1298 sent troops against all the fiefs and castles of the family. The cardinals for some time gallantly de- fended Palestrina, but were at length compelled to surrender, and with their two kinsmen proceeded to Rieti, where the pope was then residing, and made their submission in full consistory. Boniface summoned to his councils on ply a curious parallel with the history of our own noble house of Courtenay. Stefano Colonna, who is described by |Petrarch as “a phoenix sprung from the ashes of the ancient Romans,” as he fled from Rome after the loss of all his possessions, was asked by one of his attendants, “What for- tress have you now P’’ He placed his hand on his heart, and replied, with a smile, “ Eccola I’’ The cardinals escaped to France; Sciarra Colonna fled by sea, was captured by pirates, and after a series of romantic adven- tures returned to Rome at the time when the pope was involved in his quarrels with Philip le Bel. Sciarra instantly joined the Frenčh party, and avenged the injuries inflicted on his house, by the memorable capture of Boniface at Anagni, which Dante has also handed down to posterity. On the this occasion the celebrated Guido da death of Boniface from the conse- Sect. II. 367 PALESTRINA. quences of the barbarous treatment to which he was thus subjected, his succes- sor, Benedict XI., absolved the Colonna family from their excommunication, but forbade the rebuilding of Pales- trina. This restriction was removed by Clement V., and in 1307 the city began to rise from its ruins under Stefano Colonna. This proceeded so rapidly, that when the emperor, Henry of Luxembourg, came to Rome to be crowned in 13 l l , Palestrina was in a fit state to receive him and the other Ghibeline chiefs, if the Guelph party, headed by the Orsinis, had offered any opposition. It was also re- garded as the head-quarters of Louis of Bavaria, at his coronation in 1328. Stefano Colonna completed the castle in 1332, as we see by the inscription, still legible over the gate. In 1350 this illustrious captain successfully de- fended Palestrina against Cola da Riemzo, who made a second attempt to seize it in 1354. The fortress remained for nearly a century strong enough to resist all aggression, but, the Colommas having allied themselves with Braccio Fortebraccio and Piccimino in 1434, the unscrupulous Cardinal Vitelleschi, legate of Eugenius IV., besieged and captured it in 1436. In the follow- ing year he razed it nearly to the ground, and for 40 continuous days laid the town waste with fire and sword, sparing neither the churches nor the convents. In 1438 the Romans completed the work of destruction by destroying the citadel. After this time the inhabitants began to collect their families round the old baronial palace, and in 1448 the Colonnas re- built the city, and surrounded it with the walls and towers which we still see. The last historical event worthy of notice is the sale of the city by Francesco Colonna to Carlo Barberini, brother of Urban VIII., in 1630, for the sum of 775,000 scudi, to which family it still belongs, giving to the eldest son of Prince Barberini the title of Prince of Palestrina. At the present time Palestrina is an episcopal town of 5320 souls; it is built chietly on the site of the clivity of the commanding hill on which the citadel stood. It contains no mo- dern buildings of any interest, except the Barberini Palace of the 17th century, now almost deserted, the Ch. of S. Rosalia, close to the latter, containing an unfinished group of the Pietà attributed to M. Angelo (?), and some tombs of the Colonna and Barberini families. The temple of Fortune must have been of immense extent, if we may judge from the ruins still visible, and from terraces on which it stood. One of these latter, the Ripiano delia Cortina, is occupied by the Barberini palace, which is built on the foundations of the hemicycle that stood before the Sacrarium of the Divinity, not a fragment of which now remains. The most remarkable ob- jects preserved in this palace are Some fragments of inscriptions and statues discovered among the ruins; a large hall covered with frescoes attributed to the Zuccheris, representing on the vault Jupiter and Venus in a chariot drawn by doves and peacocks, and Apollo in the centue, with a view of Palestrina on one of the walls; and particularly the celebrated mosaic pavement found in one of the semicircular niches of the approaches to the temple, well known as the “Mosaic of Palestrina.” It was so highly prized when first discovered, that Cardinal Francesco Barberini in 1640 employed Pietro da Cortona to remove it to its present site. There is scarcely any relic of ancient art which has been so much the subject of antiquarian controversy. Father Kir- cher considered its subject to express the vicissitudes of fortune; Cardinal de Polignac thought it represented the voyage of Alexander to the oracle of Jupiter Ammon; Cecconi and Volpi that it illustrated the history of Sylla ; Montfauqon regarded it as a represen- tation of the course of the Nile; Winckelmann as the meeting of Helen and Menelaus in Egypt; Chapuy as the embarkation of Egyptian grain for Rome; the Abbé Barthélemy as the voyage of Hadriam to Elephantina; and the Abbé Fea as the conquest of Egypt by Augustus. There can be no doubt that the subject is Egyptian, and it is Temple of Fortune, and upon the de- now generally considered to represent 368 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. a popular fête at the inundation of the Nile. The names of the animals are given in Greek characters: among these we recognise the rhinoceros, the sphinx, the crocodile, the giraffe, the lioness, the lizard, the lynx, the bear, the tiger, &c. The mosaic has been recently restored and placed by Prince Barberini in the great hall on the first floor, where it can be well seen, and a new description of it published by Don Sante Pieralisi, Librarian of the Barberini Library at Rome (Osser- vazioni sul Musaico di Palestrina, fol. 1858). From the windows of this hall there is one of the finest views in Italy. The ruins of the Temple of Fortune, restored by Sylla, are very interesting; the best preserved portion is in the Piazza Tonda, near the Cathe- dral, consisting on the outside of 4 Corinthian half-columns, and within of a large hall, converted at one time into the wine-cellar and kitchen of the Semi- mary; it is flanked with Corinthian pilasters and terminated by a tribune, the floor of which was formed of the celebrated mosaic above described. Camina considers this building as the eastern one of 2 aisles, which stood upon the second terrace leading to the Temple. The semicircular portico which formed the uppermost terrace, which preceded the Sanctum Sanc- torum of the Praemestime Fortune, can be easily traced on the front of the baronial palace of the Barberinis, above which rose the temple, and at a higher point still the scene of the Sortes Prac- mestinae. The fame of this shrine is well known from the description of Cicero, who gives a curious account of the institution of the “Sortes.” (De Divin. ii.) A visit to the ancient citadel on the summit of the hill will interest the traveller more than the examination of these ruins. A bridle- road has been made, for which travel- lers may procure donkeys at the inn; but persons wishing to examine the polygonal walls will do better to ascend on foot, through the suburb of il Schi- acciato, at the N. extremity of which they will come upon a portion which extends without interruption to the top of the hill, where it joins the wall of the citadel, and from which another equally massive descends to the Porta de' Capuccini, the two enclosing a triangular space, of which the fortress forms the summit and the town the base, as we see in the Scaligerian fort- resses of Northern Italy. The view commanded during the ascent is alone sufficient to repay the fatigue. As we advance we pass enormous masses of the polygonal walls which united the ancient citadel or Arc with the town below. “These walls afford a good example of this style of construc- tion, and may be traced on both sides of the ascent, nearly throughout their entire course. The citadel is mow called the Castel di Sam Pietro, from a tradition that it was for some time the residence of the apostle: it contains a few poor houses which have arisen from the ruins of the town erected by the Colonnas. The old fortress of the family, although dilapidated, still preserves many memorials of the mid- dle ages. Over the principal gateway is the well-known armorial columnſ, with the initials (S. C.) of Stefano, who rebuilt the town and castle, as we learn by the inscription, in Gothic characters:–MAGNIFICUs . DNS. STEFAN.—DE COLUMNA REDIFICAVIT- CIVITATEM PRENESTE CU. MONTE ET ARCE . ANNO 1332. The ch., dedicated to St. Peter, was erected in the 17th century, on the site of a pre-existing one of the time of Gregory the Great, and restored in 1730. It contains a picture of the Saviour delivering the keys to St. Peter, by Pietro da Cortona; a statue of the apostle, by the school of Bernini ; and a cippus, now used for a holy-water basin, on which is an in- scription to Publius AElius Tiro, a com- mander of the German cavalry in the time of Commodus. The view from this commanding eminence (2512 ft. above the Sea) can hardly be sur- passed in this district of beautiful panoramas, and the traveller who enjoys it cannot be surprised that Pyr- rhus and Hannibal ascended the hill to reconnoitre the localities about Rome. At the extremity of the plain is the capital, with the dome of St. Peter's rising prominently above all the other Sect. II. PALESTRINA. 369 buildings; in the middle distance we see the site of the lake of Gabii, and the Amio winding through the Campagna from the hills of Tivoli to its junction with the Tiber below the heights of an- cient Antemnae. Immediately in front are the villages and towns clustered on the outer crater of the Alban mount, pro- minent among which are Rocca Priora, Monte Compatri, and Monte Porzio at the foot of this range are Colonna and Frascati, while in the centre of the crater, towering above all the rest, is seen the summit of Monte Pila, con- cealing Monte Cavo from our view. On the I. is the valley of the Sacco, in which we recognise Valmontone, Anagni, Paliano, and Cavi; and on the declivity of the Volscian Mountains, Colle Ferro, Monte Fortino, Rocca Massimi, and Segni : on the rt., among the hills of which Palestrina forms a part, are Poli, Monte Affiliano (the site of AEsula), and the heights of Tivoli. Immediately behind the citadel are lèocca di Cavi and Capramica, most picturesquely perched on the top of 2 pointed peaks. Among the antiquities discovered at Palestrina may be men- tioned the fragments of the Fasti of Verrius Flaccus, mentioned by Sue- tonius, found here in 1773 by Car- dinal Stoppami, and well known to scholars by the learned illustrations of Nibby. They are now preserved in the Vidoni palace at Rome. At a short distance below the town, near the ch. of the Madonna dell’ Aquila, antiquaries place the site of the Forum erected by Tiberius and the Roman municipium ; about a mile farther off are the ruins of the extensive villa built by Hadrian, and enlarged by Antoninus Pius: they give name to the ch. of S. Maria della Villaſ, and cover the surface for nearly # m. The style of their construction presents a great similarity to that of Hadrian’s villa near Tivoli: the colossal statue of the Braschi Antimous, now in the Lateran Museum, was discovered here. On the road to Cavi a mile beyond the Porta del Sole, we cross the Fosso di Palestrina by the Ponte dello Spedaletto, near which is an octagonal ruin bearing a remarkable analogy to that of the so-called Tempio della Tosse at Tivoli. The older anti- quaries described it as a Serapeon, as a Temple of the Sun, and as the Schola Faustiniana; but it is now con- sidered to be a Christian church of the 4th or 5th century. In all parts of the country around the lower town are numerous ruins and traces of foundations, the remains probably of patrician villas; but the description of their imperfect fragments would have little interest, and would in- volve many antiquarian theories which it would be a hopeless task to attempt to reconcile. The traveller will be more gratified with the exami- nation of the fine fragment of the ancient road which commected the Via Praemestina with the Via Labicana: it is paved with massive polygonal blocks of lava, and is still perfect for a considerable distance. From Palestrina interesting excur- sions may be made to Cave, Genaz- zano, Olevano, and Paliano. At Genazzano, Olevano, and Paliano the traveller has before him the choice of 3 excursions: the first, from Genazzano to Subiaco, by S. Vito and S. Francesco di Civitella, through a very picturesque country, during the greater part of which there is now a good carriage- road ; in the second, he may proceed from Olevano to Subiaco by Affile, and, from Subiaco, return to Rome by Tivoli, visiting on his way the site of Ho- race’s Sabine farm, and ascending Monte Gemaro ; and in the third, from Paliano he may visit Anagni, Feren- tino, Segui, and the valley of the Sacco, described in the Handbook for Southern Italy, and either extend his tour to the Pelasgic fortress of Alatri, to Veroli, the most convenient point from which the Grotto of Collepardo can be reached, and proceed to Arpino beyond the Neapolitan frontier, or return to Rome by Cora, Norba, Velletri, and Albano. 370 EXCURSIONS IN THE ENVIRONS OF ROM. F. Rome. above the torrent, surmounted by a baromial castle, which is cut off from the rest of the hill, and protected by a drawbridge. It derives its name CAVE, from the ancient Roman family of Genucia, the ruins of whose villa are 3 miles from Palestrina, a town of still visible. It passed to the Colonnas 1400 Inhab., built on the slopes of at the same time as Palestrina and the Monte di Mentorella, one of Colonna, and was for many cem- the most picturesque places in this turies the stronghold of a branch of beautiful district. The road is ancient threir family. It is said to have been and was probably the line of com- the birthplace of Martin V. It is munication between Palestrina and also remarkable for the treacherous the Via Latina near Amagni : in many murder of his kinsman Stefano Co- parts the polygonal pavement is per- lonna in 1433. In the following year fect. In following this road we tra- it was occupied by Fortebraccio, verse the battle-field on which C. during his attack on Rome. In 1461 Aquilius Tuscus defeated the Her- Pius II. resided here for some time, mici, B.C. 487. We cross the Ponte and in 1557 it was the head-quarters dello Spedaletto, before mentioned; of the duke of Alba prior to the treaty and near Cave pass the fine modern of Cave. It is now remarkable only bridge of 7 arches, built in 1827 over for the beauty of its position, and for a deep torrent, one of the tributaries the rich chapel of the Madonna di Buon of the Sacco. The town was built by Consiglio, one of the celebrated shrines the Colonmas, who held it as early in this part of Italy. At the festa of as the 11th century: it was one of the the Madonna the peasantry assemble dependencies of Palestrina, and shared from all parts of the surrounding coun- in its fortunes and reverses. It is try, and from beyond the Neapolitan memorable for the treaty of peace frontier; there is probably no place in signed in 1557 between the duke of Alba the neighbourhood of Rome in which and the Caraffeschi. Above the town the artist will find so many subjects is Rocca di Cave, with 500 Inhab., 3 m. for his pencil as at the Festa of Ge- distant, upon the summit of a com- mazzano. There are some pretty pieces manding hill. The road from Cave to of pointed architecture here, especially Paliano is good, and one of the most an upper floor in the principal street: beautiful in this district. A steep the only Inn in the place is very in- descent on leaving Cave brings us into different. the valley, whence the road again ascends to the ch. of S. Giacomo and S. Anna, finely situated on a hill over- looking the valley of the Sacco. Be- yond it a road on the 1. hand, through the Olmata, leads to Genaz- Z3. In O, OLEVANo, 6 m. from Genazzano, and 12 from Subiaco, another picturesque town of 3070 souls, built on a rocky hill at the foot of Monte del Corso, in the midst GENAZZANO, of the most romantic scenery, which has been for ages the study of the land- a highly picturesque town of 3100 scape-painters of Rome, who resort Inhab., on the slopes of a steep hill to it in summer for weeks together. Sect. II. ſ. OLEVANO. — PALIANO. 37 Q The little inn above the town is de- Affile to Subiaco 5% m.; the road be- scribed by a correspondent as the “perfection of rustic comfort.” It is en- tirely a town of the middle ages; and is said to have derived its name from the appropriation of its revenues to pro- vide certain churches of its territory with the incense called Olibanum. In the 12th century it was a baronial castle of the Frangipallis, who subsequently exchanged it for that of Tivera, near Velletri, when Olevano became the pro- perty of the Benedictine monastery of Subiaco. In the 13th century it passed to the Colonmas, who held it till the 17th, when they sold it to the Borgheses, who still possess it. The approach to Olevano from the side of Subiaco is extremely fine : the old castle of the 13th century, built by the Colommas on a massive rock, is seen to great advantage; and the insulated hill of Paliano combines with the distant chain of the Volscian mountains to form one of the most beautiful scenes in Italy. In the Piazza is a fountain with an inscription recording the creation of an aque- duct by Pius VI., and its restoration in 1820 by Benedetto Greco, “for the love of his country;” an example of local patriotism which might be advantageously followed in many of the large capitals. The ch., dedicated to Sta. Margherita, is one of the finest buildings in the town. On the E. of Olevano are the ruins of an impe- rial villa, in which numerous ameient fragments and a marble urn with bas- reliefs, now preserved in the castle of the Colonnas at Genazzano, were discovered. A rough but interesting and very beautiful path as far as Rojate leads from Olevano to Subiaco, through that village and Affile. Rojate, a moun- tain-village of 750 Inhab., appears, from some remains of walls built of large rectangular blocks, to occupy the site of an ancient city. Affile is mentioned by Pliny, and its antiquity is confirmed by numerous inscriptions and marble fragments discovered in its neighbour- hood, which we see in the walls of the churches and other buildings. The distance from Olevano to Rojate is 4 m., from Rojate to Affile 5 m., from tween the latter places is very rough, and the excursion can hardly be per- formed in less than 4 hours on horse- back. There is a carriage-road from Subiaco to Olevano in progress, and already finished as far as Civitella. PALIANO, 8 m. from Cave by the direct road, and 5 m. from Genazzano, finely situated on an insulated rocky hill, in the territory of the Hermici, and one of the strongest positions at the en- trance of the valley of the Sacco. Indeed it is rather a fortress than a town, for it is strongly defended by towers and bastions of the 16th cen- tury, and it has only one approach, by means of a drawbridge. The popula- tion amounts to 4500. Paliano appears to have risen in the 10th century, from which time its natural strength made it an important post in the contests of the Roman barons. It was one of the strongholds of the counts of Segni until the pontificate of Martin V., who conferred it on his nephews Antonio and Odoardo Colomna. It is cele- brated for its defence by Prospero Co- lonna against Sixtus IV., when Pros- pero, fearing treachery on the part of the inhabitants, seized the children of the principal citizens and sent them to Genazzano as hostages. It remained in the Colonna family until 1556, when Paul IV., in his quarrel with Marc Antonio, deprived him his of feudal possessions, and conferred Pa- liano on his own nephew Giovanni Caraffa, who was afterwards beheaded by Pius IV. With this donation Paul IV. raised Paliano to the rank of a duchy. The fortifications, which now form the chief feature of the town, were built by the Caraffas, and were so perfectly impregnable by the war- fare of that time, that Paliano be- 3 72 ENVIRONS OF ROME. Rome. EXCURSIONS IN THE came a position of some consequence as a frontier fortress against Naples: of late years it has been converted into a prison for criminals condemned to perpetual or lengthened imprison- ment. After the victory of Marc An- tonio Colonna II. Over the Turks at Lepanto, his family were reinstated in their baronial possessions, and have ever since held Paliano; it gives a ducal title to the present head of the Colonna family. A tolerable road leads from Paliano to Anagni, below which we fall into the road to Naples, through Ferentino, Frosinone, and Ceprano. ZAGAROLO. Travellers who have visited Colonma on their way to Palestrina will do well in returning to Rome to take the road by Zagarolo and the ruins of Gabii. Zagarolo, the ancient Scaptia, is 6 m. from Palestrina, about 21 m, from Rome by the Via Praenestina, and about 3 m. from the modern road to Naples, at San Cesareo, which follows the Via Labicana. It is a town of 4560 Inhab., situated on the Summit of a long ridge of land, almost insulated by two streams that join below the town, which consists of one narrow street nearly a mile in length, and from the numerous antiquifies discovered is sup- posed to occupy the site of an imperial villa. One of these antiquities, a sitting statue of Jupiter with the eagle and thunder-bolts, is placed over the gate towards Rome. Many of the houses are as old as the 13th century: the churches and piazze are decorated with marble columns and inscriptions found upon the spot. Zagarolo was a place of some interest in the history of the middle ages. In the 12th century it belonged to the Colonnas; in the contest of Boni- face VIII, with that family it was de- stroyed by the papal party, and re- built by the Colonnas on their recovery of Palestrina. It was besieged and captured by Cardinal Vitelleschi in the pontificate of Eugenius IV., after a siege of three months, and partly de- stroyed. It became memorable under Gregory XIV. as the scene of the con- ference of theologians commissioned by that pontiff to revise the edition of the Bible known as the Vulgate. An inscription in the palace records this event, and gives the names of the pre- lates who took part in it. In the 17th century it became the property of Prince Rospigliosi, to whose eldest son it gives a ducal title. The palace, situated in the middle of the town, commands an extensive view over the Campagna. GALLICANo, 3 m. from Zagarolo, amd 5 from Palestrina, on the more direct road leading from the latter to Rome; it is supposed to occupy the site of Pedum, one of the towns of the Latin confede- ration; it has a Pop. of 1025 Inhab., and is built on an eminence of volcanic tufa between two torrents, which so completely encircle it as to leave only a marrow neck by which it is entered, as we see in several ancient towns, Veii, Cervetri, &c. Although a fa- vonrite resort of the Romans, scarcely a vestige of ancient monuments is to be met in it. Cicero, Tibullus, and many other eminent personages had villas at Pedum. The present name is attri- buted to Ovinius Gallicanus, Prefect of Rome A.D. 330, who had the honour of being declared a Saint in the Ro- man calendar. In the middle ages Gallicano was an important fief of the Colonnas, who sold it to the Pallavi- cinis, from whom it has descended to Prince Rospigliosi, to the younger branch of which family it gives the title of Prince. Sect. II. or Q º; 'ſ 3 POLI.—GAIBII. POLI, About 1% m. from Gallicano, towards Poli, the road crosses a deep ravime, which is spanned by the so-called Ponte dell’Acqua Rossa, the point of junction of the four aqueducts of ancient Rome, which derived their waters from the upper valley of the Anio, viz. the Anio Vetus, Aqua Marcia, Amio Novus, and Aqua Claudia. Farther on a ride of 4 m., ascending by the Fosso della Mola, will bring the tourist to Poli, formerly a dependency of Palestrina, from which it is 8 m. distant: it is near the opening of a valley from the Apennines, through which descends the Mola torrent; and contains a Pop. of 1 120 Inhab. At the foot of the hill on which it stands is the handsome villa Catema, once the property of the Conti family, one of whom, Innocent XIII., enlarged and decorated it : some fres- coes by Giulio Romano may still be seem : it now belongs to Duke Tor- lonia. Roads lead from Poli to Tivoli (12 m.) across the mountains; to Pales- trina, also through the hills, and a picturesque country (8 m.), descend- ing to the latter by the Castel di San Pietro; and a third through S. Vittorino, passing near to Gabii. GABII. The most convenient mode of visiting the site of this once celebrated city will be from Rome, as, the distance being little more than 12 m., it will form the object of an excursion of 4 or 5 h. only. We have the choice of 2 roads—the one Rome). by the Via Labicama, as far as the Osteria di Finocchio, which is described in the excursion to Palestrina (p. 364), and the second by the Via Gabina or Praenestina, which, although the most hilly, is shorter, and passes over a more interesting part of the Campagna. Emerging from the Porta Maggiore and following the road (Via Praemestina), at the distance of # m. we pass on the 1. a large circular sepulchre, one fifth larger than that of Messalla Corvinus On the Via Appia (p. 321): it is supposed to have belonged to T. Quintus Atta, of the Claudian family. 1% m. from the Porta Maggiore we pass on the rt. the farm of l’Acqua Bollicante, the supposed limits of the territory of ancient Rome, where the Arvales sang their well- known hymn ; and farther on, but to the 1., Several masses of ruins, on the Tenuta, or Farm of the Tor dei Schiavi, which are supposed to form part of the villa of the Gordian Emperors, described by J. Capitolinus : they consist of the remains of a large reservoir; of a consi- derable portion of a circular building which formed a hall of the thermae; and of a round temple having still a part of its dome-shaped roof, and some of the circular openings by which it was lighted. The mediaeval building called the Tor dei Schiavi, rises on a Roman tomb. The Via Collatina, which leads to Lunghezza, a short way beyond this strikes off on the J., and 1% m. farther We pass Tor Tre Teste, a mediaeval tower So called from 3 mutilated busts in relief built into its walls. Beyond this the road, which crosses several streams descending from the Tusculan hills, offers little interest until the 9th m. from Rome, when it crosses a deep ravine by the fine viaduct called the Pomte di Nono, a remarkable Roman work, erected for the purpose of carry- ing over it the Via Praenestina in a straight line, and on a level. The period of its construction is not known, but from its massive nature, consisting of huge rectangular blocks of lapis ga- bimus, and the similarity of its style of masonry to that of the Tabularium of the Capitol, it is considered to belong to the same period (the 7th cent. of It is certainly the finest con- 374 EXCU R SIONS IN THE ENVIRONS OF ROME. Pome. struction of the kind in the vicinity of the capital. By descending into the ra- vine, it will be seen to consist of 7 lofty arches of masonry in horizontal courses, almost Etruscan in their style. The ancient pavement is also still preserved. 2 m. beyond this we arrive at the Osteria dell’Osa, on the bank of the stream of that name. The carriage must be left here, and the remainder of the excursion performed on horse- back; or the carriage can be sent round to opposite Castiglione, about 2 m. far- ther on the Via Labicana. Following the road to Gallicano, we arrive at the S. extremity of the ridge which extends in a N. direction to the tower of Castigliome: we soon reach the ruins of the Temple of Juno and of the Roman municipium. From here follow- ing the ridge which separates the plain of Pantano on the S. from that of Gabii on the W., a walk of less than 1 m. will bring us to the farm-buildings of Castiglione, the supposed site of the most ancient Gabii. In proceeding from the osteria to the ruins we traverse the spot where the subterranean noises on the passage of horses over the hol- low ground are still heard as de- scribed by Pliny: “quardam vero terra ad gressus tremint, sicut in Gabinensi agro mon procul urbe Roma jugera ferme ducenta equitantium cursu.” The site of this ancient city was fully ascer- tained by prince Marcantonio Borghese in 1792, when many of the valuable sculptures now in the Louvre were dis- covered. It is supposed that Castigliome occupies the site of the ancient citadel, and that the city extended from Pan- tano along the ridge above the eastern side of the lake, the highest portion of the lip of the crater. The history of Gabii is too well known to require our entering into details on the subject: it will suffice to state that it was of Alban origin, having been founded by Latinus Sylvius; that it was celebrated by the Roman historians as the place to which Romulus and Remus were sent by Nu- mitor to learn the Greek language; and that it remained independent until it was seized upon by Tarquinius Su- perbus, aided by the treachery of his son Sextius, and fell under the power of Rome without a struggle. It was subsequently ruined in the wars of Sylla, and Horace describes it as de- Serted in his time :- “Scis Lebedos quid sit P Gabiis desertior at Clue Fidenis vicus.” Ep. i. 11, From this state of decadence Gabii recovered in some degree during the imperial period : it acquired a certain celebrity for its baths, which had proved beneficial to Augustus, and in the time of Hadrian became of some importance; to this period probably belong the ruins of the municipium and of the temple of Juno. In the reign of Con- stantine it had fallen totally into de- cay, and is merely alluded to in some ecclesiastical documents as a farm given to the Lateran Baptistery by that Em- peror. The principal ruin, the Temple of Juno Gabina, is celebrated by Virgil in the seventh AEmeid :— “ quique arva Gabinae Junonis, gelidumque Anienem, et roscida rivis #ernica Saxa colunt.” - - The walls of the cella are still perfect, composed of rectangular masses of stone without cement, in the early Ro- man style: many of these blocks are 4 feet long and 2 feet high. The interior of the cella, nearly 50 feet in length, still retains its ancient pavement of white mosaic, with the sacrurium 6 feet deep. Close to this are some fragments of fluted columns of the Ionic order, on which the stucco coating is still visible, and the ruins of the Greek theatre, with remaius of a few of the seats. On the right of the neck of the ridge leading from the ruins of the temple to Castiglione is a continued series of excavations, from which ancient Rome derived its supply of the volcanic stone called lupis gubinus, and of which many of the earliest monuments of Rome have been constructed. Castiglione retains some of its mediaeval walls and its ruined tower of the 13th century, built on the walls of ancient Gabii, a fine fragment of which, composed of rectangular blocks 5 or 6 courses deep, may be seen at the N.W. angle of the tower. Sect. II. 3 LUN GHEZZA.—COL LATIA. : 7 lº The Lake of Gabiñ.—It may appear singular that, though the city is noticed by many of the classical writers, no mention of the lake occurs until the 5th century, when it is found in some docu- ments relating to the martyrdom of S. Primitivus, who was beheaded at Gabji, and his body thrown into the lake, which is confirmed by the discovery of the ancient emissarium, by which it was drained ; the latter being choked up at an early period, the low land was reduced to a swamp, uutil the drain into the Osa was repaired. In the 8th century it was called the Lago di Burrano ; and in the 14th, after the building of Castigliome, it took the name of that hamlet. The whole pro- perty belonged to the Colonnas, who sold it in 1614 to Cardinal Scipio Bor- ghese, in whose family it has since remained. The lake was drained a few years ago by Prince Borghese, under the direction of Canina, who constructed a new emissarium, which has converted it from the state of a pestilential marsh into a district of fertility. About a mile from the Osteria, on the l., following the valley of the Osa, is Castello dell’Osa, supposed to occupy the site of the Alban city of Collatia, which gave its name to one of the gates of Rome, and became celebrated as the scene of the death of Lucretia. The walk through this pretty valley is very agree- able, and the traveller should extend it to Lunghezza, 2% m. lower down, near the junction of the Osa with the Anio, where he may visit its large farm-buildings belonging to Duke Strozzi. LUNGHEZZA, CoLLATIA, &c. Amongst the many agreable excur- cions over the Campagna, there is perhaps none which will offer more beautiful scenery, and occupation to the artist and sketcher, than a visit to Lun- ghezza and a roam through the woods in its vicinity: it may be easily made in a day, the distance from Rome being about 10 m. The road to Lunghezza is the same as that to Gabii (p. 373) as far as the Tor dei Schiavi, and in the rest is good and adapted for carriages, beyond which the tourist must take to foot, or to a light vehicle to be procured there. After branching off from the Via Praenestina, the Via Collatina soon gains the line of the aqueduct of the Aqua Virgo, which it follows for the next 3 m., leaving on the 1. the farms of Grottifredi, of Bocca di Leone, and Cer- varetto, and on the rt. Tor di Sapienza, a mediaeval tower, with a square battle- niented curtain round the base. Before reaching the latter the road to Cerbara, a very picturesque locality, much fre- quented by artists, branches off on the !., the distance being about 1 m., pass- ing near Cervaretto; farther on, to the 1. is the Casale di Rustica, once the pro- perty of Lucullus and of Elius the father of Lucius Verus. 8 m. from Rome a steep descent brings us to the farm of Salone, in a marshy valley, where are the sources of the Acqua Vergine. 24 m. beyond Salone we arrive at Dunghezzº, a collection of farm-buildings, on the site of a baronial castle, formerly the property of the Medicis, from whom it has descended by inheritance to the Florentine Dukes Strozzi: it is situated on a high pro- montory, in a sharp bend of the Teverone, commanding a good view of the river, and of the farm of Casa Rossa, on the opposite bank. A short way beyond, the road crosses the river Osa, from which a bridle-path of 2 m. leads to Castiglione ; during which the tourist will enjoy a lovely view of the Sabine and Alban mountains ; or following the l. bank of the Osa through the woods that clothe its sides, after iſ, m. he will reach Castello d' Oscº, better known among the peasantry as Castel- laccio, the probable site of Collatia, which is marked by a high tower, and an abrupt precipice of lava rising from the bank of the river, corresponding With the description in the “Aeneid – —“Ne Collatinas imponent montibus Arces.” Some remains of an ancient road are met with between Castellaccio and the 376 EXCURSIONS IN THE ENVIRONS OF ROME. Ičome. Osteria dell’Osa, which connected the Via Collatina with that to Praeneste, and a tumulus with some traces of tombs excavated in the tufa rock. It will be scarcely necessary to inform our reader that Collatia was one of the early colonies of Alba, founded by Latinus Sylvius ; that after the destruction of Alba Longa it was held successively by the Sabines and Romans; that here dwelt Lucretia when she was the victim of the brutality of Tarquinius Superbus, which contributed to the fall of the kingly power at Rome; and that the first Brutus was probably brought up here— “Altrix Casti Collatia Bruti.” The tourist if a good walker will be able to visit Collatia, Gabii, Ponte di Nono in the same day, and more easily still on horseback; leaving Rome by the Via Collatina, and returning by Osteria dell' Osa, Poute di Nono, &c. The geologist will observe in the valley of Castellaccio a fine current of lava, on which numerous quarries were opened in ancient times. Cerbara.—This picturesque locality is about 4 m. from Rome, and is most easily reached from the Via Collatina. By taking the first turn on 1. after pass- ing the aqueduct of the Acqua Vergine, before reaching the farm of Cerva- retto, descending afterwards into the ravine, we reach Cerbara, a farm-house on a table-land which forms very pic- turesque escarpments towards the Amio. Here are several grottoes, from which building-stone, a compact variety of vol- canic tufa, was formerly extracted in large quantities. One of these, called the Grotta dei Tedeschi, is sometimes resorted to by the German artists during their festival in May (see p. xxviii). The environs of Cerbara are often made during the fine days of April and May the rendezvous of picnic parties. This as well as the neighbouring castellated farm of Cervaretto, or Cervaletto, upon an eminence of tufa, belong to Prince Borghese. THE VIA NoMENTANA, MonTE SACRO, CATACOMBs of S, ALESSANDRO, MEN- TANA, MONTE ROToNDo, &c. This interesting excursion can be made in a day, embracing the several sites on the Via Nomentana, and re- turning by the Via Salara. Mentana is 14 m. from Rome, and returning by Monte Rotondo 17. - - Leaving Rome by the Porta Pia, we pass a series of villas on the rt. belong- ing to the Roman nobility : that near the gate, the property of the Marquis Patrizzi, has been recently rebuilt, having been destroyed during the siege in 1849. Farther on are the Villas of Duke Massimo and Prince Tor- lonia, the latter containing some pigmy copies of ancient edifices, a very ginger- bread kind of affair. Beyond this a slight ascent brings us to the church of Sant’ Agnese fuori le Mura (see p. 126), from which a gradual descent leads to the Anio, which is crossed by the Ponte Lomentano. This part of the road deviates slightly from the ancient line, the course of which, farther to the 1., is marked by a large brick tomb, called the Sedia del Diavoſo, from its resemblance to a seat as seen from the road, the wall on that side being broken down. The Ponte L. (Pons Nomentanus) was built by Narses after the destruction of a more ancient one by Totila : the upper part and its tower are of the 8th century, the more recent fortifications were added in the 15th by Nicholas V. Soon after crossing the river we pass on each side of the road two large ruined tombs, from which an ascent carries the road over a low hill, the cele- brated Jſons Sacer, where the Roman Plebeians retired, A.U.C. 260, under Menennius Agrippa, to assert their liberties. It is supposed that this gathering took place upon the rising ground overlooking the Anio to the rt., Sect. II. 377 CATACOMBS OF S. ALESSANDRO. where a temple to Jupiter was erected to commemorate it. The name of Sacred, given to the locality, was from the Lex Sºcrata decreed on that memorable occasion. I m. farther are the castellated farm-buildings and villa of Casal dei Pazzi, before reaching which a road branches off to the rt. leading to the Casale delle Belle Donne, and the valley of the Allia, a very agreeable drive of 4 m. over the Cam- pagma. Beyond Casal de’ Pazzi the road skirts the valley of the Cecchina, and on the top of the ascent beyond inscriptions; in the centre stands the altar, the table consisting of a slab of porphyry, supported by 4 rude Corin- thian pillars in giallo antico; beneath is a sarcophagus composed of marble slabs, in which lay the body of St. Alexander, enclosed within a marble screen, on which are engraved the words “ET ALEXANDRO DELICATVS VOT POSVIT.” The name that preceded the first word was probably that of Eventius. Behind this altar is a kind of apse containing a rude bishop's seat, for we are told that this ch. was served by an Episcopus passes a ruined brick tomb called la by the inscription also on the screen Spunta Pietra, an elegant little edifice round the altar, CONSECRANTE EPIs. in the style of that of the Divus Redi- VRS. (Ursino.) Opening out of the ch. culus (p. 32), consisting of an upper on the 1. is a small chamber paved in and lower chamber, with traces of marble, which is called, without any ornamental stucco-work in the former. authority, the Oratory of S. Theodulus, Some fragments of the ancient pave- near which a door leads into the cata- memt are seen near here on the side of combs or cemetery of S. Alexander, the modern road. Near the 6th m., and which resemble those we have seen on our l., are the farm-buildings of about Rome: the graves, however, have Coazzo and Pietra Aurea, and on the been less disturbed, several with their opposite side of, and close to, the road, inscriptions remaining being still closed. the ORATORY and CATACOMBs of ST. One has been opened, and all the ALEXANDER. In speaking of the cata-' objects found in it placed within a combs in the more immediate vicinity grating. These catacombs are of con- of Rome, we have alluded to the dis- siderable extent, and as yet have been covery made here, in 1853, of an early but partially examined. Returning to Christian ch. : it was well known from the vestibule, which contains the remains the History of the Martyrs, that Pope of a marble vase found in the vicinity, Alexander I., who had suffered in the but without authority called a baptis- reign of Trajan, A.D. l 17, had been 'mal font, and 2 Corinthian columns in buried here, with the Presbyter Even- granite, we enter on the 1. a second tius and the Deacon Theodulus, in a ch. with a semicircular apse, paved cemetery on the estate of a Roman lady with sepulchral inscriptions : this build- named Severina, recently converted to ing is supposed to have been destined for Christianity. Here was erected in the catachumens or females. The founda- 2nd cent, an Oratory to St. Alexander, tions of an immense ch. were laid in but after the Peace of the Church, 1857 by Pius IX., and considerable when larger space was required, the progress in its erection has been already oratory, originally underground, was made. It will enclose as a crypt the laid open, and a church built over, whole of the subterranean churches, the ruins of which have been recently disinterred, and into which the bodies of the martyr pope and his companions had been removed. This ch., now below the general level of the Cam- pagna, consists of 4 portions: descend- a kind of vestibule, out of which opens on the rt. the principal oratory, the floor of which is paved with fragments of marble, with some early sepulchral ing by a flight of steps, we arrive in and it is proposed to annex to it a confraternity of Trappists, with an Agricultural establishment under their guidance. | S. Alessandro a permission is necessºry, [To visit the catacombs of which can be obtained without difficulty at the office of the Cardinal Vicar (see p. 306), or from the Secretary of the Propaganda, to which the surrounding estate belongs.] | Beyond S. Alessandro we follow the 37 S IEN VIRONS OF ROM E. Rome. EXCU RSIONS IN THE line of the Via Nomentama, portions of the ancient pavement of which are here and there seen for the next 2 m., until we reach the Casale di Cronpo Bianco. Here the road bifurcates, the branch on the rt. leading to Palombaro, the other to Mentana. Following the latter, we pass over for more than } m. an ancient pavement, perhaps the best preserved specimen of a Rouman road near the capital, before reaching the farm-buildings of le Case Nuove. From here commence a series of ascents and descents, following the top of the ridge that separates the waters flowing into the Allia on the 1., and to the Amio in an opposite direction. About 11 m. from Rome we leave on the 1. the Torre JLupara, one of the finest of the mediaeval defences of this description, consisting of a base of black lava, the centre of red and yellow brick, and the upper portion similar to the base. A short way farther are the ruins of the Casale di Monte Gentiſe, the pro- bable site of Ficulea. Beyond this 2 ruined tombs mark the direction of the Via Nomentana. [The geologist will here observe that the volcanic rocks dis- appear, the hills around being composed of marine tertiary marls (pliocene), abounding in fossil shells ; upon these strata grow the picturesque oak woods, which form such a contrast with the bare Campagna.] From this part of the road the views down the valleys of the Allia and the Fosso di Quarto, towards the Tiber, are very beautiful, whilst those towards the Monte Gemaro and the Corniculan hills at its base are extremely grand. The highest part of the road is attained about 4 m. before reaching Mentana, to which a well- managed descent leads. MENTANA, the ancient Nomentum, one of the oldest of the colonies of Alba in the Sabine territory, and founded by Latimus Sylvius, contemporaneosly with Fidenæ, Gabii, and Crustumerium. It is conse- quently the only one of these celebrated sites of the Prisci Latini which still continues to be inhabited, owing pro- bably to its more healthy and elevated position (700 ft.). Nomentum was a place of some importance during the Roman Empire: its territory was then, as it still is, celebrated for its wines: Ovid, Martial, and Seneca had villas in the neighbourhood : it was the seat of a bishop as early as A. D. 415: during the middle ages we find it designated as Civitas Nomentana. As Mentana, it acquired some celebrity from the meet- ing between Pope Leo III. and Charle- magne, when the latter came to Rome in A.D. S00 to. receive the Imperial Crown ; and in the following cent, as the birthplace of Crescentius, who played an important part in the affairs of Italy in the 10th cent, and who was so barbarously put to death by Otho II. in 996 after his gallant defence of the Castle of S. Angelo against that tyrant. After various vicissitudes Men- tana passed by gift of their kinsman Nicholas III., into the hands of the Orsinis, from whom it was purchased for the enormous sum in those days, of 250,000 scudi by the Perettis: it, as well as its territory, now belongs to the elder branch of the Borghese family. The modern town is a miserable place with 540 Inhab., consisting of one street, the continuation of the high road, and of the baronial castle, sur- rounded by an agglomeration of hovels, a sad picture of Iuisery and squalidity. The castle, on the slope of the hill, is founded upon massive substructions towards the valley, which date from the 13th cent. ; the feudal castle itself dates from the 15th, and bears the arms of the Perettis; there is a good pointed gate in white marble opening into the upper court, with an ancient bas-relief of a horse over it; and the palace contains a large baronial hall, but has been much neglected. In the street near the ch. are some masses of marble, used as seats by the inhabitants, bearing the names of the families of Herennius and Brutius. The Via Nomentana, no W Sect. II. 379 MONTE ROTONIDO. —VEII. scarcely practicable for wheeled vehi- cles, continues in a northerly direction, passing by the ch. of la Pieta to Grotta Maruzzº, 3 m., the probable site of the ancient Eretum ; from where it con- tinued until it joined the Via Salaria, between Correse (Cures) and Nerola. A bridle-road leads from Mentana to the Osteria Nuova, 4 m., from which excursions can be most easily made to Santangelo in Capoccia and Monticelli, the representatives of the ancient Medullia and Corniculum. A fair road (in dry weather, the soil being a stiff clayey marl covered with volcanic tufa) connects Mentana with MonTE ROTONDo, a town of modern origin, and one of the most important in the province of la Sabina, having a Pop. of 2235 Inhab. The territory around is fertile, planted chiefly in vines, the wine made from which enjoys a high reputation at Rome. From its elevated position its climate is tolerably healthy, and is less exposed to the influence of malaria than the subjacent district along the Tiber. The principal feature of the town is its baronial castle, built on the ruins of one of the mediaeval strong- holds of the Orsinis, from whom it passed to the Barberinis: it now belongs, with a considerable part of the sur- rounding territory, to Prince Piom- bino. The interior, nearly unfurnished, contains a fine carved ceiling, and some frescoes and decorations of the time of the Barberinis; its principal attraction, however, is the high tower which rises on it, from which the view over the valley of the Tiber, the N. Campagna, embracing Rome itself, and the whole of the Sabine mountains, encircling the low region occupied by that people, is extensive and magnificent beyond ex- ample. There are few points from which the topography of the ancient territory of the Sabines, and of the adjoining parts of Etruria and Latium, can be better surveyed. In the principal church, la Collegiata, there is a picture of the patron, S. Magdalene, attributed to C. Maratta, and in that of S. Stefano one to Mºntegna. From Monte Rotondo a good road of 2 m. descends to the Via Salara, at la Capanella, 13 m. beyond which is Fonte di Papa, on the edge of fine meadows extending to the Tiber; and 1 m. farther the Osteria di Forno Nuovo, on the hill above which is the Casale of St. Colomba ; 3 m. beyond this the Casale di Marcigliana stands on an eminence on the 1. ; and 1 m. farther still the bridge of Malpasso over the Allia, close to where that stream enters the Tiber; the farm-buildings on the 1. are those of Le Sette Bagni; a slight ascent follows over the low neck of land which joins Castel Giubeleo, the citadel of Fidenae, to the site of the ancient city, from which a drive of 2 m. over the plain brings us to the Ponte Salaro : the rest of this route being described at p. 386 in this vol. (See also Hamd- book of Central Italy, Rte. 98.) The railway in progress from Bologna to Rome runs parallel to the Via Salara, until about 4 m. before reaching the bridge, where it branches off on the 1. to pass through a long tunnel, and to follow afterwards the valley of the Anio, which it will cross higher near the Ponte Lomentalmo. VEIT, about 12 m. from Rome, close to the high road to Florence, between the post-stations of La Storta and Baccano. A carriage for 4 persons, to go and 380 EXCURSIONS IN THE ENVIRONS OF ROME. Rome. return in the same day, may be hired the other side of the river. Visit the for 4 scudi. No beds, can be obtained piers of an Etruscan bridge, the Ponte at any place nearer to the ruins than La Sodo, and the Porta Spezzeria; from the Storta, so that the traveller who desires latter Campana's painted tomb is about to explore them in detail must take up m. distant. Tourists having time at his quarters there. At Isola a cicerone their disposal can follow the Cremera called Filippo Domesi may be found. in its downward course to its junc- He is well acquainted with the localities, 'tion with the Fosso dei Due Fossi; but and can provide donkeys. To see the as there is little to see, except the Mill, the Ponte Sodo, the Columbarium, fine scenery, it may be better, after and the Painted Tomb will not require seeing the Columbarium, inside the Porta more than 2 hours. The Arx will re- Spezeria, and the Roman pavement, to strike across the table-land to the quire another hour. To visit all these, and make the complete circuit of the Piazza d'Armi, about 1% m. off: from city, will occupy altogether 4 hours. the highest part of this path there is a The traveller who goes to Veii in a car- splendid view over the Campagna. riage must proceed a short mile from From the Piazza d'Armi a walk of La Storta, just beyond the 10th modern less than an hour along the torrent, milestone from Rome, where he will find during which the Arco di Pino can be a road on the right leading to Isola visited, will bring us back to Isola: the Farnese, and to the site of the ancient whole of this tour will occupy between city. Those who proceed on horseback 3 and 4 hours. In the interior of the or on foot will turn off from the high plateau of Veii there is little worth the road at the 5th m. near the Tomb of trouble of a scramble through its woods Vibius Marianus, where an ancient road and briers. branches off on the rt. hand, which The discovery of the true site of Veii appears, from the vestiges of pavement is one of those interesting results for and foundations of tombs still visible, which we are indebted to the study of to be the Via Veientina. One of the Etruscan antiquities, which has made latter, near the farm-buildings called such rapid progress within the last few Ospedaletto, is remarkable for its size. years. The recent researches among After crossing the torrent called the the buried cities of Etruria have done Turia, or Valchetta, near which are the rnins of another tomb, the road turns to the 1. or N.W., and from this point along the table-land between the val- leys of the Valchetta and of the Cre- mera. Ascending the valley above the junction of the Cremera with the Fosso de' due Fossi (the 2 streams which surround the site of Veii), we pass the more to elucidate the early history of Italy than the speculations of the anti- quaries, or the uncertain records handed down to us by the Romans themselves. As early as the 15th century the Italian antiquaries began to discuss the locality of this celebrated city; and from that period to the beginning of the present century no spot has been more the Sub- Arco di Pino, an arch in the tufa, by |ject of speculation and dispute. Recent which the road in ancient times is sup- discoveries have added Veii to the posed to have descended to the river. number of those ancient cities whose The elevated ridge on the side of this existence is proved to be no fable, and valley is supposed by Sir W. Gell to have established beyond a doubt that it be that occupied by the Roman camp was situated between the two streams during the siege. | above mentioned, below the rocky citadel The easiest and most expeditious of Isola Farnese. Independently of the mode of seeing the different objects evidence afforded by the ruins, inscrip- about Veii, will be, starting from Isola, tions bearing the names of well-known descend to the Molino, follow the J. bank | Etruscan families have been discovered. of the torrent as far as Ponte dell' Isold, The most remarkable are those of the crossing which, continue along the oppo- Tarquitii, celebrated by Virgil, and site bank of the Cremera, having the mentioned by Livy among the families walls on the rt., and the Necropolis on which embraced the cause of Rome Sect. II. 381 VEII. during the siege : they gave name to the Libri Tarquitiami used by the au- ruspices, and consulted as late as the 4th century by the emperor Julian in his ex- pedition against the Persians. Before we proceed to examine the antiquities, we may remind our readers of the de- scription of Dionysius, who says, in speaking of the third war in which Romulus was engaged against Veii, that it was the most powerful of the 12 cities of the Etruscan League, distant from Rome 100 stadia, situated on a lofty and insulated rock, and as large as Athens. The distance of 100 stadia is exactly 12% m. from the capital, cal- culating 8 stadia to the Roman mile; the other points of the description will be adverted to hereafter. We shall not dwell on the facts of the early history of Veii: every traveller may be pre- sumed to be acquainted with the long wars it sustained against Rome, and with its celebrated siege and capture by Ca- millus, who entered the citadel by means of a mine, B.C. 393, after a 10 years' siege. On the fall of the Etruscan city the site was long deserted and apparently forgot- tem until the time of Julius Caesar, when an Imperial municipium arose in the centre of it, far within the circuit of the aucient walls. Propertius tells us that the Etruscan area was converted into pastures in his day:— “Nunc intra muros pastoris buccina lenti Cantat, et in Vestris ossibus arva metumt.” Eleg. 4, 11. In the reign of Hadrian, Florus says, “Who now knows the site of Veii 2 What ruins, what vestiges of it are visible 2 It is difficult to put faith in our annals when they would make us believe in the existence of Veii:'' a remarkable passage, as the Roman mu- micipium was then flourishing within a short distance of the Etruscan walls which we shall presently motice. In the middle ages the situation of the ruins, so mear the high road, was not likely to escape the attention of the barons in their system of predatory warfare. Certain ecclesiastical documents inform us that in the beginning of the 10th century a castle existed on the isolated rock which is now considered to have formed the citadel of the ancient city. It derived from its position the name of Isola, being called the Isola di Ponte Veneno, and in more recent times the Isola Farnese. This tower was a posi- tion of some strength, as the hostages sent by the emperor Henry V. to pope Paschal II. were placed in it for security. In the 14th century it was held by the Orsinis, and in 1485 was captured by Prospero Colonna. In the contests of Alexander VI, with the Orsinis, Isola was besieged by Caesar Borgia, and cap- tured after a 12 days' siege, when the greater portion of the castle was de- stroyed. It appears at a later period to have been incorporated with the duchies of Castro and Roncigliome, and to have derived from their possessors the name of Farnese. In the 17th centy. it passed to the Government, aud was sold in 1820 to the duchess of Chablais, from whom it descended to the queen of Sar- dinia, and from her to the late empress of Brazil. Although Nardini and Holstenius had both fixed the site of Veii at Isola Farnese, Sir William Gell was the first antiquary who produced a satisfactory plan of the city. He examined and traced the ancient walls throughout the greater part of their circuit; and was convinced that the account of Diony- sius, describing the city as being as large as Athens, was not exaggerated. The few fragments of wall thus disco- wered, concealed among tufts of brush- wood and by accumulations of soil, are composed of quadrilateral blocks of tufa, some of which, particularly on the northern and eastern sides, are from 9 to 11 feet in length. Sir W. Gell con- sidered that the table-land at the east- ern extremity of the ancient city, called by the peasants the Piazza d' Armi, was the Etruscan citadel, and that Isola stood outside the walls. Mr. Dennis considers, from the sepulchral caves and niches, “most of them apparently Etruscan, which are hollowed in the rock in every direction, that Isola was nothing more than part of the Necro- polis of Veii.” Nibby thought that Isola was too commanding and too important an elevation to be allowed to remain without the walls by a people so warlike 3S2 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. as the Etruscans, and consequently re- very ruins have garded it as the ancient Arx, on which stood the celebrated Temple of Juno, into which the mine of Camillus peue- trated. He considers that the Piazza d’ Armi may have been a second Arx, and that the modern name has perhaps pre- served a record of the fact. In the flanks of Isola are numerous sepulchral cham- bers, but no trace of the cuniculus of Camillus has been discovered. The site of Veii, as we have stated above, lies between two streams. The first of these is the Fosso di Formello, the ancient Cremera, well known in the history of the wars of Veii with the Fabii : it rises under the Monte del Sorbo, to the W. of Baccano, and encircles the site of Veii on its N. and E. sides. The second stream rises near Torretta, on the 1. of the Via Cassia, and is tra- versed by the modern road near the Osteria del Fosso, 12 m. from Rome : near Veii it precipitates itself in a fine cascade over a rock 80 feet high, and then proceeds along a deep channel, separating Isola from the rest of Veii: at the south-eastern extremity of Isola it receives two small torrents, called the Storta and the Pino, and is thence called the Fosso de' due Fossi: it joins the Cremera below the Piazza d' Armi. These two streams very clearly define the triangular space occupied by the Etruscan city. We shall now proceed to trace the circuit of the walls, and point out the position of the gates which may still be recognised. It is necessary, how- ever, to apprise the traveller that the ruins are undergoing such constant changes that no description can hold good even from year to year. Mr. Dennis says, “Every time I visit Veii I am struck with the rapid progress of destruction. Nibby and Gell men- tion many remains which are no longer visible. The site has less to show on each succeeding year. Even ma- sonry, such as the pier of the bridge over the Fosso di Formello, that from its massiveness might defy the pilfer- ing of the peasantry, is torn to pieces, and the blocks removed to form walls or houses elsewhere, so that, ere long, I fear it will be said of Veii, ‘ her ! i perished.’ ” Begin- ning with the road from Isola to Formello, we descend into the valley of the Molino, or Mill, in a very pictu- resque situation, where the torrent pre- cipitates itself by a handsome cascade over a vertical precipice of volcanic tufa ; there was a gate here. Proceed- ing along the river-side we soon reach the Ponte dell' Isola, an ancient bridge of a single arch, 22 feet in spam : the gate, which opened opposite to it, is supposed to have been the entrance of the road from the Septem Pagi, and has been called from that circumstance the Portº de' Sette Paſſi, through which passed the road from Veii to Sutri. Fol- lowing the stream downwards, oppo- site Isola is a gate which appears to have been formed in the walls which united the town with the citadel on the rock of Isola, and called the Porta dell’ Arce. E. of Isola on the plain below the rock, near the junction of the Fosso del Pino with that of Isola, are some mineral springs, and another gate called the Porta Campººna. Beyond, on the S.E., and in the ravine separating the plateau of Veii from its Arx or Piazza d'Armi, are the ruins of a gate in the direction of Fidenae, called the Porta Fidenate. Near this a curious postern and a flight of steps of uncemented Etruscan masonry, called “La Scaletta,” were discovered in 1840, by Mr. Dennis. Descending along the base of the Piazza d'Armi, and afterwards ascending the valley of the Cremera, we may trace the gates in the eastern and northern circuit of the city : the first is the Porta di Pietra Pertusa, in the direction of the Pietra Pertusa, a remarkable cutting by which the road from Veii joined the Fla- minian Way. On the road, which is supposed to have opened beyond this gate, is a large tumulus, called La Vaccareccia, with a crest of trees, forming a conspicuous object in the Campagna. It was excavated by the queen of Sardinia; but nothing was discovered to confirm Gell’s suggestion, that it was the tomb of Propertius king of Veii, or of Morrius, the Veientime king who instituted the Salian rites. Higher up the stream is the gate called Sect. II. 383 VEII. &T, the Porta Spezieria by Camina: all the internal fortifications of this gate, forming a kind of piazza, have been preserved, together with the remains of a massive bridge composed of quadrangular blocks of tufa ; two Pertusa, the other to Monte Musino, a remarkable conical volcanic hill eastward of Baccano, surrounded by broad artificial terraces, whose sum- mit, clothed with fine groves of oaks, and commanding a noble view, is still crowned with the ruins of a circular building supposed to be the Ara Mutiae, the Temple of the Etruscan Venus. Inside the Porta Spezieria are some remains of an Etruscan Columbarium, in the form of pigeonholes irregularly pierced in the projecting tufa rock; and higher up a well-preserved frag- ment of a Roman road. Between this and the next gate Sir W. Gell describes Some fragments of the ancient walls, composed of enormous blocks of tufa, many of which were 10 ft. long and 5 ft. high, but they no longer exist; the walls rested on a triple course of bricks each about a yard in length, a pecu- liarity of construction which has not been observed in any other Etruscan city. The next gate was the Porta Cupenate, before which is the Ponte Sodo, a bridge excavated, like a tunnel, in the tufa, 240 ft. long, 15 ft. broad, and 20 ft. high, to afford a passage for the river : it is so covered with trees and brushwood that it may easily be passed without notice, although it forms one of the most picturesque objects dur- ing the excursion. This gate was pro- bably the principal entrance to Veii from the N., and that by which the roads from Capena, Falerii, Nepetum, &c., entered the city. The hills on the N. side of the stream here formed the principal mecropolis of the Etruscam city. The tumuli in the neighbourhood of the Ponte Sodo were explored by Lucien Bonparte, who discovered in them some beautiful gold ornaments. Beyond this is the Porta del Colombario, which derives its name from the ruined Columbarium near it. Some of the polygonal pavement of the road which led from this gate to Formello may still be traced, with its kerb- stones and ruts worn by ancient chariot-wheels; remains of the pier of the bridge are also visible in the bed roads led out of it, one to La Pietra of the Formello. Farther on are some fragments of the city walls, resting on bricks like the portion already de- scribed. The last gate is the Porta Sutrina, a short distance from the Ponte di Formello, a bridge of Roman brick- work built upon Etruscam piers. The ancient road which entered Veii by the gate of Fidenae passed out of it here, after traversing the whole length of the city, and fell into the Via Cassia near the 12th milestone on the modern road from Rome. The gate faces Sutri, and is supposed to have led to it. This brings us back to the Ponte dell’ Isola, from which we commenced our survey. The circuit of the walls we have now described is supposed to be about 6 m. In the plain on the N. side, which they enclose, are several traces of a Roman road and some vestiges of tombs and a columbarium marking the site of the Roman muni- cipium, founded by the emperors on the site of the Etruscan city. It was about 2 miles in circumference. The columbarium is now the only repre- sentative of the Roman settlement: it was found entire, and the interior was ornamented with stucco and paint- ings, but all of these are now destroyed, and the 3 chambers of which the build- ing was composed are in a state of ruin. Near it were found the 2 colossal heads of Tiberius and Augustus, the sitting colossal statue of Tiberius pre- served in the Vatican Museum, a mu- tilated statue of Germanicus, and some other interesting fragments of the im- perial period. On the other side of the valley of the Formello, half-way up the slope of the mound called the Poggio Reale, is the very interesting Painted Tomb, disco- vered by Marchese Campana in the winter of 1842, the key of which is kept at Isola by the farmer, who will en- deavour to exact a dollar for lending it, an imposition that ought to be re- sisted, the tomb being the property of the government. It is the only tomb which is now open at Veii, and, as it is one 38.4 IEXCURSIONS IN THE ENVIRONS OF ROME. Rome. of the most ancient which has yet been discovered in any Etruscan city, it will not fail to interest the traveller and anti- quary, to whom the discoverer has rendered an important service, by leav- ing it with its furniture in the exact condition in which it was when opened. The passage cut in the rock leading to the tomb is guarded by 2 crouching lions, and the entrance itself is similarly guarded. The vault is a low gloomy chamber excavated in the volcanic rock, with a door formed of converging blocks of the earliest polygonal construction, and as best seen from the inside. The walls are covered with grotesque paint- ings of men, boys, horses, leopards, cats, winged sphinxes, and dogs, remarkable for their rude execution, their strange colouring, and disproportionate forms. These paintings are of the highest an- tiquity, and are remarkable as being much ruder and less Fgyptian in their character than those discovered in the painted tombs of Tarquinii and other Etruscan sites. Projecting from the walls on either side of the tomb is a bench of rock, on each of which, when it was opened, lay a skeleton, but exposure to the air soon caused both to crumble into dust. One of these had been a warrior, and on the rt. -hand bench are still preserved por- tions of the breastplate, the spear-head, and the helmet, perforated by the wea- pon which probably deprived the war- rior of life. The other skeleton, from the absence of armour, is supposed to have been that of a female. Micali remarks that the style and decorations of this tomb show no imitation of the Egyptian, and that “all is genuinely national, and characteristic of the pri- mitive Etruscan school.” The large earthen jars, which were found to com- tain human ashes, are in the earliest style of Etruscan art. An inner and smaller chamber, with two beams carved in relief on the ceiling, has a low ledge cut in the rock round 3 of its sides, on which stand square cinerary urns or chests, also containing human ashes, with several jars and vases. In the cen- tre is a low bronze brazier about 2 ft. in diameter, which doubtless served for burning perfumes. On the wall op- posite the doorway are painted 6 small many-coloured discs or paterae, the exact nature of which has been the Subject of much and hitherto inconclu- sive discussion. Above them are many stumps of mails in the walls, which have rusted away with all trace of the articles which were suspended from them. At the entrance of this double chamber were smaller ones on each side of the vestibule, intended probably for the dependents of the family. It is a peculiarity of this sepulchre that, unlike most other Etruscan tombs, it has no epitaph or inscription whatever, on sar- cophagus, urn, cippus, or tile, to record the name of the chieftain or hero who was interred in it. The antiquariam traveller will find a detailed description of Veii, accompanied by numerous plans, maps, and views, in in Camina’s ‘l’Antica Citta di Veii,' printed at Rome in 1847, at the ex- pense of the queen dowager of Sar- dinia; in his great work on the Etruria Maritima; and in the first vol. of Mr. Demnis’s work on the ‘Cities and Ce- meteries of Etruria.” The modern hamlet of Isola is in a state of decay. The buildings are chiefly of the 15th century; the appear- ance of the population, which seldom exceeds 100 souls, bears sufficient evi- dence of the prevalence of malaria. The church, dedicated to the Virgin and to St. Pancrazio, was built in the 15th cen- tury, after the siege by Caesar Borgia; it contains a fresco of the Coronation of the Virgin, a work probably of that period. The tourist, instead of returning to Rome by the same road, can descend the valley of the Cremera to where it empties itself into the Tiber, between the 6th and 7th m. on the Via Flaminia; the valley is picturesque, but the trip must be performed on foot or horseback: passing by the Casale di S. Giovanni on the 1., where there are some Roman remains, and afterwards the Casale di Walchetta, on the opposite side of the river, one of the supposed sites of the de- feat of the Fabii; or by another, but more circuitous, path by the tumulus of the Vaccareccia, and the tumuli of la Pietra Pertusa, to the Via Flaminia be- yond the Osteria of Prima Porta, which is Sect. II. FIID ENAE AND ANTEMNAE. 385 about 8 m. from Rome, near the Ro- under the walls. There was evidently man station St.ca ſºubra. The drive a gate also in the hollow which runs from P. Porta is an agreeable one to from the platform of the city to the Rome, the road crossing the valleys junction of the Aniene and the Tiber, of the Cremera, or la Valchetta, of the where there is now a little islet. Pro- Crescenza, and of the Aqua Traversa, bably there was another gate towards. and passing 3 m. before reaching the the meadows, on the side of the Acqua latter the Sepulchre of the Nasos, de-, Acetosa, and another opposite: and scribed at p. 68. from these 2 gates, which the nature of In the ravines around Veii the geo- the soil points out, one road must have logist will find matter for observation ; run up a valley tending in the direc- in the vicinity of Isola, the principal tion of the original Palatium of Rome; rock is a volcanic conglomorate, con- and the other must have passed by a taining huge fragments of a perfectly ferry towards Veii, up the valley near black pumice, reposing on strata of the present Tor di Quinto. It is not ashes deposited under water, whereas uninteresting to observe how a city, the black pumice breccia is annongst destroyed at a period previous to what the most recent of the subaërial deposits is now called that of authentic history, of the Campagna, contemporaneous should, without even one stone remain- with the lava-currents of Sette Vene, ing, preserve indications of its former Capo di Bove, &c. &c. |ºisºnº. From the height of An- temnae is a fine view of the field of battle between the Romans and the |Fidenates, whence Tullus Hostilius despatched M. Horatius to destroy the city of Alba Longa. The isthmus where the 2 roads from Palatium and Veii met unites with the city a higher eminence, which may have been another FIDENAE AND ANTEMIN.E. citadel. The beauty of the situation riv - . . . . is such that it is impossible it should The traveller who desires to visit not have been selected as the site of a - - - º | º & º - s the sites, of these ancient cities from villa in the flourishing times of Rome.” Rome will have the choice of two roads: (;cil. º ‘. which *: º º º the A steep descent by the modern road, la Salala runs direct from the Porta which passes near the E. side of the iº ‘....". º Fº by §. hill of Antemnae, brings us to the Ponte Orta del Popolo, and, leaving the Salaro, a bridge of 3 arches crossing road to Florence at the Casimo di Papa the Anio, the piers of which, built of Giulio, takes that on the rt. to the Acqua square blocks of red tufa, may be of tºº. ſº a. Fº º: the º Roman º • 3 ss. Than a mile, leads to cased with travertine in the 6th centy. the foot of the hill, the site of ancient by Narses, who rebuilt it. The Ponte *"...º.º.º.º. *...* *-* - 2 3 cities whose the military operations before Rome in . became the mothers of the 1849, when all the bridges on this side Ol]] &ll] Tál Cé. of the city were blown up to prevent “It seems that the high point nearest the advances of the French besieging the road was the citadel of Antem- army. Bevond the Ponte Salaro we nae; and the descent of 2 roads now º the ruins of a Roman sepulchre scarcely perceptible, one towards Fide-" on the 1., from which the road for the nº and the bridge, and the other to- next 2 m. rums across the plain called 5. º *. * º . 3. #. Prato Rotondo, having the Tiber at a n the other side of the knoll of the short distance on the 1., and the low citadel is a cave, with signs of artificial range of hills that extend from the rt. cutting in the rock, being a sepulchre bank of the Amio to Fidenae. It was [Rome.] S 386 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. in this plain, rich in meadows and pas- turage, that many bloody encounters took place between the Romans and Etruscans during the kingly period, and especially the memorable one with the Fidemates and Veientes, which, in consequence of the treachery of Mettus Fuffetius, the leader of the auxiliaries from Alba Longa, led to the destruction of that town by Tullus Hostilius. It is also in this plain that antiquarians place Hannibal’s en- campment before Rome after his re- treat from Capua. 2 m. beyond the bridge the road runs along the base of the hill on which are situated the Casale of Lºt Serpentarct, and, farther on, the Tilla Spºdºt, where some topographers place the Villa of Phaon, celebrated as the place where Nero put an end to his miserable existence. It is more likely, however, that it was about half way between the Via Salara and Via Nomentana, the whole of which space was occupied by the grounds of the freedman of the emperor. From the Villa Spada a gradual ascent of about a mile brings us to the highest point of the road, passing over a depression on the hill that separates the table-land on the rt., upon which the city of Fi- dema is supposed to have stood, from that of its Arx or Citadel, which is now marked by the farm-buildings of Castel Giubeleo, on a precipitate eleva- tion, overlooking from about half a mile the 1. bank of the Tiber. No ruins are visible, either on the site of the ancient city or of its citadel, if we except the artificial excavations on the face of the cliffs, some of which were evidently made for sepul- chral purposes; indeed, it was scarcely promontory of the city, there is a cave, running far into the rock, and branch- ing off into several chambers and passages. Fidenae, like Veii, is said to have been taken by a mine; and this cave might be supposed to indi- cate the spot, being subsequently en- larged into its present form, had not Livy stated that the cuniculus was on the opposite side of Fidemae, where the cliffs were loftiest, and that it was carried into the Arx. The chief necro- polis of Fidenae was probably on the heights to the N.E., called Poggio de' Sette Bagni, where are a number of caves; and here, also, are traces of quarries, probably those of the soft rock for which Fidema was famed in ancient times. The walls of Fidenæ have utterly disappeared ; not one stone remains on amother, and the broken pottery and the tombs around are the sole evidences of its existence. Yet, as Nibby observes, ‘few ancient cities, of which few or no vestiges re- main, have had the good fortune to have their sites so well determined as Fidenae.’ Its distance of 40 stadia, or 5 m., from Rome, mentioned by Diony- sius, and its position relative to Veii, to the Tiber, and to the confluence of the Anio with that stream, as set forth by Livy, leave not a doubt of its true site.”—Denmis. An excursion, including Antemmae, Fidenae, and Veii, may be made in the same day, by a good walker, by leaving Rome at an early hour. Passing through the Porta Salara, An- temnae can be reached in less than an hour; a couple of hours will suffice to examine Castel Giubeleo and the site of Fidenae; after which, crossing the possible that any should remain, Fi- Tiber in a boat, which may be some- demac having been destroyed more than times met with below Castel Giubeleo, four centuries before our era. The a path of about 5 m. will bring him modern buildings of Castel Giubeleo |from the Casale delle due Case, where date from the time of Boniface VIII. ; the valley of the Cremera opens into the farms around belonging to the the plain, and where it empties itself Chapter of St. Peter's. into the Tiber, along the 1. bank of “Making the circuit of Castel Giu-j the Cremera to Veii, passing by on the beleo, you are led round till you meet | 1. and upon a projecting promontory the road, where it issues from the the Casale della Valchetta, and on the hollow at the northern angle of the rt. that of S. Giovanni, where there city. Besides the tombs which are are some remains of Roman tombs, found on both sides of the southern and which may be the spot that wit- Sect. II. BRACCIANO AND ITS LAKE. 387 nessed the defeat of the 300 Fabii. Or, sona stream, descending from the hills instead of returning by Veii, a very of Cesano, is crossed, and a mile far- agreeable excursion may be made up ther on We reach the Osteria Nuova, the valley of the Allia, which opens very nearly on the site of the Roman on the rt. half a mile beyond Castel station of Careiae of the Antonine Itine- Giubeleo, passing by Sette Bagni, rary. Near here a road branches off on Rediciolli, Accoramboni, and the Casale the 1. to the large dairy-farms of Santa delle Belle Donne, prettily situated, from Maria di Celsano and Casale di Galera. the latter a good road of 4 m., passing Soon after passing the Osteria Nuova, by Le Vigne Nuove, and the Mons' the Arrone, the natural outlet of the lake Sacer, celebrated in Roman history for of Bracciano, is crossed, near to where the retreat of the Plebeians in A.U.C. it falls by a cascade over a lava cur- 200, will bring the tourist to the Ponte rent, into the picturesque valley below. £omentano, and from thence to Rome From this place a path of about a mile by the Porta Pia. leads to the deserted village of Galera, and which will be well worth a visit. | The ravine through which the Arrone runs is beautiful, enclosed between precipices of tufa and basaltic lava, on one of which is perched the mediaeval town. Although it is very probable that there was an Etruscan or Roman town there, no traces of ancient remains have hitherto been discovered. The - modern Galera has existed from the BRACCIANO AND ITS LAKE. 11th centy., and its counts in the 12th and 13th exercised considerable influence 26 m, from Rome. A very agreeable in this part of La Campagna as lords excursion may be made to Bracciallo of the district of Cereiae, the coun- and its neighbourhood. Although less try situated between the lake of Brac- often visited than many other places ciamo, the range of hills of Baccano, in the environs of the capital, it will well and the Via Claudia. In 1226 Ga- repay the journey; with post-horses lera became possessed by the Orsini Bracciano, including Vicarello, may be family, who held it until 1670; it now visited in the same day. . A public belongs, with a part of the neighbour- conveyance leaves the Osteria del Sole, ing valley, to the College of the Hun- near the ch. of S. Andrea della Valle, garian Jesuits at Rome. The town daily, performing the distance in 5" has for half a century been abandoned, hrs. There is a very tidy imn at owing to the increase of malaria, and Bracciano, the Osteria Piva, kept by presents a strange aspect of deso- an obliging landlady, where the not lation in its unroofed and abandoned over-fastidious tourist will find fair churches and houses so lately inhabited, quarters, and where the artist may overgrown with a rank vegetation and spend economically several days in the tenanted only by reptiles. The rock on midst of scenery of a very picturesque' which it stands is a fine mass of black character. Leaving Rome, we follow lava, rising through the volcanic tufa, the high road to Florence as far as surrounded on 3 of its nearly vertical La Storta, a short distance beyond sides by the deep ravine at the bottom which it turns off to the 1. to fol- of which runs the Arrome. The town is low the Via Claudia, which led from entered by a double gate towards the the Via Cassia to Cosa. After leav- N., over which are the Orsini arms; ing La Storta, the road, which con- many of the houses and 2 steeples of timues very good, passes for the next 5' churches are still erect, forming pic- m. through an uninteresting country, turesque objects of abandonment and consisting of large pasturage farms. desolation. The older walls of the llth At the 14th m. from Rome the Aqua-' centy. may be seen at the N.W. angle - S 2 388 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. of the town : on these rises the castle of the Orsinis, a fine brick edifice. The position is exceedingly romantic, and its complete solitude is one of the most impressive examples of the influence of malaria which it is pos- sible to conceive. The valley of the Arrone, which extends from Galera to below Castel di Guido, on the road from Rome to Civita Vecchia, is ex- tremely picturesque in its upper por- tion : watered by the perennial stream flowing from the lake of Bracciano, it is fertile, and contains numerous large meadows and pasturage-farms, upon which great mumbers of horses and cattle are reared, and a large quantity of butter produced for the Roman mar- ket. The bottom of the valley consists of rich meadows, the hills on the sides of grazing land, over which rise woods of ilex, the cork, and ordinary oaks. The farms of Santa Maria di Celsano and of Casale di Galera, belonging to the Marchese di Rocca Giovane, and lower down of Testa di Lepre, the pro- perty of Prince Doria, would well repay a visit for those who take an interest in the agriculture of the Roman Cam- pagma; but in this beautiful valley malaria is the great evil, few of its in- habitants being able to remain beyond the end of June. Beyond the Arrone a road, recently improved, branches off on the rt. to An- guillara, by which Trevignano may also be reached. The plain of the Arrome ex- tends in this direction to where the river issues from the lake, and is more fertile than the surrounding Campagna. About 3 m. before reaching 13racciano we enter on a portion of the Roman pavement of the Via Claudia, well preserved for more than a mile ; soon afterwards the town and its castle come into view, and from no point, perhaps, is the latter seen to greater advantage. A flat marshy tract, called Lago Morto, from the Small pestilential pool that sometimes exists in it, is passed on the 1. From here the lake is first seen, with the village of Trevigmamo on its opposite shore, backed by the conical peak of Monte di Rocca Romana. About a mile before reaching Bracciano the road turns to the rt., the Via Claudia continuing in a straight line to the convent of the Cappuccini S. of the town. Bracciano (Inn; Albergo Piva) con- tains a pop. of about 2000 Inhab. From its elevation and distance of nearly a mile from the lake, its climate is less unhealthy than most places around; it enjoys a certain degree of prosperity from its iron-works, where bars are manufactured from cast-iron brought chiefly from Tuscany, fuel being abun- dant from the wooded country in the vicinity, as well as good water-power from the surrounding hills for the mills. At the N. extremity of the hill of Bracciano, and overlooking the lake, is the baronial castle, built in the 15th century by the Orsinis; it is con- sidered one of the good, although not very ancient specimens of the feudal castles of Italy, and presents a noble and imposing aspect. Its ground plan is a pentagon of unequal sides, the longest being towards the town, having 2 lofty towers connected by a machi- colated wall ; 3 other towers stand on the opposite side towards the lake : the windows are square and small, the walls built of black lava, taken, it is said, in part, from the pavement of the Via Cas- sia. On the N. side is the entrance by a double gate and covered way, partly excavated in the volcanic breccia of which the hill is formed, and flanked by 2 round towers. The central court is an irregular square, surrounded by a portico now built up, the pilasters bear- ing the shields of the Orsinis; a deco- rated outdoor staircase, with some re- mains of frescoes, leads to the upper story from this court. The interior of the castle offers little to interest the vi- sitor. In the great hall, now untenanted, are some traces of frescoes, it is said by F. Zucchero, forming a kind of frieze of family portraits; beyond this are 2 large rooms, with roofs, decorated in the worst style of the 17th centy. ; followed by 2 small apartments with fresco and stucco decorations in the style of the Loggie of the Vatican. The apartments occupied by the owner are small, and plainly fitted up with modern furniture; they overlook the town. No visitor to the castle should omit to ascend to the summit, from which the Sect. II. 389 BRACCIANO AND ITS LAKE. view over the lake and surrounding country is interesting; looking S.W. and beneath is the town of Bracciano; beyond it the Capuchin convent in the midst of a grove of ilexes; on the rt, the valley of Manziana, with the hill of Monte Virginio crowned by a convent behind it; turning towards the lake a rich plain, covered with plantations of olive-trees and vines, extends along its shores, above which rises a thick forest reaching to the summit of the hills that encircle this picturesque basin; in front is seen the mass of buildings surround- ing the baths of Vicarello, and farther to the rt. the town of Trevignano upon a promontory jutting into the lake ; behind Treviguano rises a re- markable group of hills; the pointed peak in the centre is Monte di Rocca Romano (2026 ft. above the sea), fa- miliar to the traveller from Florence to Rome as seem rising behind the post- station of Monterosi. To the rt. of Trevignano a white house marks the site of Pollime, at the entrance to the Val d' Inferno; and farther still a white line near the lake shows the course of the Pauline aqueduct. The plain through which the Arrome flows from the lake intervenes between this point and the high promontory on which stands the sion of it until the close of the last century, when they sold it to the Ode- scalchi family. The feudal privileges of the castle were not surrendered to the government at the French invasion, and are consequently still in force : the hall of justice is shown at the summit of the castle, in which the duke has the power of sitting in judgment on his vassals. It would be difficult to find in any part of Europe a more perfect realization of baronial times than the castle of Bracciano ; it seems made to be the scene of some story of romance, and it is stated that it was the first place in the neighbourhood of Rome which Sir Walter Scott expressed an anxiety to visit on his arrival there, with a questionable want of taste, in the midst of so many sites and ob- jects of infinitely greater interest. The town of Bracciano is divided into 2 portions, the Borgo Vecchio and the Borgo Nuovo : the former includes the castle and its dependencies, but, although situated high above the lake, it shares with the lower quarter the suspicion of malaria. The Lake, a beautiful sheet of water, 20 m. in circumference, up- wards of 7 m. across, and its surface 540 ft. above the sea, presents all the characteristics of a great volcanic de- town of Anguillara; the fine woods be- tween the latter amd Bracciano are those pression; it is the Lacus Sabatinus of the ancients, and derived its name from of Mondragone. Beyond Monte di Rocca an Etruscan city of Sabate, which was Romana may be discovered the peaks of believed by the Roman historians to the Ciminian range, Soriano, and the Monte di Vico, farther E. the ridge of have been submerged under its waters. A road of 7 m. leads from Bracciano Soracte, and more in the foreground, to the village of Oriolo, containing and extending towards the Tiber and the Sabine Apemmines, the low volcanic a villa of the Altieri family : it passes through a pretty country on the skirts group surrounding Baccano, with the of the great forest in which the Acqua pointed hill of Monte Musimo, the Ara Paola has its sources. On the rt. hand, Mutiae, at its easterm extremity. The Or- between the road and the lake, is the simisappear to have been deprived of the ch. of San Liberato, distant about 2 m. property prior to the accession of Martin from Bracciano. The ch. is beauti- V., but they were reinstated in their fully placed on a hill commanding the possessions by that pontiff with the title whole of the lake: it dates from the 8th of counts. In the wars of the Colomas or 9th century, and occupies the site of with Sixtus IV. and Innocent VIII. a Roman villa called Pausilypon, built in 1485, Bracciano was captured and by Metia the wife of Titus Metius He- sacked by the former. The castle ap-donius, as we may see on the inscrip- pears to have been built about this time, tion preserved under the portico. The and Paul IV. in 1564 confirmed the pavement is composed of ancient frag- Orsinis in their fief, and raised it to the ments, among which is one with the rank of a duchy. They retained posses- mame of Germanicus. A good road re- 390 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. cently constructed leads from Bracciano to the baths of Vicarello and Trevig- mano. Vicarello derives its mame pro- bably from Vicus Aureliae: it is remark- able for its ruins of a villa, probably of the time of Trajan, and for its mineral waters, known in ancient times as the Aquae Aurelia, and which some anti- quaries have identified with the Aquae Apollimariae of the Antonime Itinerary. These waters of late years have become more frequented: they are sulphureous, and efficacious in cutaneous and rheu- matic affections; their temperature is about 113° Fahr.; they are slightly acidulous, and contain a proportion of Being situated salts of soda and lime. in an insalubrious region, they cam only be resorted to in May and Jume. In 1737 these baths were given by Cle- ment XII. to the German Jesuits' College, the present owners, who have done much to render them available. It was during some late restorations that seve- ral very interesting antiquities were discovered here in clearing out an am- cient reservoir, which are noticed in our description of the Kircherian Museum, where they are now deposited (see p. 27 l), consisting chiefly of offerings or stipae. The most interesting of these objects were 3 silver vases, with the itineraries from Cadiz to Rome en- graved upon them; several other vases; and an immense quantity of small cop- per coins, weighing upwards of a tom of are still visible. Trevignano is one of the feudal possessions of the Orsini family, to whom it gave the title of count in the 14th centy. The Orsinis were besieged here in the 15th by the Colomnas and by Caesar Borgia, who took the castle and sacked the town, from which it never afterwards re- covered. From Trevigmano a road leads through the deep ravine called the Val d’Inferno to the Casale di Polline, on the ridge which separates the lake of Bracciano from the smaller craters of Martigmano and Stracciacapra, on the Western side of the more extensive one of Baccano. About 5 m. beyond Pol- line we cross the Arrone, the outlet of the lake of Bracciano; beyond which is Anguillarſ, probably a corruption of Angularia, from its situation on a lofty insulated rock above the S.E. angle of the lake. In the 14th centy. it gave its name to the lake, and conferred a title on that branch of the Orsini family which figures so conspicuously in the history of the period as the counts of Anguillara. Their baronial castle, crowned and defended by towers of the 15th century, still retains their armorial bearings, two eels, and is remarkable for its successful resistance to the army of the duke of Calabria in 1486, who was compelled to raise the siege. The ch., dedicated to S. Maria Assunta, occupies the highest point of the rock, and is remarkable only for the fineview from metal, and embracing from the remotest it over the lake. The Villa Mondragone Etruscan period, when the uncoined AEs with its cypress plantations is prettily Rude was the only coin, to the time of situated, and adds considerably to the the Caesars, and comprising a most im- picturesque beauty of the town. Near teresting series of the small copper it and in various parts of the neigh- coinage of Republican and Imperial bourhood are vestiges of ancient founda- Rome, and of many of the remote pro- tions and numerous fragments of marbles vincial towns of the empire. In the and inscriptions, supposed to mark middle ages Vicarello was a fortified the sites of Roman villas. The most village belonging to the monastery of S. important ruin in this neighbour- Gregorio on the Caelian. It is sup- posed to have been ruined in the con- tests of the Roman barons with Cola di hood was discovered at the deserted ch. of San Stefano, about 2 m. S. of Anguillara : it is of great extent, and Rienzo. About 3 m. from Vicarello is is considered to belong to a villa of Trevignano, a picturesque village of 500 the 1st century of our era. Anguil- Inhab., situated on a projecting rock of lara is 20 m. from Rome: the road is lava, and crowned by the ruins of a practicable for carriages, and falls into castle of the 13th centy. It occupies the the Via Claudia, the high road from site of the Etruscan city of Trebonia- Rome to Bracciano, at the Osteria num, of which some remains of walls Nuova. A very good road is now Sect. II. PORTO AND FIUMICINO. 391 open from Bracciano to Corneto, pass- ing by Rota, La Tolfa, &c.; at the Iatter place the mines and alum-works may be visited, and will prove inte- resting to the geological tourist. From La Tolfa the road descends into the valley of the Mignome, which it crosses, from which, rising through a hilly country, it runs parallel to the Etrus- can necropolis of Tarquinii before en- tering Corneto. ExCURSION TO PORTO AND FIUMICINo. This excursion can be easily made in a day by starting from Rome at an early hour : the journey to Porto and Fiumicino will take 3 hrs. ; one hour will suffice for visiting the ruins at the former; carriages may be hired for the excursion for 4 scudi. A steamer leaves the Ripa Grande every morning, arriving at Fiumicino in 2 hrs., and, leaving again at 3, reaches Rome in the evening : by this conveyance the tourist, after visiting Fiumicino and Porto, can proceed to Ostia, and return to the former in time for the starting of the boat in the afternoon. The pas- sage up the Tiber is tedious, the steamer generally having coasting-vessels in tow. The road from the capital to Porto leaves it by the Porta Portese, and follows the ancient Via Portuensis for about 1% m. to Pozzo Pantaleo, at the foot of the Monte Verde, when it branches off to the rt., the Via Portuensis following the plaim along the N. bank of the river, The modern region chiefly of vineyards, which fur- mish the best wine in the immediate neighbourhood of the city. 3 m. from Rome we pass on the rt. the Villa San- tucci, General Oudinot's head-quarters during the siege of Rome in 1849; and 4 mm. farther the wooded valley of the Magliana, near where it opens into the plain bordering on the Tiber: the ex- tensive farm-buildings of Magliana, seen in the latter and on our 1., on the site of a Praedium Manlianum, became one of the favourite villa residences of several Popes, and especially of Leo X., who there caught his last ill- ness in 1521. Their situation is beau- tiful, in the midst of a fertile country, abounding in game, but in summer the air is pestilential from malaria. The farms now belong to the monastery of St. Cecilia, and, as is generally the case under such ownership, the buildings are allowed to fall into ruin. In the court of the Castle is a very handsome fountain of the time of Pius IV. The apartments surrounding it bear in- scriptions of Julius II. and Innocent VIII. [An agreeable drive may be taken to La Magliana from the Porta Por- tese, branching off from the road to Fiumicino at Pozzo Pantaleo, and fol- lowing the bottom of the tertiary hills of Santa Passera, parallel to the line of railway to Civita Vecchia. The geo- logist will be able to study here the relations of the pliocene deposits to the more modern diluvial ones (containing bones of the fossil elephant, rhinoceros, &c., at the Monte delle Piche) in the ex- tensive cuttings recently made for the railway. In carrying a new embank- ment along the river some curious Roman constructions to prevent the Tiber's encroachments on its 1. bank have been discovered. Persons in their carriage can proceed about 2 m. be- yond La Magliana, and on horseback the whole way to Ponte Galera.] Beyond the valley of Magliana the road, which follows the lime of the Via Campama as far as Ponte Galera, is hilly, crossing several parallel ridges and valleys for the first 7 m., rum- niug at first through a well-cultivated road runs over an undulating pasture region, in every respect similar to the ordinary Campagna, the valleys by which it is intersected being laid out in meadows; scarcely an habitation is to be seen : in spring the fields are covered 392 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. with plants of the Asphodelus, here called porazzi, from the disagreeable smell which their flowers exhale. At 10 m. from Rome the road reaches the top of the last eminence towards the sea, at the Casale del J’iscia,’ello, from which the view over the Mediterranean, em- bracing the whole line of coast to mear Civita Vecchia on one side (the rt.), and over the Laurentine forest on the other, with Porto Fiumicino and Ostia, and the windings of the Tiber below, is particularly fine. At the bottom of the descent we arrive at the farm-buildings IMP XII . PP-FOSSIS . DVCTIS . A. TITSERI OPERIS . PORTVS–CAVSSA . EMISSISQWE . IN . MARE . VIRBEM .— INVNDATION IS . PERICVLO . LIBERAv IT. A short way beyond this we pass under a gate, now called the Arco di Nostra Domna, from an image of the Virgin beneath, open- ing on the Port of Trajan, or what in modern language might be called Tra- jan's Dock. A part of its extensive area is now reduced to a marshy state, although preserving its hexagonal form, surrounded on every side by ruins of buildings which formed the ware- and Osteria of Ponte di Galera on the houses, the emporium of the maritime river of the same name, and from which a level causeway, 5 m. long, and in a straight line, leads to Porto. commerce of Rome in the 2nd and 3rd centuries, represented on the medals of that emperor. Between the Portus , POTEST. Trajani and the river is the medieval PoRT.o.—There is mo inn here, the Castle of Porto, now the Bishop's palace, whole place consisting of the villa Pal- in the court of which are numerous lavicini, the property of Prince Tor- ancient inscriptions and fragments of lonia, to whom the country around sculpture discovered in the neighbour- belongs, of his extensive farm-buildings, hood. The ch, of Santa Rufina close by, of the Bishop’s palace, and the cathedral with Porto, gives an episcopal title to of Santa Rufina to which it is attached. the sub-dean of the College of Cardi- Before reaching the farm-buildings, mals; the edifice has been modernized, a large circular brick ruin on the left and offers nothing of interest, except its is supposed to have been a temple bell-tower of the 9th or 10th centy. dedicated to Portumnus, the divinity of The situation of Porto, and the great ports and harbours; and from the style hydraulic works of which it was the of its masonry appears to date from the centre, will well repay a more detailed time of the Antonines; beneath it are examination from those interested in vaulted chambers of good masonry. the engineering works of Imperial From this point diverge on either hand Rome. ... We must refer such persons two lines of wall, which formed the to the descriptions of Fea and Canina, defences of the town towards Rome: who have exhausted the subject. For they extend to the ancient port, which the ordinary visitor it may suffice to they enclose, as well as the buildings know that Ostia had been the port Of that surround it. After passing the Rome from the earliest period — not, farm-buildings, and nearly opposite the however, the modern Ostia, but the Villa Pallavicini, has been placed the ruins which are seen mile lower very interesting inscription discovered down the river; and that the Tiber on the spot, which has thrown much emptied itself into the sea by a single light on the history of the construction branch, which, from the increasing of the ancient port; it states that, in con- alluvial deposits, had diminished so sequence of the inundations with which much in depth as to be difficult of navi- Rome had been threatened by the diffi- gation, whilst its current became so culty of the waters of the Tiber reach- impeded by the extension of its delta ing the Sea, the Emperor Claudius had as to threaten Rome with inunda- cut new channels from the then exist- tion. To remedy these inconveniences ing branch into it in A.D. 46. The fol- it became necessary to form another lowing is a copy of this curious record:— port, and to procure for the waters of TI . CLAVIDIWS . IXRVSI . F. CAESAR–AYG . the river a more rapid fall, by diminish- --TRIB. ing the length of its course towards DESIG. IIII . the sea. Projected by Augustus, these GERMIANICVS . PONTIF . MIAX . VI . COS III. . Sect. II. PO RTO AND FIUMIC IN O. 393 works were not executed until the granted by Constantime to the ch. of reign of Claudius, in the middle of the SS. Peter and Paul at Ostia. 1st centy. The Portus Claudii appears A road of 2 m. leads from Porto to to have been the first undertaken, and Fiumicino. The ruins on the rt. consisted of a vast harbour opening di- belonged probably to the warehouses, rectly on the sea, encircled by 2 piers, or Horrea, of the Port of Claudius, with a third insulated one or break- and some massive constructions are water, and surmounted by a light- seen on the 1. bordering the Fossa house, to protect the entrance. In the Trajani; the point to which they extend course of time this port also began to towards the W. marks the limit of the be choked up, in consequence of which sea-shore at the time they were con- that which we now see was commenced structed. Fiumicino, which derives its by Trajan, and completed about A.D.' name from the smaller river on which it 103. The circuit of the. Claudian Port stands, is of recent origin. It con- may still be easily followed in the sists of a range of houses facing the meadows to the N. of the hexagonal river, on which may be always seen dock of Trajan. The second object, moored numerous coasting-vessels on of affording an increased fall to the their way to and from Rome. There waters of the Tiber, was effected by is a fair Inn at Fiumicino, and the cutting a canal by which it reached the place is a good deal resorted to in the sea in a direct instead of by the sinuous spring by the Romans, and particularly line of the old channel; and it is to the in May, during the quail-shooting sea- latter great work that the inscription son, these birds arriving in immense above given particularly refers. A numbers during their northern migra- second canal was subsequently added, tion on this part of the coast. In by which the basin of Trajan communi- summer and autumn it would be cated with the Tiber, and by which the highly dangerous to sleep here, from vessels arriving in it were enabled to the prevalence of malaria—the Govern- proceed to Rome without unloading, and ment officers being even obliged to re- to carry their cargoes to the capital move to Rome during the night. At without re-entering the sea. the W. extremity of the village is a The silting up of the Port of Clau- massive castle, built in 1773 by Cle- dius and the increasing wants of impe-, ment XIV. It was then on the borders rial Rome, so much dependent on its of the sea, but is now (March, 1858) maritime commerce for supplies of food, 315 yds. from it.” On its summit is rendered a new harbour necessary ; an excuse for a lighthouse. The en- and, as has been already stated, this was trance to the river is marrow, between undertaken and completed by Trajan. 2 piers erected on piles, recently ex- It communicated with the Port of tended to increase the current and its Claudius on the N.W. side, and was scouring effect on the bar. The view surrounded with warehouses. Its cir-, from the summit of the castle is very cuit, which is still nearly entire, mea- fine, extending from Cape Linaro, S. of sures 2400 yds.; the greatest depth of Civita Vecchia, to Cape Circello, and water in it now scarcely reaches 10 ft. in clear weather to the Ponza Islands; A new canal from the Tiber, opening whilst inland the panorama of the into the hexagonal basin of Trajan, Volscian, Alban, and Sabine Mountains was at the same time excavated, and is unequalled. forms the modern N. branch of º On leaving Fiumicino the tourist river or Fiumicino, which extends from may proceed to Ostia, either by tra- beyond Porto to the sea, and is now versing the Isola Sacra, 3 m., to the the only navigable one—the space be- || Torre Boacciama, near which he will tween the Fossa Trajani, as this canal was called, and the old channel of Qr more accurately 29]+ metres (3142-3rds the Tiber, constitutes the alluvial tract yº) frºm the cºntrºl ºf the tower to low- salled the Isola Sacra, a name pro- water mark on the N. side of the entrance, from Cöll 10 lie, asyº, savia, º p a survey executed by the Captain of the Port bably derived from its having been April 1, 1s5. S 3 394 ſtome. EXCURSIONS IN THE ENVIRONS OF ROME. find a ferry-boat to cross the Tiber. Torre Boacciana is at the W. extremity of the ruins of Roman Ostia. The Torre di S. Michele, lower down the river, is an interesting landmark, showing the ex- tent of the increase of the delta in modern times, having been erected in 1569 at the mouth of the river, from which it is now 1815 yds. distant.* ExCURSION TO OSTIA, CASTEL FUSANo, Toft PATERNO, PRATICA, AND THE CoAST OF LATIUMI. Should the tourist not have gone to Ostia from Fiumicino and Porto, and wishes to combine his visit there with a tour through the maritime district of Latium, his best plan will be to pro- ceed from Rome to Ostia, and extend his excursion to Pratica, Ardea, and Porto d’ Anzio. There are no public conveyances to Ostia : the best plan will be to hire a light vehicle, as the roads beyond Castel Fusamo are very heavy, and which may be done for about 2% scudi a day. Castel Fusano may be made the first night's resting-place, Ardea the second, and Porto d’Anzio the third, from which Astura can be visited ; beyond the latter there is nothing to repay the fatigue and risk of a jour- ney through the marshy district which extends to Monte Circello. For many, and especially when ladies are of the party, it will be more convenient to d’Anzio will alone repay the discomfort and fatigue. As the inn at Ostia is a miserable concern, it will be desirable to take one’s dinner in the carriage— or, for those who wish to pass the might, to obtain permission from Prince Chigi to make Castel Fusano the resting- place, which is generally granted, ex- cept during the ville'ſſiſtºreſ of the family there in May and June. OSTIA is 15 m. distant from Rome. A carriage for 4 persons to go and return in the same day may be hired for 5 scudi. The journey from Rome will occupy 3 h. The road leaves Rome by the Porta San Paolo, and follows the Via Ostiensis, running mear to the l. bank of the Tiber for a great part of the distance. Soon after passing the basilica, the Via Ardea- tima strikes off to the 1... and in the angle between it and the road to Ostia considerable ruins of the Vicus Alcy- andrints have been discovered. At the spot where our road approaches nearest to the river, is a pier, called the Porto di Pozzolama, from which is shipped the pozzolama found in great quan- tities in this neighbourhood. From here for the next 2 m. the road is close to the Tiber. At Tor di Valle the river Albanus, which has its source from the Emissarium of the lake of Albano, is crossed where it empties itself into the Tiber. Near this the ancient Via Lau- remtina, still used as the carriage-road to Decima and Pratica, branches off on the 1. A very extensive plaim of pas- turage-land extends on the rt. to the Tiber. At the distance of 9 m. from Rome, before reaching the osteriuſ of Malafede, we cross the river of Decimo, a considerable stream ; and 14 m. far- ther a ravime, traversed by the Ponte visit these several places in separate dellit Refolta, an ancient viaduct built excursions, returning to Rome the of blocks of lapis albanus, in the same same evening, which may be done for style, but on a lesser scale, as the all, save Porto d’Anzio. that, as regards classical associations and some fine scenery, the excursions to Ostia, Castel Fusano, and Porto * It is ascertained from accurate data that the delta of the Tiber is extending at pre- sent at the enormous rate of 124 feet annually between the mouths of both of its branches and along the W. side of the Isola Sacra. We may add Ponte di Nono, on the Via Praemestina (p. 373). It dates probably from the 7th century of Rome, and has a portion of the ancient pavement preserved. From here the road gradually as- cends, first through pasturages, then through low woods, passing occasion- ally over fragments of Roman pave- ment, until it gains the summit level at Sect. II. 395 OSTIA. the 12th m., from where there is a fine Rovere family (an ilex, Robur), with an view over Ostia, the windings of the inscription in honour of the founder, are Tiber, and its delta. As we draw nearer to Ostia we discover the salt-marshes which Livy mentions as having existed in the time of Ancus Martius. The road crosses their morthern extremity by an ancient causeway, and soon afterwards we reach the village of modern Ostia. Of all the towns in the environs of Rome this is one of the most melan- choly. The population scarcely num- bers 100 Inhab.; and during the summer heats, when the neighbouring coast is afflicted with malaria, this small amount is still more reduced. The destruction of ancient Ostia by the Saracens in the 5th century was so complete that no attempt was ever made to restore it, and the neighbourhood ap- pears to have been deserted until A.D. 830, when the present town was founded by Gregory IV. at a distance of nearly a mile from the original city. The pope surrounded it with walls, and it is mentioned in ecclesiastical documents of the period under the name of Grego- riopolis. In the pontificate of Leo IV. (A.D. 847-856) it became memorable for the defeat of the Saracens, which Raphael has immortalised in the Stanze of the Vatican. For many centuries it was a position of some importance in the warfare of the middle ages, and the population appears to have been con- siderable as late as 1408, when it was besieged and taken by Ladislaus king of Naples, by whom it was retained until 1413. The fortifications were sub- sequently repaired by Martin V., whose arms may yet be seen on the walls. About the same time Cardinal d'Es- touteville, bishop of the diocese, restored the town, and probably laid the founda- tion of the present Castle, which was built and fortified by his successor, Cardinal Giuliano della Rovere, after- wards Julius II., from the designs of Sangallo, who lived at Ostia for 2 years in the service of the cardinal. This castle, the picturesque fortress of modern Ostia, consists of a massive cir- cular tower in the style of the 15th century, surrounded by bastions, which are connected by a curtain and defended by a ditch. The arms of the della | still seen over the gate. Baldassare Pe- ruzzi was employed to decorate the in- terior with frescoes; but all traces of his works have been destroyed by the damp and neglect of upwards of 3 cen- turies. It became memorable for the cardinal's gallant defence of it from 1492 to 1494, and for his defeat of the French troops, who had lauded and Occupied it in the previous year. He also built as an additional defence the Torre Boacciana, lower down the river, and continued to improve and strengthen the town after his accession to the pon- tificate. The appearance of the fortress of Ostia, with the solitary pine which stands in front of it, is exceedingly picturesque. Modern Ostia, after the death of Julius II., gradually declined, and was finally ruined in 1612, when Paul V. reopened the rt. branch of the Tiber, precisely as the ancient city had been by the construction of the port of Claudius. It mow contains nothing to detain the traveller except thes castle and the cathedral of St. Aurea, rebuilt by Cardinal della Rovere from the de- signs of Baccio Pintelli: some of the trophies of his victory over the French are preserved in it. The bishopric of Ostia is one of the most celebrated in the Papal States: the Church tradition tells us that it was founded in the time of the apostles, while other accounts refer its establishment to the pontificate of S. Urban I., A.D. 229, and regard S. Ciriacus as its first bishop. From the earliest times the pope, when not already a priest at his election, was ordained by the bishop of Ostia, always the dean of the Sacred College. The see was united to that of Velletri by Eugenius III. in 1150, and is still held in conjunction with that diocese. The chief interest of Ostia at the present time is derived from the exca- vations begun among the ruins of the ancient city at the close of the last century. The site of ancient Ostia is less than a mile from the modern vil- lage. This celebrated city, according to the testimony of the Latin historians, was founded by Ancus Martius as the port of Rome, and for many centuries 396 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. was the scene of the embarkation of several important expeditions to the distant provinces of the Roman world. Of these, the most remarkable were that of Scipio Africanus for Spain, and of Claudius on his expedition to Britain. The port, however, had, during the Imperial period, become seriously af- fected by the increasing deposits of the Tiber: Claudius had already begun his new harbour on the N. side of the river; and in the time of Strabo the port of Ostia was almost, if not en- tirely, choked up. The fame of the temple of Castor and Pollux, the AEdes Castrorum of Ammian, the numerous villas of the Roman patricians abun- dantly scattered along the coast, and the crowds of people who frequented its shores for the benefit of sea-bathing, sustained the prosperity of the city for some time after the destruction of its harbour; but the growing importance of the new town of Portus gradually led to its ultimate decay, and in the time of Procopius it had lost its walls and was all but deserted. From the incursions of the Saracens in the fifth century Ostia, which once contained 80,000 Inhab., fell into a state of com- plete ruin. The site is now marked by foundations of buildings of inferior architecture, in a great measure con- cealed under a mass of débris. It is more remarkable for the excavations which have been made upon the spot than for the interest of the ruins. The most important buildings of which any vestiges remain are a temple and a theatre. The Temple, of which the cella is entire, is a fine brick structure, upon a raised platform, approached by a flight of steps, and entered by a wide gateway, the floor of which is formed by a single mass of marmor Africanus. Beneath the cella are extensive vault- ings. The altar of the divinity is still in its place. In front stood a hexastyle Corinthian pronaos in Seravezza marble columns, to which led a portico Sur- rounded by columns of grey granite, all which are supposed to have stood in the centre of a forum. Antiquaries are not agreed to what divinity this temple was dedicated. From the style of its masonry and architecture it has been re- i | | ferred to the time of Hadrian. Near it is a round subterranean chamber with niches, called the Arco di Mercurio, which retains some traces of ancient painting. The Theatre, S., and not far from the ch. of St. Sebastian, is remark- able, as the spot on which many early Christians suffered martyrdom ; the semicircular walls, and a few of the seats and pilasters, are still visible. Behind the Temple, and extending along the river-bank, are extensive ruins, supposed to belong to Warehouses; those farther W., and extending to Torre Boacciana, are considered to be of the time of Sep- timius Severus, who constructed here a vast emporium at the end of the 2nd century, as we see represented on his medals. S. of the Temple, and 500 yards distant, are other ruins, belonging, per- haps, to the forum erected by Aurelian, one of the latest of the Imperial additions to Ostia. The only other ruins which deserve mention are the remains of a piscina, and some unimportant founda- tions of the city walls. The excava- tions from which these ruins derive their greatest interest were begun, as we have already stated, about the close of the last century. Among the earliest explorers were our countrymen, Gavin Hamilton, and Mr. Fagau, the British consul at Rome, by whose researches the well-known bust of the young Augustus, the Ganymede of Phaedimus, and other beautiful sculptures in the Vatican Museum, were brought to light. In 1803 excavations on a large scale were begun under the direction of Pius VII., and continued for 3 successive years with the most satisfactory results: indeed, there is scarcely a page of our account of the Vatican collection which does not bear record of the important works which were thus recovered. Not- withstanding these discoveries, there is no doubt that the numerous limekilns in the Woods of Ostia have for centuries been supplied with ancient marbles. When Poggio visited Ostia with Cosimo de’ Medici, they found the people occu- pied with burning an entire temple into lime, and it is of course impossible to estimate the immense number of anti- quities which must have been consumed since the period of their visit. In 1824 Sect. II. 397 OSTIA. Signor Cartoni of Rome undertook a series of excavations on the W. side of modern Ostia, beyond the walls of the ancient city. The result of his re- searches was the discovery of numerous inscriptions and Some fine sarcophagi. In one of the tombs he found the most beautiful sarcophagus which has yet been obtained from these ruins: it is of white marble, covered with exqui- site bas-reliefs representing the visit of Diana to Endymion, and is now at Felix Hall, in Essex, the seat of the late Lord Western. Excavations have been continued at Ostia during the last two years, which have led to the dis- covery of the gate on the side of Rome, and of several streets—the road having been as usual lined with tombs, many of which had been subsequently used as places of interment by the early Christians. The most important dis- covery, however, has been much lower down and near the bank of the river, consisting of a large square open court covered with mosaics, and preceded by an atrium or vestibule, paved in the same way but coarser, in front of which passed the street. This large open space has been supposed to be a pales- tra; out of it opens a square hall at a lower level, and which was evidently a cold bath, approached by descending steps. In the miches round were statues; one now headless is extremely interest- ing from its being painted in brilliant colours and having the foot worn down; probably, representing a divi- inity, it was revered like that of the modern St. Peter in the Basilica of the Vatican, and underwent the same pro- cess of kissing by devotees as that with } | Scriptions of interest have also been found near the S.E. part of the city. The Torre Poucciana is also remark- able for the excavations made in its vici- mity by Mr. Fagan in 1797. The dis- covery of the fine statues of Fortune and Antinous in the Braccio Nuovo of the Vatican, the three Hermes of Mer- cury, the colossal busts of Claudius and Antoninus Pius, the busts of Lucius Verus, Tiberius, and Commodus, the Hygeia, and the semi-colossal statue of Minerva in the same museum, were the results of these researches. The view from the summit of the Torre Boacciama commands the course of the branch of the Tiber by which AEneas is made to enter Latium. The view is so remarkable that the clas- sical tourist will not fail to ascend for the purpose of comparing it with the well-known description of Virgil, which still applies to the locality in all respects but the woods, which no longer exist on the banks of the river:- “Jamgue rubescebat radiis mare, et acthere ab alto Aurora in roseis fulgebat lutea bigis : Cum venti posuere, omnis que repente re- Sedit Flatus, et in lento luctantur marmore tonsae. Atque hic ºneas ingentem ex æquore lucum Prospicit. Hunc inter fluvio Tiberinus amaeno, Vorticibus rapidis, et multà flavus arená In mare prorumpit : Varite circumque Su- praque Assuetae ripis volucres et fluminis alveo AEthera mulcebant cantu, lucoque Volabant. Flectere iter sociis, terraeque advertere proras Imperat, et laetus fluvio succedit opaco.” AEm. vii. 25. Although the banks of the Tiber are now destitute of trees, the woods ex- which the Christian is now honoured tending towards Macarese on the N., in the temple of the Prince of the Apostles. Another but much smaller palestra, which was evidently a hot or vapour bath, from the numerous earthen pipes built into the walls, communicat- ing with a small furnace or heating apparatus beneath: on the floor of this | Torre Boacciana the Tiber makes a bend at the south-eastern angle of the Isola Sacra ; in this curve many anti- hot bath are good mosaics of genii rid- ing upon dolphins. It is in this neigh- bourhood that the most important excavations mow in progress at Ostia is being carried on; some mutilated in- | | room opens out of the S.E. angle of the from his ships when he made the land, i | i and the pine forest of Castel Fusano on the S.W., visible from this tower, which could have been seen by AEneas add greatly to the picturesque cha- racter of the shores near the mouth of the river. Between modern Ostia and the quaries have fixed the position of the ancient roadstead, while others with 398 ſome. EXCURSIONS IN THE ENVIRONS OF ROM E. more probability have recognised it in the semicircular bank of sand near to Torre Boacciana. This latter locality agrees more accurately with the ac- count of ancient writers respecting the mouth of the Tiber, which is now 2% m. distant from the modern castle. It is also confirmed by the supposition that Cilician corsairs, who surprised and destroyed the Roman fleet com- manded by a consul while it was sta- tioned in the harbour, would not have ventured to attack it if the harbour had been so near the city as the other lo- cality would assume. This exploit of the corsairs, which led to the expe- dition of Pompey against Cilicia, is well known by the indignant de- nunciation of Cicero in his oration “ pro Lege Manilia :” – Namguid ego Ostiense incommodun atque illam labem Cltſ we ignominiſm republicae (placrar, (ſuum prope inspectantibus cohis classis ca, Cui consul populi Romani praepositus esset, & pradonibus capidſ atque oppress& cSt. About a mile below Torre Boacciana, and midway between it and the mouth of the river, is another tower called the Torre di San Michele, an octagonal edifice built in 1569 by Pius V. Near the Torre Boacciana is a ferry to the Isola Sacreſ, a sandy tract 9 m. in circumference, lying between the two branches of the Tiber. It was converted into an island when Claudius excavated the canal of Porto. It is moticed for the first time by an anony- mons writer of the 5th centy. under the name of “Libanus Almac Veneris,” and is described as abounding in summer with fresh pastures and covered in the spring with roses and flowers. Pro- copius is the first writer who calls it Sacra ; it is supposed that this name was given to it from the donation of the district to the church of Ostia by Constantine. CASTEL FUSANo. A carriage-road of 2 m. leads from Ostia to Castel Fusamo, a eastel- lated casino of the Chigi family. It is prettily situated in the midst of a pine plantation, not so venerable as the Pineta of Ravenna, but having a great similarity to that celebrated forest. The casino was built in the 17th century by the Marquis Sacchetti, then pro- prietor of the district, and is one of the good specimens of the fortified country seats of that period. In order to protect it from the incursions of the pirates it has low towers at the angles pierced with loopholes, and the staircase in the interior is little better than a ladder by which only one person cam ascend at a time. On the summit of the central tower are stone figures of sentinels, placed there to deceive the pirates by an appear- ance of protection. The apartments are decorated with paintings, and fitted up in the usual style of the Roman villas. In the last century the property was sold by the Sacchetti family to Prince Chigi. In front of the house is a fine avenue leading to the shore, paved with large polygonal blocks of lava taken from the Via Severiana, and resembling entirely an ancient via, except in the absence of the kerbstones. It is exactly a mile long, with eight termini; each space between the latter representing a stadium. The woods on each side, consisting chiefly of ilexes, abound in game. Unfortunately a high sand- bank at its extremity intercepts the view of the sea. The casino is in- teresting, as marking the site of Pliny’s Laurentine villa, which he describes with so much enthusiasm. Some re- mains of foundations are still visible, and two inscriptions relating to the limits of Laurentum and Ostia, which stood on the bridge separating these territories, are built into the wall of the farmhouse. The name of the em- peror in whose reign they were set up is carefully effaced; but from his Sect. II. CASTEL FUSA.N.O. —TOI& PATERN O, 399 dignities, left intact, they can be re- ferred to the reign of Carus or Cari- mus (A.D. 284). The rosemary, for which it was celebrated in the time of Pliny, still grows abundantly in the forest. The proper season for enjoy- ing a visit to Castel Fusano is the spring; in summer and autumn it ToR PATERNO (LAURENTUM), swarms with mosquitoes, and is not free from malaria. Castel Fusamo is about 7 m. from Castel Fusano, is situated on a gentle rising, formed by a solitary tower, distant about 4 m. the ancient sand-downs thrown up by from the shore, inhabited by a few the sea, having behind it the Stagno, soldiers belonging to the coast-guard. or pestilential Lake of Ostia, which The Italian antiquaries had identified here represents, on a small scale, the this spot with the site of Laurentum, Pontine marshes farther south ; a vast the most ancient capital of Latium, area, from which the outfall towards founded 70 years before the siege of the Mediterranean is barred by a simi- Troy, and celebrated by Virgil as the Jar sandy barrier. It is upon this Sandy residence of Latinus when Æneas range that are situated the fine woods landed on his arrival in Italy. More Macchie or Selve, that border the Medi- recent investigation of the locality terranean from the mouth of the Tiber has led antiquarian topographers to to the Circaean promontory. A second reject that opinion, and to fix the site of line of sand-downs is now in progress Laurentum at the farm of La Capocotta, of being thrown up, as we may see in 3 miles farther inland, which corre- our walk from Castel Fusano to the sponds better with the description of shore, and along the sea-line of the Virgil, “the Ardua Moenia” and the Pontine marshes, where they enclose the “Vasta Palus” beneath, in the 12th book chain of salt-water lakes of Fogliano, of the AEneid. There are numerous Caprolace, and S. Paolo. ruins about Capocotta, and the abun- Proceeding by the road from Ostia to dance of water will easily explain the Porto d’Anzio, which follows the line of possibility of a large tract of marsh the Via Severiana, we enter the Lau- having intervened between it and the rentime forest, that skirts the shores sea at that distant period. Tor Paterno of the Mediterranean in an almost un- stands on the ruins of an ancient villa; interrupted line for nearly 60 m. It which there is some reason for regard- spreads inland to the distance of 3 m. ling as that to which Commodus was from the coast, and abounds with buf- sent by his physicians. The old brick faloes, wild boars, &c. As we ap-tower, which still forms a conspi- proach Tor Paterno it contains plan- cuous object from all parts of the tations of gigantic stone-pines, the ilex, Alban hills, was a place of some the wild olive, &c., and is utterly de- strength even in recent times, and was serted, except by the hunter or a few dismantled by the English cruisers charcoal-burners, whose fires are now in 1809. The marshy ground round and then seen among the dense thickets La Capocotta is still remarkable for the of the forest:- frogs, whose ancestors were celebrated “Bis senos pepigere dies, et, pace sequestra, by Martial as the sole inhabitants of Der sylvas Teucri mixtique impune Latini, the coast :— Erravere jugis. Ferro sonaticta bipenni Fraxinus; evertunt actas ad sidera pinus; , “An Laurentino turpes in littore ranas, Et satius tenues ducere, credis, acos ?” Robora, nec cuneis et olentem scindere | .** * * * cedrum, - Ep. X. 37. Nec plaustris cessant vectare gementibus - ornos.” -jīn, Ki. 133. A road through the forest, which a car- riage cannot traverse on account of the deep sand, leads from Tor Paterio to Rome by the ancient Via Laurentina, 400 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. passing through Porcigliano, or Castel Porciano, where there is a handsome villa belonging to the Duke di Mag- liano, and the Osteria di Malpaso. The ancient pavement is perfect for several miles, but the trees have so encroached upon it in many places that the large polygonal blocks have been displaced by their roots. The views in different parts of this forest are of the grandest character; the distance to Rome by it is about 16m. : there is another but longer route through Decima (both these roads unite at the Osteria di Malpuso); and a third from Porcigliano to the Osteria di Malafede, on the high road from Rome to Ostia. Before we proceed southwards it will be desirable to ob- tain a guide at Tor Paterno, who will pilot us through the forest to Pratica, 5 m., as the tracks of the charcoal- burners are not always a sufficient guide through the wilderness between the two places. PRATICA (LAVINIUM). (There is a small locanda here, where a bed may be obtained, but it is very miserable, and the traveller must be prepared to put up with its discom- fort, which is certainly not greater than he might expect to experience in such a place.) Pratica is distant about 18 m. from Rome, 3 from the sea-coast, and 7 from Ardea. It is the modern representative of the city of Lavinium, founded by AEneas in honour of his wife Lavinia, and the metropolis of the Latin confederation after the decay of Laurentum ; as Alba Longa afterwards became when Lavinium was too small for the increasing po- pulation. It is situated on a strip of table-land, about 650 yards long by 130 broad, and cut off from the rest of the plain by deep glens, except at the point where it is connected with it by a natural bridge of rock. The modern name is a corruption of civitas Patrictſ, or Patras, the names by which it is mentioned in ecclesiastical documents as early as the 4th century. We may recognise in this name the re- cord of the Patris Dei Indigetis, the title by which the Heroum was dedi- cated to AEneas after he disappeared in the Numicus. Some vestiges of the ancient city walls may be traced, but the antiquities now visible are very few and unimportant. Pratica con- tains about 60 Inhab., of whom more than two-thirds are peasants who come from distant parts to seek oc- cupation in the fields. The place is heavily afflicted with malaria, of whose fatal influence the sallow coun- tenances of the inhabitants bear a me- lancholy proof. The large baronial mansion of the Borghese family, built in the 17th century, contains a few inscriptions discovered on the spot, which are valuable as placing beyond a doubt the site of the Trojan city. Its lofty tower, rising from the centre of the building, commands one of the most imposing panoramas which the scholar or the artist can enjoy in this part of Italy. It embraces the whole coast from Ostia to Porto d’Anzio, the Circaean promontory, the Vol- scian mountains, the group of the Alban mount, the Sabine range, and the ridge of Monte Cimino, the cupolas of Rome, and the whole plaim of the Campagna. There is a direct road from Pratica to Rome, practicable for carriages: it joins the ancient Via Ar- deatina near la Solfatara, and from thence, passing near Vallerano, the churches of the Tre Fontane, and the basilica of S. Paolo. Another road, of about 8 m., leads across the country from the Solfatara to Albano. About midway between Pratica and Ardea is the torrent called the Rio Torto, identified by the best modern authorities with the classical Numicus in which Æneas was drowned. If we follow this torrent to its mouth, we shall find that it forms an immense marshy tract well known by the en- graving in the duchess of Devon- shire’s edition of Annibale Caro's translation of the AEmeid. Virgil com- Sect. II. PRATICA.—ARDEA, 40] memorates the “fontis stagma Numi- matural ravines except at one point, ci;” and Ovid, describing the fate of where it is united to the table-land by Anna Peremma, mentions the º isthmus, in which 3 deep ditches marshes:– have been cut. The rock on which “Corniger hanc cupidis rapuisse Numicius undis the village ls built. was the ancient Creditur et stagnis occoluisse Suis.” citadel, the city having extended over Fasti, iii. 647. a large tract of the plain below, where On the rt bank of this stream is the some lofty mounds resembling the agger plain called the Campo Jemini, jof Servius Tullius at Rome remain to which antiquaries place the site of show how strongly it was fortified. The the great sanctuaries of ancient Latium, entrange:gate is under the N. extre- the grove of Pater Indiges, the templé, mity of the mansion of the dukes of Ce; of Anna Perenna, the Aphrodisium, sarini, to whom the country, around and the great temple of Venus which belongs. The approach, to the gate was common to ail the Latin tribes. and the appearance of the rock from About 3 m. from here, and on the sea- all parts of the plain is exceedingly shore, is the Torre Vajanica, where ex- picturesque, but malaria is so severe cavations were made in 1794 by the late in summer that the village is almost duke of Sussex, when several specimens deserted. On the edge, of the rock of sculpture were found, among which forming the boundary of the modern a statue of Venus. The Roman emperors' village we may trace some fragments kept an establishment for breeding ele- of the Walls of the ancient citadel : phants in the territory between Årdea they are composed of parallelograms and Laurentum. The classical tourist of tufa, put together Without cement, will not fail to observe that the dwell- and are among the earliest examples of ings of the peasantry which he will this kind of cºnstruction: Ardea, as pass throughout this district, are con- the capital of Turnus, was conspicuous structed in the tent-likeshapedescribed in the wars of the AEmºid; it is also by Virgil. celebrated for its siege by Tarquinius Superbus, and for the asylum it afforded to Camillus during his exile; he de- feated Brennus and the Gauls beneath its walls, and was residing there when he was elected dictator and summoned to return to Rome to undertake the siege of Veii. It is about 22 m. from Rome: the road follows the Via Ardeatina, which is still perfect in many parts. It passes the Rio |Torto, and is joined by the cross-road from Pratica near the Solfatara, whence it proceeds to Rome by Vallerano, the churches of the Tre Fontane, and S. Paolo. Leaving Ardea, we descend along ARDEA, 7 or 8 m. from Pratica, still retains the “mighty name’’ of the Argive capital of Turnus, king of the Rutuli, though its population has dwindled down to less than 100 souls:— “Locus Ardea quondam Dictus avis ; et nune magnum manet Ardea nomen.” .42m. vii. 411. (There is a small wine-shop at Ardea where travellers may obtain refresh- the l. bank by the Fosso degl’Incastri, and after crossing the stream called the Fosso della Moletta arrive at the Tor di S. Lorenzo. From this point we continue our excursion in a line with ment; but the best plan will be to ob- tain an order from the Cesarini family at Rome, which will procure accommo- dation in their castle.) Ardea occupies the crest of a lofty rock, distant 4 m. | from the sea, and insulated by deep the coast, and enter the country of the Volsci. The road lies, at a short dis- tance from the sea, through dense but picturesque forests of oaks and ilexes, here and there interspersed with cork- trees and myrtles. 3 m. beyond Tor 402 EXCURSIONS IN THE ENVIRONS OF ROME. Rome. di S. Lorenzo is the Torre di S. Anas- who restored it on a scale far surpass- tasio, and at an equal distance towards ing its ancient grandeur; he adorned Porto d’Anzio the Torre Caldara, near it with magnificent temples, and in- which there are some sulphureous duced many of the rich patricians to Springs, 4 m. farther we reach Porto D'ANZIo, 16 m. from Ardea, and 37 from Rome, the representative of Antium, the capital of the Volsci, and one of the most important seaports of Imperial Rome. There is a small inn where travellers may find tolerable accom- modation; and Signor Ambrogio Pol- lastrini accommodates visitors, at so much per day, be their stay long or short ; good beds and fair table. Antium, in the early history of Italy, was the most flourishing city on this coast, and is distinguished by Diony- sius with the epithet “most splendid.” It is more interesting to the traveller as the spot where Coriolanus, “a name unmusical to the Volscians’ ears,” stood in the palace of his enemy, and vowed vengeance against his ungrate- ful countrymen :- * “A goodly city is this Antium: City, 'Tis I that made thy widows; many an heir Of these fair edifices 'fore my wars Have I heard groam and drop : then know me Lºhn thy wives with Spits, and boys with stones, In puny battle slay me.” The piratical expeditions of the inha- bitants led to frequent contests with Rome; the city was captured by Ca- millus and C. Maenius Nepos, B.C. 337, and the rostra of their ships were suspended in the Forum. After this period it remained comparatively de- populated for 4 centuries, although the climate and scenery still attracted the Romans to its neighbourhood. Cicero had a villa at Antium, and another at Astura, farther on the coast, which he describes in his letters to Atticus. The city was the birthplace of Nero, |build villas on its shores...The 2 moles constructed by Nero still remain, a fine example of hydraulic architecture. They are about 30 feet in thickness, built of large blocks of tufa united by pozzolana cement; and stand, like all the ancient Roman moles, upon open arches. One of them is 2700 ft. in length, the other 1600: they enclosed an extensive basin, nearly as broad as the length of the largest mole. A light- house or pharos is supposed to have stood on the insulated rock at the southern entrance of the harbour. About the close of the 17th century Innocent XII. formed a new port from the designs of Zinaghi, who added a short pier at rt. angles with the eastern mole, and filled up the open arches of the Roman construction. The result, as might have been anticipated, was the rapid deposit of sand, which has accumulated to so great an extent that both ports are now useless except for vessels of small burthen. Beyond this we see beneath the Villa Borghese the remains of the Pamfilian mole, con- structed some years afterwards in the belief that it would arrest this silting up; but it has only added to the evil, and the once fine harbour is now com- pletely ruined. The old tower and fortifications were dismantled by the English cruizers during their opera- tions on the coast in 1813. Porto d’Anzio was an important station in- termediate between Gaeta and Leg- horn, and it was considered necessary to destroy it in order to prevent its affording shelter to the small craft of the enemy. Sundry projects have re- cently been proposed for restoring the port of Anzio, and converting it into a refuge harbour, so much required on this part of the coast; it has also been lately proposed to connect it with Rome by a branch railway, from the Pio Latina lime, which passes 2 m. below Albano. The ruins of ancient Antium have |. been thoroughly explored, and some high mounds seen on entering Sect. II. PORTO D’ANZIO. 403 the town conceal probably interesting fragments which may still be brought to light. The only ruins of the Volscian city now visible are some remains of the walls in the quarter called the Vignaccie: they are built of quadrilateral masses irregularly put together, but not of very large size. They are interesting as showing that the ancient town stood on the rocky eminence above the shore, while that which rose under the Roman em- perors was situated on the sea-side. Near the entrance of P. d’Anzio, on the rt. hand, we have a fine ruinſ of imperial construction, supposed to be the villa of Nero: it is opposite to the modern barracks, and consists of several rooms and baths, which still retain their mosaic pavement and their painted walls. The villa appears to have been of great extent, but its chief interest is derived from the number of works of art which have been dis- covered among its ruins. The Apollo Belvedere was found here in the time of Julius II. ; and the Borghese Gladia- tor, now in the Louvre, about a cen- tury later. There are no remains of the temples of Apollo and Æsculapius, celebrated in the history of the voyage of the Serpent of Epidaurus to Rome; nor of the more famous shrine of Equestrian Fortune, which Horace has commemorated when he invokes the favour of the goddess for the projected expedition of Augustus to Britain :- “O Diva gratum quas regis Antium, Praesens vel imo tollere de gradu Mortale corpus, vel superbos Vertere funeribus triumphos.” Cºl. I. XXXV. The modern town of Porto d’Anzio, containing 1000 Inhab., belongs to Prince Borghese, whose villa stands upon the site of the acropolis of the Volscian city. The climate is com- sidered healthy, and during the winter, spring, and early Summer, nowhere can be more delightful as a residence, when it is much frequented for sea- bathing. The beautiful scenery of the neighbourhood affords abundant occupation to the artist, and the lofty and well-wooded banks which bound the coast effectually protect it from the N. winds. The view from the tower of the Villa Borghese is ex- tremely fine : on the 1. it commands the line of coast towards Nettuno and the Circaean promontory; further inland the eye ranges along the Volscian mountains, studded with pic- turesque villages, among which may be recognised Norba, Sermoneta, and Sezze. On the N.E. we see the well- known localities of the Alban hills: Velletri, with the heights above Pales- trina and Rocca di Cavi in the dis- tance; then Civita Lavinia, nearly in a line with Nemi and Monte Cavo ; and farther on Genzano, Albano, Castel Gandolfo, Rocca di Papa, &c. &c. The old tower or castle of Porto d’ Anzio is supposed to have been built by the Frangipanis, who were lords of Astura in the 13th century: it bears the arms of Innocent X., of the Pamfili family, who repaired its outworks about the middle of the 17th. The fortress was partially restored in the time of Pius VII. as a prison. Pius IX. has now a villa here, where he passes a part of the SUlD]]]] (2]”. Porto d’Anzio is 37 m. from Rome. There are 2 roads: an excellent one leading in a direct line through the forest by Carroceto to Fonte di Papa, at the foot of the hill of Corioli, and from thence along the foot of the Alban hills, falling into the high road from Rome to Albano at Frattocchie; the other, the Via Ardeatina, passing through Ardea, already described. The latter route in its passage through the forest is not a regular road, but a mere track for the country carts: the immense quantity of loose sand and the abun- dance of mosquitoes add seriously to the annoyances of the journey, and without a guide it is extremely difficult to recognise the line of route in many places where it is crossed and re- crossed by the tracks of the charcoal- burners, [An omnibus, a very fair conveyance, leaves Rome for Porto d’Anzio on Wednesdays and Saturdays, returning on Mondays and Thursdays, passing by le Frattocchie and the Via Appia Nuova, employing 10 hrs., halting for 2 at the half-way house of Fonte di Papa below Civita Lavinia. By this 404 IRome. EXCURSIONS IN THE ENVIRONS OF ROME. conveyance the tourist who has visited Ostia, and does not care to examine the environs of Tor Paterno, Pratica, and Ardea, can complete his exploration of the maritime district of Latium.] NETTUNo, about 2 m. E. of Porto d’Anzio, with a Small inn where travellers will find beds. Nettuno, with a population of 1200 Inhab., is supposed to occupy the site of Coeno, the port of Antium, mentioned by Dionysius; but on exa- mining the coast it is difficult to ima- gime the necessity which could induce the Volscians to form a harbour at this spot, when their own promontory at Antium must have afforded more effectual and better shelter for their vessels long before the Roman mole or the Roman fleet had an existence. In fact, there appear no good grounds for assigning to the Coeno of Diony- sius any other locality than that of the modern harbour of Porto d’Anzio. We have already stated that Antium was situated on the high ground above the present village, and hence the city and the port would naturally be men- tioned as 2 distinct localites. The whole coast between Porto d’Anzio and Nettuno is covered with ruins of Roman villas. The first object that attracts attention at Nettuno is the fortress built by Alexander VI., and restored by Urban VIII. and Alexander VII. It is greatly dilapidated, and is only tenanted by a few soldiers em- ployed in the coast-guard service. The town, with the territory, belongs to the Borghese family, who purchased it in 1831 from the government for 400,000 scudi. It contains a few antiquities, fragments of columns and capitals, the remains probably of the Temple of Neptune, from which it derived its name. The traveller will be more interested with the picturesque cos- tume of the female population, which differs altogether from that of the villages of Latium, and is Oriental in its character. The tradition is that the inhabitants are descended from a Saracenic colony, probably from one of the piratical bands which infested the coasts of Italy in the 8th and 9th centuries. ASTURA, 7 m. from Nettuno, from which the road proceeds along the Sea-coast. After leaving Nettumo we cross a stream Sup- posed to be the Loracina of Livy; and beyond it another branch of the same torrent called the Rio di S. Rocco. Beyond this we see numerous ruins of Roman villas and baths, which continue all the way to Astura, on the extremity of a peninsula, to which the ancients gave the name of Insula Asturae. A lofty tower, visible from all parts of the coast, stands upon its highest point, and is built on the ruins of am ancient edifice supposed with some probability to be the villa of Cicero. He describes it in his letters to At- ticus as situated in the sea : Jºst hic guidem locus amaenus, et in mari ipso, qui et Antio et Circaeils aspici possit. The illustrious orator embarked here when he fled from the proscription of the triumvirate. The island of Astura, as early as the 12th century, was a stronghold of the Frangipani family, from whom it passed successively to the Caetanis, Contis, Orsinis, and Co- lonnas. The tower, built in the 15th century, includes within its walls the vaults of the Frangipani fortress, the melancholy scene of an act of trea- chery which has rendered the name of that family infamous in Italian his- tory. In 1268, after the battle of Tagliacozzo, the young Conradin, the last of the house of Hohenstaufen, Sect. II. 405 ASTURA–ETRUSCAN TOWNS. ſº took refuge here. Jacopo Frangipani, who was them lord of Astura, seized the | royal fugitive and betrayed him into Excursion To THE ETRuscAN CITIES the hands of Charles d’Amjou, by whom he was babarously executed in the Piazza del Mercato at Naples. Close to Astura is the stream of the same name, mentioned by Pliny; and below the tower are the remains of the ancient mole, constructed, like that of Antium, upon open arches. 4 m. beyond Astura is the Torre di Foce Verde, from which extends parallel to the coast, and only separated from it by a narrow strip of sanddowns, the lake of Fogliano, communicating with the sea at the tower of the same name, and celebrated for its extensive fisheries. This lake, nearly 12 m. long, is succeeded by another, the Lake of Caprolace, and 4 m. farther by a third, the Lago di S. Paolo, which ex- tends to the base of the Circaean pro- montovy, where it communicates with the sea at Torre Paola, the site of the ancient Portus Circaeus. From Torre Paola the path follows the N. base of the Circaean promontory for 5 m. to Torre Otevola, from which it runs along the shore, crossing the Fiume Sisto and the Portatore, the latter the outfall of the Ufens and Amasenus, before reaching Terracina. Travellers who intend to proceed southward will probably be indisposed to traverse the succession of sandy dunes and pestilent swamps which spread between the sea and the forests of the Pontine marshes along a coast-line of 24 m. : they may therefore embark at Astura for Ter- racina, visiting the Circaean promom- tory on their way. For a description of that classical headland, and of Ter- racina, see the Handbook for Southern Italy, Route 140. OF C.ERE, TARQUINII, VULCI, TUs- CANIA, &c. We shall conclude our account of the environs of Rome with a sietch of a series of excursions to the sites of those cities of ancient Etruria which |have not been noticed in the Hand- | book of Central Italy (See Rte. 101). Civita Vecchia may be considered the central point for the traveller during these excursions. We have reserved our account of these sites for this place, because it seldom happens that travellers, on arriving at that port, and particularly if they are about to visit Rome for the first time, are pre- pared to make so long a digression from their route. They would also, in many instances, enter upon the tour without that preliminary information so necessary to appreciate the antiqui- ties. A visit to the Museo Gregoriano, to the Museo Campana, and to the other Etruscan collections in the capital, will prepare the tourist for this ex- cursion more completely than any descriptions in books, and remder the journey much more interesting. The tourist who has explored the country from Florence to Rome by Siena (Routes 101 and 106) will have visited Volterra, one of the most interesting Etruscan cities in Central Italy; and he may have made an excursion from Viterbo to the cavern-sepulchres of Castel d’Asso, Norchia, and Bieda, and have ex- plored the sites of Sutri and of Veii on the same route. On the road from Florence by Perugia he will have had an opportunity of examining the walls of Cortona, the Etruscan remains at Perugia, and the ruins of the fortified city of Falerii near Civita Castellama. If he has traversed the central road from Perugia to Montefiascone by Città della Pieve and Orvieto, he will have examined the remains at Chiusi, the capital of Porsenna. These cities are better known and more accessible than those we are about to describe, but they are not more interesting 406 EXCURSIONS IN THE ENVIRONS OF ROM E. JRome. or instructive. The sites which may description of the road from Civita be made the object of an excursion Vecchia to Rome (Rte. 100). from Rome are Caere and Pyrgos, lying near the road to Civita Vecchia; and those situated between Civita Vecchia and Viterbo, viz. Tarquinii, Vulci, Tuscanicſ, &c. If the traveller should not have visited Viterbo, i. can do so on his return to Rome, ex- ploring Bieda, Norchia, Castel d’Asso, Sutri, and Veii. As many of these (AGYLLA, CAERE), 27 m. from Rome. places have no inns, the traveller should [The best mode of visiting Cervetri, endeavour to furnish himself with and which can be done in a day from introductions at Rome either to the Rome, will be, with post-horses and a resident proprietors, or to the learned light carriage, changing at Castel di ecclesiastics who have laboured in Guido and Palo; in this way Cervetri illustrating their respective localities, may be reached in 4 hours; 3 more will and are always ready to extend their suffice to visit much that is worth see- assistance to strangers. It is scarcely ing, so that the traveller can perform the less necessary to carry a small stock of whole excursion in 12 hours. Persons provisions, particularly if he intends to coming from Civita Vecchia will pro- make any digressions from the more ceed from St. Severa to Cervetri, and CERVETRI frequented roads. Those persons who have either not had time or opportunity to study the Etruscan collections at Rome will derive every information from Mr. Dennis's ‘Cities and Ceme- teries of Etruria,’ which is a real Hand- book to ancient Etruria; and from Camima's ‘Etruria Maritima mella di- zione Pontificia,” in folio, which, al- though too bulky to carry, ought to be consulted before setting out on this interesting excursion. Mrs. Hamilton Gray’s ‘Tour to the Sepulchres of Etruria’ will also convey useful in- formation on a region to which she first called attention of English tra- vellers in recent times. The two first works contain valuable maps and plans which add greatly to their utility. The road from Rome to Civita Vec- chia is described under Rte. 100 in the Handbook of Central Italy. Those who are disposed to linger by the way can make Cervetri, Palo, or Civita | Vecchia the resting-place for the first night: it is, however, possible to proceed from Rome to Corneto in a summer's day without sleeping at Civita Vecchia. from thence to Rome by Palo. In both cases the distance of Cervetri from the post-road will not exceed 3 m. On ar- riving at Cervetti it will be well to pro- cure horses or donkeys, or, what will be still better, to write a few days before- hand to Passegieri, the local guide, to be in attendance with them. The best mode of seeing everything will be to commence with the Regulini-Galassi tomb (No. 10), and proceed from thence to that of Campama (No. 11), to return from there to the town, and go after- wards to the Banditaccia.] (Inn : the house of Pacifico Rosati, a vetturino, clean, and obliging people; but traveliers had better carry their own provisions. The best guide to the tombs is Flavio Passegieri, a tobacco- mist in the Piazza, who keeps the keys of the locked tombs; there is a less intelligent one, Romualdo Flammi, should the other be out of the way, as he frequently is.) The road to Cer- vetri turns off from the post-road 3 m. beyond Palo, about 4 m. after crossing the Vaccinia stream, and is practicable for light carriages. Cer- The first Etruscan antiquities which vetri is the representative of a city occur are at J/onterone, a mile before whose antiquity carries us even beyond reaching Palo, where some remarkable the Etruscans, to a period more than tumuli, opened in 1838 by the late | 13 centuries anterior to our era. It duchess of Sermoneta, may be exa- is the Agylla of the Pelasgi and the mined: they have been noticed in our Caere of the Etruscans, and is cele- Sect. II. CERVETRI. 407 brated as the capital of Mezentius when founded, and the name of Cerveteri AEneas arrived in Italy. In regard to (Care Vetus) was applied to the ancient its ancient names, Herodotus, and the locality. At this time it belonged to the Greek writers before the Augustan | Bonaventura or Venturini family, from age, call it Agylla, and the Latin whom it passed to the Orsinis. It was Caere, except when the poets intro- sold by them in 1674 to the Ruspoli duce the more ancient name for the family, in whose possession it still re- sake of the metre. The Agylla of the mains. The description of Virgil, who Greeks was founded by the Pelasgi in tells us that Mezentius led 1000 men conjunction with the aborigines, if it from it to the assistance of Turnus, is had not been previously founded by the still applicable to the locality:— Siculi. Dionysius mentions it as one . * r * * * of the chief cities of Etruria in the hºul hinc Saxo incolitur ſundata time of Tarquinius Priscus, and says Urbis Agyllinae sedes; ubi Lydia quondam that it changed its name when subdued Gens, bello praeclara, jugis insedit Etruscis. by the Etruscans. Strabo, however, Hanc multos florentem annos rex deindo tells us (lib. v. c. ii.) that the new I *… wº - -, *3 . . . . . . . ~~ - mperio scewis tenuit Mezentius armis. name was derived from the salutation Liºn. Viii. 478. ×zies, with which the Lydians on their invasion were hailed from the walls It stands on a long strip of table-land, by the Pelasgi. From its wealth and surrounded on all sides, except towards importance it became one of the 12 the W., by precipices which are not less cities of the Etruscan League; and in some places than 50 feet in height. Strabo mentions it as the only city On the western side an artificial cutting of Etruria whose inhabitants abstained completed the natural strength of its from piracy from a strong sense of position. The modern village is sup- justice. When Rome was invaded by posed to occupy the site of the ancient the Gauls, Caere afforded an asylum || Acropolis: it is a poor place of 210 to the vestal virgins, who were sent Inhab., with a Gothic gate, remains of there for safety with the perpetual fire; several towers of a mediaeval castle, and it is supposed that the Romans and a large palace belonging to the were first initiated in the mysteries of Ruspoli family, whose eldest son takes the Etruscan worship by the priests of the title of prince of Cervetri. The Caere, a circumstance from which the city of ancient Caere was not less than antiquaries derive the etymology of 4 or 5 m. in circuit, and covered the the word ceremony (caremonia). In whole table-land to the E. of the point the time of Augustus the town had lost on which Cervetti is built, between nearly all its importance; and Strabo Monte Abetone and the hill of the Ne- says that in his day it had preserved cropolis. The Venturinis and Orsinis scareely any vestige of its ancient splen-' surrounded it with fortifications, of dour. It appears, however, from in- large blocks of tufa taken from the scriptions, and especially from a re- ancient walls, which are of rectan- markable one preserved in the Mu-i gular masonry; some rare remains of seum at Naples, that Caere obtained these latter are still visible on the west- a great celebrity in the time of Trajan ern side of the hill opposite the Necro- for its mineral waters, called the Aquae polis. The S gates may be traced, with Caeretamae: they are still frequented 2 roads leading to them ; one paved in under the name of the Bagni di Sasso, the direction of Veii, the other to Pyrgos, about 4 m. W. of the modern Cer- the port of Caere, the modern Santa vetri. In the middle ages the town | Severa. The hill of the Necropolis, was the seat of a bishopric as late as now called L& Banditaccia, is separated the llth century, when it had consi– from the town by a deep ravine and derably declined. It appears to have a small stream called the Ruscello della remained in comparative obscurity until | Madonna de' Caneti; its surface is ex- the beginning of the 13th, when the cavated into pits and caverns; and in its new settlement of Cere Nuovo was cliffs are ranges of tombs. There are no 4.08 Rome. EXCURSIONS IN THE ENVIRONS OF ROME. architectural façades to the tombs, but Several of those on the Banditaccia are surmounted by tumuli or pyramids, the base of which generally consists of a circular sculptured portion, cut out in the solid tufa of the hill, beneath which are the sepulchral chambers, varied in style and form, to which a long passage gradually descending from the surface leads. In 1829 the atten- tion of antiquaries was directed to the sepulchres of this Necropolis, by the mumber of curious remains which were brought to light by the researches of Monsignore Regolini, the archpriest of the town, and by General Galassi. The remarkable tomb which bears their joint names, and which will be noticed presently, was discovered in 1836; several others of very great, and in some respects unique, interest, were opened in 1845, and a still larger number in 1846. We shall briefly notice the most remarkable, referring for greater details to Mr. Dennis' work, describing more in detail those disco- vered since that gentleman’s visit to Cervetri, beginning with those on the hill of the Banditaccia : — 1. The first is a large square one with a flat roof, sup- ported by 2 square pillars, and rows of niches for bodies both in the walls and in the benches which surround them. 2. A tomb of 2 chambers, communicating with each other by a small door, and Temarkable for an arm-chair cut out of the rock, by the side of one of the sepulchral couches. It is some- times called, from this circumstance, the Grotta della Sedia, though there are other tombs which have an equal right to the name. 3. Tomb called the Groticſ delle Sºdie e Scudi, from containing 2 arm-chairs and footstools carved out of the rock, and 2 shields in relief on the wall above them. The form of this tomb is precisely that of an an- cient house, consisting of a vestibule and 5 chambers. 4. Grottº del Triclinio, discovered by Marchese Campama in 1846, a single chamber, with a broad bench of rock for the dead. It con- tains bas-reliefs of a wild boar and a panther, and its walls are painted with representations of a banqueting scene, which have so greatly suffered from damp as to be now nearly effaced. The few heads which are still visible are very beautiful, and Greek in their character. 5. A tomb of great an- tiquity, with rude paintings of men and parti-coloured animals, Stags, lions, rams, &c. 6. A tomb with painted couches, containing 3 large Sarcophagi of white marble; one of them in the form of a house or temple, with tiled roof, and the other 2 having on their lids recumbent figures, with lions and sphinxes at the corners; the drapery of the figures and the style of execution show an antiquity perhaps more remote than the Etruscans. These urns contained human corpses; the recumbent figures on both are of men, each lying on his side and crowned with a wreath of flowers : these being in statuary marble instead of alabaster, as once supposed, is re- markable. 7. A tomb divided into 3 portions by fluted pillars with richly carved capitals; at the end of the cem- tral portion is a deep recess approached by a flight of steps, in which is a Sepulchral couch cut into the rock, with cushions at its head. 8. Tomb of the Tar- quins, discovered in 1846, a sepulchre of 2 chambers; the outer leading by a flight of steps to the second and larger one, called by the peasantry, from the number of the inscriptions, the “Grotta delle Iscrizioni.” This chamber is 35 feet square, with 2 square pillars in the centre, and is surrounded by double benches. The upper portions of its walls are hollowed into oblong miches for the dead. On different parts of the walls and benches the name of Tarquin, or TARCHNAs, occurs nearly 40 times, thus confirming the Etruscan origin of that celebrated family. In consequence of the roof having lately fallen ill, it is now impossible to enter this interesting excavation. 9. Tomb of the Bus-reliefs. This is now, perhaps, the most interesting about Cervetri, and was discovered in 1850 by Cam- pana, at the N.E. extremity of the Banditaccia; like all the other sepul- chres of this locality, it is entered by a flight of steps descending between walls of massive masonry, consisting of large blocks of volcanic tufa. The sepul- Sect. II. 409 CERVETRI. chral chamber is square, having 3 miches on each side, except on that by which we enter, where there are only two, one on each side of the door; the roof is finely divided into 4 compart- ments, terminating in an obtuse angle, as in some Gothic vaults, and Supported by 2 square pilasters, the whole cut out in the tufa ; the 4 sides of these pillars being covered with bas-reliefs repre- senting sacrificial instruments, hatchets, knives, daggers, skewers bound together, long Etruscan trumpets or pittaci, the singular twisted rods seen in the pro- cessions on the Etruscan paintings of Corneto; a warrior's travelling-bag, very like a modern one, with a small shield attached to it; a double-hinged door-post, a bronze vessel resembling a Chinese gong, a club attached to a cord similar to the weapon used by the one of the square pillars supporting the roof is an oblong space resembling a picture-frame, on which probably was an inscription. The floor has oblong compartments beneath the large sepul- chral niches in which bodies were ſaid, and in the centre a deeper floor. The door is of the Egyptian form, wide be- low and narrowing to the lintel. When the tomb was opened skeletons of war- riors were found in all the niches co- vered with their armour, which has been removed to the Campana Mu- seum, and over each the name of MATVNAs, engraved in the Etruscan character, probably that of the family to which this most interesting hypogeum belonged. 10. The Reſolini - Galassi Tomb, discovered in 1836 by the Pre- late and General whose names it bears; it is situated in a field, at a short dis- Roman butchers of the present day in itance on the rt. of the road from Palo, killing cattle, a tally of circular dies before entering the town, and is sup- on their string, a cat playing with a posed to have been originally sur- mouse, and a dog with a lizard, Etrus- mounted by an immense mound, the can vases sculptured in relief as hung base of which was surrounded by a wall on mails, &c.; the whole evidently in- with Sepulchral chambers for persons of tended to represent objects belonging inferior rank. . It is a narrow chamber, to the dead, instead of the objects G0 feet long, with sides and roof vaulted themselves being left. Over the door in the form of a pointed arch with an are two short-horned bulls' heads, with horizontal lintel or top, and so formed wreaths, and on either side a flat dish, by gradually hewing away the hori- exactly the shape of those used by the Zontal courses of rock to a smooth Italian butchers in carrying meat to surface, as we see at Arpino and other their customers; and on the jambs of Pelasgie cities, thus proving an an- the door fine circular Etruscan trum- tiquity prior to the introduction of the pets. On the lateral niches lay the circular arch. This long vaulted cham- bodies of the dead, the heads reposing ber is divided into 2 portions by a wall on a stone pillow, the rich painting still with a doorway of the same form. In remaining; on each were found the the outer one were found a bronze bier; bronze armour and helmet of the de- a 4-wheeled car of bronze, supposed ceased; above were the names between to have been the funereal One ; a small two caps in relief, painted red. In the bronze tray on 4 wheels, considered centre and back of the chamber is a to be an incense-burner; an iron altar couch, on which lay two corpses, with a on a tripod ; several bronze shields, singular bas-relief beneath of Cerberus, beautifully embossed; some arrows; with a small figure holding a serpent on 2 caldrons on tripods ; several articles one side, and above two busts of male of funeral furniture, suspended from bearded figures, unfortunately now a recess in the roof by bronze nails; mutilated. All these curious bas-reliefs, - so correct in their delineation of the objects intended to be represented, are partly cut out of the tufa in which the chamber is excavated, and partly in stucco; they were all painted, several still retaining their colours. Upon [Rome.] | and numerous earthenware figures, the Lares of the deceased. On the door- posts of , the inner chamber hung vessels of silver; from the vault and sides of the entrance were suspended bronze vessels, some bearing the name of “Larthia ;” and on the T +I () IXCUIRSIONS IN THE ENVIRONS OF ROME. Rome. floor, without bier or sarcophagus, lay It contains in one of its chambers an the most marvellous collection of arm-chair and foot-stool, cut out of gold ornaments discovered in a single the rock; and in the other was found tomb in modern times, and evi- the skeleton of a horse. 13. Near at dently occupying the spots where they hand is another tomb, also covered by had fallem when the body they once a tumulus, called the Grotta Torloniº. adorned had crumbled to dust. The It is approached by a long passage in richness and abundance of these the hill-side, terminating in a chamber beautiful specimens of gold ornaments with pilasters of Greek character; be- have suggested the probability that neath this is the sepulchral vault, which the occupant of the chamber was a is entered by a flight of steps. Like person of high rank. All the jewellery, many of the other sepulchres we have bronzes, vases, &c., discovered in this described, it is divided into 3 com- tomb have been removed to Rome, partments, which contained no less and now form the most interesting than 54 sepulchral couches. Though it objects in the Gregorian Museum of had evidently been plundered in past the Vatican. There is, therefore, ages, even of its vases, the bodies of the nothing remaining for the traveller dead, when it was opened a few years to examine but the remarkable archi- back, were found reposing on these tecture of the chambers. The dis- couches, but they soon crumbled covery of this tomb has led to a great into dust under exposure to the at- deal of antiquarian speculation : Canina considers that it is at least 3000 years old, or about coeval with the Trojan war; and that, like the circular tombs at Tarquinii and the Cucumella at Vulci, it was erected in honour of a chief slain in battle. ll. About a mile from this tomb, on the southern side of Monte Abetone, which is supposed to be the site of the Grove of Sylvanus, celebrated by Vir- gil, is a very interesting tomb, opened by Marquis Campana in 1850, and kept under lock and key, in order to preserve its furniture and fittings exactly as they were discovered. The sepulchral chamber is divided in 3 compartments by pilasters: on the roof of the first is the singular fanlight ornament which always indicates a high antiquity; in the second are 2 Sepulchral couches in the solid rock, on which still lie the skulls of their 2 occupants, and the black dust into which the bodies have crumbled : some earthen pans and jars complete the furniture; in the third, on a bench of rock, are several vases of various sizes. The walls are covered with stucco re- liefs, warlike implements, and others used in sacrificial ceremonies, 12. A mile from this tomb, in a spot difficult of access, is another surmounted by a tumulus, and reached by a passage formed by converging blocks of stone. mosphere. Cere Nuovo, a hamlet of 70 souls, is picturesquely situated on a hill of tufa, 3 m. E. of Cervetri. It was founded, as We have remarked above, in the 13th century. In the contests of the Roman barons it was a place of some strength, and was for a brief period subject to Cola di Rienzo. In the 15th century it belonged to the Orsinis of Amguillara, who built there a new fortress in 1470. It afterwards passed to the Cesis, Borromeos, and Odescalchis. It has also some tombs in its vicinity, but they contain nothing to call for a de- tailed description. The site of Pyrgos, the ancient port and arsenal of Caere, is placed by the antiquaries at Santa Severa, upon the coast, and on the 1. of the post-road to Civita Vecchia. (See Handbook of Cen- tral Italy, Rte. 100.) Sect. II. CORN ETO. * 411 which Gregory XI. landed when he brought back the Holy See from Avi- gnon to Rome. The city stands on a Corn FTo (TARQUINII), hill overlooking the Mediterranean, and from all parts of the coast it is 12 miles from Civita Vecchia. (The a picturesque and imposing object. Casa Moirano at Corneto is clean, and The old Gothic cathedral of the 9th affords very tolerable quarters. The century, called S. Maria di Castello, Palazzaccio, formerly very dirty, is was so seriously injured by lightning said to be improved; it was formerly in 1810 that it is now abandoned: it is the palace of Card. Vitelleschi, and remarkable for its dome, and for a will be hereafter noticed for its archi- doorway with a round arch formerly tecture.) The road, which is gene- covered with mosaics, on each side of rally in good order, follows the coast- which are some Latin inscriptions, re- line for about 2 m., and then Strikes cording the names of the bishops of more inland. The country it tra- | Tarquinii, prior to the change of dio- verses is chiefly covered with myrtles cese. In the aisle, forming a step, is and lentiscus. The road crosses the a marble slab, inscribed with the Mignone little more than midway words “Larth. Welchas Thuicesu,” in between the 2 towns, and proceeds Etruscan characters. The lofty tower almost in a straight line to Corneto. is still surmounted by one of the 4 On the coast, on the 1. hand, between statues of horses which were found the mouths of the Mignone and the among the ruins of Tarquinii, and Marta, is Porto Clementino, the high placed at the angles of the campanile. tower near which is a conspicuous ob- The other 3 were struck down by light- ject. The wooded hills on the rt. of the ming when the cathedral was injured road abound in wild boars, which afford in 1810. Many of the houses and excellent sport during the winter. churches of Corneto are ornamented with marbles and columns from the ancient city, and are at the same time | interesting as affording good examples of Italian Gothic. The large palace of Cardinal Vitelleschi, now the inn called the Palazzaccio, presents fine and | characteristic details of the domestic Gothic of the 15th century. The CoRNETo, i Palazzo Comunale contains some & frescoes illustrative of the history of an episcopal city of about 4000 Im- Corneto, annong which is one tracing hab., rose in the middle ages from the origin of the city to the ancient the ruins of the Etruscan Tarquinii, Corytus, an assumption of antiquity to whose site is about 1% m. from it. which Corneto has no kind of preten- It was made a city by Eugenius IV. sion. Among the private palaces may in 1432, and is surrounded by pictu- be mentioned the P. Bruschi, with its resque battlemented walls and towers, charming gardens and antiques libe- which belong probably to a still rally thrown open to the inhabitants; earlier period. The first bishop of the P. Falzacappa, containing a small Tarquinii was Apulejus, A.D. 465, but museum of antiques found among the after the death of the fourth occupant ruins in the neighbourhood ; and the the see was transferred to Corneto, collections of Cav. Manzi, most of which must therefore have been a which are, we believe, for sale. The place of some consequence before the ch. of one of the convents of nuns com- close of the 6th century. It was remark- İtained the remains of the mother of Na- able during the struggles of the Guelphs poleon, and Cardinal Fesch, who died and Ghibelines for its attachment to it Rome, until they were removed to the popes, and was the place near Ajaccio, in Corsica, a few years since, T 2. 412 EXCURSIONS IN THE ENVIRONS OF ROME. Rome. The site of Tarquinii is about 1, m. from the modern city, by a road prac. ticable only on foot or horseback. It occupies a flat table-land still called Turchina, and is surrounded by pre- cipices throughout nearly its entire cir- cuit. At the extremities of the hill were formerly two towers called la Ci- vitella and la Castellina; on the site of the latter is a deserted convent. No- thing now remains of the ancient and once magnificent city but some founda- tions of walls at the highest part of the hill, built of parallelograms of soft Stone, in the massive style of Etruscan masonry, and a tomb Sumk in the rock beneath the surface like a cellar, and affording an unique exception to the Etruscan custom of burying their dead beyond the city walls. The position of 6 gates may be recognised: from that on the S. side a paved road leads to Monterozzi, the ancient Ne- cropolis. Tarquinii was the religious, if not the political metropolis of an- cient Etruria. It was founded nearly 1200 years before the Christian era by Tarchon, who assisted Æneas against Turnus. Demaratus of Corinth, who settled here about B.C. 658, introduced many of the arts and customs of Greece, and married a lady of the city. His eldest som, a JAtcum) or prince, at the suggestion of his wife Tamaquil, when he migrated to Rome, assumed the mame of Tarquinius Priscus. The fact is interesting, not only in reference to the early history of Rome, but because the names of Lucumo and Tanaquil are of frequent occurrence in inscriptions found among the sepulchres. A deep and broad valley separates the rocky hill of Turchina from that of Monterozzi, the ancient Necropolis. This hill is one of the most instruc- tive sites of Etruria. Its surface is covered with an extraordinary collec- tion of tumuli, amounting to many hundreds, exclusive of the painted tombs, which are invariably sunk be- meath the surface. A few years ago the tumuli were comparatively per- fect, but they have now mostly disap- peared, and the uneven surface presents only a number of shapeless mounds overgrown with shrubs, or the open pits leading to the painted sepulchres. It is from these tombs that the Etrus- can student has derived the greater part of his acquaintance with the religious customs, the games, and the costumes, of ome of the most extraordinary nations of ancient Europe. The first disco- veries were made here in the last centy., by Mr. Byres, an Englishman residing at Rome; and most of the objects dis- covered were sent to England, either to the British Museum or to private col- lections. The excavations were not pursued on a systematic plan, until Lucien Buonaparte purchased the prin- cipalities of Canino and Musignano, and gave an impulse to the work by his own interesting researches. The great discoverer about Corneto has been Signor Avvolta, who considers that the Necropolis extended over 16 Square m., and conjectures, from the 2000 tonnbs which have been opened in recent years, that their total number could not have been less than 2,000,000. Of the tumuli on the sur- face of the Monterozzi, nearly all which are perfect enough to be ex- amined appear to have had a circular base of masonry surmounted by a cone of earth. One of the most interesting now visible is known as the “Mauso- leo,” and is built of hewn blocks of travertime nearly 2 feet in length. The interior is worthy of examination on account of its vaulted roof terminating in a square head. Among these tumuli in 1823 Signor Avvolta discovered the virgin tomb which first directed the attention of European archaeologists to Corneto. On digging into the tumulus for stones to mend a road, he broke into the sepulchre of an Etruscan Lu- cumo or prince. “I beheld,” he says, “a warrior stretched on a couch of rock, and in a few minutes I saw him vanish, as it were, under my eyes, for, as the atmosphere entered the sepal- chre, the armour, thoroughly oxidised, crumbled away into most minute parti- cles; so that in a short time scarcely a vestige of what I had seen was left on the couch. Such was my astonishment, that it were impossible to express the effect upon my mind produced by this sight; but I can safely assert that it was Sect. II. 41 CORNETO. 3 the happiest moment of my life.” Of the objects found in the tomb, the bronze lance and javelins were rusted into one mass; and the golden crown was so fragile that all but a small por- tion, which passed into the hands of Lord Kinnaird, perished on its way to Rome. It would be out of place in a work of this kind if we were to de- scribe in detail the objects which have been discovered in the other tombs: most of them have passed into the great museums of Europe, or into private collections, and many have been al- Teady noticed in our account of the Etruscan museums at Rome. Even the tombs, if their names be not changed by the different ciceroni, are not always shown to travellers in the same order, so that the student must necessarily depend more upon the intelligence of his local cicerome than upon any de- scriptions in books. The principal painted tombs, however, are kept locked by order of government, and the custode who holds the keys, Agâ- pito Aldanesi, in the Piazza Angelica, shows them to travellers in the follow- ing order. It is almost unnecessary to say that he who wishes to obtain more than a passing knowledge of the tombs must visit them with Mr. Dennis's volume in his hand. I.—Grotta dellat Querciola, discovered in 1831, one of the largest and most magnificent of all the tombs of Tar- quinii, although much injured by damp. The subjects of the paintings, which are quite Greek in their character, are a love-scene and banquet, with groups of dancers, horsemen, games, boar-hunts, &c. Copies of these paintings are pre- served in the Gregorian Museum of the Vatican, and a coloured engraving of them is given in Mrs. Gray’s work, though she has mistaken their meaning. II.-Grotta del Triclinio, discovered in 1830, a fine chamber with a vaulted roof: it derives its name from the bril- liant and lifelike paintings on the walls, in which several male and female figures are seen reclining on couches at a fune- ral banquet. The costumes and the arrangement of the tables, &c., form a valuable illustration of Etruscan mam- mers. On one of the walls is a lively representation of a dance, in which the arms and hands appear as if playing castamets. Copies of these paintings are also preserved in the Gregorian Mu- seum, and in the Etruscan room of the British Museum. III.-Grotta del Morto, discovered in 1832, a small tomb, remarkable for a painting re- presenting a young girl and a lad lay- ing out the dead body of an old mam, while 2 men standing by appear to be manifesting their sorrow by frantic ges- tures. Over the woman’s head is the name “Thanaueil,” over the old man’s is the name “Thanarsaia,” and over the third man is the name “Enel.” The costumes are rich and very interesting, and the whole scene, though perfectly simple in its character and Egyptian in style and execution, is extremely touch- ing. The other paintings represent the funeral dances and other ceremonies. Copies of the principal subjects are pre- served in the Gregorian Museum of the Vatican, and in the British Museum ; and an engraving of them is found in Mrs. Gray's book, though the colouring is incorrectly given. IV. Grotta del Tifone, or di Pompei, discovered in 1832, one of the largest tombs, with a roof supported by a square pillar, bearing on 3 of its sides the figure of the typhon, or angel of death, from which it takes its name. The sides of the chamber have 3 ledges, one over the other, on which 8 sarcophagi still re- main, with recumbent figures on the lids. Two of them are Roman with Latin inscriptions, supposed to be those of persons descended from the ancient Etruscan family of Pompus, the stirps probably of the Roman family of Pom- peius. The typhon represented here is a winged figure, with extended arms, supporting a cornice with his hands, the lower extremities terminating in Ser- pents. On the rt, wall is one of the most remarkable paintings at Tarquinii, a procession of souls with good and evil genii, the tallest figure being nearly 6 ft. in height, and all the others as large as life. This proces- sion is almost the counterpart of one of the bas-reliefs at Norchia. The twisted rods which are so remarkable in those sculptures are here again seen 414 FXCURSIONS IN THE ENV H #3 ONS OF RO ME. Rome, in the hands of many of the figures, thus evidently denoting their funeral import, Mrs. Gray has given a repre- sentation of this subject in her work, but it has nearly perished since her drawing was made. The evil genius, or the Etruscan Charon, is black, with his head wreathed with serpents; he holds an enormous hammer in one hand, and the other, which terminates in a claw, is fastened on the shoulder of a youth : a female figure, still bearing marks of great beauty, and evidently representing the spirit of the deceased, follows, attended by another evil genius with a serpent twined around his head. Over the head of the youth are in- scribed the words, “Laris Pumpus Arnthal Clan Cechase,” or Lars Pom- peius, the son of Aruns. V.-Grotta del Cardinale, first discovered in 1699, re- discovered in 1760 by our countryman Mr. Byres, reopened in 1780 by Car- dinal Garampi, and made known by Micali in 1808. This tomb is the largest known ; it consists of a single chamber, 54 ft. on each side, with a roof supported on 4 Square pillars, orna- mented with medallions. It appears to have been left unfinished ; the outlines of the figures on the walls may still be traced, but the colours have disappeared. The most interesting groups are those on the frieze, representing the good and evil spirits in the act of drawing in a car the soul of a deceased person to judgment: they are engraved in Mrs. Gray’s book; and Mr. Byres's drawings of them, made when they were almost in their original condition, were pub- lished in London by Messrs. Colnaghi in 1842, under the title of “Hypogaei.” The evil genii are painted black, with their hair standing on end, and with black buskins; most of them carry ham- mers in their hands. This painting is extremely curious, and it is much to be regretted that it has been seriously damaged of late years. VI.-Grotta delle Bighe, discovered in 1827 by Baron Stackelberg, a single chamber, with a vaulted roof, painted white, black, red, and blue, with ivy-wreaths: over the door are panthers and geese. The walls are covered with paintings in the 2 compartments. On the lower one, on the rt. wall, is a group of dancers; in the upper one are seen the bigae, or two-horse chariots, making prepara- tions for a race. On the 1, wall, in the lower compartment, is another group of dancers; in the upper One are various gymnastic sports, gladiators preparing for the contest, and serpent charmers. On the wall, opposite the door, the lower division has a representation of the funeral banquet, with figures crowned with myrtle; above is another series of games, wrestling, leaping, &c., all highly curious as studies of costume and manners. Copies of these pictures are preserved in the Gregorian Museum of the Vatican and in the British Mu- seum. VII.-Grotta del Mare, a small tomb of 2 chambers, with 4 sea-horses on the pediment of the outer one, 2 on each side of a large shell. VIII.-Grotta del Barone, or Grotta Restner, discovered by Baron Stackelberg and Chev. Kestner in 1827; remarkable for some very brilliant and interesting paintings of horsemen preparing for the race, and of the competitors receiving chaplets as their prizes from a female; the whole designed and executed in a style more resembling the Egyptian or the archaic Greek than any other examples at Tarquinii. Over the door are some sea-horses and dolphius. IX. — Groticſ Francesca, or the Grotta Giustiniani, dis- covered by Chev. Kestner in 1833, once covered with brilliant paintings, repre- senting the sports and dances observed at the Etruscan funerals; but they are gradually disappearing under the effects of damp and exposure to the atmos- phere. Among the figures still visible are a dancing girl of uncommon grace and elegance of action, with a costume perfectly modern in its character; and 2 others, of lifelike attitude, playing the castanets and the double pipes. X.—Grotta della Scroft Nerd, the most inaccessible of the group here described, so called from a painting representing with singular spirit and freedom the hunt of a black wild sow by two hunts- men and several dogs. Below the pedi- ment containing this hunt is the repre- sentation of a banquet which is continu- purest style of Greek art, arranged in ed along the adjoining wall. Most of the Sect. II. & CORN ETO. 415 figures are obliterated or imperfect; but Mercareccia, cut out of the rock, and enough remains, both of them and of originally decorated with pilasters and #. *: of º º º º with ſº of lions, º that the paintings belong to a period of sphinxes, and human victims. . The Etruscan art when the Egyptian style interior of the outer chamber of this had been discarded for the freer and tomb, which shows that it was the last 10).OI’6” flowing outline of the Greek. home of some Etruscan great jºin * f b 2 XI.-Grott'ſ delle /scrizioni, discovered was covered with bas-reliefs represent- in 1827, one of the most interesting of jing on the frieze combats of wild beasts, the series: over the door are 2 panthers, |and on the wall below figures of and in each angle of the pediment is a men and horses nearly as large as recumbent fawn with a goose at his life. This very interesting example of feet. ſº the ºppº pediment are 2 the internal sculptures of Etruscan se- lions, 2 deer, and 2 panthers, all parti- pulchres has been unfortunately allowed coloured. 9, * rt of the entrance to fall into ruin; and the principal 1S 2. * O ho i. §.". figures have been so much injured by: Or * * * - * * & an. i. º '. º * º i º t . al the shepherds who for years have used #. º 3. i. º º . º º § the tomb as a sheepfold, that most of upon & 3. ar, as it is the figures are obliterated. The draw- considered by those who suppose the : > - * ~ * ~ 1: | ings of our countryman Mr. Byres have old man to be the god of chastity, and however preserved to us the outlines of the whole scene to represent a sacrifice t] ese º Y tures - and of the Saintings to him. On the 1, wall are 2 men play- . h c pU ãºn. all of º imº * * \\ }) I (? 'OW Cl’éCl tillé WallS . j- ing at dice at a hollow table, 2 men . º COW i. . º inates i I * º rant - * R T 3.1 tº S ºl”- boxing with the cestus, and 2 wrestlers. . i. . lº º 63S III § A false door in the wall separates these pendicular shatº, º ſeek qºp, Whiº communicates with the plaim above, and from a procession of 4 horsemen and - - l loub th & * º ºr - * º).T. TiT) ſº - numerous attendants on foot, with dogs, originally formed, no doubt, one of the &c., who appear to have just returned entranges to it. w - from a race; the forms of the horses In the meighbouring cliffs are seve- surpass anything ever imagined by a |ral caverms of enormous size, their roofs modern horse-breeder. A bacchic dance supported by huge pillars hewn out of fills the next Space, with dancers and the rock. Whether these excavations numerous attendants bearing vases and were used as caverm temples by the wine-jugs ; and beyond the second Etruscams, or were merely quarries false door the space is occupied by a from which they derived the stone bearded figure, attended by a slave' for the building of Tarquinii, they are bearing boughs of trees in his hand. curious and well deserving of a visit. These paintings, by their hard out- line and exaggerated details, bear Graviscoe, the port of Tarquinii, evidence of their high antiquity, and situated at the mouth of the Marta; the are probably the oldest which are site is still marked by some remains of llow accessible in this locality. Almost massive masonry. all the figures are naked or nearly so, The roads leading from Corneto to and almost every one of them bears an Ponte della Badia, the site of Vulci, imscription ; but although the letters and to Toscamella, the ancient Tus- are still legible, the meaning of the camia, are practicable only for light words is either altogether unknown, carriages; so that in this, as in many or a matter of conjecture. Copies of other excursions in the meighbourhood the paintings are preserved in the Gre- of Rome, the traveller who visits the gorian Museum, and in the Bronze district on horseback will be much less room of the British Museum. impeded than those who are encumber- About a mile from Corneto, a little ed with a carriage unsuited to the roads on the ºt. of the road to Vitorbo, is of the country. Those who cannot ride a most interesting tomb, called La had better provide themselves with a 416 }XCU #85; ONS IN THE ENVIRONS OF ROME. Jºome. light gig or carriţella at Civita Vec- chia. There is now a very good road from Corneto to Bracciano, passing near Jia Tolfa, which will enable the tourist to return to the capital by a different route, visiting several interesting sites on the way. The distance to Bracciano, where there is a very fair inn, is 22 m. Be- tween T3racciano and Rome he can visit Galera, and may have time enough to see Veii, by making a diversion from Ta Storta (see p. 379). PONTE DELLA BADTA (VULCI). Travellers who visit Vulci had better make Montalto their head-quarters, where there is a Locanda (Cesarini’s), al- though avery miserable affair, and as they will find no accommodation at the castle at the Ponte della Badia, which besides swarms with vermin, and Vulci is deso- lated by malaria after the middle of June. Camino is also dangerous from malaria during the summer months. At Montalto they must also supply theim- selves with provisions, as none are to be obtained elsewhere. Vulci is 18 m, N.W. of Corneto. The road follows that from Civita Vecchia to Jeghorn (de- scribed in Rte. 99 of Handbook of Cen- tral ſtaly) as far as Montalto, when a branch road of 6 or 7 m., practicable for light carriages, strikes inland along the valley of the Fiora to the Ponte della Badia, and the castle which ad- joins it. This castle, a fortress of the middle ages, with towers and battle- ments, forms a picturesque object as it is approached. It is situated on a pre- of the frontier stations of the Papal States. The bridge, which seems to form part of the fortress, spans the ravine with a colossal arch, about 115 feet above the river. The piers of the bridge are built of masses of red tufa, without cement, and are evidently Jºtruscan ; the masonry which encases them, and the travertine arch above, are as clearly Roman ; so that we may at once regard the bridge as a Roman work on Etruscan piers. The width of the bridge is 10 feet, and the parapets are so high as to shut out the prospect on all sides : in one of these parapets is a channel which served for the passage of an aqueduct, the Waters of which, in ages long gone by, Oozed through the masonry and formed enor- mous masses of stalactites, which still overhang the side of the bridge above the smaller arch on the rt. bank. Be- yond the bridge, a plateau of 2 m. in circuit, but elevated above the rt. bank of the Fiora, was the site of ancient Vulci, a city destroyed by Titus Co- runcanius after the fall of Tarquinii; it is still known as the Piano di Volci or di Voce: scarcely any ancient remains are now visible, and of those there are very few fragments which are not Ro- man, and some of as late a date as the time of Constantime. The Necropolis of Vulci occupied the table-land on both banks of the Fiora ; that on the 1. is supposed to have been connected with the city by one or more bridges, but the remains of one only are wi- sible, at a spot called “ Il Pelago.” The first excavations were made here in 1828, and in the course of a few months JJucien Buonaparte brought to light, within a space of about 4 acres, no less than 2000 vases and numerous other Etruscan specimens. he brothers Campanari, and others who had land in the neighbourhood, soon joined in the search, and from cipice above the 1. bank of the Fiora, that time Vulci has been an inex- which is still spanned by the magnificent bridge, partly Etruscan and partly Ro- man, from which it derives its name. haustible mine of Etruscan art, con- tributing wealth to the proprietors, and enriching the museums of Łon- It is now garrisoned by a few soldiers don, Paris, St. Petersburg, Munich, and custom-house officers, being one and Berlin. 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Rome. & rises the mountain of the same mame (1380 ft. above the sea), like an island in the midst of the great plain of the Fiora. Like Soracte, it is formed of secondary limestone, and the sur- rounding Maremma of volcanic dejec- tions, similar in age and mature to those of the Roman Campagna. Physically and geologically, therefore, the peak which towers over the Fiora is in every respect similar to its more classical MUSIGNANO. In proceeding from Ponte della Badia to Toscamella, the traveller should pay a visit to this interesting château, once the favourite residence of Lucien Buonaparte. The château, formed out of a Franciscan convent, is a plain and unpretending building, and was formerly remarkable for its museum of antiquities found on the site of Vulci, and interesting as a speci- men of an estate arranged with taste and farmed with great skill by a man meighbour on the banks of the Tiber. An excursion to the summit will well repay the fatigue of an ascent. The panoramic view from it is very exten- sive. Near the S. base of the moun- tain are some ruins of baths and dwell- ings of the Roman period, probably belonging to a villa of the time of the early Caesars. | ! | i ſ of distinguished taste and acquirements. Of late years it has not been inhabited, and the beautiful gardens, laid out with great taste by the late dowager princess of Canimo, are allowed to be overgrown with weeds and fall into decay. Musignano was purchased by Lucien Buonaparte in the pontificate of Pius VII., and constituted, with Camino, the joint principality from which he derived his title as a Roman prince ; it now belongs to Prince Torlonia, by whom it was purchased on the return of the descendants of Luciem to France, in 1854. The village of Canino is inhabited chiefly by the workmen engaged in the meighbouring iron-works, and presents no objects of interest beyond sepulchral excavations in the cliff on which it stands, the last traces of a city whose name has perished. There is a “Lo- canda” in the village, but it is both miserable and dirty. In the parish ch. is a monument by Pampaloni, of Flo- rence, raised to Lucien Buonaparte by his children; he died at Viterbo, and, as well as his 2md wife, is buried here. Canino, Musignano, and Ponte della Badia may be visited without any kind of danger from malaria in the months of April, May, Nov., and Dec. At a short distance from Camino TOSCANELLA (TUSCANIA). Toscanella is 15 m. from Vulci, 17 from Corneto, 16 from Montefiascome, 14 from Viterbo, and 18 from Vetralla. It has a population of 1726 Inhab. From Camino, Vulci, Corneto, and Viterbo, the road is practicable for the carriages of the country. There is a small imm kept by Pandolfini, which is tolerably clean and moderate, but the traveller should endeavour to provide himself with introductions to some resident family in the town. If we visit it from Corneto, the journey will occupy from 4 to 5 hours, and is more easily performed on horseback than in any other way. Leaving Corneto, the road descends into the valley, winding round the base of the hill on which the town is built. It them enters on a dreary country, which offers no at- traction until the picturesque mediae- wal towers and battlemented walls of Toscanella burst upon the view. A large chamber in the rock, near which the Sect. II. 419 TOSCA NELLA. road passes between the two towns, supplied many antiquities to the British Museum. The foundation of Tuscania is attributed by some author- ities to Ascanius, the son of AEmeas, but its early history is involved in the general obscurity which hangs over so many cities of Etruria. The modern name is traced to the beginning of the 14th century, when Toscamella, from its commanding position on a hill over- looking the plain, was a place of con- siderable strength. Nothing can be more picturesque than the appearance of the town, surrounded by its walls and towers, which carry the mind back to the middle ages, when it was one of the strongholds of Francesco Sforza, and sustained many a siege in the eventful struggles of that period. The hill of San Pietro, which is out- side the modern town, was most pro- bably included within the walls of the ancient city, and in all probability was its Arx. The summit is still surmounted by 8 square double towers of mediaeval masonry, constituting very striking ob- jects from all parts of the surrounding country. Very little now remains of the ancient city beyond substructions and sewers, and some reticulated work of Roman times. In the valley beneath, the ruins of a circus were discovered a few years back. On the height of Sam Pietro is situated the Cathedral, a very interesting edifice in the earliest Italian Gothic style : it is supposed to date from the 8th cent., and is built of frag- ments of ancient buildings: the great doorway has a rich round-headed arch, with a rose window and arcaded gal- leries above, the whole enriched with some very curious sculptures of the Trinity, angels, saints, men, devils, chimaeras, beasts, birds, and reptiles of extraordinary variety and of most gro- tesque expression. The interior was once covered with frescoes, but they e •, have mearly disappeared, from damp and neglect. The columns which support the roof were evidently taken from ancient buildings. The font rests on a Pagam altar. From the mave a flight of steps leads to the high altar, beneath which is a crypt, a curious fragment of mediaeval architecture. Its 28 marble columns seem to have been collected from all kinds of buildings, Roman as well as JEtruscam. It is supposed to occupy the gate of a Roman bath, the latter built on the foundations of an Etruscan temple. Near the cathedral is the ch. of Sta. Maria, decorated on the outside with fantastic sculptures similar to those of the cathedral: it is supposed to be a centy. older than S. Pietro. Beyond these ecclesiastical edi- fices there is nothing of any interest in Toscanella, except the house and gar- den of the Campamari family, known throughout Europe as having been among the first and most successful labourers in the field of Etruscan exploration. Signor Campanari's resi- dence is one of the most interesting in the town, and contains some valuable tombs and other treasures discovered in the excavations. Many of these are not so easily removable as the lighter ar- ticles, which speedily find purchasers, and therefore they may mow be al- most considered as permanent fix- tures on the premises. The gardem is unique in character and arrangement; Sarcophagi, with full-length portrait figures of every variety and of every age upon their lids, are scattered here and there among the shrubs and trees; and in One part of the garden is the fac-simile of a tomb which Signor Campamari opened in 1839, constructed on the exact model as to size and arrangement, and containing 10 of the 27 urns and other articles found in the original sepulchre. The figures on these sarcophagi, of both males and females, are in recumbent attitudes; they hold goblets in their hands, and form to- gether a family banquet of the dead. As a large portion of the treasures dis- covered by the Campanari have found their way to the Gregorian Museum, we need not more particularly describe them here. On the heights opposite Toscanella, and in the cliffs of the ravines around it, we may still trace the site of the ancient Necropolis. The most interesting tomb now ac- 420 EXCURSIONS IN THE ENVIRONS OF ROM E. JRome. cessible is that called the Grotta della Regima, a large irregular chamber with 2 massive columns supporting the roof, and remarkable for its labyrinth, a passage cut in the rock and commu- nicating from one wall of the toihb to the other. Most of the Etruscan tombs at Toscamella are beneath the surface like those at Vulci. No traveller who has not visited from some other point the extraordinary caverm-tombs of Sovama should leave Toscamella and its neighbourhood without extending his excursion to that locality. Before, however, we motice Soyama and some other Etruscan sites which must be passed on the way, it may be as well to mention, for the information of those who desire to pro- ceed to Viterbo, that a good road from Toscanella leads direct to that city, about 5 hours’ drive. On leaving Tos- camella the road winds up a valley filled with ancient tombs, excavated in the rocky precipices like those which occur so abundantly in all the valleys of this district. From some parts of the road the 4 Etruscam cities of Corneto, Toscanella, Viterbo, and Montefiascone are visible at the same time, and form one of the most striking panoramas of the journey. About half way between Toscanella and Viterbo, but consider- ably off the road, is Castel d’Asso, with its cavern-sepulchres. The traveller may visit them without difficulty en route, but it will perhaps be more de- sirable to proceed direct to Viterbo, SOVANA (SUANA). | As this place lies within the Tuscan frontier, the traveller had better have his passport viséd by the Tuscan |Minister before leaving Rome, or the Consul at Civita Vecchia, particularly if he intend to prolong his tour to Cosa and Orbetello. The road is prac- ticable for the light carriages of the | country, but is more suited to the | horseman or pedestrian. The distances , are—from Toscamella to Ischia, 14 m. ; from Ischia to Farmese, 3 m. ; from Farnese to Pitigliano, 12 m. ; from Pitigliano to Sovama 2% m. ; making together 31% m. ; but these will pro- bably be increased by a detour to Castro. At Ischia the traveller may i obtain accommodation at the Casa | Farolfi ; at Farmese there is a small osteria; at Pitigliano, which he must make his head-quarters, he will find most obliging and excellent treatment at the Casa Bertocci; at Sovama there is no accommodation, Ali the places we have mentioned occupy Etruscan sites, though their ancient names are either unknown or objects of conjecture. Ischia stands on a tongue of land between deep ravimes, the sides of which are full of tombs. Farmese has a simi- lar position, and is supposed to occupy ſ * and make Castel d’Asso the object of the site of Maternum, a station on the a separate excursion from that town : . Via Clodia: it contains a palace belong- in fact, the tourist may advantageously 'ing to Prince Chigi. Castro, which make Viterbo (where there is now a gives a title to the king of Naples, 3 m. good imm, La Posta) his head-quarters W. of Farmese, also occupies an Etrus- for a day or two, and explore the many can site, supposed by many to be interesting objects in the town and that of Stalonia, on a tongue of land meighbourhood. They are fully noticed surrounded by ravimes deeper and in the Handbook of Central Italy gloomier than any others in this dis- (Rte. 101). trict ; but the town is a wilderness, having been levelled to the ground by Innºn X., as a punishment for the supposed murder of the bishop of the see by the duke of Farnese. Pitigliano stands, like the towns we have de- scribed, on a tongue of land separated Sect. II. 421 SOWAN A. from the neighbouring plaim by deep chasms, the sides of which are filled with tombs and columbaria. Near One of the gates, called the Porta di Sotto, are some fine fragments of the city wall, 8 courses high, and in the best style of Etruscan masonry. On a height above the town, called the Poggio Strozzoni, are some traces of the villa of the counts Orsini, with which the peasantry associate many a romantic tale : 2 recumbent figures hewn in the rock are still called by them “Orlando and his wife.” The scenery of Piti- gliano is extremely fine, and would afford occupation to the sketchers for days together, particularly in the neigh- bourhood of the Cascatella. Another place of even greater matural beauty, but lying about 5 m. off the route we have laid down, is Sorano, an Etruscan site, the name of which is lost ; it abounds in scenery of the grandest cha- racter. There is mo imm there, but refreshments may be obtained at the Casa Farfanti, though there are no beds which the traveller will willingly occupy. 2% m. from Pitigliano, as we have already stated, is the village of Sovana, occupying the site of the Roman city of SUANA, and now almost depopulated in the summer season from malaria. In the year 1843 this remote and almost unknown village ac- quired celebrity by the discoveries of our countryman Mr. Ainsley, who found in the ravines around it a series of sculp- tured tombs more varied in their cha- racter and more beautiful in their de- tails than any which had hitherto been known throughout Etruria. The pre- sent town, with a population reduced by malaria to less than 100, was so important a place in the middle ages that it sustaimed a siege against Fre- derick II, and its mediæval castle, with its machicolated battlements, is still standing. It was the birthplace of Gregory VII. (Hildebrand), and is still the seat of a bishop, though the malaria gives the prelate a sufi- cient excuse for non-residence. Tra- vellers who have their time at their disposal should take care, for the reasons just mentioned, to visit the locality in the winter or spring months, when they may do so with impunity. Before exploring the ravimes it will be desirable to obtain some person from the village to act as guide, as the pas- sages are in many cases intricate and dangerous: the bishop's provost will probably give the best information as to the persons qualified for this duty. The first and most remarkable tomb discovered by Mr. Ainsley is called “La Fontana.” It is hewn in the tufa rock, and is 17 feet wide by 17 high, the last 7 feet being occupied by the pediment. This pediment rests on a projecting frieze, below which is a recessed arch mearly 10 feet high, with an inscription carved on the immer wall, and buttresses on each side, which probably supported figures. The pedi- ment is filled with an alto-relievo of a marine deity, with huge fishes' tails in the centre, having a male genius winged on either side. The design and exe- cution of these figures prove that they belong to a late period of Etrus- cam art, and as mo such momument has been found in any other part of the country it may fairly be considered unique. Near this is a long line of rock-hewn tombs, differing from those observed in the other valleys of Etru- ria, in the purely Egyptian character of their outline and mouldings, though the doors and inscriptions are Etrus- cam. On the opposite side of the ra- vine is amother very remarkable tomb, called by the peasantry the “Grotta Pola,” hewn out of the tufa in the form of the portico of a temple. The single columm which remains and the pilaster behind it are fluted, and the capitals are formed of foliage which somewhat resembles the Corinthiam : Mr. Ainsley considers that they have human heads in the middle of each face, the whole of which retains traces of red colour. The pediment has lost its sculptures, if any such ever existed in it, but the part of the soffit which remains is still decorated with medal- lions. From the traces of art on the adjoining rocks, Mr. Ainsley concludes 422 EXCURSIONS IN THE ENVIRONS OF ROME. Rome. that the portico formed a part of a much larger monument, forming “an union of objects of architectural gran- deur not to be seen in any other part of Etruria.” Many other tombs of interest are found in the same lime of cliff, but the most remarkable are a series of tombs hewn into the forms of houses, presenting the most perfect characteristics of the domestic archi- tecture of the Etruscans. Nearly every monument has its inscription, carved, not on the cornice, but within the moulded doorway. Altogether it is impossible to imagine any spot which offers a more fertile field for the archaeologist or the explorer. SATURNIA. About 8 m. beyond Sovana is the site of Saturnia, which presents us with archaeological attractions dif- fering from those of every other site we have described. Independently of its interest to the antiquary as one of the 4 cities which Dionysius de- scribes as having been built by the aborigines, Saturmia is a place which every artist and lover of natural beauty will be rejoiced to visit. It is impossible to conceive anything more delightful than the scenery with which it is surrounded, or more rich in colour and effect than the valley of the Al- begma, with its numberless tributary streams. The modern village, how- ever, is a wretched place, with less than 50 inhabitants, who are regularly driven away in summer by the malaria. The only house in which the traveller can venture to pass a night is that of the owner of the place, the Marchese Yimenes, whose steward is allowed to receive strangers on terms which are reasonable considering the accommo- dation he affords. The traveller who has made Pitigli- ano his head-quarters in the previous excursions will have 2 ways of reaching Saturnia from that town; the first and most direct is a bridle-path of 12 m. which descends the valley of the Lente, fords the IFiora just above its junction with that stream, and from there crosses the mountains to Saturnia, which is situated on an isolated hill on the 1. bank of the Albegma. From Sovana the traveller may proceed to Saturnia without returning to Pitigliano, by an- other bridle-path of 8 m, which fords the Fiora higher up the valley, ascends thence to S. Martino, and proceeds along the crest of the hills through Poggio to Saturnia. Those who have reached Pitigliano in a carriage will find an excellent carriage-road of 17 m. from that place to Man- ciano, the Papal dogana, beautifully situated on a rocky height between the Fiora and the Albegma, crowned with a ruined castle, and commanding a magnificent view over the Tuscan and Papal frontiers. From Manciano an- other carriage-road leads to Monteme- rano, a town perched upon a rocky hill, the slopes of which are covered with olive-trees. From this place to Saturnia the distance is 3 miles, but the road is mot practicable for carriages. Saturnia, as we have said, is situated on an isolated hill rising abruptly above the 1. bank of the Albegma, at a spot where the lofty mountains which bound that stream form a vast amphitheatre around it. From whatever side we approach it, the mediaeval fortifications which have been built upon the ruins of the ancient walls render it a conspi- cuous and imposing object. These fortifications are now in ruins, and effectually conceal all but 3 or 4 frag- ments of the ancient masonry. The most perfect and interesting of these are seen on either side of the Porta Tomama, where they present a fine ex- ample of polygonal architecture; the blocks are of travertime, and are fitted together with a precision which is the more remarkable when the hard mature of the material is considered. The Sect. II. SATURNIA. 423 Roman pavement of the Via Clodia, with large upright and unwrought which passed through this gate from slabs of stone, upon which is laid a Tome, is still visible at the gateway, covering, consisting either of one enor- and for a considerable distance beyond mous slab slightly inclined, as if to it. Four other Roman roads are trace- carry off the rain, or of two equally able in other directions, which appear to have led to Rusellae, Siena, Chiusi, and Cosa ; the latter is particularly visible as it sweeps down the valley of the Albegma. A few hundred yards westward of the Porta Romana is a square mass of travertime about 15 feet in height, which has been hewn into form upon the spot, and slightly orna- mented with architectural mouldings and pilasters. At one end are the re- maims of steps leading to the summit, on which are seen, sunk in the rocky surface, 3 parallel graves, or sarcophagi, if we may so term them ; but nothing remains to show by what means they were covered. Within the walls there is scarcely anything of antiquarian interest ; a large enclosure called the Bagno Secco, about 50 feet square, has been taken, as its name implies, for a Roman bath: and in the moderm village, which still preserves themame of the abo- riginal city, are some antiquities of Ro- man times, a pilaster with a fluted column attached, an altar bearing the name of Marcus Aurelius, another said to bear the name of Antoninus Pius, amid some inscriptions, which only serve to the existence of a Roman colony. The Necropolis of Saturnia is situ- ated 2 m. from the city, in the low ground on the rt bank of the Albegma, at a spot called by the peasantry the Pian di Palma. The tombs, which are there found in great abundance, are of ruder construction than any which are now known in Etruria, and are alto- gether unlike those which have been discovered in other Italian cities, whether Pelasgie or Etruscam. They bear a striking resemblance to the Druidical cromlechs of Devonshire and Cornwall. These tombs are mere cells or chambers very slightly sunk beneath the surface; their length being from 8 to 18 feet, their width some- what less, and their height from 5 to 6 feet. Two of the sides are lined rude and massive slabs laid together so as to form a gable roof. In some cases the interior is divided into 2 or even 3 compartments by a central stone or stones, which serve also to sustain the superincumbent mass. Many of the tombs are approached by a passage 10 or 12 feet in length, lined also with rough stones, and there is no doubt that they were covered by tumuli. No- thing has been discovered at present in this mecropolis to commect it with the Etruscans. When, therefore, we consider the antiquity assigned to Sa- turnia by Dionysius, and find it cor- roborated by the fact that it bears the most ancient name which was given to Italy, we cannot hesitate in regarding these tombs as the work of the aborigines. From Saturnia the traveller will, in all probability, return to Pitigliano, or proceed through Montemerano to show Orbetello. If he take the former course, it may be useful to mention that Pitigliano is 18 m. distant from the high road to Rome at Acquapen- dente : if he pursue the latter course, he will find Montemerano 27 m. from | Orbetello, which is fully described in our account of the road from Leghorn to Civita Vecchia, Handbook of Central Italy, Rte. 99. } CoSA, VETULONIA, RUSELLE, POPU- LONIA, AND VOLTERRA. The tourist who has advanced to the Tuscan frontier from the side of Rome, in search of the Etruscan an- tiquities, should extend his tour along the road recently constructed between 424 RXCURSIONS IN THE ENVIRONS OF ROMIE. Rome. Civita Vecchia and Leghorn. Be- fore reaching Orbetello he will find Ansedonia, marking the site of Cosa; in the neighbourhood of Magliano he will fing the site of the long-lost city of VETüLONIA; not far from Grosseto he will see the massive ruins of RUSELLAE; near Piombino he will be able to explore the ruins of PopU- LONIA; and from the mouth of the Cecina he may proceed to VOLTERRA, thus completing in one excursion from Rome a visit to every important site of Maritime Etruria. Returning from Volterra to Rome, by the way of Siena, the traveller can make a de- tour to CHIUSI, and thence proceed through Città della Pieve to ORVIETo, Montefiascone, and Viterbo. From Viterbo he may visit CASTEL D’Asso, NORCHLA, BIEDA, and SUTRI; and if disposed to conclude his exploration of Etruscan cities, he may proceed from Monterosi to Civita Castellama, and examine the sites of the 2 FALERII, taking VEII on his return to Rome. All these places are fully noticed in the Handbook for Central Italy, under Rtes. 97, 99, 101, 104, 106, and 107. Rome, ( 425 ) A CADEMII ES. A. IN DE X. A RIC.I.A. Angelo, Ponte S., 9. S., in Pescheria, church of, I3 O. Angelo, S., castle of, 66. Anguillara, village and castle of, 390. Anio river, falls of, at Tivoli, 3.32. Anna Perenna, temple of, 401. Antemnæ, 385. Anticoli, 335. Antiquities, I 3. — dealers in, XXiii. Antium, Porto d’Anzio, 402. Antonio Abate, S., church of, I 3O. Antonio, S., di church of, 13 I. Antoninus Pius, his forum, 5o ; Column, 49. Antoninus and Faustina, tem- ple of, 30. Apollinare, S., church of, I 3I. Apollinaris, circus, 49. Apollo, temple of, at Rome, 27. Apostoli, SS., church of the, I3 I. Apothecaries in Rome, Xviii. Aqua Crabra, 7. — Ferentina, 348. Aquacetosa, mineral Spring, 385. - Aquae Albulae, 325. Aurelia?, 390. — Caeretanae, 407. Aqueducts, ancient, of Anio Novus, 75. A. Vetus, 74. —— Aqua Appia, 74. — A. Alsietina, 75. A. Claudia, 75. —— A. Julia, 75. — A. Marcia, 74. — A. Tepula, 74. A. Virgo, 75. modern, A. Felice, 75. Ara Coeli, church of Sta. Mlaria di, I32. Arch of Constantine, 52. —— Dolabella, 53. —— l]rusus, 53. —— Gallienus, 53. —— Janus Quadrifrons, 53. —— Sept. Severus in the Foro Romano and in the Forum Boarium, 54. -— Tiberius, 23. —— Titus, 54. Archæological Rome, 276. Arco de’ Pantami, 25. Ardea, 401. Aricia, 359. Portoguesi, Institute of BELVEDERTC. Armilustrum, position of the, Armoury, pontifical, 220. Arrone, river, 387. AirSoli, Village, 335. Artists' studios at Rome, 267. Aruns, his tomb, 359. - Asso, Castel d’, tombs, 424. Astura, village and stream, 404. Augustus's forum, 25. Aurea, S., church of, at Ostia, 395. Aurelian column, 5o, Aventine hill, the, I2. P, Bacchus, temple of, 31. Balbina, S., church of, 134. Banditaccia, the Necropolis of Cervetri, 407. Dankers at Rome, xvi. Baptistery of Constantine, II6. Barberini palace, gallery, and library, 243. Barcaccia fountain, 88. Bartolommeo, S., church I34. —, Ponte di S., 9. Basilicas, ancient :—AEmilia, 23. — Constantine, 24, 29. — Julia, 23. — Ulpia, 25. Basilicas, Christian, their cha- racteristics, 91. — of S. Agnese, I26. — of Sta. Croce in Gerusalem- of, Academies: Arcadian, 275. — Archaeological, 275. — Filarmonica, 276. — Fine Arts, or S. Luke, 273. — Florentine, 276. — French, 276. — de' Lincei, 275. — Neapolitan, 276. — Tiberina, 276. Acqua Argentina, 79. — Felice, 75. — Paola, 75. — Vergiſle, 75. AEdes Penatium, 39. AEsculapius, temple and island of, 30. Affile, village of, 337. Agata, S., de' Goti, church of, I25. Agger of Servius Tullius, 79. Agnese, S., churches of, I 25, I 26. Catacombs of, I 26, 306. Agonalis, circus, 49. Agostino, S., church of, I27. Agosta, 335. Agylla, city of, 406. Alba Longa, Site of, 348. Albani, villa, 292. Albano, lake of, 353 ; its emis- sary, 354; town of, 358. Albanus rivus, 349. Albunea, site of grove of, 3.25. Aldobrandini villa, at Frascati, 342. r Alessio, S., church of, I23. Alexander, St., oratory and catacombs of, 377. Algidus, Mons, 352. Allia valley, 387. Almo, stream of, 319. Altemps palace, 243. Altieri palace, 243. Amphitheatres, ancient : of Domitian, at Albano, 358 ; Castrense, at Rome, 47 ; Flavian (Coliseum), 44; of Statilius Taurus, Rome, 47 ; Tusculum, 344. Ampiglione, 333. Anastasia, S., church of, 128. Andrea, S., churches of: delle Fratte, 128 ; al Quirinale, 129; della Valle, 129; dei Scozzesi, I 3o. Angelica library, 128. Angelica, Porta, 8. Angelo, Rione S., 3. Ille, I4O. — St. jºin Lateran, II 2. — S. Lorenzo, I22. — S. Maria Maggiore, II". — S. Paolo fuori le Mura, I2O. — the Vatican (St. Peter's), 92. — S. Sebastiano, I67. — St. Stephen, ruins of 356. Baths, or Thermas, of Agrippa, 55. — Caracalla, 55. — Constantine, 57. — Diocletian, 57. — Nero and Alex. Severus, 58 — Titus, 59. — Trajan, 56. . Baths, modern, della Regina (at the Solfatara), 325. d — Vicarello, 390. Baths in Rome, xxiii. Belle Doune, Casale delle, 377. Belvedere, Cortile di, Vatican, I85. 426 Rome. INDEX. BENEDICT. Benedict, St., monastery of, Subiaco, 336 Benfratelli, hospital of, 279. Bernardo, S., church of, 134. Bibiana, S. church of, I35. Bibulus, tomb of, 62. Bieda, 424. Blandusia, fountain of, 337. Boacciana, Torre, 397. Boarium, Forum, 26. Bocca della Verita, 31. Books on Rome, XXX. Booksellers at Rome, Xviii. Borghese palace, 244. Borghese villa, 295. Borgia, Gabinetto, Vatican, 216. Borgo, Rione, 4. Botanic garden, 27I. Bovillae, its ruins, 357. Bracciano palace, 26I ; lalce (Lacus Sabatinus), town, and feudal castle of, 388. Braschi palace, 247. Bridges, ancient, of Rome, 9. Bridges, modern. See Ponte. Bronzes, dealers in, xxiii. Bunsen's Researches on Rome, XXX. Buonaparte palace at Rome, 247. Burial-ground, Protestant, 28o: C. CHURCHES. | torS, 224 ; gallery of pictures, 227 ; museum, 228-236; sub- structions, 2I. Capitoline hill, the, I2. Capocotta, site of Laurentum, | l 399. Cappuccini, church of, I35. Caracalla, his baths, 55. Carlo, S., a Catinari, church of, Caecilia Metella, her tomb, 63. Caelian hill, I3. Caesar, Julius, his forum, 26 ; Villa at Nemi, 362. Caesars, palace of the, 26. Cafes of Rome, X. Caius Cestius, pyramid of, 64. Calepodius, cemetery and cata- combs of, I 59. Calisto, S., convent and library, I55. –, catacombs of, I24, 3o9. Campagna, the, II. Campana palace and museum, 247. Campitelli, Rione, 4. Campo di Annibale, on Monte Cavo, 35I. Campo Marzo, Rione, 3. Campo Vaccino, the Roman Forum, 2o. Campus Martius, I. Campus Sceleratus, 79. Cancelleria, 243. Canina's works on Rome, XXiX, xxxi, 3 I8. Canino, village of, 418. Cantalupo, village of, 334. Canterano, 335. Capitol : view from the tower, Io; piazza, 22o; palace of the Senator, – of the Con- servators, 22 I ; Protomoteca, 222; halls of the Conserva- I 36. Carlo, S., in the Corso, church of, I36. Carnival at Rome, XXV. | Carriages at Rome for hire, XV. Carsoli, 355. | l | Casal di Pazzi, 385. Casanatense, Biblioteca, 152. Cascatelle at Tivoli, 332. Caserta palace, 249. Cassius, villa of, at Tivoli, 33 2. Castel Arcione, 324. d'Asso, 424. l – Fusano, 398. ! Gandolfo, 353. l –– Giubeleo, 386. – Madama, 334. Castiglione, site of Gabii, 374. Castrense, Amphitheatrum, 47. Castrimaenium, now Marino, 347. Castro, 42o. l Catacombs in general, 3o3. of St. Alexander, 377. – Calepodius, I 59. – Calisto, I24, 3c9, – Nereo ed Achilleo, 3 II. – S. Ciriaca, I 24. – S. Sebastian, I67. – S. Agnese, 126, 3o6. Cavalleggieri, Porta, 8. Cavallo, Monte (Quirinal), at Pome, I3. Cave, village of, 37o; Rocca di, 37o. Cavo, Monte, or Mons Lazialis, 3 5 I . Cecchina valley, 385. Cecilia, S., church of, I36. Cenci palace, 249. Cerbara, 335, 376. Ceres and Proserpine, temple of, 3 I. Cere Nuova, village, 41o. Cereiae, 387. Cervetri, ancient city, 4o6. Cesareo, S., church of, 137. | Cesarini palace at Genzano, 36I. Charities of Rome, 276. | Chigi palace, 249. Church, English, XXV. Churches of Rome, I24-I7I. ! Churches in Rome Of- S. Agata de' Goti, 125. | S. Agnese, 125, 126. S. Agostino, I 27. S. Alessandro, 377. | CHIU IRCIIES. Churches in Rome of- S. Alessio, I 28. Sta. Anastasia, I28. Sant' Andrea della Valle, I29. – delle Fratte, I 23. – al Quirinale, 129. – dei Scozzesi, I3o. S. Angelo in Pescheria, I3o. S. Antonio Abate, I3o. – di Portoguesi, 131. S. Apollinare, 13 I. SS. Apostoli, I3P, Aracoeli, I32. S. Balbina, I34. S. Bartolommeo, I34. S. Bernardo, I34. S. Bibiana, 135. Cappuccini, I 35. S. Carlo a Catinari, I 36. S. Carlo in Corso, I 36. S. Cecilia, I36. S. Cesario, I37. S. Clemente, 137. SS. Cosma e Damiano, I39. S. Costanza, I39. S. Crisogono, I4o. S. Croce in Gerusalemme, I4O. S. Domenico e Sisto, 14I. S. Francesca Romana, 141. S. Francesco a Ripa, 141. i esu, I4I. S. Giorgio in Velabro, 142. S. Giovanni in Laterano, I 12. S. Giovanni de' Fiorentini, I 42. SS. Giovanni e Paolo, 143. S. Giovanni a l'orta Latina, I 43. S. Giovanni in Oleo, I43. S. Giuseppe de Falegnami, I43. S. Gregorio, I 43. S. Ignazio, I 44. S. Isidoro, I.45. S. Lorenzo fuori le Mura, I 22. in Damaso, I45. – in Miranda, I 45. – – in Lucina, I45. –– in Panis-Perna, I45. S. Luigi dei Francesi, 146. S. Marcello, I 46. S. Marco, 147. Sta. Maria Maggiore, II 7. degli Angeli, 147. – dell'Anima, 148. – dell' Aracoeli, I32. – Aventina, I 49. in Campitelli, 149. – in Cosmedin, I49. – di Loreto, 149. –– sopra Minerva, 15o. ad'Miartyres(Pantheon), 36. –– della Navicella, I 52. –– dell' Orto, I 52. Rome. 427 IN DEX. CIIURCH [.S. Churches in Rome of— Sta. Maria della Pace, 152. —— del Popolo, I53. in Portico, 149. —— in Trastevere, 154. —— a Trevi, 156, —— in Vallicella, 156. —— in Via Lată, 157. —— della Vittoria, 157. S. Martina, 157. S. Martino ai Monti, 157. SS. Nereo ed Achilled, 158. S. Onofrio, 158. - S. Pancrazio, I 59. L^ S. Paolo fuori le. Afüra, 120. — alle TreTºontane, 159. S. Pietro in Vaticano, 92. —— in Montorio, 160. —— in Viricoli, 161. S. Prassede, 163. Il Priorato, 149. S. Prisca, 164. S. Pudentiano, 164. SS. Quattro Incoronati, 165. . Saba, 165. S. Sabina, 165. . Salvatore in Lauro, 167. Sebastiano, 167. . Silvestro, I68. Stefano Rotondo, 168. Susanna, 169. . Teodoro, 169. S. Tommaso degl' Inglesi, S i I69. La Trinita dei Monti, 170. — de' Pellegrini, 171. S. Vitale, ITI. Cicciaporci palace, 25o. Ciceroni and guides, Nxiii. Circuses of ancient Rome : Agonalis, 49 ; Apollinaris, 49 ; Flaminian, 49; Flora, 49; Hadrian, 49 ; Maximus, 47; Nero, 49; Romulus, son of Maxentius, 48; Sallust, 49 ; Varianus, 47. Ciriaca, Sta., catacombs of, 124. 3o8. Citorio, Monte, 47. Civita Lavinia, 361. Civitella, la, 337. Clark, Sir Jas., on the climate of Rome, 281. Claudian family, their supposed tomb, 63. Clemente, S., church of, 137. Climate of Rome, 28.I. Clivus Capitolinus, 23. Cloaca Maxima, 78. Clubs, xi. Coazzo, 377, cºum, the, 42 ; its flora, 40. Collatia, site of, 375. Colleges at Rome: Propaganda, 273 ; Romano, 27 I ; Sapienza, 270 ; English, 169; Irish, 125; Scottish, I go. ..}^ DOMINE. Colonna, town of, 363. Colonna palace and gardens at Rome, 25o. Colonna, Rione, 3. Colonnades of St. Peter's, 94. Colossus of Nero, 47. Columbaria of Rome, 71. Column of Antoninus Pius, 49. —— of M. Aurelius Antoninus, 5O. - — of C. Duilius, 223. – of Phocas, 24, 50. —— of Trajan, 5 I. — of the Immaculate Con- ception, 273. Commission agents, XXiv. Compatri, Monte, village, 363. Concord, temple of, 3I. Conservators, palace of the, 22 I. Consolazione, la, hospital, 278. Constantine, basilica of 24, 29 ; arch of, 52 ; baths, 57. Consuls, foreign, at Rome, xvi. Consulta, palace della, 252. Conti, Tor de’, 86. Conveyances, public, Rome, xi. Copyists of old masters, XXii. Corioli, city of, now Monte Giove, 361. Corneto, town, 4II. Corniculum, 324. Cornufelle, lake of, 363. Corsini palace, 253. Correse, Cures, 379. Corso, the, 2. Corvinus, Messalla, his tomb, 32 I. Cosimato, S., convent of, 3.34. Cosma e Damiano, SS., church of, I 39. Costaguti palace, 255. Costanza, S., her Sarcophagus, I92; church of, I39. Cremera river, 38o. Crescenza, Valley of, 385. Crisogono, S., church of, I-40. Croce, Santa, in Gerusalemme (basilica), I-40. Crypts, or Grotte, of St. Peter's, IO3. Curia Innocentiana, 255. from T), FLAMINIUS. Doria palace and gallery, 255; Villa, 301. Drawing, teachers of, in Rome, XXi. Drawing materials, xxiii. Drusus, his arch, 53. Duilian, the column, 223. E. Decima, 394. l)entists at Rome, xviii. Tigentia, now village of Li- cenza, 337. Diligences from Rome, xi. Diocletian, his baths, 57. Divus Rediculus, temple of, 32. l)olabella, arch of, 53. Dome of St. Peter's, 97. Domenico e Sisto, SS., church of, I4I. | Domine quo Vadis, ch. of, 319. Egeria, pretended fountain and valley of, at Rome, 81 ; real valley of Egeria, 318, 362. Egyptian Museum of the Vati- Can, I99. Electric telegraph, xvi. Empire, ruins of the, 15. Engravers of cameos, &c., xxii. —, copperplate engravings, XVIll. Eretum, 379. Esquiline, the, 13. - Este, d’, villa, at Tivoli, 332. Eurysaces the baker, his tomb, 62. Eustachio, S., Rione of, 3. Excursions in the neighbour- hood of Rome, 317. F. Fabbrica, Porta, 8. Fabii, camp of the, at Veii, 387. Fabius, arch, site of, 23. Falconieri palace, 257. Farnese Isola, village of, 420. palace, 257. Farnesina palace, 258. Fasti Consulares of the Capitol, 226. Fencing, teachers of, xxi. Ferentina, Aqua, 348. Festivals: at Rome in general, NXY. — Annunciation, I51. — St. Antony (blessing the animals), I 31. — the Artists, xxvi. — the Carnival, XXV. — Sta. Francesca Romana, I 4I. — S. Ignatius, I44. — St. John Lateran, I 15. — Sta. Maria Maggiore, II9. — St. Marco, I47. October, xxvi. — St. Peter's, Io'7. S. Pietro in Wincoli, I62. — Presepe in Ara Coeli, I 33. — St. Thomas Aquinas, 151. — St. Thomas à Becket, 170. —— Washing the Feet of the Pilgrims, 171. Ficulea, 378. Fidenas, 386. Firenze, palazzo di, 26o. Fiumicino, village, 393. Flaminius, his circus, 49. 428 INIDEX. I’ome. FLAVIAN. ILLUMIIM ATIONS. LIBRARIES. Flavian amphitheatre (Coli- Genaro, Monte, ascent of, 338. Inquisition, palace of the, 260. seum), 44. Genezzano, town and castle of Institute, Archaeological, at Flora, circus of, 49. 337, 3"|O. Rome, 276. Foreign ministers at Rome, xvi. Tortuna, temples of, at Pales- trina, 368; Virilis at Rome, 32. Forum of Antoninus, 26. — of Augustus, 25. — Boarium, 26. —— of Julius Caesar, 26. — of Nerva, 25. — Olitorium, 26. — Romanum, 20. — of Trajan, 25. Transitorium, 25. Foundling hospital of Rome, 2.78. Fountain of Egeria, at Nemi, | 3O2. | Fountains, modern, dell'Acqua Felice, 88. — della Barcaccia, 88. del Campidoglio, 89. — of the Piazza Farnese, 88. — of the Monte Cavallo, 89. — Paolina, 87. — of the Piazza Navona, 88. Tag in the piazza of St. Peter's, 8. — of the Ponte Sisto, 89. — delle Tartarughe, 87. — di Trevi, 87. —— del Tritone, 87. Francesca Romana, S., church of, I-4I. Francesco, S., a Ripa, church of, I4I. Frascati, town, 341. Frattocchie, le, 357. Fusano, Castel, casino and pine-forest, 398. G, Gabii, city, 373 ; lake, 375. Galera, deserted town, 387 ; river, 387. Galleries (public) of pictures ; at the Capitol, 227 ; at the Lateran, 240 ; at the Vati- can, 200 ; at the Quirinal, 241. —— (public) of Sculpture: at the Capitol, 228 ; at the Ya- tican, 178, 184; of the La- teran, 237 ; Academy of St. Luke, 273. — (private): Barberini, 24I ; Colonne, 25o ; Corsini, 253 ; Doria, 255; Farnese, 257; Rospigliosi, 262; Sciarra, 263. Gallicano, town, 372. Gallicano, S., hospital of 279. Gallienus, his arch, 53. Gandolfo, Castel, 353. Gates. See Porta. Gell on the environs of Rome, xxxiii.; on the site of Alba Longa, 349. Genzano, town, 361. Geology of Rome and its neigh- bourhood, 285. Gesù, church of, I41. Geta, his tomb, 69, 319. Ghetto, the, at Rome, I 3o. Giacomo, S., hospital of, 278. Gibbon conceives the idea of the ‘Decline and Fall ' in the church of the Ara Coeli, I 34. Giorgio, S., church of, 142. Giovanni, Porta San, 7. Giovanni, S., basilica of, I I2. —— dei Fiorentini, church of, I-42, — e Paolo, church of, I-43. —— Jºvangelista, or a Porta Latina, church of, I-43. Girandola, the, 63. Giraud palace, 26o. Giuseppe dei Falegnami, S., church of, I43. Giustiniani palace, 260. Government, municipal, Rome, XXVii. Grano, Monte del, sepulchral tumulus, 340. Gravisca?, 415. Gregorio, S., church of, I43. Grotta Ferrata, village and monastery of S. Nilus at, 3.45. Grotte Vaticane, or crypts of St. Peter's, Io;. of H. Hadrian, his circus, 49 ; his mausoleum, 66; his villa near Tivoli, 326. Helena, the empress, her tomb, 65; her Sarcophagus, I92. Hills, the seven, of Iłome, I2. Historical houses at Rome, Horace's Sabine Farm, 337. Horatii and Curiatii, Supposed tombs of, 32O. Hospitals, 276. Hotels in Rome, viii. House agents, ix. PHouses of remarkable persons: Bernini, 267; Pietro da Cor- tona, 266 ; Poussin, 267 ; Raphael, 266; Cola di Rienzo, 85; Sweynheim and Pan- nartz the printers, 267 ; the Zuccheri, 267. Hunting at Rome, XXiV. I, Ignazio, St., church of 144. Illuminations of St. Peter's, Io'7. Ischia, 420. Isidoro, St., church, 145. Island of the Tiber (Isola Sa- cra), 30, 398. Isola Farmese, 384; Sacra, at the mouth of the Tiber, 398. Italian, teachers of, xix. J. Janiculum hill, I 3. Janus Quadrifrons, arch of, 53. Jews in Rome, xxviii. Jewellers in Rome, xxii. John, Lateran, basilica of St., II 2. Juno, temples of: Gabina at Gabii, 374 ; Sospita at Rome, 33 ; Sospita at Lanuvium, 30 I. Jupiter, temples of: Capito- linus at Rome, 33 ; Fere- trius at Tome, 34; Latialis on the Alban mount, 352. Juturma, lake of, 79. K. Kingly period, antiquities, I 3. – Kircherian museum, 27 I. I, Labicum, the ancient, 363. Lakes: of Albano, 353 ; Brac- ciano, 389 ; Cornufelle, 363 ; Gabii, 375; Nemi, 362 ; de' Tartari, 324; Tegillus, probable site of 363, 364. Languages, teachers of, XiX. Iante palace, 26o ; villa, 3oo. Lanuvium, city, 361. Laquais-de-place, XXiii. Lariccia, town of, 359 ; viaduct of, 359. Lateran Palace and Museum, 236. — Basilica, II2. — Councils, II5. Latina, Porta, 7. Laurentum, ancient, 399. Lava-quarries of Capo di Bove, XXViii. Ilavinium, city, 400. Letters, conveyance of, Xvi. Iibraries: Angelica, 128; Bar- berini, 244; S. Calisto, I55; Casinatense, I52; Chigi, 250 ; Collegio Romano, 271 ; Cor- sini, 254; S. Croce in Geru- salemme, 140 ; S. Filippo Neri, 156; Inquisition, 26o: Minerva, 152; Sapienza, 27 I } Vatican, 213. Rome. IND EX. 429 LICENZA. Aſ USEUMI. I’ALACES. Licenza, Village, 337. Milliarium aureum, 23. Coll. Romano, 271 ; Vatican, Lincei, academy of the, 275. Livery stables, xv. Local arrangement of Iłoman Mirabilia, 313. Lodgings at Rome, ix. Loggie of the Vatican, I76, Lorenzo, S., basilica of, I22 ; churches—in Damaso, 145 ; in Miranda, I45; in Lucina, I45; in Panis-Perna, I45. Lorenzo, San, Porta di, 6. Minerva, temples of: Chalcidi- ca, 35 ; Medica, 35 ; Pallas Minerva, 35. Molara, la, 344. Montalto, town of, 416. Monte Algido, 352. — Artemisio, 352. Aventino, I2. — Caelio, I 3. — Capitolino, I2. Caprino, I2. Lucano, Ponte, bridge and Carpineto, 337. tomb of Plautius Lucanus, Catillo, 33 I. 3.26. : Cavallo, I 3. Tudovisi villa, 299. Luigi, S., church of, I46. Luke, St., academy of, 273. Lunghezza, castle of, 375. Cavo, 35 I. Citorio, 47. Compatri, 363. Cucco, 343. Esquilino, I 3. Gemaro, 338. Giordano, 47. Giove, 361. del Grano, 340. Gianicolo, I 3. Mario, I 3. Musimo, 389. Palatino, I2. Pila, 344. Pincio, I 3. Porzio, 363. Quirinale, I 3. Ripoli, Rocca Romana, 296. Rotondo, 379. Sacro (M. Sacer), 376. Tarpeio, 76. Testaccio, I 3. — Vaticano, I 3. —— Verde, 13. M. Madama palace, 26o ; villa,3oo. Maggiore, Porta, 7. Magliana, la, 391. Mallespostes, xi. Mamertine prisons, 77. Mandela, Sabine village, 334. Maps of Rome, xxxi. Maranna river, 34o. Marano, 335. Marcello, S., church of, 146. Marcellus, his theatre, 42 ; his tomb, 61. Marcigliana la, 379. Marco, S., church of, 147. Marcus Aurelius Antoninus, his column, 5o ; his eques- trian statue, 220. Marforio, colossal statue of, 228. —— Wilminale, I 3. Maria Maggiore, basilica of, Monti, Rione, 4 II 7. Monticelli, village of, 324. Marino, town, 3.47. | Mosaic manufactory at the Wa- Mario, Monte, I 3. | tican, 219; artists at Rome, Marius, trophies of, 81, 220. xxii. Mars Ultor, temple of, 34. Moses, statue of, 16 I. Martina, S., church of, 157. Municipal government of Martino, S., church of, 157. Rome, XXvii. Massimi palace, 261 ; villa, 3oo. Muro Torto, 5. Mattei palace, 261 ; villa, 3oo. Museo Chiaramonti (Vatican), Mausoleum of Augustus, 61 ; of 179; Pio-Clementino, 184; Hadrian, 66. Gregoriano, IQ4. Maxentius, circus of, or of Museum of early Christian an- Romulus, 48. tiquities: Vatican, 215 ; at Meciemas, his gardens on the the Lateran, 233, Esquilime, 59 ; his villa at —— of Egyptian antiquities: Tivoli, 33 I. Vatican, 199. Medals, cabinets of. of Etruscan antiquities : SéUll]] S. Campana, 247 ; Coll. Ro- Medici villa, 3or. Imano, 271 ; Vatican, 194. Medullia, 324. — of Greek and Roman an- Mellini villa, 3o I. tiquities: Capitol, 228 ; La- Mentana, 378. teran, 236; Vatican, 178; Meta Sudans, the, 47. Mus. Campana, 24) ; Willa Mezza Via, osteria di, 34o. Albani, 292 ; Borghese, Michele, S., hospital of, 28o. 295;2.W. Ludovisi, 2.99. Milizie, Torre delle, 87. of medals and 2 I (). of natural history, 271. Music-teachers in Rome, xx. Musignano, château, 418. Muti palace, 261 ; villa, 340 342. N. Negroni, Villa, 3ol. Nemi, lake, villa, and castle of, 3.02. Neptune, temple of, 36. Nereo ed Achilleo, church of, I58; catacombs of 3 II. Nero, his golden house, 26; his circus, 49 ; his baths, 58. Nerva, his forum, 25. Nettuno, 404. Niccolini palace, 261. Nomentana, Porta, 6. Nomentum, 378. Norchia, 424. Numicus, river, 4oo. 0. Obelisk of S. John Lateran, 83. —— S. Maria Maggiore, 83. —— Piazza della Minerva, 84. —— Monte Cavallo, 84. —— Monte Citorio, 85. —— Monte Pincio, 85. —— Pantheon, 84. — Piazza Navona, 84. — P. del Popolo, 84. — Trinità de' Monti, 85. Vatican, 82. Observatory of the Collegio Romano, 272 ; of the Capi- tol, 27 [. Octavia, portico of, 8o. Odescalchi palace, 261, Olevano, town and castle of, 337, 370. Olitorium, Forum, 26. Onofrio, S., church of, I58. Oratorios, origin of, 156. Oriolo, village, 389. Orsini palace, 261. Osa, Castello dell’, 375. Ostia, excursion to, 394, P. See MUl- coins : Painted tombs, 7o, 383. Painting, teachers of, in Rome, XXi. Palace of the Caesars, 26. Palaces, modern, public :— Capitol, 220. Lateran, 236. Vatican, 172. Quiuinal, 24.I. Palaces, private:— Altemps, 243. Altieri, 243. Barbërini, 243. Borghese, 244. 430 Rome. INDIEX. T^OHTA, Paul, St., site of his execution, I59. - - Pearls, Roman, xxiii. Pertusa, Porta, 8. Peter, St., his prison, 77 ; tra- ditional site of his crucifixion, 161 ; his chains, 16I, I62; his statue and chair, 99 ; his tomb, Ios. Peter's, St., basilica : history, 92 ; colonnades, façade, 94 ; interior, 95 ; dome, 97 ; ascent of dome, Iof ; bal- dacchino, 98 ; tribune, monu- ments, 99; Grotte Vaticane, Io; ; Chapel of the Confes- sional, Io; ; sacristy, Ioff ; illuminations, Io; ; Church ceremonies in, Io). Phocas, his column, 24, 5o. Photographs, XiX. Physicians at Rome, Xvii. Pia, Porta, 6. Pietro, S., in Montorio, church of 160. —— in Wincoli, church of, 161. Pigna, Rione, 3. Pincian hill, I 3. Pitigliano, 42O. Pliny's Doves, mosaic so called, 236. Poli, 373. Pons AElius, 9. —— Emilius, Io. —— Fabricius, 9. Gratianus, 9. —— Sublicius, Io. Triumphalis, CanuS, 9. Ponte del Acquorio, 324. — S. Angelo, 9. — della Badia, 416. — S. Bartolomeo, 9. — Galera, 392. OT Presentations Vati- — dell'Isola, 38o. Ionmentano, 387. — Lucano, 325. | — Mammolo, 324. di Nono, 373. di Quattro Capi, 9. Rotto, Io. — Salaro, 385. — Sisto, 9. Ponte Rione, 3. Population of Rome. XXViii. Porcigliano, 400. Porters in Rome, xiv. Porta Angelica, 8. Asinaria, 7. —— Aurelia, 8. —— Capena, 7. — Castello, 8. — Cavalleggieri, 8. —— Collina, 6. Fabbrica, 8. —— Furba, 34o. — di S. Giovanni, 7. — Latina, 7. RESTAURATEURs. Porta di S. Lorenzo, 6. —— Maggiore, 7. — Metronia, 7. —— Nomentana, 6. —— Ostiensis, 8. — S. Pancrazio, 8. — S. Paolo, 8. — Pertusa, 8. — Pia, 6. — Pinciana, 6. — del Popolo, 5. — Portese, 8. — Salara, 6. — S. Sebastiano, 7. — Trigemina, 166. Viminalis, 6. Portico of Octavia, 80. Portland vase, the, 340. Porto, ancient harbours of Claudius and Trajan, and other ruins at, 392. Porto d'Anzio, 402. Post-office regulations, xvi. Pratica, 4co. Praetorian camp at Rome, 81 ; at Albano, 358. Prassede, S., church, 163. to the º Pope, XXVl. Prima Porta, 385. Printsellers in Rome, xviii. Priorato, church of the, 149. Prisca, S., church of 164. Priscilla, her tomb, 69, 320. Promenades, 90. Propaganda college, 273. Protestant burial-ground at Rome, 28o. Protestant Divine worship, XXV. Protomoteca of the Capitol, 222. Pudentiana, S., church of, 164. Pulchrum Littus, 79. - Q. Quattro Capi, Ponte di, 9. º Incoronati, church of I05. Quintilius Varus, his villa at Tivoli, 332. Quirinal hill, the, 13. –– palace, 241. Quirinus, temple of, 38. R. PALACES. Palaces, private — Braschi, 247. Buonaparte, 247. Campana, 247. Cancelleria, 248. Caserta, 249. Cenci, 249. Chigi, 249. Cicciaporci, 25o. Colonna, 25o. Consulta, 252. Corsini, 253. Costaguti, 255. Doria, 255. Falconieri, 257. Farnese, 257. Farnesina, 258. di Firenze, 26o. Giraud, 26o. Giustiniani, 26o. of the Inquisition, 260. Lante, 26o. Maccarani, 249. Madama, 260. Massini, 261. Mattei, 261. di Monte Citorio, 255. Muti-Papazurri, 261. Niccolini, 261. Odescalchi, 261. Orsini, 261. Pamfili, 262. Rospigliosi, 262. Ruspoli, 262. Sacchetti, 262. Sciarra, 263. Silvestri Regis or Linotta, 263. Spada, 264. Torlonia, 266. di Venezia, 266. Widoni, 266. Palatina, Villa, 28, 3ol. Palatine hill, the, 12, 27. Palazzuola, monastery of, 350. Palestrina, town, 364. Paliano, town and fortress, 371. Palidoro, 406. Pallas Minerva, portico of, 35. Palo, 406. Palombara, village, 324. Pamfili palace, 262 ; villa, 3OI. Pancrazio, St., church of, 159. Pancrazio, Porta San, 8. Panoramic view of Rome, Io. Pantano, plain of, 364. Pantheon, the, 36. Paolo, S., basilica of, I2O. alle Tre Fontane, church of, I 59. Porta di, 3. Parcels conveyance, xxiv. Parco di Colonna at Marino, 348. Parione, Rione, 3. Pasquin, statue of, 89. Passport regulations, X. Pater Indiges, grove of, 401. Railways, xiv. Raphael : his house at Rome, 266 ; his tomb, 38 ; the Transfiguration, zo; ; Loggie of, 176; Stanze of, 206. Reading-rooms, xviii. Rºus lake, battle of, 363, 304. Regola, Rione, 3. 3emus, temple of, 39. &epublic, ruins of the, 14. Restaurateurs in Rome, x, Rome. IND EX. 431 RIENZO. | TEMPLES. TOMBS, Rienzo, Cola di, his house, 85. Sette Bassi, villa, 340. | Temples at Rome:— Rioni of modern Rome, 2. — Sale, 60. T)ivus Tediculus, 32. Seven hills of Rome, 12. Sibyl, temple of the Tiburtine, at Tivoli, 330. | Siciliano (Cicelion) 335. Silvestri palace, 263. Silvestro, S., church of, I63. | Sisto, Ponte, 9. Sixtine chapel in the Vatican, I73. Rio Torto, 4oo. Ripa, Rione, 4. Rocca di Papa, 35o ; di Cave, 370 ; Giovine, 337; Priora, 344, 369. Rocco, S., hospital of, 279. Rojate, village, 371. oma Vecchia, casale of, 340. Roman Forum, localities of, 20. Roman pearls, xxiii. : Rome, excursions from, 317- 325. 424. Soriano, Village, 42.I. Romulus, temple of, 39. | Sovana, village, 42O. — son of Maxentius, temple Spada palace, 264; villa, 386. of, 39 ; circus of, 48. Spoliarium and Vivarium, 8o. Itospigliosi palace and casino, Sporting at Rome, XXiv. 262. Stanze of Raphael, at the Va- Rostra, ancient, 23. tican, 207. Rotonda, la, 376. Rotto, Ponte, Io. Roviano, village, 335. Xuffinella villa, 342. Rusellae, 424. Ruspoli palace, 262. Rustica, la, 337, 375. of, 47. Steamboats on the Tiber, xv. from Civita Vecchia, xiv. Stefano, S., Rotondo, church of, I68. —, ruined basilica of, 356. Studios of artists at Rome, 267. Stuarts, the, their monument in St. Peter's, Ioo ; their tomb in the crypt, Io;. Suana, ancient, 421. Subiaco, town, 335. Sublicius, Pons, Io. Sulphur casts, Xxiii. Sun, temple of the, 4o. Surgeons at Rome, xviii. Susanna, S., church of, 169. Sutri, 424. S. Sabba, S., church of, 165. Sabina, S., church of, I65. Sacchetti palace, 262. Sacro Speco, at Subiaco, 336. Sacra Via, 24. Salara, Dotta, 6. Sallust, circus of, 49 ; his louse and gardens, 80. Salvatore, S., church of, 167. Salvatore, Sam, hospital, 278. Sambucci, 335. Santa Colomba, Santa Scolastica, T. monastery, Tarpeian Rock, 76. Tarquinii, Etruscan city, 411. Tartari, lago de’, 324. Teachers of languages at Rome, 3.30. Santangelo, village, 324. Santa. Severa (Pyrgos), 410. Santo Polo, village and castle, 334. Santo Spirito, hospital, 277. Sapienza, university of the, 270. ing, &c., XX, XXi. Saracinesco, village, 335, | | Temples : — on the Saturn, temple of, 40. Saturnia, city of, 422. Scala Santa, at the Lateran, II6. Schola Xantha, 23, 42. Sciarra palace, 263. Scipio family, their tomb, 68. Sebastiano, San, basilica of, 167. Porta di San, 7. Senator, palace of the, 221. Seneca, his supposed monu- ment, 3 20. Septimius Severus, his arches, 53 ; Septizonium, 29. Servilii, tomb of the, 69. Servius Tullius, his walls of Rome, and his Agger, 79. p — Anna Perenna, 401. at Cività Lavinia ; Juno Sospita, 361. at Gabii : Juno Gabina, 374. —— at Ostia, 394. — at Palestrina : Fortune, 3O8. —— at Porto : Portumnus, 392. Temples at Rome:— AEsculapius, 3o, Alltoninus and Faustina, 3o. Apollo, 27. Bacchus, 31. Ceres and Proserpine, 31. Concord, 31. Solfatara, on the road to Tivoli, Statilius Taurus, amphitheatre | Tabularium, remains of the, 21. xix; of music, singing, draw- Alban Mount: Jupiter Uatialis, 352. I’aunus, 30. Fortuna Muliebris, 340. ; Fortuna Virilis, 32. Juno Sospita, Hope, and . Piety, 33. Jupiter Capitolinus, 33 ; Fere- trius, 34. | Mars Ultor, 34. Mater Matuta, 42. Minerva Chalcidica, 35. Minerva Medica, 35. Neptune, 36. Pallas Minerva, 35. Pantheon, 36. Quirinus, 33. | Remus, 39. Romulus, 39. Romulus, son of Maxentius, 39. Saturn, 40. Sun, 40. Venus and Cupid, 4o. Venus and Rome, 40. Vespasian, 41. Vesta, 42. Temples at Tivoli: – Tiburtine Sibyl, 33 o. Vesta, 33 o. della Tosse, 33 I. Teodoro, S., church of, 169. Testaccio, Monte, I 3. TeVerone, or Anio, river, 3.32. Theatres, ancient :— at Bovillas, 357 ; of Balbus, 42 ; Gabij, 374; of Marcellus, 42; Ostia, 396 ; of Pompey, 43 ; Tus- culum, 344; Villa Adriana, 32 7. , modern, at Rome, xxv. Thermae, sce Baths. Tiber, river, its level at Rome, | I. —, island of the, 30,398. | Titus, arch of, 54; baths of, 59. Tivoli, town, 328. Tombs, ancient, of ATuns, 359. Augustus, 61. Bibulus, 62. Caecilia Metella, 63. Caius Cestius, 64. Claudian family, 63. St. Constantia, 65. M. Corvinus, 321. the baker Eurysaces, 62. Geta, 69, 319. Hadrian, 66. St. Helena, 65. Horatia, jo. Marcellus, 61. the Nasos, 68. the Painted, Latina, 70. Plautius Lucanus, 68, 326. | Pompey, 358. Priscilla, 69, 320. | i On the Via 43 2 JRome. IND EX. TOMBS. Tombs, ancient, of L the Scipios, 68. Seneca (supposed), 320. Servilii, 69. Vibius Marianus, 71. Tourbs on the Via Appia, 69. — on the Via Latina, To. Tommaso, S., ch. of, I69. Topography of Rome, I. Torlonia palace, 266. Torre Boacciana, 397 ; de' Con- ti, 86; Lupara, 378; di Mezza Via, 357 ; Nuova, 364; di S. Michele, 394; delle Milizie, 87; Paterno, 399; Pignattara, 364; de' Schiavi, 373 ; Tre Teste, 373. Toscanella, town, 418. Tower of the Capitol, Io. Tradesmen at Roime, xxi. Trajan, his forum, basilica, and library, 25 ; his column, 5 I ; his Portus Trajanus, 392. Translators, XXii. Trastevere, Rione, 4. Trevi, Fontana di, 87 ; Rione, 3. Trevignano, 390. Trinità, la, de' Monti, ch. of, I7o. — dei Pelegrini, ITI. — —— hospital of, 279. Tuscania, Etruscan city, 418. Tusculum, 343. U. Umbilicus Roma", 23. University of Rome (Sapienza), 27O. V. Valchetta, torrent, 38o. Valmontone, 353. Varia, 334. | | WILL AS. 191; Hall of the Greek Cross, I92; Hall of the Biga, IQ3; Gallery of the Candelabras, I93 ; Etruscan Museum (Mu- Seo Gregoriano), 194; Egyp- tian Museum, 199 ; of the Arazzi or tapestries of Ra- phael, 199; Gallery of Maps, 200 ; Pinacotheca, or gallery of pictures, 2co ; Stanze of Raphael, 206; Capella di San Lorenzo, 212; Library of the Museo Cris- Vatican, 213 ; tiano, 215 ; Gabinetto Borgia, 216; Museo Profano, 217 ; manufactory of mosaics, 219 ; Gardens and Casino del Papa, 219 ; armoury, 22O. Veii, Etruscan city, 379. Venezia, palazzo di, 266. Venus, temples of, on the Nu- micus, 401 ; Venus and Cul- pid, 4o ; Venus and Tome, 4O. Verde, Monte, 13. Vespasian, temple of, 41. Vesta, temples of, 42 ; at Ti- Voli, 33o. Vetturini, xii. Via Appia, 317; Nova, 356. Ardeatina, 4o I. — Cassia, 387. — Claudia, 387. ——- Constantia, 326. — Flamiuia, 5. — Gabiña, 373. — Labicana, 364. — Latina, 70. — Laurentina, 394. Nomentana, 386. — Ostiensis, 394. — Praenestina, 373. Portuensis, 391. - — Sacra, 24. — Sublacensis, 335. — Tiburtina, 3 24. —— Triumphalis, 52, 352. —— Valeria, 333, 335. —— Veientana, 38o. —— Vitellia, 302. Cassius, 332. TIIIE END. Vatican, hill, I 3 ; palace and — Salara, 386. musuem, I'72 ; history, I'72 ; — Severiana, 399. Scala Regia, ria Lapidaria, I78; Chiaramonti, I'79 ; Sala Regia, I73 ; Capella Sistina, I73 ; Capella Paolina, Sala Ducale, Loggie, I'76 ; museum, Galle- Museo Braccio Nuovo, 181 ; M. Pio-Clemen- Viaducts of Lariccia, 359, 361. tino, 184; Cortile di Belve- —— of Genzano, 361. dere, Portico and Cabinets, Vicarello, baths, 390. 185-189; Hall of Animals, Vicovaro, village, 3.34. Gallery of Statues, 189; Hall Vicus Alexandrinus, 394, of Busts, 190 ; Cabinet of Widoni palace, 266. Masks, Hall of the Muses, Villas, ancient, of Circular Hall OT Rotonda, | ZEN OBI.A. Villas, ancient, of Cicero, 344, 404. Domitian, 358. Hadrian, near Tivoli, 326. Mecanas, 331. Pompey, 358. Quint. Varus, 332. Villas, modern :— Albani, 292. Aldobrandini, at Frascati,342. Barberini, 358. Borghese, 295. Braschi, 333. Cesarini, at Genzano, 361. Doria, at Albano, 358. d'Este, at Tivoli, 332. Falconieri, at Frascati, 342. Lante, 3oo. Ludovisi, 299. Madama, 3oo. Massimi, 3 oo. Mattei, 3oo. Medici, 3or. Mellini, 3ol. Mondragone, at Frascati, 342. Montalto, 342. Muti, at Frascati, 340, 342. Negroni, 3 or. Palatina, 3or. Pallavicini, at Porto, 342. Pamfili-Doria, 3ol. Paolina Buonaparte, Rignano, Ruffinella, 342. Spada, 27, 386. Taverna, at Frascati, 342. Torlonia, 342. - Vetulonia, 424. Viminal hill, the, 13. Vitale, S., church of, 171. Vivarium and Spoliarium, 8o. Vulci, Etruscan city, 416. { W. : Walls of Rome, 5. | Wolf of the Capitol, the, 225. Workhouse of S. Maria, 28o. { | Y. York, card., his monument to the young Pretender, 341 ; | destroys temple of Jupiter | Latialis, 352 ; his tomb, Io;. | Z. : Zagarolo, town, 372. : Zenobia, baths of, 3.25. 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STONE, all Sculpture and Articles of Stone, Alabaster, and Marble. SULPHUR Impressions, or Casts. TELESCOPES. TILES. VASEs, Ancient, not of Stone or Marble. On the following Articles the Duty is 5 per cent. ad valorem. CASHMERE SHAwLs, and all Articles of Goats’ Hair or Wool. • Cotton Articles, wholly or in part made up. LINEN Articles, wholly or in part made up. WooDIEN Articles, wholly or in part made up. On the following Articles the Duty is 10 per cent. ad valorem. BOXES of all sorts. EGYPTIAN, and all other Antiquities. EMBROIDERY and Needlework. FURNITURE of all kinds. JEWELLERY, and all Jewels set. LACE made by hand. ARQUEBUSADE WATER o MoSAIC, Small Ornaments for Jewellery. MUSICAL Instruments, excepting Musical Boxes, Brass Instruments, Pianos, and Accordions. ScAGLIOLA Tables. º © e ... the gallon £1 0 0 BEADS of CoRAL © o º © º e the lb. 0 1 6 Crystal, Jet, and Mock Pearl & tº * ditto 0 0 2 BOOKS, of editions printed in and since 1801 . e ... the cwt. l 10 0 imported under International Treaties of Copyright . ditto 0 15 0 (Pirated Editions of English Works, of which the Copyright exists in England, totally prohibited.) English, reimported (unless declared that no Drawback was claimed on Export) . º e * º the lb. 0 0 1 } BRoCADE of GoLD and SILVER e * o º ditto 0 5 0" BRONZE, BRASS, *} all Manufactures of . e Q ... the cwt. 0 10 0 COPPER, CARPETs and RUGs (woollen) e e ... the square yard 0 0 6 CORAL NEGLIGEEs . º e º e the lb. 0 1 0 CHINA, PORCELAIN, and EARTHENWARE, all . e ... the cwt. 0 10 0 CLOCKS, not exceeding the value of 5s. each . e ... the dozen 0 4 0 exceeding 5s., and not exceeding the value of 12s. 6d. each ditto 0 8 0 exceeding 12s. 6d., and not exceeding the value of 3!. each each 0 2 0 exceeding 3!., and not exceeding the value of 10l. e ditto 0 4 0 exceeding 10l. value º g e • ditto 0 10 0 CIGARs and Top Acco, manufactured (3 lbs. only allowed in a passenger's baggage, and 5 per cent, additional) . © the lb. O 9 ToBAcco, unmanufactured (with 5 per cent. additional on the Duty) ditto 0 3 (N.B.-Unmanufactured Tobacco cannot be imported in less quantity than 800 lbs., or Cigars 80 lbs. in a Package; but small quantities are allowed for Private Usé on declaration, and payment of a Fine of 1s 6d. per lb. in addition to the Duty.) CORFEE e e & º * © º the lb. 0 () 4 CoNFECTIONERY, Sweetmeats and Succades e º e ditto 0 0 2 CoRDIALS and LIQUEURS e e e e ... the gallon 1 0 0 CURTAINs, embroidered on Muslin or Net, called Swiss Curtains the lb. 0 1 0 EAU DE COLOGNE, in long flasks * * º ... the flask 0 0 8 in any other description of bottles . ... the gallon 1 0 0 B 2 4 MURRAY'S HANDBOOK ADVERTISER. McCIRACIREIN'S LIST OF IDUTIES-continued. FLOWERs, Artificial, the cubic foot as packed . te * . £0 12 0 GLASS, Flint, Cut, Coloured, and Fancy Ornamental Glass, o whatever kind . º e e to ... the cwt. 0 10 0 GLOVES, of Leather (and 5 per cent. additional) º the dozen pair 0 3 6 LACQUERED and Japanned Wares e e tº the cwt. 1 0 0 MACCARONI and WERMICELLI . e © e o ditto 0 1 0 NAPLEs So AP e tº © © e o ditto 0 0 8 PERFUMERY º o e e de e the lb. 0 0 2 PERFUMED SPIRITs . º º o º ... the gallon 1 0 0 PAPER HANGINGS, Flock Paper, and Paper printed, painted, or stained the lb. 0 0 3 PIANOFORTEs, horizontal grand e c * © each 3 0 0 —— upright and square . e e tº ditto 2 0 0 PLATE, of Gold º dº • º © the oz. troy 1 1 0 of Silver, gilt or ungilt e º º © ditto 0 1 8 PRINTS and DRAWINGs, single or bound, plain or coloured o the lb. 0 0 3 SILK, MILLINERY, Turbans or Caps . tº * º each 0 3 6 -msm- Hats or Bonnets . º ſe º ditto () 7 0 Dresses . e e o © diffo 1 1 0 0 — HANGINGs, and other Manufactures of Silk ſº the 100l. value 15 0 0 WELVETs, plain or figured e e s © the lb. 0 9 0 TEA e e © © e e © ditto 0 1 5 TOYS and TURNERY . © º e e the cubic foot 0 0 4 WINE in Casks or Bottles (in bottles 6 to the gal., & 5 percent. add.) the gal. 0 5 6 SPIRITs in Cask or Bottle . ditto 0 15 0 No Cask can be imported of less contents than 24 Gallons. THEIR PRINCIPAL CORRESPONDENTS ARE AT CALAIS. . . . . . . . . . . . Messrs. CHARTIER, MORY, & Vogue. Messrs. ISAAC VITAL & FILs. BOULOGNE S. M... Messrs. CHARTIER, MORY, & Vogue. Mr. H. SIRE. Mr. C. QUETTIER. Mr. M. CHENUE, Packer, Rue Croix Petits Champs, No. 24. PARIS . . . . . . . . • * * * * {#. J. KLEINFELDER, 38, Rue Lafayette. M. M. HoFMANN, 58, Rue Hauteville. HAVRE. . . . . . . . . . . . Messrs. P. DEVOT & CO. HONFLEUR. . . . . . . . Mr. J. WAGNER. MARSEILLES . . . . . . Messrs. HoRACE Bouch ET & Co. Messrs. CLAUDE CLERC & Co. Mr. PHILIGRET, 8, Rue Suffren. BAGNERES DE BI- -- GORRE 㺠Mr. LÉoN GERUZET, Marble Works. Pyrénées). . . . . . . . . * PAU . . . . . . . . . . . . . . . Mr. Mº. AINE. é T 7- Mr. LáON GłRUZET, 44, Allées de Tourny. BORDEAUX . . . . . . . Mr. LÉON SANSOT, FILs, Hôtel des Princes et de la Paix. GIBRALTAR. . . . . . . Messrs. ARCHBOLD, Johnston, & POWERS. Messrs. TURNER & Co. LISBON. . . . . . . . . . . . Mr. ARTHUR VAN ZELLER, Penin. & Orient. St. Nav. Co.'s Offices. SEWILLE Mr. JULIAN B. WILLIAMS, British Vice-Consulate. † e º a c e s e s e a Don Ju AN ANTo. BAILLY. MALAGA. . . . . . . . . . Mr. W. P. MARKS, British Consul. NICE {#: A. LACROIx & Co., British Consulate. Mr. T. W. HOW. • * * * g g g º e º 'º ' ' ' ) Messrs. AvLGDoR AINſ & FILs. Mr. CH. GIORDAN. GENOA Messrs. GIBBS & Co. Sig. G. LoLEO, Croce di Malta. 1N OBA. . . . . . . . . . * * * } Mr. BROWN, Jun., British Vice-Consul. GIO, WIGNoLO & FIG9. MILAN Messrs. BUFFET & BERUTO, Piazzale di S. Sepolcro, No. 3176. tº e º 'º & ' ' ' ' ' ' ' ' Messrs. BRAMBILLA. CARRARA . . . . . . ... Sig. F. BIENAIME, Sculptor. Mr. VINCENZO LIVY, Sculptor. Messrs. W. MACBEAN & Co. Messrs. HENDERSON BROTHERS. Messrs. THOMAS PATE & SONS. Messrs. MAQUAY, PAKENHAM, LEGHORN . . . . . . . . . & SMYTH. Messrs. GIA.co. MICALI & FIGo. Sculptors in Alabaster and Marble. Mr. M. RISTORI. Mr. JOSEPH GUANO. Messrs. G. GALLIANI Sz Co. Mr. ULISSE CotREMAN. PISA. . . . . . . . . . . . . . . Messrs. HUGUET & WAN LINT, Sculptors in Alabaster and Marble. Messrs. EMMle. FENZI & Co. Messrs. PLOWI) EN & FRENCH. Messrs. MAQUAY & PAKENHAM. Mr. E. GOODBAN. Mr. J. TOUGH. Messrs. NESTI, CIARDI, & Co. Mr. ANT* DI LUIGI PIACENTI. FLORENCE Mr. S. Low E. Mr. GAETo. BIANCHINI, Mosaic Worker, opposite 4 * e s p e º 'º the Capella de' Medici. P. BAzzANTI & FIG., Sculptors, Lungo l'Arno. Heirs of F. L. PISANI, Sculptor, No. 1, sul Prato. Messrs. Fili. PACETTI, Picture-frame Makers, Via del Palagio. Sig. CARLO NocCIOLI. Sig. LUIGI RAMACCI. MURRAY'S HANDBOOK ADVERTISER. 5 MESSRS, J. & R. McCRACKEN'S CORRESPONDENTS-continued. VOLTERRA ....... Sig. OTTo. CALLAJ, and Messrs. G. CHERICI & FIGi. BOLOGNA ........ . Mr. G. B. RENOLI. Sig. L. GALLI. ANCONA . . . . . . . . . Messrs. MOORE, MERELLET, & Co. Messrs. To RLONIA & Co. Messrs. FREEBORN & Co. Messrs. MAC- ROME BEAN & Co. Messrs. PLOWDEN, CHOLMELEY, & Co. Messrs. PA- • * * * * * * * * * * * * KENHAM, HookER, & Co. Mr. EDWARD TREBBI. Mr. LUIGI BRANCHINI, at the English College. §§ WECCHIA . Messrs. Low E BROTHERS, British Vice-Consulate. Mr. T. ARATA. Al’LES • * * * * * * * c e & Messrs. IGGULDEN & Co. Messrs. W. J. TURNER & Co. PALERMO ......... Messrs. PRIOR, TURNER, & THOMAS. MESSINA . . . . . . . . . . Messrs. CAILLER & Co. CORFU . . . . . . . . . . . . Mr. J. W. TAYLOR. ALEXANDRIA. . . . . Messrs. BRIGGS & Co. CONSTANTINOPLE Messrs. C. & E. GRACE. Mr. EDWARD LAFONTAINE. Mr. EMANUEL ZAMMIT. Messrs. Josh. DARMAN IN & SONs, 45, Strada MALTA . . . . . . . . . . . | Levante, Mosaic Workers. Mr. FORTUNATO TESTA, 92, Strada Sta Lucia. Messrs. L. VED. DE CESARE & FIGL1. Mr. L. FRANCALANZA. SMYRNA . . . . . . . . . . Messrs. HANSON & Co. BEYROUT . . . . . . . . . Mr. HENRY HEALD. ATHENS, PIRAEUS Mr. J. J. BUCHERER. SYRA . . . . . . . . . . . . . Mr. WILKINSON, British Consul. Messrs. FRERES SCHIELIN. VENICE . . . . . . . . . . . {º: S. & A. BLUMENTHAL & Co. Mr. L. BOVARDI, Campo S. Fantino, No. 2000, rosso. TRIESTE . . . . . . . . . . Messrs. MooRE & Co. OSTEND . . . . . . . . . . . Messrs. BACH & Co. Mr. R. ST. AMOUR. GHENT ... . . . . . . . . . Mr. J. DE BUYSER, Dealer in Antiquities, Marché au Beurre, 21. BRUSSELS. . . . . . . . . M M - Messrs. F. MACK & Co., Kipdorp, No. 1748. ANTWERP . . . . . . . . § r. P. VAN ZEEBROECK, º Dealer, &c., Rue des Récollets, 2076. * I'm Messrs. PRESTON & Co. Messrs. S. A. LEVINO & Co. ROTTERDAM. . . . . . Messrs. BOUTMY & Co. Messrs. C, HEMMANN & Co. COLOGNE Mr. J. M. FARINA, vis-à-vis la Place Juliers. Messrs. Gme. TILMEs -**-WV-A 1-W lº e e e s e e s e s s & Co. Mr. ALBERT HEIMANN, 29, Bishofsgartenstrasse. MAYENCE . . . . . . . . Mr. G. L. KAYSER, Expéditeur. Mr. W. KNUSSMANN, Cabinet Maker. Mr. P. A. TACCHI’s SUCCESSOR, Glass Manufacturer, Zeil. FRANKFORT. O. M. {º. BING, Jun., & Co. Mr. F. BöHLER, Zeil D, 17. MII. G. A. ZIPF, Ross Markt. HEIDELIBERG . . . . . Mr. PH. ZIMMERMANN. Mr. M. LIEBER. MANNHEIM . . . . . . Mr. DINKELSPEIL. Messrs. EYSSEN & CLAUs, Mr. HY. WIMMER, Printseller, Promenade St. No. 12. Messrs. MAY MUNICH. . . . . . . . . . . | & WIDMAYER, Printsellers. Messrs. L. NEGRIoli & Co. Heirs of SEB. PICHLER. Mr. PAOLO GALIMBERTI, at the Red Horse, Dealer in Antiquities. NUREMBERG • * * * * * } Mr. JoHN CONRAD CNOPF, Banker and Forwarding .." FURTH . . . . . . . . . . . . Mr. A. PICKERT. BASLE Messrs. JEAN PREISWERK & FILS. Mr. BISCHOFF DE ST. ALBAN. © e º ºs e e º 'º - e º & Messrs. SCHNEWLIN & Co. Mr. BENOIT LA ROCHE. BERNE . . . . . . . . . . . . Mr. ALBERT TRUMPY. GENEVA . . . . . . . . . . Messrs. AUG. SNELL & STRASSE. LAUSA N N E . . . . . ... Mr. L. LONGCHAMPs. INTERLACKEN .... Mr. J. GROSSMANN. Mr. CLEMENT SESTI. CONSTANCE. . . . . . . SCHAFFHAUSEN .. } Messrs. ZOLLIKOFFER & Hoz. WALI)SHU'1'. . . . . . . HAMBURG . . . . . . . . Messrs. ScHAAR & CLAUSS. Mr. G. F. Rod E. PRAGUE Mr. W. HoFMANN, Glass Manufacturer, Blauern Stern. * c e s tº º 4 * * * * Nº. P. º ditto. * A. W. LEBEDA, Gun Maker. ºt Ir. THOMAS WOLF, Glass Manufacturer. CARLSBAD . . . . . . . . Mr. CARL KNOLL, au Lion Blanc. MARIENEAD . . . . . . Mr. J. T. ADLER, Glass Manufacturer. VIENNA Mr. W. HoFMANN, Glass Manufacturer, am Lugeck, No. 768. Mr. Jos. LOBMEXR, Glass Manufacturer, 940, Kärntner Strasse. Messrs. SCHICKLER, Brothers. BERLIN ... . . . . . . . . {: r. LION M. CORN, Comm". Expéditeur. Messrs. C. HARSCH & Co., Glass Manufacturers, 67, Unter den Linden. Messrs. H. W. BASSENGE & Co. Mr. C. TEICHERT, Royal Porce- DRESDEN. . . . . . . . . . | lain Manufactory. Depôt. Mr. J. KREISS, Glass Manufacturer. Madame HELENA Wol.FSOHN, Schössergasse, No. 5. NEW YORK ....... Messrs. WILBUR & PRICE. 6 MURRAY'S HANDBOOK ADVERTISER. FLORENCE. G. B I A N C H IN I, MANUFACTURER OF TABLES AND LADIES ORNAMENTS OF FLORENTINE MOSAIC, No. 4 S 44, W H A HP RE > N E H. L.I., Opposite the Royal Chapel of the Medici, NVITES the English Nobility and Gentry to visit his Establishment, where may always be seen numerous specimens of this celebrated and beautiful Manufacture, in every description of Rare and Precious Stones. Orders for Tables and other Ornaments exectuted to any Design. G. BIANCHINI's Agents in England are Messrs. J. & R. M'CRACKEN, 7, Old Jewry, London. BRIENZ — | NTERLACKEN. * Gº- J. GROSSMANN, SCULPTOR IN WOOD, AND MANUFACTURER OF SWISS WOOD MODELS AND ORNAMENTS, AT TINTERIT, ACIºIENT. HIS WAREHOUSE is situated between the Belvedere Hotel and Schweizerhof, where he keeps the largest and best assortment of the above objects to be ound in Switzerland. He undertakes to forward Goods to England and elsewhere. Correspondents in England, Messrs. J. & R. McCRACKEN, 7, Old Jewry. P I S A. HUGUET AND WAN LINT, SCULPTORS IN MARBLE AND ALABASTER, Lung' Arno, near the Tre Donzelle. HE oldest established house in Pisa, where may be found the best assortment of Models of the Duomo, Baptistry, and Tower. Also Figures and other local objects illustrative of the Agriculture and Customs of the country, executed in the highest style of art. Their extensive Show Rooms are always open to Visitors. Correspondents in England, Messrs. J. & R. McCRACKEN, 7, Old Jewry, London. MURRAY'S HANDBOOK ADVERTISER. 7 N | C E . N | C E . English was EHouse. T. W. H. O W, F. LATTES, s-º-º-º-º- INear the Pont Neuf, WINE MERCHANT, GROCER, &c., Quai du Jardin des Plantes, GENERAL AGENT, AND Two doors from the Hôtel de France). (Two doors from the Hôtel de France) AGENT FOR LETTING FURNISHED APARTNT ENTS. Wines and Teas of the choicest qualities. Bass's and Allsopp's Pale and Burton Ales, Stout, Porter, &c. Lemann's Biscuits, Eng- lish Cheese, York Hams, Pickles, Sauces, and tº- a variety of other condiments and articles Letters addressed as above from parties too numerous to mention. requiring any information respecting Apart- Correspondents in London, Messrs. J. and ments, &c., will meet with immediate at: R. M'CRACKEN, 7, Old Jewry. telntion. M U N | C H . HENRY WIMMER, SUCCESSOR TO J. M. DE HERMANN, PRINT AND PICTURE SELLER TO HIS MAJESTY THE KING OF BAWARIA, Roy AL PROMENARDE STRASSE, No. 12, MAGAZINE OF OBJECTS OF FINE ARTS, PICTURES, PRINTS, DRAWINGS, AND LITHOGRAPHS, INVITEs the Nobility and Gentry to visit his Establishment, where he has always on Sale an extensive collection of Pictures by Modern Artists, Paintings on Glass and Porcelain, Miniatures, Drawings, En- gravings, and Lithographs, the latter comprising the Complete Collec- tions of the various Galleries, of which Single Copies may be selected. He has also on Sale all that relates to the Fine Arts. H. WIMMER undertakes to forward to England all purchases made at his Establishment, through his Correspondents, Messrs. J. & R. M“CRACKEN, 7, Old Jewry, London. 8 - MURRAY'S HANDBOOK ADVERTISER. F RAN K F O R T O. M. BING JUN”. AND CO. Z E I IL, No. 31, (OPPOSITE THE HOTEL DE RUSSIE,) MANUFACT0RY OF ARTICLES IN STAG’S HORN. DEPOT OF DRESDEN CHINA. COPY O F THIE STATU E O F. A. R.I.A. D.N. E. *** ALL KINDS OF PARISIAN FANCY ARTICLEs. ~ *-*--~~ MESSRs. BING JUN. AND Co. beg respectfully to invite the Public to visit their Establishment, where they have always on show, and for sale, a most extensive Assortment of Articles in Stag's Horn, of their own manufacture; consisting of Brooches, Ear-rings, Bracelets, Pen and Pencil Holders, Seals, Inkstands, Watch- stands, Snuff-boxes, Cigar-boxes, Whips, Walking-sticks, Knives, Card-cases, and every description of article for the Writing and Work Table, besides Vases and other ornamental objects too various to be here enumerated. Messrs. BING have also the finest Copies, both in Biscuit-China and Bronze, of the Statue of Ariadne, the chef-d'oeuvre of the Sculptor DANNECKER, of which the original is in Bethman’s Museum at Frankfort O. M. Messrs. BING have likewise the Sole Depót in FRANKFORT of the Porcelain of the Royal Manufactory of Dresden; and at their Establishment may be seen the most splendid assortment of Figures after the Ancient Models, ornamented with Lace-work of the most extraordinary fineness; likewise Dinner, Dessert, and Tea Services; Plates, Vases, Candelabras, Baskets, &c. &c., in the Antique Style, ornamented with flowers in relief, and the finest paintings. Besides the above-named objects, they have a superb assortment of Clocks, Bronzes, Porcelain, and other Fancy Objects, the productions of Germany, France, and England. ~~~~~ DEPOT OF THE VERITABLE EAU DE COLOGNE OF JEAN MARIA FARINA, OF COLOGNE. 6s- Their Correspondents in London are J. and R. M'CRACKEN, 7, Old Jewry. MURRAY'S HANDBOOK ADVERTISER. 9 F R A N K F O R T O. M. P. A. TACCHI’S SUCCESSOR, (LATE FRANCIS STEIGERWALD,) ZEIIL IP, No. 17, |BOTHIENTIAN FANCŞſ (GILASS ANTD) (CRYSTAL WWAIRIETHIC) US 13. *************, *-*…*&^^eve-º-º-º: P. A. TACCHI’S SUCCESSOR begs to acquaint the Public that he has become the Purchaser of Mr. F. STEIGERWALD’s ESTABLISH- MENT in this Town, for the Sale of Bohemian Fancy Cut Glass and Crystals. He has always an extensive and choice Assortment of the Newest and most Elegant Patterns of - ORNAMENTAL CUT, ENGRAVED, GILT, & PAINTED GLASS, BOTH WHITE AND COLOURED, In Dessert Services, Chandeliers, Articles for the Table and Toilet, and every possible variety of objects in this beautiful branch of manu- facture. He solicits, and will endeavour to merit, a continuance of the favours of the Public, which the late well-known House enjoyed in an eminent degree during a considerable number of years. P. A. TACCHI’s SUCCESSOR has BRANCH ESTABLISHMENTS during the Season at WIESB ADEN AND EMS, Where will always be found Selections of the newest Articles from his principal Establishment. His Agents in England, to whom he undertakes to forward Pur- chases made of him, are Messrs. J. & R. M'CRACKEN, 7, Old Jewry, London, 10 MURRAY'S HANDBOOK ADVERTISER. C O L O G N E O. R H | N E. JOHN MARIA FAR IN A (OPPOSITE THE JULICH'S PLACE), PURVEY OR TO H. M. QUEEN VICTORIA ; TO H. M. F. W. III., KING OF PRUSSIA ; THE EMPEROR OF RUSSIA: THE KING OF HANOVER, ETC. ETC., OF THE 0 NLY GENUIN E E AU DE COL 0 GN E. THE frequency of mistakes, which are sometimes accidental, but for the most part the result of deception practised by interested individuals, induces me to request the attention of English travellers to the following statement:— Since the first establishment of my house in 1709, there has never been any partner in the business who did not bear the name of FARINA, nor has the manufacture of a second and cheaper quality of EAU DE ColoGNE ever been attempted. Since 1828, however, several inhabitants of Cologne have entered into engagements with Italians of the name of Farina, and, by employing that name, have succeeded to a very great extent in foisting an inferior and spurious article upon the Public. But they have in this rivalry in trade not been satisfied with the mere usurpation of my name ; the concluding phrase, “opposite the Julich's Place,” which had so long existed my special property, was not allowed to remain in its integrity. To deceive and lead astray again those of the public who are not fully conversant with the locality and circumstances, the competition seized hold of the word “opposite,” and more than once settled in my immediate neighbourhood, that they might avail themselves to the full extent of the phrase “opposite the Julich's Place.” When tried before the courts, the use only of the word “opposite" was forbidden, which, however, has been supplied by the word “at” or “mear,” with the addition of the number of their houses. It is true, another less flagrant, but not less deceitful invention was, that several of my imitators established the sites of their manufactories in other public places of the town, to enable them to make use of the phrase “opposite — Place, or Market,” on their address cards or labels, speculating, with respect to the proper name “Julich,” on the carelessness or forgetfulness of the consumer. I there- fore beg to inform all strangers visiting Cologne that my establishment, which has existed since 1709, is exactly opposite the Julich's Place, forming the corner of the two streets, Unter Goldschmidt and Oben Marspforten, No. 23; and that it may be the more easily recognised, I have put up the arms of England, Russia, &c. &c., in the front of my house. By calling the attention of the public to this notice, I hope to check that System of imposi- tion which has been so long practised towards foreigners by coachmen, valets-de-place, and others, who receive bribes from the vendors of the many spurious compounds sold under my Ilālī16. A new proof of the excellence of MY manufacture has been put beyond all doubt by the fact of the Jury of the Great Exhibition in London having awarded MIE the Prize Medal.— See the Official Statement in No. 20,934, page 6, of the ‘Times’ of this month. COLOGNE, October, 1851. J. M. FARINA, Opposite the Julich's Place. *...* My Agents in London are MESSRS. J. & R. M'CRACKEN, 7, Old Jewry, by whom orders are received for me. MURRAY'S HANDBOOK ADVERTISER. 11 D R E S D E N . MAGAZINE OF ANTIQUITIES AND FINE ARTS. HELENA WOLFSOHN, NEE MEYER, (SUCCESSOR OF L. MEYER AND SONS,) 5, SCHELOSSIER GASSE, BEGs respectfully to solicit the inspection of her Establishment, where she has always on show and for sale a most extensive assortment of Old Saxon China, Old Sèvres and Japan, Antique Furniture, Bronzes, Old Lace, such as Points de Bruxelles and d’Alençon, Points de Venise, Guipure, &c. &c. Venetian, Ruby, and Painted Glass, Rock Crystal, Ivory Work, Enamels, Mosaic Work, Armour, Gobelins Tapestry, Fans, and many other remarkable and curious articles. HIER CORRESPONDENTS IN ENGLAND ARE Messrs. J. & R. M'CRACKEN, 7, Old Jewry, London. WILLIAM HOFMANN, B O H E M I A N G L A S S M A N U FA C T U R ER, To HIS MAJESTY THE EMPEROR OF AUSTRIA, RECOMMENDS his great assortment of Glass Ware, from his own Manufactories in Bohemia. The choicest Articles in every Colour, Shape, and Description, are sold, at the same moderate prices, at both his Establishments— At Prague, Hotel Blue Star ; at Vienna, 768, Iaugeck. Agents in London, Messrs. J. and R. M'CRACKEN, 7, Old Jewry. Gowds forwarded direct to England, America, &c. T.E.G.HORN. CARLSBAID. HIACINTH MICALI AND SON, THOMAS WOLF, Via Ferdinanda, No. 1230. MANUFACTURER OF Manufactory of Marble, Alabaster, and 0RNAMENTAL GłASS WARES. i. Tables, and Depôt of objects of THOMAS Wolf begs to inform the Visitors Their extensive Show-rooms are always to Carlsbad that at his Establishment will be open to Visitors found the finest and richest Assortment of p e the Crystal and Glass Wares of Bohemia— THEIR AGENTS IN ENGLAND ARE especially Table and Dessert Services— MDESSRS. J. AND R, MI*CRACKEN, all at reasonable and fixed prices. ÇOl{RESPONDENTS IN INGLANT) : 7, Old Jewry, London. Messrs. J. & R. M'CRACKEN, 7, Old Jewry. MURRAY'S HANDBOOK ADVERTISER. V l E N N A. IBohemian White and Coloured Crystal Glass warehouse. JOSEPH LOBMEYR, G. L. A S S M A N U F A C T U R E R, No. 940, KARNTHNERSTRASSE, BEGS to inform Visitors to Vienna that he has considerably enlarged his Esta- blishment. The most complete assortment of all kinds of Bohemian White and Coloured Crystal Glass, and of all articles in this branch of industry, in the newest and most elegant style, is always on hand. The rich collections of all Articles of Luxury, viz. Table, Dessert, and other Services, Vases, Candelabras, Lustres, Looking-glasses, &c. &c., will, he feels assured, satisfy every visitor. The prices are fixed at very moderate and reasonable charges.—The English lan guage is spoken. His Correspondents in England, Messrs. J. and R. M'CRACKEN, No. 7, Old Jewry, London, will execute all orders with the greatest care and attention. Everything for the Tourist. DRESSING-CASES.—At Mr. MECHI’S Establishments, 112, Regent Street, 4, Lead- enhall Street, and Crystal Palace, are EX- HIBITED the FINEST SPECIMIENS of BRITISH MANUFACTURES, in Dressing Cases, Work Boxes, Writing Cases, Dressing Bags, and other articles of utility or luxury, suitable for presentation. A separate De- partment for Papier Mâché Manufactures and Bagatelle Tables. Table Cutlery, Razors,Scis- sors, Pen-knives, Strops, Paste, &c. Shipping orders executed. An extensive assortment of Superior Hair and other Toilet Brushes. CARY'S IMPROVED POCKET TOURIST’S TELESCOPE. (See “Murray's Handbook.') Just published, 16th Edition, GOULD'S COMPANION TO THE MICROSCOPE. Revised and Improved. CARY, Mathematical and Optical Instru- ment Maker to the Admiralty and Royal Military College, &c. &c., 181, Strand. E" E. A. N. K. E." OIF. T. O. M. MESSRS LOHR & ALTEN, PROPRIETORS OF T H E R O M A N E M P E R O R H O T E L, Beg to recommend their House to English Travellers. This large and well-situated Establishment is conducted under the immediate superintendence of the Proprietors, and newly furnished with every comfort, and a new splendid Dining-room. The “RoMAN EMPEROR" is often honoured by Royal Families and other high The following have lately honoured this Hotel personages. H.M. THE KING AND QUEEN OF WURTEMBERG. H.M. THE QUEEN OF HOLLAND. H.R.H. THE CROWN PRINCE AND PRINCESS OIGA OF WURTEMBERG. H.I.H. THE ARCHDUKE OF AUSTRIA. &c. &c. &c. Table-d'hôte at 1, 99 33 lfl. 3 Okr. 5, 2f1. Bed Rooms, from 1 fl. to 3ſi. Breakfast, 4.2kr. Tea, 4:2kr. MURRAY'S HANDPOOK ADVERTISER. 13 B E R L | N. C. H. A R S C H & CO., 67, Unter den Linden, |FANCY (GLASS WAREHOUSE, BEG to call the attention of VISITORs to their ExTENSIVE ASSORTMENT of B0HEMIAN, BAWARIAN, AND SILESIAN GLASS, CONSISTING OF ARTICLES OF EVERY DESCRIPTION, O F T H E N E W E S T A N D M O S T E L E G A N T P A TT E R N S. Their Correspondents in London are Messrs. J. & R. M'CRACKEN, 7, Old Jewry. ARGUS LIFE ASSURANCE COMPANY., 39, THROGMORTON STREET, BANK. CHAIRMAN – THOMAS FARNCOMB, Esq., Alderman. DEPUTY-CHAIRMAN–WILLIAM LEAF, Esq. Rich. E. Arden, Esq. Professor Hall, M.A. | Rupert Ingleby, Esq. Jeremiah Pilcher, Esq. Edward Bates, Esq. J.Humphery, Esq.Ald. | S. W. Johnson, Esq. Lewis Pocock, Esq. PHYSICIAN-Dr. Jeaffreson, 2, Finsbury Square. SURGEON−W. Coulson, Esq., 2, Frederick's Place, Old Jewry. ACTUARY-George Clark, Esq. ADVANTAGES OF ASSURING a; º assigned º . º can be added to the sum assured, applied in reduction IN THIS COMPANY. of the annual premium, or be received in cash. THE Premiums are on the lowest scale con- At the first division a return of 20 per cent. sistent with security. in cash on the premiums paid was declared; The Assured are protected by a subscribed this will allow a reversionary increase vary- Capital of 300,000l., an Assurance Fund of ing, according to age, from 66 to 28 per cent. 450,000l., invested on mortgage and in the on the premiums, or from 5 to 15 percent. on Government Stocks, and an income of 85,000l. the sum assured. a-year. One-half of the “Whole Term '’ Premium may remain on credit for seven years, or one- Premiums to assure 100l. Whole Term. : third of the Premium may remain for life as e a debt upon the Policy at 5 per cent, or may Šo One Seven With Without be paid off at any time without notice. “g | Year. Years. Profits. Profits. Claims paid in one month after proofs have ... co - a go to To gº is to T. E. In ſo been approved. 30 || 1 || 3 || 1 2 7 2 5 5 2 0 7 Loans upon approved security. : * | | | | | . . . . . ; ; No charge for Policy stamps. 60 || 3 2 4 || 3 || 7 0 || 6 12 9 6 0 10 Medical attendants paid for their reports. Persons may, in time of peace, proceed to or MUTUAL BRANCH, reside in any part of º OT #. North Assure Rs on the Bonus System are entitled America without extra charge. at the end of five years to participate in nine- The medical officers attend every day at a tenths, or 90 per cent, of the profits. quarter before two o'clock. E. BATES, Resident Director. 14 MURRAY'S HANDBOOK ADVERTISER. FOREIGN CREDITS AND CIRCULAR NOTES, -—O—- HE NATIONAL BANIX OF SCOTL AND GRANT CREDITS of £10 and upwards, available for Travellers, Foreign Residents, Military and Naval Officers on Foreign Service, Emigrants, &c., and also for Business purposes, in all the principal places on the CONTINENT, MEDITERRANEAN, MADEIRA, EAST and WEST INDIES, CAPE OF GOOD HOPE, AUSTRALIA and NEW ZEALAND, UNITED STATES, CANADA, &c. &c. These Credits may be obtained at the Head Office, and at the Glasgow and Dundee Branches, or through any of the other Branches of the Bank. NATIONAL BANK of Scotla ND, Edinburgh, April, 1858. S O R R E N T O. GRAND HOTEL WILLA NARDI, BY WILLIAM TRAM{}MTAN0. THIS Hotel, which has recently been greatly altered and enlarged, is beautifully situated on the borders of the Sea, and commands an uninterrupted and extensive view of the Bay of Naples and Mount Vesuvius. The Landlady is English, and gives her particular attention to Cleanliness and Cooking. and the general comfort of Visitors. Large and small Apartments looking on to the Bay. An excellent Table d'Hôte daily Baths, and Barques for Capri. French, English, and German spoken. Charges moderate. FOREIGN LANGUAGES. ORIGINAL AND COMPLETE EDITIONS OF AHN'S FOREIGN GRAMMARS. Ahn's Remodelled German Grammar and Rey, 1857, cloth, 4s. 6d. ; French Grammar and Key, 3rd edition, 1858, cloth, 4s. 6d. } Italian Grammar and Key, 2nd edition, 1857, cloth, 5s. ; Spanish Grammar and Key, cloth, 5s. ; Portuguese Grammar, 1857, cloth, 48.3 Swedish Grammar, 1858, cloth, 48. ; Danish Grammar, 1858, cloth, 4s. ; Dutch Grammar, cloth, 4s. ; Latin Grammar, cloth, 3s, The method of Abn, now of European cele- brity, is most simple and rational, and is emi- nently adapted for Self-tuition, for School use, and for a comparative study of European Languages. FOREIGN DIALOGUES, On an entirely new and practical plan, calcu- lated to insure a rapid acquisition of Foreign Languages, 12mo, cloth. German and English Dialogues, by Meissner, 28.6d, ; French and English ditto, by Dudevaſt, 28. 6a. ; Italian and English ditto, by Marchezzi, 2s. 6d. ; Spanish and English ditto, by Salvo, 28. 60. ; Swedish by Lenström, Danish by Lund, each 2s. 6d.; Dutch by Harlen, Portuguese by Mon- teiro, each 2s. 6d. ; Turkish, Russian, English, and fºrench Vocabulary, for Travellers in the East, 2s. 6d. Published by Mr. FRANZ THIMM, Publisher and Foreign Bookseller, 3, Brook Street, Gros- venor Square, London; and at 32, Princess Street, Manchester. P.S. Travellers can order these Grammars and Dialogues through any Continental Book- seller. OXFORD lies on the road to Bath, Bristol, Clifton, and the West of Eng- land; to Leamington, Warwick, Kenilworth, Stratford-on-Avon, Birmingham, Worcester, Wolverhampton, Chester, Manchester, Liver- pool, and the North; to Cheltenham, Glour cester, and South Wales. In its neighbour- hood are Blenheim, Nuneham, and other places of interest. VISITORS TO OXFORD (a central point for Railway Travellers) are invited to inspect SPIERS AND SON'S ESTABLISHIMENTS, 102 & 103, High St., 45 & 46 Cornmarket St., and 24, Newinnhall St., Where will be found one of the largest and most varied Stocks in the kingdom of USEFUL AND ORNAMENTAL MANUFACTURES, Suitable for Presents, or for Remembrances of Oxford. At the Great Exhibition in London, of 1851, and in Paris, of 1855, “Honourable Mention” was awarded to their Papier Maché Manufactures; and at the New York Exhi- bition of 1853, the “Prize Medal.” MURRAY'S HANDBOOK ADVERTISER. 15 ... C. O L. O Al Q BLACK'S GUIDE-BOOKS To Tourists in Britain ſº: In meat Portable Volumes, profusely illustrated by Maps, Charts, and Views of the Scenery, and containing full particulars regarding Hotels, Distances, and whatever is likely to prove useful or instructive to the Tourist. Fingland, 10/6. English Lake District, 5/. IDo. Illustrated Edition, 7/6. Wales, North and South, 5/. North Wales, separately, 3/6. Derby and Warwick shires, each 1/6 & 2/. Yorkshire, 1/6 & 2/. Scotland, 8/6. Highlands (Anderson's), 10/6. Trosachs, 1/6. Staffa and Iona, 1/6. Edinburgh and Environs, 2/6. Glasgow and Environs, 2/6. *sº Devon and Cornwall, 1/6 & 2/. Hampshire (Isle of Wight) 1/6 & 2/e R0 AD AND RAILWAY TRAVELLING MAPS. Carefully constructed from the Maps of the Ordnance Survey and other Authorities, and containing all the Roads, Railroads, Villages, Country Seats, Fishing Streams, Rivers, Lakes, and Mountains, and every Topographical Information required by the Tourist on pleasure or business. Mounted or printed on cloth, and neatly bound in portable cases. IEngland, 32 X 22}. 4/6. Ireland, 20 × 14+. 2/6. English Isakes, 19 × 14. 2/6. Germany, 17 X 24. 4/6. Wales, N. & S. 14 X 113. each 1/6. Europe, 3 feet by 4. 3.8/. Scotland, 32 X 22#. 4/6. Scotch Counties, each 1/. Smaller Maps at 2s. 6d. and 1s. each. Ireland, 5/. IDublin, Killarney, each i/6. PROFESSOR: IFORIBES’S WORES ON SWITZERLAND - .AND IN ORWAY. ^_^->~~~~~~~~~~~ THE TOUR 0F MONT BLANC AND OF MONTE R0SA: Being a Personal Narrative, abridged from the Author’s “Travels in the Alps of Savoy.’ With a Map of the Mer de Glace of Chamouni and neighbouring district; containing im- portant additions and corrections from the Author's more recent observations. In Fcap. Cloth, Price 5s. “An admirable edition, and the Map of the Mer de Glace most correct and valuable.”— ALBERT SMITH. N{}RWAY AND ITS GLACHERS WISITED IN 1854. Followed by Journals of Excursions in the High Alps of Dauphiné, Berne, and Savoy With Two Maps and numerous Illustrations. Royal 8vo. Cloth, Price 21s., Recently Published, MADEIRA, ITS CLIMATE AND SCENERY: A Handbook for Invalid and other Visitors. By RoPERT WHITE. Second Edition. Edited by JAMES YATE JoHNSON. With Map, Crown 8vo. 7s. 6d. “The most complete and trustworthy Guide Book to Madeira yet published.”—LITERARY GAZETTE. EDINBURGH : A. & C. BLACK. LoNDON: LONGMAN & CO. ; & SMITH & SON, STRAND ; and all Booksellers. 16 MURRAY'S HANDBOOK ADVERTISER. F R A N K F O R T O. M. jºšºf STEMPEI, §)Yº Yº § be willig t SILBERNE #A - W - º §§ Hºſſartici. - y - Wºº. ' # STAG'SHORN t; VOIn ſº 1. D - - HÚººl articles ſºil &º º #". tºur § #º ...ºf º #: -º- | der freien Stadt, - º ºw ºr … Fº º º §§ =fººd - pºsº, º MEDAILLE, FRANKFURT. -ms- ©- “m--> FRIED RIC H B () H L E R. MANUFACTORY OF STAGHORN, Zeil No. 54 (next door to the Post-Office). FURNITURE OF EVERY DESCRIPTION, as Sofas, Chairs, Tables, &c. &c. CHAN- DELIERs, Table and Hand Candlesticks, Shooting-tackle, INKSTANDS, Paper- knives, Penholders, Seals, &c. KNIVES, RIDING-WHIPs, Cigar-cases and Holders, Pipes, Match-boxes, Porte-monnaies, Card-cases, Thermometers, GoBLETs, Candle-screens, Figures and Groups of Animals executed after Riedinger and others. BROOCHES, Bracelets, Earrings, Shirt-pins, Studs, and Buttons. STAG AND DEER HEADS with Antlers attached to the Skull. Sofa- rugs or Foot-cloths of Skins of Wild Animals with Head preserved. Orders for a Complete Set or for any quantity of FURNITURE will be promptly executed. The Agents in London are Messrs. J. and R. MºCRACKEN, 7, Old Jewry. MURRAY'S HANDBOOK ADVERTISER. 17 FRANKFORT O. M. —sº- © -- FRIED RIC H B O HLER, Z e i 1, No. 54, dicht ne be n de r Post, Stempel, bewilligt vom Senat der freien Stadt, Frankfurt, PENDULEs (Ornamental Clocks) of every description, VASEs, Goblets, ANTIQUE and MODERN STATUETTEs and GROUPS, Groups of Animals, INKSTANDs, Paper-weights, &c. &c., in Bronze, Cast Iron, Galvano-plastic, &c. CROWN-CHANDELIERs ; Branch, Table, and Hand Candlesticks, in Bronze, &c.; Lamps of every description. PoRCELAIN and Britannia-metal Goods, Liqueur-chests. TRAVELLING DRESSING-CASEs, Railroad Companions, Picnic-baskets, Tra- velling Bags, Brushes, Combs. WoRK-TABLES and Boxes, Tapestries, Fans, Ball-books, Smelling-bottles, Opera-Glasses, &c. &c. Superior Copies of the ARIADNE by Dannecker, and the AMAZON by Kiss. Genuine Eau de Cologne of Jean Maria Farina, opposite the Jülichsplatz. The Agents in London are Messrs. J. and R. M*CRACKEN, 7, Old Jewry. C I 8 MURRAY'S HANDBOOK ADVERTISER. PASSPORT AGENCY of Fic E, LONDON, 59, FLEET STREET, E. C. PARTIES residing in any part of the United Kingdom or London, who desire to avoid delay, trouble, or expense, can have their PASSPORTS obtained and duly vised, with the utmost expedition and despatch upon application by Letter, to Mr. W. J. ADAMS (Bradshaw's British and Continental Guide Office), 59, Fleet Street, as above, or otherwise, Country Residents, by this arrangement, are saved the trouble of coming to London about their Passport, as it can be forwarded to them by Post (en Régle). For full particulars, see Bradshaw's Continental Guide, pages xxix to xxxiv. The countersignature of the American Minister in London obtained to United States Passports. Passports carefully mounted, and Names lettered thereon in Gold. Passport Cases, from 1s. 6d. to 68, each. Travelling Desks. Travelling Bags (Leather). Travelling and Pocket Inkstands. Travelling Soaps. Shaving do. Door & Window Fasteners & Alarms. Travelling roll-up Writing Cases. Travelling Pocket Memorandum and Writing Cases. Travelling Luggage Labels, adhesive. Do. do. Parchment. Courier Bags. Carpet do. Cash Belts, Straps, &c. Cash Bags and Purses. Students’ & Portable Travelling Cases. Pocket and Memorandum Books. Polyglot Washing Books for Ladies or Gentlemen — English and French — Italian — German — Spanish — Portuguese, ls. each ; per Post, ls. 1d. Family do., 1s. 6d. each; per Post, ls. 7d. Foreign Post Note Paper, Envelopes, &c. &c. And every description of Stationery, British and Foreign. THE LATEST EDITIONS OF MURRAY'S HANDBOOKS. Phrase Books, French and German Dictionaries. BRADSHAw’s BRITISH and CONTINENTAL GUIDES. Bradshaw's Special Continental Guide and Handbook. tº 4 - BRADshAw’s Descriptive Guide and Illustrated Handbook of Great Britain and Ireland, with Map, &c. India, London, &c. Ditto of France, Belgium, Switzerland, Paris, Dr. Lee's Continental Books on Climates, Scenery, and Remedial Resources; Notes on Spain, its Climate, &c.; Nice and its Climate. ADAMS's Guides to the Watering-places of England; boards, 28. ADAMS's English Lakes, &c., ls. Addresses of experienced Couriers may be had on application to W. J. ADAMS (Bradshaw's British and Continental Guide Office), LONDON, 59, FLEET STREET, E.C. MURRAY'S HANDBOOK ADVERTISER. 19 BONN ON THE RHINE. MR. SCHMITZ, PROPRIETOR OF THE GOLDEN STAR HOTEL, BEGs leave to recommend his Hotel to English Travellers. The apartments are furnished throughout in the English style ; the rooms are carpeted; and the attendance, as well as the kitchen and the wine- cellar, is well provided. MR. SCHMITZ begs to add that at no first- rate Hotel on the Rhine will be found more moderate charges and more cleanliness. The STAR HOTEL has been honoured by the visits of the following Members of the English Royal Family:- H. R. H. the Prince of WALEs, accompanied by General Sir W. CodRINGTON, 1857. Oct. 16 { 1857. Aug. 20 {i. 1857. Aug. 8 H. T. 1857. July 29 | 1857. July 29 #. 1857. July is 1856. Nov. .# H. 1846. June 18 1818. May . . H. 1825. March H. and Sept. . 1834. July. .# 1836. Aug. . H. 1837. July. . H. 1839. Nov. . H. - Nov. .# 1840. & e e .# 1841. . . . .# 1841. e e e © H. - tº e º e H. 1844. . . . . H. - e e º a H. 1845. June .# 1847, July .# Colonel PONSONBY, Sir Frederic STANLEY, Dr. ARMSTRONG, Rev. F. C. TARVER, Mr. GIBBS, etc. R. H. the Prince of WALEs and his Suite paying a visit at the Golden Star Hotel to His Majesty the King of the BELGIANs. R. H. the Prince of WALEs and his Suite. R. H. the Duchess of CAMBRIDGE and Princess MARY of CAMBRIDGE, accompanied by the Baron KNESEBECK and Suite. R. H. the Prince of WALEs paying a visit at the Golden Star Hotel to T. R. H. the Duchess of CAMBRIDGE and Princess MARY of CAMBRIDGE. H. R. H. the Prince of WALEs, accompanied by the Right Honourable C. GREY, General MAJOR, Colonel Ponson BY, Sir Frederic STANLEY, Dr. ARMSTRONG, Rev. F. C. TARVER, Mr. GIBBS, etc. R. H. Prince ALFRED of GREAT BRITAIN, accompanied by Lieutenant- General Sir Frederick STOVIN and Lieutenant Cow ELL. M. A.DELAIDE, QUEEN DowAGER of GREAT BRITAIN, accompanied by His Highness Prince EDWARD of SAXE WEIMAR, Lord and Lady BAR. RINGTON, Sir DAVID DAVIES, M.D., Rev. J. R. Wood, M.A., Captain TAYLOR, &c. &c., honoured the above establishment with a THREE DAYS VISIT. R. H. the Duke of CAMBRIDGE and Suite. R. H. the Duke and Duchess of CLARENCE (King WILLIAM IV. and Queen ADELAIDE) and Suite. M. QUEEN ADELAIDE, accompanied by the Earl and Countess of ERROL Earl and Countess of DENBIGH, Earl and Countess How E, &c. R. H. the Duchess of GLOUCESTER and Suite. R. H. the Duchess of CAMBRIDGE and Suite. R. H. the Prince GEORGE of CAMBRIDGE and Suite. R. H. Prince ALBERT of SAXE COBURG GoTHA, accompanied by Prince ERNEST of SAXE COBURG GOTHA, and their Suite. R. H. the Duchess of CAMBRIDGE, accompanied by the Princess AUGUSTA of CAMBRIDGE, and their Suite. R. H. the Duchess of KENT and Suite, accompanied by H. S. H, the Prince of LEININGEN. R. H. the Duchess of CAMBRIDGE and Suite. R. H. Princess CAROLINA of CAMBRIDGE. R. H. the Duchess of CAMBRIDGE and Suite. R. H. Princess MARY of CAMBRIDGE. R. H. the Duchess of KENT and Suite, accompanied by H. S. H. the Prince of LEININGEN. . R. H. the Duke and Duchess of CAMBRIDGE, with their Family and Suite. C 2 20 MURRAY'S HANDBOOK ADVERTISER. ROYAL INSURANCE COMPANY, ROYAL INSURANCE BUILDINGs, North John Street, and Dale Street, Liverpool, AND 29, LOMBARD STREET, LONDON. *~~~ * ~ *-* < * ~ x2 v v^ & ºr Nº N-Z & ºv. CAPITAL–392,000,000 IN 100,000 SHARES OF £20 EACH. HE City Article of the LONDON TIMEs, of the 24th of July 1856, states l that the transactions of the Royal Insurance Company “appear to have been of a perfectly satisfactory character.” It includes the following statements confirmatory of that opinion :- - T PREM |UMS. The Premiums of Nine Offices enumerated are 7 stated to be. . . . . . . . . . . . . . . . . . ) $824,924 . Of which the Royal alone amounts to . . . . . . 371,957 being 82 per cent. of the accumulated Premiums of the remaining eight Companies. EXPEND ITURE. * - The accumulated Expenditure of 54 Life Offices enumerated by The Times of 12th August, 1856, compared with their amount of Premium and Interest, is stated to be 61 per cent. ; the Expenditure of the Royal Insur- ance Company is only 13 per cent. RESOURCES. In like manner the entire Funds in hands of thirteen Offices are quoted in The Times at £1,238,688, including the “Royal,” which alone is £372,394, and which is, therefore, equal to 43 per Cent. of the accumulated Funds of the remaining twelve Offices, viz. for the year 1855, Since increased to 600,000. - The following figures exhibit the RAPID GROWTH AND INCREASING RESOURCES OF THE COMPANY :— Fire Premiums—1848 . . g31,346 | Whilst last year, 1857, they 3) 1850 . . . 44,027 were. . . . . . . . . . £175,000 25 1852 .. 76,925 || Total Revenue, 1857, all 27 1854 ... 128,459 sources . . . . . . . . . 260,000 75 1856 ... 151,733 || Increase on ONE YEAR alone 40,000 Funds in hand, to meet any claims, over £600,000. LIFE. LARGE BONUS DECLARED 1855, . Amounting to £2 per cent. per annum on the Sum Assured: being, on ages from Twenty - to Forty, 80 per cent. On the Premium. PERIODS OF DIVISION.—EVERY FIVE YEARs. PROGRESS OF THE LIFE BRANCH, New Policies for the Year ending FIRE PREMIUMS. SUM ASSURED. FREMIUM. June, 1855 . . . . . . .396 . . . . . . £166,864 . . . . . . £4,867 ,, 1856 . . . . . . 654 . . . . . . 288,321 . . . . . . , 8,370 ,, 1857. . . . . . . 756 . . . . . . . , 391,158 . . tº @ Thus the New Assurers for the Year ending June, 1857, are 160 per cent. above those for the Year ending June, 1855. PERCY M. DOVE, ACTUARY AND MANAGER. The Company is willing to consider the propriety of establishing Agencies in JForeign places, where it has not at present any Representatives. Applications from Gentlemen of the highest position and character will alone receive attention. MURRAY'S HANDBOOK ADVERTISER. 21:. PEL I CAN LIFE IN SURANCE COMPANY., ESTABLISHED IN 1797, 70, Lombard Street, City, and 57, Charing Cross, Westminster. IDIEECTORS, Robert Gurney Barclay, Esq. Henry Grace, Esq. Octavius E. Coope, Esq. Kirkman D. Hodgson, Esq., M.P. William Cotton, D.C.L., F.R.S. Henry Lancelot Holland, Esq. John Davis, Esq. Benjamin Shaw, Esq. William Walter Fuller, Esq. Matthew Whiting, Esq. - Jas. A. Gordon, M.D., F.R.S. M. Wyvill, jun., Esq., M.P. This Company offers:— COMPLETE SECURITY. - MODERATE RATES of Premium with Participation in Four-fifths, or Eighty per cent,’ Of the Profits. LOW RATES without Participation in Profits. I.O.A.IN'S In connection with Life Assurance, on approved Security, in sums of not less than £500. .ANTINUAL PRIETM IICUM I Required for the Assurance of 100l. for the whole term of life – - | Without With Without With Age. Profits. Profits. | Age. Profits. Profits. 15 361 11 0 261 15 0 | 40 42 18 10 263 6 5 20 1 13 10 ] 19 3 || 50 4 0 9 4 10 7 30 2 4 0 2 10 4 60 6 1 0 6 7 4 For Prospectuses and Forms of Proposal apply at the Offices as above, or to any of the Company's Agents. - ROBERT TUCKER, Secretary. WHE LONDON and WESTMINSTER BANK issues Circular Notes of £10 each, payable at every important place in Europe. These Notes are issued without charge, and they are cashed abroad free of commission. The Bank also issues, free of charge, Letters of Credit on all the principal cities and towns in Europe. The Letters of Credit are issued only at the head office, in Lothbury. . The Circular Notes may be obtained at the head office, in Lothbury, or at any of the Branches, viz.:- - Westminster Branch, 1, St. James's Square. Bloomsbury y 9 214, High Holborn. Southwark 3 y 3, Wellington Street, Borough. Eastern 33 87, High Street, Whitechapel. Marylebone 3 * 4, Stratford Place, Oxford Street. Temple Bar pip 217, Strand. May 1, 1858. J. W. GILBART, General Manager. L U C E R N E (SW | T Z E R L A N D). * MR. JOHN REBER, P R O PRI E TO R O F T H E E N G L IS H H O T E L, (ENGLISCHER HOF). HIS SPLENDID HOTEL is situated on the borders of the LAKE OF THE', FOUR CANTONS. The views from the balconies of the Hotel are of the most splendid description. Many of the rooms command the view of the magnificent chain of the Alps, Mount Pilate, and the Righi. The ENGLISH HOTEL contains sixty rooms provided with every comfort. This new and very clean Establishment is one of the first-ranked hotels in Switzerland, and deservedly patronised by the English. The Reading Room of the Hotel is furnished with English and American Papers, The Times and Galignami. - 22 MURRAY'S HANDBOOK ADVERTISER. Give perfect freedom from Coughs in Ten Minutes, and instant relief and a rapid cure of Asthma and Consumption, Coughs, Colds, and all Disorders of the Breath and Lungs. Cure of 29 Years' Asthmatic Cough, Middleton, near Manchester. Sir, I am now 44 years of age, and I have been afflicted with an asthmatic cough since I was a boy of fifteen years of age; during that time I have resorted to every means in my power to remove it, but in vain, until last Sunday, when I sent for a small box of I)r. locock's Wafers. I have taken two boxes since, and from the effects they have had upon me I feel no doubt of a speedy recovery. G. STRINGER. Witness, M. LYNCH, Chemist, Market-street. The particulars of many hundreds of Cures may be had from every Agent throughout the Ringdom. To Singers and Public Speakers they are invaluable, as in a few hours they remove all hoarseness, and wonderfully increase the power and flexibility of the voice. THEY HAVE A PLEASANT TASTE. Price ls. 1+d., 2s. 9d., and lls. per box. Sold by all Medicine Wendors. IMPORTANT CAUTION.—It has been discovered that many Medicine Vendors, when asked for any of IOR. I.OCOC1R'S IMIEDICINES, attempt to pass off instead some counterfeit, because they have a greater profit in doing so than by selling the genuine Medicine: the PUBLIC IS CAUTIONED against such dishonest practices, which may be detected by observing that every box S. - … . . . . of the GENUINE Medicine has the words DR LOCOCK Sº... ... in White Letters on º WAFERSº a Red Grownd in the Governmant Stamp, and without which words ALL ARE COUNTEIR- FEITS AND AN IMI’OSITION. E VERY SATURDAY, PRICE FOUR PENCE, OF ANY BOOKSELLER, T H E A T H E N AE U M JOURNAL OF LITERATURE, SCIENCE, AND ART. (STAMPED To Go FREE BY. Post, 5d.) CoNTAINs: Reviews, with copious extracts, of every important New English Book, and of the more important Foreign Works. Reports of the Proceedings of the Learned and Scientific Societies, with Abstracts of all Papers of Interest. Authentic Accounts of all Scientific Voyages and Expeditions. Foreign Correspondence on subjects relating to Literature, Science, and Art. Criticisms on Art, with Critical Notices of Exhibitions, Picture Collections, New Prints, &c. Music and Drama, including Reports on the Opera, Concerts, Theatres, New Music, &c. Biographical Notices of Men distinguished in Literature, Science, and Art. Original Papers and Poems. Weekly Gossip. IVIiscellanea, including all that is likely to interest the informed and intelligent. T H E A T H E N AE U M is so conducted that the reader, however far distant, is, in respect to Literature, Science, and the Arts, on an equality in point of information with the best-informed circles of the Metropolis. *...* The ATHENAEUM is published every Saturday, but is re-issued each Month stitched in a Wrapper. The Volume for 1856, complete in itself, and containing about 1624 large quarto Pages, with Title-page and Index, may be had of any Bookseller, price One Guinea. Office for Advertisements, 14, WELLINGTON STREET North, STRAND, LONDON, W. C. MURRAY'S HANDBOOK ADVERTISER. 23 NEW T 0 U R IS T'S MAP 0 F SC 0 T L A N D. BY A. K. JOHNSTON, F.R.G.S., F.R.S.E., &c. Size, 3 feet by 2 feet, containing 7439 Names of Places. Price 7s.6d. in a case for the Pocket; accompanied by an Alphabetical List of the Names in the Map. This Work, constructed at great expense from the Trigonometrical and Detail Surveys of the Boards of Ordnance and Admiralty, and an extensive collection of private and unpublished Materials, is the only general Map which represents the true Physical and Topographical Features of the Country. “The assertion, bold as it is, seems fully borne out by the work itself."—Scotsman. WILLIAM BLACKWOOD & SONS, EDINBURGH AND LONDON. On Four Sheets Imperial, beautifully printed in Colours, A GEO L.0 GICAL MAP OF EUROPE. By SIR. R. I. MURCHISON, D.C.L., M.A., F.R.S., &c.; And JAMES NICOL, F.R.S.E., F.G.S. Constructed by A. KEITH JOHNSTON, F.R.S.E., &c. Size, 4 feet 2 by 3 feet 5 inches. Price in Sheets, 37. 3s. ; in a Cloth Case, 4to., 31. 10s. WILLIAM BLACKWOOD & SONS, EDINBURGH AND LONDON. On Four Sheets Imperial, carefully coloured, price in Sheets, 30s. ; or in 4to., Cloth Case, for Travelling, 21. 2s., A N E W M A P 0 F E U R O P E. By A. KEITH JOHNSTON, F.R.S.E., &c. WILLIAM BLACKWOOD & SONS, EDINBURGH AND LONDON. NEW AND ENLARGED EDITION. THE PHYSICAL ATLAS OF NATURAL PHENOMENA. By A. K. JOHNSTON, F.R.S.E., &c. Consisting of 35 large and 7 small Plates, printed in Colours; and 145 folio pages of Text and Index. In imperial folio, half-bound in russia or morocco, price 12l. 12s. WILLIAM BLACKWOOD & SONS, EDINBURGH AND LONDON. MURRAY'S HANDBOOK ADVERTISER. f C O RN WA L L M IN IN G D IS T R ICT. Mineralogy and Geology. LAVIN’s MUSEUMH, CHAPE L STREET, PENZANCE. ſ tºº. º ºf º ºft| ſºlº NH 1, I-5– • *.*.* : * > . . . . . ſtºri, º, ø, liºſ º | ... º Fº t ;||||||||||||Iſºkl}||ll|º]}|. -**E ºr TELE == s:=s VIEWS, | | º LIZARD º |: HANDDOOKS, ºt. jiຠ' || --, SERPENTINE lº Mºlº El Fºº | | Hº Pocket-MAPs, Fºllº º ORNAMENTS. il. rººk º J- ETC. gy , and Tourists to the Scenery, Antiquities, T S and Mines of Cornwall, will be interested by a visit to this Museum. The Collection of Cornish Minerals is unique, and contains specimens of the most interesting and rare sub- stances, with perfect crystallizations, for which the above County has been so justly celebrated. Selections made for Purchasers on various Scales. Minerals scientifically arranged in Trays containing 100, with descriptive Catalogue, from ll. 5s. to 3!. Larger Specimens neatly set in a Mahogany Cabinet at 5l. . More extensive Selections and first-rate specimens from 20l. to 50l. and upwards. Geological Selections, comprehending Specimens of the Various Rocks of the County, from ll. upwards. - A specimen of Carbonate of Iron, from Wheal Maudlin Mine, for which the sum of 130l. has been refused; as well as a great many others presumed to be unrivalled. A LARGE ASSORTMENT OF THE LIZARD SERPENTINE ORNAMENTS. Views of Scenery and Antiquities, Handbooks, Pocket-Maps of Cornwall and Devon. Prompt attention given to all Orders from a distance. J. H. KEREZ, CHEMIST AND DRUGGIST, ZURICH, RESPECTRULLY announces to Tour- ZURICH,-Hº. BELLE VUE, By C. GUJER. This excellent first-rate establishment, re- cently constructed, strongly recommended for its comfort and cleanliness, is in the best and most delightful situation on the bank of the lake opposite the landing-place of the steamers, commanding from its windows an extensive view over the lake, the Alps, and glaciers, as well as the quay and the town. It comprises upwards of 80 beds and 6 sitting-rooms, with separated breakfast and spacious dining Saloons, a splendid and good restaurant à la carte, and English newspapers. . Prices are moderate, a list of which will be found in each bed-room. Tables-d'hôte at 1 and 5 o'clock. Flys to meet all trains; a small boat meeting the steamers. English spoken by the servants. From October till May a good pension (board) on reduced terms. ists and Visitors that he prepares and dispenses Medicines and Prescriptions ac- cording to the English Pharmacopoeia with the purest and choicest Drugs and Chemicals. J. H. KEREZ, having been a principal dis- pensing Assistant at one of the first Houses in England, hopes that his 'experience and attention will merit the support and confi- dence of the English Nobility and Gentry. J. H. K. keeps constantly on hand a well- Selected Stock of the most popular English Patent Medicines and Perfumery. MURRAY'S HANDBOOK ADVERTISER. 2 5 SIR WALTER SCOTT'S WRITINGS AND LIFE. WAVERLEY NOVELS, with the Author's last Introductions, Notes, and Additions. LIBRARY EDITION. Illustrated by upwards of Two Hundred Engravings on Steel, after Drawings by Turmer, Landseer, Wilkie, Stanfield, Roberts, &c., including Portraits of the historical personages described in the Novels. Complete in 25 volumes, demy 8vo., elegantly bound in extra cloth, 13l. 2s. 6d. ABBOTSFORD EDITION. With One Hundred and Twenty Engravings on Steel, and nearly Two Thou- dred on Wood, In 12 vols. Super-royal 8vo. 14l. 143. AUTHOR'S FAVOURITE EDITION, in 48 portable ſcap. 8vo. vols. (96 Engravings), 71. 48. CABINET EDITION, in 25 vols. feap. 8vo. (26 Illustrations), 73s. 6d. PEOPLE'S EDITION, in 5 large vols. royal 8vo. 42s. POETICAL WORKS-consisting of, lst. The Metrical Romances, THE LAY OF THE IAST MINSTREL, MARMION, THE LADY OF THE LAKE, ROKEBY, THE LORD OF THE ISLES, THE VISION OF DON RODERICK, THE BRIDAL OF TRIERMAIN, and HAROLD THE DAUNTLESS. 2nd. DRAMAS, SONGS, and BALLADS. 3rd. THE MINSTRELSY OF THE SCOTTISH BORDER. The following are the only Copyright Editions, with the Author's last Notes dº Improvements. I. In One portable feap. Vol. including all the Metrical Romances (except the “Bridal of Triermain" and * Harold’), the Principal Songs and Ballads, and several Illustrations. Bound in cloth, gilt edges, 5s. ; morocco antique, 10s. II. In One crown 8vo. Vol. (same contents as W. edition), with numerous Engravings on Steel and Wood, after Sir David Wilkie, Stanfield, Gilbert, and Fos- ter. Bound in cloth, gilt edges, 7s.6d. ; morocco ant. 14s. III. In 12 Vols. fep, 8vo. (24 Fngravings), 36s. *** This is the only edition which contains ‘The Min- strelsy of the Scottish Border.” IV. In 6 Vols, feap. 8vo. (12 Engravings), 24s, V. In One Vol. royal Svo. (PEOPLE'S EDI- TION), 10s. VI. The ABBOTSFORD EDITION, printed on Tinted Paper, with upwards of 60 Illustrations on Steel and Wood, after Turner, Gilbert, and Foster. Elegantly bound in extra cloth, gilt edges, 31s. 6d. ; morocco elegant or antique, 42s. VII. TOURISTS' EDITIONS of The LAY of the LAST MINSTREL, MARMION, LADY of the LANE, LORD of the ISLES, ROKEBY, and BRIDAL of TRIERMANN, 1s. 3d, each ; cloth, 1s. 6d. ; morocco, gilt edges, 2s. 6d. VIII. New Illustrated Editions of The LADY of the LAKE, MARMION, LAY of the LAST MIN- STREL, and LORD of the ISLES, containing each from 70 to 100 Illustrations on Wood, by Birket Foster and John Gilbert, Printed in the best º, on Tinted Paper, and elegantly bound in cloth, gilt edges, 18s, each; morocco elegant or antique, 25s. ; enamelled tartan boards, 36s. PROSE WORKS-consisting of, TALEs of A GRANDFATHER (History of Scotland), TALES of A GRANDFATHER (History of France), LIFE OF JOHN DRYDEN, MEMOIRS OF JONATHAN Sw1FT, MEMOIRs of EMINENT NOVELISTs, &c., PAUL's LETTERS TO HIS IXINSFOLK, ESSAYS ON CHIVALRY, ROMANCE, AND THE DRAMA, &C., PROVINCIAL ANTIQUITIES OF SCOTLAND, LIFE OF NAPOLEON BONAPARTE, MISCELLANEOUS CRITICISMs, &c. COMPLETE EDITIONS. I. In 28 Vols. feap. 8vo. with 56 Engravings from Turner, 84s. ; separate volumes, 3s. II. In 3 Vols, royal 8vo. (PEOPLE's EDITION). Bound in cloth, 25s. ; separate volumes, I. and II. 10s. each ; III. (TALEs of a GRAND FATHER), 6s. Illustrated Edition of the TALES of a GRAND- FATHER—(History of Scotlaxd). With 6 Engravings after Turner, and upwards of 50 on Wood. In 3 Wols. feap. 8vo. cloth, 12s. ; cxtra cloth, gilt edges, 15s. (HISTORY OF FRANCE). With 2 Engravings from Turmer and upwards of 50 on Wood. l vol. feap. 8vo, cloth, 4s. ; extra cloth, gilt edges, 53. School Edition of the HISTORY of SCOT- LAND, with Map. 2 vols. crown 8vo. bound, 10s. LIFE of NAPOLEON BONAPARTE. 5 vols. feap. 8vo. Maps, Portrait, and 9 Engravings after Turmer, cloth, 20s. Another Edition, in larger type. 9 vols. foap. 8vo. Maps, Portraits, and Engravings, cloth, 27s. SELECTIONS from Sir WALTER SCOTT'S WORKS–BELGIUM AND WATERLOO, FRANCE AND PARIS, TALES OF CHIVALRY, ROMANTIC NARRATIVES, CHARACTERS OF EMIN ENT PER- SONS, THE HIGHLAND CLANS, SCOTTISH SCENES AND CHARACTERS, NARRATIVE AND DESCRIP- TIVE PIECES. Price Eighteen pence, or Two Shillings cloth. BEAUTIES of SIR WALTER SCOTT; being Selections from his Writings and Life. A vºl. crown 8vo., with Two Engravings, cloth gilt, 5s. ; extra cloth, gilt sides and edges, 6s. READINGS for the YOUNG, from the Works of Sir Walter Scott, 3 vols. with 36 Illustrations on Wood, 2s. 6d, each ; or bound in 1 vol. cloth, gilt edges, 7s. 3. Ll FE of SIR WALTER SCOTT. By J. G. LOCKHART, Esq. Three Editions as follows. In Ten Wols. feap. 8vo., uniform with the Au- thor’s Favourite Edition of the Novels. 20 Engravings on Steel, 30s. In' One Vol. royal 8vo., uniform with the Novels, PEoPLE’s EDITION. With Portrait, 10s. The same, Large Paper, uniform with the Novels, ABBOTs for D Edition. With 11 Engravings from Turner, Portraits, &c., 18s. In One Vol. crown 8vo., with 12 Engravings !. Turner and others, 7s. 6d. ; extra cloth, gilt edges, S. 6d. Edinburgh: ADAM and CHARLES BLACK. London : HOULSTON and WRIGHT, And all Booksellers. - 26 MURRAY'S HANDBOOK ADVERTISER. THE NEW REGISTERED PORTMANTEAU, REGISTERED AND MANUFACTURED BY J O H N S O U T H G A T E, wº- 76, WATLING STREET, LONDON. E=-º-º: -- EE--->r-gº gº-Est § ; º | º 1. asº- * , , ºftſ, ºft . . . . . #};tºg---- gºss ºººººººº-º-º-º: sº §§ s:s: | * * . 3.x: *- * ºf . This Portmanteau is admitted by all who have used it to be the most PERFECT and USEFUL of any yet invented, and to combine all the advantages so long desired by those who travel. Its peculiar conveniences consist in its containing SEPARATE COMPARTMENTS for each description of Clothes, Boots, &c.; each division is kept entirely distinct, and is immediately accessible on opening the Portmanteau, without lifting, or disturbing anything else; every article is packed per- fectly flat, and remains so during the whole of the journey. SOUTHGATE'S NEW FOLDING PORTMANTEAU. With separate divi- sions for Shirts, Linen, Clothes, and Boots; the whole of which are immediately accessible on opening the Port- InäDteau. Both of these Port- manteaus are admir- ably adapted for Con- tinental travelling, on account of the facility they offer for Custom- house examination, without disarranging the wardrobe. JOHN SOUTHGATE'S LADIES' PORTMANTEAUS AND DRESS TRUNKS, With Trays and Moveable Divisions for Bonnets, contain every convenience for packing separately 1)resses, Bonnets, Linen, &c., and are made in various styles and sizes. They may be obtained of Mr. WILKINSON, 30, Cockspur Street; of Messrs. MooRE & Co., 14, St. James's Street, London; of Mr. HUNT, Above Bar, Southampton; of Mr. BAYs, Hatter, Cambridge.; of Mr. ELLENGER, Granger Street, Newcastle-on-Tyne; Mr. NorthAM, Trunk Maker, opposite St. Sidwell's Church, Exeter; Mr. DAMON, Weymouth; Mr. NICHOLSON, Saddler, Manchester; of any Saddler or Outfitter throughout the kingdom; and of the Manufacturer, JOHN SOUTHGATE, 76, WATLING STREET, LONDON. º-s | "; PT- | | fº - | - . | MURRAY'S HANDBOOK ADVERTISER. 27 SOUTH-EASTERN RAILWAY. e-º-º-º: THE MAIL SHORT SEA-ROUTE TO ALL PARTS OF THE CONTINENT, VIA FOLKESTONE AND BOULOGNE, AND DOVER AND CALAIS. LoNDoN, PARIs, AND THE SOUTH OF EUROPE. Paris in 103 hours. Switzerland (Bale) 37% hours. Marseilles 34 hours. IBordeaux 38 hours. Sea-passage under 2 hours. Four departures daily. 1. By Tidal Service vić Folkestone and Boulogne. For times of Sailing see Company’s Time-book and Bradshaw's Guides. This Service is now accelerated so as to perform the journey between London and Paris in less than 11 hours. Small Boats are never used in embarking or landing. The Trains are accompanied by an Inter- preting Conductor. OTHER SERVICES Leave London Arrive at Paris Leave Paris Arrive in London 2. 8.30 a.m. (viā Calais) 10.20 p.m. 8. 0 a.m. 10. 0 p.m. 3. 1.30 p.m. 2 3 5.30 a.m. 1.45 p.m. 4.30 a.m. 4. 8.30 p.m. 33 9. 10 a.m. 7.30 p.m. 7.45 a.m. Baggage can be registered by all Through Trains. LONDON AND PARIS. There is a Third Class Service between these Cities. Fare, 25s. Beturn Tickets are also issued, First and Second Class. LONDON, BELGIUM, HANOVER, GERMANY, THE RHINE, AND THE NORTH OF EUROPE, vić Dover and Calais, and Dover and Ostend. 3. Brussels in 13 hours. Berlin in 35 hours. Cologne in 19 hours. Hamburg in 36 hours. Three departures from London daily, viz. 8.30 a.m. (the most convenient Service), 1.30 p.m., and 8.30 p.m. Trains. Baggage can be registered to Brussels, Cologne, &c., by which each Passenger secures an allowance of 50 lbs. weight of Baggage free on the Belgian and Rhenish Railways. Through Tickets to nearly all the Chief Continental Cities (enabling the passenger to stop at certain places on the journey) and all informa- tion may be obtained at the Chief Offices, London Bridge Station; 40, Regent Circus, Piccadilly. City: 147, Cheapside, and 20, Moor- gate Street. Paris: 4, Boulevard des Italiens. Brussels: 74, Mon- tagne de la Cour. For further particulars, see Time-book and Bills. C. W. EBORALL, General Manager. London Terminus, May, 1858. 28 MURRAY'S HANDBOOK ADVERTISER. The Society of Swiss Couriers and Travelling Servants. HIS Society, having been composed only of the most experienced and respectable Couriers and Travelling Servants having a thorough knowledge of the Continental and Eastern Languages, beg most respectfully to solicit the patronage and support of the Nobility and Gentry. They possess the highest testimonials from those they have had the honour of serving both in England and abroad, and trust to merit a continuance of future favours. All information respecting Couriers and Travelling Servants can be had of the Agent, HENRY MASSEY, Manufacturing Stationer, 103, Park Street, Grosvenor Square. GEOLOGY AND MINERALOGY. A. KNOWLEDGE of these interesting branches of Science adds greatly to the pleasure of the traveller in all parts of the world, and may lead to important discoveries. Mr. TENNANT, Mineralogist to Her Majesty, 149, STRAND, gives Practical Instruction to Travellers in MINERALOGY and GEOLOGY. He can supply Geological Maps, Hammers, Acid Bottles, Blowpipes, and all the recent Works on Mineralogy, Conchology, Chemistry, and Geology. Elementary Collections of Minerals, Rocks, and Fossils, at Two, Five, Ten, Twenty, Fifty, and One Hundred Guineas each. A Collection for Five Guineas, which will illustrate the recent works on Geology by Lyell, Ansted, Mantell, and others, contains 200 Specimens, in a plain Mahogany Cabinet, with five Trays, comprising the following specimens, viz.:- MINERALS which are either the components of Rocks, or occasionally embedded in them : Quartz, Agate, Chalcedony, Jasper, Garnet, Zeolite, Hornblende, Augite, Asbestus, Felspar, Mica, Talc, Tourmaline, Calcareous Spar, Fluor, Selenite, Baryta, Strontia, Salt, Sulphur, Plumbago, Bitumen, &c. NATIVE METALS, or METALLIFEROUS MINERALS: these are found in masses or beds, in veins, and occasionally in the beds of rivers. Specimens of the following metallic ores are put in the Cabinet: Iron, Manganese, Lead, Tin, Zinc, Copper, Antimony, Silver, Gold, Platina, &c. ROCKS: Granite, Gneiss, Mica-Slate, Chay-slate, Porphyry, Serpentine, Sandstones, Lime- stones, Basalt, Lavas, S.C. PALABOZOIC FOSSILS from the Llandeilo, Wenlock, Ludlow, Devonian, and Carboni- ferous Rocks. SECONDARY FOSSILS from the Lias, Oolite, Wealden, and Cretaceous Groups. TERTIARY FOSSILS from the Woolwich, Barton, and Bracklesham Beds, London-clay, Crag, &c. In the more expensive collections some of the specimens are rare, and all more select. Mr. TENNANT has on sale the Duke of Buckingham's Collection of Minerals from Stowe. It contains upwards of 3000 specimens, and has been greatly enriched since the purchase by a collection of coloured Diamonds, Australian Gold, &c. Price 2000 guineas. J. TENNANT, Geologist, No. 149, Strand, London. MURRAY'S HANDBOOK ADVERTISER. 29 HEML MND SON'S N E W ILLUSTRATED CATALOGUE CONTAINS DESIGNS AND PRICES OF 150 DIFFERENT ARTICLES OF BED-ROOM FURNITURE, AS WELL AS OF IOO BEDSTEADS, AND Prices of Every Description of Bedding. SENT FREE BY POST. HEAL AND SON, BEDSTEAD, BEDDING, AND BED-ROOM FURNITURE MANUFACTURERs, 196, TOTTENHAM COURT ROAD, L O N ID O N. 30 MURRAY'S HANDBOOK ADVERTISER. TO TO U R S T S A N D T R A V E L L E R S. ASSPORTS.–NEW REGULATIONS. BRITISH SUBJECTS who are preparing to visit or travel on the Continent may be saved much trouble and expense by obtaining Foreign Office Passports through EDWARD STANFORD'S Agency, 6, Charing Cross, London; whose experience and long established arrange- ments enable him to ensure Passports in proper form and duly viséd, according to the New Regulations, without personal attendance. He mounts the Passport, which is good for many years, on Muslin or Silk, in Roan, Morocco, or Russia Case, to prevent injury or loss, as well as to lessen delay in undergoing examina- tion abroad. Residents in the country can have Passports obtained, completed, and forwarded by post. For further particulars, including the Forms of Application, Cost of Passport, Visas, &c. &c., see Stanford's Passport Circular, which will be forwarded per post on application. EDWARD STANFORD has on sale at all times the best English and Foreign Maps, Handbooks, and Railway Guides, Pocket Dictionaries, and Conversation Books. THE FOLLOWING CATALOGUES, Embracing various portions of EDWARD STANFORD'S Stock, may be had wpon application. ſ 1.-Ordnance Maps.-Catalogue of the ORDNANCE MAPS, published under the superintendence of LIEUT.-COLONEL JAMES, R.E., Superintendent of the Ordnance Surveys. 2.—Geological Survey Maps.-Catalogue of the GEOLOGICAL MAPS, SECTIONS and MEMOIRS of the GEOLOGICAL SURVEY of GREAT BRI- TAIN and IRELAND, under the superintendence of SIR Rod ERICK I. MURCIII- son, Director-General of the Geological Surveys of the United Kingdom. 3.—Geological Maps.--Catalogues of the best GEOLOGICAL MAPS of various parts of the World. 4.— General tºº. Catalogue of Atlases, Maps, Charts, Plans &c., English and Foreign, including the Trigonometrical Surveys of various States. 5.—Useful Knowledge Maps.-Catalogue of Atlases, Maps, and Plans, en- graved under the superintendence of THE SOCIETY FOR THE DIFFUSION OF USEFUL RNOWLEDGE. 6.—Admiralty Charts.-Catalogue of Charts, Plans, Views, and Sailing Direc- tions, &c., published by order of the LORDS COMMISSIONERS OF THE ADMIRALTY, 178 pages royal 8vo., price is. 6d. 7.—War I)epartment.—Catalogue of the Plans, Maps, and Drawings, issued by THE WAR DEPARTMENT, and sold by EDWARD STANFORD. 8.-Educational.—Catalogue of Educational Atlases and Maps, recently published by EDw ARD STANFORD. 9.—Emigration.—A List of Publications on the British Colonies and the United States, selected from the Stock of EDWARD STANFORD. lo.—Johnston’s Maps.--Johnston's List of Geographical and Educational Works, comprising Atlases, Maps, Globes, &c., sold wholesale and retail by EDWARD STANFORD. Ill.—Guide-Books for Tourists.-Catalogue of Guide-Books, Maps, Plans, Dictionaries, and Conversation-Books, &c., for Tourists and Travellers. LONDON : EDWARD STANFORD, 6, CHARING CROSS. MURRAY'S HANDBOOK ADVERTISER. 31 TO TOURISTS & TRAVELLERS, VISITORs to the Sea Coast, and to those who enjoy the Promenade, the Ride and Drive. In all cases, fervid heat, and its concomitant, dust, materially injure the skin, producing sunburn, tan, freckles, and discolourations of an almost indelible character. To obviate and eradicate these baneſul results, recourse may with confidence be had to ROWLANDS' KALYDOR, an Oriental botanical preparation. Whether resorted to in its specific character as a tho- rough purifier of existing defects of an erup- tive nature, and discolourations of the Skin, or as a preserver and promoter of its already bright and glowing tints, this ELEGANT TOILETTE REQUISITE has in every instance maintained its claim to the title of “THE UNFAILING AUXI- LIARY OF FEMALE GRACE.” During Summer and Autumn the invigorating and refreshing properties of Rowlan DS' KALYDOR will be found singularly agreeable to LAIDIES TRAVELLING : the effects produced by temporary exposure to solar heat upon the Face, Neck, Arms, and Hands being neutralized, and the cloud induced by relaxation and languor dispelled by its power of sustaining a perfect elasticity of the Skin ; without which certain deteriora- tion takes place;—thus, in the usual periodical visits made to the coast, ROWLANDS' KALYDOR is indispensable as a preservative of the Skin after SEA BATHING, from the irritation caused by the chemical action of saline vapour. Price 4s. 6d. and 8s. 6d. per bottle. The heat of summer also frequently com- municates a dryness to the hair, and a ten- dency to fall off, which may be completely obviated by the use of ROWLANDS' MACASSAR OIL, a delightful fragrant and transparent pre- paration, and as an invigorator and purifier beyond all precedent. Nor at this season can we be too careful to preserve the Teeth from the deleterious effects of vegetable acids (the immediate cause of toothache), by a systematic employ- ment, night and morning, of ROWLANDS' ODONTO, OR, PEARL DENTIFRICE. a White Powder, compounded of the rarest and most fragrant exotics. It bestows on the Teeth a pearl-like whiteness, frees them from Tartar, and imparts to the Gums a healthy firmness, and to the Breath a grateful sweetness and purity. Sold by A. Rowland and Sons, 20, Hatton Garden, London, and by Chemists and Per- fumers. Beware of Spurious Imitations !!! The only genuine of each bears the name of “ROWLANI)S’” preceding that of the article on the Wrapper or Label. GALIGNANIPS NEW PARIS (UIDE. Compiled from the best authorities, re- vised and verified by personal inspection, and arranged on an entirely new plan, with Map and Plates. Royal 18mo. 10s. 6d. bound; or without Plates, 7s.6d. bound. London : SIMPKIN, MARSHALL, & Co. GERMAN LANGUAGE AND LITERATURE Taught on Ahn's celebrated System by HERRN OSCAR WON WEGNERN. Twelve Lessons for Travelling. 4, SYDNEY STREET, BROMPTON, S.W., at a short distance from BELGRAVE SQUARE. VEYTAUX, Lake of Geneva. *—O- PENSION MASSON, Situated within half a mile of the Castle of Chillon, will be found in every respect an extremely comfort- able and well-regulated establish- ment. Terms, very moderate. The surpassing beauty of the surround- ing scenery is universally admitted; and not only has the locality its undemiable attractions for summer visitors, but as a winter residence it is no less desirable; its remark- ably sheltered position, protected as it is from the north and east, ren- dering its climate truly delightful. 3 2 MURRAY'S HANDBOOK ADWERTISER. WORKS ON THE FINE ARTs, -O The following are now Ready. THE TREASURES OF ART: Being an Account of the Chief Collections of Paintings, Sculptures, Drawings, &c., in Great Britain. By Dr. WAAGEN. 2nd Thousand. 4 vols. 8vo. RUGLER'S HANDBOOK OF PAINTING : the ITALIAN SCHOOLS. Edited, with Notes, by Sir CHARLEs EASTLAKE, R. A. Third Edition. With 150 Illustrations. 2 vols. Post 8vo. 30s. THE EARLY FLEMISH PAINTERS : their LIVES and WORKS. By J. A. CROWE and G. B. CAVASELLE. Woodcuts. Post 8vo. 12s. A HANDBOOK FOR YOUNG PAINTERS. By C. R. LESLIE, R.A. With Illustrations. Post 8vo. 10s. 6d. HANDBOOK OF ARCHITECTURE: Being a Concise and Popular Account of the different Styles of Architecture prevailing in all Ages and all Countries. By JAMES FERGUSSON, 3rd Thousand. With 850 Illus- trations. 2 vols. 8vo. 36s. A BIOG RAIP.HICAL DICTION ARY OF ITALIAN PAINTERS. Edited by R. N. WoRNUM. With a Chart. Post 8vo. 6s. 6d. LIFE OF THOMAS STOTHARD, R.A. By Mrs. BRAY. With 70 Illustrations. Small 4to. MEDIAEVAL AND MODERN POTTERY. By Joseph MARRYAT. With Coloured Plates and 240 Woodcuts. Medium 8vo. 31s. 6d. ANCIENT POTTERY : EGYPTIAN, AssyFIAN, GREEK, ETRUS- CAN, and ROMAN. By SAMUEL BIRCH, F.S.A. With Coloured Plates and 200 Woodcuts. 2 vols. Medium 8vo. 42s. AN ILLUSTRATED HANDBOOK OF THE ARTS OF THE MIDDLE AGES AND RENAISSANCE. By M. J. LABARTE. With 200 Woodcuts. 8vo. 18s. ANCIENT SPANISH BALLADS, HISTORICAL and ROMANTIC. Translated by J. G. LoCKHART. With Coloured Borders, Woodcuts, &c. 4to. HORACE ; HIS LIFE AND WORKS By DEAN MILMAN. With 300 Illustrations from the Antique. 8vo. 30s. THE ILLUSTRATED PRAYER-BOOK. With Borders, Initial Letters, and Illustrations from the Old Masters. 8vo. 218. THE ANCIENT EGYPTIANS ; their PRIVATE LIFE, MAN- NERs and CUSTOMs. By Sir J. G.WILKINSON. With 500 Woodcuts. 2 vols. Post 8vo. 12s. - JOHN MURRAY, ALBEMARLE STREET. MURRAY'S HANDBOOK ADVERTISER. 3 3 SUNSET ANY BIOUIR. CENERY, however extensive, viewed through the IMITATION SUNSET GLASSES, appears as if glowing in a beautiful Sunset. Invaluable little boons for viewing Scenery. It is better to use two Glasses—one to each eye. Post-free by return : the Pair, 36 stamps; in best black or white ivory, 60 stamps. Single Glass, 18 and 30 stamps. G. F. MORTON, ISLINGTON GREEN, LONDON, N. These Glasses have a most beautiful effect at the Crystal Palace, inside and outside the Palace. MIUIDIE'S SELECT LIBRARY. NOTICE. l– C E. MUDIE has the pleasure to announce that the altera- 0. tions in progress at his Library are now sufficiently advanced to provide increased accommodation for the Subscribers and greater facilities for the rapid exchange of books. The supplies of the higher class of Works, for the circulation of which the Library was originally established, are also largely increased, and will be further augmented by the addition of more than One Hundred Thousand Volumes in the course of the present and ensuing season. 509, 510, & 511, NEW OXFORD STREET, AND 20 & 21, MUSEUM STREET, LONDON. May, 1858. MESSRS. TURNER AND AIDAMS, Foreign Office Passport Agents, 65, King Street, Downing Street, London, Fº their thorough knowledge of the business and close proximity to the Foreign Office, are enabled to transact all business connected with obtaining Passports and Visas with great despatch and entire satisfaction to their employers. Visas One Shilling each. Passports mounted in the best manner. Murray's Handbooks, Bradshaw's Guides, Maps, &c., supplied to order. California, Mexico, Central America, Peru, Chili, Australia, and New Zealand. The shortest route to all Ports on the West Coast of North and South America, as also to Australia and New Zealand, is that viá the P A N A M A R A J L VV A. Y. In Two Hours and a Half from the Atlantic to the Pacific | Through fare, 25 dollars; children under twelve, half-price—under six, quarter price. Passengers allowed 50lbs. of luggage; all above that weight 10 cents per lb. Express freight for Passenger trains 1 dollar 80 cents per cubic foot. First-class freight, comprising Merchandise, in boxes and bales, 50 cents per cubic foot; second-class, 13 cent per lb.; third-class, 1 cent per lb. ; fourth-class, à cent per lb.; fifth-class, + cent per lb.; sixth, # cent per lb., The Steamers of the Royal Mail Company leave Southampton fortnightly for Aspinwall, and steam communication is maintained by the Pacific Maíl Company between Panama and California, Mexico, Peru, and Chili, and by the Railway Company between Panama and Central America. The SALADIN Steamer also sails regularly from Liverpool—apply to Mr. Holt; and sailing vessels from London—apply to Messrs. Oswald, Fitze, and Co. For further particulars apply to the London Agent of the Company, 9, NEW PALACE YARD, LONDON. 34 MURRAY'S HANDBOOK ADVERTISER. O F F I C I A L §llustrated $ailman Guine-Hºoghs, BY GEORGE MEASOM. UNIFORM PRICES. In Wrapper, 1s. ; or, in Cloth, Elegantly Bound, with Maps, 2s. SOUTHEASTERN RAILWAY AND ITS BRANCHES. 200 Engravings. “This, without exception, is the cheapest work ever issued. How a book with 200 Engrayings, all original, over 400 pages of letterpress, and a splendid Map, can be issued for a shilling will ever remain to us a mystery. Of course all our readers will, if possible, obtain a copy.”—Berald. W. H. SMITH AND SON, LONDON BRIDGE AND ALL STATIONS. HE NORTHERN RAILWAY OF FRANCE, including SIX DAYS IN PARIS. 100 Engravings and magnificent Map. W. H. SMITH AND SON, LONDON BRIDGE AND ALL STATIONs; A. HALL, VIRTUE, & Co., 25, PATERNOSTER Row, LoNDON. The Two Books together, bound and gilt, 2s. 6d. THE GREAT NORTHERN RAILWAY & its BRANCHES, KING'S CROSS TO YORK, 90 Engravings. “THE OFFICIAL GUIDE-BOOK To THE GREAT NorthERN RAILway (Smith and Son, Strand), compiled and illustrated with 90 engravings by the fertile pencil of Georgé Measom, is one of those amusing and indispensable companions for a long journey which beguiles its tedium, satisfies the curiosity, instructs, amuses, and delights in so eminent a degree, that in itself, and apart from its obvious uses, it cannot fail to be a really inter- esting book.”—Despatch, Dec. 1857. “We have found profit and pleasure in it.”—Athenaeum. W. H. SMITH AND SON, KING's CRoss AND ALL STATIONS. THE SOUTH-WESTERN RAILWAY and its BRANCHES, including A TOPOGRAPHICAL ACCOUNT OF THE ISLE OF WIGHT. 80 Engravings. “THE OFFICIAL ILLUSTRATED GUIDE TO THE LONDON AND SOUTH-WESTERN RAILwAY, by G. Measom, is quite a marvel in its way, on the score of cheapness, and will no doubt be most acceptable, not only to people travelling on the line, but to those who take an interest in the localities through which it passes. Considering that a tourist without a guide-book is somewhat in the predicament of a sportsman in search of game without his gun, the writer has explored every nook and corner of the London and South-Western Line, and given the public the result of his labours in the capital shilling volume before us. It is well printed on excellent paper, and illustrated with wood engravings of more than average merit.”—Illustrated Times, July 5th, 1856. W. H. SMITH AND SON, WATERLOO AND ALL STATIONS. Mr. GEORGE MEASOM will feel obliged for any local information of public general interest for embodiment in future editions of the above works. 74, Charrington Street, St. Pancras, London, N.W. June, 1858. MURRAY'S HANDBOOK ADVERTISER. 35 of F1 c 1 AL §llustratºp flailman (5uint-ºgohs, BY GEORGE MEASOM. UNIFORM PRICES. In Wrapper, 1s. ; or, in Cloth, Elegantly Bound, with Maps, 28. NoRTH.WESTERN RAILWAY AND ITS BRANCEIES. 70 Engravings. “It is certainly the most perfect Railway Guide that has yet appeared. As an ‘official " work it has authority when speaking of the history and statistics of the line. The other information conveyed in it will be found not merely interesting, but suggestive. The pages afford abundant matter for thought and conversation; and though all is done briefly, yet all is done well. Few books descriptive of tours contrive to tell so much. The plan here followed is to take the main trunk line from London to Birmingham, Liverpool, Manchester, and other great towns, as a basis; describing all that is worthy of description by the way, and conducting the traveller along each branch as the points are arrived at where each branch diverges from the trunk.”—Athenaeum. “The Official Guide to the London and North-Western Railway is richly illustrated, and will be found a very useful Handbook.”—The Builder. W. H. SMITH AND SON, EUSTON AND ALL STATIONS ON THE LINE. A New and Enlarged Edition in Progress. GREAT WESTERN RAILWAY AND ITS BRANCHES 50 Engravings. “The illustrations are numerous, correct, and we’l executed, and the information is ample, accurate, and carefully conveyed. It it worthy of patronage.”—Sunday Times. “This is a little book which every traveller on the Great Western Railway should obtain. X. feel great pleasure in saying a capital idea has been most ably carried out.”—Morning Advertiser. MARSHALL AND SONS, PADDINGTON STATION. THIRD EDITION OF THE BRIGHTON AND SOUTH-COAST RAILWAY, including a DESCRIPTIVE GUIDE TO THE CRYSTAL PALACE AT SYDENHAM, and A TOPOGRAPHICAL ACCOUNT OF THE ISLE OF WIGHT. 60 Engravings, “The fact that this is the third edition of this Guide needs only to be recorded to show the appreciation, on the part of the public, of the author's labours. The manual deserved no less. It contains a great amount of interesting matter within small and convenient Compass, and is illustrated by Some excellent woodcuts.”—Athenaeum. CONNELLY, BRIGHTON TERMINUs, LoNDON BRIDGE; WATERLOW AND SONS, LONDON WALL; AND ALL STATIONS ON THE LINE. *** Shortly will be issued an entirely New Edition of this work, uniform with the South- Bastern Railway Guide. Mr. GEORGE MEASOM will feel obliged for any local information of public general interest for embodiment in future editions of the above works. 74, Charrington Street, St. Pancras, London, N.W. June, 1858. 36 MURRAY'S HANDBOOK ADVERTISER, Polyglot Washing Books, (To save Travellers the trouble of trans- lating their Washing Bills) For Ladies. DITTO For Gentlemen. Englich d. French. English & Italian. English dº German. English dº Spanish. 18. each. Metallic Boxes. &P A. - - § $4-à- -$º English dº Portuguese. Soap | PASSPORTS Obtained through the medium of Bankers' Letters, carefully mounted and inserted in morocco cases, with name lettered in gold. Ambassadors' Signatures obtained to British Secretary of State's and American Passports, at One Shilling each. The latest editions of all MURBAY's HAND-BOOKS. Courſe Rs, or TRAVELLING SERVANTS, can be obtained at Foreign Letter Paper, Extra Large Size, VERY THIN, ls. per Quire. BOOKS FOR JOURNALS, &c. LUG GAG E LABELS. Door FASTENERs. BERRY'S PATENT |N KSTANDS. * Leather Money-Bags. LEE & CARTER'S GUIDE DEPóT, 440, WEST STRAND, W.C. Two DOORS WEST OF LOWTHER ARCADE, Where an ExtENSIVE ColleOTION OF GUIDES, HAND-BOOKS, MAPS, DICTIONARIES, DIA- LoGUEs, GRAMMARs, lNTERPRETERS, &c., useful for Travellers upon the Continent and elsewhere, and much useful information concerning PASSPORTS, can be obtained. MURRAY'S HAND-BOOKS, rendered convenient POCKET-BOOKS by J. LEE's limp leather binding, at 23. additional charge. MOROCCO and RUSSIA PORTABLE ROLL-UP CASES, containing every essential for Writing. iſłłddre’s (Rerman interpreter. With the exact Pronunciation in English on a separate column, Orice 58, cloth, 68. in leather. I.ONDON: W. CLOWES AND SONS, STAMFORD STREET, AND CHARING CROSS. . * * * * * *&^ta º a * ~. I - - * ***p, *. . . . . . . * : * . - |||||||||||||||| || 3 9015 61374'4556" | || .' t **. ! s' º, t f : º gº * . r - .." - k { H i } -. - f f i w ... . ; V * t 1. w -- - w - H h { - . ſ p - .*. -> * . 3 . º - sº l º K. ºº:: º ºº: º 'º. K. º: º * g º º