' LIBRARY OF THE ' UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAICN NOTICE: Return or renew all Library Materialst The Minlnnim Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli¬ nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 Digitized by the Internet Archive in 2018 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/italyhandbookfor00karl_3 0X1^ 4 '0 nwi*A **• ■ fliOUM i/Ar^r? *rttoitj^ tjtJtJX v*&ni wQJie ^WV r/yjy tWJJ'Vr ^otoaely «n»«a * ' -«ar >70^ .WrV‘'V «*»/<.’l’ ,P:^/7 'i.ivo.i/r r.\i)jxy '*fV2 Sara^pD K j OWjyj V123KXV juuoj sia*», i‘ 1 1 [ ^ *v*-*-t.'j-. :.''V ' '‘■*";-- ij i ; '< i' 1 :|>-v [ . || 9 i I MONEY-TABLE. (Comp. p. xiii.) Approximate Equivalents. Italian. American. | English. 1 German. Austrian. Lire. Cent. Doll. cts. : L. S. D. J/k. FI. Er. _ 5 1 _ 1 2 __ 4 _ 2 — 25 1 5 i 211 2 — 20 — 10 — 50 1 — 10 5 — 40 — 20 — 75 — 15 i 71 4 — 60 — 30 1 — — 20 I — 93 4 — 80 — 40 2 - 1 — 40 1 — 1 71 4 1 60 — 80 3 — ! — 60 1 _ 2 5 2 40 1 20 4 — j — 80 ! — 3 21 2- 3 20 1 60 5 1 — 4 4 — 2 — 6 1 20 1 - 4 93 4 4 80 2 40 7 — i 1 40 1 j - 5 71 2 5 60 2 80 8 — 1 60 ! I - 6 5 6 40 3 20 9 — I 1 80 1 I 7 21(2 7 20 3 60 10 — 2 _ _ ! _ 8 8 — 4 — 11 — 2 20 j — 8 93 4 8 80 4 40 12 — 2 40 1 — 9 71 2 9 60 4 80 13 _ i 2 60 i — 10 5 10 40 5 20 14 - ‘ 2 80 ! -- 11 21 12 11 20 5 60 15 — ; 3 — — 12 12 — 6 — 16 1 i 3 20 — 12 93 4 12 80 6 40 17 3 40 i - 13 71 2 13 60 6 80 18 — 3 60 . ■ - 14 5 14 40 7 20 19 — 3 80 — 15 21|2 15 20 7 60 20 — 4 — 16 16 — 8 — 25 — 5 — 1 — 20 — 10 — 100 20 _ 4 80 40 Distances. Since the consolidation of the Kingdom of Italy the French metre system has been in use throughout the country, but the old Italian miglio (pi. le miglia) is still sometimes preferred to the new kilo- mUre. One kilometre is equal to 0.G2138, or nearly ^/gths, of an English mile. The Tuscan miglio is equal to 1.65 kilometre or 1 M. 44 yds.^ the Roman miglio is equal to 1.49 kilometre or 1630 yds. ITALY HANDBOOK FOR TRAVELT.ERS K. BAEDEKER. SECOND PART: CENTRAL ITALY AND ROME. With 1 Panorama, 7 Maps, and 27 Plans. Sixth Edition. LEIPSIC; KARL BAEDEKER. 1879. The right of translation is reserved. “Go, little book, God send tliee good passage, And specially let this he thy prayere Unto them all that thee will read or hear, Where thou art wrong, after their help to call, Thee to correct in any part or all.“ CHAUCER. IVR KFACK objects of the Ilamibook for Italy, which consists of tlireo volumes, each complete in itself, arc to supply the traveller with some information re^ardiufr the progress of civilisation and art among the people he is about to visit, to render him as independent as ptvssible of tlie services of guides and valets-de-place, to protect him against extortion, and in every way to aid liiiu in deriving enjoyment and instruction from his tour in one of the most fascinating coun¬ tries in the world. The practical information in the Introduc¬ tion will also, it is hoped, be the means of saving the trav¬ eller many a trial of temper, as well as both time and money. The eleventh edition of Central Italy and Rome, like its pre¬ decessors, has been carefully revised and brought down to date. The Handbook is based on the Editor s personal ac¬ quaintance with the places described, most of which he has repeatedly and carefully explored. Aa, however, changes are constantly takiitg* place, lie will highly appreciate any communications with which traveller.s may favour liim. if the result of their owu observation, bhe information alreailv rc- V ceived from numerous correspondents, which he gratefully acknowledges, has in many cases proved most serviceable. Hotel-bills, \\ ith annotations show ing the traveller’s opinion as to his treatment and accommodation, are particularly useful. I’he Maps and Plans, on which special care has been bestowed, will abundantly suffice for the use of the ordinary traveller. The large Plan of Rome (scale 1 : 11,400T in the Appendix, is divided into three sections with a view to ob¬ viate the necessity of unfolding a large sheet of paper at every consultation, and its use will Im further facilitated by reference to the small clue-plan .scale I : .’KbOme. v ■ •V\.U •.• A •TU . i«. --“a- ^ 'i ♦' • *A '• • ,J- . < » . >• I.’ ■ 5^,..' k y> '' ' •t, >'. •#! » . •'’ A . ffc, •*■■•», .' -■ ‘ A if' •‘ ♦ ^ . ^ y i *■* >t:.ri*i; I’fv- if rt • * ‘ i V • j5-.- .S >' •/ . :r ’.V'.; • • ? •' •i*' .-(&■■ >-.t it*! “ •,. .n-H ■ .; •'" \.&)> Ifrf.>; fAW.' i./,, .f'r'r 'lii !ii«i :• i ).■ '.a, .£J-.--. : • ,1 '■ ^Ji>,,> '■'I' '•■ " ■((.“ i-vs-A*! lij ■ ' ■ ■' •» ,.y;<( • '^\i ■■.•:’¥'^- t r. i . ^'1 -'M '. .'{ctjiiitow/ P ■ O '«IKL , .' ^ , .‘I ; • % * v! Ji -V.- <■' ^Ti f^ . ! ^ ..-, ,? : «'1Ul .1^/i 4?A/ “ ,_V:.. •. -ri' ftjS^ 7 / "h ' i r -7% < 1 ^ li ri'. •'.’ rr > PREFACE, The objects of the Handbook fov Italy, which consists of three volumes, each complete in itself, arc to f PPJ traveller with a few remarks on the progress of civilisation and art among the people he is about to_ visit to render him as independent as possible of the services of guides and valets-do-place, to protect him against ^ ” every way to aid him in deriving enjoyment and instruction from his tour in one of the most fascinating countries in the world. The Handbook will also, it is hoped, be the means of saving the traveller many a trial of temper ; for there is probably no country in Europe where the patience is more severely taxed than in some parts of Italy. The Handbook is based on the Editor’s personal ac¬ quaintance with the places described, most of which he has repeatedly and carefully explored. As, however, changes are constantly taking place, he will highly appreciate any communications with which travellers may kindly iavoni him, if the result of their own observation. The information already received from numerous correspondents, w iic i e gratefully acknowledges, has in many cases provet mos The sixth edition of Central Italy and Rome, like its pre¬ decessor , has been carefully revised and brought up to date. For the description of the antiquities of Rome, the Editor is indebted to Professor H. Nissan of Strassbuig. e introductory articles on art by Prof. R. Kekule of I.onn and Prof. A. Springer of Leipsic have been adapted tor tlie use of English travellers with the kind assistance ot^ J. A. Crowe, the eminent historian of art. Professor Spimger has also contributed many valuable incidental remarks on modern art. lUAxo ana j-ojAiSb, on wihgii specia* v,aru nas bestowed, will abundantly suffice for the use of the ordinar traveller. The Plan of Rome (scale 1 : 15,000) is divide into three sections with a view to obviate the necessity o unfolding a large sheet of paper at every consultation, am its use will be further facilitated by reference to the smal. clue-plan inside the cover at the end of the volume. Heights are given in English feet (1 Engl. ft. = 0,304b metre), and Distances in English miles (comp. p. ii). Hotels (comp. p. xxi). In no country does the treat¬ ment which the traveller experiences at hotels vary more than in Italy, and attempts at extortion are perhaps no¬ where so outrageous. Besides the modern palatial and ex¬ pensive establishments, the Handbook also contains a selec¬ tion of modest, old-fashioned inns, where gentlemen trav¬ elling alone will not unfrequently find good accommodation at moderate charges. The asterisks indicate those hotels which the Editor has reason to believe from his own ex¬ perience, as well as from information supplied by numerous travellers, to be respectable, clean, and reasonable. The value of these asterisks, it need hardly be observed, varies according to circumstances, those prefixed to town hotels and village inns signifying respectively that the establish¬ ments are good of their kind. At the same time the Editor does not doubt that comfortable quarters may occasionally be obtained at inns which he has not recommended or even mentioned. Although changes frequently take place, and prices generally have a strong upward tendency, the average charges stated in the Handbook will enable the traveller to form a fair estimate of his probable expenditure. To hotel proprietors, tradesmen, and others the Editor begs to intimate that a character for fair dealing and cour¬ tesy towards travellers forms the sole passport to his com¬ mendation, and that advertisements of every kind are strictly excluded. Yl PUKKACK. Eeights are ^ven in English feet (1 Engl. ft. = 0,.304^ metre), and Dij^takces in English miles l^comp. p. ii). Hotels (comp. p. xvi). Careful attention has been given to the selection of the hotels. The asterisks indicate those which the Editor has reason to believe from his own ex¬ perience. as well as from information specially obtained from reliable sources or supplied by numerous travellers, offer satisfactory accommodation and entertainment at reasonable charges. At the same time the Editor does not doubt that comfortable quarters are to be obtained at houses both of the first and second class that be has not recommended or even mentioned. The asterisks are thus not intended to be exclusive in their significance; they are to be taken as simple indications tliat the hotels so marked are, on the whole, good of their kind. The constant changes in the ownership and management of hotels, the varying tastes and requirements of travellers, even the different seasons at w hich toiu^ are made, render an unconditional verdict quite impossible. Al¬ though changes frequently take place, and prices generally have an upward tendency, the average charges stated in the Handbook will enable the traveller to form a fair estimate of bis probable expenditure. To hotel-proprietors, tradesmen, and others the Editor begs to intimate that a character for fair dealing and cour¬ tesy towards travellers forms the sole jjassport to his com¬ mendation, and tliat advertisements of every kind are strictly excluded from his Handbooks. Abbreviations. ~ ILKjm,R. cc Ure^kfut, D. sr Dinner, d^j. = dejeuner, lunche^>u, pcaa. = pension, board and lodging, A. = Attendance, L. = Light. — r. right, 1. sc left^ applied to the banka of a river with reference to the Iravdkr looking dow* tW stream.— K., S-, K., W., the poinU of Uic coin- pi** and adjective* derived from them. — M. = English miles; fl. = ICng hah fr» t. AatorUka are employed as marks of commendation. CONTENTS. Introdnotioii. Page I. Travelling Expenses. Money. xiii II. Season and Plan of Tour. xiv III. Language. xv jV. Passports. Custom-house. liUggage. xvi V. Public Safety. Begging. xvi VI. Intercourse with Italians. xvii VII. Conveyances. xviii Vni. Hotels. xxi IX. Restaurants, Cafes, etc. xxii X. Sights, Shops, etc. xxiv XL Post Office. Telegraph. xxv XU. Calculation of Time . xxvi XIII. Climate. Health. . . .' . . xxvi XIV. Dates of Recent Events. xxvU Ancient Art, by Prof. R. Kekule . xxix Mediseval and Modem Roman Art, by Prof. A. Springer . xliii Index of matters and names of persons contained in the historical articles. lx First Section. S. Tascany. Umbha. The Marches. Route 1. From Leghorn or Pisa to Rome by the Maremme ... 1 1. From Leghorn to Civita Vecchia by sea. 1 2. Piombino and Populonia. 2 3. From Grosseto to Rusellie. 3 4. Orbetcllo. Monte Argentario ........ 4 5. From Montalto to Vulci. 4 6. From Cometo to Toscanella. 6 7. From Civita Vecchia to La Tolfa. 7 2. Volterra. From Leghorn to Volterra. From Volterra to Siena. 9 1. From Saline to Monte Cerboli. 9 2. From Volterra to the copper-mines of Monte Catiui . . 12 3. Elba and the Tuscan Islands.13 4. From Florence to Siena and Chlnsi by Empoli .... 15 1. From Poggibonsi to San Gimignano.15 2. From Asciano to Grosseto. Monte Amiata .... 18 3. Pienra.20 5. Siena.21 1. Excursions from Siena. L'Osservanza, 8. Colomba, etc. 35 2. Monte Oliveto Maggiore. 37 6. From Florence by Arezzo and Terontola fChmsi, Rome) to PerugU.37 1 1 i * 1 «• r .j I I't ’ *, I. ’' i CONTENTS. Introduction. Page I. Travelling Expenses. Money ....... xiii II. Season and Plan of Tour .. xiv III. Language.r' . . . . xv IV. Passports. Custom-house. Luggage. xvi V. Public Safety. Begging. xvi VI. Intercourse -with Italians. xvii VII. Conveyances. xviii VIII. Hotels. xxi IX. Restaurants, Cafes, etc. xxii X. Sights, Shops, etc. xxiv XI. Post Office. Telegraph. xxv XII. Calculation of Time. xxvi XIII. Climate. Health... . xxvi XIV. Dates of Recent Events. xxvii Ancient Art, by Prof. K. Kekule . xxix Mediaeval and Modern Roman Art,' by Prof. A. Springer . xliii Index of matters and names of persons contained in the historical articles. lx First Section. S. Tuscany. Umbria. The Marches. Route 1. From Leghorn or Pisa to Rome by the Maremme ... 1 1. From Leghorn to Civita Vecchia by sea. 1 2. Piombino and Populonia. 2 3. From Grosseto to Rusellae. 3 4. Orbetello. Monte Argentario. 4 5. From Montalto to Vulci. 4 6 . From Corneto to Toscanella. 6 7. From Civil a Vecchia to La Tolfa. 7 2. Volterra. From Leghorn to Volterra. From Volterra to Siena. 9 1. From Saline to Monte Cerboli. 9 2. From Volterra to the copper-mines of Monte Catini . . 12 3. Elba and the Tuscan Islands.13 4. From Florence to Siena and Chiusi by Empoli .... 15 1. From Poggibonsi to San Gimignano.15 2. From Asciano to Grosseto. Monte Aniiata .... 18 3. Pienza. 20 5. Siena.21 1. Excursions from Siena. L’Osservanza, S. Colomba, etc. 35 2. Monte Oliveto Maggiore.37 6. From Florence by Arezzo and Terontola (Chiusi, Rome) to Perugia.37 . ♦NTENTS. Route Page 7. Perugia.46 1. From Perugia to the Upper Vi-Uey of the Tiber. Citta di Gastello. Borgo S. Sepolcro.55 2. From Perugia to Nai’iii by Todi.5(' 8. From Florence by ("/^Irezzo^) Terontola and Chiusi to Rome 57 1. From Ghiusi to Gitta della Pieve. Getona .... 58 2. From Borghetto to Givita Gastellana. Falerii. Mount Soracte. Nepi.63 9. From Orvieto to Rome by Bolsena, Montefiascone, and Viterbo.05 Excursions from Viterbo. Gastel d’Asso. Vetralla. Nor- chia. Sutri. 68 10. From Perugia to Foligno and Orte (Rome), Assisi. 8po- leto. Waterfalls of Terni ..70 11. From Bologna to Rimini, Falconara (Rome), and Ancona 81 Excursion to Urbino.88 12. From Fano tbrougli the Furlo Pass to Fossato. Gubbio 93 13. Ancona and its Environs. Osimo. Loreto .90 14. From Ancona to Foligno ("Orte, 101 1. From Fabriano to Sassoferrato.102 2. High Road from (Ancona) Givitanova to Foligno (Rome) 103 Second Section. Rome. Preliminary Information: — Arrival. Police. Embassies and Gonsnlates. Hotels . . 105 Pensions. Private Apartments. Restaurants .... 106 Osterie. Gafes. Gonfectioners. Gratuities.107 Baths. Glimate. Physicians. Ghemists. Bankers . . . 108 Booksellers. Libraries. Reading-Rooms. FTewspapers . 109 Teachers of Italian. Music. Studios.109 Art-dealers. Shops.110 Theatres.Ill Gabs. Omnibuses. Vetturini. Saddle-horses .... 112 Railways. Post Office. Telegraph.113 English Ghurches.113 Ghurch Festivals.114 Popular Festivals. Street Scenes. Garrison .... 116 Gollections, Villas, etc.117 Diary.119 Duration of Stay. Principal Attractions.120 Orientation. Preliminary Drive.121 History of the City of Rome.121 Chronological Table of Roman Emperors and Popes . 132 Topography.130 I. Strangers^ Quarter and Cor so .. ... 140 Piazza del Popolo. S. Maria del Popolo.140-41 The Pincio.142 Villa Medici. SS. Trinita de’ Monti.143 Gasa Zuccari-Bartholdy.144 Piazza di Spagna. Propaganda.144 S. Andrea delle Fratte. Fontana di Trevi.145 The Gorso..146 S. Garlo al Gorso. S. Lorenzo in Lucina.147 im ■ ^ 0b»t^fQnA Uo t:"'- ^ '.i^^T^J^, I. n'V, , 'i ,* 3 ' .aTvjat;:* jf *V4 k . J1-; :...s . . . I ^y' ' „«M»gi *1P'***^"^ ,et ija 4i,i* M '''L ' *,- ' f!^ ■•'l . 111,**.*. '«oAMr*i .. /■* .^.^il^tiiigiJ 1^ ^ 'j ^ t*. •4^?r^Ar,' “ " lOTrlUff CONTENTS. «• • viii Route 7. Perugia .. 1. From Perugia to the Upper Valley of the Tiber. Citta di Gastello. Borgo S. Sepolcro. 2. From Perugia to Narui by Todi. 8. From Florence hy (Arezzo) and Chiusi to Home 1. From Chiusi to Citta della Pieve. Cetona . . . . 2. From Borghctto to Civita Castellana. Falerii. Mount Soracte. Xepi. 9. From Orvieto to Rome by Bolsena, Montefiascoiie, and V iterbo. Excursions from Viterbo. Castel d’Asso. Vetralla. Nor- chia. Sutri. 10. From Perugia to Foligno and Orte (Rome). Assisi. Spo- leto. Waterfalls of Terni. It. From Bologna to Rimini, Falconara and Ancona Excursion to Urbino. 12. From Fano through the Furlo Pass to Fossato. Gubbio 13. Ancona and its Fbivirons. Osimo. Loreto. 14-. From Ancona to Foligno ("Orte, Rome) . 1. From Fabriano to Sassoferrato. 2. High Road from (Ancona) Civitanova to Foligno (Rome) Page 46 55 56 57 58 63 G5 68 70 81 88 93 96 101 102 103 Second Section. Rome. Preliminary Information: — Arrival. Police. Embassies and Consulates. Hotels Pensions. Private Apartments. Restaurants Osterie. Caft^s. Confectioners. Gratuities . . . . Baths. Climate. Physicians. Chemists. Bankers . Booksellers. Libraries. Reading-Rooms. Newspapers Teachers of Italian. Music. Studios. Art-dealers. Shops. Theatres. Cabs. Omnibuses. Vetturini. Saddle-horses . Railways. Post Office, Telegraph. English Churches. Church Festivals. Popular Festivals. Street Scenes. Garrison Collections, Villas, etc. Diary . Duration of Stay. Principal Attractions . . . . Orientation. Preliminary Drive. History of the City of Rome. Chronological Table of Roman Emperors and Popes Topography. 7. Strangers" Quarter and Corso .. . . Piazza del Popolo. S. Maria del Popolo . , . . The Pincio. Villa Medici. SS. Trinitii de’ Monti. Casa Zuccari-Bartholdy. Piazza di Spagna. Propaganda. S. Andrea delle Fratte. Fontana di Trevi . . . . The Corso. S. Carlo al Corso. S. Lorenzo in Lucina . . . . 105 106 107 108 109 109 110 111 112 113 113 114 116 117 119 120 121 121 132 136 140 140-41 142 143 , 144 144 145 146 147 CONTENTS. ix (Rome) Page Palazzo CLigi. Piazza Colonna. Piazza di Monte Citorio . 148 Dogana di Terra. Palazzo Sciarra-Colonua. S. Ignazio . 149 Collegio Romano. Museo Kircheriano.15(1 S. Marcello. S. Maria in Via Lata. Palazzo Doria . . . 153 SS. Apostoli.15C Palazzo Colonna.157 Palazzo di V’enczia. Palazzo Torlonia.158 S. Jlarco.159 Blonument of Bibuhis. Gesli.IGO Villa Borgliesc.161 //. The Hills of Rome. Quirinal, Viminal, Esquiline. . 1G3 Piazza Barberini. S. Maria della Conce/ione. Villa Lndovisi 164 Gardens of Sallust. Porta Salara. Villa Alhani. . . . 105 Palazzo Barberini.168 Piazza del Quirinale (di Monte Cavallo).170 Pala/.zo Regio (Apostolico al Quirinale).170 Palazzo Rospigliosi.ITl S. Silvestro al Quirinale. S. Agata in Suburra .... 172 S. L 4tf»Hi%.'':«]|^ I ComriS^’ ^e--.‘’* |M»-,«Wi*(r^V»t:ii»(!» rtH'A •'*,■''!**?'<''*2*r gj 'Uwm.. . .JlWWi'JMJJ Tm^. - .Jiw«*«pu-r -H'-';' '>«7 ■■^’',^’'5‘,’^T. . '-I JF ^i(ni> Vnniuiltn '■*‘ ' ■■; ^'5^i‘“ J iXt - - M JNi(ni> V( ’♦* LA.. n‘ 'Ifri i ,___ ^ 1 *"V J i- V.; Jit -“‘'•"fe.r".''"””-?^^!! .'ffi T>^f . k. .w.Jfli-^^ , .WKWTKWAVH.-*# — — - V. '.v : ... - • ’ ‘ '^ ' ‘ <*UAfW1^^-4.*^ *<’ »a ^ .. MM.Wm ^ ■^M&v Ji^t » ’* v.;.if'.k, .A.' (IWtA. ^ .gff- ■- i/^’i,. >1WTO^ 'UCSi- '<» y. I ‘<< .m btC w ‘ '4-.t, -«d'?" I j. >' j CONTENTS. ix (Rome) Page Palazzo Chigi. Piazza Colonna. Piazza di Monte Citorio . * 148 Dogana di Teri’a. Palazzo Sciarra-Colonna. S. Ignazio . 149 Collegio Romano. Museo Kircheriano.150 S. Marcello. S. Maria in Via Lata. Palazzo Doria . . . 153 SS. Apostoli.15G Palazzo Colonna.157 Palazzo di Venezia. Palazzo Torlonia.158 S. Marco. 159 Monument of Bibulus. Gesii.160 Villa Borghese.161 ill. The Hills of Rome. Quirinaf Viminal, Esquiline . . 163 ' Piazza Barherini. S. Maria della Concezione. Villa Ludovisi 164 Gardens of Sallust. Porta Salara. Villa Albani. . . . 165 Palazzo Barherini.16S Piazza del Quirinale (di Monte Cavallo).170 Palazzo Regio (Apostolico al Quirinale).110 Palazzo Rospigliosi.. . 171 ^ S. Silvestro al Quirinale. S. Agata in Suhurra .... 172 S. Lorenzo in Paneperua. S. Bernardo. Acqua Felice. S. Maria della Vittoria.173 Porta Pia. S. Agnese Fuori le Mura.174 S. Costanza. Piazza delle Terme. Thermse of Diocletian . 175 S. Maria degli Angeli.176 Wall of Servius. Campo Militare. S. Pudenziana . . . 777 S. Maria Maggiore. ‘ . . 178 S. Prassede.180 Arcli of Gallienus. S. Eusebio. S. Lorenzo Fuori le Mura 181 S. Bibiana. Temple of Minerva Medica.183 I Porta Maggiore. S. Croce in Gerusalemme.184 I Ampbitbeatrum Castrense. S. Martino ai Monti . . . 185 1 S. Pietro in Vincoli.186 Jill. Rome on the Tiber (Left Bank) . 187 ■ Mausoleum of Augustus.187 Palazzo Borghese.188 Palazzo Lancelotti.192 S. Agostino.193 S. Luigi de’ Francesi.194 Universita della Sapienza.195 Piazza della Rotonda. Pantheon.195 S. Maria sopra Minerva.197 Palazzo Madama.198 Piazza Ravona. S. Agnese. S. Maria delT Anima . . . 199 I S. Maria della Pace.200 I Palazzo Vidoni. S. Andrea della Valle.201 ' Palazzo Massimi alle Colonne. Palazzo Brasclii. Piazza del Pasquino.202 Chiesa Ruova.203 Palazzo della Cancelleria. S. Lorenzo in Damaso. Palazzo Farnese.. . 204 Palazzo Spada alia Regola.205 S. Giovanni de’ Fiorentini.206 S. Carlo a Catinari. Palazzo Costaguti. Palazzo Mattel. . 207 S. Caterina de’ Funari. S. Maria in Campitelli . . . 208 Ghetto. Portico of Octavia. Theatre of Marcellus . . . 209 S. Riccolo in Carcere.210 IV. Ancient Rome .210 The Capitol.210 S. Maria in Aracoeli.211 Piazza del Campidoglio. Palazzo del Senatore .... 213 Palace of the Conservatori. Collections of the Capitol . 214 Tarpeian Rock. Tabularium.221 X CONTENTS. (Rome) Page Forum Romanum.222 Temple of Saturn. Colonnade of the Twelve Gods . . . 225 Temple of Vespasian. Temple of Concordia.225 Triumphal Arch of Septimius Severus.226 Comitium. Column of Phocas.1127 Basilica Julia. Temple of Castor and Pollux.Q128 Temple of Csesar. Temple of Faustina.229 Career Mamertinus. SS. Luca e Martina. S. Adriano . . ‘’J3U The Vella. 230 SS. Cosma e Damiano. Basilica of Constantine .... 230-31 S. Francesca Romana. Triumphal Arch of Titus. Temple of Venus and Roma.5 32 Colosseum.!^133 Triumphal Arch of Constantine. Thermae of Titus . . . 235 36 Fora of the Emperors. Academy of St. Luke . . . 2 '36 Forum of Nerva.<137 P'orum of Augustus. Forum of Trajan.238 Trajan’s Column ..239 Tlie Palatine.240 Palatine Museum.241 Buildings of Caligula. Buildings of Tiberius. Private House 242 Palace of the Flavii.243 Temple of Jupiter Victor.245 Palace of Septimius Severus.245 Paedagogium.247 Velabrum and Forum Boarium.2-4S S. Teodoro. Janus Quadrifrons. S. Giorgio in Velabro . 24t-' Cloaca Maxima. S. Maria in Cosmedin.249 Round Temple. S. Maria Egiziaca.24‘J House of Crescentius or Rienzi. Ponte Rotto. . . . 250 Via de’ Cerchi (Circus Maximus). 25r> The Aventine.251 Protestant Cemetery.2-5* Pyramid of Cestius. Monte Testaccio.252 S. Sabina. S. Alessio.253 S. Maria Aventina. S. Prisca. S. Saba.254 S. Paolo Fuori le Mura.25f» The Via Appia within the City.25C Thermee of Caracalla.257 SS. Nereo ed Acliilleo. S. Cesareo.25t!- Tomb of the Scipios. Columbaria.259 Arch of Drusus.26(1 The Cffilius.260 S. Gregorio.2G(.) SS. Giovanni e Paolo.261 S. Maria in Domnica. S. Stefano Rotondo.262 S. Clemente.263 SS. Quattro Coronati.266 Piazza S. Giovanni in Laterano. Scala Santa .... 267 S. Giovanni in Laterano.268 Baptistery.270 Palazzo del Laterano. Gregorian Museum.271 Christian Museum.273 Villa Massimo.274 Villa Wolkonsky.275 V. Quarters of the City on the Right Bank .275 The Borgo.275 Ponte S. Angelo. Castello S. Angelo.276 . srn f0 ■ ■■ r I ijumiP i 9i ifiriMSAa itficna m V r _ 11 >?'’ JrV a. ^ ‘Jj^jT! ' > > I •rfT 4W»«’ hi iSifCTH ^ ■ • A»*@l«j*»>h»»A <.»TOiwiwia *41 irf 1^’ I ip' ^ ___ r « i.-WlfllWl. W«9f«A W 4«(r%olE* — ’ **' • ' •nWJUTf OOT ya : •: • • •;: r *n F, • •. t. SF • , 4lrnifidi *_ i I^IHvfJ »|i?v.#u .*v * * • ,a?FT (imil -j 2» MiFOtin W*tiO 4iV •lOdc&fA 9 >iT I' f::; i?; is? S, »f «W‘r ^ t v*, * I V iJaaajF^’n,, 4^., fvSL th» r.i rty » m^ u m L ’Vai^ !?>» "*».» t*»Xl » »'».'‘-i«T V ■ 1tm’ ^ ji ^:a I4ii Vi f -Raw* Fr?^* *i4 f > V ^ ^ » ur.-^'^.'^ * /L^' ilA liu dMAil* „ r jf^.c A:»*^,M.ir«sll>Mi3k " •."■yisiM.i ^ l4«4irorO'Ai 1. ■ ■ • »-M* ■o»f»..,ri»5-i(»!ih - . ^«-^n• . . 4in-ll UJS "" ■’ mS? iSifW-wi««sUirt' *«s46li'^rt^’* *" ': \ *'■-'<■«'■■ :;-,'v'%i^7i;;i; '- . '' f S * ■■', ■ '^ I , l« X CONTENTS. V. (Home) Forum Romanum. Temple of Saturn. Colonnade of the Twelve Gods . Temple of Vespasian. Temple of Concordia . . . . Triumphal Arch of Septimius Severus. Comitium. Column of Fhocas. Basilica Julia. Temple of Castor and Pollux. Temple of Cecsar. Temple of Faustina. Career Mamertinus. SS. Luca e Martina. S. Adriano . The Velia Page 2*22 225 225 226 227 227 228 229 230 230 SS. Cosma e Damiano. Basilica of Constantine .... 230-3t S. Francesca Komana. Triumphal Arch of Titus. Temple of Venus and Roma.232 Colosseum.233 Triumphal Arch of CkDnstantine. Thermae of Titus . . . 235-36 Fora of the Emperors. Academy of St. Luke . . . 236 Forum of Nerva.237 Forum of Augustus. Forum of Trajan.238 Trajan’s Column ..239 The Palatine.240 Palatine Museum. Buildings of Caligula. Buildings of Tiberius. Private House Palace of the Flavii. Temple of Jupiter Victor. Palace ()f Septimius Severus. Psedagogium. Velabrum and Forum Boarium. S. Teodoro. Janus Quadrifr»)ns. S. Giorgio in Velabro Cloaca Maxima. S. Maria in Cosmedin. Round Temple. S. Maria Egiziaca. House of Crescentius or Rienzi. Ponte Rotto. . Via de’ Cerchi (Circus Maximus). Tlie Aventine. Protestant Cemetery. P>’ramid of Cestius. Monte Testaccio. S. Sabina. S. Alessio .. S. Maria Aventina. S. Prisca. S. Saba. S. Paolo Fiiori le Mura. The Via Appia within the City.. . Thermae of Caracalla. SS. Nereo ed Achilleo. S. Cesareo. Tomb of the Scipios. Columbaria. Arch of Drusus. The Cajlius. S. Gregorio. SS. Giovanni e Paolo. S. Maria in Domnica. S. Stefano Kotondo. S. Clemente. SS. Quattro Coronati. Piazza S. Giovanni in Laterano. Scala Santa . . . . S. Giovanni in Laterano. Baptistery. Palazzo del Laterano. Gregorian Museum. Christian Museum. Villa Massimo. Villa Wolkonsky. Quarters of the City on the Right Bank . The Borgo •. Ponte S. Angelo. Castello S. Angelo. 241 242 243 245 245 247 248 248 249 249 250 250 251 251 252 253 254 255 256 257 258 259 260 260 260 261 262 263 266 267 268 270 271 273 274 275 275 275 276 CONTENTS. xi (Rome) Page Palazzo Giraud.278 Piazza di S. Pietro.279 S. Pietro in Vaticano.279 Cimitero dei Tedeschi.287 The Vatican.288 A. Paintings: — Sala Ducale. Sala Regia. Sistine Chapel. Pauline Chapel . 289 Raphael's Loggie and Stanze. Cappella Niccolina . . . 294 Picture Gallery.303 B. Antiquities: — Galleria Lapidaria. Braccio Nuovo. Museo Chiaramonti . 305 Museo Pio-Clementine. Raphael’s Tapestry, .... 309 Museo Gregoriano Etrusco.315 Egyptian Museum.317 C. Library of the Vatican .317 The Longara.320 S. Onofrio.220 Villa Farnesina.321 Palazzo Corsini.322 Trastevere.324 S. Pietro in Montorio.324 Acqua Paola.326 Villa Doria Pamfili.327 Isola di S. Bartolommeo.328 S. Crisogono. S. Maria in Trastevere.329 S. Cecilia in Trastevere.330 The Catacombs .331 Tried Section. Environs of Eome. /. Short Excursions in the Campagna .339 From the Porta Portese: Grove of the Arvales. Magliana . 340 From the Porta S. Paolo: Tre Fontane.341 From the Porta S. Sebastiano: Via Appia. Pomine Quo Va- dis. S. Sebastiano. Circus of Maxontius. Tomb of Csccilia Metella. Temple of the Dens Rediculus. Grotto of Egcria. S. Urbano.342 From the P<»rta S. Giovanni: Via Latina. Porta Furba . . 347 From the Porta Maggiore: Torre Pignattara. Tor de'Schiavi 348 From the Porta S. Lorenzo:.349 From the Porta Pia.349 From the Porta Salara: Fidense.350 From the Porta del Popolo: Acqua Acetosa. Via Flaminia 351 From the Porta Angelica: Monte Mario. Tivoli. Villa Mellini. Villa Madama.352 II. Longer Excursions from Rome to the Mountains and the Sea .353 The Alban Mountains.353 Frascati.354 Grotta Ferrata.356 Marino. Rocca di Papa.357 Monte Cavo. Palazzuola. Alba Longa.358 Albano.359 Castel Gandolfo. Lake of Albano. The Emissarius . . 360 Ariccia. Genzano.361 Nemi and its Lake. Civita Lavinia. Velletri .... 362 The Sabine Mountains.363 in «s.- - -. , • ffs , ^ ^ _ „ fc.4.i4J^ - WK^r tfi Jkvar€'^ ?itt!Mjl Mm , re HL m « « m 90fi 11^ m Jf^.yjif . , ^ ‘ Tf. ,arf fiUMM % i>5j •I’Cw, tss tec ic:< , . ,« «o’.^’. . :\ ! , -, < jiLTV/ - . iL I r« m m Wvi5 • • 4'"-. A ^ ' ,' '^h4intM4' eJ" ‘^*’1 (ii-Tr-'lk „ , , , MvaJiUJii'H -^JSs»4 -" '’ t \\ .. ..-.-r. • I i*..iRi’\ oietxV 1^ ^ '■ 9maii '.In ' 'timtfKSi «.. . . «. PM-*-l#V iiiU|i#'i> «ll.t^ (Cfm ^ n«>%t 'f. ijU t4ftNrt>m. 4“*- A ^ iy£ lbs iJL? •». >• ■« jj 1 £ WPwtJf U ' J.i w ^t4i 4 i10C . Hi-fti*^^-.. -r~-. ii^,ti<>V .j4>iH- < ■' w . ’ V % ! ■ V* ■- . s**. CONTENTS. • • X.11 Tivoli. Subiaco . Palestrina .. . . Gena^zane. Olevano. Monte Gennaro. Valley of Licenza . The Volscian Mountains . Cori. Norma. Segni . Etruscan Towns. Veii. Galera. Bracciano. Ccere. The Sea-coast of Latiuni. Ostia. Cartel Fusano. Tur Paferno. Prutica. Ai«lea Porto. B’iumicino. Isola Sacra . . . . Porto d’Anzio. Nettuno. Astura. Index . Page 363 367 370 372 373 374 374 375 376 376 376 377 378 379 380 381 381 ^<3 383 384 385 Maps. 1. Map of Italy, facing title-page. 2. Enviroxs ok Rome, p. 338. 3. The Roman Camragka, p. 352. 4. The Alban Mountains, p. 354. 5. The Sabine Mountains: Plate I.: Tivoli and Valley of the Teverone, p. 364. G. The Sabine Mountains: Plate II.: Rovlano, Subiaco, Capranica, p. 3G8. 7. The Sabine Mountains: Plate III.: Tivoli, Palestrina, Olevano, p. 370. Plans. 1. Volterra, p. 10. — 2. Siena, p. 20. — 3. Arezzo, p. 39. — 4. Cortona, p. 43. — 5. Ierugia, p. 46. — 6. Orvieto, p. 60. — 7. Assisi, p. 71. — 8. Terni and its Environs, p. 79. — 9. Fokli, p, 82. — 10. Rimini, p. 84. — ll. Ancona, p. 96. — 12. Large Plan of Rome and — 13. Clue Plan of Rome, both at the end of the book. — 14. Ancient Rome, p. 210. — 15. Palace ok the Conservatoei, p. 216. — 16. Capitoline Museum, p. 217. — 17. Forum Romanum, p. 222. — 18. Palaces of the Emperors on the Palatine, p. 240. — 19. Thermaj of Caeacali^a, p. 257. — 20. Section, and — 21. Ground-plan of S. Clemente, p. 264. — 22. S. Giovanni in Late- RANo, and Lateran Museuji, p. 268. — 23. S. Pietro in Vaticano and the Vatican Palace (survey-plan), p. 278. — 24. S. Pietro in Vaticano (Bra- mante’s ground-plan), p. 280. — 25. Ground-plan of S. Pietro in Vaticano in its present state, p. 282. — 26. Vatican Palace, S. Wing (Sistine Cha¬ pel, Raphael's Loggie and Stanzo), p. 290. —27. Vatican Palace, N. W^iiig (Museum of Antiquities), p. 306. Panorama of Rome (from S. Pietro in Montorio), p. 324. Abbreviations. R. = Room, B. = Breakfast, D. = Dinner, A. = Attendance, L. = Light. — r. = right, 1. = left*, also applied to the banks of a river with reference to the traveller looking down the stream. — N., S., E., W., the points of the compass and adjectives derived from them. — M. = English miles;, ft. = English feet. Asterisks are employed as marks of commendation. INTRODUCTION. ‘Thou art the garden of the world, the home Of all Art yields, and Nature can decree; E’en in thy desert, what is like to thee? Thy very weeds are beautiful, thy waste More rich than other climes’ fertility. Thy wreck a glory, and thy ruin graced With an immaculate charm which cannot be defaced.’ Byuon. I. Travelling Expenses. Money. Expenses. The cost of a tour in Italy depends of course on the traveller’s resources and habits, but, as already stated in the first part of this Handbook, it need not exceed that incurred in the Luore frequented parts of the continent. The average expenditure of i single traveller may be estimated at 25 francs per day, or at 12-15 francs when a prolonged stay is made at one place; but persons Acquainted with the language and habits of the country may easily restrict their expenses to still narrower limits. Those who travel as members of a party effect a considerable saving by sharing the ex¬ pense of guides, carriages, and other items. When ladies are of the party, the expenses are generally greater. Money. The French monetary system is now in use throughout the whole of Italy. The franc (lira or franco) contains 100 centesimi; I fr. 25c. = Is. = 1 German mark = 50 Austrian kreuzers. The precious metals are rarely seen in Italy. In copper (bronzo or rame) :here are coins of 1, 2, 5, and 10 centesimi. A piece of 5 c. is jailed a soldo, or sou, and as the lower classes often keep their ac- jounts in soldi, the traveller will find it useful to accustom himself :o this mode of reckoning. See also the Money Table opposite the :itl e-page. Banknotes. Since the introduction of a paper currency during die war of 1866, at a compulsory rate of exchange , gold and silver lave entirely disappeared from ordinary circulation, and bundles of imall notes have taken their place. For these the purses used in nost other countries are quite unsuitable, but one adapted for the lurpose may be bought in Italy for 1 V 2-2 fr. ; in addition to which i strong pouch for copper will be found useful. The endless /^ariety of banknotes with which the country was formerly inuii- lated has been replaced by the Biglietti Consorziali (Y2? 1 ? *^7 5, .0, and 20 lire), issued in common by six banks (the Banca Na- ■ionale, the Banca Nazioiiale Toscana, the Banca Toscana In- xiv PERIOD AND PLAN OF TOUR. dustriale e Commerciale, the Banca Romaiia, the Banca di Napoli, and the’Banca di Sicilia), to which the right of issuing paper money is restricted. The traveller should he on his guard against the forged imitations of these notes which are occasionally met with. Exchange. English circular notes, as well as gold and silver, are worth considerably more than Italian banknotes of nominally the same value. Of late years the gain on the exchange has averaged 10-15 per cent (a napoleon, for example, realising 22-23 fr., and a sovereign 27Y2"^83/4 fr.). If the traveller makes a payment in gold he is entitled to decline receiving banknotes in exchange, unless the diiference in value be taken into account, but the full rate of ex¬ change is rarely given except by respectable money-changers (‘cam- hiavaluta"'). As a rule, those money-changers are the most satis¬ factory who publicly exhibit a list of the current rates of exchange. The traveller should always be provided with an abundant supply of small notes (1, 2, and 5 fr.), as it is often difficult to change those of large amount. When a railway fare has to be paid it is a wise precaution to be provided with the exact sum beforehand, in order that mistakes or imposition may be prevented. Besides the small notes, 1-1 1/2 copper should also be carried in a separate pocket or pouch. Best Money for the Tour. Before entering Italy the traveller should obtain a moderate supply of French Gold in France or Ger¬ many. Sovereigns are received at nearly the full value (i. c. they are reckoned at 26-28 fr. instead of 25 fr.) by the principal hotel- keepers, but not in out-of-the-way places. Circular Notes, obtain¬ able at the principal English banks, form the proper medium for the transport of large sums, and realise the most favourable ex¬ change. English and German banknotes also realise more than their nominal value. Money Orders payable in Italy, for sums not exceeding IOL, are now granted by the English Post Office at the following rates: not exceeding 2L, 9d.; 5L, Is. 6 d.; 7l., 2s. 3d. ; IOL, 3s. These are paid in gold. The identity of the receiver must be guaranteed by two well-known residents. The charge for money orders granted in Italy and payable in England is 40 c. per il. sterling. II. Season and Plan of Tour. Season. The season selected for the tour must of course depend on the traveller himself, but the colder months are those usually preferred. Most travellers bound for the South cross the Alps in September and October, and arrive in Rome about the beginning of November. Rome is the favourite winter-residence of strangers till the Carnival, but most of them leave it in Lent for the gayer scenes of Naples, and at Easter it is comparatively deserted, as the chief LANGUAGE. XV attractions of the festival are now gone. As summer approaches most travellers prepare to quit the country, hut even during the hot season tourists are not unfrequently met with. In this vast and ever-varying influx of travellers the English element is always greatly predominant. No month in the year can he pronounced absolutely unfavourable for travelling in Italy, but the seasons recommended are from 15th Sept, to 15th Nov., and the months of April and May. The rainy winter months should, if possible, be spent in one of the larger cities, of which Rome is unquestionably the most interesting. June, July, and August are hardly suitable for a tour. The scenery indeed is then in perfection, and the long days are hailed with satisfaction by the active traveller; but the fierce rays of an Italian sun seldom fail to sap the physical and mental energies. This result is not occasioned so much by the intensity, as by the protracted duration of the heat, the sky being frequently cloudless, and not a drop of rain falling for many weeks in succession. The heat generally mod¬ erates about the end of August, when the first showers of autumn begin to refresh the parched atmosphere. Plan. The plan of a tour in Italy must of course be framed in accordance with the object which the traveller has in view. In Central Italy the principal attraction is Rome itself, and of the other towns described in the present volume the next in importance are Siena and Perugia, both of which afi’ord good summer quarters owing to their elevated situations. Two other places of great in¬ terest are Orvieto and Assisi, a short visit to which should not be omitted. Arezzo, Cortona, Spoleto, Terni, with its imposing water¬ falls, and Chiusi and Corneto, with their Etruscan antiquities, are also interesting points, situated near the railway. Volterra, S. Gi¬ mignano , Montepulciano , and Viterbo, though less conveniently situated, are also well worthy of a visit. With regard to the towns lying on the coast of the Adriatic, comp. p. 81. Besides these points of attraction there are many others in the less frequented districts of the interior, which the traveller who desires more than a superficial acquaintance with Italy should not fail to explore; and the farther he diverges from the beaten track, the more he will learn of the characteristics of this delightful country. III. Language. The time and labour which the traveller has bestowed on the ; jAudy of Italian at home will be amply repaid as he proceeds on his i^Rurney. It is quite possible for persons entirely ignorant of Italian g^|nd French to travel through Italy with tolerable comfort; but such K ravellers cannot conveniently deviate from the ordinary track, and re moreover invariably made to pay ^alla Inglese' by hotel-keepers nd others, i. e. considerably more than the ordinary charges, French XVI PASSPORTS. — PUBLIC SAFETY. is very useful, as the Italians are very partial to that language, and it may suffice for Rome and some of the main routes; but for those who desire the utmost possible freedom, combined with the lowest possible expenditure, a slight acquaintance with the language of the country is indispensable, j IV. Passports. Custom-house. Luggage. Passports, though not required in Italy, are occasionally useful. Registered letters, for example, will not be delivered to strangers unless they exhibit a passport to prove their identity. In the remote districts, too, where the public safety demands a more rigorous supervision, the traveller is sometimes asked for his credentials. The Italian police authorities are generally civil and obliging. Custom-House. The examination of luggage at the Italian custom-houses is usually lenient. Tobacco and cigars are the articles chiefly sought for. At the gates of most of the Italian towns a tax (dazio consumo) is levied on comestibles, but travellers’ luggage is passed at the barriers (limite daziario) on a simple declaration that it contains no such articles. Luggage. If possible, luggage should never be sent to Italy by goods-train, as it is liable to damage, pilferage, and undue custom¬ house detention. If the traveller is obliged to forward it in this way, he should employ a trustworthy agent at the frontier and send him the keys. As a rule it is advisable, and often in the end less expensive, never to part from one’s luggage, and to superintend the custom-house examination in person. Y. Public Safety. Begging. Brigandage. Italy is still sometimes regarded as the land of Fra Diavolo’s and Rinaldo Rinaldini’s, and the impression is fostered by tales of travellers, and sensational letters to newspapers; but the fact is, that travelling in Northern and Central Italy is hardly attended with greater hazard than in any of the northern European t '"Baedeker's Manual of Conversation in English^ French^ German^ and Italian^ with Vocabulary^ etc.'' (Stereotype Edit., Baedeker, Leipsic), which i.s specially adapted for the use of travellers, with the addition of a pocket- dictionary, will soon enable the beginner to make himself understood. —r A few words on the pronunciation may be acceptable to persons unaej- quainted with the language. C before e and i is pronounced like the English ch; g before e and i like j. Before other vowels c and g arq hard. Ch and which generally precede e or are hard. Sc before 4 or i is pronounced like sh ^ gn and gl between vowels like nyi and lyik The vowels «, e, 7, o, u are pronounced ah, a, ee, o, oo. — In adl dressing persons of the educated classes ‘Ella’ or ‘Lei’, with the 3rd persi sing., should always be employed (addressing several at once, ‘loro’ witll the 3rd pers. pi.). ‘Voi’ is used in addressing waiters, drivers, etc., ‘tu’ hyl those only who are proficient in the language. ‘Voi’ is the usual mode of' address among the Neapolitans, but is generally regarded as inelegant or iincourteous. ITALIANS. xvii countries, while Southern Italy is unsafe in its more remote recesses only. The ‘‘Brigantaggio\ strictly so called, is a local evil, which may easily be avoided. In Tuscany, Umbria, the Marca, and in¬ deed in the whole of the districts to the N. of Rome, it is quite unknown, and even the Roman Campagna can now scarcely be looked on as less safe than lonely districts in the neighbourhood of other large cities. For information as to the safety of the roads the traveller should apply to the Carabinieri, or gensdarmes (who wear a black uniform, with red facings and white shoulder-straps, and cocked hats), a respectable and trustworthy corps, the strength of which was raised in 1874 from 1900 to 3297 men. The traveller should avoid the poorer and less frequented parts of Rome and other towns after nightfall. Weapons, which for the ordinary traveller are a mere burden, cannot legally be carried without a license, obtainable through the traveller’s consul or ambassador. Those of a secret character, such as sword-sticks and stick-guns, are entirely prohibited and are liable to confiscation. Begging, which was countenanced and even encouraged under the old system of Italian politics, still continues to be one of those national nuisances to which the traveller must habituate himself. The present government has adopted energetic measures for its sup¬ pression, but hitherto with only partial success. The average Italian beggar is a mere speculator, and not a deserving object of charity. The traveller should therefore decline to give anything, with the words, ‘non c’e niente’, or a gesture of disapproval. If a donation be bestowed, it should consist of one of the smallest possible copper coins. A beggar, who OJi one occasion was presented wTth 2c. and thanked the donor with the usual benedictions, was on another pre¬ sented with 50c.; but this act of liberality, instead of being grate¬ fully accepted, only called forth the remark in a half-offended tone: — ‘Ma, signore, e molto poco!’ VI. Intercourse with Italians. In Italy the pernicious custom of demanding considerably more than will ultimately be accepted has long been prevalent; but a knowledge of the custom, which is based on the presumed igno¬ rance of one of the contracting parties, tends greatly to mitigate the evil. Where tariffs and fixed charges exist, they should be carefully consulted. In other cases, where a certain average price is establish-- ed by custom, the traveller should make a distinct bargain as to the article to be bought or service to be rendered, and never rely on the equity of the other party. Nor should any weight be attached to the representations of waiters, drivers, and guides in matters in which they have an Interest, and with whom even the inhabitants of the place often appear to act in concert. Baedeker. Italy II. Gth Edition. b xvin CONVEYANCES. Individuals who appeal to the generosity of the stranger, or to their own honesty, or who, as rarely happens, are offended by the traveller’s manifestation of distrust, may well be answered in the words of the proverb, ^patti chiari^ amichia lunga\ The equanimity of the traveller’s own temper will greatly assist him if involved in a dispute or bargain, and he should pay no attention whatever to vehement gesticulations or an offensive demeanour. The slighter his knowledge of the Italian language is, the more careful should he be not to involve himself in a war of words, in which he must ne¬ cessarily be at a great disadvantage. In a country where trifling donations are in constant demand, the traveller should always be provided with an abundant supply of copper coins. Drivers, guides, porters, donkey-attendants, etc. in¬ variably expect, and often demand as their right a gratuity (huona mano, mancia, da here, bottiglia, caffe^ fumata), in addition to the hire agreed on, varying according to circumstances from 2-3'sous to a franc or more. The traveller need not scruple to limit his dona¬ tions to the smallest possible sums, as liberality is often a source of annoyance and embarrassment. Thus if half-a-franc is bestowed where two sous would have sufficed, the fact speedily becomes known, and the donor is sure to be besieged by numerous other applicants whose demands it is impossible to satisfy. The demeanour of the stranger towards the natives should be somewhat modified in accordance with their various natural char¬ acteristics. The Italians of the North resemble the inhabitants of the South of France, and those of Italian Switzerland. The char¬ acter of the Tuscans is more effeminate, their language and man¬ ners more refined. The bearing of the Roman is grave and proud. With these, the stranger will find no difficulty in associating; and acts of civility or kindness will not be misplaced, even when con¬ ferred on persons of the lower orders. VII. Conveyances. Railways. With the exception of the Bologna and Ancona line, the whole of the railways in Central Italy belong to the Ferrovie Romane company. As already remarked in the first volume of the Handbook, the rate of travelling is very moderate, and the trains are often behind time. The first class carriages are tolerably com¬ fortable, the second are inferior to those of the German railways, and resemble the English and French, while the third class is chiefly frequented by the lower orders. Among the expressions with which the railway-traveller will soon become familiar are — ^prontV (ready), ^partenza' (departure), '■si cambia convoglio' (change carriages), and 'uscita (egress), which are shouted by the officials with characteristic vigour. When about to start from a crowded station, the traveller will CONVEYANCES. XIX find it couvenieiit to liave as nearly as possible the exact fare ready before taking tickets. In addition to the fare a tax of 5c. is payable on each ticket, and the express fares are 10 - 121/9 per cent higher than the ordinary. It is also very important to be at the station early, as, in accordance with the regulations, the ticket-office closes 5 min., and the luggage-oflice Y 4 hr. before the departure of tlie train. At the end of the journey tickets are given up at the uscita, except in the case of tbe very large stations, where they are collected before the passengers alight. The traveller is recommended to ascertain the weight of his lug¬ gage, if possible, before going to the station, in order to guard against imposition. No luggage is allowed free (but see below, inter¬ national through-tickets), except small articles taken by the pas¬ senger into his carriage. Porters who convey luggage to and from the carriages are sufficiently paid with a few sous, where there is no fixed tariff. Those who intend to make only a short stay at a place, especially when the town or village lies at a considerable distance from the railway, had better leave their heavier luggage at the station till their return (dare in deposito, or depositare, 10 c. per day for each article). The best collection of time-tables is the ^Indicatore Ufficiale delle Strade Ferrate' ^ etc. (price 1 fr.), with which every traveller should be provided. The local time-tables of the Tuscan, Roman, and Neapolitan lines, which may be procured at the railway stations for a few sous, are also useful. Through Tickets to different parts of Italy are issued in London (at the principal railway stations; by Messrs. Cook & Son, Ludgate Circus; etc.), in Paris, and at many of the principal towns in Ger¬ many and Switzerland. They are generally available for 30 days, and each passenger is allowed 56 Engl. lbs. of luggage free. When through tickets are taken from Italy to Switzerland, Germany, etc., that portion of the journey which lies beyond the Italian frontier must be paid for in gold. Travellers about to cross the frontier in either direction are strongly recommended to superintend the custom¬ house examination of luggage in person. Circular Tickets (viaggi circolari) to the principal towns in Italy , available sometimes for 50 days , may be purchased in Lon¬ don, in France, and in Germany, as well as in Italy, at a reduction of 45 per cent (but usually without a free allowance of luggage). Farther particulars will be found in the time-tables, or at the ‘■agenzie'j or railway-offices in the larger towns. For Central Italy alone there are five different circular tours, for which 10-30 days are allowed. These tickets require to be stamped at the office at each fresh starting-point. Return Tickets may often be advantageously used for short excursions, but they are generally available for one day only. It b* XX CONVEYANCES. should also be observed that if the traveller alights at a station short of his destination he forfeits the whole of the rest of his ticket. Steamboats. There are now so many different railway routes from N. Italy to Rome that few travellers will care to travel by steamer from Genoa or Leghorn to Civita Vecchia, or from Trieste to Ancona, although many will still prefer the sea-voyage to the long railway-journey if bound for Naples direct (see vol. iii. of the Handbook). In fine weather, especially in summer, when sea¬ sickness need rarely be apprehended, a voyage on the Mediterranean is very enjoyable, but as the steamers generally ply at night tlie finest parts of the scenery are often missed. Civita Vecchia , the seaport of Rome (p. 7), is at present touched by the vessels of A. d- L. Fraissinet d Co. (office at Rome at Rosati’s, Via Condotti 6) on their way to Naples, and by those of Rubattino d Co. (office at Rome in the Piazza di Monte Citorio, 131) on the voyage to Sar¬ dinia. Ancona (p. 96) is touched once weekly by a vessel of the Peninsular and Oriental Company and by another of Florio d Co..^ from Trieste and Venice. Tickets ■ should be purchased by the traveller in person at the office of the company. The ticket is furnished \sfith the purchaser’s name and de stiuation, the fare, the name of the vessel, and the hour of departure. The saloons and berths of the first class are comfortably and elegantly fitted up, those of the second tolerably. Passengers of the second class have free access , like those of the first, to every part of the deck. Officers of the Italian and French armies, up to and including those of the rank of captain, are entitled to second-class berths only. Luggage. First-class passengers are allowed 100 kilogr. (2 cwt.), second- class 60 kilogr. (135 lbs.), but articles not intended for the passenger’s private use are prohibited. Food of good quality and ample quantity is included in the first and generally in the second-class fare. The steward’s fee for a voyage of 12- hrs. is usually 1 fr. Embarcation, with luggage, generally 1 fr. for each person (comp, pp. 1, 7). The fare should not be paid until the passenger and his lug¬ gage are safe on deck. Passengers should he on board an hour before the advertised time of starting. Diligences. As several of the most interesting places described in the following pages lie at some distance from the railway (such as Urbino, Gubbio, Viterbo, and 8. Gimignano), the traveller must visit them by carriage or by diligence. The Corriere , which carries the mails, has seats for 2-3 passengers only, and the fares are high. The Diligenza , or ordinary stage-coach, conveys travellers with tol¬ erable speed, and generally at the same fares as similar vehicles in other parts of the continent. They are in the hands of private specu¬ lators, and where several run in competition, the more expensive are to be preferred. When ladies are of the party the coupe (fare one- third higher) should if possible be secured. The drivers and ostlers generally expect a few soldi at the end of each stage. — For a party of two or four persons the expense of a carriage with one or two horses hardly exceeds the diligence fares, while the travellers are far more independent. A carriage with one horse may generally be hired for 3 / 4 -I fr. per miglio, and a single seat in a carriage may often be obtained. HOTELS. xxi Walking Tours. An Italian rarely walks if he can possibly drive ; and liow walking can afford pleasure is to him an inexplicable mys¬ tery. The remark has frequently been made to the Editor: ^Lei e signore e va a piedi ? / ’ In the more frequented districts, however, such as the vicinity of Rome, the natives are accustomed to this mania of foreigners, and are no longer surprised to find them ex¬ ploring the Campagna and the Sabine and Alban Mts. on foot. There seems, however, to be a growing taste for walking among the Italians themselves, as a great many stations of the Italian Club Alpino have recently been established for the purpose of ren¬ dering the Apennines more accessible to travellers. Cool and clear weather should if possible be selected, and the scirocco carefully avoided. The height of summer is of course unsuitable for tours of this kind. Biding. A horse (cavallo) or donkey (sommdro^, between which the difference of expense is slight, will often be found serviceable, especially in mountainous districts. The attendant (pedone) acts as a guide and servant for the time being. Riding is now common among the Alban and Sabine Mts. , where animals are provided for the use of ladies also. A previous bargain should be made, tutto compreso, a gratuity being added if the traveller is satisfied. VIII. Hotels. Fikst Class Hotels , comfortably fitted up , are to be found at Rome, Siena, Perugia, and at most of the principal resorts of tra¬ vellers in Central Italy. Several of those at Rome are kept by Swiss and German landlords. Room 2i/2"5fr., bougie 75 c. to 1 fr., atten¬ dance 1 fr., table d’hote 5 fr., and so on. Families, for whose re¬ ception the hotels are often specially fitted up , should make an agreement with the landlord with regard to pension (8-15 fr..each person per day). Visitors are expected to dine at the table d’hote ; otherwise the charge for rooms is raised, or the inmate is informed that they are required for some one else. The cuisine is a mixture of French and Italian. The Second Class Hotels are thoroughly Italian in their ar¬ rangements, and they are rarely very clean or comfortable. The charges are little more than one-half of the above. There is no table d’hote, but there is generally a trattoria connected with the house, where refreshments d la carte or a dinner a prezzo fisso may be procured at any hour. These inns will often be found con¬ venient and economical by the voyageur en garQon, and the better houses of this class may even be visited by ladies. As a rule, it is advisable to make enquiries as to charges beforehand. A dinner, for example at 2-3 fr., may be stipulated for, and in bargaining as to the charge for a room the ‘servizio e candela’ should not be for¬ gotten. Exorbitant demands may generally be reduced without dif- xxii RESTAURANTS AND CAFES. ficiilty to reasonable limits, and even when no previous agreement has been made an extortionate bill may sometimes be successfully disputed, though never without long and vehement discussion. The best hotels have fixed charges. Attendance, exclusive of boots and commissionnaire, is charged in the bill. This is not the case in the smaller inns, where 1 fr. per diem is usually divided between the waiter and the facchino, or less fora prolonged stay. Copper coins are never despised by such recipients. Hotels Garnis and Private Apartments are recommended for a prolonged residence. A distinct agreement as to rent should be made beforehand. When a whole suite of apartments is hired, a written contract on stamped paper should be drawn up with the aid of some one acquainted with the language and customs of the place (e.g. a banker), in order that ^misunderstandings’ maybe prevented. For single travellers a verbal agreement with regard to attendance, linen, stoves and carpets in winter, a receptacle for coal, and other details will generally suffice. The popular idea of cleanliness in Italy is behind the age, dirt being perhaps neutralised in the opinion of the natives by the bril¬ liancy of their climate. The traveller will rarely suffer from this shortcoming in hotels and lodgings of the best class; but those who quit the beaten track must be prepared for privations. Iron bedsteads should if possible be selected, as they are less likely to harbour the enemies of repose. Insect-powder (polvere di Persia , or Keating's) or camphor somewhat repels their advances. The zanzdre^ or gnats, are a source of great annoyance, and often of suffering, during the autumn months. Windows should always be carefully closed before a light is introduced into the room. Light muslin curtains fzan- zarieri) rowwd the beds, masks for the face, and gloves are employed to ward off the attacks of these pertinacious intruders. The burning of insect powder over a spirit-lamp is also recommended, and pas¬ tilles may be purchased at the principal chemists’, for the same purpose. IX. Eestaurauts, Cafes, Osterie. Restaurants (trattorie) are chiefly frequented by Italians and gentlemen travelling alone, but those of the better class may be visited by ladies also. Dinner may be obtained a la carte, and sometimes a prezzo fisso, at any hour between 12 and 7 or 8 p. m., for 2-5 fr. ; the waiters expect a gratuity of 2-5 soldi. The diner who wishes to confine his expenses within reasonable limits, should refrain from ordering dishes not mentioned in the bill of fare. Resides the old-fashioned trattorie, a number of Restaurants'' of a better class have recently been opened in Rome. The cookery is generally French, and the charges and arrangements are similar to those in the other European capitals. The waiter is called came’- UESTAUR4NTS AND CAFES. xxiii riere, but the approved way of attracting his attention is by knock¬ ing on the table. A late hour for the chief repast of the day should be chosen in winter, in order that the daylight may be profitably employed, but an early dinner is preferable in summer when the midday heat pre¬ cludes exertion. Idst of the ordinary dishes at the Italian restaurants: — Minestra or Zuppa^ soup. Consume^ broth or bouillon. Zuppa alia soup with green vegetables and bread. Gnocchi^ small puddings. Riso con piselli^ rice-soup with peas. Risotto (alia Milanese)^ a kind of rice pudding (rich). Maccaroni al burro^ with butter; al pomidoro^ with tomatos. Manzo^ boiled beef. Fritto^ fried meat. Frittura mista , a mixture of fried liver, brains, and artichokes. Frittata^ omelette. Arrosto^ roasted meat. Arrosto di vitello ^ or di mongana^ roast-veal. Bistecca^ beefsteak. Coscetto , loin. Testa di vitello^ calf’s head. Fegato di vitello^ calf’s liver. Braccioletta di vitello^ veal-cutlet. Costoletto alia minuta ^ veal-cutlet with calves’ ears and truffles. Patate^ potatoes. Quaglia, quail. Tordo^ field-fare. Lodola^ lark. Bfoglia, a kind of sole. Principi alia tavola^ or piattini ^ hot relishes. Ficnghi^ mushrooms (often too rich). Presciutto, ham. Salami^ sausage. Pollo^ or pollastro^ fowl. Gallottai turkey. Umido^ meat with sauce. Stufatino^ ragout. Erhe^ vegetables. Carciofi^ artichokes. Piselli^ peas. Lenticchi^ lentils. Cavoli fiori^ cauliflower. Fave^ beans. Fagiuolini^ French beans. Mostarda^ simple mustard. Sendpe^ hot mustard. Ostriche^ oysters (good in winter only). Giardinetto or frutta^ fruit-desert. Crostata di frutti^ fruit-tart. Crostata di pasta sfoglia , a kind of pastry. Fragole^ strawberries. Pern, pear. Melo^ or pomo^ apple. Persiche^ peaches. Uva^ bunch of grapes. Limone^ lemon. Arancio or portogallo^ orange. Finocchio^ root of fennel. Pane francese^ bread made with yea st (the Italian is made without). Formaggio^ cacio^ cheese. Wine (nero or'rosso , red; bianco^ white; dolce ^ sweet; asciutto ^ dry; del paese , wine of the country) is usually placed on the table in large bottles at the Tuscan restaurants and charged for according to the quantity drunk. At Rome and some other places the visitor is asked if he wishes un mezzo litro or un quinto (Vsth litre). Cafes are frequented for breakfast and lunch, and in the evening by numerous consumers of ices. Caff^ nero ^ or coffee without milk, is usually drunk (10-15c. per cup). Caff^ latte is coffee mixed with milk before being served (20-30c.); or caff^ e latte ^ i.e. with the milk served separately, may be preferred (30-40c.). Mischio is a mixture of coffee and chocolate (20-30c.), considered wholesome and nutritious. The usual viands for lunch are ham, sausages, cutlets, beefsteaks, and eggs {uova da bere^ soft; toste^ hard; nova al piatto^ fried). Ices (sorbetto or gelato) of every possible variety are supplied at the cafes at 30-90c. per portion; or a half portion (mezzo) may be ordered. Granita^ or half-frozen ice [limonata^ of lemons; aranciata of oranges), is much in vogue in the forenoon. The waiter, who expects a sou or more. xxiv SIGHTS, SHOPS. according to the amount of the payment, is sometimes inaccurate in chang¬ ing money if not narrowly watched. The principal Parisian newspapers are to be found at all the larger cafes, English rarely. Wine Shops (osterle), especially at Rome, are a favourite haunt of the lower classes, who bring their own eatables from the pizzi- carolo^ or dealer in comestibles. The rooms are generally dirty and uninviting, but the wine is often good. Cigars in Italy (Sicily excepted) are a monopoly of Government, and bad; those under 3-4 soldi scarcely smokable. Good imported cigars may be bought at the best shops in Rome for 25-60 c. — Passers-by are at liberty to avail themselves of the light burning in every tobacconist’s, without making any purchase. X. Sights, Shops, etc. Churches are open in the morning till 12 or 12.30, and generally again from 4 to 7 p.m. , while some of the most important remain open the whole day. Visitors may inspect the works of art even during divine service, provided they move about noiselessly, and keep aloof from the altar where the clergy are officiating. On the occasion of festivals the works of art are often entirely concealed by the temporary decorations. The verger (sagrestano , or nonzolo) receives a fee of 1/2 fr. or upwards, if his services are required. Museums, picture-galleries, and other collections are usually open from 10 to 3 o’clock. By a law passed in 1875 all the col¬ lections which belong to government are open on week-days at a charge of 1 fr., and on Sundays (and sometimes on Thursdays also) gratis. They are closed on the following public holidays : New Year’s Day, Epiphany (6th Jan.), the Monday and Tuesday during the Carnival, Palm Sunday, Easter Sunday, Ascension Day, Whit¬ sunday and Whitmonday, Fete de Dieu (Corpus Christi), the Festa dello Statute (first Sunday in June), Assumption of the Virgin (15th Aug.), and on Christmas Day. A good many other days are also sometimes observed as holidays, such as the Thursday before the Carnival and the day sacred to the local patron saint. Valets de Place (servitori di piazza) may be hired at 5-6 fr. per day. They are generally respectable and trustworthy, but, as they are seldom good judges of what is really worth seeing, the traveller should specify to them the places he desires to visit. Their services may generally well be dispensed with by those who are not pressed for time. Purchases should never be made, nor contracts wdth vet- turini or other persons drawn up, in presence or with the aid of a commissionnaire, as any such intervention tends considerably to in¬ crease the prices. Theatres. Performances in the large theatres begin at 8, 8.30, or 9, and terminate at midnight or later, operas and ballets being exclusively performed. The first act of an opera is usually sue- POST OFFICE. TELEGRAPH. XXV ceeded by a ballet of three acts or more. Verdi is the most popular composer. The pit (platea) is the usual resort of the men, while the boxes and sometimes the stalls (poltrone or posti distinti) are fre¬ quented by ladies. A box (palco) must always be secured in ad¬ vance. — A visit to the smaller theatres, where dramas and com¬ edies are acted, is recommended for the sake of habituating the ear to the language. Performances in summer take place in the open air, in which case smoking is allowed. — The theatre is the usual evening-resort of the Italians, who never observe strict silence during the performance of the music. Shops rarely have fixed prices. As a rule, even where prezzi fissi are professed, two-thirds or three-quarters of the price de¬ manded is a fair offer. The itinerant dealers often ask double and more the value of their wares. With artizans and drivers there is the same necessity for bargaining. On these occasions the expression ‘Von volete?' (then you will not?) will generally have the effect of bringing the matter to a speedy adjustment. Purchases should never be made in presence of valets-de-place, as these individuals, by tacit agreement, receive at least 10 per cent of the purchase-money, which of course comes out of the pocket of the purchaser. XI. Post Office. Telegraph. Letters (whether ^poste restante\ Italian ^ferma in posta\ or to the traveller’s hotel) should be addressed very distinctly, and the name of the place should be in Italian. When asking for letters the traveller should present his visiting card instead of pronouncing his name. Postage-stamps (francohollo) are sold at the post-offices and at many of the tobacco-shops. — Letters of 15 grammes (Y 2 about the weight of three sous) to any of the states included in the postal union (now comprising the whole of Europe) 30c.; post-card (cartolina postale) 15c.; book-packets per 50 grammes 7c.; re¬ gistration-fee (raccomandazione) 30c. Letters by town-post 5c.; throughout the kingdom of Italy 20c. prepaid, or 30c. unpaid. Post-card 10c. In the larger towns the post-office is open daily from 8 or 9 a.m. to 10 p. m. (also on Sundays and holidays); in smaller places it is generally closed in the middle of the day for two or three hours. Telegram of 20 words to London 9 fr., to other parts of Great Britain 10 fr., France 4, Germany 5, Switzerland 3, Austria 3 or 4, Belgium 5, Denmark 71/25 Russia 11, Sweden 8, Norway 8^/2 li'* — To America 10 words 50 fr. Within the kingdom of Italy, 15 words 1 fr. , each additional word 10 c.; telegrams with special haste (telegrammi urgently which take precedence of all others), whether for inland or foreign places, may be sent at five times the above rates. xxvi CALCULATION OF TIME. CLIMATE. XII. Calculation of Time. The old Italian reckoning from 1 to 24 o’clock is now disused in all the larger towns, but is still used by the priests and by the lower classes, especially in Central and Southern Italy. The ordinary reckoning of other nations is called the ora francese. The moment of the sun’s disappearance below the horizon is ‘half past 23 o’clock’; the twilight lasts about half-an-hour, after which it is ‘24 o’clock’, or the close of the day, when ‘Ave Maria’ is rung. The following hours are usually termed ‘iin ora di notte’, ‘due ore di notte’, etc. This troublesome mode of calculation would necessitate a daily alteration of every time-piece in the kingdom, but it is thought sufficiently accurate to alter the hour of Ave Maria by a quarter of aji hour about once a fortnight. The following table shows the Italian compared with the ordinary hours at Rome. By Ita our noon is 1. time our raidnt. is Ave Maria or 24 o’cl. is our By Ita] our noon is . time our midut. is Ave Maria or 24 o'cl. is our Jail. 1-13. 183|4 63/4 [5^4 July 1-14. 153/4 33/4 81/4 14-26. 18^2 61/2 5112 15-31. 16 4 8 27-31. 18114 61/4 [ 53/4 Aug. 1-10. I 61 J 4 41/4 73 4 Febr. 1- 7. 18114 61/4 11-20. I 61 L 41/2 71 2 8-20. 18 6 6 21-31. 163/4 43/4 71 4 21-28. 173|4 53/4 61/4 Sept. 1- 7. 17 5 7 March 1- 6. 173|4 53/4 61/4 8-15. 171/4 5^4 63 4 7-iy. 17i|2 51/2 6>|2 16-23. 171/2 51/2 61 2 20-31. 17i|4 51/4 63/4 24-30. 1 ^ 3/4 53/4 - 61 4 April 1. 17i|4 51/4 63/4 Oct. 1- 3. 53/4 61 4 2-14. 17 5 7 4-12. 18 6 6 15-27. 163/4 43/4 U/4 13-21. I 81/4 61 4 53 / 4 28-30. 16>|2 41 2 71/2 22-31. 18 i |.2 61 2 5^ 2 May 1-10. 161/2 41 2 71/2 Tn^ov. 1- 3. 181/2 61 2 51 2 11-23. 161/4 41 4 734 4-19. 183/4 63 4 51 / 4 24-31. 16 4 8 20-30. 19 7 5 June 1-10. 16 4 8 Dec. 1-27. 19 7 5 11-30. 153/4 33 / 4 8i|. . 28-31. 183|4 63] 4 5.| 4 XIII. Climate. Health. Climate. Most travellers must in some degree alter their mode of living w'hilst in Italy, without however implicitly adopting the Italian style. Inhabitants of more northern countries generally become unusually susceptible to cold in Italy, and therefore should not omit to be well supplied with warm clothing for the winter. Carpets and stoves, to the comforts of which the Italians generally appear indif¬ ferent, are indispensable in winter. A southern aspect is an absolute essential for delicate persons, and highly desirable for the robust. Colds are most easily caught after sunset, and in rainy weather. Even in summer it is a wise precaution not to w'ear too light clothing. Flannel is strongly recommended. CHRONOLOGICAL TABLE. xxvii Exposure to the suminer-sun should be avoided as much as pos¬ sible. According to a Roman proverb, dogs and foreigners (Tnglesi) only walk in the sun, Christians in the shade. Umbrellas or spectacles of coloured glass (grey, concave glasses to protect the whole eye are best) may be used with advantage when a walk in the sun is unavoidable. Blue veils are recommended to ladies. Repose during the hottest hours is advisable, and a moderate siesta is often refresh¬ ing. Windows should be closed at»night. Health. English and German medical men are to be met with in the larger cities. The Italian therapeutic art does not enjoy a very high reputation in the rest of Europe. English and German chemists", where available, are recommended in preference to the Italian. It may , however, be wise, in the case of maladies arising from local causes, to employ native skill. Foreigners frequently suffer from diarrhoea in Italy, which is generally occasioned by the un¬ wonted heat. Ice and rice are two of the commonest remedies. The homoeopathic tincture of camphor may also be mentioned. In such cases, however, thorough repose is the chief desideratum. XIY. Chronological Table of Recent Events. 1846. June 16. 1848. March 18. - 22 . - 22 . May 15. 29. - 80. July 25. Aug. 6 . - 9. Nov. 15. - 25. 1849. Febr. 5. - 17. March 16. 23. - 24. March 26. 31. April 5. - 11 . Election of Pius IX. Insurrection at Milan. Charles Albert enters Milan. Republic proclaimed at Venice. Insurrection at Naples quelled by Ferdinand II. (‘Re Bomba’). Radetsky’s victory at Curtatone. Radetsky defeated at Goito; capitulation of Peschiera. Radetsky’s victory at Custozza. Radetsky’s victory at Milan. Armistice. Murder of Count Rossi at Rome. Flight of the Pope to Gaeta. Republic proclaimed at Rome. Republic proclaimed in Tuscany, under Guerazzi. Charles Albert terminates the armistice (ten days’ campaign). Radetsky’s victory at Novara. Charles Albert abdicates (d. at Oporto, July 26th); accession of Victor Emmanuel II. Armistice; Alessandria occupied by the Aus¬ trians. Haynau captures Brescia. Republic at Genoa overthrown by La Marmora. Reaction at Florence. xxviii CHRONOLOGICAL TABLE. 1849. 1850. 1855. 1856. 1859. April 30. May 11. 15. 16. July 4. Aug. 6. 22 . April 4. 1860. 1861. 1864. 1866. 1867. 1870. 1878. May 20. June 4. - 24. July 11. Nov. 10. March 18. - 22 . 94 May 11. 27. July 20. Sept. 7. - 18. - 29. Oct. 1. 21 . Dec. 17. Febr. 13. March 17. Sept. 15. June 20. July 5. - 20 . Nov. 3. Sept. 12. - 20 . Jan. 9. Febr. 7. - 20 . Garibaldi defeats the French under Oudinot. Leghorn stormed by the Austrians. Subjugation of Sicily. Bologna stormed by the Austrians. Rome capitulates. Peace concluded between Austria and Sardinia. Venice capitulates. Pius IX. returns to Rome. Sardinia takes part in the Crimean War. Congress at Paris. Cavour raises the Italian question. Battle of Montebello. Battle of Magenta. Battle of Solferino. Meeting of the emperors at Villafranca. Peace of Zurich. Annexation of the Emilia (Parma, Modena, Romagna). Annexation of Tuscany. Cession of Savoy and Nice. Garibaldi lands at Marsala. Taking of Palermo. Battle of Melazzo. Garibaldi enters Naples. Battle of Castelfidardo. Ancona capitulates. Battle of the Volturno. Plebiscite at Naples. Annexation of the principalities, Umbria, and the two Sicilies. Gaeta capitulates after a four months’ siege. Victor Emmanuel assumes the title of King of Italy. Convention between France and Italy. Battle of Custozza. Cession of Venetia. Naval battle of Lissa. Battle of Montana. Occupation of the States of the Church by Italian troops. Occupation of Rome. Death of Victor Emmanuel II.; accession of Hum¬ bert I. Death of Pius IX. Election of Leo XIII. Ancient Art. An Historical Sketch, from the German of Prof. Reinhard Kekule. "As the streams lose themselves in the mightier Ocean , so the history of the peoples once distributed along the Mediterranean shores is absorbed in that of the mighty Mistress of the World’‘\ Niebuhr. The traveller who would not wander through the galleries of Rome in mere vacant wonderment may hear in mind these words of Niehuhr. As a preface to the following pages, they will not only help the intelligent observer to a worthy appreciation of the master¬ pieces presented to him, hut enable him to invest them with appro¬ priate historical associations. Amongst the crowd of statues which fill the galleries and cham¬ bers of the Vatican and Capitol of Rome are to be seen the noblest examples of Antique Sculpture. These do not, however, stand in the same relation to Imperial Rome as, for example, tlie frescoes of Fiesole in the Cloisters of St. Mark, or those of Andrea del Sarto in the Church of the Annunziata to Florence, or as the master-pieces of Raphael and Michael Angelo to mediaeval and pontifical Rome. These latter originated, so to speak, with her, were her peculiar attributes, the fitting emblems of her ecclesiastical supremacy. The genius which created them, she inspired, fostered, and rewarded. On the other hand, Rome, the mistress of the World, the Rome of ancient history, though attracting to herself the accumulated treasures of entire epochs of Greek art, though through her inter¬ position names, which otherwise must have remained mere phan¬ tom sounds, survive to receive individually the homage due to their transcendent genius, had nevertheless as little influence on the marvellous development of Greek art, as London had upon the Italian Renaissance, on Giotto and Masaccio, on Raphael and Michael Angelo. In fact, those particular works, which, while they fill the mind with a wonder akin to awe, minister to our noblest gratification, and in the presence of whose marvellous perfection all subsequent efforts are dwarfed into insignificance, occupied in Rome ages ago, and still occupy, a place corresponding to that whi(di XXX ANCIENT ART. the master-pieces of the Italian and other scliools of painting fill in the galleries of London, Paris, and Dresden. Winckelmann was the first to trace in hold and comprehensive outline the history of Art amongst the Ancients, from its infancy and earlier growth to its maturity and gradual decline. Following in the wake of Winckel¬ mann, unceasing research, patiently and persistently pursued, has served to confirm and extend his survey, and to supply, in addition, a host of particulars pregnant with interest. Those indeed, who have conducted this laborious quest, stimulated and directed by the for¬ tunate recovery of monuments and various relics of antiquity, have been the means of determining the history of Antique Art, so far at least as Sculpture and Architecture are concerned ; and this not only in its more salient features , but with an elaboration of detail, so careful and so well authenticated, that the authorship of numerous works is clearly established, and the interest and value of their discoveries in so far unspeakably enhanced. Much indeed remains to be done, and the path of the explorer is beset with doubt and difficulty; but the future promises farther encouragement, if not complete solution. In Art, the Greeks were content to learn from nations whose civilisation preceded theirs. Long before the first image was graven by Grecian hands, the Egyptians^ as far as history acquaints us, had been the first to overcome those difficulties in the choice of a suitable form of expression inseparable from every fresh manifestation of Art. They had established a well defined system, a traditional style, which was exemplified as well in their Sculpture as in their x4rchi- tecture. On the other hand the richly elaborated Art of the Baby¬ lonians and Assyrians^ with its sumptuous wealth of decoration, must also of necessity have had its influence on the Greeks of Asia Minor. Grecian Art had, to begin with, not only adopted the method, implements, and workmanship of their predecessors ; it had possess¬ ed itself of their forms and not unfrequently of the motives of their imagery. Greece did not, however, accept this heritage of art in the spirit of slavish imitation. Architectural models were not adopted in their entirety. Each part separately, each ornament in itself, became the centre of a new conception, and this conception once embodied became a distinct type, the expression of a taste purely Greek. In like manner they treated the conventional render¬ ing of the human form transmitted to them. This, by constant reference to the living model, they continued to manipulate and modify until they attained to that profound and comprehensive grasp of nature, which to this day remains the subject of wonder and delight to our greatest artists. The way thus traversed was long and wearisome. It carries us back through an incalculable suc¬ cession of ages into the impenetrable past. The oldest Ionic and Doric temples, although well-nigh of prehistoric antiquity, exhibit in all essential particulars a clearly defined architectural system ; ANCIENT ART. xxxi and, let it be borne in mind, the architecture of the Greeks did not start into being as Athena from the head of Jupiter, fully armed and equipped. Careful observation will detect in the Orders associ¬ ated in name with the two principal Hellenic races evidences of a very gradual development. Subsequently, to these two orders was added a third, known as the Corinthian. It was inevitable that in the practice of Sculpture as well as Architecture divergences arose which may be characterised as provincialisms; and it is equally intelligible that as Art in Greece assumed more and more majes¬ tic proportions, these provincialisms should have become less and less observable. They were finally obliterated by the glories of what may be distin¬ guished , in reference to art, as the Age of Pericles ; glories associated with the talismanic names of Phidias and Polycletus in Sculpture, and of Ictinus and Mnesicles in Architecture. The golden age of the Italian Renaissance, when Raphael filled the world with rapturous wonder, can alone be compared to a time which witnessed the surpassing achievements of art in Greece. Of the painters of this period, of Polygnotus for example, who flourished somewhat earlier, little can be ascertained. Their works have perished; and all that we can learn of them is at best too hypothe¬ tical to be worthy of record. The name of Polycletus belongs to the Peloponnesus. The con¬ noisseur of his day claimed for him the merit of having presented tlie human form complete in its minutest details, correct in pro¬ portion, perfect in symmetry. One of his works in particular, the figure of a powerful youth armed with a spear (Doryphorus)^ was upheld as an example of the master’s peculiar excellence, and hence was surnamed the Kanon. As a counterpart to the Dory- phorus, and in like manner regarded as a type or model, is the figure of a youth of distinguished beauty, who with both hands folds a band round his head (Diadumenus). Of-one of his Amazons it was said, that it surpassed even the Amazon of Phidias in beauty. Finally, especial glory was claimed for his statue of Hera placed in a temple dedicated to this goddess at Delphi. — Myron’s chief delight was to pourtray the human form in action, but his success was, to say the least of it, partial. Thus he represents his Disco- .holus actually doubled up in the act of throwing the discus. In a group on the Acropolis at Athens the same artist has chosen for his subject the incident of Marsyas in the act of seizing the pipes which the Goddess Athena has rejected, and on which he plays while dancing with delight. He recoils in terror and bewilderment as the Goddess, suddenly appearing, dashes the pipes from liis hand. Finally the Cow of Myron was especially popular. It was boasted of her that so life-like was she’that she deceived both man and beast: nay imposed even on a living calf. But mightiest amidst tliis sculptor band was Phidias. His colossal Statue of Zeus excited ANCIENT ART. xxxii wonder even in Olympia. It was accounted a reproach not to have seen it. His principal works were, however, devoted to the adorn¬ ment of his native city Athens. The colossal figure of Athens’ tute¬ lary deity, the virgin goddess Athena in the Parthenon, was from the hand of Phidias. With him, we may assume , originated those plastic decorations of her temple the remains of which are preserved ill Athens and in London; and in all-jthat his friend Pericles under¬ took with a view to enhance the beauty and glory of their native city, the creative genius, if not always the hand of Phidias was active. So completely indeed had he subjected to his irresistible will the resources of his art, so far had he distanced all competi¬ tors, whether in the present or past, that the force of his genius, overstepping the narrow confines of Attica, imposed its sway upon successive generations of artists. Alcamenes and his favourite Ago- racritus were his most distinguished and successful pupils. The Statue of a Victor in the pentathlon by Alcamenes was, in a simi¬ lar way to the Doryphorus of Polycletus, distinguished by the title of ‘Enkrinomenus’, or Hhe classical’. In the history of Art, as in the history of Poetry, there usually succeeds to what Winckelmann terms the ‘lofty style’, which delights rather in depicting the sublime and majestic, a reaction in favour of a vein of sentiment more tender, more expressive of beauty in her gentler and more graceful aspects; while at the same time freer and more forcible utterance is given to joy and anguish, and generally to the emotions and passions. Tenderness and grace were the divine attributes of Praxiteles and the family of whom he was chief. At this time when Athens, weary of confiict with the Hellenic confederacy, longed for peace, one of the family, Cephiso- dotus (the Elder), produced his Irene and Piutus , the Goddess of Peace bearing in her arms the infantine god of riches, of which there is a copy in the Glyptothek in Munich. Praxiteles himself belongs to a succeeding generation. Above all his Eros in Thespia, his Satyr and the Aphrodite in Cnidus, were the wonder and delight of anti¬ quity. His sons Cephisodotus (the Younger) and Timarchides had also considerable repute. Scopas is usually regarded as the re¬ presentative of the more pathetic and impassioned expression in Art; and amongst his numerous works a Group of Sea Deities and fantastical Sea Monsters are accounted particularly impressive. — The Niohe and her Children^ afterwards carried to Rome, was at¬ tributed variously to Praxiteles and Scopas. Leochares, another contemporary of Scopas, is believed to be the author of a group re¬ presenting Ganymede borne to Olympus on the wings of an eagle. It is said that Alexander the Great would entrust the execu¬ tion of his portrait to none other than Lysippus of Sycium in the Pe¬ loponnesus : and with the name of Lysippus is associated a revolution in taste which culminated in this period. The painter and sculptor Euphranor, a contemporary of Lysippus, but older than he, whose ANCIENT ART. XXXlll especial delight it was to celebrate heroic exploit, had already with purpose and deliberation modified the recognised rules of pro¬ portion. Lysippus moulded the head smaller, and the figure rela¬ tively taller than had hitherto been the practice. In posing the figures too, either standing or in movement, as well as in the entire conception and rendering of Nature, he appears to have developed anew and with dazzling effect what hitherto had not been more than suggested. His forms, though of unmistakably Greek charac¬ ter, are more in conformity with modern taste than those of earlier artists. Among the best known works of Lysippus is the Apoajj/omcnits, the figure of a youth fresh from a struggle in the Palsestra, in the act of using the scraping iron. Gods and heroes, scenes of war and the chase, furnished him with subjects for a host of other works. Among his sons and pupils Laippus, Boedas, and Euthycrates^ the last is most highly esteemed. Not only those of their generation but posterity agreed that Lysippus and the painter Apelles had reached the highest attainable point in the truthful rendering of nature, as well as in the more technical mastery of their art. The influence of Lysippus endured throughout and beyond the end of the follow¬ ing century. His method sufficed for the schools which succeeded him because the new spirit in which they worked had already triumphed in Lysippus. The conquests of Alexander and all that followed in their train — the glories and treasures of the East unfolded, mighty monarchies founded , stately cities built, and growing into centres of wealth and luxury, new forms of worship consequent upon a more intelligent study of nature — afforded conditions both material and other, which stimulated afresh the arts of Architecture and Sculpture. Henceforward Greek art vied, in the splendour of its colossal pro¬ portions, with that of the East. The deeds of victorious monarchs were her favourite theme : she was indefatigable in the contrivance of new forms of luxury and fresh splendour for city, mansion, and palace. Meanwhile, however, the Past was losing its hold upon her. The traditions of the Periclean age, which told how art was content to serve the household Gods with simple piety and to adorn domestic life, were but feebly remembered. Places once instinct with art life were lost in the new and overwhelming growth of cities, now the emporiums of the world’s commerce: Alexandria in hlgypt, Antioch on the Orontes in Syria, Pergamum, and Rhodes. — As an example of what Greek art was doing about this time in Egypt, we may mention the reclining figure of the River-god of the Nile. Around this colossal personage, so benignant in aspect, play, with true in¬ fantine grace, sixteen cherub-like children. These are symbols of the 16 cubits, the measure of that periodical rise in the Nile’s waters which annually submerges the land and endows Egypt with perennial fruitfulness. — A pupil of Lysippus, one Eutychides., re¬ presented the city of Antioch in a group of considerable grace. Tlie Bakdkker. Italy II. 6th Edit. C xxxiv ANCIENT ART. tutelary deity (Tyche) of the city is seated on a rock. In her right hand she holds ears of corn, and on her head she wears a mural crown; while at her feet appears, in the shape of a youth rising out of the earth, the river-god Orontes (the river actually flows under¬ ground for some distance). The sculptors of Pergamum celebrated the victories of their kings over the Celts. The statue of the Dying Gaul (the so called ‘dying gladiator’) in the museum of the Capitol, and the Group of Gauls in the Villa Ludovisi are most impressive examples of the manner in which they were inspired by the theme. The northern barbarian, differing widely as he did in configuration, costume, and habit from the Greek, was a study of engrossing interest to the sculptor, and was reproduced with physiological accuracy. At the same time, that the fame of the victor might be magnified to the utmost, the sculptor sought to embody all that was admirable in the character of the vanquished: his ill-trained but chivalrous valour, his inflexible determination to die rather than suffer disgrace. So late as the 4th century A.D. there was still to be seen on the Acropolis a votive offering of King Attains in the shape of a group with numerous figures representing the struggles of the gods with the giants, of the Athenians with the Amazons, of the Athenians with the Persians, and Attains himself with the Celts. Quite recently, figures have been recognised as belonging to these groups in the collections of Venice, Rome, and Naples. — Of the Rhodian School we have examples in the so-called Farnese Bull in the museum of Naples, and in the Laocoon. The date of the Laocoon has not been established. Since the days of Winckelmann, who assigned it to the time of Alexander, and of Lessing, who maintained that it belonged rather to that of Titus, there has been a constantly recurring controversy on the subject. It is, however, highly im¬ probable that the Rhodian School retained, as late as the reign of Titus, the vitality necessary for the production of so considerable a work. From the preceding pages it will be gathered how many crises and how varied a development had been experienced by Greek art down to the time when Home herself came to be included within the charmed circle of Greek culture. Transplanted to strange lands, and subjected to new influences and associations, Greek art ex¬ changed its distinctive Greek character for one universal and cos¬ mopolitan. Rome had not been, it may be remarked, without an art she could call her own. The old City-Walls raised in the time of the Kings, the Career Mamertinus, and the Cloaca Maxima prove that the Romans could in times comparatively remote carry out architectural works on a grand scale, although principally for utili¬ tarian purposes. The rudiments of Sculpture they probably acquired from Etruscan artists, whose earliest attempts would be the exe¬ cution of images of the gods in wood and clay. In Etruria^ ANCIENT ART. XXXV where Greek influence had long been active, considerable proficiency as well as activity prevailed in the pursuit of art, although but scanty traces of the purity and elevation of Greek taste are dis¬ cernible. In Rome, however, the Greeks of Southern Italy grafted their art on that of the Etruscans. A bronze toilet casket (the so called Ficoronian Cista) found in Palestrina, which was executed in the workshop of Novius Plautius in the 3rd century B.C., exhibits in its tracery a purity of design unmistakably Greek, although differing little in shape and plastic accessories from the very ordin¬ ary and often rude vessels of the period. The Romans highly esteem¬ ed faithful Portraits. Likenesses of ancestors were preserved in wax masks, and displayed on occasions of ceremony. The plastic art of the Etruscans gives evidence of a certain grasp of portraiture, whicli, though not profound, was still effective. As Roman rule extended itself over Southern Italy and Sicily, and later to Greece and the Asiatic continent, a constantly increasing number of works by Greek artists found their way to Rome, for the most part, probably, as spoil of war. Presently, too, the wealthy patrician, following the bent of his individual taste or the prevailing fashion, gave commissions for works to be executed in Greece, or in Rome itself, to which ne¬ cessity had brought many artists. Rome thus became the recognised centre of a taste and fashion which she could call her own. Both stood in close relation, not only in point of time, but in a community of idea and aspiration , to the art of a period immediately following the reign of Alexander. There is no doubt, however, that a vast number of works are accepted as specifically Roman only because all traces of the Greek models have been lost. From these, it may be taken for granted, the artists of Imperial Rome derived the designs or at least the suggestion of works of utility, as well as of buildings devoted to mere display, such as temples, palaces, triumphal arches, and tombs. The student familiar with the three orders of Architecture, viz. the Doric, Ionic, and Corinthian, as they are to be seen in Athens, and comparing these examples with their reproductions in Rome, will have little difficulty in detecting a divergence which cannot be explained by differences either in forms of worship or in the general scope of the design (a conspicuous basement with flights of steps in front). The delicate modelling of the best period of Greek art was in Roman hands either simplified, and so denuded of its true artistic significance — looking in short like the work of the handi¬ craftsman — or so overloaded as to become hopelessly confused. Even in their most admirable buildings a mere profusion of super¬ ficial decoration is substituted for that perfect harmony pervading and animating the Greek structure, whether as a whole or in its minutest detail, which we find in the Parthenon for example. The Doric and Io7iic orders found comparatively little favour with the Romans, and where they appear, it is rather in the form of mural XXXVl ANCIENT ART. columns than entire shafts. The exquisite taper of the shaft was thus sacrificed, the capitals were not happily disposed, and the Doric column instead of springing, as with the Greeks, direct from the flooring received a separate base. The favourite style was the more ornate Corinthian ,* and the Romans thought yet to add to the wealth of ornament by superimposing upon the capital already veiled with the graceful form of the acanthus leaf, the volute and abacus of the Ionic capital. The entablature of the earlier orders is easily distinguished. In the Doric the architrave rests on the column and is unarticulated, while the frieze above the architrave receives the triglyphs at short, regular intervals. The Ionic archi¬ trave on the other hand is divided into three horizontal courses, the frieze being without triglyphs. -The Corinthian entablature re¬ sembles the Ionic, but the cornice is more richly articulated, cor¬ bels are substituted for the indentations, and the whole is richly wreathed with acanthus leaves and other ornamentation. The noblest, happily also the best preserved building of old Rome is unquestionably the Pantheon of Agrippa, built in the time of Au¬ gustus. In spite of much disfigurement received in later times, this vast edifice, comprised in its interior within the precincts of one majestic circle, and obtaining the light of heaven from the centre of its wondrous dome , continues to impress the beholder with un¬ failing, overwhelming effect. Therefore it is that the Pantheon, hav¬ ing survived the period of art’s extinction and revival, better re¬ presents the solidity, the daring, and the splendour of Roman archi¬ tecture than the stupendous remains of palace, bath, and circus. An important innovation which Plastic Art experiences in tlie latter days of the Roman republic remains to be mentioned. The introduction of Eclecticism may be attributed toPASiTELEs, a native of Southern Italy. It would appear that he had striven, by way of protest against the unrest and violence apparent in the works of his predecessors of the Rhodian School, to restore to art something of her primitive simplicity, and to combine the excellences of the older schools while he avoided their errors. His aim was to revert to the stern simplicity and thoroughness of the earliest sculptors. At the same time he studied nature independently and carefully, while he was not neglectful of the minor graces of his art. Ste¬ phanas was his pupil, whose pupil again was Menelaus, from wliose cliisel we have a group now in the Villa Ludovisi, com¬ monly known as Electra and Orestes. Though the real intention of the author will probably never be known, this work serves to teach us how earnest was the endeavour, andhowhappy the result of art study in the school ofPasiteles. It is not, however, given to eclectic schools to exercise a powerful or enduring influence. Accordingly we find a comparatively small number of works belonging to tlie school of Pasiteles. That sciiool of art, too, which was especially encouraged by the ANCIENT ART. xxxvii Emperor Hadrian, adopting as it did not only Greek but also Egyp¬ tian models, was eclectic in the most extended sense of the word. Amongst its better known works is the figure of Hadrian’s favourite Antinous, in whicli with undoubted beauty of form is combined a somewhat lugubrious solemnity together with a smooth glossy and superficial elegance little to the taste of the modern connoisseur. Far more attractive are the basreliefs on various public monuments — sucli as the Arch of Titus and Trajan s Column — celebrating the triumphs of Roman arms. With Greek artists a characteristic mode of representing in relief the triumphs, actual or mythical, of their heroes was to express battle by means of isolated groups of single combatants. And not only are the more stirring incidents of the battle thus signalised. Appeal is made to the gentler emo¬ tions : a dying warrior is carried off the field; or the victor spares tiie life of a prostrate adversary. For plastic purposes this was found to be the most effective mode of representation, serving as it does to awaken the interest and rivet the attention of beholders. The Assyrians had, however, already executed reliefs in which the effect of pitched battle was rendered with more literal accuracy; and that the Greeks, too, could on occasion meet the requirements of this more arbitrary taste, we learn from the friezes of the so- called Nereid monument discovered in Lycia, where the con¬ tending hosts close with each other in elaborate order of battle. The painter, favouredby conditions more submissive to his will, had already grouped the combatants in larger and denser masses. How admirably they contrived along with the crowd and confusion of battle, to give effect to traits of individual heroism and to give to single and central figures their appropriate expression, is exem¬ plified in the celebrated mosaic to be seen in Naples of the Battle of Alexander^ vs^hich, there is no doubt, was copied from a painting of the period. It may be premised therefore that this condensed and elaborated treatment in relief — obviously akin to painting — in which the marches, battles, and triumphs, the operations of Roman armies and their imperial chiefs, were set forth with the utmost attainable accuracy, with all detail of equipment and armament of camp and battle-field, was not the newly gathered fruit of Roman in¬ ventiveness , but must rather be ascribed to the age of Alexander and his successors. And the same may be assumed of the archi¬ tectural form of these monuments. In Portraits, too, whether of full length or only busts, of emperors and empresses, warriors and states¬ men, as of persons of less exalted position, there were not wanting- impressive examples in Greek art; and here again Roman taste coincides with that of the Diadochan age. It may be conceded, however, that owing to the interest long taken in portraiture by the Romans and to the attention which this branch of art had so long received in Rome and Etruria, it had acquired a more distinctly Roman and Italian character, and so had a perceptible infiuence ANCIENT ART. xxxviii on Greek artists resident in Rome. Thus is it that portraits of the Emperors exhibit a degree of power in execution and expression scarcely to be looked for at so late a period. Not unfrequently the Emperors were represented in the costume proper to religious cere¬ monies ; or in fashion like to the gods themselves, and invested with their attributes. Most commonly, however, they appear in the costume and character of a general in the act of haranguing his cohorts. We have striking examples of these imperial portraits in the equestrian statue in bronze of Marcus Aurelius on the Capitol, and in the marble statue of Augustus in the Vatican. This latter gives unmistakable evidence of having been painted. From the reliefs on the richly ornamented armour which set forth with due regard to historical accuracy the more conspicuous and familiar in¬ cidents of a reign especially favoured by the gods, we are justified in the conclusion that this figure was executed about the year 17 B.C. In his treatment of the female figure, too, whether seated or standing, the sculptor knew how to impart a distinguished and imposing view by a sumptuous arrangement of the drapery. There is a peculiar gratification in finding, after a careful study of these portraits — many of them of personages famous in history— an exterior so closely corresponding to the picture of the historian. Many of the heads, indeed, which thus impress the beholder have not been identi¬ fied. In portraiture, the Greek sculptor adopted the Hermean form, while the work of the Roman is recognised almost infallibly in the fewst form. The latter largely preponderate, although amongst the collective works of sculpture preserved, the Greek element is considerably in excess of the Roman. An attentive observer will not fail to mark this distinction, and learn also to detect the handiwork of the modern restorer which too often disfigures these antique marbles. The same tendency which led the wealthy citizens of Rome to adopt the literature and culture of Greece was observable in the taste displayed in the works of art they chose for the decoration of their palaces and villas, whether executed in Rome itself or in Greece. In other respects they appear to have been attracted by the same objects of interest as English collectors of the present day. Antique art taken as a whole would probably fail to interest the average man of rank, unless it were associated with some historical inci¬ dent , some names of renown, or some startling anecdote. But of such works as the figures of the Three Graces in bas-relief (though rigid in execution) which the ciceroni of the Acropolis shew as the work of Socrates, and the group of Harmodius and Aristogiton, the Tyrant slayers, in the market place of Athens, of archaic antiquity, which had been carried off by Xerxes and restored to its wonted place by Alexander: — of works such as these copies at least would be in request. The powerful development displayed in the figures of Po- lycletus, and the action expressed in those of Myron, appear to have possessed greater attractions for the Romans than the works of Phi- ANCIENT ART. xxxix dias. Numbers of statues belonging to the Periclean age have come to light in Rome, replicas for the most part of Victors in the Games and of Amazons. Figures of the Gods, with few exceptions, belong to a later period. The most numerous, and also very charming, were the graceful forms of more recent Attic art, represented by Praxiteles and his compeers; also the elegant and animated creations of the Lysippian and post-Lysippian schools. It is hardly conceivable that in the museums of Rome, filled as they are with works of sculpture collected on the spot, no original works are to be found. Assuredly there has been a time when they have not been wanting in Rome: and it seems improbable that one and all should have been lost in the devastation which has more than once made wreck of the Eternal City. Certain it is, however, that the greater part of what we now see are either replicas or copies. This fact is determined by the material. The great statues of Phidias and Praxiteles set apart for the temples were of gold and ivory, while Polycletus and Lysippus worked in bronze. In Attica, too, this costly material was preferred by the earlier sculptors. It was only by degrees that marble came into use for groups as well as single figures. The ‘Discus thrower’ of Myron, as well as the groups of Marsyas and Athena were originally in bronze. In the Palazzo Massimi alle Colonne there is to be seen a striking figure readily recogni¬ sed as that of Myron’s ‘Discus thrower’, but it is in marble. In like manner the Marsyas in the Lateran is of marble, and so also is the Apoxyomenus in the Vatican museum. Just as we moderns delight in the copy or engraving of some celebrated picture, the amateur of old gave his commission for the copy of some favourite statue, to be executed in bronze, or, more frequently, in marble. At any rate comparatively few works in bronze, of importance in point of size, are preserved. It was not enough to have simply repeated the celebrities of sculpture. The artists of the so-called New Attic School, which flourished in the last century B. C., we find reproducing 'the works of their predecessors very effectively with such departures from the original as are to be seen in a more arti¬ ficial and highly wrought arrangement of drapery, a more decorative rendering of the detail generally, and an attempt to impart increased animation to the figure as a whole. Such piracies, when tolerably successful, became in their turn models for numerous imitations. The results of this process are exactly what the connoisseur will be prepared to find, and such as present themselves in the collec¬ tions of antique art in Rome. He must not expect to find himself in the presence of the simplicity and directness as well as grandeur of aim characteristic of Greek art in her loftiest moods : but rather of her attenuation in the shape of imitations and adaptations, the growth of the Imperial age. Antique art, however, exhibits through¬ out its career an astonishing vitality and continuity. The spirit of the Greek is mighty even in expiring .• and nowhere can the course xl ANCIEN ART. of her marvellous development he studied with the same complete¬ ness as in Rome. Monumental works, inconspicuous and unfamiliar as they so of¬ ten are, appeal less powerfully to the imagination than statuary, where dazzling heauty enthrals the senses. These monuments, however, will have a charm of their own for the discriminating observer. In the Egyptian department of the Vatican he can con¬ template the relics of a prinneval antiquity, while in the Gregorian xVluseum he is reminded of the mysterious Etruscans. It will he interesting to compare the attitude and proportions of Egyptian with Grseco-Roman ligures, and to discover in the Sphinxes of the Villa Alhani, in the Lions hy the approach to the Capitol, as well as in the numerous obelisks, to he seen in the piazzas of Rome, evidence of the mastery acquired hy the Egyptian in Art. And their works were in the Roman’s eye fitting objects wherewith to celebrate his triumphs, and adorn the capital of an empire including within its far reaching hounds people of almost every race and climate. In the Gregorian Museum the portrait busts in terracotta hy the Etruscans exhibit a mode of expressing individuality peculiar to themselves; the bronze vessels display that skill in the working of metals for which they had long been famous; while the large copies of mural paintings which adorned the tombs bring to light the method of painting as practised by the Etruscan as well as, in the choice of subject, their preference for scenes of sensualism and bloodshed. Here, too, is to be seen a collection ofPAiNTEu Greek Vases ex¬ ceedingly rich and beautiful, discove ed, it is true, in Etruria, but, as is evident from the subjects represented, from the drawing, but chiefly from the inscriptions, imported from Greece — the greater part indeed from Athens. It is not difficult to distinguish those speci¬ mens, which, though borrowed from the Greeks, were of Etruscan manufacture. They are inferior in taste and execution, as well as in design and modelling, and are not to be mistaken for the work of artists. But the Greek vases themselves vary in character; those for instance having the black figures on a red ground being of earlier date than those showing the reverse arrangement of these colours. Nevertheless the painters of these vases, mere handicraftsmen as we must suppose them to havebeen, could render mythological subjects, and scenes of everyday life, with a vivacity and poetry of conception ; they knew so well how to draw, and, with means and resources necessarily very limited, were so far masters of expression, that — despised though they may be by the superficial and ignorant — they bear not only remarkable testimony to the quality of workmanship then prevailing in Attica, but afford a glimpse at the art of their day in Athens as seen through the eyes of these unpretending artificers. Finally there remain to be noticed the Sarcophagi, which, vari¬ ously ornamented with reliefs, are to be seen in museum, in villa, and in palace court. The only specimen preserved to us from the old ANCIENT ART. xli Roman time is the Sarcophagus of L. Cornelius Scipio Barhatus in the Museum of the Yatican. It resembles an altar both in shape and style of ornamentation, and is almost the counterpart of one still standing in Pompeii. It is only consistent with the then prevailing religious rites that sepulchral monuments should have been thus architectural in character. In Greece itself this was conspicuously the case:all sarcophagi which have been discovered within the con¬ fines of Geece proper showing a distinctly architectural treatment. The Roman sarcophagi combine much that is essentially Greek witli adaptations from the funeral urns of Etruria. They give signs, how¬ ever, of an independent development, and although including a di¬ versity of shapes and decoration, have for the most part their bas- reliefs arranged on the front and sides (and, where extraordinary rich¬ ness of effect was desiderated, on the back also) as a frieze or band. One naturally endeavours to trace in the decoration bestowed on these repositories of the dead, some indication of their purpose. In m any instances, however, it is evident, that approi)riateness of design, if originally acknowledged as indispensable, was presently lost in a promiscuously lavish decoration. Certainly there is no obscurity in such allusions to the goal of life as we discover in Cupids rowing te the lighthouse tower, or when we see them careering round the goal in the circus. In such symbolical figures as those of the seasons we are taught to reflect on the inevitable course of creation, existence, and decay succeeding to maturity. AsHylas is borne away by the Nymphs, and Ganymede by the eagle, so we may fancy the soul begrudged from its earthly existence. Hippolytus may serve to recal the virtues of such as came to an untimely end, Niobe, the grief of the survivors ; sleeping Cupids may symbolise sleep favoured by the Gods, while Ariadne discovered by Dionysus, Endymion visited by Selene present death itself as but sleep in unfamiliar guise. On the other hand scenes of Bacchanalian revelry can hardly be accepted as allusions to the future state; and even in a less degree are Nereids and Medeahs, and more of the like, in bas-relief, capable of such interpretation: and rarely, too, does any reference of a distinctly per¬ sonal character go beyond a mere vague allusion to life and death. It is tolerably certain that these sarcophagi were made in large numbers, in advance of immediate requirements. A somewhat extra¬ ordinary expedient for introducing a reference to particular indi¬ viduals, was that of bestowing the lineaments of the departed upon such heroes of mythology as were made to figure in these reliefs. Thus it is we find portraits of the deceased in such mythical per¬ sonages as Admetus and Alcestis, in Hippolytus, and, what is more remarkable, in Pluedra herself. In a considerable number of cases these reliefs are almost identical, and are evidently made after one model, with such modifications as might be effected by the intro¬ duction or omission of single figures or groups, showing nevertheless more or less of artistic intelligence and resource. They form a ANCIENT ART. xlii group displaying the established forms and traditional models, wliich in respect of means of expression and motive are the worthy inheritance of Greek art at its best. Yet these sarcophagi, regarded even as Roman works, are by no means of early origin. It must not, however, he forgotten in estimating the quality of work bestowed upon the sarcophagus, that it was not intended to he closely inspected by the light of day, hut would he consigned to the twilight of the tomb, where a stray gleam of light might hut for a moment reveal its detail. Hence, in the execution of these reliefs the object was to give prominence to leading features, without an overscrupulous nicety of finish, and this end has been attained with a success worthy of all admiration. It has been ascertained beyond doubt, that the introduction of the sarcophagus as described above was coeval with a mode of burial which became the fashion in Imperial times; otherwise the artistic merits of these monuments might well have misled us in computing their age. The great majority of Roman sarcophagi belong to the 2nd and 3rd centuries after Christ, and to an even later period. The Early Christian Sarcophagi simply repeat and perpetuate X^receding pagan models. It is a peculiar coincidence that these in¬ conspicuous memorials should have contributed to the revival of art in the middle ages. Niccold Pisano found a fertile source of inspi¬ ration in the Roman sarcophagi of the Campo Santo in Pisa; nor did Peruzzi and Raphael disdain to use them as models. With this passing glance at the homage thus done by Raphael and Ills compeers to the art of antiquity, these pages may fitly conclude. The endeavour has not been to fetter the judgment of the reader, but rather so to direct his observation and stimulate his interest as to give him that self-reliance which alone will arouse in him an intelligent interest, and afford him a genuine pleasure in what he sees. To praise the creations of great artists in empty or mere conventional phrase would simply offend. They alone will exper¬ ience the full measure of delight to be derived from the contem¬ plation of these treasures, who rely upon their owui judgment and cultivate to the utmost the delicacy of their perceptions. Roman Art, MEDIAEVAL AND MODERN, by Prof. A. Springer of Leipsic. Rome as Mistress of the world became the centre of contempora¬ neous culture. Art had found with her a new term ; and Greece as fitting tribute to the conqueror laid at her feet the accumulated wealth of ages — the treasures of her art, which long had embodied the loftiest conception of the beautiful. Her supremacy secured, Rome became the chief resort of artists, and their liberal patron. She dictated the tone, alike in taste and fashion, and determined the destinies of art. Down to mediieval times Rome continued to receive the proud title of ‘Caput mundi’. Presently, however, she laid claim to supremacy in another realm than that of art; and this latter, as the ancient traditions were gradually outlived, finally fell into neglect. In more recent, as in former times Rome has failed to create for herself, as the out¬ come of her individuality, an art peculiar to and a part of herself. Her destiny seems to have been to gather from external sources the wealth in which she revelled, with the difference that while ancient Rome furnished nothing beyond, a magnificent arena for the art of her day, in later times the artist found in Rome herself his sources of inspiration, compelled as he was to contemplate perfection reflected in the dazzling mirror of antique art. Ten centuries, however, elapsed ere Rome resumed this proud pre¬ eminence. A glance may now be directed to the interval between the fall of old Rome and the period when, animated with a new life, Rome drew to herself the foremost representatives of the Renaissance, to whom she afforded inspiration for their grandest efforts. It is not, however, the 16th century, not the glories of the Renaissance, that give to the Rome of our day her distinctive character, but rather the new and imposing exterior which she re¬ ceived at the hand of her architects in the 17th century. The mind must be disenchanted before the veil can be penetrated and the Rome of antiquity adequately comprehended. The protracted suspension of all activity in art makes it appa¬ rent that Roman art has a history distinct from Italian art. For xliv ROMAN ART. several centuries the towns of Tuscany were the principal abodes a natural art life. But just as in Rome Italian art achieved its' most signal triumphs in the persons of Raphael and Michael Angelo and the masters of that period : so in Roman ground we find that Chris¬ tian art first took root and attained to its most important dimen¬ sions. In Rome then we find the strongest inducements as well as the richest opportunity for the study of Early Christian Art. In the4th century heathendom, long tottering to its fall, was, in appearance at least, absorbed in the younger Christian world. A new era in art is inaugurated. Not that we are to assume the simulta¬ neous extinction of the pagan art of ancient Rome , nor that it w^as at once superseded by an altogether new style provided as it were for the emergency. The eye and hand are to a greater extent crea¬ tures of habit than the mind. New views and altered conceptions of the Supreme Being as well as of the destiny of man found acceptance. But to embody them the artist had to resort to the old established forms. Then heathen rules were by no means uni¬ formly hostile to Christianity (the j)eriod of bitterest persecution began with the 3rd century A. D.): and that the new doctrine should have expanded and taken root, should have been permitted to organise itself in the very midst of heathen society, is evidence that it was received even with favour. As a consequence of these conditions it will be observed that the art of the early Christians presents no remarkable con¬ trast to that which precedes it, and that they were content to adopt and perpetuate the traditions of the antique. The Roman Cata¬ combs afford abundant proof of this. Encircling the city as witli a subterranean trench, they were originally far from being what they subsequently became — secret, carefully concealed places of refuge for tlie early Christians; but rather their regularly ordained and publicly accessible places of burial (e. g. the Catacomb of Nico- medus and that of Flavia Domitillof), and were first designedly con¬ signed to darkness and concealment during the 3rd century, a period of constantly recurring persecution. The Christian community, reared as it was in the midst of Roman paganism, probably did not dream of subverting the principles of antique art. In the adorn¬ ment of the Catacombs they retain the types transmitted to them; so also in the particulars of drawing and colour the precedent of the Antique is closely followed. Christ represented as the Good Shepherd, Orpheus as the symbol of Christ, and evidences of the long standing repugnance to any rendering of the Passion-history, afford proofs of the readiness to accept the art heritage of their precursors. The older these catacomb paintings are the more closely they ap¬ proximate to the types of antiquity. Even the Sarcophagus Sculpture of the 4th and 5th centuries differs in purpose only, not in technical rendering of form, from the typical reliefs found on pagan tombs. It was only in the Utter half of the 6th century that a ROMAN ART. xlv new style declared Itself in painting which like other branches of plastic art had more or less fallen into a state of decay meanwhile. Architecture adapted itself to the exigencies of Christian worship, and in allying itself to the new architectural forms, painting acquires a new character. The term Basilica is understood to apply to Christian temples up to the 10th century. The subsequent belief that a more inti¬ mate relation than that suggested by a common name subsisted between these early Christian edifices and the forensic Basilica of ancient Rome, was altogetlier an erroneous one. The latter were in fact the Roman courts of law and places of public meet¬ ing. They had a place in most of the towns of the Roman em¬ pire and were erected in the forum, but have nothing, whether of origin or form, essentially in common with the early Christian temple or church. These forensic basilicas were not adapted to purposes of Christian worship, nor did the old Roman basilica serve as a model for the building of Christian places of worship. In proof of the one assertion may be adduced the fact that the forensic basilicas at the end of the 4th century retained intact their original destination, and in individual cases have been restored; while the other will be justified by an unprejudiced exam¬ ination of the various parts of the Christian basilicas, which give evidence of having sprung from another source than that of the old Roman basilica. Neither did the Temple of antiquity fur¬ nish the model for churches built by the early Christians. The church of SS. Cosma e Damiano, of the 6th century, is the earliest example of a pagan temple applied to Christian use. The Chris¬ tian basilica may be said rather to have grown out of the Roman dwelling-house, where at first the community was in the habit of assembling. The plan for future ecclesiastical edifices was acquired by simply extending the proportions of the dwelling-house. The church of S. Clemente in Rome is relatively the most perfect example existing of the architectural properties and internal arran¬ gement of the early Christian basilica. A small portico supported by pillars leads to the outer court {atriurn), enclosed by a colonnade and having in its midst a fountain {cantliarus). The eastern colon¬ nade leads into the interior of the church which was usually divi¬ ded into three aisles. Two rows of columns divide the side aisles from the loftier one in the centre known as the nave; the nave and aisles abut upon a half circle or apse. At right angles to these aisles, between them and the apse, was sometimes inter¬ posed a third space — the transept; the altar stood within the apse and apart beneath a canopy supported by pillars, and in its front, enclosed by rails or cancelli.^ w'as the choir for the officiating priests and two pulpits {ainbones^.^ one used for reading the Gospel, the other the Plpistles. In marked contrast to the temple of antiquity, little care was bestowed upon the external architecture of these early xlvi ROMAN ART. Christian basilicas, the most impressive effect being reserved for the interior. And to this end, especially in earlier mediaeval times, a ready expedient for supplying decorative material vras adopted in the plunder of the monuments of antiquity. Columns were carried off and set up in Christian churches without regard to congruity of material or consistency of style. Thus in the churches of S. Maria in Trastevere and S. Lorenzo Fuori le Mura are to be seen pillars of different material and workmanship. The churches of S. Sabina, S. Maria Maggiore and others give evidence of similar depredations. Crosses and lustres in metal, tapestries bestowed by papal piety contributed to the ornate effect of these interiors. But the principal decorative feature were the pictures in mosaic which covered the recess of the apse in particular as well as the arch which connected the apse with the nave (the Triumphal Arch^. These Mosaic Pictures, as far, at least, as the material was concerned, demanded a novel artistic treatment, massive and monumental in character. In them we find the traditions of antiquity abandoned, giving place to a style which from its harshness as well as austere solemnity of conception has been confounded with the Byzantine style. In reality the art was of indigenous growth; and its salient characteristic may be defined as the substitution of the real for the symbolical in general treatment. Now for the first time the pop¬ ular mind became thoroughly imbued with ecclesiastical senti¬ ment, of which the crucified Saviour was the chief embodiment. The oldest mosaics, composed of glass cubes, are to be seen in the church of S. Pudenziana. They date from the 4th century like those in S. Costanza and the Baptistery of Naples; while those in S. Maria Maggiore and S. Sabina belong to the 5th century. The mosaics in SS. Cosma e Damiano in the Forum (526-30) may i. be pronounced as the most beautiful. The rudiments of Christian art are to be found in Rome; but its further development was promoted in an equal degree by other Italian states. Building was still active in the 9th century, while the Popes, especially Leo III., of the 7th and 8th centuries did good service in church decoration. But during this period there is no evidence either of progress or continuous develop- . ment in the Mosaic art and as little in architecture itself. The experiment (as seen in S. Prassede, 9th century) of combining piers with the pillars of the nave as a support to the walls and of con¬ necting these with transverse arches was not repeated. Finally it may be said of the Mosaics (N. Prassede , SS. Nereo ed AchiUeo, S. Marco), that, while they bear a superficial resemblance to the gi works of the 5th and 6th centuries, they show unmistakable signs of j|-j corruption and decline. This may be accounted for to some extent j by the evil times which had fallen upon Rome since the 9th century, culminating in a conflagration — the work of an incendiary Giiis- cardo — which laid waste the entire southern quarter of the city. ROMAN ART. xlvii extending from the Forum to the Lateran and to the slopes of the Esquiline. The chief employment of the architect was the con¬ struction of fortified towers and places of strength rendered neces¬ sary by the ceaseless warring of factions within the city. In 1257 Brancaleoni demolished 140 of these strongholds, the majority of which had been erected on the ruins of some monument or other of antiquity. The most striking example of the rudeness of early mediaeval architecture is to be seen in the Casa di Pilato or di Rienzo, Built by one Nicolao, son of Crescentius (probably in the 12th century), its chief ornamentation consists of marble fragments apparently picked up at random and put together in the wildest confusion. At the close of the 12th century brighter days dawned for Roman art. ‘Magister Romanus’ now became a title which the artist was proud to append to his surname. A speciality in decora¬ tive art appeared in Rome about this time which did not connect itself, it is true, with the traditions of antique art, though ready to utilise its material, without, however, resort to the depredations of a bygone age. And material was still at hand in richest abun¬ dance, in an endless array of shattered marbles. These were divided and subdivided, cut or sawn into minute slabs, arranged in patterns, enlivened by the introduction of stained glass and gold leaf, pre¬ senting as a whole a richly coloured decorative effect. These marble mosaics adorn the flooring of churches, altar sides, episcopal chairs, pulpits, and doorways; they enliven monumental sculpture, they fill the flutings of the elegantly twisted columns which bore the Easter candles or adorn the entablature of cloistered courts. This art became the monopoly of particular families and was regularly transmitted from generation to generation. The monumental marbles of this time are generally known as Cosmato Work, a name derived from two members of a family thus privileged. Such work is frequently to be met with in Rome. Conspicuous among the mosaic floorings are those of S. Maria Maggiore, S. Maria in Tras~ tevere, and S. Lorenzo Fuori le Mura (12th century). S. Clemente and S. Giorgio possess altar tabernacles of Cosmato work and S. Lorenzo the finest example in its pulpit. Of similar work in cloisters (racciano. The line now* approaches the plantations of (186 M.) Maccarese to the right, sup¬ posed to be the ancient Fregenae, which lay near the mouth of the Arroue, a river descending from the Lago di Bracciano. The Lago di Ponente or Stagno di Maccarese is now skirted. 193 M. Ponte Galera, whence a branch-line diverges to Fiumi- cino (p. 384). Near (201 M.) Magliana the Tiber becomes visible, and the line follows its course. A more unbroken view^ is now obtained of the extensive Campagna di Roma\ to the right, in the background, the Alban Mts. (at the base of which gleam the white houses of Frascati, p. 354; comp, panorama p. 324) and to the left the Sabine Mts. ; in the foreground is the grand basilica of N. Paolo fuori le Mura (p. 255). To the left is disclosed a view of Rome, the Aventine (p. 251), the Capitol (p. 210), and Trastevere (p. 324). The train crosses the Tiber by a new iron bridge and slowly approaches the walls of Rome, of which the S. E. side is skirted. Above the wall rises Monte Testaccio (p. 252); adjacent is the Pyramid of Cestius (p. 252) with the cypresses of the Pro¬ testant cemetery; in the vicinity, the Porta S. Paolo ; farther distant, the Aventine with S. Sabina (p. 253) The line then traverses gar¬ dens and unites with the railway from Naples. The Porta S. Se- bastiano ^ approached by the Via Appia (p. 343), is visible. After crossing the latter, we observe the basilica of S. Giovanni in Late- nmo (p. 267) with the numerous statues of its fa(^ade; then the cliurch of N. Croce in Gerusalemme (p. 184), with its lofty Ro¬ manesque tow^er. The train now passes beneath the aqueduct of the Acqua Felice and through the Porta Maggiore (p. 184), which is crossed by two ancient water-conduits. The line then intersects the city-w^all. To the left lies a decagonal ruin , generally called a Temple of Minerva Medica (p. 183), two stories in height. A view is next obtained of N. Maria Maggiore (p. 178), a handsome edifice with two domes and a Romanesque tower. The train enters the station at the N.E. extremity of the town, opposite the Thermae of Diocletian, and we are now in Home. — Arrival, see p. 105. 9 2. Volterra. From Leghorn to Volterra. From Volterra to Siena. From Leghorn to Volterra. A visit to Volterra, the antiquities of which are interesting, is most conveniently accomplished fi*om Leghorn. Railway via Cecina to Saline, 501/2 M., in 2^/4-3 hrs.:, express to Cecina 5 fr. 90. 4 fr. 15, 2 fr. G5 c.: ordinary trains 5 fr. 60, 3 fr. 85, 2 fr. 65 c.; from Cecina to Le Saline 3 fr. 25, 2 fr. 25, 1 fr. 55 c. — Diligence from Saline to Volterra in 2 hrs. (fare IV 2 fr.)* Those who intend to continue their journey southwards by the Maremme line should leave the bulk ol their luggage at Cecina. From Volterra to Siena (about 31 M.) there is no direct conveyance. A diligence runs twice a week only to Colle (generally on Mon. and Thurs. at noon), where it corresponds with another running thence to the rail¬ way-station Poggibonsi ^ in time for the afternoon train to Siena and Or- vieto. Comp. p. 15. One-horse carriage to Poggibonsi 14-15 fr., w^ith digression to S. Gimignano (p. 16) 16 fr., fee 1 fr.; the bargain should be made beforehand. Volterra may also be reached from Pontedera ^ a station on the Flo¬ rence and Pisa line, by driving up the valley of the Era (5-6 hrs.). From Leghorn to (^32 M.) Cecina (Maremme Railway), see pp. 1,2. Tlie branch-line to Saline diverges here and ascends on the riglit bank of the Cecina, traversing a district remarkable for its mineral wealth. — 51/2 M. San Martino; 10 1/2 M. Casino di Terra; 15 M. Ponte Ginori; I 81/2 M. Saline, the terminus, in a bleak situation, where malaria prevails in summer. The extensive salt-works in the vicinity supply the whole of Tuscany with salt and yield a con¬ siderable revenue. The following excursion, for which a carriage may be hired at Saline, is interesting to geologists. We first drive to Pomarance, a pleasant town, famed in the Renaissance period for its earthenware, with a large cha¬ teau of Count Larderello, and in about 3 lirs. reach Larderello on the Monte Cerboli, the central point of the boracic acid works belonging to the Larderello family, which are politely shown to visitors. The ex¬ cursion may be extended towards the S., by Bagno del Morbo, (Jastelnnoro, Basso, and Monteroiondo , to Massa Marittima (p. 3), a drive of 3 hrs. more. !Near Sasso and Monterotondo in particular the country is covered with clouds of smoke, and the hot surface of the earth with incrustations of sulphur, sulphate of iron, etc. Near Monterotondo is the hot Lago Zol- foreo, a small lake strongly impregnated with boracic acid, which is ob¬ tained from it by evaporation by M. Duval, a Frenchman. Count Lar- derello’s works yield about 850 tons, and M. DuvaPs 250 tons annually, and the whole quantity is sent by contract to England, where it is chieliy used in the manufacture of glass and pottery. The lagoni, or pools tlirough which the sofjioni or jets of boracic acid in the form of steam bubble up, are all, with the exception of those of Travale, in the region of the Cecina and Cornia, and most probably have a common volcanic origin. The road from Saline to (5 M.) Volterra ascends. The country presents a peculiarly bleak appearance. Volterra. — *Albergo Nazionale , R. 11 / 2-2 fr., D. according to bargain; Unione. — Caf6 Etrusco, opposite the Nazionale. The Aluhastev Worls of Volterra are celebrated and afford occupation to nearly two-thirds of the population, but the patterns chiefly in vogue are unfortunately in very bad taste. The ordinary kinds of alabaster are found in the vicinity, the more valuable in the mines of I-a Castellina, to the S. of Leghorn. A visit to the work-shops is interesting, and suit¬ able objects for presents, etc. may be purchased here far more advanta¬ geously than at Florence or Leghorn. VOLTERRA. From Leghorn 10 Route 2. Volterra, the ancient Volaterrae^ Etruscan Velathri^ one of the most ancient Etruscan cities, is now an episcopal residence with 13,000 inhab., loftily situated (1602 ft.), and commanding in clear weather charming prospects as far as the heights of Pisa, the Apen¬ nines, and the sea with the islands of Gorgona, Elba, Capraja, and Corsica. The environs are dreary and desolate; the effect of the rain on the soft and spongy soil is most prejudicial to agri¬ culture. Volterra was one of the twelve ancient confederate cities of Pltniria, and was so strongly fortified that during the civil wars it withstood a siege by Sulla’s troops for two years. It afterwards became a Roman nninicipium, but gradually fell to decay and was totally destroyed in the 10th cent. It was re-erected under the Othos, but does not now cover one-third of its ancient area. In the middle ages it was a free town, until it became subject to Florence in the 14th century. Among the Antiquities the ancient *Town Walls, once up¬ wards of 41/2 M. in circumference, and nearly three times as ex¬ tensive as those of Fiesole and Cortona, are especially worthy of notice. Their dimensions (40 ft. in height, 13 ft. in thickness) and construction of horizontal courses of sandstone blocks (pan- china) are best inspected outside the Porta Fiorentina and in the garden of the monastery of Santa Chiara. One of the ancient gateways, the *Porta alP Arco, 20 ft. in height, is also still in existence. The corbels are adorned with almost obliterated heads of lions, or guardian deities of the city. An urn in the museum, representing the battle of Thebes, has a similar gate upon it. The Porta di Diana (HI PortonF), another gateway, outside the Porta Fiorentina, has been much altered. Outside the same gate, below the burying-ground, is situated the ancient Necropolis, about mid¬ way on the slope of the hill, at the place which is now called Marmi. A number of the curiosities in the museum were found here, but the tombs have all been reclosed. The Piscina, outside the castle, a reservoir resting on six co¬ lumns, is only shown by permission of the bishop, and is reached by means of a long ladder. The Thermae, near the fountain of S. Felice, are of Roman origin. Traces of an Amphitheatre near the Porta Fiorentina. The Palazzo dei Priori or Palazzo Pubblico (PI. 19) in the Piazza, a handsome edifice, begun in 1208 and completed in 1257, is unfortunately somewhat modernised; the exterior is adorned with mediaeval coats of arms. The Museo Civico formerly kept here has been removed to the Palazzo Tagassi (see p. 11), w^hile its place has been supplied by a collection of pictures, of which the follow¬ ing are the most important: *Lwca Signorelli, Madonna and saints, 1491; Dom, Ghirlandajo, Christ in glory (ruined by restoration in 1874), and a Madonna, by the same, to Volt err a. VOLTERKA. 2. Route. 11 The ^Cathedral (PI. 81 was consecrated in 1120 by Pope Calix- tus II., enlarged in 1254 by Niccol'o Pisano^ and restored in the 16th cent. The fayade dates I'roiii the 13th cent. The Interior is remarkable for its rich marble decorations and sculp¬ tures. The old Pulpit is adorned with sculptures of the 13th cent., and those on the high altar are by Miuo da Fiesole. The ^Oratorio di S. Carlo in the right transept contains several unimportant pictures and an ad¬ mirable "Annunciation by Luca Signorelli^ 1491. Adjacent is the baptistery of S. Giovanni (PI. 6), an octagonal church, supposed to date from the 7th cent. , which occupies the site of an ancient temple of the sun. The entrance-archway and the capitals of the columns, decorated with animals and birds, are works of the 13tb cent.; the fine arch of tlie high-altar is by BaUimelli da Settiynano (16th cent.), the octagonal font by Andrea di San¬ sovino (1502), and the ciborium by Mino da Fiesole (1471). S. Lino, a church and monastery, founded in 1480 by Raffaele Maffei, contains the tomb of that scholar with a recumbent statue by Silvio da Fiesole. S. Francesco (PI. 10), with the Gothic chapel of the i'onfra- ternita della Croce di Giorno of 1315, contains frescoes from the life of the Saviour and the legend of the Cross by Cienni di Fran¬ cesco di Ser Cienni of Florence, 1410. The most interesting object in Voltcrra is the *Museo Nazio- nalO) formerly called the Museo Civico, consisting of a valuable collection of inscriptions, coins, bronzes, statues, and vases, now contained in the Palazzo Tayassi{V\. 20), Via Vittorio Emanuele. Tickets of admission (1 fr.) are obtained in the Cartoleria Maris, Via Guidi (Sundays free). The museum, established in 1731, and greatly enriched by the collections of the erudite Mario Guarnacci in 1761, has lately been admirably arranged by Cavaliere A”. Maffei. Seven rooms on the lower floor and as many on the upper are occupied by the collection of Cinerary Urns (upwards of 400). These are generally about 3 ft. in length, and date from the latest period of Etruscan art, i. e. the 3rd or 2nd cent. B.C. The subjects are more interesting than the execution, which is for the most part very mediocre. A few of them are composed of terracotta and sandstone, but most of them are of the alabaster of the environs. On the lid is the greatly reduced recumbent effigy of the deceased; the sides are adorned with reliefs, and some of them bear traces of painting and gilding. The re¬ presentations on the urns are partly derived from the peculiar sphere of Etruscan life, partly from Greek mythology. From the former, parting scenes are the most frequent; the deceased, equipped as a rider, is escorted by a messenger who bears a long sack containing provisions for the jour¬ ney or is accompanied by Charon with the hammer. Sacrifices and funeral- processions occur frequently, as well as banquets, races, contests of skill, etc. Greek mythology has supplied an abundant selection of subjects, e.g. Ulysses with the Sirens and with Circe, the abduction of Helen, death of Clytemnestra, Orestes and the Furies, the Seven before Thebes, Polynices and Eteocles, (Edipus with the Sphynx, CEdipus slaying his father. There is a singular blending of luxuriance and melancholy in the subjects as well as in the treatment of these works, and the same peculiarity is often ob¬ served in the subsequent development of Etruscan art. — Five other rooms contain marble sculptures, vases (mostly of a later style), coins, bronzes, utensils, gold ornaments, and fine glass vessels. 1 2 Route 2. VOLTERRA. In the third story of the building are the ArcMvea and the Library. containing 18,000 vols., ivory carvings, diptychs, etc. The Citadel consists of two parts, the Cassero or Rocca Vecchia, erected on the ancient town-walls in 1343 by Walter de Brienne, Duke of Atliens, and the Rocca Nuova, built by the Florentines after the capture of the town. At the same time they constructed the prison It Mastio for the incarceration of political offenders, into which the mathematician Lorenzo Lorenzini was thrown as a suspected individual in 1682 by the Grand-Duke Cosmo III., and where he was confined for 11 years. The citadel has been converted into a house of correction and may be visited with permission of the Sotto Prefetto. The Palazzo Maffei-Guarnacci, opposite the church of S. Michele, with its three towers, the oldest dating from the 13th cent., contains pictures and a valuable collection of letters of Salv. Rosa. The Gothic Palazzo Jnghirami contains a small collection of pictures, comprising a ^Portrait of the learned Fedra Inghirami, pronounced by Miindler to be an original work by Raphael (a replica in tlie Pitti Gallery at Florence). The Casa Ducci bears the Roman epitaph of a boy, five years of age, probably a member of the family of the poet Persius^ who was born at Volaterrae in A.D. 34. In the Casa RicciarelliDaniele da Volterra , the celebrated pupil of Michael Angelo, was born in 1509 (he died at Paris in 1567). The house still belongs to the family of Ricciarelli, who possess the artist’s *Elias. In the neighbourhood of Volterra, in the valley towards the E., is situated the Villa Inghirami., whence the rocky labyrinth named Le Buche de'' Saracini may be visited. — About M. to the X,\V. of the town, between the churches of S. Giusta and La Badia, lies a deep ravine called Le Baize., which has been comparatively recently formed hy the action of water and continues to increase in extent. Several buildings have already been undermined and destroyed, and the celebrated abbey of San Salvatore of the order of Camaldoli, founded in the 11th cent., is now threatened with the same fate. It possesses Doric cloisters and several treasures of art. A i)leasant Excursion may be made to the copper-mines of La Cava di Caporciano., near Monte Catini 10 M. from Volterra. The road leads across the hill of La Bachetona to Monte Catini on the summit of the Se- lagite., a mountain of volcanic origin. The square tower of the old castle commands an extensive prospect. The mines have been worked since the 15th cent., and the operations were most successful till within the last few years, but since 1870 the yield has fallen off. The present possessor is Count Butturlin. The mineral was found in pockets or clusters, be¬ tween serpentine, knoAvn here as gahbro verde , and a peculiar species of red rock, gahbro ros^io. The whole vicinity is extremely interesting for geologists. A number of peaks, such as Monte del! Abete., Poggio alia Croce., and Monte Massi, consist of gabbro rosso, which has been upheaved at a comparatively recent period through the surrounding sand and limestone. The view from '•Monte Mas^i (1910 ft.) or from Poggio alia Croce (i/i» hr. from Monte Catini) extends from the heights near Massa and Carrara to¬ wards the N. to Monte Amiata on the S., and embraces the sea with the islands of Elba, Capraja, and Corsica. ELBA. 3. Route. 1 3 From Voltkkra to Siena. The high road leads towards the E. througli ail imdulatiiig and attractive district. To the left is seen Gimignano (p. 16), to which a road diverges to the left after 77-2 ^1- (reaching it after 11 M. more; pedestrians may take a short cut, diverging 1 M. farther on, via Ranza and Donato). To the right of the high road we observe Pomarance (p. 9). I 5 V 2 Ironi Volterra lies Colle, where the roads to Siena and Poggibonsi diverge. This town, which is frequently mentioned in the history of the Renaissance, now consists of two parts, CoUe Alto and Colie Basso. The lirst of these contains tlie palaces of the old, but now greatly impoverished aristocracy; the Catliedral, dating from the loth cent., with a facade modernised in bad taste, a marble pulpit, of wl)ich the lower part belongs to the 13th cent., and the upper part, with reliefs of saints, to the 16th, and handsome carved choir- stalls and episcopal throne of the 17th cent.; and the house of the celebrated architect Arnolfo di Cambio. — At Colle Basso there are now important iron and glass works. From Colle to Poggibonsi 5 M., see p. 15. To Siena about 15 M., a drive of 2 hrs. Siena j see p. 21. 3. Elba and the Tuscan Islands. A visit to Elba, which is strongly recommended to the scientilic and to the admirer of the pictures(iue, is most conveniently accomplished either from Leghorn or from Piombino. Between both these points and Porto Fervajo^ the capital of the island, communication is kept up by the Societd Rubattino tl- Co. From Leghorn every Sunday at 10 a. m., arriving at Porto Ferrajo at 4 p. m., returning every Monday at 8 a. m., and arriving at lieghorn at 2 p. m. — From Piombino daily at 4.30 p. m., returning at 9.30 a. m., in 2 hrs. — A steamboat of the same company also makes a trip once weekly to the small neighbouring islands (Linea delV Arcipelago Toscano). Depaidiire trom Leghorn every Wednesday at 8 a. m.; from Goi*- gona at 10.40 a. m., Capraja 1 p. m., Porto Ferrajo 4.30 p. m.; thence on Thursday at 5 a. m., Pianosa at 8.40 a.m., Porto S. Stefano (harbour of M. Argentario) at 2.20 p. m.; returning at 3 p. m., Porto Ferrajo 9.10 p. rn., thence on Friday at 8 a. m., Capraja 11 a. m., Gorgona 1.30 p. m., and Leghorn 4.40 p. m. Half-an-hour after the harbour of Leghorn has been quitted, the cliff Meloria comes in sight, where on 6th August, 1283, the Pisans were so signally defeated by the Genoese, that they never regained their former supremacy. Farther W. is Gorgona., inhabited by lishermen, a sterile island, affording pasture to wild goats only. Between the latter and Elba lies Capraja (‘island of goats’, so called by the ancients also), with 2000 inhab., where wine is produced. Elba, Lat. Rva, Greek jBthalia^ consisting of an imposing mountain-group, is reached from Piombino in I 1/2 The Torre di Giove, situated on the highest point, serves as a landmark to sailors. The vessel rounds the Capo della Vita and enters the beautiful bay of Porto Ferrajo^ enclosed amphitheatrically by moun¬ tains. The island was celebrated in ancient times for its iron ore; 1 4 Route 3. ELBA. in the middle ages it was subject to the Pisans, then to Genoa, to Lucca, and to the Appiani of Pioinbino, and was finally presented by the Elmp. Charles V. to the Grand-Duke Cosmo I. of Florence, who fortified the harbour of Porto Ferrajo in 1548. As the name of the town indicates, the export and manufacture of iron form the principal occupation of the inhabitants ( 22 , 000 ), others of whom are supported by the tunny and sardine fisheries. Elba has acquired a modern celebrity as the retreat of the dethroned Na¬ poleon, from 5th May, 1814, to 26th Feb., 1815. The small palace occupied by the emperor is still shown at Porto Ferrajo, on the height above the harbour, between the forts Stella and Falcone^ which were erected by Cosmo L, and command a view of the bay in front, and of the sea in the direction of Piombino at the back. It is now the residence of the governatore, and contains remini¬ scences of its former imperial occupant. The cathedral, theatre, arsenal, etc. of which the island boasts contain nothing which re¬ quires comment. After the fall of Napoleon in 1815 Elba was re¬ stored to Tuscany, in the fortunes of which it has since then par¬ ticipated. Length of the island about 18 M., breadth 6^/2 M., area 147 sq. M.; it contains several fertile valleys, but lofty and pre¬ cipitous mountains predominate. Monte Capanne, the highest point, near the village of Marciana^ is 3304 ft. in height. The coast on the side next the mainland is less abrupt, and produces wine and fruit of remarkably fine quality, especially in the environs of Ca~ poliveri^ where excellent Aleatico is grown. Most of the villages, such as the picturesque stronghold of Porto Longone, founded by the Spaniards, are situated on the coast. RiOj where the iron-mines are worked, lies more inland. The yield of ore is still abundant, and in ancient times formed a source of wealth to the Etruscans. The ferriferous strata lie on the surface, and are recognised at a distance by the reddish-black appearance of the hills. Between Elba and the mainland are the two small islands of Palmajola and Cerholi. To the S. lies the island oiPianosa, the ancient Planasia, which, as its name indicates, is perfectly flat. To this island Agrippa Post¬ humus , grandson of Augustus, was once banished, and to him are referred the considerable Roman remains which still exist here. Far¬ ther 8 . rises Monte Cristo ^ consisting of granite-rock, 6 M. in cir¬ cumference. It contains numerous springs, and the ruins of a mon¬ astery destroyed by pirates in the 16th cent. Nearer the coast is Giylio ^ Lat. Igilium^ a considerable island containing a village and vestiges of Roman palaces. The highest point is 1630 ft. above the sea-level. 15 4. From Florence to Siena and Chiusi by Empoli. 116 31. Kailway. From Florence to Siena, 58i/ij3I., in 3-37'2 Krs.; fares 10 fr. 43, 7 fr. 20, 3 fr. — From Siena to Chiusi, 577-2 31., in 374-5 lirs.^ fares 9 fr. 70, G fr. 65, 4 fr. 63 c. — No quick trains. Florence j see vol. i. of this Handbook. The line skirts the N. bank of the Arno^ passing the Cascine and numerous villas. Beyond stat. S. Donnino the valley of the Arno expands. ? M. Signa , with its grey pinnacles and towers, is famed for its straw- plaiting establishments. The line intersects undulating vineyards, crosses the Omhrone , which falls into the Arno, and enters the delile of the OonfoLina, which separates the middle from the lower valley of the Arno. loy 2 M. Montelupo^ approached by an iron bridge across the iVrno. Beyond it, on the right, is seen the Villa Arnhrogiana, founded by Ferdinand I. on the site of an old castle of the Ardinghelli. Then, crossing the small river Fesa, the train reaches — 19 M. Empoli, a small town with 6400 inhab., with antiquated buildings and narrow streets, situated in a fertile district. Halt of 10-30min. (no railway buffet); passengers to Siena change carriages. The main line pursues a W. direction towards Pisa and Leghorn; see vol. i. of this Handbook. The line to Siena traverses the fertile valley of the Elsa^ on the right bank of the stream. To the right, on the height, S. Mi- nialo dei Tedeschi, picturesquely situated, and possessing a lofty medicBval tower. Beyond stat. Osteria Bianca^ a fruitful valley is traversed. 31 M. Castel Fiorentino ; the town, on the height to the left, is the principal place in the Val d'Elsa. 36 M. Certaldo ; the town, on the hill to the left, was the na¬ tive place of the poet Giovanni Boccaccio^ who died here, 21st Dec. 1375, at the age of 62. Down to 1783 his tomb was in the church of S. Michele e Giacomo (La Canonica); it was erected in 1503 and adorned with a statue of the poet, who held the ‘Decamerone’ in his hand. The monument was afterwards removed and the bones scattered. The house of Boccaccio was restored in 1823 by the Countess CaiTotta Lenzoni-Medici, and fitted up in the mediteval style. The remains of his monument were also brought hither. 44 M. Poggibonsi (Aquila^ opposite the station, tolerably com¬ fortable); the town (4000 inhab.) lies to the right. On the hill above it rise the old castle and the monastery of S. Lucchese. In the church of the castle is an altar-piece and in the former Refectory are frescoes by Gerino da Pistoja. Diligence from Poggibonsi to Colle, corresponding with the diligence to VoLTERRA (at present 3Iond. and Thurs.), see p. 13. Carriage from Poggibonsi to Volterra about 15 fr., a drive of 3-4 hrs. On a hill (1181 ft.) about 6 M. to the W. of Poggibonsi, and reached by a Ifilly road in 2^2 hrs., lies the ancient town of — 16 Route 4. S. GIMIGNANO. From Florence S. Gimignano {Alberyo (riusti, in the Piazza della Collegiata, moderate; good rooms at the Palazzo Pratelleai; in both bargain necessary), witli 8000 inliab. In the 13th and beginning of the lltlj cent, it was a prosperous and independent place, but in 1353, after liaving suffered terribly in consequence of the dissensions of the leading families of the Salvucci (Ghibellincs) and ArdinyhelLi (Guelphs), it became subject to Florence. Its walls, its gate, the numerous towers (whence the name SS. Gimignano dellc belle torri’) and the streets, all carry us back to the middle ages. There is no town in Tuscany which presents so faithful a picture of Dante’s time, as 8. Gimignano, and nowhere can we obtain a clearer insight into the rich development of Italian art in the 13th-15th cent. Archi¬ tecture of the Gothic type prevails , and most of the houses are of uniform and symmetrical construction. In the centre of the town is the Piazza della Collegiata, or del Duorno. The principal buildings in this square are: — The *Palazzo Pubblico or Cornunale^ erected in 1288-1323. The Sala del Consiglio contains a *Madonna with saints and the kneeling donor Podesta hello dci Tolomei, a fresco by Lippo Memnii of Siena, 1317, remarkable only for elaborate execution, restored by Benozzo Gozzoli in 1467; also pictures from suppressed monasteries in the neigh¬ bourhood : 12, 13. Filippino Lippi^ Annunciation ; 18. Pintnricchio^ Madonna with two saints. — The Cappella del Pketoke, or della Carcere (now divided by a wall into two paids), contains a * Scene from the legend of St. Yvo, and allegorical figures of Truth, Prudence, and Falsehood, fres¬ coes in grisaille by Sodonia. There are also many traces of frescoes in other parts of the palace. Adjoining the palace is the Torre del Comune (160 ft.), the highest of the 13 towers which still exist out of the original number of 50. The largest of its three bells dates from 1328. The Palazzo del Podesta, on the left side of the piazza, wdth an imposing loggia, is surmounted by a tower on which is indicated the height beyond which private individuals were prohibited from building. — On the opposite side of the piazza rises the principal church — *La Collegiata, or La Piece, of the Tlth cent., altered in the 15th hy Giuliano da Majano, and now entirely modernised. It con¬ tains numerous frescoes of the 14th and 15th cent. On the entrance-w all, ^Martyrdom of St. Sebastian, a fresco of colos¬ sal proportions by Benozzo Gozzoli^ 1465^ Annunciation, tw’O wooden figures hy Martinus Bartolonicei of Siena. In the N. aisle, scenes from the Old Testa¬ ment (badly preserved) by Bartolo di Fredi «if Siena, 1356^ in the S. aisle. Life of Christ by Barna da Biena^ 1380, I:i ihe nave, above the arch. Para¬ dise and the Inferno, by Taddeo B'ulolit — The visitor should particularly notice the decorations in th.i side chapel to the right, the *Cappella S. Fina, designed by Giulia'M da Majano; altar-piece by Benedetto da Ma¬ jano. The two *Frescoes on the side walls, representing the vision of the youthful saint and her burial, by Doni. Ghivlandajo., arc among the finest w’orks of that master, and combine a fresh and life-like style with ma¬ jestic gravity. — In the choir, centre of the right wall, Coronation of the Virgin, an altar-piece by Piero del Pollajuolo of Florence, 1483: to the left of this. Madonna and four saints, by Benozzo Gozzoli; on the left wall, same subject by Tamani; adjacent, *Marquetry (‘iutarsia’’) choir-stalls of to Siena. S. GIMIGNANO. lioute. 1 7 [ 490 . — The Okatokio S. Giovanni contains an Annunciation by Dom. Ghirlandajo^ 1482, a work of no great importance. The following churches are also interesting: — ■ *S. Agostino, commenced in 1280 (principal entrance generally closed"). This church owes its fame to the *Frescoes in the Cuoik by Betiozzo Gozzoli (1465), where the master has pourtrayed the life of St. Augustine in 17 scenes from his school-days to his death. Though not all of uni¬ form excellence, nor in equally good preservation, these pictures alone repay a visit to S. Gimignano (the finest are: St. Augustine as teacher of rhetoric in Rome; Death of St. Monica; St. Augustine on the bier). — The Cappella S. Guglielmo, to the right of the choir, contains a Nativity of the Virgin, by Bartolo di Fredi^ exhibiting several features from real life. — To the left, in the Cappella del S. Sacramento, arc frescoes by Vincenzo da S. Gimignano. — On the N. side of the church, St. Ge- rninianus and three worshippers, a fresco by Seb. Mainardi^ a pupil of Dom. Ghirlandajo; farther on, St. Sebastian, the deliverer from the plague, the effects of which are symbolised by flashes of lightning , by Benozzo Gozzoli , 1464, of less importance than the frescoes in the choir. To the right of the principal entrance: Alt:u*-piecc by Benedetto da Ma- jano 1494; under the organ are frescoes by Beh. Mainardi., representing Saints in groups. S. Jacopo, of the 12th cent., the church of the Knights Templar, contains frescoes by a Sienese master of the 14th century. S. Girolamo: at the back of the high altar a Madonna with saints by Vincenzo da S. Gimignano, with a glory above by a later painter. The principal saloon of the upper floor of the Palazzo PratelLesi contains a Madonna with saints, by Tamani. The Library, in the Palazzo delle Scuole, Via S. Matteo, con¬ sists of 6000 vols. and 100 codices. One of its chief treasures is a co'py of Alciati^s Emblemata [l.yons, 1564), along with which are bound up a number of interesting autographs, including letters from Luther and Melanchthon. A private garden at the Fortezza , the highest part of the old fortifications (ascend to the left past La Collegiata), coinniaiids a fine view of the town and neighbourhood. We may now drive in ^4 hr. to the venerable church of B. Maria Assunta di Callori , or Cellole, situated outside the Porta 3Iatteo, and dating from the 11th, or perhaps from the 10th cent., containing remark¬ able capitals and curious ornamentation in the apse. Fine view. Ileyond Poggibonsi the Railway begins to ascend considerably. To the right, Staygia with a mediaival chateau; farther on, to the right, the ancient and picturesque chateau of Monte Riggioni. The train then passes through a long tunnel (3 miii.). 681/2 ^1- Siena, see p. 21. Siena is a terminal station, loftily situated, froui which the train backs out. On the journey to Orvieto, the train returns part of the waytoEmpoli, and then diverges at an acute angle towards the S.E. We traverse the hills which forui the watershed between the Ombrone and the valley of the Chiana. Six tunnels j Asciano Baedeker. Italy II. 6th Edition. 2 1 8 Route 4. MONTALCFNO. from Florence (^20^/2 first station froDi Siena, is reached in 1^4 hr. This district is one of the bleakest in Italy , the chief features being grotesquely shaped hills of sand, and barren fissured mountains, interesting to the palicontologist only. 81 M. Asciano ; the pleasant little town lies V /2 riglit of the railway and possesses fortifications constructed by tlie Sienese in 1351, and several handsome churches containing pictures of the early Sienese School. — A carriage may be obtained at the inn (*Alb. del Sole) for the excursion to Monte Oliveto {^p. 3?; 0 M., a drive of hr. there, and IY 2 hack; fare T2-15 fr.; the road, leading by Chiusure, is rough and more suitable for walking). FiioM Asciano to Grosseto OOV 2 M., branch-line in 3-4 lirs.; fares 10 fr. 45, 7 fr. 15, 4 fr. 95 c. — Two trains daily in each direction, but not always corresponding with the trains on the main line. A local train also runs to Monte Amiata. 8 M. S. Giovanni d^Asso (tolerable inn), whence Monte Oliveto may be reached in IV 2 hr. (see p. 37; a cart with one horse may be obtained for the excursion). 14 M. Torrenieri^ on the old road from Siena to Rome. — jAbout 572 M. to the S.W. of Torrenieri (omnibus 2 fr.) lies Mont> alcino {Alhergo del Giglio ^ tolerable, bargaining necessary). Early in the middle ages the town belonged to the abbots of S. Antimo, then for a short time to Florence, and after 1260 to Siena. In 1555-57 it afforded a last place of refuge to the Sienese republicans under Piero Strozzi. In the Palazzo Municipale is the Cappella delle Carceri, which contains a small collection of pictures from suppressed monasteries, including a Descent from the Cross (1382) and a Coronation of the Virgin (1388) by Bartolo di Fredi of Siena. The Cathedral was commenced in 1818. The dissolved Franciscan Monastery is now a hospital. Over the chief en¬ trance of the church belonging to it is a group of the Madonna, John the Baptist, SS. Peter and Sebastian, of the school of Della Robbia (1507). A room adjoining the sacristy is adorned with frescoes of the latter part of the 15th cent., and the monastery court contains others dating from 1438. Fine view from the piazza adjacent to the modern church of the Madonna^ on the E. side of the town. — From Montalcino we may (with a guide) walk in 2 hrs. (or drive in I 72 hr., one-horse carriage 7 fr.) to S. An¬ timo, which was an independent abbey down to the 13th century. The sumptuous church was built of white alabaster and travertine in the 11th cent., and its rich principal portal dates from 1292. About 4 M. to the S.E. of Torrenieri (omnibus I 72 fr.) lies S. Q,uirico {^Albergo del Lepre^ tolerable), which was the residence of an imperial governor during the Hohenstaufen regime and was fortified by Siena in 1472. The Collegiate Church in the Lombard style was founded in the 8th cent.; highly ornate porch of 1298; interior disfigured in the 17th cent.; choir-stalls of the 16th cent. The adjacent i/fsemordm church contains a high altar-piece by Sodoma. The Palazzo Chigi^ erected in 1685-87, deserves a visit (keys at the Fattoria Chigi). The Orti Leo- nini (keys at the same place), a neglected park of the 16th cent., adjoin¬ ing the town-wall, afford an admirable view. — The hot Baths of Vig- noni^ 3 M. to the S. of Quirico, were much frequented in ancient times and again during the Renaissance period, but are now neglected. The ante-chamber of the bath-house contains an ancient votive stone. Among the famous mediaeval visitors were St. Catharine of Siena and Lorenzo il Magnifico. — From S. Quirico to Pienza (p. 20) 472 M.) — 22 M. Monte Amiata^ the best starting-point for a visit to the moun¬ tain of that name, the highest in Tuscany. — [By carriage in 3 hrs. to Castel del Piano (omnibus 272 fr.; Alb. Bisturrini., new, well spoken of), where a licensed guide may be obtained at the Municipio; thence on horse¬ back in 3'74 hrs., or on foot in 472 hrs., to the summit of the Monte Amiata to Sieno. MONTEPULCIANO. 4. Route. 19 (5644 ft.), which afford.s an admirable survey of the whole country l)etween the Tyrrhenian Sea, the Apennines, and the Cimiuian Forest. (The rock- formation is volcanic and interesting to geologists.) A pleasant return- route leads through beautiful wood to Fiwo, a suppressed Camaldulensian monastery, now the property of Count CeiTini, where a one-horse carriage may be hired of the miller. — From Vivo to stat. Monte Amiata 11 M., or to Torrenieri 17 M. The latter road leads by Castiglione d^Orcia^ not far from the Baths of Vignoni (see above), and by S. Quirico (see above).) — 28 M. Angelo and Cinigiano. The train follows the right bank of the Orcia., the E. affluent of the Ombrone, and crosses the latter. 32V2 M. Monte Antico. The train then follows the Ombrone as far as Paganico , where it quits the river and begins to thread its way among the hills. 42 M. Rocca Strada^ a village (1640 ft.) on theinght^ then Stic- ciano. At (53 M.) Montepescali the line unites with the Maremme Rail¬ way, to the of Orosseto (p. 3). 85 M. Rapolano. The village, to the right, possesses baths which are frequented in July and August. The country becomes more attractive. 93 M. Lucignano; the mediaeval village lies on the hill to the left. The improving cultivation of the soil indicates the proximity of the charming valley of the Chiana. To the left in the distance the chain of the Apennines is visible. 96 M. Sinalunga, ot Asinalunga; on the right the village, where Garibaldi was captured on his march to Rome, 24th Sept. 1867. 100 M. Torrita, beyond which Monte Pulciano becomes visible to the right. 104 M. Stat. Montepulciano; the station is in a lonely situation 6 M. distant from the town (omnibus in IY 2 meeting nearly every train ; fare 2 fr.); the road passes through several insigniflcant villages. Montepulciano. — Albergo Bruzzichelli , with trattoria. Via Gari¬ baldi 32, tolerable, R. 1-1V 2 fi**, according to bargain 2-3 fr. — The Wine of Montepulciano is justly celebrated. The ordinary red wine of the place is strong and somewhat rough. ‘ Vino santo' is a sweet white wine (2 fr. per bottle). Vermouth is a white wine flavoured with fragrant herbs and wormwood. Montepulciano , a picturesque town with 3000 (or with the ad¬ joining suburbs 13,000) inhab., surrounded by mediaeval walls, lies conspicuously on the slope of a mountain (2073 ft.). It was the birthplace of the scholar and poet Angelo Ambrogini (1454-94), surnamed Politianus after this his native place (‘Respublica Po- litiana’), tiie friend of Lorenzo il Magniflco and preceptor of his chil¬ dren. The beautiful situation as well as the monuments of the place repay a visit. The sights may be inspected in 4-5 hrs. We follow the main street, generally running from E. to W., and ascending from the gate next the railway-station to the plateau of the hill on which tlie town lies. It is first named Via Garibaldi, then Via Cnvour, and lastly Vui Poliziano. — In the Via Garibaldi, No. 32, on the left, is the Palazzo Bruzzichelli (containing the above mentioned inn), built by Vignola. Opposite, Nos. 35-37, Palazzo Avignone.ai, dating from the latter half of the 16th cent. 2* ^0 Route 4. MONTEPULCIANO. Then, also on the right, S. Ayostino, of tlie 17tli cent., witli curious touches of Gothic. — In the Via Cavour, on the left, Chiesa del OesUy a characteristic example of the Jesuit style. On the right the "^Mercato (market-halls ) by Vignola. —In the Via Poliziaiio, on the left. No. 1, is the house in which AnyeLo Poliziano was born, a brick building of the 14th cent., with au inscription. We next reach the Piazzetta di 8. Maiiia, with the small church of 8. Maria of the 13th cent, (handsome portal). It com¬ mands an admirable retrospective view of the lakes of Monte- pulcJaiio, Chiusi, and Trasimeno; to the left rises the Monte Amiata; farther up we obtain a survey of Pienza, 8. Quirico, Montalcino, and the whole valley of the Chiana. — A road hence descends to the left in 12 min. to the — ^Madonna di 8. Biayio , in the valley, designed by Antonio da Sanyallo and commenced in 1518. The fine marble chapel of the high altar, by Giovaiiozzo and Lisandro Albertini, dates from 1584. Returning to the hill, and again following the main street, we next reach the Piazza Gkanue , enclosed by the cathedral and liandsome palazzi. The interesting fountain in the centre dates from 1520. On the left is the — Palazzo Municipale^ of the 14th cent., resembling the Palazzo Pitti at Florence, and containing a few pictures and curiosities. Aiite-uhamber of fii’st floor: Madonna, .John the Baptist, and saints, of the school of Della Robbia. — Picture Gallery on the second floor. I. Room: Matteo da Siena (?), Madonna. II. Room: 9. Seb. del Piombo^ Pope Paul III.^ 80. Paccliiarotto^ Madonna 5 '"80. Umbrian School (ascribed to Raphael), Portrait of a lady. A collection of dies once used by the engraver Cerbano is preserved here. On the W. of the piazza is the Cathedral, with a ruinous fa(;ade. In the Interior, over the principal entrance, is the Assumption and Coronation of the Madonna by Taddeo Bartoli. The church was once adorned with an imposing monument to Bartolommeo Aragazzi, secretary of Pope 3Iartin V., erected by the famous architect Michelozzo Michelozzi a pupil of Donatello. It was taken down, however, during last century, when several iiarts of it were lost and others were placed in different parts of the church: thus, to the left of the principal entrance, two reliefs by the two first pillars, two allegorical '\statues; by the high al¬ tar, the marble summit, consisting of cherubs with garlands. To the right, opposite the Palazzo Muiiicipale, is the Palazzo Contucci, by A. da Saiigallo, and adjoining it the Palazzo Nobile- Taruyi, attributed to the same master. We next enter the Via Ricci, where on the right rises the ^Pa¬ lazzo Bombayli, a Gothic brick building. — Crossing the Piazzetta della Misericordia, with the church of 8. Francesco (Gothic portal) and fine view, we now descend the Via del Poggiolo. Immediately to the left in this street is the entrance to the Oratorio della Mi¬ sericordia, which contains a Christ in a glory and an Annunciation over the high altar of the school of the Della Robbia. A visit to Pienza is most conveniently made from Montepulciano: about 9^ M., one-horse carriage 10 , two-horse there and back 20 fr. Pienza (Albergo Franci, poor), a small town with about 2000 inhab., was originally called Corskjnano, ])iit .suhsequently named the ‘town of Pius’ after Pius II. (.^Eneas Svlvius Piccolomini, p. 28), who was born here on Slaxionfc < osrpo ; 00 M rj P W rH W P- •S cc' P °s ll 0; (t c: o t-* «> p p rt fc> o C/ 8IENA. 5. Route. 21 I 8 th Oct. 1400, and who adorned the town with very handsome buildings, chiefly designed by the Florentine Bernardo di Lorenzo., an architect who was also much employed at Rome by Nicholas V. und Paul II. As all these buildings date from about the same period (1460) and are situated in the same piazza (del Duomo), they alTord a more compact survey of early Re¬ naissance architecture tlian is to be obtained in most Italian towns. The chief edifices are the Cathedral, with its studiously simple facade; to the right of it is the Vescovado or episcopal palace; opposite the cathedral the Palazzo Pubblico, with a colonnade; to the right the finest of all, the -'Palazzo Piccolomini which like the Palazzo Rucellai at Florence exhibits the rustica style in combination with pilasters (handsome court and colonnade); in front of the palace is a charming Fountain of 1462. — The right transept of the cathedral contains a Madonna with four saints by Matteo da Siena; the choir-stalls, carved in the Gothic style, date from 1462; in the chapel to the left of the high altar is an Assumption of the Virgin by Vecchietta; in the left transept a Madonna and four saints by Sano di Pietro. The Cathedral Treasure comprises a perfect museum of early Renaissance works (shown by the sagrestano in presence of one of the canonici, sacristan 2 fr.): crozier in gilded and embossed silver, a Pax- vobiscum, a silver censer in the Gothic style, *mitre of Pius II. de¬ corated with pearls and jewels, reliquary of St. Andrew of Salerno, crucifix with rich filigree-work, etc. — The Opera del Duomo., to the left of the cathedral, contains the ecclesiastical vestments, including those of Pius 11., one of which is of Flemish , the other of Italian workmanship. Continuation of Journey. To the right we soon observe the Monti di Cetona , which are connected with the Monte Amiata (p. 181. To the left stretches the long Lake of Monte PulcianOy beyond which is the Lake of Chiusi , connected with the other by a canal. The lakes exhale unhealthy malaria in summer. 1091/2 Chianciano-Salcini. — 116 M. Chiusi, see p. 57. 5. Siena. Hotels. *Gr.\nde Albergo di Siena, Via Cavour (PI. E, 3; the back looks out upon the Lizza, see p. 34), R. 2 V 2-5 fr., D. 5, L. V 2 , A. 1 fr., omnibus at the station; *Albergo Reale Aquila Nera e Armi dTnghil- terra. Via Cavour (PI. E, 4, 5), R. 2-3, Dej. 3, D. 4, A. V 2 fr. — Scala, Via Diacceto 10, not far from the Piazza S. Giovanni (PI. D, 4), less pretending, but with airy rooms (lf '2 fr.). Tre Mori , Via Garibaldi (PI. F, 3), near the station, for moderate requirements, R. IV 2 fr. — For a prolonged stay : Pension Chiusarelli, Via del Paradiso 22, near S. Do¬ menico; Francesco Tognazzi, Via Sallustio Bandini 19; English Pen¬ sion, Via Ricasoli 37 (pen.sion in all three 6-7 fr. per day). Trattorie. Minerva., near the Piazza Tolomei (Via Cavour), poor; Scala, see above. — Beer: Bader d- Bischoff, in the Lizza. — Wine and fine view at TalUanVs, Via delle Belle Arti 31. Caff^ Greco, near the Casino dei Nobili. Bv Day At N Cab Tariff: one -horseltwo-horse one-horse In the town, per drive . . . — 80 1 fr. — 1 fr. — — first hour. 1 fr. 50 2 — 2 50 — each additional hour . . Beyond the town, as far as 2 M., 1 — 1 50 1 50 for one hour . . 2 — 3 — 3 — — each additional hour . 2 — 2 50 2 50 From the station to the town 1 50 2 — 2 — — — one seat. Box above 22 lbs. 30 c. — 50 — 60 — 60 two-horse 1 fr. 50 3 — 2 — 4 3 2 50 80 22 Route f). SIENA. History of Art. Velturino: Celso Vannini, Via Cavoiir 27; carriage per day 25 fr,, half¬ day 8-10 fr. Saddle-horses, per day 71/2 fr., half-day 5 fr. Post-Office, Piazza Piccolomini, next to the Palazzo del Governo, open 8-10 a.rn. and from 11 a.m. to 7 p.m. — Telegrajyh Office^ in the Pa¬ lazzo Reale, Piazza del Duomo. Baths. Swimming-bath near the Fontebranda (p. 33), poorly fitted up ^ water cold. Good rhotograyliS at Lombardi’s, alia Costarella, near the Caffe Greco. On 2nd July and 15th August, horse-races, called il Palio take place, presenting a very pictures(|ue scene (seat on balcony 2-272 fr.)- Siena, the capital of the province of that name, with 23,000 inhab., the seat of a university which was in high repute as early as the 14th cent., and the residence of an archbishop, is pictures¬ quely situated 25 M. due S. of riorence, and 1330 ft. above the sea, on three connected hills (the clayey soil of which is called ‘Terra di Siena’). It is now a busy trading and manufacturing place; it also possesses several libraries and scientific societies, and is one of the pleasantest towns in Tuscany. The climate is healthy, the at¬ mosphere in summer being tempered by the lofty situation; the language and manners of the inhabitants are pleasing and pre¬ possessing. Most of the streets are narrow and crooked, but contain many palaces and handsome churches. Next to Rome, Florence, and Venice, Siena is perhaps the most important town in Italy for the study of the art of the 13th-16th centuries. Siena, the ancient Sena Julia, or Colonia Julia Senensis, is said to have been founded by the Senonian Gauls and conveited into a Roman colony by Augustus, whence it derives its arms, the female wolf and the twins. The only Etruscan antiquities here are a few tombs which were discovered in 1864 near the Porta Camollia. The town attained the culminating point of its prosperity in the middle ages , after it had become a free state at the beginning of the 12th cent., and, having banished the nobility, had united with the party of the Ghibellines. Farinata degli Uberti and the Ghibellines from Florence were then welcomed in Siena, and on 4th Sept., 1260, a great victory over the Guelphs was gained near Monte Aperto (6 M. distant). The nobility afterwards returned to Siena, but the city kept a jealous watch over its privileges, and increased to such an extent that it numbered nearly 100,000 inhab. , and vied with Florence in wealth and love of art. At length the supremacy was usurped by tyrants, such as (about 1500) Pandolfo Petrucci, surnamed II Magnifco (whom Macchiavelli represents as a pattern of a despot), by whose aid the Medici of Florence gradually exercised an influence and finally obtained the sovereignty over the city. During this period, under the Grand-Duke Cosmo I., the savage Count of Marignano devastated Siena with fire and sword, and cruelly massacred the population of the Marernme, in consequence of which the malaria obtained so fatal an ascendancy in that district. History of Art. The bitter political fate which overtook Siena, and converted the mighty rival of Florence into a quiet provincial town, will strike the antiquarian and the admirer of ancient customs as a very for¬ tunate circumstance^ for here are still preserved many monuments and reminiscences of mediaeval life comparatively unall'ccted by the vicissi¬ tudes and the progress of subsequent ages. The conservative character of Siena has not, however, been produced, as in the case of Bruges, by the withdrawal of the stream of history; for even when at the height of its power, particularly as compared with Florence, it manifested a pre¬ ference for old established rules and a dislike for innovations. In the province of Art, despite the abundant supply of artists at their disposal, the citizens never seem to have taken the initiative, but adhered with remarkable tenacity to the earlier style. The best period of Sienese art History of Art. SIENA. 5. Jioute 23 still belong.s to the loiddle age.s, when the towns of Italy had begun to pride themselves on their practice of art, but before the pedantic element had given way to the pure sense of the beautiful. There is no town in Italy which presents such instructive examples of the Italian Gothic Architecture of the 13th and 14th centuries as Siena, where we tind magni¬ ficent stone buildings vying with graceful structures in brick. If the Ca¬ thedral had been built according to the intentions of the citizens, it would have been one of the largest and most imposing churches in existence, and even in its reduced proportions it is one of the finest in Italy. In the secular buildings (of which perhaps the Palazzo DuonsignoH is the finest example) the pointed style predominates; the windows are gene¬ rally divided by small columns, and the whole edifice is croAvned with pinnacles. In the 15th cent., when the motive of the castellated mansion was clothed with Renaissance forms, Siena was not slow to imitate the example of Florence. It is, however, uncertain whether Ko.sellino and Fkance.sco di Gioegio have been correctly designated as the architects of the Piccolomini^ Spannocchi^ and Nerved palaces. The most interesting of the Renaissance churches is the small round church degli Innocenti ad¬ joining the Spedale della Scala. Siena has produced no independent school of Sculpture, though a liberal patron of foreign masters. As throughout the rest of Tuscany, the development of art did not progress rapidly here till the beginning of the 13th century. Niccolo Pisano, the most famous sculptor of the 13th cent., and his son Giovanni were employed at Siena; and the sculptures on the font of S. Giovanni and on the Fonte Gaja are admirable works by Jacopo della Quercia (1374-1438), the earliest representative of the Renaissance style. Painting was the favourite art of the early Sienese. As early as the I3th cent, they could boast of Duccio di Buoninsegna , a painter whose works far surpass those of Cimabue in beauty and gracefulness. On his completion in 1310 of the ‘^lajestas’, or Triumphant Madonna, for the high altar of the cathedral of Siena (now in the chapels on the right and left of the choir), the picture was carried to the church in solemn pro¬ cession. An equally important master was Simone Martini (1283-1344), who has been immortalised by a sonnet of Petrarch, and who, like his contemporary Giotto, practised his art and exercised his influence far beyond the limits of his native city. Works by his hand are, or were, to be found at Naples, Orvieto, Assisi, and Avignon, as well as in the Palazzo Pubblico at Siena. So famous indeed was his name that it was usual to attribute to him all the best works of his period. His compo¬ sitions are of a very primitive character, but he certainly possessed great skill in his rendering of tender sentiment. Closely akin to these two masters was Lippo JIemmi, who executed large frescoes with the same elaborate care as miniatures in missals, j^everal painters of the 14th cent, followed in Simone’s footsteps, such as Barna or Berna , Luca Thome, and Lippo Vanni, without however exhibiting much individuality. The easy narrative style and the imaginative allegory were cultivated by the brothers Pietro and Ambrogio Lorenzetti (both of whom pro¬ bably died of the plague in 1348), and the approach of the Sienese school to that of Giotto was thus accomplished. A little later, however, the works of Bartolo di Fredi (1330-1409) fell short of those of his predecessors, and this was still more the case with those of Taddeo Bartoli (1362-1422?), who was far inferior to his Florentine contem- ])oraries. For a time all artistic progress at Siena seemed to be at an end, and throughout the I5th cent, the city did not give birth to a single master of note. The painters Domenkx) di Bartolo , Lorenzo di Pietro (nicknamed Veucitietta), Benvenuto and Matteo di Giovanni, and others of this period adhered tenaciou.sly to the limited sphere of their prede¬ cessors, from whose influence they were unable to emancipate themselves. At the close of the century, owing to contact with neighbouring schools, whose representatives were frequently invited to Siena, and to the intro¬ duction of the study of Florentine, Umbrian, and Lombard masters, fhe tide of progress at length began to set in. The most distinguished Sier 24 Route 6. 81 ENA. Palazzo Puhbllco. nesc masters of this period, far surpassing their contemporaries Fnngai^ Pacchi(( ^ Pacchiaroito ^ and others, were Baldassare Pekuzzi and (;»io- VANANTONio Ijazzi , sumamed II Sodoma. Peruzzi (1481-1537), who was associated with Kaphael at Home, was endowed with an admirable per¬ ception of beauty of proportion, and was famous both as an architect and a decorative painter, but 8iena now possesses none of his works. iSbdoma (1480-1549), on the other hand, may be thoroughly studied at Siena. A Lombard by birth, he brought to Siena some traces of Leonardo’s style, but instead of cultivating this, he seems to have trusted to his own na¬ tural ability, and with such success that in one respect he vies with Ka¬ phael himself. In the delineation of beautiful and youthful figures he is unsurpassed, and his technical skill in fresco painting and his fertility are marvellous; but, in spite of his strong sense of the beautiful, his works are apt to pall upon the taste owing to the superficiality of their composition. With Domenico Beccafumi (1486-1551), who frequently altered his style, begins the final period of decline from which Siena never recovered. In the art of Wood Carving Siena has always taken the lead among the towns of Italy. In the 15th and 16th cent, the Barili family (particu¬ larly Antonio^ d. 1516, and Giovanni^ d. 1529) distinguished themselves in this branch of art, and their modern representative is Giusti^ whose pupils Gosi, Guidi, and Querci have an interesting studio at No. 31 Via delle Belle Arti, not far from S. Domenico. In the centre of the town, at the nnion of the three hills on which it stands, is the picturesque '*Tiazza del Campo, now offi¬ cially called Vittorio EmanueLe (^Pl. 1), 5j, which has been men¬ tioned by Dante (Purg. xi. 134). It is semicircular in form, and depressed towards the centre, somewhat resembling an ancient theatre. The popular assemblies and festivals of the ancient re¬ public took place here, and it is here that the Palio horse-races (^p. 22) are now held. The piazza is enclosed by pinnacled palaces. On the diameter of the semicircle rises the — *Palazzo Pubblico (^Pl. 22; D, 5), a huge brick edifice of four stories, erected in 1289-1309, with pointed windows divided by small columns, and wings lower than the central part of the build¬ ing. (The wings of the second floor are of a later date; comp, p. 28). Adjacent rises the slender tower del Mangia, begun in 1325, and finished after 1345, so named after the stone figure of a man wiiich used to strike the hours (a popular figure somewdiat resembling the Roman Pasquino, p. 202). At the foot of the tower is the Cappella di Piazza^ in the form of a loggia, begun after the cessation of the great plague of 1348 which carried off 30,000 per¬ sons, and completed in 1376, w4th damaged frescoes by Sodoma. The shewolf on the column in front of the right wing, the arms of Siena, dates from 1429. The "'Interior (custodian (, 2 -l fr.) is embellished with numerous fres¬ coes of the Sienese school. Among those on the Ground Floor are a Coronation of the Virgin, by Bano di Pietro^ 1445; a Madonna with SS. Ansano and Galgano, by Sodoma; Madonna with saints, by Vecchietta; a Kisen Christ, by Sodoma^ 1535 (?), in the room of the Sindaco. On the First Floor, the custodian lirst shows the Sala del Gran C oNSiGLio (or del Mappamondo, or delle Balestre), adorned with large frescoes : Madonna and Child under a canopy borne by saints, by Simone Palazzo Pubblico. SIENA. 5. Route, 25 Martini,^ 1815, a somewhat stilt’ composition with numerous figures, but with beautiful details^ opposite, ‘■'Equestrian portrait of Guidoriccio Fo- gliani de Ricci by Simo7ie Martini^ and %S. Ansano, ‘-‘S. Vittorio, and S. Ber¬ nardo Tolomei by Sodoma^ 1534; then 88. Bernardino and Caterina by Sano di Pietro. Adjacent, and only separated from the council-chamber by handsome benches carved by Dotueriico di Niccolb (1429), is the Chapel, embellished with frescoes of the Death and Assumption of the Virgin by Taddeo Bartoli. The altar-piece is a Holy Family by Sodorna; tasteful font by Giov. Turini of 8iena. A beautiful iron railing (1436-45) separates the chapel from a small Vestibule, which also contains frescoes by Taddeo Bartoli (1441), representing St. Christopher, Judas Maccabams, and six figures of Roman gods and statesmen in quaint juxtaposition. — Another Ploom contains portraits of the eight popes and forty-one cardinals to whom Siena has given birth, a iladonna by Matteo da Bietia 1484, and 8. Bernardino preaching in the Campo. by Sano di Pietro^ interesting for its representation of the piazza at that period. — The adjoining 8ala di Balia, or de’’ Pkiori, is adorned with frescoes from the history of Emp. Frederick 1. and of Pope Alexander III. by Spinello Aretino (including a naval victory of the Venetians and the Empei-or and Doge leading the Pope’s horse). In the centre of the room are two coffers , one carved by Barili,, the other adorned with paintings said to be by Fra Angelico. On the other side is the Sala del Conoistoro , with ceiling-paintings by Beccafnmi., of subjects from ancient history, and a line marble doorway by .Jacopo della Quercia. — The Sala dei IS^ovi, or della Pace, contains fres¬ coes by Ainbrogio Loreyizetti^ painted in 1337-39, representing ‘Good and Bad Government’, three pictures which are indispensable to those who desire an insight into the disposition of the proud citizens of Siena in the middle ages. The allegories and allusions of a more or less ob¬ scure character which they contain are at least interesting as being of a much more homely kind than those customary in modern times. One of these mural paintings represents the ideal of a state, under the guidance of wisdom, justice, and other virtues, while the two others pourtray in a realistic style the consequences of good^and bad government. The pre¬ servation is imperfect, but the spectator will not fail to admire the heads of Peace, Justice, and Concord in the first of the series. At the E. e'nd of the Piazza del Campo is the Palazzo del Go- veriio (p. 30; facade towards the Via Kicasoli). In the centre of the piazza, opposite the Palazzo Pubhlico, rises the marble Ponte Gaja ^ with bas-reliefs of scriptural subjects by Jacopo della Quer¬ cia., 1419. (The originals, in a very damaged condition, are noAv preserved in the Opera del Duomo, see p. 28; the copies substitut¬ ed for them are by Sarrocchi.) A subterranean conduit, 18 M. in length, supplies the fountain with delicious water, the merits of which w'ere extolled by Charles V. Ascending by steps through one of the passages beyond the Fonte Gaja, we reach the beginning of the Via ni Citta, which presents a busy scene, especially in the evening. To the right, the handsome "^J^oggia of the Casino de’’ Nobili (PI. 2; D, 5), once the seat of the commercial tribunal. It was built in imitation of the Loggia de’ Lanzi of Florence in 1417. The sculp¬ tures are by Sienese masters of the 15th cent., such as Ant. Fe- derighi (who executed the ligures of 8. Ansano and S. Savino and the stone bench on the right) and Lorenzo di Mariano (to whom is due the stone bench on the left). — The N. prolongation of this street towards the Porta Camollia is the Via Cavour, see p. 34. Proceeding to the left, past tlieCaffe Greco, and then ascending 26 Route 6. 81 ENA Cathedral. tlin Via de’ Pellegrini, a side-street to the ri^rht, we reach the sniall Pia/za S. (iiovauiii. Here, in the corner to the left, is situated the "^'Palazzo del Magnipeo (PI. 18; 1 ), 5), wdiich was erected in 1508 for the tyrant Pandolfo Petrncci, snrnamed II Magnifi<‘o (p.22), from designs hy (iiacorno Cozzarelli. The bronze ornaments and rings on the outside are in admirable keeping with the style. In a straight direction we obtain a tine survey of the choir of the loftily situated cathedral, under which is the old baptistery, forming a kind of crypt, now the Pieve or parish-church of S. Gio¬ vanni (PI. 5 ; C, D, 4, 5"), with a handsome Gothic fa(;ade, but un¬ fortunately uncompleted (date about 1400). The niai'hle "Font is an admirable early Renais.sance work. It is adorned with six *Bronze-reliefs from the history of .John the Baptist hy J. della Quercia (Zacharias led out of the Temple, 1430), by Lorenzo Ghiberti (Ilaptism of Christ and .John the Ba|)tist conducted to prison, 1427), by Donatello of .John the Bay^tist brought before Herod and his guests, 1427), and (the others) by Tnrino di Sajio and his son Giovanni di Turino. The latter also executed the figures of Charity, .Justice, and Prudence*, those of Faith and Hope are by Donatello. — The frescoes by Sienese painters of the 15th cent, are of inferior value. — Over the high-altar is a Baptism of Christ by And. and Raf. Puccinelli of Brescia. From the Piazza S. Giovanni we may either continue to follow the street to the right, past the Palazzo ArcivescovHe (PI. 13; C, 4), or we may ascend the steps to the left. By either way we reach the Piazza del Duomo. The **Cathedral, or Chiesa Metropolitana (PI. C, 4, 5), occupy¬ ing the highest ground in the town, is said to stand on the site of a temple of Minerva, which was succeeded by a church of S. Maria Assunta. The present building was begun early in the 13th cent.; the dome was completed in 1264; and about 1317 the choir w’as prolonged to the E. over the church of S. Giovanni (see above). Owing to certain structural defects, to which the present irregu¬ larity of the edifice is still perhaps partly due, it was resolved in 1339 to erect a huge nave, of which the present cathedral was to form the transept only. Parts of this building, designed in a beautiful style, still exist on the S. side of the cathedral in the form of a ruin. After the plague of 1348 this ambitious plan was abandoned, and the original structure was then completed. (Length 97 yds., width 261/2 yds., length of transept 55 yds.) The *Fa- CADE, constructed in 1270-138() from a design by Giovanni Pisano, showing a combination of the pointed and circular styles, is com¬ posed of red, black, and white marble, and richly decorated w th sculptures representing prophets and angels by different masters; the mosaics were added in 1878 from designs by Mussini and Franchi. The campanile, consisting of six stories, does not taper towards the top. On each side of the entrance is a column bearing the wolf of Siena. The ^Interior consists of a nave and aisles extending to the choir and intersected by a double transept, with an irregular hexagonal dome Cathedral. STENA. 5. Route . 27 over the centre. The horizontal bands of cohnir, the continuous rows of busts of popes (in terrjicotta) over the arches, and the pillars with the half-columns will at first produce an unfavourable impression on northern travellers, but they will find that the pleasing ornamentation in marble compensates to a great extent for organic defects. The stained glass in the large circular window in the wall of the en¬ trance was designed by Perino del Vaga^ 1549. Over the entrance is a graceful tribune borne by two columns. The *basins for holy water are by Ant. Federighi ^ a pupil of Jac. della Quercia, 1462-63. The **Pavement is quite unique, being covered with ‘Graffito’ re¬ presentations in marble: scenes from Old Testament history, Moses, Sam¬ son, Judas Maccabseus, Solomon, and Joshua by Duccio; Abraham’s sacri¬ fice, Adam and Eve, Moses on Mt. Sinai, etc., by Beccafumi; the symbols of Siena and the towns allied with it, Hermes Trismegistus, Socrates and Crates, the Sibyls, and other figures by masters of less note. The exe¬ cution varies. The oldest scenes are simple outlines engraved on the white marble and filled with black stucco. Shading was afterwards in¬ troduced by the use of grey and also of coloured marble, so that the graffito gradually developed into an elaborate mosaic. Most of these works are covered with boards for their protection, which the visitor may cause to be removed. They are now being replaced by copies, while the ori¬ ginals are being deposited in the Opera del Duomo. Left Aisle: *Altar of the Piccolomini with statues of SS. Peter, Pius, Gregory, and James (?) by Michael Angelo., and St. Francis, begun by Torri- giani., and completed by Michael Angelo. Farther on, adjoining the door of the Libreria, is the Monument of Bandini, with the Risen Christ and angels, attributed to Michael Angelo. — The entrance-wall of the Li¬ breria is embellished with fine sculptures in marble, by Mavrina. Over the door: Coronation of Pius III. (Piccolomini), 1503, who reigned 27 days only, by Bernardino Pinturicchio., who also painted the frescoes in the library (see below). The Left Transeft contains the Cappella S. Giovanni, at the entrance to which are two columns resting on richly ornamented Renaissance bases. In the interior are a ^statue of John the Baptist by Donatello., 1457; .sta¬ tues of SS. Catharine and Ansanus, by Neroccio., 1487; a font, perhaps by Jacopo della Quercia; handsome stucco enrichments in the Renaissance style; and five small frescoes by Pinturicchio., three being scenes from the life of St. John, and two from the life of Alberto Arringhieri, the donor. The *PuLPiT , octagonal in form and constructed of white marble, borne by ten columns, some of which rest on lions, and adorned with admirable reliefs from the New Testament, is by Niccolb Pisano., his son Giovanni., and his pupils Arnolfo and Lapo (1268). The flight of steps was designed by Bartolo Negroni., surnamed Riccio (1570). The Choir contains richly carved choir-stalls, reading-desk, etc. by Riccio (1569), and inlaid work (tarsia) by Fra Giovanni da Verona (1503). The bronze *canopy is by Lorenzo di Pietro., surnamed Vecchietta (1472). The frescoes, by Beccafumi (1544), were entirely renewed and altered at the beginning of the present century. — The chapels on the right and left of the choir contain the two halves of a "'picture by Duccio di Buonin- segna: on the left the Triumphant Madonna with the Child and saints, the once highly revered ‘Majestas’, which was placed over the high altar in 1310 (p. 23), with the inscription: Mater Sancta Dei., sis caussa Senis requiei y sis Ducio vita., te quia pinxit ita. On the right is the Life of Christ, in 26 sections, originally forming a background to the Majestas. In the pavement in front of it is the monument of Bishop Peccio (d. 1426), a relief in bronze by Donatello. — By the pillars of the dome are two flagstaffs from the standard-waggon of the Florentines (il caroccio)., captured at the battle of Montaperto in 126(), or, according to the latest authorities, those of the victorious waggon of the Sienese. Over a neigh¬ bouring altar is the crucifix which the Sienese carried with them on that occasion. In the Right Transept is the Cappella del Voto, belonging to the Chigi., built by Alexander VII. (Fabio Chigi of Siena, papal nuncio at the 28 Route f). SIENA. ()])er(i del Dunmo. Peace of Westphalia in 1048, pope in 1665-07) in 1601, richly adorned with lapis la/iili, marble, and gilding, and containing statues of St. Jerome and Jlary Magdalene (said originally to have been an Andromeda) by Bernini. The Sachisty contains predelle by Duccio.^ a Nativity of the Virgin by Pietro Lorenzetti ^ in a lifelike genre style, and a picture of the 15th cent, (perhaps by Bano di Pietro).^ showing the original form of the Pa¬ lazzo Pubblico (p. 24). In the left aisle, as already mentioned, is the entrance to the cele¬ brated ’""‘Library of the Cathedral {Libreria; fee fr. ) or Bala Piccolominea. erected by order of Cardinal Francesco Piccolo^nini, afterwards Pope Pius III., in 1495, and adorned in 1505-()7 with ten frescoes by Pintiiricchio., representing scenes from the life of JEnea^ Bylvina Piccolommi of Pienza (p. 20), afterwards Pope Am.s //. (1458-64): (1) i)eparture of Aiineas Sylvius for the Council of Basle; (2) Aeneas Sylvius in presence of King James of Scotland, to whom he had been sent by the Council; (3) His coronation as a poet by Emperor Frederick III. at Frankfort in 1445; (4) iEneas Sylvius doing homage to Pope Eugene IV. in the name of the Emperor; (5) Betrothal of Emperor Frederick HI. with Eleonora of Portugal at Siena by iEneas Sylvius; (6) Aineas Sylvius created a cardinal by Pope Calixtus III.; (7) iEneas Sylvius elected Pope Pius II.; (8) Pius II. at the diet of princes in Mantua; (9) Canonisation of Catharine of Siena; (10) Death of Pius II. at Ancona, while preaching a crusade against the Turks. Some of these pictures, which are connected by beautiful figures of nude or half-nude children, are admirably preserved. Vasari asserts that Ba- phael assisted in their execution. It is tolerably certain that Raphael was at Siena at the same time as Pinturicchio, and it is not improbable that he furnished the older and less imaginative master with designs of which the latter availed himself more or less freely. Designs for these frescoes attributed to Baphael are now preserved in the Uffizi collection (that of No. 1), in the Brera at Milan (No. 3), in the Duke of Devon¬ shire’s palace at Chatsworth (No. 4), and by Sign. Baldecchi at Perugia (No. 5). — The "Missals, embellished with beautiful miniatures , also de¬ serve attention. Opposite the S. side of the cathedral, in the corner where the steps ascending from S. Giovanni terminate under tlie arches of the uncompleted nave (p. 26), is the *Opera del Duomo (ilelLa Metro- politana; PI.12; C,5), which contains several interesting works of art. In the entrance passage is the custodian’s bell (V 2 fi'O- The hall on the Gkound Floor contains a famous antique Group of the Three Graceft.^ found at Rome in the reign of Pius HI. and presented by him to the cathedral library, but removed thence in 1857 by desire of Pius IX. From this work Raphael made his first studies from the antique (drawing at Venice). The superb Renaissance pedestal is also interesting. The "Bculptures from the Fonte Gaja (p. 25) by Jacopo della Qnercia., representing a Madonna, the Virtues, the Creation of Man, and the Expulsion from Paradise, which are among the master’s finest works, are unfortunately much damaged. Bculp)tures from the Cappella di Piazza (p. 24), and others from the facade of the cathedral before its restoration. Drawings and copies of the '"Graffiti of the Cathedral Pavement., destined to replace the originals; also some of the originals themselves (comp, p. 27). Church-banner with a Transfiguration by Bodoma. — On the First Floor several interesting plans and architectural designs: four Saints bv Lorenzetti. a Credo bv Taddeo BartoU. and several other earlv Sienese pictures. Adjoining the Opera is the Palazzo Reale (^Pl. 23; C,5), erected by F)ern. IDiontalenti in tlie 16th cent., now the seat of tlieprefec.ttjre and telegraph office. — Farther on, at tlie other corner of the Via del Gapitano (see below) wliich diverges here, is the Palazzo Peed (PI. 20; 0,5), a Gothic brick building of the 13tli cent., restored in 1854. Palazzo BaonHynori. 81ENA. 5. Route. 29 Opposite tlie fa^'ade of the cathedral are the church and hospital of S. Maria della Scala (PL C, 5), of the 13th cent. Over the liigh- altar of the church is a llisen Christ, a statue in hroiize by Vecchietta. Adjoining the handsome entrance-hall of the hospital is a large sick-room called ‘II Pellegrinajo’, adorned with frescoes from the history of the monastery by Domenico Bartoli, 1440-43, and other masters. Pleasing view from the windows (fee ^ ^2 fr.). — Descending to the left by a few steps at the N. angle of the Piazza del Duomo, we reach the small round church *Deyli Innocenti (PI. C, 4), a beautiful building with the ground-plan of a Greek cross. The above mentioned Via del Capitano leads to the quarters of the town situated on the S. and S.W. hills. It soon crosses the small Piazza Postierla, with the Palazzo Chiyi^ now Piccolornini (PI. 16), on the right, which contains two saloons adorned with frescoes by Bernhard van Orley, a Fleming who joined Raphael’s school. The column with the wolf in the piazza dates from 1487. — Not far distant, in the Via di Citta which diverges here to the left, is Palazzo Piccolornini., now Nerucci (PI. 19), erected by Bernardo Kosellino in 1463 for Catharine, the sister of Pius II. ; and beyond it is the Palazzo Saracini (PI. 24). — In the Via del Corvo (now Stalloreggi), which diverges from the Piazza Postierla to the right, is the Casa Bamhayini-Galletti, on the fa(;ade of which is a fresco by Sodoma, called the ‘Madonna del Corvo’. On the left, in the Via S. Pietro, the continuation of the Via del Capitano, is the "^Palazzo Buonsiynori (PI. 15; C, 5), a hand¬ some Gothic edilice in brick, with a rich facade, restored in 1848. — At the church of S. Pietro alle Scale (PI. 9 ; C, 6), which con¬ tains paintings by Salimbeni and Rutilio Maiietti (16th cent.), the street bends to the right. — Following the main street and passing under an archway, we enter the Piazza 8. Agostino (PL C, 6), where we observe the R. Colleyio Tolomei, formerly a monastery and now a much frequented grammar-school, and the church of — S. Agostino (PL C, 6), remodelled by Vaiivitelli in 1755, and containing some valuable pictures. Ov’^er the 2nd altar on the right, a Crucilixion by Pietro Periujiuo. Slaughter of the Innocents by Matteo da Siena., in a chapel on the right. Statue of Pius II. by Dupre. Altar-piece, an 'Adoration of the Idagi by Sodouia. At the back of the choir, on the left, the Legend of S. Agostino Novello in three sections, by hippo Memmi., probably his best work. Also pictures by Sali/nbeni, Rutilio Manetti., and others. Following the Via della Cerchia to the W. of this church, and inclining a little to the right, we enter the Via Baldassare Peruzzi, on the left side of which are the suppressed monastery (now a barrack) and the church of — S. Maria del Carmine (PL B, 5), a handsome brick edilice, with campanile and cloisters, by Baldassare Peruzzi. On the right is the Cappella del Sagramento with a Nativity of Mary by Sodoma. 5th altar on the left, St. Michael by Beccafumi. STENA. iS. Spirito. 30 Route .0. Opposite is the Palazzo Pollini, formerly C'eLsi (PI. 21; B, 5), attributed to Peruzzi. — We may now proceed straight on through the Via delle Fosse di S. Ansaiio (with the R. Islituto Toscano dei Sordo-Mutij or Deaf and Dumb Asylum) either to the Piazza del Duomo, or, by turning a little to the left towards the end ol the way, we may reach the Porta Fontebranda (see p. 33). Outside the Porta S. Marco (PI. A, 5) there is a fine view. The E. angle of tlie Piazza del Campo is occupied by the *Pa- lazzo del Governo (PI. 17; D, E,o), erected for Giacomo Piccolomini between 14G9 and 1500, probably from a design by Bernardo Rosel- lino. This is one of the most imposing private edifices at Siena. The principal faijade with its tasteful decorations in wrought iron (horses’ heads, etc.) looks to the Via delle Loggie and the small Piazza Piccolomini. Since 1859 the extensive * Archives (director, Cav. Banchi), one of the most important collections of the kind in Italy, have been deposited here. Parchment Charters^ 52,000 in number, the oldest dating from 730. Under glass are a nninber of interesting specimens of these documents, Antograp/is of celebrated men (Pius II., Leo X.), Miniatures^ etc. There is also a valuable collection of the Covers of the old Treasury Registers (Riccherne)^ in chronological order, painted with scenes from sacred and profane history, and aftbrding an admirable survey of the development of Sienese art. They include works by Diotisalvi^ Duccio^ and the Lorenzetli. In the vicinity is the University (see p. 31). The elegant *Loggia del Papa (PI. 11; E,5), in the Piazza Piccolomini, opposite the Pal. del Governo, was erected in 1460 by the Sienese Antonio Federighi by order of Pius II., and dedicated by the pope ‘gentilibus suis’. Adjacent is the church of S. Martino (PI. 8; E, 5, 6). Over the 2nd altar on the right, a Circumcision of Christ by Guido Reni. On each side of the 3rd altar are ornamental sculptures in marble by Lorenzo di Mariano^ surnamed II Marrina; on the left: Xativity of Christ by Beccafumi. The choir contains gilded wooden statues, attributed to Jacopo della Quercia. The Via Ricasoli, which begins by the Loggia del Papa, tra¬ verses the crest of the S.E. hill and leads to Porta Pispini and Porta Uomana, the two S.E. gates. Immediately to the right in this street is the Fonte di Panta^ neto., dating from 1352, recently restored. To the left, a little far¬ ther on, the Via di Follonica descends to the Fonte di FoLlonica^ con¬ structed in 1239 and situated in a garden far below. A few paces beyond the church of S. Oiorgio (PI. E, 6) diverges to the left the Via de’ Pispini, in which we first reach the church of — S. Spirito (PI. E, 6,7), with a dome dating from 1508, and portal from 1519, the latter designed by Baldassare Peruzzi. The 1st chapel on the right (Cappella degli Spagnuoli) contains paint¬ ings by Sodoma: in the lunette, 8t. James on horseback (fresco); on the pillars^ 88. Antonius Abbas and 8ebastian; in the lunette of the altar, The Madonna presenting the gown of the Order of the Dominicans to Oratorio di S, Bernardino. SIENA. 5. Route. 31 St. Alfonso, in the presence of SS. Cecilia and Lucia (the last three oil- paintings). To the right is a Nativity of Christ in terracotta by Ambrogio della Robbia. — Over the door leading to the sacristy, Christ on the Cross, by Sano di Pietro. — Over the third altar to the left, Coronation of the Virgin by Pacchia. — In the Cloisteks (sagrestano 5-6 soldi): Crucifixion by a pupil of Fra Bartolommeo probably designed by the great master himself. The Fonte de’ Pispini dates from 1534. The neighbouring Porta Pispini (PI. F, 8) is embellished with a damaged fresco (Nativity) by Sodoma. Opposite S. Spirito we enter the Vicolo del Sasso, follow to the right the broad Via S. Girolamo, and passing the column witli the wolf, we reach S. Girolamo (PI. 1), 7), belonging to a convent (on the 3rd altar to the left, Madonna with saints by Matteo da Siena, framed in marble by Lorenzo di Mariano). On the left we next come to the church of — SS. Concezioncj or Servi di Maria (PI. D, 8), erected in 1471, the beautiful interior completed in 1511-33, probably by Bald. Peruzzi. First altar to the right: Madonna, by Coppo di Marcovaldo^ 1261. Fourth altar to the right: Slaughter of the Innocents, by Matteo da Biena. 1491^ above. Adoration of the Shepherds, by Taddeo Bartolo. — In the right transept, above the first door leading to the sacristy: ‘La Vergine del Popolo’, by hippo Memmi^ an able work. — At the back of the high altar, ‘Madonna del Manto’, ascribed to Matteo da Biena ^ 1436. The Coronation of the Virgin, by Fungai (1500?), is one of his earlier works. The Porta Romana (PI. D, 8) is adorned with a fresco (Co¬ ronation of the Virgin) begun by Taddeo Bartoli and linished by Sano di Pietro. — About Vs Feyond the gate is the church of Madonna degli Angeli, the choir of which contains a Madonna with saints, by Raffaele da Firenze, 1502. Opposite the N. side of tlie Palazzo del Governo (p. 30) the Via S. ViGiLio leads to the E. to the church of the same name and to the University (PI. 28; E, 5). The entrance to the latter is in the corner to the right; in the corridor is the monument of the cele¬ brated jurist Niccolh Aringhieri (d. 1374), with a bas-relief re¬ presenting the professor in the midst of his audience. The neighbouring church of S. Maria di Provenzano (PI. 7 ; E, 5) dates from 1594. — Traversing several streets to the E. we reaeh the grass-grown Piazza di S. Francesco (PI. F, 5), in which are situated the church of S. Francesco and the Oratorio di S. Ber¬ nardino. The church of S. Francesco, linished in 1236, contains (in the left transept ) frescoes by Ambrogio Lorenzetti, representing the Criicilixion, St. Francis receiving the gown of his order. Martyrs ill Asia. The chapel of the Seminary adjoining the churcli contains a Madonna nourishing the Chiid by Lorenzetti (wall facing the win¬ dows), and a Madonna and saints by Barna (left wall). Tlie *Oratorio di S. Bernardino (PI. F, 5; fee 1 fr.) possesses admirable pictures, especially by Sodoma. 32 Routt 5 . SIENA. Instituto delle Belle Arti. liOWEK Oratokio ; Scenes from the life of St. Berruirdino, of the latter part of the IGth cent. — •UprEK Okatokio: Presentation in the Temple, Salutation, Assumption, and Coronation of the Virgin^ SS. Antony, Louis, and "Francis, by /Sodoma^ 1518-32, the single ligures being of great beauty. Betrothal and Death of the Virgin, by Beccafumi, 1518. Nativity of the Virgin, Annunciation, and St. Bernardino, by Girolamo del Pacchia^ 1518. The visitor should particularly observe the admirable enrichments of the ceiling, the frieze, etc., w^hich are among the most tasteful of early Re¬ naissance works, executed by GiuUano Turapilli after 1496. Altar-piece by Bcccafumi^ 1537. The Via dei Rossi leads straight to the Via Cavouii, wliich witlj its prolongation, the Via Camollia, extends from the Casino do’ Nohili (p. 25) to the Porta Camollia, a distance of nearly 1 M. Approaching from the Casino de’ Nohili, we first reach a small piazza, named after the Palazzo Tolomei (PI. 26), a Gothic edifice of P205, on the left, and also adorned with a wolf. Farther on, the Palazzi Palmieri (1540), Biclii (1520), with a line loggia with modern paintings, Gori (1677) and ^Spannocchi (PJ. 25), built in 1470 hy a Florentine master, and recently thoroughly restored. To the left next diverges the Via di^lle Belle Arti , which contains the Art Institution and the Library and leads straight to the church of S. Domenico. Thc*Instituto delle Belle Arti (PI. 10 ; D,E,4) contains a valu¬ able collection of pictures, principally of the older Sienese school, formed at the beginning of the present century of works procured from suppressed monasteries and from the Palazzo Pubblico, and gradually extended since that period. Admission 9-3 o’clock daily, except on Sundays and holidays, when access may be obtained for a gratuity. At the entrance, reliefs of little value. The numbering of the pictures is as nearly as possible chronological and begins in the corridor to the left with the early Sienese school. I. Cokkiuok : 1-5. Pictures in the Byzantine styles 6. Guido da Siena (V), Madonna. The next are by un¬ known masters. 18. Margaritone (VArezzo^ St. Francis; 23. Duccio di Buoninsegna ^ Madonna with four saints; 39. Simone di Martino (?), Ma¬ donna with four saints,’ 40, 48-52. by Anihrogio Lorenzetti; below, 45. An¬ nunciation (1344); 50, 51, 55-59. by Pietro Lorenzetti (about 1330); 66. Niccolb di Segna (1345), Crucifix; "90. Lippo Memmi^ Madonna. — II. Cokkidok: 109. Mino del PelUciaio (1362), Madonna. — III. Corridoii: 125-131. by Tad¬ deo Bartoli (1409); 134-139. by Giovanni di Paolo (1445)); 140. Pietro di Gio¬ vanni^ S. Bernardino; 141-147, 150-152. by Sano di Pietro (1479), the Fra Angelico of Siena. 153-156. Neroccio di Bart. Landi. 153. Madonna and saints, 1476; 166-170. by Matteo da Siena (1470). Small Rooms in the 2nd corridor to the left. 1st Room: 201. Sano di Pietro Madonna appearing to Calixtus 111.; "'205. Sodoma., Christ about to be scourged, al fresco, from the cloisters of S. Francesco; 219, 22(b Luca Signorelli (V), two frescoes (yEneas departing from Troy, and liberation of captives), with beautiful frames and handsome pilasters in carved wood, executed by Bariii., 1511 (from the Palazzo del Magnilico). — 2nd Room: 236, 241. Spinello Aretino (1384), Death and Coronation of the Virgin. — We next visit the room at the end of the 1st corridor in a straight direction; 294. Sano di Pietro., Madonna with saints, a large altar- piece; 296. Pacchiarotto., Annunciation and saints. — We now come to a small room containing pictures of a later period. In the last room antiiiue sculptures. — We then return to the entrance and enter the — Great Hall. Immediately to the right and left: "341, 342. Sodoma., House of St. Catharine. SIENA. 5. Route. 33 Clirist on the 3It. of Olives and in hell, two frescoes; 345. Fuiujaiy Ma-. donna and saints; 350. Sodonuiy Judith; 352. Beccafumiy Madonna; 365. Francesco di Giorgio y l^ativity of Christ; 368. Beccafumiy Fall of the angels; 369. Francesco di Giorgioy Coronation of the Virgin; *377. Sodonia.y Descent from the Cross. — The following Room contains upwards of 100 pictures of different schools, including: 26. Old copy of Raphael’s Ma¬ donna della Perla (at Madrid); 36. Garavaggioy Morra-players; 39. MoronCy Portrait; 45. Pinturicchio y Holy Family; *53. (?), Portrait; *54. German School y Portrait of Charles V.; *63. Beccafumiy St. Catharine of Siena with the stigmata; 71. Sodonuiy Same; 73. German School, Portrait; *81. Palma Vecchio, JIadonna and Child to whom a saint introduces the donor; 85. Sodoma, Nativity; 91, 99. Fra Bartolommeo, St. Catharine and St. Mary Magdalene; 103. Palma Giovane, Brazen Serpent; 105, 103. Sodoma, Pieta and Madonna. — The next Room contains the seven original car¬ toons of Beccafumi from the history of Closes, executed in marl)le-graflito on the pavement of the cathedral. — Several tine works in carved wood 6y Gosiy Guidiy and Querci (p. 24) are generally exhibited here. The Biblioteca Comunale (PI. 1; D, 4) is reputed the most an¬ cient in Europe (in tlie ITth cent. Siena possessed sixteen libraries, and in 1654 even one for women); it contains 40,000 vols. and 5000 MSS. The most interesting are: the *Greek Gospels, formerly in the cha¬ pel of the imperial palace at Constantinople, of the 9th cent., magni¬ ficently hound and mounted in silver; *Treatise on architecture by Fran¬ cesco di Giorgioy with sketches and drawings by the author; *Skctch-books of Baldassare Peruzzi and Giuliano da Sangallo. Beyond the library, to the left, we descend the Via Costa S. An¬ tonio, and enter the first side-street to the right, which leads straight to the upper entrance of the House of St. Catharine (PI. 3 ; D 4) ; ‘SponscB Christi Katherine domus’. Visitors knock at the door to the left (Y 2 t^t. Catharine of Siena, the daughter of a dyer, was born in 1347, took the veil at the age of eight, and having become celebrated for visions, she prevailed on Pope Gregory VI. to retransfer the papal throne from Avignon to Rome (1377). She died in the year 1380, and was canonised in 1461. The best-known vision is that of her betrothal with the Infant Christ, a favourite theme with painters. Her festival is on 30th April. The diffei’cnt rooms in the building have been converted into small chapels or Okatokies, which belong to the Confraternitd di S. Caterina. Above the altar in one of the Uppeii Okatokies, once a kitchen, is a portrait of the saint, by Fungai-, the other pictures are by Salimbeni and Fr. Vaimi; attention should also be paid to the beautiful ceiling, the pi¬ lasters and the *pavement of glazed tiles. — The pretty little court is at tributed to Bald. Peruzzi. — The Okatokio del Crocieisso cf)ntains the wonder-working crucifix, a work by Giunta Pisano (?), from which St. Catharine, according to the legend, received the stigmata. — Below is the CiiUKCii, containing the following ji^'-intings: Girol. del Pacchkiy St. Catha¬ rine healing Matteo di Cenni from the plague; St. Catharine rescuing Dominicans from robbers; The dead body of St. Agnes of Montepulciano stretching out her foot to be kissed by St. Catharine. The fourth picture, representing the saint being attacked by Florentine soldiers, is by Sa- limbeniy 1604; in the lunette, above the altar, *Angels by Sodoma. Oil leaving the cliurcb (the fa(;ade of which is remarkable) we come to the Via Benincasa (formerly dei Tintoriy PI. D, 4), which is still inhabited, as in ancient days, by dyers and fullers. Not far distant is the celebrated fountain of *Fontebranda (PI. C, D, 4), Baedeker. Italy II. 6th Edition. 3 34 Route 5. SIENA. S. Domenico. •very picturesquely situated at the base of the hill of 8. Domenico, mentioned as early as 1081, renovated in 1198, and praised by- Dante (Inf. 30, 78: ‘Per Fontebranda non darei la vista’). — The Via di Fontebranda ascends to the Campo (on the left), and to the cathedral (on the right). ■— Passing the fountain, and ascending to the right, we reach — S. Domenico (PI. D, 3, 4), a lofty brick edifice in the Gothic style (1220-1465), the massive substructions of which rest on the slope of the hill, with a campanile dating from 1340. The Interior is destitute of aisles, and has a transept and open roof. At the entrance, to the right, is the Cappella uelle Volte (closed), con¬ taining a Madonna and saints by^ Girolamo di Benvenuto 1508, and an altar-piece, St. Catharine by Andrea Vanni. — Farther on, to the right: Monument of the mathematician Gius. Fianigiani (d. 1850), by LJecheroni. — Third altar: St. Peter the Martyr, by Salimbeni, 1570. — Tlie *Chapel OF St. Catharine, in which the head of the saint is preserved in a silver reliquary enclosed in a shrine dating from 14G6, is adorned with admirable frescoes by Sodoma. On the wall near the altar, St. Catharine in ecstasy, supported by two sisters (the so-called ‘Svenimento’, or faint), and an angel bringing her the host; on the wall to the left. The prayer of the saint saving the soul of a decapitated culprit; to the right. Healing of the possessed, by Francesco Vanni., 1593. The two saints on the right and left of the entrance are by the same master; the ceiling was executed by Sodoma. — The pavement of the chapel is richly decorated with graffito representations on marble. — Last altar to the right: ^Nativity of Christ of the school of Franc, di Giorgio., executed under the influence of Luca Signorelli, to whom the work was formerly attributed; the upper part is probably by Matteo da Siena^ the foreground by Fiingai. Choir. The beautiful *Marble Ciborium at the high-altar, hitherto ascribed by the Sienese to Michael Angelo , is more probably^ the work of Benedetto da Majano. — A beautiful "view of the lofty and imposing Cathedral may be obtained from the window at the back of the high altar. — The 2nd Chapel to the left of the high altar contains a Ma¬ donna by Guido da Siena , an interesting picture, although the date 1221 appears to be spurious (12^). To the right: SS. Barbara, Mary Magdalene, and Catharine hy Matteo da Siena, 1479; in the lunette above, a Pieta by Girolamo Benvenuto; the Madonna with saints to the left was executed by the same master, 1508; the lunette representing the Adoration of the Magi is by Matteo da Siena. — The 2nd Chapel to the right of the high altar contains numerous old tombstones with coats of arms, many of which belong to Germans who studied at the university in the 15th and 16th centuries. We now return by the Via del Paradiso and the small Piazza Giuseppe Pianigiani, in which stands the little church of S. Maria delLe Nevi (PI. 6), with a handsome facade, and a good picture by Matteo da Siena (Madonna with numerous saints, 1477), to the Via Cayour (p. 25), which farther on contains several handsome pa¬ laces, such as Palazzo Mocenni, Ciaia., and others. We next come to the small Piazza S. Petronilla on the right, whence the Via Garibaldi leads to the Porta S. Lorenzo and the rail¬ way-station. — The streets to the left of Via Cavour open into the Lizza (PI. E, 2, 3), a small promenade which was laid out in 1779 on the site of a former fortress erected by Charles V., commanding good views of S. Domenico and the Cathedral. These walks extend as far as the entrance to Fort St. Barhera, built by Cosmo I. in 1560, open to the public and affording a. good survey. Fonteyiusta. SIENA. 5. Route. 35 The latter part of the Via Cavour, as far as the gate, is called the Via i)i Camollia (PL F, 1, 2). From this street the Via de’ Campansi diverges to the right to the former monastery de’ Campansi , now the Ricovero di Mendicitd (PL F, 2; visitors ring"); the cloisters are adorned with a fresco by Matteo Balducci. Handsome rococo church. We continue onr way up the Via Camollia for some minutes, and, opposite a small square, turning to the left under an archway, and descending the Via Fontegiusta, arrive at the little church of — Fontegiusta (PL F, 2), belonging to a brotherhood (if closed, ring the bell to the right). This church was built by Francesco di Cristofano Fedeli and Giacomo di Giovanni in 1479, and possesses a beautiful *high-altar by Lorenzo di Mariano (1517), one of the finest existing sculptures of Raphael’s time. The bronze holy-water basin, by Giov. delLe Bombarde^ is of simple but able workmanship. The 3rd altar to the right is adorned with a Coronation of the Ma¬ donna by Fungai'^ the 2nd to the left with a restored fresco by B. Peruzzij the Sibyl announcing to Augustus the Nativity of Christ. Farther up in the Via Camollia, to the right. No. 48, is the house of Baldassare Peruzzi (p. 24), indicated by an inscription. A pleasant Walk may be taken by a road that skirts the town- walls to the right, outside the Porta Camollia (PL F, 1), affording pleasant views of the Tuscan hills. On a height opposite, beyond the railway-station, lies the monastery of Osservanza (see below); in the valley below, outside the Porta Ovile (PL F, 4), is the pic¬ turesque Fonte Ovile. In about 1/2 we reach the Porta Pispini (PL F, 8; p. 31). — About V 2 beyond the Porta Camollia, on the road to Colie, stands the '^'Palazzo dei Turchi^ generally known as the Pal. dei Biavoli, a fine brick building of the close of the liOth century. The Campo Santo is adorned with sculptures by Dupre., Sar- rocchij and others. Excursions (most of them best made by cai*riage). — About 2 *,A 2 M. to the N.E. of Siena, beyond the railway-station, is situated the suppres¬ sed Franciscan monastery of L’Osservanza. erected in 1423. The N. aisle of the church contains a ’^Coronation of the Virgin, a relief of the school of Della Robbia; at the back of the high altar, two ’'•’statues, JMai’y and the Archangel (labriel, of the same school. Pandolfo Petrucci is interred in this church (d. 1512 5 p. 22). S. Colomba, Celsa, and Marmoraja are most conveniently visited on horseback; there and hack, with stay, in 5 V 2 hrs.; horse 5 fr.; one-horse carriage (carozzino) G fr. For larger caridages the road is only good as far as S. Colomba. Leaving the Porta Camollia, we follow the high road for 21/2 M. and then diverge to the left by the road passing between two cypresses and descending into the valley. This road leads us to the villa S. Colomba (4*/2 M.), designed by Bald. Peruzzi, now the pi'operty of the Collegio To- lomei (p. 29), with handsome staircase, and hue view from the balcony. — After descending from S. Colomba we continue to follow the road by which we arrived, which leads through beautiful woods to CeUa J!. from Colomba), a castellated villa, also designed by Bald. Peruzzi, where Mino Celsi, a defender of the doctrines of Luther, lived at the begin¬ ning of the Kith cent. View from the highest story (rerresbments sold i'>i:lcauo. Excursions Route C). by the fattorc of the villa). — About 2^/^ beyond Celsa is Marmorajciy where on 7th Sept. 1187 peace was concluded between the Republic of Siena and Kishop Hugo of Volterra. The piazza in front of the parish church allords a line view in the direction of Volterra, Colle d’Elsa, S. Gimignano etc. The Certosa di Pontignano, 5 M. from the Porta Ovile, was founded in 1343, fortilied in 1383, and suppressed in 1810. The church was mo¬ dernised in the 17th cent. "'View from the Parocchia. S. Ansano in Dofana, 9 M. from Porta Pispini, is reached by a good road diverging from the high road to the left about IV 4 W. beyond the Taverna d''Arbia ^ near the bridge over the Arbia. The parish church contains a Madonna by Bald. Peruzzi. Visitors should apply at the par¬ sonage for a guide with the keys of the (8 min.) Martirio di S. Ansano.^ a handsome brick edifice by Bald. Peruzzi., containing a 3Iadonna and saints by Pietro Lorenzetti., 1329. The Abbazia di S. Eugenio, l >/4 M. to the S. of the Porta S. Marco, commonly known as II Mouastero., is an yncient Benedictine monastery said to have been founded by Warnfried, a Lombard, in 750, fortilied in 1553 by Pietro Strozzi, and secularised in the last century. The buildings arc thoroughly modernised. The church contains several early Sienese pictures, some of which have been ruined by restoration. ='View from the garden. The high road next leads to the O.sieria della Volte., about 5 i\r. beyond the Porta S. Marco, whence a road diverges to the right to ('4 M.) Cetinale, a villa erected by Flavio Chigi, a nej^hew of Pope Alexander VIL, frojn designs by Carlo Fontana in 1680. With the villa is connected the ‘Tliebais’’ park, profusely embellished with sculptures and chapels in the taste of the j)eriod. Fine view from the hill (‘Romitorio’’) above the villa. About F/'j M. beyond the Osteria della Volte lies the venerable church of B. Giovanni di Ponte alio Bpino., dating from the beginning of the lith cent. About 3 M. further is liosia., the church of which con¬ tains a holy-water basin of 1332. We may tlien proceed to (2 I'l.) Torri or B. Mnstiola a Torri in Val-di-Merse, an old monastery belonging to the Vallombrosians, possessing a chui*ch, consecrated in 1189, and a fine Romanes<]ue monastery court, now used as 1‘arm-buildings. About 5) M. to the S. of Rosia (along the road to Massa Marittima, and then to the left) lie the ruins of the Cistercian monastery of S. Gal- (jaiio, founded in 12(}l by lldebrando Pannocchieschi, Bishop of Volterra. The abbey-church, a building of travertine and brick, erected in 124(J-()8, is imposing even in its ruins. The only relics of the original archi¬ tecture in the secular buildings , now used as a farm , consist of a few windows. The monks were distributed among other monasteries in 1652, and in 1781 the church, which had been injured by lightning, was closed. The Chateau of "Belcaro, to the W. of Porta Fontebranda, reached by carriage in l^A hr., commands a splendid view of Siena and its envi¬ rons. (4n the ground-floor is a ceiling-painting by Bald. Peruzzi-. .ludg- ment of Paris. The frescoes in the chapel, by the same master, have been sadly injured by recent restorations. From Siena to Monte Oliveto, 19 M. to the S., a drive of o */-2 hrs. (carriage there and back 25 fr. and a fee of 5 fr.). It may also be reached from the stations nearer to it, such as Asciano (p. 18; one-horse car- 1 ‘iage 12 fr.) and S. Giovanni d’Asso (p. 18*, short-cut for pedestrians, IV'2 fii’-): perhaps as a digression from the journey to Grvieto. We quit Siena by the Porta Romana and follow the high road, which before the construction of the railway was one of the great commercial routes to Rome, and affords a succession of charming views. On the left (3 M.) is the Borgo Malamerenda., said to derive its name from the story, that eighteen members and partisans of the Tolomei family were assas¬ sinated at a ban<|uet (mcrenda) here in 1331 by their enemies the Salimbeni. We then pass liola and Tressa on the left, cross the Arbia and the Oin- from Siena. MONTE OLIYETO. 5. Route. 3 / brone, and reach Buonconvento^ a small town with 3400 inhah., where the Emperor Henry VII. died in 1313. It was fortified by the Sienese in 1366; the churches contain early Sienese pictures. — Beyond Buoncon- vento we leave the high road by a road diverging to the left, which leads across chalk hills in numerous windings (pedestrians may effect a saving of fully IV2 H. by taking the short-cuts) to the famous, but now suppressed Benedictine monastery of — *Monte Oliveto Maggiore (a tolerable dinner may be obtained from the four monks who are left in the building as custodians; for a leng¬ thened stay 4 fr. per day), founded in 1320 by Bernardo Tolomei, after¬ wards greatly enriched by donations, and still affording an excellent idea of a great establishment of the kind. The monks must have been won¬ derfully energetic to have been able to transform the sterile chalk-soil here into a smiling oasis. ^Eneas Sylvius Piccolomini (Pius II.) gives an interesting description of the monastery in his annals. The walls of the Monastery Court are adorned with celebrated "Frescoes by Luca Signorelli (1497) and Ant. Bazzi., called Sodoma (1505), representing scenes from the legend of St. Benedict. The order of the pictures does not correspond with the date of their execution. The series begins with the first picture on the wall opposite the entrance (adjoining the entrance to the church), representing St. Benedict’s departure from home, by Sodoma. The earliest part of the series are the frescoes on the entrance-wall, executed by Signorelli., eight in number: Totila kneeling to the saint; Soldier in disguise, attempting to deceive the saint; Temp¬ tation of the fasting monk; Punishment of two monks addicted to dainties; Resuscitation of a dead man whom Satan has thrown from a wall; Con¬ juration of Satan; Fall of the idol; Fall of a house. — The ‘Sending forth of Missionaries’, on the left of the corner to the right, is by Bdccio., but all the other pictures are by Sodoma., whose sense of beauty is every¬ where apparent, though he is doubtlessly far inferior to Signorelli in depth and excellence of conception and execution. In the first pictures by Sodoma we can trace a resemblance to the frescoes of Pinturicchio in the Cathedral library at Siena, and, in the others, features that recall Leonardo da Yinci. — The Church (entrance to the left of the monastery court) which was modernised in the last century, contains little to detain us, beyond the handsome choir stalls and reading-desk, in inlaid work, by Fra Giov. da Verona (1502-5). — In the Libreria are a door and a cabinet, also beautifully inlaid by the same master. — The visitor should also notice the extensive stables at the back of the monastery, the dif¬ ferent sections of which bear the names and arms of the chief towns of Italy, in order that guests might know on ariuving where to put up their horses. About IY2 M. to the E. of Monte Oliveto lies Chiusure., commanding beautiful views. It was a populous and prospei'ous place down to 1348, when the plague swept away nearly all the inhabitants, but is now of no importance. — Hence to S. Giovanni d’Asso, 2V2 M., see p. 18. 6. From Florence by Arezzo and Terontola Rome) to Perugia. 103 M. Railway. Express in 41/2 hrs., fares 18 fr. 80, 13 fr. 20 c.; ordinary trains in 6^4 hrs., fares 17 fr. 85, 12 fr. 20, 8 fr. 45 c. — To Arezzo.^ 54^/2 M., in 2V4-4 hrs., fares 10 fr. 10, 7 fr. 5 c., or 9 fr. 60, 6 fr. 55, 4 fr. 55 c.; thence to Cortona, I71/3 M., in 52 min.; fares 3 fr. 15, 2 fr. 25 c., or 3 fr., 2 fr. 5, 1 fr. 40 c. — Those who wish to see Arezzo and Cortona and arrive at Perugia in one day, had better leave Florence in the afternoon or evening and sleep at Arezzo. The Express to Rome quits the Perugia line at Terontola and runs via Chiusi, Orvieto, and Orte (R. 7). Passengers for Perugia generally change carriages at Terontola. 38 Route 6. AREZZO. From Florence Florence^ see vol. I. of this Handbook. The train describes a curve round the town and runs along the N. bank of the Arno. By degrees the valley contracts; Fiesole on the height to the left long remains visible. 71/2 M. Compiobbi. The surrounding heights are barren, the slopes and valley well cultivated; to the left is seen the mountain chain of the Pratomagno. I2Y2 Pontassieve , at the influx of the Sieve into the Arno; to the left a beautiful glimpse of the valley of the Sieve. The train passes through a short tunnel, and then crosses to the left bank of the Arno. 17^/2 M. Rignano; the train passes through another tunnel and reaches (22 M.) Incisa^ with a conspicuous castle. The river forces its way here through the limestone rock, whence the name of the village. 25 M. Figline. In a palaeontological point of view the valley of the Arno near Figline, and farther on, near Montevarchi and Arezzo, is very interesting owing to the great number of fossil bones of the elephant, rhino¬ ceros, mastodon, hippopotamus, hyaena, tiger, bear, etc., which have been found here. This basin seems to have been filled with a fresh¬ water lake at some remote period. 30 M. S. Giovanni, a small town to the left, the birthplace of the celebrated painter Masaccio (in 1402; d. at Florence 1443), and of Giovanni da S. Giovanni (1590-1636^ The Cathedral contains pictures by the latter: Beheading of John the Baj)tist, Annuncia¬ tion, etc. The sacristy of the church of S. Maria delle Grazie, on the old town-wall, contains a Madonna, formerly attributed to Masaccio, and a few other old paintings. 34 M. Montevarchi (^Locanda d'Italia , in the main street), a small town with 9600 inhab. The loggia of the principal church in the piazza is embell ished with a richly sculptured relief by Della Robbia; opposite is the house of Benedetto Varchi{d. 1555), the Florentine historian and independent favourite of Cosmo. The .4c- cademia di Val d"Arnese contains a valuable collection of fossil bones (see above). Views as far as Arezzo on the left. The train ascends, passing through four tunnels, to (39 M.) Bucine; the village is close to the line on a hill to the right. Four more tunnels follow in rapid succession; 42 M. Laterina and (45 M.) PonticinOy beyond which the train gradually ascends to the level of Arezzo, which is visible to the left in the distance. 54^2 Arezzo. Arezzo. — Inghilterra, Vittoria, opposite each other in the Via Cavour; Cannon d’Oro, unpretending, near the station. — Caffe dei Con¬ stantly Via Cavour. Arezzo (780 ft.), the ancient Arretiumy the seat of a bishop and a prefect, is a clean and pleasant town with 11,150 (or, including the neighbouring villages, 38,900) inhab., in a beautiful and fertile district, abounding in historical reminiscences. AREZZO. 6. Route. 39 ^0 Perugid. Arretium was one of the most powerful of the twelve confederate cities of Etruria, and (like Cortona and Perusia) concluded peace with the Romans in the great war of B.C. 310, after which it continued to be an ally of Rome. In 187 the Consul C. Flaminius constructed the Via Flaminia from Arretium to Rononia (Bologna), of which traces are still distinguishable. In the civil war Arretium was destroyed by Sulla, but was subsequently colo¬ nised (Colonia Fidens Julia Arretium)^ and again prospered. Its manufactures were red earthenware vases, of superior quality, and weapons. — In the k S.^deIl«Cra.2ic- middle ages the town suffered greatly from the Goths and the Lombards, and at a later date from the party-struggles of the Guelphs and Ghibellines, in which it generally took the part of the latter against the Guelphs ot Florence. In the 14th cent, it was for a time subject to the rule of the Tarlati, and. in 1337 temporarily, and in the 16th cent, under Cosmo I. finally to that of Florence. 40 Route 6. AREZZO. From Florence Arezzo was the birthplace of many distinguished men, of whom may be mentioned; C. Cilnins Maecenas (d. 9 A.D.), the friend of Augustus and patron of Virgil and Horace^ the Benedictine monk Guido Aretino (1000-1050), the inventor of our present system of musical notation; Francesco Petrarca ^ the greatest lyric poet of Italy, born of Florentine parents in 1304 (d. 1374); Pietro Aretino^ the satirist (1492-1557); several members of the noble family of the Accolii^ jurists and historians, in the 15-17th cent.; A. Cesalpini^ the botanist and physician (1519-1603); Franc. Redi., the physician and humourist (d. 169S). — Arezzo has also i)roduced’ several artists; Margaritone (about 1236), a painter and sculptor of no gi’Cat importance; Spinello Aretino (1318-1410), an able pupil of Gi(jtto, whose style he steadily followed and rendered popular (his best works are in S. ]\Iiniato near Florence, in the Campo Santo at Pisa, and in the Palazzo Comunale in Siena); at a later period Giorgio Vasari (1512-74), the painter, architect, and biographer of artists. The town, how'ever, never possessed a school of its owm. Its requirements in the province of art, which were at their height in the 13-14th cent., were fulfilled by Florentine and Sienese masters, and Giotto, Lippo Memmi, Lorenzetti, and others were employed here. Leaving the station, we follow the new Via Guido Monaco lead¬ ing in 5 min. to the Via Cayour. Here, to the right, in the small Piazza S. Francesco, is a Monument to Count Fossomhrone (h. in Arezzo 1754, d. 1844; PI. 1; p. 42), and the church of — S. Francesco (PI. 2), remarkable for its frescoes, dating from the 15th cent. In the Choir ; ‘"Frescoes by Piero della Francesca., the master of Luca Signorelli (best light in the evening). They narrate the legend of the Holy Cross, according to which a seed of the tree of knowledge, planted upon Adam’s grave, grew up to be a tree. Solomon caused the tree to be felled and a bridge to be constructed of the w^ood, of wTiich the (^ueen of Sheba afterwai’ds discovered the origin. At a later period it was used for making the Holy Cross. The Emp. Heraclius rescued the cross in a battle with the Persians , and it was afterwards re-discovered by St. He¬ lena. All these scenes, from the death of Adam down to the finding of the cross, are pourtrayed by Piero with great technical skill, in which respect, as well as in his appreciation of the nude, he surpassed all his contem¬ poraries. His pictures , however, are stiff and destitute of gracefulness. — The Evangelists on the ceiling have been attributed to Bicci di Lo¬ renzo. — The IsAVE, recently freed from whitewash, contains frescoes by Spinello Aretino., sadly injured. The following pictures are also placed here temporarily; Madonna surrounded by numerous saints, a characteristic work of the Sienese master Pietro Lorenzetti., brought from the church of the Pieve (see below); and St. Bochus being invoked during the plague, two pictures by Bartolommeo della Gatia , a master who was influenced by Signorelli. The Via Cavour forms a right angle with the CoRSo Vittorio Emantjele, the principal street of the town. Ascending this street, we observe on the right the interesting church of — S. Maria della Pieve (PI. 3), which is said to have been built at the beginning of the 9th cent, on the site of a temple of Bacchus; tower and facade of 1216. The latter is very peculiar, consisting of four series of columns, distributed with singular incongruity. An¬ cient sculptures over the doors. The Interior, now undergoing resto¬ ration, consists of a nave and aisles with a dome. The Via di Seteria diverges here from the Corso to the right and leads to the Piazza Grande, embellished with a fountain and a Monument of Ferdinand HI.., erected in 1822 (PI. 4). Gn tlie N. to Perugia. AREZZO. 6. Route. 41 side of this square are the Loggie (PI. 5), built by Vasari in 1573. — To the left of the choir of S. Maria della Pieve is situated the — ^Museum (PI. 6} in the cloister of tlie Fraternila della Miseri- cordia^ with a handsome Gothic fa(;ade of the 14th cent. On the first floor are the museum and library. Visitors ring on the first floor opposite the entrance door. Rooms I. and II. contain a rich Palccontological Collection.^ chiefly from tlie vicinity of Arezzo (comp. p. 38). Among the fossils is a stag’s head found in the Chiana Valley not far from Arezzo.— Room III. Ry the vsall of the entrance, antique and modern bronzes.|Right wall, Roman inscriptions and reliefs. On the w'all of egress, antique utensils in bronze. In the cen¬ tre, "-mediaeval and antique seals.— Room IV.: fine majolicas dating from the 16th cent. ^ in the centre an "anticiue vase, Combat of Hercules and the 7\mazons. In the cabinets, cinerary urns and other vessels in red clay (vasa Arretina, p. 39). — Room V. : Etruscan cinerary urns. In the centre several antique vases: on one of them the *abduction of Hippodamia by Pelops. To the right a *reliquary of the 15th cent., hy Fovzore., containing the bones of the martyrs Laurentius and Pergentius. Passing under Vasari’s Loggie we now' return to the Corso, which w'e reach just opposite the Palazzo Pubblico (PI. 7). This edifice, built in 1322, and adorned with numerous armorial bearings of the ancient Podesta, has unfortunately been modernised , and is now used as a prison. A little farther the Via dell’ Orto diverges to the left, near the entrance to w'hich, No. 22, a long inscription indicates the house (PI. 8) in which Francesco Petrarca w'as born, 20th July, 1304, his parents, like Dante, the victims of a faction, having been expelled from Florence (p. 39). In the vicinity rises the — *Cathedral, a fine specimen of Italian Gothic, begun in 1177, with later additions; facade unfinished. The Interior, which has no transept and is of handsome and spacious proportions, contains stained glass "'windows, dating from the beginning of the 16th cent., by Guillaume de Marseille'., the middle window in the choir is modern. In the Right Aisle is the Tomb of Gregory X., by Mar- gariione (? Pisan school). This indefatigable prelate expired at Arezzo, 10th Jan., 1276, on Lis return from France to Rome, after having proclaimed a new crusade. — On the High Altar, "-marble sculptures by Giovanni Pisano of 1286: Madonna with SS. Donatus and Gregory, and bas-reliefs from their lives. — In the Left Aisle is the tomb of the poet and physician Redi (d. 1698). Xear it is the chapel of the Madonna del Soccorso with two altars of the Robbia school. Farther on, at the E. end of the left aisle, the "'Tomb of Guido Tarlati di Pietramala, the warlike bishop of Arezzo, the work of Agostino and Agnolo da Siena., about 1330, from the design of Giotto., as Vasari conjectures, in 16 sections, representing the life of this ambitious and energetic prelate, who, having been elected governor of the town in 1321, soon distinguished himself as a conqueror, and afterwards crowned the Emperor Louis the Bavarian in the church of S. Ambrogio at Milan (d. 1327). — Close to the door of the sacristy is a £t. Magdalene, al fresco by Piero della Fran¬ cesca. In front of the cathedral rises a Marble Statue of Ferdinand de' Medici., by Giovanni da Bologna, erected in 1595. In the cathe¬ dral-square (No. 1) is the Palazzo Comunale (PI. 9), adorned with numerous old armorial bearings. We now follow' the Via Ricasoli, and then turn to the right into 42 Route 6. AREZZO. From Florence the Via Sassaverde, No. 12. in which, the Palazzo Capel di Ferro, contains the small municipal collection of paintings, called the PiNACOTECA Bartolini (opeii Oil week-days 10-3; 1/2 Among the ancient frescoes, old and modern oil-paintings, and engravings, there is little that is particularly striking; the most noteworthy objects are a ^Madonna enthroned, surrounded by saints, by Luca Signorelli (painted about 1520J, and several works by Vasari. The church of 8 . Domenico (PI. 10), situated in the Piazza Fos- sombrone, is adorned with frescoes by Spinello Aretino and others. In the Borgo di S. Vito, on the right, is the House of Giorgio Vasari (No. 27), containing works by the master. The street leads back to the W. end of the Via Cavour (p. 40). In a small piazza adjoining the Via Cavour stands the church of S. Annunziata (PI. 12), a handsome Renaissance structure chielly by Antonio da Sangallo ; the interior, with its tunnel-vaulting, is very picturesque; stained glass of the 15th cent. Farther on in the Via Cavour is the Badia di S. Fiore (PI. 13), also situated in a small piazza, which is now the seat of the Acca- demia Aretina di Scienze, Lettere ed Arti. The Library, formerly the refectory, contains the Feast of Ahasuerus by Vasari, 1548. At the lower end of the Corso, near the Porta S. Spirito, the Via deir Antiteatro (to the left) leads to the church of S. Bernardo (PI. 14); the frescoes in the anterior quadrangle are attributed to P. Vccello. From the corridor to the left are seen the insignilicant remains of a Roman amphitheatre in the garden. About M. from the Porta S. Spirito (outside which we take the avenue to the left, and then at the corner, after 3 min., the road to the right), is situated the church of S. Maria delle Grazie, an edifice of the early Renaissance period, with an elegant porch borne by columns, and a handsome altar, by Benedetto da Majano G?). From Arezzo to Gittd di Gastello, M. (high-road; see p. 55). On leaving Arezzo we obtain a beautiful retrospect of the town, from which the cathedral rises picturesquely. The railway and high-road skirt the chain of hills which separate the valleys of the Arno and Chiana from the upper valley of the Tiber. Beyond a tunnel the train crosses the plain in a straight direction to (63 M.) Frassinetto and (66 M.) Castelfiorentino , the latter situated on a mountain spur. Farther on, to the left, the dilapidated fortress of Montecchio. Somewhat farther, the loftily situated Cortona be¬ comes visible to the left in the distance. The luxuriant and richly cultivated Valley of the Chiana, which was anciently a lake, was a noisome swamp down to the middle of last century. The level w'as raised and carefully drained, the brooks being so directed as to deposit their alluvial soil in the bottom of the valley. This judicious system was originated by Torricelli and Viviani, celebrated mathematicians of the school of Galileo, and carried out by the worthy Count Fossomhrone, who combined the to Perugia. CORTONA. 6. Route. 43 pursuits of a scholar and a statesman (p. 40). The Chiana, Lat. Clanis, which once flow^ed into the Tiber, now discharges most of its waters into the Arno by means of a canal, and only one arm, which joins the Paglia at Orvieto (p. 59), reaches the Tiber. 73 M. Cortona. The station lies at the foot of the hill on which the town itself is situated, near the village of Camuscia. A carriage road hr.; omnibus 1 fr.) ascends to Cortona, passing S. Spirito on the right, and reaching the town on the S. side. Pedestrians cut off the windings by following the old road, which passes the Madonna del Calcinajo (a small early Renaissance building by Ant. da Sangallo, with a handsome altar of 1519) and leads to the low-lying S.W. gate of the town (p. 44). Cortona. — Albekgo della Stella, at the W. entrance of the town; Alb. Nazionale, farther up in the Via Nazionale, both clean and good. (Enquiry as to charges had better be made beforehand.) Cortona, a small, loftily situated town with 9000 inhab. (with neighbouring villages 26,000), above the valley of the Cliiana, and not far from the Trasimene Lake, is one of the most ancient cities in Italy. Its situation and views, its Etruscan antiquities, and the number of good pictures it possesses, render it well worthy of a visit. It appears that the Etruscans, immigrating from the plain of the Po, wrested the place from the Umbrians, and constituted it tlieir principal stronghold when they proceeded to extend their conquests in Etruria. Cortona was one of the twelve confederate cities of Etruria, and with them shared the fate of being converted into a Roman colony. After various vicissitudes and struggles it came under the dominion of Florence in 1410. Luca Signorelli, one of the most distinguished painters of the 15th cent., was born at Cortona in 1441. He has justly been called a precursor of Michael Angelo. Like his master Piero della Francesca (p. 40), he was a zealous student of anatomy; in the embodiment of the nude, in the conception of movement and foreshortening he surpasses all his contem- 44 Route (). CORTONA. From Florence poraries. On the other liand, liis deficiency of refined pictorial sentiment forhids the full development of plastic vigour in his pictures. He there¬ fore prefers extensive fresco-paintings as a suitable field for his abilities to easel-pictures. Frescoes of this kind he has executed in the Sixtine Chapel at Rome (1508^ p. 291), at Monte Oliveto (1497; p. 37), and at Orvieto (1499; his principal work, p. 61). At his native town, where lie held several municipal appointments and lived almost constantly the twenty last years of his life (d. 1523), a number of works by his hand are still preserved, none of which, however, are of much importance. — Cortona was also the birthplace of Pietro Berettini ^ surnamed Pietro da Cortona (1596-1669), the painter and decorator, who was chiefiy employed at Rome and Florence. From the S. entrance of the town, which w^e have reached by the road, the Via Nazionale leads in 3 min. to a semicircular terrace on the left, commanding an unimpeded view of part of thelTasimene Lake and the surrounding heights. On the right is the church of — S. Domenico^ dating from the heginning of the 13th cent.; on the left wall an altar-piece by Lorenzo di Niccolo (1440), Coronation of the Virgin, presented by Cosmo and Lorenzo cle’ Medici; on the right, a ^Madonna with four saints and angels, by Fra Angelico; on the left, a '^Madonna with St. Petrus Martyr and a Dominican monk, by Luca Signorelli (1515). The Via S. Margherita, which ascends steeply to the right, see p. 45. The Via Nazionale leads straight to the Piazza Vittorio Emanuele , where the Municipio is situated. Here, to the left, diverges the Via Guelfl, in which are situated, to the right, a beautiful palazzo of the 16th cent., and lower down the church of 8. Agostino, with a Madonna and saints by Pietro da Cortona (be¬ yond this the street leads to the S.W. gate. Porta S. Agostino, p. 43). Turning to the right from the PiazzaVitt. Em., we immediately reach the small Piazza Signorelli, where we observe, opposite to us, the Palazzo Pretorio, and on the left an ancient Marzocco (lion). The Palazzo Pretorio (PI. 2), with numerous armorial bearings of old magistrates, is now occupied by various public offices, and con¬ tains the Accademia Etrusca ^ founded in 1726, which possesses a "^Museum oe Etruscan Antiquities, w^ell worth visiting. (Fee 1-1V 2 fr. to the custodian who lives close by.) The gem of the collection is a circular Etruscan " Gandelahrmn (lam- padario)^ made to hold 16 lights ; on the lower side in the centre a Gorgo- neum, surrounded with a combat of wild beasts; then waves with dol¬ phins; and finally eight ithyphallic satyrs alternately with eight sirens; between each lamp a head of Bacchus. — An encaustic painting on lavagna-stone, '‘Polyhymnia'’^ said to be ancient. — Remarkable Etruscan bronzes^ a votive hand with numerous .symbols, vases^ urns^ inscriptions^ etc. The PoNBUNi Library, in the same building, possesses a lineMS. of Dante. The Via Casali descends from the Palazzo Pretorio to the — ^'Cathedral, a handsome basilica, ascribed to Antonio da San- gallo ^ altered in the 18th cent, by the Florentine Galilei. The Choir contains a Descent from the Cross, and '"Institution of the Last Supper, with predella, by Luca Bignorelli. To the left of these a Pieta, by the same master. — In the Sacristy , a Madonna by the same. To the left of the choir, an ancient sarcophagus, representing the contest of Dionysus against the Amazons, erroneously supposed to be the tomb of the Consul Flaminius (p. 46). to Perugia. TERONTOLA. 6. Route. 45 Opposite the cathedral is the Baptistery^ formerly a Jesuit Church. It contains two pictures by Luca Signorelli ^ the Conception and Na¬ tivity, and three hy Fra Angelico da Fiesole^ the Annunciation and 'two predelle, representing scenes from the life of the Virgin and S. Domenico. Passing the colonnades of the theatre in the Piazza Signorelli, we follow the Via Dardano in a straight direction to the Porta Dar- dano, where we obtain the best survey of the ^Ancient Etiiuscan Town Walls, constructed of huge blocks, and for the most part well preserved, which surround the town in a circumference of about 2SG0 yds., and along the outside of which we may descend. Ascending the Via S. Margherita from S. Domenico, we reach (20 min.) the hill commanding the town, on which are situated the church of S. Margherita, and a dilapidated fortress (see below). — About halfway up, the Via delle Santucce diverges to the left, and leads in a few minutes to the church of S. Niccol'o, with a small entrance court planted with cypresses. The Inteuioe (V 2 fi'.) contains a freely restored fresco and an *altar- piece, painted on both sides (in front the Body of Christ borne by angels and surrounded by saints*, at the back, iladonna della Seggiola with SS. Peter and Paul), by Luca Signorelli. — The sacristan will point out a direct route, ascending hence by steps to S. ])Iargherita. The church of S. Makgheuita, a Gothic building by Niccol'o and Giovanni Pisano^ possesses a handsome rose window, which has of late been partially renewed and enlarged. In the high-altar is the tomb of the saint (13th cent.); the silver front with the golden crown was presented by Pietro da Cortona. — The visitor should not omit to ascend somewhat higher to the old ^Toktezza, 2165 ft. in height (trifling fee), from the walls of which the noble prospect is entirely uninterrupted, except at the back, where it is bounded by the mountain-chain (^Alto di S. Egidio, 3432 ft.). Besides the town-walls, there are several less interesting anti¬ quities: an ancient vault beneath the Palazzo Cecchetti; near S. Margherita, remains of Roman Baths, erroneously called a ^Temple of Bacchus'-, outside the gate of S. Agostino, an Etruscan tomb, the ^Grotta di Pitayora'. The visitor may (by presenting a visiting-card) possibly ob¬ tain access to the private collection of Sign. Colonnese in the l^a- lazzo Madama, Via Nazionale 5: beautiful half-length picture of St. Stephen and a Nativity by Lwca Signorelli, a picture of the German school, and two Italian works of the 15th century. 76 M. Terontola, an unimportant place near the N.W. angle of the Trasimene Lake, is the junction of the lines to Chiusi, Orte, and Rome (see R. 8), and to Perugia and Foligno. Passengers in the latter direction change carriages here. The Lago Trasimeno, the ancient Lacus Trasimenus (846 ft.), is 30 M. in circumference, and at places 8 M. in breadth, and is surrounded by wooded and olive-clad slopes, which as they recede rise to a considerable height. The lake contains three 46 Route a. TRASIMENE LAKE. small islands, the Isold Maggiore with a monastery, the Isold Minore near Passignano, and the Isold Polvese towards the S. ; on the W. side an eminence abuts on the lake, bearing the small town Castiglione del Lago (p. 57). Its shores abound with wild¬ fowl, and its waters with eels, carp, and other fish. The brooks which discharge themselves Into the lake gradually raise its bed. The greatest depth, formerly 30-40 ft., is now 20 ft. only. In the 15th cent, a drain (emissarius) conducted the water into a tribu¬ tary of the Tiber. In ancient times the area of the lake appears to have been smaller. A project for draining it entirely, formed by Napoleon I., is still frequently canvassed. The reminiscence of the sanguinary victory which Hannibal gained lierc over the Roman consul C. Flaminius in May, R.C. 217, imparts a tinge of sadness to this lovely landscape. It is not difficult to reconcile the descriptions of Livy (22, 4 et seq.) and Polybius (3, 83 et seq.) with the present appearance of the lake. In the spring of 217 Hannibal quitted his winter-quarters in Gallia Cisalpina, crossed the Apennines, marched across the plains of the Arno, notwithstanding an inundation, devastating the country far and wide in his progress, and directed his course towards the S., passing the Roman army stationed at Arezzo. The brave and able consul followed incautiously. Hannibal then occupied the heights which surround the defile extending on the N. side of the lake from Borghetto to Passignano, upwards of 5 M. in length. The entrance at Borghetto, as well as the issue at Passignano, were easily secured. Upon a hill in the centre (site of the present Torre) his principal force was posted. A dense fog covered the lake and plain , when in the early morning the consul, igno¬ rant of the plan of his enemy, whom he believed to be marching against Rome, entered the fatal defile. When he discovered his error, it was too late: his entire left flank was exposed, whilst his rear was attacked by the hostile cavalry from Borghetto. No course remained to him but to force a passage by Passignano, and the vanguard of 60(X) men succeeded in effecting their egress (but on the following day were compelled to sur¬ render). The death of the consul rendered the defeat still more disastrous. The Romans lost 15,000 men, while the remaining half of the army was effectually dispersed ; and the Roman supremacy in Italy began to totter. The slaughter continued for three hours. From the Gualandro two small brooks fall into the lake. One of these, crossed by the road , has been named Sanguinetto in reminiscence of the streams of blood with which it was once discoloured. The line skirts the lake, and passes through a tunnel. 84^2 M. Pdssignduo. Two more tunnels. Then (90 M.) Magione^ a borough with an ancient watch-tower of the period of Fortebraccio and Sforza. 96 M. Ellerd. On the left Perugia is visible picturesquely situated on the heights. 103 M. Perugid. Omnibus to the town (1 fr.) in great request, so that no time should be lost in securing a seat (no cabs); to the Albergo di Perugia a drive of 1/4 hr., to the top of the hill 25-30 min. (Before the first bend of the road to the left, a good path to the right ascends to the town in 20 min.) 7. Perugia. Hotels. "Albergo di Perugia, at the lower cntrauce of the town (15 min. drive from tbe station), new, lir.st class, witli an uninterrupted -5^;J;Ji?^:^pqpqp ' i U p:^-s^pqpqwwsqpq^ eq?-?, pq wciv«pqpq!J<«siw ^ krito C-00 « S Sh S5 ^ rw !>. "Si 2 - 'c ^ s. • _ flrt e^i cc ?£ 1^ 00 OS o ?3 •* fs^ p.J PO fO fO c^s « ,C r' ?r ’Sc PERUGIA. 7. Route. 47 view, English landlady^ rooms not always obtainable unless previously ordered. — *Grande Bretagne, same proprietor, 10 min. drive farther up, at the beginning of the Corso, R. 2 fr. and upwards, L. 1 / 2 , A. */ 2 , D. 3-4 fr. — Second class: Albergo di Belle Arti, Via Cappellari, aside- street of the Corso. Restaurant. Progresso^ Piazza Sopramura, near Via Nuova. Cafes. '-Baditel^ Trasimeno^ both in the Corso \ Melinelli.^ in the Piazza S. Lorenzo, opposite the Cathedral fountain^ also a pleasant Cafe under the arcades of the Prefettura, with view. Post-Office; Via Riaria, 33. — Telegraph Office at the Prefettura, in the Piazza Vittorio Emanuele. — Diligence Office.^ Corso 38. Perugia is well adapted for a summer resort, and apartments are not expensive. — One day, or a day and a half at least should he devoted to the town. As a guide fnot indispensable) Giovanni Scalchi is recommended, but dilettanti are cautioned against purchasing his ‘antiquities ’5 also Al. Rotoni. Perugia, the capital of the province of Umbria, with 16,700 in- hab. (inclnding the villages 49,500), residence of the prefect, of a military commandant, and a bishop, and the seat of a university, lies on a group of hills about 1300 ft. above the valley of the" Tiber (1707 ft. above the level of the sea). The town is built in an an¬ tiquated style, partly on the top of the hill, and partly on its slope. Numerous buildings of the 14th and 15th cent, (^when the town was in the zenith of its prosperity), the paintings of the Un\brian school, and the fine and extensive views of the peculiar scenery, render Perugia one of the most interesting places in Italy. Perusia was one of the twelve Etruscan confederate cities, and not less ancient than Cortona, with which and Arretium it fell into the hands of the Romans, B. C. 310. It subsequently became a municipium. In the w'ar between Octavianus and Antony, w'ho in the summer of 41 occupied Pe¬ rusia, and after an obstinate struggle was compelled by the former to sui*- render (bellum Perusinum), the town suffered severely, and w^as finally re¬ duced to ashes. It was afterwards rebuilt and became a Roman colony under the name of Augusta Perusia. In the 6 th cent, it was destroyed by the Goth Totila after a siege of seven years. In the wars of the Lombards, Guelphs, and Ghibellines it also suffered greatly; in the 14th cent, it acquired the supremacy over nearly the whole of Umbria, but in 1370 was compelled to surrender to the pope. Renewed struggles followed, owing to the con¬ flicts between the powerful families of Oddi and Baglioni. In 1416 the shrewd and courageous Braccio Fortebraccio of Montone usurped the su¬ preme power, whence new contests arose, until at length Giovanni Paolo Baglioni surrendered to Pope Julius II. Leo X. caused him to be executed at Rome in 1520. In 1540 Paul III. erected the citadel, '■ad coercendam Perusinorum audaciarrC, as the inscription, destroyed during the last revo¬ lution, I’ecorded. In 1708 the town was captured by the Duke of Savoy, on 31st May 1849 by the Austrians, and in 1860 by the Piedmontese. Umbrian School of Painting. As early as the time of Dante an Um¬ brian artist, the miniature painter Oderisi of Gubbio , was celebrated, and art was practised in Gubbio, Fabriano , Perugia, etc. The neigh¬ bouring Siena doubtless exercised an influence on the prevailing style of art, which was confirmed by the situation of the towns, the character of their inhabitants, and the religious atmosphei*e diffused by Assisi and Loreto. Neither dramatic power, nor wealth of imagination is to be found in the Umbrian style, its characteristic features being reverie, tranquillity, and gentleness of sentiment. The men pourtrayed often ap¬ pear destitute of individuality and vigour, the female figures, on the other hand, excite our admiration owing to their winning and devout expres¬ sions. Technical improvements seem to have been introduced l)ut slowly, but the old style was thoroughly cultivated and rendered more attractive by frequent use of decorative adjuncts. 48 lioute 7. PERUGIA. Ilintory of Art. Setting aside the painters of tlie 14tli cent., who were dispersed among various small towns, wc find that Ottaviano Nelli of Gubbio (loth cent.) was the lirst ahle rei)rescntative of this school. Works by this master are preserved both at his native town and at Foligno. Kelli was, how¬ ever, eclipsed by^ Gentile da Fabriano (b, about 13b0-70), who probably had studied the Sienese masters in his youth, and who afterwards un¬ dertook long journeys (e. g. to Venice and Rome), thus establishing his reputation throughout Italy. His style not unfre(iuently resembles the hlemish. Besides Gubbio and Fabriano, other Umbrian towns possessed local schools of painting, such as Gamerino and Foligno. The latter, about the middle ot the 15th cent., gave birth to Niccold Alunno a man ot liniited ability, which, however, he cultivated to the utmost. His prevailing theme is the Madonna, to whose features he imparts beauty in happy combination with reverie ^ and in this department he may be re¬ garded as the precursor of Perugino and Raphael. Meanwhile Pekugia, the largest city in this district, by no means remained idle. In this wider and more enterprising lield the old con¬ ventional styles were soon abandoned as unsatisfactory, and the necessity of adopting the Florentine style was urgently felt. In the latter half of the 15th century Benedetto Buonjigli was the first master who strove to throw aside the local style of painting , and the same effort was made by Fiorenzo di Lorenzo., a younger master and perhaps a pupil of Bene¬ detto. This improved style was brought to maturity by Pietko Vannucci of Citta della Pieve (1446-1524), surnamed Pekugino, after the chief scene of his labours, a master to whom the Umbrian school is chiefly indebted for its fame. Perugia was, however, by no means the only sphere of his activity. He repeatedly spent years together in Florence, and was em¬ ployed for a considerable time in Rome. Ilis endeavours to overcome the defects of his native school were crowned with success. In Ver¬ rocchio's studio in Florence he was initiated into the secrets of perspec¬ tive and the new mode of colouring, and in both respects attained con¬ summate skill. Down to the beginning of the 16th cent, his excellence continued unimpaired, as his frescoes in the Cambio, and his Madonna and saints (Ko. 38) in the Gallery at Perugia sufficiently prove. During the last twenty years of his life, however , his works show a falling oil, occasioned, doubtlessly, by his accepting more orders than he could conscientiously execute, whereby his art was degraded to a mere handi¬ craft. He seems, indeed, to have had more studios than one at the same time, as for example in 1502-5 both at Florence and Perugia, in the latter of which the young Raphael was employed. Another great master of the Umbrian school, vying with Perugino, is Bernardino Betti, surnamed Pinturicchio (1454-1513). Although he cxci'cised no considerable influence on the progress of Italian art, and in¬ troduced no striking improvements like Leonardo, und others, yet he thoroughly understood how to utilise the traditional style and the cur¬ rent forms, and was marvellously prolific as a fresco painter. The V;i- tican and Roman churches, the Cathedral library at Siena, and the Col¬ legiate church at Spello, arc the chief scenes of his activity. — Amongst the younger contemporaries of Perugino we must next mention Giovanni di Fietro., surnamed Lo Bpagna after his native country, whose paintings are hardly inferior to the early works of Raphael, and who, in common with all the Umbrian masters, exhibits great ease of execution. Other assistants of Perugino, but of inferior merit, were Giannicola di Paolo Manni (d. 1544) and Eusebio di S. Giorgio. The latter was so successful in imitating Raphael in su[)erficial respects, that several of his ]:)ictures, amongst others the Adoration of the Magi in the i)icture gal¬ lery at Perugia (Ko. 8), have been attributed to Raphael himself. Of Sinibaldo Ibi and Tiberio dM.ssm, who flourished during the first twenty years of the 16th cent., little is known, and their works are rare. Gerino of Pistoja seems to have been a good painter of the average class, and the works of Domenico di Paris Alfani., a friend of Raphael, i)ossess con¬ siderable attraction. Those last masters, however, show little individuality, Collegia del ('ambio. PERUGIA. 7. Route. 49 and before the middle of the I6th century the Umbrian school was com¬ pletely merged in those of Rome and Florence. At the entrance to the upper part of the town, on the site of the citadel, which was removed in 1860, extends the Piazza Vittoiiio Emanuelk (PI. B, 5), in which rises the Prefettura, a simple and handsome modern building, adorned with arcades on the grouiid- tloor. The garden terrace affords a ^superb view of the Umbrian valley with Assisi, Spello, Foligno, Trevi, and numerous other vil¬ lages , enclosed by the principal chain of the Apennines extending from Gubbio onwards ; the Tiber and part of the lower quarters of Perugia are also visible. (A band plays here twice a week.) Northwards from the Piazza Vittorio Emanuele runs the Corso to the left, leading to the Cathedral square 5 and the Via Riaria to the right, leading to the Piazza Sopramura (p. 53). We follow the Corso to the left, which is the busiest and hand¬ somest street in the town. No. 241, on the right, is the Palazzo Baldeschi (PI. 21 ; B, 4), on the 2nd floor of which is preserved a ^drawing by Raphael (Pinturicchio ?) for the 5th fresco in the library of the cathedral of Siena (p. 28 ; fee V 2 )• On the left, farther on , is No. 249, the '^Collegio del Cambio ( PI. 31; B, 4), the old chamber of commerce, containing frescoes by Perugino, dating from his best period, 1500. (Custodian 1/9 best light in the morning. ) These frescoes adorn the *.Sala del CA.'mro: on the right, .Sibyls and Prophets; above, God the Father; on the left, heroes, kings, and xjbilo- sophers of antiquity; opi^osite, the Xativity and Transfiguration; on a pillar to the left, the portrait of Perugino; the whole surrounded by admirable arabesques. Raphael is said to have been one of Perugino’s pupils who assisted in the execution of these frescoes, and whose handi¬ work is traceable in the arabesques on the ceiling. Perugino received 350 ducats for his work from the guild of merchants. The carved and inlaid work (‘tarsia’) of the judicial benches, doors, etc., by Antonio Mer- catello, wliich are amongst the finest Renaissance works of the kind, also deserve notice. — The adjacent Chapel contains an altar-piece and frescoes by Giannicola Manni. Immediately adjoining the Collegio is the '^Palazzo Pubblico (or Comunale, PI. 22; B, 4), a huge edifice of 1281 and 1333, re¬ cently skilfully restored, with its principal facade towards the Corso and a second tow^ards the Piazza del Duomo. It is adorned with line windows, a handsome portal, and Gothic sculptures (the armorial bearings of the allied town, saints, etc.). In the group of animals over the chief entrance, the griffin represents Perugia, while the wolf, overcome by it, is Siena. The victory gained by the Peru¬ gians in 1358 over the .Sienese is also commemorated by trophies (chains, bars of gates) on the porta.1 in the Piazza del Duomo. In the Sala della Prefettura (third story, entrance from the Corso) arc damaged frescoes from the history of .St. Herculanus and St. Louis of Toulouse by Bonligli. In the Piazza del Duomo (PI. B, 4) rises the *Fonte Maggiore, dating from 1277, and one the finest fountains of that period in Baedkkek. Italy II. Gth Edition. 4 50 Route?. PERUGIA. Cathedral. Italy. It consists of three admirably constructed basins, adorned with numerous biblical and allegorical figures in relief, executed by NiccMh and Giovanni Pisano and Arnolfo del Cambio (1280; two of the statuettes are modern substitutes). — The W. side of the piazza is occupied by the Episcopal Palace (PI. 30), behind whicli is the so-called Maesta delle Volte (PI. 32), a relic of the former Palazzo del Podesta, which was burned down in 1329 and again in 1534. The Cathedral of 8. Lorenzo (PI. 11; P», 4), dating from the 15th cent., is externally unfinished. Adjoining the entrance from the Piazza del Duomo is a pulpit. The Interior, consisting of nave and aisles with a short transept, is of spacious but heavy dimensions. — At the ])eginning of each aisle is a chapel. On the right (of the principal entrance) is the Cappella S. Bernardino, with a Descent from tlie Cross, the master-piece of Baroccio., executed in 1569; the painted window representing the Preaching of 8t. Bernardino of Siena is by Constantino di Rosato and Arrigo Fiammingo of 3Ialines, 1565; it was restored in 1863. — On the left is the Cappella dell’ Anello , which down to 1797 contained the celebrated Sposalizio by Perugino, now in the museum of Caen in Normandy. In both the chapels are beautifully carved stalls, as also in the choir. — In the Right Transept, a marble sarcophagus containing the remains of Popes Inno¬ cent III. (d. 1216), Urban IV. (d. 1264), and Martin IV. (d. 1285). — The adjoining Winter-Choir contains an *altar-piece by Luca Signorelli: Ma¬ donna with SS. John the Baptist, Onuphrius the Hermit, Stephen, and a bishop as donor. Below the 2nd window to the left; Christ imparting His blessing, and saints, by Lodovico Angeli. In the Library are preserved precious MSS., such as the Codex of St. Luke of the 6th cent., in gold letters on parchment. On the W. and N. side of the Cathedral is situated the Piazza DEL Papa (PI. B, C, 3, 4) , so named from the bronze statue of Ju¬ lius III. by Yinc. Danti (1556). — Opposite the W. portal of the Cathedral, Nos. 8-10, is the Palazzo Conestabile; the small gallery which it contained is now dispersed, and the celebrated Madonna by Raphael was sold to the Emperor of Russia in 1871 for 350,000 fr. From the N. angle of the Piazza del Papa the Via Vecchia de¬ scends to the *Arco di Augusto (PI. 2; C, 3), an ancient town-gate with the inscription Augusta Perusia. The foundations date from the Etruscan period, and the upper portion from that subsequent to the conflagration. From this point the direction of the walls of the ancient city, which occupied the height where the old part of the present town stands, may be distinctly traced. Considerable portions of the wall are still preserved. The small space in front of the Arco di Augusto is called tlie Piazza Grimani (PI. C, 3); to the left is the Palazzo Antinorij dating from 1758. —A little to the N. lies the church of 8. Agostino (PI. 5 ; C, 2), containing several pictures by Perugino and otlier Umbrian Masters, and handsome choir-stalls. From the Palazzo Antinori the Via de’Pasteni leads in a few mi¬ nutes to the University (PI. B, 2), established in 1320 in a monas¬ tery of Olivetans, which was suppressed by Napoleon. It possesses University. PERUGIA. 7. Route. 51 a small Botanic Garden^ Natural History SiUd Art History Collections^ *' a Museum of Etruscan and Roman Antiquities , and a ^Picture Gallery consisting of works which have been collected since 1863 from suppressed churches and monasteries. This collection is of liigh value to the student of the Umbrian School. The chief works are exhibited in the old monastery church, Entkanck (daily 9-12 a. m.^ fee ^/-z fr.) either from the small Piazza del Prato, or, more frequently, by the entrance of the University. We pass through tlie CoKRiDOR, the walls of which are covered with Etruscan inscriptions, enter the first door on the right, and traverse two oblong Ante-Chambers, in the first of which are inferior later paintings, and in the second works of the early Sienese School. Principal Saloon. (Catalogues for the use of visitors are placed in each room. The numbers begin from the large church-door.) 1. BonfigH. The standard of St. Bernardino of Siena, Christ blessing the saint; several other pictures by the same master, but of no great importance; 2. Peru- gino^ Transfiguration (from the master’s best period); 4. Boccati da Came- rino, Madonna and saints, with predella, 1446 (completely painted over); 5. Domenico Alfani Madonna with angels and saints, 1524 (Raphael’s in¬ fluence is perceptible in the Child’s head); without number, Pintnricclno^ St. Augustine; above it, 6. Perugino^ 8. Giacomo della Marca (about 1512); 8. Eusebio di S. Giorgio , Adoration of the Magi (often said to be a Raphael). — 7. Perugino , Madonna, a later, inferior work; an early Christian sarcophagus (on the frieze a representation of Jonah and the whale; below, Christ enthroned and nine apostles), which formerly con¬ tained the bones of St, ^Egidius, successor of St. Francis of Assisi; 22, Taddeo Bartoli^ Coronation of the ’V^irgin, 1403; *23, 41. Perugino^ Frag¬ ments of a large altar-piece belonging to the church of S. Agostino , Xativity and Baptism of Christ (Nos. 24, 42, 56 belong to the same picture); 25. Bpagna^ Madonna enthroned and saints, which affords a good example of the master’s ability in combining different styles, and at once recalls Pe¬ rugino, Pinturicchio, and Raphael; 26. Giannic. Manni.^ Christ in Glory; 27, 28. (reversible) Perugino^ Coronation of the Virgin, Christ Crucified; 29. Fiorenzo di Lorenzo., Madonna and saints. — *30, Pinturicchio, altar-piece, Madonna with the Child and the youthful St. John, SS. Augustine and Jerome (with the lion); above , Annunciation and the Body of Christ borne by angels, 1498, one of the best works of the master; 164. Perugino, Mar¬ tyrdom of St. Sebastian, 1518 (chiefly done by his pupils). — 31. Perugino, Madonna and saints; *35. Perugino, Madonna blessing six monks, 1489; '39. Fiorenzo di Lorenzo, Adoration of the Magi (sometimes ascribed to Perugino and Ghirlandajo); 41. Perugino, Baptism of Christ (see above. No. 23). — 44, 65. Bernardino da Perugia, Coronation of the Virgin, and Madonna with saints (partly painted under the influence of Raphael); 47. Piero della Francesca, Madonna and saints; 49. Spagna, Lunette, God the Father and angels; 51. Bonfigli, Annunciation. — 59. Domenico or Orazio Alfani, Holy Familj" (del Carmine), after a composition by Raphael which is now in Lille, and of which a photograph is shown. — 75. Nic. Alunno, Annunciation, with a striking figure of Gabriel. In the centre an early Christian altar. On the other side of the ante-chambers (see above) are two more rooms. I. Room: 185, 186, 190, 191. Bonfigli, Angels; 151. School of Siena, Madonna; to the right: 153. Sinibaldo Ibi, Lunette: Annunciation, 1528; Adoration of the Child, a fresco by P. Perugino, from the church of S. Francesco del Monte; Madonna, fresco by Lo Spagna, 1520; frescoes from S. Sev’^ero; miniatures of the 14th and 15th cent,; accessories to an altar-piece, probably by Luca Signorelli, representing in seven pictures scenes from the lives of SS. Bernardino of Siena, Francis, Lawrence, etc. — II. Room, to the right: 206, Benozzo Gozzoli, Madonna and SS, Peter, John the Bapt., Jerome, and Paul, 1456, an able work of the master; below it, a Resurrection; 207. Fiorenzo di Lorenzo, Madonna enthroned with saints and two donors; 209, 210, 221, 227. Representations of legends 4 * 52 Route 7. PERUGIA. S. Sever 0 . tichool of iVIanleyiKi. \ 220. Ficsole ^ jMiraclc.s ol' St. Nicholas f)t’ Hai'U t'lhove it, unnumbered, Fiesole ^ Annunciation^ 210, 223, 229. Fiesole ^ 3lartonna and saints^ 230. Ila 2 >hael (V), Madonna^ 237. Ferugino ^ Circumcision of Christy 247. Same, Adoration of the jMajii; Domenico Barlolo ^ Altar-piece. Below, an autograph letter of Perugino. The first floor contains the Antiquakian Museum. On the staircase and in the passages, Etruscan cinerary urns and Latin inscriptions. Contents of the rooms similar. In the 1st Room the longest Etruscan inscription known, consisting of 45 lines, as yet undeciphered, and ancient Etruscan sculptures. 2nd Room: Mediaeval coins and other objects. 3rb'o- ractis Apollo)^ is now called Monte di S. Oreste^ the word Soracte having been erroneously written S. Oracte, and thence corrupted to S. Oreste. It is a limestone-ridge, descending precipitously on both sides, extending 3-4 31. from y.W. to S. E., and culminating in several peaks of ditVerent heights. On the central and highest summit (2260 ft.) stands the church of S. Silvestro. On the slope which gradually descends towards the 8. E. is situated the village of S. Oreste. Leaving the miserable village to the right, the path ascends gradually to the left, and in * 2 hr. reaches the monastery of S. Hilvestro (2119 ft.), founded in 746 by Charleman, son of Charles 3Iartel and brother of Pepin. The summit, with the church and a small disused monastery, may now be reached in a few minutes. In ancient times a celebrated Temple of Apollo occupied this site. The view, uninterrupted in every direction, embraces : E. the valley of the Tiber, the Sabina, in the background several snow-clad peaks of the Ceuti’al Apennines, among them the Leonessa*, S. the Volscian and Alban 3Its., then the broad Campagna, Rome, the sea: N. the mountains of Tolfa, the Lake of Rrac- ciano, the Ciniinian forest, the crater of Baccano, and numerous villages. Pedesti’ians may descend to Rignano by a direct path, which, although somewhat steep, is considerably shorter than that by S. Oreste. The road from Civita Castellana next leads to Nepi, 7^2 M. — A shorter route (for pedestrians only) passes S. Elia a resort of pilgrims. Nepi, the ancient Etruscan Nepete or Xepet.^ afterwards Colonia Ne- pensis., is a picturesquely situated little town, and an episcopal residence, surrounded bv mediaeval walls and towers. Venerable Cathedral; the Town Hall is adorned with Roman sculptures and inscriptions. It was anciently a place of importance, but is now in a dilapidated condition , chiefly owing to its destruction by the French in 1799. — From Nepi to Monterosi (p. 69) 5 31. Beyond Borghetto, to the right, Civita Castellana (see above) be¬ comes visible for a short time. The train crosses to the left bank of tlie Tiber. 161 M. StimiglianOy and 166 M. Montorso^ both situated in the mountainous district of the Sabina, where olive-trees abound. 173 M. Passo di Correse. The name is a corruption of Cures, the ancient Sabine town, where Numa Pompilius was born, the ruins of wTiich are in the vicinity. A diligence runs daily from Passo di Correse to Rieti by Poggio Mirteto, see vol. iii. of this Handbook. The line continues on the left bank of the Tiber to (180 M.) stat. Monte Rotondoj the town, situated to the left 2^/2 ^1- higher, possesses an old castle of the Orsini, now the property of the Piom- bino family. The village was stormed by Garibaldi on 26th Oct. 1867; about 1 M. to the S.E. is Mentana (p. 350), where he was defeated on 3rd Nov. by tlie Papal and French troops, and forced to retreat. From Monte Rotondo to Rome, a journey of 3/4 hr. — The line follows the direction of the ancient Via Sahara (to the right, on tlic hill, once lay the ancient Antemnse , p. 350) and crosses the Anio (p. 350); to the left the Sabine and Alban mountains, then Rome with the dome of St. Peter, become visible. A wide circuit round the city is described, near the Porta Maggiore (p. 184) the so-called temple of Minerva Medica (p. 183) is passed, and the central station etitered near the Thernue of Diocletian. 196 M. Rome, see p. 105. 65 9. From Orvieto to Rome by Bolsena, Montefiascone, and Viterbo. 78 M. High Road. To Viterbo 31V2 M. ; from Orvieto to Bolsena^ 12 31., Bolsena to Montefiascone^ 9 31., thence to Viterbo IOI /2 31.^ no regular communication; carriage in 5 V 2 lirs., 25-30 fr. Viterbo alone may best be visited from the railway station Okte (p. 63), with which it is in regular communication (distance I 8 V 2 31.). The diligence^ which corresponds with the ordinary morning and evening trains (not the express) to Rome, takes 4 hrs. (fare 3 fr.); a party had better order a carriage to the station by post-card, addressed to the Im- presa F. Garinei in Viterbo (two-horse carriage 10-15 fr.). 3Iost travellers will prefer to return from Viterbo to Orte. The drive from Viterbo to Rome (46V2 31.) takes 10 hrs. (about 40 fr.). The high-road from Orvieto to Monteflascone traverses a some¬ what bleak district, passing at some distance from the Lake of Bol¬ sena, which is almost entirely concealed from view by the surround¬ ing crater-wall. A far more beautiful though somewhat longer route diverges to t.he W. from this road, about 872 M. from Orvieto, and unites at Bolsena with the old road from Siena via Torrcnieri, Uadi- cofani, and Acquapendente to Rome fp. 18). About 4 31. beyond the above mentioned bifurcation, a road diverges to the left from the direct Orvieto and 3Iontefiascone road to (3 31.) Bag- norea (the ancient Balneum Regis) ^ picturesquely situated on a hill sur¬ rounded by ravines, and interesting to geologists. Bolsena {Hotel in the Piazza), with 2600 inhab., is situated below the Roman Volsinii, the birthplace of Sejanus, the favourite of Tiberius. It was one of the twelve capitals of the Etruscan League, and after various vicissitudes was at length conquered and destroyed by the Romans. The spoil is said to have included 2000 statues. Its wealth has been proved by the discovery, in the vicinity, of nu¬ merous vases, trinkets, and statues. The present town contains inscriptions, columns, and sculptures of the Roman municipium which replaced the Etruscan city. The ancient site is reached in a few minutes by an antique causeway of basalt. Among the ruins is an amphitheatre, worthy of special attention, now converted into a vegetable-garden. Beautiful views of the lake. The facade of the church of S, Cristina is embellished with ancient relics and a sarcophagus with the triumph of Bacchus. The ’■Miracle of Bolsena\ the subject of a celebrated picture by in the Vatican, occurred in 1263. A Bohemian priest, who was somewhat sceptical as to the doctrine of transubstantiation, was convinced of its truth by the miraculous appearance of drops of blood on the host which he had just consecrated. In commemoration of this. Pope Urban IV. in¬ stituted the festival of Corpus Christ! and projected the erection of the superb cathedral of Orvieto (p. 59). The Lake of Bolsena, the ancient Lacus Vulsiniensis, 994 ft. above the sea-level, a circular sheet of water, 28 M. in circum¬ ference, is the vast crater of an extinct volcano, which formed the central point of a wide sphere of volcanic agency, extending as far as Orvieto. The lake abounds in flsh (its eels are mentioned by Dante, Purg. 24, 24); but the banks, especially on the W. side, are bleak and deserted, owing to the malaria confined in the basin Baedeker. Italy II. 6tli Edition. 5 G6 Route 9. MONTEFIASCONE. From Viterbo of the lake, which is not easily dispelled by the wind. The monotony of the surface is relieved by the two picturesque islands of Biseiitina and the rocky Mariana. On the latter Amalasuntha, Queen of the Goths, the only daughter of Theodoric the Great, was imprisoned in 534, and afterwards strangled whilst bathing, by order of her cousin Theodatus, whom she had elevated to the rank of co-regent. The church in the island of Biseiitina was erected by the Farnese family and embellished by the Caracci. It contains the relics of St. Chiistina, a native of Bolsena. From Bolsena the road ascends towards the S. on the bank of the lake, through woods, to (7 M.) the ‘Mountain of Bottles’ — Montefiascone (^Aqiiila A'era, outside the gate), a town with 7400 inhab. , situated 2015 ft. above the sea-level. The un¬ completed cathedral of S. Margareta , with an octagonal dome, w'as one of the earliest works of Sammicheli. Near the gate, on the road to Viterbo, is Flaviano., a church of 1030, restored by Urban lY. in 12G2, in the Gothic and circular styles combined. The subterranean chapel contains the tomb of the Canon Johannes Fugyer of Augsburg, with the inscription — Est.) Est.) Est. Pro 2 :>ter nimium esi^ Johannes de Fuc.^ D. mens., mortuus est. It is recorded of this ecclesiastic, that, when travelling, he directed his valet to precede him and to inscribe the wmrd ‘Est’ on the doors of the hostelries wdiere the best wine was to be had. On the door of the inn at IMontefiascone the ‘Est’ was written three times, and the good canon relished the wine here so highly that he never got any farther. The best muscatel of the district is still known as Est Est, and may be procured for 1 fr. per ‘fiaschetto’. The traveller should not omit to ascend into the town for the sake of the magnificent view; N. the lake of Bolsena as far as the chain of M. Amiata, E. the Umbrian Apennines, S. as far as the Ciminian Forest, W. as far as the sea. The extensive plain of ancient Etruria with its numerous villages may be sur¬ veyed from this point; and it has therefore been reasonably con¬ jectured that the celebrated Fanum Voltumnae, the most sacred shrine of the Etruscans, once stood here. From Montefiascone to Viterbo the road traverses the somew’hat bleak and unattractive plain between the Ciminian Forest and the Lake of Bolsena (p. 64). Midway, near the Osteria della Fonta- nella, part of the ancient Via Cassia lies to the right. About 2^2 M. farther, to the left of the road, are situated the ruins of Ferento, the Etruscan Ferentinum, birthplace of the Emperor Otho. In the 11th cent, it was destroyed by the inhabitants of Viterbo on account of its heretical tendencies, for the Ferentines represented the Saviour on the cross with open eyes, instead of closed, as was thought more orthodox. Such at least is the account of the chro¬ niclers. Among the extensive mediaeval, Roman, and Etruscan remains, a Theatre of peculiar and primitive construction, with later additions,’ deserves notice. to Rome. VITERBO. .9. Route. 67 Close to Viterbo is situated Bulicame, a warm sulplmreous spring, mentioned by Dante (Inf. 14, 79), still used for baths. Viterbo {^Angelo., R. II /2 fr. ; Tre Re., both in the Piazza. — Pliotograplis sold by Leonardo Primi, Vicolo della Ficimaccia), an episcopal residence with 20,000 inhab., surrounded by ancient Imm- bard walls and towers, is situated in the plain on the N. side of the Ciminian Forest, 1211 ft. above the sea-level. It was the central point of the extensive grant called the ‘patrimony of St. Peter’, made by the Countess Matilda of Tuscia to the papal see, and is frequently mentioned in history as a residence of the j opes, and as the scene of the papal elections in the 13th century. Viterbo is termed by old Italian authors the ‘city of handsome fountains and beautiful women’, but its objects of interest need not detain the traveller long. The Cathedral of S. Lorenzo^ occupying the site of a temple of Hercules, dates from the 12th cent. The iNTEuroii contains the tombs of the Popes John XXI.^ Ale.ran- (icr /F., and Clement /F., and in the sacristy a Madonna with four saints by Lorenzo di Viterbo. — At the Ingh-altar of this church, in 1279, Count Guido de Montfort, the partisan of Charles of Anjou, assassinated Henry, son of Count Richard of Cornwall , King of the Germans and bi*other of Henry HI., in order thereby to avenge the death of liis father who had fallen at the battle of Evesham in 1265 when lighting against Henry III. Dante mentions this deed and places the assassin in the seventh region of hell (Inf. 12, 120). In the piazza in front of the cathedral is the spot where in July, 1155, Pope Hadrian IV. (Nicholas Breakspeare, an Englishman) compelled the Emp. Frederick I., as his vassal, to hold his stirrup. Adjacent is the dilapidated Episcopal Palace of the 13th cent., in which, by order of Charles of Anjou, the Conclave elected Gre¬ gory X. pope in 1271, John XXI. in 1276, and Martin IV. in 1281. The church and monastery of S. Rosa contain the blackened mummy of that saint, who was born here in the 13th century. She urged the people to rise against the Emp. Frederick II., and was expelled by the Ghibellines. S. Francesco, a Gothic church, contains in the N. transept a * Descent from the Cross by Sehastiano del Piombo (design by Michael Angelo) and, to the right, the *Tomb of Adrian V. (de’ Fieschi of Genoa, elected llth July, died 16th Aug. 1276 at Vi¬ terbo), with recumbent effigy. S. Maria della Verita contains the ^Marriage of the Virgin, with numerous portraits, al fresco by Lorenzo di Giacomo of Viterbo (1469). Fine monastery-court. In front of the *Palazzo Pubblico is a Roman sarcophagus with the Hunt of Meleager, bearing an inscription in memory of the beautiful (1138), on whose account, like Helen of old, a war was once kindled between Rome and Viterbo, in which the latter was victorious. The Court contains an elegant Fountain and five large Etruscan sarcophagi with figures and inscriptions. In 5=*= 68 Route 0. CASTEL IVASSO. From Viterbo the Museum are Etruscan and Roman antiquities and paintings; also the ^decree of Desiderius, king of the Lombards’, and the Tabula Cibellaria, forgeries of the notorious Annius of Yiterbo, a Dominican monk who died at Rome in 1502. The Fontana Grande in the market-place, begun in 1206, and the fountain in the Piazza della Rocca, of 1566, ascribed to Vignolaj are also worthy of notice. Excursions. About IV 2 M. to the E. of Viterbo, towards Orte, is situated the suppressed Dominican monastery of the Madonna della Quercia^ the church of which is said to have been built by Bramante , with handsome courts. — About I 1/2 M. farther is the small town of Bagnaia^ with the charming Villa Lanie ^ built at the end of the 15th and beginning of the 16th cent., the summer-residence of the ducal family of that name (adm. granted on application). Several expeditions through picturesque scenery, and interesting to antiquarians, may be made from Viterbo to the surrounding ruins of an¬ cient Etruscan Cities. The volcanic nature of the district, indicated by the profound ravines and fissures of the rock, and the dreary desolation which prevails, combined with the proximity of the graves of 2000 years’antiquity, impart an impressive sadness to the scene. — The farther the traveller deviates from the main route, the more miserable do the inns become. From Viterbo to Toscanella^ diligence thrice weekly (see p. 6). Castel d’Asso, popularly known as Castellaccio ^ 10 M. to the W. of Viterbo, may be visited on horseback or on foot (guide necessary; lights should not be forgotten by those mTio intend to explore the tombs). Pass¬ ing the Bulicame (p. 67), the road traverses a moor and leads to the valley, which contains a succession of Etruscan Tomhs^ hewn in the rock. The fronts of these are architecturally designed, and bear some resemblance to the rock-tombs of Egypt; numerous inscriptions. On the opposite hill are the picturesque ruins of a mediseval castle and the scanty remains of an ancient village, x>robably the CasteUum Axia of Cicero. The traveller may from this point proceed to Vetralla, 9 M. to the S.W. of Viterbo (diligence), situated near the Roman Forum Cassii. At Vetralla the road from Viterbo divides : that to the S.E. leads to (11 M.) Sutri (see p. 69); that to the W. by Monte Romano to Corneto (diligence on certain days), see p. 5. From Vetralla a bridle-path, traversing a bleak moor, leads in D /2 hr. to the *Xecropolis of Norchia (with guide), similar to that of Castel d’Asso, but more imposing. Two of the tombs manifest a bias to the Hellenic style. Adjacent are the picturesque ruins of a Lombard church. In the 9th cent, the village was named OreZe, but the ancient name is unknown. A similar locality is Bieda ^ the ancient Blera^ a miserable village, 41/2 M. from Vetralla, with rock-tombs and two ancient bridges. Scenery very imposing. From Viterbo to Rome, 46*/2M. The road gradually ascends the wooded height of Mons Ciminius^ now generally called the Monte di Viterbo (highest point 3460 ft. above the sea-level), once considered the impregnable bulwark of central Etruria, until the Consul Q. Fabius, B.C. 308, successfully traversed it and signally defeated the Etruscans. The culminating point of the pass (2850 ft. above the sea), on which lies the old post-station of — 5 M. L’Imposta, commands an admirable ^survey of the plain tow’ards the N., and W. as far as the sea. A more imposing view is soon disclosed of the vast Campagna di Roma, surrounded by the long chain of the Umbrian and Sabine Apennines as far as Pa¬ lestrina and the Alban Mts. ; the isolated Soracte (p. 64) stands to Rome. SUTRI. 9. Route. 69 boldly out in the foreground; below lies the small, round Logo di VicOj the Lacus Cirninius (1703 ft.), an extinct crater surrounded by woods , the E. bank of which is skirted by the road. To the N. of the lake, but inside the ancient crater, rises the beautifully wooded Monte Venere (2897 ft.). AccordiiJg to an ancient tradition, a town, submerged by the lake, may still be distinguished beneath the surface. About 31/2 M. from I’lmposta a path to the left leads through wood to the chateau of Caprarola (IV 2 The once greatly renowned, but now seldom visited "chateau of Ca¬ prarola, of pentagonal shape, surrounded by a rampart and fosse, is one of the most important works of Vignola., who ei*ected it for Cardinal Alexan¬ der Farnese, nephew of Paul III. (1534-49). The saloons and other apart¬ ments are adorned with frescoes of scenes from the history of the Farnese family, allegories, etc., hy FederigoOltaviano.^ and Taddeo Zucchero., Tern- pesta., and Vignola. A magnificent prospect is enjoyed from the upper terrace of the Palazzuolo., a tasteful structure by Vignola., situated in the grounds. At the S.E. end of the lake, 2 M. farther, lies the miserable village of F?'co, beyond which we soon reach — 12^2 Ronciglione, a beautifully situated little town, with a ruined castle on the height (1369 ft. above the sea-level), on the margin of the Campagmi di Roma. About 2 V 2 M. to the S. of Ronciglione, on the road from Vetralla (p. 08), picturesquely situated on the crest of an isolated volcanic hill, is Sutri, the ancient Etruscan Sntriwn, frequentlj'^ mentioned in history as the ally of R<rding to the various local traditions, the early Christians used to celebrate divine service. A legend attaching to the Grotta d'Orlando , near the town , describes it as the birthplace of tlie celebrated paladin of Charlemagne. A bridle-path leads in 2 his. from Sutri to the Lake of Bracciano and Trevignano (p. 379). On the left, 7^/2 M. from Ronciglione, onr road is joined by that from Borghetto, Civita Castellana and Nepi, see p. 64. About 2 M. farther on, near — 22 M. Monterosi, we join the road coming from Vetralla (p. 68) and Sutri (5^2 M., see above), the ancient Via Cassia ^ which we now follow to Rome. We next pass (2^/2 M. from Monterosi) the *S€tte Vene inn, and3*/2^^- farther reach the somewhat unhealthy village of Baccano (Posta), situated on the brink of an ancient cra¬ ter; in the vicinity is a mephitic pond ; to the W. lie the two small lakes of Stracciacappa and Martignano [Jjacus Alsietinus). Traces of ancient drains(emissarii) are distinguished on the left side of the 70 Koule 10. A88I8I. From Peruyia road. Immediately beyond Baccano the road ascends and traverses the 8. extremity of the crater, whence (or better from one of the hills to the left, 1010 ft.) in favourable weather a beautiful pano¬ rama of the environs of Rome is enjoyed; of the city itself, how¬ ever, nothing is seen but the dome of 8t. Peter’s, peeping forth above the ridge of Monte Mario. Passing the site of tlie ancient Veji, on the left (see p. 377), we next reach — 36Y2 M. La Storta (668 ft.), the last of the old post-stations before Rome (see p. 377). — 44^2 ^1- Ponte Molle^ see p. 351. — 46 Y 2 M. Porta del Popolo at Rome, see p. 105. 10. From Perugia to Foligno and Orte (Home). 76 M. Railway in 4 - 41/2 lirs, ^ fares 13 fr. 40, 9 fr. 20, 6 fr. 40 c. — The most interesting points are Assisi., Sj>oleto and Terni. — Fkom Pe¬ rugia TO Rome, 128 M., in 71/2 hrs. ; fares 22 fr. 80, 15 fr. 75, 11 fr. 50 c. The quick trains from Florence to Rome no longer go via Perugia (comp, p. 37); but travellers from Perugia to Rome may join the express from Bologna and Ancona at Foligno (increased fares). Perugia., see p. 46. The train skirts the heights on which Perugia is situated, and descends, passing through several tunnels. To the left, just before it crosses the high road, we obtain a glimpse of the tomb of the Volumnii (p. 55). 5 Y 2 M. Ponte S. Giovanni. The train crosses the Tiber, the ancient frontier between Etruria and Umbria, and the Chiascio. 12Y 2 M. Bastia. 151/2 M. Stat. Assisi. The town is picturesquely situated on a hill to the left. Before ascending to Assisi the traveller should visit the inagnili- cent church of * 8 . Maiiia degli Angeli, about 1/4 M. to the W. of the station, erected by Vignola on the site of the original oratory of 8 t. Francis. The nave and choir were re-erected after the earthquake of 1831, whereas the dome had escaped injury. The Interior contains, below the dome, the Oratory of the saint (called Portiuncula), on the facade of which is the •■ Vision of St. Francis in 1221, ‘Diary with a choir of angels'', a fresco by Fr. Overbeck., 1829. — The Cappella delle Rose contains live frescoes from the life of the saint by Tiberio d'Assisi, 1518. — Farlher on, to the right, is the hut in which St. Fran¬ cis expired, 4th Oct. 1226, with inscription, and frescoes by Lo SpagnaG)-, representing the followers of the saint. The other parts are modern. A beautiful path leads from 8 . Maria degli Angeli to Assisi in 6/4 hr. The services of the guides who importune travellers at 8 . Maria degli Angeli and at Assisi are quite superfluous. Assisi (Albergo del Subasio, with a line view, adjoining the monastery of 8 . Francesco, convenient for a hasty visit; Leone, near the Piazza; good photographs from Giotto’s frescoes sold by P. Lunghi , in the Piazza near 8 . Francesco), a small town and episcopal see, the ancient Umbrian Assisium, \Nlierc in B.C. 46 the to FoL'ujno. 10. Route. 7 1 A8S1SI. elegiac poet Propertius^ and in 1698 tlie opera-writer Pietro Meta- stasio (properly Trapassi, d. at Vienna in 1782) were born, stands in a singularly picturesque situation. It is indebted for its reputation to St. Francis., who was born here in 1182. lie was the son of the merchant Pietro Bernardone, and spent his S '. Mar^ Coldetbff^ Pspedaieiid Sj!^4!one vouth in frivolity. At length, whilst engaged in a campaign against Perugia, he was taken prisoner and attacked by a dangerous illness. Sobered l>y adversity, he soon afterwards (1208) founded the monastic order of Francis¬ cans ^ which speedily found adherents in all the countries of Europe, and was sanctioned in 1210 by Innocent III., and in 1223 by Honorius III. Po¬ verty and self-abnegation formed the essential characteristics of the order, which under different designations (Seraphic Brethren, Dlinorites, Observan- tes, and Capuchins, who arose in 1526) was soon widely diffused. St. Francis is said to have been favoured with visions, the most important of which was that of 1224, when Christ impressed on him the marks of his wounds (stigmata). From the ‘apparition of the crucilied seraph’ the saint is also known as Pater Seraphicus. St. Francis died on 4th Oct., 1226, and in 1228 was canonised by Gre¬ gory IX., who appointed the day of his death to be kept sacred to his mem¬ ory. He wrote several works, especially letters which display talent, and was one of the most remarkable characters of the middle ages. Dante (Paradiso 11, 50) says of him that he rose like a sun and illumined every- thiii'i with his rays. Having reached the town, we proceed to the left to tlie former "^"^MoNASTEiiY OF THE FRANCISCANS, whicli, crc'-tcd iTi the lirst half of the 13th cent, upon massive substructions on the brow of the 72 Route 10. ASSISI. From Perugia hill, has long attracted onr attention. The monastery, which after its suppression in 1866 was for several years uninhabited, has recently been converted into a school for the sons of teachers. Besides several frescoes of the 16th and 17th cent, in the refec¬ tories, the *choir-stalls Domenico da S. Severino, recently brought from the upper church, dating from 1450, and adorned with ad¬ mirable carving and inlaid figures of saints, are particularly worthy of attention. From the external passage a magnificent *view of the luxuriant valley is enjoyed. The two Churches, erected one above the other, are objects of far greater interest. A third, the Crypt, with the tomb of the saint, was added in 1818, when his remains were re-discovered. The lower church was erected in 1228-32, the upper in 1253, and consecrated by Innocent IV. The Northern Gothic style, intro¬ duced by the German master Jacob, appears here in Italy for the first time, though not without incipient traces of Italian modifications. The architect of the tOAver was the monk Fra Filippo da Campello. The *Lower Church, used for divine service, is always accessible; en¬ trance by a side-door on the terrace, in front of which is a vestibule of 1487. The interior is low and sombre. To the right a tomb, above it a vase of porphyry, said to be that of John de Brienne, King of Jerusalem, who entered the order of St. Francis in 1237. Opposite the entrance is the cha¬ pel of the Crucifixion. To the right in the Kave , the chapel of St. Louis, with frescoes by Adone Doni floGO). On the vaulted ceiling prophets and sibyls, by Andrea del Ingegno of Assisi. The chapel of S. Antonio di Padua, with frescoes by Pace da Faenza (I4th cent.), is modernised and partly whitewashed. — The Cappella S. jMaddalena is adorned with frescoes, representing scenes from the life of the saint and of Hlaria .d^gyptiaca, which were formerly attri¬ buted to Bnffalmacco (about 1320). It is, however, certain that they were executed by a pupil of Giotto, a Florentine artist, who did not scruple to paint copies here of his master’s pictures at Padua. — The Cappella S. Caterina, or del Ckocefisso , contains inferior compositions of the latter half of the I4th cent. The 8. Transept contains on its E. and W. walls three series of "Scenes from the life of Jesus, the "Resuscitation of a child of the Spini family, and over the doorway a Portrait of Christ, all by Giotto (probably at an advanced age). The master may have been assisted in these works by his pupils, but the style seems to indicate that they were chiefly painted by^ his own hand. The High Altar occupies the spot where the remains of St. Fran¬ cis once reposed. Above it are four triangular spaces on the groined vaulting, containing the famous "Frescoes of Giotto, illustrative of the vows of the mendicant order: poverty, chastity, and obed¬ ience; the fourth painting is an apotheosis of St. Francis. The first pic¬ ture represents the nuptials of St. Francis Avith poverty in rags. In the next, a monk, a nun, and a lay brother are represented taking the vow of chastity ; the foreground is enlivened by penitents, scourgers, and vota¬ ries of pleasure. Chastity herself is guarded in a tower by purity and bravery. Obedience is symbolised by the laying of a yoke on a monk. Each scene , moreover, is replete with allegorical allusions (chiefly from Dante), most of which will be readily understood by those, who are versed in the fanciful combinations of the period. At the end of the S. Transept is the Cappella del Sacramento, with frescoes from the life of St. Nicholas, generally attributed to Giottino, but more probably executed by Agnolo da Siena, in the first half of the 14th cent. On the entcance-Avall: Resuscitation of a child killed by a fall from a house. to Foligno. ASSISI. 10. Route. 73 The N. Transept contains Scenes from the Passion, of the Sienese School, formerly attributed to Cavallini and Puccio Capanna., a pupil of Giotto, perhaps by Pietro Lorenzetti; these paintings are in a vei*y damag¬ ed condition, — To the right of the entrance to the Sacristy, in which the treasures and the relics belonging to the church were formerly pre¬ served , is a Madonna with St. Catharine and other saints (1510), by Lo Upagnci. Over the door is a portrait of St. Francis, said to have been painted by Giunta Pisano., soon after the death of the saint. — To the left of the entrance to the church is the Pulpit, adorned with a Coro¬ nation of the Virgin by Simone Martini of Siena, and further on St. Francis receiving the stigmata, a fresco by Giotto. — The last Chapel to the N. is dedicated to "Scenes from the life of St. Martin, by Simone Martini (be¬ ginning of 14th cent.); this work, though only partially preserved, still remains valuable as one of the ablest productions of the Sienese school, and in many respects bears comparison with the style of Giotto and the Florentines. The stained windows of the lower church are by Angeletto and Pietro da Gubbio and Bonino d''Assisi‘.f those of the vipper church are more than a century later. The Crypt was constructed in 1818, after the remains of St. Francis had been discovered in a rude stone coffin. It is approached by a double staircase, and is lighted with candles when visited by strangers. — Behind the tomb stand colossal statues of Popes Pius VII. and IX. The "'Upper Church, the frescoes of which are undergoing restoration, has recentlv been converted into a museum of Earlv Tuscan Frescoes. * » It is entered either by the principal portal, or (by applying to the sacris¬ tan) from the lower church. The church is in the form of a Latin cross, with Gothic windows. The side possesses a splendid rose-window and handsome pediments. — In the K. Transept, as we enter from the lower church, are remains of Scenes from the Apocalypse, by Cimabue. The middle of the ceiling is adorned with frescoes of the four Evangelists, in the style of Cimabne and Jacopo Torriti the mosaicist. — The S. Tran¬ sept contains the remains of a large Crucifixion, Transfiguration, Cruci¬ fixion of St. Peter, and Scenes from the life of Simon Magus, by Giunta Pisano. — In the CiioiR: Christ in a glory, and Assumption and Death of the Virgin, both by Cimabue. — Is ave. In the upper section of the 8 . wall are sixteen scenes from the Old Testament history, from the Creation of the \vorld to the Recognition of Joseph by his brethren; on the X. side, sixteen scenes from the Xew Testament, from the Annun¬ ciation to the Descent of the Holy Ghost, by pupils of Cimabue., show¬ ing gradual improvement in execution. The lower section contains twenty-eight Scenes from the life of St. Francis, illustrative of the farther development of the early Florentine School (Filippo Rusutti., and Gaddo Gaddi)., of the close of the I3th cent. The first and the five last of these frescoes are certainly by the hand of Giotto. On the ceiling of the nave are four Angels and four Fathers of the Church , executed in the earlier mosaic style. Quitting the upper church and emerging on the space in front of it, we may follow the street ascending thence in a straight direction, which will lead us to the Piazza. Here is situated the beautiful portico of a ^Temple op Minerva, with six columns of travertine, converted into a church of S. Maria della Minerva. Ancient inscriptions immured in the vestibule. Adjacent to the church is the entrance to the ancient Forum, which corresponded to the present Piazza, but lay considerably lower. In the forum a Basement for a statue, with a long inscription (fee fr.). The Chiesa Nuova (PI. 7 ), reached by descending to the riglit, near the S.E. angle of the Piazza, occupies the site of the house in which St. Francis was born. 74 Route 10. spolp:to. From Perugia The Cathediial of S. Rufino (PI. 4), in tlie upper part of the town, named after the first bishop (240), dates from the first half of the 12th cent., the crypt from 1028. The ancient faIalatestas, who where partisans of the Guelphs. This rapid change of rulers is alluded to by Dante, Inf. xxvii, 52: Cosi coni'* ella sie' tra il piano e il monte^ Tra tirannia si vive e stato franco. On 1st Feb., 1377, the town was cruelly sacked by Cardinal Robert of Geneva, and subsequently by Cesare Borgia, after which it was incor¬ porated with the States of the Church. In the Piazza is the handsome Palazzo Puhhlico with a statue of Pius VI., who was born here in 1717, as well as his successor Pins VII. in 1742. In the picture-gallery a Presentation in the temple, \)y Francesco Francia. — The contains two marble altars of the 15th and 16th cent. — The Library., founded in 1452 by Domenico Malatesta Novello, contains 4000 MSS., many of them executed by order of the founder, and afterwards employed by tlie learned Aldus Manutius in the preparation of his celebrated editions of the classics. On an eminence, ^^4 M. distant, stands the handsome church of *aS. Maria del Monte., a work of Bramante. Productive sulphur- mines in the vicinity, towards the S. The line crosses the stream Pisciatello^ the upper part of wliich, called Uryone , is identical with the Rubicon of the ancients, the boundary between Italy proper and the province of Gallia Cisalpina, and memorable for its passage by Caesar at the beginning of the civil war between liim and Pompey, B.C. 49. The most recent investigations tend to show that the Rubicon has entirely quitted its ancient course. It appears originally to have fallen into the Fiumicino farther S., while at the present day its upper part (Urgoue) unites with the Pisciatello. Most of the towns and villages of this district have in turn laid claim to the distinction of possessing the Rubicon within their territory. Nor did they rest satisfied with a mere literary feud in order to gain the object of their ambition. An action in¬ volving this question was instituted at Rome, and in 1756 the ‘Rota’ de¬ cided in favour of the claim of the Uso (see below), beyond the small town of Savignano., and near S. Arcangelo (birthplace of pope Clement XIV. Ganganelli in 1705). On the road between Cesena and Savignano stands a column bearing a decree of the Roman senate, threatening to punish those who should without authority trespass beyond the Rubicon. Montesquieu regarded this as genuine, but it is an obvious imposition and not the only one connect¬ ed with the interminable dispute on the subject of the Rubicon. 69^/2 M. Bimini. — Aquila d’Oro in the Corso. — Trattoria d'Eu- ropa, in the Piazza Cavour* Caffe della Speranza in the Piazza Giulio Cesare. — Railway Restaurant, good wine of the country. Carriage from the station to the Piazza, with one horse 1 fr., with two horses 1 fr. 20 c. ^ from the Piazza to the bathing-place 80 c. or 1 fr. 40 c. I Ancona, Chiese LJUisericorcLLa. Z.S^rUonio . . . i Z.S.Trancesco (Tempio (Ld MaZatestcu ). . , . ^.S.Fra,tuesco di/Faoiou ^.S.Girolanio . %_.S.Giuliano 7, SJtcvrtizw . l^.GbmxLsio S FibUotecau . ^.FalcLzzo del Carmine . IQSeatro'Viitorio-Enuvrv. '^^escwadA) .. t MI K IJ i: 15.500 . C.5. C±5. A.3.±. C.5. B.5. B.5. C.4^.5. \y\>\V iniorao^ vui FovUf 0° < k.sVN'- "SJlicolo s&ixOio^ ^CesEiii ^^fercaU de'Biwi/ 0«o gra-ph. Aastait-7oiL "Wa^eT ellini, 8. Cassiano a St. Barbara by Simone da Pesaro, S. Spirito a *Christ on the Cross by Luca Signorelli, aiidN. Giovanni Evany, a Pieta by Zoppo. Opposite the spacious Lunatic Asylum (Manicomio or Ospizio degli Incurahili) are the small Orti Giuli, where a bastion of the townwall commands a fine view of the Foglia and Monte S. Bartolo. — A memorial tablet near it records that the house once stood here where Bernardo and Torquato Tasso lived and wrote their poetry whilst at the court of the Rovere. Near Pesaro is Monte S. Bartolo, where, the Roman dramatist L. Attius is said to have been born and to be interred. Beyond it lies VImperiale, once a favourite villa of the dukes, erected by Leonora Gon/aga, praised l)y Bernardo Tasso, and adorned with frescoes by Raffaello dal Colle, but abandoned to decay since the 18th cent. In the vicinity is the church of the Girolamitani, with an unfortunately damaged picture of St. Jerome by Giovanni Santi. One of the finest ^prospects in the environs is obtained from an eminence behind the monastery. An Excursion to Urbino is most easily accomplished from Pesaro. Diligence daily, ascending in 5, and descending in 4 hrs.; departure from Pesaro at 9 a. m., from Urbino at 3(2 p. m. (4 fr., comp. p. 87). The road leads through the valley of the Foglia, wliich falls into the sea at Pesaro, and then gradually ascends, pass¬ ing several unimportant villages. At the inn ‘del Cappone’, half¬ way, the horses are changed. Beyond Moline the road ascends in long witidings. The diligence stops in the main street, flanked on the left by arcades, in which the inn and several cafes are situated. Urbino (Albergo deWItalia , tolerable), the ancient Vrbinum Hortense , celebrated as the birthplace of the greatest painter of all ages, Raphael Santi (b. 28th March 1483, d. at Rome, 5th April 1520), lies on an abrupt hill, surrounded by barren mountains. The town, with 16,000 inhab. (incl. villages), boasts of a university with as many professors as students, and merits a visit as well for its picturesque situation, as for its monuments and historical as¬ sociations. In the 13th cent, the town came into the possession of the MontefeJtro family, and under Federigo Montefeltro (1444-82) and his son GuidohaUlo (1482-1508) attained to such prosperity as entirely to eclipse the neigh¬ bouring courts of the Malatestas at Rimini and the Sforzas at Pesaro. Federigo Montefeltro, who distinguished himself as a condottiere in the feuds oT tlie I5th cent., married his daughter in 1474 to Giovanni della Rovere, a nephew of Sixtus IV., and was in consequence created Duke of Urbino. His court was regarded as a model among the princely courts of that period. to Ancona. URBINO. / /. Route. 89 It was visited for shorter or longer periods by numerous scholars and ar¬ tists , amongst whom the prince was pre-eminent for learning. Ilis son, Guidohaldo, in spite of ill healtli and other misfortunes, zealously fol¬ lowed his example, with the able assistance of his beautiful and ta¬ lented wife Elizabeta Gonzaga. A famous description of the court of Ur- bino under Guidobaldo, depicting it as the most retined social school of the day, is given by Count Baldassar Castiglione in his ‘Cortigiano'', the ideal of a courtier. In 1497 Guidobaldo was expelled by Cesare Borgia^ the son of Alexander VI., after whose death, however, he returned to Urbino in 1503. He died in 1508 and bequeathed his dominions to his nephew Fran¬ cesco Maria della B,overe^ the favourite of Pope Julius II. In 1G2G the duchy was incorporated with the States of the Church, when Urban VIII. per¬ suaded the last and childless Duke Francesco Maria II. to abdicate. Amongst the most distinguished Artists employed at the court of Ur¬ bino, during the zenith of its splendour under Federigo and Guidobaldo, Were Paolo Uccello.^ Piero della Francesca.^ and Melozzo da Forli. Even for¬ eign painters, like Justus van Ghent a picture by whom is still preserved in the gallery (see below), were attracted to the court. The peculiar bond of union which existed here between the interests of science and art is chiefly exhibited in the library pictures or ideal portraits of scholars painted by Melozzo da Forli and others, but which have been removed from Urbino together with the library. Timoteo Viti, or della Vite, of Ferrara (14G7-1523), the best pupil of Francesco Francia, spent the greater part of his life in Urbino; he was the first painter who exercised an intluence on Raphael, but at a later period he himself became subject to that great master’s magic spell. — The master, however, in whom we are now spe¬ cially interested, is Giovanni Santi of Urbino (? 1450-94), the father of Raphael, whose frescoes at Cagli (p. 94) and Fano (p. 91) show considerable power and a keen sense of the graceful. As Giovanni died when Ra¬ phael was in his 11th year, the latter can hardly have had the benefit of his instruction. After his father’s death, Raphael remained in Urbino till 1500, but under the tuition of what master is unknown. Another native of Urbino was Federigo Baroccto (15‘28-1G12), some of whose works are able, while others display the customary affectation of the post- Raphaelite period. In the centre of the town is the Pian del Mercato , or market¬ place, where the street in which the inn is situated terminates. — The Via Pucinotti ascends hence to the right in a few minutes to a larger, but somewhat dull piazza, in which on the right are tlie cathedral and the ducal palace. The Cathedral contains some interesting pictures. In the N. Aisle a St. Sebastian by Federigo Baroccio. In tlie Chapel to the left of the high altar, the Lord’s Supper, also by Fed. Baroccio. High Altar-piece: St. Martin and Thomas a Beckett, with a portrait of Duke Guidobaldo, by Timoteo Viti. In the sacristy is a Scourging of Christ by Piero della Francesca., a most elaborately executed work in the miniature style. — The Crypt (entered from the right corner of the small piazza between the cathedral and the palace) possesses a Pieta by Giov. da Bologna. The ^'^'Ducal Palace, erected by Luciano Laurana of Dalmatia in 1468 by order of Federigo Montefeltro, was completed by Baccio Pintelli. A desire for solidity, coupled with the unevenness of the ground, has given rise to the irregularity of the building, but at the same time has enhanced its picturesqueness. The palace has been much admired ever since its erection, and was regarded by the contemporaries of the founder as an embodiment of their ideal of a princely residence. According to modern standards, however, its dimensions are not grand, and even the court by Baccio, the en- 90 Route 11. URBINO. From Bologna trance to wlncli is opposite the cathedral, is pleasing rather than imposing. The ornamentation of the apartments, the coloured friezes, the pillars and chimney-pieces (by Francesco di Giorgio of Siena and Ambrosio Baroccio, an ancestor of the painter), are all in the best Renaissance style. On the staircase is a statue of Duke Federigo, by Girol. Campagna. The celebrated library of the palace, founded by Federigo, and the other collections have been trans¬ ferred to Rome. The upper corridors contain a well-arranged col¬ lection of inscriptions from Rome and the Umbrian municipia, established by the epigraphist Fabretti. The palazzo is now used as a ‘Residenza Governativa’, and contains the archives. Opposite the palace rises an Obelisk, facing which is the church of S. Domenico, with a pleasing portal and reliefs in terracotta above the door. We pass the Palazzo Ducale and proceed in a straight direction. The street contracts; the corner house to tbe right, opposite the palace, is the University, with armorial bearings over the door. Farther on, descending a little, we come to the entrance (standing back from the street to the right) of the — *Instituto delle Belle Arti nelle Marche, which contains gallery of pictures, recently collected from suppressed churches and monasteries (custodian’s fee 1/2 f^-)- Principal Saloon. To the right and left of the door: Lorenzo da San Severino, Crucifixion (repulsive). On the principal wall to the right: Timoteo Viti, St. Rochus 76. Justus van Ghent., Holy Communion, interesting from its numerous portraits (including those of Duke Federigo, and, to the right of the table, Caterino Zeno, the Persian ambassador), 1474^ 79. Timoteo Viti., Tobias*, "82. Giovanni Santi., Madonna with St. John tlie Baptist, SS. Sebastian, Jerome, Francis, and three kneeling figures of the donors, members of the Buffi family ^ 93. Timoteo Viti, Madonna and Child with St. Joseph; 101. Antonio Alberti of Ferrara, Madonna with twelve saints, on a golden ground on wood, 1439; 102. Giov. Santi., Pieta; 114, 115. Eaidy Venetian School., Madonna and saints. On the principal wall to the left: Titian, 140. Holy Communion, 158. Resurrection. The Ground Floor contains casts, chiefly of ornaments from the Pa¬ lazzo Ducale, several original monuments of Dukes of Urbino from S. Francesco, and some fine majolicas. In the CoNTRADA Raffaello, leading to the left from the market-place to the Fortezza, No. 275-278 on the left, is the house in wliich Raphael was born, indicated by an inscription. It was pur¬ chased in 1873 on the suggestion of Count Pompeo Gherardi, aided by a donation from Mr. Morris Moore, and is now the property of the ‘R. Accademia Raffaello’. Visitors knock at the door of No. 278 QI 2 fr.). The rooms are adorned with engravings from Raphael’s pictures. In the room to the right is a Madonna with the sleeping Child, long regarded as an early work of Raphael, but ascertained to have been executed by his father Giovanni Santi. It is proposed to erect in his native town a monument worth} of the great master, for which purpose a committee was constituted some years ago. A little farther up the Contrada Raffaello we turn to the right into the side-street of S. Lucia, which leads to the church of S. Spi- to Ancona. FANO. Route. 91 rito , containing a Crucilixion and Descent of the Holy Ghost, originally a church banner, of 1495. Returning to the market-place, and descending the Via Bal- bona, we follow the Via della Posta Vecchia, the first side-street to the right, and then the Via 8. Giovanni, the first street to the left, which leads straight to the Oratorio della Confraternitd di S. Gio¬ vanni. The walls of the interior are covered with scenes from the history of the Virgin and St. John the Baptist, by Lorenzo da S. Severino and his brother, of the school of Giotto, dating from 1416. In the Theatre, formerly celebrated for its decorations by Giro¬ lamo Genga, the first Italian comedy was performed. This was the Calandra of Cardinal Bibbiena (1470-1514), the friend of Pope Leo X. and patron of Raphael. From the height of the old Fortezza (ascend the Contrada Raffa- ello, at the top take the Via dei Maceri to the left, and knock at No. 1461; fee 25-50 c.J, an interesting ^survey of the barren chain of the Apennines is obtained. A powder magazine now stands at the top. About 1 M. to the E. of Urbino, to the left of the Pesaro road, are situated the conspicuous old monastery and church of S. Ber¬ nardino, with the new^ cemetery of Urbino. This spot commands a fine view of the town. The church contains the tombs of the Dukes Federigo and Guidobaldo, with their busts. From Urbino to Fossombrone (p. 93) IP/'i 31. ; no regular communi¬ cation (carriage 10 fr.). The ‘Corriere del Furlo’ passes through Fossom¬ brone at 11 a.m. Carriage from Urbino to Gubbio 40 fr. (comp, p 93). From Urbino to Urbania, the ancient Urbinum Metaitrense, later Costel Durante, which w'as probably the birthplace of Bramante, diligence daily at 3 p.m., corresponding with others to S. Angelo, Citta di Gastello, etc. The Railway from Pesaro to Ancona skirts the coast, oc¬ casionally approaching close to the sea, of which a pleasant view is afforded. 98 M. Fano {* Alb ergo del Moro , R. lf/ 2 , B. 1/2 fr.), the Fanum Fortunae of antiquity, is indebted for its origin to a temple of Fortune, a fact commemorated by a modern statue of fortune on the public fountain. It afterwards prospered, and is now a pleasant little town, surrounded by ancient walls and a deep moat. The once celebrated harbour is now unimportant. As a sea-bathing place Fano is less expensive than Rimini. In the centre of the town is the Piazza, in which rises the Theatre, erected byTorelli, a native architect, and decorated by Bibbiena, but recently almost entirely rebuilt. A room in the build¬ ing temporarily contains a David with the head of Goliath, by T)o- meniehino (formerly in the Collegio Nolfi), which unfortunately w'as much injured by thieves in 1871. The 8. side of the Piazza, which is enlivened by a fountain of 92 Route / 1. SINTGAGLIA. flowing water, is skirted by the Corso. Following the latter to tlie right, we reach the Via dell’ Arco d’Angusto, the second cross- street to the left. Ill a small piazza here rises the Cathedral of S. Fortunato, the four recumbent lions in front of which formerly supported the pillars of the portico. In the Interior the chapel of S. Girolamo (the 2nd to the left) contains a monument of the Rainaldiicci family ^ nearly ojiposite (4th to the right) is a chapel adorned with sixteen frescoes by Domenichhio^ once admirable, now disfigured by restoration. — In the chapel of the sacristy, a Madonna with saints, by L, Garacci. Farther on we come to the *Triumphal Arch of Augustus, which spans the street, a structure of simple design, to which a second story was added in the 4th cent., when it was re-dedicated to Constantine. It once had three arches, as is shown by a view of it on the adjacent church of 8. Michele. Adjoining the arch towards the town is the Spedale degli Esposti, a pleasing edifice adorned with loggie. Returning to the piazza, we follow the Via Boccaccio opposite the fountain, and then take the Via Bonaccorsi, inclining to the left, to the church of 8 . Maria Nuova, with portico. Interior. 1st chapel on the left: Giovanni Santi ^ Salutation; 2nd chapel: Pietro Perugino^ Annunciation, 1498. 3rd chapel on the right: Perugino^ Madonna and saints, 1487. S. Croce, the hospital-church, contains a ^Madonna with four saints, by Giovanni Santi. — S. PaternianOj dedicated to the first bishop of Fano, a handsome structure, possesses a Betrothal of the Virgin, by Guercino. — 8. Pietro, an imposing and richly decorated church, is embellished with frescoes by Viviani; in the chapel of the Gabrielli (1st on the left) an Annunciation by Guido Reni. — In the vestibule of 8 . Francesco (closed) are several monuments of the Malatesta of 1488. Pope Clement Vlll. (Aldobrandini) was born at Fano in 1536. The first printing-press with Arabic types was established here in 1514 at the expense of Pope Julius II. From Fano to Fossato by Fossombrone and the Furlo Pass, see p. 93. Beyond Fano the train crosses the river Metaurus (see below), celebrated as the scene of Hasdrubal’s defeat (B.C. 207); then the Cesano, near (105 M.) stat. Marotto. 112 M. Sinigaglia (Locanda della Formica), the ancient 8€na Gallica, with 22,000 inhab. (incl. villages), most of whom are occupied in the fishing trade. The town was destroyed by Pompey during the Civil War between Marius and Sulla; it was an episcopal see as early as the 4th cent., but was afterwards frequently devas¬ tated by fire and sword, so that it now presents quite a modern ap¬ pearance. Pope Pius IX. (Conte Mastai-Ferretti) was born here on 13th May, 1792, and the celebrated singer Angelica Catalani in 1784 (d. at Paris, 1849). A fair, instituted in the 13th cent., is held here from 30th July to 8th Aug. annually; it was once the most frequented in Italy, but has long since lost its importance. FOSSOMBRONE. i2. Route. 93 119^/2 M. Case Bruciate. Pleasant view of the promontory of Ancona, risiiija: from tlie sea. The train crosses tlie Esino and reaches (122M.) stat. Falconara, where the line to Rome diverges (passengers in the latter direction change carriages; see R. 14). The town lies on the hill to the right. 127 M. Ancona, see R. 13. 12. From Fano through the Furlo Pass to Fossato. Gubbio. The high-road which connects Rome with the Valley of the Po traverses tlie Umbrian plains of Terni and Spoleto, and then ascends the valley of the Topino and the Chiascio, until it reaches its culminating point on the Apennines. Descending on the E. side of that range, it follows the course of the Metaurus to its mouth at Fano, after which it skirts the coast and leads N. to Bologna and the valley of the Po. It is identical with the an¬ cient Via Flaminia^ constructed in B.C. 220 by the Censor C. Flaminius (who afterwards fell at the Battle of the Trasimene Lake, see p. 46), in order to secure the possession of the district of the Po which had been at that time wrested from the Gauls. This road is still one of the most im¬ portant channels of local traffic in Central Italy, but since the completion of the Apennine Railway from Bologna to Florence, and the line recently opened from Ancona to Rome (R. 14), has been little frequented by tourists. It is , however, replete with natural attractions, and affords the traveller an opportunity of becoming acquainted with several towns which merit a visit on account of their monuments and historical associations. CoKRiERE daily from Fano to Fossato in IIV2 hrs.^ dep. from Fano at 5.30 a.m., arr. at Fossombrone 11 a.m., at Cagli 3 p.m., at Schieggia 6.30 p.m. and at Fossato 9 p.m. — Those who desire to make the inter¬ esting circuit by Gubhio must hire a carriage at Schieggia, — The most attractive plan of making the whole tour is to combine it with a visit to Urbino ; 1st day, from Pesaro to Urbino; 2nd day, 'one-horse carriage to Fossombrone (in 27-2 hrs., 10 fr.), corriere to Schieggia, one-horse carriage to Gubbio; 3rd day, by diligence or carriage to Fossato, and thence by train to Foligno and Rome. The road, the ancient Via Flarninia, quits Fano by the x\rch of Augustus and the Porta Maggiore, and skirts tlie N. bank of the Metaurus, the fertile valley of which is well cultivated. About 1 M. from Fossombrone, near the church of Martino al Piano , was once situated the Roman colony of Forum Sempronii, of which but scanty remains now exist. After its destruction by the Goths and Lombards, the modern Fossombrone sprang up. 15y2 Fossombrone (Tre Re; Pavone) was long under the dominion of the Malatesta family, but under Sixtus IV. accrued to the States of the Church. It is now a prosperous little town with 9000 inhab. and important silk-factories, prettily situated in the valley, which here contracts, and commanded by a castle on the height above. Ancient inscriptions on the cathedral, in the Semi¬ nary, etc. may be inspected. — From Fossombrone to Urbino, see p. 91. The Via Flaminia about 2 M. from Fossombrone crosses the Metaurus, which descends from the valley near iS. Angelo in Vado from the N., and follows the left bank of the Candiyliano, which at this point empties itself into the Metaurus. The valley soon 94 Route 12. CAGLl. From Fano contracts; to the right rises the hill of Pietralata, occasionally named Monte d'Asdruhale. Here, according to the popular tradition, was fought the memorable battle of the xMetaurus in which, B.C. 207, Hasdrubal, whilst marching to the aid of his brother Hannibal with 60,000 men, was signally defeated and slain by the consuls Livius Salinator and Claudius Nero. This was the great event which decided the 2nd Punic War in favour of Rome. Tlie valley now becomes still more conlined and is bounded by precipitous slopes. At the narrowest part, where the rocky walls approach so near each other as to leave space for the river only, is the celebrated '^'Furlo Pass (Furlo from for ulus = passage, the ancient pelra intercisti)^ a tunnel 17 ft. wide, 14ft. high, and about 32 yds. in length. The founder of the work was the Emp. Ves¬ pasian, as the inscription preserved at the N. entrance records (Imp. Caesar. Augustus. Vespasianus. pont. max. trib. pot. VII. imp. A XVIII. cos. VIII. censor, faciund. curavit). A short distance beyond it stands the small church Badia del Furlo. At the confluence of the Candigliano and BuranOj 9 M. from Fossombrone, is situated the village of Acqualayna. The road crosses the Candigliano and thenceforward follows the left bank of the Buraiio. At the foot of the hill on which Cagli is situated, an antique bridge, consisting of huge masses of rock, crosses a tribu¬ tary brook. 31 M. Cagli (Poster, in the Piazza, charges according to bar¬ gain J, with about 10,000 inhab., occupies the site of the ancient borough of Cates, or Calle. S. Domenico contains one of the most important works of Giovanni Santi , Raphael’s father, a Madonna with saints, al fresco. The angel on the right of the Madonna is said to be a portrait of the young Raphael. There is also a Pieta with St. Jerome and Bonaventura, by the same master. S. Francesco and S. Angelo Minore also possess several pictures. Travellers beyond Cagli are generally conveyed in smaller car¬ riages. About 6 M. beyond Cagli is Cantiano, with 3000 inhab.; the church della Collegiata contains a Holy Family by Perugino. — The road ascends rapidly, and reaches the height of the pass, 2400 ft. above the sea. A little before arriving atSchieggiathe road crosses a ravine by the curious Ponte a Botte^ constructed in 1805. 431/2 M. Sch-ieggia, an insignificant place, lies at the junction of theFossato andFoligno, and theGubbio roads. On Monte Petrara, in the vicinity, stand the ruins of the celebrated temple of Jupiter Apenninus^ whose worship was peculiar to the Umbrians. Several bronzes and inscriptions have been discovered in the environs. Picturesque oak-plantations in the neighbourhood. The main road continues to descend the green valley of the Chiascio, and leads by Costacciaro and Sigillo (stalactite cavesj to — 55 M. Fossato , a station on the Ancona and Rome line, see p. 102. to Gubbio. GUBBIO. /2. Route. 95 From Schirggia to Gubbio, and thence to Fossato. Ketween Schieggia and Gubbio (about 6 M.) there is no regular communication ^ one-horse carriage 5 Ir. and a gratuity (in the reverse di¬ rection the charge is 6 fr.)* — Gubbio alone is most conveniently visited from the Fossato station (p. 102) with which it communicates three times daily by diligence (2*/2 hrs. from Fossato^ carriage 10 fr.)- The hilly road between Schieggia and Gubbio ascends towards the S.W. The highest mountains visible are the Monte CuccA and the Monte (VAnsciano. After a good hour’s drive we reach the sum¬ mit of Monte Calvo(2970 ft.). The road then descends rapidly in a ravine, bounded by precipitous rocks, at the end of which lies Gubbio (a drive of 25 min. from the pass); to the left is the ancient aqueduct of Gubbio. Gubbio (Leon d’Oro, in the Piazza Yittorio b^manuele, 1». V 1^2-2 fr., good wine of the country), with 5000 inhab., is situat¬ ed at the foot and on the slopes of Monte Calvo. The town presents an entirely mediceval aspect, and the proximity of the Apennines im¬ parts to it a more severe character than that of most Italian towns. Conspicuous amongst the houses is the huge Palazzo dei Cousoli, and high above them towers the church of S. Ubaldo. Gubbio is the ancient Iguvium or Eugubium^ mentioned by Cicero and Csesar. It was destroyed by the Goths, was besieged in 1155 by the Emp. Frederick I., then became an independent state, afterwards belonged to the duchy of Urbino, and with it tinally accrued to the States of the Church. (iubbio was the native place of Oderisi., a famous miniature painter (d. about 1300), who is called by Dante in his Purgatorio (xi,80) ‘POnor d’Agobbio’; but no authentic work by his hand now exists. In the 14th and 15th cent, a branch of the Umbrian school flourished here, and among its masters, whose renown extended even beyond their native place, wei*e Guido Palmerucci (1280-1345?) and several members of the Kelli family, particularly Ottaviano Kelli (d. 1444). — Gubbio occupies a still more important page in the history of Artistic Handicrafts. Like Urbino, Pesai’o, and Faenza, it was noted for the manufacture of Majolica., or earthen¬ ware vases and tiles which were covered with a white coating of colour before being baked. One of the most distinguished majolica painters was ‘Maestro Giorgio' of Gubbio, who is said to have invented, or rather re¬ discovered and perfected, the metallic, ruby-coloured glazing for which the Italian majolicas are remarkable. At the bottom of the spacious Piazza Vittorio Emanuele stands the church of S. Francesco. We ascend lienee by mediteval streets to the Piazza della Signoria, situated on the slope of the hill, and supported by massive vaults, where the most conspicuous build¬ ing is the — *Palazzo dei Consoli, a huge pinnacled edifice with a tower, erected in 1332-46 by Giovanello Maffei of Gubbio, surnamed Gattnpone, and at present disused. The ground-floor contains two slabs with Etruscan inscriptions. Fine *view from the tower (fee Y 2 fr.)* — Opposite rises the — Palazzo Pretorio, now ‘Residenza Municipale’, containing several collections recently united here (fee (A 2 -I fr.). On the first (lour are the so-called Eugubian Tablets., which were dis¬ covered in 1440 near the ancient theatre. They are of bronze, and bear inscriptions, four in Umbrian, and three in Latin characters, which long 96 Route 13. ANCONA. bafl'lod the investigation of the learned. They contain in the Umhrian language, an (dd Italian dialect akin to Latin, liturgical regulations and formulic of nearly uniform import, dating from different periods. The older, in the Umbrian character, are read from right to left. The later, in Latin letters, date from about the 2nd cent. B.C. The upper saloon (handsome door) contains a number of pictures, including several fine works, chiefly of the Umbrian school^ admirable "wood-carving of the 15th and 16th cent. ^ cabinets, chairs, and a num¬ ber of ancient and modern ^majolicas. The third side of the piazza is occupied by the modern Palazzo Ranghiasci-Brancaleone, the property of the Marchese of that name, wlio also possesses a valuable collection of pictures and antiquities. Farther up stands the *Palazzo uei Duchi, by Luciano Lau- rana, the architect of the palace of Urbino, the outlines of which are here reproduced on a smaller scale. The court, surrounded with a colonnade, and the highly ornate hall are chiefly noticeable. The Via S. Ubaldo ascends from the palazzo to the Cathkdiial OF S. Maiiiano and Jacopo Martike, a structure of the 13thcent., destitute of aisles and so built against the slope of the hill that its back is embedded in the ground. The facade is adorned with early mediccval sculptures of the Four Evangelists. Among the pictfires in the interior (first altar on the left) is a Madonna with SS. Ubaldo and Sebastian, by Sinibaldo Ibi of Gubbio. The church of S. Maria Nuova, situated near the E. end of the Via delle Fonti, running above and parallel with the Corso, at the corner of the Via Nelli, contains an admirably preserved Madonna by Ottaviano Nelli, 1403. S. Pietro , S. Domenico , S. Ayostino , and S. Maria della Pi- aygiola (outside the town), also contain pictures of the same period. The ancient town extended farther into the plain than the mo¬ dern. Among the various ruins still extant is a Theatre., discovered in 1863, dating apparently from the republican era. It is only par¬ tially excavated, but part of the external row of arches is preserved, and the stage, looking towards the town, is distinctly traceable. (It is reached from the Piazza Vittorio Emanuele by passing through the Porta Trasimeno to the right, and then through a modern gate¬ way on the left, towards a farm). The road to Fossato, 11 M., skirts the foot of the range of hills, and then passes through a defile into the level valley of the Chiascio in which Fossato is situated, see p. 102. From Gubbio to Perugia by the high road 25 31. ; by carriage in 6 hrs., 30 fr.', bleak hill-country. The journey via Fossato and Foligno is pleasanter. 13. Ancona and its Environs. Osimo. Loreto. Hotels. *La Pace (PI. a; C, 3), on the quay, R. 2V4, !>• i, omnibus 1, facchino f^** i Vittoria ( PI. b^ C, D, 3), Strada Calamo, less expensive, with *trattoria; 3Iilano (PI. c; C, 4), Corso di Porta Pia, with restaurant and garden^ Europa , Via S. Annun^iata. — del Conimerdo at the theatre; Dorico., opp. the Exchange (p. 98). '"Birveria and Caffe Glaenzer., with garden, (jorso Vitt. Emanuele. Wtad^' iu.cer^o' (Jla Slaeiont della Ferpovi ^ /. vDa l^Jrco Clemjcntinjo 2.AreoTryano a.Jrsenale Cliiese; t.S.Aqogfmo b.S. Bartolomeo 6. S. Ciniaeo (Diwmo) I . S. Ihmenico 8. S. Iranceseo ad alio 9. S Francesco doUa scale 10. S. Gesit- II. $.Jbria della Piazza S.Palxuda - ■ ■ kmmk. B 1. a.S.Pelleffrino C.2. 1. U.loggia de Jlercanti C.3, C. 1. lb.FaZazzo del Goremo C.2. 16. , dl GiufUzia J).2. r. f. 17. . - Lmehtemberg C.3. 0. 1. l&. Slaiaa di Clenienle D.3. C. 1 IS.Tcatro delJtuse .C.3. D. 3. TO.PosUt deZle Lell&ro D. 3. 1). 1. Zl^lonuoaintodeZ Conte Cccvouof^^ It- D. 2. Albcp^lii: 1). 2. a. Albergo della Pace C.3. C. 3. b. Irfforia C.D. 3. D. 2. c. Milano C.1-. \ 'v \ z Wagner 4-. Debe.s.Xeqpzi^. ANCONA. 13. Itoule. 07 Post Office (PI. 20^ 8-6 o’clock), Str. Calaino. — Telegraph Office^ Via del Porto. Cabs. One-horse cab from station to town, incl. luggage, 1, at night I 1/2 t’r.; two-horse I’/z or 2 fr. — For 1 hr. 1V2-2 fr.; each additional 1/2 hr. 60-^ c. — Beyond the town, 2 fr. 50 or 3 fr. ^ c. for 1 hr., each additional V 2 hr. 1 fr. 15 or 1 fr. 70 c. — Omnibus from the station to the town 35 c. Steamboats of the Peninsular and Oriental Company to Venice and Trieste every Sunday and to Brindisi (Athens) every Saturday, Societd Florio <£• Co. to Venice in 12 hrs., every Tues. at 5 p.m. ^ to Bari, Brin¬ disi, etc., every Mon. at 10 p.m.; Austrian Lloyd (office in the Piazza S. Maria) to Fiume every second Thursday. Comp. Baedeker's S. Italy. Ancona, the capital of a province, with 28,000 iiihah. (incl. suburbs 45,700), of w^hom upwards of 6000 are Jews, and possess¬ ing an excellent harbour, is beautifully situated between the two promontories of Monte Ciriaco and Monte Conero or Monte Guasco. Since 1860 the harbour has been considerably improved by govern¬ ment, and the trade of the place has increased in consequence. The port is now entered by upwards of 700 steamers and 1300 sailing vessels annually. Silk and oil are largely manufactured here. An¬ cona is celebrated for the beauty of its women, and deserves a visit on account of its picturesque situation. Ancona is supposed to have been founded by Doric Greeks from Syra- cuse/and was thence named Dorica Ancon (i. e. ‘elbow’, from the form of the promontory). It was afterwards a Roman colony, and the harbour was enlarged by Trajan. In the middle ages it repeatedly recovered from the ravages of the Goths and others, and in 1532 came into the possession of Pope Clement VII. through the instrumentality of Gonzaga. Ancona is also frequently mentioned as a fortress in the annals of modern warfare. Thus in 1796 it was surrendered to the French, in 1799 to the Austrians, in 1805 to the French again; in 1815 it was ceded to the pope, to whom it belonged till 1860. In 1832-38 the citadel was garrisoned by the French (under the Perier ministry), in order to keep in check the Austrians, who were in possession of Bologna and the surrounding provinces. In 1849 the town was the scene of many excesses, and on 18th June was re-captured by the Austrians. On 20th Sept., 1860, eleven days after the Battle of Castelfidardo (p. 99), it was finally occupied by the Italians. Following the handsome quay towards the N., in the direction of Monte Guasco, we reach the marble ^Triumphal Arch (PI. 2;B, T), erected A. D. 112 by the Roman senate in honour of Trajan on the completion of the new quays, as the inscription records, and one of the finest ancient works of the kind now extant. The holes to which its original bronze enrichments were attached are still ob¬ served. The new quay constructed by Pope Clement XII., a continua¬ tion of the old, also boasts of a Triumphal Arch (PI. 1; B, 1), de¬ signed by Vanvitelli, but far inferior to the other. Its facade is towards the sea and is destitute of inscription. The harbour is de¬ fended by several forts. The *Cathedral of S. Ciriaco (PI. 6; C, 1), dedicated to the first bishop of Ancona, stands on an eminence rising above the harbour and commanding an extensive view of the town and the sea, oc¬ cupying the site of a temple of Venus mentioned by Catullus and Baedeker. Italy II. 6th Edition. 7 98 Routt 13 . ANCONA. Environs Juvenal. It contains ten beautiful columns which once belonged to the ancient temple. The church, like St. Mark’s at Venice, is in a mixed Lombard and Oriental style of architecture, and is in the form of a Greek cross, each of the arms being flanked with aisles. The octagonal dome over the centre of the cross is one of the oldest in Italy. The fa(^ade, which is said to have been de¬ signed by Margheritone d'Arezzo in the 13th cent., has a beautiful Gothic portico, the foremost columns of which rest on red lions. The Crypt of the Right Transept contains the "Sarcophagus of Titus Gorgonius^ Prsetor of Ancona, with scenes from the life of Christ (the Nativity, Adoration, Baptism, Entry into Jerusalem, Christ before Pilate, Christ as Judge, Christ and the apostles with Gorgonius and his wife at the Saviour‘’s feet), and other Christian antiquities (Mary and two saints, head of Christ of 1213, Entombment in painted terracotta, etc.). — The Crypt of the Left (modernised) Transept contains the tombs of SS. Cyria- cus, Marcellinus, and Liberius, in the rococo style. Within a bouse at the foot of the cathedral are scanty remains of a Roman amphitheatre. T\\qP alazzo Comunale (PI. 15; C, 2) contains a few unimportant Roman antiquities, and several ancient and modern pictures. The Strada delle Scuole descends thence to the left, to the church of S. Francesco (PI. 9; D, 3; now a barrack), resting on a massive substructure, with a very rich Gothic ’^portal. — The street next leads (r.) to the Prefettura. In front of the fine Renais¬ sance archway leading into the court we turn to the right (Contr. della Catena) to the church of S. Maria della Piazza (PI. 11 ; C, 3), with its peculiar Romanesque-Lombard ^fa^ade of the 12th cent, and traces of a projected portico. — We now return through the Prefettura (with fine pointed arcades to the left in the court) to the Piazza Maggiore, or di S. Domenico (PI. D, 3), surrounded by lofty houses and adorned with a statue of Clement XII (Corsini, 1730-40). The street quitting the piazza on the side opposite the statue leads to the *Loggia dei Mercanti (Exchange, PI. 14; C, 3), an early Gothic edifice with Moorish touches, by Tibaldi; over the door is an equestrian statue. — The street to the left leads to the Piazza DEL Teatiio (pi. C, 3), the centre of business, beyond which rises the church of S. Agostino (PL 4; C, 4) with a late Gothic portal showing a Renaissance tendency. From the Piazza del Teatro the new and well-paved Conso Vittorio Emanuele (PI. C, D, 4) ascends towards the E., inter¬ secting the new quarters of the town. At the end is the spacious Piazza Cavour, in the centre of which rises a colossal statue of the minister (PI. 21 ; E, 4), erected in 1868. The height above the railway station affords a pleasing survey of the town and harbour. Excursions from Ancona. The Province of Ancona, the ancient Picenum^ is a remarkably fertile district, replete with beautiful scenery. The Apennines send forth a series of parallel spurs towards the sea, forming a number of short, but pictures- of Ancona. LORETO. 13. Route- 99 que valleys. The towns and villages are invariably situated conspicuously on the heights. To the W. the view is bounded by the Central Apen¬ nines which here attain their greatest elevation in several continuous ranges, from the Montagna della Sibilla to the Gran Sasso d"'Italia (9817 ft.), and are covered with snow till July. Towards the E. glitters the broad Adriatic, on which numerous sails are visible in clear weather. Oil the coast, 10 M. to the S. of Ancona, rises the ‘^'Monte Conero (1763 ft.), with a venerable Camaldnlensian monastery, commanding a superb panorama. Tha pedestrian follows a toler¬ able road traversing the coast hills nearly to (7 M.) Sirolo (2000 inhab.), and diverges to the left by a path ascending to the top of the hill in 3/4 hr. A carriage (see p. 97) may be taken as far as the foot of the hill. The Ancona-Foggia Railway (to Loreto, 15 M., in 54 min., fares 2 fr. 70, 1 fr. 90, 1 fr. 45 c.; to Porto Civitanova, 27 M., in 1 hr. 5 min. to I 3/4 hr., fares 4 fr. 85, 3 fr. 40, 2 fr. 45 c.), pene¬ trates the heights enclosing Ancona by means of a tunnel. To the left rises the Monte Conero (see above). 10 M. Osimo (Alhergo della Corona., in the market-place; om¬ nibus from the station to the town, 2^/2 M. distant, 60 c.), the an¬ cient Auximum, colonised by the Romans P).C. 157, and mentioned by Caesar, is now a country-town with 5000inhab., situated on a hill in a naturally strong position. The greater part of the ^TownWall, dating from the 2nd cent. B.C., is still standing. A walk round it is recommended for the sake of the beautiful view it affords. The Palazzo Pubblico in the spacious Piazza contains inscriptions and statues of celebrated natives of the place, dating from the im¬ perial period, but barbarously mutilated on the occasion of the capture of the town in the 16th cent. One of the inscriptions mentions Pompey, who was settled for a time in Picenum. — From Osimo to Loreto in IY 2 carr. (one-horse 5 fr.). Proceeding hence by railway, we perceive, to the right, Castel- fidardo, where on 18th Sept. 1860, the papal troops under Lamo- riciere were totally defeated by the Italians under Cialdini. 15 M. Loreto (^Campanella, or Posta, in the principal street; Pace’ omnibus to the town 60 c.), situated on a hill at some dis¬ tance from the line, and affording admirable *views of the sea, the Apennines, and the province of Ancona, is a celebrated resort of pilgrims (nearly half a million annually). It consists of little more than a single long street, full of booths for the sale of rosa¬ ries, medals, images, etc., and is much infested by beggars. According to the legend, the house of the Virgin at Nazareth became an object of profound veneration after the year 336, when the aged Empress Helena, mother of Constantine, made a pilgrimage thither, and caused a basilica to be erected over it. Owing to the incursions of the Saracens the basilica fell to decay, and after the loss of Ptolemais the Casa Santa was miraculously transplanted by the hands of angels to the coast of Dalmatia (the precise spot being between Fiume and Tersato), in 1291, where it remained undisturbed during three years. For some un¬ known reason, however, it was again removed by angels during the night, 7s{: 100 Route 13. louv:to. and deposited near Recanati, on the ground of a certain widow Laurela (whence the name Loreto). A church was erected over it, and a number of houses soon sprang up for the accommodation of the devout believers who flocked to the spot. In 1586 Pope Sixtus V. accorded to Loreto the privileges of a town. Among the numerous pilgrims who have visited this spot may be mentioned Tasso, who thus alludes to it: — ‘Acco fra le tempeste^ e i fieri venti Di questo grande e spazioso mare., 0 Santa Stella., il tuo splendor ni'ha scorto, C/i‘ illustra e scalda pur Vumane mentC. Tlie *Chiesa della Casa Santa has no great architectural pre¬ tensions. The handsome facade was erected under Sixtus V., a colossal statue of whom adorns the entrance flight of steps. Over the principal door is a life-size statue of the Madonna and Child, by Girolamo Lombardo , his sons , and his pupils ; there are also three superb bronze-doors, executed under Pope Paul V., 1605-21. The campanile, designed by Vanvitelli, is a very lofty structure in a richly decorated style, surmounted by an octagonal pyramid. The principal bell, presented by Pope Leo X. in 1516, weighs 11 tons. In the iNTEiiioR, to the left of the entrance, is a beautiful *font, cast in bronze by Tiburzio Verzelli and Giambattista Vitale , and adorned with basreliefs and figures of Faith, Hope, Charity, and Fortitude. On the al¬ tars and in the chapels of the nave are ^mosaics representing St. Francis of Assisi, hy Domenichino., and the Archangel Michael, by Guido Reni; also a number of valuable pictures, frescoes, and sculptures. In the centre of the church rises the ‘Casa Santa’ (or ‘Holy House’), a simple brick-building, 13hz ft. in height, 28 ft. in length, and 12*/2 ft. in width, surrounded by a lofty '^Marble Screen designed by Bramante., and executed by Andrea Sansovino, Girolamo Lombardo, Giovanni da Bo¬ logna, Bandinelli, Tribolo, Guglielmo della Porta, etc., with bronze doors by Girolamo Lombardo. This handsome work was begun under Leo X., con¬ tinued under Clement VH., and completed under Paul III., and is said to have cost 50,(XX) Roman scudi, irrespective of the statues and the marble. The cost would have been still greater, had not many of the artists piously declined remuneration. The four sides are adorned with statues of pro¬ phets and sibyls, and reliefs, amongst which may be mentioned : — W. Side. Annunciation, by Sansovino, termed by Vasari, ‘una opera divina’ ^ smaller representations by Sangallo , Gir. Lombardo, and Gugl. della Porta. S. Side. Nativity, by Sansovino; David and Goliath, Sibyls, Ado¬ ration of the Magi, by other masters. E. Side. Arrival of the Santa Casa at Loreto, by Niccolb Tribolo; above it Death of the Virgin, by Domenico Aimo of Bologna. N. Side. Nativity of the Virgin, begun by Sansovino, continued by Baccio Bandinelli and Raffaele da Montelupo. Basreliefs: Nuptials of the Virgin, by the same masters. In a niche of the interior is a small image of the Virgin and Child in cedar, painted black, attributed to St. Luke. It is richly adorned with jewels, the lustre of which is enhanced by silver lamps always kept burning. In 1798 it was carried off to Paris by the French. In the N. Transept is the entrance to the -^Treasury (open to the I)ublic on Sund. till 11.30 a.m.; at other times fee 1 fr.), which contains a number of valuable votive otferings and other curiosities, the gifts of monarchs and persons of rank. Several of the treasures disai)pearcd at the time of the Peace of Tolentino (1797). In the Piazza in front of the church are situated Jesuits' College and the — *Palazzo Apostolico, begun in 1510 from designs by Bra- JESI. 14. Route. 101 mante. It contains a small picture-gallery [Titian, Christ and the woman taken in adultery ; Vouet, Last Supper; Schidone, St. Clara; Guercino, Descent from the Cross; Ann. Caracci, Nativity of Christ, etc.), and b.* Collection of Majolicas (formerly in the adjacent chem¬ ist’s shop), chiefly from the celebrated manufactory in Urbino. About 2^2 M. from Loreto, and reached by train in 20 min., is — 171/2 M. Recanati, loftily situated at some distance from the line, and commanding several charming views. It was a fortified and important place in the middle ages. A charter of the municipal pri¬ vileges accorded to it by Emp. Frederick 11. in 1229 is shown at the Palazzo Comunale. The Cathedral of N. Flaviano , with a Gothic porch, contains the monument of Gregory XII., of 1417. Several of the palaces deserve notice, especially that of the Leopardi, con¬ taining the collections of the scholar and poet Giacomo Leopardi (d. 1837). An excursion maj’^ be made from Recanati to Macerata (p. 103), pass¬ ing the ruins of Helvia Ricina., of which, close to the Potenza, remains of an amphitheatre, of a bridge, etc. are visible. From Macerata an omnibus runs to the Civitanova station. The train crosses the Potenza. 23 M. Potenza Picena , named after a Roman colony, the ruins of which have disappeared. On the hill, 41/2 M. distant, lies Montesanto. 27 M. Porto Civitanova, at the mouth of the Chienti,' the town of Civitanova lies 1 M. inland. — Thence to Macerata, see p. 103. To Pescara, Foggia etc. see Baedeker's S. Italy. 14. From Ancona to Foligno (Or Home). 80 M. Railway. Express in 4^/4 hrs. ^ fares 14 fr. 60, 10 fr. 26 c. — Ordinary train in 43 / 4 - 61/4 hrs.; fares 13 fr. 85, 9 fr. 50, 6 fr. 60 c. — To Rome (184 M.) in 9i/‘2-10i/4 hrs.; fares 35 fr. 60, 24 fr. 70 c. The train runs on the rails of the Bologna line, which with the old road skirts the coast (to the right a retrospect of the town and harbour), as far as (5 M.) Falconara (p. 93). Here the train diverges to the S.W. into the valley of the Esino (Lat. AEsis') , which it soon crosses at (10 M.) Chiaravalle, a small town with a Cistercian monastery. 17 M. Jesi, with 18,900 inhab. (inch villages), now one of the most prosperous manufacturing towns of the province, was the an¬ cient .^Esis, where the Emp. Frederick II., the illustrious son of Henry VI. and Constantia of Sicily, and grandson of Frederick Bar- barossa, was born on 26th Dec. 1194. Hence Jesi bears the name of the ‘royal city’. The cathedral is dedicated to the martyr St. Septimius, who was the first bishop of the place in 308. Jesi was also the birthplace of the composer G. Spontini (b. 1778, d. 1851). The valley gradually contracts; the train crosses the river twice. — 26 M. Castel Planio. Beyond (30 M.) Serra S. Quirico , near Monte Rosso, the mountains approach so near each other as barely 102 Route 14. FABRIANO. From Ancona to leave room for the road, which here passes through a wild ra¬ vine, frequently endangered by falling rocks. The railway pene¬ trates Monte Rosso by a long tunnel, crosses the river repeatedly, and at length reaches the pleasant valley of Fabriano. — 37 M. Albaccina. About 71/2 M. to the S. lies Matelica., a town with 4000 inhab., pos¬ sessing pictures by Palmezzano and Eusebio di S. Giorgio in the church of S, Francesco, and a small picture gallery in the Pal. Piersanti. From Matclica to Camerino (p. 103) 3^2 M,, to San Severino (p. 103) 11 M. 441/2 M. Fabriano (Leon d'Oro; Campana)^ a prosperous town with 17,500 inhab. (inch suburbs), noted for its paper-manufactories, and situated near the sites of the ancient Tuficum and Attidium^ which have long since been destroyed. The Town Hall contains an¬ cient inscriptions and a small collection of pictures; the Campanile opposite bears an absurdly extravagant inscription with regard to the unity of Italy. The churches of S. Niccolo, S. Benedetto, S. Agostino., and S. Lucia.) as well as the private houses Casa Moricld and Fornari) contain pictures of the school of painting which once flourished here. Gentile da Fabriano (? 1370-1450; see p. 48), the chief master of the school, is remarkable for the softness and deli¬ cacy of his style. The Marchese Possenti possesses a very valuable ^collection of objects in ivory. From Fabriano a good mountain-road (9 M.) leads by the picturesque La Genga to the lofty Sassoferrato, situated in a fertile valley, consisting of the upper and lower town, with 2000 inhab., and possessing interesting churches and pictures. Giambattista Salvi, surnamed Sassoferrato ^ was born here in 1605; he was especially noted for his Madonnas, and died at Rome in 1685. S. Pietro contains a Madonna by him. In the vicinity are the ruins of the ancient Sentinuiti) where, B. C. 296, the great decisive battle took place between the Romans and the allied Samnites, Gauls, Umbrians, and Etruscans, in which the consul Decius heroically sacrificed himself. The Roman supremacy over the whole of Italy was thus established. Beyond Fabriano the train skirts the brook Giano , penetrates the central chain of the Apennines by a tunnel 11/4 M. in length, and reaches — 541/2 M. Fossato (diligence to Gubbio three times daily, see p. 95), where it enters the broad valley of the Chiascio. To the left on the hill is the village of Palazzolo, to the right Pellegrino; farther on, to the left, Palazzo and S. Facondino. 58 M. Gualdo Tadino is a small town with 7000 inhab., near which, about 2 M. from the railway, lie the insignificant ruins of the ancient Tadinum. Here in 552 Narses defeated and slew the Ostrogothic king Totilas , and, in consequence of this victory, he soon afterwards took possession of Rome. The church of S. Fran¬ cesco contains an altar-piece by Niccolo da Foligno^ of 1471. The cathedral possesses a fine rose-window; in the sacristy pictures by Niccolo da Foligno. The train now gradually descends to (09 M.) Nocera, an epis¬ copal town, occupying the site of the ancient Nuceria, a city of to Rome. MACERATA. 14. Route. 103 the Umbri. In the vicinity are mineral springs, known since 1510. The train then enters the narrow Val Topina, crosses the brook several times, passes through a tunnel, and descends by Ponte Centesimo to — 80 M. Foligno ; thence to Rome, see p. 75 et seq. High Hoad from (Ancona) Civitanova to Foligno (Rome). Before the completion of the Ancona and Rome line, the mails were forwarded by the Ancona and Brindisi line as far as Porto Civitanova (p. 101) from which they were sent hy corriere to Foligno in about 10 hrs. ; but there is now no regular communication by this route. The railway is quitted at Civitanova. The road ascends the fertile valley of the Cliienti, affording views of the rocky summits of the Central Apennines, which are covered with snow until late in summer. The Sibilla (9111 ft.) group first becomes visible. The country is well cultivated, and the villages are prosperous. 16 M. Macerata (Pace; Posta)., a flourishing town with about 20,000 inhab., capital of the province of Macerata, picturesquely situated on the heights between the valleys of the Chienti and Potenza , possesses a uni¬ versity, an agricultural academy, etc. It was the birthplace of the erudite Giovanni Crescimbeni , the founder of the Roman academy of Arcadians (1663, d. in Rome 1728), and also of Matteo Ricci, the missionary (d. at Pekin, 1609). In the Cathedral a Madonna with St. Francis and St. Julian, ascribed to Perugino. In S. Giovanni an Assumption of the Virgin hy* Lan- franco. The Palazzo Municipale and the Pal. Compagnoni contain in¬ scriptions and antiquities from Helvia Ricina (p. 101), after the destruction of which the modern‘towns of Recanati and Macerata sprang up. Macerata also possesses a public Library and a triumphal arch, called the Porta Pia. Outside the gate, ^1* the town, is the church of the Madonna della Vergine, ascribed to Bramante. [About 6 M. to the S.W. of Macerata (3 M. E. of Tolentino) is the village of Urbisaglia, the Roman Urbs Salvia, with extensive ruins, amphi¬ theatre, walls, baths, etc.] The road continues to traverse a fertile tract on the bank of the Chienti. 28‘/‘2 M. Tolentino (Corona)^ the ancient Tolenlinum Picenum, on the Chienti, with 4000 inhab., possesses a remarkable Gothic gateway, and was formerly strongly fortified. The town-hall in the Piazza contains a few an¬ tiquities. The cathedral of S. Niccolb di Tolentino is entered by a Gothic vestibule. In the interior, rich carving on the ceiling, and frescoes from tlu life of St. Nicholas, by Lorenzo and Jacopo da San Severino. The chapel of the saint contains two paintings, the Fire at St. Mark’s at Venice, and the Plague in Sicily, ascribed to Tintoretto and Paolo Veronese (1) respectively. The environs are picturesque, and command fine views of the mountains. — The learned Francis Philelphus, one of the first scholars who studied and disseminated classical literature, was born here in 1388. [San Severino, 6 M. to the N.W. of Tolentino, in the valley of the Po¬ tenza, arose from the ruins of the ancient Septempeda. In the church del Gastello, frescoes by Diotisalvi d'Angeluzzo, and an altar-piece by Niccolb da Foligno (1468) ', in the sacristy of the Duomo Nuovo a Madonna by Pinturicchio. S. Lorenzo stands on the site of an ancient temple. Inscriptions and anti¬ quities in the town-hall, and at the residence of the Conte Servanzi-Collio. From San Severino 12>/2 M. to Camerino (diligence daily, 1 fr.), the an¬ cient Gamerinum Umbrorum, situated on a height at the foot of the Apennines. This was once the capital of the Umbrian Camertes, who during the vSamnite wars allied themselves with Rome against the Etruscans. It is now the chief town of the province, with 5000 inhab., a university, and a bishopric (founded in 252). The cathedral of S. Sovino occupies the site of a temple of Jupiter; in front of it stands a bronze Statue of Pope Sixtus V., of 1587. The painter Carlo Maratta was born here in 1625 (d. at Rome in 1713). — From Camerino to (6 M.) La Muccia, on the Roman road, see below. 104 Route 14. LA MUCCIA. Another road leads from S. Severino to the N. by Matelica (11 M.) to Fabriano (25 M.), see p. 102.] The Roman road leads from Tolentino on the left bank of the Chienti, through a pleasant district and numerous plantations of oaks, to Belforie^ the post-stations Valcimara and Ponte della Trave ^ and (I 8 V 2 M. from To¬ lentino) — 47 M. La Muccia (Leone), the usual halting-place of the vetturini. The mountain slopes are studded with small villages on both sides. At Gelagno the road begins to ascend, the district becomes barren and bleak (the vet¬ turini here procure the aid of oxen). The passage of the Apennines from La Muccia to Foligno occupies about 6 hrs. by carriage. Serravalle lies in a narrow ravine; above it rise the ruins of an old castle. IV 2 M. farther are the sources of the Chienti^ (p. 103). The road now ascends to the grassy table-land of Colfioi'ito (Locanda di Bonelli), 2903 ft. above the sea-level, skirts a small lake, traverses a grove of oaks, and descends somewhat abruptly by Case Ntiove and Pale to Foligno. Above Pale towers the lofty Sasso di Pale^ one of the last spurs of the Apennines. In descending, the road affords a beautiful *view of Foligno and the charming valley of the Clitunno. The road follows the course of tlie brook, and 7-2 M. from Foligno reaches the Via Flaminia (p. 93). 75 M. Foligno^ see p. 75. SECOND SECTION. ROME. Arrival. On arriving at the railway-station (Plan I, 25) the traveller will find hotel-omnibuses in waiting, for the use of which a charge of fr. is made in the bill. One-horse cab, for 1-2 pers., 1 fr., each additional person 20 c. more ^ at night 1 fr. 20, and 40 c. respectively; two-horse carr., for 1-4 pers., 1 fr. 70, at night 1 fr. 90 c. ^ small ar¬ ticles of luggage free^ each trunk 50 c. ^ porter 25-60 c. — Police-OfficIS: (Questura): Via S.S. Apostoli 17 (PI. 11, l(i, 19). — Railway-Office^ see p. 113. Embassies and Consulates. There are two classes of diplomatic agents at Rome, those accredited to the Italian government, and those accredited to the Papal court. The offices of two of the former class alone need here be mentioned: English Embassy, Sir Augustus Berkeley Pageiy Via Monte Magnanapoli 280; American Eaibassy, George Perkins Marshy Via della Fontanella di Borghese 35. — English Consulate : Alex. Machean , con¬ sul, Corso 378. American Consulate : MacMillan., consul, Piazza di Spagna 26; Dumaresq., vice-consul, Piazza di Spagna 81. Hotels (comp. pp. vi, xxii). The best, and the most expensive, are in the Strangers'' Quarter., between the Porta del Popolo, the Piazza di Spagna, and as far as the railway-station. For a prolonged stay an agreement should be made beforehand. Visitors are expected to dine at the table d’hote. French is spoken almost everywhere. Many hotels are closed during the summer months. *CosTANzi (PI. I, 23, jp). Via S. Nicola di Tolentino 14, R. 4-6, D. 5, B. 17*2 fr.; "Quirinale (PI. I, 25, A), Via Nazionale, a large establishment belonging to M. Baur of Zurich (pension 12 fr. and upwards) ; Russia (PI. I, 18, 6), Via Babuino 9; Londra (PI. I, 17, c). Piazza di Spagna 13; Europa (PI. I, 20, c?). Piazza di Spagna 35; Hotel du Louvre (PI. I, 23, ?/), Via S. Ni¬ cola di Tolentino; Bristol (PI. I, 22, a:). Piazza Barberini, expensive; In- ghilterra (PI. I, 17, /), Via Bocca di Leone 14; Serny, Via S. Sebastiano 3; Albergo di Parigi, Via S. Sebastianello; America (PI. I, 17, g)^ Via Babuino 79; Nuova York (PI. I, 17, «), corner of the Via Carrozza and the Via Bocca di Leone; *Roma (PI. I, 17, *), Corso 128, D. 6 fr.; Allemagna (PI. I, 17, I;), Via Condotti 88; della Citta (PI. I, 18, o). Via Babuino 196. Charges at all these about the same: R. from 3, D. 5-6, B. I72, A. 1 fr.; pension for those who make a prolonged stay 10-12 fr. and upwards per diem. Somewhat less expensive are: Anglo-Americano (PI. I, 17,0, Via Frattina 128; Molaro (PI. I, 19, ^^7), Via Gregoriana 56, well spoken of; Italia (PI. I, 23, ao). Via Quattro Fontane 12; Vittoria (PI. I, 19, /)? Via Due Macelli 24; Sud (PI. I, 19, v), Via Capo le Case 56; Cavour , at the corner of the Via del Viminale and Via Principe Umberto, near the rail¬ way-station; La Pace (PI. I, 19, 2^), Via Sistina 8. Restaurants. 106 Prelim. Information. ROME. In the interior of the city: Minerva (PI. II, 16, 7n), Piazza della Mi¬ nerva 69, large and much frequented, D. 4 fr. 70 c., pens, without lunch 9 fr.; Milano (PI. I, II, 13, 16, ac), Via Santa Chiara 5, at the back of the Pantheon, E. from 2V2-3, B. A. Vi, D. 4 fr.; Hotel and Pension Centrale (PI. 1,16, ad )^ Via della Rosa. Hotels Garnis. The traveller of moderate requirements will find it less expensive to procure apartments at one of the following houses, and to take his meals at a cafe or restaurant: Oriente and Scandinavia (PI. I, 19, a 6), Via del Tritone 6, well spoken of; Alibert (PI. I, 17, ^), Vicolo d’Alibert; Cesari (PI. I, 16, w). Via di Pietra, near S. Ignazio; Tempio DELLA Pace, Via del Tempio della Pace 14, at the back of the Basilica of Constantine, in a sunny situation. Enquiry as to charges should always be made beforehand. Pensions. *Mme. Tellenbach, Piazza di Spagna 51, 10-12 fr.; Miss Smith, in the same Piazza 93; Inglese , Via Condotti 56; Bellevue di PiNCio, Via di Porta Pinciana 18, English hostess, pension 8-10 fr., well spoken of; Francese , Via Mercede 51; Suez, Via S. Xicola di Tolen- tino 21; Mme. Masson, Via del Tritone. Arrangements for pension may also be made at most of the above mentioned hotels. The average charge is 10-12 fr. daily, but less for a prolonged stay. Private Apartments. The best are situated in the quarter bounded by the Corso and the Via del Babuino on one side, and by the Piazza di Spagna and the Via Due Macelli on the other side, and also in the Via Capo le Case, Via Sistina, Piazza Barberini, cand other streets on the Pincio. The most expensive, and often the least sunny, are those in the Corso, the Piazza di Spagna, and the Via del Babuino. A northern aspect should be studiously avoided, and a stipulation made for stove, carpet, and attendance (stufa, tappeti, servizio). Rent of two well-furnished rooms in a good locality 100-150 fr., one room 40-70 fr. per month; for a suite of 3-5 rooms 200-500 fr. Artists generally reside in the Via Sistina, Quattro Fon- tane, and that neighbourhood. In the Forum of Trajan, and the adjoining streets, apartments may be obtained with a sunny aspect and conveniently situated with regard to the old part of the town. Rooms may be procured in almost every street in the strangers’ quarter, where notices and placards are frequently observed; but, as they are seldom removed when the rooms are let, the traveller must be prepared for a number of fruitless enquiries. Those who engage apartments in the Corso should come to an under¬ standing with regard to the windows for the Carnival. — Firewood at Ficcliellfs, Piazza di Spagna 87, 11-12 fr. per mezzo passo. Rome does not yet possess a complete Directory ; but much informa¬ tion is aflbrded by the Guida Commerciale della Cittd di Rovia^ published by Tito Monad.! 4 fr. An unknown address may be ascertained at the U/ficio di Anagrdfe on the Capitol, under the arches of Vignola, above the stairs leading to the Monte Caprino (p. 214). Restaurants (those of more moderate pretensions are called Tratiorie). Handsomely fitted up and expensive: Nazzarri., Piazza* di Spagna 81, 82; Rpillmann Fr'eres.^ Via Condotti 10; Spillmann Aini., Via Condotti 13 (at all of these D. 6 fr. and upwards); Caf^ di Roma (p. 107). Second class, with good French cuisine: Corvadetti., Via della Croce 81; Roch., Piazza di Spagna 27; Via Erattina 121 (these establish¬ ments also supply families with dinners at their own apartments, for 2 pers. 4-6, 3 pers. 6-8 fr.). — The Cafe del Parlamento di Venezia.! and the Birreria Morteo & Co. (Vienna beer), Corso 197, arc also good restaurants. — Restaurant Cavour.! Via della Mercede (PI. I, 16, 17); Lepre., Via Con¬ dotti 80. The Trattorie are recommended to those who have some acquain¬ tance with the language and customs of the country: ^Tratt. di Roma., Pa¬ lazzo Marignoli, Via S. Claudio 90; Rosetta^ Via Rosetta 1, opposite the Pantheon to the left; Falcone , Piazza di S. Eustachio 58, near the Pan¬ theon (Roman cuisine); Posta., Via Colonna 36, near the post-office, B. IV'^i R* 2V2-4 fr.; Trattoria Piemontese. Piazza Trevi 10 (Piedmontese cuisine); Rebecchino.! Via Bocca di Leone 7; "^Carlin., Via Quattro Fontane 175 (beer); Degli Artisti., Via della Vite 68. The following are unpre- Cafes, ROME. Prelim. Information. 107 tending: Gahhione., Via del Lavatore 40, by the Fontana Trevi; Via S. Marco 5; Torretta Via della Torretta 1, near the Palazzo Borghese^ Genio^ Via Due Macelli 12, moderate. Attempts at imposition may be checked by asking for a written account (conto scritto). The best restaurants contain a lista or bill of fare^ but the waiter generally enumerates the viands verbally. The following are a few of the average charges: Zuppa 4-6 soldi ^ maccaroni 10-12s.^10-12s.^ pork (majale), wild boar (cinghiale) or other meat ‘m umido' (in sauce), arrosto di abbacchio (roasted lamb), or di capretto (kid) 15-16 s.; beefsteaks (bistecca)^ roast- beef (costata di manzo)^ cutlets (costoletta), and arrosto di mongana or vitello (veal) 18-20s.’, cake or pudding (dolce., paste) 6-12s.^ wine 6-8 soldi per mezzo litro. The waiter expects a gratuity of 2-3s. or more from each person. The Osterie (wine-houses, comp. Introd.) may be visited by those who which to observe scenes in humble life. The most popular are those out¬ side the gates, on Monte Testaccio (p. 252), etc., which attract a motley assemblage of customers on Sundays and holidays. — Among the best houses of the kind are the Palombella , Via della Palombella, at the back of the Pantheon to the right (with a better room on the first floor), good Monte- liascone ‘Est-Esf, Monte Pulciano, Orvieto, and Aleatico ^ Osteria del Ghetto (.lewish tavern), Via Rua 111 (PI. II, 17)^ Campanella near the Theatre of Marcellus, Via di Monte Savelli 78, a side-street of the Via Moutanara; the Osteria opposite the Fontana Trevi 95; the Osteria Via della Pietra 67 (good Genzano); Oawima Via Mercede 8. In Trastevere :* C«caareZ/a, Via deir Arco dei Tolomei 23, a cross-street on the W. side of the Lungaretta (coming from the Ponte S. Bartolommeo to the right, then to the left)^ the Osteria.^ Via dei Sabini 19 (good Montefiascone). — The ordinary wines of the environs of Rome (Vino dei Castelli Romani) are generally served in clear bottles containing one, a half, or a fifth litre (mezzo litro 6-lOs.), and the better qualities in smaller bottles (fiaschetti). Amongst these last are Velletri., Genzano (8-lOs. per mezzo litro), Orvieto (18s.), Montefiascone (‘Est-Est’, comp. p. 66; 30s.), and Aleatico (25s.). — Among the Tuscan Wine- Houses are the Cantina I'oscanelli^ Via della Colonna 27, the Fiaschetteria Mellini^ Piazza S. Lorenzo in Lucina 34 and Via di Tritone 10, and the Fiaschetteria del Barile^ Vicolo di Monte Catini 12; Tuscan and Piedmontese wine also in the Via dell’ Archetto. Tlie Tuscan wine is generally served in large bottles (fiaschi) covered with reeds, and payment is made according to the quantity consumed (6-lOs. per mezzo litro). Foreign wines are sold^ at the first-class restaurants (p. 106), and by Morin.^ Via Due Macelli 62; Presenzini^ Via della Croce 32; Burnel d Gui- chard Axni^ Via Frattina 116. — French wines are sold by Boudranl.^ Corso 477, and also by the Liquoristi : ■'Aragno^ Corso 237, Piazza Sciarra, and Piazza Monte Citorio 118-120 (good Roman wine); Giacosa., Via della Maddalena 17-19; Vine. Attili^ Via del Tritone 13A; Morteo (see p. 106; good vermouth). Beer (birra). The best is sold at the ^Birreria Morteo d' Co., Corso 197, entrance to better dining-room by Via S. Claudio 79 (Vienna beer and good cuisine), see p. 106; branch-establishment. Via delle Vergini 6, adjoining the Teatro Quirino, near the Fontana Trevi; Carlin, see p. 106. — Roman beer is brewed and sold by Germans: Via de’ Due Macelli 74 ; Via di S. Giuseppe, Capo le Case 24; also at the cafes and by the ‘liquoristi’. Cafes. Parlamento, Corso 203; degli Specchi, in the Piazza Colonna, near the post-office; Italia, Corso 154; Roma, Corso 426-33; Venezia, Corso 289-290; Nazionale, corner of the Corso (179) and Via delle Convertite; Greco, Via Condotti 86, and Artisti, Via Due Macelli 91, both frequented by artists. Other cafes in almost every street; coffee generally good; sent, if desired, to private apartments. — Ices at i\\e-'^Sorbetteria Napoletana, Via deir Impresa 22-23, to the N. of the Piazza Colonna.< Confectioners: Ronzi d; Singer, in the Piazza Colonna, corner of the Corso 349; Pesoli, Via della Stamperia 18; Ramarzotti, Via Frattina 76; Nazzarri, Piazza di Spagna 281,82 (comp. p. 106). — English Baker, Via del Babuino 100; German, Widi. Bocca di Leone 9, Via della Croce 88; Physicians. 108 Prelim. Information. ROME. Viennese., Via del Foro Trajano 24. — Grocers: Donzelli., Via della Croce 11; Corso 98A; Lowe, Piazza di Spagna 76 (good tea). — Fruit-Shops: Gangalanti., Piazza S. Lorenzo in Lucina 19; Posidoro. Via delP Angelo Cnstode 53. Tobacco (comp. Introd.) at the Regia dei Tahacchi., corner of the Corso and Piazza Sciarra; foreign cigars 25 c. and upwards. Gratuities. As the demands made on strangers in this respect are gener¬ ally exorbitant, the following averages are given. In the galleries for 1 pers. 10 soldi, for 2-3 pers. 15s., for 4 pers. 1 fr.; regular frequenters 5 soldi. To servants and others who open doors of houses, churches, gardens, etc., 5s.; for other services (guidance, explanations, light, etc.), Y 2 -I fr. It is also usual to give a trifle (l-2s.) to the waiters at the cafes. Baths at the hotels; also Via Alibert 1, Via Belsiana 64, Via Babuino 96, Via Ripetta 116. Bath 1 V 2-2 fr., gratuity 5s. — Hydropathic Establishments: Piazza Trinita de’ Monti 15; Piazza del Plebiscite (PI. I, 10). Hairdressers: Oiardini., Corso 423; Lancia., Via Condotti 11; both with ladies’ rooms. — Perfumer., Corso 390. Lieux d’ Aisance (10 c.): Vicolo del Sdruciolo, near the Piazza Co- lonna; Piazza dei Cappuccini, near the Piazza Barberini; Passeggiata di Ri¬ petta; in the colonnade of the Piazza of St. Peter, on the side next the Porta Angelica; end of the Via Belsiana, near the Piazza Margana; on the Pincio. Climate (comp. Introd.). The mean temperature at Rome is 60” Fahr.; the greatest heat in summer being about 100 ° in the shade, and the gi*eatest cold about 21°. Snow falls rarely, and does not lie long. The average temperature in January is 45°, in July 75°. The pleasantest season is from the beginning of October to the end of May. In summer when the fever-laden aria cattiva prevails, all the inhabitants who can afford it make a point of leaving the city. The prevalent winds are the Tra¬ montana., or north wind, which generally brings clear and bracing wea¬ ther , and the Scirocco., or south wind, which is relaxing and rainy. As the temperature usually falls rapidly after sunset, and colds are very easily caught, the traveller should not dress too lightly. Invalids should of course consult their medical advisers before choosing rooms, but even persons in robust health will do well to remember the Roman proverb: '■Dove non va il sole., va il medico''. Physicians. English: AitTcen., Via Frattina 52; Gason., Via S. Sebastia- nello 6 ; Gregor., Piazza di Spagna 3; Mackoicen (American), Piazza di Spagna 54; Steel., Via Condotti 21, 2nd floor; (American), Via Nazionale 323. — German: Erhardt., Mario de’ Fiori 16, etc. — Italian: Fedeli (foreign member of the Med. Soc. of London), Piazza di Spagna, Via Borgognona 44; Manassei, Via degli Avignonesi 38; Nardini., Pal. Doria, in the Piazza Venezia (hour for consultation 3-4); Pantaleoni, Ripetta 102. — Oculists: Dantone., Via Due Macelli 31 (hours for consultation 10-12); BusinelU., Palazzo Fiano, Piazza S. Lorenzo in Lucina (consultations 2-4). — Sur¬ geons : Mazzoni (accoucheur and operator), Mario de’ Fiori 89; Horn (American), Via Bocca di Leone 22; Toriani., Via di Marforio 106, first floor. — Dentists: Curtis (American), Piazza di Spagna 93, 1st floor; Galassi, Piazza di Spagna 68 ; Castellini., Via della Colonna 28; Martin., Corso 389; Stehlin, Corso 101. Chemists : Sinimberghi , Via Condotti 64-66 , patronised by the English and American embassies; Baker Story, Via di S. Martino (a Macao); Foss, Piazza Barberiui 14; E. TFo^Tf, Quattro Fontane 151; Valentine Wood (English), Villa Campana, Via S. Giovanni. Painters: Alvarez, Fuori Porta del Popolo 18E; Brandt, Via di Ri¬ petta 39; Coleman (American), Via iMargutta 33; Consoni, Palazzo Campanari, Ripetta 246; Corrodi (water-colours), Via dell’ Angelo Custode 30; JI. Corrodi, 110 Prelim. Information. ROME. Studios. Shops. Via degli Incurabili 8^ Floj'., Via Margutta 42; Freeman.^ Via Margu1ta83B; (7ra/, Via Gregoriana 13, IV; Grhwold (English), Vicolo del Basilico 46; Ilauschild., Vicolo S. Nicola di Tolentino 13; Rich. Jahn (Majolica), Via Fornari 221; Kaiser^ Palazzo Venezia; Lernalle^ of the French Academy; Lenepveu , director of the French Academy (p. 143); Lindernann-Frommel (landscape), Via del Babuino 39; Ludwig^ Via Sistina 72; Martens.^ Via delle Quattro Fontane 88; Mcr&on., of the French Academy; Gustav Midler (of Coburg), Via dei Pontefici 51; Fv. Muller (water-colours). Via Sistina 126; Nerly (landscapes and sea-pieces), Piazza 8. Silvestro 75; Fhilippet (Belgian), Via delF Olmo 57; Podesti., Palazzo Doria, Circo Agonale 13; Poing d''Exier (American), Via dei Greci 36; Riedel Via Margutta 55; Fchlosser., Via Sistina 72; Schohelt., Vicolo S. Nicola di Tolentino 13; Rci- foni.^ Via Margutta 33; Reitz., Via S. Nicola di Tolentino 72; L. Reitz., Piazza de’ Cappuccini 85; Tessy Via degli Incurabili 8; Trautschold., Via Sistina 123; Vannutelli, Palazzo Pamfili, Circo Agonale; FecZtZer (Ameri¬ can), Via Capo le Case 68; Vertunni (landscape). Via Margutta 53 B, studio I, A ; Welsch., Via Margutta. 33; 72. Werner., Via Sistina 72; W'ittmer., Via delle Quattro Fontane 17; Zielke., Via de’ Marroniti 4. Inteknational Associat: ■ of Artists, Vicolo d’Alibert 2. Shops. Antiquities: Alehandro Castellaniy Via di Poli 88; Augusta Castellani., Piazza di Trevi 86; L. Depoletti Via del Leoncino 14; Marti- vetti, Via Bonella 74; Giacomini, Via Bonella 42, 43, 47, Foro Romano 7 (also works in marble and carved furniture) ; Innocenti, Via Frattina 117. Articles de Voyage: Barfoot (English saddlery). Via Babuino 150 C and 152; also a good shop at Via delle Muratte 91. Cameos: Raulini, Via del Babuino 96; Riotto, Piazza di Spagna 97; Moratti., Via Babuino 118; Pianella., Via S. Giuseppe, Capo le Case 17; Raimondo d''Estrada, Via Sistina 26, and Via Babuino 154. Casts : Marsili , Via Due Macelli 86; Leopoldo and Alessandro Mal- pieri, Corso 54 and 5l; Fedeli, Via Laurina 43, for Renaissance ornaments. CJlothing. For Gentlemen : Guastalla e Todros, Corso 335 (large shop) ; Fratelli Bocconi, Corso 318 (moderate). See also Tailors. — Ladies’ Dress AND Millinery: Clarisse d: Co., Corso 522; Borsini-Duprhs, Corso 172; R. Massoni, Corso 306; Compagnie Lyonnaise, Corso 473; Madame Boudrot, Via Frattina 138. Less pretending: Picarelli, Corso 316; Quattrini, Via Frat¬ tina 93 (also straw-hat warehouse). Colours and Drawing-Materials: Corteselli, Via Sistina 150; Do- vizielli, Via Babuino 136. Copies of Ancient Bronzes and Marbles : Guttkorn d Ilopfgarten, Piazza di Spagna 47; Chiapparelli, Via Babuino 92; smaller works, Rohrich, Via Sistina 105; Rainaldi, Via Babuino 51 A. Dressmakers: Angelina Giuhergia, Corso 28 (good, but expensive); Costanza Federigo, Piazza Barberini 43 (for moderate requirements). Drapebs : Guastalla, Corso 335; Todros, Corso 418; Rchostal d Ilaerl- lein, Corso 161. Engravings at the Regia Calcografia., formerly the Stamperia Camerale (moderate prices), Via della Stamperia 6 (p. 145). Gloves: Chanal, Corso 143; also at Piazza S. Lorenzo in Lucina 39; Via della Vite 10; Via Frattina 15; Via di Pietra 76. Goldsmiths: -^Castellani’, Piazza di Trevi 86, who also possesses an interesting collection of ancient golden ornaments, and executes imitations from Greek, Etruscan, and Byzantine models; Marchesini, corner of the Corso and Via Condotti; Bellezza, Piazza S. Carlo, in the CJorso; Ansorge, Piazza di Spagna 72; Fcisoli, Via Babuino, and many others, cliielly in the Via Condotti, the Corso, and the Via Babuino. Haberdashery: Borgia, Via dei Prefetti; Nalaletti and Ville de Lyon in the same street; Massoni, Corso 372; Bronner, Corso 165; Friedrich, Via Frattina 53. Hatters: Bessi, Corso 395 ; Giardani, Via Due Macelli 115; Miller, Via Condotti 16. Lamps, etc.: Faucillon, Via di Propaganda 25. Theatres. ROME. Prelim. Information. Ill Marble-Cutteus : Plcicidi.^ Via Sistina 75 C; Sctleri ^ Via Sistiiia 75 A. Mosaics: Gallandt (fixed prices), Piazza di Spagna 7^ Barheri.^ Piazza di Spagna 99; Corradini., Piazza di Spagna 92; Roccheggiani.^ Via Condotti 14. Mosaics and cameos, at moderate prices, in the Stabiliraento, Piazza Borghese 1()6. Opticians: Hirsch^ Corso 402; Ansiglionij Corso 150; Corso 182. Photographs : large collection at Loescher's (p. 109), who also keeps photographs by Behles (Mario de’ Fiori 28); Spithoevev (p. 109); Monaldini (p, 109); Cuccioni , Piazza di Spagna 43; Verzaschi., Corso 135; Alinari it- Cook., Corso 90; American Photographic Studio., Via Babuino 29; Ninci, Piazza di Spagna 28. — Depot of BrawCs photographs: Auhert., Via Con- dotti 22. — Depot of Mang''s photographs: Casali. Via Sistina 119. Photographs for artistic purposes (reproducing sketches, pictures, etc.) : Mang, Via Sistina 113, first floor. — Portraits: Alessandri., Corso 12; Le Lieure, Piazza Mignanelli 23; Montahone, Piazza di Spagna 9; Schemhoclie, Via Gregoriana 20; Suscipi, Via Condotti 48; della Valle, Via della Croce 67. — Cheap photographs at Bencmfs, Via Ripetta 185. Roman Pearls: Reg, Via Babuino 122; Bartolini, Via Frattina 67. Roman Shawls: Bianchi, Piazza della Minerva 82 (also other Roman silk wares); Amadori, Corso 221; Arvotti, Via Condotti 4. Shoemakers: Briigner, Via Sistina 132, I; Baldelli, Corso 102; Ru- bini, Corso 223. Small Wares, etc.: Cagiati, Corso 167, 169; Janetti, Via Condotti 18; A. Cagiati, Corso 250. Stationers: Ricci, Corso 214, Piazza Colonna; Antonelli, Corso 229, Piazza Sciarra; Brenta, Via del Plebiscite 104, near Palazzo Venezia. Tailors: Schraider, Piazza di Spagna 29; L. Evert, Piazza Borghese 77; Mons, Capo le Case 43; Segre, Piazza di Trevi86; Brassini, Corso 137, Umbrellas : Gilardini, Corso 185. Watchmakers: Conti, Piazza di Spagna 53; Kolbauer, Via Due Ma- celli 108; Gondret, Corso 144. Weapons (permesso necessary, see Introd.): Toni, Corso 41; Spadini, Via Due iilacelli 66. Works of Art, ancient and modern, are liable to export duty. — Goods Agents: Dietzy, Piazza Colonna 370A; Roesler, Franz & Co., Via del Bufalo 133; Caldani, Piazza di Pietra 41; Stein, Via S. Andrea della Fi*atte 38. — Packer (‘Incassatore’): Ferroni, Via de’ Zuchelli 28. Theatres. The largest is the Teatro Apollo (PI. I, 10; for operas, al¬ ways combined with ballet), near the Ponte S. Angelo, seats 8 and 4 fr. — Teatro Argentina (PI. II, 13, 16 ), Via di Tor Argentina, not far from S. Andrea della Valle, for comic operas; Teatro Valle (PI. II, 13, 15 ), near the Sapienza, for dramas, seat 3 fr. — Besides these there are the smaller theatres: Teatro Capranica (PI. 1,16), Piazza Capranica, not far from the Pantheon and the Piazza Colonna, for comedies, 2 fr. — Teatro Metastasio (PI. I, 13, 15 ), near the Via Scrofa in the Via di Pallacorda, for vaudevilles; performances at 6.45 and 9.30 p.m., seat 1 fr. 25 c. — Teatro Quirino (PI. II, 16, 19), near the Via delle Muratte and Fontana Trevi, for operettas and ballet, daily at 5.30 and 9 p.m., adm. 1 fr.; Val- letto, near the Teatro Valle, for operettas and comedies, daily at 5 and 9 p.m., adm. 60 c. The companies usually change three times a year, one performing in autumn and winter till Christmas, another till Lent, and a third after Lent. Boxes are generally let permanently, and visits paid and received there. Ladies frequent the boxes only, gentlemen the pit (platea). Particulars about admission, etc. are published in the hand-bills. Open-air Theatres (performances begin about 5 o’clock on summer afternoons): at the Mausoleum of Augustus (p. 187), Via de’ Pontefici, near the Ripetta; Politeama, at Trastevere, near the Ponte Sisto (operas). Cabs. Omnibuses. 1 12 J'relhn. Information. ROME. Marionette Theatre: Teatko Nazionale (foi*inerly Prandi)., Piazza della Consolazione 97 (PI. II, 20), seat 75 c. (sometimes closed). Ball Playing: Seeristekio, at the corner of the Via Quattro Fontane and Via Venti Settembre (in summer only); equestrian performances, and sometimes operettas and dramas, at the same place. — Skating Rink: Via in Lucina 28. Cabs ( Vetture Puhhliche) are to be found in all the principal piazzas. Each vehicle should contain a tarifi’ in Italian and French. In the town: Single drive (corsa ordinaria) . . To or from the station . . . . To or from the gates (except the Porta del Popolo, Pia, Angelica, and Cavalleggeri, for which an ordinary corsa only is charged). Per hour . Each additional V 4 ^4*. Outside the Porta del Popolo, Pia, An¬ gelica, and Cavalleggeri, within a distance of 2 M. (3 Kil.) per hour . Each additional ^/\ hr. With one horse. With -two horses. Botti I Cittadine By At By At By At day night day night day night — 80 1 — 1 — 1 40 1 70 1 90 1 — 1 20 1 - 1 40 1 70 1 90 1 — 1 20 1 20 1 60 1 90 2 — 1 70 2 20 2 - 2 50 2 50 3 - — 45 — 55 — 50 0 65 0 65 0 75 2 20 2 70 2 50 3 — 3 — 3 40 — 55 — 70 — 65 -75 — 75 — 75 Outside the other gates, and for longer drives than those above mentioned, there is no tariff, but the above fares afford an idea of what may reasonably be demanded. On the afternoons of the eight days of the* Carnival the two-horse vehicles are exempted from the restrictions of the tariff. The Botti., or open one-horse cabs, carry 1-2 persons at the above fares; the Cittadine., closed vehicles, 1-3 pers., and those with two horses 1-4 pers. For an ordinary drive each additional person pays 20 c., or at night 40 c. The day service is from 6 a.m. to one hour after Ave Maria. Omnibuses. The Piazza di Venezia (PI. II, 16), the central omnibus station, is the starting-point of the following lines (fare 15 c.): — 1. Through the Corso (but after 3 p.m. in winter, and 4 p.m. in sum¬ mer, through the side-streets to the E. : the Piazza S.S. Apostoli., Via dell’ Umilta, Piazza di Trevi., Via dell’ Angelo Custode, Via Due Macelli, Piazza di Spagna., Via del Babuino) to the Piazza del Popolo (PI. I, 18). 2. Through the Ripresa de’ Barberi, Foro Trajano., Via Alessandrina, Via Croce Bianca, Via Madonna de’ Monti, Via Leonina, Via Urbana, Piazza S. Maria Maggiore., and Via Cavour to the Railway-Station (PI. I, 25). 3. Through the Corso (after 3 p.m. through the above-mentioned side- streets) as far as the Via delle Muratte; then through this street to the Piazza Trevi., Via della Stamperia, Via dell’ Angelo Custode, Via del Tritone, and Piazza Bakberini ; next through the Via S. Nicola di Tolen- tino, Vicolo S. Nicola di Tolentino, Via Venti Settembre, Via della Cer- naja, Via Volturno, and Via Solferino to the Piazza dell’ Indipendenza (PI. I, 28, 29). 4. Through the Via del Plebiscite, Piazza Gesii., Via de’ Cesarini, Via del Sudario, Piazza della Valle., Via dei Massimi, Piazza S. Pantaleo (cor¬ respondence with the Piazza del Popolo, see below). Via di S. Pantaleo, Piazza del Pasquino^ Via del Governo Vecchio, and Piazza dell’ Orologio (PI. II, 10); then through the Via dei Banchi Nuovi, Via Banco S. Spirito, Ponte S. Angelo., and Borgo Vecchio^ to the Piazza S. Pietro (PI. I, 4,7). — (The omnibuses of this line return through the Borgo Nuovo, by the Ponte S. Angelo, etc., the Via Banchi Vecchi, Vicolo Sforza-Cesarini, and Piazza deir lllrologio; then through the Via Pasquino to the Piazza Agonale or Navona, Via dei Canestrari, Piazza and Via della Valle, Via di Mon- (erone, Via della Pigna, Via del Gesii, etc.) Post Offce. ROME. Prelim. Information. 113 5. Through the Via del Plebiscito, Piazza Gesii., Via dei Cesarini, Via di ^forite della Farina, Piazza S. Carlo Calinari., Via Giuhhonari, Via del Monte di Pieta, and Via dei Pettinari, to the Ponte Sisto (PI. II, 14)^ then through the Piazza di Ponte Sisto, Vicolo del Cinque, Via della Paglia, Piazza di S. Maria in Trastevere., and Piazza S. Calisto, to the ^'IA DI S. Francesco a Rida (PL III, 15). — (The omnibuses of this line return by the same route as far as S. Maria in Trastevere*, then traverse the Piazza S. Apollonia, Via del Moro, and Piazza di Ponte Sisto, and follow the above route to the Piazza S. Carlo Catinari, and run alternately through the short connecting streets to the V^ia Botteghe Oscure, Via S. Marco, Via degli Astalli, Via del Plebiscito, and Piazza Venezia.) 0. Through the Ripresa dei Barberi, Via di Foro Trajano, Foro Tra- jaiio., Via Alessandrina, Via Croce Bianca, to the Piazza delle Carrette (PI. II, 20,23); then through the Via del Colosseo and Via di S. Giovanni in Laterano, to the Piazza S. Giovanni in Laterano (PI. 11, 30, 33). Besides these lines omnibuses run from the Piazza del Popolo (PI. 1, 18), 1.; to S. Pantaleo (near the Palazzo Braschi, PI. II, 13); 2.: through Via Babuino, Piazza di Spagna., Via Duo Macelli, Piazza Barherini Via S. Nicola di Tolentino , Piazza S. Bernardo , Via Torino, and Via Vimi- nale, to the Via Cavour (near the Station; PI. I, II, 26): and from S. T.o- RENZo IN Lucina (PI. I, 16 ; p. 147), 1.: through the Piazza Borghese, Via del Clementino, Piazza Nicosia, etc., and the Ponte di S. Angelo, to the Piazza di S. Pietro (PI. I, p. 270); 2.; through the Via Frattina, Via Due Macelli, Piazza Barherini. etc. to the Station (PL I, 25). An omnibus also starts from the Piazza Campitelli (PL II, 17) half- hourly every afternoon for S. Paolo Fuori le Mura (p. 255; 6s.). — On fine afternoons another omnibus runs every half-hour after 2 p.m. between the Porta del Popolo and the Ponte Molle (stopping outside the gate, 6s.), and sometimes from the Piazza delle Terme to S. Agnese Fuori le Mura. — Tramway from the Porta del Popolo to Ponte Molle (5 and 6s.). Vetturini run daily to the following places among the Alban and Sabine mountains : — To Albano and Ariccia from Via di Grottapinta 37 (at the back f S. Andrea della Valle, PL II, 13) at 2 p. m.; from Piazza della Pigna 53 (at the back of the Piazza della Minerva, PL II, 16) also at 2 p.m. To Frascati and Monte Porzio from Via delle Botteghe Oscure 46 (PL II, 17). To Tivoli at 4 a. m. and 2. 30 p.m., daily, from Piazza di 3Ionte Citorio 124; office in the neighbouring Vicolo della Guardiola 15 (PL 1, 16). To Subiaco from the same piazza at 4 p. m.; tickets at the same office. Carriages (two-horse 25-30 fr. per day, fee 3-5 fr.; the hotels charge 40-50 fr, per day), Vicolo del Gallinaccio 6; Via di S. Claudio 94; Via Bocca di Leone 86; Piazza della Pigna 12; Via in Arcione 67; Via della Campana 17 b; Via della Scrofa 57; Vicolo del Vantaggio 5; Via della Vite 50, etc. Saddle Horses (pleasant for excursions in the Campagna, 10 fr. per half-day, ostler 1 fr.) : Jarret , Piazza del Popolo 3; Cairoli , Vicolo degli Incurabili. Railways. Time-tables (orario, 50 c.) and every information may be obtained at the office. Via della Propaganda, and also at the booksellers’ shops. Intending passengers should be at the station in good time. Post and Telegraph Offices (comp. Introd.). General Post OfJice\ Piazza 8 . Silvestro in Capite, open from 8 a.m. to 10 p.m. Branch Offices: in the railway-station, Via Frattina 1, Borgo Nuovo 7, Via Monte Savelli 44, Piazza di Pasquino 6, Via Alessandrina 99. — Telegraph Office^ day and night. Piazza S. Silvestro in Capite. Branch Offices: Piazza Aracoeli 34, Piazza S. Bernardo alle Terme, Piazza Ponte 8. Angelo 33. English Churches. Anglican.^ and adjoining it Presbyterian (Scotch), both outside the Porta del Popolo (p. 140); Trinity Church (Episcopal), in the Piazza di S. Silvestro (p. 148); American in the Via Nazionale; Episcopal also Vicolo Alibert 14. Baedeker. Italy II. 6th Edition. 8 Church FeHivals, 114 Prelim. Information,. ROME. Church-Festivals. Since the annexation of Rome to tlie kingdom of Italy on 20th Sept. 1870 the Pope has not quitted the Vatican, and the great ecclesiastical festivals have consequently lost most of their former attractions. The public ceremonies at which the Pope formerly officiated in person, such as those of the Holy Week, the benedictions, and the public processions including that of the Fete de Dieu, have been discon¬ tinued. The Pope still officiates on high festivals in the Sistine Chapel, but visitors are not admitted without an introduction from very high quarters. The illumination of St. Peter’s and the Girandola, or fireworks, with which the festivals of Easter and St. Peter and St. Paul used to be celebrated, have also been discontinued. The following enumeration of the various festivals, as they were celebrated prior to 20th Sept. 1870, will still be found useful in inanv respects. Details are contained in the Gerarchiu Cattolica , and the Diario di Roma., published annually. The best work on the cereiiKuiies of the Holy Week and their signification is the Manuale delle cerimonie che hanno luogo nella settimana, santa e nelV oltava di pa^qua al Valicano (1 fr., also a French edition), obtainable at the bookshops mentioned at p. 109. Ad¬ mission to the Sistine Chapel, as well as to St. Peter’s, on great occasions (to the reserved part), is accorded only to gentlemen in uniform or evening- dress, to ladies in black dresses, and black veils or black caps. Gentlemen stand ^ seats are reserved for ladies. The Pope used to officiate in person three times annually, on Christmas- day, Easter-day, and the Festival of St. Peter and St. Paul (29th .June); and four times annually he imparted his benediction, on Holy Thursday and Easter- day from the balcony of St. Peter’s, on Ascension-day from the Lateran, and on 15th Aug., the anniversary of the ‘Assumption of the Virgin’, from S. Maria Maggiore. The most imposing ceremonies were those of the Holy Week., from Palm Sunday to Easter-day, the most important of which took place in the Sistine Chapel, accompanied by the mu&ic {'■lamentations''., etc.) of Palestrina and other old masters, on which occasions the papal band (cappella papale) performed. The following were the principal festivals: January 1. Cappella Papale in the Sistine, 10 a. m. — 5. Cappella Papale in the Sistine, 3 p. m. — 6. Epiphany. Cappella Papale in the Sistine, 10 a. m.; at 4 p. m. procession in Araceli. — 17. S. Antonio Abbate (PI. 11, 25, near S. Maria Maggiore), bene¬ diction of domestic animals. — 18. Anniversary of foundation of the chair of St. Peter , Cap. Pa¬ pale in St. Peter’s, 10 a. m. February 1. Illumination of the lower church of S. Clemente (p. 2G5). — 2. Candlemas. Cap. Papale in St. Peter’s, 9 a. m. On Ash-Wednesday and every Sunday during Lent, Cappella Papale in the Sistine at 10 a. m. The Lent sermons in Gesii (PI. II, 16), S. Maria sopra Minerva (PI. II, 16), and other churches are celebrated. March. Every Friday at 12 the Pope repaired to St. Peter’s to pray during the confession. — 7. St. Thomas Aquinas, in S. Maria sopra Minerva (PI. II, 16). — 9. S. Francesca Romana (in the Forum). — 16. Festival in the chapel of the Palazzo Massimi (PI. II, 17) in commemoration of a resuscitation by S. Filippo Neri. — 25. Annunciation. Cap. Papale in S. Maria sopra Minerva (PI. II, 16). > Holy Week. Pulm-Snnday. Cappella Papale in St. Peter’s, 9 a. m. Consecration of palms and procession* then mass. At 2 p. m. confession in the Lateran (PI. II, 30). Wednesday. Cappella Papale in the Sistine, 3 p. m. Tenebrse and Mi¬ serere. Holy Thursday. Cappella Papale in the Sistine, 10 a. m. Towards noon the benediction ‘Urbi’ from the loggia of St. Peter’s. Then washing of feet in St. Peter’s, immediately after a dinner to Church Festivals. ROME. Prelim. Information. 115 twelve pilgrims in the loggia of St. Peter’s. Cappella Papalc in the Sistine, 3 p. m. Tenebrse and Miserere. Good Fridcnj. Cappella Papale in the Sistine , 9 a. in. (music by Pales¬ trina). At 3 p. m. Tenebrse and Miserere. Saturday. Cappella Papale in the Sistine, 9 a.m. (Missa di Papa Mar¬ cello, by Palestrina). Baptism of converted infidels and Jews in the Lateran. Easter-Sunday. Cappella Papale in St. Peter’s, 9 a.m. The Pope ap¬ peared in the church at 10 o’clock and read mass. The eleva- vation of the host (about 11) was accompanied by the blast of trumpets from the dome. The Pope was then carried in proces¬ sion from the church, and about noon imparted the great bene¬ diction ‘Urbi et Orbi’ from the loggia of St. Peter's. After sunset, illumination of the dome of St. Peter’s ^ 1 hr. later torches were substituted for the lamps (‘il cambiamento’ ). Easter-Monday. Cappella Papale in the Sistine, 9 a. m. Easier-Tuesday. Cappella Papale in the Sistine, 9 a.m. Saturday in Atbis. Cappella Papale in the Sistine, 9 a. m. April 2~j. Procession of tlie clergy from S. Marco (PI. II, 16) to St. Peter’s at 7. 30 a. m. May 26. S. Filippo Is’eri. Cappella Papale in the Chiesa Nuova, 10 a. m. Ascension. Cappella Papale in the Lateran. Great benediction from the loggia. Whitsunday. Cappella Papale in the Sistine , 10 a. m. Trinity. Cappella Papale in the Sistine, 10 a. m. Corpus Domini (Fete de Dieu). Procession of the Pope and clergy round the piazza of St. Peter’s, 8 a. m. June 1, IT, 21. Cappella Papale in the Sistine in commemoration of Gre¬ gory XVI., and the accession and coronation of Pius IX. — 24. John the Baptist. Cappella Papale in the Lateran, 10 a. m. — 28. Eve of St. Peter and St. Paul. Cappella Papale in St. Peter’s, 6 p. m. — 29. Day of St. Peter and St. Paul. — Forenoon, Cappella Papale in St. Peter’s. July 14. S. Bonaventura, in S. S. Apostoli. — 31. S. Ignazio, in Gesii. Aug. 1. St. Peter in Vinculis, in S. Pietro in Vincoli (PI. II, 23). — 5. S. Maria della Neve, in S. Maria Maggiore (PI. II, 25). — 15. Assumption of the Virgin. Cappella Papale in S. Maria Mag¬ giore (PL II, 25), 9 a. m. ^ great benediction from the loggia. Sept. 8. Nativity of the Virgin. Cappella Papale in S. Maria del Popolo (PL i; 18), 10 a. m. — 14. Elevation of the Cross, in S. Marcello (PL II, 16). Oct. 7. S. Marco, in the church of that saint (PI. II, 16). — 18. S. Luca, in the church of that saint (PL II, 20). Nov. 1. All Saints’ Day, Cappella Papale in the Sistine, 10 a. m. and 3 p. m. — 2. All Souls’ Day. Cappella Papale in the Sistine, 10 a. m. — 3. Requiem for former Popes. Cappella Papale in the Sistine, 10 a. m. — 4. S. Carlo Borromeo. Cappella Papale in S. Carlo, 10 a. m. — 5. Requiem for deceased cardinals in the Sistine. — 7. Requiem for deceased singers of the Cappella Papale in the Chiesa Nuova (PL II, 10). On the four Sundays of Advent, Cappella Papale in the Sistine, 10 a. m. — 22. St. Cecilia. Cappella Papale in S. Cecilia in Trastevere (p. 330). Illumination of the Catacombs of Calixtus (p. 336). — 23. Illumination of the lower church of S. Clemente (p. 265). Dec. 8. Conception. Cappella Papale in the Sistine, 3 p. ni. Proces¬ sion from Araccli (PL II, 20). — 24. Cliristmas Eve. Cappella Papale in the Sistine, 8 p. m. To 8* 116 Prelim, Information. ROME. Popular Festivals. wards midnight , solemnities in Aracoeli, about 3 a. m. in S. Maria Maggiore (PI. II, 25). Dec. 25. Christmas Day. Cappella Papale in St. Peter’s, 9 a. m.; eleva¬ tion of the host announced by trumpets in the dome. — 26. St. Stephen’s Day. Cappella Papale in the Sistine, 10 a. m. — 27. St. John the Evangelist. Cappella Papale in the Sistine, 10 a. m. — 31. Cappella Papale in the Sistine; after which, about 4 p. m., grand Te Deum in Gesu (PI. II, 16). Popular Festivals (which have lost much of their former interest): — HIpiphany (6th Jan. ), celebrated in the evening in the Piazza Navona, since 1873 (formerly near S. Eustachio), array of booths and prodigious din of toy-trumpets. The Carnival, which has of late regained a little of its former splen¬ dour, extends from the second Saturday before Ash-Wednesday to Shrove- Tuesday, and consists in a daily procession in the Coi'so^ accompanied by tlie throwing of bouquets and comfits, excepting on Sundays and Fri¬ days, when a ‘gala corso’ generally takes place, and concluding with a horse¬ race. The last evening is the Moccoli (taper) evening, the tapers being lighted immediately after sunset. A window in the Corso is the best point of view. The most animated scene is between the Piazza Colonna and S. Carlo. Balconies there are in great request and dear (as high as 600 fr.); single places are let on the balconies fitted up for the occasion. The October Festival, once famous, but now comparatively insigni- ticaiit, takes place during the vintage-season, and consists in singing, dan¬ cing, and carousals at the osterie outside the gates (e. g. on the Testaccio). The Festa dello Statuto, or Festival of the Constitution, introduced in consequence of the annexation of Rome, takes place on the first Sunday in June. In the forenoon a military parade is held in the Canipo di Maccao (p. 177). In the evening a Girandola^ i. e. an illumination and ex¬ hibition of fire-works at the Gastello di S. Angelo. — On the anniversary of the Foundation of Rome (21st April), it has of late been usual to illu¬ minate the Colosseum and the Forum with Bengal fire. The opening of Parliament is also inaugurated with festivities. Street Scenes. The top of the Scala di Spagna (PI. I, 20) and the Via Sistina are the favourite haunts of artists’ models, chiefly Neapolitans, whose costumes are a well-known subject of photographs and pictures. The Canijjagnoli^ whose figures form one of the most singular appari¬ tions in the streets of Rome, are less frequently seen than formerly. They pass a great part of their lives on horseback, while tending their herds of oxen and horses. Their equipment usually consists of a low felt-hat, wide, grey mantle, leathern leggings, and spurs; and they carry a ‘pungolo’, or iron-pointed goad, for driving their cattle. The peasants of remote moun¬ tain-districts, wearing sandals (whence termed ciocciari), and with swathed feet and ankles, also present a grotesque appearance. — The favourite haunts of the country - people are in front of the Pantheon (PI. II, 16; especially on Sundays), the Piazza Montanara (PI. II, 17) below the Capitol, and in the market-place of the Campo de’ Fiori (p. 204). The Garrison of Rome consists of 2 regiments of Granatieri , or Gre¬ nadier Guards; 6 regiments of Infantry (with dark blue coats, grey trou¬ sers, white leather belts, and caps); 1 regiment of Bersaglieri or riflemen (with dark blue coats and red facings , large plumed caps worn on one side, forming an elite corps like the Austrian Kaiserjager); 1 regiment of Cavalry (dark blue coats, and light grey trousers); 1 brigade of Field Artillery (dark blue coats and yellow collars); and 1 brigade of Engi¬ neers. To these we may add the Carabinieri., or gensdarmes, who wear black uniforms with red facings and cocked hats. Collectio'n^y Villas^ etc. ROME. Prelim. Information. 117 Collections, Villas, etc. Those within angular lirackets in the following list are temporarily closed. Intending visitors should make enquiry as to the possibility of access. Fees, comp. p. 108. *Albani, Villa (p. 165), antiquities and pictures: Tuesdays, except in wet weather, in winter from 10, in summer from 11 to dusk; admittance by permesso, obtainable at the office in the Palazzo Torlonia, Piazza Venezia 135, to the left on the ground- floor, on presenting a visiting card (or at the consulate). CUosed for several months in siimmer and autumn. Barberiniy Palazzo (p. 168), picture-gallery and antiquities: daily, 12-5, except Sundays and Thursdays; Thursdays 2-5; closed at dusk in winter. Library on Thursdays, 9-2 (closed from the middle of Sept, to the end of Oct. ). Barlholdy, Casa (p. 144), a room with frescoes by Cornelius, Over¬ beck, and others; hours vary; apply to porter. *Borghes€^ Palazzo fp. 188), picture-gallery: Mondays, Wednes¬ days, and Fridays, 9-3 o’clock. ^ *Borghese, Villa (p. 161), garden: daily, after 12 o’clock, except Mondays, Wed. and Frid.; statues in the casino on Saturdays, in winter 1-4, in summer 4-7. * f'apitoline Museum (p. 218), daily, 10-3, except on public Imli- days; admission 50 c.; on Sundays gratis. Castello di S. Angelo (p. 276), daily by permesso, obtainable at the Commando di Divisione Territoriale di Roma, Via del Rurro ( a street connecting the Piazza di Pietra and the Piazza S. Igna- zio; PI. I, II, 16) No. 147, second floor. Catacombs of St. Calixtus (p. 336), daily, see p.331. Each visitor should be provided with a candle (cerino). Colonna, Palazzo (p. 157), picture-gallery: daily, 11-3, except Sundays and holidays. * * Conservatorij Palace of (p. 214), bronzes and pictures; times of admission same as for the Capitoline Museum (see above); Sale dei Conservatori shown by permesso only, see p. 217. Corsini j Palazzo (p. 322), picture-gallery: Mondays, Thursdays, and Saturdays, 9-3, except on holidays, and the 1st and 15th of every month; but daily during the Easter fortnight. * Doria ^ Palazzo (p. 153), picture-gallery: Tues. and Frid. 10-2. [Farnese, Palazzo (p. 204), frescoes by Ann. Caracci; closed for the present.] \* Famesina^ Villa (p. 321), closed at present.] * Forum Romanum ( p. 222): daily from 9 till dusk. Kircheriano, Mw.sco (p. 150), antiquities, daily 9-3; on Sundays gratis; on other days adm. 1 fr. * Later an ^ Collections of the (p. 271), daily, 9-3 o’clock. -S. Luca^ Aondemy of (p. 237), daily, 9-3. Collections^ Villas, etc. 1 18 Prelim. Information. ROME. rinirs- ^ n ^ Ludovisi, Villa (p. 164), (collection of ancient sculptures, on Thurs¬ days from 10 till dusk, by periucsso (for 6 persons), which may j be procured at the traveller’s consulate. —^ [^MassirnOy Villa (p. 274), frescoes: closed, and no prospect at present of its being re-opened.] ^Massirni alle Colonne, Palazzo (p. 202); the discus-thrower is now in the Pal. Lancelotti, p. 192.] Medici, Villa fp. 143), (collection of casts: daily, 8-12, and afternoon till dusk, except Saturdays. * Palatine j Excavations on the (p. 240): daily, admission 1 fr. ; on Sundays gratis from 9 till dusk; closed in summer from 12 to 3. Pamfili, Villa Doria (p. 327), garden (and a few statues in the Casino): Mondays and Fridays, after 1 o’clock; two-horse car¬ riages also admitted. ljuirinale y Palazzo del (p. 170), the residence of the King, daily, but part of it only is shown. Rospigliosi, Casino (p. 171), picture-gallery: Wednesdays and Saturdays 9-4. [Sciarra - Colonna , Palazzo^ seep. 149.] Spada alia RegolaPalazzo (p. 205), antiquities and picture- gallery: usually Mondays, Wednesdays, and Saturdays 10-3; (9osed in the height of summer. Thermae of Caracalla (p. 257), daily from 9 till dusk; adm. 1 fr.; on Sundays gratis. Thermae of Titus (p. 236), at the same time. * Vatican Collections and Library (p. 289) accessible daily, except Saturdays and Sundays, gratis, by permessi. These may either be obtained through a consul, or by direct application at the Segretaria of the Maggiordomo (9-1 o’clock) in the Cortile di S. Damaso (p. 289). Intending visitors apply to the Swiss guard (no gratuity) at the Portone di Bronzo, opposite the chief en¬ trance to the Vatican (p. 289 ), and are (conducted to the of- tice, where they write their names in the permesso. The hotel- keepers [also procure permessi for their guests at a charge of iy 2 fr. each. On leaving the Vatican the visitor shoulcl not omit to procure at once anotherpe rraesso in the way above mentioned, or apply to the custodian for its renewal (V2"l )• Besides tlie permessi for artists and scientific men mentioned below, there are three kinds of ordinary permessi (each available for 5 persons): 1. For RapliaeVs Stanze and Loggie, the Picture Gallery, and the Sistine Chapel, 9-3 o’clock on the first five week-days, festivals excepted. 2. For the, Museum of Statuary, Mondays, Tuesdays, Wednesdays, and Fridays, 9-3. 3. For the Etruscan Museum, Egyptian Museum, and Raphael's Tapestry, Thursday 9-3, feast-days excepted. — The Permessi Isos. 1 and 2 are printed on white paper, No. 3 on yellow. Diary. ROME. Prelim. Information. 119 The Vatican Library is open on the same days as the Museum of Sta¬ tuary (Mondays, Tuesdays, Wednesdays, Fridays 9-3), no permesso being required. Wolkonsky, Villa (y). ‘17b): Wednesdays and Saturdays, from an early hour till dusk. Permesso for 6 persons obtained through a consul or banker. Those who are desirous of studying, drawing, or copying in Roman museums or private collections must procure a Per?nesso, for which appli¬ cation must be made through the traveller’s ambassador or consul. For the Papal Museums the necessary permission is granted by Monsignor Ricci (maggiordomo of the pope) at his office (see above), the written appli¬ cation having been left there a day or two previously (separate permessi re¬ quired for the museums of the Vatican and Lateran, the Vatican picture- gallery , and Raphael’s Loggie). In the case of Private Galleries.^ application must be made to the proprietor (in French, if the applicant prefer), stating at the same time precisely which picture it is intended to copy , as well as the size and description of the copy. In some collections copies of the original size must not be made. Respecting this and similar regulations, information should be previously obtained from the custodian. The follow¬ ing form of application to the Monsgr. Maggiordomo, may be also ad¬ dressed to a principe or marchese, the ‘Revma’ being in this case omitted. Eccellenza Revma., 11 sottoscritto che si trattiene a Roma con to scopo di proseyaire in questa capitate i suoi siudj artistici (storici, etc.), si prende la liberld di rivoUjersi con questa a Vrd Eccellenza Revma preyando La perche voylia accordaryli il yrazioso permesso di far deyli studj (dei disegni, delle notizie, etc.) nel Museo (nella Galleria) Vaticano. ^ Sjjerando di essere favorito da Vra Eccellenza Revma e preyando La di yradire anticipatamente i piii sinceri suoi rinyraziarnenti., ha Lonore di pro- teslarsi col piii profondo rispetto ^ di Vra Eccellenza Revma Roma li ... . ^ Uihmo Obbmo Servitore A Sua Eccellenza Revma N. N. f Monsiynor Ricci-Paracciani Maygiordomo di Sua Santitd. Diary. {To be compared with the precediny alphabetical list). Daily: Capitoliiie Museum (p. 218) and Palace of the Con- servatori (p. 214), 10-3; on Sundays gratis, on other days ad¬ mission 50 c. —Forum Romanum (p. 222), from 9 till dusk. — Ex¬ cavations on the Palatine (p. 240), from 9 till dusk, on Sundays gratis, on other days admission 1 fr. ( closed in summer from 12 to 3). — Museo Kircheriano(p. 150), 9-3, on Sundays gratis, on other days admission 1 fr. —Catacombs of St. Calixtus (p. 336), S. Ag- nese (p. 175), etc. Daily., except Sunday: Collections of the Lateran (p. 271) 9-3. — Academy of S. Luca (p. 237) 9-3. — Galleria Colonna (p. 157) 11-3. — Galleria Barberini (p. 168) 12-5, on Thursdays 2-5. Sundays: Villa Borghese (p. 161), in the afternoon. I Mondays: (v^atican Collections and Library,|p-3. — Galleria Bor¬ ghese (p. 188) 9-3. —Galleria Corsini (p. 322) 9-3. — Villa Pam- ’tili (p. 327) from 1 till dusk. 120 Prelirn. Information. ROME. Duration of Visit. Tuesdays: Vatican Collections and Library, 9-3. — Galleria Doria (p. 153) 10-2. — Villa Albani (p. 105), and Villa Rorghese (p. 101), in the afternoon. Wednesdays: Vatican Collections and Library, 9-3. —Casino Rospigliosi fp. 171) 9-4. — Galleria Rorghese (p. 188) 9-3.^—Villa Wolkonsky fp. 275) and Villa Rorghese (p. 101), in the afternoon. I'/iursdays: Vatican Collections (Raphael’s Stanze and Loggie, Picture Gallery, Sistine Chapel), 9-3. — Dome of 8t. Peter~s fp. 287) 8-10. — Galleria Corsini fp. 322) 9-3. — Rarberini Library fp. 109) 9-2. — Villa TiUdovisi fp. 104), from 10 till dusk. — Villa Rorghese (p. 101), in the afternoon. Fridays: Vatican Collections and Library, 9-3. — Galleria Ror¬ ghese fp. 188) 9-3. — Galleria Doria fp. 153) 10-2. — Villa, l\am(ili fp. 327) from 1 till dusk. Saturdays: Casino Rospigliosi fp. 171) 9-4. — Galleria Hpada (p. 205) 10-3. — Galleria Corsini fp. 322) 9-3. — Antiquities in the Casino of the Villa Rorghese fp. 101), in the afternoon. — Villa Wolkonsky fp. 275). Duration op Visit. In order to become thoroughly acquainted with the matchless attractions of Ivome the traveller should if possible devote a whole winter to exploring them; and even wlien time is limited, he should make a stay of 10-14 days at least, if he is desirous of forming an approximate idea of the charms of the place. Principal Attractions, where time is limited. Churches : St. Peter’s (p. 279), S. Giovanni in Laterano (p. 268), S. Maria Maggiore (p. 178), S. Lorenzo Fiiori le Mnra (p. 181), S. Paolo Fuori le Mura (p. 255), Sistine Chapel (p. 291), S. Agostino (p. 193), S. Clemente (p. 263), S. Croce in Gerusalemm^(p. 184), S. Maria degli Angeli (p. 176), S. Maria Th Aiacoeli (p. 211). S. 3I^a sopra Minerva (p. 197), S. Maria della I'ace (p. 200), S. Maria del Popolo (p. 141), S. Maria in Trastevere (p. 329), S. Onofiio (p. 329), S. Pietro in Vincoli (p. 186), S. Prassede (p. 181)), S. Trinita de’ Monti (p. 143). Palaces: Palazzo della Cancelleria (p. 204), Farnese (p. 204), Giraud (p. 278), di Venezia (p. 158). Ruins : Forum (p. 222), Colosseum (p. 233), Imperial Palaces (p. 240), Cloaca Maxima (p. 249), Thermae of Titus and Caracalla (pp. 21:^, 257), Pantheon (p. 195), Theatre of Marcellus (p. 209), Forum of Trajan (p. 238), the so-called Temple of Antoninus Pius (p. 149), Pyramid of Ceslius (p. 252). — Catacombs of St. Calixtus (p. 336). Collections of Statues in the Vatican fp. 305), Capitol (p. 214), La- teran (p. 271), Villa Ludovisi (p. 164), Albani (p. 165), Rorghese (p. 161), Palazzo Spada (p. 205). Pictures : Raphael’s Loggie and Stanze (p. 294), the Farnesina (p. 321), galleries of the Vatican (p. 303), Palazzi Rorghese (p. 188), Rarberini (p. 168), Colonna (p. 157), and Doria (p. 153). Promenades: Monte Pmcio fp. 142), where a military band jilays on Sundays and Thursdays 2 hours before sunset (music in the Piazza Co¬ lonna in the height of summer only), on which occasions the fashionable world, both native and foreign, is largely represented. — Also the Villu Borghese the most popular of the Roman villas, see p. 161. Then the Villa Doria-Pa))ifili fp. 327), and the Via Appia fp. 343). Points of View on the left bank: Tlie Pincio (PL 1,18; p. 141), Rasilica of Constantine (PI. 11,20), Palatine (PL II, 21), the space in front Orientation. ROME. History, 121 of the Lateral! (PI. II, 30), Monte Testaccio (PI. Ill, 13)^ on the riglit bank: *S. Pietro in 3Iontorio (PI. II, 12), S. Onofrio (PI. II, 7), the gar¬ den of the Palazzo Corsini (PI. II, 11). Orientation. An idea of the topography of Rome is best ob¬ tained by visiting the principal points of view, and at the same time reading the following description of them. The accompany¬ ing panorama will also materially aid the traveller in ascertain¬ ing his bearings. The first afternoon at Rome slionld therefore be spent in visiting S. Pietro in Montorio, the ascent of which slionld be made at least half-an-honr before sunset. Preliminary Drive. The traveller slionld engage a cab for 2-3 hrs. (tariff, p. 112) and drive down theCorso as far as the Piazza di Venezia, through the Via di Marforio to the Forum, past the Co¬ losseum, through the Via di S. Giovanni in Laterano to the Piazza in front of the church, commanding a fine view of the Alban Mts.; then through the Via Mernlana, passing S. Maria Maggiore, through the Via di S. Maria Maggiore, Via di 8. Lorenzo in Paiie- perna, Via Magnanapoli, across the Forum of Trajan, through the Via di 8. Marco, Via delle Botteghe Oscure, across the Piazza Mat- tei, with its handsome fountain, through the Via de’ Falegnanii, Piazza 8. Carlo, Via'de’Pettinari, by Ponte Sisto to Trastevere, through the Longara to the Piazza di 8. Pietro; then through the Borgo Niiovo, across the Piazza del Plebiscite, past the Castle of 8. Angelo, over the Ponte 8. Angelo, and through the Via Tordinone, etc. in a straight direction back to the Corso. History of the City of Rome *j*. Difficult as it undoubtedly is to trace the career of the Eternal City throughout upwards of two thousand years, and to mark and i Works on the history and topography of Rome, especially of the an¬ cient city, are extremely numerous. On the revival of science many scho¬ lars devoted themselves with the utmost zeal to antiquarian research; thus Poggio(iHO), Flmno Biondo^ and Lncio Fauna. The most important of the ear¬ lier works is that of AVrrtZ/w/( Roma antica’, 1660; 4th ed. by Nibby, 1818), Tiie following are the most eminent Roman writers on the subject of the present century: C'. Fea ‘Nuova Descrizione di Roma Antica e Moderna’, 1820; Canina., ‘Indicazione Topografica’, 3rd ed. 1841; also Nibby., ‘Roma neir anno i838’, 3 vols., 1843. — The most exhaustive German work on the subject, and one which has generally formed the basis of all subsequent investigations, is that begun under Niebuhr's auspices, and contributed to by Plainer., Bunsen., Gerhard., Rdstell., and Ulrichs (3 vols., Tiibingen 1830 -42). Subsequent discoveries have been made by W. A. Becker *(‘Topo- graphie', Leipzig;, 1843), L. Preller., and other learned archaeologists. The article on ‘Ancient Rome’ in Smith’s Dictionary of Greek and Roman Geo¬ graphy by T. Dyer (also published separately, 1864) atfords a clear and in¬ telligent yiew of the subject; but this description also must now be I’e- garded as incomplete in consequence of the extensive discoveries which liave been made, since it was written. One of the most recent works on tlie subject is Jordan's ‘Topographic der Stadt Rom im Alterthum’ (Ber¬ lin, 1871). — Mediaeval Rome has been treated of far less frequently. The standard work on (he subject is that of Gregorovins (8 vols., Stuttgart, 1858 122 History. ROME. Origin of Rome. appreciate tlie manifold vicissitudes which it has undergone, the traveller will naturally desire to form some acquaintance with the history of the ancient centre of Western civilisation, the city of the Republic and Empire, on the ruins of which the seat of a vast ecclesiastical jurisdiction was afterwards founded, and now the (Capital of an important and steadily progressing modern state. Wherever we tread, our thoughts are involuntarily diverted from the enjoyment of the present to the contemplation of the past; and the most careless of pleasure-seekers will find it difficult to with¬ stand the peculiar influence of the place. The following sketch is merely designed to put the traveller in the way of making farther researches for himselP, and deals exclusively with those leading and general facts with which he ought to he acquainted before proceed¬ ing to explore the city in detail. As the more remote history of Italy is involved in much ob¬ scurity, so also the origin of the city of Rome is to a great extent a matter of mere conjecture. It was not till a comparatively late period that the well known legend of Romulus and Remus was framed, and the year B. C. 753 fixed as the date of the foundation. In all probability, however, Rome may lay claim to far greater an¬ tiquity. We are led to this conclusion, not only by a number of ancient traditions, but also by the recent discovery in Latium of relics of the flint-period, an epoch far removed from any written records. The Palatine was regarded by the ancients as the nucleus of the city, around which new quarters grouped themselves by slow degrees; and it was here that Romulus is said to have founded his city, the Roma Quadrata, of which Tacitus (Ann. 12, 24) states the supposed extent. Modern excavations have brought to light portions of the wall, gatew^ays, and streets which belonged to the most an¬ cient settlement (seepp. 240, 241). After the town of Romulus had sprung up on the Palatine, a second, inhabited by Sabines, was built on the Quirinal, and the two were subsequently united into one community. Whilst each retained its peculiar temples and sanctu¬ aries, the Forum , situated between them , and commanded by the castle and the temple of Jupiter on the Capitol , formed the com¬ mon focus and place of assembly of the entire state, and the Forum and Capitol maintained this importance down to the latest period of ancient Rome. The rapid growth of the city is mainly to be attri¬ buted to its situation, the most central in the peninsula, alike adapted for a great commercial town, and for the capital of a vast empire. The advantages of its position were thoroughly appreciated by the ancients themselves, and are thus enumerated by Livy (5, 54): ‘fliimen opportnnnm , quo ex mediterraneis locis fruges —72), which terminates with the year 1535 , the later volumes being the more valuable part of the work. Another important work is that of ReumotU (3 vols., Berlin, 1867). ROME. History. 123 The Kings. devehaiitiir 5 quo maritimi conmieatus accipiantur, mare Yicinum ad commoditates iiec expositimi iiimia propinquitate ad pericula classiiini externanini, regioiiuni Ttaliic mediuTU, ad iiicremerituiu iirbis iiatuni uriice locum’. The Tiber was navigable for sea-going ships as far as Rome, whilst its tributaries, such as the Anio, Nera, Chiana, and Topino, contained siifflcient water for the river vessels wliich maintained a busy traffic between Rome and the interior of the peninsula. The state of these rivers has, however, in the course of ages undergone a complete revolution, chiefly owing to the grad¬ ual levelling of the forests on the mountains, and at the present day the lower part only of the Tiber, below Orte, is navigable. Whilst the origin of the capital of the world is traditionally re¬ ferred to Romulus, its extension is attributed with something more of certainty to ServiusTullius. Around the twin settlements on the Palatine and Quirinal, extensive suburbs on the Esquiline and Caelius y as well as on the lower ground between the hills, had sprung up; for not only were numerous strangers induced to settle permanently at Rome on account of its commercial advantages, but the inhabitants of conquered Latin towns were frequently trans¬ planted thither. Out of these heterogeneous elements a new civic community was organised towards the close of the period of the kings, and its constitution commemorated by the erection of the Servian Wall, considerable remains of which are still extant. This structure, which was strengthened by a moat externally and a rampart within, is of great solidity. It enclosed the Aventine (p. 251), the Caelius j Esquiline., Viminal, Quirinal (^. 163), and ('apitol (p. 210), and is computed to have been about 7 M. in cir¬ cumference. Whilst care was taken thus to protect the city ex¬ ternally, the kings were not less solicitous to embellish the interior with handsome buildings. To this period belongs the Circus in the valley between the Palatine and the Aventine (p. 251), and above all the Cloaca Maxima (p. 249), which was destined to drain the swampy site of the Forum, and is still admired for its massive con¬ struction,^ This energetic and brilliant development of the city under the kings of the Tarquinian family in the 6th cent. B. C. came to a close with the expulsion of the last king Tarquinius Su¬ perbus (509). During the first century of the Republic the united efforts of the citizens were directed to the task of establishing themselves more securely in the enjoyment of their new acquisitions; and in this they succeeded, although not without serious difficulty. It was a hard and bitter period of probation that the nation had to undergo in the first period of its new liberty, and it was not till the decline of the Etruscan power that Rome began to breathe freely again. After protracted struggles she succeeded in conquering and destroying her formidable rival Feii(396), a victory by which the Roman supremacy was established over the south of Etruria as far 1 24 Historif. ROME, The Repiihlio. as the Cimiiiian Forest. Shortly afterwards (390) tlie city, with the exception of the Capitol, was taken and entirely destroyed by the Gauls. Although this catastrophe occasioned only a transient loss of the prestige of Rome, it produced a marked effect on the external features of the city. The work of re-erection was undertaken with great precipitation; the new streets were narrow’ and crooked, the liouses poor and unattractive , and down to the time of Augustus, Rome was far from being a handsome city. Her steadily increasing power, however, could not fail in some degree to influence her ar¬ chitecture. During the contests for the supremacy over Italy, the first aqueduct and the first high road were constructed at Rome by Appius Claudius in 312 (^Aqua and Via Appia, p. 343) 5 in 272 a second aqueduct fAnio Veins) was erected. Down to the period of the Punic wars Rome had not extended beyond the walls of Servius Tullius; but, after the overthrow of Carthage had constituted her mistress of the world, the city rapidly increased. The wall was al¬ most everyw^here demolished to make room for new buildings, so that even in the time of Augustus it was no longer an easy matter to determine its former position, and new quarters now sprang up on all sides. Speculation in houses w’as extensively carried on, and it w’as by this means that the Triumvir Crassus, among others, amassed his fortune ; for rents were high, and the houses of a slight and inexpensive construction. These insulae, or blocks of houses erected for hire, contrasted strikingly with the domus, or palaces of the wealthy, which were fitted up with the utmost magnificence and luxury. Thus, for example, the tribune Clodius, the well- known opponent of Cicero, purchased his house for the sum of 14,800,600 sesterces (i. e. about 130,o25J.). During the last cen¬ tury B.C. the city began to assume an aspect more w’orthy of its proud dignity as capital of the civilised world. The streets, hitherto unpaved, were now' converted into the massive lava-causeways which are still visible on many of the ancient roads (e. y. Via Appia). The highest ambition of the opulent nobles w'as to per¬ petuate their names by the erection of imposing public buildings. Thus in 184 M. Porcius Cato erected the first court of judicature (Basilica Porcia) in the Forum, and others followed his example. Pompey was the founder of the first theatre in stone (p. 207). Gen¬ erally, however, the structures of the republic were far inferior to those of the imperial epoch, and owing to this circumstance but few of the former have been preserved (Tabularium of B. C. 78, p. 221; tombs of Bibulus, p. 160, and Caecilia Metella, p. 344). The transformation of the republic into a Military Despotism involved the introduction of a new architectural period also. Usur¬ pers are generally wont to direct their energies to the construction of new buildings, with a view to obscure the lustre of the older edifices, and to obliterate the associations connected with them. Caesar himself had formed the most extensive plans of this nature. The Emperors. ROME. History. 125 blit their execution was reserved for his more fortunate neplicw. Of all the ruins of ancient Rome those of the buildings of Augustus occupy by far the highest rank , both in number and importance. The points especially worthy of note are the Campus Mnrtius with the Pantheon (p. 1951 the Thermae of Agrippa (p. 197), the Theatre of Marcellus (p.209) and the Mausoleum (p. 187), the Ba¬ silica Julia (p. 227), and the Forum of Augustus with the Temple of Mars (p. 238). No fewer than 82 temples were restored by Angnstus ( 'templorum omnium conditorem ac restitutorem’ as he is termed by Livy), who might well boast of having transformed Rome from a town of brick into a city of marble. During the re¬ publican period the ordinary volcanic stone of the neighbourhood was the usual building material, but the marble from the quarries of Carrara (discovered about 100 B. C., but not extensively worked till the time of Augustus) and the beautiful travertine from the vi¬ cinity of Tivoli were now employed. The administration and po¬ lice-system of the city were also re-organised by Augustus, who divided Rome into 14 quarters (regiones), adapted to its increased extent ( p. 126). A corps of watchmen (vigiles ), who also served as flre- men, was appointed to guard the city by night. These and other wise institutions, as well as the magnillcence attained by the city under Augustus, are depicted in glowing terms by his contemporaries, llis successors followed his example in the erection of public edi¬ fices, each striving to surpass his predecessors. In this respect Aero (54-68) displayed the most unbridled ambition. The con¬ flagration of the year 54, which reduced the greater part of Rome to ashes, having been ignited, it is said, at the emperor’s in¬ stigation, afforded him an opportunity of rebuilding the whole city in the most modern style and according to a regular plan. F’or his own use he erected the ’"golden house' , a sumptuous palace with gardens, lakes, and pleasure-grounds of every description, covering an enormous area, extending from the Palatine across the valley of the Colosseum, and far up the Esquiline (p. 178). These and other works were destroyed by his successors, and well merited their fate; the fragments which still bear the name of Nero at Rome are insignificant. The Flavian Dynasty, which followed the Julian, has on the other hand perpetuated its memory by a number of most imposing works, above all the Colosseum (p. 233), which has ever been re¬ garded as the symbol of the power and greatness of Rome, the Baths of Titus on the Esquiline (p. 236), and the Triumphal Arch (p. 222) erected after the destruction of Jerusalem. Under Trajan, architecture received a new impetus, and indeed attained the highest development 'of which the art was capable at Rome. To this the Forum of Trajan (p. 238), with the column, and tlie reliefs afterwards employed to decorate Constantine’s arch, bear the most eloquent testimony. Under Trajan, indeed, the culminating 12() History. ROME. The Emperors. point both of art and of political greatness was attained. Thence¬ forward the greatness of the empire began gradually, but steadily to decline. Although under the next emperor Hadrian this down¬ ward tendency was apparently arrested, yet the monuments of his reign, such as the Temple of Venus and Roma (p. 232) and his Mausoleum (^p.276), begin to exhibit traces of degeneracy. The same remark applies also to the time of the Antonines. These monarchs were remarkable for their excellent qualities as sovereigns, and their peaceful sway has frequently been regarded as the period during which mankind in general enjoyed the greatest prosperity. Tliere is even a tradition that ‘the good old times’ will return when the equestrian statue of the worthy Marcus Aurelius^ the gilding of which has almost entirely disappeared, shall resume its costly cover¬ ing. This, however, was but the lull preceding a storm. The great plague under the latter emperor was the first of a series of fearful calamities which devastated the empire. Throughout an entire cen¬ tury civil wars, incursions of barbarians, famine, and pestilence succeeded each other without intermission. Although Rome w^as less affected by these horrors than the provinces, it is computed that the population of the city, which at the beginning of the 2nd cent, was about 1^2 naillion, had dwindled to one-half by the time of Diocletian. A constant decline in architectural taste is still trace¬ able; but, as building always constituted an important feature in the policy of the emperors, the number and extent of the ruins of this period is considerable. To this epoch belong the Column of Marcus Aurelius (p. 148), the Triumphal Arch of Septimius Severus (p. 226), the magnificent Baths of Caracalla (p. 257), the Temple of the Sun of Aurelian (p. 158), and the extensive Thermae of Diocletian (p. 175). After the Punic War the walls of the city had been suffered to fall to decay, and during nearly five centuries Rome w’as destitute of fortification. Under the emperor Aurelian^ however, danger became so imminent that it was deemed necessary again to protect the city by a wall against the attacks of the barbarians. This structure is to a great extent identical with that which is still standing. The latest important ruins of antiquity bear the name of Constantine the Great, viz. the Basilica (p. 231), Baths (pp. 158, 170), and Triumphal Arch (p. 235). The two former were, however, erected by his rival Maxentius. Constantine manifested little partiality for Rome and ancient traditions, and the transference of the seat of empire to Byzantium (in 330) marks a decided turn¬ ing-point in the history of the city, as well as in that of the whole empire. Rome indeed was still great on account of its glorious past and its magnificent monuments, but in maity respects it had sunk to the level of a mere provincial town. No new works were thence¬ forth undertaken, and the old gradually fell to decay. The city was still divided, in accordance with the Ac<;ustean Ststem, into fourteen regions, in enumerating which w’e shall name the principal Rise of Christianity. ROME. History. 12/ ruins belonging to each: — 1. Porta Capena., Via Appia , within the city (p. 256 j5 2. Caelimontiuni Ctelius (p. 260)^ 3. Isis et Serapis Colosseum (p. 233), Baths of Titus (p. 230) ^ 4. Templum Pads., Venus et Roma (p. 232), Basilica of Constantine (p. 231), Temple of Faustina (p. 229); 5. ExquiUae., ruins near S. Croce (p. 1^) ; 6. Alta Semita., Baths of Constantine (p. 170) and Diocletian (p. 175), gardens of Sallust (p. 165); 7. Via Lata., the modern Corso (p. 146); 8. Forum Romanum , the republican and imperial Fora (pp.i222, 236) and the Capitol (p. 210); 9. Circus Flaminius., Theatres of Mar- cellus (p. 209) and Pompey (p. 207), portico of Octavia (p. 209), Pan¬ theon (p. 195), column of Marcus Aurelius (p. 148); 10. Palatium., Pala¬ tine (p. 240); 11. Circus Maximus., temple in the Forum Boarium (p. 249); 12. Piscina Publica., Baths of Caracal la (p. 257); 13. Arcnlinus., Pyramid of Cestiiis (p. 252); 14. Transtiberim., Trastevere and the Borgo. Accord¬ ing to the statistics of this period, Rome possessed 37 gates, from which 28 high roads diverged, and 19 aqueducts; and although four only of these last are now in use, there is probably no city in the world which can boast of such an excellent supply of water as Rome. The banks of tlie Tiber were connected by 8 bridges. There were 423 streets, 1790 palaces, and 46,602 dwelling-houses. Among the public structures are mentioned 11 Tliermse, 856 bath-rooms, 1352 fountains in the streets, 423 temples, 36 triumphal arches, 10 basilicas, etc. When the grandeur and magnilicence suggested by these numbers is considered, it may appear a matter of sur¬ prise that comparatively so few relics now remain; but it must be borne in mind that the work of destruction progressed steadily during nearly a thousand years , and was not arrested till the era of the Renaissance, but for which even the monuments still existing would ere now have been con¬ signed to oblivion. The Catacombs, the earliest burial-places of the Christians, illustrate the gradual progress of this interesting community, in spite of every persecution, from the 1st century downwards. At the beginning of the year 313 Constantine issued his celebrated decree from Milan, according to Christianity equal rights with all other religions. This was the decisive step which led to the union of the church with the state. In 324 the first oecumenical council was held at Nicaea, and in 337 the emperor caused himself to be baptised when on his deathbed. Tradition attributes the earliest ecclesiastical division of Rome into seven diaconates to St. Clement^ the fourth bishop, and St. Peter is said to have founded the first place of worship in the house of the senator Pudens, now the c.hurch of S. Pudenziana (p. 177j. To Calixtus /. (217-22) is ascribed the foundation of the church of S. Maria in Trastevere (p. 329), and to Urban^ his successor, that of S. Cecilia (p. 330). About the beginning of the fourth century S. Alessio and S. Prisca on the Aventine are supposed to have been founded. Of these churches, however, and also of the edifices erected by Constantine, no trustworthy record has been handed down to us. To that monarch tradition attributes the foundation of the following churches — the Lateran^ St. Peter's., S. Paolo Fuori, S. Croce in Gerusalemrtte, S. Aynese Fuori, S. Lorenzo Fuori and S. Pietro e Marcellino at Torre Pignattara (p. 349), — but probably errone¬ ously, with the exception of the first, which was styled ‘omnium urbis et orbis ecclesiarum mater et caput’. It is, however, note¬ worthy that the oldest and most important churches were generally outside the gates, or at least in their immediate vicinity; and this 128 History, ROME. Early Middle Ages. is accounted for by tlie fact that the Roman aristocracy at first clung tenaciously to the old traditions, and for a long period the city pre¬ served its heathen character. The state at length overcame this antagonism. In 382 the altar of Victoria was removed from the senate-hall, and in 408 the ancient religion was at length deprived by a law of Honorius of all its temporal possessions, and thus in¬ directly of its spiritual authority also. The destruction of the an¬ cient temples, or their transformation into Christian places of wor¬ ship now began, and the churches rapidly inc.reased in number. At this early period Rome possessed 28 parish G]\m'c\\es (tituli) , be¬ sides numerous chapels, and among them arose the five Patriarchal Churches, presided over by the pope, and forming a community to which the whole body of believers throughout the world was con¬ sidered to belong. These live were S. Giovanni in Laterano^ S. Pietro^ S. Paolo,, S. Lorenzo, and the church of S. Maria Maggiore founded by Liberius. Besides these, S. Croce in Gerusalemme and S. Sehastiano, erected over the catacombs of the Via Appia, enjoyed special veneration. These formed the SSeven Churches of Rome’ to which pilgrims flocked from every part of western Christendom. The number of monasteries now steadily increased, and at the same time the inroads of poverty made rapid strides. In the 4th Century the cultivation of the Roman Campagna began to be seriously neglected, and in an official document of the year 395 it is stated that upwards of 500 square miles of arable land had been abandoned and converted into morass. The malaria at the same time extended its baneful sway from the coast into the in¬ terior of the country. The storms of the barbarian irruptions greatly aggravated the misery. Although the Vandals and Goths are often erroneously held responsible for the destruction of all the great monuments of antiquity, which, on the contrary, Theodoric the Great did his utmost to protect, Rome doubtless suffered terribly from having been the scene of their battles and pillagings. In 410 the city was plundered by Alaric, and in 445 by the Vandals, and in 537 it sustained its first siege from the Goths under Vitiges. They laid waste the Campagna and cut off all the supplies of water brought to the city by the aqueducts, but the skill of Belisarius, and the strength of the walls, particularly those of the Castle of 8. Angelo, effectually repelled their attacks on the city. In March 538 they were at length compelled to abandon their designs, after having beleaguered the city for upwards of a year. In December 546, Totilas, the king of the Goths, entered Rome, and is said to have found not more than 500 persons within the walls of the devastated city. Belisarius then repaired the walls which had been partially destroyed, and in 547 he sustained a second siege. In 549 the city again fell into the hands of Totilas, but in 552 it was re- c.aptured by Narses and again united with the Byzantine empire. About this period the city was reduced by war, pestilence, and The Middle Ages. ROME. History. 129 poverty to a depth of misery which was never again paralleled, ex¬ cept during the absence of the papal court at Avignon. No thorough restoration was possible, for the Byzantine emperors cared nothing for Rome, and in the Lombards arose new enemies to their dynasty in Italy. In (363 Constans II. visited Rome, an interval of 306 years having elapsed since it had been entered by a Byzantine em¬ peror, and availed himself of the opportunity to carry off the last remains of the bronze with which the ancient monuments were de¬ corated. In 755 the Lombards under their duke Aistolf besieged Rome for two months and ruthlessly devastated the Campagna, which during the preceding interval of peace had begun to wear a more smiling aspect. A lamentation of that period begins thus : — ‘Nobilibus quondam fueras constructa patronis, Subdita nunc servis, beu male Roma ruis ^ Deseruere tui tanto te tempore reges, Cessit et ad Greecos nomen honosque tuus’. and terminates with the words: — ‘Nam nisi te Petri meritum Paulique foveret, Tempore jam longo Roma misella fores’. It was in fact the tradition, indelibly attaching to Rome, of the great struggles and victories of Christianity which preserved the city from total destruction. The transformation of heathen into Christian Rome was accompanied by the gradual development of Papacy as the supreme ecclesiastical power in the West. Leo the Great (440-461) and Gregory the Great (590-604) may be regarded as the chief originators of this scheme of aggrandisement. These prelates and their successors were indefatigable in their elforts to realise their project, and under their auspices, notwithstanding the poverty and misery into which Rome had sunk, new churches and monasteries were constantly springing up among the ruins of the monuments of antiquity, and the last feeble spark of artistic taste which still survived was devoted to the decoration of these build¬ ings. The objects at which they chiefly aimed were independence of Byzantium, the subjection of the Eastern church to the court of Rome, and the conversion of the heathen Germans, the accomplish¬ ment of which would materially pave the way for their ulterior am¬ bitious schemes. In 727 the Lombard king Luitprand presented Sutri, which had been captured by him, to the pope, this being the first instance of a town being presented to the church, and this gift constituted a basis for the subsequent formation of the States of the Church. In 755, on the invitation of the pope, the Frankish king Pepin proceeded to Italy and practically put an end to the Byzan¬ tine supremacy. It is not known whether that monarch absolutely made over the Exarchate of Ravenna and the other towns to the re¬ presentative of St. Peter, or whether he granted them to him as a lief; but it is certain that the temporal power of the popes and their supremacy over Rome dates from the grants made by Pepin to the church. On Christmas Day, in the year 800, Charlemagne was Baedeker. Italy II. 6th Edition. 9 130 History. ROME. The Middle Ages. crowned by Leo 111., and from that period dates the career of the ‘Holy Roman Empire’ and the MEni^vAL History of the Roman Catholic Church. A characteristic of tliis period is to be found in the numerous, many-storied towers of red brick which contrast so strongly with the monuments of ancient Rome. This style of architecture was developed in the Carlovingian epoch, altliough most of these towers now extant were not erected before the 12th or 13th century. In still greater numbers sprang up towers of a defensive character, a few only of which, such as the so-called Torre di Nerone (p. 172), are still preserved. The forest of towers, belonging to numerous different owners, which reared themselves over the ruins of the mistress of the world, affords at the same time a clue to the character of the whole epoch; for, in spite of the nominal sway exercised over the greater part of Europe by the pope and the em¬ peror, continual feuds raged both at Rome and elsewhere between the temporal and spiritual powers, and between the nobility and the populace. The great monuments of antiquity were now doomed to utter destruction, and their fate is thus described by the historian Gregovorius (iii, 565) : — ‘Charlemagne had already set the ex¬ ample of carrying off ancient columns and sculptures to adorn his cathedral at Aix-la-Chapelle, and the popes, who regarded the greatest monuments of Rome as the property of the state, possessed neither taste, nor time, nor ability to take measures for their pre¬ servation. The plundering of ancient buildings became the order of the day. The priests were indefatigable in transferring antique columns and marbles to their churches; the nobles, and even the abbots, took possession of magnificent ancient edifices which they disfigured by the addition of modern towers; and the citizens estab¬ lished their workshops, rope-walks, and smithies in the towers and circuses of imperial Rome. The fisherman selling his fish near the bridges over the Tiber, the butcher displaying his meat at the theatre of Marcellus, and the baker exposing his bread for sale, de¬ posited their wares on the magnificent slabs of marble which had once been used as seats by the senators in the theatre or circus and perhaps by CiEsar, Mark Antony, Augustus, and other masters of the world. The elaborately sculptured sarcophagi of Roman heroes were scattered in every direction and converted into cisterns, wash¬ ing-vats, and troughs for swine; and the table of the tailor and the shoemaker was perhaps formed of the cippus of some illustrious Roman, or of a slab of alabaster once used by some noble Roman matron for the display of her jewellery. For several centuries Rome may be said to have resembled a vast lime-kiln, into which the costliest marbles were recklessly cast for the purpose of burning lime ; and thus did the Romans incessantly pillage, burn, dismantle, and utterly destroy their glorious old city’. Leo IV. encircled the ‘Leonine City’ with a wall, and erected The Middle Ages. ROME. History. 131 other useful structures, which indicate a renewed period of pros¬ perity ; but the ravages of the Saracens in the city and its en¬ virons soon prevented farther progress. When at length these bar¬ barians were finally subdued by John X.., the city was repeatedly besieged and captured by German armies during the contest for the imperial supremacy; and subsequently, in consequence of incessant civic feuds, the whole city was converted into a number of distinct fortified quarters, with castellated houses, in the construction of which numerous monuments of antiquity were ruthlessly destroyed for the sake of the building materials they afforded. Every tem¬ porary re-establishment of peace was invariably followed by new scenes of devastation, as when the senator Brancaleone dismantled no fewer than 150 of the strongholds of the warlike nobles. The constantly increasing civic and national dissensions at length compelled Clement V. in 1309 to transfer the seat of the pontifical government to Avignon, where it remained till 1377, whilst Rome was successively governed by Guelphs and Ghibellines, Neapolitans and Germans, Orsini’s and Colonna’s, and for a brief period (1347) Cola di Rienzi even succeeded in restoring the an¬ cient republican form of government. This was an epoch of the ut¬ most misery, when poverty, war, and disease had reduced the popu¬ lation to less than 20,000 souls. A more happy era was inaugurated by the return of Gregory IX. to the city. After the termination of the papal schism (1378-1417), the new development of the city progressed rapidly, aided by the vast sums of money which flowed into the papal coffers, and by the revival of taste for art and science promoted by Nicholas V., Ju¬ lius II., Leo X., and others. In 1527 the city was fearfully devas¬ tated by the troops of Charles of Bourbon; but it gradually re¬ covered from the blow, its population again increased, and many churches and palaces were restored or re-erected by the popes, their cardinals , and favourites, especially during the pontificate of Six¬ tus V. (1585-90), to whom modern Rome is chiefly indebted for its characteristic features. In 1798 a republic was established for a short period at Rome, and from 1809 to 1814 the city was under the supremacy of France. A republican form of government was again declared in 1849, in consequence of the events of the previous year, but on 12th April, 1850, Pius IX. was restored by the French. The city was then garrisoned by 15,000 French troops, who were withdrawn in December 1866, in accordance with the convention of 15th Sept., 1864; but they were recalled after the Garibaldian hostilities of 1867, and were quartered in the environs until the breaking out of the Franco-Prussian war of 1870. On 20th Sept, of that year the Italian troops marched into the city, after a bombardment of five hours. The States of the Church are now ncorporated with the kingdom of Italy, of which Rome is once more the capital. 9^ lf'52 CliTonolog. Table of ROME. Emperors and Popes. CHRONOLOGICAL TABLE. B.C. 1 Roni. Einp. Popes f. 1 A.D. Rom. Emp. Popes. 44 Julius Caesar Balbinus. murdered. 238 Gordian III. 28 Caesar Octa- 244 Philip the vianus Au- Arabian. A.D. gust us. 249 Decius. 14 Tiberius. 251 Gall us and Cornelius, 251. 37 Caligula. Volusianus. 41 Claudius. St. Peter, 42. 252 Lucius I., 252. 54 Nero. 253 iEmilianus. Stephen I., 254. 67 Martyrdom of Valerian us. St. Peter. 257 Sixtus 11., 257. 68 Galba. Linus, 67. 259 Dionysius, 259. 69 Otho. 263 Gallieiius. Vitellius. 268 Claudius II. Felix I. 69 Vespasian. 270 Aurelian. 78 Cletus, 78. 275 Tacitus. 79 Titus. Clement, 90. 275 Florianus. Eutychianus. 81 Domitianus. 276 Probus. 91 282 Cams. 96 Nerva. 282 Carinus and 98 Trajan. Anacletus. Numerianus. 100 Euaristus. 283 Cajus. 109 Alexander I. 284 Diocletian. 117 Hadrian. 296 Marcellinus. 119 Sixtus I. 306 Constantins 128 Telesphorus. Chlorus and 138 AntoninusPius Maximianus 139 Hvginus. Galerius. 142 Pius I. 306 Constantine 161 Marcus Au- Anicetus. the Great relius. (sole Emp. 168 Soter. 324-337). 177 Eleutherus. 308 Maximin II. Marcellus I. 180 Commodus. Licinus. 190 Victor L, 185. Maxentius. 193 Pertinax. 310 Eusebius. Didius Ju- 311 Melchiades. liauus. 314 Sylvester I. 193 Septimius 336 Marcus. Severus. 337 Constantine II. Julius I. 211 Caracalla Constantins. (Geta d. 212.) Constans. 202 Zephyrinus, 198. 352 Liberius. 217 Macrinus. 361 Julian. 218 Heliogabalus. Calixtus I., 217. 363 Jovian. 222 Alexander \ ^ <6 Severus. 364 Valenti- 1 223 Urban 1., 222. man I. \ o s 230 Pontianus, 230. and / « w 235 Maximinus. Anterus, 235. Valens. I 236 Fabianus, 236. J Q ^ 238 Gordian I. 366 Damasus I. and II. 367 Gratian. Maximus 375 Valentinian II. •}• The dates of the popes down to Constantine are uncertain, having been handed down by vague tradition only. Chronolog. Tuhle of ROME. Emperors and Popes. 133 A.D. Rom. Emp. Popes. 1 A.D. 1 1 Rom. Emp. Popes. 379 Theodosius. 640 Severinus. 383 Arcadius. John IV. 385 642 Theodorus I. 395 llonorius f. Siricius. 649 St. Martin I. 397 655 St. Eugene I. 401 Anastasius I. 657 St. Vitalianus. 417 Innocent I. 672 Adeodatus. 418 676 Donus I. 422 Zosimus. 678 St. Agathus. 425 Valentinian Ill Boniface I. 682 St. Leo II. 432 684 St. Benedict II. 440 Coelestinus I. 685 John V. 455 Petronius 686 Conon. Maximus Sixtus III. 687 St. Sergius I. 455 Avitus Leo I., the Great. 701 John VI. 475 Leo and Majo- 705 John VII. rianus. 708 Sisinnius. Lib. Severus. Constant! nus. Anthemius. 715 St. Gregory 11. Olybrius. Hilarius. 731 St. Gregory III. Glycerins. Simplicius. 741 St. Zacharias. Julius Nepos. 752 Stephen 11. 475 Romulus Au- 757 St. Paul I. gustulus. 768 Stephen III. 476 End of the W. 772 Hadrian I. RomanEmpire 795 St. Leo III. 483 Felix II. Rom. Emp. of 492 Gelasius. Oerm. 496 Anastasius II. 8(X) Charlemagne. 498 Symmachus. 814 Louis the 514 Hormisdas. Pious. 523 John I. 816 Stephen IV. 526 Felix III. 817 St. Paschal is 1. 530 Boniface II ff. 824 Eugene II. 532 John II. 827 Valentinus. 535 St. Agapitus I. Gregory IV. 53() St. Silverius. 843 Lothairc. 538 Vigilius. 844 Sergius II. 555 Pelagius I. 847 St. Leo IV. 560 John III. 855 Louis II. Benedict III. 574 Benedict I. 858 St. Nicholas I. 578 Pelagius II. 867 Hadiian II. 590 St. Gregory I. the 872 John Vm. Great. 876 Charles the 60-i Sabinianus. Bald. 607 Boniface III. 882 Martin 11. 608 S. Boniface IV. 884 Charles the Hadrian III. 615 Deusdeditus. Fat. 619 Boniface V. 885 Stephen V. 625 Honorius I. 887 Arnulf. t From 395, the year of the death of Theodosius, the division of the Empire became permanent; in the above table the Emperors of the W. Roman Empire only are enumerated. ft Thus far all the popes have been canonised. tit The names of a few English sovereigns, especially those who appear most prominently in papal history, have been added to this column to facilitate realisation of contemporary history. 134 Chronolog. Table of ROME. Emperors and Popes. A.D. Rom. Emp. Popes. A.D. Rom. Emp. Popes. 891 Formosus. 1124 Honorius 11. 896 [Alfred the Boniface VI. 1125 Lothaire of Great of Eng- Stephen VI. Saxony. 897 land,871-901.] Romanus I. 1130 Innocent 11. 898 Theodorus 11. John IX. 1138 Conrad III. 900 Louis the Benedict IV. of Hohen- Child. staufen. 903 Leo V. 1143 Coelestine II. Christophorus. 1144 Lucius II. 904 Sergius Ill. 1145 Eugene 111. 911 Anastasius HI. 1152 Frederick I. 912 Conrad I. Barbarossa. 913 Landonius. 1153 Anastasius IV. 914 John X. 1154 [Henry II. of Hadrian IV. 919 Henry I. 1159 England, 1154 Alexander 111. 928 Leo VI. 1181 -1189.] Lucius 111. 929 Stephen VII. 1185 Urban 111. 931 John XL 1187 Gregory VIII. 936 Otho I. Leo VII. 1187 Clement HI. 939 Stephen VIII. 1190 Henry VI. 942 Martin III. 1191 Coelestine HI. 946 Agapetus II. 1198 Otho IV. Innocent 111. 956 John XII. [Richard Coeur 964 Leo VIII. de Lion, 1189 Benedict V. -1199.) 965 John XIII. 1215 Frederick II. 972 Benedict VI. 1216 Honorius HI. 974 Otho 11. Donus 11. 1227 Gregory IX. 975 Benedict VII. 1241 Coelestine 1V^ 983 Otho III. John XIV. 1243 Innocent IV. 985 John XV. 1250 Conrad IV. 996 Gregory V. 1254 Interregnum. Alexander IV. 999 Sylvester II. 1261 Urban IV. 1002 Henry 11. 1265 Clement IV. 1003 John XVII. 1271 Gregory X. John XVIII. 1273 Rudolph of 1009 Sergius IV. Hapsburg. 1012 Benedict VIII. 1276 Innocent V. 1024 Conrad II. .Tohn XIX. [Edward I. of Hadrian V. 1033 Benedict IX. England, 1272 .Tohn XX. 1039 Henry HI. -1307.] or XXL 1046 Gregory VI. 1277 Nicholas HI. Clement 11. 128i Martin IV. 1048 Damasus II. 1285 Honorius IV. 1049 St. Leo IX. 1288 Nicholas IV. 1055 Victor II. 1290 Albert I. and 1056 Henry IV. Adolph of 1057 Stephen IX. Nassau. 1058 [William the Nicholas II. 1292 St. Coelestine V. 1061 Conqueror, Alexander II. 1294 Boniface VHI. 1073 1066-1087.] Gregory VII. 1303 Benedict XL Hildebrand. 1305 Clement V. 1086 Victor III. 1308 Henry Vll. of 1088 Urban II. Luxembourg. 1099 Paschalis II. 1314 Louis of Ba- 1106 Henry V. varia and 1118 Gelasius II. Frederick of 1119 Calixtus II. Austria. Chronolog. Table of ROME. Emperors and Popes. 135 A.D. Rom. Emp. Popes. A.D. Rom. Emp. Popes. 1316 [Edward III. of .John XXII. 1564 Alaximilian II. 1334 England, 1327 Benedict XII. 1565 St. Pius V. 1342 -1377.] Clement VI. (Ghislieri of 1346 Cliarle.s IV. of Piedmont). Luxembourg. 1572 . Gregory XlII. 1352 Innocent VI. (Ugo Buon- 1362 Urban V. compagni of 1370 Gregory XI. Bologna). 1378 Wenzel. Urban VI. 1576 Rudolph II. 1389 Boniface IX. 1585 Sixtus V. (Felix 14(X) Rupert of the Peretti). Palatinate. 1590 Urban VII. 1404 Innocent VII. (Giambattista 1406 Gregory XII. Castagna of 1409 Alexander V. Rome). 1410 Sigismund. John XXHI. 1590 Gregory XIV. 1417 [Henry V. of Martin V. (Nic. Sfondrati England, 1413 of Milan). 1431 -1422. J Eugene IV. 1591 Innocent IX. 1438 Albert II. (Giannantonio 1440 Frederick III. Facchinetti of 1447 Nicholas V. Bologna). 1455 [Henry VI. of Calixtus III. 1592 Clement VIII. 1458 Fmgland, 1422 Pius II. (iEneas (Hippolyt. Aldo- -1461.] Svlvius, Siena). brandini of 1464 Paul II. [James I. of F'lorence). 1471 Sixtus IV. 1605 England, 1603 Leo XL (Alexan- (Francis della -1625.] der Medici). Rovere of Paul V. (Camillo Savona). Borghese). 1484 [Henry VII. of Innocent VIII. 1612 Matthias. England, 1485 (Joann. B. Cibo 1619 Ferdinand II. -1509.] of Genoa). 1621 [Charles I. of Gregory XV. 1492 Alexander VI. England, 1625 (Alexander Lu- (Roder. Borgia). -1649.] dovisi). 1493 Maximilian I. 1623 UrbanVIII. (Maf- 1503 [HenryVlII. of Pius III. (Fran- feo Barberini). England.1509 cis Piccolomini 1637 Ferdinand HI. -1547.] of Siena). 1644 [Common- Innocent X. 1503 Julius 11. (Julian wealth and (Giambattista della Rovere). Protectorate, Pamtili). 1513 Leo X. (John de’ 1649-1660.] Medici). 1655 Alexander VII. 1519 Charles V. (F'abio Chigi of 1522 Hadrian VI. Siena). (of Utrecht). 1658 Leopold I. 1523 Clement VII. 1667 [Charles II. of Clement IX. (Julius Medici). F2ngland, 1660 (Giul. Rospig- 1534 Paul III. (Alex- -16.S5.] liosi). [Mary I. of ander F'arnese). 1670 Clement X. 1550 England, 1553 Julius III. (.Joan. (Emilio Altieri). -155S.] Maria de Monte). 1676 Innocent XI. 1555 Marcellus II. (Benedetto Paul IV. (Gian Odescalchi). Pietro Caraffa 1689 Alexander XIII. 1558 Ferdinand I. of Naples). [William III. (Pietro Otto- 1559 [Elizabeth of Pius IV. (Joan. and Mary II. buoni). , England, 1558 Angelus Medici of England, -1603.] of Milan). 1688-1702.] 136 Topography. ROME. Environs. A.D. Rom. Emp. Popes. A.D. Rom. Emp. Popes. 1691 Innocent XII. 1775 Pius VI. (Giov. (Ant. Pigna- Ang. Braschi). telli). 1790 Leopold II. 1700 Clement XI. 1792 Francis II. (Giov. Franc. 1800 Pius VII. (Gre- 1705 Joseph I. Albani). gorio Barnaba 1711 Charles VI. Chiaramonti of 1721 Innocent XIII. [George IV. of Cesena). (Mich. Ang. de England, 1820 [George II. of Conti). 1823 -1830.) Leo XII. (Annib. 1724 England, 1727 Benedict XIIT. della Genga of -1760.1 (Vine. Maria Spoleto). Orsini). 1829 Pius VIII. 1730 Clement XII. (Franc. Xav. (Lorenzo Cor- Castiglione of sini). Cingoli). 1740 Benedict XIV. 1831 Gregory XVI. (Prosp. Lam- (Mauro Capellari hertini). of Belluno). 1742 Charles VII. 1846 Pius IX. (Gio- of Bavaria. vanni Maria 1745 Francis I. Mastai - Feretti 1758 [George III. of Clement XIII. of Sinigaglia). England, 1760 (Carlo Rezzo- 1878 Leo XIII. -1820.1 nico of Venice). (Joachim Pecci 1765 Joseph II. of Carpineto, b. 1769 Clement XIV. 2. March 1810, (Giov. Ant. Gan- Cardinal 1853. ganelli of Ri- Pope 20. Feb. mini). 1878). Rome is situated (41® 53' 54" N. lat., 12® 29" E. longit., meri¬ dian of Greenwich) in an undulating volcanic plain, which extends from Capo Linaro, S. of Civita Yecchia, to the Promontorio Circeo, a distance of about 85 M., and between the Apennines and the sea, a width of 25 M. The city is built on both banks of the Tiber, the largest river in the Italian peninsula, 14 M. from its influx into the Mediterranean. The prospect from one of the hills of Rome — and no city is more replete with ever-varying and delightful views — is bounded towards the E. by the unbroken chain of the Apennines, wliich rise at a distance of 10 to 20 M. In the^ extreme N. towers the indented ridge of Soracte (2260 ft.), occupying an isolated po¬ sition in the plain, and separated by the Tiber from the principal range of the Apennines. Farther E., and still more distant, is tlie Leonessa group (7257 ft.), which approaches the Central Apennines. Considerably nearer lies the range of the Sabine Mts. The summit at the angle which they form by their abutment on the Campagna is M. Gennaro (4163 ft.), the Lucretilis of Horace; the village at the base is Monticelli (1295 ft.). Farther off, on the slope of the hill, Res Tivoli, recognisable by its villas and olive-gardens. More towards the S., on the last visible spur of the Sabine Mts. (2513 ft.), The Tiber. ROME. Topograp hy. 137 is situated Palestrina, the Praeneste of antiquity. A depression 4 M. in width only, separates the Apennines from the volcanic Al¬ ban Mts , above which a few peaks of the distant Volscian Mts. appear. On the E. spur of the Alban Mts. lies the village of Co- lonna (1180 ft.). The following villages are Rocca Priora (23^2 ft.) and Monte Porzio (1529 ft.); then the town of Frascati (2218 ft.), below the ancient Tusculum. The highest peak of the Alban Mts. is M. Cavo (3130 ft.), once surmounted by a temple of the Alban Ju¬ piter, now by a Passionist monastery. On its slope lies the village of Rocca di Papa (2647 ft.), loftily and picturesquely situated, be¬ low which, towards the plain, is the town of Marino (1322 ft.). The village, with the castle farther to the AV. on the hill, is Castel Gandolfo; the mountain then gradually sinks to the level of the plain. Towards the W. the sea is visible from a few of the highest points only. On the N. the eye rests on the Janiculus (282 ft.), a volcanic chain of hills approaching close to the river, beyond which the horizon is bounded by mountains also of volcanic formation: towards the sea, to the left, the mountains of Tolfa (2040 ft.), then the heights around the lake of Bracciano with the peak of Rocca Romana (2018 ft.), the Ciminian Forest (now generally called the mountains of Viterbo, 3464 ft.); the nearest point to the right is the crater of Baccano, with the wooded hill of M. Musino (1319 ft.). The plain enclosed by this spacious amphitheatre of mountains, and intersected by the Tiber and the Anio, which descends from Tivoli and falls into the former 1^2 above Rome, contains a sprinkling of farms and villages, but is far more replete with witnesses of its former greatness and present desolation in the innumerable and ex¬ tensive ruins w^hich cover it in every direction. The Wall by which modern Rome is surrounded is 14 M. in length, constructed of brick, and on the outside about 55 ft. in height. The greater part of it dates from 271 to 276, having been begun by the Emp. Aurelian, completed by Probus, and subsequently restored by Ilonorius, Theodoric, Belisarius, and several popes. The city is entered by Tavelve Gates (several of earlier date being now walled up). Of these the most important is the Porta del Popolo^ whence the grand route to N. and E. Italy issues, afterwards crossing the Tiber by the Ponte Molle, O /2 W. from the city. Receding from the river, follow: Porta Sahara., Porta Pia., Porta S. Lorenzo (road to Tivoli), Porta Maggiore (to Palestrina), Porta S. Giovanni (to Frascati and Albano), Porta S. Sebastiano (Via Appia), Porta S. Paolo (to Ostia). Then, on the right bank of the Tiber: Porta Por- tese (to Porto), Porta S. Pancrazio, Porta Cavaleggieri., and Porta Angelica. The Tiber reaches Romes after a course of about 216 M., and intersects the city from N. to S. The water is turbid (the ^jlavus Tiberis' of Horace), and rises to a considerable height after con¬ tinued rain. The average width of the river is about 65 yds. and 138 Topography. ROME. The Hills of Rome. its depth 20 ft. , hut it sometimes rises as much as 30-35 ft., as was the case during the great inundation of 1871. The con¬ struction of an artificial channel for the river is projected. The navigation of the river, by means of which the commerce of im¬ perial Rome was carried on in both directions, with transmarine nations as well as with the Italian provinces, is now comparatively insignificant. The Tiber enters the city not far from the base of M. Pincio, and describes three curves within its precincts: the first towards the S.W. , skirting the quarter of the Vatican, the second to the S.E., bounding the Campus Martins and terminating at the island and the Capitol, and the third to the S.W., quitting the city by the Aventine. On the Right Bank of the Tiber lies the more modern and smaller portion of the city. This part is divided into two halves: on the N. the Borgo around the Vatican and St. PeteVs, encircled with a wall by Leo IV. in 851 and erected into a separate town; on the S., lying on the river and the slopes of the Janiculus, Tras- teverCj which from a very remote period has formed a tete-de-pont of Rome against Etruria, and was a densely populated suburb in the reign of Augustus. These two portions are connected by the long Via della Longara^ constructed by Sixtus V. — The banks of tlie Tiber are connected by means of Five Bhidges : the Ponte S. An¬ gelo near the castle of that name, below which the Ponte LeoninOy a new suspension bridge, crosses from the Longara; then from Tras- tevere the Ponte Sisto ; another traverses the island, the portion from Trastevere to the island being called Ponte S. Bartolommeo., and thence to the left bank the Ponte de Quattro Capi; finally, be¬ low the island, is the Ponte Rotto. The more ancient portion of the city, properly so called, lies on the Left Bank, partly in the plain which extends along the river, the ancient Campus Martins, and partly on the surrounding hills. Modern Rome is principally confined to the plain, whilst the Heights on which the ancient city stood are now to a great extent un¬ inhabited, but have recently again begun to be occupied by houses. These are the far-famed Seven Hills of Rome. The least exten¬ sive, but historically most important, is the Capitoline (161 ft.), which rises near the Tiber and the island, and at the present day- forms to some extent the barrier between ancient and modern Rome. It consists of a narrow ridge extending from S.W. to N.E., culmin¬ ating in two summits, separated by a depression: on the S.W. point, towards the river, stands the Palazzo Caffarelli, and on that to the N.E., towards theQuirinal, the church of S. Maria in Araceli. Contiguous to the Capitoline, in a N.E. direction, and separated from it by a depression which the structures of Trajan consider¬ ably widened, extends the long Quirinal (170 ft.). On the N. a valley, in which the Piazza Barberini is situated, separates the Quirinal from the Pincio (164 ft.), which, as its ancient appellation Population. ROME. Topography . 139 ‘collis hortorum’ indicates, was occupied by gardens, and not re¬ garded as a portion of the city. To the E. of the Quirinal, but con¬ siderably less extensive, rises the Viminal (177 ft.). Both of these may be regarded as buttresses of the third and more important height, the EsquUine (246 ft.), which, forming the common basis of these two, extends from the Pincio on the N. to the Cielius. Its distinguishing feature with regard to modern Rome is the con¬ spicuous church of S. Maria Maggiore 5 with regard to ancient Rome, S. Pietro in Vincoli and the ruins of the Thermae of Titus, where it approaches the Quirinal, Palatine, and Csslius. To the S. E. of the Capitoline, in the form of an irregular quadrangle, rises the isolated Palatine (165 ft.), with the ruins of the palaces of the emperors, and on the low ground between these hills lies the ancient Forum. Farther S., close to the river, separated from the Palatine by the depression in which the Circus Maximus extended, is the Aventine (151 ft.), with the churches of S. Sabina, S. Balbina, etc. Finally, to the E. of the latter, the long-extended Caelius (161 ft.), with S. Gregorio and S. Stefano Rotondo; in the low ground between the Ccelius, Palatine, and hlsquiline is situated the Colosseum; farther E., by the city-wall, between the Cselius and Esquiline, is the Lateran. By far the greater portion of the area enclosed by the walls, which was inhabited during the imperial period by million souls, is now untenanted. On the Palatine, Aventine, Caelius, Esquiline, and the whole of the region immediately within the walls, streets once densely peopled are now replaced by the bleak walls of vine¬ yards. The Modern City is divided into two halves by the Corso, or principal street, which runs from N. to S., from the Porta del Popolo to the Piazza di Venezia in the vicinity of the Capitoline. The E. half, at the base and on the ridge of the Pincio and Quiri¬ nal, presents a modern aspect, and is the principal resort of stran¬ gers. The W. half, on the bank of the Tiber, consists of narrow and dirty streets, occupied by the humbler classes. Population. According to the last census, 31st Dec. 1871, Rome contained 244,484 inhabitants (now about 285,000j, of whom 29,000 were temporary Italian residents and 5687 soldiers. Of these 115,767, including children, could neither read nor wYite. There were 1428 secular clergymen, 2175 monks (of whom 179 on¬ ly were natives of Rome), 1824 nuns; 232,665 Roman Catholics, 3798 Protestants, 4619 Jews, and 3402 professors of other creeds. The monasteries covered one-seventh of the area occupied by build¬ ings , and one-eighth of the remainder of the area of the city also belonged to them. One-third of the area in secular hands belonged to various corporations, one-third was held by the municipality in trust for public purposes, and the remaining third was the private property of individuals. The following description of Rome is arranged in accordance 140 1. Strangers' Quarter. ROME. Piazza del Popolo. with a division of the city into five principal quarters, the extent of which is marked on the clue-map at the end of the Handbook. Each of these quarters possesses monuments which in many respects impart to it a distinctive character of its own, though of course numerous monuments of all periods are scattered throughout the city. I. Strangers' Quarter and Corso, which constitute modern Rome, and are the chief centre of business. II. The Quirinal., Viminal^ and Esquiline Hills j to the E., covered with houses in ancient times, but until recently quite un¬ inhabited. III. Rome on the Tiher^ the closely packed and tortuous city of the middle ages, the abode of the poorer classes. IV. Ancient Rome, to the S.., mostly uninhabited, but containing the most important monuments of antiquity. V. The Right Bank of the Tiber, including the Vatican, St. Pe¬ ter s, the Longara, and Trastevere. Lastly, we add a description of the Catacombs ^ to which a separate paragraph is devoted. I. Strangers' Quarter and Corso. The N. entrance to Rome is formed by the Porta del Popolo (PI. I, 15), not far from the Tiber, through which, before the con¬ struction of the railroad, most visitors approached the Eternal City. The gate ’svas constructed in 1561 by Vignola, and the side towards the town embellished by Bernini in 1655, on the occasion of the entry of Queen Christina of Sweden. Two side-portals are at present being added. The gate is named after the adjoining church of S. Maria del Popolo (see below), opposite to which are the Barracks of the Carabinieri. — Outside the gate, on the right, is the Villa Borghese, see p. 161. — Within the gate extends the handsome "^'Piazza del Popolo (PI. I, 15, 18), adorned with an Obe¬ lisk between four w’ater-spouting lionesses, which was brought by order of Augustus from Heliopolis, after the defeat of Antony, placed in the Circus Maximus, and, according to the inscription, dedicated to the Sun. It w’as removed to its present position by order of Sixtus V. in 1589. The shaft is 78 ft. in height, and the whole monument with the pedestal and cross 118 ft. Towards the W. the Piazza is bounded by an arched wall with figures of Neptune and Tritons, opposite w^hich is a similar stru ture adorned with Roma between the Tiber and the Anio. On each side of the latter is an approach to the Pincio (p. 142). Three streets diverge from the piazza on the S.: to the right the Via di Ripetta (p. 187), parallel with the river; in the centre the Corso (p. 146); and to the left the Via del Babuino, leading to the Piazza di Spagna (p. 144). — Betw'een the two latter streets S. Maria del Popolo. ROME. I. Strangers'Quarter. 141 stands the church of S. Maria in Monte Santo, adjacent to which, on the right, is that of S. Maria de" Miracoli, both dating from the latter half of the 17th cent., with domes and vestibules, designed by Rinaldi, and completed by Bernini and Fontana. *S. Maria del Popolo, said to have been founded byPaschalis II. in 1099 on the site of the tombs of the Domitii, the burial-place of Nero which was haunted by evil spirits, was entirely re-erected by Baccio Pintelli under Sixtus IV. in 1477, and the interior after¬ wards decorated by Bernini in ihe rococo style. It consists of nave, aisles, transept, and octagonal dome, and contains numerous works of art, in particular several handsome monuments of the 15th cent. (The sacristan shows the choir and chapels; fee 1/2 j Right Aisle. The 1st Chapel, formerly della Rovere., now Vemiii, was painted by PinturiccMo: * altar-piece, Adoration of the Infant Christ; in the lunettes, life of St. Jerome. On the left, the tomb of Cardinal della Rovere, right, that of Cardinal di Ca-stro. In the 2nd Chapel: Assumption of Mary, al¬ tar-piece by C. Maratta. 3rd Chapel, painted by PinturiccMo: above the altar. Madonna with four angels-, on the left. Assumption of the Virgin; in the lunettes, scenes from the life of Mary; in the predelle representations of martyrs in grisaille; on the right, tomb of Giov. della Rovere (d. 1483); on the left, recumbent bronze figure of a bishop. In the 4th Chapel marble- sculptures of the end of the 15th cent, above the altar: St. Catharine be¬ tween St. Antony of Padua and St. Vincent; right, tomb of iMarcantonio Albertoni (d. 1485); left, that of the Cardinal of Lisbon (d. 1508). Right Transept. On the right, tomb of Cardinal Podocatharus of Cyprus. Near it is a door leading into a passage, at the end of which is the sacristy, containing the former * canopy of the high-altar of Alexander VI. of the year 1492, with an ancient Madonna of the Sienese school and the beautiful monuments of (1.) Archbishop Rocca (d. 1482), and (r.) Bishop Gomiel. Left Aisle. In the 1st Chapel, on the left and right of the altar, two ciboria of the 15th cent.; left, tomb of Card. Ant. Pallavicini (erected 1507). By a pillar near it the rococo monument of a Princess Chigi, by Posi (1771). The *2nd Chapel was constructed under the direction of Raphael by Agostino Chigi in honour of St. Mary of Loreto; on the vaulting of the dome eight ^mosaics by Aloisio della Pace (1516), from Raphael’s cartoons, the Creation of the heavenly bodies: the sun, the moon. Mercury, Venus, Mars, Jupiter, and Saturn, who, conducted by angels, perform the circuit of the universe; in the lantern an emblem of God the Father, surrounded by angels; altar- piece, Nativity of the Virgin, by Sebastiano del Piombo^ the other pictures by Salviali. Bronze relief at the altar, Christ and the Samaritan woman, by Lorenzetto; in the niches four statues of prophets : at the altar (1.) "Jonah, by Raphael, and (r.) Habakkuk, by Bernini; at the entrance, (1.) Daniel, by Bernini, and (r.) Elijah by Lorenzetto, designed by Raphael. In the Left Transept the tomb of Cardinal Bernardino Lonati (15th cent.). In the Choir ^ceiling-frescoes byMadonna, the Four Evan¬ gelists, and the Four Fathers of the church, Gregory, Ambrose, Jerome, and Augustine. Beneath are the *tombs of the cardinals Girolamo Basso and Ascanio Sforza by Andrea Sansovino, erected by order of Julius II. The same pope is said to have caused the two fine stained glass windows to be executed by Claudius and William of Marseilles. The church gives a title to a cardinal. In the adjacent Augustiniaii monastery Luther resided during his visit to Rome. If we ascend the Pincio by the approaches above named (the gates are closed one hour after Ave Maria), we observe in the first circular space two columns {columnae rostratae^, adorned with the Pincio. 142 7. Strangers' Quarter. ROME. prows of ships, from the temple of Venus and Roma fp. 232); in the niches three marble statues, and above them caj tive Dacians, imitations of antiques. Beyond these, farther up, a large relief. Halfway up stands a large antique granite basin with a fountain. The *Pincio (PI. I, 18), the collis hortorum, or ‘hill of gardens’, of the ancients, probably derived its name of Mons Pincius from a palace of the Pincii situated here in the later period of the empire. Here were once the celebrated gardens of Lucullus, in which Messalina, the wife of Claudius, afterwards celebrated her orgies. A vineyard belonging to the monastery of S. Maria at the foot of the hill was converted by Valadier, during the Napoleonic regime, into beautiful pleasure-grounds, the Passeggiata of Rome. This is a fashionable drive in the evening, when the visitors to the grounds frequently pay and receive visits in their carriages, pre¬ senting a gay and characteristic scene which the traveller should not omit to see. A military band generally plays here on Sundays and Thursdays (but the days are sometimes changed), two hours before sunset, attracting a large audience of all classes. The walks are shaded by plantations and groups of trees, and, on the suggest¬ ion of Mazzini in 1849, adorned with busts of celebrated Italians, to which recently many additions have been made. — The project¬ ing terrace at the summit (151 ft.), on which an Equestrian Statue of Victor Emanuel has lately been erected, commands a magnifi¬ cent *ViEW of modern Rome. *ViEW. Beyond the Piazza del Popolo with the buildings above described, on the opposite bank of the Tiber, rises the huge pile of St. Peter’s, con¬ tiguous to which is the Vatican to the right, and near it the city-wall. Of the chain of hills which here bound the horizon, the point planted with cy¬ presses to the right, where to the right the yellow Villa Mellini is situated, is Monte Mario; more to the left, the white building of the new Tivoli. To the left of St. Peter’s, close to the Tiber, which, however, is not visible from this point, is the round castle of S. Angelo, so called from the bronze angel by which it is surmounted. The pine-grove on the height to the left of the castle belongs to the Villa Doria-Pamfili. Farther to the left, on the height, the facade of the AcquaPaola, adorned with a cross. Between the spectator and the river is a labyrinth of houses and churches. The following points will serve as landmarks. The two nearest churches are: that with the two towers to the right, S. Giacomo in the Corso, that with the dome to the left, S. Carlo in the Corso; between the two appears the flat dome of the Pantheon, beyond which a part of the Campagna is visible. To the left of this, on the height in the extreme distance , rises the long, undecorated side of a church, behind which a tower appears; the church is S. Maria in Aracoeli, and the tower belongs to the senatorial palace on the Capitoline hill. On the right side of the Capitol lies the Palazzo Caffarelli (residence of the German ambassador), in front of which the upper portion of the column of M. Aurelius in the Piazza Colonna is visible. Adjacent to the Capitoline, on the left, is the bright-looking Villa Mills (now a nunnery), shaded by cypresses , on the Palatine. Farther to the left a low brick-built tower on the Quirinal, the so-called Torre di Nerone. To the extreme left, and less distant, is the extensive royal palace on the Quirinal. The N. side of Ihe Pincio is supported by lof-'y walls, opposite which are the well-planted grounds of the Villa Borghese. On the E. side we obtain a view of a large fragment of the city wall. In a Villa Medici. ROME. /. Strangers' Quarter. 143 small round space near the middle of the hill, where there is a Cafe^ rises the Obelisk, which Hadrian once erected in Egypt to the memory of Antinous. It was afterwards brought to Rome, and erected here in 1822. Proceeding in a S. direction, we leave the Pincio grounds by a gate (closed one hour after sunset), before reaching which we observe to the left the white Villa Medici with its two corner-turrets, now the seat of the Academie Fran^aise; in front of it is an avenue of evergreen-oaks and a fountain, whence a celebrated view of St. Pe¬ ter’s, most striking towards evening or by moonlight, is obtained. The Villa Medici (PI. 1, 18), erected in 1540 by Annibale Lippi for Cardinal Ricci da Montepulciano, came into possession of Car¬ dinal Alessandro de’ Medici about 1600, and subsequently into that of the grand-dukes of Tuscany. In 1801 the French transferred thither the seat of their academy of art, founded by Louis XIV. The entrance to the garden, to which visitors are readily admitted, is by the gate to the left, or by the staircase to the right in the house (5-6 soldi). Ancient reliefs have been built into the walls of the tastefully deco¬ rated facade of the villa next to the garden. The right wing contains a Collection of Casts (open daily, except Saturdays, 8-12, and in the after¬ noon till near sunset), comprising many from statues, etc., not preserved at Rome, e. g. from the Parthenon of Athens, and the museum of the Louvre, which are valuable in the history of art. Adjoining the wing is a terrace, the front-wall of which is adorned with casts. We then enter by a side-door, opposite the museum of casts, wdiich if closed will be opened by the porter (25 c.), and ascending, traverse the oak-grove in a straight direction to the right. We next ascend 60 steps to the "'Belvedere, whence a charming panorama is enjoyed. On the N. the shady pleasure grounds of the Villa Medici are bounded by the Pincio. Most of the statues with which they are embellished are modern. The street passing the front of the Academy ends in the Piazza DELLA Tkinita, where to the left rises the church of SS. Trinita de’Monti. The Obelisk in front of it, a conspicuous object from many points, is an ancient imitation of that in the Piazza del Popolo, and once adorned the gardens of Sallust. SS. Trinita de' Monti (PI. I, 20), erected by Charles VIII. of France in 1495, and plundered during the French Revolution, was restored by Magri in 1816 by order of Louis XVIII. The church is open on Sundays only before 9 a. m., and in the evening during Vespers (1 hr. before Ave Maria), when the nuns, for whom Men¬ delssohn once expressly composed several pieces, perform choral service with organ-accompaniment. When the door is closed, visi¬ tors ascend a side-stair on the left, and ring at a door protected by a roof. Left, 1st Chapel : Cast of the Descent from the Cross, by Achtermann. 2nd Chapel: an altar-piece al fresco, * Descent from the Cross, by Daniel da Volterra, master-piece of the artist (much injured and freely restored) ^ the excellence of the di’awing and composition is attributed to the assis¬ tance of Michael Angelo. 3rd Chapel : Madonna, altar-piece by Veit. 4th Chapel: St. Joseph, by Langlois. 6th Cliapel: Christ, the Wise and Foolish 144 7. Strangers' Quarter. ROME. Piazza di Spagna. Virgins, and Return of the Prodigal, an altar-piece by Seilz. — Right, 3rd Chapel: Assumption of the Virgin, Dan. da Vollerra. 5th Chapel: Presentation in the Temple, Adoration of the Magi, Adoration of the Shepherds, a work of the school of Raphael. 6th Chapel: Resurrection, Ascension, Descent of the Holy Ghost, school of Per\igino. — In the Tkan- SEPT, which is supported by Gothic arches, paintings by Perino del Vaga and F. Zuccaro. The convent connected with the church has been occupied by tlie Dames du Sacre Coeiir (teacliers of girls) since 1827. We quit the piazza to the left by the Via Sistina, which leads in 5 min. to the Piazza Barberini (p. 164), and in 20 min. more to S. Maria Maggiore fp. 178). To the right is the small Via Gregoriana^ which after 3 min. is intersected by the Via Capo le Case (p. 163). No. 64 in the Via Sistina, immediately to the right, is the Casa Zuccari, once the property of the family of the artists of that name (marked by a memorial tablet in 1872; paintings by Federigo Zuc¬ caro on the ground-floor). At the beginning of the present century the house was occupied by the Prussian consul Bartholdy (whence it is frequently named Casa Bartholdy) who caused one of the apart¬ ments to be adorned with *Fiiescoes from the history of Joseph by the most celebrated German artists then at Rome. (The house being a private dwelling, the hour for seeing the frescoes is frequently changed. Enquiry should therefore be made of the porter; 1 fr.) On the long window-wall: left. Overheck. Joseph sold; right, Joseph and Potiphar’s wife. On the short window-wall: Cornelius., Recognition of the brethren. In the lunette above : -'Overheck., The Seven lean Years. On the second long wall: left, Joseph’s interpretation of the dreams in prison; right, the Brethren bringing Jacob the bloody coat, both by W. Schadoic. On the second short wall: Cornelius , Joseph’s interpretation of Pharaoh’s dream; in the lunette above, *Fe^7, The Seven Years of Plenty. The two allegorical representations are among the finest creations of modern Ger¬ man art. The long Scala di Spagna^ which descends from S. Triiiita by 125 steps, was constructed by Specchi and de Sanctis in 1721-25, and was formerly a favourite resort of beggars, who are now dis¬ persed over the whole city. Models for artists with their picturesque costumes frequent its vicinity, especially towards evening. Tlie Piazza di Spagna (PI. 1, 17; 82 ft.), the centre of the strangers’ quarter, is surrounded by hotels and attractive shops. At the foot of the steps is La Barcaccia (barque), a tasteless fountain by Bernini. Towards the N. the Via delBabuino, in which there are also many hotels, leads to the Piazza del Popolo (see p. 140). In the S. prolongation of tliis long piazza rises the Co- Lumn of the Jmmacolata (PI. I, 20, i), erected by Pius IX. in lionour of the ‘Immaculate Conception of the Virgin’, a doctrine promulgated for the first time in 1854; on the summit of the ci- polline column stands the bronze statue of Mary; beneath are Mo¬ ses, David, Isaiah, and Ezekiel. At the 8. extremity of the piazza is the Collegio di Propaganda Fide (PI. I, 19, 16), founded in 1662 by Gregory XV., and ex¬ tended by his successor Urban Vlll. (whence ^Collegium Lrbanurn'), Fontana di Trevi. ROME. I. Strangers Quarter. 145 an establishment for the propagation of the Roman Catholic faith, in which pupils of many different nationalities are educated as missionaries. The printing-office of the college was formerly celebrated as the richest in type for foreign languages. — On the right is the palace of the Spanish ambassador, whence the piazza derives its name. Near the column of the Immacolata, to the left, is the small Piazza Miynanelli. Immediately opposite the Scala di Spagna is the Via dk’ Con- dotti, with its numerous shops of jewellery, mosaics, antiquities, photographs, etc. It terminates in the Corso, opposite the spacious Palazzo Ruspoli (p. 147). From the Piazza di Spagna, in a S.E. direction, to the left of the Propaganda, runs the Via de' Due Macelli., and to the right the Via di Propaganda. If we follow the latter, we reach the church of S. Andrea delle Fratte (PI. I, ID) at the corner of the Via di Capo le Case., the next transverse street (p. 163). It was erected under Leo XI. by La Guerra; the unsightly dome and campanile are by Borromini; the facade was added in 1826 by Valadier in consequence of a bequest by Cardinal Consalvi. The pictures in the Interior are poor works of the 17th cent.: the two angels by the tribune, by Bernini., were originally destined for the bridge of S. Angelo. In the 2nd Chapel on the right is (on the right side) the monument of Lady Falconet by Miss Uossmer; on the last pillar to the right, in front of the aisle, the monument of the artist R. Schadow by E. Wolff. In the 3rd Chapel to the left, by the right wall, is the tomb of Angelica Kaullmann. The Danish archseologist Zoega and a converted prince of Morocco are also interred in this church. At the extremity of the Via di S. Andrea delle Fratte we cuter the narrow Via del Nazzarbno to the left. On the left is the Col- leyio Nazzareno (in the court several ancient statues), founded by Card. Tonti (1622) for the education of destitute boys. Opposite is the Pal. del Bufalo. Then, to the left, the Via dell’ Angelo Cus- tode (in which, immediately to the right, is the small church of SS. Anyeli Custodi) and the Via del Tritone lead direct to the Piazza Barberini (p. 164). We turn to the right into the Via della Stamperia, so called from the ex-papal Printing-Office situated in it (right). Adjacent to the latter is the extensive royal Engraving InstitiitGfRegia Calco- yrafia, p. 110), with warehouse, where the office of the Minister of Commerce is also now established. No. 4 is the entrance to the German Artists' Association. We now reach the *Fontana di Trevi (PI. I, 19), which vies in magnificence with the Acqua Paola. It is erected on the side-wall of the Palazzo Poll, and w^as completed from a design by Niccolh Salvi in 1762; in the central niche Neptune, by Pietro Bracci, at the sides Health (left) and Fertility (right); in front of these is a large stone basin. The ancient Aqua Virgo., now Acqua Vergine, which issues here, was Baedeker. Italy II. 6th Edition. 10 1 46 7. Stranger-'^' Quarter. ROME. The Corso and its conducted by M. Agrippa from the Campagna, chiefly by a subterranean cliannel 14 M. in length, to supply his baths at the Pantheon (p. 197), in B. C. 27. It enters the city by the Pincio, not far from the Porta del Po- polo. Tradition ascribes the name to the fact of a girl having once pointed out the spring to a thirsty soldier. The fountain was restored by Hadrian I. and Nicholas V. among other popes. In 1453 the latter conducted hither the main stream of the aqueduct, and the fountain then exchanged its ancient name for its present name of Trevi (a corruption of ‘Trivio’), which it derives from its three outlets. This aqueduct yields per day upwards of 13 million cubic feet of water, which is according to many the best in Rome. The fountains in the Pia/za di Spagna, the Piazza Navona, and the Piazza Farnese are also supplied from the same source. At ancient arch of this aqueduct, with an inscription to the eflect that it was restored by the Enip. Claudius, is still to be seen at No. 12, Via del Nazzareno, in the court. On quitting Rome, the superstitious partake of the water of this fountain, and throw a coin into the basin, in the pious belief that their return is thus ensured. Opposite to this fountain is the church of SS. Vincenzo ed Ana¬ stasia (PI. I, 19, 3), erected in its present form, with a degraded facade, by the well-known Card. Mazzarini. The Via di S. Vincenzo terminates in the Via della Dataria (left), which leads to the Quirinal (p. 170). The busy Via delle Muratte leads to the right from the Fontana Trevi to the Corso. The Corso. . The *Corso, which corresponds with the ancient Via Flaminia leading from the Capitol, extends from the Piazza del Popolo (p. 140), between the Via di Ripetta and Via del Babuino, to the Piazza di Venezia, and is now the principal street of Rome, with numerous shops, and enlivened, especially towards evening, by crowds of carriages and foot-passengers. The Carnival is celebrated here, and the whole street is then thickly strewm with puzzolana earth for the horse-races, the horses* starting from the Piazza del Popolo. From the Piazza del Popolo to the Via Condotti is a distance of 750 yds., thence to the Piazza Colonna (p. 148) 520, and thence to the Piazza di Venezia 610 yds. , i.e. a total distance of 1880 yds., or upwards of a mile. From each side diverge numerous streets and lanes, which to the right lead to the crowded purlieus on the bank of the Tiber, and to the left to the now partially un¬ inhabited hills of the city. The first part of the street as far as the Piazza S. Carlo is less frequented than the other portions. No. 518, to the right between the first and second transverse streets, is the Pal. Rondinini (PI. I, 17, 18), the court of which contains an unfinished Pieta by Michael Angelo. No. 18, the house opposite the palace, was once inhabited by Goethe^ inscription: ‘In questa casa immagino e scrisse cose immortali Wolfgango Goethe. II Comune di Roma a memoria del grande ospite pose 1872’. On the right, beyond the third transverse street, stands the church of 8. Giacomo in Augusta, or degli Incurahili (PI. 1, 17, 2), Side-Streets. ROME. 7. Strangers^ Quarter. 14/ with a facade by C. Maderna. It belongs to the adjoining surgical hospital, which extends as far as the Via Ripetta and accommodates 340 patients (founded 1338, enlarged 1600). Nearly opposite, on the left, is the small Augustinian church of Gesii e Maria ( PI. I, 17, 4), with fagade by Rinaldi. — In the Via de’ Pontefici , the third transverse street from this point to the right, is the Mauso¬ leum of Augustus (p. 187). The Pi.^^zzA S. Carlo is next reached. Here, on the right, is S. Carlo al Corso (PI. I, 17), the national church of the Lombards, and the resort of the fashionable world, with a tasteless fa(;,ade. It was erected in the 17th cent, by the two Lun.ghi and Pietro da ('ortona. The ceiling-paintings of the Interior are by Giacinio Brandi. At the high-altar is one of the finest works of Carlo Maratta : the Virgin recom¬ mending S. Carlo Borromeo to Christ (the heart of the saint is preserved under the altar). The chief festival of the church is celebrated on 4th Nov. On the opposite side, the Via Carrozza, and farther on the V7a de' Condotti diverge to the left to the Piazza di Spagna (p. 144); while the prolongation of the latter to the right, the Via della Fon- tanella di Boryhese , leads to the Palazzo Borghese (p. 188) and the bridge of S. Angelo (p. 276). Farther on in the Corso, on the right, No. 418 A, is the spacious Palazzo Ruspoli (PI. I, 16), built in 1586 by Ammanati, and now containing the Banca Nazionale. To the left the Via Borgognona and Via Frattina diverge to the Piazza di Spagna. In the small piazza which lies opposite the en¬ trance of the Via Frattina, to the right of the Corso, rises on the left S. Lorenzo in Lucina (PI. I, 16), a church of very ancient origin, but frequently restored. The campanile, the upper part of which is modern, is now the only old part of the building. The church, with the adjoining monastery, has since 1606 belonged to the Minorites, who have given it its present form. The Portico is supported by four columns^ at the door are two half- immured mediaeval lions. — In the Interior , by the 2nd pillar to the right, is the tomb of Nic. Poussin (d. 1665), erected by Chateaubriand ^ above the high-altar a Crucifixion by Guido Rent. A new Protestant Church is also situated in this piazza. — Om¬ nibus hence to the Piazza of St. Peter, see p. 113. Farther on, to the right, standing a little back from the street and concealed by other houses, is the uncompleted Pal. Fiano (PI. I, 16, 5). In front of it, in the Corso (see inscription on opposite house, No. 167, which records that Alexander VII. levelled and widened the Corso in order to afford space for the horse-races) a triumphal arch of M. Aurelius stood until 1662; some of the reliefs are now preserved in the palace of the Conservator! (p. 214). On the right is the Pal. Teodoli (No. 385). Opposite to it the Via delle Convertite leads to the Piazza di S. Silvestro, in which rises the venerable church of S. Silvestro in Capite (PI. I, 16), erected, together with a monastery, by Paul I. (757-67) on the site 10* 148 /. Strangers^ Quarter. ROME. The L 'orso and its of liis own house. Tlic entrance court lias been preserved, but the cliurcli itself has been frequently rebuilt. The head of John the liaptist is said to have been preserved here since the 13th cent, (festival on 31st Dec.), whence the addition to the name ‘in capite’. — Opposite S. Silvestro is the new English Church (p. 113), erected in 1874, with a handsome fai^ade in the early Renaissance style. On the right is the Pal. Verospi (No. 374), now Torlonia, erected by Onorio Lunghi, and restored by Alessandro Specchi. A loggia on the lirst floor is adorned with pleasing mythological frescoes by Ft. Alhani., distantly recalling the famous Farnesina works (p. 321). To the right, farther on, at the corner of the Piazza Colonna, is the extensive Pal. Chigi, begun in 1526 by Giac. della Porta., and completed by C. Madernn. It contains a few antiques and a small collection of pictures, but is not open to the public. Applicants for admission to the Bibliotheca Chisiana, which possesses valuable MSS., must be provided with an introduction from their ambassador. The handsome *Piazza Colonna (PI. I, 16) is bounded on the right by the Pal. Chigi, opposite which is the Pal. Ferrajuoli (PI. 1, 16, ‘20). In the Corso is situated the Pal. Piomhino (PI. I, 16, 22), } and opposite the Corso the old Post-Office., with ancient Ionic col¬ umns on the facade, brought from Veil (p. 377). In the centre of the piazza, to which it gives its name, stands the "^Column of Marcus Aurelius, embellished like that of Trajan with reliefs from the wars of the emperor against the Marcomanni and other German tribes on the Danube. It consists of 28 blocks, besides the basement and capital, being altogether 95 ft. in height, and is approached by steps. Sixtus V. caused it to be restored in 1589, and ascribed it, according to the then prevalent opinion, to Antoninus Pius, by whose name it is still frequently designated. On the summit is a statue of St. Paul. The four large candelabra are of recent date. The piazza is very animated in the evening. The band, which usually plays on the Pincio, performs here in the height of summer (p. 142). Adjoining the Piazza Colonna (beyond the post-oflice) is the Piazza di Monte Citorio, on the right side of which stands the spacious Camera de^ Deputati (PI. I, 16, 24), formerly the po¬ lice-office. The design of the building by Bernini was afterwards modilied by C. Fontana. The court in the interior was covered with a roof in 1871, fitted up for the sittings of the Italian parlia¬ ment, and inaugurated on 27th Nov. of that year. Visitors obtain cards of admission at the office. The rising of the piazza towards the N. is due to the buried ruins of the vast amphitheatre of Sta- tilius Taurus, erected B.C. 31, and the only amphitheatre at Rome prior to the construction of the Colosseum. Rows of seats have been discovered here at a depth of 88 ft. below the present level of the piazza. Side-Streets. ROME. I. Strangers' Quarter. 149 In the Piazza di Monte Citorio are also situated (No. 12) the Railway Office (p. 113) and to the left (No. 127), on the S. side, the Telegraph Office. — The Obelisk in the centre of the piazza, like that in the Piazza del Popolo (p. 140), was brought to Rome by Augustus, and was used as the indicator of a sun-dial. It stood till the 9th cent., was afterwards overthrown, but was restored and erected here in 1789 under Pius VI. It was originally erected in the 7th cent. B.C. by Psammetichus I. The total height, includ¬ ing the globe and the pedestal, is 84 ft. Turning to the right at the foot of the Monte Citorio (S.E.), and crossing the small Piazza Capranica (p. 197), we reach the Pantheon, see p. 195; to the left we proceed to the Piazza ni Pie- TRA, in which is the ’^‘Dogana di Terra (PI. I, 16, IS). Immured in the fa(;ade are eleven Corinthian columns of a temple, which once possessed fifteen in its length and eight in its breadth. The style is mediocre, and not earlier than the 2nd cent. The edifice is gener¬ ally, but without authority, called the Temple of Antoninus Pius. The Via de' Pastini leads hence to the Pantheon (p. 195), while the Corso is regained by the Via di Pietra to the left. In the church of S. Maria in Campo Marzo (PI. I, 16, 2), to the W. of the Piazza di Monte Citorio, the new Government Archives are established, comprising the charters and documents of the ex- papal authorities, suppressed monasteries, etc. Continuing to follow the Corso from the Piazza Colonna, we ob¬ serve, to the left, opposite the above named Via di Pietra, the Via delle Muratte (p. 146), leading to the Fontana Trevi. Farther on, also on the left, where the Corso expands into the Tiazza Sciarra’, we reach the *Palazzo Sciarra-Colonna (No. 239 ; PI. I, 16), the handsomest palace in the whole street, erected in the 17th cent, by Flaminio Ponzio, with a portal of later date. The Picture Gallery which this palace contains is said to have been partly sold, while the rest is expected to share the same fate, and visitors cannot reckon with certainty on obtaining permission to see it. The cliief treasures of the collection were: Raphael , Violin player, dated 1518 (differing from Raphael’s other portraits in the treatment of the fur^ name of the person represented unknown) ^ Titian., ‘Bella di Tiziano’, signed ‘Tamhend’^ Bern. Luini., ‘Vanity and Modesty’, half-figures, the heads resembling those of Leonardo in tyjie ^ Caravaggio, Players^ Perugino, St. Sebastian; Guido Reni, Magdalene, a work which it is difficult to ap¬ preciate after Titian’s Bella, but a good specimen of the master’s female heads. The Via del Caravita, the first side-street on the right, leads to the Piazza di S. Ignazio (PI. II, 16), in which is the Jesuit church of S. Ignazio, designed by Padre Grassi, with a fai^-ade by Algardi (1685). The building was begun by Card. Ludovisi in 1626, after the (Canonisation of the saint, but not completed till 1675. Interior. The impression is marred by the bad taste of the decora¬ tions, which, however, are less obtrusive than in most Jesuit churches. 150 J. Strangers^ Quarter. ROME. The Cor so and its The paintings on the vaulting, dome, and tribune, and the picture over the high-altar are hy the Padre l*ozzi an able master of perspective, by whom the chajiel of St. Lod. Oonzaga, in the aisle to the right, was also designed. The perspective of the paintings on the ceiling and dome is correctly seen from a circular stone in the centre of the nave. The choir of the church adjoins on the S. the Gollegio Eomano (PI. 11, 1(3), formerly a well attended Jesuit establishment, where the higher branches of classics, mathematics, philosophy, etc. were taught, and degrees coiilerred. The extensive building was erected at the end of the 16th cent., in the pontitic.ates of Gregory XIJl. and Sixtus V. , by B. Ammanaii. The massive principal facade looks towards the Piazza del Collegio Romano. A number of the rooms are occupied by the new Bihlioteca Vittorio Emanuele., the nucleus of which consists of the old Library of the Jesuits (63,000 vols. and 2000 MSS.), augmented by the libraries of numerous suppressed monasteries (in all about 450,000 vols. and several thousand MSS.). Special attention is devoted to the department of modern literature. The library (adm., see p. 109) possesses a well-arranged reading room, and is connected by a bridge with the Biblioteca Casanatense (p. 198). — The building also contains the Liceo Ennio Quirino Visconti, the new Museo Preistorico, and the *Museo Kiiichkiiiano, founded by the learned Athanasius Kircher, born in 1601, a Jesuit and teacher at Wurzburg in 1618, afterwards professor of mathe¬ matics in the Coll. Romano, and celebrated for his mathematical and scientific discoveries (d. 1680). The museum is now government property, and is open daily, 9-3; admission 1 fr., on Sundays gra¬ tis. The entrance is in the Via del Collegio Romano 216, by the door facing the visitor (where there are several inscriptions and seven colossal horses’ heads in the passage); we ascend by a stair¬ case to the left to the 2nd floor; here we turn to the right round the corner, and finally ascend a spiral staircase at the end of the corridor. On entering we turn to the left into an Ante-Chamber, which contains a few busts and heads, two triangular bases for candelabra, and a small sarcophagus. — We then turn again to the left, leaving the (right) ad¬ joining series of rooms containing inscriptions, etc., till afterwards. Room I. contains models of columbaria, cinerary urns, inscriptions, etc. In the Cabinets in the middle of the room are: Ancient water-pipes of lead ; bronze seals; silver goblets found in the mineral spring at Vicarello (p. 380), among which Nos. 402-405 are in the form of mile-stones and are inscribed with the names of the chief stations on the route from Cadiz in Spain to Rome; small vessels of terracotta with inscriptions scratched upon them; leaden balls of Roman slings. At the wall, to the right, is a lengthy inscription on bronze (No. 133), found in the territory of the Ba- bianic Ligurians (near Benevento), referring to the alimentary laws of the Emperor Trajan (p. 125). Room II. The Central Cabinet contains silver and glass vessels, includ¬ ing two "xinerary urns of glass from the columbaria at the Porta Maggiore; on the top shelf are real and artificial gems. In the Wall-Cabinets are pieces of lead with stamps, articles of bone, including two dolls with movable limbs (Nos. 48 a und 48b), and various objects in glass. — Ascending a few steps to the left, we enter — Room III., which contains mosaics. In the centre of the pavement is a mosaic representing a hippopotamus-hunt, found on the Aventiue; on Side-Streets. ROME. /. Strangers' Quarter. 151 the walls are genre and mythological scenes, four circus-horses with at¬ tendants in interesting costumes, etc. Room IV. is a long hall, with a modern mosaic pav^emcnt designed in ancient style. On the walls are numerous fragments of ancient terra¬ cottas. Immediately to the right are two sitting female figures in peperine, with infants in their laps, found at S. Maria di Capua. Wall-Cahinets 1 . and 8 . (left and right) contain archaic vases and vessels of difl'ercnt shapes in black clay (bucchero)., chiefly found in Etruria, votive and other objects in terracotta, heads, feet, ears, and eyes. Ranged along the walls are votive heads, two Etruscan cinerary urns, and reliefs in terracotta (Satyrs treading the wine-press). In the Wall-Cabinets 2. and 7. (left and right) are terracotta statuettes snd vases. Along the walls on each side arc reliefs (including a 3Iourning Penelope, and Ulysses recognised by the old nurse) and Etruscan cinerary urns. The Case in the centre holds earthen¬ ware utensils, bottles, etc., while the opposite Cabinets, on the left and right (3. and 6 .), contain Roman earthenware lamps. Cabinets 4. and 5. are devoted to earthenware lamps of an archaic shape, and to painted vases and dishes. At the end of the room are several statuettes and busts of inferior value. — We now turn to the left into — Room V., containing early Christian tombs and tomb-reliefs. In the Cabinets are mediaeval curiosities. To the right is a piece of ancient wall, in a black frame, with a caricature of the Christians scratched upon it: a man with the head of an ass, affixed to a cross, with a man at the side, and the words ’A). 86 a|x:vo? bsov (Alexamenos worships God), found on the Palatine (comp. p. 247). In the middle of the room is a collection of modern medals, etc. VI. Long Cokkidok of the Bronzes. First comes a small section containing marble reliefs, heads, and statuettes. In Wall-Cabinets 1-3, to the left, are Egyptian idols in wood and bronze, others cast in glass, Etruscan idols, and various Oriental antiquities. On the walls to the right and left, are fragments of mural painting^ the central picture on the left is a sitting figure of Fortuna. Cabinets 1-9, to the right, contain a very valuable''Collection of early Roman and Italian money (aes grave)., including unstamped pieces (aes rude). In Cabinets 4-6, on the left, are bronze masks, rings, and two fibulae (or brooches) with delicate enamel. The following three Cabinets contain Etruscan idols and statuettes, including an Etruscan ploughman, and Roman bronze statuettes. Opposite are a statue of Bacchus and a youthful figure of a bearer, both in bronze. In Cabinets 10-12, on the left, are handles of bronze vessels, many exceed¬ ingly tasteful, and an arm in bronze. On ' the walls to the right and left are mural paintings. Cabinets 13-16, on the left, contain statuettes, busts, and heads (the most interesting of which is a *Head of Apollo, nearly life-size) , votive articles, ornaments, and tigui’es of animals. Op¬ posite the window stands the most important object in the whole collection, named after its first owner the "Ficoronian Cista^ dating from the 3rd cent. B.C., and found near Palestrina in 1774. It is a toilet casket of cylindrical form, adorned with admirably engraved designs, represent¬ ing the arrival of the Argonauts in Bithynia, and the victory of Poly¬ deuces over king Amycus. The feet and the figures on the lid are of inferior workmanship^ on the latter the inscriptions: ‘Novios Plautios med Romai (me Romfe) fecid’, and ‘Dindia Macolnia filea dedit’ (comp. Introd.). In Cabinets 17-22 (left) are locks, keys, needles, pencils for writing, spoons, surgical instruments, compasses, measures, water-taps from aque¬ ducts, weapons, and other articles of iron. On the wall above the ca¬ binets hang the "Mural Paintings found in a columbarium at the Porta Maggiore (p. 184) in 1875, representing scenes from the mythical period of Roman history. They are unfortunately seriously damaged, and are each year becoming less distinct. Above them are the copies made immediately after their discovery. The following are in the best state of preservation: Romulus and Remus as shepherds 5 Exposure of the twins ^ Rhea Silvia surprised by Mars^ Amulius pronouncing judgment upon the guilty Rhea Silvia. Wall-Cabinets 23-24. contain scales, weights of bronze and stone, two small bronze cists, feet and handles of cists. At the window opposite 1 52 J. Strangers^ Quarter. ROME. The Corso and its is an ancient 'Bronze Cliair, inlaid with silver. In Cabinets 25-30 (left) are Etruscan bronze mirrors, some of them delicately engraved, mirror- cases, utensils of all kinds, chains, and bells. On the wall above, the mural paintings are continued: Scene with sitting female figures, of un¬ known import; Building of Alba Longa; Battle on the Xumicius between the Latins and the Rutuli; Aeneas crowned by Victory after bis defeat of Turnus, who lies dead on the ground; Battle, and Building of Lavinium, Wall-Cabinets 31-34 (left): Bronze vessels, ladles, pans, bracelets, cloak pins and clasps, strigils, neck-rings, and horse-decorations. — The following, somewhat dark room contains numerous bronze vessels, candelabra with banging-lamps, helmets, greaves, and weapons. To the right, on the upper part of the wall, is a beam from the barge of Tiberius, found in the Lago di Nemi (p. 302). We next reach the Pre-Historic and Ethnographical Collections, ar¬ ranged in parallel rows of rooms. Though still in their infancy, these collections are already pretty extensive. (The origin of the objects is given on the printed labels attached.) The rooms first entered, which extend along the whole length of the Via del Collegio Romano, arc fitted up for the collection of the earliest, and early, Italian period (Museo Italico), and for that of Ancient Inscriptions (Museo Lapidario). The contents of the Museo Italico are at present limited in number. The very valuable ^"''Treasure of Praeneste was found at Palestrina about two years ago and purchased by the Italian Government, while the line '"Collection of Etruscan Mural Paintings was discovered in a tomb of Vulci (p. 4) in 1857 and presented to the Museum by Prince Torlonia. Copies of these pictures are to be seen at the Vatican (see p. 316). In the first room is a large antique vessel of copper-plates with fantastic figures of animals, which has been freely patched and repaired. — The next room contains the most important articles of the Prieneste treasure. Cabinet in the centre: No. 16. Breast (or head) decoration, with 131 lions, horses, and various fantastic animals attached to it in rows, the details of which are most elaborately executed in granular workmanship; at the ends are two cylinders terminating in heads of animals, and embellished with the Grecian pattern in a similar style. Of the three adjacent golden cylinders, the finest is No. 13, embellished with two rows of figures of animals and an extremely delicate Greek fret ornamentation. The small rod found in the cylinder lies alongside of it. No. 2. Golden fibula; 41. Two ivory folding lids with traces of colour in the lacunars or cavities; 23. Silver dagger, with an electrum handle, embellished with amber fastened on by electrum wire; adja¬ cent are the fragments of the silver sheath; 24. Large iron dagger, with a silver sheath richly ornamented with figures of animals; the point of the sheath, now broken off, consists of an open lotus-flower in silver, with gold pellet ornamentation; 42. Two bronze handles, each adorned with six ivory lions, and belonging to a large pitcher (situla)^ the broken pieces of which lie around; 45. Fragments of an ivory carving, with delicately executed figures. On the higher part of the case are: 52. Blue glass bowl; 1. Golden vessel of a graceful form, with two sphinxes on each handle; 18. Large globular vessel of silver-gilt, with six snakes forming the handles; the bowl of the vessel is ornamented with rows of figures of armed men, wild beasts, and birds. The Cupboard at the window con¬ tains the following noteworthy articles: No. 19. Silver-gilt dish, the in¬ terior of which is embellished with two rows of horses, oxen, birds, and trees, and when discovered adhering to an oxydised iron axe (No. 81), which has taken an impression of part of the pattern; 20. Elegant silver howl, the interior adorned with a central figure and two rows of reliefs (royal hunting-scenes, horses, and birds); 21. Fragments of a silver vessel, with representations of four boats, Egyptian symbols and figures, and a battle-scene (in the centre), and inscribed with a Phoenician name in small characters (above the wing of a hawk). This room also contains Etruscan mural paintings. — In the following room are the more fragmentary por¬ tions of the Praeneste treasure-trove, chielly bronze articles. No. 60. Frag¬ ments of a large caldron with griffins’ heads as handles; Several bowls Side-Streets. ROME. /. Strangers' Quarter. 153 and flat dishes 5 59. Iron tripod, witli bronze howl, the margin of which is embellished with three hnman and three animal figures, in a very primitive style. On the wall is one of the chief scenes of the series of Etruscan mural paintings: Achilles sacrifices a young Trojan to the shade of Patroclus^ in the background is the bluish-gray Charon, who is about to conduct the soul of the victim to the infernal regions; two other Trojans in bonds are being brought to the spot by Greeks. — The follow¬ ing rooms contain more Etruscan wall paintings. The chief picture represents three human sacrifices and the preparation for a fourth. The motives are probably borrowed from Etruscan legends. The Cabinets of these and the next rooms hold a few early Italian terracottas, and a number of small Roman antiquities, chiefly lamps, bone implements, pots, and vials, found during the latest excavations on the Esquiline; also earthenware cinerary urns, inscriptions on marble, and truncated columns from the Columbaria at the Porta Maggiore. The series of rooms to the right of the entrance are devoted to the Museo Lapidario, in which are exhibited inscriptions of every variety. The most important of these are the records of the Arvales, found near the temple of the Dea Dia, enumerating the festivals celebrated by the brotherhood on certain occasions, and the sacrifices offered by them (comp, pp. 340, 341). The adjacent rooms contain a collection of brick-stamps. On the floor above is the recently founded Museo Medioevale (or Artistico ludustriale^^ a collection of products of the Italian handicrafts (terracottas, majolicas, and rich stuffs of various periods) and a number of mediaeval casts (shown daily, 9-3; admission 50 c.). The Observatory, formerly presided over by the learned and merito¬ rious Padre Secchi (d. 1878), enjoys a European reputation. It is shown in the forenoon to visitors provided with an introduction. A signal is given here daily to indicate when the sun has attained the meridian, and the hour is then announced by the firing of a cannon from the castle of S. Angelo. In the Corso, beyond the Piazza Sciarra, on the right, is the Palazzo Simonetti (308). Opposite is S. Marcello (PI. II, 10), in the small piazza of that name, a church mentioned as early as 499, re-erected by Giacomo Sansovino in 1519, and recently entirely modernised. The poor facade is by Carlo Fontana. The 4th Chapel contains paintings by Perino del Vaga^ completed after his death by Daii. da VoUerra and Pellegrino da Modena^ and the monu¬ ment (by Rinaldi) of the celebrated Card. Consalvi (d. 1824), minister of Pius VII. Paintings in the Tribune by Giov. Battista da Novara; those of the 2nd Chapel to the left bv Fed. Zuccaro. •< On the right is the small church of S. Maria in Via iMta., men¬ tioned as early as the 7th cent., but in its present form dating from the 17th; facade by Pietro da Cortona; from the vestibule a stair¬ case ascends to an oratory in which St. Paul and St. Luke are said to have taught. The name of the church is a reminiscence of the ancient main street of the city, which nearly corresponded with the present Corso. Below this church, and below the Palazzo Doria, are situated ancient walls of considerable extent, which once belonged to the Septa Julia., an edifice begun by Cfesar and completed by Agrippa, originally used for taking the votes of the national assembly, but, after tliis practice had fallen into disuse, converted into a market-place. ' Adjoining S. Maria in Via I.ata is the *Palazzo Doria, formerly / Pamlili (PI. II, 16), an extensive pile of buildings, and one of the 1 54 7. Strangers^ Quarter. ROME. The Corso and its most magnilicent palaces in Rome; facade towards the Corso by Val- vasori^ that towards the Coll. Romano by P. da Cortona, and another towards the Piazza di Venezia by P. Arnati. The handsome court, surrounded by arcades, is entered from the Corso (No. 305). To the left is the approach to the staircase ascending to the ^Picture Gallery on the 1st floor (visitors admitted on Tuesdays and Fri¬ days, 10-2; during the Easter fortnight, daily; catalogues in each room ; fee ^2 If-)- The Doria Gallery resembles all the other Roman galleries in being devoted to no particular school, and in possessing examples of every different style, but on the whole the founders seem to have show'll a preference for works of the 17th cent. The ante-chambers are badly lighted, so that the pictures are not seen to advantage, but most of the works here are hardly above mediocrity. The visi¬ tor should, however, note the predella of a now' lost altar-piece by Peselli (II. Room, 23, 29), a good specimen of early Florentine painting, and the Madonnas of Niccolb Rondinelli (II. Room, 12, 43), a little known master, who has happily imitated the golden colouring of the old Venetians, and is one of Giov. Bellini’s ablest followers. The gems of the collection are in the three galleries and in the corner cabinet. Raphael, the prince of cinquecentists, is represented by the portraits of two Venetian scholars, Andrea Navagero and Agostino Beazzaiio (in the corner cabinet); but their authenticity has been questioned and their touch indeed is somew'hat different from Raphael’s usual style. The vigorous tone and breadth of co¬ louring may, how ever, have been occasioned by his habit of fresco painting. Johanna of Arragon is a copy only (II. Gall. 53), and so too is Titian's Periods of Life (II. Gall. 20). Pordenone's Ilerodias (II. Gall. 40), and Lor. Lotto's portrait of himself (II. Gall. 34), on the other hand, are admirable Venetian w'orks. The portrait of Andrea Doria by Sebastian del Piomho is not Venetian in character, but is interesting from the faculty displayed by the master of im¬ parting an air of grandeur to a repulsive subject (corner cabinet). With this work the visitor should compare the portrait of Pope In¬ nocent X., by Velasquez, in the same room. The colouring of the latter is strikingly rich, completely eclipsing Piombo’s massiveness of style. The skilful manner in which the three shades of red are blended should be particularly noticed. Garofalo, though not a master of the highest rank, has produced a most admirable w'ork in his Nativity of Christ (II. Gall. 61). The landscape painters of the 16th cent, are also well represented. In the landscapes of Annibale Caracci (III. Gallery) we observe a con¬ flict betw'een historic and scenic imagination, and the obtrusion of the former at the expense of harmony of effect. The pictures by Salvator Rosa (VI. Room) are not among his best w orks, but Claude Lorraines landscapes (III. Gall. 5, 12, 23) are justly much ad- Side-Streets. ROME. I. Strangers’’ Quarter. 155 mired. His ‘mill’, and the landscape with the temple of Apollo, may be regarded as models of ideal landscape; the effect is pro¬ duced by the skilful gradations of distance: the foreground is in¬ closed by trees on both sides, the middle distance gently softened off, and the background formed by serrated mountain outlines. — The Netherlands School is represented by a few pictures only, some of which, however, such as Memting'’s Descent from the Cross (Corner-Cabinet), and Lievtns’’ Sacrifice of Isaac (II. Gall. 26), are worthy rivals of their Italian neighbours. I. Room : also copying-room, to which the finest pictures in the collection are frequently brought, almost always including Sassoferrato‘'s Holy Fa¬ mily and j^Iadonna. Antiquities: four Sarcophagi with the hunt of Me¬ leager, history of Marsyas, Diana and Endymion, and procession of Bacchus. Two fine circular altars, duplicate of the so-called Diana of Gabii in the Louvre, archaic statue of the hoarded Dionysus, and a number of statuettes. Pictures: 19, 23, 30. Landscapes by Poussin and his imitators; on the wall of the entrance, Perino del Yaga., Madonna. To the left we next enter the — II. Room: Antique portrait busts, a Centaur in pietra dura and rosso antico (freely restored); 24. Franc. Francia., Madonna. — 37. Titian.^ Magdalene (original in the Palazzo Pitti at Florence); 13. Holbein Yi)-, Por¬ trait of a woman; 12, 43. Rondinelli, Madonnas (comp, with Bellini’s Ma¬ donna, 11. Gall. 25); 21. Pisanello., Sposalizio ; 23. Peselli^ St. Silvester in presence ofMaximin 11.; "28. Fil. Lippi.^ Annunciation; 29. PeselU., liCO IV. appeasing a dragon ; 35. Pisanello.^ Nativity of Mary; 49. Titian., Boy playing with lions; 42. 7/of6em(V), Portrait of himself in his 40th year; Murillo., Magdalene; 5. Giov. Bellini Yl)-, Circumcision. — 15. School of Mantegna., St. Antony. HI. Room (very dark). To the right on entering; 34. Caravaggio. St. .Tohn; 'HS, 32. P. Brill., Landscapes. Over the door; 1. Paris Bordone, Mars, Venus, and Cupid. In the centre a recumbent river-god in pietra dura. On the left wall in two frames, antique bronzes and other objects. By the window a bronze vessel with graffiti in a peculiar style, of late origin. IV. Room: 16. Titian., St. Agnes; 22. Titian., Holy Family and St. Catharine; 25. Guercino^ St. Joseph; 27. Domenichino., Landscape; 31. Pous¬ sin., Landscape. In the centre: Jacob wrestling with the angel, a group in inarhle, of the School of Bernini. V. Room. Over the door: 5. Sandro Botticelli YC-, Holy Fainily; *30. Spanish School., Portrait of a boy; 13. Maratta, Madonna. By the egress, to the right: 37. School of Giov. Bellini., Marriage of St. Catharine. — The raised passage-room contains several small Netherlandish works, and a female portrait-bust by Algardi. VI. Room: 3, 8. Salv. Rosa., Landscapes; 19. Mazzolino., Massacre of the Innocents. VII. Room : *22. Lod. Caracci, St. Sebastian; opposite, 17. Lod. Caracci., Holy Family. In the corner a *Head of Serapis in marble. VIII. Room : Several interesting ancient portrait heads. IX. Room; Subjects from still life. We now enter the galleries. To the left is the — I. Gallery : 2. Garofalo., Holy Family; 3. Ann. Caracci., Magdalene; 8 . Quintin Matsys., Heads ; 9. Sassoferrato., Holy Family ; 14. Titian, Portrait; 15. A. del Sarto (?), Holy Family; 20. Titian, The three Periods of Life, a copy of the original in London; *25. Cl. Lorrain, Landscape with the flight to Egypt; *26. Garofalo, Mary visiting Elizabeth; 16. Breughel, Creation of the animals; 32. Saraceni, Repose during the flight into Egypt; 38. Pous¬ sin, Copy of the Aldohrandine Nuptials (p. 319); 49. P. Veroneseif)-, Angel; 50. Raphael, Holy Family, a copy by (>. Romano. Opposite, in front of the last window, 5. School of Mantegna, Christ bearing the Cross. II. Gallery (chiefly remarkable for its admirable portraits): *25. Giov. Bellini., Madonna; *6. Fr. Francia, Madonna; 13. Mazzolino, Christ in the Temple; *17. Titian, 18. Pordenone, 19. Rubens, 21. Van Dyck(^), Portraits; The Cor so nnd its 1 56 /. S^tr anger s' Quarter. ROME. 24. Giorgione^ Three heads from a concert; 26. Jan Lievens (erroneously attributed to Rembrandt), Sacrifice of Isaac; 3. Faun; *40. Poi'- denone^ Herodias with the head of the Baptist; 50. Rubens.^ Portrait of a monk; 5l. Giorgione, Portrait; 53. Flemish School, Johanna of Arragon, after Raphael; ''Gl. Garofalo, Nativity; *69. Correggio, Unfinished allego¬ rical painting; 32. Titian, Portrait; 80. Titian, Portraits of a man and a woman. — The adjacent room (generally closed) contains a number of works of the ITth cent. III. Galleky : 1, 6, 28, 34. An. Caracci, Landscapes with historical accessories; 5. Claude Lorrain, Landscape with Mercury’s theft of the cattle; 11. Bronzino, Portrait of Macchiavelli; *12. Cl. Lorrain, W\\\', *23. Cl. Lorrain, Landscape with temple of Apollo (two most admirable landscapes of this master); adjoining No. 18 are two small pictures of the old Dutch school; 26. Mazzolino , Portrait; *27. Giorgione, Portrait: 31. Fra Bartolommeo(1), Holy Family; 33. Cl. Ijorrain, Landscape with Diana hunting. Adjacent is a small Cokner-Cabinet which contains the gems of the collection (well lighted): ■•'Raphael, the two Venetian scholars Navagero and Beazzano, once erroneously said to represent the jurists Bartolus and Baldus; Seh. del Piombo, Portrait of Andrea Doria; -^Quintin Matsys, Money changers disputing; -Memling, Entombment; -'Velasquez, Innocent X. f The IV. Gallery contains statues of no great value, most of them greatly modernised. On the left side of the Corso, opposite the Pal. Doria, is the Pal. Salviati. The side-street adjoining the Pal. Salviati, as well as the pre¬ ceding and the following, lead to the Piazza m SS. Apostoli ( PI. II, 19). This piazza is bounded on the E. side by the chnrcli of that name and the Pal. Colonna. At one end is the Pal. Valentini, containing a few antiquities. On the other side are the Pol. Ruffo (^No. 308) and the Pal. Odescalchi (^No. 314), the latter with a facade by Bernini. *SS. Apostoli, originally founded by Pelagius I. in honour of St. Philip and St. James, and re-erected under Clement XI. in 1702, was much injured by a fire in 1871, and is now undergoing repair. The vestibule by Baccio Pintelli, the only part of the build¬ ing of earlier date than 1702, contains (on the left) the monu¬ ment of the engraver Giov. Volpato by Canova (1807), and (on the right) an ancient *eagle with chaplet of oak-leaves, from the Forum of Trajan. Chief festival on 1st May. Interior. Right Aisle, 3rd Chapel: St. Antony by Luti. In the Left Aisle, 2nd Chapel: Descent from the Cross by Franc. Manno. At the end, to the left, over the entrance into the sacristy: *Monument of Clement XIV. by Canova, on the pedestal Charity and Temperance. In the tribune, with altar-piece by Muratori (said to be the largest in Rome), are the monu¬ ments erected by Sixtus IV. to his tw’O nephews, the Cardinals Riario, that of Pietro (d. 1474) on the left, and that of Alexander behind the altar, and partly concealed by the organ. On the vaulted ceiling of the tribune. Fall of the Angels, a fresco by Giov. Odassi, in the rococo style, but of striking effect. The older church was decorated by Melozzo da Forli, a fine fragment of whose frescoes is now in the Quirinal (p. 171), and others are in the sacristy of St. Peter's (p. 286). The adjoining monastery is now the War Office. Tlie passage adjacent to the church contains a monument to Mich. Anyelo and the tomb of Card. Bessarion (d. 1472). Side-Streets. ROME. I. Strangers' Quarter. 157 The Palazzo Colonna, begun by Martin V., and afterwards much extended and altered, is now in great part occupied by the French ambassador, and a number of rooms on the ground-floor, containing interesting frescoes, are therefore closed to the public. The ^Picture Gallery, situated on the first floor (daily 11-3, ex¬ cept Sundays and holidays), is entered from the Piazza SS. Apostoli by the gate No. 53. We turn to the left in the court, and ascend the broad staircase. At the top of the staircase, opposite the entrance to the saloons, is the painted cast of a colossal Medusa head. Traversing a large hall containing family-portraits, we turn to the right into three ante-rooms adorned with Gobelins, in the second of which are four ancient draped statues ; in the third a small ancient statue, belong¬ ing to a group of playing girls. We then ring at the entrance to the Gallery (fee of 1/2 on leaving). — The chief objects of in¬ terest are eleven water-colour landscapes by Caspar Poussin in the 4th Room. They represent a mountain road close to a profound ravine, a bleak plain lashed by a storm, a calm lake enclosed by majestic trees, a riven rocky landscape with waterfall, and various other subjects. Notwithstanding the simplicity and uniformity of the materials used, these works will not fail to interest the spec¬ tator owing to the excellence of the composition and drawing. — The portraits of the ancestors of the Golonna family also are deserv¬ ing of attention, e. g. that of Isabella Colonnaby Novelli, a Sicilian painter of the 17th cent. The following pictures also may be men¬ tioned : Lorenzo di Credit Madonna; Bonifazio, Madonna and saints; Tintoretto, Saints; lluhens, Assumption of Mary. The two early Flemish Madonnas, surrounded by small circular pictures (1st Room), are remarkable for their delicate and miniature-like exe¬ cution. — All the pictures bear the names of the masters. I. Room On the wall of the entrance: Fil. Lippi , Madonna; same by Luca Longhi and S. Botticelli. On the left wall: Luini , Madonna (much damaged); Giov. Santi (father of Raphael), Portrait; Jacopo d'Avanzo, Cru¬ cifixion; Fr. Alhano , Two Landscapes; '"Giulio Romano, Madonna; Gentile da Fabriano (?), Madonna. Wall of the egress: Parmeggianino , Holy Fa¬ mily; Innoc. da Imola, same subject; *two Madonnas surrounded by smaller circular pictures (erroneously attributed to Van Eyck), of the later Dutch school. II. Room : Throne-room with line old tapestry. III. Room: Ceiling-painting by Battoni and Luti (in honour of Martin V.). Entrance-wall: Giov. Bellini, St. Bernhard; Titian, Onuphrius Panvinius; Bronzino, Holy Family; Girolamo Trevisani, Poggio Bracciolini. Left wall: Albano, Rape of Europa; Spagna, *St. Jerome; Domenico Pulego, Madonna; Ann. Caracci, Bean-eater; Paris Bor done., Madonna with saints. Wall of the outlet: Holbein (?), Lor. Colonna; P. Veronese, Portrait of a man; Bor- done, Holy Family. Window-wall: F. Mola, Cain and Abel; Sassoferrato, Madonna; Guido Reni, St. Agnes. IV. Room: G. Poussin, ^Eleven landscapes, some of that artist's finest works, all well worthy of careful examination, although not all favourably hung. Entrance-wall: Canaletto, Architectural piece; Crescenzo d'Onofrio, Landscape. Opposite the windows: Berghem, Huntsman; Claude Lorrain (?), Landscape; Wouver7nan (?), Chase and cavalry skirmish; N. Poussin, Meta- 158 I. Strangers' Quarter. ROME. Pal. di Venezia. morphosis of Daphne*, a large cabinet with ivory carving by Franc, and Dom. Steinhard. V. Gallery with ceiling-paintings by Coli and Gherardi (Battle of Le- panto, 8th Oct. 1571, which Marcantonio Colonna at the head of the papal army assisted in gaining). On the walls mirrors painted with flowers (by Mario de' Fiori) and genii (by C. Maratta). Statues here of no great value, most of them modernised. Reliefs built into the wall under the windows (right): Head of Pallas; Wounded man, borne away by his friends; Selene in the chariot (archaic style). On the left wall: "^Rubens, A.ssumption (»f the Virgin; '^Suster?nans ^ Fed. Colonna; Crist. Allori.^ Christ in hell; Sal- viati Adam and Eve; "Faw Dyck., I)(m Carlo Colonna, equestrian por¬ trait; Guercino., Martyrdom of Emmerentia; S. Gaetano., Family-portrait ol the Colonnas. Right w’all: Tintoretto., Doulde portrait; N. Poussin., Pastoral scene; Niccolb Alunno., Madonna rescuing a child from a demon. A staircase, on which is placed a cannon-ball fired into the city during the bombardment of 1849, leads to Room VI. From left to right: Lor. ZrO(to, Card. Pomp. Colonna; Moroni., Portrait; Narcissus; Vecchio , Madonna with St. Peter and the donor; Ghirlandajo^ Rape of the Sabine women, and opposite to it the Reconciliation; Bonifazio., Madonna with saints; Yan Dyck., Lucrezia Colonna; Hieron. Bosch., Temptation of St. Antony; "Tintoretto., Angels in glory, with four busts; Moretto da Brescia., Portrait; Ag. Caracci., Pompeo Colonna ; Giorgione^ Giac. Sciarra Co¬ lonna; Pourhus., Franc. Colonna. In the centre a column of red marble with scenes from a campaign in relief (Renaissance). The beautiful Garden (entered through the palace, or by Via del Quiriiiale 12) contains several antiquities, fragments of a colossal architrave, said to have belonged to Aurelian’s temple of the sun, and considerable portions of the brick-walls of the Thermae of Con¬ stantine (p. 170) which once extended over the entire Piazza di Monte Cavallo. The terrace commands a good survey of the city. Towards the S. the Corso is terminated by the Piazza di Ve¬ nezia (PI. II, 16, 19; 48 ft. above the sea-level), immediately to the right in which, at the corner, rises the Pal. Bonaparte, formerly Rinuccini, erected by De Rossi, where Madame Lietitia, mother of Napoleon I., died on 2nd Feb. 1836. The piazza derives its name from the *Palazzo di Venezia, which consists of the large palace, and a smaller one of later date, built in the Florentine style, and is of imposing dimensions. The building was formerly attributed to Giu- liano da Majano, but existing documents record that it was erected by Francesco del Borgo di S. Sepolcro for Pope Paul II. about 1455. To what extent Bernardo di Lorenzo participated in the work is uncertain. The palace was presented in 1560 by Pius IV. to the Republic of Venice, with which it subsequently came into the pos¬ session of Austria, and is still the residence of the Austrian am¬ bassador, as it was before the cession of Venetia. The extensive court with arcades is little more than begun ; and so also is a second and smaller court to the left of the other. Many of the stones used in constructing this building are said to have been obtained from the Colosseum. Opposite the side-entrance of the Pal. di Venezia is the Pal azzo Torlonia, formerly Bolognetti, erected about 1650 by C. Fontana, 8. Marco. ROME. 1. Strangers^ Quarter. 159 occupying the block as far as the Piazza SS. Apostoli, and the prop¬ erty of the banker Prince Torlonia, Duke of Bracciano. It is lavishly decorated, and contains among other works of art Canova’s Raving Hercules, but is not shown to the public. Permessi for the Villa Albani may be procured on the ground-floor, to the left. From the Piazza Venezia we proceed in a straight direction through the narrow Ripresa dei Barberi , so named because the ‘Barbary’ horses formerly used in the races of the Carnival were stopped here. On the left (No. 174) is the Pal. Nlpoti. The first cross-street to the left leads to the Forum of Trajan (p. 238). To the right the Via 8. Marco, passing under an arch of the passage which leads from the Pal. di Venezia to S. Maria in Aracoeli, brings us to the Piazza di San Marco (PL II, 16), laid out in prome¬ nades. Here, on the right, lies — S. Marco, incorporated with the Pal. di Venezia, a church of very ancient origin, said to date from the time of Constantine, re¬ erected in 833 by Gregory IV., adorned in 1455 by Oiuliano da Majano with a fine vestibule and probably with the coffered ceiling of the nave, and finally embellished in modern taste by Card. Quirini in 1744. Festival on 25th April. Vestibule. Roman and ancient Cliristian inscriptions, built into the walls. St. Mark in relief, above the handsome inner principal portal. The Interior is approached by a descent of several steps. With the exception of the tribune and the beautiful ceiling, all the older parts have been disfigured by restorations. The Tribune, with its handsome pavement (opus Alexandrinum), lies a few steps higher than the rest of the church. The mosaics (in the centre Christy left, the saints Mark, Agapetus, and Agnes; right, Felicianus and Mark escorting Gregory IV.) date from the period of the utmost debasement of this art (about 833) and have been justly described as ‘utter caricatures’. In the Right Aisle, 1st Chapel; altar-piece by Palma Giovine, the Resurrection. 3rd Chapel: Adoration of the Magi, Maraiia. At the end, adjoining the tribune: *Pope Mark, an admirable old picture, perhaps by Carlo Crivelli. In the Left Aisle, 2nd Chapel: altar- relief, Greg. Barbadigo distributing alms, by Ant. d'Este. 4th Chapel: St. Michael, Mola. In the Piazza, in front of the church, is the so-called Madonna Lucrezia , the mutilated marble bust of a colossal female statue (priestess of Isis) which carried on conversations with the Abbate Luigi near the Pal. Vidoni (p. 201), similar to those of Pasquin with the Marforio (comp. p. 201). The Via di S. Marco terminates in the Via Aracceli, which to the left leads to the Piazza Aracoeli (p. 211) and the Capitol, and to the right to the Piazza del Gesfi (see below). From the Piazza Venezia the Ripresa de’ Barberi and its con¬ tinuation the Via Macel de' Corvi (in which No. 88 is marked by a memorial tablet as the house where Giulio Romano was born), and beyond it the Via di Marforio, lead by the N.E. slope of the Capi- toline to the Forum and the Arch of Severus (p. 226). The name is derived from Forum Martis (otherwise Forum of Augustus). The 160 J. Strrniyer.'<^ (Junritr. ROME. Gesxi . celebrated statue of Marforio whicdi formerly stood in this street, opposite tlie Career Mamertinus, is now in the Capitoline museum fp. 218). Beyond the second transverse street fthe Via della Pedacchia, now Giulio Romano, which connects the Piazza Aracceli with tlie Forum of Trajan), is situated on tlie left the Monument of ('. Pu- blicius Bibulus (now entirely built over), to whom the ground was granted by the senate as a burial-place for himself and his family in recognition of his merits (‘honoris virtutisque causa’, as the in¬ scription records) towards the end of the republic. This point must accordingly have lain outside the walls of Servius, which ran immediately below the Capitol, interments within their precincts having been prohibited. Leaving the Piazza Venezia, we follow the broad Via del Plk- nisciTO, formerly del Gesii, to the right, past the Pal. di Venezia. On the right we observe the palazzi Bonaparte (p. 158), Doria (p. 153), and Grazioli. We next come to the Pal. Altieri, with its extensive fayade, erected in 1670, bounding the N. side of the small Piazza del Gesu (PI. II, 16) which is called after the church of that name. *Gesu , the principal church of the Jesuits, is one of the most gorgeous in Rome. It was built by Vignola and Giac. della Porta by order of Card. Alessandro Farnese, 1568-77. In the Nave is a *ceiling-painting by Baciccio, by whom the dome and tribune were also painted, one of the best and most life-like of the rococo works ol’ that period. The walls were covered with valuable marble at the cost of the Principe Aless. Torlonia in 1860. On the high-altar, with its four columns of giallo antico: Christ in the Temple, by Capalti; on the left the monument of Card. Bellarmino with figures of Religion and Faith, in relief; on the right the monument of P. Pignatelli, with Love and Hope. — In the Transept , to the left: "Altar of St. Ignatius with a picture by Pozzi , under which a silver-plated relief, representing St. Ignatius sur¬ rounded by angels, is said to be concealed. The original silver statue of the saint, by Le Gros, which was formerly here, is said to have been removed on the suppression of the order in the previous century. The columns are of lapis lazuli and gilded bronze; on the architrave aboye are two statues; God the Father, by B. Ludovisi, and Christ, by L. Oitoni.^ behind which, encircled by a halo of rays, is the emblematic Dove. Between these the globe of the earth, consisting of a single block of lapis lazuli (said to be the largest in existence). Beneath the altar, in a sarcophagus of gilded bronze, repose the remains of the saint. On the right and left are groups in marble; on the right the Christian Religion, at the sight of which heretics shrink, by Lt Gros; on the left Faith with the Cup and Host, which a heathen king is in the act of adoring, by Theodon. Opposite, in the tran¬ sept, on the right, the altar of St. Francis Xavier. The church presents a most imposing sight on 31st Dec., on the festival of St. Ignatius, on 31st July, and during the QuaranCore (two last days of the Carnival), on which occasions it is brilliantly illuminated in the evening. During Advent and Lent, and generally at other seasons also, sermons are preached here at 11 a. m., often by priests of great ability. Immediately adjoining the church is the former Casa Professa of the Jesuits, now used as a barrack, opposite wliich is the Palazzo Boloynetti (PI. I, 16, J). — Passing the monastery, and following Villa Boryhest. ROME. I. Strangers^ Quarter. 161 the Via di Aracoeli , we come in 5 min. to the Piazza di Aracmli, at the foot of the Capitol (see p. 211). From the opposite angle of the Piazza del Gesh, the Via del Gesii leads to the right in 5 min. to the Piazza della Minerva (p. 197); while the busy Via de' Cesarini (p. 201) to the left leads to S. Andrea della Valle (p. 201) and thence to the bridge of S. An¬ gelo, forming the shortest and most frequented route to the Vati¬ can , and sometimes called ‘Via Papale’. The Via del Governo Vecchio, see p. 202. From the church of Gesu to the bridge of S. Angelo (p. 276) 18 min.; omnibus thither, starting from the Piazza di Venezia, see p. 113. Villa Borghese. On the right, just outside the Porta del Popolo, rises the — *Villa Borghese (PI. I, 21), founded by Card. Scipio Boryhese, nephew of Pius V., and subsequently enlarged by the addition of the Giustiniani gardens and the so-called villa of Raphael, which last, with a great part of the plantations, was destroyed during the siege of 1849. The beautiful and extensive grounds are open to the public four times weekly (carriages admitted; comp. p. 117): the Casino with the collection of antiquities is shown on Saturdays only, 1-4 o’clock in winter, 4-7 in summer. The Villa Borghese is justly a favourite promenade, and was formerly the scene of popular festivities in October. The gardens contain a number of ancient statues and inscriptions. On entering, we select the footpath which skirts the carriage- road on the right, and leads to an Egyptian Gateway (8 min.); thence in a straight direction, passing a grotto with antique frag¬ ments (left). After 4 min. the road divides (for the branch in a straight direction, see below). Following the left branch, wTiich leads through an artificial ruin with two Doric columns, we observe on the left the private gardens of the prince , and farther on reach an imitation of a Ruined Temple. Turning to the right here, w^e come in 10 min. to a circular space with a Fountain. (Or this spot may be reached by the first broad path to the right beyond the Doric columns, leading through an avenue of evergreen oaks to a small temple, and thence to the left, through another similar avenue.) From this point the carriage-road leads to the.Casino in 5 min., whither also beautiful, shady footpaths lead from the left of the fountain. If w^e proceed in a straight direction from the above-mentioned bifurcation of the path, we observe on the left, after 3 min., the remains of RaphaeVs Villa, and in 3 min. more an arch with a Statue of Apollo, whence the road turns to the left and leads to the Casino. The Casino formerly contained one of the most valuable private collections in existence, which was purchased by Napoleon I. and Baedeker. Italy II. 6th Edition. H 1 62 /. Strangers' Quarter. ROME. Villa Borghese. transferred to the Louvre. In consequence, however, of recent ex¬ cavations, especially near Monte Calvi in the Sabina, Prince Bor¬ ghese has again established a Museum here, which contains several objects of great interest. Visitors are provided with catalogues by the custodians (^2 tr.). Ground-Floor. I. Vestibule: Two candelabra^ on the narrow walls two reliefs, probably from the triumphal arch of Claudius which once stood in the Corso near the Pal. Sciarra. Several sarcophagi ^ one of them, to the left by the wall of the egress, with a liarbour, lighthouse, and ships. 11. Saloon (‘Salone’), with ceiling-painting by Mario Rossi.^ On the lloor, mosaics, discovered in 1835 near the Tenuta di Torre Nuova, with gladiator and wild beast combats. Left wall: 3. Colossal head of Isis; 4. Dancing Faun, under it a Bacchic relief; 5. Colossal head of a Muse (V). Long wall: 7. Tiberius; 8. Meleager; 9. Augustus; above, a raised relief of a galloping rider (M. Curtius?); *10. Priestess; 11. Bacchus and Ampelus. Right wall: 14. Hadrian ; 16. Antoninus Pius (colossal busts); under No. 15 a Bacchic relief. Entrance-wall: 18. Diana. HI. Room (1st Room to the right). In the centre: *Juno Pronuba, found near Monte Calvi. Left wall: 4. Ceres; 5. Venus Genetrix. Opposite the en¬ trance: 8. Relief, Sacrificial prayer (of Hesiod?) to Cupid; *11. Relief of the Rape of Cassandra. Right wall: 16. Statue with drapery. Entrance-wall; 20. Greek relief from a tomb. IV. Room. In the centre: Amazon on horseback contending with two warriors. Entrance-wall: 2. Pan; 4. (and 17, opp.) Sarcophagus with the achievements of Hercules; on the cover, Reception of the Amazons by Priam; 6. Head of Hercules; 7. Pygmsea. On the left wall: 9. Statue of Hercules. Wall of the egress: 15. Hercules in female attire. Window-wall: 21. Venus ; 23. Three-sided ara with Mercury, Venus, and Bacchus. V. Room . In the centre: Apollo. Left wall: 3. Scipio Africanus; 4. Daphne metamorphosed into a laurel. Following wall: 7. Head of a 3l8enas or Bacchante; 8. Melpomene; 9. Genre-group; 10. Clio. Right wall: *13. Statue of Anacreon in a sitting posture, perhaps a copy from a ce¬ lebrated work of Cresilas at Athens; 14. Lucilla, wife of L. Verus. En¬ trance-wall : 16. Terpsichore; 18. Polyhymnia. VI. Room: ‘Gallery’ with modern busts of emperors in porphyry. In the centre a porphyry bath, said to have been found in the mausoleum of Hadrian; 3. Diana, restored as a Muse; 8. Diana; 22. Bacchus; *29. Statue of a Satyr in basalt; 32. Bronze statue of a boy. (The second door of the entrance-wall leads to the upper story.) VH. Room , with columns of giallo antico and porphyry, on the floor ancient mosaics. Left wall: *2. Boy with bird; 3. Bacchus ; *4. Captive boy. Wall of the egress: 7. Recumbent Hermaphrodite; 9. Sappho (doubtful); 10. Tiberius. Entrance-wall: * 13. Roman portrait-bust (said to be Do- mitius Corbulo); *14. Head of a youth; 15. Boy with a pitcher, a fountain ligure; 16. Female bust. Vni. Room. In the centre: * Portrait statue of a Greek poet, perhaps Al¬ caeus. Left wall: 2. Athene; 4. Apollo (archaic style). Follomng wall: 6 . Figure from a tomb; 7. Candelabrum with Hecate. Right wall: 8. Nymph ; 10. Leda. Entrance-wall: 15. iEsculapius and Telesphorus. IX. Room. In the centre: *Satyr on a dolphin, a fountain-figure; 3. Isis; 4. Paris; 8. Female statue, improperly restored as Ceres; 10. Gipsy woman (17th cent.); 13. Venus; 14. Female figure (archaic); *16. Bacchante; IS. Satyr; 19. Hadrian; 20. Satyr. X. Room. *1. Dancing Satyr, erroneously restored (he originally played on the flute); 2. Ceres; 3. Mercury with a lyre; 4. Dancing Satyr; 8. Satyr, after Praxiteles; 9. Pluto with Cerberus; 14. Periander; 19. Bacchus en¬ throned. The beautiful ceiling-paintings in this room by Conca should be observed. Upper Floor. A large saloon (fee fr.) contains three early works of Bernini: iEneas carrying Anchises; Apollo and Daphne; David with the sling. The ceiling-paintings are by Lan/ranco, the five *Landscapes on the Quirinat. ROME. 11. Hills of Rome. 163 left wall by Phil. Ilackert. In one of the following rooms the recumbent statue of Pauline Borghese, sister of Napoleon I., as Venus, by Canova. Other apartments contain modern sculptures and numerous pictures, which with a few exceptions (e.g. Poidrait of Paul V. by Caravaggio in the 2nd room) are of little value. The balcony commands a fine View of the gardens. IL The Hills of Rome. Quirinal. Viminal. Esquiline. The following description embraces the E. part of Rome, which extends over the three long, parallel hills of the Quirinal, Vimi¬ nal, and Esquiline, and adjoins the Corso and Strangers’ Quarter, the greater part of which is as yet occupied by vineyards and gar¬ dens, especially towards the walls. Since the Italian occupation, however, buildings are springing up here in every direction, and on the Esquiline, in particular, whole quarters are being erected. On the Quirinal at a very early period lay a Sabine town, from the union of which with that on the Palatine was formed the city of Rome. The Servian wall ran from the Capitol along the N.W. side of the Quirinal, and then to the E. behind the Baths of Diocletian and the church of S. Maria Maggiore, thus enclosing the Quirinal, Viminal, and part of the Esquiline. According to the new division of the city made by Augustus, this quarter comprised two districts, the Alta Semita (Quirinal) and the Exquiliae (Esquiline). The construction of the wall of Aurelian shows that this quarter was afterwards extended. According to the mediaeval division these districts formed a single region only, named the Rione Monti., the most spacious of all the fourteen quarters of the city, as it extended from the Porta Pia to the now closed Porta Metronia, below the Lateran, and to the Forum Romanum. Its inhabi¬ tants, who were called Montigiani differ, like those of Trastevere, in some of their characteristics from the other Romans. The hill was pro¬ vided with water by Sixtus V., by whom the long main street from the Pincio to S. Maria Maggiore was also constructed. The second street in importance, intersecting the main street, and leading from the Piazza del Quirinale to the Porta Pia (Via del Quirinale and Via Venti Settembre), was constructed by Pius IV. From the Piazza della Trinitk on the Pincio (p. 143), crossing the heights of the Quirinal and Viminal, a street 1 M. in length in¬ tersects this quarter of the town in a S. E. direction as far as the church of S. Maria Maggiore on the Esquiline, the first part of which is called Via Sistina and the remaining portion Via delle Qualtro Fontane. This street with its offshoots is at first well peopled, both with citizens and visitors, but beyond the Quirinal it be¬ comes deserted, and building operations have only recently been begun here. The Via Sistina (PI. I, 20) descends gradually from the Pincio to the Piazza Barberini (5 min.V The first cross-street descending to the right is called Via di Capo le Case (p. 145); its prolongation to the left is the Via di Porta PincAana, which ascends to the gate of that name (closed in 1808), and in which (left) is situated the Villa Malta, once the property of King Lewis I. of Bavaria, and now inhabited by German artists. 11* 164 II. The Hills. ROME. Piazza liarherini. Passing -8. Francesca on tlie left, and S. Jldefunso on the right, we reach the Piazza Barberini (PI. I, 19, 22). Tn the centre the * Fontana del Tritone^ by Bernini, a Triton blowing on a conch. On the upper (N.E.) side is the Hotel Bristol. On the right, one side of the Palazzo Barberini (p. 168) is visible. Ascending the Piazza, we come to the Via di S. Nicola di Tolentino^ with several new hotels, which leads to the church of that name, and then, under the name of Via di S. Susanna, turns to the right to the Foritanone dell’ Acqua Felice and the Piazza delle Terme (p. 175). — The second street to the left, on the N. side of the Piazza Barberini, is the Via di S. Basilio^ which leads to the Villa Ludovisi (see below), and through the Porta Salara to the Villa Albani (p. 165; 1 M.). Adjoining the Piazza Barberini on the left rises the Piazza de’ Cappuccini, in which is situated the Church of S. Maria della Con- cezione (PI. I, 23), or dei Cappuccini, founded in 1624 by Card. Barberini. In the Intekiok, over the door, a copy of Giotto's Navicella (in the ves¬ tibule of St. Peter’s, p. 283) by Beretta. In the 1st Chapel (right) *St. Michael, a celebrated picture by Guido Reni; in the 3rd, remains of frescoes by Do- menichino. At the high-altar a copy of an Ascension hy Lan franco, now destroyed. Beneath a stone in front of the steps to the choir reposes the founder of the church, Card. Barberini (‘hicjacet pul vis cinis et nihil’); on the left the tomb of Alex. Sobiesky, son of John III. of Poland, who died in 1714. The last chapel contains (left) an altar-piece by Sacchi; in the first, one by Pietro da Cortona. Beneath the church are four Burial Vaults (shown hy one of the monks, if desired), decorated in a ghastly manner with the hones of about 4000 Capuchins whose remains are deposited here. Each vault contains a tomb with earth from Jerusalem. In the case a new inter¬ ment the bones which have longest remained undisturbed, are used in the manner indicated. On All Souls’ Day (2nd Nov.) the vaults are lighted up, and visited by numbers of people. A little to tlie N.W. is tlie cliurcli of S. Isidoro, founded in 1622. Leaving tlie Piazza Barberini, and following the Via di S. Ba- j; siLio, the tirst part of which only is inhabited, in a straight di- n rection for 5 min., we reach a corner from which the street to the right leads to the gate, and that to the left to the entrance of the Villa Ludovisi. The **Villa Ludovisi (PI. I, 23) was erected during the tirst half of the 17th cent, by Card. Ludovisi, nephew of Gregory XV., and afterwards inherited by the princes of Piombino. The ^illa is usually shown on Thursdays after one o’clock to visitors provided with a permesso (p. 118). The grounds were laid out by Le Notre. From the gateway (Y 2 Ir* leaving) we proceed to the right to the — ] 1. Casino, containing a ^collection of valuable ancient sculp- -;|j tures. Catalogues may be purchased of the custodian (i/o Ir-)* I. Vestibule: 1, 3, 7, 42, 46,48. Statues; by the entrance-wall, to the right 20. Head of Juno, very ancient; 18. Candelabrum in the form of a twisted tree; 15. Sitting statue of a Roman, by Zenon. To the left of the Villa Ludovisi. ROMli. II. The Hills. 1(55 entrance: 25. Female draped figure; 31. Tragic mask, mouth of a fountain in rosso antico. — II. Room: "'28. Group of a barbarian, who, having killed his wife, plunges the sword into his own breast (right arm improperly restored), a work of the Pergamenian.school(the ‘Dying Gaul’ in the Capitol also belongs to this group; see Introd., p. xxxv). To the right of the entrance: "55. Warrior reposing (Mars?), probably destined originally to adorn the approach to a door; 51. Statue of Athene from Antioch; 47. Cast of the statue of .^schines at IN^aples; 46. Bust, name unknown; above it, *45. Head of a Medusa, of the noblest type;^3. Rape of Proserpine, by Bernini! above it, 42. Judgment of Paris, a relief^ the right side restored according to Ra¬ phael’s design; **4l. The so-called ‘Juno Ludovisi’, the most celebrated, and one of the most beautiful heads of Juno; 30. Mercury, in the same po¬ sition as the so-called Germanicus in Paris. Left of the entrance: *1. Mars reposing, of the school of Lysippus; *7. Theseus and ^thra (or Telema- chus and Penelope, commonly called Orestes and Electra), by Menelaos , pupil of Stephanos; *9. Youthful Satyr; 14. Dionysus with a satyr; 15. Head of Juno; 21. Bronze head of Marcus Aurelius. To the left of the gateway a path leads by a wall with hedges, and then past a pavilion, in 4 min. to the — II. Casino (dell’Aurora; fee 7-2^^.), which on the ground-lloor contains a ceiling-fresco of ^Aurora by GuercinOj and on the first floor a *Fama by the same. We next ascend (on the staircase an interesting ancient relief of two Cupids dragging a quiver) to the upper balconies, whence a magnificent ’^’View of Rome and the mountains is enjoyed. The garden with its beautiful avenues of cypresses and other evergreens extends to the city-wall. Ancient sculptures are distri¬ buted over the grounds; e. g. by the city-wall a large sarcophagus with representation of a battle, possibly that of Alex. Severus against Artaxerxes, A. D. 232. The prolongation of the Via S. Basilio mentioned at p. 161 is the Via di Porta Salara, which leads in 8 min. from the Villa Ludovisi to the Porta Salara. Here in ancient times, on the site of the present Villa Massimi (closed to the public), lay the magnifi¬ cent Gardens of Sallust , the historian, which afterwards became the property of the emperors. They included a circus, occupying the hollow b.etween the Pincio and Quirinal, which are united farther up near the gate. Where the view is unintercepted to the right, considerable remains of the enclosing walls are observed on the Quirinal opposite. The Porta Salara (PL 1, 27), which was seriously injured by the bombardment of 20th Sept., 1870, is now restored. The remo¬ val of its two towers brought to light a well preserved ancient monument in ‘peperino’, resembling that of Bibulus (p. 160) in style. The Via Salara leads from the gate (comp, map, p. 339) in 8 min. to the — *Villa Albani (shown on Tuesdays, in winter from 10, and in summer from 11, till dusk, except in wet weather and in June, July, and August; by permesso, see p. 117), founded in 1760 by 1 66 11. The Hills. HOME. Villa Alhani. Card. Aless. Albani, built by C, Marchionne, and embellished with admirable works of art. Napoleon I. transferred 294 of the finest statues to Paris, which on their restitution in 1815 were sold there by Card. Giuseppe Albani, with the exception of the relief of Aii- tiiious, in order to avoid the serious expense of transport. In 1834 the Counts of Castelbarco became proprietors of the villa, and caused tlie arrangement of the statues to be altered. The villa has recently been purchased by Prince Torlonia, who has transferred several of the best antiques to his private museum in the Borgo. vSome of them have been replaced by casts. Three paths bounded by hedges diverge from the entrance; that in the centre leads first to a circular space with a column in the middle, and then to a Teriiace with a fountain whence a compre¬ hensive survey is obtained: to the left is the Casino wdth the galle¬ ries on either side; opposite is the so-called Bigliardo , a small building surrounded with cypresses; on the right in the crescent is the ^Caffe\ The finest *view from the terrace is obtained near the side-steps, farther to the right, wdience, to the right of the cypresses, S. Agnese and S. Costanza appear in the centre, above which rises Monte Gennaro, with Monticelli at its base. (Most favourable light towards evening.) I. Casino. Ground Floor. Vestibule. In the six niches; 54. Tiberius (V)^ 59. L. Verus; 64. Trajan. Further on, on the other side of the stair¬ case in the vestibule mentioned below : 72. M. Aurelius, 77. Antoninus Pius, 82. Hadrian. In the centre, Gl. Female portrait-figure sitting (Faustina) ^ 66 . Circular Ara with Bacchus, Ceres, Proserpine, and three Horsey 74. An¬ other with female torch-bearer and the Seasons ^ 79. Sitting female figure (perhaps the elder Agrippina). By the pillars on the left and right are statues: by the first on the right, 52. Hermes-, by the 5th on the left, 68. Female, and on the right, 67. Male double statue; by the 7th on the right, 80. Euripides. — We now return to the beginning of the Vestibule and enter the Atrio della Cariatide, to the left: 16. 24. Two canephorse, found between Frascati and Monte Porzio (baskets new). In the centre, 19. Carya- tide, by the Athenians Criton and Nicolaus (the names engraved on the back of the vessel), found in 1766 near the Csecilia Metella; on the pedestal, 20. so-called "Capaneus struck by lightning. In the Gallery adjacent, on the left: statues; the thif& to the right, 45. Scipio Africanus; to the left, 29. Epicurus. From the vestibule we proceed through a small ante-room on the left to the Staircase. In front of the staircase, to the left, 9. Roma sitting on trophies (in relief). Adjacent, 11. A relief of a butcher's shop. On the stair¬ case, reliefs: on the first landing, (r.) 885. Death of the Children ofFiobc; (1.) 889. Philoctetes in Lemnos (?); on the third landing, above, 898, 899. Two dancing Bacchantes. Upper Floor (when closed, visitors ring; 1/2 fr-)- I. Sala Ovale. In the centre, 905. Apollo on the tripod, with his feet on the omphalos. To the left of the door, 906. Statue of a youth by Ste¬ phanos^ a pupil of Pasiteles. Opposite: *915. Cupid bending his bow, prob¬ ably a copy from Lysippus. — On the right — II. Galleria Grande, the principal saloon (on the ceiling Apollo, IMnemosyne, and the Muses, painted by liaph. Me77gs). In the niches of the entrance wall: *1012. Pallas, and 1010. Zeus. Reliefs (over the door) : 1004. Apollo, Diana, Leto in front of the temple of Delphi (archaic victory relief). Then to the right, 1013. A youth w-ith his horse, from a tomb near Tivoli; left, 1018. Antoninus Pius with Pax and Roma. The eight fragments of mosaic at the sides of this door and that of the balcony, and in the four Villa Alhani. ROME. //. The mils. 167 corners, arc for the most part antique. — By the left wall: 1020. Two women sacrificing; to the right, 1007. Dancing Bacchantes. By the window-wall: 1005. Hercules and the Hesperides; 1009. Dsedalus and Icarus. From the balcony a beautiful view of the Alban and Sabine Mts. To THE Right of the principal saloon: III. First Room. Over the chimney-piece: "1031. Mercury bringing Eurydice back from the infernal regions, an Attic relief of a period soon after that of Phidi.ns, a strikingly beautiful example of the noble simplicity for which ancient art is justly celebrated. By the entrance-wall, (r.) *1034. Theophrastus; window-wall, (1.) 1036. Hippocrates; wall of the egress, (r.) 1040. Socrates. — IV. Second Room. On the wall of the entrance, on the right: 35. Pintu- ricchio (?), Madonna with SS. Laurence and Sebastian on the left, St. .Tames and the donor on the right; to the left of the entrance, 45. Lunette by Cotignola: Dead Christ with mourning angels. Right wall: 36. Niccolb Alunno ^ Altar-piece: Madonna and Saints (1475). On the wall of the egress: *37. Pietro Perugino, a picture in six sections : Joseph and Mary ador¬ ing the Infant Christ, Crucifixion, Annunciation, Saints (1491). — V. Third Room. Wall of the entrance, (r.) 49. Van der Werff^ Descent from the Cross. Right wall: 55. Van Dyck , Christ on the Cross. Opposite the entrance, 59. Salaino , Madonna. To THE Left of the principal saloon: VI. First Room. Over the chim¬ ney-piece, 994. the celebrated *Relief of Antinous, from the Villa of Hadrian, the only object in the collection which was brought back from Paris. Entrance wall: *997. Shepherdess playing the flute. — VII. Second Room. To the left of the entrance : 980. Archaic Greek relief from a tomb. Left wall: *985. Greek relief in the best style, a group of combatants, found in 1764 near S. Vito. Below it: 988. Procession of Hermes, Athene, Apollo, and Artemis (archaic style). By the window to the left, 970. Archaic statue of Pallas, found near Orta; on the right, 975. Archaic Venus. Wall of egress, on the left: Greek tomb-relief (greatly modernised). — VIII. Third (corner) Room: 21. Holbein^ Portrait, 1527 ; 20. Raphael^ Fornarina, a copy; *18, *17. Giulio Ro¬ mano^ coloured designs (in oils, on paper) for the frescoes from the myth of Psyche in the Pal. del Te at Mantua. The cartoons of Domenichino, and sev¬ eral other pictures formerly here, have been removed to a room on the lower floor, which is at present closed. — IX. Fourth Room. In front of the window: *965. .^sop, perhaps after Lysippus^ the head beautifully exe¬ cuted. In the niche in the entrance - wall, 952. Apollo Sauroctonus, after Praxiteles. Opposite, 933. Farnese Hercules, a small copy in bronze. Window wall on the right, 942. a small statue of Diogenes. Wall of the egress, (1.) *957. Small relief representing the Apotheosis of Hercules; on the pil¬ lars at the sides a record of his exploits is inscribed (resembling the Tabula Iliaca in the Capitol, see p. 221). — X. A room with pictures of inferior value. — XI. Room with (>obelins. Returning to the oval saloon, we again descend to the — Ground - Floor, and there proceed to inspect the other wing of the vestibule. Here, at the extremity to the left, corresponding to the Atrio della Cariatide, is the: I. Atrio della Giunone. 91. 97. two Canephorse ; 93. So-called Juno. — II. Gallery. In the first niche, *103. Bacchante with Nebris; *106. Satyr with the young Bacchus. Some of the statues by the pillars are fine, but arbitrarily named. — In a straight direction : III. Stanza della Colonna (generally closed, fee 25 c.). Antique columns of variegated alabaster, found in the IVIarmorata. On the left, *131. Sarcophagus with the Nuptials ofPeleus and Thetis; above, four sar¬ cophagus-reliefs ; on the left, 135. Hippolytus and Phaedra; over the egress, 139. Rape of Proserpine; on the right, 141. Bacchanalian procession; over the entrance, 140. Death of Alcestis. — IV. Passage: Bearded Bacchus (ar¬ chaic). — V. Stanza delle Terracotte. By the left wall, close to the en¬ trance : 146. Greek tomb-relief; 147. Greek votive relief. Beyond the door: 157. Love-sick Polyphemus and Cupid; 161. Diogenes and Alexander. Oppo¬ site the entrance, 164. Daedalus and Icarus, in rosso antico. Below, 165. An¬ cient landscape-picture. On the right wall, 171. Mask of a river-god; to the left of it, 169. Bacchus pardoning captive Indians; to the right of the mask, and on the entrance - wall, several fine reliefs in terracotta. — VI. 1 68 II. The fliUs. IIOMK. Villa Alhani. Room. In the centre, Leda with the swan.— VII. Room. Above the entrance- door, Bacchanalian procession of children, from Hadrian’s Villa, in pavonaz- zetto, or speckled marble ^ left, statue of a recumbent river-god; right, Theseus with the Minotaur, found near Genzano in 1740. — VIII. Room. Relief in the first window to the Jeft, the God of Sleep. — The exit here is generally closed. All avenue of oaks, Hanked with cippl (tomb-stones), leads from tlie last-named apartments of the Casino to the — II. Bigliaudo, containing a few unimportant antiques (25 c.). In a niche in the vestibule, a cast of a Greek relief: probably Hercules, Theseus, and Peirithous in the lower regions. III. Caffe. In the semicircular Hall, to the left: 1. Alcibiades (a cast); left, 604. Statue of Mars; GIO. Chrysippus; 612. Apollo reposing; 628. Cary atide. Farther on, beyond the entrance to the saloon mentioned below (1.) on a detached column, 721. Homer. Adjacent, 725. Caryat.ide; (r.) b.v the 3rd pillar, 737. Mask of Poseidon. Obliquely opposite, (1.) 744. Ar¬ chaic Greek portrait head, said to be Pericles, but perhaps Pisistratus ; (1.) 749. Statue, called Sappho, perhaps Ceres. — We now return to the middle of the hall and enter the Ante-Room. Here, in the section to the right, 711. Iris; (1.) 706. Theseus with iEthra, perhaps a sarcophagus-relief. In the section to the left, 641. Marsyas bound to the tree; (1.) 639. Relief of Venus and Cupid. Also several statues of comic actors. — In the Saloon (5-10s.), in the niche to the left of the door, 639. Libera with a fawn. Below, 663. Mosaic with meeting of seven physicians. Corresponding to the latter, to the right of the door, 696. Mosaic , liberal ion of Hesione by Hercules. To the right of the balcony-door, 6^. Ibis, in rosso antico; 684. Atlas, bearer of the universe; (1.) 678. Boy with comic mask; 676. Colossal head of Serapis, in green basalt. The balcony commands a pleasing view. Before the hall of the Cafe is entered, a flight of steps to the left de¬ scends to a lower part of the garden. Several fragments of sculpture are built into the walls of the ground-floor of the building, and a few Egyptian statues are arranged in a hall. In the centre : Ptolemy Philadelphus, in gray granite; (r.) the lion-headed goddess Pasht; (1.) statue of a king, in black gra¬ nite ; several sphynxes. On a fountain in front of the hall: reclining Am- phitrite; on the left and right two colossal "Tritons. Numerous antique statues are also distributed throughout the (jARDEN, among which the colossal busts of Titus on the left, and Trajan on the right, below the terrace in front of the Casino, de¬ serve mention. We may now return by the avenue of evergreen oaks, whicli is entered by an arch at the end of the left gallery of the Casino. In the centre of the avenue is a colossal bust of the German anti- qiiarian Winckelmann, the intimate friend of Card. Albani, the founder of the villa, by E. Wolffs erected by order of Lewis I. of Bavaria. Ascending the Via belle Quattro Fontane from the Piazza Barberini, we observe on the left the hafidsome — * Palazzo Barberini (PI. I, 22), begun by Maderna under Ur¬ ban VIIL, and completed by Bernini. The court, laid out as a gar¬ den, is embellished with a statue of Thorvaldsen, byE. Wolff, after a work by the master himself, erected here, near his studio, by liis pupils and friends. — The principal staircase is to the left under Pal. Barherini. ROME. II. The Hitts. 169 the arcades; built into it is a Greek *tomb-relief; on the landing of the first floor, a *lion in high-relief, from Tivoli. A number of mediocre ancient sculptures are distributed throughout the courts and other parts of the building. At the right end of the arcades a winding staircase (18 steps, then to the right) ascends to the Picture Gallery (open daily, 12-0, except Sundays and Thursdays; on Thursdays 2-5; gener¬ ally closed in winter about dusk). Catalogues for the use of visitors. This is the gallery of disappointment. In RaphaeVs Fornarina we except to find a beauty radiant with the charms of youth, whereas her features present an almost haggard appearance, to which the ill-preserved condition of the picture further con¬ tributes. In Guido Rent’s Beatrice Cenci ’we expect to see a countenance Judith-like, and characterised by stern resolve, in¬ stead of which we encounter a pale, delicate face. Lastly, when we inspect Durer's Christ among the Scribes, we are almost tempted to doubt its authenticity; the numerous heads are ungrouped, some of them resemble caricatures, and it is in the execution of the hands alone that the workmanship of the great master is apparent. I. Room: 9. Caravaggio Pieta; 15. Pomarancio Magdalene; 19. Par- meggianino Betrothal of St. Catharine. — II. Room: 30. After Raphael^ Madonna; 35. Titian (?), A Cardinal; 48. Francia (?), Madonna with St. Jerome; 54. Sodoma Madonna; 49. Innoc. da Imola Madonna; 58 Qiov. Bellini (?), Madonna; 63. Mengs , Portrait of his daughter; 64. Pontormo (after Morelli), Pygmalion; 66. Francia., Madonna; 67. Mamccio (?), Por¬ trait of himself. — III. Room: 72. Titian (?), ‘La Schiava’’, female portrait; 76. Cl. Lorrain., Castel Gandolfo; 78. Bronzino., Portrait; *79. Diirer., Christ among the doctors, painted at Venice in five days in 1506; *82. Raphael., Portrait of the so-called Fornarina, so frequently copied, unfortunately marred by restoration; 83. Gaetani., Lucrezia Cenci, stepmother of Beatrice; 84. Spanish School., Anna Colonna; *85. Guido Reni., Beatrice Cenci; 86 . N. Poussin , Death of Germanicus; 88. Claude Lorrain , Wharf; 90. And. del Sarto., Holy Family; ,93 S. Botticelli., Annunciation. Ascending the spiral staircase 60 steps farther, we turn to the right into the Principal Saloon of the palace, em.bellished with frescoes by Pietro da Cortona. A narrow door to the right leads hence into the Saloon of the Sculptures , containing, among a number of ancient and modern works, an admirable *statue by a Greek master, near the wall opposite the entrance, represeiiting a woman with one arm akimbo. It was formerly supposed to be a nymph, a Dido, or a Laodamia; but it more probably represents a supplicant for protection at an altar. A twig formerly grasped by the right hand has been broken off. On the highest floor is the Biblioteca Barberina (Thursdays, 9-2 o’clock) which contains 7000 MSS., among which are those of numerous Greek and Latin authors, of Dante, etc., a number of ancient bronze cistas from Palestrina, miniatures by Giulio Clovio (a pupil of Raphael), etc. Librarian, the Abbe Pieralisi. The Via delle Quattro Fontane now leads to the summit of the Quirinal, on which a street 3)^ M. in length (to the right. Via ROME. Piazza del Quirinale. 170 II. The Jlills. del Quirinale^ see below; to the left, Via Venti Settemhre, p. 173) extends from the Piazza del Quirinale to the Porta Pia. At the four corners formed by the intersection of these two main-streets, are Four Fountains (PI. I, 22) erected by Sixtus V., the builder of the former street, which derives its name from these fountains. We now enter the Via del Quirinale to the right. At the cor¬ ner on the left is the small, unattractive church of S. Carlo. Farther on, to the left, S. Andrea.^ by Bernini, with the former Noviciate of the Jesuits. To the right are some buildings connected with the royal palace. In a few minutes more we reach the "Piazza del Quirinale, formerly di Monte Cavallo (PI. II, 19), recently extended and le¬ velled, in the centre of which is a Fountain with an antique granite basin. Adjacent to the fountain rises an Obelisk, 48 ft. in height, which once stood in front of the mausoleum of Augustus and was erected here in 1787, and the two colossal **Horse Tamers in marble from which the piazza formerly derived its name. These admirable groups once stood in front, and probably at the entrance, of the Therm® of Constantine (see below) which were situated here. They are frequently mentioned in history, and have never been covered or required excavation. The inscriptions on the pedestals. Opus Phidiae and Opus Praxitelis are entirely apocryphal, the groups being works of the imperial age, copied from originals of the school of Lysippus. In the middle ages these were supposed to be the names of two philosophers, who, having divined the thoughts of Tiberius, were honoured by the erection of these monuments in recognition of their wisdom. Opposite the Royal Palace, on the left, stands the Pal. of the Consulta, erected under Clement XII. by Del Fuga, where a tribu¬ nal of that name, charged with the internal administration of the Papal States, was formerly established. It is now occupied by the ofllces of the Minister of the Exterior. On the S.W. side of the piazza, behind the obelisk, stands the Palazzo della Dataria, erect¬ ed by PaulV. Farther on, to the left, is the Pal. Rospigliosi (p. 171). The piazza commands a fine *View of the town, with the dome of St. Peter’s in the background. In the course of the exca¬ vations preparatory to the construction of the new flight of steps and the carriage-road, the workmen came upon extensive fragments of the walls of the Therm® of Constantine (p. 158) and below them older walls of solid blocks, which appear to have belonged to the walls of Servius Tullius (p. 177). The new Via della Dataria de¬ scends straight to the Corso, while the first transverse street to the right, the Via di S. Vincenzo, leads to the Fontana Trevi (p. 145). The Palazzo RegiO) formerly Apostolico al Quirinale (PI. 1, 19), begun in 1574 under Gregory XIII. by Flaminio Ponzio, continued under Sixtus V. and Clement VIII. by Fontana, and completed under Paul V. by Maderna, has frequently been occupied by the popes in summer on account of its lofty and healthful situation. Pal. R. del (Jiiirinale. ROME. n. The lliUs. 1 71 Tlie conclaves of the cardinals were at one time held here, and the name of the newly elected pope was proclaimed from the balcony of the facade towards Monte Cavallo. Pius VII. died here in 1823. After 20th Sept. 1870, the palace was taken possession of by the Italian government, and being now the residence of the king, the greater part is seldom shown to the public (p. 118). From the principal entrance we proceed in a straight direction between the sentinels and ascend the broad staircase to the left at the end of the vestibule. At the top of the staircase we write our names in a hook, and obtain the escort of an attendant (1 fr.). Adjacent to the Sala Regia , with frescoes by Lanfranco and Saraceni., is the Cappella Paolina , erected by Carlo Maderna , and decorated with gilded stucco¬ work and copies in grisaille of Raphael’s Apostles in S. Vincenzo ed Anastasio alle Tre Fontane, and with tapestry of the 18th cent. To the right lies a suite of apartments, Drawing and Reception Rooms, newly fitted up, and adorned with pictures and tapestries, chiefly modern. In the 10th room, mosaics on the floor from Hadrian’s villa. In the 14th, a *Ceil- ing-painting by F. Overheck (1859), to commemorate the flight of Pius IX. in 1848: Christ eluding the pursuit of the Jews who endeavoured to cast him over a precipice (Luke iv. 28, 29). In the 15th, views from the Vatican. Towards the garden are the Royal Guest-Chambers, which were once occu¬ pied by Napoleon I., Francis I. of Austria, and in 1861 by Francis II. of Naples, but are not shown to the public. The frieze of the former au¬ dience chamber here consists of a cast of the ^Triumphal Procession of Alex, the Great, a work by Thorvaldsen , ordered by Napoleon I. for the decoration of this saloon. After 1815 the original became the property of the Marchese Sommariva, and is now in the Villa Carlotta near Cade- nabbia on the Lake of Como, formerly a residence of that nobleman. In the small Chapel dell’ Annunziata an ^Annunciation, an altar-piece by Guido Reni. — In the Court a staircase ascends to the right under the arcades; on the landing, "Christ surrounded by angels, a fresco by Melozzo da Forli., built into the wall, having been transferred thither in i711 from SS. Apostoli. The Garden.^ which is rarely shown, was tastefully laid out by C. Maderna. It contains rare plants and several antiques, and com¬ mands a fine view. The *Palazzo Rospigliosi (PI. II, 19), erected in 1603 by Card. Scipio Borgliesej nephew of Paul V., on the ruins of the Thermie of Constantine, afterwards became the property of the princes Ros¬ pigliosi, relations of Clement IX., of Pistoja. The palace contains frescoes from the Baths of Constantine, a beautiful Cl. Lorrain (temple of Venus), and other treasures of art, but is only shown by special permission of the prince. The Casino, how’ever, is open on Wednesdays and Saturdays, 10-4 o’clock Q /2 fr.); see p. 118. We enter the court by a gate in the Piazza del (^uirinale, No. 65, turn to the left under the arcades of the palace, and then ascend the steps to the left. Several small statues in the Garden. By the external wall of the Casino are placed ancient sarcophagus- reliefs (Hunt of Meleager, Rape of Proserpine, etc.). By the door to the right we enter the — Principal Hall. ** Ceiling-painting by Guido Reni: Aurora strewing flowers before the chariot of the god of the sun, who is surrounded by dancing Horse, the master’s finest work. The colouring deserves special notice. The strongest light is thrown upon the figure of Apollo, whose hair and flesh are of golden hue. Of a corresponding tint are the yellowish- red robes of the nymphs nearest to Apollo. The colours are then gradually shaded off from blue to white, and from green to white, vvhile the dun- 172 n. The Hills. ROME. 8. Silvestro al Quirinale, coloured horses accord with the clouds in the background. Opposite the entrance is placed a mirror, in which the painting may be conveniently inspected. — On the frieze, landscapes by Paul Brill , and on the ends of the sides, Triumph of Fauna and Cupid (from Petrarch), by Tempesta. Right wall: Statue of Athene Tritogeneia with a Triton *, *Van Dyck^ Portrait. Room on the Right. In the centre a bronze steed from the Thermae of Constantine. Opposite the entrance, the Fall of man, Domenichino. On the left wall: "Lorenzo Lotto ^ Vanita. On the right wall: "Dutch School^ Portrait ^ Venus and Cupid; *Awca "^Holy Family. On the entrance-wall: L. Caracci (?), Samson. In the Room to the Left, en¬ trance-wall , over the door; Passignani , Pieta; Guido Reni , Andromeda; Portrait of N. Poussin (at the age of 56), a copy of the original in the Louvre. Left wall: Dan. da Volterra.^ Rearing the Cross. In the corner a bronze bust of Sept. Severus. On these two walls and the following: Christ and the Apostles, thirteen pictures, attributed to Ruhens.^ probably only partially by him ^ Dornenichino., Triumph of David. Ill the Via del Quirinale, farther on, to the right, is the church of S. Silvestro al Quirinale (PI. II, 19), erected at the close of the 16th cent., and with the adjacent monastery belonging to the frater¬ nity of St. Vincent of Paola since 1770. In the Dome four oval frescoes by Domenichino: David dancing before the Ark, Solomon and the (^ueen of Sheba, Judith, Esther and Ahasuerus. In the 2nd Chapel to the left, two landscapes by Polidoro Caravaggio and his assistant Maturino: Betrothal of the Infant Christ with St. Catharine, and Christ appearing as the gardener to Mary Magdalene. Beyond this the Vicolo della Cordonata descends to the right, and, a little farther on, the Via Magnanapoli (see below). To the left the palms and the pines of the former Villa Aldobrandini peep over the lofty wall. This corner of the town is being thoroughly altered by the construction through it of the ViaNazionale(p. 177). At the corner of the Via Magnanapoli on the right, is the small church of S. Caterina di Siena (PI. II, 19, 7) of the 17th cent. Be¬ hind it, in the adjoining monastery, rises the Torre delle Milizie, erected about 1200 by the sons of Petrus Alexius, commonly called Torre di Nerone, because Nero is said to have witnessed the con¬ flagration of Rome from this point. Another similar and con¬ temporaneous tower is the Torre dei Conti, near the Forum of Augustus (p. 238), to which the Via del Grillo descends direct. It was erected under Innocent III. (Conti) by Marchionne of Arezzo, but a considerable portion was removed in the l7th cent. The Via Magnanapoli, which ascends the Quirinal from the Forum of Trajan (p. 238), passes, near its intersection wdth the Via del Quirinale (see above), between the Villa Aldobrandini on the left, and the church of 8. Domenico e Sisto, erected in 1640, on the right. The next cross-street to the left is the Via Mazzarina. immedi¬ ately to the right in which, opposite the Villa Aldobrandini, is the church of 8. Agata in Suhurra (PI. II, 22), originally built in the 5th cent., but restored in 1633, and now possessing 12 granite columns only of the original edilice. It belongs to the adjacent seminary for Irish priests. The left aisle contains the Monument of O''Connell (who bequeathed his heart to this church), with a relief by Benzoni, erected in 1^6. To the S. Bernardo. ROME. II. The Hills. 173 right of the entrance is the Tomb of John Lascaris^ author of the first modern Greek grammar (d. 1535). Tlie Via Magiiaiiapoli retains its name as far as its intersection witli the Via de’ Serpenti, whence it ascends the Viminal under the name of Via di S. Lorenzo in Paneperna, alfording a distinct view of that hilJ rising between the Quirinal and the Esquiline. On the summit of tlie Viminal to the left stands the church of S. Lorenzo in Paneperna (PI. II, 22), on the spot where St. Lawrence is said to have suffered martyrdom, an old edifice, but frequently restored. The street then descends again (its intersection with the Via Urbaiio and Via S. Pudenziana being the so-called Quadrivio di S. Maria Magyiore, whence omnibuses run to the Piazza Venezia, ]). 112), and under the name of Via di S. Maria Maggiore ascends tlie Esquiline, see p. 178. From the Quattro Fontane (p. 170) the Via Venti Settemere, formerly di Porta Pia, leads N.E. to the Porta Pia M.). The corner house on the right is the Palazzo Albani , erected by Do¬ menico Fontana, and afterwards the property of Card. Aless. Al¬ bani. — In the Via Venti Settembre, on the right, farther on, are the two uninteresting churches of S. Teresa and S. Cajo. In 5 min. more we reach the Piazza S. Bernardo fPl. I, 22), in which, standing a little back, is S. Bernardo, and to the left S. Susanna, while opposite to us, at the corner, rises the Fontanone deir Acqua Felice. S. Bernardo (PI. I, 22), a circular edifice which originally formed one of the corners of the Thermie of Diocletian (p. 175), was con¬ verted by Catharine Sforza, Countess of Santa Fiora, into a church. The vaulting is ancient, but like the Pantheon w^as once open. — The new Via Torino leads hence to S. Maria^Maggiore (p. 178). The ancient church of S. Susanna was modified to its present form in 1600 by C. Maderna by order of Card. Rusticucci. Paint¬ ings on the lateral w^alls from the history of Susanna, by Baldassare Croce ; those of the tribune by Cesare Nebbia. The Fontanone delV Acqua Felice^ or di Termini, was erected by Domenico Fontana under Sixtus V. ; the badly-executed copy of the Moses of Michael Angelo is by Prospero Bresciano, who is said to have died of vexation on account of his failure ; at the sides Aaron and Gideon by Giov. Batt. della Porta and Flam. Vacca ; in front four modern lions. The Acqua Felice w'as conducted hither in 1583 from Colonna in the Alban Mts., a distance of 13 M., by order of Sixtus V. (Felice Peretti); comp. p. 348. On the right opens the Piazza delle Terme, see p. 175. To the left the Via di S. Susanna descends to the Via di S. Nicola di Tolentino, which leads to the Piazza Barberini (p. 164). At the N. angle of the Piazza S. Bernardo stands the church of S. Maria della Vittoria (PI. I, 23), so called from an image of 174 II. The Hills. S. Agnese Fuori. ROME. the Virgin which is said to liave been instrumental in gaining the victory for the imperial troops at the battle of the ‘White Hill’ near Prague, afterwards deposited liere, but burned in 1833. The church, with the exception of the fa(^ade, was erected by C. Maderna. In the 2nd Chapel on the right, an altar-piece (Mary giving the Infant Christ to St. Francis) and frescoes by Domenichino. In the left transept the notorious group of St. Theresa by Bernini (covered^ 5 s.). In the 3rd Chapel on the left, the Trinity by Guercino^ and a Crucifixion attributed to Guido Reni. The street now becomes deserted. The imposing new edilice on the right is the government Finance Office. A few minutes before the gate is reached, a street to the left diverges to the Porta Salara (^p. 165), while the Via del Maccao to the right terminates near the railway-station (p. 177). Farther on, to the left, is the Villa Bonaparte^ and to the right, the Villa Reinach, formerly Torlonia. The PortaPia (PL 1, 27,30), which occupies an important place in the annals of 1870, was begun by Pius IV. from designs by Michael Angelo in 1564. It afterwards fell to decay, but was restored by Pius IX. in 1861-69. On 20th Sept. 1870, the Italians directed their bombardment chiefly against this gate, and soon succeeded in making a breach at the side of it, through which they entered the city. The damage has since been repaired. On the outside, to the left, a memorial tablet, bearing the names of the 33 soldiers of the Italian army who fell on the occasion, marks the place where the breach was made. To the right of the gate is the old Porta Nomentana, closed since 1564, which led to Nomentum (p. 350). Outside the Gate (comp, map, p. 339) an unimpeded view is obtained to the left of the Villa Albani and the Sabine Mts. To the right is the entrance to the Villa Patrizi, with pleasant garden and beautiful view (finest from the steps of the small summer-house and from the meadow). In the grounds there are remains of ancient dwelling-houses and a catacomb (Catacomba Nicomedi) with well preserved entrance. Permessi obtained by sending an application with a visiting-card to the Pal. Patrizi, Piazza S. Luigi de’ Francesi, p. 195. — About 1/4 M. farther, on the right, is the Villa Torlonia^ with pleasant gardens and artificial ruins (visitors seldom admitted). On this road, the ancient Via Nomentana, which commands fine views from various points, on the left, H /4 M. from the gate, is — * S. Agnese Fuori le Mura, a church founded by Constantine, over the tomb of St. Agnes, and still presenting many of the char¬ acteristics of an early Christian basilica. It was re-erected by Ho- norius I. in 625-38, altered by Innocent VIII. in 1490, and again restored by Pius IX. in 1856. The principal festival, on 21st Jan., is the ‘blessing of the lambs' from whose wool the archiepis< •opal robes are woven. We enter by a gateway, where, to the right, is the entrance to the residence of the canons, with remnants of old frescoes in the corridor of the 1st door, dating from 1454, and including an Annunciation. In the Court, through a large window to the right, we observe a fresco painted in commemoration of an accident which happened to Pius IX. on I5th April, ! M i I 8. Costanza, ROME. n. The Hills. 175 1855. The floor of a room adjoining the church, to which his Holiness had retired after mass, gave way, and he was precipitated into the cellar below, but was extricated unhurt. On the farther side of the court, on the right, is the entrance to the church, to which a Staircase with 45 marble steps descends. On the walls of the staircase are numerous ancient Christian inscriptions from the catacombs. The Interior is divided into nave and aisles by 16 antique columns of breccia, porta santa, and pavonazzetto, which support arches. Above the aisles and along the wall of the entrance are galleries with smaller co¬ lumns. The Tabernacle of 1614, borne by four fine columns of porphyry, covers a statue of St. Agnes, in alabaster, a restored antique. In the tribune, Mosaics^ representing St. Agnes between Popes Ilonorius I. and Symmachus, dating from the 7th cent., and an ancient episcopal chair. To the right, in the 1st Chapel, a Head of Christ in marble, a mediocre work of the 16th cent. \ in the 2nd Chapel, a beautiful inlaid altar; above it a "relief of St. Stephen and St. Lawrence, of 1490. In the left aisle, over the altar of the chapel, a fine old fresco. Madonna and Child. — With regard to the Catacombs^ to which there is an entrance in the left aisle, see p. 337 ^ visitors may see them without a permesso by applying to the sacristan, from whom lights are also obtainable (1 fr.). Leaving the covered flight of steps which descend to S. Agnese, and descending to the right, we reach — S. Costanza (which, if closed, will be shown by the custodian of S. Agnese, 1/2 ^^0- church was originally erected as a monument by Constantine to his daughter Constantia, but converted into a church in 1256. The dome, 70 ft. in diameter, is supported by 24 clustered columns of granite. A few fragments only of the vestibule and the enclosing wall of the central part of the struc¬ ture now exist. In the tunnel-vaulting of the aisle are ^mosaics of the 4th cent, with genii gathering grapes, in the ancient style, but bearing traces of decline. The porphyry sarcophagus of the saint, which formerly stood in one of the niches (now in the Vatican museum, Sala a Croce Greca, p. 313), is similarly adorned. In the niches, Christ as the ruler of the world with SS. Peter and Paul. The Ccemeterium Ostrianum, ^4 Iroin this point, see p. 337. Beyond it lies the Campagna, see p. 349. Quitting the Piazza S. Bernardo and the Fontanone delf Acqua Felice (p. 173), and proceeding towards the S. E., we pass (left) an asylum for the deaf and dumb, and come to the Piazza delle TERME (PI. 1, 25), formerly called di Termini^ which derives its name from the Thermae of Diocletian situated here. The Thermae of Diocletian, the most extensive in Rome, were constructed by Maximian and Diocletian at the beginning of tlie 4th century. The principal building was enclosed by a wall, a mas¬ sive round fragment of which, now intersected by the Via Nazio- nale (p. 177), is exposed to view on the S.W. side of the piazza. The corners on this side were formed by two circular buildings, one of which is now the cliurch of S. Bernardo (p. 173), and the otlier be¬ longs to a prison. The circumference of the baths is said to have been about 2000 yds., or half as much as that of the Baths of Cara- calla (p. 257), and the number of daily bathers 3000. The front 176 II. The mils. ROME. S. Maria deyli Anyeli. faced the E., and the circular part, mentioned above, was at the back. Tradition ascribes the execution of the work to condemned Christians, in memory of whom a church, no longer existing, was erected here as early as the 5th century. An old scheme for erecting a Carthusian monastery among the ruins, which had been abandoned in the 14th cent., was revived by Pius IV., who committed the execution of the task to Michael Anyelo. That master accordingly converted a large vaulted hall into the church of — *S. Maria degli Angeli (PI. I, 25), which was consecrated in 1561. The present transept was then the nave, the principal portal was in the narrow end on the right, and the high-altar placed on the left. In 1749 Vanvitelli entirely disligured the church by injudi¬ cious alterations, such as converting the nave into the transept, blocking up the portal, etc. A small Rotunda is lirst entered. The lirst tomb on the right is that of the painter Carlo Maratta (d. 1713). In the Chapel, Angels of Peace and Justice , by Peitrich. The first tomb on the left is that of Salvator Rosa (d. 1673). In the Chapel, Christ appearing to Mary Magdalene, an altar- piece by Arrigo Fiamingo. The great Tkansept is now entered. The niche on the right in the passage contains a colossal statue of St. Bruno, by Houdon; in the chapel on the left, the ' Delivery of the Keys, an altar-piece by Muziano. The transept (formerly the nave) is 1(10 yds. long, 29 yds. wide, and 90 ft. high. Of the 16 columns, each 40 ft. in height, eight are antique, of oriental granite, which were barbarously painted by Vanvitelli, and the others were disengaged from the brick wall when the church was restored. — Most of the large pictures here and in the tribune w'ere brought from St. Peter’s, where they were rejilaced by copies in mosaic. In the right half (on the pavement the me¬ ridian of Rome, laid down in 1703): on the right, Crucifixion of St. Peter by Ricciolini; Fall of Simon Magus, after F. Fawwe (original in St. Peter’s); on the left, '"St. Jerome among the hermits, Muziano (landscape by Brill) ; Miracles of St. Peter, Baglioni. At the narrow end: chapel of B. Kiccolo Albergati. In the left half: on the left, Mass of St. Basil with the Emperor Valens, Suhleyras; Fall of Simon Magus, Pomp. Battoni; on the right. Immaculate Conception, P. Bianchi; Resuscitation of Tabitha, P. Costanzi. At the nar¬ row end: chapel of St. Bruno. In the Tribune (one of the monks acts as guide here, 1/2 fr.); right, Roinanelli.^ Mary’s first visit to the Temple; ■'Domenichino.^ 3Iartyrdom of St. Sebastian (fresco); left, Pomarancio.^ Death of Ananias and Sapphira; Ma¬ ratta Baptism of Christ. The choir contains two monuments (1. Pius IV., r. Ant. Serbelloni), designed by Michael Angelo. The Certosa^ or Carthusian Monastery, adjoining the church, is partly used as barracks. The second court (entrance by No. 15, opposite the great fountain, where a sentinel stands, then turning to the left), embellished with 100 columns, was constructed from a design by Michael Anyelo, who is said to have planted tlie beautiful cypresses in the centre; but it is now whitewashed, and has lost much of its former interest. Permission to inspect the other chambers of the Thermse, which are devoid of interest, must be obtained at the office of the commandant, Via del Burro 147, 2nd floor. The most interesting parts, through which the visitor may ascend to the roof of the church for the sake of the view, belong to the monastery, to the prior of which application for ad¬ mission must be made. Walt of Servian. ROME. IJ. The mils. 177 Opposite the entrance of the church of S. Maria degli Angeli, and through the middle of the circular wall of the Thermaj, runs the Via Nazionale, which intersects the Via Quattro Fontane, and is to be continued in a straight direction to the corner of Via del Ouirinale and Via Magnariapoli (p. 172). Immediately to the right of the entrance to the Piazza delle Terme rises the War Office. •— At Via Nazionale 354 is the Galleria Tenerani, a complete collection of the original models of the sculptor P. Tenerani(d. 1869) ; open on Wed. 1-4 5 on other days a fee must be paid. On the E. side of the Piazza delle Terme is the extensive new Railway Station (PI. I, 25), constructed by Miriere and Bianchi. In front of it rises an imposing fountain, fed by the Aqua Marcia^ which has been recently restored. Within the precincts of the railway-station part of the Wall of Servius, which protected the city on this undefended side, has been exposed to view in consequence of the construction of the railway. The wall, which is supported by a strong embankment, with its broad moat and numerous tt)wers, mav be traced as far as the arch of Gallienus. To the right (S.W.) runs the new Via del Viminale, which farther on intersects the Via delle Quattro Fontane. Passing the station, and traversing the Piazza delle Terme lengthwise, we reach the Porta S. Lorenzo (p. 181) in t /4 hr. Turning to the left between the station and the Thermaj, and passing the new buildings of the quarter which is now springing up here, we reach in 10 min. the Carnpo di Maccao^ or Campo Mili- tare, the camp of the Prietorians of imperial Rome. It was originally established by Tiberius, but destroyed by Constantine so far as it lay without the town-wall, from which it projects in a quadrangular form. At the end to the left, and on the side, traces of gates are still distinguished; the wall was skirted by a passage, under which are several small chambers. Since the end of the papal regime it has again been devoted to military purposes; parades and reviews are held here, and the large, newly erected barracks impart unwonted life to the bleak ramparts. From the Quattro Fontane to S. Maria Maggiore is a walk of 10 minutes. We first descend the Quirinal, crossing the new Via Nazionale (see above), which leads to the Piazza delle Terme. We then traverse the Viminal, which is here of insignificant height; to the left diverges the new Via del Viminale (see above) leading to the station. In the valley between the Viminal and Esquiline, in the first side-street to the right, is situated — S. Pudenziana (PI. II, 25; open till 9 a. m.; custodian. Via Quattro Fontane 81), traditionally the most ancient church in Rome, erected on the spot where St. Pudens and his daughters Praxedis and Pudentiana, who entertained St. Peter, are said to have lived. The church, the earliest record of which dates from 499, has been frequently restored, the greatest alterations having been made in Baedekeu. Italy 11. 6th Edition. 178 II. Tke fliils. ROME. S. Maria Magyiore. 1598, and has recently been modernised in very bad taste. In the fa(;ade, which has lately been adorned with mosaics (St. Peter with • SS. Pudens and Pudentiana; on the left Pius I., on the right Gre¬ gory VII.) is an ancient portal, supported by columns, which has also been restored. Pleasing campanile of the 9th cent. Chief festi¬ val on 19th May. Intekior. In the pillars of the aisles are still to he seen the marble co¬ lumns which originally supported the wall. The "'Mosaics in the Tribune (4th cent.), Christ with S. Praxedis and S. Pudentiana and the Apostles, and above them the emblems of the Evangelists on either side of the cross, are said to be the oldest Christian remains in Rome, but have been partly modernised. The Dome above the high-altar was painted by Poinarancio. The Aisles contain remains of an ancient mosaic pavement. In the left aisle is the Cappella Gaetani , over the altar of which is an Adoration of the Magi, a relief in marble by Olivieri. At the extremity of this aisle is an altar with relics of the table at which Peter is said first to have read mass. Above it Christ and Peter, a group in marble by G. B. della Porta. Below the church are ancient vaults in a good style of architecture, which the custodian shows if desired. The street now ascends the Esquiline , constantly affording a view of the choir of S. Maria Maggiore. Building operations are in progress in this part of the town, and an entirely new quarter is growing up. To the right diverges the Via di S. Maria Maggiore, the continuation of the Via Magnanapoli which leads to the Forum of Trajan, see pp. 172-73. In front of the choir of the church, to which a handsome flight of steps ascends (two entrances adjoining the tribune) stands one of the two Obelisks which formerly rose in front of the mauso¬ leum of Augustus, 48 ft. in height (the other is on the Quirinal, p. 170). It was erected here by Sixtus V. in 1587. The fa(^ade of the church is turned towards the Piazza S. Maria Maggiore, which is embellished with a handsome Column from the basilica of Constantine, 16 ft. in circumference, and 46 ft. in height, placed here and crowned with a bronze figure of the Virgin by Paul V. **S. Maria Maggiore (PI. 11,25), also Basilica Liberiana^ or *S. Maria ad Nives, or S\ Maria ad Praesepe^ from the manger which it contains, derives its usual name from its being the lar¬ gest of the eighty churches dedicated to the Virgin at Rome. It is at the same time one of the oldest at Rome, and perhaps the oldest in the whole of Christendom. This is one of the five patriarchal churches (p. 128), and has a special ‘jubilee entrance’. The prin¬ cipal festivals are on Christmas Day, 5th Aug., and the Assumption on 15th Aug., the occasion of the papal benediction. According to a legend which cannot be traced farther back than the 13th cent., the Virgin appeared simultaneously to the devout Roman patrician Johannes and to Pope Liberius (352-66) in their dreams, com¬ manding tliem to erect a church to her on the spot where they should find a deposit of snow on the following morning (5th Aug.). The Basilica Liberiana. which they are said to have built in obe- S. Maria Mayyiore. ROME. //. The Hills. 1 79 dieiice to this vision, vsras re-erected by Sixtus III. (482-40j, who named the church S. Maria Mater Dei, shortly after the Council of h]phesus had sanctioned this appellation of the Virgin (480). Of this edifice the nave with its ancient marble columns and mosaics is still preserved. In the 12th cent, the church was farther altered in themediievalstyle. Eugene III. added a newporch, NicholaslV". a new tribune adorned with mosaics, and Gregory XI. gave the campanile its present form and its pointed roof. About the end of the 15th cent, began a new period in the history of the church, when the irregularities of the mediaeval additions were removed, and symmetrical lines were formed by the erection of accessory buildings and straight walls. The two large side-chapels, covered with domes, were added by Sixtus V. in 1586 and Paul V. in 1611. The exterior of the tribune was remodelled by Clement X., and the final restoration was undertaken by Fuya , by order of Benedict XIV. The Facade, designed by Fuga in 1743, consists of a porch with a loggia above it, opening towards the piazza in five arches. Cor¬ responding with the live archways of the porch are four entrances to the church, the last of which on the left, the Porta Santa, is now built up, and a niche on the right. To the right is a statue of Philip IV. of Spain. The loggia (staircase to the left in the vestibule; one of the attendants opens the door), from which the pope formerly pronounced his benediction on 15tli Aug., contains mosaics from a facade of the 13th cent., restored in 1825. Above, in the centre, Christ; on the left tlie Virgin, SS. Paul, John, and James; on the right SS. Peter, Andrew, Philip, and John the Baptist. Below, on the left, the vision of Pope Liberius and the Patrician Jo¬ hannes ; on the right, the meeting of the two, and the tracing of the site of the church on the newly-fallen snow. The Interior, dating from the pontificate of Sixtus III., 93 yds. long and 19 yds. wide, and subsequently enlarged, produces a rich and imposing effect. The pavement of the Nave dates from the 12th cent., and the handsome ceiling was executed from designs by Oiuliano da >S. Gallo. The architrave, adorned with mosaic, is supported by 42 Ionic columns, 33 in marble and 4 in granite, above which, and on the triumphal arch, are Mosaics of the 5th cent., in the ancient style (good light early in the morning). Those on the arch represent events from the Life of Mary, Annunciation, Infancy of Christ, Slaughter of the Innocents, etc.; left wall, history of Abraham and Jacob; right wall, Moses and Joshua (several of the pictures were restored in 1825). In front of the triumphal arch is the High-Altar, consisting of an ancient sarcophagus of porphyry, said to have been the tomb of the Patrician Johannes, and containing the remains of St. Matthew and other relics; the canopy is borne by four columns of porphyry. In the apse of the Tribune are mosaics by Jacopo Tor- riti (1292): Coronation of the Virgin, with saints, near whom are Pope Nicholas IV. and Card. Jac. Colonna. At the beginning of the nave are the tombs of Nicholas IV. (d. 1292) on the left, and Clement IX. (d. 16G9) on the right, erected by Sixtus V. and Clement X. respectively. Right Aisle: First chapel : Baptistery with tine ancient font of porphyry. Farther on is the Cap. del Crocefisso with 10 co¬ lumns of porphyry, containing five boards from the manger (whence termed Cappella del Presepe^ of the Infant Christ. — In the Right Transept is the 12* 180 //, The imix. ROME. Prasstde. sumptuous ' SisTiNE Chapel, constructed by Fontana, and recently gorgeous¬ ly restored; in the niche on the left, an altar-piece (St. Jenmie) by Ribera; on the right, occiijiying the whole wall, the nionument of Sixtus V., the statue of the Pope by Valsoldo; on the left, monument of Pius V. by Leonardo da Sarzana. Over the altar rises a canopy in gilded bronze, representing angels bearing the church ; in the ‘Confessio’ under the stair¬ case a statue of S. Gaetano, by Bernini^ and by the altar a relief of the Holy Family, by Cecchino da Pietrasanta (1480). — At the end of the right aisle, the Gothic monument of Card. Consalvi (Gunsalvus, d. 1299) by Giov. Cos mas. Left Aisle. 1 si Chapel (oftheCesi): Martyrdom of St. Catharine, altar- piece by Girol. da Serrnonela ; on the right and left two bronze statues to the memory of cardinals of the family. 2nd Chapel (of the Pallavicini-Sforza), said to have been designed by Mich. Angelo: Assumption of Mary, altar- piece by Gir. Sermoneta. — In the Left Tkansept, opposite the Sistine Chapel, is the Bokghese Chapel, constructed by Flaminio Ponzio in 1611, and also covered with a dome. Over the altar, which is gorgeously decorated with lapis lazuli and agate, an ancient and miraculous picture of the Virgin, painted (almost black) according to tradition by St. Luke, which was car¬ ried by Gregory I. as early as 590 in solemn procession through the city, and again by the clergy in the war of 1860. The frescoes in the large arches are by Guido RentLanfrancoCigoii.^ etc. The monuments of the Popes (1.) Paul V. (Caniillo Borghese, d. 1621) and (r.) Clement VIIl. (Aldo- brandini, d. 1605) are by pupils of Bernini. The crypt contains tombs of the Borghese family. To the 8 .E. of the Piazza S. Maria Maggiore (p. 178jis the cliiirch of - 8 . Antonio Abbate, with a portal of the 13th century. In¬ terior uninteresting. 8 . Antonio is the tutelary saint of animals, and in front of the church from 17th to 23rd Jan., domestic animals of every kind were formerly blessed and sprinkled with holy water. In the Via 8. Prassede, at the right corner of the piazza, is a side-entrance to the church of — *S. Prassede (PI. II, 25), erected by Paschalis I. in 822 and dedi¬ cated to St. Praxedis, the daughter of St. Pudens with whom Peter lodged at Rome, and the sister of 8 . Pudentiana. It was restored by Nicholas V. about 1450, again in 1832, and finally in 1869. The church is generally entered by the side-door. Interior. The nave is separated from the aisles by 16 culumns of granite (six others, bearing arches, having been replaced by pillars). The Mosaics (9th cent.) deserve special notice. On the triumphal arch the new .lerusalem guarded by angels, Christ in the centre, towards whom the saved are hastening; on the arch of the tribune the Lamb, at the sides the seven candlesticks and the symbols of the evangelists; lower down the twenty- four elders (int('resting as showing the mode in which the art accommo¬ dated itself to the spaces allotted to it; thus, in order to follow the curve of the arch, the arms of the foremost elders in the middle and upper rows gradually increase in length); in the round part of the apse, Christ sur¬ rounded with saints (on the left Paul, Praxedis, and Pope Paschalis with the church; on the right Peter, Pudentiana, and Zeno). On either side of the tribune are galleries. — Right Aisle. The 3rd chapel is the Chapel of the Column (ladies admitted on the Sundays of Lent only; the sacristan opens the door when desired). At the entrance are two columns of black granite with ancient entahlature. The interior is entirely covered wTth mosaics on gold ground (about the lOth cent.), whence the chapel is some¬ times called Orto del Paradiso. On the vaulting a medallion with head of Christ, supported by four angels. Above the altar a Madonna between the saints Praxedis and Pudentiana. To the right in a niche , the column at which Christ is said to have been scourged. The 4th chapel contains the tomb of Card. Cetti (d. 1474). At the extremity of the right aisle the Caj). del Arch of Gallievus. ROME. JI. The Hillfi. 181 Crocefi&so contains the tomb of a French cardinal (d. 1286). — In the Left Aisle by the entrance-wall is a stone-slab, on which St. Praxedis is said to have slept. The 2nd Cap. di B. Carlo Borromeo contains a chair and table once used by the saint. The 3rd Cap. Agiati contains paintings by the Cav. d'Arpino. — The marble spout of a fountain in the nave indicates the spot where St, Praxedis collected the blood of the martyrs. The CoNFESSio (keys kept by the sacristan) contains ancient sarcophagi with the bones of the sister saints Praxedis and Pudentiana on the right, and those of martyrs on the left. The altar is decorated with fine mosaic of the 13th cent. Above it an ancient fresco of the Madonna between the sisters. — The Sacristy contains a Scourging by Giulio Romano. To the S. and S.E. of the Piazza S. Maria Maggiore run the Via S. Eusebio and the Via Merulana (p. 185), two streets now in course of construction. In the execution of the municipal improve¬ ments great alterations in the appearance of the ground have been made here. A great part of the surface has been lowered 13-16 ft., a process which led to the discovery of numerous remains of ancient walls, fragments of sculptures in marble and bronze, sarcophagi, columns, etc. The ruins have been partly covered up again, and nothing certain is known of their history. \\"e follow the Via S. Eusebio (PI. II, 25, 28), from which, im¬ mediately to the right, the Via di S. Vito diverges, passing under the Arch of Gallienus. This honorary arch, which closely adjoins the church of S. Vito, was erected in 262 in honour of the Emp. Gallienus ‘on account of his bravery, surpassed only by his piety’ by a certain M. Aurelius Victor. The architecture is simple, and in the degraded style of the age. Farther on in the Via S. Eusebio is the church of S. Eusebio., re¬ erected in the last century, with the exception of the campanile. The ceiling-painting, the glory of St. Eusebius, is one of the earliest works of Raphael Mengs; the high altar-piece is by Bald. Croce. Opposite the church, to the right, are considerable remains of a water-tower of the Aqua Julia or Claudia (PI. II, 28), in the niches of which the so-called trophies of Marius, now on the balustrade of the Capitol, were formerly placed (p. 213). The ruin is called Trofei di Mario. — For the prolongation of the street to the Porta Maggiore, see p. 183. Turning to the left into the new street between S. Eusebio and the Trofei di Mario, we reach (^2 M. ) the Porta S. Lorenzo (PI. II, 31), constructed by Honorius against an arch, over which, ac¬ cording to the inscription, the three aqueducts Marcia, Tepula, and Julia passed. The arch stands on its original site, while the gateway occupies considerably higher ground. The gate derives its name from the basilica situated outside the gate, and stands on the site of the ancient Porta Tiburtina , which led to Tivoli. The road (Via Tiburtina) is bounded by walls, and does not afford views of the Sabine Mts. until the church is reached, ^/4 M. from the gate. *S. Lorenzo Fuori le Mura (see map, p. 339) occupies the spot where Constantine first founded a church on the burial-place of St. LawTence and St. Cyriaca. In 578 it was rebuilt by Pelagius 11. 182 JJ. 'J'he Hills. HOME. S. Jjortnzo Fuori. Tliis ancient edifice, wliicii was entered from tlie E. , was entirely remodelled by Honorius IIJ. (1216-27), who added the present nave to the apse, and transferred the fayade with the porc/h to the W. end. An angle formed by the outer walls shows where the new part was added. Under Nicholas V. and Innocent X., and finally under Pius IX. in 1864-70, the church underwent extensive altera¬ tions, and is now at least partially freed from the patchwork by which it was formerly disfigured. S. Lorenzo is a patriarchal church, and one of the seven pilgrimage-churches of Pome (p. 128). Festival, 10th Aug. In the piazza in front of the church is a Column with a bronze statue of St. Lawrence. The Facade of the church has been recently embellished with paintings resembling mosaic, representing the founders and patrons of the church; Pelagius 11., the Emp. Con¬ stantine, Honorius HI., Pius IX., Sixtus HI., and Hadrian I. The vestibule is supported by six ancient columns, above which is an ar¬ chitrave with mosaics (St. Lawrence and Honorius HI.), and contains retouched frescoes of the 13th cent., two tombs in the form of temples, and two rude Christian sarcophagi. The door-posts rest on lions. The Interior consists of two parts. The anterior Latek Chukch, which chiefly dates from Honokius III., consists of nave and two aisles, separated by 22 antique columns of granite and cipolline of unequal thickness. On the capital of the 8th column on the right are a frog and a lizard, and it is therefore supposed, but without authority, to have been brought from the colonnade of Octavia, where two sculptors Batrachus (frog) and Saurus (lizard) are said to have adopted this method of perpetuating their names. Above the plain entablature rises a wall recently adorned with frescoes by Fraccassini (on the right, history of St. Lawrence; on the left, that of St. Stephen), and the gaudily painted open roof. The pavement, in opus Alexandrinum, dates from the 12th century. Under a medifeval canopy to the right of the entrance is an ancient '"sarcophagus with a representation of a wedding, in which in 1256 the remains of Card. Fieschi, nephew of Innocent IV., were placed. In the nave are the two elevated ambos, that to the left for the gospel, near which is a wreathed candelabrum for the Easter candle, that to the right for the epistle (12th cent.). On the trium¬ phal arch are modern paintings (resembling mosaics) of the Madonna and saints. At the extremity of the X. aisle a flight of 12 steps, on the left, descends to a chapel and the catacombs. Adjoining this building of Honorius on the E. is the Older Church, erected by Pelagius, the pavement of which lies 3 ft. lower. The raised central space, to which seven steps ascend on each side of the Confessio, dates from the time of Honorius, who converted the nave of the (>lder church into a choir with a crypt by laying a pavement halfway up the columns, and caused the aisles to be filled up. The rubbish has been recently removed, and the original level of the aisles exposed to view. They are reached by descending 14 steps from the prolongation of the aisles of the anterior church. The church of Pelagius, a basilica with aisles in the style of S. Agnese Fuori (the only two examples of churches with galleries at Rome), was originally entered at the opposite (E.) end. Twelve magnificent fluted columns of pavonazzetto with Corinthian capitals (those of the two first are formed of trophies, on the benches in front of them are mediaeval lions) support the '''entablature, which consists of an¬ tique fragments and bears a gallery with graceful smaller columns. On the triumphal arch, of which this is the original front, are restored mo¬ saics of the time of Pelagius II,: Christ, right SS. Peter, Lawrence, and T. of Minerva Medica. ROME. ;/. The Hills. 183 Pelagius^ left SS. Paul, Stephen, and Hippolytus. The canopy dates from 1148. The dome is modern. By the wall at the back is the handsome episcopal throne. The handsome old *Court of the Monastery (generally closed; apply to one of the monks in the church) contains numerous fragments of sculp¬ tures and inscriptions built into its walls; in the corner to the right of the principal entrance is the lid of a sarcophagus adorned with the trium¬ phal procession of Cybele. Tlie church is adjoined by the Campo Verano, an extensive churchyard, consecrated in 1837, and considerably enlarged in 1854, the upper part of which commands a beautiful view of the mountains and the Campagna. A monument with appropriate inscriptions was erected here in 1870 to commemorate the Battle of Montana. In the tufa rock of the hill are observed tomb-niches from the cata¬ combs of 8t. Cyriaca, discovered when the cemetery was extended ill this direction. About a hundred paces beyond the Trofei di Mario, the street leading to S. Bibiana and the Porta Maggiore diverges to the right from that which leads to the Porta S. Lorenzo mentioned at p. 181. As already stated, the ground here is undergoing a complete transformation, and fragments of ancient walls are still frequently discovered. In 5 min. we reach the church of S. Bibiana (PI. II, 31), consecrated as early as 470, and rebuilt for the last time in 1625 by Bernini. The Interior contains eight antique columns; above these are frescoes from the life of the saint, on the right by Ciampelli^ on the left by Pietro da Cortona (modernised). The statue of St. Bibiana at the high-altar is by Ber¬ nini. To the left by the entrance is the stump of a column, at which the saint is said to have been scourged to death. Festival, 2nd Dec. A few hundred paces farther on , in the same direction , is the so-called Temple of Minerva Medica (PI. II, 32), the picturesque ruin of an ancient Nymphaeum in the form of a decagon, 55 yds. in circumference, with deep niches in the walls, and originally covered with marble below and stucco above. It must have be¬ longed to some splendid bath-establishment, as a number of an¬ cient statues have been found in the vicinity. One of these, the Minerva Giustiniani of the Braccio Nuovo in the Vatican (p. 307), has given rise to the otherwise unfounded appellation of ‘Temple of Minerva’. In the middle ages the ruin was called Le Terme di Gal- luccio, a name which has been conjectured, without any authority, to be a corruption of ‘Gains and Lucius Caesar’. The vaulting was in existence down to 1828. The building, which is interesting in an architectural point of view, dates from about the 3rd cent, after Christ. IntheVigna, between the Temple of Minerva and the Porta Maggiore, several Columbaria w^ere discovered in 1875, the largest being that of the Gens Statilia. Their contents have been trans- 184 II. The Hills. ROME. Porta Maggiore. ferred to the Museo Kircheriano (p. 150), and tlie columbaria them¬ selves are now hardly worthy of a visit. The Via di Porta Maggiore leads in 20 min. from the church of S. Maria to the Porta Maggiore (PI. II, 35), formed by a monu¬ ment belonging to the Aqua Claudia, above which the Anio Novus flowed through a second conduit. The inscriptions record the con¬ struction of both aqueducts by the Emp. Claudius, A. D. 52, the Claudia, 45 M. in length, bringing water from the neighbourhood of Subiaco, and the Anio Novus being conducted from the sources of the river of that name, a distance of 62 M.; and also their resto¬ ration by Vespasian in 71, and by Titus in 80. Aurelian converted the monument into one of the gates of his city wall; and the Co- lonnas used it in the middle ages as the nucleus of a fortification. The gate derives its name either from its imposing dimensions, or from the church of that name. It was purged of the later additions by Gregory XVI., who closed up the N. archway. Two roads di¬ verged hence: to the left, through the now closed arch, the Via Lahicana, and to the right the Via Praenestina. Between the two roads, outside the gate, on the occasion of the removal of the fortifications of Ilonorius, which have been re¬ erected by the wall to the right, was discovered the "^Monument of the Baker Eurysaces , erected in the form of a baker’s oven to¬ wards the close of the republic. The monument was erected by the baker himself during his lifetime, and the principal inscription, which is repeated several times, is to the effect that — ‘This is the monument of Marcus Vergilius Eurysaces, a public purveyor of bread and an official’. Some of the reliefs represent grinding, baking, and other parts of his trade, and others refer to his post of purveyor to the city. From this point to the Campagna, see pp. 348, 349. From the Porta Maggiore a road leads to (5 min.) S. Croce, passing under the arch of the Claudian aqueduct, and skirting the wall on the inside. From S. Maria Maggiore to this church by the Via di S. Croce is a walk of 20 min. S. Croce in Gerusalemme (PI. IT, 36), one of the seven pil¬ grimage-churches, once named Basilica Sessoriaua, because the Sessorium, perhaps an ancient court of judicature, once stood here, is said to have been erected by St. Helena in honour of the cross found by her. As early as 433 it was used for the meetings of a council, it was rebuilt by Lucius II. in 1144, and was entirely modernised and provided with a poor facade by Gregormi in the pontificate of Benedict XIV. in 1743. Interior. The nave was originally borne by 12 antique columns of granite, of which 8 only are now visible. An ancient sarcophagus of basalt below the high-altar contains the relics of SS. Anastasius and Ca*sarius. S. Martino ai Monti, ROME. II. The IlilU. 1 85 In the tribune are modernised "frescoes by Bald. Peruzzi (not Pinturicchio), the Finding of tlie Cross. The church contains numerous relics, including the ‘Inscription on the Cross’. To the left of the tribune a staircase descends to the Crypt., where on the left is an altar adorned with a relief in marble (Pieta); at the sides are statues of Peter and Paul of the 12th cent. On the right the chapel of St. Helena, to which ladies are not admitted except on 20th March. On the vaulting are -'Mosaics., after Bald. Peruzzi, representing the Four Evan¬ gelists. In the centre, Christ. In the arch over the entrance, on the left St. Helena, right St. Sylvester^ over the altar, on the left St. Peter, on the right St. Paul. The’ altar-statue of St. Helena is an exact copy of the Bar- berini Juno in the Sala Rotonda of the Vatican (p. 313), with the exception that a cross has been substituted for the sceptre in the right hand , and a nail of the cross for the vase in the left. The greater part of the old Cistercian monastery formerly belong¬ ing to the church is now used as a barrack. Adjacent to S. Croce, in the direction of the Lateran, is situated the Amphitheatrum Castrense (PI. II, 36), of which only 16 arches of the enclosing wall, incorporated with the old city-fortifications, still exist. The structure is of brick, and so also are the Corinthian capitals and other decorations. The date of its erection is uncertain. The longer diameter of the amphitheatre is 57 yds. , the shorter 44 yds., and the arena 41 yds. in length. The outside is best seen in the course of a walk from the Porta Maggiore to the Porta S. Giovanni (from gate to gate 1 M.J. Jn the interior is a kitchen garden. On the other side of S. Croce is an apse with arched windows and the beginning of adjoining walls, which are supposed to have belonged to a Temple of Venus and Cupid , or a Nymphaeum of Alexander Severus, or to the Sessorium mentioned above. From S. Croce to the Lateran is a walk of 5 min. (p. 267). From S. Maria Maggiore the Via Merulana (PI. II, 26, 29, 30) leads to the right to the Lateran (in 1/4 hr.). The first transverse street to the right is the Via di S. Frassede (with the church of that name, see p. 180), which, under different names, leads through a well-peopled quarter to the Forum. The Via di S. Vito to the left leads through the arch of Gallienus to S. Eusebio (p. 181). — To the left, farther on, is the Villa Caserta (PI. 11, 25, 29), which was purchased by the Redemptorists in 1855, and in the street rises S. Alfonso de' Liguori, the church belonging to it, built in the modern Gothic style by Wigley, an English architect. From the Via Merulana diverges the Via di S. Pietro in Vin- coLi to the \V., leading to the church of — S. Martino ai Monti (PI. II, 26), erected by Symmachus about the year 500, adjacent to the Baths of Trajan and to an old church of Pope Sylvester, rebuilt in 844 by Sergius II. and Leo IV., and haiidsomely modernised about 1650. The adjoining Carmelite mon¬ astery is now occupied by the military. J^riiuvipal festival, lltiiNov. 186 II. The Hills. ROME. iS. Pietro in Vineoli. The Interior, a basilica with a roof of straight beams, contains 24 an¬ tique columns. In the S. aisle six * frescoes by G. Poussin^ from the life of Elijah, the patron of the order Irtisfigured by restoration). In the 1^. aisle six smaller * frescoes. Also two pictures representing the interior of the old churches of the Lateran and of St. Peter. — The Presbyterium is eleven steps higher; below it the Crypt. From the latter a large, ancient vault is entered, probably once belonging to Thermae, but at an early period converted into a church. The vaulting bears traces of very ancient painting. This is supposed to be the site of Pope Sylvester’s church, of the period of Constantine. To the E., near 8. Martino, diverges the Via delle Sette Sale, skirting the vineyards of the Esquiline, and terminating near 8. Cle¬ mente (p. 263). On this road, immediately to the right, in the Vigna No. 10, is the entrance to the so-called Sette Sale (PI. II, 26), con¬ sisting of seven, or rather nine chambers, running parallel with each other, which appear to have been used as reservoirs for the Thermai of Titus. The other ruins in the same vineyard also belonged to the baths. The celebrated group of the Laocoon (p. 310) w'as found in the vicinity. Leaving 8. Martino, we next proceed in 5 min. to — *S. Pietro in Vincoli (PI. II, 23; 151 ft. above the sea-leveH, also named Basilica Eudoxiana after Eudoxia, wife of Valentinian III., who founded it, about 442, as a receptacle for the chains of 8t. Peter which had been presented by her to Pope Leo 1. The church was restored by Pelagius I. and Hadrian I., the vestibule added by Baccio Pintelli, and the whole is now modernised. It is open before 11 a. m. and after 3 p. m. ; when closed, visitors ring at the adjacent door to the left. No. 4 ( 1/2 fi*-)- Interior. The nave and aisles are separated by 20 antique Doric columns. To the left of the entrance is the monument of the Florentine painlers Pietro and Antonio Pollajuolo (d. 1498). The fresco above it, representing the plague of 680, is attributed to the latter master. The Left Aisle, on the left contains the monument of the learned Card. Xico- laus Cusanus (from Cues on the Moselle, d. 1465). Above it a relief: Peter with keys and chains, on the left the donor (Nic. Cusanus), right an angel. On the 3rd altar to the left a mosaic of the 7th cent, with St. Sebastian. — At the end of the Right Aisle is the monument of Pope Julius II. with the ** Statue of Moses by Michael Angelo^ one of his most famous works. The monument was originally destined for St. Peter’s, and intended to be a most imposing work, consisting of upwards of 30 statues. Owing to various ad¬ verse circumstances the portion preserved here was alone completed. (Tw’o statues destined for this monument are at the Louvre.) The statues of Moses (who is represented by mediaeval Christian artists with horns owing to an erroneous translation of Exodus xxxiv. 35), Rachel, and Leah (as symbols, on the left of meditative, on the right of active life) alone were executed by the great master, and even these were not entirely his o\'n workmanship. The grouping only of the remainder was from his design. The figure of the pope (who is not interred here) by Maso del Bosco is a failure *, the prophet and the sibyl at the side are by Raf. da Montelupo. — To the right of the choir is St. Margaret, an altarpiece by Guercino. — The Choir contains an ancient marble seat from a bath, converted into an episcopal throne. Adjacent to the statue of Closes is the entrance to the Sacristy. A cabinet here with * bronze doors (by the Pollajuoli^ 1477) contains the chains of St. Peter, which are e.xhibited to the pious on 1st Aug. The adjacent monastery of the Canonici Regolari is now the seat Mausoleum of A ugustus. ROME. n. The Hills. 187 of the physical and mathematical faculty of the university. The handsome old monastery court, by Giuliano da San Gallo, plamted with orange trees, is embellished with a fountain by Antonio da San Gallo. The entrance is by No. 5, to the right of the church. In a garden opposite the facade of the church is a handsome palm-tree. — Proceeding to the left and then, where the street di¬ vides, to the left again, we reach the Thermae of Titus (p. 236) in 5 min. The street in a straight direction descends to the Basilica of Constantine (i>. 231), which is conveniently visited after the church of S. Pietro. To the right of S. Pietro in Vincoli is the church of S, Francesco di Paola, with a monastery, now the R. Istituto Tecnico. HI, Home on the Tiber (Left Bank). That part of the city which extends to the W. from the Corso as far as the river was uninhabited iri the most ancient times (Campus Martins)., but was gradually covered with buildings as Rome extended her sway, and as far back as the Republic, but more particularly in the reign of Augustus, it became the site of many palatial edifices, and the new town of ancient Rome. This quarter, which is now densely peopled, and is in the main mediaeval in character, consists of a network of narrow and dirty streets and lanes, enlivened by the busy traffic of the lower classes, and rarely intersected by great thoroughfares. Although the topography of these purlieus is sometimes puzzling, and their appearance uninviting, they contain many highly interesting churches and palaces, and all’ord the traveller an excellent opportunity of becoming acquainted with mediaeval Rome, and with the characteristics of its present inhabitants. It is pro¬ posed by the present government to improve this quarter by the construc¬ tion of new and broad streets, but the w'ork has not yet been begun. The following description begins with the N. side. From the Piazza del Popolo the broad Via di Ripetta (PI. I, 15, 14) with its prolongation, the Via della Scrofa, leads to the S. in 16 min. to S. Luigi de’ Francesi and the Piazza Navona. In the Via di Ripetta, 4 min. from the Piazza del Popolo, on the right, a modern building with numerous windows, erected by Gregory XVI., now contains the Birezione Centrale del Lotto , and studios belonging to the Accademia delle Belle Arfi, or di S. Luca (p. 237). The gateway of the circular building leads to a quiet quay ( Passeggiata di Ripetta), planted with trees and used by the barges which ascend the river. Pleasing view of the opposite bank. Proceeding hence we reach in the first transverse street, the Via de’ Pontefici 57 (right), the entrance to the Mausoleum of Augustus (PI. 1,17), erected by that emperor as a burial-place for himself and his family, and in which most of his successors down to Nerva were interred. On a huge substructure, which contained the mor¬ tuary chambers, arose a mound of earth in the form of terraces, em¬ bellished with cypresses, surmounted by a statue of the emperor, and environed with a park. In the middle ages it was used by the Colonnas as a fortress, and a small day-theatre, occasionally also used as a circus (Anfiteatro Corea), is now fitted up within its 188 Ill. Left Itiink. ROME. Palazzo Borgheae. precincts. A few only of the tomb-chambers are still preserved. Fee ^2 To the left in the Via di Ripetta we next reach the church of SS. Rocco € Martino (PI. I, 14), erected in 1657 by iJe Rossi^ the fa<^ade with its two pairs of Corinthian columns having been added in 1834. Immediately beyond it, on the right, is the Harbour of the Ripetta j constructed by Clement XI. in 1707, where a new' bridge over the Tiber is rapidly approaching completion. — On the left, the small church of S. Girolamo degli Schiavoni (PI. I,. 15). —- The Via della Scrofa, the continuation of the Via di Ripetta, is soon intersected (about 9 min. from the Piazza del Popolo) by a main street, which quitting the Corso opposite the Via Condotti leads to the Ponte S. Angelo under different names, and forms the most direct communication between the strangers’ quarter (Piazza di Spagna) and the Vatican. The church of S. Trinita de’Monti (p. 143) is visible the greater part of the way, forming the termina¬ tion of the street. From the Corso to the Piazza Borghese (PI. I, 16; 4 min.) it is called Via della Fontanella di Borghese; thence to the Via della Scrofa, Via del Clementino, in w’hich are back- buildings of the Palazzo di Firenze , formerly the residence of the Tuscan ambassador, now that of the Minister of Justice. — In the Piazza Borghese rises the celebrated — ^Palazzo Borghese, begun by order of Card. Dezza in 1590 by the architect Mart. Lunghi the Elder, and completed by Fla- minio Ponzio by order of Paul V., through whom it came into the possession of the Borghese family. Tlie principal facade (with respect to the construction of the court) towards the street bears the inscription; Bonitatem et disciplinam et scientiam doce- m(us); the more imposing lateral fa<^ade is towards the Piazza Borghese. On the ground-floor and first floor the ’^CouRxis surrounded by arcades resting on clustered granite columns. Below these are three ancient colossal statues (a Muse, an Apollo Musagetes, and a portrait-statue}; and at the end of the right passage a fragment of the statue ot an Amazon. In the centre of the left side of the arcades is the entrance to the ** Picture Gallery (open Mondays, Wednesdays, and Fridays, 9-3 o’clock; closed in July and August; fee Y 2 Catalogues are provided for the use of visitors. The apartments are artistically decorated. The Gallery Borghese is the most important in Rome next to that of the Vatican. It embraces a longer period of time and con¬ tains more master-pieces than the other private galleries in Rome. The fifteenth century is of course rather poorly represented, as the gallery was founded at a time when the works of that period were not generally appreciated. The gallery, however, possesses some excellent works of the close of that century, such as the Madonna Palazzo Boryhese. ROME. 111. Left Bank. 189 with the vase hy Lorenzo di Credi (I. Room, No. 2), and the Holy Family (I. Room, No. 54), of doubtful authorship. — The Milanesk School of Leonardo is largely represented (I. Room), but the authenticity of most of the pictures is questionable. The best are the Christ imparting his blessing, a small work by Marco d'Oyyiono (I. Room, No. 33), and Christ bearing his Cross, by Solario (}l\. Room, No. 1). — Among the earlier masters of the Upper Italian School, Franc. Francia is highly esteemed, and his St. Stephen, a half-figure in the red robe of a deacon (II, 51), affords abun¬ dant proof that he has not been overrated. The only one of Raphael’s works which can claim to be original, is the Entombment (II. Room, No. 38). The picture is not well preserved, and is perhaps not entirely by Raphael’s own hand. The impression produced by it is disappointing, the com¬ position seems too studied, and the colouring cold. The prcdelle belonging to it are in the Vatican Gallery (p. 303). The Fornarina (II. Room, No. 65), the Madonna d’Alba (11, 39), Pope Julius II. (11, 18), and the Madonna col divino amore (II, 24) are copies; the unknown Cardinal (II, 21) is by a somewhat later Florentine master, who for the colouring of the gown has used a different kind of red from Raphael. It is quite as improbable that the so-called Portrait of Cesare Borgia (II, 26) was executed by Raphael. Cesare Borgia died in 1507, whereas the costume of the portrait is in the style of the middle of that century. The painter of this unknown personage is not improbably conjectured to be Angelo Bronzino. The IX. Room contains several Frescoes transferred hither from the Villa of Raphael, and ascribed to that master; but they are unlike his workmanship, both in composition and execution. The School of Ferrara of the 16th cent, is copiously and well represented. A fine example of Mazzolind's richness of colour¬ ing is his Adoration of the Magi (II, 59). Dosso Bossis Circe (HI, 11) conducts us into*a world of fancy, similar to that depicted by Ariosto in his Orlando. Lastly there are several excellent works by Oarofalo, the Raphael of Ferrara (II, 9 : Descent from the Cross). The Colourists of the XVI. Cent, will not fail to attract the visitor. To Sodoma the gallery is indebted for a Pieta (I, 7) and a Holy Family (II, 44), in which the head of the Madonna is radiant with beauty. At a comparatively recent period (1824) an important work by Correggio w^as secured for the gallery. It represents Danae with Cupids sharpening their arrow^s (III, 40). The figure of Danae is rather graceful than strictly beautiful, but the Cupids are very charming, and the chiaroscuro masterly. — A whole room is de¬ voted to the Venetian School. Titian s so-called Earthly and Heavenly Love (X, 21) is one of those creations w^hich produces an indelible impression on the beholder. The picture rivets the attention like a poetical dream, and after the eye has feasted on the charms of the colouring the composition still captivates the imagi- 190 IIJ. Left Bank. ROME. Pdlazzo Borghese. nation. The Arming of Cupid (X, 2) is one of the linest mytho¬ logical works by the same master. Bonifazio is another master who supplies us with examples of the richness of colouring of the Ve¬ netian School (XI, 10, being the finest). Giorgione , on the other hand, is not fairly represented by the only specimen of his handi¬ work which the gallery possesses (X, 13). As it is generally the case in the itoman galleries, the painters of the later revival of art, the adherents of the Caracci and the Naturalists, figure very numerously here. • Domenicluno's Diana (IV, 15) contains a number of nymphs with life-like heads, and an excellent background of landscape; AlbanVs Seasons are superb decorative pictures; and the half-figures of Guercino are above the average of his compositions. The works of Caravaggio, the chief of the naturalists, produce an exceedingly unpleasant impression in this gallery (V, 26). The pictures by German and Netherlandish masters in the XII. Room are unimportant. I. Room. "'Decorations, in grisaille and gold, by Carlo Villani. On the left: 'H. Sandro Botticelli, Madonna^ *2. Lorenzo di Credi, Madonna^ 7. Sodoma, Pieta, unfortunately darkened by age 5 8 . Luini (a copy), Va- nita*, 'TT. Solario (f), Ecce Homo*, 26. School of Leonardo, Madonna^ 27, 28. Laura and Petrarch (portraits); 80. Perugino (?), Ecce Homo; 32. Luini (a copy), St. Agatha; *38. Marco d'' Oggiono, Youthful Christ; 34. Peru¬ gino, Madonna (a copy); *35. Ridolfo Ghirlandajo (according to Passavant by Timoteo della Vite), Portrait of a boy, erroneously called a portrait of Raphael; 43. Fr, Francia (?), Madonna; 45. After Raphael, St. Catharine; 48. Perugino , St. Sebastian; 49, 57. Pinturicchio, Cabinet pictures of the kind which used to be in vogue at Florence for the decoration of wedding cabinets, etc.; *54. Lorenzo di Credi (?), Holy Family, a work of tlie highest rank; *56. Leonardo, Leda and the swan, an excellent copy of the celebrated picture; 61. Fr. Francia (?), St. Antony; *65. Sch. of Leonardo, Madonna; 67. Ortolano, Adoration of the Child; *69. Pollajuolo, Holy Family. II. Room. 4. Portrait, copy from Perugino; 16. Garofalo, Madonna with St. Joseph and St. Michael; 7. Fr. Francia, Madonna with two saints; *9. Garofalo, Christ mourned over by his friends; *18. Raphael, Portrait of Julius II., an admirable copy; *21. Raphael (?), Portrait of a cardinal; *24. Raphael, Madonna with the young St. John, St. Joseph and St. Eli¬ zabeth (Mad. col divino amore, original at Naples); *26. Raphael (7), Portrait of Caesar Borgia (?); 30. (?) Portrait of a woman ; 35. Andrea del Sarto, Ma¬ donna ; *38. Raphael, Entombment (1507), his last work before going to Rome, ordered by Atalanta Baglioni for her chapel in S. Francesco de’ Con- ventuali at Perugia (p. 53), afterwards purchased by Paul V.; 39. Raphael, Madonna di Casa d’Alba, an old copy; 40. Fra Bartolommeo, Holy Family; 43. Fr. Francia, Madonna; *44. Sodoma, Madonna; *51. Fr. Francia, St. Stephen; 59. Mazzolino, Adoration of the Magi; *65. Portrait of the so- called Fornarina, a good copy of the original of Raphael in the Pal. Bar- berini (p. 169), perhaps by Sassoferrato; 69. After Raphael, John in the wilderness. III. Room. 1. Andrea Solario, Christ bearing the Cross,'; *2. Parmeg- gianino. Portrait; 5. Alesa. Allori, Christ risen; *11. Dosso Dossi, The Sor¬ ceress Circe (?); 18. Solario (?), Mater Dolorosa; 14. Sofonisbe AnguUciola, Portrait of a woman ; 15. Scarsellino, Madonna; 19. Angelo Bronzino, Cleo¬ patra; 22. Sch. of Raphael, Holy Family; 24. Andrea del Sarto, Madonna with angels; *28. Madonna with the Child and St. John, by the same; 35. And. del Sarto (7), Venus with two Cupids; 37. Pt>rtrait, unknown; *40. Correggio, Danae, one of his finest easel-pieces; 42. Bronzino (rj, Portrait of Cosmo de’Medici; 46. Mary Magdalene, nftev Correggio's original Palazzo Borghese. ROME. IIJ. Left Bank. 191 at Dresden^ 47. Pomarancio., Holy Family^ *48. Sebast, del Piombo., Scourg¬ ing of Christ (the same piece is in S. Pietro in Montorio as a fresco, p. 324)^ 49. And. del Sarto, ]Mary Magdalene. IV. Room'. 1. An7i. Caracci, Entombment^ *2. Bomenichino, Cumsean Sibyl ^ 4. Lod. Caracci, Head ^ 10. Cav. d'Arpino, Rape of Europa; 14. Sch. of the Caracci, Entombment^ *15. Guido Cagnacci, Sibyl^ 18. Cigoli, St. Francis-, 20. Guido Reni , St. Joseph; 29. Ann. Caracci , St. Dominicus; 33. Luca Giordano , Martyrdom of St. Ignatius; 36. Carlo Dolce, Madonna; 37. Mater Dolorosa, by the same; 38, 41. Furino, Annunciation; 39. Ribera, Neptune; 40. St. Jerome, by the same; 42. Cat'lo Dolce, Head of Christ; 43. Sassoferrato, Madonna. V. Room. *11,12, 13, 14. Franc. Albani, the Four Seasons, landscapes with mythological accessories; * 15. Domenichino , Diana and her Nymphs practising with their bows; 21. Francesco Mola, Liberation of Peter; 22, Psyche borne aloft by Cupids, copy from a picture in the P'aniesina; 25. Fed. Zuccaro , Christ bewailed by angels; 26. Caravaggio, Madonna with St. Anna and the Child Jesus; 27. Varotari (il Padovanino), Venus; 28. Cav. d'Arpino, Battle; 29. Sch. of Poussin, Landscape. VI. Room. 1. Guercino, Mater Dolorosa; 2. Female half-figure, by the same; *3. Andrea Sacchi, Portrait of Orazio Giustiniani; 5. Guercino, Re¬ turn of the Prodigal; 7. Pietro da Cortona, Portrait of Gius. Ghislieri; 10. Ribera, St. Stanislaus with the Child Jesus; 12. Valentin, Joseph interpreting the dreams in prison; * 13. Titian , Three periods of life, a copy by Sasso¬ ferrato (original in London); 16, 17. Franc. Grimaldi, Landscapes; 18. Sasso¬ ferrato, Madonna; 22. Baroccio, Flight of iEneas from Troy; 24, 25. Land¬ scapes in the style of Poussin. VII. Room. The lower part of the wall is chiefly adorned with mir¬ rors, on which Cupids (by Cirofei'ri) and wreaths of flowers (by Mario de" Fiori) are painted. Above, in small niches, are 16 ancient portrait-busts, some of them freely restored. In the centre is a table of irregular mosaic composed of stones of every variety, some of them extremely rare. VIII. Room , containing a number of small objects of art and curio¬ sities. Entrance-wall: 96. Brill (?) , Orpheus with the animals in a land¬ scape; *90. Female head, a drawing of the Sch. of Leonardo. By the window-wall and the wall of the egress are twelve small antique bronzes. 38, Franc. Viola, Landscape. Wall opposite the window: 86. Marcello Pro- venzali. Mater Dolorosa; 4. Giulio Clodio, Madonna; 91. Vanni, The Graces; *88. View of the Villa Borghese in the 17th cent. From the door of egress the visitor looking straight on obtains a view of the banks of the Tiber beyond the fountain below. — To the left a passage adorned with landscape-frescoes leads to the — IX. Room, where several frescoes removed from their original situations are collected. The most important are *three frescoes (under glass) from the so-called Villa of Raphael, which formerly stood within the grounds of the Villa Borghese, and was removed in 1849 (p. 161): 1. Marriage of Alex¬ ander and Roxane, from a drawing in the Albertina in Vienna, which bears the name of Raphael, but shows close resemblance to the compo¬ sition of Sodoma in the Farnesina; 2. Nuptials of Vertumnus and Po¬ mona, of inferior value; 3. The so-called ‘Bersaglio de’ Dei’ (shooting con¬ test of the gods), from a drawing in the Brera at Milan bearing the name of Mich. Angelo; this obscure composition is perhaps borrowed froxn Lu¬ cian (Nigrinus, C. 36). These three were probably executed by Raphael’s pupils. Some of the other paintings are from the Villa Lante. The balcony reached from this room aftbrds a pleasing view of the Tiber and its banks as far as Monte Mario. — Returning to the mirror-room, and leaving it by the door to the left in the opposite wall, we enter the — X. Room. Opposite the entrance: 1. Moroni, Portrait; *2. Titian, Cupid equipped by Venus; 4. Sch. of Titian, or Giorgione, Judith, said to have the features of Titian’s wife; 6. Sch. of Ferrara, Cupid and Psyche; *9. Pordenone (according to Crowe, by Lor. Lotto), Portrait; *13. Giorgione (or school of Ferrara?), David with the head of Goliath; 14. Paolo Veronese, John the Baptist preaching repentance; *16. Titian, St. Dominicus; 19. Giac. Bassano, Portrait; **21. Titian, ‘Amor sagro e profano’ (earthly and 192 III. Left Ba7ik. ROME. Palazzo (Jalizin. heavenly love), one of his greatest works: 22. Leonello Spada^ Concert; 34. Sch. of Ferrara^ SS. Cosmas and Damiaiius; 35. VeneLian Sch.^ Family scene, probably the Nativity of the Virgin; "36. Madonna, an early work of Giov. Bellini. XI. Room. ’4. Lor. Lolto.^ Madonna with SS. Onophrius and Augustine, the S. Onophrius being copied from Diirer, as the visitor may satisfy him¬ self ])y comparing it with Diirer’s picture in the Palazzo Barberini (1518); 2. Paolo Veronese (V), St. Antony about to preach to the fishes; 3. Titian (V), Madonna; 9. Moroni.^ Portrait; 11. Luc. Cambiaso., Venus and Cupid on dolphins (unfinished); 14. Andr. Bchiavone., Last Supper; 15. Bonifazio^ Christ among his disciiiles and the sons of Zebedee with their mother; *16. Bonifazio.) Return of the Prodigal; 17. Titian.^ Samson; 18. Bonifazio., Christ and the adulteress; 19. Palma Vecchio Madonna with saints, etc.; 20. Paolo Veronese., Venus and Cupid; 24. Schidane., Madonna; 25. Titian (a copy), Portrait of himself; " 27. Giov. Bellini (or Antonello da Messina 1)., Portrait; 28. Unknown master, Head of John the Baptist; 31. Giov. Bel¬ lini., Madonna and St. Peter; *32. Palma Vecchio., Holy Family; 33. Bernar¬ dino Licinio da Pordenone., Family-portrait; 39. Giov. Bellini., Portrait of a woman. XII. Room. Dutch and German masters. 1. Van Dyck (?), Crucifixion; *7. Entombment, by the same; *8. 7). Te/i/ers, Genre picture; 9. A. Brouwer., Genre picture; 15. Brabant Bch.., Mary's visit to Elizabeth; 19. Diirer {'{)., Portrait (said to be of Duke Louis VI. of Bavaria); 20. Holbein., Portrait,; 21. Wouverman (V), Landscape and accessories; 22. Potter (?), Cattle-i)iece; 23. Backhuyzen., (^uay; 26. Crossing the ice, in different shades of brown, perhaps by Berghem; 24. Holbein Portrait; 27. Van />ycA:(V), Portrait; *35. Perugino (not Holbein), Portrait of himself; 37. Diirer., Portrait of Pirk- heimer(V); 41. Gherardo delle Notti., Lot and his daughters; kli. Lucas Cra¬ nach., Venus and Cupid. — In a small cabinet (which the custodian opens if desired), are a number of less important Italian pictures of the 14th and 15th cent. Returning from the Piazza Borghese to the Via della Scrofa, we follow the transverse street mentioned at p. 188 in an E. direction to tlie Ponte S. Angelo (10 min.). The street, which is separated from the river by a single row of houses only, frequently changes its name. We first cross the Piazza Nicosia (PI. 1, 13), where, in the corner to the left, is the recently erected Pal. Galizin (PI. I, 13, 13)^ built to some extent on the plan of the Pal. Giraud near St. Peter’s (p. 278). Farther on, in the Via della Tinta, on the left, is the small church of S. Lucia (PI. 77), mentioned as early as the 9th cent. In the Via di Monte Brianzo there are no build¬ ings worthy of note. The side-streets diverging from it, however, contain several interesting Renaissance palaces. Thus in the Via dell’ Orso, the Albergo delV Orso; in the Via del Soldato, the Pal. Sacripante (PI. I, 13, 5), built by B. Ammanati; opposite to it (PI. J, 13, 6) the Pal. Altemps (p. 191); on the house Via Maschera d’Oro No. 7, is a frieze with paintings from the myth of Niobe by Pol. Caravaggio, much damaged. — A few’ paces distant from the last is the Pal. Lancelotti (PI. 1, 13, 7), erected under Sixtus V. by Franc, da Volterra, and completed by C. Maderna. The portal was designed by Domenichino. The court contains an¬ cient statues and reliefs. In the private apartments of Prince Lancelotti, accessible by special permission only, stands the celebrated statue of the Discus-Thrower., found S. Agostino. ROME. HI. Left Bank. 193 on the Esquiline in 1761, and formerly in the Pal. Massimi (p. 202). It is a copy of the bronze statue by i/V/row, and is one of the most interesting antiques in Rome, being almost perfect, and far better executed than the inaccurately restored replica in the Vatican (p. 313). We now follow the Via di Tordinone , or Tor di Nona, so named from the prison-tower once situated here. To the left the Vicolo de’ Marchegiani diverges to the church of S. Salvatore in Lauro ^ erected by Ursini in 1450, and remodelled by Pius IX. in 1862, with an adjacent monastery court. At the end of tlic Via Tordinone, on the right, is the Teatro Apollo (p. HI), restored by Valadier in 1830. The street terminates in the Piazza di Ponte 8. Angelo, wlience three others diverge. Tlie first, the Via in Panico, leads with its prolongations to the Piazza Navona (p. 199); the Via del Banco di S. Spirito in the centre to the Piazza Farnese fp. 204); and the Via Paola to the new Chain-bridge and to tlie Via Giulia (p. 206) which skirts the bank of the Tiber. This was formerly the ■public place of execution, which has been removed to the neighbourhood of the Ponte Rotto. — By the Ponte S. Angelo to the Church of St. Peter and the Vatican^ see p. 276. If we follow the Via della Scrofa (p. 188), passing the Pal. Galizin on the right, the fourth transverse street on the right (at the left corner. Via della Scrofa 70, is the palace of the general- vicar, where permessi for the catacombs are obtained, 11-12 a. m.) leads us to the Piazza di S. Agostino. *S. Agostino (PI. I, 13), erected by Baccio Pintelli in 1483 by order of Card. d’Estouteville, the protector of the Augustinians, on the site of an old oratorium, was the first Roman church with a dome. The fa(;ade and the spacious flight of steps are said to have been constructed of stones from the Colosseum. The interior, in the form of a Latin cross, was restored in 1750, and again in 1860, when it was adorned with frescoes by Gagliardi. Interior. On the entrance-wall a * Madonna and Child, in marble, by Jacopo Tatti., siirnamed Jac. Sansovino after his master Andrea Sanso¬ vino, surrounded by numerous votive offerings. In the 1st Chapel on the right, St. Catharine by Venusti; in the 2nd, Nucci's free copy of the lost Madonna della Rosa of Raphael; in the 4th, Christ delivering the keys to Peter, a group by Cotignola. By the 5th Chapel is the monument (the second to the left) of the learned Onofrio Panvinio (d. 1568). Adjoining the door of the sacristy is the monument of the learned Cardinal Noris. — The Right Transept contains the chapel of St. Augustine with an altar-piece by Guercino: St. Augustine between John the Baptist and Paul the Hermit. The High-Altar was decorated by Bernini; the image of the Madonna is said to have been painted by St. Luke, and brought from the cliurch of St. Sophia at Constantinople. In the chapel on the left of this are preserved the remains of St. Monica, mother of Augustine ^ altar-piece by Gottardi. The 2nd Chapel in the Left Aisle contains a "group in marble (St. Anna, Mary, and Jesus) by Andrea Sansovino (1512). In the 4th, St. Apollonia, altar-piece by Muziano. In the Nave, on the 3rd pillar to the left, "RaphaeVs Prophet Isaiah, holding a scroll with the words from Is. xxvi, 2, painted in 1512, but unfortunately retouched by Dan. da VoUerra^ and now much Baedeker. Italy II. 6th Edition. 13 194 III. Left Bank. ROME. B. Luiyi de' Francesi. injured. In the execution of this work the great master is said to have been influenced by that of M. Angelo in the Sistine Chapel. The neighbouring monastery, at present occupied by the Minister of the Marine , contains the Biblioteca Angelica (entrance on the right of the church), consisting of 150,000 vols. and 2945 MS8., of which complete catalogues have been formed. Admission daily, Thursdays and holidays excepted, 8-2 (closed in October). Proceeding from the Piazza S. Agostino straight through the archway, we reach the Piazza S. Apollinare, cross the Piazza Tor Sanyuignaj and pass through the narrow Via de" Coronari to the Via in Panico and the Ponte 8. Angelo (8 min.). This is the shortest way from the Piazza Colonna to the Vatican. In the Piazza S. Apollinare (PI. 1, 13) are situated the Seminario Romano^ a kind of grammar-school, and S. Apollinare^ an old church, rebuilt in 1552 and 1750, and owing its present form to Fuga. To the left, over the altar in the inner vestibule, is a xMadonna by Perugino (?). — Opposite the church is the Pal. Altemps^ of the 16th cent. , completed by the elder Lunghi, pos¬ sessing a handsome double court with arcades, the lateral colonnades of which are built up, and containing a few ancient statues. From the Piazza 8. Apollinare the Via Agonale leads to the 8. to the Piazza Navona (p. 199); and from Tor 8anguigna, 8. Maria deir Anima (p. 199) and della Pace (p. 200) are reached to the left. In the direction of the Ponte 8. Angelo the Pal. Lancelotti (p. 192) lies on the right (3 min.); a little farther on is the side- entrance to 8. 8alvatore in Lauro (p. 193). The Via della Scrofa leads to the small, but busy Piazza di 8. Luigi de’ Francesi , to the right in which rises S. Luigi de* Francesi (PI. II, 13), the national church of the French, con¬ secrated in 1589, having been built on the site of several earlier churches. Facade by Giac. della Porta. It is one of the best build¬ ings of its period, and the interior also is judiciously decorated. 8ome of the pictures are badly lighted. Right Aisle. 1st Chapel: St. John, altar-piece by G. B. Naldini. On the opposite pillar is a monument to French soldiers who fell at the siege of Rome in 1849. 2nd Chapel: "Frescoes from the life of St. Cecilia, one of the most admirable works of Domenichino; on the right the saint distributes clothing to the poor ^ in the lunette above, she and her betrothed are crowned by an angel; on the left the saint suffers martyrdom with the blessing of tlie Pope^ above, she is urged to participate in a heathen sacrifice; on the ceiling, admission of the saint into heaven; altar-piece, a copy of Raphael'a St. Cecilia (in Bologna) by Guido Reni. 4th Chapel, of St. Remigius: altar- piece, the Oath of Clovis, by Giac. del Conte; frescoes on the right, Cam¬ paign of Clovis, by Girolamo Sicciolante (da Sermoneta); on the left, Bap¬ tism of Clovis, by Pellegrino da Bologna. 5th Chapel, del Crocifisso: on the left the monument of the painter Guerin , on the right that of Agincourt (d. 1814), the writer on art. — Over the high-altar: '^4.ssumption of Mary, by Franc. Bassano. Left Aisle. 1st Chapel: St. Sebastian, altar-piece hy Afassei; on the right and left modern frescoes; by the first pillar on the right the monumeut of Claude Lorrain, erected in 1830. 3rd Chapel, of St. Louis: altar-piece by Plautilla Bricciy who is said to have designed the architecture also; picture Pantheon. ROME. III. Left Bank. 195 on the left by Gimignani. 5th Cliapel, of St. Matthew: altar-piece and pic¬ tures on the right and left by Caravaggio , on the left the evangelist’s vocation to the apostleship, on the right his death. Opposite the church is the Palazzo Patrizi (PI. II, 13), where permission to visit the Villa Patrizi (p. 174) is obtained, adjoining which, at the end of the piazza, is the Pal. Madama, with its prin¬ cipal facade towards the piazza of that name (p. 198). Opposite the Pal. Madama is situated the Palazzo Giustiniani (PI. II, 13), erected by Giov. Fontana. It formerly contained val¬ uable collections, of which a few statues and reliefs in the court and on the ground-lloor alone remain. We next reach the small Piazza S. Eustachio, in which, to tlie right, opposite the Pal. Maccarini designed by Giul. Romano, is the back of the — University della Sapienza (PI. II, 13, 25; entrance Via della SapienzaTl), founded in 1303 by Boniface VIII. , and after a rapid decline re-established by Eugene IV. It attained its greatest pros¬ perity under LeoX., and under Leo XII. and Gregory XVI. possessed five faculties, but there are now four only (law, medicine, physical science, and philology). It contains several natural history collec¬ tions and the Biblioteca Alessandrina, a library of 90,000 vols., which is open daily (p. 109). The present building was designed by Giac. della Porta. The church (S. Ivo)y with its grotesque spiral tower, was designed by Borromini in the form of a bee, in honour of Urban VIII., in whose armorial bearings that insect figures. Turning to the left, or following one of the two preceding cross- anes, we reach the Piazza della Rotonda (PI. II, 16). Above the large Fountain erected by Lunghi under Gregory XIII., was placed the upper end of a broken obelisk by order of Clement XI. This piazza generally presents a busy scene, and affords the stranger op¬ portunities of observing the characteristics of the peasantry. On the S. side of the piazza is situated the church of S. Maria Rotonda, or the **Pantheon, the only ancient edifice at Rome which is still in perfect preservation as regards the walls and the vaulting. The original statues and architectural decorations have long since been replaced by modern and inferior works, but the huge circular structure with its vast colonnade still presents a strikingly imposing appearance. The walls, constructed of admirable brickwork, 20 ft. in thickness, were originally covered with marble and stucco. The ground in the environs has gradually been so much raised that the pavement of the temple, to which five steps formerly ascended, now lies below the level of the piazza. Excavations recently made in front of the edifice, which led to the discovery of the two fine marble reliefs now in the vestibule, have been filled up again as they interfered with the street traffic. The Portico (36 yds. wide, 14 yds. deep) is borne by 16. Corinthian columns of granite, 13 ft. in circumference, and 39 ft. in height; the tympanum formerly contained reliefs, and the 13* 196 III. Left Bank. ROME. Pantheon. roof was eiiibellislied by statues. Eiglit of the columns are in front; the others form three colonnades, originally vaulted over, termi¬ nating in niches, in which stood the colossal statues of Augustus and his son-in-law M. Agrippa. The latter, according to the inscription on the frieze (M. Agrippa L. F. Cos. tertium fecit) ^ caused the edi- tice to be erected B.C. 27. — The central colonnade leads to the Entkance, with its ancient door strongly secured by bronze plates, in order to diminish the weight of which the upper portion is re¬ placed by a railing. The iNTEiiioK, which is lighted by a single aperture in the centre of the dome, produces so beautiful an effect that it was cur¬ rently believed at an early period that the temple derived its name of Pantheon, which was applied to it as early as A. D. 59, from its resemblance to the vault of heaven. The height and diameter of the dome are equal, being each 140 ft. The surface of the walls is broken by seven large niches, in which stood the statues of the gods, among which those of Mars, Venus, and Csesar are ascertained to have been placed. The architrave is borne by fluted columns of giallo aiitico or pavonazzetto in couples, the shafts being 26 ft. ill height. Above the latter, and corresponding with the niches, for¬ merly rose a series of round arches, borne by Caryatides, but they appear to have been removed on the occasion of a very early re¬ storation of the edifice. The coffered ceiling of the vault, which consists of concrete, was decorated with gold-leaf, and the whole roof was covered with gilded bronze tiles, which the Emp. Con- stans II. caused to be removed to Constantinople in 655. Under Gregory III. these tiles were replaced by lead. The building has frequently been restored, as, for example, by Domitian. Trajan, Septimius Severus, and Caracalla. The names of the last two are recorded by an inscription on the architrave of the portico. In 609 the Pantheon was consecrated by Pope Boniface IV. as a Christian church, under the name of S. Maria ad Martyres (comp, p. 333), and in commemoration of the event the festival of All Saints was instituted. It was originally celebrated on 13th May, but afterwards on 1st Nov. A palace, a cathedral-chapter, and a cardinal’s title were afterwards attached to the church, which is generally known as S. Maria Rotonda, or La Rotonda. Under Ur¬ ban VIII. (Barberini) the two campanili were erected by Bernini, the ‘asses’ ears’ of the architect as they have been derisively named. The same pope removed from the portico the brazen tubes on which the roof rested, and caused them to be converted into columns for the canopy of the high-altar of St. Peter’s, and cannons for the defence of the castle of S. Angelo. This Vandalism gave rise to the complaint of Pasquin , ^Quod non fecerunt barbari, fecerunt Barbe¬ rini. Pius IX. caused the church to be judiciously restored. To the right of the high-altar is the burial vault of King Victor Emanuel (d. Jan. 9, 1878). In the first Chapel to the left of the high- S. Marin sopra Minerva. ROME. III. Left Bank. 197 altar standa the simple monument of Card. Consalvi (buried in S. Marcello, p. 153) by Thorvaldsen. To the left of the 3rd altar is Raphael's Tomh{\>. 6th Apr., 1483^ d. 6th Apr., 1520). On the wall is the graceful epigram composed by Card. liemho — Ille hie est Raphael., iimuit quo sospite vinci Rerum magna parens., et moriente mori. The Italian translation runs thus: — ^Questi e quel Raffaele., cui vivo vinta Esser temea Natura., e morto estinta'. A lengthy inscription beside it announces that Raphael’s remains were placed in a new sarcophagus in 1833. The statue of the Madonna on the altar, hy Lorenzetto., was executed in accordance with Raphael’s last will. The Pantheon is also the last resting-place of Ann. Caracci, Tadd. Zucchero, Raid. Peruzzi, Perino del Vaga, Giov. da Udine, and other celebrated artists. A visit to the interior by moonlight should on no account be omitted, but the sacristan must be informed in good time. Visitors are then ad¬ mitted by the door at the back of the sacristy, Via della Paloinbella 10. To ascend the dome a special permesso must be obtained. At the back of the Pantheon are situated the ruins of the Ther¬ mae of Agrippa, the proximity of which to the Pantheon once gave rise to the absurd conjecture that it originally belonged to the baths, and was afterwards converted into a temple. From the Piazza of the Pantheon we may proceed towards the E. through the Via de^ Pa.stini to the Piazza di Pietra (p. 14-9J; or we may turn at once to the left, towards tlie N., cross the Piazza Capranica , with the small theatre of that name, and reacli Monte Citorio (p. 148); or, lastly, we may follow the Via del Seminario, wliicli also runs towards the E., to S. Tgnazio fp. 149). Leaving the Pantheon, we now proceed towards the S.E., tlirough the Via della Minerva to the Piazza della Minerva (PI. 11, 16), where the church of S. Maria sopra Minerva lies on the left, and the Hotel de la Minerve opposite to us. In the centre of the piazza stands an elephant in marble, on the back of which a small obelisk was placed by Bernini in 1667, being one of those, which are said once to have risen in front of a temple of Isis for¬ merly situated here. The other obelisk is in the Piazza della Rotonda (p. 195). Maria sopra Minerva, erected on the ruins of a temple of Minerva founded by Domitian, the only Gothic church at Rome, was probably begun about 1285 by the builders of S. Maria No¬ vella at Florence. It was restored in 1848-55, and contains several valuable works of art. Interior. By the entrance-wall, on the right, the tomb of the Florentine knight Diotisalvi (d. 1482). — Left Aisle. On the left, the tomb of the Floren¬ tine Franc. Tornabiioni, ]}y Afino da Fiesole; above it the monument of Card. Giac. Tebaldi (d. 1466). To the right of the altar in the 3rd Chapel, St. Sebastian, by Mino da Fiesole(O- Over the altar: head of Christ, by Fe- rugino. In the 5th Chapel is (r.) the monument of the Princess Lante, by Tenerani. — Right Aisle. By the pillar between the 3rd and 4th chapels is an egress (generally closed) with an ancient Greek sarcophagus (Hercules taming the lion). In the 4th Chapel, the ^Annunciation, a picture on a golden ground (in the foreground Card. Giov. a Torrecremata recommending three poor girls 198 III. Left Bank. liOMK. Palazzo Madarnn. to the Virgin), painted to commemorate tlie foundation of the charitable in¬ stitution of S. Annunziata, erroneously attributed to Fie sole; on the left the tomb of Urban VII. (d. 1590), by Ainbrogio Huonvicino. The 5th Chapel (Al- dobrandini) contains paintings hy Alberti; over the altar the Last Supper by Baroccio; monuments of the parents of Clement VIII. by Giac. della Porta. — Right Thansept. A small chapel on the right is first observed, containing a wooden crucifix attributed to Giotto; then the *Carafia Chapel (recently- restored), with a handsome balustrade, painted by Filippino Lippi; on the right Thomas Aquinas, surrounded by allegorical figures, defending the Catholic religion against heretics \ on the wall at the back, the Assumption of the Virgin; altar-fresco, the Annunciation, with a portrait of the donor Card. Caraffa; sibjds on the vaulting by Rafaellino del Garbo; on the left the monument of Paul IV. (d. 1559), designed by Pirro Ligorio executed by Giac. and Tom. Casignola. By the wall, adjacent to the latter, the 'tomh of Bishop Guiliel. Durantus (d. 1296), with a Madonna in mosaic hy Johannes Cosmas., one of the best works of that period. The first chapel by the choir contains an altar-piece by C. Maratta. The second is the Cappella del Rosario ; altar-piece groundlessly attributed to Fiesole; on the right the tomb of Card. Capranica (about 1470). — The Choir contains the large monuments of the two Medicis, (1.) Leo X. and (r.) Clement VH., designed by Ant. da San Gallo; that of Leo executed \iy Raffaele da Monte Lupo., that of Clement by Giov. di Baccio Bigio; on the pavement the tombstone of the celebrated scho¬ lar Pietro Bembo (d. 1547). In front of the high-altar is Michael Angelo's ""•'Christ with the Cross (1527); the nudity of the figure is jus-tified by the master’s intention to pourtray the Risen Christ, but it is now marred l»y a bronze drapery-; the right foot also is protected against the kisses of the devout by a bronze shoe. On the left by the choir is a passage to the Via S. Ignazio; on the wall the tombstone (first on the left) of Fra Beato Angelico da Fiesole, who died in the neighbouring monastery in 1455, with his portrait and the inscription : Hie jacet Venerabilis pictor Prater Joannes de Florentia Ordinis praedicatorum li IjV. — In the Left Transept is the Chapel of S. Domenico, with 8 black columns, and the monument of Bene¬ dict XIII. (d. 1730) by P. Bracci. Adjacent, to the right, is the entrance to the sacristy. Tlie adjoining Dominican monastery, formerly the residence of the cliief of the order, and now occupied by the offices of the Minister of Finance^ contains the Bibliotheca Casanatensis (entrance to the left by the cliurch, first door to the right beyond the court; adm., see p. 109j. The library is the largest in Rome after tliat of the Vatican, consisting of 200,000 vols. and 1000 MSS., and is connected by a bridge over the Via S. Ignazio with the Bibliotcca Vitt. Emamiele in the Coll. Romano (p. 150). From the Piazza della Minerva, past the S. side of the church, the Via del Pie di Marmo leads to the Piazza del Coll. Romano (p. 150). From the Pie di Marmo the Via del Gesh diverges to the right, leading in 3 M. to the Piazza del Gesii (p. 160). From the Piazza S. Luigi de’ Francesi (p. 191) the short street to the right on leaving the church leads to the Piazza Madama, where to the left rises the fa<^ade of the Palazzo Madama (PI. 11, 13), so called from Margaret of Parma, daughter of Charles V., by whom it was once occupied. Previously and subsequently it belonged to the Medicis, afterwards grand-dukes of Tuscany, by whose or¬ ders Marocelli altered it to its present form in 1642. The Italian Senate now meets in this palace. One entrance is from the Piazza ROME. S. Maria delV Anima. Tir. Left Bank. 199 S. Luigi, the other from the Piazza Madama. — A short side-street leads hence to the — * Piazza Navona (PI. II, 13), tlie largest in Rome after that of St. Peter, where, as its form still indicates, the Circus, or Sta¬ dium of Domitian, was formerly situated. The name is derived from the agones (corrupted to Navone, Navona), or contests which took place here. The piazza has recently been offlcially named Circo Agonale. It is embellished with three Fountains. That on the N. side, placed here in 1878, represents Neptune in conflict with a sea- monster (polypus); round the central group are Nereids and sea¬ horses. Not far from it, in the centre of a large ancient basin of Pentelic marble, rises the large fountain erected by Bernini under Innocent X.; at the corners of the lofty mass of rock, the different parts of which represent the four quarters of the globe, are placed the gods of the four largest rivers, the Danube, Ganges, Nile, and Rio della Plata, executed by pupils of Bernini. The whole is sur¬ mounted by an obelisk, which was formerly in the Circus of Maxentius, and was originally erected in honour of Domitian. — The third fountain, at the S. end of the piazza , is adorned with masks, Tritons, and the statue of a Moor by Bernini. The piazza was used from 1447 to 1871 as a vegetable market, winch after the Italian occupation was transferred to the Campo de’ Fiori ( p. 204). The singular custom formerly prevailed of laying this piazza under water for the amusement of the people every August, by preventing the escape of the water from the fountains. On the W. side of the Piazza Navona stands the church of S. Agnese, the interior of which, in the form of a Greek cross, and the campanili, are by C. Rinaldi. The fagade is by Borromini. The Romans used to maintain that the Nile on the great fountain veiled his head in order to avoid being distressed by the tasteless appearance of the church-tower. Over the principal door is the monument of Innocent X. hy Maini; to the left, in the chapel of the transept, is a statue of St. Sebastian, adapted from an ancient statue hy Maini. Beneath the dome are eight columns of ‘cognatello’. The old church was situated in the side-vaults of the Circus where the saint suffered martyrdom. Two chapels with ancient vaulting stil) remain. To the left of the church is the Palazzo Pamftli (PI. I, 13, also erected by Rinaldi, now the property of Prince Doria. Oppo¬ site to it is the dilapidated national church of the Spaniards, S. Gia¬ como degli Spagnuoli (PI. II, 13, 23), erected in 1450. The entrance is in the Via della Sapienza. The Via di S. Agnese, on the right side of the church, leads to the Via delV Anima on the right, where on the left side is situated *S. Maria delP Anima (PI. 11, 13; open till 8^2 a. m., on holi¬ days till noon; when closed, visitors go round the church by the Vicolo della Pace on the right, and ring at the door of the German ROME. S. M(iri(i delUi Pace. 200 HI. Left Panic. Hospice, opposite 8. Maria della Pace). The name is derived from a small marble-group in the tympanum of the portal: a Madonna invoked by two sonls in purgatory. This is the German national church, connected with the Hospice, and was completed in 1514. The unsuitable facade is hy Giuliano da S any alio; and Bramante is said to have designed part of the interior. Interior (lately restored). The central window of the entrance-wall formerly contained stained glass by William of Marffeillex.^ now modern. The frescoes of saints on the ceiling are by L. Seitz. — Right Aisle. 1st Cha¬ pel: St. Renno receiving from a fisherman the keys of the cathedral at Meissen (Saxony), which had been recovered from the stomach of a fish, altar-piece hy Carlo Saraceni. 2nd Chapel: Holy Family, altar-piece by Gimignani; left, monument and bust of Card. Slusius. 4th Chapel: altered copy of Michael Angelo's Pieta in St. Peter’s, by Nanni di Baccio Bigio. — Left Aisle. 1st Chapel: "Martyrdom of St. Lambert, C. Saraceni. 3rd Cha¬ pel ; frescoes from the life of St. Barbara, Mich. Coxcie. 4th Chapel: altar- piece (Entombment) and frescoes by Salviati. Choik. Over the high-altar, "Holy Family with saints, by G. Romano^ damaged hy inundations^ on the right, "monument of Hadrian IV. of Utrecht (preceptor of Charles V., d. 1523), with figures of justice, prudence, strength, and temperance, designed hy Baldassare Peruzzi ^ executed hy Michelangiolo Sanese and Niccold Triholo; opposite to it, that of a Duke of Cleve-Jiilich- Berg (d. 1575) hy Egidius of RivUre anA Nicolaus of Arras. A relief in the antechamber of the sacristy (at the end of the N. aisle) represents the in¬ vestiture of this prince by Gregory XIII. In the church, at the entrance to the sacristy, is the tomb of the learned Lucas Holstein of Hamburg, librarian of the Vatican (d. 1661). The German Hospice connected witli the church was under Austrian management down to 1863. Opposite the liospital rises file cliurch of — *S. Maria della Pace (PI. IT, I, 13, .3), erected by Sixtus IV. (1484) and Innocent VHl., restored by Alexander YH., and pro¬ vided by Pietro da Cortona with a facade and semicircular portico. The church consists of a nave only, and terminates in an octagon with a dome. Interior. Over the 1st Chapel on the right are "'■' Raphael's Sibyls: to the left the Sibyl of Cumse ^ on the arch above, the Persian; then the Phrygian, and the aged Sibyl of Tihur, receiving from angels and record¬ ing revelations regarding the Saviour. They were painted in 1514 by or¬ der of Agostino Chigi who erected the chapel, and skilfully freed from ‘re¬ storations’ hy Palmaroli in 1816 (best light, lO-ll a.m.). ‘The disposition of the figures, the uniform and admirable symmetry, and the conception of the forms and characters are such as to entitle this work to he ranked with the very greatest of RaphaeFs compositions; and it is probably the best calculated among all his frescoes to attract the admiration of the spectator’ (Burckhardt). In the lunette above the Sibyls are the Prophets by Timoteo della Vite.^ a countryman and contemporary of Raphael: on the right Jonah and Joshua, on the left Daniel and David. — At the sides of the 1st Chapel on the left are "monuments of the Ponzetti family, of 1505 and 1509 (which should be compared with the heavy decorations of the 2nd chapel on the right, executed half-a-century later), "Altar-piece in fresco by Bald. Peruzzi: Madonna between St. Brigitta and St. Catharine, in front the donor Card. Ponzetti kneeling (1516). The vaulting above con¬ tains scenes from the Old and New Testament, in three rows, also hy Peruzzi. — To the left, under the Dome, is the entrance to the sacristy and court (see below). Over the first altar on the left. Adoration of the Shepherds, by Sermonela; above it, the Death of Mary, by Morandi. The second aitar, with handsome marble-work, partially gilded, is of 149(1. The high- S. Andrea della Valle. ROME. III. Left Bank. 201 altar is adorned with an ancient and highly revered Bladonna ^ on the vaulting are pleasing ‘putti’ by Albani. Over the adjacent altar to the right, Baptism of Christ, by Sermoneta. Over the niche, Mary’s first visit to the Temple, by Bald. Peruzzi (retouched). It is the custom for newly-married couples to attend their first mass in this church. The "Court of the Monastery, with arcades constructed by Brammte by order of Card. Caraffa in 1504, merits a visit; by the right wall, the tomb of Bishop Bocciacio (d. 1437). Entrance through the church, or by Via Arco 2 fr.h Opposite the entrance wall: sitting * statue of Aristotle, formerly erroneously called Aristides, a copy from a celebrated Greek work; right arm and left leg new. Then eight tine ^reliefs, found in 1620 in S. Agnese Fuori le Mura, where they formed part of the pavement with tlieir faces downwards. Beyond the Aristotle, to the left, 65. Daedalus and Pasiphae; right, 72. Paris as a cowherd. Window-wall: 66. Wounded Adonis; 67. Ulysses and Diomedes carrying off the Palladium. Entrance wall: En- dymion; Perseus and Andromeda, casts from the originals in the Capitoline museum. Left wall: 68. Paris taking leave of (Enone; 69. Hypsipyle finds Opheltes, who had been entrusted to her, killed by a snake; 70. Amphion and Zethus; 71. Bellerophon watering Pegasus. Also several busts, small statues, etc. In the court we turn immediately to the right, and ascend the stair¬ case to the Upper Floor (V 2 fi’.). In the Ante-Chamber is a Colossal Statue of Pompey., found in the pontificate of Julius III. (1550) in digging the foundations of a house in the Vicolo de’’ Leutari. The body was in the ground of one proprietor, while the legs were in that of another. As both parties laid claim to the statue, the judge ordered it to be divided; but the pope prevented this by purchasing it for 500 scudi, and presented it to Card. Capodiferro. The head, although made of a separate block, belongs to the original. The workmanship is mediocre. We now traverse a room adorned with frescoes of little value to the Picture Gallery (provided with catalogues). I. Room, beginning opposite the entrance: 3. Bolognese Sch.., Madonna; 7, 12. French Sch.., Portraits; 10. Camuccini., Card. Patrizi; 22. Caravaggio., Portrait; 40. Sc. Gaetano., Julius III.; 56. Sch. of Francia., Madonna. — II. Room : 1. Seh. del Piombo^ Astro¬ nomer; 6. Baudin., Still life; 9. Breughel^ Landscape; 10. Guido Reni., .Tudith ; 12. G. Poussin., Landscape; 16. And. del Sarto, Visitation of Elizabeth (seriously damaged); 43. Leonardo da Vinci (a copy of the original in England), Christ and the scribes. — III. Room : 2. Caravaggio, St. Anna and the Virgin; 4. Raphael, John the Baptist, a copy; 15. Breughel, Landscape; ROME. 5 . Giov, de' Fiorentini, 20lj III. Left Bank. 24. Guercino , Dido’s death; 26. Baciccio , Design of the ceiling-painting in Gesii^ 29. Salvator Roxa^ Landscape^ 31. Titian^ Portrait; *40. Moroni^ Por¬ trait; 48, *49. Marco Palraezzano., God the Father, and Bearing the Cross; 51. rUianG)-, Card. Paolo Spada; 60, 70. Salv. Rosa., Landscapes; 63. Guido Reni., Abduction of Helen; 67. Bor gog none Cavalry-skirmish. — IV. Room: 4. Guido Rent., Card. Bernardo Spada; 9. After Titian., Paul III.; 10. German Sch. Portrait (1511); 15. Caravaggio., Laughing angel’s head; 18. German Sch.., Portrait; 26. Ger. IlontJiorst., Christ in the garden; 30. Caravaggio., St. Cecilia; 31. Maratta., Card. Fabricius Spada; 44. Andr. del Sarto (V), ^Madonna; 54. French Sch.^ Portrait. Leaving- the Piazza Capo di Ferro, and continuing our walk in the same direction, we reach the small Piazza de’ Pellegrini. On the left is the hack of the Pal. Santacroce., now a Monte di Pieth (PI. li, 14), or money-lending establishment, founded in 17339, and established here in 1604 (some of the numerous pictures pledged here are of great value). On the right is the church of S. Trinith de' Pellegrinij erected in 1614, with a high-altar adorned with a picture of the Trinity, by Guido Reni. The neighbouring hospital is destined for the accommodation of convalescents and pilgrims. It contains 488 beds, and can provide dinner for 944 persons at one time. Italian pilgrims are entertained here at Easter for three days, and foreigners for four. — In the vicinity is the church of S. Maria in Monticelli (PI. II, 14), which was consecrated by Paschalis II. in 1101. It has been restored several times, so that the campanile and remains of mosaics in the tribune are now the only relics of the period of its foundation. The Via de’ Pettinari {PI. II, 14) leads from the Piazza de’ Pellegrini to the Ponte Sisto. At the end of the street, on the right, is the small church of S. Salvatore in Onda, re-erected in 1684, and on the left the Fontanone di Ponte Sisto , constructed by Giov. Fon¬ tana under Paul Y. — The Ponte Sisto, see p. 324. In a straight direction from the fountain, towards the X.W., and near the river, runs the Via del Fontanone, prolonged by the Via Giulia (PL II, 14, 10), which was built by Julius II., leading in 12 min. to the Ponte 8. Angelo. To the left in the latter street, opposite the garden of the Pal. Farnese, stands the small church of S. Maria della Morte, or deli Orazione (PI. II, 11), erected by Fuga about the middle of last century, and belonging to a burial society. Then to the left, the Pal. Falconieri, built by Borromini, which once contained the picture-gallery of Card. Fesch. On the same side, farther on, the Carceri Nuovi, a prison founded by Innocent X.; then No. 66, the Pal. Sacchetti (PI. II, 10), originally erected by Antonio da San Gallo as his private residence. At the end of the street, on the left, is S. Giovanni de* Fioren- tini (PI. II, 10), the handsome national church of the Florentines. The building was begun, by the desire of Leo X., from a design by Stmsovino, which he preferred to the competing plans of Raph.iel, Saiigallo, Peruzzi, others; and the laborious task of completing the substructions on the bank of the river was execmted by Sanynllo. aS. Carlo a Catinari. ROME. III. Left Bank. 20 / At a later period Michael Angelo., and after liis death Giacomo della Porta were engaged in the work, and the facade was hnally added by Aless. Galilei in 1725. The church contains nothing worthy of mention except a picture by Salvator Rosa in the cliapel of the right transept (SS. Cosiiias and Damianus at the stake). Near the church an iron Chain-Bridge (1 soldo), constructed in 1863, crosses the river to the Longara (p. 320). The Via Paola leads from the church to the Ponte S. Angelo (p. 276). In the Piazza Campo di Fiori (p. 204), on the side next S. Andrea della Valle, once lay the Theatre of Pompey ( PI. 11, 13, 14j. In this piazza is the Pal. Eighetti (entrance. Piazza del Biscione 95), in the court of which the bronze statue of Hercules (p. 313) and substructions of the theatre were discovered. Numerous frag¬ ments of the walls are now incorporated with the modern building. The semicircular bend of the street by S. Maria di Grottapinta (PI. II, 13, 5) distinctly shows the form of the ancient theatre. From the Piazza Campo di Fiori the busy Via de’ Giubbonaiii leads towards the S.E. to the Capitol and the S. quarters of the city. After 2 min. it expands into the Piazza S. Carlo a' Catinari, Here, on the left, is the church of S. Carlo Catinari (PI. II, 14), erected by Rosati in 1612 in honour of S. Carlo Borromeo, in the form of a Greek cross, and covered with a dome. In the 1st Chapel on the right, Annunciation, by Lanfranco. In the space below the dome are figures of the four cardinal virtues, by Dome- iiichino. In the transept to the right, Death of St. Anna, Andrea Sacchi. Over the high-altar. Card. Borromeo in the procession of the plague at Milan, P. da Cortona; tribune decorated hy Lanfranco. The other paintings are of little value. The Pal. Santacroce (PI. II, 14, 4), situated opposite, has its principal facade towards the Piazza Branca. Farther on, the street divides: to the right, the Via del Pianto, see p. 208; to the left, the Via de’ Falegnami leads to the small Piazza Tartaruga (PI. II, 17), named after the graceful *Fontana delle Tartarughe (tortoises), erected by Giac. della Porta in 1585, and embellished with the figures of four youths in bronze, by the Florentine Taddeo Landini. This is the most charming fountain in Rome; the design is attributed to Raphael. Nr. 10, Piazza Tartaruga, immediately to the right (another entrance. Piazza Costaguti 16), is the Palazzo Costaguti (Pi. II, 17, 20), erected about 1590 by Carlo Lombardi. On the first floor (clooed to the public) are ceiling paintings by Franc. Albani, Domenichino, Guercino (Armida with Rinaldo in the dragon-chariot, admirably coloured), by the Cav. d'Arpino, and other masters. One wing of the palace (foruierly Boccapaduli) was long the residence of the Poussins, and still contains works by them, but is not now ac¬ cessible. To the left is the Palazzo Mattel (PI. II, 17, 27), originally an 208 111. Left Bank. ROME. *S. Maria in Campitelli. aggregate of separate buildings whicli occupied tlie block between S. Catcrina de’ Funari and Via Paganica. Of tliese the handsomest is tlie present so-called palace (principal entrance, Via di S. Cate- rina dc’Funari 32; side-entrance, No. 31), erected in 1616 by Carlo Maderna, and one of his finest productions. Jn the passages of the entrance, in the arcades, and along the sides of the Court, a great number of ancient reliefs are built into the walls. In the court are (r.) iilars with Khea Silvi», and Apollo with the Muses*, and (1.) the Calydonian hunt and Rape of Proserpine. In the portico, Sacrifice of Mithras, Apollo with the Muses, and a Racchanalian procession, all from sarcophagi. The statues in the court and niches on the staircase, some of them much modernised, are of no great value. The stucco decorations of the ceiling on the staircases are well executed. Farther on, in the Via de’ Falegnami, we observe on the left the church of S. Caterina de^ Funari (PI. II, 17), erected in 1564 by Giac. della Porta, with a singular-looking tower, situated within the ancient Circus Flaminius. The interior contains a few unimportant pictures by A. Caracci (Tst chapel on the right), Nanni^ Venusti, Muziano, and Agresti. The adjoining convent of Augustinian nuns contains a school for girls. The street terminates in the Via Delfini, which to the left leads to the Via Aracceli (p. 161), and to the right to tlie Piazza Campi¬ telli, beyond the next corner. Here, on the right, stands S. Maria in Campitelli (PI. II, 17), erected by Rinaldi under Alexander VII. for the more worthy reception of a miraculous image of the Virgin, towdiich the cessation of the plague in 1656 was ascribed. A smaller church of the same name, mentioned in the 13th cent., formerly stood on this site. The architecture of the Interior, with its handsome projecting columns, has an imposing effect. — Beneath the canopy over the High- Altar is placed the miraculous Madonna. In the 2nd Chapel on the right, the Effusion of the Holy Ghost, by Luca Giordano; in the 1st Chapel on the left two monuments resting on lions of rosso antico. In the S. tran¬ sept the tomb of Cardinal Pacca by Pettrich. Opposite the church is the Pal. Pacca. — Omnibuses to S. Paolo Fuori, see p. 113. F"rom the S.E. end of the Piazza Campitelli, to the left, the Via Tor de' Specchi leads to the Piazza Aracceli (p. 211), at the foot of the Capitol, and to the right the Via Montanara to the Theatre of Marcellus (see p. 209). From the Piazza S. Carlo a’ Catinari (p. 207) the Via del Pianto (PI. II, 14, 17) leads to the right to the Piazza Giudea, or Maria del Pianto, called after a small church (which once bore a Hebrew inscription on the portal lamenting the obduracy of the Jews). Ad¬ joining this piazza on the right is the Piazza Cenci (PI. II, 17), w'here on the left in the corner is situated the Synagogue, and on the right the Palazzo Cenci-Bolognetti. In this palace once resided the ill-fated Beatrice Cenci, who was executed for the murder of her father, a man of execrable character. Her portrait, in tlie Pal. Ghetto. ROME. Jll. Left Bank. 209 Barberiiii (p. 168), is a favourite ‘subject for reproduction with the Roman artists. The Via del Portico di Ottavia, formerly the Pescheria, or fish- market, which presents a busy scene on Friday mornings, leads from the Piazza Giudea to the Portico of Octavia. Between the Pescheria and the Tiber lies the Ghetto (PI. II, 17), the quarter allotted by Paul IV. to the Jews, who in ancient and mediaeval times occupied a quarter in Trastevere, formerly closed by a gate. It consists of several streets par 5 illel with the river, and connected by narrow lanes. The same pope compelled the Jews to wear yellow head- gear, and pay unusually heavy taxes; and among other oppressive exactions, they had to provide the prizes for the horse-races at the Carnival. The traveller may explore this quarter for the sake of observing the marked oriental type of its occupants, and the charac¬ teristic industry with which they seek to counteract the disadvan¬ tages of their social position. The Via della Fiumara^ the nearest to the river, leads to the Ponte de’ Quattro Capi (see p. 328). The Via del Portico di Ottavia leads in a straight direction to the interesting remains of the Portico of Octavia (PI. II, 17, 2(9), which was erected by Augustus on the site of a similar structure of Metellus (B. C. 149), and dedicated to his sister. Under Titus it was destroyed by a conflagration which raged in this quarter of the city, but was restored by Sept. Severus and Caracalla in 203, as the inscription records. This building was in the form of a colon¬ nade enclosing an oblong space, within which stood temples of Ju¬ piter Stator and Juno. Columns from this structure are frequently seen built into other edifices. It was adorned with many admirable works of art which formed part of the Macedonian booty, and it was here that the Medici Venus was found. In 770 the church of S. Angelo in Pescheria was built on the ruins of the colonnade by Stephen III., but, having been frequently restored, it has entirely lost its medicBval character. In pursuance of a bull issued in 1584, the Jews were formerly compelled to hear sermons here on their Sabbath, in which the Old Testament was explained to them in accordance with the doctrines of the church. Beyond the colonnade the Via del Teatro di Marcello next leads to the Theatre of Marcellus (PI. II, 17, 5), which was begun by Ciesar, and completed B. C. 13 by Augustus, who named it after his nephew, the son of Octavia. The twelve arches still standing on the external wall of the space for the spectators are now occupied by smiths and other artizans as workshops. The lower story, partly filled up, is in the Doric, the second in the Ionic style, above which, as in the case of the Colosseum, a third probably rose in the Corinthian order. It is said to have accommodated 20,000 spectators. The stage lay towards the Tiber. It has recently been proposed to purge the ruin of all unseemly adjuncts, and to form an open space around it. In the 11th cent, the theatre was used by Pierleone as a Baedkkek. Italy II. 6th Edition. 14 210 1\\ Ancient Rome. ROME. The Capitol, fortress. To his descendants succeeded the Savelli^ whose palace (opposite the Ponte Quattro Capi) stands on a lofty mound of debris within the theatre. In 1712 the palace was purchased by the Orsini, and in 1816-23 the historian Niebuhr, when Prussian ambassador, resided here. The external wall adjoins the small and busy Piazza Montanara, a frequent resort of the peasantry. To the left a street leads to the Piazza Aracceli (p. 211), and, to the right, the busy Via Bocca della Yerita to the piazza of that name (p. 246j. Immediately to the right in the latter street, standing back, is the church of S. Nicola in Carcere, recently restored, containing, on the external walh and in the interior, ancient columns which appear to have belonged to three dillerent temples, including those of Spes and Juno Sospita. Visitors may descend and examine the foundations of these temples, w hich have been excavated (^sacristan with light ^/o fr. j. IV, Ancient Rome, This part of the description embraces the southern portion of the city, beginning with the Capitol, and extending eastwards •as far as the Lateran : i. e. the hills of the Capitoline, Palatine, Aventine, Ca;lius, and the 8. slope of the Esquiline. The imposing monuments and reminiscences of classical antiquity, more of which are daily being brought to light by the excavations, impart its characteristic aspect to this, the principal, but now almost deserted quarter of the Republican and Imperial city. A number of ancient churches, which are extremely interesting to students of Christian architecture, as well as the imposing collections of the Capitol and Lateran, also attract numerous visitors. The Capitol. This is the smallest, but historically the most important of the hills of Rome. It was originally merely the S. spur of the Q,uirinal, from which it was separated by a slight depression, but this hollow was greatly enlarged in consequence of the building operations of Trajan. The Capitol consists of three distinct parts: (1) the N. summit with the church and monastery of Aracceli (164 ft.(2) the depression in the middle with the piazza of the Capitol (98 ft.); and (3) the S. W. point with the Pal. Caffarelli (156 ft.). It was on this piazza, the Area Capitolina^ that Romulus is said to have founded his asylum; it was here that popular assemblies were afterwards held; and it was here, in the year B. C. 133, on the occasion of the suppression of the revolt of Tiberius Gracchu®, that the blood of the citizens flowed for the first time in civil warfare. One of the peaks of the hill was occupied by the Arx^ or citadel, with the temple of Juno Moneta, while the other was the site of the great Temple of Jupiter. Topographers differed long as to which height was occupied by the citadel, German scholars placing it on the Aracceli height, and the temple of Jupiter on the Calfarelli height, while the Italian autho¬ rities were inclined to invert this order. The Italian topographers, however, have recently been more disposed to take the view of the German savants, chietly owing to the discoveries made in the course of the ex¬ cavations in connection with the dome-saloon of the new Capitoline Mu- Mauso^ ^fausolejtj Arctur. V.Auf. Anirtni/ii LSta^liniana i'kAicAl^. Stadia Pantheon t/ Theater, dS:., I Porapeji^ ClTCVLS Theater d.B«Llhus ^ Th.d. Otitor JhnsCasi .^.TTaste.'^ fans Sepitlcriun r&sfu Murus Servo. - TuJbtL JSbmia AurebjBcnv et Probi %71- 76 p Mums Papae Learns W 850 p> C. n. J&ams navus 1560 ~ 1640 Oeo^rapi.. .ATrstalt 'toil ^orta (olJina J i\xi '^ige^’^ajenesiuicL 7^&Ur TiiuT'ti/ia.j r 'alastes Oman Tlavium • (Colossenm) Porta pluttieatmin astrense imur ^ I The Capitol. IV. Ancient Roine^ 211 ROME. seum (.see p. 215). The temple was built by Tarquinius Superbus, the last of the kings, and consecrated in B.C. 509, the first year of the Republic. It was 800 ft. in circumference, and possessed a triple colon¬ nade and three cellee, that of Jupiter being in the middle, and one for Juno and Minerva on each side. In the year B.C. 83, during the civil war, the temple was burned down, and the same fate overtook it in A.D. 69, on the occasion of the struggle between Vespasian and Vitellius. This most sacred shrine of ancient Rome was magnificently restored by Domitian, and was preserved down to the year 455, when it was plun¬ dered by the Vandals and robbed of its gilded bronze tiles. After that period there is no trace of it in history. The numerous shrines which once surrounded it have been consigned to the same fate, and the whole of the hill now bears the stamp of modern times. For nearly 5(X) years after the time of Cassiodorus, the Goth (6th cent.), there is no mention of the Capitol in the annals of Rome. The hill was in the possession of the monastery of Aracoeli, and the name of Monte Caprino, or hill of goats, which was applied to the S.E. height, bears testimony to its desertion. The glorious traditions, however, which attached to this spot, gave rise to a renewal of its importance on the revival of a spirit of municipal independence at Rome. In the 11th century it again became the centre of the civic administration. The prefect of the city resided here^ among the ruins of the venerable citadel the nobility and the citizens held their public assemblies; and in 1341 Petrarch was crown¬ ed as a poet in the great senate-hall here. The hill could originally be approached from the Forum only, the N.W. side being precipitous and inaccessible, but in 1348 the latter side was connected for the first time with the new quarter of the city by the construction of the flight of steps of Aracoeli, which was almost the only public work executed at Rome during the exile of the papal court at Avignon. About 1389 Boniface IX. converted the palace of the senate into a kind of fortress, but its present form dates from the 16th century. Two new approaches from the city having been constructed in 1536, the Capitol has since formed a kind of termination of the modern part of the city in the direction of the ruins of ancient Rome. From the Piazza Aracceli (PI. II, 17) three approaches lead to the Capitoliiie Hill, that in tlie centre being the principal as¬ cent for pedestrians. On the left a lofty flight of 124 steps, con¬ structed in 1348, leads to the church of S. Maria in Aracali (the principal entrance, but generally closed, see belowj. —On the right the Via delle Tre Pite^ which has recently been converted into an easy and handsome approach, on which occasion remains of the an¬ cient wall of Servius, enclosing the hill in the direction of the Campus Martins, were brought to light (behind the railings to the left as we ascend), leads past the entrance of the Pal. Caffarelli^ which was erected in the 16th cent, by Ascanio Caffarelli, a former page of Charles V., and is now the residence of the German am¬ bassador. The principal approach and the Via delle Tre Pile lead to the Piazza del Campidoglio, see p. 213. *S. Maria in Araccnli (PI. II, 20), a church of very early origin, is mentioned in history in the 9th cent, as S. Maria de CapitoLio. The present name, derived from a well-known legend (p. 212), has been in use since the 14th century. The churcli, of which tlie Roman senate formerly enjoyed the patronage, has given a title to a cardinal sinc>e the time of LeoX. The fa<;ade is unfinished, having escaped modernisation owing to the timely remonstrances of the celebrated German artist Overbeck. 14*^ 212 IV. Ancient Rotue. HOME. The Capitol. The church i.s generally approached from the Piazza of the Capitol hy the staircase to the left, at the hack of the Capitoline museum, and then to the left from the first landing, fiver the door here is an ancient mosaic of the Madonna between two angels. The Interior is disfigured by modern additions. The nave is supported by 22 ancient columns, most of them of granite, varying greatly in style and dimensions. The 3rd on the left bears the inscription cubiculo AiujmloruiiC. The rich ceiling of the nave was executed to commemorate the victory of Lepanto in 1571. By the wall of the principal Entrance, to the left, is the tomb of the astronomer Lodovico Grato (1531), with a figure of Christ by Andrea ^^ansovino; on the right the "monument of Card. Lebretto (1465) with partially preserved painting. — Right Aisle, 1st Chapel: ^Frescoes from tiie life of 8t. Bernardino of Siena, by Pinturicctiio^ restored by Camuccini. Frescoes on the ceiling attributed to Franc, da Cilia di Castello and L. Signorelli. The 5th Chai>el (of St. Matthew) contains good i)ictures by Muziano. — Leet Aisle:. In the 2nd Chapel a manger (pre&epe) is fitted up at Christinas, i. e. a gorgeous representation of the Nativity in life-size, with the richly decorated image of the Infant Christ (il sanlo bambino)., which forms the principal ornament of the church. Tliis image is believed to protect jier- sons in imminent danger, is frecpiently invoked and revered, and is some¬ times conveyed to the houses of the sick, on which occasions passers-by kneel on its approach. During the week after Christmas, from 3 to 4 o'clock daily, a number of children from 5 to 10 years of age address their jie- titions to the bambino. At the end of the left aisle a tomb-relief of Msgr. Crivelli by Donatello (much damaged). — Transept. On the right and left, by the pillars of the nave, are two "ambos from the old choir, by Lau- rentius and Jacobus Cosmas. The Chapel on the right belongs to the Sa- velli; on the right and left (the latter originally an ancient sarcophagus) are monuments of the family, of the 13th cent, (of the parents and a brother of Hononus IV.). The left transept contains a rectangular canopy, borne by eight columns of alabaster, called the Cappella Santa, or i>i S. Elena. Beneath the altar, which was destroyed during the French Re- volulion, but was restored in 1835, the remains of S. Helena are said to repose in an ancient sarcophagus of porphyry. The present altar also encloses an ancient altar, bearing the inscription Ara Frimogenili Dei., which is said to have been erected by Augustus. According to a legend of the 12th cent., tliis was the spot where the Sibyl of Tibur appeared to the emperor, whom the senate proposed to elevate to the rank of a god, and revealed to him a vision of the Virgin and her Son. This as the origin of the name, ‘Church of the Altar of Heaven’. At the end of the N. transept is the monument of Matthseus of Aquasparta (d. 1302), the principal of the Franciscan order, mentioned by Dante. — Choir. To the left, the monument of Giov. Batt. Savelli (d. 1498). F’rom 1512 down to 1565 the high-altar was adorned with the Madonna of Foligno by Raphael, ordered for this church, afterwards at Foligno (p. 75), and now in the Vatican Gallery. The donor, Sigismondo Conti da Foligno, is interred in the choir. The present altar-piece is an ancient picture of the Madonna, attributed to St. Luke. The adjacent Monastery^ which is reached by the continuation of the side-steps from the piazza of the Capitol, lias belonged to the Frati Minori Osservahti di S. Francesco since 1251 , and was formerly the residence of tlie principal of the order, but part of it is now occupied by tlie military. Fine view of ancient Kome from tlie corridors. — In the monastery garden fragments of very ancient walls have recently been discovered, running in a direction parallel to the Via dell’ Arco di Settimio Severe. They are constructed of tufa, like the walls of Servius, and perhaps be¬ longed to the fortifleations of the Arx. The (^apHol. ROME. IV. Ancient Rome. 213 The Central Approach, a gently ascending staircase paved with asphalte (‘la cordonnata’), leads to the Piazza del Campidoglio. At the foot of the steps are two handsome Egyptian Lions, and at the top a group of the horse-taming Dioscuri (Castor and Pollux), wliic,h are said once to have adorned the theatre of Pompey. To the left of the highest steps a she-woif is kept in a c^age in reminis¬ cence of the story of the foundation of Rome. The design of the present * Piazza del Campidoglio, or square of the Capitol (PI. II, 20), is due to Michael Angelo, and its execu¬ tion was begun in 1036 by Paul III. The palaces of the Conser- vatori and Senators were already in existence, but their facades were altered. — At the sides of the Dioscuri, in front of the ba¬ lustrade , are the so-called Trophies of Marius, from the w'ater- tower of that name of the Aqua Julia (p. 181), and the statues of the Emp. Constantine and his son CoiHtans from the Thermae of Constantine on the Quirinal; on the right the first ancient mile¬ stone of the Via Appia (on the left a modern counterpart). In the centre of the piazza stands the admirable bronze ^Eques¬ trian Statue of Marcus Aurelius (IQ , once gilded, and ori¬ ginally placed in the forum near the arch of Sept. Severus. In 1187 it was erected near the Lateral!, and, as the inscription records, transferred hither in 1538. For its excellent state of preservation it has been indebted to the popular belief that it w^as a statue of Constantine, the first Christian emperor (see also p. 126). Beyond this monument rises the Palazzo del Senatore (PI. 11, 20, 2) which was re-erected by Boniface IX. in 1389 on the site of the ancient Tabularium, and provided with its handsome flight of steps by Michael Angelo, under whose directions it is probable that the facade was constructed by Giac. della Porta. The river- gods which adorn it are those of the (right) Tiber and (left) Nile". In the centre a fountain, above which is a sitting statue of Rome. The palace contains a spacious hall for the meetings of the senate, the offices of the civic administration, an obser¬ vatory, and dwelling-apartments. The Clock-Tower was erected by Gregory XIII. in 1572 to replace an older one, probably belonging, like the four corner-towers, one of which towards the Forum, on the left, is still recognisable, to the edifice of Boniface. The roof of the clock-tower, which is embellished by a standing figure of Roma, commands an extensive *View. The ascent is somewhat fatiguing. Admission on w^eek-days 10-3, on Sundays 10-2, by permesso obtainable at the municipal offices: Via del Campidoglio, first gate on the left, on the 5th landing of the staircase turn to the left in the passage, and enter the third door on the right. Visitors apply to one of the custodians. The permesso is also available for the saloons of the Conservator!. — On the ground-floor of the same house is the entrance to the Tabularium (p. 221). The twm palaces at the sides were erected in the 17th cent, by 214 IV. Ancient Rome. I?OME. The (\ipitol. Giacomo del Duca, with some deviations from the plans of Michael Angelo. On the right is the Palace of the Conservatori { PI. or Town Hall, which now contains some important collections, and a fire-engine station on the ground-floor. On the opposite side is the Capitoline Museum (PI. 12). — The flights of steps with three-arched halls on the E. side of these palaces were erected by Vignola; that to the left by the museum leads to the church of S. Maria in Aracoeli and the contiguous Franciscan monastery; that to the right, on the opposite side, to Monte Caprino (p. 221). On the right and left of the Palace of the Senators are the Via del CampidogliOj and the Via deW Arco di Settimio Severo, both descending to the Forum (comp. Plan, p. 222). Collections of the Capitol. These are contained in the tw^o side-palaces just mentioned, and are open daily ( except on public holidays), 10-3, adm. V 2 lr., and Sundays, 10-1, gratis. A. *Palace of the Conservatori. This palace (comp. Plan, p. 216) contains a number of antiques and 1 articularly of bronzes, lately united here, the yield of the most recent excavations, and also a small Etruscan Museum. Here, too, are the ‘Protomoteca’, or Capitoline Picture Gallery, and the so- called Saloons of the Conservatori. The principal door leads from the Piazza del Campidoglio into the Court, where on the right, by the door, is a statue of Cpesar, and on the left one of Augustus. In the court lie numerous pieces of columns of coloured marble, capitals, fragments of friezes, etc., found during recent excavations ; by the right wall, hand and limbs of a colossal figure in marble; left, colossal head in marble, high-relief of a province on the pedestal. Adjacent is the cinerary urn of Agrippina, wife of Germanicus, which in the middle-ages was employed as a measure for corn; inscrip¬ tion, Ossa Agrippinae M. Agrippae f. divi Augusti neptis uxoris Germanici Caesaris Matris C. Caesaris Aug. Germanici principis. In the centre of the Colonnade opposite the entrance, a statue of Roma; at the sides statues of barbarians in grey marble. Left, in the corner, colossal bronze head; right, "antique group, horse torn by a lion. In the Entrance-Hall farther on, to the left, 29. Statue of a Bac¬ chante; opposite the staircase, 30. Modern ‘columna rostrata’, with the genuine fragment of an inscription in honour of C. Duilius, the victor of MylcC, B.C. 260, and renewed under Tiberius. On each side of the stair¬ case are Roman inscriptions built into the wall, most of which were found on the Esquiline. — In the niches on the landing of the staircase, left, 35. Ceres; right, 34. Urania (inaccurately restored). Here in the small court, in the centre, is a bust of Hadrian; on the pedestal an ancient list of streets of the year 136 A. D. Built into the walls, are four * reliefs from a triumphal arch of M. Aurelius, tbund near S. Martina in the Forum : on the right, 44. Sacrifice in front of the Capitoline temple; un the long wall, 43. Entry of the emperor, passing the temple of Jupiter Tonans; 42. Pardon of conquered enemies; 41. His reception by Roma at the triumphal gate. On the walls are ancient inscriptions. On the left above the second landing, l^o. 43. Relief representing Curtins on horseback leaping into the chasm. — In the passage above, two reliefs from the triumphal arch ofM. Aurelius, removed in 1653 by order of Alexander VII.- (in the Corso near Pal. Fiano), representing the apotheosis of Faustina. Adjacent, on the Left, is the entrance to the collections (comp. Plan). The Capitol. ROME. IV. Anrient licme. 215 We first traverse two Rooms with modern lists of Roman magistrates, and then enter a long Corkidor in which the so-called Protomoteca, founded by Pius VII.. has recently been established. This is a collection of busts of celebrated Itnlians, especially those who have distinguished themselves in art and' science, including poets (such as Dante, Petrarch, and .Ariosto), scholars, painters, architects, and sculptors. At the end of the corridor is a monument to Canova. Several eminent foreigners have also been admitted: (1.) Winckelmann, (r.) Poussin and Raphael Mengs. — The last door hut two in the corridor leads to the picture gallery (sec below), and the last hut one leads up two steps to the terracottas and bronzes which are connected with the newly arranged part of the Capito- line collections. The principal entrance to the latter is on the opposite side of the corridor (comp. Plan). *New Capitoline Collection. I. Room. In glass cabinets along the walls are arranged all kinds of bronze utensils; a Roman balance, with scales, chains, and weights*, then helmets, candelabra, and vases. Under glass: (1.) Bronze Chariot with representations in relief; (r.) "'^Bronze Seat., with a foot-stool, adorned with inlaid silver work, found at the ancient Amiternum, and presented by A. Castellani. In the centre , also under glass, a Litter., partly inlaid with silver; right, Statuette of a Ro¬ man Lar; left, Hermaphrodite, from whose hack springs an arabesque, designed as a hearer. — We now proceed in a straight direction into the — II. Room. The antique ^Pavement, found on the Esquiline, consists of tablets of manv different and verv rare kinds of alabaster. In the centre is the former Alhani-Campana Collection of Coins., including many of the imperial epoch in gold. A small case to the left contains glass-pastes, gems, and cameos. On the walls are specimens of aes grave., coins of the emperors and gentes, medals and coins of various periods. — We retrace our steps hence, and turn to the right into the large octagonal — III. Do3ie Saloon, lighted from above, and constructed of iron and wood in the Pompeian style, by Vespignani. In the Vestibule., to the right: 2. Tombstone of Q. Snlpicins Maxim^is., a boy of IIV /2 years, who, according to the Latin inscription, worked himself to death after having- gained the prize over 52 competitors for extemporising in Greek verses, quotations from which are inscribed on each side of the statuette of the youthful poet (found at the Porta Salara in 1870, p, 165). To the left: 8. Sitting Statue of Terra Mater (Alother Earth), in a small temple with inscription, found in 1872 in the burial ground near S. Lorenzo. In the wall are several reliefs. — Farther on , in the octagonal Dome Saloon., on the right, 10. Old woman carrying off a young lamb, a very realistic figure, with new head; 11. Bust of Faustina, the elder; 14, 16. Tritons, of good workmanship; *15. Admirably preserved half-figure of the Em¬ peror Commodus., with the attributes of Hercules. The marble still displays its fine original polish. The pedestal is formed by two Amazons (one only preserved) bearing a shield enclosed by cornucopife, below which is the globe of the firmament; 17. Bust of Plotina, wife of Trajan; 21. Large Sarcophagus from Vicovaro; on the lid a recumbent group, represent¬ ing a man with a scroll, and a woman with a lute; on the front, the Hunt of Meleager; on the left side, a Lion hunt, on the right, the Bring¬ ing home of the spoil; 24. Terpsichore; 25. Well preserved youthful head (Commodus?); *26. Venus in the act of loosening her hair (both arms missing); 28. Polyhymnia; 30, 31. Colossal female statues, between which is an elegant candelabrum; 33. Statue of Claudia .Tusta, with at¬ tributes of Fortune; Replica of the so-called Eros of Praxiteles (Vati¬ can, Galleria delle Statue), found on the Esquiline; to the left, interesting "■Relief, representing Vulcan and three Cyclops fabricating the shield of Achilles, while on the left stands Minerva with the olive-tree, aegis, and owl, and on the right Juno with an oak-tree, on which sits the pea¬ cock, sacred to that goddess; *36. Head of a Centaur; 38, 42. Athletes, who must be supposed standing opposite each other, found at Velletri; 40. Cow, of good workmanship; below it a sarcophagus with the four seasons; 44. Bust of Manlia Scantilla, wife of the Emperor Didius Julia¬ nas ; 45 . Tiberius; 46. Colossal bust of Maecenas, found at Otricoli; 47. 216 IV. Ancient Rome. HOME. The Capitol. Characteristic portrait head of a Roman; 48. Bust of Didia Clara, daughter of the Emperor Didius Julianus; the last female bust, with a diadem, perhaps represents Antonia, wife of Drusus. — By the Pilasters: 58. Well preserved head of iEsculapius; 56. Head of a boy^ "59. Head of an Ama¬ zon , found on the Esquiline ^ 62-65. Caryatides in the Archaic style: large dog of verde ranocchio-, two large vases, the one with spirited Bacchic representations particularly fine. Over the fountain. Boy hunt¬ ing^ 85. Infant Hercules with the lion’s skin, club, and quiver, in his left hand the apples of the Hesperides, found in 1872 together with the Terra Mater (No. 8, see above). 69. Fountain In the shape of a goblet resting on a wreath of leaves, and terminating in a winged Chimsera. The upper part of the goblet is embellished with three delicately designed jMsenades. According to the Greek inscription below the water-spout, this work was executed by Pontios of Athens ^ it was found in the gar¬ dens of Msecenas. IV. Gallery : 70. Colossal foot in marble, whose Tyrrhenian sandal is adorned with a pleasing composition of Tritons, Cupids, and Dolphins, found in 1872 in front of S. Cesareo on the Via Appia ^ '75. Fighting Hercules, with a portrait head, composed of numerous fragments : 78. Two ancient Trapezophorai, wTih a modern marble slab, on which are placed various small works in marble, and a fragment of a Roman ca¬ lendar, found at Corneto. Opposite, 130. Silenus, in a crouching attitude, a fountain figure, found in 1874 in the Via di Porta S. Lorenzo. — On the walls of the adjacent Corridor are copies of the mural paintings found in a columbarium near the so-called tenij^le of Minerva Medica, referring to the earliest mythical history of Rome (see p. 183). 125. Boy (restored as Mercury) playing with a tortoise (fountain-figure) *, 124. Marble vase, richly adorned with acanthus leaves; 123. Boy with a small dog; 86. .^sculapius. On the sarcophagus to the right are various candelabra in stone; 90. Sacrifice to Mithras. On the sarcophagus adorned with Tritons and Nereids to the left, are several Plermes (busts); 117. Relief in travertine with representations of sacrifices to Mithras; 115. Trilateral pedestal of a candelabrum, with Jupiter, Hercules, and Spes; 105, 106. iMarble reliefs with scenes from the worship of Mithras, the larger of them bearing distinct traces of gilding and colour. — A glass door, generally closed, next leads us into a court (giardino) of the Palazzo of the Con- servatori, where part of the substructions of the Capitoline temple of Ju¬ piter, and (in the wall to the left) the fragment of a colossal column of the temple are noteworthy. We traverse the corridor of the Protomotef a (passing the monument of Canova on the right), and enter the — V. Room of the Terracottas. Along the walls are all kinds of com¬ mon domestic utensils (pitchers, lamps, jars, etc.) and terracotta reliefs used as mural decorations, with the painting partly preserved; then Ar- retinian pottery, votive, and other objects. The remains of the oldest tombs found on the Esquiline, placed immediately to the left of the entrance, are particularly interesting. In the centre are glass cabinets, containing earthenware lamps, _lass vessels, potsherds, mosaics, and a variety of anticaglias. ^ VI. Room of the Bronzes. In the centre is the so-called "Capitoline Wolf.) in the early Etruscan style, with Romulus and Remus; possibly the same which the eediles Cneius and (Quintus Ogulnius erected in B.C. 296. An injury on the right hind-leg is supposed to have been caused by lightning, by which, according to Cicero, the figure was struck in B.C. 65, in the consulate of Manlius and Cotta; the twins are modern. The "Thorn Extractor.) a boy removing a thorn from his foot. An expressive "Bronze Head.) said to be that of L. Junius Brutus who expelled the kings, and became the first consul; eyes restored. 86. Small three-bodied Hecate. Then a Colossal Hand and a Colossal Foot (comp. p. 252). Between these a Tripod. A Horse.) sadly mutilated, but of excellent workmanship, found in 1849 in the Vicolo delle Palme in Trastevere, together with the frag¬ ments of a Bull ; 2. Vase.) found near Porto d’Anzio, presented by King Mithridates to a gymnasium. Gilded Btatue of Hercules.) found in the i^\ Wwv.^v\.vv. s».«sx fe^^'''^'^'^#'V^'''^\'r5>v' ^-•^\:\^:^\ .w'.CC v' A-'v\- v ^W.’\V'i.VV,'>> c<\V\^':-\v,>. •.V»\\V\\V.V \ sS^P^» A>\\\\ iX%^'V\\\« a\\\VV'^\ ■^X'C'S ow'Axwss ,v\\'\\\v • \\"^vvv , •AV.XW, 'gA3#>V'. .\vK%^r A^^''\ -'gx' ;a\v"x\' 'VW. swjlti v\x\\v'\'‘N\ A\\^\\\vxi\\iwA.v.'\'V -.- ^.•^AV'Xy'- «»C- V.\VA .V»\x.\VV\\i»vCA.,\. >\v. . .'X :iip - Xv! s\\v;».i>s->«-;-'\', ^v>rCT:mi; ,1 PRIMO PIAXO. MISEO CATITOLINO. The Capitol. ROME. IV. Aneient Rome. 217 Forum Boarium. Priest's Bop (Camillus) and Ephesian Diana^ on a tri¬ lateral altar. The glass cabinets along the walls contain fragments of weapons, bronze implements, Roman scales, two inscriptions on brass, etc. VII. Room of Etruscan Terracottas, or the so-called Miiseo Italico.^ a collection of vases, terracottas (including two sarcophagi with figures on the lids), bronzes, and various anticaglias from Etruria and Latium, presented to the city by A. Castellani in 1866, and interesting only for purposes of study. Under glass: Silver cover of a|^cist with archaic figures of animals, found at Palestrina. On quitting this collection we enter the first door in the corridor on the right, with the inscription ‘Pinacoteca’, and ascend to the — Picture Gallery, which was founded by Benedict XIV. In a straight direction we enter the first saloon. The names are given by the labels attached. I. First Saloon. Right wall: 2. Guido Reni., Redeemed spirit (unfinished) • 6 . Romanelli.) St. Cecilia^ Si. Albano., M. Magdalene^ 13. Guercino^ John the Baptist; 14. N. Poussin, Flora (copy of the picture in the Louvre); 16. Guido Reni, M. Magdalene; JSC. Domenichino , Cumaean Sibyl/ Narrow wall: 26. Tintoretto., M. Magdarene; 27. Fra Bartolommeo , Tresentation in the Temple; 30. Garofalo , Holy Family; 34w^ Guercino Persian Sibyli Left window-wall: 42. Palma Giovane , Good S^imaritan; 44. Gaud. Fet'rari, Madonna; 52. >S'. Botticelli (?), Madonna and saints; 54. Garofalo, Corona¬ tion of St. Catharine; 70. P. Veronese , Madonna and saints (a copy). Entrance-wall: 76. Polid. Caravaggio, Meleager; 78. Fr. Francia, Madonna and saints (1513); *89. Rubens, Romulus and Remus. On the two window- walls, above: *Ten frescoes attributed to Bpagna, representing Apollo and the nine Muses, formerly in the hunting chateau La Magliana (see p. 341). Ti*aversing a small corridor with landscapes, we next enter the — II. Room. 223. Paolo Veronese, Madonna with angels; 157. G. Romano, Judith; *61. Guido Reni, Portrait of himself; *106. Van Dyck, Two por¬ traits; Portrait of Michael Angelo, probably by himself; *100. Van Dyck, Portraits of two men; 80. Velasquez, Portrait. III. Room. *132 Giov. Bellini, Portrait; 87. St. Augustine, by the same; ^24. Titian, Baptism of Chiust 136. Giov. Bellini O, Petrarch; 129. Portrait, by the same; 49. Domenichino, Landscape with Hercules; 8. Caracci, Landscape with St. Magdalene; 66. Bronzino, Portrait of a lady; 137. Domenichino, Landscape with St. Sebastian; 98. School of Bel Uni, Holy Family. IV. Second Saloon. 104. Mazzolini, Adoration of the Shepherds; 105, Titian, Portrait; 116. Guido Reni, St. Sebastian; ^17. Guercino , Cleopatra and Octavian;# 119. Lod. Caracci, St. Sebastian; 128. Caravaggio, Fortune¬ telling gipsy; l39. Li^nknown master, St. Bernhard. Short wall: 142. Albano, Nativity of the Virgin; *143. Guercino, S. Petronella raised from her tomb and shown to her bridegroom ; 145. Giorgione (?), Holy Family. Left wall: 41. N. Pous.mi, Orpheus; 164. Garofalo, Madonna; 180. Titian, Christ and the adulteress; 186. Carpi, Holy Family; *224. Paolo Veronese, Rape of Eu- ropa; 199, 196. Cola della Matrice, Death and Assumption of the Virgin. The following Sale dei Conservatori are only shown by permesso (see p. 213). We are first conducted to the Large Saloon, with frescoes bj the Cavaliere d'Arpino, representing the Combat of the Horatii and the Curiatii, and other scenes from the period of the Kings; it also contains a bronze statue of Innocent X. by Algardi, and marble statues of Urban VIII, by Bernini, and Leo X. by Giacomo del Duca. — II. Room : Paintings by Laureti; statues of the generals Marcantonio Colonna, Alexander Farnese, Rospigliosi, Aldobrandini, and Barberini. — III. Room: Scenes from the Cimbrian war, and several antique busts. — IV. Room: Fragments of the 'Fasti Consulares, or lists of Roman consuls, found in the 16th cent, (and smaller fragments in 1818 and 1872), near the temple of the Dioscuri, the steps to which they perhaps Hanked. Along the walls are busts of Socra¬ tes, Sappho(?), Alcibiades(?), and Diogenes(?), in the hermal form, with modern inscriptions. — V. Room. Several antiques: jug in the form of a female head in bronze; two ducks; Head of Medusa, by Bernini. — 218 IV. Ancient Horne. romp:. The Capitol. VI. Room, lorinerly the asseoibly hall of Ihe senate. The frie/e, represent¬ ing scenes from the life of Scipio Africaims, is attributert to Ann. Caracd. On the walls is tapestry woven at S. Michele. Bust of Michael Angelo, attributed to himself. Also busts in marble of Victor Emmanuel, Cavour, and Mazzini. — VII. Room: Mural paintings by Sodoma.^ from the P'irst and Second Punic Wars. — Adjacent is the old Chapel with an *Altai- fresco of the Madonna, probably by IHnturiccMo. B. **Capitoline Museum. (Comp. Plan.) Tliis museum was founded by Innocent X., and extended by Clement Xll., Benedict XIV., Clement XIII., and Pius VI. Tlie works carried off by the PVench were restored witli few exceptions i to Pius VII. The collection is much less extensive tlian that of the Vatican, but is rich in admirable works. New official cata¬ logue in preparation. A. Ground Floor. Court (Cortile). Above the fountain in the centre is the "Marforio (supposed to be derived from ‘Forum Martis’), a colossal river-god holding a shell, probably representing the Rhine or Danube, erected in the middle ages in the Via di Marforio opposite the Career Mamertinus, where it was employed as a vehicle for the sarcastic answers to the interrogatories of Pasquino (see p. 202). At the sides two Pans, and several sarcophagi and busts. Corridor (PI. 4), to the left of the entrance: 3. (Colossal Minerva^ 6 . Sarcophagus with Bacchanalian representation ^ 7. Bacchante. — On the Left, at the end, is the entrance to the — I. Room (PI. 1). Sarcophagus with a lion hunt. In the centre is a vase in the Egyptian style on a marble pedestal with a Palmyrene in¬ scription. On the walls are inscriptions, and an ancient mosaic, represent¬ ing Hercules spinning in female attire, and Cupids binding a lion. A num¬ ber of reliefs and inscriptions are still awaiting arrangement. — II. and III. Rooms (PI. 2, 3): Inscriptions, sarcophagi, and cinerary urns ^ No. 4, in the 3rd room, bearing a representation of the Calydonian, and No. 8, another hunt. ’ We return to the Corridor (PI. 4). At the end to the left: 9. Pro¬ vince in high-relief. Farther on, to the left, several mediocre female draped statues. — To the right of the principal entrance: (right) 20. Diana^ 21. Young Hercules; 22. Luna; 26. Mercury; (left) 25. Cyclopean Polyphemus with one of his victims (improperly restored); (left) 28. Ha¬ drian as a priest; (right) 29. Sarcophagus with the Calydonian hunt; right 30. Jupiter; (right) 31. Colossal Mars (legs modern); 32. Hercules with the Hydra; adjoining. Leg of Hercules belonging to the statue. — Adjacent, to the right, is the entrance to three rooms containing inscriptions and several interesting sarcophagi. I. Room (PI. 5). 1. Ara, which stood in the market-place of Albano till 1743, with archaic representation of the exploits of Hercules. Also a few insignificant busts. — II. Room (PI. 6). *4. Sarcophagus with battle between the Romans and Gauls; the commander of the latter commits suicide (perhaps Anerostus, defeated B.C. 225 near Pisa); (left) 14. Cippus of T. Statilius Aper, with a wild boar (aper) at his feet. On the walls are inscriptions. — III. Room (PI. 7). Large '"sarcophagus (formerly supposed to be that of Alex. Severus and his mother Mamimea), with scenes from the life of Achilles: Achilles among the daughters of Lycoinedes, (left) fare¬ well of Deidamia, (right) arming of Achilles; at the back, Priam begging for the body of Hector (found with the Portland Vase of the British Museum near Porta Maggiore). Left of the door: 14. Sitting statue of Pluto. — We now return to the hall, and ascend the staircase to the — The Capitol. ROME. IV. Ancient Rome. •219 B. First Floor. Staircase (PI. 8 ). Into the walls are built the fragments of the marble Plan of Rome, an important topographic relic, executed under Sept. Seve- rns, found in the 16th cent, in SS. Cosma e Damiano (p. 230). Portions of the pieces found have been lost, but supplemented from the extant drawings (these parts are indicated by asterisks). On the landing of the stair are two female statues, groundlessly designated as Pudicitia and Juno Lanuvina. — On reaching the top, we first enter the — I. Room of the Dying Gladiator, containing the finest statues in the museum. In the centre: 1. Dying Gladiator., representing a mortally wounded Gaul, a Greek work of the Pergamenian school, found in the Gardens of Sallust together with the group of barbarians now in the Villa Ludovisi (p. 164). This is a work of profound interest and unrivalled excellence. The right arm is a restoration by Michael Angelo. The visitor will readily recall the exquisite lines by Byron: Childe Harold, Canto iv., 140. — 2. (right of the door) Apollo with lyre. Right wall: *4. Head of Dio¬ nysus, erroneously taken for a woman's (Ariadne’s); *5. Amazonj; 6. Alex, the Great; 7. Demeter. Wall opposite the entrance:'9. Head of M. Jun. Brutus, the ‘tu quoque Brpte’ of Csesar; 10. Priestess of Isis; 11. Flora from the villa of Hadrian. Lfeft wall: *13. Antinous from Hadrian’s villa; *15. Sa¬ tyr of Praxiteles., the best of the extant copies; 16. Girl protecting a dove; instead of the modern snake, there was probably a dog, or some other animal in the original. Entrance-wall: 17. Zeno, found in 1701 in a villa of Antoninus Pius at Civita Lavinia. II. Stanza del Fauno. On the walls reliefs, inscriptions, etc., among them the Lex Regia of Vespasian (black tablet on the entrance-wall), whence Cola di Rienzi ‘the last of the Tribunes’ once demonstrated to the people the might and liberty of ancient Rome. In the centre, 1. Satyr (Fauno) in rosso antico, raising a bunch of grapes to his mouth, from Hadrian’s villa, placed on a remarkable altar, dedicated to Serapis. Window-wall: 5. Colossal head of Bacchus, on a circular ara with a rostrum, and the in¬ scription ara tranquillitatis., found together with the Ara Ventorum (T^^o. 6) and the Ara Neptuni (I^o. 2) at Porto d’Anzio, where they were employed by sailors for offering sacrifices. Wall of egress : 8. Head of Mercury (V); 11. Sarcophagus with relief of Luna and Endymion; *10. Head of Juno Sospita; 13. Boy with mask of Silenus. Right wall: 15. Small Minerva^ 17. Mars. Entrance-wall: 20. Bust of Hercules; 21. Boy struggling with a goose, copy of a statue by Boethus, excavated near the Lateran in 1741; *26. Sarcophagus with battle of Amazons, and, on its left corner, 23. Head of Ariadne crowned with ivy. III. Large Saloon. In the centre: 1. Jupiter, in nero antico, or black marble, found at Porto d’Anzio, on an altar adorned with Mercury, Apollo, and Diana, in the archaic style. 2. and 4. * Two Centaurs in bigio morato, by Aristeas and Papias., found in Hadrian’s villa in 1736; 3. Colossal basal¬ tic statue of the youthful Hercules, found on the Aventine; it stands on a beautiful altar of Jupiter, embellished with representations of his birth, education, etc.; 5. H£sculapiiis, in nero antico, on an altar representing a sacrifice. — Window-wall to the left of the entrance: 6. Portrait-statue restored as Hygeia; 8. Apollo with lyre; 9. M. Aurelius; 10. Amazon; 11. Mars and Venus, found near Ostia; 13. Athena. — Wall of egress: 14. Satyr; 15. Apollo; 16. 3Iinerva; 17. Colossal bust of Trajan with civic crown. — Right wall: 21. Hadrian as Mars, found near Ceprano. The two columns adjoining the niche were found near the tomb of Caecilia Metella. In the niche: *Athena, ancient replica of an earlier original. 25. Amazon; 26. Apollo; 27. Mercury; 28. Old nurse, {probably from a group of the Chil¬ dren of Niobe: 30. Ceres (?). — Entrance-wall: 31. Colossal bust of Anton. Pius; 33. Hunter with a hare; 34. Harpocrates, god of silence, from Ha¬ drian's villa. IV. Room of the Philosophers. On the wall valuable ''Reliefs., five from the frieze of a temple of Jseptune; over the entrance-door, death of Meleager; sacrificial implements; on the wall of the egress, an archaic Bacchanalian relief by Callimachus, etc, — In the centre the sitting consu- 220 JV. Ancient Rome. The Capitol. ROME. lar "statue of M. Claudius Marcellus(?), conqueror of S>racuse, B. C. 212, from the Giustiniani collection, formerly in the Museo Chiaramonti. Also 93 • busts of celebrated characters of antiquity, to some of which arbitrary names are affixed. 1. Virgil (V); 4, '-S, 6. Socrates^ 9. Aristides the orator*: 10. Seneca (?) ^ 13. Lysias (V); 16. Marcus Agrippa^ 19. Theophrastus^ 20. Marcus Aurelius; 21. Diogenes the Cynic; 22. Sophocles (not Archimedes); 23. Thales; 24. Asclepiades; 25. Theon; 27. Pythagoras; 28. Alexander the Gr. (?); 30. Aristophanes (?); 31. Demosthenes; 33, 34. Sophocles; 35. Al- cibiades (? certainly not Persius); 37. Hippocrates; 38. Aratus (?); 39, 40. Democritus of Abdera; 41, 42, 43. Euripides; 44, 45, 46. Homer; 47. Epi- menides; 48. Cn. Domitius Corhulo, general under Claudius and Nero; ■ 49. Scipio Africanus, recognisable by the wound on his head which he received when a youth at the battle of Ticinus, whilst saving his father’s life; 52. Cato the Censor; 54. Minerva; 55. Cleopatra (?); "59. Arminiiis (?), erroneously named Cecrops; 60. Thucydides {?); 61. .^schines; 62. Me- trodorus; 64. Epicurus; 63. Epicurus and Metrodorus; 68, 69. Masinissa; 70. Antisthenes; 72, 73. Julian the Apostate; 75. Cicero; 76. Terence, ac¬ cording to others C. Asinius Pollio; *82. i'Kschylus (?). The names of the busts by the window-wall are unknown. V. Room of the Busts of the ^^perors. Reliefs by the entrance- wall: over the door, I. Mercury„^g|TCules, Graces, Nymphs carrying off Hylas; H. *Endymion asleep, him the watchful dog; F. *Perseus liberates Andromeda (these two belong to the eight reliefs in the Pal. Spada, p. 205). E. (above the door of egress): sarcophagus-relief. Muses (a cast, original in the Louvre). Then, above the windows, more reliefs ; B. Triumph of the j’^outhful Bacchus, A. Circus games, Bacchanalia, 1). Calydonian hunt (this last modern). The collection of the emperors’ busts is one of the most complete in existence; the names are for the most part verified by coins. In the centre: '"Sitting female statue, believed to be Agrippina, daughter of M. Agrippa, wife of Germanicus and mother of Caligula. The numbering of the busts commences in, the upper row , to the left of the entrance-door. 1. Julius Caesar; 2. Augustus ; 3. Marcellus, nephew of the latter (?); 4, 5. Tiberius; 6. Drusif^ the elder; 7. Drusus, son of Tiberius; 8. Antonia, wife of the elder Drusus, mother of Germanicus and Claudius; 9. Germanicus; 10. Agrippina, his wife; '^11. Caligula, in basalt; 12. Claudius, son of Drusus; 13. Messalina, fifth wife of Claudius; 14. Agrippina the younger, daughter of Germanicus, mother of Nero; 15. Nero; 17. Poppaea, Nero’s second wife; 18. Galba; 19. Otlwo; 20. Vitellius (?); 21. Vespasian; 22. Titus; 23. Julia, his daughter; ^24. Domitian; 26. Nerva (modern?); 27. Trajan; 28. Plotina, his wife; 29. Martiana, his sister; 30. Matidia, her daughter; 31,32. Hadrian; 33. Sabina, his wife; 34. yElius Caesar, his adopted son; 35. Antoninus Pius; 36. Faustina the elder, his wife; 37. M. Aurelius as a boy; 38. M. Aurelius, more advanced in life ; 39. Faustina the younger, daughter of Antoninus, wife of Aurelius; 41. Lucius Verus; 43. Commodus; 45. Pertinax; 50, 51. Septim. Severus; 53. Caracalla; 57. Heliogabalus; 60. Alex. Severus; '"62. Maximin; 63. Maxi¬ mus, son of Maximin; 64. Gordian Afr.; 65. Gordian; 76. Gallienus; 80. Diocletian (?); 82. Julian the Apostate. We next enter the — VI. Corridor. At the left end: No. 76. a beautiful marble vase on an archaic *puteal with the 12 gods: Jupiter, Juno, Minerva, Hercules, Apollo, Diana, Mars, Venus, Vesta, Mercury, Neptune, and Vulcan. Then, the back of the visitor being turned to the window: (1.) 72. Trajan; (1.) '•'71. Pallas , found at Velletri, exactly corresponding to the statue (No. 114) in the Braccio Nuovo of the Vatican; (1.) 70. M. Aurelius, as a boy; (r.) '^69. Bust of Caligula; (1.) '='73. Head of Silenus; (1.) 66. Augustus; (1.) 64. Ju¬ piter, on a cippus with relief: Claudia Quinta drawing a boat containing the image of the Magna Mater up the Tiber; (r.) 61. Venus; (r.) 56. Fe¬ male draped statue. (The door opposite leads to the Venus-room.) Left 55. Head of Apollo; (r.) 54. Antinous; (1.) 53. Psyche; (r.) '='48. Sarcophagus with representation of the birth and education of Bacchus; (r.) 44. Selene; (1.) 43. Head of Ariadne. Here and in the following compartments, on the right, are immured the inscriptions from the columharium of Li via (found in 1726 near the church of Domine Quo Vadis). Right: 40. Child of Niobe; The Capitol. ROIVIE. IV. Ancient Rome. 221 ( 1 .) 39. and (r.) 38. Venus; ( 1 .) 37. Slarble vessel with Bacchanalian scenes; (r.) 36. Copy of the discus-thrower of Myron (Pal. Lancelotti, pp. 192- 93), incorrectly restored as a warrior; (1.) 33. Flute-playing Satyr; (r.) 32. Muse; (1.) 29. Octagonal cinerary urn with Cupids in the attitudes of celebrated statues; (r.) 28. Sarcophagus with the rape of Proserpine; (r.) 26. The child Hercules with the snakes; (1.) 22. Archaic relief, a lute- player (?); ( 1 .) 20. Old woman intoxicated; (r.) 16. Sitting draped statue. Opposite the entrance to the Room of the Doves: ( 1 .) *13. Cupid bending his bow (after Lysippus); (r.) 12. Flute-playing Satyr; ( 1 .) 9. Recumbeni lion; (r.) 5. Silenus; (r.) 3. Septim. Severus; ( 1 .) 2. Faustina; (r.) 1. M. Aurelius. VII. Room of the Doves, so called from the * mosaic on the right wall: Doves on a Fountain-basin.^ found in Hadrian’s V^illa near Tibur, copy of a celebrated work by Sosas of Pergamum, mentioned by Pliny. Below it, a sarcophagus: 88. Prometheus forming man , whom Minerva inspires with life, in a style showing the transition to the Christian period of art. Farther on, by the right wall, a mosaic with several masks. Under them: *60. Sarcophagus with Selene and Endymion. The busts 45, 46, 47, 48, 49, 51, on the narrow wall, are particularly good. By the left wall, in the 2nd window, 25. the Ilian Tablet., a small relief in palombino, a soft kind of marble, with the destruction of Tr(V and flight of Aeneas in the centre, and many other incidents from the leljends of the Trojan war, explained by Greek inscriptions, probably designed for purposes of instruction, found near Dovillap. ^ / VIII. Room of Venus. Adjoining the gallery is the Venus Room, ^whi ch contains the Capitoline Venus., found in excellent preservation built into in a house of the Suburra , unquestionably the workmanship of a Greek chisel, supposed to be a copy of the Aphrodite of Cnidus by Praxiteles. Left, Leda with the swan, a mediocre work; right * Cupid and Psyche, found on the Aventine. Oil the S. heiglit ol' the Capitol, tlie so-called Monte Caprino fto which a flight of steps ascends to the right at the back of the Palace of the Conservatori, comp. p. 214), stands the so-called Casa Tarpeia with the Protestant liospital and the new German Archaeological Institute^ erected in 1874-76 by Laspcyres, at the cost of the German government. In the garden (custodian, Monte Caprino 130) is shown the Rape Tarpeia, or Tarpeian Rock. If this be the veritable rock from which the condemned used to be thrown by tlie ancient Romans, its height and abruptness must have been greatly diminished since that period; as, moreover, it is by no means certain that this is its true situation, a visit to the spot may well be omitted. Ancient substructions of solid stone, which were discovered in the garden of the Pal. Caffarelli (p. 211) in 1866, belong to the temple of the Capitoline Jupiter. Of the buildings which covered the Capitol in ancient times the only relics now existing are the imposing ruins on which the Sena¬ torial Palace has been erected (entrance by the gate in the Via del Cainpidoglio, comp. p. 213; we then enter the door to the right with the superscription ‘Tabularium’; fee on week-days Y 2 fr.). This edillce was the *Tabularium, erected B. C. 78 by the consul Q. Lutatius Catulus for tlie reception of the state archives, and resting on the massive substructions which surround the hill. It consisted of a live-fold series of vaults, the last of which opened 222 IV. Ancient Rome. ROME. Forum Romanurn. towards the Forum in the form of a colonnade with half-colnmns in the Doric style, which are still visible. Tlie vaults were used in the middle ages as a public salt magazine, and the stones have been much corroded by the action of the salt. From this point there is a beautiful * View of the Forum. The rooms contain architectural fragments from the neighbouring temples and other buildings. An ancient flight of steps, now partly restored, descended hence to the Forum, where, to the left of tlie temple of Vespasian, the arcliway where it issued is observed. The Forum Romanurn. (Comp. Sketch- Plan.) In the most ancient times the Capitol and Palatine were separated by a deep and marshy valley. The pavement by the column of Phocas still lies 38 ft. only above the level of the sea, and 22 ft. above the level of the Tiber, but 13 ft. lower than the height of an ordinary inundation. In consequence of the lowness of this valley, it was, as may well be supposed, a difficult and tedious task to raise the level and drain the marsh. For this purpose Tarquinius Priscus, the fifth of the kings, is said to have constructed the Cloaca Maxima.^ which still renders good service (p. 249)^ and several canalicolae or tributary drains which fell into the main channel, have recently been discovered. Tradition makes tliis hollow the scene of the conflict of the Romans under Romulus against the Sabines under Titus Tatius after the rape of the Sabine women. After the hostile tribes were amalgamated into a single state, they chose the Forum as its centre, and it was here that some of the most famous scenes in the history of the Roman Republic were enacted. On the N. side (S. Adriano) lay the Curia Hostilia., or council-hall, which is said to have been erected by King Tullus Hostilius; while on the S. side, at the foot of the Palatine (S. Maria Liberatrice), rose the Temple of Vesia.^ with its eternal fire, and the Regia., or dwelling of the Pontifex Maximus, the president of the Roman hierarchy. The Comitium., or open space in the centre, was the place where popular assemblies were wont to be held. The Forum was bounded by streets, the most important of which was the Via Sacra ascending to the Capitol. In the Forum and its environs building operations and various changes have been taking place at intervals for upwards of two thousand years, and it is therefore not to be wondered at that a number of topographical questions regarding it are still unsolved, and that the imagination of scholars has indulged in the most extravagant flights with regard to this spot more than any other in Rome. It is, however, ascertained that the Forum extended from the foot of the Capitol, sloping downwards towards the E., although it has sometimes been erroneously supposed that it extended from N. to S. The Basilica Julia marks the S. boundary of the Republican Forum, but the E. boundary has not yet been discovered. Along the sides of the Forum were ranged the tabernae veteres and novae., or shops, which were originally oc¬ cupied by butchers and other craftsmen, and afterwards by money-changers and goldsmiths. In the course of time a number of temples, public build¬ ings, and monuments were erected here. Of those still existing the most ancient is the Career Mamertinus (p. 230), or well-house, situated on the slope of the Capitol, the foundation of which reaches back to the period of the kings. Soon after 1l»e temple of tlie Capitoline Jupiter (p. 2t0), were founded tlie Temples of Saturn (B.C. 491) and Castor (4^4). Tlie Temple of Concord (330) commemorates the termination of the protracted struggle between the patricians and the plebeians. At the period of the SamniteWar, which resulted in the extension of Rome’s supremacy over the whole of Italv, we are informed that the Forum underwent manv embellishments. At last, however, as it was only 150 yds. in length, its area became too confined for the important and multifarious business transacted within I FORUM Forum Romnnum. ROME. JV. AnrAent Rome. 223 its precincts; for it was not used for political and commercial purposes only, but for tbe celebration of the funerals of the nobility, for the gladiator combats which were introduced about the year 204, and on other public occasions. The first expedient for gaining space was the erection of basi¬ licas, or quadrangular courts surrounded by colonnades, adjoining the Forum, with a view to dra .v oil’ a portion of the traffic. In 184 Cato erected the Basilica Porcia on the N. side; in 179 followed the Basilica ^milia.^ and in 169 the Basilica Sernpronia. The task was prosecuted with the utmost energy by C^:sak, who extended the Forum by the addition of the Forum Julium (pp. 236, 238), and appears to have projected a cutting through the hill which connected the Capitol with the Quirinal in order to faci¬ litate communication w ith the new quarter which was rapidly springing up in the Campus Martius. He also restored the Curia Hostilia, and erected the spacious Basilica Julia on the S. side of the Forum. Augustus proceeded to carry out the plans of his uncle, and to that emperor is chielly due the arrangement of the Forum which the present excavations are bringing to light. All the edifices of the Repiiblic were restored by him and his successors, whose energetic building operations extended over the first four centuries of the Christian era. They thus endeavoured, as it would appear, to compensate their subjects by external magnificence for the loss of liberty they had sustained. Five new fora, constructed be¬ tween the time of Csesar and that of Trajan, adjoined each other on the N. side of the old Forum, thus connecting the central point of the original city with the palatial buildings of the Campus Martius. By these new fora the Forum of the Republic would have been well nigh eclipsed, but for the glorious traditions connected with it, to commemorate which it was profusely adorned with gilded bronzes and rare marbles, with columns, triumphal arches, statues, and works of art, while its history was recorded by innumerable inscriptions. These ancient buildings were restored for the last time in the reign of king Theodoric, in the first half of the 6th century, and the last new monument erected in the Forum was the Column of Pliocas dating from 6t)8, but the rudeness of the architecture distinctly betrays the degraded taste of the period. As early indeed as the first half of the 6th cent, had begun the war of extermination waged by the Middle Ages against paganism. Ancient temples were transformed into churches, such as those of S. Giuseppe, S. Luca, S. Adriano, S. Lorenzo, SS. Cosma e Damiano, S. Francesca, and S. Maria Liberatrice. These were afterwards frequently altered and restored, while others of the same class, like a church of SS. Sergio e Bacco in the temple of Concord and another at the 8.E. corner of the Basilica Julia, have entirely disappeared. Interspersed with these churches were the towers and castles of the Roman nobility, erected among the ruins, of the ancient buildings in the style best adapted for the prosecution of their perpetual feuds. In most cases, the dimensions of the monuments of antiquity, were far too vast to admit of their being used for mediaeval purposes, but another mode of utilising these immense masses of building materials readily suggested itself. Throughout a thousand years the edifices of ancient Rome were employed as quarries, from which churches and secular buildings alike derived their columns, their blocks of solid stone, and, owing to a still more destructive pro¬ ceeding, their supplies of lime also from the burning of marble. The fact that in the Basilica Julia alone there have been discovered lime-kilns and stone-masons’ yards at three different places will convey an idea of the vast quantity of marble, bearing valuable inscriptions and artistic enrichments, which must have been destroyed in this way; and it need hardly be observed that the bronzes of antiquity were still more eagerly appropriated in an age when metal of every kind was scarce. This accounts for the miser¬ ably small number of statues and inscriptions which modern excavations have yielded. After the systematic destruction of the Forum, its remains were gradually buried beneath the rubbish and debris of some four centuries, so that the ancient pavement is at places 40 ft. below the present level of the ground. Down to the 8th cent, the ancient level was unal¬ tered. In the lltli and 12th centuries the Forum was thickly covered 224 IV. Ancient Rome. ROME. Forum Romanum. with towers and fortress walls, which closed up the old streets, and when these were demolished about the year 1221, the ground appears for the first lime to have been covered with an accumulation of rubbish. Fresh deposits were afterwards made when the new buildings on the neigh¬ bouring heights were in course of erecti(>n. This was particularly the case in 1536, when Paul III. constructed a triumphal street from the Porta S. Sebastiano through the arches of Constantine and Titus, and around the X. side of the Capitol (on which occasion the new approaches to the latter were formed, p. 211). He caused 200 houses which stood be¬ tween the arches of Titus and Severus to be demolished, and he constructed on their site the piazza as it stood until recently. The large buildings erected by Sixtus V. probably also contributed to the raising of the level of the ground. In the middle ages, and down to the present day, the h'orum was popularly known as the Cainpo Vaccino. Its desolate area was covered with the teams of buffaloes and oxen of the peasantry, and smiths and carpenters established their workshops around it, while a few isolated columns, protruding from the rubbish, alone formed a reminiscence of its departed glory. And thus it remained until the 19th century. As early as 1519 Raphael had indeed formed a plan for restoring the ancient city, and especially the Forum, by means of extensive excavations^ and during his lifetime, and subsequently, particularly in 1546-47, the work was begun in the neighbourhood of the temple of Castor and Faustina. The object in view, how^ever, being merely the discovery of monuments and works of art, the excavations were soon filled up again, and in the 17th and 18th centuries were entirely discontinued. At length, during the present century, the plan was revived by the modern spirit of investigation. In 1803 the arch of Severus, in 18i3 the column of Phocas, and in 1816-19 the Clivus Capitoliims with its temples, were disinterred under the super¬ intendence of Carlo Fea while the French during their occupation of Rome appear to have directed their attention to more productive loca¬ lities. In 1835, and during the republic in 1848, part of the Basilica Julia was excavated by Canina.^ but from that year down to 1871 the work was discontinued. The Italian government resumed the excavations again with considerable energy^ and by these last operations the Basilica, the temples of Castor and Ceesar, and a great part of the Comitium and the neighbouring streets have been brought to light, and an admirable clue to the arrangements of the whole localitv has thus been obtained. The excavations are carried on by Cav. Lanciani under the superintendence of Senator FiorelU., but serious obstacles are presented to the work by the growing requirements of modern business. It is hoped, however, that the undertaking, which was planned and begun when the Renaissance was at its zenith and has since been so frequently resumed, will ere long be finally and satisfactorily completed, and that the most memorable spot in the history of Europe will at length be fully brought to light and purged of the unseemly accumulations of the rubbish heaped upon it by the neglect of centuries. Admission. The excavations are shown gratuitously daily till sunset. The Entkance is at the back of the temple of Castor. — The following description is in the order of the buildings as they present themselves to the visitor approaching them from the Capitol. IJesceiuling from the piazza of the Capitol through the Via del Campidoglio to the right, past the Senatorial Palace (comp. p. ‘2141, wc enjoy from the lower end another good ^Survey of the Forum. The excavated portions are divided by the modern street into two halves. The smaller to the left below contains among other relics the temple of Saturn, to which the eight unfluted columns belong, the three columns of the temple of Vespasian, the arch of Septimiiis Severus, and immediately below in the corner the colonnade of the Forum Kornanum. KOMK. JV. Ancitnt Rome. 225 twelve gods. The second division comprises the column of Pliocas, the tliree columns of the temple of Castor, the great Basilica, the Comitium with its enclosure of brickwork, and the bare walls of the temple of Caesar. Beyond these, to the left, is the temple of Faustina now converted into a church, then the huge arches of the basilica of Constantine, the Colosseum, the arch of Titus, and to the right the ruins and gardens of the Palatine. Here, on the S.W. slope of the hill (Clivus Capitolinus ), an¬ ciently descended the Sacra Via^ the basalt pavement of which is visible below. The first building facing us, of which eight granite columns are still standing on a basement 16 ft. in height, is the * Temple of Sa¬ turn, originally consecrated by the consuls Sempronius andMinucius, B.C.491, and restored by Munatius Plancus about B.C. 44, where from the earliest times the jFrarium Publicum ^ or government treasury, was established. The inscription, Senatus j^opulusque Romanus incendio comumptum restituii., refers to a later restoration, undertaken hastily and without taste, the columns being of unequal thickness and placed at irregular intervals. Of the lofty flight of steps by which the portico was approached there are now but scanty traces. The back is concealed by the street. In the loth cent., according to Poggio’s statement, the ruin was in much better preservation. Below the temple of Saturn, but concealed by the modern road, once rose the Triumphal Arch erected in A.D. 16 to the emperor Tiberius, to commemorate the defeat of the Germanic tribes and the recovery of the Roman insignia which had been lost at the battle of the Teutoburgian Forest. Fragments of the arch and inscriptions still lie scattered about. Below the Tabularium (p. 221), of the upper gallery of which one arch only now stands, and in the angle formed with it by the street, lies the Schola Xantha with the Colonnade of the Twelve Gods (deorum consentium) , whose images were erected here in A.D. 367 by Vettius Agorius Prfetextatus, the priefectus urbi, and one of the principal champions of expiring paganism. The struc¬ ture was destined for the use of scribes and notaries. The name Schola Xantha is derived from a certain Fabius Xanthus by whom it was once restored. In 1858 the ruin was much modernised. To the right of this the Tabularium is adjoined by the Ruin of the Three Columns, or * Temple of Vespasian, erected under Domi- tian, and restored by Septimius Severiis. The inscription ran thus: ’■Bivo Vespasiano Augusta Senatus pupulusquc romanus imperator Caesar Severus et Antoninus Pii Felices Augusti restituerunt.'' Of this a part of the last word only is preserved. The columns and entablature bear testimony to the excellence of the work¬ manship. Tlie temple had six columns in front, which were 49 ft. iT\ height, and 47*2 ft. in diameter at the base. An egress of the Tabularium (p. 222) through the posterior wall of the cella has evidently been built up. Farther on, to the right, and with its back to the Tabularium, is the Temple of Concordia, founded in B.C. 366 by M. Furius Camillus, and rebuilt on a larger scale by Tiberius, B.C. 7. It was Baedekeu. Italy II. 6th Edition. 15 226 IV. Ancient Rome. ROME. Forum Romnnum. dedicated to Concord to commemorate the termination of the pro¬ tracted struggle between the patricians and plebeians. The smaller projecting rectangle of the raised substructure was the temple itself, while the larger edifice behind, projecting on both sides of the temple (but concealed on one side by the ascent to Aracceli), was the Senate-Hall., the threshold of which is still distinguishable. On the ruins of this temple was erected the church of SS, Sergio and Bacco, which was taken down in the IGth century. In front of the temple of Concordia, and above the Via Sacra (Clivus Capitolinus), rises the * Triumphal Arch of Septimius Se- verus, 75 ft. in height, 82 ft. in breadtli, with three passages. It was erected in honour of that emperor and his sons Caracalla and Geta in A.D. 203, to commemorate his victories over the Parthians, Arabians, and Adiabeni, and was surmounted by a brazen chariot with six horses, on which stood Severus, crowned by Victory. Ca¬ racalla afterwards erased the name of his brother Geta, whom he had murdered. The letters were, as was usual with inscriptions of this kind, originally inlaid with metal. Above the arche.s are figures of Victory^ at the sides, crowded scenes from the wars of the emperor. Side next the Forum: (1.), Raising of the siege of Nisibis in the Parthian war; (r.). Treaty with Armenia, Siege of Atra. Side next the Capitol: (r.). Siege and capture of Babylon; (1,), Conquest of Ctesiphon and Seleucia. On the bases of the columns. Captive barbarians. All these figu^s are in the degraded style of the sculpture of that period. In the middle ages the arch was temporarily converted by the ruling powers into a kind of castle, and was deeply imbedded in rubbish, but was unearthed by Pius VII. in 1803. The arched wall by the arch of Severus is the remains of the Rostra, or orator’s tribune, a name derived from the iron prows of the war¬ ships of Antium with which the tribune was adorned after the capture of that town in B.C. 338. At the end of it was the Umbilicus urbis Romae., or ideal centre of the city and empire, the remains of which are recognisable. At the other end, below the street, are a few traces of the Miliarium Aureum., or central milestone of the roads radiating from Rome, erected by Augustus in B.C'. 28. It is, however, doubtful whether these names are correctly applied to these remains. From this part of the excavations, passages lead under the mo¬ dern street to the second division, which embraces the excavations made in 1848 and those of a recent period. The visitor should first notice the direction of the streets, in order to obtain an idea of the topography of “the ancient forum. On the S. side, between the brick pedestals and the basilica, there descends from the temple of Saturn a street to which another cor¬ responded on the N. side, where the excavations have not yet been begun. At the lowest part of the ground, where it begins to slope upwards towards the Velia and Palatine, the longitudinal street is intersected by a cross-street coming from the Tiber, which separates the Basilica from the temple of Castor, and must also have inter¬ sected the northern longitudinal street near the temple of Caesar. This was the busy Vicas Tuscus, which led from the Forum to the Velabrum and to the cattlemarket by the river (p. 248j. A second parallel transverse street, also coming from the river, ran between the temple of Saturn and the basilica, and was called the V^iciis Forum Komanum. ROME. JV. Ancient Rome, 227 Jugarius. Thus was formed the Centre of the Forum, an oblong rectangle, bounded by four streets, from which it is distinguished by being paved with slabs of travertine instead of blocks of basalt, and being a little raised above the streets and approached by steps. This in all probability was the Comitium, or space set apart for public assemblies and other important business. On the S. side of this rectangle, at equal distances, are placed seven square pedestals of brick, which were once covered with marble, and were probably connected by means of railings or chains for the purpose of separat¬ ing the comitium from the street. In the comitium, on the W. side, rises the — ^Column of FhocaS) 54 ft. in height, which was erected in 608 in honour of the tyrant Phocas of the Eastern Empire, by the exarch Smaragdus, having been taken by him from some older building for the purpose. It was formerly crowned with a gilded statue of Phocas. For a long period this column formed the distinctive mark of the Forum — ‘the nameless column with a buried base’ (Byron) — but it was at length disinterred in 1813 at the cost of the Duchess of Devonshire. To the right of the column of Phocas are two -Beiie/5(‘anaglypha’), which were formerly built into th^walls of a mediaeval tower. They were discovered in 1872 and left undisturbed, after the removal of the tower. They are of topographical value as they bear referenee to the different localities of the Forum. The Rostra which recur in both reliefs, the ‘ficus ruminalis’, or fig- tree under which the she-wolf is said to have reposed, and the statue of Marsyas enable us to identify the scene of action as the republican Fo¬ rum. The Jirst relief (next to the Capitol) alludes to Trajan’s ‘alimenta’, or institution for poor children: on the right is the emperor, in front of him is Italy, holding a child by the hand (destroyed) and another in her arms to which Trajan hands a ‘tessera’, or ticket; on the left is a magis¬ trate with his lictors, proclaiming his edict from the rostra. The second relief represents the remission of the arrears of succession-duty, the re¬ cords of which are being set on fire in Trajan’s presence. On the inner sides are a wild boar, a ram, and a bull, the victims which were sacri¬ ficed at the solemn public celebration of the Suovetaurilia. The main arm of the Cloaca Maxima (p. 249), which was dis¬ covered in 1872, runs past the E. end of the comitium, and under the Basilica Julia. The ’^‘Basilica Julia was founded by Caesar with a view to enlarge the Forum, and inaugurated in B. C. 46, after the battle of Thapsus, but before its completion. Augustus extended it, but did not witness its completion, as it was destroyed by a fire. The building was again twice injured by fire towards the end of the 3rd century. It was restored several times, the last being in A.D. 377. The building is mentioned in history for the last time in the 7th cent., and it was probably destroyed in the 8th. After several partial excavations, it was entirely extricated in 1871, when remains of a mediieval church, limekilns, and human bones at no great depth were discovered. 15* 228 JV. Ajicitnt Rome. ROME. Forum Roman urn. This spot had roriiicrly boeii tiie burial-place of the adjoining hos¬ pital della Consolazione. The Giiound Flak of the basilica is a rectangle, about 111 yds. long and 53 yds. wide. A llight of six, and at places nine, steps ascended to the basilica from the street. Along the four sides were double aisles which enclosed a Central Space, about 90 yds. by 17 yds., paved with variegated African and Phrygian marble, and separated from the aisles by iron railings. The greater part of the pavement has been restored, a few fragments of the original only having been preserved. The valuable material of which the pavement was composed renders it probable that this space was covered with a roof. The sittings of the tribunal of the Centumviri, in four different sections, took place here. The Aisles were paved with white marble, on which are still seen a number of circles, and occasionally writing, scratched on the surface by visitors. These were used by them in playing a game resembling draughts, to which the ancient Romans were as devoted as the modern. The aisles were separated by a triple row of Columns, sixteen on each side, and ten at each end, constructed of brick and encrusted with travertine. On tire side next the street the pillars were adorned with Doric lialf-columns built against them. Ten only of the ancient pillars, up to a height of about 16 ft., are now preserved at the S.W. corner of the building. All the other trunks of pillars which are seen here have recently been reconstructed, partly with the original materials. The pillars supported arches, which have also been restored, but their original spring is still clearly distinguishable. The building had an upper story to which the steps still traceable on the S. side ascended. On this side the basilica was adjoined by older buildings, constructed of tuffstone, which seem to have been ‘tabernse’, or shops, but have not yet been thoroughly excavated or explored. To the E. of the Basilica, and separated from it by the street, is the * Temple of Castor and Pollux, dedicated to the twin gods out of gratitude for the assistance they were supposed to have rendered to the Romans at the battle of Lake Regillus in B.C. 496, in which the Latini were defeated, and inaugurated in 484. It was afterwards rebuilt by Tiberius and re-consecrated in A.D. 6. This was one of the most famous temples of the Republic, and was frequently used for the meetings of the senate. The basement of the cella rises to a height of 22 ft., and was ap¬ proached by a flight of 18 steps, with two lateral flights, of which that on the E. side only is preserved. The building was mainly constructed of concrete, which was faced with blocks of tufa, and around these were placed the blocks of travertine which supported the enclosing colonnade. These blocks, however, as well as the steps on the W. side, have entirely disappeared (although the impression made by them on the concrete is still visible), and the width of the building has thus been diminished by about one half. On the E. side stands a fragment of the Stylobate, with three columns of Parian marble, which are among the finest of the kind now existing (height 46 ft., diameter 0 ft.). The Corinthian capitaLs and the architrave are both in a very superior style of workmanship. The temple had eight columns in front and probably thirteen on each side. The length, however, has not been precisely ascertained, the posterior part being still covered by the modern street. Remains of the mosaic pavement of the Cella ai’e still to be seen, lying about 3 ft, below the level of the portico and the surrounding colonnade. This peculiarity \vas probably occasioned by the alterations made by Tiberius. Towards the E. of the temple of Castor are remains of the pave¬ ment of an ancient street, with fragments of ancient and mediaeval buildings, the purpose of whiidi cannot yet be ascertained. A ring here, provided witli a runlet, is supposed to be a remnant of tlie Forum Romnnu m. ROME. IV. Ancient Rome. 229 Puteal Libonis, or the enclosure of a spot which had been struck by lightning. Copious springs arise in this locality, with whicli the drainage descending from the Palatine unites. On the E. side of the Forum, with its front towards the Capitol, is situated the Temple of Caesar, to which Csesar, in addition to the other alterations made by him, transferred the tribune of the orators. This was now named the Rostra Julia., and from it, on the occasion of the funeral of the murdered dictator on the 19th or 20th Marcli, B.C. 44, Mark Antony pronounced the celebrated oration which wrought so powerfully on the passions of the excited populace. A funeral pyre was hastily improvised, and the unparalleled honour accorded to the illustrious dead of being burned in view of the most sacred shrines of the city. A column with the inscription ‘parent! patriae' was afterwards erected here to commemorate the event. At a later period Augustus erected this temple in honour of‘Divus Ju¬ lius’, his deified uncle and adoptive father, and dedicated it to him in B.C. 29, after the battle of Actium. At the same time he adorned the Rostra with the prows of the captured Egyptian vessels. The foundation of the substructions of the temple, consisting of concrete, were discovered in 1872, but their covering of solid stone has been removed. In front of the temple there are the remains of a plat¬ form, still partly paved with slabs of stone, which is believed to iiave been the rostra of imperial Rome. Its present form appears to have resulted from subsequent alterations. Between the temple of Ctesar and that of Faustina situated to the E. of it are several ruins of late Roman and early mediteval buildings with remains of a pavement in marble mosaic. Tlie temple of Faustina is now connected with the excavated part of the Forum, a cutting having been made through the street wliich passes it, and the rubbish liaving been cleared away. In front of the temple runs an ancient street, the Via Sacra (comp. p. 225J, with the ruts of wheels still visible. From this street the temple is approached by a flight of steps interrupted in the middle by a projecting platform. The * Temple of Faustina, of which the portico (with ten co¬ lumns, six of w hich form the facade) and part of the cella are still standing, was dedicated by Antoninus in 141 to his wife, the elder Faustina, and re-dedicated to that emperor himself after his death. The first line of the inscription, Divo Antonino et divae Faustinae ex S.C.j was then added. In the interior of the temple is the church of Lorenzo in Miranda. The portico was excavated in 1807 and 1810. (In front of it once stood the Arcus Fabianns, erected in honour of Fabius Maximus, the con¬ queror of the Allobrogi, in A.D. 123.) The columns are of cipollino, or marble of Euboea, and are 46 ft. in height. The cella is of peperine, the marble incrustation of which has entirely disappeared. — The year of the foundation of the church is unknown, and the earliest record of it dates from 1430. The facade was erected in 1602. The entrance is at present in the Via di S. Lorenzo in Miranda. We now quit the excavated parts of the forum. 230 IV. Aiirieut Rome. ROME. Forum Rornunum. To tlie left of the Via dell’ Arco di Settiniio Severe ascending to tlie Capitol, at the entrance to the Via di Marforio, we observe the small church of S. Giuseppe dc’ Faleynami. Relow it (entrance in the first-named street, is the Career Mamertinus, one of the most ancient structures in Rome. It was originally built over a well, named Tullianum, and thence traditionally attributed to Ser- vius Tullius, and it was afterwards used as a prison. It consists of two chambers, one below the other, of very ancient construction. The upper is an irregular quadrilateral, which was probably once adjoined by other similar chambers. An inscription on the front records that the building was restored in B.C. 22. The lower chamber, which was originally only accessible through a hole in the ceiling, is 19 ft. long, 10 ft, wide, and 6V2 ft. high. The vaulting is formed by the gradual projection of the side walls until they meet. It contains a spring, which, according to the legend, St. Peter, who was imprisoned here under Nero, miraculously caused to flow in order to baptise his jailors. The building has therefore been named S. Pietro in Carcere since the 15th century. In this dungeon perished Jugurtha after having been deprived of food for six days, Vercingetorix, and other conquered enemies. Sallust, in recording the execution of Catiline’s confederates, describes the prison thus: — ‘Est in carcere locus, quod Tullianum appellatur, circiler duodecim pedes humi depressus. Eum miniunt undique parietes atque insuper camera lapideis fornicibus vincta: sed incultu tenebris odore freda atque terribilis ejus facies est.’ Nearly opposite stands the church of SS. Luca e Martina, erected on the site of an ancient building. It consists of an upper and lower church ; the latter being of very ancient origin, and the former erected in the 17th cent, by Pietro da Cortona. On the opposite side of the Via Bonella, which leads to the Aca¬ demy of S. Luca (p. 237) and the Forum of Augustus (p. 238), is the church of S. Adriano, with its unadorned fayade, uninteresting like the last-mentioned, and also occupying the site of an ancient edifice, probably the Curia Hostilia, which was subsequently re- erected under the name of Curia Julia by Caesar and Augustus, and was used as an assembly-hall by the senate. The church was erected by Honorius I. in the 7th cent, and afterwards restored. The Velia. The Colosseum. Baths of Titus. A hill, named the Velia in ancient times, connects the Palatine and Esquiliue, its highest point being marked by the Arch of Titus ( 97 ft.). How far the Forum, the lowest part of which was at the end of the Vicus Tuscus (p. 226), extended up this hill, is a point which the result of future excavations must determine. The Via Sacra is flanked by an uninterrupted series of public monuments. The following description therefore forms a continuation of that of the ruins already mentioned. Beyond the tem])le of Faustina (p. 229), and separated from it by a street, is — *SS. Cosma e Damiano (PI. II, 20, 5), erected by Felix IV. (526-30), having been incorporated with an ancient circular temple. The Velia. ROME. IV. Ancient llonie. •231 to the portico of wliicli the two columns of cipollino half projecting from the ground to the right of the church, in front of the Ora- torium della Via Crucis, probably belonged. The temple was er¬ ected by the Emp. Maxeiitius to his son Romulus, and is sometimes erroneously called a temple of the Penates. The level of the pave¬ ment was so much raised by Urban VIII. in 1633, that an upper and a lower church were formed. The entrance, with the columns of porphyry and bronze doors, is ancient. Intekiok. The church is entered by the rotunda. On the arch of tlie choir and in the tribune are interesting ^Mosaics of the 6th cent., the period of the founder, perhaps the most beautiful of their kind at Rome, hut freely restored about 1660 (best light towards evening). Those on the arch, which has been shortened during a restoration, represent the Lamb with the Book and seven seals, according to Revelations iv.; adjoining these the seven candlesticks, four angels, and two of the symbols (angel and eagle) of the Evangelists. The arms with wreaths, below, belong¬ ed to two prophets. In the tribune: Christ, to whom the saints Cosmas and Damianus are conducted by Peter and Paul; on the left side St. Felix with the church (new), on the right St. Theodorus. Beneath, Christ as the Lamb, towards whom the twelve lambs (apostles) turn. The Lower Church (entrance to the left in the tribune; sacristan V 2 Ir.) is unattractive. It contains the tomb of SS. Cosmas, Damianus, and Felix, an ancient altar, remains of an ancient pavement, and somewhat lower a spring, said to have been called forth by St. Felix. At the back of this church were found the remains of an ancient plan of Rome (p. 219), other fragments of which were discovered in 1867- 68 . The ancient wall to which the plan was affixed belonged to Ves- pasiaii's Temple of Peace. — Excavations'" are being at present carried on in front of and adjacent to the church, with the purpose of exposing to view the circular temple. We next reach the three colossal arches of the *Basilica of Con¬ stantine (PI. II, 20, 23'), erected by Maxentius, but afterwards altered by his conqueror Constantine. The entrance originally faced the Colosseum, but afterwards the Via Sacra. It was a basilica of three halls, with vaulting of vast span, which has served as a model to modern architects, as, for example, in the construction of the vaulting of St. Peter’s, which is of equal width. The Ground Plan is in the form of a rectangle, about 100 yds. in length, and 88 yds. in width. The principal apse, opposite the entrance from the Colosseum, now forms part of a granary. After the opening of the second entrance on the side next the Palatine, a second apse was added. The tunnel vaulting of the S. aisle has been preserved; width 66 ft,, depth 54 ft., height 78 ft. The span of the nave was about 80 ft.; its height 112 ft., and its width 66 ft. In front of the central pillars stood eight huge columns of white marble of the Corinthian order, the only one of which now extant has been placed in front of S. Maria Maggiore (p. 178). The traveller should not omit to ascend to the summit of the ruin in order to enjoy the magnificent *"Panorama of ancient Rome which it commands. We follow the street between the Temple of Faustina and S. Cosma e Damiano to the end, traverse a lane to the right, and proceed by the Via del Tempio della Pace to the left into the Via del Colosseo. At the corner here, immediately to the right, is Ho. 61, an institution for poor girls (visitors ring; 1 fr.), from the garden of which we ascend a flight of steps. A window adjoining the stairs affords the best view of the Colosseum, to the left of which are the Thermee of Titus on the Es- quiline; to the right the circular S. Stefano; nearer, S. Giovanni e Paolo with the new dome, both on the Caelius. Beyond the Colosseum the 232 1 V. Ancient Rome. PvOMP:. The Velia. All)an, and to the left the Sabine Mts. To the S. the Palatine with the ruins of the imperial palaces and two monasteries, and the opposite bank of the Tiber with the Villa Pamfili. Towards the W. the Capitol-, to the right of it, between the domes of two cliurclies, Trajan's column is visible^ above the latter Monte Mario; farther to the right the Torre di Nerone and the (^uirinal. Towards the the church of S. Pietro in Vincoli with its magnificent palm, and S. Maria Maggiore, recognised by its two domes and Romanesque tower, both on the Esquiline. Adjoining the basilica of Constantine, and partly occnp>ing the site of a temple of Venns and Roma (see below), is the church of — S. Francesca Romana (PI. II, 23), or S. Marin Nuova, standing on the site of an older church of Nicholas I. founded about 860, re- erected after a fire by Honorius III. about 1216, and modernised by Carlo Lombardo in 1615. Festival, 9th March. Interior. On the right, 2nd Chapel : (r.) Monument of Card. Vulcani (d. 1322) and that of the papal commandant and general Antonio Rido (d. 1475). 3rd Chapel: Miracles of St. Benedict, altar-piece by ^Subleyras. In the Tktbunk mosaics of the 12th cent, (lately restored); in the centre Sladonna, (1.) SS. .lohn and James, (r.) Peter and Andrew. Over the high-altar an ancient Madonna, traditionally attributed to St. Luke, which is said alone to have escaped destruction in the conflagration. To the right of the apse : monument of Gregory XI., who transferred the papal residence from Avignon to Rome (d. 1378), with a relief by Olivieri. Here on the right, built into the wall, are two stones on which Peter and Paul are said to have knelt when they prayed for the punishment of Simon Magus. In the Confessio a group of the saints with an angel, by Meli. Under the tribune (closed, but the sacristan escorts visitors with a light, if desired) is the tomb of the saint, and over the altar a marble relief by Bernini. — Sacristy. On the left wall a 3Iadonna with four saints, by Sinibaldo, a pupil of Perugino, 1524. — The sacristan now shoves a Court behind the church, with the well-preserved western "apse of the Temple of Venus and Roma (fee 1/2 fr.). On the summit of the Velia, by the Palatine, rises the * Trium¬ phal Arch of Titus, erected to commemorate the defeat of the Jews (A.D. 70), and dedicated to him under his successor Domitian in 81, as the inscription on the side next the Colosseum records : — Senatus populusque Romanus divo Tito divi Vespasiani ftlio Vespnsiano Augusto. The arch is embellished with fine reliefs. Outside : On the same side as the inscription, is a representation of a sacrificial procession on the frieze. Inside: Titus crowned by Victory in a quadriga driven by Romaopposite, the triumphal procession with the captive Jews, table with the show-bread, and candlestick with seven branches. — In the middle ages the arch was used as a fortress by the Frangipani, crowned with battlements, and strengthened by new walls. When these were removed in 1822 under Pius VII., the arch lost its support, and had to be reconstructed, as the inscription on the other side informs us. The central part, composed of marble, is therefore alone ancient, while the restored parts are of travertine. The street now descends, passing the remains of a basilica (approach from the Meta, p. 246), to the Colosseum. On the left is the double apse of the Temple of Venus and Roma, or Templum Urbis [VI. II, 20), erected by Hadrian from a plan by himself in A.D. 135, and restored after a fire by Maxentius in 307. This was one of the most superb temples in Rome. The gilded bronze tiles were removed to St. Peter’s by Honorius I. in 626. There were evidently two temples under the same roof, with entran¬ ces from the sides next the Colosseum and next the Capitol, and with The Colosseum. ROME. IV. Ancient Rome. 233 adjacent cellse, so that there was a niche on each side of the central wall for the image of a god. One half is built into the monastery of S. Francesca Romana (p. 282), while the other towards the Colosseum is open. The vestibules of the cellse had each four columns in front. Around this ran a first colonnade of ten columns at the ends, and twenty at the sides (length 120 yds., width 58 yds.). This colonnade was enclosed by a second, consisting of about 200 columns, 180 yds. long, and 110 yds. wide, and projecting as far as the street, wOiere it was supported by massive substructions. To this colonnade belonged the granite shafts scattered about here. The cellee w ere encrusted w'ith the rarest marbles. Descending hence to the Colosseum, we observe the remains of an extensive square Basis of masonry to the left below. Here once stood the gilded bronze Colossal Statue of Nero^ as god of the sun, surrounded with rays, and about 117 ft. in height, executed by Zenodorus by order of the emperor himself, to grace the golden palace which he erected with lavish splendour after the burning of Rome in A.D. 64. The palace fell to decay soon after the emperor’s death (in 68), and the statue was removed thence by Hadriaji to this pedestal. In the space occupied by an artificial lake in the gardens of Nero, Vespasian founded the — Colosseum (PI. II, 24), or, as it was originally called, the Amphitheatrum Flavium , the largest theatre, and one of the most imposing structures in the world, completed by Titus in A.D. 80. It was inaugurated by gladiatorial combats , continued during lUO days, in which 5000 wild animals were killed, and naval contests were exhibited ; and 87,000 spectators could be accommodated w ithin its w'alls. The building has been known since the 8th cent, under its present name, derived probably from the colossal statue of Nero w ith which it was once adorned. Having been injured by’ a fire in the reign of Macrinus, it w'as restored by Alexander Severus. In 248 the Emp. Pliilip here celebrated the KKXKh anniversary of the foundation of Rome with magnificent games. In 405 gladiator-combats were abolished by Honorius as inconsistent with the spirit of Christianity, but wild-beast fights continued down to the time of Theodoric the Great. In the Middle Ages the Colosseum was employ'ed by the Roman barons, especially the Frangipani, as a stronghold. In 1312 the Annibaldi w'ere compelled to surrender it to the Emperor Henry VII., who presented it to the Roman senate and people. In 1332 the Roman no¬ bility again introduced bull-fights. After this period, however, the destruction of the Colosseum began, and the stupendous pile began to be regarded as a kind of quarry. In the 15th cent. Paul II. here procured the materials for the construction of the Pal. di S. Marco (di Venezia), Card. Riario for the Cancelleria, and Paul III. (1534-49) for the Palazzo Farnese. Sixtus V. proposed to establish a cloth-manufactory here, and Clement XI. actually used the building as a salt-magazine. Benedict XIV. (1740-58) W'as the first to protect the edifice from farther demolition by consecrating the interior to the Passion of Christ, on account of the frequency with w'hich the blood of martyrs had flowed there , and erecting small chapels within it, which were removed in 1874. The following popes, parti¬ cularly Pius VII. and Leo XII., have averted the imminent danger of the fall of the ruins by the erection of huge buttresses. The steps in the interior w^ere restored by Pius IX. The Colosseum is constructed of blocks of travertine, originally held together by iron cramps, and tufa and bricks have also been 234 IV. Ancient Rome. ROME. The ('olosseum. used in t)ic interior. Tlic numerous holes bored in the stone were made in the middle ages, for the purpose of extracting the then very valuable iron. According to the most trustworthy statistics the external circumference of Ihe elliptical structure measures 576 yds., or nearly one-third of a mile, the long diameter 205 yds., the shorter 170 yds., the arena 93 yds. by 58 yds., and the height 156 ft. Above the arena rise the tiers of seats, intersected by steps and passages, most of which are now in ruins and only partially accessible. The exterior of the still preserved N.E. portion, on the side next the Esquiline, consists of four stories, the three first being formed by arcades, the pillars of which are adorned with half-columns of the Doric, Ionic, and Corinthian order in the 1st, 2nd, and 3rd stories respectively. A wall with windows between Corinthian pilasters forms the 4th story. Statues were placed in the arcades of the 2nd and 3rd stories, as appears from the representations on ancient coins. At the ends of the diameters are the four triple Principal Entrances , those next to the Esquiline and Caelius being destined for the emperor, the others for the solemn proces¬ sion before the beginning of the games, and for the introduction of the animals and machinery. On the side next the Esquiline are seen traces of the stucco-decorations, which were restored under Pius VII., and were once used as models by Giovanni da Udine, the pupil of Raphael. The arcades of the lowest story served as entrances for the spectators, and were furnished with numbers up to Ixxx. (Nos. xxiii. to liv. still exist), in order to indicate the stair¬ cases to the different seats. Below, on the exterior, are two rows of arcades, and then a massive substructure for the seats. Every fourth arch contains a staircase. Part of the Tiers of Seats is still distinguishable, the foremost of which, called the Podium , was destined for the emperor, the senators, and the Vestal Virgins. The emperor occupied a raised seat here, called the Pulvinar, and the others had seats of honour. Above the Podium rose three other classes of seats, the first of which was allotted to the knights. The humbler spectators occupied the last division, in a colonnade, on the roof of wdiich w^ere stationed sailors of the imperial fleet for the purpose of stretching sail-cloth over the whole amphitheatre to exclude the burning rays of the sun. Apertures are still seen in the external coping, with corbels below them, for the support of the masts to which the necessary ropes were attached. Under the Arena were chambers and dens for the wild beasts, and an apparatus by means of which the arena could be laid under water. Since 1874 excavations have been made with a view' to disclose all these arrangements, in the course of which fragments of columns, marble slabs (some of them bearing combats of wild beasts and gladiators scratched on them), and other architectural relics Arch of Constantine. ROME. IV. Ancient Home. 235 have been discovered. The purposes of the various rooms are not yet ascertained. The water, which abounds here owing to the low¬ ness of the situation, has inundated a great part of the excavations, and renders it impossible to visit them. Although one-third only of the gigantic structure remains, the ruins are still stupendously impressive. An architect of the previous century estimated the value of the materials still existing at 1^2 million scudi, which according to the present value of money would be equivalent to at least half a million pounds sterling. The Colos¬ seum has ever been a symbol of the greatness of Rome, and gave rise in the 8th cent, to a prophetic saying of the pilgrims of that age: — ‘While stands the Colosseum, Rome shall stand, When falls the Colosseum, Rome shall fall. And when Rome falls, with it shall fall the World!’ Those who desire to explore the ruins are recommended to ascend to the Upper Stories (the custodian is to be found at the entrance next to the Palatine; fee 1/2 fi’-)- We ascend a steep wooden staircase of 56 steps to the first story. Of the three arcades here we select the inner, as it affords a survey of the interior. Over the entrance towards the Palatine a modern staircase of 48 steps ascends to the 2nd, and then to the left direct to a projection in the 3rd story. The *View from the restored balustrade to the right in the 4th story, to which another flight of 55 steps ascends, is still more extensive. It embraces the Caelius with S. Stefano Rotondo and S, Giovanni e Paolo; farther off, the Aventine with S. Balhina, in the background S. Paolo Fuori le Mura; nearer, to the right, the Pyramid of Cestius; to the right the Palatine, to which the arches of the Aqua Claudia approach. The Colosseum is profoundly impressive hy Moonlight, or when illu¬ minated, e. g. hy Bengal Lights (comp. p. 116). The traveller is strongly recommended to avail himself of a fine moonlight night for the purpose. The custodian is generally to be found at the entrance next the Capitol, on the right side. The Flora found among the ruins of the Colosseum once comprised 420 species, which were collected hy an English botanist, but most of them have disappeared owing to an over-zealous system of purification. Retracing our steps, and quitting the Colosseum by the same gate, we perceive on the left, in front of the edifice , the so-called Meta Sudans^ the partially restored fragment of a magnificent foun¬ tain erected by Domitian. Farther on, to the left, between the Ctelius and Palatine, spanning the Via Trinmphalis which here united with the Via Sacra, stands the — ^Triumphal Arch of Constantine (PI. II, 24), the best-preserved of these structures, erected after the victory over Maxentius at Saxa Rubra, near the Ponte Molle, in 311, when Constantine declared himself in favour of Christianity. The inscription runs thus: — Imp. Caes. FI. Constantino Maximo pio felici Augusta Senatus Po- pulusque RomanuSj quod instinctu divinitatis mentis magnitudine cum exercitu suo tarn de tyranno quam de omni ejus factione uno tempore justis rem publicam ultus est armis arcum triumphis insignem dicavit. The arch has three passages, and is adorned with admirable *ScuLPTuiiEs from a triumphal arch of Trajan which stood at the 230 IV. Anciertl Rome. ROMK. Thnrinfr of Thus. entrance to Trajan’s Fomm, contrasting strongly with the rude ad¬ ditions made in the age of Constantine. The following are from the Akcii of Trajan : the captive Dacians above (ancient^ one entirely, but the heads and hands of the others are new); the Reliefs (facing the Colosseum), to the left: 1. Trajan’s entry into Rome, to the right of which: 2. Prolongation of the Via Appia: 3. Trajan causing poor children to be educated; 4. Trajan condemning a barbarian; on the other side, to the left: 5. Trajan crowning the Par¬ thian king Parthamaspates; 6. Soldiers conducting two liarbarians into Trajan’s presence; 7. Trajan addressing the army; 8. Trajan sacrificing. Tlie eight Medallions below these reliefs represent sacrifices and hunting- scenes ; on the narrow sides two battles with the Dacians; below the central arch, the vanquished imploring pardon, and Trajan crowned by Victory. — The contrast between the art of Trajan’s and that of Con¬ stantine’s age is exhibited by the smaller reliefs inserted lietween the me¬ dallions, representing the achievements of Constantine in war and in peace. In 1804 Pius VII. caused the ground to be lowered to its original level. In the lOtli cent, tlie arch was converted into a castle, and after¬ wards came into the possession of the Frangipani. Oil the opposite side, a few hundred paces from tlie Colosseum, in the ViaLabicana, lirst gate to the left (whence the Via della Pol- veriera ascends to the left between walls in 5 min. to S. Pietro in Vincoli, p. 186), are situated on the Esquiline the — "^'Thermae of Titus (PI. II, 26; open daily from 9 a.m. till sun¬ set ; admission 1 fr.; on Sundays gratis). Maecenas once posse.ssed a villa here, which was afterwards incorporated with the golden pa¬ lace of Nero. On the site of the latter, in the year SO, Titus has¬ tily erected his sumptuous Thermae, which were altered and enlarg¬ ed by Domitian, Trajan, and others. The ruins are scattered over several vineyards, and a small part only, excavated in 1813, is ac¬ cessible. The earlier structure of Nero is easily distinguished from that of Titcs. The long vaulted parallel passages first entered belong to the Thermae. They form together a semicircular substructure, the ol>ject of which is not clearly ascertained. Most of the chambers beneath, which were filled up by Titus in the construction of bis baths, and re-excavaled at the beginning of the 16th cent., belonged to the golden palace of Nero. A suite of seven rooms is first entered here; to the left, near that in the centre, are remains of a spring. Traces of the beautiful Paintings, which before the discovery of Pompeii were the sole specimens of ancient deco¬ ration of this description, and served as models for Giovanni da Udine and Raphael in the decoration of the loggie, are still observed. Colon¬ nades appear to have tianked both sides of these rooms. A passage leads hence to a bath-room. To the left, at right angles with this suite, are a number of small and unadorned rooms, probably the dwellings of the slaves; to the left again, opposite the first suite, is a passage once lighted from above, the vaulting of which was adorned with beautiful frescoes still partially visible. Fora of the Emperors. Academy of St. Luke. In the plain to the N.E. of the Forum of the Republic lay the . Fora of the Emperors, which were erected by their founders ratlier as monuments and ornaments to tlie city than for political purposes, and were chiefly used for judicial proceedings. Tlie principal edi¬ fice in these fora was always a temple. The Forum Julium, the first Accadernia di S. Luca. ROME. IV. Ancient Rome. 237 of the kind , was begun by Ciesar and completed by Augustus; the second was constructed by Augustus; tlie Temple of Peace fp. 231) of Vespasian is often mentioned as a third; a fourth was founded by Domitian; and lastly, the most magnilicent of all, the Forum of Trajan. They are enumerated here in their order from the Temple of Peace, which probably lay on the site of the basilica of Con¬ stantine, to the Forum of Trajan, as they all adjoined each other within this area. Adjacent to the Temple of Peace lay the forum founded by Domitian and completed by Nerva, whence called the Forum of Nerva , sometimes also Forum Transitorium from being intersected by an important street. Here stood a temple of Minerva, taken down by Paul V. in order to obtain marble for the decoration of the Fon¬ tana Paolina on the Janiculus, and a small temple of Janus. Remains of the external walls exist in the so-called * Co^onacce, two half- buried Corinthian columns, with entablature richly decorated with reliefs (representing the practice of the arts, weaving, etc., which were specially protected by the goddess; casts of them in the col¬ lection of the Academie Frangaise, p. 143); above them is an attic with a Minerva. This fragment, situated at the intersection of the Via Alessandrina and the Via della Croce Bianca, at the E. corner (PI. II, 20), is well calculated to afford an idea of the grandeur of the original structure. The following cross-street is the ViaBonella, in which. No. 44, not far from the Forum, is the — Accadernia di S. Luca (PI. II, 20), a school of art founded in 1595, the lirst director of which was Federico Zucchero. It was re-organised in 1874, and placed under the directorship of the sculptor Prof. E. Wolff. The picture gallery belonging to the Academy , open daily, from 9-3, is a second-rate collection, con¬ taining few works of importance. Wc ascend tlie staircase, into the walls of which are built a few casts from Trajan’s Column (disfigured with whitewash). On the first land¬ ing is the entrance to the collection of the competitive works of the pupils (closed), such as Discus-thrower reposing, in plaster; Christ on the 3It. of Olives, drawing by Seitz; reliefs by Thorvaldsen and Canova; Gany¬ mede giving water to the eagle, by Thorvaldsen., and several casts from the antique. We ascend another staircase, and ring at the entrance to the — Picture Gallery (V-i tV.). A small xVnte-Ciiambek (with engravings, etc.) leads to the I. Saloon, lighted from above. Entrance-wall: Berghem., Land¬ scape; Tempesta., Wharf; Old Dutch Sch.., Madonna and Descent from the Cross; Rubens., Venus crowned by graces; Van Dyck., Madonna; Titian., St. Jerome; Jos. Vernet., Wharf. Short wall: G. Poussin , two- Landscapes. Second wall: Ribera., Scribes disputing; P. Veronese., Venus; Van Dyck (?), Portrait; Titian., Portrait; Vanity; Claude Lorrain., Coast Landscape; Jos. Vernet., Wharf. On the second short wall, busts of Betti, Tenerani, and Thorvaldsen. — The saloon is adjoined on one side by a Small Room, principally containing portraits of artists; among them, on the pillar, Virginie Lebrun; on the short wall, Byron; in the upper part of the right short wall, secc.,d row, to the right Angelica Kaulfmann; below, by the entrance, Salvator Rosa , Concert of cats. — On the other side is 238 IV. Ancient Rome. ROME. Forum of Trajan. the II. Saloon, also lighted from above. On the entrance-pillars: Cana¬ letto.^ Architectural design; Maratta.^ Madonna; on the back of this picture there is a ‘^copy, by Marc Antonio, of the first design of Raphael’s Trans¬ figuration (figures nude; original supposed to have been lost). Left wall: Titian., Discovery of the guilt of Calisto, inferior to the other mytholo¬ gical pictures of this master; Guido Reni., Fortuiia; "Raphael, Hoy as garland-bearer, being a relic of a fresco in the Vatican, sawn out of the wall, and freely retouched; Guido Cagnacci, Lucre/ia, an admirable work of this master, a painter of no great note of the school of Guido Reni; Gaercino, Venus and Cupid (al fresco). Short wall: lironzino, St. Andrew; Venet. Sen., Purtrait; Guido Reni, Cupid; Raphael (V), St. Imke painting the iMadonna, besi le him Raphael observing him, entirely disfigured by retouching, and a work which must have been of little value even when it was in better condition, as the want of uniformity in the colouring shows that several different hands have been engaged upon it (originally an altar-piece in St. Martino); Tintoretto, Portrait; After Titian, Tribute-mo- ne>. Right wall: Poussin, Bacchanalian dance; Pellegrini, Hebe; Galatea, copy by Giulio Romano from Raphael; J. Vernet, Wharf; P. Veronese, Susanna; Guido Reni, Bacchus and Ariadne. Round the upper part of this saloon is a double row of portraits of artists. The Via Bonella is terminated towards the N. by an ancient wall with a gateway. In front of the latter, to the left, are three beauti¬ ful and lofty * Corinthian columns with entablature, which belonged to one of the sides of the Temple of Mars Ultor in the Forum of Augustus (PI. II, 20). The forum was enclosed by a lofty '•‘'wall of peperine blocks (a grey volcanic rock), a portion of which, about 150 yds. in length, is seen near the temple, and particularly at the gateway (Arco de Pantani). This wall was adjoined by the back of the temple erected by Augustus in consequence of a vow which he made while engaged in war against Caesar’s murderers, and in¬ augurated by him in B.C. 2. The forum is now occupied by the nunnery of the Annunziata. The original level is about 16 ft. be¬ low the surface. This locality was a swamp in the 16th cent., whence the modern name (‘pantano’ = swamp). Between this and the ancient republican Forum lay the Forum of Caesar, or Forum Julium, with a temple of Venus Genetrix. Scanty remains of the external wall of tuffstone are seen to the left in the court of No. 18 Vicolo del Ghettarello, which diverges to the right from the Via di Marforio between Nos. 47 and 46. We now ascend to the left through the Arco de’ Pantani by the huge wall which now forms part of the nunnery, and a little farther on descend to the left by the Via di Carnpo Carleo (in the court No. 6, wall of Trajan’s forum, see below) to the busy Via Ales- 'sandrina, whence immediately to the right we enter the — * Forum of Trajan (PI. 11, 19}, which adjoined the Forum of Augustus. It was an aggregate of magnilicent edifices, said to have been designed by the architect Apollodorus of Damascus (111-114). This was considered the most magnificent of the numerous palatial edifices of Rome. Ammianus (16, 10) thus describes it on the occasion of the visit of the Emp. Constantine in 356: — ‘Verum cum ad Trajani forum venisset, singularem sub omni caelo structuram, ut opinamur, etiam numinum adsensione mirabilem, haerebat adtonitus per giganteos coiitextus circumferens mentem nec relatu eft'abiles nec rursus mortali- bus adpetendosb According to a legend of the 7th cent., Gregory the Great, wliile admiring the ancient splendour of the forum one day, and Trajan’s Column. ROME. IV, Ancient Rome. 239 saddened by the thought that so just and benignant a monarch as its founder should be condemned to everlasting perdition, succeeded by his prayers in obtaining the release of Trajan’s soul from purgatory. In the 10th cent, this forum lay in ruins, and the church of S. Nicolao had been erected by the column. This was succeeded by other churches. In 1587 Sixtus V. crowned the column with a bronze statue of St. Peter. At length, in 1812-14, the French government caused two nunneries and other buildings to be demolished, and thus partially brought to light the centre of the forum. The project of effecting an easy communication between the old town and the buildings in the Campus Martins by means of a vast cutting between the Capitol and the Quirinal was at lengtli carried out by Trajan. This passage must have been about 200 yds. in width, and of still greater length. In the part already excavated (about 120 by 50 yds.) have been discovered the foundations of four rows of columns, belonging to the five-hailed Basilica Vlpia^ which lay with its sides towards the end of the present piazza. The central hall was 27 yds., and the whole building 61 yds. in width. The pavement consisted of slabs of rare marble. It is uncertain whether the remains of granite columns which have been found and erected here are in their original positions. — Between this Basilica and the Forum of Augustus lay the Forum Trajani properly so called, part of the S.E. semicircular wall of which is still seen in the court of No. 6 Via del Campo Carleo, two stories in height. The chambers of the ground floor were probably shops. In the centre of this forum stood Trajan’s equestrian statue. On the N. side of the basilica rises ^'^'Trajan^s Column, con¬ structed entirely of marble, the shaft of which is 87 ft. high, and the whole, including the pedestal and statue, 147 ft.; diameter 11 ft. below, and 10 ft. at the top. Around the column runs a spiral band, 3 ft. wide and 660 ft. long, covered with admirable ^Reliefs from Trajan’s war with the Dacians, comprising, besides animals, machines, etc., upwards of 2500 human figures, the height of those below being 2 ft., and gradually increasing as they ascend. (The figures can be more conveniently examined on the cast in the Lateran, see p.274.) Beneath this monument Trajan was interred, and on the summit stood his statue, now replaced by that of St. Peter. In the interior a staircase of 184 steps ascends to the top (closed at present). The height of the column at the same time in¬ dicates how much of the Quirinal and Capitoline had to be levelled in order to make room for these buildings: — ‘ad declarandum quantae altitudinis mons et locus taiitis operibus sit egestus’, as the inscription, dating from 114, records. The depth of earth thus removed amounted to 100 ancient Roman feet (97 Engl. ft.). To this forum also belonged a temple, dedicated to Trajan by Hadrian, a library, and a triumphal arch of Trajan, all situated on the other side of the column. Some of the reliefs from the arch were removed to embellish the arch of Constantine (p. 235). On the N. side of the piazza are two churches. That on the 240 I V. Aiii'itnt liomt. ROME. The Palatine. del Nome di Maria^ was erected in 1683 after the liberation of Vienna from the Turks, and restored in 1862. That on the left, S. Maria di Loreto., begun by Sanyallo in 1507, (contains in the 2nd chapel on the right a statue of St. Susanna by Fiamminyo, and over the high altar a picture of the school of Perugino. Three streets lead hence towards the N. to the Piazza SS. Apo- stoli (p. 156). — Ascending to the right (E.) the Via Magnanapoli leads in 16 min. straight to S. Maria Maggiore(pp. 172, 178); while to the left it leads to the Quirinal fp. 170). — The street to the left leads to the Piazza S. Marco, or if it be quitted by the first street to the right, the Piazza di Venezia (p. 158) is reached. The Palatine. (Comp. Sketch-Plan.) • The Palatine Hill., situated on the S. side of the Forum, rises in the form of an irregular quadrangle. In ancient times it was bounded on the N. side, towards the Capitol, by the Velabrum and the Forum P.oarium (p. 248); on the W., towards the Aventine, by the Circus Ma¬ ximus (p. 250); on the S., towards the Cselius, by the Via Triumx>halis and the Via Appia (now Via di S. Gregorio). The hill is 1900 yds. in circumference, and the highest jjoint (S. Bonaventura) is 168 ft. above the sea-level, or 114 ft. above the level of ancient Rome. The Palatine was the original site and the centre of the embryo mistress of the world, the Roma Quadrata., fragments of whose walls have been brought to light at five different places, thus enabling us to trace the situation of these venerable fortifications with tolerable precision. The wall appears to have encircled the whole of the hill about half-way up its slopes, and to have been penetrated by gates at three places only. The situation of two of these, the Porta Mugionis or Mugonia (PI. 13), and the Porta Romana or Romanula (PI. 4), has been as¬ certained by the most recent excavations. Tradition places on this hill the dwellings of its heroes Evander, Faustulus, and Romulus; and a reminiscence of them was preserved down to a very late period by a number of ancient temples and shrines. The orator Hortensius, Catiline, Cicero, and his bitter enemy the tribune Clodius, and other celebrated men of the republican period possessed houses here. Augustus was born on the Palatine, and after the battle of Actium he transferred his residence to this ancient seat of the kings. His palace, the Domus Augustana., lay on the site of the Villa Mills, lately a nunnery; and adjoining it were a large temple of Apollo erected by him and the Greek and Latin library (PI. 22, 23) which is so highly extolled in Roman literature. The Emp. Tiberius, the house of whose birth was discovered here a few years ago (PI. 6), extended his palace, the Domtis Tiberiana., towards the Velabrum, and the foolish Caligul.a connected it with the Forum (p. 242). The buildings of Xero, which exceeded all reasonable bounds, were abandoned by Vespasian, who confined his imj)erial resi¬ dence to the Palatine. His palace, the Domus Flavia., was much extended by his son Domitian, and thenceforward the Palatium, the ancient name of the hill, became synonymous with the imperial palace. Of the sub- sec^uent emperors, some of whom altered and restored the buildings, Septimius Severus api)ears to have been the only one who extended the Flavian palace. He erected the Septizonium., an edifice seven stories high, at the S.W. angle of the hill, part of which was still standing in the 16th cent., but was at length removed by Sixtus V. The Palatium participated in the general decline of the city. It was occupied by Odoacer, Theodoric, and the Emp. Heraclius (629), but from the iOtli cent, onwards the ruins were occupied by monasteries, fortified castles, and gardens. pffn- •^■Ajutstasia il I j fS. Teodoro S.Maria Jjfba’ahice dc'C'xstori aiiipo vaccnio Debe*? L'jrpzig SpiegazioRC 1 J I • I The Palatine. ROME. IV. Ancient Rome. 241 The area of the Palatine i.s now occui)ied by two recently dissolved religious houses, the monastery of S. Bonaventura. opposite the arch of Titus, and the Villa Mills., once a nunnery of the order of St. Francis de Sales ^ by three vineyards, the Vigna Nussiner on the N.W. side, the Vigtia del Collegia Inglese at the S. W. corner, and the Vigna di S. Be- bastiano on the S.; and linally by the Orti Farnesiani , which cover the whole of the N. E. part of the hill. These gardens were laid out by Paul III. Farnese, who purposed to erect a magnificent villa here in the style of the 16tli century. Extensive excavations were begun here in 1726 under the superintendence of Bianchini, but the treasures of art found on that occasion were afterwards transferred to Naples, and the place again entirely neglected. In 1861 Napoleon III. purchased the property from King Francis II. for 250,000 fr., and at a great expense caused the ruins of the imperial palaces to be systematically excavated under the able superintendence of the architect Comm. Pietro Rosa. The Vigna Nussmer was presented to the city by the Emperor of Russia in 1857, after he had caused excavations to be made in it during the preceding nine years ^ and since 1866 important discoveries have also been made by the Cav. Visconti in the Vigna del Collegio Inglese., which was purchased by Pius IX. Since the annexation of Rome to the kingdom of Italy, and the purchase of the Farnese Gardens by the Italian government in Dec. 1870, for a sum of 650,000 fr., all these excavations have been entrusted to the sole management of M. Rosa. Notwithstanding the great difficulties which have attended the prosecution of the work, the rubbish being 20 ft. deep at places, very important topographical discoveries have been made here, although as yet few works of art have been found. The cha¬ racter of the ruins brought to light cannot always be precisely ascer¬ tained, but they convey a striking idea of the structures with which the Palatine was once covered. The excavations are open to the public daily ^ comp. p. 118. The ruins may be inspected in the course of an afternoon, but their imposing character, coupled with the beautiful and varied views commanded by the Palatine, renders them well worthy of repeated visits. 31. Rosa has drawn a Plan of the entire region, which is reproduced photographically and exposed to view at different points. — Permission to sketch and take measurements is given by M. Contigliozzi , Capo delP Ufficio Tecnico della Direzione Generale delle Antichita, to whom an in¬ troduction should be obtained. We begin with the ruins brought to light in the old Farnese Gardens. The entrance is in the Campo Vaccine, on the right as we approach from the Forum, opposite the Basilica of Constantine, and is inscribed : ‘Orti Farnesianf. Ascending the first flight of steps (PL 1) to the space in front of the dwelling of the director, we turn to the right and enter a small *Museum (PI. 2), where the most interesting objects found during the excavations, either in the originals or in casts, are collected. Ill the centre, near the entrance, young Bacchus led by a nymph; statue of a youth in basalt; small Bacchus; torso of a Venus Genetrix. To the left, by the posterior wall, cast of a Cupid in the act of pouring out wine (original at Paris, found in the Nymphseum of the Flavian palace); on the right, torso of the satyr of Praxiteles; three female busts in ^nero antico. Left row: "head of iEsculapius, perhaps belonging to the torso with the snake on the right; female portrait-head; on the right, head of a dead barbarian; left, heads of Nero and Drusus. By the left wall, objects in ivory, bronze, and terracotta; and specimens of the dif¬ ferent kinds of stone found among the ruins. By the right wall, coins, glasses, objects in ivory, fragments of stucco, brick-stamps. Among the terracotta fragments by the wall of the entrance are two interesting ^reliefs with representations of mysteries. We now descend the stone steps to the right to the Clivus Vic- Bakdekeh. Italy II. 6th Edition. 10 242 7V. Ancient Rome» ROME. The Palatine* toriae (PL 3), the ancient pavement of which is visible on both sides. This street originally led to the Forum on the right, through the Porta Romana (PI. 4), but was afterwards entirely covered by the Buildings of Caligula. To these belong the huge substructions and well preserved vaulting which here strike the eye. If we de¬ scend the Clivus Victorias to the right, towards the Forum, we ob¬ serve above us, about 45 paces to the left (reckoned from the stone steps), the beginning of the bridge which Caligula Caused to be thrown over the Forum to the Capitol, in order to facilitate his in¬ tercourse with the Capitoline Jupiter, whose image on earth he pretended to be. Beyond the following pillar we observe a still preserved fragment of the original marble balustrade. Returning hence, and ascending the narrow steps, opposite the staircase mentioned above, and then traversing a dark passage with a few steps, we reach the bridge, the direction of which we trace to the farther end, passing various fragments of mosaic pave¬ ment. The purpose of the rooms on the left is not yet ascertained. On emerging, we proceed to the left along the slope of the hill, which affords a series of fine views. Immediately in the foreground lie the slopes of the Palatine. In front of the temple of the Dioscuri rises the church of S. Maria Liberatrice (p. 248) with extensive walls adjoining it, occupying the site of the temple of Vesta and the Regia. Farther distant is the venerable circular church of S. Teodoro (p. 248), also erected on the foundations of an ancient structure. The remains of opus reticulatum (concrete), on the left, belong to the Buildings of TiberiuS) which extended to the W. of the palace of Caligula. At the end of the last slope we reach a wooden staircase, near the inscription *J)omus Tiheriana', and descend past a lofty square platform on the right, supposed by Rosa to have been the Auguratorium (PI. 5), or place where the auspices w'ere con¬ sulted, but more probably the remains of a temple ‘in antis’. On the left we pass the back of the palace of Tiberius, and soon reach the remains of a — ^Private House (PI. 6), excavated in 1869, the only one of the kind in the midst of the palaces of the emperors. It is believed to have been the house of Tiberius Claudius Nero, the father of Tibe¬ rius , to which his mother Livia also retired after the death of Au¬ gustus, in order to marry whom she had divorced her first husband. The passage on the left, once built over by the structures of Tibe¬ rius (Cryptoporticu8)j descends to the house. A tlight of six steps descends to the mosaic pavement of the vaulted Vestibulum, whence we enter a quadrangular Court, originally covered, adjoining which are three chambers opposite the entrance. The Mural Paintings here will bear comparison with the finest of those discovered at Pompeii. The first on the right in the Central Room represent^s lo guarded by Argus, while Mercury approaches to release her^ the second represents street-scenes ^ on the wall opposite the entrance are Polyphemus and Galatea. The central pictures represent large windows whence a view of mythological scenes is obtained. The admirable perspective is best observed in the picture of Galatea when seen from the entrance of the Atrium. The two The Palatine, ROME. IV, Ancient Rome. 243 smaller paintings in the corners above, representing sacriticial scenes, afford a good idea of the ancient style of pictures, which like the mediaeval altar- triptychs could be closed by two folding shutters or wings. By the left wall are ieaden water-pipes with inscriptions from which the history of this house has been gathered. The walls of the Room on the Right arc adorned with magnificent ^garlands of flowers and fruits, from which masks and other Bacchanalian objects depend between the columns; the walls of the Room on the Left are divided into brown sections edged with red and green, above which are light arabesques between winged figures on a white ground. Adjoining the right side of the court is the Triclinium, or dining¬ room, recognisable by the inscription, with walls painted bright red. The two large central paintings represent landscapes, that on the right the at¬ tributes of Diana (large indented crown, stag’s and wild boar’s heads). On the entrance-wall are two glass vases with fruits. — At the back of the house are situated the unpretending offices (bedrooms, store-rooms, etc.), which are reached by a small wooden staircase to the right after the triclinium is quitted. Returning through the vestibule to the above mentioned passage (PI. 7), and following it to the right to the end, where a well- preserved head of Venus in marble stands on a Corinthian capital, we perceive the continuation (PI. 8) of the passage to the left, leading to the residence of the director. At the beginning of the tunnel¬ vaulting, considerable remains of the stucco-incrustation are still seen. Beyond these first arches, 35 paces from the head of Venus, a second covered passage (PI. 9) is reached on the right, with vault¬ ing and pavement in mosaic, of which fragments are extant, lead¬ ing, finally by steps, to the — Palace of the Flavii, the most important part of the excavations of the Palatine. About twenty paces straight from the end of the passage we reach the spacious Tablinum (PI. 10), the actual resi¬ dence of the emperors. Domitian, by whose father Vespasian tlie palace was erected, constituted it the chief seat of the Roman gov¬ ernment, and made those arrangements which are still traceable in the ruins. The disposition of the apartments is that of an ordi¬ nary Roman dwelling (atrium, tablinum, peristylium, etc.), but on a much larger scale, and without offices. The Flavian palace occu¬ pied the depression which extended between the buildings of Au¬ gustus (the site of the Villa Mills) and those of Tiberius and Caligula; and huge substructions were requisite in order that a level surface might be obtained. Traversing the tablinum to the left, and proceeding to theN.E. margin of the plateau (in the direction of the basilica of Constan¬ tine), we reach an oblong anterior court (PI. 11) with three rectan¬ gular projections, the site of the Atrium, and once surrounded with columns. This was the station of the palace-guards, and also the antechamber for audiences. From the central projection a view is obtained in a straight direction of the scanty i*emains of the temple of Jupiter Stator (PI. 12), the foun¬ dation of which tradition ascribes to Romulus, and which was situated near the Porta Mugionis. Remains of a substructure of tufa blocks (two of which bear Greek names), belonging to an ante-Neronian restoration of the temple, have recently been brought to light. To the right of this a part of the ancient basalt pavement of the Via Nova is observed, and 16* 244 IV. Ancient Rome. ROME. The Palatine. fartlier distant in the foreground, near the inscription ^Roma CluadraUC are remains of the wall of this the most ancient city, constructed of regularly hewn blocks of tufa. Adjoining the atrium are tliree chambers, the most S. of which is tlie Lararium (PI. 16), or chapel of the Imtcs or household-gods. On a pedestal at the extremity of the chapel is a small square altar in marble with figures of the Genius Familiaris and the Lares. The former stands in front with covered head ; the latter are represented at the sides in the typical style common in Pompeian works of the kind, with boots, a short chiton, a rhyton or drinking-horn in the raised hand, and a situla or pitcher in the other. The second apartment is the Tahlinum (PI. 10), already men¬ tioned, which in private dwellings was the principal sitting-room. It was here used as an Aula Regia, or throne-room, where the em¬ perors granted audiences. This extensive hall, 39 yds. by 49 yds., witli its large semicircular apse which was occupied by the throne, and its eight niches alternately round and square, containing the still existing pedestals, was originally entirely covered; but an ad¬ equate idea of its magnificence can hardly now be formed, as it has been deprived of its decorated ceiling, while the walls have lost their marble covering, the niches their statues, and the pedestals their colossal figures. The third apartment is the Basilica (PI. 17), where the emperor pronounced his judicial decisions. The semicircular tribune was separated from the space allotted to the litigants by a marble screen, a fragment of which still stands here. This space was flank¬ ed on each side by a narrow colonnade, some of the bases of which and one column are preserved. To the W. of the tablinum is situated the Peristylium (PI. 18), two-thirds of which only have been excavated (one-third on the S. side is covered by the court of the adjoining Salesian nunnery), a large rectangular garden, 58 yds. in length, originally surround¬ ed by a colonnade. Its imposing dimensions and a few traces of its marble covering (giallo antico) are now the sole indications of its ancient magnificence. The open space in the centre was doubtless occupied by fountains, trees, and flowers. At tlie N.W. corner steps descend to two subterranean chambers con taining traces of stucco decorations and painting. These belonged to a private house of the republican period, over which the palaces of the Flavii were erected. Opening on the peristyle along its entire width was the Tricli¬ nium (P\. 19), or dining-hall (Jovis Ccenatio), whence the diners could enjoy a view of the fountains and trees in the garden. In the semicircular apse on the W. wall most of the original marble and porphyry covering of the pavement still exists. The remains of the pavement and covering of the wall on the N. side are more scanty. — Adjacent to the latter is the Nymphaeum (PI. 20), or fountain saloon, containing an elliptical basin, in the centre of The Palatine. ROME. IV. Ancient Rome. 245 which rises a fountain covered with partially preserved marble slabs, and once employed as a stand for plants. The other smaller chambers which extend along the N. side of the palace are of inferior interest, and their purposes are not yet ascertained. The same may be said of the chambers adjoining the back of the dining-hall on the W. We next enter a Colonnade (PI. 21), with six cipollioe columns (two of which are entire, and the others in fragments). A view is obtained, through the broken pavement, of the original level over which the Flavii built. The following room (PI. 22), as the inscription indicates, is conjectured to have been the Library ; and we finally enter a room (PI. 23) with a slightly rounded niche and seats along the walls, supposed to have been the Academia or lecture-room. From the Academia a few steps descend to the flight of steps by which an ancient temple was approached. This, according to Rosa, was the temple of Jupiter Victor (PI. 24), erected in consequence of a vow made by Fabius Maximus at the Battle of Sentinum, B.C. 295, and is approached by twenty-six steps in five different flights. On the 4th landing is a round pedestal with an inscription, being a votive offering presented by Domitius Calvinus, who triumphed over Spain in B.C. 36. The upper half of the pedestal has been de¬ stroyed. At the top of the steps we reach the nearly square sub¬ structure of the temple, the great age of which is indicated by the stumps of columns of peperine, originally covered with stucco. Opposite the S. W. corner of this temple descends a road (PI. 25), connecting the imperial ruins on the S. side of the Palatine with those above described. Before visiting these ruins, we may proceed about fifty paces farther to a flight of steps (PI. 26), which formed the ancient approach to the Palatine from the Circus Maximus. The steps are hewn in the natural tufa rock, and are flanked by huge blocks of stone, which, being fitted together without mortar, indi¬ cate the great antiquity of the structure. The destination of the buildings on either side is still involved in obscurity. The circum¬ stance, however, that the whole of the W. spur of the hill ( Germa¬ ins) was respected by the emperors in their building operations raises a strong presumption that this was the site of the most an¬ cient shrines of the city of the Palatine. We now return to the above mentioned road (PI. 25), descend as far as its first turn towards the left, and then proceed for 3 min. straight along the hill, passing several unexplained ruins and the gardener’s house below the Villa Mills, the beautiful cypresses of which peep down from above. Beyond the house we ascend a small flight of stone steps and then a w^ooden staircase to a Plateau (PI. 27). bounded on the E. and S. by the ruins of imposing palaces. These ruins belong to those palaces which mainly owed their existence to the later emperors, and particularly to Septimius Seve- rus, after a great fire which took place in 191. In magnitude and 246 IV. Ancient Rome. ROME. 'The Palatine. picturesqueriess these ruins surpass those of the Farnese Gardens, but are of inferior interest owing to the obscurity in which their arrangements and purposes are involved. The excavations, com¬ menced here by order of Pius IX., have brought to light many of tlie lower chambers of these palaces and earlier buildings. Turning to the left on the plateau, past a wooden balustrade, towards the white hut of the custodian, we reach the Stadium (PI. 28), which separated the buildings of Septimius Severus from the old palace of Augustus, and from which the rubbish has lately been cleared away. (Opposite us lies the convent of S. Bonaventura, with its palms towering over the wall; on our left rise the white convent walls of the Villa Mills.) Although not mentioned by any known author, there is no doubt that this was the stadium, or race-course. The length, 185 metres (625 Roman or 607 Engl, ft.), is precisely that of the stadium. At the W. end is the Meta (PI. 29), which was restored as lately as the time of Theodoric, and has since been converted into a trough for water. The structure appears to date from the reign of Domitian. The whole of this plateau was originally enclosed by a colonnade, consisting of pillars of masonry encrusted with marble, with half-columns in front of them. At the entrance, below us on the left, we observe the re¬ mains of these pillars, and others are seen farther on. In the centre the colonnade was adjoined by three chambers (PI. 30) of the time of Hadrian, covered by the imposing apse of a later edi- lice. The third of these still shows traces of mural paintings and mosaic pavement. In one of the smaller chambers, which the cus¬ todian will open on application, stands a white marble ^Female Statue, found in 1877, in clearing away the rubbish from the sta¬ dium. This statue, unfortunately headless, is a masterpiece of technical skill, and seems to have represented one of the empresses with the attributes of deity. In the large central chamber the be¬ ginning of the vaulted ceiling is distinctly traceable. Several more fragments of the pillars of the colonnade are seen beyond this, on both sides of the path, and we at length reach the E. side of the structure at the extremit of the plateau. The variegated marble covering of the [half-columns is here particularly observable. To the right, in front of the wooden door, is an ancient staircase which descended through a painted passage to the colonnade (PI. 31). — Turning hence towards the S.W., and passing the back of the apse (PI. 32), the lofty proportions and coffered vaulting of which should be observed, we enjoy a beautiful view to the S.; and, proceeding between insignificant remains of buildings, and keeping to the right, cross a paved bridge to a Platform (PI. 33) supported by three lower stories, and commanding a magnificent *Vibw" in every direction. Towards the E. tower the ruins of the Colosseum, nearer are five arches of the Aqua Claudia (PI. 34) which supplied the Palatine with water; more to the right (S.) are the churches of S. (Giovanni e Paolo, the Lateran, in the The Palatine. ROME. IV. Ancient Rome. 247 foreground S. Gregorio, and above it S. Stefano Rotondo and the new ca¬ sino of the Villa Mattel. Still farther to the right appear the ruins of the Thermee of Caracalla (the two towers beyond, to the left, belong to the Porta S. Sebastiano), and S. Balbina; then towards the W. the white tomb¬ stones of the Jewish burial-ground on the site of the Circus Maximus, which occupied the valley between the Palatine and Aventine; beyond them the Pyramid of Cestius, and in the Campagna S. Paolo Fuori le 5lura; then the Aventine with its three churches, and lastly St. Peter’s. Recrossing the bridge, and retracing our steps to the plateau (PI. 27) above described, where most of the ruins are destitute of ornament, and uninteresting, we next descend a wooden staircase and the steps below it, near the gardener’s house, and passing a kitchen-garden arrive at a series of chambers lying on the W. slope of the Palatine, below the verandah of the Villa Mills. These be¬ longed to the — Fsedagogium (PI. 35), or school for the imperial slaves, who, like those of all the wealthier Romans, received a careful education. A portico of granite columns, one of which still remains , with marble entablature now supported by pillars of masonry, lay in front of these apartments. The walls are covered with writing (jgraffiti^ done with the stilus , or ancient substitute for a pen), consisting of names, sentences, and sketches, similar to the performances of mischief-loving schoolboys of the present day. The well-known caricature of the Crucified, now in the Museo Kircheriano (p. 151) was found here. These scrawls, one of which is ‘Corinthus exit de piedagogio’, furnished the clue to the'use of this building. On the left wall of the Thikd Room is the sketch of a mill driven by an ass, under which is the inscription, '■Idbora aselle qnomodo ego laboravi et proderit tibi\ The figure of a Roman soldier is also scratched on the wall here. On the posterior wall one of the most conspicuous names is Felicia in large letters, both Greek and Roman. — On either side of the central semicircular chamber with a square niche is situated a small irregu¬ larly shaped chamber ^ that on the right is adorned with mural paintings (of Fortuna, etc.). Proceeding in the same direction, and passing through the gate, we proceed for about 200 paces to an altar of travertine (PI. 36), with an ancient inscription {^sei deo sei deivae sacrum\ etc.), de¬ dicated to the unknown God. Some 60 paces beyond it is seen the largest existing fragment of the ancient wall of Roma Quadrata, constructed, without mortar, of blocks of tufa placed alternately length and breadth-wise. It was originally 40-48 ft. in height, but is now 13 ft. only. Adjoining this is a grotto, supposed to be the Lupercal (PI. 37) in which the she-wolf is said to have sought reOige when driven from the twins by the shepherds. A flight of steps ascend from this grotto to the plateau of the hill, terminating at the point indicated by the inscription, ^Supercilium scalarum Caci '. About 250 paces farther we pass above the church of S.Teodoro (p. 236) and again reach the Porta Romana(P\. 4). As an appropriate termination to the excursion the visitor is recommended to ascend the terrace by the director’s house, whence an admirable ^survey 248 IV. Anrienl Home. ROME. Vetabrum. of the chaos of mins, the city , the Campagna, and the distant mountains is enjoyed. Tlie street ascending to the right of the egress, past the arch of Titus, leads to the monastery church of S.SehasWmo nlUi Polveriera (see Plan), the tribune of whicli contains mural paintings supposed to date from tlie 6th century. The garden of tlie Franciscan monas¬ tery of S. Bonnventuraj situated higher up, with its conspicuous palms, is a favourite point of view. Velabrum and Forum Boarium. Quitting the Forum, we now follow the slope of the Palatine, passing the church of 8. Maria Liberatrice {V\. 11,20), which stands on the site of the temple of Vesta; we then traverse the Via di S. Teodoro, and reach on the left the round church of S. Teodoro (PI. II, 21), standing in a low situation, a little hack from the street. The earliest mention of it dates from the time of Gregory the Great, and it probably occupies the site of an ancient temple. In tlie interior is preserved a Christian mosaic of the 7th century. (The church is accessible on Fridays before 9 a. m.) A little beyond it the street divides. That to the right, which we follow, descends to the ancient Velabrum, a quarter prolonged towards the Forum by the Vicus Tuscus (p. 226), and towards the river by the Forum Boarium. The first ancient building we reach is the so-called *Janus Quadrifrons (Arco di Giano; PI. II, 21), an arched passage with four fai^ades, dating from the later imperial age, and supposed to have been erected in honour of Constantine the Great. Above it once rose a second story, and it was perhaps used as a kind of exchange. To the right of this is S. Giorgio in Velabro (PI. 11,21), found¬ ed in the 4th cent., re-erected by Leo II. in 682 and dedicated to 8S. George and Sebastian, and often restored subsequently. The portico, according to the metrical inscription, dates from one of these restorations. (In the middle ages the word Velabrum was altered to ‘velum aureum’.) The interior is a basilica with aisles, sixteen antique columns, and an old tabernacle. The frescoes of Giotto with which the tribuna is said to have been once adorned have been painted over. Festivals, 20th Jan. and 23rd April. (The church is generally closed ; visitors knock at the door by the church to the left, behind the arch mentioned below .) Adjacent to the church is the small Arch of the Money-changers (Arc?/s Argentarius •; PI. II, 21, 7), which, according to the inscrip¬ tion, w as erected by the money-changers and merchants of the Forum Boarium in honour of Septimius Severus and his wife and sons. The wortliless sculptures represent victims and sacrificial utensils. From this point to the Tiber, stretched the extensive Forum Boarium, or cattle-market, a very important centre of business. Proceeding through the low' archw'ays of brick opposite the above Cloaca Maxima. ROME. IV. Ancient Rome. 249 mentioned areh, and passing the mill, we arrive at the Cloaca Maxima (PI. 11, 18), founded by tlie Tarquinii for the drainage of the Forum and the low ground adjoining it. It is the earliest known application of the arch-principle in Rome, and has defied the vicissi¬ tudes of more than 2000 years. Two-thirds of the depth are now filled up. A basin was formed here, into which springs were con¬ ducted in order to produce a current through the Cloaca. In the mill (25 c.) is seen the continuation of the Cloaca towards the Fo¬ rum, and from the Ponte Rotto its influx into the Tiber. It is constructed of peperine with occasional layers of travertine; and at the mouth of peperine entirely. Continuing to follow the street beyond the arch of Janus, and turning to the left, we reach the Piazza Bocca I)f:lla Verita, which partly coincides with the ancient Forum Boarium, with a fountain in the centre. Here to the left, at the foot of the Aventine, stands the church of — *S.Maria in Cosmedin (PI. II, 18), sometimes called Bocca della Veriiti from the ancient mouth of a fountain to the left in the por¬ tico, into which, according to a mediaeval .tradition, the ancient Ro¬ mans used to insert their right hands when binding themselves by an oath. The church occupies the site of an ancient temple, pro¬ bably the Temple of Fortune.^ supposed to have been founded by King Servius, ten columns of which are built into the walls (three on the left side, the others in the front wall). The nave also is borne by twenty ancient columns. The church, which is said to date from the 3rd cent., was rebuilt in the 8th by Hadrian I. who erected the beautiful campanile, and it has since been frequently restored. It derives the name ‘in Cosmedin’ from a place at Constantinople, having originally belonged to a Greek fraternity (whence the name S. Maria in Schola Graeca^. Interior. The beautiful opus Alexandrinum of the pavement merits inspection. In the nave are preserved remains of the ancient choir ^ on the right and left are two handsome ambos and a candelabrum for Easter ceremonies. Canopy of the high-altar by Deodatus (13th cent.). In the apse a handsome episcopal throne of the same period, and an old Madonna. The sacristy contains a mosaic (Adoration of the Magi), originally pre¬ sented to St. Peter’s by John VII. in 706. The venerable crypt is borne by four columns of granite and two of marble. Opposite, on the Tiber, not far from the church, stands a small and picturesque * Round Temple, the Temple of Hercules Vidor formerly called a Temple of Vesta (now S. Maria del aSo^c), consist¬ ing of twenty Corinthian columns, one of which next to the river is wanting, covered by a slight wooden roof. The ancient entablature and roof have disappeared. To the N. of this, immediately to the right, is a second small and well preserved Temple (converted in 880 into the church of S. Maria Egiziaca^, which, as its style appears to indicate, dates from the close of the Republic. It is an Ionic pseudoperipteros, with four columns at each end, and seven on each side; but those 250 IV. Ancient Rome. ROME. Casa di Rienzi. of the portico, which is now built up, were alone detached, the others being merely decorative half-columns. The material chiefly used was tufa, but the projecting and sculptured parts were of tra¬ vertine, the whole being overlaid with stucco. The designation of the temple has not yet been ascertained, and there is no authority for assigning it to Fortuna Virilis. The interior contains nothing noteworthy. On the other side of the transverse street rises the picturesque * House of Crescentius (PI. II, 18, 3), or Casa di Bienzi, or di Pi- latOj as it is commonly called, a building constructed of brick with a singular admixture of antique fragments. On the side. Via del Ricovero, a long inscription records that ‘this lofty house was erected by Nicholas, son of Crescens, not from motives of ambition, but as a reminiscence of the ancient glory of Rome’. TheCrescentii were the most powerful noble family in Rome at the close of the 10th cent., but the house, the oldest existing specimen of mediaeval domestic architecture, does not date from an earlier period than the 11th, or perhaps 12th cent. The building was originally much more extensive, and was intended to command the bridge over the Tiber. The Ponte Botto (PI. II, 18) crosses from this point to Traste- vere (p. 329). The ancient bridge which once stood here is supposed to have been the Pons Mmilius ^ built in B. C. 181. After frequent restorations, the two arches next the left bank fell in 1598, and the bridge was never rebuilt; and thence its present name. In 1853 an iron chain-bridge was thrown across the gap (5 c.). The bridge affords a picturesque view: on the right the island of the Tiber, in form resembling a ship; on the left the Aventine; below, the influx of the Cloaca Maxima, and extensive embankments which protect the banks against the violence of the current. If, in proceeding from tke Forum through the Via di S. Teodoro, we leave the Janus Quadrifrons (p. 248) on the right, we soon reach, in the Via de’ Fenili, at the corner, the church of S. Anastasia (PI. II, 21) mentioned as early as 499, frequently restored, and finally modernised during last century. By the buttresses of the interior the ancient columns are still standing. In the left aisle is the monument of Card. Angelo Mai. Below the church are ancient structures belonging to the Circus Maximus, and still earlier remains of the walls of Roma Quadrata. The Via de’ Cerchi runs between the Palatine and Aventine, where, as its name suggests, was situated the Circus Maximus., which was origi¬ nally instituted by the kings , afterwards extended by Csesar and furnished with stone seats, and lastly more highly decorated by the emperors. In the time of Pliny it was capable of containing 260,000 spectators, and after subsequent extensions the number of places was increased to 385,000. The last race which took place here was under the auspices of King Totilas in 549, at a time when the city was to a great extent in ruins. In the centre ran a spina., or longitudinal wall which connected the metae., or goals, and determined the length of the course. With a few trifling ex¬ ceptions, the walls of the circus have entirely disappeared; but its form is distinctly traceable from a higher point, such as the Palatine. The Jewish burial-ground is situated within the Circus, at the base of the Aventine. The Aventine. ROME. IV. Ancient Rome. 251 The Aventine. Monte Testaccio. S. Paolo Fuori. The Aventine (151 ft.), anciently the principal seat of the Ro¬ man Plebs, and afterwards densely peopled, is now quite deserted, being occupied by monasteries and vineyards only. At its base lies the Porta S. Paolo, leading to the celebrated Basilica of that name, adjoining which is the Pyramid of Cestius with the Protestant Burial- ground and the enigmatical Monte Testaccio. The main street skirts the base of the hill close to the river, whilst other steep streets ascend the hill. The principal street quits the Piazza Bocca della Veritk (p. 249) on the S. side under the name of Via della Salara. To the left, by the church of S. Maria in Cosmedin, the street mentioned at p. 254 diverges to S. Prisca. About 2 min. farther, at the small Chapel of St. Anna, a second street diverges, leading to the three churches mentioned at pp. 253, 254. The main street then runs between houses and walls of no interest, and under the name of Via della Marmorata (PI. II, 18) reaches the Tiber in 6 min. from the Piazza Bocca della Verita, and skirts the river for about 2 min. To the right we enjoy a pleasing retrospect of the Ponte Rotto and the Capitol. The large building on the opposite bank is the Hospital of S. Michele (p. 331); in front of it is the small harbour where the steamers to Ostia and Porto lie. We next reach the Marmorata (PI. Ill, 18), the landing- place and depot of the unwrought marble of Carrara. In the course of excavations made on the bank of the river below this point since 1867 the Emporium, or ancient quay, has been discovered. After following the footpath by the river for 8 min., we reach several raised landing-places with inclined planes to facilitate the removal of heavy weights. Rings for mooring vessels are still visible. Numerous blocks of wrought and unwrought marble were found in the vicinity, some of them of rare quality and great value; and many still bearing the marks of the quarry, numbers, addresses, and other inscriptions. From the Marmorata the street runs between walls and through an archway of brick. After 6 min. the road from the three churches on the Aventine descends from the left (see p. 254). We pass to the right through a gateway (closed with an iron gate since 1870), where the so-called Prati del Popolo Romano begin, and follow the path to the left, which soon leads us to the pyramid of Cestius, with the old Protestant cemetery, and to the new cemetery beyond it. The Protestant Cemetery (PI. Ill, 16) is open from 7 a.m. till dusk (custodian a few soldi). The smaller and older burying-ground was laid out at the beginning of the century, but is now disused. In 1825 the present burial-ground, since doubled in extent, was set apart for this purpose. It is a retired spot, rising gently towards the city-wall, affording pleasing views, and shaded by lofty cypresses, where numerous English, American, German, Russian, and other visitors to Rome are interred. 252 IV. Ancient Rome. ROME. Pyramid of Cestius. Amongst, many illustrious names the eye will fall with interest upon that of the poet Shelley (d. 1822), ‘cor cordium’, whose heart only was buried here (near the upper, or Eastern, wall). His remains were burned in the bay of Spezia, where tliey were washed on shore. The tombstone of Joh7i Keats., who also rests here, bears the melancholy inscription, ‘Here lies one whose name was writ in water'. The ^Pyramid of Cestius (PI. Ill, l(5j, originally situated in the Via Ostiensis , was enclosed by Aiirelian within the city-wall. This is the tomb of Cains Cestius, who died within the last thirty years before Christ. The Egyptian pyramidal form was not unfreqnently adopted by the Romans in the construction of their tombs. That of Cestius is constructed of brick and covered with marble blocks; height 116 ft., width of each side of the base 98 ft. According to the principal Inscription on the E. and W. sides (‘C. Cestius L. F. Fob. Epulo. Pr. Tr. PI. VII. vir Epulonum'), the decea.sed Avas praetor, tribune of the people, and member of the college of Septem- viri Epiilonum, or priests whose office was to conduct the solemn sacri¬ ficial banquets. The inscription on the W. side below records that the monument was erected in 380 days under the supervision of L. Pon¬ tius Mela and the freedman Pothus. Alexander VII. caused the some¬ what deeply imbedded monument to be extricated in 1063, on which occasion, besides the two columns of white marble, the colossal bronze foot, now in the collection of bronzes in the Capitoline Museum (p. 210), was found. According to the inscription on the pedestal, it appears to have belonged to a colossal statue of Cestius. — The Vault (19 ft. long, 13 ft. wide, and 10 ft. high) was originally accessible by ladders only. The present entrance was made by order of 7\lexander VII. (key kept by the custodian of the Protestant cemeter}’). The A’^aulting shoAVS traces of painting. Crossing the meadows, we next proceed to *Monte Testaccio (PI. Ill, 13), an ivsolated mound, 164 ft. in height, rising not far from the Tiber, which, as the name indicates, consists entirely of broken pottery. When and how this hill was formed is still an unsolved mystery. The popular belief was that the vessels in which conquered nations paid their tribute-money were broken here, while the learned have assumed that potteries once existed in the vicinity, and that the broken fragments together with other rubbish were collected here to be used for building purposes. Others have con¬ nected this remarkable hill with the Neronian conflagration, or with the magazines situated on the Tiber near the old harbour (p. 250). The hill existed prior to the Aurelian wall, and brick stamps found there date from the first centuries of the Christian era. It is now" perforated on all sides by cellars , in some of which wine is sold, and on holidays it is much visited by pleasure-seekers (pp. 107, 116). — The summit is marked by a wooden cross and commands a magnifleent ** Panorama : — To the N., the city, beyond it the mountains surrounding the crater of Raccano, then the isolated Soracte Avith its five peaks. To the E. the Sabine Mts., in the background the imposing Leonessa, in the nearer chain M. Gen- naro, at its base Monticelli, farther to the right TiAmli. Beyond this chain the summits of M. Velino above the Lago Fucino are visible. To the S. of TiA’^oli appears Palestrina. After a depression, above which some of the Volsciau Mts. rise, follOAA' the Alban Mts.: on the buttress farthest E. is Colonna, beyond it Frascati, higher up Rocca di Papa, M. Cavo with its monastery, below'^ it Marino, finally to the right Castel Gandolfo. S. Sabina. ROME. IV. Ancient Rome. 253 The most conspicuous objects in the broad Campagna are tlie long rows of arches of the A(iua Claudia and the Ac(iua Felice towards the 8., and the tombs of the Via Appia with that of Ceccilia Metella. By taking the second road ascending from the Via Salara to ttie left, about 200 paces to the S. of the Piazza Bocca della Verita (comp. p. 251), we reach the three Chuiiches on the Aventine, which are situated close together immediately above the road and the river, and may be conveniently visited either in going to, or re¬ turning from S. Paolo Fuori (comp. p. 254). *S. Sabina (PI. Ill, 18), which probably occupies the site of an ancient temple, was erected in 425, in the pontificate of Celes- tine I., by Petrus, an Illyrian priest, and restored in the 13th, 15th, and 16th centuries. Since the time of Innocent III. it has be¬ longed to the Dominicans. It is usually entered by a side-door; if closed, visitors ring at the door to the left, and proceed through the monastery to the old portico, now closed , and the principal portal. The doors are adorned with wood carvings representing biblical sub¬ jects (5th cent. ?). The Interiok, with its twenty-four ancient Corinthian columns of Parian marble and open roof, has well preserved the character of an early basilica. Entrance-Wall. Over the door, an ancient -'Mosaic (5th cent.)^ in¬ scription with the name of the founder; on the left a figure emblematical of the Ecclesia ex Circumcisione (Jewish Christians), on the right that of the Ecclesia ex Gentibus (Pagan Christians). Nave. On the pavement in the centre of the nave is the tomb of Munio da Zamora, principal of the Dominican order (d. 1300), adorned with mosaic. — At the extremity of the right aisle , the "Madonna del Rosario with St. Dominicus and St. Catharine, an altar-piece by Sassoferrato , regarded as liis master-piece. Other paintings (by Zucchero and others) are of no great value. Festival, 29th Aug. The adjoining Monastery possesses handsome cloisters with up¬ wards of 100 small columns. The garden commands a fine * View of Rome, with the Tiber in the foreground. S. Alessio (PI. Ill, 18) is an ancient church with an entrance- court. The date of its foundation is unknown , but it was re-consc- crated by Honorius III. after the recovery of the relics of the saint in 1217. In 1426 it came into the possession of the order of St. Jerome. In the neighbouring monastery a blind asylum (Istituto de' Ciechi) has been established. We enter the fore-court, and, if the church is closed, ring at the door on the left (Y 2 The Interior was modernised in 1750, and again recently. The N. Aisle contains a well and a wooden staircase belonging to the house of the parents of the saint, which formerly stood on the site of the church. Two small columns adorned with mosaic in the choir are, according to the in¬ scription , the remains of a work of 19 columns by Jac. Cosmas. A small piazza is next reached, where the route to Porta S. Paolo (p. 254) turns to the left. The green door No. 5, to the right in this piazza, contains the celebrated *Key-hole through which 8t. Peter’s is seen at the end of the principal avenue of the garden. Visitors ring (5-lOs.) in order to obtain access to the church of — 254 IV. AncAent Rome. ROME. The Aventine. S. Maria Aventina, or del Priorato (PI. Ill, 18). This church, which was founded at a very remote period, was restored by Pius V. and altered to its present form by Piranesi in 1765. On the right of the entrance is an ancient sarcophagus, on which the deceased (head unfinished), surrounded by Minerva and the Muses, is represented ^ the remains of a Bishop Spinelli were afterwards placed in it. Also a statue of Piranesi, and the tombs of several members of the Maltese order (Caraffa, Caracciolo, Seripando, etc.) of the 15th cent. From the garden of the adjacent Maltese Priory, to which the church belongs, a picturesque view of the river and city is obtained. The above named route to the Porta 8 . Paolo descends in 10 min. to the main road, described at p. 251, exactly opposite the gate through which the route to the Protestant cemetery and the Monte Testaccio diverges to the right from the road. The first street diverging from the Via della Salara (p. 251) to the left, immediately beyond S. Maria in Cosmedin (at the bifur¬ cation of which we take the branch to the right), crosses the Aventine and again joins the main street near the Porta 8 . Paolo. In 10 min. we reach S. Frisca (PI. Ill, 21), usually closed, a church of very early origin, but modernised in the 17th cent. The ancient columns have been built into the walls. It perhaps occupies the site of the temple of Diana belonging to the ancient Latin League, and founded by Servius Tullius. The Vigna Maccarani (PI. Ill, 17), opposite the church, contains a fragment of the venerable Servian Wall, excavated on the slope of the Aventine. (We reach it by traversing the vineyard straight to the end, and then taking the main path to the left.) It consists of large blocks of tuffstone, placed alternately length and breadth¬ wise. The arch here belongs to a much later period. In the latter period of the republic the wall, as the ruins indicate, was disused and entirely built over. Another, but more imperfect fragment may be seen in the vigna on the other side of the street, below 8 . Saba. Below 8 . Prisca, the street ascends, in the direction of the gate, to S. Saba (PI. Ill, 20), a church of great antiquity, but almost en¬ tirely rebuilt in 1465. To tlie left in the portico is an ancient sarco¬ phagus with a representation of a wedding and Juno Pronuba. The interior contains 14 columns, some of granite, others of marble, with mutilated capitals 5 the walls of the nave show traces of paint¬ ing. The church belongs to the Collegium Germanicum, and is most easily seen on Thursday afternoons. Festival, 5th Dec. About D /2 M. from the Porta S. Paolo (PI. Ill, 16; comp, map, p. 338), anciently the Porta Ostiensis , is situated the cele¬ brated church of S. Paolo Fuori le Mura. About midway on the un¬ attractive route a small chapel on the left indicates the spot wliere, according to the legend, St. Peter and St. Paul took leave of each other on their last journey. — Omnibus in the afternoon every S. Paolo Fuorile Mura. ROME. IV. Ancient Rome. 255 half-hour from the Piazza Campitelli (p. 113; PI. II, 17), 6 soldi; fiacre 1V2"^ * S. Paolo Fuori le Mura was founded in 388 by Theodosius and Valentinian II. on the site of a small church of Constantine, and was restored and embellished by many of the popes, especially Leo Ill. Prior to the conflagration of the night of 15th July, 1823, this was the finest and most interesting church at Rome. It was a basilica with double aisles and open roof; and the architrave was supported by eighty columns of pavonazzetto and Parian marble, adorned with busts of the popes. It contained numerous ancient mosaics and frescoes, and in the Confessio the sarcophagus of St. Paul, who, according to tradition, was interred by a pious woman named Lucina on her property here. The front towards the Tiber was approached by a colonnade, and early in the middle ages an arcaded passage connected it with the city. Immediately after the fire, Leo XII. began the work of restora¬ tion, which was presided over by BeUi, and afterwards by PoLetti. The transept was consecrated by Gregory XVI. in 1840, and the whole church by Pius IX. in 1854, on the occasion of the meeting of the Council. The plan and the dimensions are the same as those of the original building, with which, however, the gorgeous decoration and other details are entirely inconsistent, and we now have a showy and, in many respects, unpleasing pile, instead of the simple and majestic early Christian basilica. The chief facade, as formerly, is turned towards the Tiber. The mosaics on the upper part of it, completed in 1875, representing Christ with SS. Peter and Paul, in the symbolical style of the early Christians, with the four great prophets below them, were executed by F. Agricola and Consoni, in the papal mosaic manufactory. The lower half of the facade, with the Atrium, is still uncompleted. The present Entrance is either from the road on the opposite (E.) side, or by the portico on the N. side. The former, at the back of the campanile, should be selected. The Small Chamber first entered contains a colossal statue of Gregory XVI., and a few frescoes and ancient mosaics rescued from the fire. To the left is the entrance to the Sacristy , which contains several good oil-pain¬ tings. Over the door the Scourging of Christ (attributed to Signorelli), on the right a Madonna with SS. Benedict, Paul, Peter, and Justina. Also four single figures of the same saints. — In a straight direction from the entrance- hall several chapels are reached, containing a few ancient but largely restored frescoes. The second to the right contains an entrance into the church, and the last to the left the entrance to the court of the monastery (see below), and another to the church on the right. We first enter the transept, but the following description begins with the nave. The Interior (130 yds. in length, 65 yds. in width, 75 ft. in height), with double aisles and a transept, borne by columns of granite from the Simplon, is imposing from its vast dimensions, and the valuable materials of which it is built. The best survey of it is obtained from the W. end of the nave. The ceiling of the nave is richly coffered, instead of being open, or entirely fiat, like that of the early Christian basilicas. The two yellowish 256 IV . Ancient Rome. ROME. Via Appia. columns of oriental alabaster at the entrance, as well as the four of the canopy of the high-altar, were prescntecl by the Viceroy of Egypt, and the malachite pedestals by tlie Em}). Nicholas of Russia. Above the columns of the nave and aisles, and in the transejjt, is a long series (A Portrait-medallions of all the popes in mosaic (each 5 ft. in diameter). Between the windows in the upper part of the Nave are representations from the life of St. Paul by Gatjliardi^ Fodesti., Consoni^ etc. The windows of the external aisles are tilled with stained glass (apostles and Fathers of the church, with their names surrounded with glories). On the sides of the approach to the transept are the colossal statues of SS. Peter and Paul ^ the ‘^Confessio^ or shrine, is richly decorated with rosso and verde from the lately re¬ discovered ancient quarries in Greece. The Alien of the Choir is adorned with Mosaics of the 5th cent., executed by order of Galla Placidia, sister of Honorius and Arcadius: Christ with the 24 elders of revelation. On the side next the transept: Christ in the centre, left Paul, right Peter. — Under the arch is the Higii-Altak with a "canopy by Arnolfo del Cambio., the architect of the cathedral of Florence, and his assistant Pietro (1285). — In the Tribune '^Mosaics of the beginning of the 13th cent.: in the centre Christ, with Pope Honorius III. at his feet; on the right SS. Peter and Andrew, on the left Paul and Luke. Under these are the Twelve Apostles and two angels. Below them is the modern episcopal throne. — The Left Transept contains the (1st) Chapel OF St. Stephen , with a statue of the saint by Rinaldi , and two pictures (Stoning of St. Stephen, by Podesti, and the Council of high-priests, by Coghetti). (2nd) Cappella del Crocifisso : in front of the mosaic below it, Ignatius Loyola and his adherents pronounced the vows of their new order, 22nd April, 1541. — On the right, adjoining the apse, the (1st) Cap. del Coro, designed by C. Maderna., was spared by the fire. (2nd) Cap. di S. Benedetto , with his statue by Tenerani. — By the narrow walls of the Transept: to the left, altar with the Conversion of St. Paul by Camuccini and the statues of St. Romuald by StoceJd^ and St. Gregory by Laboureur; to the right, altar with the Coronation of the Virgin by Podesti ^ and statues of SS. Benedict and Theresa by Baini and Tenerani. Easter can¬ delabrum dating from the 12th cent. The Monastery of the church has belonged to the Benedictines since 1442. It possesses a beautiful -Court of the flSth cent, (entrance, see above; keys at the sacristy ^ V 2 containing numerous heathen and early Christian inscriptions from the catacombs, and a few fragments of ancient and mediaeval sculptures, among them a large sarcophagus with the history of Apollo and Marsyas. The celebrated Carolingian Bible with miniatures (9th cent.) is seldom shown to visitors, but access may be obtained to the inscriptions and portraits of the popes (7th cent.) and the ancient bronze doors of the portal (11th cent.). The monastery is richly endowed, but the situation is so unhealthy that it is deserted during the summer. The principal festivals of the church are on 25th Jan., 30th June, and 28th Dec. Opposite the church a poor osteria. The taverns on the road 1/2 M. father are favourite resorts. —The Via delle SetteChiese, and Abbadia delle Tre Fontane^ see pp. 341, 342. The Via Appia within the City. Thermae of Caracalla. Tomb of the Scipios. Columbaria. From the Arch of Constantine (p. 235) we follow the Via di S. Gregorio towards the S., leading between the Palatine and Ciclius. On the right we observe the two handsome palms of the convent of 8 . Bonaventura on the Palatine (p. 248), and the arches of the Aqua Claudia (p. 246). After 5 min. 8 . Gregorio (p. 260) lies on the left, beyond which the Via de’ Cerchi (p. 250) diverges to the right. Via Appia. ROME. IV. Ancient Rome. 257 Near the point where the Via S. Gregorio unites with the Via ni Porta 8. Sebastiano (PI. Ill, 24, 26) , was anciently situated the Porta ('apena, or Capuaii Gate, whence the Via Appia issued. We follow the Via di Porta S. Sebastiano to the left. After 5 min., at the end of the avenue which runs parallel with the street on the right, a road ascends on the right to the church of S. Balbina (PI. Ill, 23), situated on the slope of the Aventine, perhaps on the site of an ancient temple, and consecrated by Gregory the Great. The roof is still open, but the church is modernised and destitute of ornament. It contains a relief (Crucifixion) by Mino da Fiesole and a monument by Johannes Cosinas. (Visitors ring at the gate on the right of the church.) The adjacent building is a Reformatory for young criminals. The old tower commands a fine *view. — On the way back to the road we also obtain a pleasing view of the Palatine to the left, and of the Cselius, with the Villa Mattel (p. 261) and S. Stefano Rotondo. After following the Via di Porta S. Sebastiano for about ^2 M., wo obtain a view to the left of the Villa Mattel, to which the Via delle Mole di S. Sisto diverges to the left. The road here crosses tlie turbid streamlet Marrana, immediately beyond which, to the right, the Via Antonina leads to the ruins of the — * Thermae of Caracalla, or Antoninianae (PI. Ill, 23 ; admission daily from 9 a.m. till sunset, 1 fr. ; Sundays gratis). They were begun in 212 by GaracaRa, extended by Heliogahalus. and completed by Alex. Severus, and they could accommodate 1600 bathers at once. Baedekeb. Italy II. 6th Edition. 17 258 IV. Ancient Rome. ROME. Via Appia The magniflcence of the establishment was unparalleled. Numerous statues, including the Farnese Bull, Hercules, and Flora at Naples, mosaics, etc., have been found here; and bare as the walls now are, and notwithstanding the destruction of the roof, they still afford a reminiscence of the technical perfection of the structure. The establishment was quadrangular in form, surrounded by a wall, and had its porticoes, race-course, etc.: length 240 yds., width 124 yds.; total area of grounds 360 yds. in length, by as many in breadth. The use of all the chambers cannot now be ascertained, and the most important only are enumerated here. We first enter in a straight direction a spacious oblong, once sur¬ rounded by columns (Peristyle)y and containing scanty remains of mosaic pavement. Keeping to the left, we enter a large saloon, which appears to have been the Calidarium^ or hot-air bath. From the calidariuin a second peristyle is entered, corresponding to the former. In the new pavement the places where the columns formerly stood are left open. Around, as in the other rooms, are placed architectural and sculptural fragments, re¬ mains of the old pavement, etc. We now traverse the semicircular Exedra to the Tepidarium , or warm bath, situated in the centre, next to the calidarium. To the left of this is the Frigidarium.^ or cold bath, a large round space, the vaulting of which has fallen in. A small flight of steps by the wall here affords a survey of part of the grounds which sur¬ rounded the baths. On this side lay the stadium. Other remains of the Thermae are scattered over the neighbouring vineyards. We now return to the Via di Porta S. Sebastiano, and continue to follow it. We first reach an arboretum on the left; then, a little beyond it, on the right, the church of SS.Nereo ed Achilleo (PI. Ill, 23, 26) , standing on the site of a temple of Isis, founded by Leo III. about 800, and almost entirely rebuilt by Card. Baronius at the end of the 16th century. (Festival, 12th May; open in the forenoon.) The Interior exhibits the characteristics of an ancient basilica. At the end of the nave is an ambo on the left, supposed to be of great age, transferred hither from S. Silvestro in Capite; opposite is a marble cande¬ labrum for the Easter-candles, of the 15th cent. Above the arch of the tri¬ bune are fragments of a mosaic of the time of Leo III. Transfiguration of Christ with Moses and Elias, in front the kneeling Apostles, on the right the Annunciation, on the left the Madonna enthroned. The opposite church of S.Sisto, restored by Benedict XIII., con¬ tains nothing worthy of note. The monastery was dedicated to St. Dominicus by Honorius III. — The Via della Ferratella then diver¬ ges to the left to the Lateran (p. 267), passing the ruin of a small temple of the Lares. On the right, a little farther on, is S. Cesareo, a small but cu¬ rious church, mentioned as early as the time of Gregory the Great, and finally restored by Clement VIII. (open on the mornings of Sundays and festivals). Interior. In the centre of the anterior portion of the church are two altars dating from the close of the 16th cent.^ at the farther extremity, to the left, the old pulpit with sculptures*, Christ as the Lamb, the spnbols of the Apostles, and sphyuxes; opposite, a modern candelabrum with an¬ cient basis. The inlaid screen of the Presbyterium, and the decorations of the High-Altar are m -diseval. The tribune contains an ancient episco¬ pal throne. within the City. ROME. IV. Ancient Rome. 259 The piazza in front of the church is adorned with an ancient column. The ancient Via Latina , which traversed the valley of the Sacco and terminated at Capua, diverges here to the left. The old Porta Latina (PI. Ill, 28) was closed in 1808. Near it, to the left (5 min. walk from S. Cesareo), beyond the old monastery, is the clmrch of S. Giovanni a Porta Latina (PI. Ill, 29), which was modernised by restorations in 1566, in 1633, and chiefly by Card. Rasponi in 1686. The four antique columns in the portico and ten in the interior are now almost the only objects of interest it contains. To the right, nearer the gate, is an octagonal chapel of the 16th cent., named S. Giovanni in Oleo from the legend that St. John was thrown into a cauldron of boiling oil at this spot, but having come out unhurt was then set at liberty. Tlie adjoining vineyard (No. 1 ; key kept by custodian of the church) contains, immediately to the left, a columbarium (see below) with interest¬ ing decorations in stucco and colours, the so-called Tomb of the Freednien of Octavia. A staircase, partly modern, descends to a niche decorated with plaster, below which is a cinerary urn with shells and mosaic. The tomb is vaulted^ on the right is an apse with painted vine-wreaths and Victories. Here and along the wall are several aediculae^ or cinerary urns in the form of temples, with inscriptions and figures. The vigna com¬ mands a pleasing view of the city. It may be traversed, and quitted by an egress to the Via di Porta S. Sebastiano. At the outlet is the tomb of the Scipios. Farther on in the Via di Porta S. Sebastiano, on the left by the cypress, in the vigna No. 13 (formerly Vigna Sassi) is the celebrated Tomb of the Scipios (PI. Ill, 25, 28; visited by candle-light, uninteresting; ^2"^ discovered in 1780, but now containing a model only of the ancient sarcophagus of peperine- stone, which Pius VII. caused to be removed with the fragments of the others to the Vatican (see p. 309). This sarcophagus once contained the remains of L. Cornelius Scipio Barbatus, Consul in B.C. 298, the eldest member of the family buried here. The bones of the hero , which were found in good preservation, were interred at Padua by Quirini, a Venetian, in order to withdraw them from the gaze of the curious. Here, too, were interred the son of the latter, Consul in 259, many of the younger Scipios, the poet Ennius, and several members of other families and freedmen. The tomb was originally above the surface of the earth, with a lofty threshold; the interior was supported by walls hewn in the solid tufa-rock. It was probably injured, or at least altered, during the imperial age, when freedmen were interred here; and as it has since been to some extent modernised, it is hardly worthy of a visit. The adjacent Vigna Codini, No. 14, contains three "^Columbaria in excellent preservation (1 fr.J. These Columbaria are tombs capable of containing a great number of cinerary urns, and so named from their resemblance to pigeon-holes (columbaria). They date, as far as can be ascertained, from the imperial period, and were generally constructed by several persons in common , or as a matter of speculation, and each recess could be purchased, or inherited. The names of the deceased were inscribed over the niches (loculi) on marble tablets, on which tlieir mode of acquisition of the spot and other remarks were occasionally also recorded. Each niche contained two, or more rarely four oUae^ or cinerary urns, and was closed by a slab. The 17"^ 260 IV. Ancient Rome. HOME. Arch of Dr us us. nature of the decorations depended of course on the means and taste of the family. Two of these structures are very similar: steep steps descend into a square vault, supported by a central buttress, which, like the external walls contains a number of niches. The larger building contains 600 cinerary urns. Admission to the third columbarium, discovered in 1853, is generally denied, but may be obtained for an additional gratuity; it consists of three vaulted passages, into the niches of which are built icdiculie (p. 259} and small, sarco¬ phagus-like monuments. The adjoining dark passages were used for the interment of slaves. Immediately within the Porta S. Sebastiano ( 1^/4 M. from the arch of Constantine) is the Arch of Drusus , a sadly mutilated monument, which was probably erected in honour of Claudius Drusus Germanicus, B.C. 8. It is constructed of travertine-blocks, partly covered with marble, and still possesses two marble columns on the side towards the gate. It terminated in a pediment, until Caracalla cOJiducted over it an aqueduct to supply his baths with water, the brick remains of which seriously mar the effect. The marble blocks of the Porta S. Sebastiano (PI. Ill, 28}, formerly Porta Appia , seem to have been taken from ancient build¬ ings. The gate is surmounted by media?val towers and pinnacles. With regard to the Via Appia without the city, see p. 343; the Catacombs of Calixtus, lt /4 M. from the gate, see p. 336. The Cselius. This once densely peopled hill (165 ft.} is now' deserted like the Palatine and Aventine. Starting from the Arch of Constantine (p. 235}, and following the Via di S. Gregorio (comp. p. 256}, or the public walks above it to the left, we reach the Piazza di S. Gregorio. A lofty flight of steps ascends hence to the right to — S. Gregorio al Monte Celio (PI. Ill, 24}, on the site of the house of St. Gregory’s father, founded by that pope himself in 575 and dedicated to St. Andrew, and afterwards dedicated by Gregory II. to his first namesake. In 1633 it was restored by Card. Borghese, who caused the flight of steps, colonnade, portico, and fayade to be constructed by Giov. Batt. Soria. The reconstruction of the church was begun in 1725. Festival, 12th March. Entrance Court, embellished with pilasters of the Ionic order. Under the colonnade in front of the entrance: left, monument of the Gnidiccioni of 1643, but with sculptures of the 15th cent. ; right, monument of the tw'O brothers Bonsi of the close of the 15th century. — Interior, with sixteen ancient columns. Over the High-Altar: St. Andrew, altar-piece by Ba- lestra. At the end of the Right Aisle: *St. Gregory, altar-piece by S. Bada- loccJiiC). Below it a "predella: the Archangel Michael with the apostles and other saints , attributed to L. Signorelli. Here to the right is a small Chamber preserved from the house of St. Gregory, containing a handsome ancient *chair of marble and relics of the saint. Opposite, from the left The ROMH. IV. Ancient Rome. 261 aisle, the Cap. Salviati is entered. In front of the altar, on the right, an ancient and highly revered Madonna, which is said to have addressed St. Gregory; left, a *ciborium of the I5th cent., disfigured by regilding. The sacristan (V 2 fr.) now shows three "'chapels detached from the church, and connected by a colonnade. A fragment of the Servian wall, partly covered with remains of other walls, is observed here. To the right. Chapel of St. Silvia, mother of Gregory, with her statue by Cordieri; above it, in the vaulting of the niche, a fresco by Guido Reni., greatly damaged. — In the centre the Chapel of St. Andrew. Over the altar : Madonna with SS. Andrew and Gregory, painted on the wall in oils by Roncalli. On the right. Martyrdom of St. Andrew (a copy in the Lateran, p. 274), Domenichino; on the left, "St. Andrew, on the way to the place of execution, beholding the cross, Guido Reni; two pictures which were once extravagantly admired. — To the left the Chapel of St. Barbara, with a sitting statue of St. Gregory in marble, said to have been begun by Michael Angelo^ completed by Cordieri. In the centre a marble table with antique feet, at which St. Gregory is said to have entertained twelve poor persons daily. According to the legend, an angel one day appeared and formed a thirteenth. We now ascend to the N., between remains of old walls, to — S. Giovanni e Paolo (PI. II, 24), which has existed since the 5th century. The portico, mosaic-pavement in the interior, and architecture of the apse are of the 12th century. The church con¬ tains few objects of interest. The sacristan shows a marble slab on which the saints, whose house once stood here, are said to have been beheaded in the reign of Julian the Apostate. The adjoining Monastery belongs to the Passionists. Below it are spacious ancient vaults, only partially cleared of rubbish, the object of which has not yet been ascertained. Gentlemen are ad¬ mitted by the upper door of the monastery (ascend to the left from the piazza in front of the church) to the ^garden, whence there is a beautiful prospect of the Palatine, Colosseum, Lateran, 8. Stefano Rotondo, etc. ( 1/2 fr.). On the right is the entrance to the * Villa Mattel (PI. Ill, 24, 27), founded in 1582, the property of M. v. Hofmann, and recently restored (Villa Caelimontana). It contains few antiquities, but the grounds and points of view are worthy of a visit. (Visitors ad¬ mitted after 2 p.m. on leaving their cards.) We now' continue to ascend the street flanked by walls, and reach the Arch of the Consuls Dolahella and Silanus (Pi. Ill, 27 j, constructed of travertine in A. D. 10, and apparently connected with an aqueduct. Near this, on the right. No. 8, is the portal, embellished with mosaic, of an old hospital which once belonged to the small church of 8. Tommaso in Formis (PI. Ill, 24), situated behind it. The in¬ teresting mosaic-medallion, above the door, representing Christ be¬ tween a black and a white slave, was executed in the 13th cent, by two masters of the Cosmas family, and is an allusion to the or¬ der of Trinitarians founded in 1198 for the purpose of ransoming Christian slaves. To the left is the street descending to the Colosseum, seep. 232. On the right lies the oblong Piazza della Navicella (PI. Ill, 27), 262 JV. Ancient Rome. ROME. The Caelius. so called froui the small marble ship which Leo X. caused to be made from the model of the ancient original formerly in the portico of the church. The church of S. Maria in Domnica, or della JSavicelln, one of the most ancient deaconries of Rome, was re-erected by Paschalis I. in 817, to which period the columns of the nave and the tribune belong; the portico, erected by Leo X., is said to have been de¬ signed by Raphael. Interior. The Navk rests on eighteen beautiful columns of granite^ above, below the ceiling, is a frieze painted by Giulio Romano and Perino del Vaga (in grisaille^ genii and lions in arabesques), afterw^ards retouched. The arch of the Tribune rests on two columns of porphyry, the mosaics date from the 9th cent., but were considerably restored under Clement XI.; above the arch, Christ between two angels and the apostles, below are tw’o saints; in the vaulting, the Madonna and Child imparting blessings, on either side angels, Paschalis I. kissing her foot; beneath all the figures spring forth flowers. — The church is open on the 2nd Sunday of Lent onlv. •f Opposite this church, but not accessible from the Piazza della Navicella, rises S. Stefano Rotondo. We follow the Via di S. Ste^ fano to the left, pass through the first green door on the right, and ring a bell to the right under the porch. S. Stefano Rotondo (PI. Ill, 27) is a very interesting build¬ ing, on account of its construction, and, although greatly diminished in extent, is the largest circular church in existence. It was erected at the close of the 5th cent, by Simplicius, and afterwards gorgeous¬ ly decorated with marble and mosaics. It then fell to decay, but was restored by Nicholas V. In the original edifice, the diameter of which was 70 yds., the present external wall formed the central row of columns, wdiile another lower wall, decorated with pilasters, 11 yds. distant, and still traceable round the church, formed the circumference. The church thus consisted of three concentric rings, intersected by two transepts. Nicholas V. shut out the external wall, and filled up the spaces between the central columns with masonry, with the exception of a few projecting chapels. The roof is rudely constructed of wood. The old entrance was on the E. side. In the present portico, erected by Nicholas, on the right, is the ancient episcopal throne, from which Gregory the Great de¬ livered one of his homilies. Festival, 26th Dec. Interior. To the left of the entrance is an altar-niche w ith mosaic of the 7th cent.; farther on, to the left, a chapel with (1.) a w^ell-executed mon¬ ument of the beginning of the 16th cent. Most of the fifty-six columns are of granite, a few^ of marble. The lateral walls bear frescoes of fearful scenes of martyrdom, by Tempesta and Pomarancio (much retouched). In the centre a canopy of wood. The dome is borne by two lofty columns of granite and two buttresses. Beyond the church the Via di S. Stefano leads past the exten¬ sive fragments of an ancient aqueduct in 5 min. to the vicinity of the Lateral! (p. 26’f). S. Clemente. ROME. IV. Ancient Rome. 263 S. Clemente. The Lateran. From the Colosseum (p. 233; PL II, 24) three streets run to¬ wards theS.E.: to the left the Via Labicana to the Thermae of Titus (p. 236), to the right the Via de’ Quattro Santi to SS. Quattro Coro- iiati (p. 266), uniting with the following street near the Lateran, and lastly, between these two, the Via di S. Giovanni in Late- KANo (12 min. in length) to the Piazza of the Lateran and the Porta S. Giovanni. Following the latter street we reach, in 5 min., a small piazza, where on the left is situated — *S. Clemente (PI. II, 27; side-entrance from the street generally open ; if not, visitors ring at the principal door under the portico), one of the best-preserved basilicas of Rome, and rendered still more interesting by the result of recent excavations, which were zealously and successfully prosecuted by the Prior Mullooly. These operations have brought to light, below the present church, three different layers of masonry, the first being of early Christian, the second of imperial, and the third of republican origin. The early Christian basilica (now the lower church) is mentioned by St. Jerome as early as the year 392, and in 417 was the scene of a council of the church. It was almost entirely destroyed in 1084 on the entry of Robert Guis- card into Rome, and in 1108 Paschalis II. erected on its ruins the present upper church, with which he incorporated several orna¬ ments of the lower, such as the choir and the ambos. The upper church also underwent frequent restoration, and was finally deco¬ rated with considerable taste by Clement XI. , who however un¬ fortunately added the unsuitable ceiling. St. Clement (90-100), according to Roman tradition, was the third successor of St. Pe¬ ter, and suffered martyrdom in the Black Sea. The church which stands on the traditional site of his house gives a title to a cardinal, and belongs to Irish Dominicans. From the principal gate in the Via di S. Clemente, we first en¬ ter the Atrium, surrounded by a colonnade and paved with frag¬ ments of marble (giallo and verde antico), and beyond it the *Upper Church, consisting of nave and aisles, but, like all genuine ba¬ silicas, without a transept. Interior. The Xave with its flat ceiling is separated from the aisles by sixteen antique columns, and contains the ''Screen of the choir and the Amhos from the lower church, with the monogram of Pope John VIII. (key kept by the sacristan). The Canopy with four columns of pa- vonazzetto dates from the time of Paschalis II. — In the Tribune is an ancient episcopal throne, restored in 1108. Mosaics of the tribune of the 12th cent. On the rood-arch in the centre: Bust of Christ with the Sym¬ bols of the Four Evangelists, (1.) SS. Paul and Lawrence, below them Isaiah, lower down the city of Bethlehem, (r.) SS. Peter and Clement, below them Jeremiah, lower down the city of Jerusalem. On the vault¬ ing: Christ on the Cross, with John and Mary surrounded by luxuriant wreaths, below which are the thirteen lambs. On the wall of the apse, Christ and the apostles, restored by means of painting only. — On the walls by the tribune, monuments of the close of the 15th cent. In the chapel at the end of the Right Aisle a statue of John the Baptist by Dona¬ tello’s brother Simone. — To the left of the principal entrance, the Cap- 264 IV. Anrienl Rome. ROME. S. ( lemente. PELLA DELLA Passione With ’frescoes of the beginning of the 15th cent., unfortunately retouched. Vasari ascribes them to Mamccio.^ wlio could not then have been older than seventeen, but more modern authorities incline to his teacher Masolhio da rarricale. On the arch over the en- S. Clemente. ROME. IV. Ancient Rome. 265 trance the Annunciation. To the left, near the entrance, St. Christopher. On the wall behind the altar a Crucifixion^ on the left, scenes from the life of St. Catharine: above, she refuses to worship a heathen idol; she teaches the king's daughters in prison; below, she disputes before Maxentius with the doctors; an angel breaks the wheels on which she was to be broken; her execution. The paintings on the window-wall, greatly damaged, probably referred to St. Clement. As already mentioned at p. 263, and as the annexed plan and sections show, there exist below the present church several still older strata of masonry. Lowest of all, and forming a right angle, are two massive walls, constructed of blocks of stone quarried on the Ctelius itself (No. I. in the ground-plan and in the section). As the stones are more carefully hewn and jointed than those of the Servian wall, these substructions cannot be dated farther back than the republican epoch. Above these are remains of workmanship of the imperial era, executed in the 2nd cent, after Christ (No. II. in the ground-plan and in the section; see also p. 266). Upon these foundations in the 4th cent, was erected the Christian basilica which now forms the Lower Church (No. III. in the ground-plan and in the section), the altar of which stood at the point marked a in the section. This seems to have been a much grander edifice than the church afterwards superimposed, its nave having been as broad as that of the upper church and one of its aisles put together (see ground-plan), and the lower apse was accordingly of wider span than the upper. During the construction of the upper church the lower was entirely covered up, and the two churches were never in use at the same time. It is only since about the year 1855 that the lower has been again rendered accessible, and it is now shown by the sacristan, who provides a light (fee 1 fr.). In order, however, to obtain a distinct idea of the original structure, which has been considerably marred by alterations, the visitor .should repair to the church on 23rd Nov., 1st Feb., or on the second Mon¬ day in Lent, on which days the lower church is completely illu¬ minated. The entrance is from the sacristy of the upper church (in the right aisle), on the walls of which are hung copies of the fres¬ coes in the low'er church, and plans comparing the upper with the lower part of the edifice. A broad marble staircase, with inscriptions on the walls from the time of Pope Damasus, descends to the Vestibule in which the nave and aisles of the lower church terminate. The aisles alone have remained in their original condition, while in the nave additions of three distinct periods are observable. The newest are the buttresses constructed during the recent excavations for the support of the upper church, and recognisable by their whitewash. The older additions consist of the wall between the columns of the right aisle, and the lateral wall on the right, both built on the occasion of the erection of the upper church, the former for the sup¬ port of the external wall above, the latter to sustain the right row' of columns above. The most ancient alterations were made at a period when the lower church was still in use, and consist of masonry built round the columns of the left {aisle, adorned, like the outer walls, with "frescoes, some of which are in excellent preservation. The ceiling was borne by 16 ancient columns of granite and marble. Seven of those in the right 266 IV. Ancient Home. S. ('lemente. ROME. aisle arc still in their places, while those in the left aisle are still partially concealed by the masonry. The Fi 'escoes date from dilferent periods, extending over seven centu¬ ries. We begin with the Vkstibule. Immediately to the left by the staircase is a female head with a halo , t)elieved by De Rossi to date from the 5th cent. — Farther on, under the first arch on the left, "Christ bless¬ ing in the Greek mode, with first, middle, and little finger extended, between the archangels Michael and Gabriel and SS. Andrew (1.) and Cle¬ ment (r.). Before him kneel SS. Cyril and Methodius (9th or 10th cent.). The figures in this, as well as in the following scenes, have their names attached. — Opposite (on the right), a Mother finds at the altar of St. Clement her child who had been swallowed up by the sea and thrown on shore a year later. Under it the family of the donor grouped round the medallion portrait of St. Clement. To the right is the dedication : Ego Beno de Rapiza pro amore dei et beaii dementis pingere feci (11th cent.). — On the right, farther on, the Transference of the relics of St. Cyril from the Vatican to S. Clemente in the reign of Pope Nicholas, with the dedication; Ego Maria Macellaria pro timore Dei et remedio anime mee liaec pingere feci .— At the end of the A^estibule on the right is the entrance to the Left Aisle. Over the door of the latter are three badly preserved frescoes, of which that in the centre appears to represent the resuscitation of a child. Two only of the frescoes at the end of this aisle are distinguishable : on the posterior wall in the corner, St. Cyril before the Emp. Michael; on the lateral wall, a Youth baptised by St. Methodius (10th cent.). — The Nave is now entered tlirough the arch in the right wall. Here, immediately to the left, is a ‘•'fresco in three sections, one above the other. Half of the uppermost, the Enthronement of St. Clement, is destroyed. That in the centre re¬ presents St. Clement celebrating mass ^ on the right Theodora converted to Christianity and her husband Sisinius struck with blindness ^ the smaller figures on the left are those of the donor Beno jand his wife. Below it is also the dedicatory inscription : Ego Beno de Rapiza cum Maria uxore mea., etc. The lowest represents Sisinius causing a column to be bound instead of St. Clement (11th cent.). The lateral surfaces of this pillar are also adorned with frescoes (1. St. Antony, Daniel in the lions’’ den \ r. St. hlgidius, St. Blasius), but the adjoining wall prevents them from being seen. Farther on towards the vestibule, on the same wall, is another and larger '-'fresco in three sections. The highest, now half obliterated, repre¬ sents Christ between Michael and St. Clement (1.), and Gabriel and Nicholas (r.). In the centre are three scenes from the life of St. Alexius, placed one above the other as is the case with scenes on Roman sarcophagi: a. Alessius returns unrecognised to Rome as a hermit; 6. Pope Boniface I. blesses the dying man; c. The betrothed of the dead man recognises his corpse. The lowest of the three frescoes is of a decorative character with flowers and birds. — At the end of this wall are three scenes from the life of Christ. Next to them, on the wall of the vestibule, on the right, the Crucifixion, on the left, the Assumption. Over the latter, Christ borne by four angels ; at the corners St. Vitus (r.) and Leo IV. (1.) with the inscription E. Dom. Leo IV. P. P. Ro. ^ and the square nimbus with which living persons were usually represented (9th cent.). — The frescoes of the external wall of the Right Aisle are almost obliterated. A niche here contains a group of Mary with Jesus. On the arch above, Christ (beard¬ less), with figures of angels and saints on each side. Below the apse are the remains of the Structure of the Imperial Era (No. II. and marked black, in the plan), built of brick. The first of the three adjoining chambers is adorned with stucco enrichments. The next is an ante-chamber to a Chapel of Mithras.^ in which the statue of the Good Shepherd (!) was found. These chambers are damp and partly filled with water. The staircase descending to them is at the end of the right aisle. A transverse street opposite to S. Clemente leads to the Via de’ Quattro Santi, which then ascends to the left to the church of — SS. Quattro Coronati (PL II, 27; entrance hy the gate of the Lateran. ROME. 7 V. Ancient Borne. 267 Ospizio di Orfaiie), dedicated to SS. Severus, Severiaiius, Carpo- phorus, and Victoriinis, who suffered martyrdom under Diocletian. Five sculptors, who met with a similar fate for refusing to make images of heathen gods, are also revered here, and this is accord¬ ingly a favourite church with the ‘scarpellini’, or stone-masons, to whom the chapel of 8. Silvestro belongs. The date of the foun¬ dation is very remote, and the materials w'ere probably partly ob¬ tained from some ancient structure. After its destruction by Robert Guiscard, it was rebuilt by Paschalis II. in 1111, restored under Mar'iin V. by Card. Alph. Carillo, and afterwards partly modernised. Keys in the anterior court, on the right (I /2 fr*)* The church now possesses two Entrance-Courts, a peculiarity owing t(» the diminution of its size on one of the occasions when it was restored, probably by Paschalis II. The church originally extended over the whole of the second court, and its former breadth is indicated by the ancient columns built into the walls of this court. The disproportionate size of the tribune in the interior is thus accounted for. — On the right, under the corridor in front of the entrance to the second court, is the Cap. di S. Silvestro., consecrated under Innocent IV. in 1246, containing valuable, though unattractive ancient paintings from the life of Constantine, in the Byzantine style. — The Interior consists of nave and aisles with gal¬ leries. The tribune is decorated with tasteless frescoes bj" Giovanni da S. Giovanni. Festival, 8th Kov. The nunnery comprises an establishment for the education of orphans. To the right, farther on in the Via 8. Giovanni, is the Villa Cam- pana, which formerly contained a valuable collection of antiquities, now in Paris and 8t. Petersburg. We next enter the spacious and quiet — Piazza di S. Giovanni in Laterano (PI. II, 30), the buildings in wliich were chiefly erected by 8ixtus V. On the right is situated a large Hospital for Women, accommodating about 600 patients, and belonging to the obstetric department of the 8apienza. The Via Merulana then diverges to the left to 8. MariaMaggiore (seep. 181). On the opposite side of the piazza is the baptistery of S. Giovanni in Fonte (p. 270). Farther on is the church of S. Giovanni in Laterano (p. 268), and before it the Lateran Palace with the mu¬ seum (see p. 271). In the centre rises an Obelisk of red granite, originally erected by King Thothmosis III. (B.C. 1599-60) in front of the temple of the 8un at Thebes, and brought by Constantins to the Circus Maximus in 357. In 1587 it was discovered there in three pieces, and in 1588 was erected by 8ixtus V. on its present site. This is the largest obelisk in existence, being 104 ft. in height, or with the pedestal 153 ft., and about 600 tons in weight. Opposite the N. side of the Palace of the Lateran, on the left, is the entrance- gate to the Villa Massimo, see p. 274. Facing us, on the extreme E. side of the piazza, is the edifice containing the Scala Santa, a flight of twenty-eight marble steps from the palace of Pilate at Jerusalem, which our Saviour is said 268 IV. Ancient Home. ROMK. S. Giovanni in iMternno. to have once ascended. They were brought to Rome in 320 by the Empress Helena, and may only be ascended on the knees. They are now covered with wood for the protection of tlie stone. The two adjoining flights are for the descent. At the foot of the steps are two groups in marble by Giacometti , Christ and Judas, and Christ before Pontius Pilate. — At the top of the steps istl»e5anccenzoZCM. 5 ^. CappeRou deUn/ Fresentasione .Momcmento di Marux/ Clementina/ Sohieski. ^G.lbniba/ della/ ivanigUo/ Stuarda, 51. CappeJday deZ -forvtc ’battesbmilc . SS.Sa^estia/ convune 59 . _ dei' ctuionicv 60. Stanza/ capitoZare 61. Scigrestiaj de* henededtii G2i.Jisoro della chUsa, ■Wa^er Jt Be'bps.ieipz.ig' in Vaticano. ROME. V. Right Bank. 283 apostles, 19 ft. in height. ’The inscription records tl»at it was erected by Paul V. (Bofghesel in 1612. Over the central of the five eiitrances is the Loggia in which the new' pope used to be crowned, and whence he imparted his benediction at Easter to the concourse assembled in the piazza (discontinued since the Italian occupation, comp. p. 114). The Portico, the ceiling of which is magnificently decorated ill stucco, is 78 yds. in length, 14Y 2 hi width, and 66 ft. in height. At the ends are equestrian statues: on the right, Constantine the Great by Bernini^ on the left, Charlemagne by Cornacchini. At the entrances are antique columns of pavonazzetto and African marble. Over the interior of the central external entrance is "St. Peter on the sea, termed '"La Namcella\ a mosaic after Giotto., formerly in the entrance-court of the earlier church, unfortunately considerably altered by Marcello Provenzale and Fr. Berretta. A copy of the original is preserv¬ ed in S. Maria della Concezione in the Piazza Barberini (p. 164). — Of the live doors of the church that on the extreme right is called the PoKTA Santa, indicated by a cross, and is only opened in the years of jubilee (every 25 years; but the last celebration was in 1825). The great Central Entrance is closed by the brazen doors which Eugene IV. caused to he executed in 1447 by Ant. Filarete and Sim. Donatello after the model of those of S. Giovanni at Florence. The Christian subjects represented on them contrast strangely with those on the surrounding arabesques, such as Phrixus and Hella on the ram, Europa on the bull, Ganymede carried off by the eagle, etc. — The portico unfortunately detracts greatly from the effect of the whole, and, even when the specta¬ tor is at some distance off, it conceals a considerable part of the cylin¬ der of the dome. The effect which Michael Angelo intended the dome itself to produce cannot be appreciated except from a considerable distance. Wliile the exterior of St. Peter’s is open to criticism, it cannot be denied that the **Interior, notwithstanding the meretricious enricliments with which it is disfigured, is overwhelmingly im¬ pressive, and the effect is produced not so much by the vastness of its dimensions, as by the harmony and symmetry of its proportions. The finest features, such as the great breadth of the three arms of the cross, the four great dome pillars, the arcades below the dome, and the diameter of the latter, are all due to BramantCj to whom the coffering of the tunnel-vaulting must also be ascribed. Interior. On the pavement of the Nave, close to the central door, is a round slab of porphyry on which the emperors were formerly crowned, and beyond it are stones on which arc inscribed the length of several other large churches (see above; half obliterated). On each side, as far as the dome, are four pillars with Corinthian pilasters; above these a rich entablature, which bears the arches extending from pillar to pillar and the gorgeously coffered and gilded * vaulting of the ceiling. The niches of the pillars here and in the other parts of the church contain mediocre statues of the founders of various orders. The pavement, like the walls, consists entirely of marble, inlaid from designs by G. della Porta and Bernini. — By the fourth pillar to the right is the ^sitting statue of St. Peter in bronze, on a throne of white marble beneath a canopy, a work of the 5th cent., brought by Paul V. from the monastery of S. Martino. The right foot is almost entirely w’Orn away by frequent contact with the lips of de¬ votees ; in front of it two large candelabra. Above is the mosaic portrait of Pius IX., placed there in memory of the 25th anniversary of his accession to the papal see, 16th June, 1871. The Dome rests on four huge buttresses, 234 ft. in circumference, the 284 V. Right Bank. ROME. S. Pietro niches in the lower parts of whicll occupied by statues, IG ft. in lieight, of (r.) St. Longinus (2) by BerniVi and St. Helena (3) by Bolgi^ (1.) St. Veronica (4) by Mocchi and St. Andrew (0) by Buquesnoy; above them are the four loggie of Bernini, where the greaieSt Tcli^s are exhibited on high festivals, on which occasions the loggie may be entered 'by none but the canons of St. Peter's. Above these are four mosaics of the* Evan¬ gelists after the Cav. (VAj'pino^ of colossal dimensions. The frieze bears the inscription in mosaic : Tu es Petrus el super hanc peiram aedificaho ecclesiam meani et tihi daho claves regni caelorum. The sixteen ribs of the vaulting of the dome are decorated with gilded stucco ^ between them are four series of mosaics. In the lowest the Saviour, the Virgin, and the Apostles. On a level with the lantern, God the Father, by Marcello Provenzale.^ after the Cav. d'Arpino. Beneath the dome rises the imposing, but tasteless bronze Canopy, borne by four richly gilded spiral columns, constructed in 1633 under Pope Urban VIII., from designs by Bernini^ of the metal taken from the Pantheon (p. 196). It is 95 ft. in height, including the cross, and weighs about 93 tons. Under the canopy is the High Altar, consecrated in 1594, where the pope only reads mass on high festivals. It stands immediately over the Tomh of St. Peter. The Confessio, constructed by C. Maderna under Paul V., is surrounded by 89 ever-burning lamps. The descent to it is by a double marble flight of steps. Doors of gilded bronze, dating from tiie earlier church, close the niche which contains the sarcophagus of the apostle. Between the steps is the "statue ( 6 ) of Pius VI. in the attitude of prayer, by Canova., 1822. The nave is continued beyond the dome, and terminates in the Tribune, containing the mediocre bronze Cathedra Petri of Bernini., which encloses the ancient wooden episcopal chair of St. Peter. On the right (7) is the monument of Urban VIII. (d. 1644) by Bernini; on the left ( 8 ) "that of Paul III. (d. 1549) by Gugl. della Porta , probably under the supervision of Michael Angelo. Above is the figure of the pope pronouncing his bene¬ diction^ beneath on the right Prudence, on the left Justice, the latter now draped with bronze. Two other figures belonging to the group are now in the Pal. Farnese. Under the two founders of orders here, and under the next two in the nave, Pius IX. caused to be engraved the names of the bishops and prelates who on 8 th Dec. 1854 accepted the new dogma of the immaculate conception of the Virgin. Having traversed the nave and surveyed the stupendous dimensions of the fabric, we now proceed to examine the aisles and transepts. St. Peter's contains but few pictures ^ those formerly here, some of which are now in the Vatican Gallery, are replaced by copies in mosaic. Bight Aisle. Over the ‘jubilee-door’ St. Peter in mosaic (9), placed here by Clement X. in the year of jubilee 1675. The (1st) Chapel della Pieta (10) contains an admirable early work of Michael Angelo (1499 5 p. Lii) : '"Mary with the dead body of Christ on her knees. Adjacent, to the right under the arch, is the monument (11) of Leo XII., erected by Gregory XVI., by De Fahris; to the left, cenotaph (12) and bronze relief-portrait of Christina of Sweden, daughter of Gustavus Adolphus, and a convert to the Romish faith. The 2nd altar (13) is adorned with the Martyrdom of St. Sebastian after Domenichino. Under the next arches are the monuments of (r.) Innocent XII. by Fil. Valle (14), and (1.) the Countess Mathilda of Tuscia (d. 1115) by Bernini (15) , executed by order of Urban VII. who had transferred her remains from Mantua hither. On the right the (3rd) Chapel of the Holy Sacrament (16), closed by an iron gate, contains an altar-piece by Pietro da Cortona; right, the finely executed ^monument (17) of Sixtus IV. (d. 1484) in bronze, by Ant. Pollajuolo (1493). Julius II. (of the della Rovere family, like Sixtus), who was the first to resume the construction of the church after Nicholas V., is also interred here. Under the next arch: right, the mon\iment (18) of Gregory XIII. , the rectifier of the calendar (d. 1585), by Caniillo Rusconi; left, the unadorned sarcophagus (19) of Gregory XIV. Op])osite (Imt now concealed by the council barriers) over the altar by the principal buttress, is the Communion of St. Jerome (20), after Domeni¬ chino (original in tlie ^'atican). On the right, the Gregorian Chapel ( 21 ), in Vaticano. ROME. V. Right Bank. 285 erected under Gregory XIII. from the design Michael Anyelo ^ at a cost of 80,000 scudi; here to the right is the ''monument (22) of Gregory XVI. (d. 1846), hy Amici below it a relief, representing the dissemination of Christianity. Above the altar is the *3iadonna del Soccorso (23), from the old church of St. Peter, dating from about 1118^ under it is the tomb of St. Gregory of Xazianzus (d. 390). Under the following arch: right, the tomb (24) of Benedict XIV.; left, altar (25) with the mass of St. Basilius, after Subleyras. The Right Tkansept was used by the (Ecumenical Council for its meetings in 1870, and has not since then been altered. By the tribune three altars with pictures by Caroselli (26), Valentin (27), and Poussin (28), representing the Martyrdom of St. Erasmus. Prolongation of Right Aisle. Under the arch : right, ^monument (29) of Clement XIII. (Rezzonico of Venice, d. 1769), by Canova; the figure of the pope and the two lions are worthy of inspection; left, altar of the Navicella (30) with Christ and Peter on the sea, after Lanfranco. Then, right, the Chapel of the Archangel Michael (31), the *Archangel, diHer Guido Reni; in a straight direction. Burial of St. Petronella (32), after Guercino. Under the (left) following arch: right, monument (33) of Clement X.; Raising of Tabitha by Peter, after Costanzi. — We now pass the principal tribune, and enter the — W. Division of Left Aisle. Immediately on the right is the monument (34) of Alexander VIII. (Ottoboni of Venice, d. 1691), by Arrigo di S. Martino; left, Healing of the lame man by Peter and John (35), after Mancini; farther on , right, the altar (36) of Leo I. with a marble relief by Algardi (about 1650), representing the Retreat of Attila. Facing the visitor is the Cappella della Colonna (37), containing a highly revered *Madonna from a pillar of the older church. Beneath the altar { n ancient Christian sarcophagus (38), with Christ and the apostles in front, containing the remains of Leo II. (d. 683), Leo HI. (d. 816), and Leo IV. (d. ^5). Turning hence to the left, we lirst perceive on the right, over the small door (of egress), the unattractive monument (39) of Alex. VII. (d. 1667) by Bernini. Opposite is an altar (40) with an oil-painting (on slate) by Er. Vanni^ Punishment of Simon Magus. The Left Transept, with its tribune and three altars, is next entered. It contains confessionals for eleven different languages, as the inscriptions indicate. By the pillar of S. Veronica, below the statue of S. Juliana, is an elevated seat, whence on high festivals the grand-penitentiary dispenses absolution. Over the first altar on the right, St. Thomas (41), by Camuccini; in front of that in the centre, the tomb (42) of the great composer Palestrina (1520-94), whose works are still performed in St. Peter’s; altar-piece. Crucifixion of Peter, after Reni; left, St. Francis (43), a,(ter Domenichino. The portal to the right under the following arch (44) leads to the Sacristy; above it the monument of Pius VIII. by Tenerani. To the left (48), Death of Ananias and Sapphira, after Roncalli. From this point the effect of the dome, tribune, and transept collectively is best appreciated. Then the Clementine Chapel (45), erected by Clement VIII. (1592-16('5): below the altar (46) on the right reposes Gregory I., the Great (590-604); altar- piece after Andr. Sacchi; facing us, the ^monument (47) of Pius VII. (d.l823), by Thorvaldsen. — We now turn to the left, and perceive below the arch, on the left, the mosaic copy of Raphael’s Transfiguration (49) , four times the size of the original. — Opposite, to the right, begins the — Left Aisle. Here, under the arch on the right, the monument (50) of Leo XI- (d. 1605) hy Algardi., with a relief of the recantation of Henry IV. of France; left, monument (51) of Innocent XI. (d. 1689) by C. Maratta., with relief of the delivery of Vienna by King John Sobieski. The large Choir Chapel (52), gorgeously decorated by Della Porta with stucco and gilding, contains the tombstone of Clement IX. (d. 1721) and two organs. Here on Sundays cere¬ monies accompanied by beautiful musical performances frequently take place ; ladies only admitted when provided with black dress and veil, gentlemen also in black (evening-dress). — Beneath the arch, to the right over the door, is the tomb of Pius IX. (d. 7th Febr., 1878); left, the "'monument (53) of Innocent VIII. (d. 1492), by And. and Piet. PoUajuolo. Then on (he right 286 y. nujhl Bank. ROME. S. Pietro an altar (54) with Mary’s first visit to the Temple, after Romanelli; ad¬ joining this, to the left, is a point whence the entire depth of the church may be surveyed, as far as the chapel of 8t. Michael, but the view is now unfortunately marred by the council barriers. Under the arch, to the right over the door which leads to the dome, the eye of the English traveller will rest with interest upon the monument (55) of Maria Clementina Sobieski (d. 1735 at Rome), wife of Charles Edward, the young Pretender, and to the left the tomb (5G) of the last of the Stuarts, by Canova (1819), with busts of ‘James III.’ and his sons Charles Edward, and Henry, better known as Cardinal York. In the last chapel (57) on the right is a font consisting of the cover of a sarcophagus from the mausoleum of Hadrian. Over the altar, Baptism of Christ, after Maratta. The Sacristy (entrance by the grey marble portal, ground-plan 44 5 visited most conveniently 9-11 a.m.), erected in 177o by Pius VI. from designs of C. Marchionne, consists of three chapels in a corridor adorned with ancient columns and inscriptions. At the entrance the statues of (r.) St. Peter and (1.) St. Paul, executed under Pius II. by Mino del Regno, and formerly in the Piazza of St. Peter. The central chapel, Sagrestia Comune (58), octagonal in form, is em¬ bellished with eight columns of bigio from the villa of Hadrian at Tibur. A guide (V2 fr.) is found here to show the others. Left, the Sagrestia dei Canonici (59), with the Cap. dei Canonici, altar-piece by Francesco Penni (Madonna with SS. Anna, Peter, and Paul), opposite to which is a "Ma¬ donna and Child by Giulio Romano. Adjacent is the Stanza Capitolare (GO), containing '"pictures from the old Confessio, by Giotto (Christ with a cardinal. Crucifixion of Peter, Execution of Paul), and "'fragments of the frescoes by Melozzo da Forli from the former dome of SS. Apostoli (angels with musical instruments and several heads of apostles). On the right, the Sagrestia de’ Benefiziati (G1), with an altar-piece by Mnziano, the Helivery of the Keys. Contiguous is the Treasury (G2) of St. Peter’s, containing jewels, candelabra by Benvenuto Cellini and Michael Angelo, the dalmatica worn by Charlemagne at his coronation, etc. — Over the sacristy are the Archives of St. Peter’s with ancient MSS., e.g. Life of St. George, with miniatures by Giotto; also a few classical authors. The treasury and archives are seldom shown. The Sagre Grotte Vaticane also deserve a visit (admission by permesso; application to be made in the sacristy; ladies require special permission from the Pope; sacristan 1/2 They consist of passages with chapels and altars beneath the pavement of the present church; entrance (ground-plan a) by the pillar of St. Veronica, under the dome. The ^Grotte Vecchie\ however, the most interesting of these vaults, are not shown to the public. The Grotte Nuove, situated under the dome, consist of a corridor in the form of a horse-shoe, which encloses the Confessio. In the four great buttresses which support the nave, steps descend to as many Chapels : a. St. Veronica, k. St. Helena, i. St. Longinus, d. St. Andrew. — In the Chapel of S. Maria de Porticu (6), to the right by the entrance, is St. Matthew, on the left, St. John, both from the tomb of Nicholas V. (d. 1455) ; over the altar a Madonna by Simone Memmi, from the colonnade of the old church, much injured. Outside the chapel, on the right, a mosaic: Clirist between SS. Peter and Paul, from the tomb of Emp. Otho II. — In the Chapel of S. M. Pregnantium (c), at the entrance, the two SS. James, from the tomb of Nicholas V. ^ half-figure of Boniface VIII.; angels in mosaic, after Giotto. Here, and tliroughout tlie whole corridor, are pre¬ served numerous reliefs of the 15th cent, from the tombs of the popes; among them, on the right, a Dladonna with St. Peter and St. Paul (^) by Mino da Fiesole. Reliefs from the tomb of Paul II.: Hope, Faith, Charity, and the Last Judgment. On the left side, by the sides of the entrance to the Confessio, marble "reliefs (m), representing the martyrdom of SS. Peter in Vaticnno. ROME. V, Right Bank, 287 and Paul, from the tombstone of Sixtus IV. Opposite the entrance of the shrine the large ^sarcophagus of tlie prefect Junius Bassus (d. 359), with admirable sculptures from the Old and New Testament, found here in 1595. The Confessio, or Shrine of SS. Peter and Paul, situated in the centre of the circular passage, is gorgeously decorated with gold, jewels, etc. Over the altar, which was consecrated in 1122, are two ancient pictures of St. Peter and St. Paul. The sarcophagus of St. Peter (formerly in the catacombs on the Via Appia, then in the Lateran) has been preserved here since the 15th cent. The Grotte Vecchie are about 147 ft. long and 57 ft. wide. The pave¬ ment was originally that of the ancient church, and lies 11 ft. below that of the present church. These vaults contain the tombs of many popes and princes. In e. those of Nicholas I. (d. 8G7), Gregory V. (d. 999), and Emp. Otho II. (d. at Rome, 983). At the end of /. that of Alexander VI. (d. 1503). In g. those of Hadrian IV. (Nicliolas Breakspeare, the only English pope, d. 1159), an old sarcophagus in granite; Pius II. (^Eneas Sylvius Piccolomini, d. 1464), an early Christian sarcophagus; Pius III. (ci. 1503), Boniface VIII. (d. 1303), Nicholas V. (Thomas of Sarzana, founder of the new churcli of St. Peter and of the Vatican Library, d. 1455), and Paul II. (d. 1471), these four by Mino da Fiesole; Urban VI. (d. 1389); Marcellus II. (d. 1555), in an early Christian sarcophagus; Cardinal Fonseca (d. 1422). Tlie ascent of the Dome is nominally permitted on Thursdays only, 8-10 a. m., but permission can also be obtained on other days without much trouble; visitors knock at the door in the left aisle (PI. 55). Eight flights of easy steps, 142 in all, ascend to the roof. The walls bear memorial-tablets of royal personages wlio have performed the ascent. On the roof a number of domes and small structures are seen, some of which serve as dwellings for the work¬ men and custodians. One of the eight octagonal chambers in the pillars which support the dome contains a " model of the church by Michael Angelo and his pre¬ decessor Ant. da San Gallo., for admission to which a separate permission, obtainable by special recommendation only, must be procured; here, too, a model of the ancient throne of St. Peter is preserved. The Dome rises 308ft. above the roof, and is 630 ft. in circum¬ ference. The huge hoops of iron are seen here, by which the dome was strengthened in the 18th cent., when threatening fissures had begun to make their appearance. The gallery within the dome af¬ fords a striking view of the interior. An easy staircase ascends between the external and internal walls of the dome to the * iMn- tern^ whence a view is obtained of the whole church and its envi¬ rons, and in clear weather of the Campagna from the mountains to the distant sea. A narrow iron staircase, admitting one person only at a time, ascends to the copper ball on the summit, which can con¬ tain 16 persons, but affords no view. Ascending by St. Peter’s, to the left beyond the colonnades (the way to the Vatican gallery of statues, see p. 305, and Plan, p. 278), we reach, on the left near the sacristy, the Cimetero dei Tedeschi, the most ancient Christian burial-ground, instituted by Constantine, and filled with earth from Mt. Calvary. In 1779 it was granted to the Germans by Pius VI. Adjacent is the church of Mfiria della 288 V. Right Bank. ROME. The Vatican. Pieta in Campo Santo (PI. T, 4, J), adjoiniiifr which is the German aiul Flemish refuge for pilgrims. Near it is situated the Palace of the SS. Uffizio , or seat of the Inquisition, now converted into barracks. That tribunal was estab¬ lished in 1536 by Paulin, by the advice of Card. Caratfa, afterwards Pope Paul IV., and this edifice was assigned to it by Pius V. The Vatican. This, the most extensive palace in the world, was originally a dwelling-house for the popes, erected by Symmachus near the an¬ terior court of the old church of St. Peter, and afterwards gradually extended. Charlemagne, when in Rome, is believed to have re¬ sided here. This building having fallen to decay during the tumults of the following centuries, Eugene III. erected a palace near St. Peter’s, which was greatly enlarged by Nicholas III. The Vatican did not, however, become the usual residence of the popes until after their return from Avignon, when the Lateran was deserted. After the death of Gregory XI. the first conclave was held in the Vatican in 1378, which resulted in the schism. In 1410 John XXIIl. constructed the covered passage to the castle of S. Angelo. In 1450 Nicholas V., with a view to render the Vatican the most imposing palace in the world, determined to unite in it all the government- offices and residences of the cardinals. The small portion completed by him, afterwards occupied by Alexander VI. and named Tor di Borgia., was extended by subsequent popes. In 1473 the Sistine Chapel was erected by Sixtus IV., and about 1490 the Belvedere, or garden-house, by Innocent VIII. Bramante, under Julius II., united the latter with the palace by means of a great court, which under Sixtus V. was divided by the erection of the library into two parts, the anterior court and the Giardino della Pigna. The Loygie round the Cortile di S. Damaso were also constructed by Bramante. In 1534 Paul III. founded the Pauline Chapel, and Sixtus V. the Library and the present residence of the popes, which last was com¬ pleted by Clement VIII. (1592-1605). Urban VIII. erected the Scala Regia from Bernini’s design, Pius VII. the Braccio Nuovo for the sculptures, Gregory XVI. the Etruscan Museum, and Pius IX. closed the fourth side of the Cortile di S. Damaso by covering and reconstructing the great staircase which leads from the arcades of the piazza into the court. The palace now possesses 20 courts, and is said to comprise 11,000 halls, chapels, saloons, and private apartments. By far the greater number of these are occupied by collections and show rooms, a comparatively small part of the build¬ ing only being set apart for the papal court. A law passed on 13th May, 1871, secures to the Vatican, the Lateran, and the papal villa at Castel Gandolfo the privilege of exterritoriality. Pius IX. never quitted the Vatican after the Italian occupation on 20tliSept., 1870, and Leo XIII. has adopted the same line of action. The Vatican. ROME. V. lUyhl Bank. 289 The Principal Entrance to the Vatican (Porione di Bronzo) is at the end of the right colonnade of the Piazza of St. Peter. Witliiii the gate visitors formerly proceeded, immediately beyond the Swiss guard, to a flight of steps to the right, by which however they are now^ taken by a Swiss to the Maggiordomato only (p. 118) to receive their permesso. (Present entrance to the Stanze, etc., see below\) The steps, originally uncovered, were altered by Pius IX., and lead to the CoRTiLE DI S. Damaso, a court which derives its name from the fountain of St. Damasus erected here by Innocent X., and some¬ times called Cortile delle Loggie from the Loggie of Bramante (p. 302) by which it is bounded on three sides. On the right is the wing occupied by the Pope; on the left a door with the inscription Adito alia Bihlioteca ed al Museo (now available for workers in the library only) leads to the staircase which ascends to the Loggie of ^iovaimi da Udine (freely but judiciously retouched) on the first floor, and those of Raphael on the second (p. 302). The first door to the left in the loggie of the first floor leads to the Sistina, and that at the end straight before us, to the Museum of Antiquities (p. 304). Permessi for the Vatican, and Hours of Admission, see pp. 118, 119. The visitor should be abundantly provided with 50 c. notes and copper money, as contributions are exacted from him at about ten difterent places (fee in each department ('2 fr., frequent visitors 25c.). The cice¬ roni who proffer their services at the entrance are generally very ignorant and importunate. * Apartments not usually shown at present, are enclosed within square brackets in the following description. A. Paintings. Cappella Sistina. RaphaeVs Stanze and Loggie. Picture Gallery. A permesso may be obtained for any week-day, 8-11 and 2-5 o’clock, available for five persons (comp. pp. 118, 119). — The name of each de¬ partment where it is shown is then deleted in turn. We pass the entrance wuth the Swiss guard and proceed to the ScALA Regia, a magnificent flight of steps, constructed by Antonio da SangallOj and restored hy Bernini under Alexander VII., covered with tunnel-vaulting resting on Roman columns. We mount these steps and pass through a door to the Staircase on the Right, which ascends to the first floor, where there is a side entrance of the Sistiue Chapel (see below), indicated by an inscription, and now used by visitors, and to the second floor, where Raphael’s stanze and loggie- are situated (p. 290). The third floor contains the picture gallery (p. 296). **Cappella Sistina. Sala Regia. Sala Ducale. Cappella Paolina. The ** Sistine Chapel was erected under Sixtus IV. by Baccio Pintelli in 1473; length 133 ft., width 45 ft., six windows on each Baedeker. Italy II. 6th Edition. IQ 290 V. Right Bank. ROME. The Vatican. side above. Beautifully decorated marble screens enclose the space set apart for religious solemnities. The lower part of the walls was formerly hung with Raphael’s tapestry on the occasion of festivals, The Vatican. ROME. V. Right Bank. 291 while the upper part, with the exception of the wall of the altar, is decorated with interesting frescoes by Florentine masters of the 15th century. The ceiling was painted by Michael Angelo. Best light in the morning. These Frescoes represent parallel scenes from the life of Christ (^right) and Moses (left), beginning at the altar, and meeting on the entrance-wall. Left: 1. (by the altar) Moses with his witeZip- porah journeying to Egypt, Zipporah circumcises her son, by Pe- rugino (sometimes attributed to Luca Signorelli)'., 2. Moses kills the P^gyptian, drives the shepherds from the well, kneels before the burning bush, Sandro Botticelli; 3. Pharaoh’s destruction in the Red Sea, Cosimo Rosselli; 4. Moses receives the Law on Mt. Sinai, Adoration of the calf, by the same; 5. Destruction of the company of Korah, and that of the sons of Aaron, S. Botticelli; 6. Death of Moses, L. Signorelli. Adjoining the latter, on the entrance-wall: Contest of the Archangel Michael for the body of Moses, by Salviati, now entirely repainted. — Right: 1. Baptism of Christ, Perugino; 2. Christ’s Temptation, S. Botticelli; *3. Vo¬ cation of Peter and Andrew, Dom. Ohirlandajo; 4. Sermon on the Mount, Cure of the leper, C. Rosselli. — On the entrance-wall: Resurrection of Christ, originally by D. Ghirlandajo, renewed by Arrigo Fiammingo. — On the pillars between the windows 28 popes by S. Botticelli., not easily distinguishable. The **^‘Ceiling (p. lii) was begun by Michael Angelo 10th May, 1508, and, if the exaggerated account of his two biographers be be¬ lieved, was completed by the master in 22 months with his own hand, the Florentine assistants he had at first engaged having been speedily dismissed. Whether the ceiling of the Sistine Chapel, or the Stanze of Raphael are to be regarded as the culminating effort of modern art, has long been the subject of controversy. The merit of uniformity of thought and compactness of composition, must be awarded to the ceiling painting, and these attributes are the more worthy of admiration, as the subjects of the whole series had not been agreed upon from the outset. The pictorial enrichment of the ceiling was at first to be limited to the figures of the Twelve Apostles, but Michael Angelo, perceiving the poverty of the design, prevailed on the pope to allow him to extend it. In order to con¬ nect the different scenes, Michael Angelo invented an imaginative structure with columns, pillars, and cornices in bronze and marble, which rises from the walls, and encloses in the middle of the ceil¬ ing (^which is vaulted, with a flat surface in the middle) nine sec¬ tions of different sizes. The lifelike figures which step forth from the architectural members, some of them in their natural colour, and others of a bronze tint, impart to the background such anima¬ tion and significance, as to render it an admirable introduction to the large central pictures. It is here that the spectator will become fully aware of the importance to a painter of a thorough acquaint- 19* 292 V. nujhl Bank. ROME. The Vatican. ance with architectural desipjiis, aud of the extent to which Michael Angelo availed himself of such acquaintance. A description of the Central Scenes may he given nearly in the words of Aacanio ('ondivi, a pupil of Michael Angelo, who in 1553 wrote the master’s life before the death of the latter. — ‘In the 1st Section of the ceiling (reckoned from the altar), which is one of the smaller ones, you observe in the air God Almighty, wiio with the motion of his arms separates light from darkness. — In the 2nd Section he creates the tw^o great lights of the world, his outstretched right hand touching the sun, and the left the moon. Around him are several angels, one of whom (to the left) hides his face, and presses close to the Creator, as if to screen himself from the baneful influence (dazzling light) of the moon. In the same section God is again represented as engaged in creating the herbs and plants on the earth. He is pourtrayed with such art, that wherever you turn he appears to follow you, showing his whole back down to the soles of his feet, — a very excellent w ork, proving what can be done by foreshortening. —In the 3rd Section God the Cord appears in the air surrounded with angels, regarding the w^aters, and commanding them to bring forth all those kinds of animals wiiich that element nourishes. — In the 4th Section the creation of man is represented, and God is seen with outstretched arm and hand, as if prescribing to Adam Avhat to do, and what to abstain from. With his other arm he encloses a group of angels (the figure immediately behind the shoulder of the Father bears distinctly female features, and it is a not improbable conjecture that the master meant here to represent the uncreated Eve). — In the 5th Section God draws from Adam’s side the w'oman, who with folded hands stretched out tow'ards God, bow s herself with a sw’eet expression, so that it seems she is thanking him, and that he is blessing her. — In the 6th Section the Demon, in human form from the waist upw'ards, and otherwise a serpent, coils himself round a tree; he converses with Adam and Eve, w'hom he persuades to disobey their Creator, and hands the forbidden fruit to the woman. In the second part of the section you see the pair, driven out by the angel, lleeing terrified and sad from the face of God. — In the 7th Section the sacrifice of Abel and Cain is represented. — In the 8th Section is seen the Flood, with Noah’s Ark on the water at a distance, and a few persons clinging to it in hopes of saving them¬ selves. Nearer is a boat crowded with people, which, owing to its undue load, and to the numbers of violent shocks of waves, is al¬ ready shipping water, and threatening to sink, and it is indeed a strange thing to see the human race perishing so miserably in the weaves. Still nearer the eye appears above the water the top of a mountain, w'here a number oi' men and women have sought refuge as if on an island; they sliow' different emotions, but they all cow er, miserable and terrified, under a tent stretched over a tree, to shelter The Vatican. ROME. V. Right Bank. 293 themselves from the excessive rain. And in this scene the wrath of God is represented with great art, for he sends upon them light¬ nings, waters, and storms. There is also another mountain top on the right side with a group of people on it in similar distress, hut it would take too long to describe each one of them. — in the 9th Section., the last, is narrated the story of Noah, who, when lying drunken and naked on the ground, is mocked by his son Ham, but is being covered by Shem and Japheth’. On the lower part of the vaulting are the ^'^Trophf.ts and Sibyls in earnest contemplation, surrounded by angels and genii. To the left of the altar: 1. Jeremiah, in a profound reverie; 2. Per¬ sian Sibyl, reading; 3. Ezekiel with half-opened scroll; 4. Ery¬ thraean Sibyl, sitting by an open book; 5. Joel, reading a scroll; G. (over the door) Zacharias, turning the leaves of a book; 7. Del¬ phian Sibyl, with an open scroll; 8. Isaiah, his arm resting on a book, absorbed by divine inspiration; 9. Cumsean Sibyl, opening a book; 10. Daniel, writing; 11. Libyan Sibyl, grasping an open book; 12. (above the Last Judgment) Jonah, sitting under the gourd. ‘All these are truly w'onderfuT, says Condivi, ‘both owing to the attitudes, and to the ornamentation, and the variety of the drapery. But most wonderful of all is the prophet Jonah who sits at the top of the vaulting. His body is foreshortened towards the inside, to¬ wards the part nearest the beholder’s eye, while the legs project outside, in the more distant part: a marvellous work, for so great is the skill of Michael Angelo in foreshortening and perspectives In the pointed arches and lunettes of the vaulting are the an¬ cestors of the Saviour in calm expectation. In the four corner- arches : on the altar-wall, right, the Israelites in the wilderness with the brazen serpent; left, king Artaxerxes, Esther, and Hainan. On the entrance-wall, left, David and Goliath, right, Judith. Nearly 30 years later than this ceiling Michael Angelo painted on the altar-wall the '^'"'Last Judgment, 64 ft. in width, completed under Paul III. in 1541. Careful and repeated study alone wTll enable the spectator to appreciate the details of this vast com¬ position, which is unfortunately blackened by the smoke of cen¬ turies, and unfavourably lighted. To fathom the religious view's and artistic designs of the talented master is a still more difficult task. On the right of the figure of Christ as Judge hover the saints drawn back by devils and supported by angels, on his left the sin¬ ners in vain strive to ascend; above are tw'O groups of angels wTth the Cross, the column at which Christ w'as scourged, and the other instruments of his sufferings; in the centre Christ and the Virgin, surrounded by apostles and saints; below the rising dead is hell, according to Dante’s conception, with the boatman Charon and the judge Minos, whose face is a portrait of Biagio of Cesena, master of the ceremonies of Paul HI., who had censured the picture on account of the nudity of the figures. Paul IV., wdio contemplated 294 V. KUjht Hank. ROME. The Vatican. the destruction of the picture on tliis account, was persuaded, in¬ stead, to cause some of the figures to he partially draped by Daniele da Volterra. Clement XII. caused this process to he extended to the other figures hy Stefano Pozzi, whereby, as may he imagined, the picture was far from being improved. 3Iost of the solemnities at which the Pope officiates in person take place in the Sistine Chapel (see pp. 114, 115). Adjacent to the Sistine Chapel on the E. is the — Sala Eegia , which is shown by custodians of the Sistine Cha¬ pel only by special request. It w^as built hy Antonio da San Gallo, as an entrance hall to the Sistine Chapel, and w^as originally destin¬ ed for the reception of foreign ambassadors. The cornicings of the ceiling are by Perino del Voga, and those over the doors by Daniele da Volterra. The mediocre Frescoes of Vasari^ Salviaii^ and the Zuccari^ represent, according to the titles inscribed below them : on the window-w^all, to the right, scenes from the Xight of St. Bartholomew (the inscription Strages Hugenoitorum, etc., w’^hich was once under them, has been obliterated). On the wall opposite the entrance, the door in which leads to the Sistine, the Alliance of the Spanish and Venetians with Paul V., Battle of Lepanto in 1571; on the end wall, Gregory VII. acquitting the Emp. Henrj'IV. (door to the Pauline), Conquest of Tunis. On the entrance-wall, Gregorj' XI. returning from Avignon, Alexander III. absolving Fred. Barbarossa.] The Sala Ducale, which adjoins the Sala Regia on the E., w’as constructed by Bernini , and is decorated with frescoes and land¬ scapes by Brill. To the S. of the Sala Regia is the Pauline Chapel [Cappella Paolinoi), built in 1540 by Antonio da Sungallo for Paul III. Here are two frescoes, painted by Michael Angelo at a very advanced age: on the left, the Conversion of St. Paul, on the right, the Crucifixion of St. Peter. The other pictures are by Sabbatini and F. Zuccaro, the statues in the corners by P. Bresciano. The chapel is used on the first Sunday in Advent for the Quaranf Ore, or ex¬ position of the host during 40 hrs., when, as well as on Holy Thurs¬ day, it is brilliantly illuminated. Raphael’s **Stanze and **Loggie. *Cappella Niccolina (di S. Lorenzo^. **Picture Gallery. Comp, the Ground-Plan, p. 290. We follow the staircase mentioned at p. 289, passing the pre¬ sent entrance to the Sistine Chapel, and ascend thence to the right 63 steps, to the second floor, where we knock at the white door, through w’hich Raphael’s Stanze and Loggie at present are entered from the back. Sticks and umbrellas are left at the door. In front and to the right are two rooms with indifferent modern pictures. We traverse that to the right, and then a saloon, the Sala dell' Immacolata, recently decorated by Podesti, by order of Pius IX., with frescoes relating to the doctrine of the Immaculate Conception of the Virgin (comp. p. lix). — The door in a straight direction leads to the Stanza delV Jncendio (see p. 300), adjoining which are The Vatican. ROME. V. Right Bank. 295 the Stanza della Seynaiura (p. 295), the Stanza d'Eliodoro (p. 299), and the Sala di Costantino (p. 300). From the last of these we enter the Loggie^ see p. 302. The Principal Entrance.^ which was formerly often available, is in the Cortile di S. Damaso, whence the .staircase mentioned at p. 289 ascends to the Loggie.) from which the Stanze are then entered. — The following description begins with the Stanze. **RaphaeFs Stanze. The frescoes executed by Raphael in 1508 -1520 in the papal apartments [Stanze or Camere^ of the Vatican, by order of the Popes Julius II. and Leo X. , are unquestionably the foremost among the creations of the master and are rivalled by no modern works of art in existence except the ceiling paintings in the Cappella Sistina (p. 291). The work, however, in its entire grandeur had not been planned, nor the task committed to Raphael from the outset. Julius II. originally intended these rooms to be decorated in a much simpler style, and he entrusted the task to Perugino, Sodoma, and other painters of Umbria and Siena. Among these was the young Raphael, who had probably been introduced by Perugino, and who after the completion of the first frescoes became so prominent among his fellows, that the work was then entrusted to him exclusively. Raphael did not, however, live to complete his task, and it was finished by his pupils. The earliest pictures in the first and second stanza only are by Raphael’s hand. For each of these paintings he received 1200 gold scudi (nearly 500 pounds). They were seriously injured during the plundering of Rome in 1527, but were restored by Carlo Maratta under Clement XI. They are enumerated here chronologically (comp, alsop. Liv). I. Stanza della Segnatura, so named from the fact that the papal letters were signed here. Its decoration was undertaken by Raphael in 1508, at the age of 25, and completed in 1511. The sections of the vaulting of the apartment had already been arranged by Sodoma. On the four circular and quadrangular spaces Raphael painted allegorical figures and Biblical and mythological scenes, which in connection with the paintings in the large lunettes are symbolical of the four principal spheres of intellectual life. Ceiling Paintings. 1. Theology (divinarum rerum notitia), a figure among clouds, in the left hand a book, with the right pointing downwards to the heavenly vision in the Disputa beneath; ad¬ jacent, the Fall of man; 2. Poetry (numine afflatur)^ crowned with laurels, seated on a marble throne with book and lyre; adjoining it, the Flaying of Marsyas; 3. Philosophy (causarum cognitio)^ with diadem, two books (natural and moral science) and a robe emblematical of the four elements; adjoining it, the Study of the heavenly bodies; 4. Justice (jus suum unicuique tribuens), with crown, sword, and balance; adjacent, Solomon’s Judgment. Mural Paintings. Under the Theology: 1. The Disputa. This name continues to be applied to this painting, although it is based on a misunderstanding and error. The scene represented is not a dispute about the doctrine of transubstantiation, as commonly sup- 296 V. night Bank. ROME. The Vatican. posed, the monstrance with the host on the altar being merely in¬ tended as a clue to the nature of the subject, and as a symbol of the church. The scene is rather to be defined as the Glorification of Christian Faith. The congregation gathered round the altar, full of religious emotion, and burning with enthusiasm, see heaven open, disclosing Christ with the heroes of the faith grouped around him. The composition thus consists of two halves, the upper and the lower, whereby not only the heavenward direction of the reli¬ gious sentiment is clearly indicated, but a definite basis for its formal expression is also obtained. In the Upper Half is Christ enthroned, attended by the Madonna and the Baptist; above him hovers the half-figure of God the Father; and below him is the symbol of the Holy Spirit, at whose side are two angels holding the books of the gospel. A choir of angels forms the background, and angels likewise bear the clouds, on which, a little lower down, the heroes of the Old and New Testament are sitting. These last are arranged alternately, and the heroes of the Old Testament at the same time represent the epochs of the world. To the left of the spectator sit St. Peter, Adam, St. John the Evangelist, David, St. Stephen, and a half-concealed personage from the Old Testament (a prophet?); on the right, St. Paul, Abraham, St. James, Moses. St. Lawrence, and lastly an armed hero of the Old Testament. — In the Lower Half the four Fathers of the Church, sitting next to the altar, constitute the historical foundation of the picture; to the left St. Gregory and St. Jerome ; on the right St. Augustine and St.\ Ambrose. From a very early period attempts have been made to attach historical names to the other figures, which are supposed to be portraits of theologians. Vasari states that they represent SS. Dominicus and Francis, Thomas Aquinas, Bonaventura, Scotus, and Nicholas of Lira. The figure in the antique costume beside St. Ambrose, stretching his right hand towards heaven, has been identified with Petrus Lombardus, the monk behind St. Augustine with Thomas Aquinas, the cardinal with Bonaventura, and the two popes with Anacletus and Innocent III. These, however, are mere conjectures; and as Raphael has clothed these figures in an ideal costume, he seems to desire chiefly to emphasize their purely human psychological traits of character. The artist has also shown his in¬ dependence by introducing several of his contemporaries. To the extreme left, in the background, is Fra Angelico da Fiesole, on the right side is the laurel-crowned profile of Dante, and, separated from him by an old man, appears the head of Savonarola. In the space below the picture (added by Perino del Vaga under Paul HI.), from left to right: Heathen sacrifice; St. Augustine finding a child attempting to exhaust the sea; the Cumiean Sibyl showing the Madonna to Augustus; allegorical figure of the ap¬ prehension of divine things. Under the Poetry : 2. The Parnassus (to the right of the Dis- The Vatican, ROME. V. Right Bank. 297 puta). — This composition is the most perspicuous of the whole series. The spectator will not fail to appreciate the poetical life and exalted sentiment which pervade the picture, while the im¬ pression it conveys is at the same time exceedingly pleasing. Ra¬ phael has shown consummate skill in adapting his work to the un¬ favourable character of the space to be covered. Apollo sits under laurels playing the violin. This instrument was not chosen by Ra¬ phael from ignorance or for the purpose of paying a compliment to Giacomo Sansecondo, a famous violinist of that period, but on the sole ground that the motion of the hand seemed to him easier w^hen playing the violin than the lyre. Around Apollo are grouped the nine Muses , forming with him a compact central group. The im¬ posing figure of the blind singer, on the left, next arrests our at¬ tention. The tunes of the god have so inspired him, that he begins to sing. Near him are Dante and Virgil. In the foremost group Petrarch and Sappho are recognisable, and the front figures, in the opposite group, are called Pindar and Horace. The personages be¬ hind are evidently contemporaries of Raphael, whose names cannot now be ascertained. Under these, in grisaille: left, Alexander the Great causes the poems of Homer to be placed in the grave of Achilles; right, Augustus prevents the burning of Virgil’s ^^neid. I'nder the Philosophy: 3. The so-called School of Athens (a name not originally applied to the work), the companion to the Disputa, not only in point of situation, but with respect to its subject likewise. There we are introduced to a congregation of believers, here to an Assembly of Scholars. The scene is not divided between heaven and earth, as in the case of the Disputa, but is confined to earth alone; while at the same time, as in the Disputa, a gradation of knowledge, from the imperfect empirical to the per¬ fect and universal, is suggested. A flight of steps leads to an open colonnade, crowned with a dome at the back (supposed to have been designed by Bramante), which forms the most admirable temple of knowledge ever created. Apollo, Minerva, and numerous gods adorn the niches. Plato and Aristotle^ the princes in the realm of thought, whom the Renaissance especially revered, surrounded by a numerous train, approach the steps which descend to the foreground, where, in contrast to the pure philosophers, is a crowd of representatives of the empirical sciences, of geometry, arith¬ metic, astronomy, and music. Such are the two main contrasts presented by the picture, and with them are combined a gradual raising of the sentiments and aspirations from mechanical pursuits, from learning and teaching, copying, meditating, and disputing, to the glorious revelation of the truth, as embodied in the ‘divine Plato’. To these general features Raphael imparted the warmth of life and individuality by interweaving with the scene a number of ancient Greek and other personages, in conformity with the pre¬ valent aims of his contemporaries, who were enthusiastic admirers 298 V. Jiiijhl Bank. ROME. The Vatican. of the antique. He by no means intended, as lias been supposed, to give a complete picture of the development of Greek philosophy, but be merely introduced, various popular characters of antiquity, with a view to direct the spectator’s imagination into the proper channel, and, as it were, to localise a scene which would otherwise have been too general and. abstract. Besides Plato and Aristotle, the masks of the bald. Socrates, and oi Diogenes lying on the steps, are unmistakable. Ptolemy (who from having been mistaken for one of the kings of that name is arrayed in a crown), and Zoroaster with the globe in the foremost group on the right, are easily re¬ cognised. The names of the other figures are merely conjectural. The bearded, old. man in the corner to the left, in profile, is sup¬ posed. to be Zeno, the Stoic, the vine-wreathed figure beside him, holding a book, is perhaps Epicurus or Democritus. The Oriental, who bends over the writing Pythagoras, is Averrhoes, who was regarded in the niid.dle ages as the principal champion of heretical wisdom. By the base of a column sits Empedocles, who is also looking towards the tablet of Pythagoras. The figure resting his foot on a block of marble is either Anaxagoras or Xenocrates. Lastly, the isolated, figure in the foreground, terminating the group to the left, is supposed, to be Heraclitus. In the Socrates group above is a youthful warrior, representing either Alcihiades or Xenophon, and. the figure behind, the warrior, beckoning to Socrates, is said to be Chrysippus. No clue, however, has yet been discovered to the names of the figures in the corresponding group to the right, in the upper part of the picture. Raphael has introduced, several of his contemporaries into this picture also. Thus, the handsome youth in the foremost group to the left, bears the features of Francesco Maria della Rovere, Duke of Urbino; the geometer with the com¬ passes is the portrait of Bramante; and. the youth bending forward with outstretched, arms is Duke Frederick II. of Mantua. We are also introd.uced. to the master himself, who enters the assembly from the right, accompanied, hy his teacher Perugino. Below this picture, in different shades of brown, by Perino del Vaga (from left to right): Allegorical figure of Philosophy; Magi¬ cians conversing about the heavenly bodies; Siege of Syracuse; Death of Archimedes. Under the Justice: 4. Over the window the three cardinal virtues: Prudence with double visage looking to the future and the past; right. Moderation; left. Strength. Below, at the side of the window, the administration of ecclesiastical and secular law; right, Gregory IX. (with the features of Julius II.) presenting the Decretals to a jurist (surrounded by numerous portraits ; to the left in front Card, de’ Medici, afterwards Leo X.). Below (by Perino del Vagoi): Moses brings the tables of the Law to the Israelites; left, Justinian entrusts the Roman Code to Tribonian. In the space beneath: Solon’s address to the Athenian people (?). The Vatican. ROME. y. Right Bank. 299 The door adjoining the ‘School of Atliens’ leads to the — 11. Stanza d’Eliodoro, the frescoes of which were painted in 1511-14. The mural paintings, from the first of which the sa¬ loon derives its name, represent the triumph and divine protection of the church, in connection with the age of the warlike Julius II. and the elevation of Leo X. On the Ceiling are four scenes from the old Covenant, unfor¬ tunately much damaged: Jehovah appears to Noah, Jacob’s Vision, Moses at the burning bush, Sacrifice of Isaac. Mural Paintings. Below the Moses : 1. Miraculous Expulsion OF Heliodorus from the Temple at Jerusalem by a heavenly horse¬ man (Maccab. ii, 3), being an allusion to the deliverance of the States of the Church from their enemies. On the right Heliodorus lies on the ground; one of his companions attempts to defend him¬ self, a second shouts, a third strives to secure his booty; in the background the high-priest Onias praying; to the left in the fore¬ ground women and children, and Pope Julius II. on his throne (the hindmost of the two chair-bearers is the celebrated engraver Marcantonio Raimondi). This composition is remarkable for its admirable vigour of expression. Below the Sacrifice of Isaac ; 2. The Mass of Bolsena. An un¬ believing priest is convinced of the truth of the doctrine of tran- substantiation by the bleeding of the host (comp. p. 65), a miracle which is said to have taken place at Bolsena in 1263; below arc women and children; opposite the priest, Julius II. kneeling with calm equanimity; the wrathful cardinal is Riario (founder of the Cancelleria). This work is probably the most perfect of Raphael’s frescoes with respect to execution. Below Noah: 3. Attila repulsed from Rome by Leo I., in allusion to the expulsion of the French from Italy after the battle of Novara in 1513. The pope, with the features of Leo X., is seated on a white mule, around him cardinals and attendants on horse¬ back, above him St. Peter and St. Paul enveloped in a brilliant light, and distinctly visible to Attila and his Huns, who are struck with terror at the apparition. To the right of this — Below Jacob’s Vision: 4. The Liberation of Peter, in three sections. Over the window Peter in the dungeon sleeping between the watchmen and awakened by the angel; right, he is conducted away; left, the watchmen awake. Under the pictures are painted eleven Caryatides and four statues in grisaille. They are symbolical of a life of peace, and bear the distinct impress of Raphael’s inventive genius, notwith¬ standing considerable restoration. The paintings in ditferent shades of brown between these, of similar import with the large figures, have been still more freely retouched. These two apartments were painted by Raphael’s own hand, and his progressive freedom and decision of touch are distinctly trace- 300 V. Right Bank, ROME. The Vatican. able. In the two following rooms he painted the conflagration of the Borgo only (with the exception of a few lignres on the left); the other pictures were executed from his designs, those of the third room under his personal supervision, those of the fourth after his death. III. Stanza dell’ Incendio, on the opposite side of the Stanza della Segnatura, is entered by the door on the right adjoining the Disputa. The ceiling-paintings are by Perugino, those on the walls, representing scenes from the reigns of Leo III. and Leo IV., were executed in 1517. Over the window: 1. Oath of Leo III., sworn by him in pre¬ sence of Charlemagne (with the gold chain, his back turned to the spectator), in order to exculpate himself from the accusations brought against him, by Perino del Vaga. To the right of this, on the entrance-wall: 2. Victory of Leo IV. OVER the Saracens at Ostia, executed by Giov. da Udine. The pope is represented as Leo X., accompanied by Card. Julius de’ Medici (Clement VII.), Card. Bibiena, and others. Below: Ferdinand the Catholic, and the Emp. Lothaire. 3. Incendio del Borgo, conflagration of the Borgo, whence the name of the room. The apparently ungrateful task of painting a miracle has been executed so happily by the genius of Raphael, that he has pre¬ sented us with what would be termed in modern language a mag¬ nificent genre picture. The traditional incident, — the extinguish¬ ing of a fire which had broken out in the Borgo, or Vatican quarter, by the sign of the cross made by Pope Leo IV. (9th cent.) in the Loggia of St. Peter’s — is placed in the background. The fore¬ ground exhibits the terrors of a conflagration, the efforts of the people to save themselves and their movables, and the halfparalysed condition especially of the mothers and other women. We are then transported to the heroic age, by a group in the left corner, repre¬ senting the aged Anchises on the back of ^Eneas, the classical de¬ rivation of which justifies the powerful delineation of the limbs. The Incendio is unquestionably the most popular picture of the series, and is well adapted to illustrate the superiority of Raphael's art to that of a later period. The antiquarian will also scan with interest the fa(,^ade of the old church of St. Peter, represented liere as it still existed in Raphael’s time. Below; Godfrey de Bouillon and Aistulf. 4. Coronation of Charlemagne in the old Church of St. Pe¬ ter. Leo III. has the features of Leo X., and the emperor those of Francis I. of France. Below : Charlemagne. IV. Sala diCostantino. The pictures of this saloon were exe¬ cuted under Clement VII. by Giulio Romano, aided by Francesco Penni and Raffaello dal Colie. It has been supposed that tlie alle¬ gorical figures ofComitas and Justice, in oil, and not ‘al fresco’ like .2'/te Vatican. ROME. V. Right Bank. 301 the rest of tlic work, were painted by Raphael’s own hand ; but it ap¬ pears, from letters of Fra Sebastiano delPiombo (who took an interest in the w'ork after Raphael’s death) to Michael Angelo, that one figure only was painted in oil by Raphael’s pupils, and that the objects to be depicted were not finally agreed upon at the time of RaphaeFs death, or, at least, that they underwent many changes during their execution. For some of the pictures, however, particularly for the Battle of Constantine, preliminary sketches had been made by Ra¬ phael himself. On the long wall: 1. Battle of Constantine against Maxeii- tius at Ponte Molle, the emperor advancing victoriously, behind him flags with the cross, Maxentius sinking in the river, flight and defeat on all sides, painted by G. Romano. This fine composition is full of expression and vigour, but the colouring is less success¬ ful. — On the left side of the picture Silvester I. between Faith and Religion; on the right Urban I. between ^Justice and Charity. 2. Baptism of Constantine by Silvester I. (with the features of Clement VII.) in the baptistery of the Lateran, by Francesco Penni. To the left of this: Damasus I. between Prudence and Peace; right, Leo I. betw^een Innocence and Truth. 3. (on the window-wall) Rome presented by Constantine to Silvester l.,hyRaffaello dal Coile; left, Silvester with Fortitude, right, Gregory VII. (?) with Power (?). 4. Constantine’s Address to his warriors regarding the vic¬ torious omen of the cross, designed by Raphael (?), and executed by G. Romano., who added the dwarf (perhaps Gradasso Berettai of Norcia, dwarf-chamberlain of Card. Ilippolytus de’ Medici) and several other figures. — On the left, Peter betw'een the Church and hlternity, right dementi, between Moderation and ^Urbanity. — The scenes below are from the life of Constantine, designed by G. Romano. The Ceiling, completed under Sixtus V., is adorned with an allegory of the triumph of Christianity over paganism. In the pendentives are Italian landscapes, with corresponding allegorical figures in the lunettes. One of the custodians of this saloon (f /2 fr.) shows the neigh¬ bouring *Cappella di Niccolo V. , erected by Nicholas V. and deco¬ rated by Fra Angelico da Fiesole in 1447 with frescoes from the life of SS. Lawrence and Stephen. They are one of the last and finest w'orks of that master, but were buried in oblivion until restored under Gregory XIII. and Pius VII. The Upper Series represents scenes from the life of St. Stephen: 1. (to tlie right of the door) Stephen consecrated deacon by Peter; 2. He distri¬ butes alms as deacon; 3. He preaches; 4. He is brought before the coun¬ cil at Jerusalem; 5. He is dragged away to his martyrdom; 6. His death by stoning. — Below, in the same order, scenes from the life of St. Lawrence: 1. Consecrated deacon by Sixtus II. ; 2. Sixtus (with the features of Nicho¬ las V. ?) gives him treasures for distribution among the poor; 3. Distribution of the same; 4. The saint is condemned by the emperor; 3. His martyrdom. 302 V. Itiyht Bank . ROME. The Vatican. Also on the wall below: 1. St. Bonaventura, r. St, Johannes Chrysostomus. In the vaulting: 1. St. Augustine, r. St. Gregory. On the lower part of the right wall: 1. St. Athanasius, r. St. Thomas Aquinas. On the vaulting: 1. St. Leo, r. St. Ambrose. On the ceiling the Four Evangelists. **Eapliaers Loggie. Leaving the Constantine saloon, we pro¬ ceed to the second floor of the loggie which enclose the Cortile di S. Damaso (p. 289), the W. (right) wing of which was embellished with stucco mouldings, painted enrichments, and ceiling paintings, from designs by Raphael and under his superintendence by Uiulio Romano^ Giovanni da Udine^ and others of his pupils. The hall was originally open, and the paintings have therefore suffered se¬ riously from exposure to the air, but since 1813 they have been protected by windows of glass. The stucco work and the painted ornamentation are by Giovanni da Udine, and its style has manifestly been influenced by the antique works of the kind which had been found a short time previously in the Thermae of Titus (p. 230). Amongst the ceiling paintings after Raphael’s designs those in the first vault were executed by Giulio Romano, the others by Francesco Penni, Perino del Vaga, Polidoro da Caravaggio, and others. Each of the thirteen sections of the vaulting contains four quadrangular frescoes, which are together known as ^Raphael's Bible'. All these compositions display rare fertility of invention and grace¬ fulness of treatment. Ceiling Paintings. The lirst twelve vaults contain scenes from the Old, and the thirteenth scenes from the New Testament. We begin to the right of the principal approach, i. e. the side opposite the present en¬ trance. Staircase: I. (over the door) 1. Separation of light from darkness^ 2. Separation of land from sea^ 3. Creation of the sun and moon; 4. Crea¬ tion of the animals. — II. 4. (Creation of Eve; 1. The Fall; 2. Banishment from Paradise; 3. Adam and Eve working (destroyed). — III. 1. Noah building the ark; 2. Deluge; 3. Egress from the ark (destroyed); 4. Noah’s sacrifice. — IV. 1. Abraham and Melchisedek; 3. God promises Abraham posterity; 2. Abraham and the three angels; 4. Lot’s flight from Sodom. — V. 1. God appears to Isaac; 3. Abimelech sees Isaac caressing Rebecca; 2. Isaac blesses Jacob; 4. Esau and Isaac. — VI. 1. Jacob’s vision of the ladder; 2. Jacob and Rachel at the well; 3. Jacob upbraids Laban for having given him Leah (destroyed); 4. Jacob on his journey. — VII. 1. Joseph relates his dream to his brethren; 2. Joseph is sold; 3. .Toseph and Potiphar’s wife; 4. Joseph interprets Pharaoh’s dream. — VIII. 1. Finding of Moses; 2. Moses at the burning bush; 3. Destruction of Pharaoh in the Red Sea; 4. Moses strikes the rock for water. — IX. 1. Moses receiving the tables of the Law ; 2. Adoration of the golden calf, Moses breaks the tables; 3. Moses kneels before the pillar of cloud; 4. Moses shows the tables of the Law to the people. — X. 1. The Israelites crossing the Jordan; 2. Fall of Jericho; 3. Joshua bids the sun stand still during the battle with the Ammonites; 4. Joshua and Eleazar dividing Palestine among the twelve tribes. —XI. 1. Samuel anoints David; 2. David and Goliath; 4. David’s triumph over the Syrians; 3. David sees Bathsheba. — XII. 1. Zadok anoints Solomon; 2. Solomon’s .Judgment; 4. The Queen of Sheba; 3. Building of the Temple (destroyed). — XIII. 1. Adoration of the shepherds (destroyed); 2. The wise men from the East; 3. Baptism of Christ; 4. Last Supper. Stucco Mouldings. Among these should be particularly noticed the charming small reliefs in the arches of the windows of the first section. Here to the left, above, is perceived Raphael, sitting and drawing, with a grinder of colours below him. Lower down are a number of his pupils busied in executing tlieir master’s designs, and below them Fama who The Vatican. ROME. V. Right Bank. 303 proclaims the celebrity of the work. On the right an old bricklayer is seen at work, and there is a similar figure in the right curve of the 2nd window, both apparently portraits. The whole affords a charming picture of the life and habits of the artists during the execution of the work. The decoration of the two other wings of the loggie of this story, with stucco work by Marco da Faenza and Paul Schor, painted by artists of the 16th and 17th cent., is very inferior to the above described works of Raphael’s period. — Immediately to the left, in the N. (first) wing, is the approach to the picture gallery; we as¬ cend the stairs, and at the top ring at the door on the left. The **Picture Gallery of the Vatican was founded by Pius YIl. by collecting the pictures restored by the French in 1815, most of which had been taken from churches, and by adding others. With the Borghese Gallery, this is the most important collection in Rome, being inferior to that gallery, and to other great Roman private col¬ lections in the number of its works alone, while surpassing them in selectness. — Permesso and hours of admission, see p. 118 (fee 1/2 fr*)’ pictures are not numbered, but are furnished with no¬ tices of the subjects and the names of the artists. I. Room. Left wall: Leonardo da Vinci., St. Jerome, a coloured sketch ^ '^Raphael., Annunciation, Adoration of the Magi, Presentation in the Temple, predella to the Coronation of Mary in the 3rd Room^ Quercino., Christ and Thomas 5 *Oiov. Bellini (formerly ascribed to Mantegna^., The dead Christ and M. Magdalene who anoints his wounds; Franc. Francia., Madonna with St. Jerome. — On the window-wall: Carlo Crivelli., Dead Christ with Mary, St. John, and Magdalene. — On the entrance-wall: Fra Angelico da Fie- sole Scenes from the life of St. Nicholas of Bari, *Small Madonna with angels on a gold ground; Murillo., Adoration of the shepherds; Benozzo Goz- zoli., Miracles of St. Hyacinth; Murillo., Return of the Prodigal; Murillo., Nuptials of the infant Christ with St. Catharine (these three Murillos were presented to Pius IX. by Queen Isabella); Pei'ugino^ SS. Benedict, Scholas- tica, and Placidus; "Bonifazio., Madonna with St. John and St. Catharine, on the left St. Peter and St. Paul (fine colouring); * Raphael .,VdAi\\., Hope, and Charity, predella of the Entombment in the Pal. Borghese, in grisaille; Qa- rofalo., Madonna, St. Joseph, and St. Catharine. II. Room. Entrance-wall: on the right, "Domenichino., Communion of St. Jerome. — Wall of egress : '^*'Raphael , The Transfiguration, his last great work, painted for Card. Giulio de’ Medici (afterwards Clement VII.), and preserved down to 1797 in S. Pietro in Montorio. The upper part is by Raphael’s own hand: Christ hovering between Moses and Elias; Peter, James, and John prostrate on the ground, dazzled by the light. The lower half (much darkened by age), where the other disciples are being requested to heal the possessed boy, was partly executed by Raphael’s pupils. The figures above, to the left, in an attitude of adoration, are St. Lawrence and St. Stephen. — On the short wall: "^"'Raphael., Madonna of Foligno, 1512; in the background the town of Foligno , into which a bomb falls; to the right, below, St. Jerome recommends to the Madonna Sigismondo Conti, secre¬ tary of Julius II., who ordered the painting for S. Maria in Aracoeli, whence it was transferred to S. Anna delle Contesse in Foligno; to the left St. Francis of Assisi, and John the Baptist. The transference of the picture from wood to canvas, effected at Paris, has rendered retouching necessary. III. Room. On the entrance-wall: Titian., Madonna and saints; Quer- cino., St. Margaret of Cortona. — Right long-wall: Spagnoletto., Martyrdom of St. Lawrence; Ouercino., M. Magdalene; Bern. Finturicchio., Coronation of the Virgin, painted for the church delle Fratte at Perugia; below are the Apostles, St. Francis, St. Bonaventura, and three f'ranciscans ; Perugino., Resurrection, probably painted by Raphael when a youth, from a design of his master Perugino; the sleeping soldier to the right is said to be ROME. The Vatican. 304 V. RUjht Bank. Rapliael’s own portrait, the one fleeing to the left that of Perugino^ Coro¬ nation of the Virgin, designed by Raphael for the monastery of S. Maria di Monte Luce near Perugia , the upper half painted by G. Romano., the lower by Francesco Penni (il Fattore); Lo Spagna., Adoration of the infant Christ (formerly in La Spineta near Todi); -Raphael., Coronation of the Virgin, painted in 1502 in Perugino’s scliool, for S. Francesco at Perugia; -Perugino., Madonna on a throne with Laurentius, Ludo- vicus, Herculanhs, and Constantins, the guardian saints of Perugia; Sassoferraio., Madonna. — End wall: M. A. Caravaggio., Entombment. — Window-wall: Titian., Doge of Venice; Niccolo Alunno, Crucifixion of Christ and Coronation of the Virgin, two large paintings in several compartments. Between these: -Melozzo da Forli., Fresco from the former librarj’ of the Vatican , representing Sixtus IV. the donor, with Card. Giul. della Rovere (Julius 11.) and his nephew Pietro Riario; before him kneels Platina, pre¬ fect of the library. IV. Room. Entrance-wall: Valentin., Martyrdom of Processus and Marti- nianus; Guido Reni^ Crucifixion of St. Peter; N. Poussin., Martyrdom of St. Erasmus, — Right wall: F. Baroccio., Annunciation ; A. Sacchi., Mass of Gre¬ gory the Great (there are mosaic copies of these three pictures in St. Peter's); Baroccio., St. Michelina. —Window-wall: -Morello., Madonna with SS. Jerome and Bartholomew; Paolo Veronese., Vision of St. Helena. — Left wall: Madonna; below, Guido Reni., SS. Thomas and Jerome; Correggio (? or perhaps Caraccf), Christ in a glory; A. Sacchi., St. Romuald. B. Antiquities. Galleria Lapidaria. Braccio Nuovo. Museo Chiaramonti. Museo (Raphael’s Tapestry). Museo Greyoriano. Egyptian Museum. Comp. Plan, p. 306. Pekmesso , see p. 118. A complete description (in English) of the Vatican IMuseum has been published by Massi (4 fr.; abridgment 2 fr.). The Vatican Collection of Antiquities, the finest in the world, was begun by the Popes Julius II., Leo X., Clement VII., and Paul III. in the Belvedere., which was erected by Bramanie under Julius II. and commands a magnificent view of Rome. Here, for example, were preserved the Torso of Hercules, the Apollo Belvedere, and the Laocoon. Clement XIV. (Ganganelli, d. 1774) determined to institute a more extensive collection, in consequence of which the Museo Pio-Clemenlino arose under him and his successor Pius VI. The museum was arranged by the celebrated E. Q. Visconti. It was despoiled of its costliest treasures by the French in 1797, but most of these were restored to Pius VII. in 1816 after the Treaty of Paris. Pius VII. extended the collection by adding to it the Museo Chiaramonti , and in 1821 the Braccio Nuovo; and Gregory XVI. added the Egyptian and \h.e Etruscan Museum. Tlie Present Entrance to the collection of antiquities is on the W. side of the palace, not far from the N.W. corner. Ap¬ proaching from the Borgo, we cross the Piazza S. Pietro, proceed to the left great flight of steps of St. Peter’s through the passage under the portico, walk round the whole of St. Peter’s, of the di¬ mensions of which we thus obtain an excellent idea (comp, also plan, p. 278), and then, between the Vatican Gardens (at present inaccessible) and the palace, reach the door under the Sala della Riga. We ring at the gate, mount the stairs, where the per- messo is given up (the glass-door opposite the staircase leads to the Library^, and enter the Sala a Croce Greca (p. 313) of the Museum. Continuing to ascend the staircase hence, we visit The Vatican. romp:. V. Right Rank . 305 the Sala della Riga, the Galleria dei Candelabri , and tlie Museo Gregoriano, in the order given in the Handbook, while we take the remaining rooms in the reverse order, i. e. as follows: Sala Ro- tonda, Sala delle Muse, Sala ^egli Animali, Galleria delle Statue, with the Saloon of Busts, and the Gabinetto delle Maschere, Cortile del Belvedere, etc., so that in the annexed description the enumer¬ ation often begins opposite the entrance door. [Galleria Lapidaria.] *Braccio Nuovo, *Museo Chiaramonti. [When approached from the principal entrance in the Cortile di S. Damaso, which is at present closed (comp. p. 295), the museum begins with a corridor 20 ft. in width, and upwards of 300 yds. in length, the first half of which contains the — Galleria Lapidaria, begun by Clement XIV. and Pius VI., and extended by Pius VII. , a collection of 3000 inscriptions, heathen (on the right and left at the commencement) and ancient Christian (beginning with the 7th window on the left), built into the walls under the supervision of Gaetano Marini, the learned founder of the modern science of Latin epigraphy. The gallery also contains ancient cippi, sarcophagi, and statues. — The last small door on the left, at the end of this gallery, is the entrance to the library (p. 317). The second half of the corridor , separated from the first by an iron gate, contains the Museo Chiaramonti (p. 308). Before visiting it, we turn to the left to the] — *Braccio Nuovo, constructed by Rafael Stern under Paul VII. in 1821. This saloon, which is roofed with tunnel vaulting, and lighted from above, is 77 yds. long and 8 Y 2 yfr.J. In the Via della Lungaretta, immediately beyond the cliurch, is the brightly-painted hospital of S. Gallicano, for cutaneous diseases, presided over by a professor of the Sapienza. After 9 min. we reach the Piazza di S. Maria (PI. M, 15, 12), with a fountain, and a church of that name. *S. Maria in Trastevere, which is said to have been founded by Calixtus I. under Alexander Severus, on the spot where a spring of oil miraculously welled forth at the time of the birth of Christ, is mentioned for the first time in 499, was re-erected by Innocent II. about 1140, and consecrated by Innocent III. in 1198. The church has recently been restored. The present portico was added by (\ Fontana under Clement XI. in 1702. In front are mosaics of Mary and the Child, on each side the small figure of a bishop (Innocent II. and Eugene III.) and ten virgins, eight of whom have burning, and two extinguished lamps, a work of the 12th cent. , largely restored in the 14th. The portico contains the remains of two Annunciations, one attributed to Cavallini, but now^ entirely repainted, and numerous inscriptions. On the side-wall to the right is the tomb of the librarian Anastasius (d. about 886). The Intekiok contains twenty-two ancient columns of unequal sizes. Some of the Ionic capitals were formerly decorated with heathen deities, but these were removed when the church was restored in 1870. The ceiling, decorated with richly-gilded stucco, was designed by Domenichino. The oil- painting on copper in the centre, a Madonna surrounded by angels, is by the same master. The chapels contain little to detain the traveller. The Tkansept is reached by an ascent of seven steps, adjoining which is the inscription Forts olei ^ indicating the alleged site uf the spring of oil. In the transept on the left fire the tombs of two Armellini and an ancient relief of the Virgin and saints. Opposite is an altar erected to .St. Philip and St. James by Card. Philip of Alencon; r. his tomb (d. 1397); 1. tomb ROME. Trastcvere. 330 V. Riyht Bank. of Card. Stcfaneschi (d. 1417), with recumbent tif>ure by Paolo Romano. — The ■ Momicii in the Tkibunk belong to diflercnt periods. Above, on tlie arch, are the older ones, dating from tlie 12th cent.: the Cross with Alpha and Omega, under the symbols of the Evangelists; r. and 1. Isaiah and Jeremiah. On Ihe vaulting Christ and the Virgin enthroned; 1., St. Calixtus, St. Lawrence, Innocent II.; r., St. Peter, St. Cornelius, Julius, Calepodius. Tlie lower mosaics are attributed by Vasari to Pietro Cavallini.^ a master of the transition period from the Cosmas family to Giotto, and have been restored by Camuccini. They represent the thirteen lambs and scenes from tlie life of Mary; in the centre of the wall a mosaic bust of Mary with St. Peter, St. Paul, and the donor Stefaneschi (1290). — The Sacristy contains a Madonna with SS. Rochus and Sebastian, attributed to Perugino, and a fragment of ancient mosaic (ducks and fishermen), the former an admirable work. The Via del Cemetero and Via de’ Fenili lead hence direct to 8. Pietro in Montorio (p. 324). — The Via di S. Francesco descends towards the S.E. (to the left) to the piazza of that name, in which are situated the church and monastery of S. Francesco a Eipa, where St. Francis resided for some time. The church was built in 1231, and modernised in the 17th cent. The last chapel on the left contains the recumbent figure of St. Lodovica Albertoni by Bernini. —• Omnibus hence to the Piazza di Venezia, see p. 112. From the Ponte Rotto (p. 250) the Via de’ Vascellari to the left and its prolongation, the Via di S. Cecilia, lead us in 4 min. to — *S. Cecilia in Trastevere (PI. II, 15), originally the dwelling- house of the saint, which was converted into a church by Urban I., restored by Paschalisl., and entirely rebuilt by Card. Franc. Acqua- viva in 1725. It is approached by a spacious court, which is embellished with an ancient vase, and by a portico resting on four columns of African marble and red granite. Festival, 22nd Nov. Interior. The columns which formerly supported the nave were replaced by pillars in 1822. To the right of the entrance is the tomb of Card. Adam of Hertford, an English prelate (d. 1398); and to the left that of the warlike Card. Fortiguerra (d. 1473). — The beautiful High-Altar with columns in pavonazzetto was executed by the Florentine Arnolfo del Camhio in 1283; adjacent is an ancient candelabrum for the Easter-candle; beneath the high-altar the recumbent ^figure of the martyred S. Cecilia by Stef. Maderno. The saint had converted her husband, her brother, and even her judges, but was at length condemned to be executed during the persecution that took place either under Marcus Aurelius or Alex¬ ander Severus. The executioner being unable to sever her head from her body, tied in dismay after three attempts. Bishop Urban interred the remains of the holy woman in the catacombs of St. Calixtus, not far from the tomb of the popes. In 821 her burial-place was divulged to Paschalis I. in a vision, whereupon he transferred her remains to this church. In 1599 the sarcophagus was again opened, and at that period, the age of Bernini, this admirable figure was executed. — The Tribune contains ancient "Mosaics of the period of the foundation (9th cent.): the Saviour on a throne with the Gospel, r. St. Paul, St. Agatha, and Paschalis; 1. St. Peter, St. Cecilia, and her husband St. Valerianus. — In the 1st Chapel, on the right, an ancient picture of Christ on the Cross: the 2nd Chapel, somewhat receding from the church, is said to have been the bath-room of St. Cecilia, the pipes of which are still seen in the wall. — The opposite door leads to the Sacristy, the vaulting of which is adorned with the Four Evangelists by Pinturicchio. — In the last Chapel to the right, on the altar: Madonna with saints, a relief of the I5th cent.; on the right wall are preserved the remains of mosaics of the 12th cent, detached History. ROME. The Catacombs^ 331 from the facade of the church (Entombment of the saint and her Ap¬ pearance to Pope Pascal I.). — Descent to the lower church by the tribune. Farther on, in the direction of the gate, the next transverse street to tlie right leads to S. Maria delV Orto^ designed by G. Ro¬ mano in 1512; facade of 1762. The interior is overladen with stucco and gilding. Adjacent is the government Tobacco-Manufactory. — The street to the left leads to S. Francesco (p. 330). The transverse street to the left (S.E.) from S. Cecilia leads to the Ripa Grande with the harbour. Pleasant view of the Marmorata and Aventine. To the right stands the extensive Ospizio di S. Mi¬ chele (PI. Ill, 15), founded in 1689 by Tommaso Odescalchi. After his death it was extended by Innocent XII., and combined with other establishments, now comprising a work-house, reformatory, house of correction, and hospice for the poor. Sick and aged per¬ sons of both sexes are provided for here, and other indigent persons are furnished with work. Poor and orphan children are instructed in various trades and arts, the boys being afterwards discharged with a donation of 30, girls with lOOscudi. The establishment pos¬ sesses several churches, spacious work-rooms, and apartments for the sick. At the end of the Ripa Grande is the Dogana, and beyond it, on the right, we reach the Porta Portese, the road issuing from which leads to Porto (see p. 340). The Catacombs. Most travellers will be satisfied with a visit to the Catacombs of St. Ca- lixtus., and perhaps those of St. Agnese. Both of these are daily access¬ ible ; a permesso (p. 117) is not now absolutely necessary. Fee to the guide (without whom visitors are not admitted) for one person 1-2 fr., for a party V 2 fr- each. Visitors had better bring candles with them, as the light carried by the guid^ hardly suffices for a party. On 22nd l^ov. the Catacombs of Calixtus are illuminated and open to the public. — Tlie small Catacombs of St. Sebastian., which may be visited without a guide, are uninteresting. A permesso is required for all the other catacombs. Scientific visitors may apply for additional information to Commenda- tore Giov. Batt. de Rossi., Piazza Aracoeli 17, upper floor. Ancient and Christian Rome seem to be separated by a wide cliasm, if the modern appearance of the city alone be regarded. The most ancient churches having disappeared, or being concealed be¬ neath a modern garb, the earliest Christian monuments of any im¬ portance are several centuries later than the last Roman structures. This interval is filled up in a satisfactory manner by means of the Catacombs., or burial-places of the early Christians, which have re¬ cently been rendered specially interesting by a series of important investigations. I. History of the Catacombs. The term ‘Catacombs’ is modern, having been extended from those under S. Sebastiano, to which the topo¬ graphical name '■ad catacumbas' was anciently applied, to the others also. The early Christians gave their burial-places the . Greek name of Coemeteria, i.e. resting or sleeping-places, probably with reference to the hope of the resurrection. The Roman law, frequently re-enacted during the empire, 332 TJic ('atacombs. ROME. IfiHory. prohibiting the interment of the dead, or even their ashes, within the precincts of the city, was of course binding on the Christians also. We accordingly tind their biirying-places situated between the 1st and 3rd milestones beyond the Aurelian wall, to which Rome had extended long before the construction of the wall itself. While most of the European nations had become accustomed to dispose of their dead by cremation, the Egyptians and the Jews retained the practice of interment as being more in harmony with their views on the subject of a future state. The prevalence of similar views among the Christians gave rise to the ex¬ cavation of subterranean passages, in the lateral walls of which apertures were made for the reception of the corpses. Rurial-places of this de¬ scription are to be found at Naples, Syracuse, Chiusi, Venosa, in Alexandria (in Kgypt), and elsewhere, as well as at Rome. It was formerly supposed that the early Christians used ancient arenaria, or pits of puzzolana earth, for this purpose, and extended them according to I’equirement, but this theory, as well as the belief that the different cata¬ combs were all connected, has been entirely refuted by modern investigation. These subterranean passages are proved to have been excavated almf»st exclusively for the purposes of Christian interment, in the soft strata of tufa (tufo granolare), of which most of the hills in the environs of Rome consist, and which is rarely employed for building purposes. The hard tulfstone used for building, and the puzzolana, which when mingled with lime yields the celebrated Iloman cement, have been penetrated in a few exceptional cases only. It is moreover ascertained that several of these ‘cemeteries’ were kept within the limits prescribed by the Roman law with regard to excavations, and therefore enjoyed its protection. The Romans used burial-places of two kinds, viz. the family-tombs, and those of collegia., or societies, such as the columbaria (p. 259). In both cases the purchase of a definite area was necessary, within which every tomb was sacred and inviolable above and below the surface. So also the catacombs are partly Family-Tombs., which were named after their original proprietors, such as those of Lucina, Domitilla, Balbina, Frse- textatus, Pontianus, and Maximus, and partly those of Collegia^ which began to be formed by the Christians for the establishment of common burial- places about the 3rd century. The approaches to these vaults were every¬ where wide and conspicuous, without any indication of attempt at con¬ cealment. The oldest of them appear to belong to the first century of our era, while the most recent date from the first half of the 4th century. A system of ecclesiastical supervision of cemeteries, which is mentioneil for the tirst time about the year 2(X), appears gradually to have embraced all the Christian burial-places, the different districts of which were dis¬ tributed among the deacons; and this became more necessary as the community, which about the year 250 consisted of 50,000 souls, increased in numbers. It was not till the 3rd cent, that the safety of the catacombs was oc¬ casionally endangered during the persecutions of the Christians, when the devout who assembled to celebrate divine service at the tombs of the mar¬ tyrs were not unfrequently followed into their subterranean places of refuge, and there arrested or slain. From this period date the precau¬ tionary measiu’es which are sometimes observable, such as narrow stair¬ cases and concealed entrances. Peace was at length restored to the Church and security to the catacombs by Constantine the Great’s edict of Milan. Throughout the 4th century interments here were customary, but they became rarer towards the beginning of the 5th, and were soon entirely discontinued, as it now became usual to inter the dead near the churches. The last three catacombs were founded by Pope Julius in 33G-47. The catacombs, however, as well as the tombs of the martyrs, still enjoyed the veneration of pilgrims and the devout. As early as 370 Pope Damasus caused numerous restorations to be made, and the most important tombs to be furnished with metrical inscriptions; apertures for light were constructed, to facilitate the access of visitors, and the walls at a compar¬ atively late period decorated with paintings, which differ materially from those of the earliest Christians in subject and treatment. During the Arrangement. ROME. The Catacombs. 333 frequent devastations undergone by the city, however, the catacombs \vere also pillaged and injured, the first time on the occasion of the siege by the Goths in 537, and afterwards during the siege by the Lombards in 755, when they suft'ered still more seriously. ‘The invaders ran¬ sacked the burial-places of the martyrs with pious zeal, searching for the bones of saints, which they deemed more precious than gold, and giving them arbitrary names, carried them home in hope of selling them at a great price. That a skeleton was found in Roman soil was suffi¬ cient warrant to them for attributing miraculous virtue to it, and thus it probably happened that the greatest sinners buried in the catacombs frequently had their remains exhumed and revered as those of saints'* (Gregorovius). After these different plunderings the catacombs were re¬ stored by John III. (560-73) and Paul I. (757-68); but the transference of the remains of the martyrs to the altars of the city had already taken place in the most wholesale manner. In 609, when Boniface IV. conse¬ crated the Pantheon as a church, he caused twenty-eight waggon-loads of the bones of ‘saints'* to be deposited beneath the altar; and there is an inscription still extant which records that no fewer than 2300 corpses of ‘martyrs'* were buried in S. Prassede on 20th July, 817. Hadrian I. (722-95) and Leo III (795-816) made some farther attempts to preserve the catacombs from ruin, but the task was abandoned by Paschalis I. (817-24), after whose time the catacombs gradually fell into oblivion, those under S. Sebastiano alone remaining accessible to the visits of pilgrims. At length we find traces of renewed visits to a few of the catacombs towards the close of the 15th cent, partly by pilgrims, and partly by mem¬ bers of the Roman academy of the humanists, but the scientific explor¬ ation did not begin until fully a century later. In 1578 some workmen accidentally discovered an ancient Coemeterium near the Via Salara, and from that period the subject began to excite general and permanent in¬ terest ; and the Roman church has since then regarded the supervision of Roma Sottervanea as a point of honour. The pioneer of the scientifie ex¬ amination of the catacombs was Antonio Bosio of Malta, who devoted thirty-five years of his life to the task, but his ‘Roma Sotterranea'* was not published till 1632, thirty years after his death. His researches, although afterw’ards followed up by other scholars, were at length threatened with oblivion, but within the last twenty or thirty years he has been worthily succeeded by the Jesuit P. Marcld and the able brothers De Rossi, Michele, the geologist, and Giovanni Battista , the archaeologist. The last has begun to publish the result of his indefatigable labours in a Collection of Ancient Christian Inscriptions (1st vol. 1861), in a work entitled '•Roma Sotterranea'' (1st vol. 1864, 2nd vol. 1867, 3rd vol. 1876), and in the ‘A’wG lettino di Archeologia Cristiana' (1863 et seq.). II. Arrangement of the Catacombs. This was originally extremely simple. Narrow passages, 21/2 ft. in width, and afterwards even less, were excavated and furnished wuth loctili, or recesses in the sides , of the length of the body to be interred. These niches were placed one above the other, as many as seven and more being sometimes thus disposed, and when the body was interred they were closed with tablets of marble, or occasionally of terracotta, which were either left plain, or merely recorded the name of the deceased, with the addition '■in pace’', and sometimes with the addition of ‘martyr’. The older inscriptions are sometimes in Greek, but the later always in Latin. This change shows that the Christians were at first aliens, but afterwards formed a naturalised and permanent com¬ munity. Important inscriptions are now united in the great collection in the Lateran (p. 273), while the niches are generally empty in consequence of the mania for relic-hunting, already mentioned, which even during the present century is not entirely extinct. The practice is now being introduced of leaving all the monuments in the places in which they were found. The increase of the community and the transformation of burial- places originally intended for families and their fellow-religionists into public cemeteries could not fail to affect the external arrangements of the catacombs. By degrees they were extended ; the passages became nar- 334 The Catnrombs, ROME. Decoration. rower and higlier, or rose in several stages, sometimes as many as five, one above another. Catacombs originally distinct were connected by means of new excavations, and the complicated nature of these alterations and extensions is still apparent to the observer. The.se operations were carried out by a regular society of Fossores (or diggers), who ceased to exist only when the use of the catacombs was discontinued. Altered times and cir¬ cumstances naturally exercised an influence on the appearance of the cata¬ combs. They originally difiered little from similar heathen localities^ and the use of sarcophagi, instead of interment in the rock without other recep¬ tacle, was not uncommon, while other distinctions between the burial of the rich and that of the poor were also sometimes made. In most cases the bodies were wrapped in cloth, on their breast was laid the consecrated bread of the sacrament, and various ornaments and memorials were inter¬ red along with them. Adjacent to the slabs which closed the niches were frequently placed earthen lamps, partly as symbols of the resurrection, and perhaps also for practical purposes, just as lamps had always been much used in the heathen observance of worshipping the dead. The system of monotonous series of passages was sometimes broken by the introduction of larger chambers, which were either used as cubi~ cilia, or family burial-places, or as vaults for the interment of the mar¬ tyrs or certain ecclesiastical dignitaries. An example of the last case is aftbrded by the catacombs of Calixtus, destined for the remains of the popes. Finally we also find chambers that were set apart for the celebra¬ tion of divine worship. Although it is erroneous to suppose that this was the original object of the catacombs, divine service being doubtless per¬ formed in private houses in the city, it is well ascertained that, from the 2nd cent., the Christians occasionally assembled at the graves of the martyrs for the purposes of prayer and the celebration of the communion. These meetings took place on the anniversaries of the deaths of martyrs or other believers, to whose memory ‘agapse’’ or love-feasts were celeb¬ rated. These were customs analogous to the heathen rites in honour of the deceased, but in times of persecution the whole community was obliged to seek refuge in these subterranean cavities, and the construction of larger Chapels was thus rendered necessary. These were usually made by the formation of a cavity on each side of the passage, one for each sex, in accordance with the rule of the early church which required the sep¬ aration of the sexes during divine worship. The tomb of a martyr was then generally used as a tribune, in front of which an altar, often portable, was erected. Light and air were in many cases admitted from above by means of ‘luminaria’. Thus these chapels, containing, or in immediate proximity to, the tombs of the martyrs, formed, as it were, rallying points throughout the entire system, and, as they continued to be objects of veneration long after the catacombs were disused as burial-places, they were often at a later period rendered accessible by the construction of stairs. III. Decoration of the Catacombs. This is one of their most inter¬ esting features. Christian art in its origin could, of course, be but an appli¬ cation of ancient precepts to the new objects and conceptions introduced by the new religion. The paintings and sculptures of the catacombs are therefore in no respect different in style from contemporaneous works, and with them shared in the precipitate and almost total degradation of art. The best frescoes belong to the end of the 1st and beginning of the 2nd century. With the general decline of the Roman empire in the 3rd and 4th cent., artistic forms became distorted and unpleasing, and in the case of decorative works there is no difference in style between Christian and heathen art, especially during the earlier periods. On the other hand, a peculiar significance in the choice and treatment of the subjects is observable from the earliest period. Comparatively few historical paintings are met with, and these have no other object in view than the illustration of some simple fact from Jewish or Christian lore. Occasionally a Madonna and Child are observed , generally with the Magi, varying in number, who present their offerings, as in the catacombs of St. Calixtus, Domitilla, and Priscilla ^ and there are also a few scenes of martyrdom and other subjects. Decoration. ROME. The Catacombs. 335 The great majority, however, of the paintings represent scenes sym¬ bolical of the doctrines and hopes of Christianity. That of most frequent recurrence is the Resurrection, typified either by tlie raising of Lazarus, who appears at a door wrapped in his grave-clothes, while Christ, represented beardless, stands before it with a wand, or by the history of Jonah sitting under the gourd, the prophet swallowed by the whale, and his final escape. The Good Shepherd also frequently appears, with the sheep which he has recovered on his shoulders, sometimes surrounded by lambs, to whom the apostles preach, and whose postures are expressive of the different spirit in which they receive the word (e. g. catacombs of St. Calixtus). Abraham’s Sacrifice, Noah in the ark, and the three men in the fiery furnace belong to the same category. Daniel among the lions is another favourite subject, and he is generally represented with his hands raised in prayer, an attitude in which the deceased themselves are often depicted. This is doubtless in allusion to the frequently cherished hope that the deceased, especially the martyrs, would intercede for their bereaved friends. Moreover, in addition to the words ‘Requiescaf and ‘in Pace’, such appeals as ‘Pray for thy husband, for thy son’, not unfrequently occur. Such vie\vs as these also serve to account for the great value which some of the early Christians attached to being interred near a martyr’s grave. Lastly we find that many of the principal representations, in which there is a great similarity of style, are connected with the sacraments of baptism and the communion. We observe here the same symbolical man¬ ner of representation as in the others already mentioned, though the al¬ lusion is often of a somewhat remote and general 'character. Thus, for example, in addition to the simple ceremony of baptism, Moses is frequently represented in the act of striking the rock, and the water being eagerly drunk by the thirsty Israelites. The fish, too, by a kind of acrostic, formed an important Christian symbol, as the Greek txO'vg (fish) consists of the initial letters of: If^oovg XQtaidg Qeov Yldi; 2oDirjQ (.lesus Christ the Saviour, Son of God). The communion is generally portrayed as an assembly of persons, generally seven, around a table, on which, besides the bread, also lies a fish, again containing an allusion to Christ. Com¬ bined with this, a reference to the miracle of the loaves also frequently appears in the form of baskets with loaves standing on the ground, and in other cases the event is literally represented. These subjects and many others, especially the traditions of the Old Testament which contain a typi¬ cal reference to New Testament history, recur continually in the paintings of the catacombs and in the sculptures on the ancient Christian sarcophagi. The numerous inscriptions corresponding to these were, as already men¬ tioned , of a very simple description down to the middle of the 3rd. cent., after which they become more lengthy, and contain more elaborate ejacula¬ tions of grief and hope. — For purposes of study, the collection of pic¬ tures, inscriptions, and sarcophagi in the Christian museum of the Lateran (p. 273) will be found indispensable. The catacombs extend around the city in a wide circle, the major¬ ity, however, being concentrated between the Via Salara, the Via Nomentana, the Via Latina, the Via Appia, and the Via Ostiensis. Upwards of sixty different catacombs, varying greatly in extent, and only partially accessible, have been discovered. According to Michele de Rossi’s careful calculations, they cover an area of 615 acres. In order, however, to form an accurate idea of their extent, it must be borne in mind that the passages run one above another, as many as five being sometimes thus disposed. The highest of these lie 22-25 ft. below the surface of the earth, while the lowest are 40-50 ft. deeper. If the whole of these subterranean passages were placed in a continuous line, their total lengtli would be about 545 English 336 TJit Catacombs. ROME. Catac. of St. ('alixtas. miles. The most important of tlie Catacombs only need be enumer¬ ated here, and of these the most instructive are the — * Catacombs of St. Calixtus on the Via Appia, I 1/4 M. beyond tlie Porta S. Sebastiano (p. 260; comp, also p. 342). On entering the vigna in which they are situated, we perceive at a short distance a small brick building with three apses. This having been identifled by Giov. de Rossi as the ancient Oratorium S. Callixti in Arenariis, he induced Pius IX. to purchase the ground, and his investigations were speedily rewarded by most important discoveries. The present entrance to the catacombs immediately adjoins this building. A pas¬ sage with tombs is traversed, and the * Camera Papale^ or Cubicu- lum Pontificium, a chamber of considerable dimensions, is soon reached on the left, containing the tombs of popes on the left, and those of Anteros, Lucius, Fabianus, and Eutychiaiius on the right; and in the central wall that of Sixtus II., who died as a martyr in the catacombs in 258. In front of the latter is a long metrical in¬ scription in honour of those interred here, composed by PopeDamasus about the close of the 4th cent., and engraved in elegant and decor¬ ated characters invented specially for the purpose by Furius Diony¬ sius Philocalus, the secretary of that pope. Outside the entrance, on both sides, a great number of inscriptions have been scratched by devout visitors of the 4th-6th century. We next enter a ^chamber, open above, which once contained the Tomb of St. Cecilia^ whose remains are now in the church of S. Cecilia in Trastevere (p. 330). On the wall here are several Byzantine paintings of the 7th-8th cent. : St. Cecilia, St. Urban, and a head of Christ. The walls of the aperture for light bear traces of other frescoes. On St. Cecilia’s Day (22nd Nov.) mass is celebrated here, on which occasion the chapel and the adjoining chambers are illuminated and open to the public. On the sides of the passages near these chapels are several tombs adorned with symbolical representations of the communion, baptism, and other scenes of the kind already mentioned. Then follow the Tomb-Chamber of Pope Eusebius, with an old copy of an inscription by Damasus, and another with two sarcophagi still con¬ taining the remains of the deceased, one of them preserved in a mummy-like form, the other almost entirely destroyed. Lastly we may mention the Tomb of Pope Cornelius, which originally belonged to the separate cemetery of Lucina. The Catacombs of SS. Nereus and Acliilleus, or of Domitilla, near the Catacombs of Calixtus, on the Via delle Sette Chiese (p. 344), contain the greatest number of inscriptions (upwards of 900), and are among the earliest foundations of the kind, vying in antiquity with the Crypts of St. Lucina , and the Catacombs of St. Priscilla. Domitilla was a member of the imperial house of the Flavii. In two of the five ancient entrances are frescoes of the beginning of the 2nd cent., representing genii in the Pompeian style, figures of the Jewish Catacombs. ROME. The Catacombs. 337 Good Shepherd, Daniel, and others of the earliest type. In the centre of the catacomb is the large and nearly quadrangular Basilica of St. Petronilla, who, according to the legend, was the daughter of St. Peter. The basilica, built in the second story of the catacomb, projects with its roof into the open air. On the column of a canopy is represented the martyrdom of St. Achilleus in relief, perhaps the earliest work of the kind (4th cent.). Everything else is in a ruin¬ ed condition, but the church has recently been partly restored. It was used from the 5th to the 8 tli cent. only. In the interior of the catacombs are several smaller chapels, some of which are adorned with life-size mural paintings. The Catacombs of St. Praetextatus , on the Via Appia towards S. Urbano (p. 346), contain decorations similar to those of the sta¬ tion of the Vigiles at Trastevere (p. 329). In the burial chapel of Vibia (not easily accessible) are still to be seen gnostic heretic^al representations (Hermes as conductor of the dead, etc.). The Catacombs of St. Priscilla lie on the Via Salara, M. from the gate (p. 350). The oldest part consists of an extensive group of chapels, with interesting paintings of the beginning of the 2nd cent. Farther on, among the decorations of the ceiling, are a Madonna and the Child, with Isaiah and the star. Coloured in¬ scriptions on tiles, of the earliest and simplest type, are also occa¬ sionally found here. The Catacombs of S. Agnese, under the church of S. Agnese Fuori le Mura (p. 174), are destitute of painting, but are to a great extent still in their original condition. They are shown by the sacristan without a permesso. — About ^4 M. beyond the church is another catacomb, called the Coemeterium Ostrianum , and remarkable for the number of chapels it contains (accessible on Sund., Tues. and Thurs.). Some of these were doubtless used for divine service, as is indicated by the large pulpits, hewn in tufa. The largest chapel, a narrow and lofty room, also contains stone benches and niches. The Catacombs of S. Sebastiano , situated below the church of that name on the Via Appia (see p. 344), the only excavations of the kind which continued to be visited in mediaeval times, have been deprived of all their enrichments, and are now devoid of inter¬ est. Near them are the — Jewish Catacombs, in the Viyna Randanini (p. 344; at present inaccessible), which were excavated about the 3rd cent. They rather resemble the catacombs of Naples than the other Roman catacombs. The inscriptions are exclusively Greek and Latin. The most fre¬ quently recurring symbol is the seven-branched candelabrum. Two chambers are enriched with decorative paintings, in which, con¬ trary to the Mosaic law, figures of animals are depicted. A sarco¬ phagus here bears traces of gilding. Baedeker. Italy 11. 6th Edition. 22 338 The Ctdacombs. ROME. Catac. of St. Peter. The Catacombs of SS. Peter and Marcellinus, near Torre Pignattara (p. 349), are among the most extensive. The ceiling of a lofty chapel bears an Enthroned Christ, with St. Paul on the right, and St. Peter on the left, with four saints below, quite in the style of the earliest mosaics. Other frescoes, such as two scenes of Agapse (love-feasts), belong to the 3rd cent. The representation is often very realistic. The Catacombs of St. Pontianus, V 2 M. from the Porta Portese, are excavated in the breccia of Monte Verde. At the foot of a staircase de¬ scending into them, is a basin with water, serving as a baptistery. On the wall beyond is the Baptism of Christ (with a stag near the Jordan), above a large cross in the later style. Above the staircase are two large medallions with heads of Christ of the 6th and 9th centuries. The Oratorio of S. Alessandro, 6 M. from the Porta Pia (p. 350), in the Tenuta del Coazzo (permesso at the Propaganda), is a long, half¬ subterranean building, the very poor masonry of which is well preserved in the lower part. According to an inscription on the altar, this was the tomb of Pope Alexander. The oratory is stirrounded with lofty passages still containing undisturbed tombs. Catacomb of St. Generosa, see p. 341. 1^ •rC*4i THIRD SECTION ENVIRONS OF ROME. The vast Campagna di Roma, bounded on the N. by the Ciminian Forest, on the W. by the sea, and on the E. by the Apennine chain of the Sabina, aOords an ample field for a number of the most interesting ex¬ cursions. The mountains with their picturesque outlines, and the wild and deserted plain, covered in every direction with imposing ruins, chiellj' of ancient origin, present attractions of the highest order, to which a whole year of study might fitly be devoted. The Campagna, which was once covered by the sea, owes its origin to powerful volcanic agency^ lava and peperine are of frequent occurrence, and the red volcanic tufa is seen everywhere. A great number of ancient craters may be distinguished, the most important of which are the lakes of the Alban Mts., the lake of Bracciano, the lake of Vico in the Ciminian Forest, and the crater of Baccano. The historical associations connected with this plain are, however, of still higher interest than its natural features. The narrow strip of land which stretches between the Alban Mts. and the Tiber towards the sea is the ancient Latium , which victoriously asserted its superiority over the Etruscans on the N., the Sabines on the E., and the Volscians on the S., subsequently effected the union of the Italian peninsula, and finally acquired supremacy over the whole world. Once a densely peopled land, with numerous and prosperous towns, it is now a vast and dreary waste, of which barely one-tenth part is furrowed by the ploughshare. In May, when the malaria begins to prevail, herdsmen and cattle retire to the mountains, while the few individuals who are compelled to remain behind are rendered miserable by continual attacks of fever. The cause of this change dates from so remote a period as the last centuries of the republic, when the independent agricultural population was gradually dis¬ placed by proprietors of large estates and pastures. This system inevitably entailed the ruin of the country, for a dense population and high degree of culture alone can avert the malaria, which is produced by defective drainage and the evaporation of stagnant water in the undulating and furrowed volcanic soil. In the middle ages the evil increased. The papal government has repeat¬ edly endeavoured to promote the revival of agriculture, but such attempts cannot be otherwise than abortive as long as the land is occupied by farms and pastures on a large scale. An entire revolution in the present system, energetically and comprehensively carried out, will alone avail to restore the prosperity of the land. The present government also has appointed a commission to take steps for rendering the Campagna cultivable, but as yet without any practical result. About one-half of the Agro Romano belongs to ecclesiastical corporations, one-third to the nobility, and barely the remaining one-sixth to small proprietors. These large estates are usually let to Mercanti di Campagna , or contractors on a large scale, of whom there are not more than forty altogether , on leases of three years by the ecclesiastical bodies, and of nine years or more by the lay proprietors. These contractors entrust the management of the land to a Fattore, or baililf, who resides at the Tenuta or Canale^ as the farm-house is called. The system of tillage and the agricultural implements used are of a very primitive character. 22* 340 Environs. GROVK OF THE ARVALES. Excursions in the Campagna may be performed by carriage, on horse¬ back, or on foot, each mode possessing its peculiar advantages. The tra¬ veller is particularly cautioned against the risk of taking cold, owing to the great and sudden change of temperature which generally takes place about sunset. Lying or sitting on the ground in winter, when the soil is extremely cold in comparison with the hot sunshine, is also to be avoided. In crossing the fields care should be taken to avoid the formidable herds of cattle, especially in spring; and the same remark sometimes applies to the dogs by which they are watched when the herdsman is absent. Predatory attacks on travellers are of rare occurrence, but enquiry as to the state of the country is by no means superfluous. Those whose residence in Rome is sufficiently prolonged should make the excursions in the plain in winter, and those among the mountains in the warmer season. In the following description the principal points of interest only can be pointed out. I. Short Excursions in the Campagna. This first list contains those excursions from Rome which occupy a few hours only, and which will be found refreshing after a morning spent in a church or museum. As far as the gates, and for 1/2 M. or more be¬ yond them, the roads are dull and uninteresting from being flanked by lofty walls. A carriage should therefore be taken at least as far as the gate; fares., see p. 112; for longer distances a bargain must be made. The traveller should, if possible, so arrange his excursion as to regain the city shortly after sunset. The excursions are enumerated according to the order of the gates from S. to E. and N.; comp, the Map. From the Porta Portese (PI. Ill, 15). Grove of the Arvales. This excursion, occupying about 4 hrs., is interesting to the archaeologist only. About 1 M. from the gate, the Via Campana diverges to the left from the old Via Porluensis, and cliiefly follows the bank of the Tiber. About lt /2 M. farther it reaches the Viyna Ceccarelli (where the railway to Civita Vecchia crosses the road), and, farther on, the stat. Magliana (p. 8). It has been recently ascertained that the Vigna Ceccarelli is the site of the sacred grove of the ^Fratres Arvales'. The corporation of the Twelve Arvales was of very ancient Latin origin, having been founded according to tradition by the sons of Acca Larentia (‘mother of the Lares’), the foster-mother of Romulus. The society, whose original object was to ofler a yearly sacrifice to the Dea Dia (‘goddess of plenty’), and call down her blessing on the fields, was entirely remodelled by Augustus. The three-days’ festivities in May, with their ceremonies and sacrifices, were still celebrated, but a number of other rites were added which related exclusively to the worship of the prevailing dynasty. The homely ‘agricultural brotherhood’ became a privileged order, consisting of the relations and friends of the emperor, whose time was more occupied with prayers for the prosperity of the imperial house, sacrifices and banquets on the occasion of victories and birthdays, etc., than with the worship of the Dea Dia. Records of these festivities w'ere engraved on stone and pre¬ served in thesacred grove. The first discovery of these records was made in this vigna (then the Vigna Galletti) in 1570, when, besides nineteen fragments of inscriptions, seven bases of statues of Roman emperors in their capacity of ‘fratres arvales' were found. Two other inscriptions were excavated here in 1699, and several other fragments in 1857. This must therefore have been the site of the sacred grove, which, moreover, is stated by the inscriptions to have been Excursions. MAGLIANA. Environs. 341 situated on the Via Campana, between the 4th and 5th milestones. The most important discovery, however, was that of an uninjured arval tablet in 1866, in consequence of which Prof. Ilenzen of the Archaeological Insti¬ tute, with the aid of funds provided by the King of Prussia, undertook systematic excavations in the Vigna in 1^7 and 1868. The result has been eminently successful, the number of objects brought to light has been more than doubled, and a most important source of information with regard to the history of imperial Rome, not less valuable than the Fasti Consulares of the Capitol (p. 217), thus obtained. The inscriptions range from the reign of Augustus to that of Gordian (3rd cent.), after which all trace of the fraternity is lost. It is therefore supposed that Philip, Gordian’s successor, who was suspected of an inclination for Christianity, formally dissolved the corporation. The yield of the excavations has been pur¬ chased by the Italian government, and is now exhibited in the new Mvseo Lupidario in the Collegio Romano (p. 153). The ancient foundations on which the Casino of the vigna rests belong to the circular temple of the Dea Dia, which lay in the middle of the grove. In the plain below the grove (on the other side of the road) there are remains of the house in which the frater¬ nity assembled, originally a rectangular building, with a hall en¬ closed by rows of columns. The above-mentioned festivities were celebrated here, and sacrifices were offered to the emperors whose statues adorned the structure. Higher up the hill lay an ancient Christian burial-place, where considerable remains of an oratory of Pope Damasus have been discovered. — Adjacent is the entrance to the Catacombs of St. Generosa, discovered in 1868 during the ex¬ cavations. They are of small extent and of remarkably primitive construction, but are in excellent preservation and merit a visit. Magliana. Near the station of that name (p. 8) is situated the dilapidated hunting chateau of La Magliana., the property of the convent of St. Cecilia, once a favourite residence of Innocent YIIl., Julius II., Leo X., and several other popes. The building, which is tastefully decorated in the Renaissance style, contained frescoes attributed to Spagna, most of which have been removed to the pic¬ ture gallery in the Palace of the Conservator! on the Capitol (p. 217). From the Porta S. Paolo (PI. II, 16). From the Piazza Bocca della Verita to the Porta S. Paolo., 1 M.; thence to the church of S. Paolo Fuori, IV 2 M.; to the Tre Fontane, IV 2 M. more. — A digression to the three churches on the Aventine fp. 253) may conveniently be made from the route to the Porta S. Paolo. — Omnibus direct to S. Paolo Fuori from the Piazza Campitelli (p. 113), every 1/2 hr. in the afternoon (a drive of 25 min. ^ fare 30 c.). From Porta S. Paolo to S. Paolo Fuori le Mura, see p. 254. — Before we reach the church, the pleasant Via delle Sette Chiese di¬ verges to the left at an acute angle to S. Sebastiano on the Yia Appia, 2 M. distant; comp. p. 344. The main road leads in a straight direction past the E. side and the Campanile of the church, and, 7 min. beyond the church, divides at the Osteria del Ponticello: on the right the ancient Via Ostiensis diverges to Ostia (p. 381), and on the left the Via Ardea- tina Nuova leads in hr. to the — Slicrt 342 Knvir. of Rome. TKE FOJSTANK. Abbey delle Tre Fontane (ad aquas Salvias)^ now almost de¬ serted on account of the unhealthiness of the situation. The build¬ ing was made over in 1868 to French Trappists. By extensive plantations of the rapidly growing Eucalyptus the sanitary con¬ dition of the place is said to have improved since 1874. The name is derived from the legend that the apostle Paul was executed liere, and that his head was observed to make three distinct leaps, cor¬ responding to which there welled forth three different fountains. The court surrounding the three churches is approached by an arch¬ way bearing traces of painting, which is believed to have belonged to an earlier church of John the Baptist (visitors ring; 30 c.; a monk acts as guide, 1 fr.). Vincenzo ed Anastasio, the largest of the churches, a basilica in the ancient style, was founded by Honorius I., restored in 1221 by Hon- orius III., as the inscription to the left of the choir records, and is again undergoing restoration. It has retained many of its mediseval peculiarities, and in particular the marble windows over the nave. The portico bears traces of paintings, including the portrait of Honorius 111. The pillars are embellished with the figures of the Twelve Apostles, from Marcantonio’s engravings of designs by Raphael, recently spoiled by restoration. To the right of this is the second church, the circular S. Mat'ia Scala Cocli , so called from the ‘vision’ here vouchsafed to St. Bernhard, to whom Innocent III. had presented the monastery, of a heavenly ladder, on which angels were conducting to heaven the persons whom his prayers had released from purgatory. In its present form the church dates from the close of the 16th century. The tribune contains good mosaics by F. Zuccaro : the saints Zeno, Bernard, Vincent the deacon, and Vine. Anastasius, who are revered by Clement VIII. and Card. Aldobrandini, the finisher of the church. The third of the churches, 8. Paolo alle TreFoniane^ stands on the spot where the apostle is said to have been beheaded, and contains the three springs already mentioned. In the centre is an antique mosaic re¬ presenting the four seasons, found in Ostia, and presented by the Pope in 1869. On the spring to the right stands the column of white marble to which St. Paul is said to have been bound at the time of his execution. The present edifice dates from 1599. The hills above the abbey, which are honeycombed with puzzo- laiia pits, command delightful views. From the Porta vS. Sebastiano (PI. Ill, 28). The excursion to the Via Appia by carriage, including halts, re- qijires 3-3V2 hrs. (one horse carr. to Casale Rotondo and back, 9-10 fr.). Good walkers will take 4V2-5 hrs.: from the arch of Constantine to Porta S. Sebastiano^ H/i M. ^ from the gate to the Catacombs of St. Calixtns., I'/i ^ thence to the beginning of the excavated part of the ancient Via Appia., 1 M. ^ to the Casale Rotondo., 2 M. more. — The traveller is re¬ commended to drive as far as the Catacombs of Calixtus (2^/2 fr.), a visit to which is conveniently combined with this excursion, and to walk thence to the Casale Rotondo. Pedestrians may shorten the uninteresting first part of the route by visiting the Caffarella Valley on the way (see p. 346). An excursion to Albano may also be combined with the visit of the Via Appia, but the last part of the route is uninteresting (p. 359). Carriage with two horses from Rome to Albano, 25 fr. and fee \ with one horse not less than 20 fr. Excursions (S.). VIA APPIA. Environs of Horne. 343 The route by the Via di Porta S. Sebastiano to the gate, and the ruins and buildings situated near it, are described at p. 257 et seq. The *Via Appia, the military road, constructed by the censor Appius Claudius Caecus (in B.C. 312), led by the ancient Porta Capena, near the church ol‘ S. Gregorio (in the vigna of which frag¬ ments of the wall of Servius were discovered in 1869), to Capua, whence it was afterwards extended to Beneventum and Brundisium. In 1850 it was excavated by order of Pius IX., under the super¬ intendence of Jacobini, the minister of commerce, and Canina, the architect, as far as the 11th milestone, where it is now intersected by the railway to Albano. Even at the present day the Via Appia merits its proud ancient title of the ‘queen of roads’. It affords perhaps the finest of all the nearer excursions in the Campagna. Shortly after leaving the city, we enjoy a magnificent prospect, em¬ bracing the Campagna, the ruins of the aqueducts, and the moun¬ tains, while numerous ancient tombs are situated on each side of the road. Very few of the latter are preserved intact; but the remains of others have been carefully restored by Canina, so as to convey an idea of their architecture and decorations. The new administration has unfortunately carried its system of purification somewhat too far, and has removed a number of inscriptions and sculptures which formerly lay picturesquely scattered about. The road descends from the Porta S. Sebastiano (p. 260) by a declivity, which corresponds with the ancient Clivus Martis ^ and after 4 min. passes under the railway to Civita Vecchia. About 3 min. farther it crosses the brook Alrno. where ruins of tombs are ob¬ served on both sides. After 5 min. more the Via Ardeatina diver¬ ges to the right; and on the left stands the small church of Domine Quo Vadis, so named from the legend that St. Peter, fleeing from the death of a martyr, here met his Master and enquired of him, ‘Domine quo vadis?’ to which he received the reply, ‘Venio iterum crucifigi’; whereupon the apostle, ashamed of his weakness, returned. A copy of the footprint which Christ is said to have impressed on the marble is shown here. By a small circular chapel, about a hundred x)aces beyond the church, a field-road diverges to the left, to the Caffarella Valley (sec p. 346). The road now ascends, being hemmed in for the next 7*2 M. by monotonous walls. To the right. No. 33, 174 M. from the gate, is the entrance to the Catacombs of St. Calixtus (p. 336), furnished with an inscription , and shaded with cypresses. A little farther on the road again divides. The brancdi to the left is the new road which leads to 8. Urbano (p. 346), the baths of Acqua Santa (p. 348), and (272 M.) unites near the so-called ruins of Roma Vecchia (p. 345) with the high road to Albano, see p. 359. We follow the branch of the road to the right, the ‘Via Appia Antica’, descend past the entrance (on the left, No. 37) of the 344 Environs of Rome. VIA APPIA. Short Jewish Catacombs (p. 337), and reach the church of S. Sebastiano, situated IV 2 M. from the gate. This church lias from a very early period been one of the seven churches frequented by pilgrims, being erected over the catacombs where the remains of so many martyrs reposed. Mention of it is first made in the time of (iregory the Great. The form was originally that of a basilica, but in 1612 it was altered by Flaminio Ponzio and Giovanni Vasanzio. The portico is supported by six ancient columns of granite. Tbe 1st Chapel on the right contains the original ‘footprint of Christ’ on stone. The last chapel on the right w'as designed by C. Maratta. Over the High Altak is a painting by Innocenzo Tacconi, a pupil of Annibale Caracci. The second chapel on the left contains a good Statue of St. Sebastian , designed by Bernini and executed by Giorgini. A stair¬ case on the left, by the egress, descends to the Catacombs , but they are uninteresting compared with those of Calixtus. Immediately before we come to the church, the Via delle Sette Chiese diverges to the right, intersecting the Via Ardeatina after 10 min., and in 4 min. more reaching the recently excavated re¬ mains of the Basilica of St. Petronilla, or of SS. Nereo ed AchiUeo (^see p. 336). Thence to S. Paolo Fuori 1^2 ^-7 see p. 341. Continuing to follow the Via Appia we come to a large gateway on the left, which we pass in order to reach the * Circus of Maxen- tius, situated on the left side of the road. The circus, which is 350 yds. long, and 86 yds. broad, was constructed in 311 , and is now^ sufficiently excavated to show' the arrangement of the struc¬ ture , wliich was destined for chariot-races. Facing the Via Appia was an extensive portico, and behind it one of the principal A'7?/rawce.s, wuth another opposite to it in the semicircle which terminated the building (on the above-mentioned branch of the road). At the sides were other gates, of which the first on the right is supposed to be the Porta JAbitina.^ by which the dead were carried out. On each side of the first-mentioned main entrance were the carceres, or barriers. The chariots starting hence had to perform seven times the circuit of the course, which was formed by the seats of the spectators and the spina. a wall erected longitudinally in the centre of the arena, and embel¬ lished with statues and obelisks, one of which last now stands in the Piazza Navona (p. 199). At the ends of this wall stood the metae or goals. The spina was placed somewhat obliquely, for the purpose of equalising the distance as much as possible to those starting in different positions , and for the same reason the carceres are in an oblique line. The spectators sat on ten surrounding tiers of steps, on w^hich about 18,000 persons could be accommodated. It is worthy of remark that pottery has been used in the formation of the tiers of seats. The ruins of a circular building near the circus, on the Via Appia, are supposed to be those of a Temple of Romulus , the son of Maxentius, who died at an early age, and in whose honour the circus was perhaps also constructed. The road again ascends, and, in 35 min. from the Porta S. Se- bastiano, leads us to the *Tonib of Caecilia Metella, which forms so conspicuous an object in the views of the Campagna. It is a circular structure, 65 ft. in diameter, which, a 4 w'ell as the square pedestal, was originally covered with travertine. The frieze which runs round the building is adorned with wreaths of flowers and skulls of oxen, from which last the tomb is sometimes called Capo di Bove. Excursions (S.E.J. VIA APPIA. Environs of Rome. 345 Oil a marble tablet facing the road is inscribed : Caeciliae Q. Cretici Filiae Metellae Crassi, i.e. to the manes of the daughter of Metellus Creticns, wife of the triumvir Crassus. The interior, now almost entirely tilled up, contained the tomb-chamber of the deceased. In the 13th cent, the Gaetaiii converted the editlce into the tower of a stronghold, and furnished it with pinnacles. To this extensive castle, which subsequently passed through various hands, and was destroyed under Sixtus V., belong the picturesque ruins of a palace adjacent to the tower, and a church opposite. As far as this neighbourhood extends a lava-stream which once descended from the Alban Mts. and yielded paving material for the ancient road. The more interesting part of the Via now begins ; the ancient pavement is visible in many places, the road is skirted on both sides by continuous row's of ruined tombs, and the view be¬ comes more extensive at every step. On the left are perceived the adjacent arches of the Aqua Marcia and the Aqua Claudia, the latter now partly converted into the modern Acqua Felice (comp. p. 348). The houses on the road-side gradually cease, and 2^/4 M. from the city-gate we reach the entrance (indicated by a notice on a house to the right) to the excavated part of the Via Appia, flanked beyond this point by a constant succession of tombs. Many of these contain reliefs and inscriptions worthy of note. The scenery continues to be strikingly beautiful. On the left, 1Y 4 M. from the entrance, is a ‘casale’ built within the walls of an ancient church, which is called S. Marin Nuova. Beyond it lie the extensive ruins named Roma Verchia , which appear to have belonged to a spacious villa of the Quintilii. Several of the chambers were employed as baths. A large tomb on the left, the site of which is now occupied by a small farm, % M. from S. Maria Nuova, is named the Cnsnle Rotondo. It lies by the Bth milestone, and, according to Canina, was erected for Messala Corvinus, a statesman and poet of consid¬ erable reputation under Augustus, but this conjecture is not sup¬ ported by suflicient evidence. It may be ascended for the sake of the fine view it commands (30^c.). — The lofty building on the left, 7 min. farther, on the same side, is also an ancient tomb on which the Arabs and Normans erected a tow'er, named Tor di Selce (tower of basalt). The prolongation of the Via Appia from this point to Albano ( 71/2 M.) is less interesting. After 1 M. a field-road diverges to the left, leading to the Via Appia Nuova (see below). Among the tombs may also be mentioned, on the left, 2 M. beyond Tor di Selce, the circular Torraccio^ or Pnlombaro , the name of whose occupant is unknown. At the 11th milestone the road is crossed by the railway, a little beyond which is the Ostfria delle Fraiocchie ; thence to Albano, see p. 359. Pedestrians who wish to avoid going over the same ground twice 346 Envir.ofRome. GROTTO OF EGEKIA. Short may, on leaving the Tor cli Selce, traverse the fields to the left, cross the Via Appia Nuova (by which from this point the gate is 6 M. distant), and in about 1 hr. reach the railway station of Ciam- pino (p. 359), from which trains from Frascati or Albaiio run to Rome in 22 min. (fares 1 fr. 60, 1 fr. 15, 80 c.). Temple of the Deus Rediculus. Grotto of Egeria. S. Ur- BANO. — From the Arch of Constantine to Domine Quo Vadis M., thence to S. Urbano 1 M. (thus far driving is practicable); from this point across the fields to the Via Appia Nuova and Via Latina IV 2 M. ^ back to the Porta S. Giovanni 2 M. — Or from S. Urbano to the ancient Via Appia, reaching it not far from the tomb of Csecilia Metella, 1 M. At the small chapel beyond the church of Domine quo Vadis (p. 343) we take the field-road, which is very muddy after rain, to the left, leading for 1/2 between hedges. On reaching the open fields, we follow the road descending to the left to the mill. Near the latter is situated the so-called Temple of the Deus Redi- culus , a Roman tomb of Hadrian’s time, on an ancient road which formerly issued from the now closed Porta Latina. The building has been assumed by some, but without authority, to be a temple erect¬ ed by the Romans after the retreat of Hannibal. The architecture is tasteful, and the brick ornaments, the Corinthian pilasters, with half-columns on the S. wall, and the cornicing should be noticed. The interior (25 c.) contains two stories with groined vaulting. Returning hence to the road, we may next ascend the valley of the Almo^ or Caffarella. The carriage-road is followed in a straight direction; after 5 min. a gate (cancello) is passed through, immedi¬ ately beyond which a road diverges to the Tenuta on the left; 2 min. farther, beyond a second cancello, the carriage-road, which should be quitted in order to follow the path by the brook, ascends to the right to S. Urbano (see below). This leads to the so-called Grotto of Egeria, which was sought for here owing to a misinter¬ pretation of a passage of Juvenal, and a confusion between the Au- relian and the Servian walls. The ‘grotto’ is a Nymphaeum , which was originally covered with marble, the shrine of the brook Almo, which now flows past it in an artificial channel, and was erected at a somewhat late period. A niche in the posterior wall contains the mutilated statue of the river-god, standing oir corbels from which water flows. The niches in the lateral walls were also once filled with statues. The footpath now passes a small, but formerly more extensive wood on the hill, commanding an admirable view of the Campagna and the Alban Mts., where, according to the account of the ciceroni, Numa is said to have held his interviews with the nymph Egeria. To the right (N.), opposite us, is situated S. Urbano, a Roman tomb of the time of the Antonines, long regarded as a temple of Bacchus, and recognised from a distance by its red brick walls. It Excursions (S.K. ). VIA LATINA. Environs of Rome. 347 seems to have been converted into a church in the 11th cent., from which period the paintings date. The edifice was provided with a portico borne by four Corinthian col¬ umns, which was probably walled up during the restoration in 1634, on which occasion the flying buttresses were also added. The Interior (30c.) is adorned’ with paintings between the Corin¬ thian pilasters, restored under Urban VIII., but interesting on account of their origin. They were executed, according to an inscription on the Crucifixion over the door, by a certain Bonizo in the year 1011. On the posterior wall is Chi’ist on a throne imparting blessings^ also scenes from the lives of Christ, St. Urban, and St. (Cecilia. — A staircase, now walled up, is said to lead to the catacombs. A path, partly shaded by trees, and commanding charming views, leads from S. Urbano in 2 min. to the high road, which to the right leads to the ancient Via Appia, above the catacombs of Calixtus, in 9 min. (see p. 343). Or if the high road be followed to the left, it leads in 2 min. to the Circus of Maxentius , which may be traversed, in order that the Via Appia may be reached below the Tomb of Ciecilia Metella. In the other direction the pedestrian from S. Urbano may cross the valley of the Almo, where a few small ditches must be lept over, and traverse the fields so as to reach the Via Appia Nuova (^/4 hr.). The tombs on the Via Latina, a visit to which may be conve¬ niently combined with this route, lie near the 2nd milestone, near which the pedestrian arrives; the direction to be followed inclines towards the city. From the Porta S. Giovanni (PI. II, 33). From the gate to the Tombs 2 M. ^ thence to S. Urbano Vi (^^e above). Driving is practicable as far as the tombs. Custodian on the spot in winter from noon to sunset (fee tr.; for a party i-U/’i fr.). —From this point we may cross the meadows to Porta Furha (Vv* M. ^ see p. 348), and thus conveniently combine the two excursions. Those who make the excursion by carriage should order [their vehicle to meet them at Porta Furba. The ancient Via Latina diverged from the Via Appia outside the Porta Capena; the now closed Porta Latina in the wall of Aurelian was destined for its point of issue (p. 259). Like the Via Appia and the other roads emerging from Rome, it was bordered by tombs on both sides, several of which, interesting especially on account of their decorations, were excavated in 1862. Porta S. Giovanni.) see p. 268. We follow the road to Albano (the Via Appia Nuova\ commanding beautiful views, in a straight direction. At the Trattoria Baldinotti the road to the left leads to Frascati (p.354). The high road is followed as far as the second milestone (1.) of the present route, immediately beyond which it is quitted by a road leading to the left to the ancient Via Latina, pass¬ ing the remains of the ancient road, where two Ancient Tombs, which may be reached by carriage, are situated. The 1st Tomb to the right of the road, with the two recently restored Roman pilasters, consisted of an anterior court and subterranean tomb, over which rose the now re-erected sacellum with two columns. The in- 348 Envir.ofR ome. PORTA FURBA. Short terior of tlie chamber is decorated with interesting “reliefs in stucco, sea- monsters, nymphs, and genii. The 2nd Tomb, under a shed opposite, contains in its single cham¬ ber landscapes and mythological paintings, framed in “stucco ornaments, the subjects of which are principally derived from the Trojan traditions. According to the inscriptions, both date from the close of the 2nd cent. A 3rd Tomb (r.) is uninteresting. A few paces beyond this point, a charming view is obtained. In the immediate vicinity the foundations of a Basilica^ dedicated to St. Stephen in the 5th cent., have been excavated. It is now completely surrounded by a wall, but the curious visitor may creep into the interior by a hole on the W. side. From the Via Appia Niiova, about 74^- farther, a road diverges to the cold mineral-baths of Acqua Santa , passes the circus of Maxentiiis and S. Urbano, and leads to the Via Appia near the cata¬ combs ofCalixtus (comp. p. 343). Route hence to Albano, seep. 359. Porta Furba. This excursion of 2-3 hrs. is pleasanter than many others, as the view is obstructed by walls for short distances only (car¬ riage thither from the gate and back, 3-4 fr.). From Porta S. Giovanni we follow a straight direction for 5 min. (seeabove), and at theTratt. Baldinotti we take the Frascati road to the left, which farther on is crossed by the railway to Civita Vecchia. To the left runs the unbroken series of arches of the Acqua Felice, and in front of them occasionally appear the Aqua Claudia and Mar¬ cia, running one above the other. The Acqua Felice., about 13 M. long, completed by Sixtus V. (Felice Peretti) in 1585, and after¬ wards frequently restored, begins at the base of the Alban Mts. near Colonna (two-thirds subterraneous), and terminates in the Piazza S. Bernardo (p. 173). The Aqua Marcia., constructed by tlie Prietor Q. Martins Rex in B.C. 146, and restored in 1869, 56 M. long, enters the city by the Porta Pia, and brings a supply of water from the Sabine Mts., which is considered the purest in Rome. Over it flows here the Aqua Claudia, erected in A.D. 50 by the Emp. Clau¬ dius, extending from the vicinity of Subiaco, a distance of 59 M. — To the right, a view of the Via Appia with the tomb of C<"ecilia Metella. About 2 M. from the gate we reach the so-called Porta Furba, an arch of the Acqua Felice, under which the road leads. An exqui¬ site ^prospect is enjoyed here of the Campagna and the Alban Mts., beyond which rise the more distant Sabine Mts. Below runs the rail¬ way to Naples and Frascati. — AbolL. iliLstalt vdil , ’ (Ad-ux) iH Xa^idt jj^ ^st.deUOi ytalPanU^ ''^'PciLaifve "y^Impiilone ATtemisio -'yTSl‘'^r% r'" i Iqriteci^^la itaawy ■4li, \-x.1ST^t;utt> ->'■'■ c- .>lTaiairei>/^^V , Excursions (N.). VILLA MADAMA. Environs of Rome. 353 If we follow the road for 1/4 hr. more, passing the church of S. Unofrio (r.), and then take the field-road leading hack towards the left, we reach the Valle delV Inferno., a deep ravine overgrown with cork¬ trees, over which we obtain a charming peep of the dome of S. Peter’s, framed by the Alban Mts. (comp. Map). From the Porta Angelica an uninteresting road leads straight on to Ponte Molle, from which, after IY 2 M., a road diverges to the left to ( 1/2 M.) Villa Madama. The villa was erected by G. Romano from Raphael's designs for Card. Giulio de’ Medici, after¬ wards Clement VII., and subsequently came into possession of the Princess Margaret, daughter of Charles V., from whom it derives its name (comp. p. 198). It next belonged to the Farnese family, and then to the kings of Naples. The building was formerly in a miserably dilapidated condition, but is now at least preserved from ruin. It contains a picturesque, overgrown fountain-basin, and a line *loggia with mouldings and frescoes by Giulio Romano and Giovanni da Udine. Beautiful view. (Fee 1/2 fr.) — The road to Ponte Molle reaches the Tiber a few minutes farther, and skirts it as far as the bridge (IV 4 ^1- i see p. 351). II. Excursions from Rome to the Mountains and the Sea. The Alban Mountains. The railways to Frascati (p. 354), Marino (p. 357), Albano (p. 359), etc., render the Alban 3Its. so easily accessible from Eome, that the traveller may obtain a glimpse at some of the most interesting points in a single day. Rome should, if possible, be quitted in the evening, in order that the excursion may be begun at an early hour on the following morning. Plan of Excursion. Time necessary for Frascati., the villas, and Tus- culurn 1^4-2 hrs., thence to Rocca di Papa (p. 357) 1 hr. (guide necessary, I-IV 2 fr.), ascent of Monte Cavo 3/4 hr., descent 20 min., to Neini I 3/4 hr., Genzano hr., AWccmV/ 2 hr., Albano 1/4 hr., i. e. 8-9 hrs. (without halt), which may be somewhat diminished if the route from Rocca di Papa direct to Albano by Palazzuola (p. 358) be taken. In the reverse direction, begin¬ ning with Albano, the excursion occupies about the same time. If the ex¬ cursion be made by Genzano and 7?e«ii, Castel Gandolfo (p. 360) should be visited first. If time permit, it is of course far more enjoyable to devote several days to a tour among these mountains. The only good Inns are at Frascati and Albano, but the smaller villages afford accommodation for the night in case of necessity. Albano is recommended for a stay of several days, as a number of the most beau¬ tiful excursions are most conveniently accomplished thence. The traveller i.s recommended to hire a Donkey at Ariccia (where the best are to be had), or at Frascati; charge, with guide, 4-5 fr. daily. In spring and autumn Walking in this district will also be found pleasant, in which case travellers intending to perform the excursion in one day had better take a guide (about 27*2 fr.). Those who have more time, and do not object to an occasional deviation from the direct route, will have no difficulty in finding their way with the aid of the map and following directions. — A precise programme of the excursion should be agreed upon with the guides, as they are apt to cut short the journey to the traveller’s disadvantage. A supply of provisions for the expedition will also be found desirable, as the osterie on the route are very poor. Baedeker. Italy II. 6th Edition. 23 354 Environs of Rome. FRASCATI. Alban Mts. Carriages may be hired at Frascati and Albano , but the most interesting routes are only practicable for pedestrians and riders. The charges at Frascati are as high as at Rome; two-horse carr. for the ex¬ cursion to the lakes of Albano and Nemi, Genzano, Albano, 20-22 fr. Frascati. Railway from Rome to Frascati, 12V2 M., in ‘A hr.*, fares 2 fr. 30, 1 fr. 60, and 1 fr. 15 c.; 3-4 trains daily. Return-tickets available for the day of issue only. Journey to stat. Ciampino^ see p. 359. The main line goes on to Albano and Naples, while the train to Frascati gradually ascends, passes through a tunnel, and stops at the station, 1 M. distant from the town (omnibus 10 soldi). The road ascending from the station joins the high road coming from Rome, which divides below the town near the first houses ^ the branch to the right ascends in a wide curve to the Piazza, while that to the left leads to Monte Porzio, etc. (p. 370). Frascati with its villas does not become visible until the last winding of the road is attained. Walkers may reach the town more quickly than carriages by ascending the hill to the left. — Vetturini (p. 113) to Frascati and Monte Porzio in 272 hrs., fare 2-3 fr., but this mode of travelling is not recommended. Frascati. — "Albekgo di Londra in the piazza, dear. Near it the Trattoria Campana; Tratt. del Sole. — Private apartments are easily pro¬ cured, and suites of rooms may be hired in the Villas Piccolomini, Fal- conieri, Muti and others (single rooms 30-40 fr., 3-4 rooms about 100 fr. per month). A visit to the villas, which are always open to the public, and to Tusculum, takes 272-3 hrs., the best route being by Villa Aldrobrandini and Ruffinella in going, and by Camaldoli and the Villas Mondragone and Taverna in returning. Guides and Donkeys necessary only when time is limited, 2-3 fr. — Guide by Rocca di Papa, etc. to Nemi, about 3 fr. (carriages, see above). Frascati , in a cool and healthy situation, on the slope of the mountains, with its beautiful, shady, and well-watered villas, is a favourite summer-resort of foreigners as well as natives. The ancient Tusculum having been destroyed by the Romans in 1191, this town, which is insignificant and comparatively modern, sprang up on the ruins of a former villa, overgrown with underwood (frasche)j from which it derives its name. In the piazza, which is embellished with a pretty fountain, rises the cathedral of S. Pietro, erected in 1700 under Innocent XII. To the left of the high-altar is a memorial - tablet to Charles Edward, the young Pretender, grandson of James II., who died at Frascati on 31st Jan., 1788. — The more ancient cathedral of S. Rocco dates from 1309. — At the S.W. entrance to the town, which is reached by the high road from Rome (and also from the station) in a wide curve, lies the Villa Conti , with fountains and beautiful points of view, the prop¬ erty of the Duca Torlonia, nephew of the banker. From the piazza we ascend the street (Corso Vittorio hlmanuele ) to the right, past the cathedral of S. Pietro and the donkey-station. Above the town, on the left, rises the Villa Piccolomini, once the residence of the learned Cardinal Baronins (d. 1607), a circular tomb below which is groundlessly called that of Lucullus. Farther on we reach, on the right, the handsome * Villa Aldobrandini, erected for Cardinal Pietro Aldobrandini, nepliew of Torre. SbugioM di iSkWV<^«-// ^llv ii: ;r 5 /.«"',» *' y k'BoglJfiles LITR4; Alban Mts. TUSCULUM. Environs of Rome, 355 Clement VIII., from the designs of Giacomo della Porta, and now the property of the Borghese. The palace contains paintings by the Cavaliere d’Arpino. The grounds are adorned with cascades and beautiful oaks, and the views are very extensive, especially from the roof of the semicircular building. — A little to the S. is the Villa Monlalto, erected by the Peretti, and since 1835 in the possess¬ ion of the Propaganda. The road to Tusculum next passes the Capuchin Church (1 M. above the town, containing a few pictures), and soon reaches the entrance to the * Villa Ruffinella, or Tusculana, of the 16th cent., formerly the property of Lucien Bonaparte, afterwards that of King Victor Emanuel, and now belonging to Prince Laiicelotti. In Nov., 1818, Lucien was attacked and plundered here by robbers, an event admirably described in Washington Irving’s ‘Adventure of the Artist’. The celebrated Villa of Cicero (the ‘ Tusculanum’) is generally believed to have occupied this site. Inscriptions and an¬ tiquities found in the neighbourhood are shown. The other villas lie on the height to the E. of Frascati. The nearest is the Villa Taverna and a little farther on is the Villa Mondragone, erected by Cardinal Altemps under Gregory Xlll., both the property of the Borghese, surrounded by delightful gardens and points of view. The latter is now fitted up by the Jesuits as a school. — Above the Villa Taverna is situated the Villa Falconieri, the oldest in Frascati, planned by Cardinal Ruffini before the year 1550, and erected by Borromini, possessing pictures by C. Maratta and others, and shady gardens. — On the height to the E. lies the suppressed monastery of Camaldoli , founded by Pope Paul V. From Villa Ruffinella (ascending to the right from the palace) a shaded, and partly ancient road, leads to the site of the venerable town of Tusculum, the foundation of which is traditionally ascribed to Telegonus, the son of Ulysses and Circe, the birthplace of the elder Cato and a favourite residence of Cicero. In the middle ages the ancient castle on the summit of the hill was occupied by a warlike race of counts, who were generally in league with the emperors against the Romans. The latter having been signally de¬ feated in the reign of Frederick I., 30th May, 1167, they retaliated by seizing and dismantling the castle in the pontificate of Celestine III., in 1191. Nothing therefore now remains of the ancient Tus¬ culum but a heap of ruins. In ascending from the Villa Ruffinella, we soon obtain a view of the Amphitheatre, outside the town-walls (longer diameter 77 yds., shorter 57 yds.; arena 52 yds. by 31 yds. ), which is called by the guides Scuola di Cicerone. The so-called Villa of Cicero, excavated in 1861 by Prince Aldobrandini, is next reached. On the right is the ancient Forum and the * Theatre (about 2 M. above Frascati), excavated, as an inscription records, in presence of Maria Christina, dowager Queen of Sardinia, on the occasion of the arrival of Gre- 23* 356 Envir. of Home. GROTTA FEKKATA. Alban Mts. gory XVI., 7th Oct., 1839, and remarkably well preserved; adjacent is a small building resembling a theatre, probably used as a lecture- room. At the back is situated a Piscina^ or reservoir, in four com¬ partments. The guides are generally desirous of returning from this point, as the path to the castle is rather rough and hardly practicable for donkeys. The ancient *Castle (arx} stands on an artificially hewn rock, now surmounted by a cross, 174 ft. above the town (an ascent of about 1 hr. from the piazza). Two gateways and the direction of the walls are still traceable. The summit (2218 ft.) commands a magnificent *View. On the right are Camaldoli and Monte Porzio; farther distant the Sabine Mts. , with Tivoli and Monticelli; then Soracte and the Ciminian Mts.; tow'ards the sea the broad Campagna with its aqueducts, Rome, and the dome of St. Peter’s; to the left, the Alban Mount (M. Cavo), Castel Gandolfo, Marino, and Grotta Ferrata. Descending and turning to the right, we observe a fragment of the ancient wall, and adjoining it a "^Reservoir oi very early and peculiar construction, formed of massive blocks, and vaulted in an almost pointed arch. We may now take the longer way back by Camaldoli, and the villas Mondragone, Taverna, and Falconieri (p. 355). Two routes lead from Frascati to ( 21/2 M.) Grotta Ferrata: the carriage-road to Marino, and the shorter route by a path turn¬ ing to the left below the Villa Conti (p. 354). Grotta Ferrata, a Greek monastery of the Basilians, was founded by St. Nilus under Otho III. in 1002. In the 15th cent, it was the property of Cardinal Giuliano della Rovere, afterwards Pope Ju¬ lius II., who fortified it with moats and towers. Of the old Church nothing now remains but the vestibule, which contains (r.) a beau¬ tiful statue of the Madonna. The Portal, with arabesques and a Greek inscription, dates from the 11th cent.; over the door are mosaics of the Saviour, the Madonna, and St. Basilius. The pre¬ sent church, built by Cardinal Guadagni in 1754, contains nothing worthy of mention. Interior. From the right aisle we enter the Chapel of St. Nilus. decor¬ ated with ^frescoes from the life of the saint hy Domenichino^ in 1610, restored in 1819 by V. Cainuccini. At the entrance of the chapel, on the left, is represented the meeting of the saint with Otho 111.: the attendant in green, holding the emperor’s horse, is Domenichino himselfi to the right of the horse, Guido Keni is also represented in a green costume, and be¬ hind him Guercino. The boy in front of the horse, with blue cap and w'hite feather, bears the features of a girl of Frascati to w’^hom the artist was attached. On the right St. Bartholomew arrests the fall of a column, thus saving tJ'e lives of the surrounding workmen. At the altar on the left, St. Niluf heals a boy possessed by an evil spirit with oil from a lamp of the idonna. On the right, the Madonna presenting a golden apple to St. Nilus and St. Bartholomew. In the lunette, Death of St. Nil¬ us. Outside the chapel, St. Nilus calming a storm by which the harvest is endangered; the saint kneeling before the cross. On the ceiling, the Annunciation. Alban MU. MARINO. EnvirnmofRome. 357 A monument of Cardinal Consalvi, who died, of poison it was believed, as abbot of Grotta Ferrata in 1824, and several ancient sculptures are shown in the handsome Abbey. The small Madonna over the altar is by Ann. Caracci; a bust of Domenichino is by Te¬ resa Benincampi, a pupil of Canova. Fairs held here on 25th March and 8th Sept, attract numerous peasants from the neighbourhood, as well as strangers from Rome. About 2M. farther to theS., and reached either by footpaths or by the high road, is Marino, a small town famous for its wine, and picturesquely situated on an eminence of the Alban xMts., 1322 ft. in height, the site of the ancient Castrimcenium. In the middle ages it was a stronghold of the Orsini, who defended themselves here against their enemies, particularly the Colonna; but the latter, un¬ der Martin V. in 1424, captured Marino and are still proprietors of the place. The town contains a Corso, which is the principal street, a Fountain^ and a Cathedral dedicated to St. Barnabas. The church of S. Trinita, to the left of the Corso, contains a Trinity by Guido Reni. In the church of the Madonna delle Grazie^ St. Rochus by Domenichino. In the Cathedral a badly-preserved St. Bartholomew by Guercino. The Marino Station on the Rome and Naples line is situated in the Campagna, 3 M. distant (railway to Rome in 35 min.; fares 2 fr., 1 fr. 40 c., 1 fr.). From the town of Marino a shady road, commanding extensive views, leads through the Parc.o di Colonna, the well-wooded valley of the Aqua Ferentina , a brook often mentioned in history as a rallying-point of the Latins, to the Alban lake, and by Castel Gan- dolfo to ( 33/4 M.) Albano, see p. 360. From the Frascati and Marino road, there diverges at the bridge in the valley, rather more than half-way to the latter, a new road to Rocca di Papa, situated about 5 M. from Frascati (^one- horse carr. about 8 fr.). It may also be reached from Tusculum (p. 355) direct in 1 1/2 hr- hy field and forest-paths fgoide necessary, l-lV 2 fr.). Rocca di Papa, a wretched little town with 2500 inhab., lying on the brink of the great crater of Campo d’Annibale (see below), in the midst of beautiful forest-scenery, is well adapted for a summer- residence on account of its lofty situation (2647 ft.). Rooms, even for one night, may be heard of at the Caffe delV Aurora, in the upper part of the town. The two Trattorie, one of which has a lo- canda in connection with it, are very poor. Ascending the steep streets of the town, we reach in 15-20 min. the great crater of Campo d’Annibale, so named from the unfounded tradition that Hannibal once pitched his camp here during his cam¬ paign against Rome. It is more probable that the Romans were en¬ camped here at that period, to repel the attacks of the Carthaginians. 358 Environs of K nine. ALBA liONGA. Alhan Mts. Tlie wooded suiniiiit of Monte Cavo, the ancient Mans Albanus, is reached (turning to the right at the beginning of the crater ) by the w ell-preserved and shady Via Triumphalis , an ancient road, paved with basalt, by which the generals to whom the senate refused a triumph at Rome, ascended, and celebrated one on their own re¬ sponsibility. From two open spaces, about three-quarters of the way up, a better *view than from the top is obtained of Marino on the right, Ihe Lago d’Albano, Ariccia with the viaduct, Genzano, the Lago di Nemi, and Nemi itself. On the summit of the Mons Albaims, 3147 ft. above the sea- level (an ascent of 3/4 hr. from Rocca di Papa), stood the venerable sanctuary of the Latin League, the Temple of Jupiter Latiaris^ where the great sacrificial festival of the Feriae Latinae was cele¬ brated annually. Its ruins, 82 yds. long and 38 yds. wide, with col¬ umns of white and yellow marble, were in tolerable preservation till 1783, when Cardinal York, the last of the Stuarts, converted them into a Passionist Monastery. A portion only of the ancient founda¬ tions is preserved on the S.E. side of the garden-wall. The **Vibw from several different points is incomparable. It embraces the sea, the coast from Terracina to Civita Vecchia, the Volscian and Sabine Mts., Rome and the Campagna with a number of towns and villages, and below the spectator the beautiful Alban Mts. The distant view’, generally obscured by mist, is seen to the best advantage immed¬ iately before sunrise, after sunset, or after a passing shower has cleared the atmosphere. The traveller had better take refreshments with Inm; the monks are very civil, but the food and sleeping ac¬ commodation which they offer are exceedingly poor. From Monte Cavo w'e may reach Nemi in i^/o hr. by pleasant forest-paths (see p. 362). Those who wish to proceed direct to Albano by Palazzuola should retrace their steps to the Campo d’Annibale, pass above Rocca di Papa, and visit (1 M.) the chapel of the Madonna del Tufo (2323 ft.), whence a fine view of the Alban Lake and the plain is enjoyed. About 1 M. beyond it they will reach the suppressed Franciscan monastery of Palazzuola, dating from the 13th cent., and situated above the E. margin of the Lake of Albano (p. 360). The garden contains a remarkable rock-tomb in the Etruscan style, about which little is known. Above the monastery, on the narrow space between the base of Monte Cavo and the Alban Lake, once lay in a prolonged line, as its name indicates, the city of Alba Longa., of which no traces now re¬ main. It will be observed, however, that the rocks in the direction of Palazzuola have been hewn perpendicularly, in order to render the town more impregnable. The foundation of Alba Longa belongs to a pre-historic period, and tradition has attributed it to Ascanius, the son of iEneas. It was the an¬ cient capital, and the political and religious centre, of the Latin League, but was destroyed at an early period by its younger rival on the banks Alb (in Mts. ALBANO. Environ of Rome. 359 of the Tiber, after which, however, the ancient festivals of the League on the Alban Mt. still continued to be celebrated here. From Palazzuola a beautiful road leads above the lake to (^2^2 M.) Albario, terminating at the Galleria di Sopra fp. 360), whence we descend to the left past the Capuchin monastery. Albano. Railway fkom Rome to Albano, IT'A M., in about i hr.; fares 3 fr. 30, 2 fr. 30, 1 fr. 65 c.; express 4 fr. 40, 2 fr. 95 c. (comp. p. 354). Soon after quitting the city the train diverges from the line to Civila Vecchia; on the left is the Porta S. Lorenzo, on the right the arches of the Acqua Felice, then the tombs of the Via Appia. To the left the Sabine and Alban Mts.; at the foot of the latter, Frascati (p. 354) is a conspic¬ uous object. At (9 M.) Ciampino the line to Frascati diverges to the left, while the S. line approaches the Alban Mts. — 16 M. Marino lies on the nearest chain of hills on the left; above it, on the mountain, is Aocca, adjoining which on the right rises Monte Cavo with the white monastery walls. The train then passes through a cutting. To the left, on the olive- clad hill, appears Castel Gandolfo, immediately beyond which Albano and Ariccia, connected by a viaduct, are visible in the distance. These two towns possess stat. Albano , or La Cecina., in common, in a lonely and un¬ attractive situation. An omnibus (fare 1 fr.) runs from the station in hr. to the town of Albano, 3 M. distant. (As the omnibus is often full, a seat should be secured at once.) The ascent is picturesque, although there are few distant views. The ruins of Gastello Savelli soon appear on the right; La Turri^ or Torretta., on the left. A magnificent view of Ariccia is then obtained, with the ancient castle (p. 361) on the right, and the imposing viaduct on the left, and farther to the left, Albano; to the right, by the entrance to the town, stands the Villa Loncampa. The omnibus stops in the Piazza. The High Road from Rome to Albano, the Via Appia Nuova., is also still much frequented, especially by those who wish to combine this ex¬ cursion with a visit to the ancient Via Appia (comp. p. 342); the vetturini mentioned at p. 113 perform the journey in 2V2 hrs. (fare 2V2 fr., not recommended to strangers). The Via Appia Nuova quits Rome by the Porta S. Giovanni (p. 268) ; the ancient Via Appia which is rather longer, by the Porta S. Sebastiano (p. 260). The tw’^o roads unite at the Fratocchie., by the 11th milestone of the new road. On the left side of the road Clodius once possessed a villa; to the right in the valley lay Bovillae., a colony of Alba Longa, with a sanc¬ tuary of the Gens Julia, w'here the remains of a theatre and circus may still be traced. Remains of walls and tombs are seen on both sides of the road. A large square structure, about 33 ft. in height, with three niches, was long erroneously regarded as the tomb of Clodius. The road ascends. The high ground here commands a fine survey of the Campagna, the sea, and Rome. Near the gate of Albano, at the 14th milestone, on the left, is the so-called Tomb of Pompey (p. 360). Albano. — Ville de Paris, in the Palazzo Feoli, R. 3 fr., dear; Roma, at the end of the town, near the bridge ‘leading to Ariccia ; Eurora, or Posta^ R. 2 fr., ‘vino del paese’ V'ifr*, a cafe on the ground-floor; Russia, at the Porta Romana. "Trattoria in the Piazza Principe Umberto, where the omnibuses stop; the landlord also procures bedrooms for visitors. — Cafe in the Corso. — Vetturino to Rome in summer daily at 5 a. m.; at other times also a seat may be obtained in a carriage by enquiring at the inns and cafes. Albano (1250ft. above the sea), a small town with 2900 inhab., situated on the ruins of the villa of Pompey and of the Albanum of Domitian, is mentioned as early as 460 as the seat of a bishop, and ALBANO. Alban Mta. 360 Environ!>ofRome. again in the 11 th cent, in the contests of the popes with the citizens of Rome. In the 18th cent, it belonged to the Savelli, from whom it came into the possession of the papal government in 1697. The beauty of the neighbourhood renders Albano an attractive summer- residence, but in the hottest season it is not exempt from fever. The Albanian women are famous for the picturesqueness of their costume, but it is now rarely seen, except sometimes on Sundays. The wine of Albano is praised by Horace, and is still much esteemed. In the upper part of the town, between the monastery of S. Paolo and the loftily situated Capuchin monastery lay an Amphitheatre^ the scanty remains of which are seen from the road. The church of S. Maria della Rotonda stands on the foundations of an ancient circular temple. The ruins in the street of Gesu e Maria are sup¬ posed to be the remains of baths. The Via Appia intersects Albano in a straight direction. Outside the N. entrance of the town, to the right of the road, rise the re¬ mains of a large tomb, called without foundation the Tomb of Pom- pey. The avenue, diverging to the right by this tomb, is known as the Galleria di Sotto, see below. — On the S. side of the town, to the right on the road to Ariccia (to the left of the ancient roadj, stands another ancient *Tomb in the Etruscan style, consisting of a massive cube, originally surrounded by four obtuse cones, of which two are still standing, with a fifth in the centre. It was formerly supposed to be the tomb of the Horatii and Curiatii, and now, on no better authority, is regarded as that ofAruns, a son of Porsena, who was killed near Ariccia. About H /4 M. to the N.W. of Albano lies Castel Gandolfo, which is reached by two shady avenues of beautiful evergreen oaks: the so-called ^Galleria di Sopra, or ‘upper gallery’, beginning at the Capuchin monastery above Albano, and affording fine views of the lake; and the Galleria di Sotto , beginning near the tomb of Pompey at the N.W. entrance to the town, passing the Villa Bar- berini and Castel Gandolfo, and leading to (S^/^ M.) Marino (p. 357J. Castel Gandolfo, which belonged to the Savelli in the middle ages, has been the property of the Popes since 1596. It is an in¬ significant place with a large Papal Palace^ erected by Urban VIII. from designs by Carlo Maderna, and splendidly situated high above the precipitous margin of the Alban lake. The chateau was formerly a favourite summer residence of the popes (including Pius IX. j, and by a law passed on 13th May, 1871, received the privilege of exterritoriality. The “^'Lake of Albano (964 ft. above the sea-level, 490 ft. deep), about 6 M. in circumference, is the crater of an extinct volcano, of sombre and melancholy aspect, although its banks are well cultivat¬ ed. It is fed by abundant subterraneous springs, and is drained by a very ancient Emissarius whicli issues below' Castel Gandolfo. Alban Mts. ARICCIA. Environs of Rome. 361 The path to the ancient Emissarius descends steeply from the Galleria di Sopra a little before the village is reached, but the custodian must first be summoned from the village (fee 1 fr. ^ for a party more in proportion). The descent occupies nearly 1/4 hr., and the whole inspection about 1 hr. The Emissarius , an imposing work, was constructed according to tradi¬ tion by the Romans in B.C. 397, during the siege of Veii, when the lake rose to an unusual height, but it is probably of still more remote origin. It is hewn in the solid rock. At the entrance is a large stone building resembling a nymphaeum. The channel is 7-10 ft. in height, and issues 3/4 M. below Albano by the village of La Mola , where the water is used as a motive power for mills, descending thence to the Tiber. The custo¬ dian floats lighted pieces of candle on boards down the stream, in order to give visitors an idea of its length (about 1300 yds.). From Albano to Palazzuola by the road turning to the right by the Capuchin monastery and passing above the lake, 1 hr.; thence to the top of Monte Cavo, 1 hr. more (comp. p. 351). About 3^4 M. to the S.E. of Albano lies Ariccia. The road passes the Etruscan tomb mentioned above. It then crosses the imposing * Viaduct^ erected by Pius IX. in 1846-63, 334 yds. in lengtli, and 192 ft. in height, consisting of three series of arcades of six, twelve, and eighteen arches respectively, one above the other, which crosses the valley separating Albano from Ariccia. To the right, a view of the extensive plain as far as the sea, to the left, of the *Park of the Palazzo Chigi , built by Bernini, and situated immediately to the left beyond the viaduct. This park, containing line old timber, is kept in as natural a condition as possible. Per¬ mission to visit it should be obtained from the porter or gardener in the palace (fee 72"^ 1^.). Ariccia {Cafe in the piazza), an insignificant place, frequently attracts visitors in summer on account of the proximity of the woods. The women of Ariccia and Genzano are famed for their beauty. The ancient Aricia, which belonged to the Latin League, lay towards the S., in the Valle Aricciana (981 ft.), an extinct crater below the modern town, while the latter occupies the site of the ancient Arx or citadel. According to Horace (Sat. i. 5) this was the first station on the ViaAppia, which runs towards Genzano on mas¬ sive, still visible substructions, at the foot of the modern town, (A circuit of ^2 the valley, instead of the direct route from Albano to Ariccia, is interesting.) In the middle ages Ariccia came into the possession of the Savelli, and in 1661 was purchased by the Chigi, who are still the proprietors of the place. The beautiful and shady new road from Ariccia to Genzano at first leads a little to the left and crosses four viaducts, which com¬ mand a fine view. After V 2 passes Galloro, formerly a Jesuit church. At the 17th milestone, about M. farther, the road di¬ vides ; the branch to the left descends to a Capuchin monastery and to the Lake of Nemi (below is a partly ancient road to Nemi); that in the middle leads through an avenue to the Palazzo Cesarini (see below); and that to the right descends to the town. Genzano, a town with 5000 inhab., loltily situated above the 362 Environs of Home. NEMI. Alhan Mts. 8.W. bank of ilie Lago di Nenii, is also much visited in summer, but there are no good inns, and intermittent fever is not uncommon here. In the piazza, opposite tlie fountain, there is a good osteria. Tlic wine of Genzano is esteemed. The place presents no attraction beyond its fine situation. The best view of the lake is from the garden of the Palazzo Cesarini, which slopes rapidly towards the water (entrance to the left, opposite the palace; admission granted on application at the palace). — At Genzano, on the 8th day after Corpus Christ!, is celebrated the famous Tnfiorata di Genzano, or flower-festival, consisting of a procession through a street carpeted with flowers, followed by fireworks and merry-makings. The festival has been revived after an intermission of some years, but does not take place every year. The *Lago di Nemi (1066 ft.) is an extinct crater, about 3 M. ifj circumference, and like the Alban lake, which lies 100 ft. lower, is of considerable depth (328 ft.), and is also drained by an artificial emissarius. The water is beautifully clear , and rarely ruffled by wind. The precipitous lava-slopes of the crater, 328 ft. in height, are carefully cultivated. In ancient times it was called the Lacus Nemorensis, and sometimes the ‘Mirror of Diana’, from a temple, of which substructions have been discovered below Nemi, and from a nemus, or grove sacred to that goddess, whence the present name is derived. Tiberius (or Trajan) constructed a magnificent vessel here , a beam of which is preserved in the Museo Kircheriano at Rome (see p. 152). This exquisite lake is the gem of the Alban Mts. From Genzano to Nemi 2 M.; by the Palazzo Cesarini we follow the road to the right, through the town, and. past the church of 8. Annunziata. The pleasant road skirts the upper margin of the lake, affording several fine views. — A footpath descends to the lake from S. Annunziata, and ascends again near the mills below Nemi. Nemi is a small mediaeval town with an ancient fort. The inn (Trattoria Desanctis, tolerable, bargaining advisable) possesses a small verandah which commands a delightful ^ViEw of the lake and the castle of Genzano, of an old watch-tower beyond them, and of the extensive plain and the sea. From Nemi to the (1^2 Monte Cavo (p. 358) a guide is necessary on account on the intricacy of the forest-paths (I-D /2 1^.). Albano is a little farther distant. From Genzano we may i^roceed in 1 hr. (2 M. by the road, and then to the left; see Map, p. 353) to Civita*Lavinia, the ancient Lanuvium, celebrated for its worship of Juno Sospita, situated on a W. spur of the Alban Mts. At the W. end of the town are a few remains of the ancient w'alls; in the piazza, a sarcophagus and several fragments from tombs and villas in the neighbourhood. The town, a poor, insignificant place, com¬ mands fine views of the Campagna towards the sea. Below it, lf /2 M. distant, is the Civita Lavinia railway-station on the Rome and Naples line; three trains daily, fares 3 fr. 75, 2 fr. 65, 1 fr. 90 c. On the road, about 5*^2 M. farther (7^/2 M. from Genzano) lies Velletri, which may also be reached by a nearer and more picturesque route in P/a hr., with a guide. Velletri {Gallo, Campana, both with trattorie), the Sabine Mts. TIVOLI. Environs of Rome. 363 ancient Velitrae^ a town of the Volsci which became subject to Rome in 338, celebrated for its wine, is picturesquely situated on a spur of Monte Artemisio. The town (12,000 inhab.), with its narrow and crooked streets, is the residence of the bishop of Ostia. The loggia of the Palazzo Lance- lotti commands an extensive "view. — The railway-station (p. 375) is V 2 W* from the town ^ five trains daily, fares 4 fr. 75, 3 fr. 35, 2 fr. 40 c.; express 6 fr. 40, 4 fr. 30 c. The Sabine Mountains. That chain of the Apennines w'hich descends abruptly and bounds the Roman plain on the E., named Sabine Mts. from their ancient inhabitants, is replete with interest for lovers of the picturesque. The formation of these mountains is limestone, differing entirely from that of the volcanic Alban Mts., and their height is much greater, attaining to 4200 ft. Ow^ing to the want of railway-communication, the characteristics of city-life which produce an unpleasing impression at Frascati and Albano are little known here, except at Tivoli, although attempts at extortion are occasionally made. — As a rule the Inns are good and not expensive, but enquiry as to charges should be made beforehand; usual charge for board and lodging 5 fr. , and 1/2 fr. gratuity. Those whose time is short must be satisfied with a visit to Tivoli^ but, if possible, four days at least should be devoted to the Sabine Mts. , and may best be spent as follows: 1st day, by Frascati to Palestrina; 2nd, to Olevano; 3rd, to Subiaco; 4th, to Tivoli; 5th, back to Rome. The whole trip may be accomplished by carriage, but some of the excursions at least should be made on foot or on donkey-back. The public conveyances are not recommended when ladies are of the party, in which case a private carriage should be hired. Tivoli affords the best summer quarters, but Subiaco and Olevano are also pleasant. Tivoli. From Rome to Tivoli, 17 M. One-horse carriage about 20 fr., fee 2 fr., two-horse 30 fr., fee 5 fr.; the hirer should expressly stipulate that a digression to Hadrian’s villa be included in the fare. The charges are rather higher about Easter. The carriages at the hotels are dearer (40- 50 fr.), but they drive more rapidly, a great advantage in hot and dusty weather. The Vetturini.) whose vehicles are uninviting, convey passengers to Tivoli twice daily, starting from I^o. 124 Monte Citorio (booking-office Ifo. 15 Vicolo della Guardiola) at 4.30 a. m. and at 2.30 p.m., reaching Tivoli in 4-5 hrs. , and returning from Tivoli at the same hours *, fare 3V2 fr. (In the height of summer a carriage sometimes starts from Rome at 11.30 x> m., arriving in Tivoli^.about 5 a.m.) Those who wish to visit Hadrian’s villa, the grottoes, cascades, and Villa d’Este, and return to Rome in the evening, should start at daybreak. Tihur with its shady valleys and murmuring cascades, was the fa¬ vourite summer - resort of the Romans in the time of Horace. A fine day in April or May, when the vegetation is at its freshest beauty, is the best time for this excursion. Rome is quitted by the Porta S. Lorenzo (p. 184), immed¬ iately beyond which is the church of that name on the right; the road then descends into a ravine, and at the Osteria di Pietralata crosses the railway to Foligno. Fine retrospect of Rome and St. Peter’s. The route, which is generally identical with the ancient Via Tiburtina, crosses the Anio, here called the Teverone, by the Ponte Mammolo at the 4th milestone. The river rises on the moun¬ tains near Filettino, passes Subiaco, Vicovaro, and Tivoli, where it forms the celebrated cascades, and falls into the Tiber at the 364 Eno irons of Rome. TIVOLI. Sabine Mis. Ponte Salaro (p. 350). The bridge is named after Mammfea, the mother of Alexander Severus. To the right an undulating district with ancient towers. At the (7 M.) — Osteria del Fornaccio a road diverges to the left to the pictur¬ esquely situated village of Monticelli^ with a castle and monastery. At the Osteria delle Capannacce (245 ft.), a little farther on, the road reaches its culminating point between the Ponte Mammolo and Ponte Lucano (see below). We next pass (1.) the Cnstel Arc/ioney an ancient stronghold of robbers. Beyond it is the cal- ciferous Lago de' Tartari, now dried up. A sulphureous odour soon indicates the proximity of the Aquae Alhulae ^ which were much frequented in ancient times, but are now less popular (bath-house erected in 1862). In the vicinity are the quarries of lapis Tiburtinus , or travertine, which have furnished building- material for ancient and for modern Rome, for the Colosseum and for St. Peter’s alike. About II /2 M. farther the Anio is crossed by the Ponte Lucano., near which is the well-preserved Tomb of the Plautii , dating from the early empire, and resembling that of CaRcilia Metella (p. 344). Immediately beyond the river the road again divides: that to the left ascends to the town (see below), that to the right leads to the villa of Hadrian, 1 M. distant, formerly the property of the Braschi, purchased by the Italian government in 1871, and open to the public (adm. 1 fr.). The * Villa of Hadrian, situated on the slope of the hills of Tivoli, 1^/2 M. from the town, once occupied with its gardens and adjuncts an area of several square miles. The magnificent grounds, which were unrivalled in the Roman empire, contained palaces, theatres, a circus, academies, etc., where the emperor might repose after the labours of government; and he purposed to erect here models and plans of all the celebrated buildings and districts which he had visited, particularly those of Egypt and Greece. These costly structures stood till the 6th cent., when they were destroyed by the Goth Totilas. Innumerable works of ancient art, extricated from these ruins, now adorn churches and museums; and there still exist extensive remains of the buildings themselves, where excavations are now taking place under the supervision of the Com¬ mend. Rosa. . The Palace of Hadrian , the oldest edifice, appears to have stood on the highest ground, at the back of the Hippodrome and Academy. A Theatre, with adjacent halls and saloons, belonged to it. The Thermae were reached hence by the Canopus, a building fitted up in the Egyptian style, containing a number of Egyptian statues, etc., which are now in the Vatican. To the E. flows the river Alpheus. A large space above the Canopus is named the Hippodrome, or race-course, which however shows traces of aqueducts. To the N. of the palace are situated the so-called Elysium and Tartarus. A subterranean passage leads E. to the riverand beyond it to tlie Vale of Tempe. On the \V. are extensive ruins supposed to be the Prytaneum , adjoining which are the Scnola , a circular edifice with niches for statues, the Stoa Poecile , a stadium with a colonnade, and i I- w^w Ae^.Tiajppi i-y a ••-■*■■„ V u C (VTXVp oV '^de^l^pi0 ''{tf ^ IiiTtvp'Cdo\ ^;camo l«ns Cai^ttc) MoJa/^ *vi'*yl YiHlAdrfiLnsL- i5^»c Txm~yf».glveT A De*bes.LfTf v,\g i; 100.000 \ ft * Sahine Mis. TIVOLI. Environs of Rome. 365 other remains. By the present entrance are two more Theatres., and other ruins, commonly called a Nymphaeum and Palaestra. The proper designa¬ tions of these, as well as the other remains, are far from being ascertained with precision, especially as the plan of the whole establishment appears to have been dictated by mere caprice. The road ascends somewhat rapidly from the tomb of the Plantii ill windings which pedestrians may cut off. It passes the Tempio della Tosse (p. 367), and reaches the gate of Tivoli below the Villa d’Este. Tivoli. — *Regina , in the piazza, R. 2, D. 3V2-4 fr. ^ Pace, also in the town; Sibilla , beautifully situated near the temples, with view, R. 1-2 fr. according to bargain, pension 5 fr. Donkeys and Guides to the waterfalls and back by the opposite bank, I'/'i fr. (3-4 fr. are generally demanded at first). Their services may well be dispensed with. Tivoli.) the Tibur of antiquity, existed, according to tradition, as a colony of the Siculi long before the foundation of Rome. In B.C. 380 Camillus subjugated Tibur along with Prieneste, after which it formed a member of the league of the Latin towns allied with Rome. Hercules and Vesta were especially revered at Tibur. Many of the Roman nobles, including Mcccenas, and the emperor Augustus himself, founded beautiful villas here ; under Hadrian the splendour of the place attained its climax; and in the middle ages it participated in the fate of Rome. In 1460 Pius 11. founded the citadel on the ruins of the amphitheatre. The modern town (7000 inhab.), with its narrow streets, offers few attractions beyond its charming situation. It is moreover somewhat damp and windy, especially in spring. From the piazza, where the diligence office is situated, we pro¬ ceed in a straight direction to a small piazza near the bridge, by wdiich the high-road to Vicovaro, Subiaco, etc. (p. 367) crosses the Anio above the falls. The Vicolo della Sibilla here leads to the left to the inn of that name (on the right), in the court of which is situated the beautiful *Temple of the Sibyl, a circular edifice, surrounded by a colonnade of eighteen Corinthian columns, ten of which are preserved. This temple, called by other authorities that of VestG) or of Hercules Saxanus^ was used as a church in the mid¬ dle ages, whence the round niche in the interior. The door and windows contract at the top. It stands on a rock above the water¬ falls, of which it commands an admirable *View. — Close to the Sibyl Inn is a small piazza with the church of S. Giorgio^ which has been incorporated with another fine old ancient temple of oblong shape, with four Ionic columns in front, supposed to have been dedicated to TiburtuS) or to the Sibyl. The ruins visible from the projecting rock near the temple of the Sibyl to the right, were caused by a serious inundation in 1826, which carried away part of the village. To prevent the recurrence of a similar disaster, a new course was formed for a part of the water of the Anio, by the construction of two shafts through the 366 Environs of Rome. TIVOLI. Sabine Mis. limestone-rock of Mte. CatilLo, 290 yds. and 330 yds. in length respeiitively. In 1834 the water of the Anio was admitted to its new channel, in jjresence of Gregory XVI., by the engineer Folchi^ and a "^New Waterfall of imposing appearance, and about 330 ft. in heiglit, was thus formed (to the left of the temple of the Sibyl). Two ancient bridges and several tombs were discovered on the oc¬ casion. Near the above-named church of S. Giorgio is an iron gate (attendant 4-5 soldi), leading to the Grotto of Neptune, which was formerly the channel of the main branch of the Anio. The new works drew off the greater part of the water from this channel, but the fall is still very line. The excellent path, affording picturesque glimpses of the great fall, was constructed by the French general Miollis. Following this path to the right, we cross a wooden bridge, and reach the grotto in a few minutes. — We now return to the gal¬ lery hewn in the rock, and pass through it, descend to the lowest point to which the path leads, and liiially mount a flight of stone steps, constantly wetted by spray, to the fantastically shaped ^Sirens' Grotto. From this point we return to the path, which ascends at first in steps and afterwards in zigzags. Halfway up, where the zigzags terminate, near some cypresses, a path diverges to the left, at first ascending a few steps, then descending, and leading in a few minutes to a Platform of masonry, immediately above the new fall. — We now return and continue to ascend, and at the top of the hill turn to the left to a Terrace planted with olives, whence we enjoy a charming *view of the temple of the Sibyl, above us, and of the new waterfall below. Passing through a door, which a custodian opens (fee), wo may proceed to the fall and the entrance of the two tunnels by which the Monte Catillo is penetrated (see above; 372 steps long; to persons inclined to giddi¬ ness the waik by the roaring stream is not recommended). — From the terrace we follow the main path on the same level, constantly affording a view of the temples on the right. The path then passes under the street and reaches the exit to the right (10c.). — Visitors now generally walk through the town gate (Porta S. Angelo) to the right, and beyond it follow the road to the left, which runs at the same level along the slope above the river, and affords a series of more extensive views of the falls. Fine olive trees on the road. After M. we reach the first point of view, a round Terrace en¬ closed by masonry, and (^2 M.) a second *Terrace, commanding an admirable view of the new fall, of Tivoli, and of the smaller water¬ falls below the town, known as *Le Cascatelle , formed by a branch of the Anio. The guides usually turn here. Visitors who wish to return by another route may continue to follow the same road. About 1/4 farther, various ancient ruins, probably the remains of a villa of Quintilius Varus, are seen near the small church of Maria di Sabine Mts^ SUBIACO. Environs of Rome. 3b7 Quintiliolo. A ‘ Villa of Horace'., although the poet never possessed one at Tibur, is also pointed out by the guides. From S. Maria we cross the meadows between old olive trees, and in about 20 min. reach a road descending in a few minutes to the left, to the Ponte dell' Acquoria, by which we cross the Anio. On the left bank of the river we ascend the hill to the left, partly by an ancient pavement, and join the road from Rome. Here, to the left, are the colonnades, which have long been visible from the opposite bank, of the so- called Villa of Maecenas, where an iron manufactory is now estab¬ lished. On the other side of the road is an ancient circular build¬ ing, known by the curious name of Tempio della Tosse, or ‘temple of the cough’, probably a tomb of the Turcia, or Tuscia family. From this point to the Porta del Colle of Tivoli about Y 2 The *ViLLA d’ Este , near the Porta del Colle, is worthy of a visit. (The lower entrance being closed, we must ascend, and in the street to the right proceed to the upper entrance adjacent to the church of S. Francesco.) The Villa was erected by Pirro Ligorio in 1549 for Card. Ippolito d’Este, and presented by the Duke of Mod¬ ena to Card. Hohenlohe. Though sadly neglected, it still retains traces of its former splendour. In the casino are frescoes by Fede- rigoZucchero and Muziano (damaged). The garden contains terraces, which are best seen from the cypress plateau with the four foun¬ tains, grottoes with cascades, densely shaded avenues, magnilicent groups of trees of most varied hues, and charming points of view. The Villa Braschi, founded by Pius VI., and the Terrace of the Jesuits" College near the Porta S. Croce also afford magnilicent views of the Campagna and Rome. Besides the ancient villas already mentioned there are traces of many others on the slopes near Tivoli. In those below the (ireek college, which have been named villas of Cassius and M. Brutus, were found a number of works of art, several of which are ex¬ hibited in the Sala delle Muse in the Vatican (see p. 312). Beautiful Excursions may be made from Tivoli to the Sabine Mts. To Subiaco, see below •, to the lower valley of Licenza, see p. 374 ; to Ampiglione, see p. 368; to S. Angelo, see p. 374; Monticelli, see p. 374; Palombara, see p. 350; Monte Gennaro, see p. 373; also to Palestrina (beautiful, but fat¬ iguing) by Qericomio, S. Gregorio, Casape, and Poli (7 hrs.), or by a nearer carriage-road via Passerano and Zagarolo (15 M.). Subiaco. From Tivoli to Subiaco, 25 M., a Vetturino runs daily in 5 hrs., starting early in the morning (fare 4 fr.); a seat in other conveyances may also frequently be procured. Carriage with two horses generally 2(t fr. and a fee. (From Rome to Subiaco 8 fr.; starting-point and booking, see p. 113.) A shorter route for pedestrians (about 19 M.) in 7-8 hrs., very interesting at places, but fatiguing, leads from Tivoli through the valley of the aque¬ duct, and by Gerano (about two-thirds of the way), as far as which it is a carriage-road. Gruide from Gerano necessary, Pj-i fr.; donkey P/a b’. (Comp. Maps, pp. 363, 367). Pedestrians quit Tivoli by the Porta S. Giovanni, and follow the 368 Environs of Rome. SUBIACO. ^(ihine Mis. road skirting the left bank of the Anio on the slopes of M. Ripoli and M. Spaccato. About 1 M. from the gate a road diverges to tlie left to Castel Madama (see below); here we keep to the right. The arches of the venerable Aqua Marcia, and soon afterwards remains of the Aqua Claudia and the Anio Vetus become visible. About 4 M. from the town are (1.) the ruins of the ancient Empulum. now Ampiglione , and 1 M. farther those of Sassula, beyond which a lonely district is traversed. Below Siciliano the road turns to the right to Gerano, a village with a poor osteria. The path now ascends the heights, whence a fine view of the mountains and valleys as far as Olevano (p. 372) is disclosed. The villages to the left are Canterano and Rocca Canterano, to the right Rocca S. Stefano and Civitella. After frequent ascents and descents on the mountain-slopes, and a succession of fine views of the valleys in the vicinity, the valley of the Anio and Subiaco below suddenly come into view beyond the last defile. The Carriage-Road leaves Tivoli by the Porta S. Angelo, and follows the right bank of the Anio. On the right, after the first mile, are seen a few arches of the Aqua Claudia, and shortly after¬ wards the Acqua Pia, the arches of which are frequently visible. After 3 M. a road diverges to the left to the lofty S. Polo, whence Monte Gennaro may be ascended (see p. 373). Farther on is the loftily situated village of Castello Madama (1460 ft.), which has long been visible; then the ruins of the old castle of Saccomuro, About 7^2 from Tivoli, we reach Vicovaro, the ancient Varia, which possesses interesting walls of travertine-blocks, and the octa¬ gonal, late-Gothic chapel of Giacomo (containing a miracle-work¬ ing image of the Madonna), designed in the 16th cent, by Simone, a pupil of Brunellesco. Beyond Vicovaro the road divides, leading to the left to the village of Licenza (p. 374), and to the right by the river to Subiaco. Cantalupo, the Mandela of Horace (p. 374), situated on a rock, lies on the left. About 11/2 from Vicovaro we pass a monastery of S. Co- simato, and soon afterwards cross the Licenza, an affluent of the Anio. On the left bank of the river opens the valley of Sambuci, through which Siciliano and the above-described pedestrian-route from Tivoli to Subiaco are reached. Above the valley lies the village of Saracinesco, which soon becomes visible. It is said to have been founded by the Saracens. The inhabitants wear a picturesque cos¬ tume. Midway between Tivoli and Subiaco stands the Osteria della Ferrata. Farther on lies Roviano, opposite to which is Anticoli on the left bank. Beyond Roviano the Via Valeria diverges to the left to Arsoli and the Lago di Fucino (see Baedeker s Southern Italy). The valley of the Anio now expands picturesquely, and again contracts at Agosta. To the left lies Cervara on a lofty rock; on the right Canterano and Rocca Canterano. Subiaco, charmingly situated amidst wood and rock, now soon becomes visible. W ?f\ ^ * /».-2 Sr^l' ',' '^"^1 ‘■'■^ •*. < Aa&9 .;=^'=a ?2J&l ■=«W C . 4 .• -j: i’, 9 I w Sabine Mts. SUBIACO. Environs of Rome. 369 Subiaco (* La Pernice, pens. 5 t‘r.) is a small town (GOOOinhab.) of mediaeval appearance, commanded by a castle which was formerly often oc(5upied by the popes. This w^as the ancient Sublaqueurn, situated in the territory of the .^qui, and is now the capital of the Comarca. It sprang up on the grounds of an extensive villa of Nero, which was embellished by three artificial lakes, the ^Simbruina stagna' of Tacitus (Ann. 14, 22), which were destroyed by an inun¬ dation in 1305, and have given the village its name. On the left side of the Anio, opposite the monastery of S. Scolastica, are seen walls and terraces of the time of Nero, who, according to Tacitus, narrowly escaped being struck by lightning whilst taking a repast here. The environs are delightful, and the far-famed monasteries (closed 12-3 p. m.) are extremely interesting. Guide not absolutely necessary. The excursion requires about 3 hrs., and affords a suc¬ cession of beautiful views. We follow the main street which inter¬ sects the town, upwards of V2^- length, and afterwards ascends on the right bank of the Anio. About M. from the last houses of the suburb of S. Martino, before the road crosses the gorge by the lofty bridge, a path supported by masonry ascends to the left, passing several chapels, and leading to the (^4 hr.) — ^Monasteries of S. Scolastica, of which there are three. The first was founded in 530 by St. Benedict, who retired to this spot, and took up his abode as a hermit in one of the grottoes, now con¬ verted into chapels (II Sagro Speco). The monastery was after¬ wards confirmed in its possessions by Gregory I. and his successors. In the 7th cent, it was destroyed, in 705 rebuilt, and is now entirely modern. In 1052 a second monastery was erected , and a third added in 1235 by the Abbot Landus. (If time is limited the monas¬ teries should be visited in returning from the Sagro Spec>o.) The First .Monastery (entrance to the right in the passage, after the anterior court has been passed) possesses a few antiquities^ by the fountain a sarcophagus with Bacchanalian representations, handsome cA)lumns, etc., probably found during the erection of the building. The monastery for¬ merly possessed a library containing valuable MSS. In 1465 the German printers Arnold Pannartz and Conrad Schweinheim printed here the first book published in Italy, an edition of Donatus, which was followed by Lactantius, Cicero, and Augustine (1467), of which copies are still pre¬ served here (see p. 202). The Second Monastery, dating from 1052, is one of the earliest specimens in Italy of the pointed style. The court contains a quaint relief and two mediaeval inscriptions. The Third Monastery, of 1235, contains an arcaded court decorated with mosaic. The Church of S. Scolastica., originally founded by Benedict VII. in 975, was completely modernised in the 18th cent., and now contains nothing worthy of note, excepting the fine carved choir-stalls. An ascent of 25 min. from S. Scolastica brings us to S. Bene¬ detto , or II Sagro Speco , built against the rock, overtopped by a huge mass of stone, and shaded by oaks. The first corridor contains scenes from the lives of St. Benedict and his sister St. Scholastica, painted in 1466. We then descend to two chapels, adorned with paintings of the Madonna, Slaughter of the Innocents, Baedeker. Italy II. 6th Edition. 24 370 Environs of Rome. PALESTRINA. Sabine Mts, etc. which were executed in 1219 by the otherwise unknown master Con- xolus (earlier than Cimabue). The grotto of St. Benedict contains the statue of the saint by Bernini. The walls are decorated with venerable paintings. The Garden of the monastery is well stocked with beautiful roses. They were, according to tradition, originally thorns, cultivated by St. Benedict for the mortilication of the llesh, but converted into roses by St. Francis when he visited the monastery in 1223, Having returned to the high road after visiting the monasteries, we may cross the Anio by the bridge, and return to the town by a footpath on the right. By this liigh road, which is mentioned at p.373, Olevano (p. 372) is about 10 M. distant. Palestrina. Olevano. Palestrina may be visited from Rome direct, or, which is pleasanter, from Frascati or Valmontone. From Rome, in summer daily (usually at 2.30 p.m., returning at 4 a.m.), a Yetturino starts from Via S. Marco 10, where enquiry should be made (a drive of about 5 hrs., fare 4 fr.). —^ From Frascati (railway station, see p. 354) Palastrina may be reached on foot or on donkey-back in 4 hrs.; the road is also practicable for carriages. — From Valmontone (a station of the Naplea-Rome line, reached by train in I 1/2 hr. from Rome) to Palestrina a walk of l ‘/2 hr.; also vet- turino, IV 2 fi*.; comp. Map, p. 353. A vetturino also plies from Valmon¬ tone to Oenazzano (P /2 fr.) in 2 hrs., the driver undertaking to provide a conveyance thence to Olevano. The Road from Frascati to Palestrina, 13 M., especially the first half, is beautiful, but destitute of shade. We first ascend from the station to the first houses of Frascati, where, at the bifur¬ cation of the road, we turn to the left (comp. p. 354). After 3)^ M. the road passes the lower entrance to the Villa Mondragone, which is approached by an avenue of cypresses. Farther on are the ruined vaults of an ancient villa, said to have belonged to Cato. After 2M. the road passes (r.) the olive-clad hill on which Monte Porzio (1529 ft.) is picturesquely situated; lf /2 M. farther it reaches Monte Com- patri (1745 ft.) , with a chateau of the Borghese, the ancient Lahi- cum. We do not enter the village, but pass the approach of masonry which forms its entrance, and descend by a somewhat rough road, passing a washing-trough. Near a (1M.) considerable group of trees we turn to the right, and close to (f/3 xM.) a small chapel with an image of the Madonna, again ascend to the right. About 2M. farther the broad road leads us to the high road coming from Rome ( Via Labicana, Strada di Palestrina) , and following the latter for M. we reach the Osteria S. Cesareo, a thatched hut (capanna) to the left of the road, where good wine is sold. At S. Cesareo the road to Lugnano diverges to the right, and the main road to the left leads to Palestrina, 41/2 M. distant. From Rome to Palestrina, 22 M., two routes lead from the Porta Maggiore (anciently the Porta Praenestina) : the ancient Via Praenestinay and the modern and more convenient Via Labicana. The former runs to the left between vineyards, past (IV 2 M.) the ruins of Tor de'' Schiavi (p. 349), to the mediaeval Tor tre Teste , 8 V 2 M. from Rome; then crosses the seven arches of the Ponte di Nono, an early Roman bridge of lapis Gabinus, and reaches the Osteria delV Osa on the brook Osa, which descends from the lake near the ancient Oabii{^ which lay near the conspicuous tower of on». jfcqtwTi Ceaitnuxi^ /2 M. farther is the Osleria del Finocchio^ beyond which lies the above mentioned Casale di Pantano. Co- lonna stands on a height 3 M. farther. The road then gradually ascends to the above-mentioned Osteria di S. Cesareo. Palestrina, an insignificant, closely built town, with steep and dirty streets, lies most picturesquely on the hill-side. The traveller . on his arrival should ask a boy to take him to the Vedova Anna Bernardini j Via delle Concie 1, an unpretending, but good inn. Palestrina, the Praeneste of antiquity , one of the most ancient towns in Italy, was captured by Camillus, B.C. 380, and was thenceforth subject to Rome. In the civil wars it was the principal arsenal of the younger Marius, and after a long siege was taken and destroyed by Sulla, who afterwards rebuilt it in a magnificent style as a Roman colony. Under the emperors it was a favourite resort of the Romans on account of its refreshing atmosphere, and is extolled by Horace (Carm. iii, 4, 22) to¬ gether with Tibur and Raise. A celebrated Temple of Fortune and an Oracle (‘sortes Prsenestinse’, Cic. Uiv. ii, 41) attracted numerous visitors. In the middle ages Palestrina was long the source of sanguinary conflicts between the powerful Colonnas and the popes, the result of which was the total destruction of the town in 1436. The territory was purchased in 1630 by the Barberini , who are still proprietors of the soil. — The great composer Qiovanni Pierluigi da Palestrina^ who died at Rome as director of the choir of St. Peter’s in 1594, was born here in 1524. The town stands almost entirely on the ruins of the temple of Fortuna, which rose on vast terraces, surrounded by a semicircular colonnade, and occupied the site of the Palazzo Barberini. On entering the town we observe the lowest of these terraces , con¬ structed of brick. The precise plan of the ancient building cannot now be ascertained. The arcades with four Corinthian half-columns in the piazza near the cathedral, now converted into a wine-cellar, appear to have belonged to the second terrace. The Orottini, as the interior of these foundations is called, may be examined in the Barberini garden (in the Corso), but more conveniently in autumn than in spring, when they are often filled with water. The garden contains statues and inscriptions. — From the Corso we ascend in about 10 min. to the Palazzo Barberini., which rests almost entirely on these ancient substructions, and deserves a visit (fee fr.). It contains a large antique Mosaic., probably executed in the reign of Domitian, representing landscapes of the Nile, with numerous animals and figures in Egyptian and Greek costumes. This relic was found near the cathedral. The burial chapel of the palace contains the sketch of a Pieta by Michael Angelo. The ancient * Walls of Palestrina, of which various fragments are visible, exhibit four different systems of building, from the Cyclopean mode of heaping huge blocks of stone together, to the 24* 372 Environs of Rome. OLEVANO. Sabine Mis. brick-masonry of the empire. Two walls, of which that to the N. is the best preserved, connected the town witli the citadel (Arx) on the summit of the hill, now Castel S. Pietro, consisting of a few poor houses. A somewhat fatiguing path ascends from the Palazzo Barberini in ti /2 which, however, the noble prospect from the summit (2546 ft.) amply compensates. The vast Cam- pagna, from which the dome of St. Peter’s rises, is surveyed as far as the sea; to the right rise Soracte and the Sabine Mts., then the Alban range; to the left is the valley of the Sacco, bounded by the Volscian Mts. The picturesque, half-dilapidated Fortezza was erected by the Colonnas in 1332. The door is opened on ap¬ plication (V2“l li’-); approach is uncomfortable, but the view from the interior is particularly fine. The extensive ruins of the Villa of Hadrian, where the beautiful An- tinous Braschi, now in the Rotonda of the Vatican (p. 318) was found, are near the church of S. Maria della Villa, 2/4 M. from the town. In the forum of the ancient Prseneste, in 1773, was found the calendar of Verrius Flaccus, now in the Palazzo Vidoni at Rome (p. 201). The excav¬ ations at Palestrina have always yielded a rich harvest; the so-called cistae, or toilet-caskets, including the celebrated Ficoronian (p. 151), have all been found here. From Palestrina to Tivoli by Zagarolo and Passerano 15 M. (comp. p. 367). FromPalestrina to Olevano, about 11 M., a drive of2y2^B’s. (the vetturino from Rome proceeds in the afternoon to Olevano; carriage 8-10 fr.). This is a very picturesque route. To the left, and before us are the Sabine Mts., to the right the Volscian, and behind us the Alban Mts. The road from Rome passes below Pal¬ estrina (p. 370). Beyond a seven-arched bridge across the Fiurne di Cavi we reach (2M.) Cavi, a village with 2000 inhab., the prop¬ erty of the Colonna family. (Above it, 4 M. distant, lies the small village of Rocca di Cavi.') The road pursues a straight direction, and soon passes the church of the Madonna del Campo, 2 M. beyond which a road to Genazzano diverges to the left. Genazzano, a pleasant little towm with 3000 inhab., is famed for its richly endowed pilgrimage-chapel of the Madonna del Buon Consiglio, which attracts crowds of devotees in their picturesque costumes on festivals of the Virgin. We may now return to the high road, or proceed through the valley direct to Olevano by an interesting, but rugged route. The road farther on again crosses two bridges, beyond the second of which, the Ponte d’Orsino, it divides ; the branch to the left leads to Olevano, that to the right to Paliano. The former road at first gradually ascends, and then describes a long curve, causing Olevano to appear much nearer than it really is (vetturino, see p. 370). OlevanO) a mediccval place, with about 3000 inhab. and the scanty remains of an ancient wall, the property of the Borghese, lies most picturesquely on the slope of a mountain, and is com¬ manded by the ruins of an ancient castle. The interior of the town, with its narrow and dirty streets, presents no attractions. At the entrance to the towm is the new *Albergo di Roma, where the vet- Sabine MU, MONTE GENNARO. Envir.ofRome. 373 turino stops. A little farther on, a road to the right leads to the Casa Baldij a favourite resort of artists (pension 5 Ir.. unpretend¬ ing, but tolerable; host Nino, hostess Peppina'), situated on the top ot a hill commanding the town and affording a singularly beautiful ^'^‘ViEW. To the right are visible the barren summits of the Sa¬ bine Mts., with Civitella, S. Vito, Capranica, and Rocca di Cavi; then the narrow plain, bounded by the Alban and Sabine Mts. In the distance lies Velletri. Nearer is Valmontone with its chateau, situated on a mountain-top; then Rocca Massima, Segni, and Pa- liano. Towards the S. stretches the valley of the Sacco, until lost to view. The town with its ruined castle forms a charming fore¬ ground. The inn should if possible be reached an hour before sunset. — Olevano is well adapted for a prolonged stay. The environs are replete with beautiful scenery. Above the town is the Strpentara, a tine grove of oaks, saved from destruction by the subscriptions of artists for that purpose. From Olevano to Subiaco , three routes, all beautiful. The new Carriage-road, which diverges from the Tivoli road to the right, 2 M. below Olevano, before reaching Civitella, is the shortest (12 M.) and most convenient (on foot 4 hrs., by carr. 3 hrs.). Beyond the bridge over the Anio almost at the end of the route, 15 min. before Subiaco is reached, a path to the right diverges to the monasteries (p. 369). The Second , and most beautiful, Route (5 hrs.) by Civitella, Rocca S. Stefano, and Rocca S. Francesco, must, like the following, be traversed on foot, or on the back of a donkey (which the landlord procures^ 2-272 fr. and as much more to the attendant). From the Casa Baldi by the above mentioned road we reach Civitella in I 74 hr., a poor village situated on an isolated peak in a barren, mountainous district. Owing to its secure situation it was inhabited even in ancient times, but its former name is unknown. The fragments of a fortification which commanded the narrow approach on the W. side, constructed of large masses of rock, are still visible. From the farther end of the village a beautiful view of the valleys and mountains towards Subiaco is enjoyed. Archaeologists should not omit to follow the wall to the left from this gate (although a rough walk), in order to inspect the ^remains of the very ancient wall, constructed of rough-hewn blocks, by which this, the less precipitous side of the moun¬ tain, was guarded. The path then leads by S. Stefano and Rocca S. Francesco into the valley of the Anio, and to Subiaco, a beautiful route the whole way. A Third Route, 5-6 hrs., the longest, and in some respects the most fatiguing, but also highly interesting, leads by Rojate and Affile. As the longer half as far as Affile leads by field and forest-paths, easily mistaken, a guide is desirable. Rojate is a small village. Affile a place of more importance, boasting of a few relics of ancient walls and inscriptions. From this point to Subiaco we follow the high road (see above). Excursions. Two of the most beautiful spots among the Sabine Mts., which abound in beautiful scenery, must now be mentioned. Monte Gennaro (4163 ft.), one of the highest peaks of the Sabina, is a familiar object to the eye of every one who has visited Rome. The ascent from Tivoli occupies 5-6 hrs. , and a whole day must be devoted to the excursion. Guides at Tivoli demand 5-6 fr., those [at S. Polo, which the traveller may reach unaided, 2-3 fr. We quit Tivoli by the Porta S. Angelo, and follow the high road to Subiaco for 2 M., when a bridle-path diverges to the left, leading along the mountain-slopes in 172 hr. to the lofty (2342 ft.) village of S. Polo de' Cavu- lieri (accommodation kindly forwarded to travellers by Signor Calisto Meucci, in the Palazzo Borghese, the tower of which commands a fine view). LICKNZA. Volsciav Mfi-'. 374 En viroiu of Ecrtie. The real ascent now begins (guide necessary), the last part being very fatiguing. The traveller should not onoit to bring refreshments for the ex¬ cursion. The mountain is badly supplied with water, and the shepherds are compelled to drink rain-water collected in troughs and hollow trees. On the sun)mit stands a rude pyramid of stone, which has been used for tri¬ gonometrical surveys. The view is very extensive, comprising the coast from Mte. Circeo as far as the lake of Baccano, the broad plain with innumer¬ able villages, from the Volscian and Alban Mts. as far as Soracte and the Ciminian Forest ^ then the Apennines, as far as the snowy peaks of the central range. The descent may^ be made by the bridle-path, named La Scarpellata^ on the S. slope of the mountain. The villages of Monticelli and S. Angelo are left on the right. — M. Gennaro may also be ascended from Rocca Gio- vine in 5-6 hrs. (guide 3-4 fr.), and this excursion thus combined with the following, but the village affords very poor quarters for the night. Valley of Licenza. Travellers versed in classic lore will naturally be attracted to this spot, where the Sabine farm of Horace is believed to have been situated , but its great natural beauty alone renders it an object of extreme interest. The excursion may^ either be made from Tivoli, or com¬ bined wuth the journey to Subiaco, and driving is practicable nearly the whole way. From Tivoli to Vicovaro, 61/2 M. (p. 368), and thence to Rocca Giovine, 3 M., the road is practicable for carriages; to Licenza 2 M. farther. The small village of Rocca Giovine is charmingly situated on a precipitous rock. Its name is supposed to be derived from Arx Junonis ^ and a temple actually existed here once, possibly the Fanum Vacunoe of Horace. Licenza^ another mountain-village, derives its name from the Digentia ^ now' Li- cenza^ which skirts the base of the hill (‘me quoties reficit gelidus Digentia rivus’, Hor. Ep. i. 18, 104). Shortly before the village is reached (guide from Rocca Giovine fr.), the scanty remains of a Yilla are pointed out, which is said to have belonged to Horace, but this is a mere hypothesis. The most recent investigations tend to prove that the poet’s Sabine farm was situated near Rocca Giovine, by the chapel of the Madonna delle Case, on a lofty plain at the foot of M. Corrignaleto, which in this case w'ould be the Mans Lucretilis of Horace, instead of M. Gennaro as formerly sup¬ posed. Rear this chapel is a spring, called Fontana degli Oratini by the natives, perhaps the Fons Bandusiae of the poet (Carm. iii, 13). The shortest route between Rocca Giovine and Subiaco is a path by Cantalupo , the ancient Mandela (‘rigosus frigore pagus’, Ep. i. 18, 105). The Volscian Mountains. This mountain-range, which attains an elevation of 4600 ft., is separ¬ ated on the E. from the principal chain of the Apennines by the valley of the Sacco, and on the R. from the Alban Mts. by a narrow depression ; it extends to the S. as far as the Bav of Gaeta, and on the W. is bounded bv a dreary and in some places marshy plain adjoining the sea. This district was in ancient times the chief seat of the Volsci, but w'as at an early period subjugated by the Romans and Latinised. Its towns, picturesquely rising on the mountain-slopes , still bear many traces of the republican epoch of Italy, which add great interest to the natural attractions of the scenery. These mountains, however, have hitherto been seldom visited, partly on account of the poorness of the inns, and partly owdng to their insecure state, which has improved only quite recently’. An excursion to Cori may be ac¬ complished in one day with the aid of the railway as far as Velletri; so also that to Segni. Railway from Rome to Velletri, 2572 M., in i fares 3 fr. 30, 2 fr. 30, 1 fr. 65 c. — Velletri, see p. 362. From Velletri to Cori, 11 M. , diligence twice daily in 2 Ill’s., leaving Velletri at 8 a.m. and 3 p.m. (from Cori 6 a.m. and 2.30 p. m. ; carriage with one horse there and back, 8-10 fr.). Volscian Mts. CORI. Environs of Rome. 375 The road, especially the first part, traversing a dreary plain, is un¬ interesting. To the left lies the ( 4^2 M.) Layo di Giulianello y an extinct crater. A little farther is a wood , which used to he fre¬ quently infested by banditti. From ( 6^/2 M.) the poor village of GiulianeUo the road to the left ascends to Rocca Massima, while that to the right leads to Cori. The mountain slopes now become more attractive. About 3M. from GiulianeUo, at a chapel of the Ma¬ donna del Montey a road to the left diverges to the upper part of the town. The road to the right, leading to the lower part, is preferable. Cori (Filippuccio; the trattoria is near the Porta Romana, the bedrooms farther up in the Piazza, rustic accommodation, but civil people). That no time may be lost, a guide to the chief points of interest should at once be engaged (V 2 “l ^r.). The ancient Cora was at an early period a member of the Latin League; it is men¬ tioned, B.C. 493, as one of the thirty confederate towns. During the empire it still prospered, but its name afterwards fell into oblivion. Pop. 4000. Tobacco is extensively cultivated in the neighbourhood. Besides the modern walls, which date chiefly from the 15th cent., considerable remains of *Ancient Walls of various periods are pre¬ served at Cori. Those of the earliest style consist of large blocks without mortar, the interstices being filled up with smaller stones; the best example of this is seen near the gate to Norma and S. Maria. The second and more perfect kind is constructed of hewn polygonal blocks, the outsides of which alone are left rough. Lastly there are walls of regularly hewn square stones, perhaps dating from the time of Sulla, such as those above S. Oliva, and those separating the upper town (Arx) from the lower. The town seems to have been surrounded by differently situated walls at different periods. A deep ravine outside the Porta Ninfesina is spanned by the very ancient * Ponte della Catenoy constructed of tuffstone in the style of the Cloaca Maxima at Rome. In order that the great solidity of the arch with its double layers of masonry may be appreciated, it should be surveyed from below. Our attention, however, is chiefly arrested by the colonnade of the so-called *Temple of Hercules (perhaps of Minerva), standing on the highest ground in the town. The cella of the temple is in¬ corporated with the church of S. Pietro; but the eight columns of the Doric colonnade, with frieze of travertine bearing traces of stucco- decoration, are preserved. The inscription, recording the erection of the edifice by the duumviri y or chief magistrates of the place, dates from the time of Sulla. Fine *View hence over the town to¬ wards the sea, and of the plain with the isolated M. Circeio. S. Oliva is also erected on the foundations of an ancient temple, and possesses antique columns. In the street of S. Salvatore once stood a Temple of Castor and Pollux y as the inscription, still pre¬ served, records, but it is now incorporated with other buildings. The frieze and two columns of the Corinthian order, of admirable 376 Envimnfi nf Rome. SKGNI. Volscian Mts. workmanship, are still to be seen. Other andent relics, inscriptions, columns, reliefs, fragments of marble, etc. are distributed through¬ out the town, and large masses of opus reticulatum of the imperial epoch are also observed. Fkom Cori to Segni a rugged bridle-path crosses the hills in 5-6 hrs. — Instead of returning to Velletri the traveller may prefer to proceed across the plain by Giulianello and Montefortino (12 M.) to stat. Valmontone^ but this route is hardly safer. Segni is on the whole most conveniently reached from the railway. — The excursion to Cori may be prolonged to ^sokma, which is reached in 2 hrs. A shorter, but rough path (guide desirable, 1 fr.) leads from the Porta ^sinfesina by the mountains, another by the plain. The former may be selected in going, the latter in returning. A walk of 13/4 hr. brings us to the ruins of Norba, which became a Latin colony, B.C. 492, and was captured and destroyed by the troops of Sulla during the civil wars. The wall in the polygonal style, well preserved, was li/.’ in circumference, and several gateways are still traceable. The interior contains various unexplained relics. In 1/4 hr. the small mountain-village of Norma is reached hence. In the plain below' it lie the ivy-clad remains of the mediae¬ val town of Ninfa^ surrounded by a marsh which has been the cause of its abandonment. A palace, a monastery, a church with faded frescoes, and streets are still distinguishable. Cori may now be regained by the Cori and .Sermoneta road. Segni may like Cori be visited in one day from Rome. It is the sec¬ ond station of the railway to Velletri. From Rome to Segni, 4 OV 2 M., in 21, 4 hrs. ^ fares 7 fr. 35, 5 fr. 15, 3 fr. 70 c. — From the station of Segni to the town is an ascent of hr. Segni (Locanda di Gaetanini) is the venerable Signia^ wliirh is said to have been colonised by the Romans under Tarquiniiis Prisons, situated on a mountain-slope (the summit of which is about 2 rj 00 ft. in height) in a secure position, commanding fine views of the valley with the tombs of the Hernici. The present towm, with 3500 inhab., occupies the lower half of the ancient site. Ascending through the streets, we reach the church of S. Pietro, rising on the foundations of an ancient temple, the walls of w'hich consist of rectangular blocks of tufa, below which are two layers of polygonal masses of limestone. A fountain near the church is also of the Roman epoch. The *Town-Walls, in the massive polygonal style, IY 4 M. in circumference, are to a great extent well preserved. From S. Pietro we proceed to the remarkable * Porta Saracmesca, which was apparently built before the discovery of the arch princi¬ ple , as a substitute for which the lateral w’alls are gradually made to approach until they meet at an angle. From this point the cir¬ cuit of the wall may be made in ( 2 Porta in Lucino, simi¬ lar to the above, is partially buried. Low^er down are remains of a second towui wall, inscriptions, etc. From stat. Segni, Anagni is about 4V2 M. distant. Regarding this and other towns of the Hernici, see Baedeker's Southern Italy. Etruscan Towns. That part of the Roman Campagna wdiich extends N. from the Tiber to the Ciminian Forest and the mountains of Tolfa w’as the Southern Etruria of antiquity. Originally occupied by a tribe akin to the Latins, then con¬ quered by the Etruscans, it was finally, after the protracted contests wuth W'hich the first centuries of the annals of Rome abound , reconquered and Latinised. The fall of the mighty Veii, B.C. 39C, mainly contributed to Etruscan Towns. VEII. Environs of Rome. 377 effect this memorable change. Excursions are frequently made .to Cervetri and Veii for the sake of visiting the remains of the Etruscan tombs ^ but, apart from its archseological interest, this district deserves to be better known on account of its imposing natural beauties. Malaria is unfortun¬ ately very prevalent here. Veii. Fm, near Isola Farnese^ may be visited from Rome, from which it is 11 M. distant, in one day. Carriage for the whole excursion about 25 fr. For pedestrians the route is too long to be pleasant, and they should drive at least as far as the Tomba di Nerone (5 M., fiacre 4 fr,), or La Storta ( 8‘/2 M.). Those who are so disposed may return from Veii by a somewhat longer route, skirting the Fosso di Valclietta^ the valley of which descends to the Via Flaminia between the 6 th and 7th milestones. Provisions for the journey should be carried from Rome, as the tavern at Isola is ex¬ tremely poor. From Rome to the Ponte Molle ^ see p. 351. By the Osteria, where the Via Flaminia diverges to the right, we follow the Via Cassia, gradually ascending to the left. The district soon becomes desolate. Near the 5th milestone, to the left of the road, on a dilapidated pedestal, stands a sarcophagus with a long inscription, commonly called, but without the slightest authority, the Tomb of Nero. The inscription (at the back, facing the ancient roadj ex¬ pressly records that the monument, which probably dates from the 2nd cent, after Christ, was erected by Vibia Maria Maxima to the memory of her father P. Vibius Marianus and her mother Regina Maxima. — An ancient route, somewhat shorter than the modern, diverges here to the right to Veii, but as it is not easily traced the high road is preferable. We next reach ( 8^/2 M.) the post-station of La Storta (inn), which in ancient times was the last, station on the route to Rome. One mile beyond it the road diverges to the right to Isola Farnese; 1^/2 M. farther, where the road divides, we select that to the right; the road to the left leads to Formello. Isola Farnese^ a poor village, belonging to the Rospigliosi, numbering scarcely 100 inhab., and harassed by fever in summer, was a place of some consequence in the middle ages, having been founded on account of the security of its site. A guide is engaged here (I-II /2 I’r-j bargaining necessary) to conduct us to the site of Veii. Imposing ruins must not be looked for, but the landscape is interesting and picturesque. A minute inspection of the ancient city is interesting to the archaeologist only. The following are the principal points, a visit to which occupies 2-3 hrs. We first descend the brook to the mill (molino), where there is a picturesque water¬ fall, not far from which the brook is crossed by the ancient Ponte delV Isola. Farther on is the Ponte Sodo, hewn in the rock, under which the brook is conducted. Then the Porta Spezieria with remains of a columbarium, the recesses of which gave rise to the name. In the vicinity is the Grotta Campana. We next follow the ('remera to tlie Piazza d'Armi , the ancient citadel (tine view), and then return to Isola. Pedestrians, by descending the valley of the stream from tlie Piazza d’Armi, may reach the Via Flaminia in 2 hrs. 378 Environs of Rome. GALERA. Etruscan Town-o. Veii was one of tlie most powerful of the Etruscan cities. After contests protracted for centuries, which at first centred round Fidenae {Castel Giuhileo, p. 350), the frontier stronghold of the Etruscans on the S. bank of the Tiber, and after manifold vicis¬ situdes and a long siege, the city was at length captured by Ca- millus, B.C. 396. Its circumference, which may still be traced, is 5y2 M. After its capture it fell to decay, and was afterwards re¬ peopled by Ciesar with Romans; but this colony scarcely occupied one-third of the former area. Excavations here have led to the dis¬ covery of inscriptions, statues, and the columns which adorn the old post-office in the Piazza Colonna fp. 148). Veii stands on a table-land, around which, on the N. and E. sides, flows the ancient Cremera^ now the Fosso di Formello^ and on the W. side, towards Isola, the Fosso delV Isola. The ancient citadel, now the Piazza d'Armi^ occupies a separate plateau at the confluence of the two brooks, connected with the site of the town by a narrow isthmus only. The camp of the Fabii, whose whole family was destroyed by the Yeientines, was situated on the heights on the right bank of the Valca , as the Cremera is named in the lower part of its course, about iy 2 M. distant from the citadel. The ^Grotta CampanUj named after its discoverer, is the only tomb of Veii still preserved, and is left in the condition in which it was found in 1842. It is hewn in the tufa-rock, and guarded by two lions at the entrance. The interior consists of two chambers; the walls are covered with grotesque paintings of great antiquity. Two skeletons were found here, but they soon fell to pieces. Remains of the armour of a warrior, vessels of clay, etc. are also seen. Galbra. Galera., 15 M. from Rome, may be visited on the way to Bracciano, or by carriage (about 25 fr.), in a single day from Rome. A supply of pro¬ visions necessary. Vetturini also occasionally run (see below). About 72 M. beyond La Storta (p.377) the Via Clodia diverges to the left from the Via Cassia, which leads to Baccano (p. 69). We follow the Via Clodia, the old pavement of which is seen at intervals. The district is dreary. On the road-side is the entrance to the subterranean Acqua Paola , which descends from the lake of Brac¬ ciano, and terminates on the Janiculus. On the left, 47*2 M. from La Storta, appears the church of S. Maria di Cesareo; 1 M. farther is the Osteria Niiova, where the carriage may be left. The land here is well watered, and occupied by several extensive farms. A path to the left in the direction of these, then turning to the right, leads in 72 ruins of Galera. The town, which arose in the middle ages near the Carciae of antiquity, was at first governed by powerful nobles, and belonged to the Orsini 1226-1670. At the beginning of the present century the inhabitants were compelled by malaria to abandon the place. Iheii the solitary shepherd who now lives here quits it with his flock in summer. It stands on an abrupt Etrusvan Towns. BRACCIANO. EnvArons of Rowe. 379 tufa-rock, around which flows the Arrone^ the outlet of the lake of Bracciano. The walls are of the 14th and 15th centuries. Two churches with their towers, the palace of the Orsini, and many houses are recognisable, all densely overgrown with ivy and creepers. The surrounding wooded ravine enhances the romantic appearance of the spot. Bracciano. 24 M. from Rome. A Vetturino conveys passengers to Bracciano every al¬ ternate day, but not always regularly, from the Piazza of the Pantheon, in 5-6 hrs., fare 4 fr. , returning on the following day. In May and June, the bathing-season at Vicarello (see below), the traffic is brisker. Beyond the Osteria Nuova (see above) the Arrone is soon reached. A road to the right then diverges to Anguillara (p. 380), situated on the lake. The country continues dreary. About 3M. before Bracciano is reached, the Lake of Bracciano becomes visible, with Trevignano and Rocca Romana, the highest point (2018 ft.) of the surrounding range of hills. The lake, the Lacus Sahatinus of antiquity, is 20 M. in circumference , and lies nearly 500 ft. above the sea-level. Its form and the heights encircling it indicate that it was once a crater. It is famed for its eels and abundance of fish, and the slopes are w ell cultivated, the upper parts being wooded, but malaria is prevalent. Near Bracciano the road divides : the upper branch, to the left, leads to the Capuchin monastery; the other to the right, to the town. Bracciano (*Locanda Piva, unpretending), a modern town with 2000 inhab., possesses a picturesque castle of the 15th cent., and several iron-works in the vicinity. The * Castle, erected by the Or¬ sini, now the property of Prince Odescalchi, is very interesting, and its towers and fortifications convey a good idea of the character of a mediteval stronghold. It is said on this account to have riveted the attention of Sir Walter Scott far more powerfully than the more im¬ posing ruins of antiquity. The interior, still inhabited, contains nothing worthy of note. The *view from the tow^er, extending over the beautiful lake to Trevignano and Anguillara, with Soracte and the Sabine Mts. in the background, is remarkably fine. A pleasant excursion may be made from Bracciano to Trevignano^ M. distant. The road skirts the lake. After IV 2 M. a path ascends to the left to the old church of the martyrs SS. Marco, Marciano, and Liberate, erected, as the inscription informs us, on the site of an ancient villa named Pausilypon , and affording a fine view. In the vicinity stood Forum Clodii, from which inscriptions and other relics are preserved. Pedestrians may regain the road to Vicarello by another forest-path. — Vicarello is 4 M. from Bracciano. The baths, M. from the road, with a hot sulphureous spring, are the Aquae Apollinares of antiquity. A proof of the estimation in which they were held was' afforded in 1^2 by the discovery of great num¬ bers of coins and votive offerings , most of which are now in the Museo Kircheriano (p. 150). Owing to the malaria, the bathing season is not pro¬ longed beyond the early part of summer. — By the road are seen many remains of opus reticulatum, belonging to villas of the imperial epoch. Trevignano^ occupying the site of the Etruscan town of Sahate^ which fell early into oblivion, formerly the property of the Orsini, now that of the Conti, is a poor village. Roman remains very scanty. In the principal church two pictures of the school of Perugino. The ruined castle above the .. village commands a fine view ^ its destruction was due to Ceesar Borgia. 380 Environs of Rome. Cv^^RE. Etruscan Towns. A bridle-path leads hence in lV‘i hr. to Sutri (p. G9), another in al)Out 3 hrs. to Anguillara^ the ancestral seat of the once powerful counts of that name. If the wind be favourable it is preferable to cross the lake from Trevignano by boat. From Anguillara to Bracciano an uninteresting route of 6 V 2 M. ^ the tour of the lake may thus be made in one day. From Bracciano a road traverses a dreary district to (9 M.) Cervetri, so that the above excursion may easily be combined with the next. CiERE. Cervetri^ the ancient Caere^ may be visited from Rome in a single day. The first train should be taken as far as Palo (p. 8 ; three trains daily; fares 5 fr. 55, 3 fr. 9(), 2 fr. 80 c.); thence in I 1/4 hr. to Cervetri, where a stay of 5 hrs. may be made, leaving time to regain Rome by the last train. Caere, more anciently named (Phoenician, ‘circular city’J, a place of very remote origin, afterwards became subject to the Etruscans, and carried on an extensive commerce from its harbours Pyrgos (S. Severa) diUd Alston (Palo). At the same time it was close¬ ly allied with Rome. In B.C. 351 it was received into the confed¬ eration of Roman states. It was a prosperous place in the reign of Trajan, and continued to flourish down to the 13th century, but in 1250 it was abandoned by its inhabitants, who founded Cere Nuovo, 3 M. distant, the present Ceri (with not more than 50 inhab.J. A number of them, it is uncertain when, afterwards returned to Giere Vetere, whence the name Cervetri. This village (200 inhab.J stands on the site of the ancient city, which was 5 M. in circumference. The interest of this locality was greatly increased by the discovery of numerous tombs in 1829, and the excavations are still prosecuted. Some of the Tombs are clustered together and hewn in the rock, while others stand alone in conical mounds or tumuli. They are not nearly so well preserved as those of Corneto, and hardly a trace of painting remains. The more important may be visited in 3-4 hrs. Most of them lie on the hill opposite the village, and sep¬ arated from it by a gorge. In order to form an accurate idea of their arrangements, the traveller should not confine his attention to the most interesting only. 1. Grotta delle Sedie e Scudi, so called from two seats and several shields hewn in tlie rocks, contains an ante-room and five chambers. 2. Grotta del Triclinio, with almost obliterated paintings representing a banquet. 3. Grotta della Bella Architettura, with two chambers, sup¬ ported by pillars. 4. Grotta delle Urne, with three marble sarcophagi. "5. Grotta delle Iscrizioni, or de’ Tarquinii, with two chambers, sup¬ ported by pillars, contains numerous inscriptions with the name of Tarc/i- nas (Lat. Tarquinius)., thus apparently corroborating the tradition that the Roman kings were of Etruscan origin. *6. Grotta dei Bassorilievi, ex¬ cavated in 1850, contains two pillars hewn in the tufa-rock, decorated with various bas-reliefs of scenes from every-day life, and bearing traces of painting. — On the road to Palo lies: *7. Grotta Regolini Galassi, opened in 183G, a tomb of great antiquity. The roof is vaulted by means of the gradual approach of the lateral walls to each other, instead of on the arch-principle. The yield of this tomb, now in the Gregorian Museum, was very considerable, consisting of a bed, a four-wheeled chariot, shields, tripo. — Assunta di Callori 17. — di Cesareo 378. — delle Grazie 42. 78. S. Marinella 7. S. Marino 86. Marino 357. 359. Marmoraja 35. Marmore, Cascate delle 79. Marotto 92. Marta, river 4. Martana 66. Martignano, lake of 69. S. Martino 9. — al Piano 93. Massa Marittima 3. Massi, Monte 12. Matelica 102. Meloria 13. Men tana 350. Metaurus 92. 93. Mevania 75. Mignone, river 7. S. Miniato dei Tedescbi 15. Mirandola 82. Moline 88. Mons Albanus 358. — Ciminius 68. — Lucretilis 374. — Sacer 350. Montalcino 18. Montalto 4. Montarozzi 5. Monte Amiata 18. — Antico 19. — Aperto 22. — Artemisio 363. — d^Asdrubale 94. — S. Bartolo 88. — Calvo 95. — Catillo 366. — Catini 12. — Cavo 358. Montecchio 42. Monte Cerboli 9. — Ciminio 68. — Compatri 370. — Corrignaleto 374. — Cristo 14. Montefalco 75. Montefiascone 66. Montefortino 376. > Monte Gennaro 373. — del Grano 348. — Luco 78. Montelupo 15. Monte Mario 352. — Massi 12. — Nero 1. — Oliveto Maggiore 37. 388 INDEX. Monte Pescali 3. 19. — Petrara 94. — Porzio 370. — Pulciano 19. — Riggioni 17. — Ripoli 368. — Romano 68. Monterosi 69. Monte Rosso 101. — Rotondo (near Rome) 64. 350. — — (near Volterra) 9. Montesanto 101. Monte Somma 78. — Spaccato 368. Montevarchi 38. Monticelli 364. 374. Montone, river 83. jMontorso 64. jMuccia, La 104. S. Mustiola a Torri (Val di Merse) 36. Nar 81. Narni 81. Nasones, Tomb of the 351. Nemi 362. —, Lago di 362. Nepete 64. Nepi 64. Reqiiinum 81. Nera, river 56. 78. 80. Nero's Tomb 377. Nettuno 384. Ninfa 376. Nocera 102. Nomentum 350. Norba 376. Norchia 68. Norma 376. Nuceria 102. Olevano 372. Omb rone,river 3.15.17.36. Orbetello 4. Orcia, river 19. Orciano 1. Orcle 68. S. Oreste 64. —, Monte di 64. Orlando, Grotta d' 69. Orte 63. 81. Orvieto 59. Osa, river 4. 370. Osimo 99. Osservanza, La 35. Osteria Bianca 15. — delle Capannacce 364. — S. Cesareo 370. — della Ferrata 368. — del Finocchio 371. Osteria del Fornaccio364. — delle Fratocchie 345. 359. — Nuova 378. — deir Osa 370. — di Pietralata 363. del Pino 348. — del Ponticello 341. 381. — della Volte 36. Ostia 381. —, Stagno di 381. Otricoli 63. Paganico 19. Paglia, river 59. Palazzo 102. Palazzolo 102. Palazzuola 358. Pale 104. —, Sasso di 104. Palestrina 371. Paliano 372. Palidoro 8. Palmajola 14. Palo 8. Palombara 350. Palombaro 345. Panicale 57. Papigno 79. Parco di Colonna 357. Passerano 367. 372. Passignano 46. Passo di Correse 64. Pausilypon 379. Pellegrino 102. Pentapolis Maritima 85. Perugia 46. S. Agnese 52. S. Agostino 50. S. Angelo 52. Antiquarian Museum 52. Arco di Augusto 50. S. Bernardino, Oratorio 53. Biblioteca Pubblica 53. Cambio, Coll, del 49. Cathedral 50. Cemetery 55. Chiesa Nuova 52. Collegio del Cambio 49. Corso 49. S. Domenico 54. Episcopal Palace 50. S. Ercolano 53. Fonte Maggiore 49. S. Francesco dei Con- ventuali 53. Guardabassi,collection 53. House of Perugino 52. Perugia: Libreria Pubblica 53. Madonna della Luce 52. Maesta della Volte 50. Meniconi, Gallery 55. Monaldi, Gallery 55. Necropolis 55. Pal. Antinori 50. — Baldeschi 49. — Conestabile 50. — della Penna .53. — del Podesta 53. — Pubblico 49. Passeggiata Pubblica 55. Perugino, House of 52. Piazza del Duomo 49. — del Papa 50. — del Sopramuro 53. — Vitt. Emanuele 49. Picture Gallery (Uni¬ versity) 51. S. Pietro de’ Casinensi 54. Pinacoteca 51. Porta Marzia 53. — S. Pietro 54. Prefettura 49. Romualdi, Collection 55. Sciri (Scalzi), Torre delle 52. S. Severo 52. University 50. Volunni, Sepolcro de' 55. Perusia 47. Pesa, river 15. Pesaro 87. Petrara, Monte 94. Pianosa 14. Picenum 98. Piedilugo 80. Pienza 20. Pietralata 94. Piombino 2. Pisa 1. Pisaurum 87. Pisciatello, the 84. Planasia 14. Plautii, Tomb of the 364. Poggibonsi 15. Poggio alia Croce 12. Polenta 84. Poli 367. Polimartium 62. S. Polo 368. 373. Pomarance 9. Ponente, Lago di 8. Pons Milvius 351. Pontassieve 38. Ponte deir Acquoria'367. Ponte della Badia 4. — a Botte 94. — Centesimo 103. Pontedera 9. Ponte Felice 63. — Galera 8. 383. — Ginori 9. — S. Giovanni 70. — Lucano 364. — Mammolo 363. — Molle 351. — Nomentano 349. — di Xono 370. — d’Orsino 372. — della Refolta 381. — Salaro 350. — del Terreno 63. — delle Torri 78. — della Trave 104. Ponticino 38. Pontignano, Certosa di 36. Populonia 2. Porta Furba 348. Porto 383. Porto d’Anzio 383. — Civitanova 101. 103. — Clementino 7. — Ercole 4. — Ferrajo 13. — Longone 14. — S. Stefano 4. Portus Trajani 7. 383. Potassa 3. Potenza, river 101. 103. Potenza-Picena 101. Prseneste 371. Pratica 383. Pratomagno, tbe 38. Prima Porta 352. Pupluna 2. Pussino, Val di 352. Pyrgos 7. 380. Q,uaderna 82. S. Quirico 18. Ranza 13. Rapolano 19. Ravenna 82. Recanati 101. Regillus, Lake 371. Riccione 86. Rignano 38. 63. Rimini 85. Rio 14. Rio di Decima 381. Ripoli, Monte 368. Rocca Canterano 368. — S. Casciano 83. — di Cavi 372. — S. Francesco 373. INDEX. Rocca Giovine 374. — Massima 375. — di Papa 357. — Romana 379. — S. Stefano 368. — Strada 19. Rojate 373. Roma Vecchia 345. ROME 104. Abbate Luigi 201. Accademia di Francia 143. . — di S. Luca 237. Acqua Acetosa 351. — Felice 173. 348. — Paola 326. — Santa 348. — Vergine 145. 349. S. Adriano 230. .^rarium publ. 225. S. Agata in Suburra 172. S. Agnese 199. S. Agnese Fuori le Mura 174. S. Agostino 193. Albergo delP Orso 192. Aldobrandine Ifuptials 319. S. Alessio 253. S. Alfonso de’ Liguori 185. Alta Semita 163. Amazon after Polycle- tus 305. American Cburchesll3. Amphitheatrum Cas- trense 185. — Flavium 233. S. Anastasia 250. S. Andrea 351. — delle Fratte 145. — al Quirinale 170. — della Valle 201. Anfiteatro Corea 187. SS. Angeli Custodi 145. S. Angelo, Gastello 276. — inter Xubes 277. — in Pescheria 209. Anio !Novus l84. S. Anna, Cbapel of 251. S. Annunziata 238. Antinous Brascbi 313. Antiquities, vendors of 110 . S. Antonio Abbate 180. S. Apollinare 194. Apollo Belvedere 310. — Musagetes 312. — Sauroctonus (Villa Albani) 167. Apollo-Theatre 193. 389 ROME: SS. Apostoli 156. Apoxyomenos 305. Aqua Claudia 181. 184. 246. 348. — Julia 181. — Marcia 177. 348. — Trajana 326. — Virgo 145. 349. Arcliseol. Instit., Ger¬ man 221. — —, French 204. Arch of Constantine235. — of Dolabella 261. — of Drusus 260. — of Gallienus 181. Arco di Giano 248. — de’ Pantani 238. — Scuro 351. Arch of Sept. Severus 226. — of Tiberius 225. — of Titus 232. Archives, the New Gov¬ ernment 149. Archivio Vaticano 317. Arcus Argentarius 248. — Fabianus 229. Ariadne (Vatican) 312. Armoury 320. Arrival 105. Artists’ Association 110. 145. Arvales, Grove of the 340. Arx Capitolina 210. Auguratorium 242. Aventine, the 251. Bakers 107. S. Balbina 257. Ball Playing 112. Banca Nazionale 147. Bankers 108. Baptistery (Lateran) 270. Barcaccia, La 144. Barracks 140. 160. S. Bartolommeo 328. Basilica .Emilia 223. — of Constantine 231. — Eudoxiana 186. — Julia 227. — Liberiana 178. — of St. Petronilla344. — Porcia 223. — Sempronia 223. — Sessoriana 184. — di S. Stefano 348. — Ulpia 239. Basis of Nero 233. Baths 108. Battistero, the 270. 390 INDEX. ROME : Beer 107. Belrespiro 327. S. Bernardo 173. S. Bibiana 183. Biblioteca Alessan- drina 109. 195. — Angelica 109. 194. — Barberina 109. 169. — Casanatense 109.198. — Chigiana 109. 148. — Corsiniana 109. 323. — Ottoboniana 318. — Palatina 318. — Reginensis 318. — Urbinas 318. — Vallicellianal09.203. — Vaticana 109. 317. — Vittorio Emanuele 109. 150. Bibulus, Mon. of 160. Birrerie 107. Blind Asylum 253. Bocca della Verita 249. S. Bonaventura 241. 248, Bookbinders 109. Booksellers 109. Borgo 275. — S. Angelo 278. — Xiiovo 278. — S. Spirito 278. — Veccbio 278. Botanical Garden 321. Braccio Xiiovo 305. Bramante: Belvedere of the Va¬ tican 288. 304. Cancelleria, Palazzo della 204. Cortile di S. Damaso (or delle Loggie) 289. Monastery Court of S. Maria della Pace 201 . S.Lorenzo inDamaso 204. Pal. Giraud 278. St. Peter’s 281. Tempietto 325. Br dges 138. Bronzes, Copies of An¬ cient 110. Cabs 112. Caecilia Metella, Tomb of 344. Caelius, tbe 260. Cafes 107. S. Cajo 173. Calcografia regia 110. 145. ROME ; Calcndarium Praene- stinum 201. Caligula’s Buildings 242. Cameos 110. Camera de’ Deputati 148. Campagna di Roma 339. Campo di Fiori 204. — Militare (di Mac- cao) 177. — Vaccino 224. — Verano 183. Campagnoli, tbe 116. Campus Martius 187. Cancelleria, Pal. 204. Capitol 210. —, Coll, of tbe 214. Capitoline Museum214. — Wolf 216. Cappella di Kiccolo V. 304. — Paolina 294. — Sistina 289. Cappuccini 164. Caracalla, Thermae of 257. Career Mamertinus 230. Carceri Isuovi 203. S. Carlo alle Quattro Fontane 170. — a Catinari 207. — al Corso 147. Carnival 116. 146. Carriages 112. Carthusian Monasterv 176. Casa Bartboldy 144. — di Crescenzio 2o0. I — di Pilato 250. — di Rienzi 250. — Tarpeia 221. — Zuccari 144. Casale Rotondo 345. Caserma de’ Vigili 329. Castello S. Angelo 276. Casts 110. Catacombs 127. 331. — of S. Agnese 337. — of S. Alessandro 338. — of St. Calixtus 336. — of Domitilla 336. — of S. Generosa 341. — Jewish 337. — of SS. Xereus and Achilleus 336. — of Xicomedus 174. — of SS. Peter and Marcellinus 338. — of St. Pontianus 338. ROME ; Catacombs of St. Prae- textatus 337. — of St. Priscilla 337. — ofS. Sebastiano 337. S. Caterina de’ Funari 208. S. Caterina di Siena 172. S. Cecilia in Trastevere 330. Cemetery, German 287. —, Protestant 251. S. Cesareo 258. Cestius, Pyramid of 252. Chemists 108. Chiesa Xuova 203. Chronological Table of the Emperors and Popes 132. Church-Festivals 114. Cigars 103. Circo Agonale 199. Circus of Domitian 199. — Flaminius 208. — of Ma.xentius 344. — Maximus 250. Civitas Leonina 130. 276. S. Clemente 263. Climate 108. Clivus Capitolinus 225. — Cinnae 352. — Martis 343. — Victoriae 241. Cloaca Maxima 249. Clothing 110. Coemeterium Ostria- nuni 175. 337. Coins, Coll, of 319. Collections etc. 117. Collegio Xazzareno 145. — di Propaganda Fide 144. — Romano 150. Collis Hortorum 142. Colonacce, Le 237. Colonnade of Octavia 209. — of the Twelve Gods 226. Colosseum 233. Columbaria 183. 259. 327. Comitium 227. Concordia, Temple of 225. Confectioners 107. Conservatori, Palace of the 214. Consulates 105. Corea, Anfiteatro 187. INDEX. 391 ROME: Corso, ttie 146. Corte di Appello 203. Cortile del Belvedere 309. — di S. Damaso 289. — delle Loggie 289. SS. Cosma e Damiano 230. S. Costanza 175. Crescentius, House of 250. S. Crisogono 329. S. Croce in Gerusa- lemme 184. — di Monte Mario 352. Cupid (Eros) of Praxi¬ teles 311. Curia Hostilia 230. — Julia 230. Dentists 108. Deputies, House of 148. Diadumenos Relief309. Diary 119. Diocletian, Thermce of 175. Dioscuri, group of tlie 213. Directory 106. Discus-thrower of My¬ ron 192. 313. Division, ancient, of the city 127. Dogana 331. — di Terra 149. Dolabella, Arch of 261. S. Domenico e Sisto 172. Doinine Quo Vadis 343. Domus Augustana 240. — Flavia 240. 243. — Tiberiana 240. 242. Doryphorus (after Po- lycletus) 307. Drapers 110. Dressmakers 110. Drusus, Arch of 260. Egyptian Museum 317. Embassies 105. Emporium 251. English Churches 113. 148. Engravings 110. 145. Eros of Praxiteles 311. Esquiline 178. Ethnograph. Collection 152. Etruscan Museum 315. Etruscan Tomb Pain¬ tings 152. 316. Eurysaces, Mon. of 184. S. Eusebio 181. ROME: Excubitorium of the Vigiles 329. Exquilise 163. Farnese Gardens 241. Farnesina, the 321. Fasti Consulares 217. Faustina,Temple of229. Ficoronian Cista 151. Firewood 106. Fontana delle Tarta- rughe 207. — di Trtj^i 145. Fontana del Tritonel64. Fontanone deir Acqua Felice 173. — di Ponte Sisto 206. — di Termini 173. Fora of the Emperors 236. Fortune,Temple of 249. Forum of Augustus 238. — Boarium 248. — of Csesar 233. — of Xerva 237. — Romanum 222. — of Trajan 238. — Transitorium 237. S. Francesca 164. — Romana 232. S. Francesco di Paola 187. — a Ripa 330. — delle Stimate 201. Fruit shops 108. Galleria Tenerani 177. S. Gallicano, Ospedale 329. Gallienus, Arch of 181. Ganymede (after Leo- chares) 314. Gardens of Lucullus 142. — of Sallust 165. Garrison 116. Gates 137. Gaul, Dying 219. Genio del Vaticano (Eros of Praxiteles) 311. Gesu 160. Gesu e Maria 147. Ghetto 209. S. Giacomo 278. — in Augusta (degli Incurabili) 146. — alia Lungara 321. — dei Spagnuoli 199. Giardino della Pigna 308. S. Giorgio in Velabro 248. ROME: S. Gio vanniC olabi ta328. — de’ Fiorentini 206. — in Fonte 270. — in Laterano 268. — in Oleo 259. — e Paolo 261. — a Porta Latina 259. Girandola, the 116. S.Girolamo degli Schia- voni 188. S. Giuseppe de’ Faleg- nami 230. Gladiator, Dying 219. Gloves 110. Goethe, House of 146. Golden Palace of Xero 125. 235. Gold Articles 110. Goods Agents 111. Gratuities 108. S. Gregorio 260. Grocei'S 108. Grotte Vaticane 286. Grotto of Egeria 346. Hairdressers 108. Hercules, Torso of 309. History of the City of Rome 121. Horse Tamers (Quiri- nal) 170. Horses for riding 113. Hospice, German 200. Hospital for Women 267. Hotels 105. 106. Hydropathic Establish¬ ments 108. Ices 107. S. Ignazio 149. S. Ildefonso 164. Ilian Tablet 221. Immacolata, Column of the 144. S. Isidore 164. Isola Tiberina 328. Istituto Tecnico 187. — de’ Ciechi 253. S. Ivo 195. Janiculus, the 324. 352. Janus Quadrifroiis 248. Jesuits’ Churches 149. 160. Jesuits’ Xoviciate 170. Jews’ Quarter 209. Juno Barberini 313. — Ludovisi 165. Lamps etc. 110. Laocoon 310. Lateran, the 271. Lex Regia of Vespa¬ sian 219. 392 INDEX. ROME: Libraries 109. Liceo Ennio Quirino Visconti 150. Lieux d’Aisance 108. Liquoristi 107. Longara 320. S. Lorenzo in Damaso 204. — Fuori le Mura 181. — in Lucina 147. — in Miranda 229. — in Paneperna 173. — in Piscibus 278. Lotto, Direzione del 187. SS. Luca e Martina 230. S. Lucia 192. S.Luigi deTrancesi 194. Lupercal, the (grotto) 247. Madonna Lucrezia 159. Marble cutters 111. S. Marcello 153. S. Marco 159. Marcus Aurelius, Col¬ umn of 148. —, Statue of 213. Marforio, Statue of218. S. Maria degli Angeli 176. — deir Anima 199. — in Aracosli 211. — Aventina 254. — Bocca della Verita 249. — in Campitelli 208. — in Campo Marzol49. — della Concezione 164. — in Cosmedin 249. — in Domnica 262. — Egiziaca 249. — e S. Gregorio in Vallicella 203. — di Grottapinta 207. — Liberatrice 248. — di Loreto 240. — Maggiore 178. — ad Martyres 196. — sopra Minerva 197. — de’ Miracoli 141. — di Monserrato 205. — in Monte Santo 146. — in Monticelli 206. — della Morte 206. — della Xavicella’ 262. — ad Xives 178. — Nuova 345. — deir Orazione 206. — deir Orto 331. — della Pace 200. — del Pianto 208. ROME : 1 S. Mari della Pieta in Campo Santo 287. — del Popolo 141. — ad Pruisepe 178. — del Priorato 254. — del Rosario 352. — Rotonda 195. — Scala Coeli 342. — del Sole 249. — Traspontina 278. — in Trastevere 329. — in Vallicella 203. — in Via Lata 153. — della Vittoria 173. Marmorata, the 251. Marrana, the 257. S. Martino ai Monti 185. Mausoleum of Augustus 187. — of Hadrian 277. Meleager, Statue of309. Meta Sudans 235. Michael Angelo : Christ bearing the Cross 198. Frescoes in the Cap- pella Paolina 294. Frescoes in the Sis- tine Chapel 291. Last Judgment 293. Monument of Ju¬ lius II. 186. Pieta 284. Statue of Moses 186. S. Michele, Osp. 331. S. Michele in Sassia278. Miliarium Aureum 226. Milliners 110. Minerva Medica 307. —, Temple of 183. Minister offices: Commerce 145. Exterior 170. Finance 174. 198. Interior 202. Justice 188. Marine 194. War 156. 177. Mint 320. Moles Hadriani 277. Molossian Hounds 310. Mons Sacer 350. Monte Caprino 221. — Cavallo 170. — Citorio 148. — Mario 352. — di Pieta 206. — Testaccio 252. Monument of the Em¬ press Helena 349. Mosaico, Studio del 320. ROME ; Mosaics, vendors of 111. Museo Artistico-Indu- striale 153. — Chiaramonti 308. — Gregoriano(Etrusc.) 315. — Italico 152. — Kircheriano 150. — Lapidario 153. — Medio evale 153. — Pio-Clementino 309. ^ — Preistorico 152. Museum, Egyptian 317. —, Capitoline 214. —, Christian 273. — of Christ.Antiq. 319. —, Etruscan 315. — Gregorianum Later. 271. Music 109. Xavicella, the 283. S.Xereo edAchilleo258. Xero, Buildings and Statue of, 233. Newspapers 109. S. Nicola in Carcere 210 . Nile, Group of the 306. Niobe, Daughter of 308. Nome di Maria 240. Obelisks 140. 143. 149. 170. 178. 197. 267. 279. Observatory 153. Oculists 108. October Festival 116. Omnibuses 112. S. Onofrio (Longara) 320. — (Monte Mario) 353. Opticians 111. Orientation 121. Orti Farnesiani 241. Ospizio de’ Pazzi 321. Osterie 107. Painters 109. Palatine 240. Academia (lecture room) 245. Altar to the Un¬ known God 247. Atrium 243. Auguratorium 242. Aula Regia 244. Basilica 244. Buildings of Cali¬ gula 242. — of Tiberius 242. — of Sept. Severus 245. INDEX. 393 ROME: I Palatine. Farnese Gardens 241. Flavian Palace 243, Germains 245. Lararium 244. Library 245. Lupercal 247. Museum 241. Nympbseum 244. Psedagogium 247. Peristylium 244. Private House 242. Stadium 246. Tablinum 243. Temple of Jupiter Stator 243. Temple of Jupiter Victor 245. Triclinium 244. Palazzetto Farnese 203, Palazzo Accoramboni 278. — Albani 173. — Altieri 160. — Altemps 192. 194. — Barberini 168. — Bolognetti 160. — Bonaparte 158. — Borghese 188. — Braschi 202. — del Bufalo 145. — Caffarelli 201. 211. — della Cancelleria204. — Cenci-Bolognetti206. — Cbigi 148. — Colonna 157. — of the Conservator! 214. — della Consulta 170. — Corsini 322. — Costaguti 207. — della Dataria 170. — Doria 153. — Falconieri 206. — Farnese 204. — Ferrajuoli 148. — Fiano 147. — di Firenze 188. — Galizin 192. — Giraud-Torlonia278. — Giustiniani 195. — delGoverno Vecchio 202 . — Grazioli 160. — Lancelotti 192. — del Laterano 271. — Maccarini 195. — Madama 198. — Massimi alle Co- lonne 202. — Mattel 207. ROME: Palazzo Nipoti 159. — Odescalchi 156. — Pacca 208. — Pamfili 199. — Papale Lateran.271. — Patrizi 195. — Piombino 148. — Poll 145. — Regio 170. — Ricciardi 278. — Righetti 207^. — Rinuccini 158. — Rondinini 146. — Rospigliosi 171. — Ruffo 156. — Ruspoli 147. — Sacchetti 206. — Sacripante 192. — Salviati 321. — Santacroce 206. 207. — Savelli 210. — Sciarra-Colonna 149. — del Senatore 213. — Simonetti 153. — Spada alia Regola 205. — di Spagna 144. — Stoppani 201. — Strozzi 201. — Teodoli 147. — Torlonia 148. 158. 278. — del SS. Uffizio 288. — Valentini 156. — Vaticano 288, — di Venezia 158. — Verospi 148. — Vidoni 201. S. Pancrazio 326. S. Pantaleo 202. Pantheon 195. S. Paolo Fuori le Mura 255. — alle Tre Fontane 342. Pasquino, Piazza del 202. Patriarchal Churches, the 128. Pearls, Roman 111. Pensions 106. Permessi 119. 289. Pescheria 209, St, Peter’s 279. Phocas, Column of 227. Photographs 111. Physicians 108. Piazza di SS. Apostoli 156. — S. Apollinare 194. — Aracoeli 211. — Barberini 164. ROME : PiazzaS. Bernardo 173. — Bocca della Verita 249. — Borghese 188. — delCampidoglio 213. — Campitelli 208. — Campo di Fiori 204. — della Cancelleria 204. — Capo di Ferro 205. — Capranica 197. — S. Carlo 147. — S. Carlo a’ Catinari 207. — Cenci 208. — Colonna 148. — S. Eustachio 195. — Farnese 204. — del Gesii 160. — di S. Giovanni in Laterano 267. — Giudea 208. — di S. Ignazio 149. — diS. Luigi de’Fran¬ ces! 194. — Madama 198. — di S. Marco 159. — S. Maria Maggiore 178. — Mattel 207. — Mignanelli 145. — della Minerva 197. — Montanara 210. — di Monte Cavallo 170. — di Monte Citorio 148. — della Xavicella 261. — Navona 199. — Nicosia 192. — del Pasquino 202. — de’ Pellegrini 206. — Pia 278. — di Pietra 149. — di S. Pietro 279. — del Plebiscito 277. — di Ponte S. Angelo 193. — del Popolo 140. — di Porta S. Gio¬ vanni 268. — del Quirinale 170. — della Rotonda 195. — Rusticucci 278. — Sciarra 149. — S. Silvestro 147. — di Spagna 144. — delle Stimate 201. — Tartaruga 207. — delle Terme (di Ter¬ mini) 175. 394 INDEX. ROME: Piaza della Trinita 143. — di Venezia 158. S. Pietro in Carcere 230. — in Montorio 324. — in Vaticano 279. — in Vincoli 186. Pincio, the 142. Police Office 85. Pons .®lius 276. — iEmilius 250. — Aurelius 324. — Cestius 328. — Gratianus 328. — Milvius 351. — Sublicius 328. Ponte S. Angelo 276. — S. Bartolommeo 328. — Molle 351. — Xomentano 349. — de’ Quattro Capi 328. — Rotto 250. — Salaro 350. — Sisto 324. Popular Festivals 116. Population 139. Porta Angelica 352. — Appia 260. — Asinaria 268. — Aurelia 326. — Capena 257. 343. — S. Giovanni 268. 347. — Latina 259. 347. — S. Lorenzo 181. 349. — Maggiore 184. 348. — Mugionis 243. — Xomentana 174. — Ostiensis 254. — S. Pancrazio 326. — S. Paolo 254. 341. — Pia 174. 349. — Pinciana 163. — del Popolo 140. — Portese 331. 340. — Romana 242. 247. — Salara 165. 350, - — S. Sebastiano 260. 342. — Settimiana 324. — S. Spirito 278. 320. — Tiburtina 181. Porticus (Colonnade) of Octavia 209. — of the Twelve Gods 225. Post Office 113. 148. S. Prassede 180. Prati del Popolo Rom. 251. Preliminary Drive 121. Printing Office, Royal 145. ROME: S. Prisca 254. Private Apartments 106. Promenades 120. Propaganda 144. Protestant Cemetery 251. — Church 147. S. Pudenziana 177. Puteal Libonis 229. Pyramid of Cestius 252. Quadrivio di S. Maria Maggiore 173. SS. Quattro Coronati 266. Questura 105. Quirinal, the 170. Railways 113. Railway Office 113.149. Railway Station 177. Raphael: Bible of R. 314. Entombment 189. Fornarina 167. Frescoes in the Far- nesina 321. Galatea 322. Loggie (Vatican) 302. Madonna di Foligno 303. Xavagero and Beaz- zano 154. Prophet Isaiah 193. Sibyls 200. Stanze (Vatican) 295. Tapestry 314. Transfiguration 303. Raphael’s House (re¬ moved) 278. — Villa 161. — Frescoes from the Villa 189. — Tomb 197. Reading Rooms 109. Regia 222. Restaurants 106. Rione Monti 163. Ripa Grande 331. Ripetta, harbour of the 188. Ripresa de’Barberil59. S. Rocco e Martino 188. Roma Quadrata 122. 244. 247. Roma Vecchia 345. Rostra 226. - Julia 229. Rotonda, La 196. S. Saba 254. S. Sabina 253. Sacra Via 225. 229. ROME : S. Salvatore inOnda206. — in Lauro 193. Sancta Sanctorum chapel 268. Sapienza, Universita della 195. Saturn, Temple of 225. Satyr of Myron 272. — ofPraxiteles219.307. Scala di Spagna 144. — Santa 267. Schola Xantha 226, Scipios, Tomb of the 259. Sculptors 109. S, Sebastiano 344. S. Sebastiano alia Polveriera 248. Seminario Romano 194. Senate Hall 226. Septa Julia 153. Septizonium 240. Servius, W&ll of 123. 177. 254. Sessorium 184. Sette Sale 186. Seven Churches of Rome, the 128. Shawls, Roman 111. Shoemakers 111, Shops 110. S. Silvestro in Capite 147. — al Quirinale 172. Sistine Chapel 289. S. Sisto 258. Skating Rink 112. Small wares 111. Sophocles, Statue of 272. Spagna, Scala di 144. S. Spirito, Ospedale di 278. — in Sassia 278. Stadium (Circus) of Domitian 199. — of Septimius Se- verus 246. Stamperia Reale 145. Stationers 111. S. Stefano Rotondo262. St. Stephen, Basilica (ruins) 348, Strangers’ Quarter 105. 140. Street Scenes 116. Studios 109. S. Susanna 173. Synagogue 208, Tabularium 221. Tailors 111. INDEX. 395 ROME: Tarpeian Rock 221. Teackers 109. Teatro Apollo 193. — Argentina 201. — Capranica 197. Telegraph Office 113. 149. Tempietto, il 325. Temple of Antoninus Pius 149. — of Caesar 229. — of Castor and Pollux 228. — of Concordia 225. — of the Deus Redi- culus 346. — of Faustina 229. — of Fortune 249. — of Hercules Victor 249. — of Juno Sospita 210. — of Jupiter 210. — of Jupiter Stator 243. — of JupiterVictor 245. — of Mars Ultor 238. — of Minerva Medica 183. — of Peace (of Ves¬ pasian) 231. — of Romulus 231.344. — of Saturn 225. — of Spes 210. — of the Unknown God 247. — of Venus and Cu¬ pid 185. — of Venus and Roma 232. — of Vespasian 225. — of Vesta 249. Tenerani, Galleria 177. S. Teodoro 248. S. Teresa 173. Terme di Galluccio 183. Testaccio, Monte 252. Theatres 111. Theatre of Marcellus 209. — of Pompey 207. Thermae of Agrippa 197. — Antoninianae 257. — of Caracalla 257. — of Constantine 158. — of Diocletian 175. — of Titus 236. Tiber, riverl37.187.etc. —, Island of the 328. Tiberius, Buildings of 242. ROME: Tile-stamps 319. Tivoli 352. Tobacco Manufactury 108. 331. Tomb of Caecilia Me- tella 344. — of the Freedmen of Octavia 259. — of the Plautii 364. — of the Scipios 259. S. Tommaso in Formis 261. Tor di Selce 345. Torraccio, the 345. Torre de’ Conti 172. — delle Milizie 172. Torre di Nerone 172. Town-wall 137. Trajan’s Column 239. — Forum 238. Trastevere 324. Trattorie 106. Tre Fontane 342. Ti'ibunale Civile e Cor- rezionale 203. — di Commercio 203. — Supremo di Guerra 321. SS. Trinita de’ Monti 143. — de’ Pellegrini 206. Triumphal Arch of Constantine 235. — of Sept. Severus226. — of Titus 232. Trofei di Mario 181. 213. Ufficio di Anagrafe 106. Umbrellas 111. Universita della Sa- pienza 195. S. Urbano 346. Vases 315. Vatican, the 288. Antiquities 304. Appartamenti Bor¬ gia 319. Archives 317. Belvedere, Cortile del 309. —, Vestibule of the 309. Boscareccio, il 309. Braccio FTuovo 305. Bronzes 316. Candelabri, Galleria dei 313. Cappella di Nicco- 16 V. 304. — di Paolo III. 294. — of Pius V. 319. ROME: d;l>lO£tri * Cappella Sistina289. Casino ofPiusIV.309. Coins, coll, of 319. Cortile del Belvedere 309. — di S. Damaso 289. — delle Loggie 289. Egyptian Museum 317. Etruscan Tomb- Paintings 316. — Museum 315. Gabinetto delle Ma- schere 312. Galleria dei Cande¬ labri 313. Galleria Geografica 315. — Lapidaria 305. — delle Statue 310. Garden 309. Giardino della Pigna 308. Hall of the Busts 311. Library 317. Manuscripts 318. Mich. Angelo’s Fres¬ coes 291. 293. Museo Chiaramonti 308. Museum of Christian Antiquities 319. Museo Gregoriano 315. — Pio-Clementino 309. Pictures,ancient 319. Picture Gallery 303. Portone di Bronzo 289. Raphael’s Loggie 302. — Stanze 295. — Tapestry 314. Sala degli Animali 310. — della Biga 313. — dei Busti 311. — di Costantino 303. — a Croce Greca 313. — Ducale 294. — deir Immacolata 294. — delle Muse 312. — Regia 294. — Rotonda 312. Scala Regia 289. Sistine Chapel 289. Stanza d’Eliodoro 299. 390 INDEX. ROME : Vatican : Stanza dell’Incendio 300. — della Segnatura 295. Vases, Collection of 315 Velabrum 248. Velia 230. Venus after Praxiteles 221. 313. Vesta, Temple of 249. Vetturini 113. Via Appia 257. 343. -Nuova 347. 359. — Aracoeli 159. 161. — Aurelia 327. — del Babuino 144. — di S. Basilio 164. — de’Baullari 202.203. - Bocca della Verita 210 . — Campana 340. — di Capo le Case 145. 163. — de’ Cerchi 250. — de’Cesarinil61. 201. — de’Condotti 145.147. — della Dataria 170. — S. Eusebio 181. — de’ Falegnami 207. — Flaminia 146. — della Fontanella di Borghese 147. 188. — del Fontanone 206. — Frattina 147. — Garibaldi 324. — del Gesii 160. — de’ Giubbonari 207. — Giulia 206. — del GovernoVeccbio 202 . — di S. Gregorio 256. 260. — Labicana 184. 348. — Latina 259. 347. — della Longara 320. — dellaLungai’etta329. — Magnanapoli 172. — di S. Marco 159. — di Marforio 159. — dellaMarmorata251. — Maschera d’Oro 192. — Merulana 185. 267. — di Monserrato 205. — delle Muratte 146. 149. — Nazionale 177. — del Nazzareno 145. — S. Nicola di Tolen- tino 164. ROME : Via Nomentana 174. 349. — de’ Pastini 149. 197. — de’ Pettinari 206. — del Pianto 208. — Pie di Marmo 198. — di S. Pietro in Vin- coli 185. — del Plebiscite 160^ — di Porta Salara 165. — di Porta S. Sebas- tiano 257. — Portuensis 340. — Prsenestina 184. 349. — di S. Prassede 185. — di Propaganda 145. — delle Quattro Fon- tane 163. 168. — de’QuattroSanti266. — del Qnirinale 170. — di Ripetta 187. — Sacra 225. 229. — della Salara 251. — della Scrofa 188. — delle Sette Chiese 341. 344. — delle Sette Sale 186. — Sistina 144. 163. — della Stamperia 145. — del Sudario 201. — di S. Susanna 173. — Tiburtina 181. — della Tinta 192. — Tordinone 193. — della Tre Pile 211. — Triumpbalis 235. — de’ Vascellari 330. — VentiSettembrel73. — del Viminale 177. Victor Emanuel, statue of 142. Vicus Jugarius 226. — Tuscus 226. Vigna Ceccarelli 340. — del Coll. Inglese241. — Maccarani 254. — Nussiner 241. — Randanini 337. — Sassi 259. — S. Sebastiano 241. Villa Albani 165. — Aldobrandini 172. — Bonaparte 174. — Borgbese 161. — Cselimontana 261. — Campana 267. — Caserta 185. — Doria Pamlili 327. — Farnesina 321. — Ludovisi 164. — Madama 353. ROME : Villa Malta 163. — Massimi (near Porta Salara) 165. — Massimo (Lateran) 274. — Mattei 261. — Medici 143. — Mellini 352. — Mills 241. 246. — di Papa Giulio 351. — Patrizi 174. — of Raphael 161. — Reinach 174. — Spada 350. — Torlonia 174. — Wolkonsky 275. SS. Vincenzo ed Anastasio 142. 342. Viminal 177. Watchmakers 111. Weapons 111. Wine-houses 107. Works on the History of Rome 121. Zecca 320. Zeus of Otricoli 313. Ronciglione 69. Ronco, the 83. Rosaro 56. Roselle 3. Rosia 36. Rosignano 1. Rosso, Monte 101. Roviano 368. Rubicon, the 84. Rusellse 3. Sabate 379. Sabina, the 64. Sabine Mountains, the363. Sabinum (of Horace) 374. Saccomuro 368. Salcini 21. Saline 9. S. Salvatore, Abbey 12. Sambuci 368. Santerno, river 82. Sapis 84. Saracinesco 368. Sasso 9. Sassoferrato 102. Sassovivo, Abbadia di75. Sassula 368. Saturnia 4. Savignano 84. Savio, river 84. Saxa Rubra 352. Scannabechi, river 350. Scarpellata, La 374. Schieggia 94. Segni 376. Selagite, Mt. 12. Sena Gallica 92. — Julia 22. Senio, river 82. Sentinum 102‘. Septempeda 103. Serra S. Quirico 101. Serravalle 104. Sette Vene 69. S. Severa 7. S. Severino 103. Sibilla, Mt. 99. 103. Siciliano 368. Siena 21. S. Agostino 29. Archives 30. Baptistery 26. S. Barbera, Fort 34. S. Bernardino, Ora¬ torio di 31. BibliotecaComunale33. Campansi, Monast. 35. Campo Santo 35. Cappella di Piazza 24. Carmine 29. Casa Bambagini-Gal- letti 29. — di S. Caterina 32. Casino de’ Nobili 25. Cathedral 26. Citadel 34. SS. Concezione 31. Deaf andDumb Asylum 30. S. Domenico 34. Fontebranda 33. Fontegiusta 35. Fonte di Follonica 30. — Gaja 25. — di Pantaneto 31. — de’ Pispini 30. S. Francesco 31. S. Giorgio 30. S. Giovanni 26. S. Girolamo 31. House of St. Catharine 33. Innocenti 29. Instituto delle Belle Arti 32. Instituto de’ Sordo- Muti 30. Library of the Cathe¬ dral 28. Lizza, la 34. Loggia del Papa 31. L’Osservanza 35. Madonna d. Angeli 31. Mangia, Torre del 24. S.Maria del Carmine 29. — delle Nevi 34. — di Provenzano 31. INDEX. Siena: S. Maria della Scala29. S. Martino 30. Opera del Duomo 28. Osservanza 35. Palazzo Arcivescovile 26. — Bichi 32. — Buonsignori 29. — Chigi (now Picco- lomini) 29. — Ciaia 34. — dei Diavoli 35. — Gorl 32. — del Governo 30. — del Magnifico 26. — Mocenni 34. — Nerucci 29. — Palmieri 32. — Pecci 28. — Piccolomini 29. — Pollini 30. — Pubblico 24. — Reale 28. — Saracini 29. — Spannocchi 32. — Tolomei 32. — de’ Turchi 35. Peruzzi, House of 35. Piazza del Campo (Vit¬ torio Emanuele) 24. S. Pietro alle Scale 29. Porta Camollia 35. — S. Marco 30. — Ovile 35. — Pispini 31. — Romana 31. Ricovero di Mendicita 35. Servi di Maria 31. S. Spirito 30. Tolomei, Collegio 29. University 31. Sieve, river 38. Sigillo 94. Signa 15. Signia 376. Sillaro, river 82. S. Silvestro 64. Simbruina Stagna 369. Sinalunga 19. Sinigaglia 92. Sinnus 82. Sirolo 99. Somma, Monte 78. Soracte, Mt. 64. Sovana 4. Spaccato, Monte 368. Spello 74. Spoletium 76. Spoleto 76. Staggia 17. 397 S. Stefano 373. Sticciano 19. Stimigliano 64. Storta, la 70. 377. Stracciacappa, Lake of 69. Subasio, Monte 74. Subiaco 367. 369. Sublaqueum 369. Sutri 69. Sutrium 69. Tadinum 102. Talamone 4. Tarquinii 5. Tartar!, Lago de’ 364. Tavollo, river 87. Terni 78. Terontola 45. 56. Teverone, river 363. Tiber, river 55. 56. 62. 81. 137. etc. Tifernum Tiberinum 55. Tibur 365. Tivoli 363. 365. Todi 56. Tolentino 103. Tolentinum Picenum 103. Tolfa, La 7. Tomba di Nerone 377. Topina, Val 103. Topino, the 75. Tor Paterno 383. — di (^uinto 352. — de’ Schiavi 349. — di Selce 345. — Tre Teste 370. Torraccio 345. Torre Bertaldo 7. — di Boacciano 381. Torre Pignattara 349. Torrenieri 18. Torretta, la 359. Torri (Val di Merse) 36. Torrita 19. Toscanella 6. Trasimeno, Lago 45. Travale 9. Trebia 76. Tre Fontane 342. Tressa 36. Trevi 76. Trevignano 379. Tuder .56. Tulicum 102. Turchina 5. Turri, La 359. Tuscania 6. Tusculum 355. Umbertide 55. Urbania 91. 398 INDEX. S. Urbano 340. Urbibentiim 59. Urbino 88. Urbinuin Hortense 88. — Metaurense 91. Urbisaglia 103. Urbs Salvia 103. — Vetus 59. Urgone, the 84. Uso, river 84. Valca, the 378. Valchetta, the 377. Valcimara 104. Valle Aricciana 301. — deir Inferno 353. Val di Pussino 352. Vallombrosa 86. Valmontone 376. Varia 368. Veii 377. Velatbri 10. Velino, river 79. 80. VelitrEe 362. Velletri 362. Vene, Le 76. Venere, Monte 69. Vetralla 68. Vetulonia 2. Via .Emilia 82. — Appia 257. 343. Via Appia Nuova 347.359. — Ardeatina "Nnova 341. — Aurelia 1. 7. 327. — Campana 340. — Cassia 06. 69. 351. — Clodia 378. — Collatina 349. — Flaminia 39. 85. 93. 146. — Labicana 348. 370. — Latina 347. — Xomentana 349. — Ostiensis 341. — Portuensis 340. — Prsenestina 349. 370. — Salara 64. 350. — Sublacensis 36S. — Tiburtina 363. — Valeria 368. Vicarello 379. Vico 69. —, Lago di 69. Vicovaro 368. Vignoni, Bagni di 18. Villa Aldobrandini 354. — Ambrogiana 15. — Brascbi 367. — of Brutus 367. — of Cassius 367. — of Cicero 355. — Conti 354. — d’Este 367. Villa Falconieri 355. — ad Gallinas 352. — Graziani 79. — of Hadrian 364. 372. — of Horace 367. 374. — Inghirami 12. — Lante 68. — of Livia 352. — Loncampa 359. — of Maecenas 367. — Mondragone 355. — Montalto 355. — Piccolomini 354. — Ruffinella 355. — Spada 350. — Taverna 355. — Vittoria 87. S. Vincenzo 2. Vita, Capo della 13. Viterbo 67. —, Monte di 68. S. Vito 63. Vivo 19. Volaterrse 10. Volscian Mountains, the 374. I Volsinii 65. j Volterra 9. I Vulci 4. Zagarolo 367. 372. ■ Zolforeo, Lago 9. I.einsic: Printed by Brcitkopf & Ilartel. List of Streets in the Plan of Rome The plan is divided into three sections, the upper,' with green margin^ numbered I, the central, white^ II, the lower, with red margin^ III. The three columns of figures in the subjoined list correspond to these sections ^ the numbers indicate the square of the section in which the place in question is to be found (thus: Accademia di S. Luca is in the 14th square of the 1st section). Where space has been too limited to admit of the names being inserted in the plan, they have been replaced by numbers, which in the following list are annexed to each name so omitted (thus: Banco di S. Spirito 15 is No. 15 in the 10th square of the 2nd section). The key to these numbers in their order is also inserted in the plan itself, an arrangement which will often be found useful. Abbreviations: V. = Via, Vic. = Vicolo, Vg. = Vigna, Pal. = Palazzo. I II III I II III Accademia di Belle Arti di S. Andrea. i 30 S. Luca. 14 .. i 24 -, Picture Gallery (Via S. Andrea, con Collegio Scoz- Bonella 44). 20 22 — di Francia. — di Napoli. 20 11 —, Oratorio. 2. — delle Fratte. 19 18 Accoramboni, Pal. 2 . . . . 7 — del Quirinale ...... 22 Acqua Felice, Acquedotto . 28 — della Valle. 13 -, Fontana delF .... 23 — in Vinci. 10. 17 . .. 22 — e Bernardino. 23 — Giulia, Gastello delP . . • 28 Anfiteatro Castrense .... 36 — Paola .. 12 — Corea. 14 Acquedotto Antoniniano . . • • 22 — Flavio (o Colosseo) . . . * 24 — Neroniano delP Acqua SS. Angeli Custodi. 8 . . . 19 Claudia. 33 Angelo Custode, V. delP . . 19 S. Adriano. 20 Angelica, Porta. 8 S. Agata. 3. 15 S. Angelo, Gastello .... 10 — in Suburra. 22 —, Ponte. 10 S. Agnese. 13 —, Vic. 7 SS. Agonizzanti. 19 .... 13 — in Pescheria. 17 S. Agostino. 13 S. Aniano. 4. 18 V. 13 Anicia, V. 15 Albani, Pal. 22 Anima, V. delT. 13 Alberini, Villa. 26 S. Anna. 10 Alberoni, Pal. 10. 19 —, 23. 17 —, Vic. 30 —, Monastero. 15 Aldobrandini, Villa .... 19 — de’’ Calzettari. 18 Alessandrina, V. 20 — de’ Palafrenieri. 1 ... 7 S. Alessio. 18 SS. Anna e Gioacchino . . 22 Alfieri, V. 29 Annia, V.. . 27 S. Alfonso. 25 S. Annunziata. 9. 20 Alfredo Cappellini, V. . . . 28 Antonelli, Pal. Antonino, Tempio di. . . . 19 Alibert, V. 18 20 —, Vic. 7 S. Antonio Abbate. 25 Altemps, Pal. 6. 13 — delle Fornaci, V. Altieri, Pal. 16 — di Padova. 10. 13 •-,29. 17 S. Apollinare. 13 —, Villa. Altoviti, Pal. 10 32 —, /Piazza. S./Apollonia. SS. Apostoli. 13 15 —, Villa. 14 19 S. Ambrogio della Minima . • 17 —, Piazza. 19 S. Anastasia. 21 Vic. 1 Baedeker. Italy IP. 6th Edition. I 2 LIST OF STREETS I II III I mil Appia, Via. 1 . 28 S. Benedetto. 13 -, Nuova. 36 T. 16 Applicazione, Scuola di . . 23 S. Benedetto in Piscinula. 1 18 Aquiro, V. in. 16 Berardi, Pal, 10. 16 Aracoeli, S. Maria in . . 20 S. Bernardo alle Terme . . 22 —, V. di. • 17 Bernini, Pal. 15. 19 Arancio, V. dell’. 17 S. Biagio. 18 Arcaccio, Vic. dell’ . . . , 15 -4. 16 Arco di Ciarnbella. 8. . . . 16 — del Fosso. 21. 13 — di Costantino. • 24 — della Pagnotta. 13 ... . 10 — di Dolabella. • 27 S. Bibiana . 31 — di Druso.. 28 —, V. di. 28 — di Gallieno. • 28 Bixio, V. 29 — di Giano. 21 —. 32 — di M. Anrelio (sito). 7 16 Bocca di Leone, V. di . . . 17 — degli Orefici. 1. • 21 Bocca della Verita, V, della 18 — di Settimio Severe . . . 20 Bologna, V. 11 — di Tito. • 23 —, Vic. 11 Ardeatina, Porta. 28 Bolognetti, Pal. 3. 16 Ariosto, V. 29 Bonaccorsi-Sabini, Pal. 21 . 16 Armata, V. dell’. 10 Bonaparte, Pal. 5. 16 Ascanio, V. di. 13 —, Villa. 26 Asinaria, Porta.. 33 S. Bonaventura.. 24 Astalli, Villa.. 33 Boncompagni, Pal. 5. . . . 17 d’Aste, Villa.. 26 — Simonetti, Pal. 15 . . . • 16 S. Atanasio de’ Greci. 6 . . 17 Bonella, V. 20 Aventino, Monte.. 18 S. Bonosa. 4. • 15 Avignonesi, V. degli .... 19 Borgbese, Pal. 16 Avila, Piazza d’.. 10 —, Piazza . 16 Azeglio, V. 25 —, Villa. 21 Babuino, V. del. 17 Borgo S. Agata. 22 Baccina, V. 23 — Angelico. 8 S. Balbina. 23 — S. Angelo. 7 Balbo, V. 25 25 — Nuovo. 7 Bambin Gesii. 25 — Pio. 7 Banchi Nuovi, V. de’ . . . 10 — S, Spirito. 7 — Vecchj, V. de’. 10 — Veccbio. 7 Banco di S. Spirito. 15 . . 10 — Vittorio. 7 —, V. del. 10 Borgognona, V. 17 S. Barbara. 14 Borromeo, Pal. 12. 16 .. 24 Boschetto, V. del. 22 Barberine, Monasterio delle 22 Bosco Parrasio dell’ Acca- • Barberini, Pal. 7 demia degli Arcadi . . . • 12 .. 22 Bottegbe Oscure, V. delle . • 17 —, Piazza . 19 Bovario, Campo. 15 —, Villa. 26 Braccio, Str. del. 4 Barchetta, Vic. della.... 14 Branca, Piazza di. 14 S. Bartolommeo. 18 Braschi, Pal. 17. 13 -19. 16 S. Brigida. 3. 13 — de’ Vaccinari. 14 Bucimazza, V. 18 —, Isola. 17 Bufalo, Pal, del, 6. 19 —, Ponte. 18 Bufola, Vic. della. 17 Basilica di Costantino . . . 20 Buonarroti, V. 29 — Giulia. 20 Buon Pastore. 11 — Ulpia. 19 Caccagna, V. 13 S. Basilio, V. di. 23 Cacciabove, V. 16 Bastioni di Paolo III . . . 17 Caffarelli, Pal. 9. 17 Battistero in Laterano . . . • 30 Cairoli, V. 29 Baullari, V. de’. 13 —. 32 Belsiana, V. 17 S. Cajo. 5. 22 Benedetta, V. 11 Calabraga, Vic. 10 LIST OF STREETS. 3 I II III III III Camera del Deputati. 24 . . 16 S. Caterina della Rota. 1 . . 10 Camerata, Pal, 18. 10 — de’ Sanesi. 2. 10 Campana, Pal. 18 — di Siena. 7. 19 V. 27 Cavaletti, Pal. 15. 17 Campanaro, V. del. 12 Cavalieri di Malta, Pal. de’ 9 17 Campanile, Str. del . . 7 Cavalleggieri, Porta .... 4 Campidoglio. 20 Cavour, V. 25 25 Campo Carleo. 20 S. Cecilia. 15 Campo de’ Fieri. 13 —, 20. 10 — di Maccao, see Campo —, V. di. 18 Militare. Celimontana, V. 27 — Marzo, V. di. 16 Celio, Monte. 30 — Militare. 29 S. Celso. 4. 10 — Vaccino. 20 Cenci, Pal. 17 Camposanto, Str. del . . . 4 —, Piazza. 17 Cancelleria, Pal. della . . . • 13 Cerchj, V. de’. 21 —, Piazza della. 13 Cernaja, V. della. 26 Canestrari, V. de’. 13 Certosa. 26 Canestraro, Vic. del .... 11 S. Cesareo . Capitolino, Monte. 20 Cesarini, V. 16 Capo d’Africa, V. 27 —, Vic. 16 Capo di Ferro, Piazza . . . 14 Cesi, Pal. 4 Capo le Case, V. 19 —, Villa. 23 Cappellari, V. de’. 13 — Piccolomini, Pal. 9 . . . 7 Capponi, Pal. 17. 10 Cestari, Vic. de’. 16 Cappuccini, Convento de’ . 20 Cestio, Ponte. 18 Capranica, Piazza . 16 —, Piramide di. Carbonari, Vic. de’. 20 S. Chiara. 22 Cardelli, Pal. 14. 13 .. 16 —. 15 —, Monastero. 26 14 . . . .. 17 Chiavari, V. 14 S. Carlino. 2. 22 Cbiesa Nuova. 10 S. Carlo. 17 Chigi, Pal. 16 — a’ Catinari. 14 Ciampini, Pal. 25 — —, Piazza. 14 Ciancaleone, Vic. 22 Carpegna, Pal. 24. 13 Cimarra, V. 22 Carrette, Str. delle. 4 Cimatori, Vic. de’. 10 —, V. delle. 22 Cimetero de’ Protestanti . . . Carrozza, V. 17 Cini, Pal. 16 Cartari, V. 10 Cinque, V. del. 11 Casa di Crescenzio (detta di Cinque Lune, V. 13 Rienzi o di Pilato). 3 . . 18 Circo Adriano. 11 Casa di Raffaello. 10 — Agonale, see Piazza Na- Casali, Pal. 9. 13 vona. Vg. 27 — Massimo. 21 Cascine, Vic. delle. 15 — Sallustiano. 26 Caserma de’ Carabinieri . . 15 S. Claudio. 23. 16 — de’ Dragoni. 8. 19 V. 16 — de’ Vigili. 5. 16 Claudio, V. 24 Cassa di Risparmio. 16 .. 27 Castelfidardo, V. 26 S. Clemente. 27 —. 29 Clementina, V. 22 Castello, Porta. 8 Clementine, V. del. 13 — deir Acqua Giulia. . . . 28 Cloaca Massima. 18 Castro Pretorio, V. del . . . 28 Codini, Vg. —. 29 Coliseo. 24 Catalone, Piazza. 7 Collegio Clementino . . . . 13 Catena, Piazza della .... 17 — de’ Copti. 4 —, Str. della. 4 — Greco. 7. 17 —, V. della. 14 — Inglese, Vg. del. 21 S. Caterina de’ Funari. . . • 17 — Irlandese. 20 16 16 28 1 LIST OF STREETS. I II III I mil Collegio Nazarcno. — de Propaganda Fide. 16 . -.2. — Romano. Colonna, Pal. —, Piazza. V. —, Villa. Colonna di Foca. — Trajana. Colonnelle, Vic. delle . . . Colonnesi, V. de’. Colosseo. —, V. del. Colosso di Nerone. Cominendatore, Pal. del. 13 Commercio, Casa del. 2 . . Compagnia di Gesii . . . . Concezione. Condotti, V. Conservatori, Pal. dei. 1 . . Conservatorio de’ Fanciulli projetti. 14. Conservatorio della Divina Providenza. 1. Consolato, Vic. del. . . . Consult a, Pal. della . . . —, V. della. Conte Verde, V. 19 19 20 16 19 i6 16 19 20 19 L 19 24 23 23 ( 16 16 10 17 20 Conti, Pal. 12. —, Villa.. Convento de’ Padri della Missione. 14. Copelle, V. delle. Corallo, Vic. del. Corea, Pal. Cornacchie, Pozzo delle . Coronari, V. de’. Corsini, Pal. Corso, V. del. Corte dei Conti. Cortile di Belvedere. 1. . — di S. Damaso (delle Logge). 2. — della Panateria. 5 . . . S. Cosimato, V. di . . . . S. Cosma. 6. SS. Cosma e Damiano. 5 . Costagnti, Pal. 20 ... . Costantino, Basilica di . . Cremona, V. Crescenzi, Vic. —, Villa. Croce, V. del. S. Croce, V. di. — de’ Luccliesi. 13. . . . — in Geriisalemme, Bas. . Crocebianca, V. di . . . . Crociata, V. della .... 14 16 13 17 13 13 16 10 16 19 29 32 16 38 13 11 16 19 90 4 4 19 17 15 13 20 IT 20 20 13 33 19 36 20 15 12 Crociferi, V. de’.• Crocifisso, Cappella del . • — , Oratorio. 16.• —, Vic.• Dame del Sacro Cuore, Conv* delle. Dante, Piazza. Dataria, V. della. Datti, Pal. 6. Delfmi, V. S. Dionisio. Dogana. 18. SS. Domenico e Sisto . . . -, V. Dominicani, Conv. de’ . . . Doria Pamfili, Pal. S. Dorotea. - V. Drago, Pal. del. -1*2 . Due Macelli, V. de’ ... S. Efremo.. S. Egiclio. S. Elena. S. Eligio. 4. S. Elisabetta. 9. 12. Emanuele Filiberto, V.. . English Church. 2 ... . Esquilino, Monte. Eurisace, Sepolcro di. . . S. Eusebio. - V. S. Eustachio. Fabbrica, Porta. Fabricio, Ponte. Falcone, Vic, del. Falconieri, Pal. Falegnami, V. de’ .... Falzacappa, Villa. Fanti, Piazza Manfredo . . Farinone, Vic. del . . . Farnese, Pal. —, Piazza. Farnesiani, Orti. Farnesina, Villa. Felice, V., see V. Sistina. Fenili, V. de’. Vic. de’. Ferajuoli, Pal. 20 . . . Ferratella, V. della . . Ferruccio, V. Fiamme, Vic. delle. . . Fiano, Pal. 8. Filippine, Monast. delle S. Filippo FTeri. 8 . . . 6 . Firenze, Pal. di . . . . —, Piazza. 19 7 11 19 22 16 6 8 29 16 17 19 19 16 16 11 11 13 19 19 •22 15 4 23 30 8 V. 16 23 16 12 17 10 13 U 29 X 25 29 25 13 17 11 17 28 14 14 2 1 12 9 •k) 29 25 10 7 13 16 22 30 LIST OF STREETS. 5 I mil Him Firenze, V, . 25 Gianicolo, Monte. 9 Fiumara, V. della. 17 Giardino, V. del. 16 Fiume, V. del. 14 — Papale, V. del. 19 Florida, V. 17 Ginnasi, Vic. de’. 16 Fonseca, Villa. 27 Gioberti, V. 25 Fontanella, V. 18 S, Giorgio in Velabro . . . • 21 — di Borghese, V. della . . 16 S. Giovanni. 14 Fontanone, V. del. 14 —, Porta. 33 Fornaci, V. delle, see V. Ga- V. • 18 ribaldi. — Decollato. 5. 18 Foro di Augusto. 20 — de’ Fiorentini. 10 — di Kerva (avanzi). 7. . . 20 — in Fonte. 30 — Romano. 20 — de’ Genovesi. 7. 15 — Trajano. 19 — in Laterano, Bas. 30 -, V. del. 19 -, V. 27 S. Francesca. 17 — e Collegio de’ Maroniti. 9 19 —. 19 — in Oleo, Cappella .... f — Romana. 23 — della Pigna. 16 S. Francesco, V. di .... 15 — ante Portam Latinam . . • . ^ — di Paola. 23 — e Paolo .. 24 — a Ripa . 15 -, V. di. 24 -, V. di. 15 — e Petronio. 8. 14 — di Sales, V. di. 11 Giraud-Torlonia, Pal. 4 . . 7 — delle Stimate. 16 S. Girolamo. 1. 13 Frati, Vic. de’. 7 — de’ Schiavoni. 14 Fratte, V. delle. 15 Giubbonari, V. de’. 14 Frattina, V.. • 16 Giudea, Piazza. 17 Frezza, V. della. 17 Giulia, V. 10 Fruste, V. delle. 12 S. Giuliano. 28 Gabrielli, Pal. 10 16. 10 Gaeta, V. .. 26 — de’ Fiaminghi. 7 . . . . 13 —. 29 Giulio Romano, V. 20 Gaetani, Giardino. 29 Giuoco di Pallone. 22 —, Pal. 25 S. Giuseppe. 10- Gaetano-Sermoneta, Pal. 26. 17 —. 19 Galileo, V. 29 — de’ Falegnami (Carcere Galitzin, Pal. 13. 13 Tulliano). 3.. 20 S. Galla. 18 Giusti, V. 29 Galli, Orto. 15 Giustiniani, Pal. 13 —, Pal. 13 —, Vic. 13 Gallo, Pal. del 5. 19 Goito, V. 26 Galluzze, le. 32 - ^ . - . . ^ ,. 29 Gambaro, V. del. 16 Governo Vecchio, Pal. del 20 13 Garibaldi, V. 11 —, V. del. 13 —. 12 Granari, Vic. 13 Gatta, V. della. 16 Grazie, V. delle. 20 Gelsomino, V. del. 1 Grazioli, Pal. 4. 16 Genova, V. 22 Graziosa, V., . . 25 Genovesi, V. de’. 18 Greca, V. 17 Gentili, Villa. 31 Greci, V. de’. 17 Gesii, il. 16 Gregori, Pal. 20 —, V. del. 16 Gregoriana, V. 20 Gesii e Maria. 4. 17 S. Gregorio. 14 -, V. 17 .. 17 Ghetto, il. 17 —, V. di. 24 S. Giacomo, V. 17 — Magno. — in Aino. 6. 10 — Taumaturgo. 10. 20 — in Augusto (degli Incura- Grillo, V. del. 19 bili). 2. 17 Grimaldi-Potenziani, Pal. 12 . 19 — Scossacavalli. 7. 7 S. Grisogono. 15 — de’ Spagnuoli. 23 ... . 13 —, V. di ......... 15 0 LIST OF STREETS. I II III Him Grotte, Vic. delle. 14 S. Lucia. 17 Grottino, V. del. 17 — del Gonfalone. 9 . . . . 10 Guardi 0 la, V. della .... 16 — in Selci. 26 Giiarnicri, Pal. 20 -, V. di. 26 Guglielmo Pepe, Piazza . . • 28 — della Tinta. 11. 13 Guglielmi, Pal. 25. 17 Luciano Manara, V. 12 S. Ignazio. 16 Lucina, V. in. 16 —, Piazza di. 16 Ludovisi, Villa. 23 , V. 16 S. Luigi de’ Francesi . . . 13 S. Ildefonso. 19 Lunetta, Vic. della. 10 Incarnazione, Cappella delP 3 22 Lungara, see Longara. Incurabili, Vic. degli . . . . 17 Lungaretta V. della .... 15 Indipendenza, Piazza dell’ . 28 Lungarina, V. della .... 18 —. 29 Lupa, V. della. 16 Inferno, Valle delP .... 5 Lupi, Villa. S. Isidoro. 20 Maccarani, Pal. 2. 19 V. 20 Vg. Istituto Arclieologico. 8. . . 17 Maccelletto, V. del .... 15 S. Ivo. 12. 13 Macchiavelli, V. 29 , 2G. 13 Macelli, V. de’ Due .... 19 Labicana, V. 27 Macello, V. 18 Laboratorio di Chimica . . • 22 Madama, Piazza. 13 La Marmora, V. 29 Maddalena, V. 16 . .. 28 Madonna di Loreto. 3 . . . 19 Lancelloti, Pal. 1. 13 Magenta, V. 28 • ,16. 13 Maggiore Porta. 35 Lante, Pal. 13 Magnani, P.al. 16 —, Villa (Borgliese) . . . • 8 - Vg. 32 Larga, V. 10 —, Villa. 32 Laterano, S. Giovanni in . . • 30 Magnanapoli, V. 19 Latina, Porta. 28 Malabarba, Vic. di. 34 V. 28 Malatesta, Pal. 13. 17 Lattanzi, Villa. 28 Malva, V. della. 18 Laurina, V. 17 Mamiani, V. 28 Lauro, Vic. del. 20 Manara, V. Lxiciano .... 12 Lavaggi, Pal. 15. 16 Manfredo Fanti, Piazza . . 28 Lavandare, Vic. delle . . • 15 Manfroni, Pal. 6. 16 Lavatore, V. del. 19 10. 13 Leccosa, V. 13 Manin, V. 25 S. Leonardo. 10 Mantellate, V. delle .... 10 Leoncino, V. del. 16 Manzoni, V. 30 , Vic. 4 —. 32 Leonina, V. 23 S. Marcello. 16 Leopardi, V. 29 S. Marco. 16 Lepri, Pal. 17 —, V. di . 19 liOngara, V. della . . . . • 11 —, Piazza di. 16 S. Lorenzino in Piscibus. 10 7 Marco Aurelio, V. 27 S. Lorenzo, Monast. 22 Marescotti, Pal. 1. 16 —, Porta.• 31 -,9. 16 , Vic. 34 Marforio, V. di. 20 Vg. 22 Margana, Piazza. . 17 — in Fonte. 19 Margliera, V. 28 • — in Lucina. 16 S. Marglierita. 1. 15 -, Piazza di . 16 Margutta, V. 17 — in Miranda. 20 —, Vic. 18 — a’ Monti. 20 Marj, Pal. (ora Gran-Guar- — in Paneperna, V. di . . . • 22 dia). 11. 7 SS. Lorenzo e Damaso . . . 13 S. Maria Addolorata .... 8 SS. Luca e Martina. 4 . . . • 20 — Agata. 6. 20 Lucchesi, V. de’. 19 — degli Angeli. 25 S. Lucia. 10. 10 — deir Anima. 13 LIST OF STREETS. 7 I II III III III s. 3Iaria in Aquiro. 17. . . 16 S. Maria della Torre .... — in Aracoeli. 20 — Traspontina. 5. 7 — in Cacaberis. 3. 14 — in Trastevere. 15 — in Campitelli. 17 — —, Piazza di. 15 — in Campo Marzo. 2 . . . 16 — in Trivio. 19 — in Capella. 18 — deir Umilta. 11. 19 — del Carmine. 19 — in Vallicella. 10 — della Concezione .... 23 — delle Vergini. 1. 19 — della Consolazione . . . 20 — in Via . 16 — in Cosmedin. 18 -, V. di. 16 — di Costantinopoli. 14 . . 19 — in Via Lata. 16 — in Domnica . 27 — in Vinci. 6. 17 — Egiziaca. 18 — della Vitttoria. 23 — de’ Fieri. 15 Marmorata. — —, V. di. 17 —, Strada della. — delle Fornaci. 4 Marmorella, V. 20 — delle Grazie. 8 Marroniti, V. de’. 19 — di Grottapinta. 5 . . . . 13 S. Marta. 4 — Imperatrice. 30 —. 16 — Liberatrice. 20 —, Piazza. 4 — HHaddalena. 16 S. Martino. 6. 14 — —. 19 — a’ Monti. 26 — Maggiore, Basilica . . . 25 — de’ Svizzeri. 3. 4 — —, V. di. 25 -, V. 29 — sopra Minerva. 16 Mascbera d’Oro, Piazza. . . 13 — —, Piazza di. 16 Mascberino, Vic. del .... 8 — de’ Miracoli. 1. 18 Mascherone, V. del. 14 — di Monserrato. 3 . . . . 10 Massimi, Pal. 12. 17 — in Monterone. 12 ... . 13 — alle Colonne, Pal. 11 . . 13 — in Monte Santo. 2 ... 18 Massimi-Sinibaldi, Pal. 13 . 13 — a’ Monti. 3. 23 Massimi, Villa. 26 — —, V. di. 23 . .. 30 — a’ Monti della Neve. 2 . 23 —, V. dei. • 13 — in Monticelli. 14 Massimo Negroni, Villa . . 25 25 — della Morte. 11 Mastai, Piazza. 15 — della Neve. 13. 19 -V.. 15 — deir Orto. 15 Mattei, Pal. 27. 17 — della Pace. 3. 13 —, Villa. — del Pianto. 19. 17 . .. 23 — di Pieta(Oratorio diCara- S. Matteo, V. di. • 29 vita). 14. 16 Mattonato, V. del. 12 — di Pieta con Camposanto S. Mauro. 13. 16 (Cimetero de’ Tedesclii). 4 4 Mausoleo di Adriano .... 10 — del Popolo. 18 — di Augusto. 14 — Porta Paradisi. i ... . 17 Mazzamurelli, Vic. 15 — in Posterula. 13 Mazzarina, V. 19 — del Priorato di Malta . . 18 Mazzini, V. 19 — in Publicolis. 21 .... 17 ... 22 — della Purificazione . . . 26 Medici, Villa. 18 — -14. 10 Melone, Vic. del. 13 — della Purita. 3. 7 Merangelo, V. del. 12 — di Quercia. 9. 14 3Iercede, V. di. 19 — Regina Coeli. 10 de Merode, Villa. 23 — della Salute. 22 Merulana, V. 29 — della Sanita. 22 Meta Sudante. 24 — della Scala. 11 Metastasio, Teatro. 8 c 13 — V. di. 11 Metronia, Porta. — de’ Sette Dolori. 12 S. Michele Arcangelo. . . . 4 — del Sole . 18 S. Michele, V. di. — della Stella. 1 SS. Michele e Magno .... 7 — del Suffragio 11. 10 Mignanelli, Pal. 20 15 15 18 24 27 15 8 LIST OF STREETS. I II in Him Mignanelli, Piazza. 20 Nazionale, V. 22 22 Milano, V. 22 SS. Nereo ed Achilleo . . . Milazza, V. 28 Neroniano, Pal. 26 Mille, V. dei. 28 Niccolini, Pal. 2. 10 Mills (Spada), Villa .... 21 S. Nicola. 16 Minerva Medica, Tempio di * 32 — in Carcere. 17 Ministero di Agricultura, In- — in Arcione. 11. 19 dustria e Commercio . . . 19 — degli Incoronati. 7 . . . 10 — degli Affari Esteri. . . . 19 — de’ Lorenesi. 8. 13 — delle Finanze. 26 — de’ Perfetti. 3. 16 — di Grazia e Giustizia. 8 b 13 — di Tolentino. 23 — di Guerra. 19 -, Vic. di. 23 — deir Interne. 17. 13 Nicosia, Piazza. 13 — deir Istruzione Pubblica. Nome di Maria. 4. 19 18. 16 Nomentana, Porta. 29 — dei Lavori Pubblici . . . 16 S. Norberto. 22 ■— della Marina. 8 a .... 13 Noviziato de’Gesuiti,Villa del 29 Minuzzi, Pal. 3. 17 Nuova, V. 19 Miracoli, Vic. de"*. 15 Nussiner, Vg. 21 Missione, V. della. 16 Ova, Piazza dell’. 15 Modena, V. 22 Odescalchi, Pal. 16 Molara, Piazza. 18 S. Offizio, Pal. del. 4 Mole, Vic. delle. 27 Olmo, V. dell’. 25 Monserrato, V. di. 10 S. Omobuono. 7. 17 Montanara, Piazza. 17 S. Onofrio. 7 Montebello, V. 26 V. 7 - . .. 29 Orfeo, Vic. di. 7 Monte Brianzo, V. di. . . . 13 Omani, Pal. 22. 13 — Caprino, V. di. 17 Oro, Monte d’. 17 — Cavallo, Piazza di. . . . 19 Orologio, Piazza dell’. . . . 10 — Citorio, Pal. di (Camera Orsini, Pal. 10 dei Deputati). 24. 16 Orsini-Savelli, Pal. 17 — Citorio, Piazza di . . . . 16 Orso, V. dell’. 13 — della Farina, V. del. . . . 13 S. Orsola. 1. 10 — di Pieta. 14 8. 17 -, Piazza di. 14 SS. Orsola e Caterina. 11. . 17 Monte Tarpeo, V. di . . . . 20 Ortaccio degli Ebrei .... Monterone, V. 13 Orto Botanico. 12 Monteverde, Vic. di . . . . 10 Ospedale Ecclesiastico. 1 . . 14 Montoro, Pal. 10 — S. Gallicano. 15 V. .'. 13 — di S. Giovanni Calabita . 17 Monumento delP Immacolata — di S. Giovanni Laterano. 30 Concezione. 1. 20 — de’ Incurabili. 17 Moretto, V. del. 19 — S. Michele. Moro, V. del. 15 — Militare. 7 Moroni, Vic. 11 — de’ Pazzi. 7 —, Vg. 25 — di Tala Giovanni. 22 . . 17 .Morte, V. della. 14 Ospizio de’ Poveri. 26 Morticelli, V. de’. 15 Osteria, Vic. dell’. 31 Muratte, V. delle. 16 Ostilia, V. 27 Muronova, V. 15 Ottoboni, Villa. Museo Capitolino. 12 ... . 20 Otto Cantoni, Vic. dei . . . 17 — Lateranense. 30 Pace, Piazza della. 13 Muti-Paparuzzi, Pal. 9 . . . 19 Padella, Piazza. 10 Napoli, Orto di. 17 Paganica, Piazza. 17 V.'. 22 Paglia, V. della. 12 25 Palatino, Monte. 21 Nari, Pal. 14. 13 —, Ponte. 18 Navicella, Piazza della . . . 27 Palermo, V. 22 22 —, V. della. 27 Palestro, V. 26 Navona, Piazza. 13 — . 28 LIST OF STREETS. 9 I II III I mil Palle, Vic. delle. 7 Pigna, Giardino della. 1 . . 5 .. . . 10 Pilotta, Piazza della .... 19 Palma, Vic. della. 19 —, V. della. 19 Palombara, Pal. 11. 16 Pinaco, V. del. 13 —, Villa. 29 Pinciana, Porta. 21 Pamfili, Giardino. 18 V. 24 —, Pal. 18. 13 Pincio, Monte. 18 —, Villa. 9 Pinellari, V. 13 S. Pancrazio, Porta .... 9 Pio, Pal. 14 Panico, V. di. 10 Piombino, Pal. 22. 16 8. Pantaleone. 13 Piombo, V. del. 19 - ^ ^ . 23 Piscinola, V. 18 —, V. di. 13 Plebiscite, Piazza del . . . 10 Panteon. 16 —, V. del. , 16 Paola, V. 25 Polacclii, Vic. de’. 17 - . . .... 10 Poli, Pal. 19 S. Paolino. 14 —, Piazza . 19 S. Paolo Eremita. 22 Politeama. 14 S. Paolo, Porta. 16 —, V. del. 14 —, Via di. 16 Polveriera, V. della .... 23 Paradisi, V. 22 Ponte, Piazza di. 10 Paradiso, V. del. 13 Ponte Nomentano, V. di . . 30 Parione, V. in. 13 — Molle, V. di. 15 Parma, V. 22 — Sisto, Vic. di. 14 Pasquino, Piazza del .... 13 Pontefici, V. de’. 17 Passionisti, Giai’dino de’ . . 24 Popolo, Piazza del. 18 Pastini, V. de’. 16 —, Porta del. 15 Patrizi, Pal. 13 Porta, Pal. della. 17 —, Villa. 30 Porta Angelica, V. di ... 8 5 .. 25 — Gastello, Str. di. 8 Pavone, V. del. 10 — Latina, V. di. Pedacchia, V. della .... 20 — S. Lorenzo, V. di . . . . 28 31 iS. Pellegrino. 5 — Maggiore, V. di. • 32 Pellegrino, V. del. 13 — S. Pancrazio, V. di . . . • 12 Pelliccia, V. della. 15 — Pia, V. di. 26 Penitenzieri, Coll, de’ . . . 7 — Pinciana, V. di. 20 Penna, Vic. della. 15 — Portese. Pepe, Piazza Guglielmo . . • 28 — Salara, V. di. 27 Perfetti, V. de’. 16 — S. Sebastiano, V. di. . . Pergola, V. 17 Portico di Ottavia. 18 . . . 17 Perucclii, Pal. 20 Porto di Ripa G ande . . . Pescheria, V. della. 17 — di Ripetta. 14 Petrarca, V. . . .. 29 Portuense, Porto. Pettinari, V. de’. 14 Posta. 16 Pia, Porta. 30 Pozzetto, V. del. 19 —, Piazza, see Piazza del Pozzi, V. de’. 20 Plebiscite. Pozzo, Vic. del. 15 Pianciani, Pal. 4. 19 S. Prassede.. 25 Plan to, V. del. 17 Prati del Popolo Romano. . Pie di Marmo, V. del . . . 16 Prefettura. 19 Pieroni, Villa. 19 Prenestina, Porta. 31 Pietra, Piazza di. 16 Presbyterian Church . . . . 15 —, V. di. 16 Principe Amedeo, V. 28 S. Pietro in Vaticano, Bas.. 4 — Eugenio, V. 29 —, Piazza di. 7 . . . 32 S. Pietro in Montorio . . . 12 — Umberto, V. 28 — in Vincoli. 23 .. 32 - , Piazza di. 23 Principessa Margherita, V. . 28 - , V. di. 26 .. 31 SS. Pietro e Idarcellino . . 3o S. Prisca. Pigbini, Pal. 4 . 13 —, V. di . 26 15 26 18 14 IT 21 21 10 LIST OF STREETS. I II III I II III Propaganda Fide. 2. . S. Salvatore. 14 —.16. 20 . . 13 Protestant Church. 19 — 18 S. Piidenziana. 22 25 . . 16 Purificazione, V. della . . . 20 — in Campo. 5. 14 Quaranta Santi. 15 — della Corte. 6. 15 Quarantotto, Villa. 28 — in Lauro . 10 SS. Quattro, V. de’ .... 27 — al Torrione. 5. 4 SS. Quattro Coronati .... 27 Salviati, Pal. 7 Quattro Cantoni, V. 25 —. 19 —, Ponte. 17 Sanipieri,Pal.(Cicciaporci). 3 10 Quattro Capi. 4. 17 Santacroce, Pal. 4. 14 Querceti, V. dei. 27 Santinelli, Vg. 33 Questura. 16 Saponari, Vic. de’. 17 —. 19 Sassi, Vg. 28 SS. Quirico e Giuditta. 8 . • 20 Saturno, Tempio di .... 20 Quirinale,Pal. e Giardino del 19 Savelli, V. 13 —, V. del. 19 22 Savorelli, Villa. 9 Raifi, Vg. 26 Scaccia, V. 1 Rasella, V. 19 Scala Santa. 30 Ratazzi, V. 30 Scalcaccia, Vic. della . . . • 18 Ravenna, Pal. 25 Scalette, Vic. delle .... 15 Regola, V. della. 14 .. 11 Reinach, Villa. 29 Schiavoni, V. de’. 17 Renella, V. della. 15 Sciarra-Colonna, Pal. . . . 16 Renzi, Piazza di. 15 Scimia, Vic. della. 10 Riari, V. de’ . 11 Scossa Cavalli, Piazza . . . 7 Ricasoli, V. 28 Scrofa, V. della. 13 Rimesse, V. delle. 15 Scuole degli Ebrei. 2 . . . • 17 Ripetta, V. di. 14 S. Sebastianello, V. 17 Risparmio, Cassa di . . . . 16 S. Sebastiano de’ Mercanti. Rita, Beata. 11 . 20 24. 17 S. Rocco.•. . . 14 S. Sebastiano, Porta . . . . 28 Romana, Piazza. 15 Sediola, V. della. 13 de Romanis, Pal. 13 Semenzaio comunale .... 26 S. Romualdo , V. 19 Seminario. 7. 13 Roncioni, Orto ....... • 21 , V. del. 16 Rondinini, Pal. 17 Senate del Regno. • 13 -,13 . 16 Senatore, Pal. del 2 . . . . 20 —, Villa. 28 Sepolcro di Bibulo. 2 . . . • 19 Rosa, V. della. 16 — de’ Scipioni . 25 Rospigliosi, Pal. 19 Serlupi, Pal. • 16 Rossini, Teatro. 17 .... 16 17 . 17 Rotonda, Piazza della . . . • 16 Serpe, Vic. della. • 18 Rotto, Ponte. 18 Serpenti, V. de’. 22 Rua, V. 17 Serristori, Pal. 8. Ruaccia, Piazza. 15 Servio Tullio, Aggere di . . • • 20 SS. Rufina e Seconda. 2 . . 15 Sette Sale. 26 Ruspoli, Pal. 16 — —, V. delle. 26 Rusticucci, Piazza. 7 Settimiana, Porta. 11 S. Saba . 20 Sferisterio. 6 . 22 —, V. di . 20 Sforza, Piazza. 10 S. Sabina. 18 Sforza-Cesarini, Pal. 10 Sacchetti, Pal. 10 S. Silvestro. 19 V. . '.. 15 — in Capite. 16 Sacripante, Pal. 5. 13 -, Piazza di. 16 Salara, Porta. 27 S. Silvia . . 24 -. V. della. 18 S. Simone. 13 Salara vecchia, V. 20 S. Simone e Giuditta. 5 . . 10 Salumi, V. de’. 18 Sistina, V. 20 Salvage, Villa. 14 S. Sisto . 26 LIST OF STREETS 11 I II III I mil Sisto, Ponte. 13 U Terme di Agrippa .... 16 Soldato, V, del. 25 — di Caracal la. Solferino, V. 28 — di Costantino. 19 . . — di Diocleziano. 25 Sora, Pal. 13 — di S. Elena. 25 —, Piazza di . 13 — di Tito. 26 Spada, Pal. 14 Terme, Piazza delle (di Ter- -,19 . 10 mini). 25 —, Villa . 17 9 Termini, Fontana, see Acqua Spagna, Pal. di. 17 Felice. —, Piazza di . —, Piazza di, see Piazza —, Vic. di . 11 delle Terme. Specchj, Piazza de’ .... 7 14 Testa spaccata, V. 19 S. Spirito, Oratorio di. 16 . 7 Testaccio, Monte. —, Porta. 7 Tiburtina, Porta. 28 — in Sassia. 12. Tinta, V. della. 13 Spirito Santo de’ l^apole- Tomacelli, V. 17 tani. 5. 12 10 S. Tommaso. 1 . 17 Sposata, Fossa della .... — . 13 Stamperia e Calcografia Ca- 19 — Cantuari. 2. 13 merale. 7. 19 — in Formis . Stamperia, V. della .... Tor Argentina, V. di . . . 17 S. Stanislao. 17 — Cantarelli. 25 Statuto, V. dello. 26 — de’ Conti. 20 . . 25 29 -, V. di. 23 Stazione della Ferrovia . . 4 — Mellina. 13 S. Stefano. — Sanguinea. 4. 13 — . 18 — de’ Specchj, V. di ... • 17 — del Cacco . 16 Tordinone, V. di. 10 — in Piscinula. 21 .... 10 Torino, V. 22 — Rotondo. 27 — . 25 —, V. di. 13 27 Torlonia, Pal. 10. 17 Stelletta, V. della. 22 -Bolognetti, Pal. 1 . . . 19 Sterrato, Vic. —, Villa. 29 Strozzi, Pal. 16 Torre delle Milizie. 6 . . . 19 16. 25 17 Torretta, Piazza. 16 V. Trajana, Colonna. 19 Struzzo, Vic. dello. 10 Tre Archi, V. de’. 13 Sublicio, Ponte. 18 Tre Cannelli. 3. • 17 S. Sudario, Cappella del. 8. 13 Tre Cannette, V. delle . . . • 19 —, V. del. 23 13 Tre Ladroni, Vic. 16 S. Susanna. 23 Trevi, Fontana di. 19 —, Vic. Triclinio Leoniano. 33 Tartaruga, Piazza. 17 S. Trifone. 2. 13 Tasso, V. 10 29 S. Trinita. 16 Teatro Apollo. -11. 17 — Argentina . 16 13 — de’ Monti. 20 — Capranica. — de’ Pellegrini. 14 — di Marcello. 5. 13 17 Tritone, V. del.. 19 — Metastasio. 8 c. Trofei di Mario, see Acqua — della Pace. 13 Giulia. — di Pompeo. 13 Umilta, V. dell’. 19 — della Valle. 15. 7 13 Universita della Sapienza. 25 13 S. Tecla. 15. 16 Urbana, V. 22 Telegrafo, Ufficio centrale . 10 . ., ^ . 25 Telline, Vic. delle. 16 S. Urbano. 20 Teodoli, Pal. 9 . Vaccarella, Vic. 13 S. Teodoro .. 20 Valentini, Pal. . . . 19 S. Teresa. 11 —, Villa ... . . . 9 -7 . 22 14 Valle, Piazza di. 13 -4 . —, V. di. 13 12 LIST OP STREETS. I II III I mil Vantaggio, V. del. 14 Vigne, V. delle. Varese, V. 28 SS. Vincenzo ed Anastasio • 14 Vascellari, Vic. de' .... 18 -,3. 19 Vascliette, Piazza delle . . 7 Visitazione, Monastero della S. Vitale. 21 Vaticano, Monte. 1 22 —, Pal. 4 —, V. di. 22 22 Vecchi, Villa de’. 28 Vite, V. della. 16 Vecchiarelli, Vic. 10 Vitellescbi, Pal. 1. 16 S. Venanzio. 17 S. Vito. 25 Venere e Roma, Tempio di 23 SS. Vito e Modesto .... 28 Venezia, Pal. di. —, Piazza di . 16 Vittoria, V. 17 16 Vittorio Emanuele, Piazza . 30 Venti Settembre, V. 22 .. 29 —. 23 Volpe, V. del. 13 .. 26 Volturno, V. 26 Vergine Beata del Carmine. 0 15 Wolkonskv, Villa. 33 Vergini, V. delle. 19 Zecca. 4 Verospi, Pal. 10. 16 Zingari, Piazza. 22 —, Villa . 27 Zoccolette, Monast. delle. 2 14 Vetrina, V. della. 13 Zncclieri, Palazzo. 20 Vidoni, Pal. • 13 Zuccliette, V. delle . . . . 19 Leipsic; Printed by Breitkopf & Iliirtel. f 19. . del Pii/aZo Suujy^eri^ e. CaZcc^rc^vaPe/zle e. 2/augt. diA^friadturccBidust^Canimi S.S. dn^di CustodZ S. GiooaruvZ o Coll^io dd ZParorvUZ PaZ. dlieronZ S. ZZicolcL ijv cZrcZone/ PaZ. del Jhra^o S. Maria, della, ZVeve/ S.ZiZaria, di/ CostantinopolZ PaZy. PemZeiZ Coll^io de Jr(^a.^cuida, Pide, PfanumenCa ded'Zmmacolatou Prope^eaida/I^Lde S.chidrea e CoUe^io Scozxeoe/ S. 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