LIBRARY
THE UNIVERSITY
OF CALIFORNIA
SANTA BARBARA
PRESENTED BY
JOHN & ANNA GILLESPIE
\S
ON THE RIVIERAS, AND IN PIEDMOM
AND LOMBARDY .
^CITIES OF
NORTHERN AND CENTRAL
ITALY,
BY AUGUSTUS J. C. HARE
;THOR OF "WALKS IN ROME," "DAYS NEAR ROME,'' ETC.
IN THREE VOLUMES
I
ON THE RIVIERAS, AND IN PIEDMONT
AND I.OMBARDY
LONDON
DALDY, ISBISTER & CO
56, LUDGATE HILL
1876
The Right of Translation is Reserved.]
JOHN CHILDS AND SON, PRINTERS.
TO
H. R. H.
PRINCE LEOPOLD
THESE VOLUMES ARE
RESPECTFULLY DEDICATED
PREFACE.
TN 1875 almost all the places described in these
volumes were carefully revisited, in order to make
the information they contain, especially the accounts of
the Italian picture-galleries, as correct as possible up
to the present time. But in giving to others what
has been at once the companion and employment of
many years, I am only too conscious of the imperfec-
tions of my work of how much better descriptions
might be given, of the endless amount which remains
unsaid. Bearing Italy ever in my heart, I can only
hope that others, better fitted, will be led to drink at
the great fountain which it is impossible to exhaust,
though those who have once been refreshed by it,
will always long to return.
The book is called " Cities of Northern and Central
Italy" because almost all the interest of these dis-
tricts is confined to the towns, but it also treats of
vi PREFACE.
the whole country lying between the Alps and that
which is described in " Days near Rome."
The Illustrations, with very few exceptions, are
from my own sketches taken on the spot, and trans-
ferred to wood by the kindness and skill of Mr. T.
Sulman.
AUGUSTUS J. C. HARE.
Holmhurst, J^an., 1876.
CONTENTS.
INTRODUCTORY i x
CHAPTER I.
THE RIVIERA DI PONENTE I
CHAPTER II.
GENOA 29
CHAPTER III.
THE RIVIERA DI LEVANTE CARRARA AND MASSA ... 58
CHAPTER IV,
TURIN 74
CHAPTER V.
THE WA1.DENSES 96
CHAPTER VI.
THE VAL D'AOSTA loS
CHAPTER VII.
VERCELLI AND NOVARA 114
CHAPTER VIII.
MILAN 121
8 CONTENTS.
CHAPTER IX.
PACK
PAVIA .166
CHAPTER X.
MONZA AND COMO '79
CHAPTER XI.
THE ITALIAN LAKES I9 1
CHAPTER XII.
BERGAMO AND THE LAGO D'lSEO 2l6
CHAPTER XIII.
CREMONA 2 3
CHAPTER XIV.
BRESCIA 241
CHAPTER XV.
THE LAGO DI GARDA 2$$
CHAPTER XVI.
VERONA 2 62
CHAPTER XVII.
MANTUA 3 2
CHAPTER XVIII.
VICENZA . 3 21
CHAPTER XIX.
PADUA AND THE EUGANEAN HILLS 335
CHAPTER XX.
BASSANO AND THE FRIULIAN ALPS 3^7
INTRODUCTORY.
THE old days of Italian travel are already beginning to
pass out of recollection the happy old days, when with
slow-trotting horses and jangling bells, we lived for weeks
in our vetturino carriage as in a house, and made ourselves
thoroughly comfortable there, halting at midday for luncheon,
with pleasant hours for wandering over unknown towns, and
gathering flowers, and making discoveries in the churches
and convents near our resting-place. All that we saw then
remains impressed upon our recollection as a series of
beautiful pictures set in a frame-work of the home-like
associations of a quiet life which was gilded by all that
Italian loveliness alone can bestow of its own tender beauty.
The arrangements of vetturino travel warded off the little
rubs and collisions and discomforts which are inevitable
now, and the mind was left perfectly free to drink in the sur-
rounding enjoyment. The slow approach to each long-
heard of but unseen city, gradually leading up, as the sur-
roundings of all cities do, to its own peculiar characteristics,
gave a very different feeling towards it to that which is
produced by rushing into a railway station with an im.
pending struggle for luggage and places in an omnibus
which, in fact, is probably no feeling at all. While, in the
, VOL. I. a
x ITALIAN CITIES.
many hours spent in plodding over the weary surface of a
featureless country, we had time for so studying the marvel-
lous story of the place we were about to visit, that when we
saw it, it was engraved for ever on the brain, with its past
associations and its present beauties combined.
Still, there is much to be grateful for in the convenience of
modern travel, and indeed many who could not otherwise
explore Italy at all, are now, by its network of railways, en-
abled to do so. Almost every Italian town is now connected
by rail with its neighbours, and therefore, in these volumes,
the traveller will be supposed to follow the principal rail-
ways from one city to another, and to make excursions
from each. The interest of Northern and Central Italy is
almost entirely confined to its towns. The only parts of the
country which are beautiful, are just those lake and moun-
tain districts near the Alps and Apennines where railways
cannot easily penetrate, and so, in point of scenery, nothing
need be lost, though the chief disadvantage of Italian rail-
ways for foreigners lies in the temptation they offer for
hurrying straight through from one of the larger towns to
another, and for passing over the smaller cities, and, still
more, places like Spezia and Massa-Ducale, while the re-
splendent loveliness of that especial neighbourhood should
call for a halt.
The journey to Italy is now absolutely without difficulties,
and, if travellers take that way, which is the nearest, they
will find the redoubted tunnel of the Mont Cenis so like
other tunnels, that all descriptions of " sensations " in going
through it must be purely imaginary. But the most desir-
able approach is that by the Cornice road along the Riviera
di Ponente. Then, after the dreary wind-stricken plains of
INTRODUCTORY. xi
Central France, and the stony arid hills of Provence, one
enters Italy at Mentone by a portal like the gates of Paradise,
and is plunged at once into the land of the citron and
myrtle, of palms and aloes and cyclamen. Of course one
must not expect that all Italy will be like these Riviera
roads, and one is, as far as scenery goes, receiving the best
first, but then it is charming to feel the whole of one's ideal
realised at the very outset. Except in the country near the
Italian lakes, in the Alps of Friuli, at Spezia and Massa, and
in the great valleys of Tuscany and Umbria, there is not
much beauty of scenery to be found afterwards. It is
through the above-mentioned valleys however, that the
principal railway from Florence to Rome passes, and if one
were to select a single day's journey as the most interesting
in the world, this must be chosen. There is scarcely a
minute in the day in which one can afford to leave the
window of the railway carriage, scarcely a place one passes
through in which one does not long to linger, and which
would not amply repay a careful examination. First, we
have the rich Arno valley, with its visions of old convents,
and castles with serrated towers, standing on the crests of
hillsides covered with a wealth of olives and peach-trees, and
themselves shut in by ravines of hoary snow-tipped moun-
tains ; of villages and towns of quaint houses, all arches
and balconies, with projecting tiled roofs stained golden
with lichen, and with masses of still more golden Indian
corn hanging from the railings of their outside staircases.
Then, we have a strange volcanic district of umber-coloured
uplands, tossed and rent into every possible contortion by
some forgotten eruption. Then Arezzo and Cortona rise on
their embattled heights, and Thrasymene stretches out its
a 2
xii ITALIAN CITIES.
waste of reedy apple-green waters, melting into the softest of
blue distances : Perugia watches the valley from its hillside ;
the convent of Assisi on its mighty tiers of arches strides for-
ward towards the plain ; Trevi clambers up a hill so steep,
that every house rises just above the roof of its neighbour,
with a clear view towards the sky ; the tiny temple of the
Clitumnus looks down upon its limpid rivulet; the huge
castle and cathedral of beautiful Spoleto are backed by the
ilex-clothed mountain of San Luca ; a fissure in the brown
hill behind Terni marks the site of the famous waterfall ;
and all this beauty comes to a climax at Narni, where the
river Nar forces itself through a cleft in the huge rocks be-
neath the mediaeval city, and is spanned by the mighty
arches of the bridge of Augustus. Beyond this we enter
the Campagna, grim and desolate, with buffaloes feeding
amid its withered vegetation, and, as the malaria-bearing
vapours of evening rise, and daylight dies out in a red streak
behind an awful solemn dome, the very sight of which must
send a thrill through the hearts of all who recognise it, the
train passes through a rift in a gigantic wall, hisses under
the shadow of a dim temple which we are told is Minerva-
Medica, and, on the platform of an immense modern station,
the porters call out ROME.
This is, perhaps, the most interesting day, but it is a type
of many days of Italian travel, and all these places should
be, not passed through, but sojourned in, and after being
introduced to the places themselves, one should make
acquaintance with their surroundings which are almost as
important.
Not to be disappointed in Italy as in every thing else, it
is necessary not to expect too much, and hurried travellers
INTRO D UCTOR Y. xiii
generally will be disappointed, for it is in the beauty of her
details that Italy surpasses all other countries, and details
take time to find out and appreciate. Compare most of
her buildings in their entirety with similar buildings in Eng-
land, much more in France and Germany, and they will be
found very inferior. There is no castle in Italy of the im-
portance of Raby or Alnwick ; and, with the sole exception
of Caprarola, there is no private palace so fine as Hatfield,
Burleigh, or Longleat. There is no ruin half so beautiful as
Tintern or Rievaux. There is no cathedral so stately as
Durham, Lincoln, or Salisbury ; for Milan, with its contemp-
tible exterior, cannot enter the lists at all; S. Mark's is
more a mosque than a . church ; Siena is but a glorious
fragment; and Orvieto, with all its celestial external beauty,
is only redeemed by its frescoes from mediocrity within.
But when we once leave general forms to consider details,
what a labyrinth of glory is opened to us, where, instead of the
rugged outlines and expressionless features of our mediaeval
architects and painters, we have the delicate workmanship of
a Nino or Giovanni Pisano, or the inspiration of a Fra
Angelico or an Orcagna. In almost every alley of every
quiet country town, the past lives still in some lovely
statuette, some exquisite wreath of sculptured foliage, or
some slight but delicate fresco, a variety of beauty which
no English architect or sculptor has ever dreamed of, and
which to English art in all ages would have been simply
unattainable. Most beautiful of all, perhaps, are the tombs,
for the Italians of the Middle Ages never failed to enshrine
their dead in all that was loveliest and best. There are no
monuments in the world more touching than those of
Gaston de Foix at Milan, Medea Colleoni at Bergamo,
xiv ITALIAN CITIES,
Barbara Ordelaffi at Forli, and Guidarello Guidarelli at
Ravenna.
Those who would carry away the pleasantest recollections
of Italy should also certainly not sight-see every day. The
motto of Clough
' Each day has got its sight to see,
Each day should put to profit be.'
is very moral and edifying, but most unpleasant to carry
out At least certainly the sight-seeing days will become all
the more profitable from having interludes, when it is not
necessary to give oneself a stiff neck over staring at frescoed
ceilings, and to addle one's brain by walking through miles
of pictures and hundreds of churches, without giving oneself
time to enjoy them. Oh no, by all means digest what you
have seen ; take a fresh breath, think a little what it has all
been about, and then begin again.
Another thing which is necessary most necessary to
the pleasure of Italian travel, is not to go forth in a spirit
of antagonism to the inhabitants, and with the impression
that life in Italy is to be a prolonged struggle against extor-
tion and incivility. Except in the old kingdom of Naples
(where the characteristics are entirely different) there is no
country where it is so little necessary even to look forward
to such things as possible. A traveller will be cheated
oftener in a week's tour in England than in a year's residence
in Italy. During six whole winters spent at Rome, and
years of travel in all the other parts of Italy, the author
cannot recall a single act or word of an Italian not
Neapolitan of which he can justly complain ; but, on the
contrary, has an overflowing recollection of the disinterested
courtesy, and the unselfish and often most undeserved kind-
INTRODUCTORY. XT
ness with which he has universally been treated. There is
scarcely an Italian nobleman, whose house, with all it
contains, would not be placed at the disposition of a
wayfarer who found himself in an out-of-the-way place where
there was no inn or where the inn was unbearable ; there
is scarcely a shopkeeper, who would not send his boy to show
you the way to a church, one, two, or even three streets
distant : there is scarcely a carriage which would not be
stopped to offer you a lift, if they saw you looked tired by
the wayside : scarcely a woman who would not give you a
chair (expecting nothing) if you were standing drawing near
her house : not a beggar who would not receive " Cara mia,
scusatemi " as an all-sufficient negative, and who, if a kindly
smile were added, would not send you away with a
benediction in her heart as well as on her lips. Nothing
can be obtained from an Italian by compulsion. A friendly
look and cheery word will win almost anything, but Italians
will not be driven, and the browbeating manner, which is so
common with English and Americans, even the commonest
facchino regards and speaks of as mere vulgar insolence,
and treats accordingly. Travellers, however, are beginning,
though only beginning, to learn that difference of caste in
Italy does not give an opening for the discourtesies in which
they are wont to indulge to those they consider their inferiors
in the north, and they are beginning to see that Italian
dukes and marquises are quite as courteous and thoughtful
for their vigneroli, or their pecorai, as for their equals ; and
that the Italian character is so constituted that a certain
amount of friendly familiarity on the part of the superior
never leads to disrespect in the inferior. Unfortunately
they do not always stay long enough to find this
xvi ITALIAN CITIES.
out, and the bad impression one set of travellers leaves,
another pays the penalty of. The horrible ill-breeding of
our countrymen never struck me more than one day at
Porlezza. A clean, pleasing Italian woman had arranged
a pretty little caffe near the landing-place. The Venetian
blinds kept out the burning sun ; the deal tables were laid
with snowy linen ; the brick floor was scoured till not a speck
of dust remained. The diligences arrived, and a crowd of
English and American women rushed in while waiting for
the boat, thought they would have some lemonade, then
thought they would not, shook out the dust from their
clothes, brushed themselves with the padrona's brushes,
laid down their dirty travelling bags on all the clean table-
cloths, chattered and scolded for half an hour, declaimed
upon the miseries of Italian travel, ordered nothing, and
paid for nothing; and, when the steamer arrived, flounced
out without even a syllable of thanks or recognition. No
wonder that the woman said her own pigs would have
behaved better. It was quite true. Yet it was by no
means a singular incident.
With every year which an Englishman passes in Italy, a
new veil of the suspicion with which he entered it will be
swept away, only it is a pity that his enjoyment should be
marred at the beginning. Foreigners will find that (though
the Sardinians and Milanese have, it must be allowed, very
dirty habits), Italian men are generally as courteous, brave,
and high-minded, as they are almost universally handsome ;
that the women are as kind and modest as they are utterly
without affectation ; and that, though the bugbears of
Protestant story books have certainly existed, the parish
priests, and even the monks, as a general rule, are most
INTRO D UCTOR Y. xvii
devoted single-minded Christians, living amongst and for
the people under their care. Cases of ecclesiastical im-
morality are exceedingly rare, quite as rare, if we may judge
by our newspapers, as in Protestant countries ; and, if care-
fully inquired into, it will be found that most of the
sensational stories told are taken out of Boccaccio ! Of
course, much must naturally remain which one of a different
faith may deeply regret ; but Englishmen are apt, and chiefly
on religious subjects, to accept old prejudices as facts, and
to judge without knowledge. Especially is it impossible for
" Protestants " to assert, as they so often do, the point where
simple reverence for a Cross and Him who hung upon it
becomes " Idolatry," while there are few indeed who inherit
the spirit with which Sir Thomas Browne wrote, " I can
dispense with my hat at the sight of a cross, but not with
a thought of my Redeemer."
" Brigands," which north of Rome is only a fine name for
robbers, are much rarer in Italy than in England, so rare
indeed, that any case of a foreigner being attacked never
fails to make a sensation which would be highly gratifying to
the feelings of any injured foreigner if it were accorded to him
in London. The few cases of murder in Italy are almost
always the result of jealousy in love, and it has often been
comical to see how, at Leghorn, where the galley slaves
bear the cause of their condemnation inscribed upon their
vest, the assassino per amore is tolerably sure of a good deal
of interest and sympathy, which is often very substantially
shewn indeed, such crimes never inspire much horror, and
the place where " questo poveretto ha ammazzato quella
poveretta " is very touchingly pointed out to strangers.
In regard to hotel life, it cannot be too much urged, for
xviii ITALIAN CITIES.
the real comfort of travellers as well as for their credit with
the natives, that the vulgar habits of bargaining, far too
frequently inculcated by hand-books, are greatly to be depre-
cated, and only lead to suspicion and resentment. Italians
are not a nation of cheats, and cases of overcharge at inns
are most unusual, except at great Anglicised hotels, where
they have been gradually brought about through the perqui-
site-money demanded by couriers. When a large party are
travelling together, an arrangement may be asked for on
entering a large hotel, by which a considerable reduction
may be obtained upon the rooms. Three francs for a
good room in a good hotel is a fair price ; in the northern
towns, Verona, Vicenza, Padua, &c., it is seldom more
than two francs or two francs and a half. But in the
smaller hotels, or for a single person, it is wiser never
to bargain, but, if a charge appears too high on seeing the
bill, civilly to mention it, when, if there is no especial
reason for it, it is almost certain to be cheerfully with-
drawn. But the difference of prices in bills cannot always
fairly be laid to the charge of the hotel keepers ; they
are rather owing to the different prices in the towns, or to
the local taxes on comestibles, which would be equally
felt if the traveller was residing in the place in his own
house. For instance, at Piacenza, where everything is
most cheap and abundant, prices are absurdly low, whereas
as at Genoa (only a few hours distant by rail) they are
naturally much higher, as the local taxes are very high, and
milk, butter, &c., have to be brought from Milan, and other
things from a great distance.
Travellers, who are at all particular, may fancy themselves
cut off from much of interest in the smaller places by want
. , INTRODUCTORY. xix
of comfortable accommodation. Such persons will do
well, where there are many excursions to be made, to select
centres like the Grand Hotel at Turin; the Universe at
Lucca ; or the Hotel Brufani at Perugia, and to make them
from thence. In the very small towns, however, such as
Volterra, Borgo S. Sepolcro, and Assisi, the accommoda-
tion is often far better than in many of the large cities, for
instance, than in Siena, where a good hotel is greatly
needed. In the Lombard towns, Verona, Vicenza, Padua,
&c., the best inns are good and very equal, and those who
stay at any of these places as much as four days will do well
to conform to the universal Italian custom, and payflenswne
(all included) of six francs a day.
Those who have travelled in Italy many years ago will ob-
serve how greatly the character of the country has changed
since its small courts have been swept away. With the differ
ences of costume and of feeling, the old proverbs and stories
and customs are gradually dying out. Travellers will view
these changes with different eyes. That Venice and Milan
should have thrown off the hated yoke of Austria and united
themselves to the country to which they always wished to
belong, no one can fail to rejoice, and the cursory observer
may be induced by the English press, or by the statements
of the native mezzo ceto, who are almost entirely in its favour, to
believe that the wish for a united Italy was universal. Those
who stay longer, and who make a real acquaintance with the
people, will find that in most of the central states the feeling
of the aristocracy and of the contadini is almost universally
against the present state of things. Not only are they
ground down by taxes, which in some of the states, especially
in Tuscany, were almost unknown before, but the so-called
xx ITALIAN CITIES.
liberal rule is really one of tyranny and force. The people
of Ravenna were forced to the polling-booth at the point of
the bayonet. When it was suspected (falsely suspected)
that Count Saffi and various other illustrious Italians would
influence the elections at Forli, they were arrested and im-
prisoned, with all the hardships and privations of malefac-
tors, first in the castle of Spoleto, and then*in that of Perugia,
for several months, and eventually were released without
any compensation except the avowal that it had been all a
mistake, after the election had taken place. Pisa and Lucca,
which were perhaps especially favoured under the grand-
ducal rule, are probably the cities which are most discon-
tented under the present state of things. Houses there
which were taxed 50 francs under the old government are
now taxed 560 francs.
The abolition of the religious institutions has also been
grievously felt throughout the country, and there are few
even of the friends of Italian unity who have not had
personal reason to experience its injustice. When " Days
near Rome" appeared, one of the Reviews regretted that
its author should not rejoice that Italians were no longer
called upon " to support swarms of idlers in vestments, and
hordes of sturdy beggars in rags." This is exactly what
Italians, with regard to the old ecclesiastical institutions, were
not called upon to do. The convents and monasteries were
richly endowed ; they had no need of being supported. It
was, on the contrary, rather they who supported the needy,
the sick, the helpless, and the blind amongst the people,
who received their daily dole of bread and soup from the
convent charities. When the marriage portions of the nuns
were stolen by the Government, there was scarcely any family
INTRODUCTORY. xxi
of the upper classes throughout Central Italy which did not
suffer ; for almost all had a sister, aunt, or cousin " in reli-
gion," upon whom a portion of i,ooo/., 5,ooo/., or io,ooo/.,
had been bestowed, and who was thrown back helpless upon
their hands, her fortune confiscated, and with an irregularly
paid pension of a few pence a day, quite insufficient for the
most miserable subsistence. The English press is slow to
see the injustice of these things when it affects other
nations ; it is strange that it should not see it as affecting
Englishmen, as in the case of the large tract of land. which
was purchased by the Rev. E. Douglass upon the Esquiline,
and which was confiscated by the Government on the plea
that it had been used for religious purposes.
Those who declaim so loudly upon the advantages of
Italian unity are often unaware of the extreme difference
which exists between the people and the language in the
North and South of Italy that a Venetian would not in the
least be able to understand a Neapolitan and vice versct.
This difference often comes out when the absurd red-tapeism
of the Government is put into action. For instance, when
the heat makes it impossible for the troops in Naples and
Palermo to support their winter clothing, the soldiers shiver-
ing in the icy streets of Parma and Piacenza are put into
brown holland, because throughout " United Italy " the
same order must take effect !
Where the natives have suffered, foreigners have reaped
many advantages from the union in the absence of weari-
some custom-houses and requests for passports, and, even
more in the ease afforded by the universal coinage, though
it has made things more expensive, as a franc (io</.) is now
received as an equivalent in all questions of fees to a paul
xxii ITALIAN CITIES.
(5</.). Travellers now find their chief money-difficulty in
the notes of the local banks " Banca del Popolo " for a
small amount, and, in all cases where it is possible, should
refuse to receive them, as they never circulate beyond their
own districts, and the banks to which they belong will
probably break before long ; indeed, the Bank of Genoa,
the Banca di S. Giorgio, and others, having been allowed
to circulate notes to six times the amount of the money they
held, have naturally broken long ago, and their notes are
now absolutely valueless. Specimens of the ancient coinage
are already exceedingly rare, and are now scarcely even to
be obtained as curiosities. Only one town in Italy retains
its especial coinage the Republic of San Marino.
The characteristics of the great Italian cities are well
summed up in the proverb : " Milano la grande, Venegia
la ricca, Geneva la superba, Bologna la grassa, Firenze la
bella, Padova la dotta, Ravenna 1'antica, Roma la santa."
They are wonderfully different, these great cities, quite as if
they belonged to different countries, and so indeed they
have, for there has been no national history common to all,
but each has its own individual sovereignty ; its own chro-
nicle ; its own politics, domestic and foreign ; its own saints,
peculiarly to be revered patrons in peace, and protectors
in war ; its own phase of architecture ; its own passion in
architectural material, brick or stone, marble or terra-cotta ;
often its own language ; always its own proverbs, its own
superstitions, and its own ballads.
The smaller towns repeat in extreme miniature the larger
cities to which they have been annexed by rule or alliance.
Thus the characteristics of Udine and Vicenza repeat Venice,
and Pistoia and Prato repeat Florence.
INTROD UCTOR Y. xxiii
The history of Italy, owing to the complete individuality
of its different states, which never have been nominally
united till a few years ago, and never have been sympatheti-
cally united at all, is chiefly interesting when it treats of
internal questions. The different invasions of foreign nations
serve only as great historic landmarks amid all that has to'
be told and learnt of the dealings of the various Italian
States and their rulers with each other. Of these, in the
fifteenth century, there were twenty petty states, most of
them with tyrants of their own, in Romagna and Le Marche
alone, viz. :
Ferrara, held as a marquisate by the Este.
Bologna, seigneury .... Bentivogli.
Ravenna Polentani.
Imola ...... Alidosi and Sforza.
Faenza Manfredi.
Forli Ordelaffi and Riarii.
Rimini and Cesena . . . . Malatesta.
Sinigaglia Delia Rovere.
Pesaro . . . . . Malatesta and Sforza,
Camerino ...... Varana.
S. Angelo, &c Brancaleoni.
Citta di Castello . . . . . Vitelli.
Perugia ....... Baglioni.
Fermo Fogliani.
Urbino, dukedom . . . . Montefeltro.
Spoleto, Id. .... not hereditary.
Ancona ....... Republic.
Assisi ...... Id.
Foligno Id.
Mercatello, countship .... Brancaleoni.
and all these fought with each other as Giovanni Sanzio
says in his chronicle :
" Cum qual costum che Italia devora
Dal sempre stare in gran confusione,
Disjuncta e separata, e disiare,
L'un stato al altro sua destructione."
xxiv ITALIAN CITIES.
All the life of the nineteenth century seems to be confined
to the greater cities. The smaller cities live upon their past.
As Forsyth says : " In their present decline they have the
air of sullen, negligent stateliness, which often succeeds to
departed power ; a ceremonious gravity in the men, a
sympathetic gloominess in the houses, and the worst symp-
tom that any town can have silence." Every house which
boasts of a portico is called a palace, though it is often as
comfortless as the hovel by its side. Yet in these old cities
where the grass often grows in the streets, as at Ferrara,
and where half the space inclosed by the walls is now laid
out in gardens, as at Forli, the past is tenderly cherished.
Each house where a great man lived, each famous event
which occurred there, is marked by an inscription, so that
the chronicle of the city is written on its own stones ; and
in the buildings, and the habits and feelings of the people,
one seems to be living still in the fifteenth century, lighted
by the sunshine of to-day.
The pictures and buildings of these otherwise forgotten
places will always keep them in the recollection of the world,
and it is only these which attract strangers to them now ; but
the traveller who will throw himself into the subject will
find unfailing interest and pleasure in seeing how the natural
features and opportunities of the place are always repeated'
in the works of all its eminent artists.
" It is a fact more universally acknowledged than enforced or acted
upon, that all great painters, of whatever school, have been great only
in their rendering of what they had seen or felt from early childhood ;
and that the greatest among them have been the most frank in acknow-
ledging this their inability to treat anything successfully but that with
which they had been familiar. The Madonna of Raffaelle was born
on the Urbino mountains, Ghirlandajo's is a Florentine, Bellini's a
INTRODUCTORY. v
Venetian ; tnere is not the slightest effort on the part of any one of these
great men to paint her as a Jewess." Ruskin, " Modern Painters"
" In quiet places, such as Arezzo and Volterra, and Modena and
Urbino, and Cortona and Perugia, there would grow up a gentle lad who
from infancy most loved to stand and gaze at the missal paintings in his
mother's house, and the cena in the monk's refectory, and when he had
fulfilled some twelve or fifteen years, his parents would give in to his
wish and send him to some bottega to learn the management of
colours.
" Then he would grow to be a man ; and his town would be proud of
him, and find him the choicest of all work in its churches and its con-
vents, so that all his days were filled without his ever wandering out of
reach of his native vesper bells.
" He would make his dwelling in the heart of his birth-place, close
under its cathedral, with the tender sadness of the olive hills stretching
above and around ; his daily labour would lie in the basilicas or monas-
teries ; he would have a docile band of hopeful pupils with innocent
eyes of wonder for all he said or did ; he would paint his wife's face for
the Madonna's, and his little son as a child angel ; he would go out into
the fields and gather the olive bough, and the com, and the fruits, and
paint them tenderly on grounds of gold or blue.
" It must have been a good life good to its close in the cathedral
crypt and so common too ; there were scores such lived out in these
little towns of Italy, half monastery and half fortress, that were
scattered over hill and plain, by sea and river, on marsh and mountain,
from the day-dawn of Cimabue to the afterglow of the Carracci. And
their work lives after them ; the little towns are all grey and still and
half-peopled now ; the iris grows on the ramparts, the canes wave in the
moats, the shadows sleep in the silent market-place, the great convents
shelter half-a-dozen monks, the dim majestic churches are damp and
desolate, and have the scent of the sepulchre.
" But there, above the altars, the wife lives in the Madonna, and the
child smiles in the angel, and the olive and the wheat are fadeless on
their ground of gold and blue ; and by the tomb in the crypt the
sacristan will shade his lantern, and murmurs with a sacred tenderness,
' Here he sleeps ? ' " Pascarel.
The quantity of pictures in the Italian churches and gal-
leries is so enormous that as a rule only the best works are
mentioned in these volumes, except when they especially
illustrate some period of local art, or represent a contem-
VOL. I. b
xxvi ITALIAN CITIES.
porary event in any of the places where they occur. There
are scarcely any good modern works of art in Italy (the
pictures of Benvenuti in the cathedral of Arezzo are an ex-
ception), but the way in which art is followed up in Italy is
at least continuous and regular, and recalls the remark of
Scipione Maffei,* that " if men paint ill in Italy, at least
they paint always."
Those who cannot admire any architecture which is not
gothic will be disappointed with what they find in Italy, and,
regardless of style, the exterior of most Italian churches is
really very ugly. The purest large gothic churches are those
of Verona. In Siena and Orvieto there is a great admix-
ture of other styles. Gothic architecture was introduced into
Italy from Germany, and Tedesco is the name it bore and
bears. But it was soon "adapted" to the Italian taste,
Arnolfo (1294) being the first great operator, and after the
dome, which is to be found in no real gothic cathedral (and of
which the Pantheon is the only pagan example in Italy)
was added, with Syrian minarets, such as one sees in S.
Antonio of Padua, all the rude severity of the northern
minster began to disappear under a delicate display of
sculpture, and the vagaries of fantastic art, which seemed
more suited to the soft skies and pellucid atmosphere.
The traveller will do well to remember that almost every
parish church (parr6cchia) is closed from 12 to 2 or 3 p.m.,
while the other churches, which belong to individuals or
religious bodies (confraternita) are seldom open after the
early hours of the morning.
The real glory of the Italian towns consists not in their
churches but in their palaces, in which they are unrivalled
* " Verona Illustrate."
INTRODUCTORY. xxvii
by any other country. The most magnificent of these are
to be found in Florence, Venice, and Genoa. The greatest
palace-architects, amongst many, have perhaps been Vig-
nola, Baldassare Peruzzi, Bramante, Leon-Battista Alberti,
Sanmichele, and Palladio.
Turning from towns to the country districts, the vine-
growing valleys of Tuscany are perhaps the richest and the
happiest, as well as the most beautiful :
" No northern landscape can ever have such interchange of colour as
these fields and hills in summer. Here the fresh vine foliage, hanging,
curling, climbing, in all intricacies and graces that ever entered the
fancies of green leaves. There the tall millet, towering like the plumes
of warriors, whilst amongst their stalks the golden lizard glitters. Here
broad swathes of new-mown hay, strewed over with butterflies of every
hue. There a thread of water runs thick with waving canes. Here the
shadowy amber of ripe wheat, rustled by wind and darkened by passing
clouds. There the gnarled olives silver in the sun, and everywhere
along the edges of the corn and underneath the maples, little grassy
paths running, and wild rose growing, and acacia thickets tossing, and
white convolvulus glistening like snow, and across all this confusion of
foliage and herbage, always the tender dreamy swell of the far moun-
tains." Pascard.
The Contadini of Tuscany are a most independent and
prosperous race, who have their own laws for home govern-
ment, which answer perfectly. The land is all let out by
the padrone to the contadino, who is hereditary on the
estate, upon the Mezzaria system (from meta, mezzo) by
which half the produce of all kinds is given to the padrone,
the contadino meanwhile paying no rent, being liable to no
taxes, and the padrone supplying everything except the
labour. The contadino receives no wages from his
padrone, but, according to the rules of the different fattorie,
is in addition compelled to supply so many days' labour
for him personally, either with oxen or without From
b 2
xxviii ITALIAN CITIES.
every contadino when a pig is killed, one ham is given
to the padrone. Every contadino also pays a tribute
of three or four fat capons at Easter; and, on large
fattorie, the number of these capons which are sold
is so large as to produce 300 francs. Sometimes also a
tribute of eggs is demanded. The " Droit de Seigneur,"
which actually existed in Tuscany till late years, is now
abandoned, but no contadino can marry without the
consent of his padrone, and a padrone can insist and often
does so, upon his contadino marrying " there is another
woman wanted," but he occasionally finds himself in diffi-
culties in this respect, as, after he has ordered his contadino
to marry, it sometimes happens that no woman can be found
to accept him. The usual way " far 1'amore," however, is
that the contadino goes, even for four or five years, to sit
by the fire of his love during the winter, and to walk with
her in the summer, though never alone, and that then the
consent of the padrone is asked. In the valleys around
Signa no girl can be married except in black. A widow is
always married after dusk (i.e., after the venti quattro), and
any girl who has previously made a false step is compelled
to the same seclusion.
The "families" of the contadini are by no means neces-
sarily related to one another, though they live in the same
house, and dwell perfectly harmoniously together. Each
house has a male and female head who are absolutely
despotic, and from whose judgment and decision there is no
appeal. All that the men earn is at once carried to the
Cappocao ; all that the women earn to the Massaja. If a man
wants two of the soldi, which he has earned himself, to buy
some tobacco with, he invariably has to go and ask the
INTRODUCTORY. xxix
cappoccio for it In the morning the cappoccio and mas-
saja issue their orders : " You, Tonino, Maso, and Pietro
will do this to-day, and you Teresa, Nina, and Maria will
do that," and the orders are obeyed implicitly. Neither
idleness or disobedience are ever allowed for a moment
That this despotic rule is felt perfectly to answer is proved
by the fact that when a new cappoccio or massaja is re-
quired, the most severe and inflexible peasant is invariably
chosen. I have known a massaja who was stone blind, and
who yet ruled with absolute sovereignty. Six or seven
families often live together under the same heads with the
most perfect unanimity. If one of the number is ill, he is
always looked after by the rest before they go out to work,
and if one becomes maimed or helpless, he is never deserted
by his " family " even if they are in no way really related.
Besides the consent of the padrone, the consent of the cap-
poccio and massaja must also be obtained to a marriage,
and if a contadino marries without their consent, he is turned
out of the nest and forced to become a manuale, i.e., a day-
labourer from 8oc. to ifr. 2oc. a-day, which is very different
to the exalted and honourable position of a contadino. The
women are chiefly occupied about their home duties, but
they also have far Fcrba, i.e., to cut the grass for the beasts.
In a vintage, also, everyone works ; in the olives only the
men. The household linen, which is a great subject of
pride, is purchased by the massaja out of the money brought
in by the poultry or the bachi. These bachi, or silk-worms,
are a subject of the most vital importance. The eggs are
never preserved from a past year, as it does not answer, but
are always purchased from a distance. Many things date
from the time when " / bachi son tiati" As the tiny worms
xxx ITALIAN CITIES.
grow bigger, every hand, from that of an Italian country-
loving marchesa to that of the smallest contadino, is employed
in their behalf. The men are busied on ladders in gathering
into great sacks the leaves of the gelsi, or white mulberries,
which, with the exception of the sweet chestnuts, are the
only trees Italians care to cultivate. The whole time of the
women is taken up in feeding the creatures, and the amount
they eat is simply stupendous. The upper story of a con-
tadino's house, or of one wing of a palazzo, is usually given
up to them. To those who stay long enough in Italy to
care for the life of its people, it will be interesting to know
the following bachicultori rules :
" According to the most accredited system, the eggs should be placed
in a room whose temperature-stands at 12 (Reaumur) and covered with a
blanket for four days : then the temperature should be increased one
degree per day for other six days. On the tenth day the eggs are
hatched, and again an extra degree of heat should be secured. The
tenderest leaves, cut fine, are then given fresh every two hours. For an
ounce of eggs, ten pounds of leaves suffice for the first stage. On the
sixth day the svorms sleep their first sleep. On their awakening, sheets
of perforated paper or gauze are laid over them, covered with leaves,
whose freshness entices them through the holes, and thus the necessity
of touching them with the hands is avoided ; and, moreover, the
laggards are left on their beds, to be changed separately and kept apart,
as tardiness in awakening is one of the symptoms of disease, or at least
of delicacy. The perforated paper, with the leaves and worms, is then
placed on matting made of coarse reeds, and tiers of these mats are
placed on frames, and supported by poles and pegs. For the next six
days about 3olbs. of leaves suffice. On the sixth day the worms sleep
their second sleep, then eat 100 Ibs. of leaves ; and on the seventh day
sleep for the third time. After eating 300 Ibs. of leaves they sleep once
more ; then great care must be taken to change their beds, and increase
the number of mats, so that sufficient space be allotted to each worm.
After devouring 800 Ibs. of leaves, they are supposed to be ready to
spin, or, as the phrase runs, ' to go to the wood. ' The methods of pre-
paring the wood are various. The old-fashioned system is to prepare
separate frames of mats, the tiers about two feet apart, and on these to
INTROD UCTOR Y xxxi
place small bundles of straw or faggots, with shavings plentifully strewn,
and as each worm is mature, to place it separately in the wood. This
method is tedious in the extreme, necessitates a number of assistants,
and exposes the delicate little creatures to be hurt by rough handling.
The popular system just now is that of sheds, resembling the double,
tent carried by the French soldiers. These sheds are erected in the
centre of the room, and covered with matting. When the worms
awaken from their last sleep, long branches of mulberry leaves are
placed over them, instead of the stripped leaves ; as they crawl up, the
branches are removed, placed on the ground, leaning against the tents,
fresh branches are supplied throughout the week ; then, when they
begin to spin, branches of dry oppio are placed outside, and the worms
are left to their own devices. Probably neither system of preparing the
wood has much influence on the result. The absolute indispensables
are, regular temperature, yet plenty of air, perfect cleanliness in the
attendants, the absence of all smells or scents, save that of rose-leaves,
which may be strewn daily on the beds, and that the mulberry leaves be
always fresh and dry. Better leave the worms without food for ten or
twen-ty hours, than give them leaves wet with dew or rain." The Silk-
worm Campaign, Corn. Mag. 1869.
When the bachi are done with, it is time to think
about the vintage, and then come the olives. It is no
wonder that Italian contadini have no time to care for
the cultivation of flowers such as one sees in English
cottage gardens a bush of roses and another of rosemary
generally suffices them, indeed, for all flowers which have
no scent, they have the utmost contempt " fiore di cam-
pagna." Every spare moment is given by a Tuscan woman
to straw plaiting, and the girls are allowed to put by the
money earned in this way for their dowries ; indeed they are
entirely made thus. In the winter the men are employed in
pruning the gelsi and in cutting the vines down to the
ground, in accordance with the Tuscan proverb " Fammi
povero, e ti faro ricco."
Among the curious customs universally observed in the
aristocratic Tuscan families, is that of sending live capons
xxxii ITALIAN CITIES.
to their doctors and lawyers at the two Pasquds Christ-
mas and Easter. At Easter, too, a lamb is given to the
Maestro di Casa, the surgeon, and doctor. Every country
house has its appointed days for the distribution of its
charities. On those days (Mondays and Thursdays, gene-
rally) everyone who comes to the house has a right to a cup
of wine, a hunch of bread, and two centimes. Fifty or sixty
persons frequently avail themselves of it At Christmas
everyone has a flask of mezzo-vino and a pound of meat.
Attached to all the principal villas is a church or chapel
with the priest's house adjoining it. The contadini almost
always go to pray before beginning their work. When the
crops are beginning to mature, the priest followed by the
fattore and the whole body of the contadini, male and
female, walk for several days at 6 A.M. round all the boun-
daries of the parrbcchia, singing a litany. It is the same
litany which is represented in the eleventh canto of Tasso
as being sung before the walls of Jerusalem.
There are very few good books of general Italian travel.
Valery in French, and Forsyth in English, continue to be
the best. The latter, which struck Napoleon so much by
its perfection of style, that its author obtained his release
from captivity, is incomparable as far as it goes, but it is
terribly short. Little, except classical quotations, can be
gained from the ponderous volumes and stilted language of
Eustace. Goethe wrote a volume of travels in Italy;
but then, as Niebuhr says, "he beheld without love."*
Lately Taine, Gautier, and others have given to the
world some pleasant Italian gleanings : many delightful
* Letter to Savigny, Feb. 16, 1817.
INTRODUCTORY. xxxiii
descriptive passages may be found in the novels of " George
Sand," and no traveller should leave unread Mr. J. A.
Symond's enchanting " Sketches in Italy and Greece." But
for Italy in general there is wonderfully little to read.
It is not so with the separate places. Maffei's "Verona
Illustrata," and Mariano Guardabassi's " Monumenti nella
Provincia dell' Umbria," may be cited as two admirable
specimens of the local art-histories which abound for almost
all Italian towns and districts', published as a mere labour
of love, generally without hope or chance of sale, and which
are invaluable for reference or research. In English, too,
especial places in Italy have been well attended to ; Dennis
has given us his " Cities and Cemeteries of Etruria," Lord
Lindsay's delightful volumes are perhaps especially full on the
art of Pisa and Siena, and Ruskin has positively illuminated
Venice for us, and has taught us to observe there a thousand
things unobserved before, and to feel very differently about
many things we had observed. Florentine travellers will have
found their " walks " somewhat elucidated by the volumes of
Miss Homer, and may have been able to pick something out
of Trollope's " History of the Commonwealth of Florence,"
even if they are unable to read the Marchese Gino Capponi's
two most useful and intensely interesting volumes on " La
Storia della Repubblica de Firenze." The incomparable
novel of " Romola," and the vividly picturesque though very
verbose " Pascarel " should be read at Florence. Dumas'
" Anne'e \ Florence " will also be found very amusing.
Other pleasant books to be read in Italy are " L'ltalie" and
" Les Monasteres Benedictins " of Alphonse Dantier. The
" Corinne " of Madame de Stael should not be forgotten, or
" I Promessi Sposi " of Manzoni, while " I Miei Ricordi "
xxxiv ITALIAN CITIES.
of Massimo Azeglio, not only contains many charming pic-
tures of Italian existence, but is interesting as being the first
work of any importance written in Italian, not stilted and
heroic, but as it is spoken in daily life.
Far the best guide-books are those of Dr. Th. Gsell-fels,
both as regards their style, their information, and, above all,
their accuracy. The historical paragraphs which are affixed
to the accounts of the towns in these volumes are most in-
teresting, and the maps are invaluable. The French guide-
books of Joanne are also admirable in many ways. The
small hand-books of Baedeker are excellent, carefully cor-
rected, full of practical knowledge, and most useful to the
hurried traveller. The architectural student will be glad to
have his recollections awakened by the pictures in Gaily
Knight's magnificent work on " The Ecclesiastical Archi-
tecture of Italy from the time of Constantine to the Fifteenth
Century." Much also may be learnt by the study of Street's
" Brick and Marble in the Middle Ages," and from a series
of articles on the Italian towns which have appeared from
time to time in the pages of the Saturday Review.
For the sculpture of Italy, the admirable works of C. C.
Perkins, " Italian Sculptors " and " Tuscan Sculptors,"
should be carefully studied, and are most interesting. The
" History of Sculpture " and the " History of Art," by
Wilhelm Liibke, translated by F. E. Bunnett, are also useful,
though perhaps more so from their many engravings than
from their letter-press. The art-student will read " Kugler's
Handbook of Painting," edited by Sir Charles Eastlake, and
will, of course, be familiar with Vasari's " Lives of the
Painters," indispensable, though often incorrect and with
Lanzi's " History of Painting." He will also find the pon-
INTRODUCTORY. xxxv
derous " Histories of Painting," by Crowe and Cavalcaselle,
very useful for reference, and will refresh himself with M. F.
A. Rio's " Poetry of Christian Art."
It is unnecessary to give any " Tours " here. Those
which are best worth making are sufficiently indicated after-
wards. The author would only again advise those who are
hurried not to seek to see too much : and if they have not
time for more, to see rather those places which are related
to one another, and illustrate one course of history and one
school of art, than to seek to see many great towns in scat-
tered directions, with a confused recollection of many his-
tories and many schools. Thus the traveller, whose great
point is Venice, should also study Verona, Vicenza, Bassano,
Padua, Udine, and Aquileja ; the traveller who wishes to
make Florence his centre should see at least Prato, Pistoia,
Lucca, Pisa, Volterra, S. Gimignano, and Siena, and, if he
is healthy and strong, should endeavour to visit the monas-
teries of the Casentino, especially La Vernia. But perhaps
the most delightful tour of all, because there the country also
is so beautiful, is that of the Umbrian towns, taking Perugia
as a centre.
Artists, however, have such different feelings and desires
to other travellers, that they may be glad to be directed to
a few of the subjects which may especially interest them.
Such are :
Riviera di Ponente. Albenga, Finale, Loiano, Port at Savona.
Genoa. Ramparts. Ruined church at Albaro.
Riviera di Lei/ante. Sestri. Porto Venere. Lerici.
Massa Ducale and Pietra Santa.
Turin. Sagro di S. Michele.
The ValcTAosta.
Italian Lakes. Bellaggio, Baveno, Orta, Varallo.
Bergamo. The old city.
xxxvi ITALIAN CITIES.
The Logo tflseo. Lovere.
Logo di Garda. Sermione. Riva. Malcesine.
Verona. The River Banks. Tomb of Count of Castelbarco. S.
Fermo (porch and pulpit). S. Zeno. Giusti Gardens.
Mantua. Views beyond the bridges looking back.
Piacenza. Passeggiate, and View from Monte Berico.
Padua. S. Antonio (interior and cloisters).
Venice. Endless canals and courts. View of Grand Canal from
platform near the Accademia. Island of S. Elena.
Views near S. Pietro in Castello, &c.
Ferrara. The Castle.
Piacenza. The Piazza, and bits upon the walls.
Bologna. Piazzas of S. Petronio and S. Domenico.
Ravenna. The Pineta.
Rimini. S. Marino. S. Leo.
Ancona. General views on shore.
Gubbio. General view.
Pisa. The flat reaches of the Arno and the pine wood.
Lucca. Ponte alia Maddalena. .
Prato. The outside Pulpit.
Florence. View from the Amphitheatre in the Boboli Gardens, from
S. Miniato, from Careggi. Many street bits.
Siena. The Gorges. Many architectural subjects.
Cortona. Views near S. Margherita and on the shores of
Thrasymene.
Perugia and Assist. An inexhaustible mine for artists.
The following scheme, occupying about three months and
a half, arranges the Italian towns so as to indicate to the
traveller how he may pass over the same ground twice as
little as possible. It also mentions the least possible time
in which it is possible to see the places.
Days.
Riviera 3
Genoa 2
Spezia, for Lerici . . . . . . .1
for Porto Venere I
Carrara \
Massa Ducale \
Pietra Santa
INTRODUCTORY. xx
Days.
Lucca . . I
Excursion to Bagni di Lucca I
Pisa . I
Leghorn \
Volterra . I
S. Gimignano i
Siena 2
Excursion to Monte Oliveto I
Excursion to Monte Pulciano and Pienza . . . I
Chiusi .4
Florence . . . 7
Excursion to Prato and Pistoia I
The Casentino 3
Arezzo ......... |
Borgo S. Sepolcro
Citta di Castello I
Perugia ......... 2
Excursion to Cortona r
Assisi \\
Foligno ......... \
Gubbio I
Pass of Furlo I
Urbino I
Pesaro , . . \
Ancona I
Loreto I
Fano 4
Rimini I
Excursion to S. Marino and S. Leo . I
Forli I
Faenza
Ravenna 2
Bologna 2
Modena \
Parma ........ r I
Excursion to Canossa . ... . . I
Return by Bologna to Ferrara I
Este and Arqua I
Padua i4
Venice 8
Excursion to Udine and Aquileija .... 2
xxxviii ITALIAN CITIES.
Days.
Tour in the Alps of Friuli . . . ... 4
Bassano ......... I
Vicenza . . . . . . . I
Verona . . .2
Mantua 1
Lago di Garda ....... 2
Brescia I
Bergamo f . . . . . . .1
Cremona . ........ I
Piacenza ......... I
Excursion to Bobbio . . . . . I
Pavia and Certosa ....... I
Milan 2
Monza and Como . . . . . . . I
Tour of the Italian Lakes . . . . .3
Orta and Varallo 2
Novara and Vercelli ...... I
Turin . ........ 1
Excursion to the Waldenses . . . . .2
Excursion to the Sagro . . . . . . I
Susa and Monte Cenis ...... 2
If the traveller sets out in the Spring, this order of travel
is the best ; if he sets out in the Autumn, it should be re-
versed. But the time here given merely allows of a glance
at things. The Author would again urge that it is always
better to omit than condense to see something thoroughly.
CHAPTER I.
THE RIVIERA DI PONENTE.
THE Railway now takes travellers from Nice to Genoa
in eight hours, and even when seen in this way, the
Riviera forms the most beautiful of the many approaches to
Italy. But those who are not hurried will do well to keep to
the old coast road, and either to engage a vetturino carriage
at Nice or Mentone for the journey to Genoa, or, if they are
content to travel in a far more humble and inexpensive, but
much pleasanter fashion, to send on their luggage by rail
from S. Remo (when it will have passed the custom-house)
and travel thence artist-fashion from place to place, pick-
ing up one of the carriages which may always be found in
the streets of the country towns, and which may be engaged
for eight or ten francs, to hold three people for the half-day's
journey, after which it should be exchanged for another, to.
prevent any final question of return fare.
Where time is not an object, such an excursion as this
will prove truly delightful. It is not in rattling through the
narrow streets of the little fishing towns that a true idea of
this characteristic coast can be obtained ; one must be able
to wander in the secluded valleys, in the deep orange groves,
along the banks of the torrents, or amidst the heights of
the wild mountains which form their background. The
geological and botanical resources offer an inexhaustible
VOL. I. I
2 ITALIAN CITIES.
field for research, while the artist will find endless employ-
ment, whether he prefer the pines and palms and orange
groves of the sunny shore, the dark sculptured streets and
marble balconies of the old Riviera towns, or the wild posi-
tion of the ruined strongholds, in the heart of the neighbour-
ing mountains
Those who are not very particular will not find much to
complain of in the inns at S. Remo, Oneglia, Loano, Finale,
or Savona, which are perhaps the best halting-places, though
in the smaller towns, the entrance to the inn might often be
mistaken for that of a stable, and the staircase, which is fre-
quently of marble, looks as if it had not been swept for cen-
turies. The ground-floor is generally occupied by the stable
and coach-house, the first-floor by the host and his family,
while the second-floor is destined for strangers. But when
you reach it, the rooms are usually clean, airy, and well-
furnished, and the food and attendance are very tolerable.
Twice a day, at least during the first part of his journey,
a fairy vision salutes the traveller : first, when, in the sunrise,
Corsica reveals itself across the sapphire water, appearing so
distinctly that you can count every ravine and indentation of
its jagged mountains, and feel as if a small boat would easily
carry you over to it in an hour ; and again, in the evening,
when as a white ghost, scarcely distinguishable from the
clouds around it, and looking inconceivably distant, it looms
forth dimly in the yellow sunset.
The different varieties of Patois spoken along the coast
will bewilder even one who is perfectly conversant with
French and Italian, for in the language of many of the villages
there is still a great admixture of Spanish words remaining
from the time of the Spanish protection at Monaco, and
PEASANT-LIFE ON THE RIVIERA. 3
in the more remote villages even in the names of moun-
tains, as "Al Rasel" Arabic words still linger from the
Saracenic invasions and intermarriages.
Compared with the state of the English poor, there is
very little real poverty here. In the coast villages the men
gain a good subsistence as fishermen or boat-builders, the
women by making lace or plaiting straw. In the country
almost every one has a little olive ground or orange garden
which they can call their own. A young couple seldom
marry till they have hoarded up 400 or 500 francs, for which
sum a house may be bought in one of the sea-board towns or
villages, and they then save till they can purchase a piece of
rock, which by perseverance and hard labour may, in this
climate, soon be transformed into a fruitful garden. Here
they often labour all night long, and lights are to be seen
glimmering and songs heard from the orange gardens of the
poor all through the dark hours. The first year they carry
up earth, prepare the ground, and plant wild orange and
lemon trees ; the second year they graft them, and the third
year they begin to reap the fruits. The oranges and lemons
require watering all through the summer, but the olives re-
quire more than this. They have to be constantly trenched
round to give air to the roots, without which they do not
flourish, and once a year (in March and April) they require
to be manured with rags, which are very expensive. During
the rag season the smell from the olive groves is most un
pleasant, and the effluvia from the ships, which convey the
rags to the ports, is so offensive, that unloading them be
comes a service of the greatest danger.
The oranges and lemons are the wealth of the Riviera.
At certain seasons the whole air is fragrant with their bios-
4 ITALIAN CITIES.
soms, which are more valuable than the fruit itself, from the
price they fetch at the perfume manufactories. The oranges
are much hardier than the lemons, which are said to perish
with four degrees of frost. Local tradition says, that as Eve
was turned out of Paradise she snatched a single lemon from
a tree which grew near the gate, and hid it in her apron in
her flight. Afterwards, when she was wandering about on the
earth, she threw it down at Mentone, where it grew and
multiplied, and " so it is that on the Riviera there is the one
thing which really came out of Paradise."
To many travellers, especially those to whom custom
has not made it familiar, the very fact that the whole jour-
ney is along the edge the Cornice of the Mediterranean,
will give it a charm
" There shrinks no ebb in that tideless sea,
Which changeless rolls eternally ;
So that wildest of waves, in their angriest mood,
Scarce break on the bounds of the land for a rood ;
And the powerless moon beholds them flow,
Heedless if she come or go ;
Calm or high, in main or bay,
On their course she hath no sway.
The rock unworn its base doth bare,
And looks o'er the surf, but it comes not there
And the fringe of the foam may be seen below,
On the line that it left long ages ago :
A smooth short space of yellow sand
Between it and the greener land." Byron.
" This shore would stand for Shelley's ' Island of Epipsychidion, ' or the
golden age which Empedocles describes, when the mild nations wor-
shipped Aphrodite with incense and the images of bea c ts and yellow
honey, and no blood was spilt upon her altars when 'the trees flour-
ished with perennial leaves and fruit, and ample crops adorned their
boughs through all the year.' This even now is literally true of the lemon-
groves, which do not cease to flower and ripen. Everything fits in to
complete the reproduction of Greek pastoral life. The goats eat cytisus
PAGAN AND CHRISTIAN REMINDERS. 5
and myrtle on the shore : a whole flock gathered round me as I sate
beneath a tuft of golden green euphorbia the other day, and nibbled
bread from my hands. The frog still croaks by tank and fountain,
' whom the Muses have ordained to sing for aye,' in spite of Bion's death.
The narcissus, anemone, and hyacinth still tell their tales of love and
death. Hesper still gazes on the shepherd from the mountain-head.
The slender cypresses still vibrate, the pines murmur. Pan sleeps in
noontide heat, and goats and wayfaring men lie down to slumber by the
road-side, under olive-boughs in which cicadas sing. The little villages
high up are just as white, the mountains just as grey and shadowy when
evening falls. Nothing is changed except ourselves. I expect to find
a statue of Priapus or pastoral Pan, hung with wreaths of flowers the
meal-cake, honey, and spilt wine upon his altar, and young boys and
maidens dancing round. Surely, in some far-off glade, by the side of
lemon grove or garden, near the village, there must be some such a
pagan remnant of glad Nature-worship. Surely I shall chance upon
some Thyrsis piping in the pine-tree shade, or Daphne flying from the
arms of Phoebus. So I dream until I come upon the Calvary set on a
solitary hillock, with its prayer-steps lending a wide prospect across the
olives and the orange-trees, and the broad valleys, to immeasurable skies
and purple seas. There is the iron cross, the wounded heart, the spear,
the reed, the nails, the crown of thorns, the cup of sacrificial blood, the
title, with its superscription royal and divine. The other day we crossed
a brook and entered a lemon field, rich with blossom and carpeted with
red anemones. Everything basked in sunlight and glittered with ex-
ceeding brilliancy of hue. A tiny white chapel stood in a corner of the
enclosure. Two iron-grated windows let me see inside : it was a bare
place, containing nothing but a wooden praying-desk, black and worm-
eaten, an altar with its candles and no flowers, and above the altar a
square picture brown with age. On the floor were scattered several
pence, and in a vase above the holy-water vessel stood some withered
hyacinths. As my sight became accustomed to the gloom, I could see
from the darkness of the picture a pale Christ nailed to the cross, with
agonizing upward eyes and ashy aureole above the bleeding thorns.
Thus I stepped suddenly away from the outward pomp and bravery of
nature to the inward aspirations, agonies, and martyrdoms of man from
Greek legends of the past to the real Christian present and I remem-
bered that an illimitable prospect has been opened to the world, that in
spite of ourselves we must turn our eyes heavenward, inward, to the in-
finite unseen beyond us and within our souls. Nothing can take us
back to Priapus or Pan. Nothing can again identify us with the simple
natural earth. ' Une immense esperance a traverse la terre,' and these
6 ITALIAN CITIES.
chapels, with their deep significances, lurk in the fair landscape like the
cares of real life amid our dreams of art. . . Even the olives here tell
more to us of Olivet and the Garden than of the oil-press and the
wrestling ground. The lilies carry us to the Sermon on the Mount and
teach humility, instead of summoning up some legend of a god's love for a
mortal. The hill-side tanks and waving streams and water-brooks
swollen by sudden rain, speak of Palestine. We call the white flowers
stars of Bethlehem. The large sceptre-reed 1 ; the fig-tree, lingering in
barrenness when other trees are full of fruit j the locust-beans of the
Carouba : for one suggestion of Greek idylls there is yet another of far
deeper, dearer power." J. A. Symonds.
About three miles from Mentone, the Italian custom-
house stops the way at Mortola beneath the village of S.
Mauro. Looking back from the heights above, we have just
had the most glorious view of Mentone, with the white walls
of Monaco gleaming beyond upon their isolated rock, while
above it is Turbia with its Trophsea Augusti, throned high
amongst the mountains, and the great purple promontory
known as the Testa del Can. Just below, nearer the shore,
is the old Palazzo Orenga (lately restored) on a rocky slope,
perfumed in January by thickets of wild lavender.
A little beyond S. Mauro is the tiny gaily-painted Chunk
of S. Agostino in a wooded glen, where snowy mountains are
seen gleaming through the trees. The village near this is
called Latte (the Land of Milk) from the richness of its
soil. The largest of the houses in the orange groves is the
summer palace of the Bishop of Ventimiglia.
From Latte we ascend to Ventimiglia once Albium In-
termelium, the capital of the Intermelii, and still the chief
fortress between Nice and Genoa which crowns the steep
brown precipice with its white walls. It is entered by gates
and a drawbridge, closing the narrow pass of the rock,
Within, the town rims along a ledge in a picturesque outline
VENTIMIGLIA. V
of brightly-coloured towers, old houses, and deserted con-
vents, while deep below lies a little port with fishing vessels
and some curious isolated rocks.
La Strada Grande is narrow and quaint, lined with
old houses, some of which are painted on the outside with
figures of animals, while others retain in marble balconies
relics of their former grandeur. Here the traveller coming
from France will first hear all the people talking Italian,
and women shouting, as at Naples, before stalls of maccaroni
and polenta, in the dark arch-ways. The Catfudral, of
which S. Barnabas is said to have been the first bishop,
stands on a terrace with a grand background of snowy
mountains, and beside it is the palace of the Lascari who
ruled Ventimiglia in the Middle Ages with an open loggia
and staircase. On a further crest of the hill is the yellow-
brown Romanesque Church of S. Michele, occupying the
site of a temple of Castor and Pollux. The interior is
unaltered, the crypt a very fine one, and the view most
striking. On the mountain beyond the town is a ruined
castle of Roman origin.
From S. Michele, a narrow path along the walls over-
hangs the orange gardens at a great height. No one should
try it who is not tolerably steady of head and sure of foot.
It leads to a postern gate close to the long bridge over the
half-dry bed of the Roya, the Rituba of Pliny and Lucan,
appropriately termed by the latter " cavus " from the deep
bed which it has frequently hollowed out for itself, between
precipitous banks.
From the dry bed of the river, the town is seen rising
grandly in tier above tier of old houses, churches, and
convents, with purple mountains and snow peaks beyond,
8 ITALIAN CITIES.
while in the foreground of the long bridge of irregular
arches (alas, lately restored !) are groups of gaily-dressed
washerwomen, at work upon the little pools between the
Ventimiglia.
sand-banks. The church tower and village which rise in
the olive groves beyond the bridge, belong to the Borgo di
Ventimiglia, where there is a humble little inn Albergo della
Scatola. Here luncheon may be obtained, and eaten on the
flat roof, whence there is a lovely view of the town, with
its old houses, and its castle cresting the opposite hill.
(An excursion should be made without fail to Dolceacqua
easily managed by those who sleep at Bordighera perhaps
the most beautiful place in the whole district.
It is about 35 miles from the bridge over the Nervia,
half-way between Ventimiglia and Bordighera. The road
ascends the bank of the Nervia to Catnpo Rosso, which
nestles in the valley, with a chain of snow peaks behind it.
DOLCEACQUA. 9
At the entrance of the town is a brown conventual church,
with a painted campanile relieved against the purple dis-
tance ; and then you enter a piazza, lined with the quaintest
old houses, with open painted loggias, and ending in a
church, whose staircase of white marble is flanked by
marble mermaids, throwing water into the small fountains.
A little further, backed by the Chapel of Santa Croce on its
hill, is a very curious Romanesque church, with an old burial-
ground, over-grown with periwinkles, on the banks of the
Nervia. An inscription entreats " elemosina" for the " Anime
Purganti," and the former possessors of the " Anime " are
represented by a pile of skulls and skeletons mouldering
in an open charnel-house.
Dolceacqua.
After two miles more, winding through woods of olives,
carpeted in spring by young corn and bright green flax,
Dolceacqua suddenly bursts upon the view, stretching across
10
ITALIAN CITIES.
a valley, whose sides are covered with forests of olives and
chestnuts, and which is backed by fine snow mountains.
Through the town winds the deep-blue stream of the
Nervia, flowing under a tall bridge of one wide arch, and
above frowns the huge palatial castle, perched upon a per-
pendicular cliff, with sun-light streaming through its long
lines of glassless windows. The streets are almost closed in
with arch-ways, which give them the look of gloomy crypts,
only opening here and there to let in a ray of sun-light and
a strip of blue sky. They lead up the steep ascent to the
castle where the Dorias once reigned as sovereign princes,
as the Grimaldis at Monaco.)
Bordignera.
Ventimiglia is separated from Bordighera by three miles of
flat and dusty level. Groups of palms (Phoenix Dactylifera)
BORDIGHERA. II
gradually appear by the road-side and increase on approaching
Bordighera (Inn. Hotel d'Angleterre very good). This
place, which has been surnamed " the Jericho of Italy," was
almost unknown in England a few years ago, but is now
familiar through Signer Ruffini's beautiful story of Doctor
Antonio, of which the principal scene is laid here. The
town contains nothing worth visiting, so that it is best to
leave the carriage in the street, and wander up the hill, first
to the garden of the French consul, where are some of the
finest palm trees ; then up some of the narrow alleys, where
artists will find charming subjects of the older palms
feathering over little shrines or bridges; and then to the
common on the hill-top, with its grand view to Mentone,
Roccabruna, and Monaco, and, in the vaporous distance, to
Antibes and the faint blue mountains of Provence.
"The palm-glory of Bordighera is not to be seen without going up
into the town, and beyond the town. These noble trees almost gird
it round on the western and northern sides, and grow in profusion in
coppices and woods of all sizes, from gnarled giants of 1000 years'
reputed age, to little suckers which may be pulled up by hand, and
carried to England. And there is no end to the picturesque groupings
of these lovely trees, and their graceful effects in the sun-light.
" In the sun-light. For of all trees the palm is the child of the sun,
and the best purveyor of flecked and dancing shade. Under the palm-
thickets every darkest spot of shadow is a grand medley of exquisitely-
traced lines ; and on the verge of the bare sun-light outside, leap and
twinkle a thousand sharply-marked parallel bars of graceful leafage.
And there is something peculiarly of the sun, and of the east, in the
many depths of the moon-lighted palm wood the yellow, and the pale
green, and the rich burnt sienna of the various foliage ; the rough deep
markings of the rich brown stems ; and now and then the burning
chrome of the fruit-stalks hanging in profuse clusters out from the
depths of central shade.
" Nor is the least charm of the palm the silvery whisper of reeded
fronds which dwells everywhere about and under it. With the palm
romance reaches .its. highest. That soft sound soothed the old-world
12 ITALIAN CITIES.
griefs of patriarchs, and murmured over the bivouacs of Eastern armies.
When the longers for Zion sate down and wept by the waters of Babylon,
was it not the rough burr of the palm on which they hung their harps,
rather than the commonly but gratuitously imagined branch of the
willow ? And when Judaea was again captive, it was under the palm that
the conqueror, on his triumphant medals, placed the daughter of Zion.
" I have been told that there are probably now more palms at Bordi-
ghera alone, than in the whole of the Holy Land. " Dean Alford.
A winding path descends from the heights to the shore at
the point of the rocky bay, which is the scene of one of
Ruffini's word-pictures.
" It is indeed a beauteous scene. In front lies the immensity of sea,
smooth as glass, and rich with all the hues of a dove's neck, the bright
green, the dark purple, the soft ultra-marine, the deep blue of a blade of
burnished steel, there glancing in the sun like diamonds, and rippling
into a lace-like net of snowy foam. In strong relief against this bright
background, stands a group of red-capped, red -belted fishermen, draw-
ing their nets to the shore, and accompanying each pull with a plaintive
burthen, that the echo of the mountains sends softened back. On the
right, to the westward, the silvery track of the road undulating amid
thinly-scattered houses, or clusters of orange and palm-trees, leads the
eye to the promontory of Bordighera, a huge emerald mount which shuts
out the horizon, much in the shape of a leviathan couchant, his broad
muzzle buried in the waters. Here you have in a small compass, re-
freshing to behold, every shade of green that can gladden the eye, from
the pale-grey olive to the dark-foliaged cypress, of which one, ever and
anon, an isolated sentinel, shoots forth high above the rest. Tufts of
feathery palms, their heads tipped by the sun, the lower part in shade,
spread their broad branches, like warriors' crests on the top, where the
slender silhouette of the towering church spire cuts sharply against the
spotless sky.
" The coast to the east recedes inland with a graceful curve, then, with
a gentle bend to the south, is lost by degrees in the far, far sea. Three
headlands arise from this crescent, which so lovingly receives to its
embrace a wide expanse of the weary waters ; three headlands of differ-
ing aspect and colour, lying one behind the other. The nearest is a bare
red rock, so fiery in the sun the eye dares scarcely fix on it ; the second,
richly wooded, wears on its loftiest ridge a long hamlet, like to a mural
crown ; the third looks a mere blue mist in the distance, save one white
speck. Two bright sails are rounding this last cape. The whole, flood-
S. RE MO. 13
ed as it is with light, except where some projecting crag casts its trans-
parent grey shadow, is seen again reversed, and in more faint loveliness,
in the watery mirror below. Earth, sea, and sky mingle with their
different tones, and from their varieties, as from the notes of a rich, full
chord, rises one great harmony. Golden atoms are floating in the trans-
lucent air, and a halo of mother-of-pearl colour hangs over the sharp
outlines of the mountains.
" The small village at the foot of the craggy mountain is called Speda-
letti, and gives its name to the gulf. It means little hospitals, and is
supposed to have originated in a ship belonging to the knights of Rhodes,
having landed some men sick of the plague here, where barracks were
erected for their reception ; and these same buildings served as the
nucleus of the present village, which has naturally retained the name of
their first destination. At a little distance are the ruins of a chapel
called the ' Ruota, ' which may or may not be a corruption of Rodi
(Rhodes). Spedalatti in the present day is exclusively inhabited by the
wealthy families of very industrious fishermen, who never need be in
want of occupation. Nature, which made this bay so lovely, made it
equally safe and trustworthy. Sheltered on the west by the Cape of
Bordighera, and on the east by those three headlands, let the sea be ever
so high without, within it is comparatively calm, and the fishermen of
Spedalatti are out in all weathers." Doctor Antonio.
Beyond Bordighera, the great rifted brown mountains are
monotonous in their outline as compared with those near
Mentone, but still are beautiful as they stand round about
S. Remo, which rises from the sea in tiers of white houses,
with a fine church crowning the hill against which they are
built. There are palm trees here as at Bordighera, but not
such fine ones, although this is the place whence, in 1588,
came Bresca, the trading sea-captain, who gave instructions
to throw water upon the ropes which held up the famous
obelisk in front of S. Peter's, in defiance of the order of
Pope Sixtus V., that any one who spoke should pay the
penalty with his life, and who thus saved the obelisk, and
obtained as reward that his native-place of S. Remo should
furnish the Easter palms to S. Peter for ever. Early every
spring, the palm branches are tied up to their stems, in order
14 ITALIAN CITIES.
to bleach them for this purpose, and from that time till the
autumn their chief beauty is lost ; but here and there a
graceful stem, crowned with umbrella-like foliage, rears itself
still untouched in the little square gardens, among the tall
houses.
S. Remo (Inns. Hotel de Londres ; Hotel Royal, pension
8 to 10 frs. ; Grande Bretagne. On the eastern side, Hotel
d'Angleterre ; Victoria Pension Anglaise, 8 to 9 frs.) is greatly
changed within the last few years, and from a quiet fi'shing
port has become one of the great southern centres for sun-
seeking invalids ; but in beauty it is greatly inferior to Men-
tone, and there are very few drives and walks.
"To the charms of quiet and sunshine S. Remo adds that of a pecu-
liar beauty. The Apennines rise like a screen behind the amphitheatre
of soft hills that enclose it hills soft with olive woods, and dipping
down with gardens of lemon and orange, and vineyards, dotted with
palms. An isolated space juts out from the centre of the semi-circle,
and from summit to base of it tumbles the oddest of Italian towns, a
strange mass of arches arid churches and steep lanes, rushing down like
a stone cataract to the sea. On either side of the town lie deep ravines,
with lemon gardens along their bottoms, and olives thick along their
sides. The olive is the characteristic tree of San Remo." Saturday
Review, Jan. 1871.
Facing the high-road through the town is the splendid old
palace of the Boria family, which has a court-yard and stair-
case that would do honour to the abode of a sovereign.
Some way behind it, in a piazza, are the two principal
churches of the lower town, and an audacious statue, not
often met with even in Italy, of God the Father. Hence,
steep, narrow, and filthy little streets, constantly arched
overhead to strengthen the houses in case of earthquakes,
and crowded below with children, cats, dogs, and chickens,
lead to the top of the hill, where there is a fine open terrace
S. RE MO. 15
lined with cypresses, and commanding a lovely view of the
mountains and sea.
At a very early period S. Remo was ruined by the Sara-
At S. Remo.
cens, who desecrated its principal church of S. Siro, and
burnt the town. On the desolated site which they aban-
doned, and which was the property of his see, a little agri-
cultural colony was settled by Theodulf, bishop of Genoa.
Never losing sight of its connection with Genoa throughout
its whole existence, S. Remo continued, as it increased in
16 ITALIAN CITIES.
importance, to follow the lead of the greater city, and the
civil authority of the bishop was transferred to the com-
munal parliament, whose assembly met in the church of S.
Stefano. The Crusader's Palm upon the arms of the town,
is a mark left by this revolution, itself produced by the
Crusades. But in its alliance with Genoa, S. Remo always
remained a perfectly free State. It was bound to contribute
ships and men for the Genoese war service, but in return
shared all the privileges of the Genoese republic in all parts
of the world.
S. Siro is so injured by so-called restorations as to be of
little value. Near it is a Hospital for leprosy, which ter-
rible disease still lingers around S. Remo. It is hopelessly
incurable, the limbs and the faces of the lepers being grad-
ually eaten away, so that with several, while you look upon
one side of the face, and see it apparently in the bloom of
health and youth, the other has already fallen away and
ceased to exist. The disease is hereditary, having remained
in certain families of this district almost from time im-
memorial. The members of these families are prohibited
from intermarrying with those of others, or indeed from
marrying at all, unless it is believed that they are free from
any seeds of the fatal inheritance. Sometimes the marriages,
when sanctioned by magistrates and clergy, are contracted
in safety, but often, after a year or two of wedded life, the
terrible enemy appears again, and existence becomes a curse ;
thus the fearful legacy is handed down.
A stony walk over dull hills leads from the hospital to the
mountain sanctuary of S. Romolo, who gave his name to the
town, invariably called S. Romolo till the fifteenth century ;
and it is probable that the present name is due, not to a pun
TAGGIA. 17
on Romulus and Remus, but to a contraction of its full
ecclesiastical title " Sancti Romoli in Eremo." The her-
mitage stands in a wood of old chestnut trees, enamelled
with blue gentians. A chapel contains a large white mitred
statue of the saint with a sword through his breast, on the
spot where he suffered martyrdom, and is attached to and
encloses the cave where he lived in retirement.
(An excursion should be made from S. Remo to Taggia
(about five miles) and Lampedusa. The road thither passes
beneath the sanctuary of La Madonna della Guardia, and by
Armi, with its rock chapel facing the sea, and. turns off from
Lampedusa from Taggia.
the coast-road at the village of La Riva. Hence it is a
lovely drive through luxuriant olives surrounded by high
mountains, on the steep sides of which the town of Castel-
laro soon appears upon the right, and beyond it, the famous
shrine of Lampedusa, jammed into a narrow ledge of the
precipice.
Taggia itself is deep down in the valley by the side of the
VOL. I. 2
1 8 ITALIAN CITIES.
rushing river of the same name. Its streets are curious ;
several of its houses have been handsome palazzi, and there
is still a native aristocracy resident in the place. Many of
the old buildings are painted on the outside with fading
frescoes, of others the stone fronts are cut into diamond
facets, others are richly carved. Most of them rest upon
open arches, in which are shops where umbrella-vendors set
out their bright wares, and crimson beretti hang out for sale,
enlivening the grey walls by their brilliant colouring. All
the spots described in the novel of Doctor Antonio really
exist, and the crowd which collects around the carriage of
strangers when it stops, invites them to visit the house of
" Signora Eleanora," " II Baronetto Inglese," &c. The long
bridge across the valley is adorned with a shrine com-
memorating the adventure of two children who were thrown
down by an earthquake with two of its arches in 1831, and
escaped uninjured.
From hence a path, turning to the right, mounts by a steep
ascent to Castellaro, where the church (engraved here, as a
good specimen of the graceful Riviera churches) stands cut
finely upon the spur of the hill, its gaily-painted tower re-
lieved against the blue background of sea. Beyond this is
Lampedusa.
"A broad, smooth road, opening from Castellaro northwarls, and
stretching over the side of the steep mountains in capricious zig-zags,
now conceals, now gives to view the front of the sanctuary, shaded by
two oaks of enormous dimensions. The Castellini, who made this road
'in the sweat of their brows,' point it out with pride, and well they may.
They tell you with infinite complacency, how every one of the pebbles
with which it is paved was brought from the sea-shore, those who had
mules using them for that purpose, those who had none bringing up
loads on their own backs ; how every one, gentleman and peasant, young
and old, women and boys, worked day and night, with no other induce-
ment than the love of the Madonna. The Madonna of Lampedusa is
their creed, their occupation, their pride, their carroccio, their fixed idea.
LAMPED US A. 19
" All that relates to the miraculous image, and the date and mode of
its translation to Castellaro, is given at full length in two inscriptions,
one in Latin, the other in bad Italian verses, which are to be seen in the
Castellaro.
interior of the little chapel of the sanctuary. Andrea Anfosso, a native
of Castellaro, being the captain of a privateer, was one day attacked and
defeated by the Turks, and carried to the Isle of Lampedusa. Here he
succeeded in making his escape, and hiding himself until the Turkish
vessel which had captured his left the island. Anfosso, being a man of
expedients, set about building a boat, and finding himself in a great
dilemma what to do for a sail, ventured on the bold and original step of
taking from the altar of some church or chapel of the island a picture of
the Madonna to serve as one ; and so well did it answer his purpose,
that he made a most prosperous voyage back to his native shores, and,
in a fit of generosity, offered his holy sail to the worship of his fellow-
townsmen. The wonder of the affair does not stop here. A place was
chosen by universal acclamation, two gun-shots in advance of the pre-
sent sanctuary, and a chapel erected, in which the gift was deposited
with all due honour. But the Madonna, as it would seem, had an in-
surmountable objection to the spot selected, for, every morning that
God made, the picture was found at the exact spot where the actual
church now stands. Sentinels were posted at the door of the chapel,
the entire village remained on foot for nights, mounting guard at the
entrance; no precaution, however, availed. In spite of the strictest
watch, the picture, now undeniably a miraculous one, found means to
20 ITALIAN CITIES.
make its way to the spot it preferred. At length, the Castellini came
to understand that it was the Madonna's express will that her head-
quarters should be shifted to where her resemblance betook itself every
night ; and though it had pleased her to make choice of the most abrupt
and the steepest spot on the whole mountain, just where it was requisite
to raise arches in order to lay a sure foundation for her sanctuary, the
Castellini set themselves con amore to the task so clearly revealed to
them, and this widely-renowned chapel was completed. This took place
in 1619. In the course of time some rooms were annexed, for the
accommodation of visitors and pilgrims, and a terrace built ; for though
the Castellini have but a small purse, theirs is the great lever which can
remove all impediments the faith that brought about the Crusades.
" To the north a long, long vista of deep, dark, frowning gorges,
closes in the distance by a gigantic screen of snow-clad Alps the glorious
expanse of the Mediterranean to the south-east and west, range upon
range of gently undulating hills, softly inclining towards the sea in the
plain below, the fresh, cozy valley of Taggia, with its sparkling track of
waters, and rich belt of gardens, looking like a perfect mosaic of every
gradation of green, chequered with winding silver arabesques. Ever
and anon a tardy pomegranate in full blossom spreads out its oriflamme
of tulip-shaped dazzling red flowers. From the rising ground opposite
frowns mediaeval Taggia, like a discontented guest at a splendid ban-
quet. A little further off westward, the eye takes in the campanile of
the Dominican church, emerging from a group of cypresses, and further
still, on the extreme verge of the western cliff, the sanctuary of our lady
of the Guardia shows its white silhouette against the dark blue sky. "
Ruffitti,}
After leaving La Riva, the post-road to Genoa passes
through the villages of S. Stefano al Mare, and S. Lorenzo
al Mare, and then Porto Maurizio comes in sight, covering
the steep sides of a promontory.* The church here is white,
and the town cold in colour compared with its neighbours.
Oneglia (Inn. Vittoria) is an ugly town, with modern
arcaded streets, but a good place for the study of fishing
boats and fishermen. It was the birth-place of Andrea
Doria, the great Genoese admiral, in 1466. There is a road
* Places in the diligence from S. Remo to Porto Maurizio cost 2 frs., a carriage from
Porto Maurizio to Albenga 15 frs., and 15 frs. more from Albenga to Savona.
ALBENGA.
21
from hence to join the railway from Turin to Cuneo (at
Fossano) by the ravine of the Tanaro, and the pass of the
Col di Nava.
Through Diano Marina, and Cervi, and by the Castle of
Andora, we reach Alassio (Inn. La Bella Italia), a better
sleeping-place than Albenga. We see the Island of Galli-
nara, with the remains of a Benedictine convent, before
reaching
Albenga (Inn. Albergo d 1 Italia, very poor), the ancient
Albium Ingaunum, and the birth-place of the Emperor Pro-
Cathedral of Albenga.
culus. Its thirteen mediaeval towers remind the Italian
traveller of S. Gimignano rising out of the plain like a
22 ITALIAN CITIES.
number of tall nine-pins set close together. Albenga affords
many artistic subjects, possessing a very ancient Gothic
Cathedral, an early Baptistery, all green with mould and
damp, and three equally grim and green Lombardic lions at
the foot of the tower called Torre del. Marchese Malespina.
A little way beyond the town is a Roman bridge, Ponte
Lungo. The place is so unhealthy that ' Hai faccia di
Albenga ' is a proverbial expression in the country for one
who looks ill.
(There is a lovely drive (8 frs.) up the vale of Albenga to
Garlanda. This valley is radiantly beautiful in spring.
Overhead are tall peach-trees with their luxuriance of pink
blossom. Beneath these the vines cling in Bacchanalian fes-
toons, leaping from tree to tree, and below all, large melons,
young corn, and bright green flax, waving here and there
into sheets of blue flower, form the carpet of Nature. Some-
times gaily-painted towers, and ancient palazzi, with carved
armorial gateways and arched porticoes, break in upon the
solitude of the valley. In one of these, the palace of Lusig-
nano, which is girt about on two sides by the steep escarp-
ment of the mountains, and backed by a noble pine-tree,
Madame de Genlis lived for some time, considering her
abode an Arcadia, and here she wrote her story of the
Duchess of Cerifalco, shut up for nine years in a vault by
her husband, of which Albenga is the scene.
Beyond this, the mountains form rugged precipices, only
leaving space for the road to pass by the side of the clear
rushing river Ccnta. The stream divides to embrace the
mediaeval walls and towers of Villa Nuova, a curious and
tiny city. Near the road is a round church with a Gothic
tower, built of deep yellow stone, and highly picturesque.
FINALE AND SAVONA. 23
Hence, across the marshy plain of the Lerone, one sheet of
flowers in spring, we reach the old castle of Garlanda, with
Scotch-looking pepperbox tourelles, which guards the
narrowing fastness of the valley. Beyond is the church,
where the whole peasantry of the valley rose against
the French in defence of their picture by Domenichino of
S. Mauro kneeling at the feet of the Virgin and Child
and succeeded in preventing its being carried off. In the
same church is a horrible Martyrdom of S. Erasmus, at-
tributed to Poussin.)
After leaving Albenga, the high-road passes through Loano
(Inn. Europd). There is a very picturesque view of an aque-
duct, and the fine church of Monte Carmelo, built by the
Dorias in 1609, just outside the further gate. The next
village is Pietra. There is a tunnel through the rocks before
-reaching
Finale Marina (Inn. Hotel de Venise\ one of the most
picturesque villages on the shore. The views of the
Apennine ranges beyond Spezia and Carrara are most
beautiful on clear evenings from all this part of the coast,
and the descent to the sea-shore at this point, flanked by
gigantic precipices, on one of which is a tall mediaeval
tower, is certainly the finest scene at this end of the
Riviera.
Hence the road follows the coast, sometimes above,
sometimes on a level with the sea. The first village is
Varigotti. We pass through a tunnel in the rocks before
reaching Noli. Then come Spotorno, Bergeggi, and Vado.
The stately buildings of Genoa shine in the clear light long
before reaching Savona.
Savona (Inns. Italia, Pcnsione Suizzera both good) is the
24 ITALIAN CITIES.
largest town on the coast after Nice and Genoa, and has a
small but safe harbour. The handsome Cathedral of 1604
contains, in the Cappella Sistina, the tomb of the parents of
Pope Sixtus IV., by Michele and Giovanni de Andria. Among
the pictures are a Madonna, by Aurelio Robert elli, 1449 ; an
Assumption, by JBrea, 1495 ; an d an Annunciation and
Presentation, by Albajii. The Church of S. Giovanni Battista
contains a Nativity, by Girolamo da Brescia, 1519, and a
picture falsely attributed to Albert Durer. In the Church of
At S;ivoua.
S. Giacomo is the tomb of the lyric poet Chiabrera, who was
born here, inscribed by his own desire :
"Amico, io, vivendo, cercava conforto
Nel Monte Parnasso ;
Tu, meglio consigliato, cercalo
Nel Calvario."
THE SAN7VARIO. 25
The house in which Chiabrera lived in the town is inscribed
with the motto he chose " Nihil ex omni parte beatum."
The Theatre is dedicated to Chiabrera. Pius VII. was long
detained at Savona as a prisoner. Artists will not fail to
sketch the lovely view from the port with its old tower.
The statue of the Virgin here has an inscription which can
be read either in Latin or Italian :
" In mare irato, in subita procella,
Invoco te, nostra benigna Stella. "
(It is about an hour's drive carriage 6 frs. from Savona
to its famous Santuario. Through a winding valley you
enter a court-yard, shaded by great elm-trees. In the centre
is a fountain, and on the further side a fine 16th-century
church, containing a few tolerable pictures. The first
appearance of the miraculous Virgin, in whose honour all
this was built, is said to have taken place at the little round
chapel on the hill above the present sanctuary, where she
showed herself to a poor countryman, and desired him to
go into Savona, and declare what he had seen. This he
did boldly, and was put into prison for his pains, but an
unknown lady came to open his prison-door and release
him. Again, at the scene of his daily labours, the Virgin
revealed herself to him, and again desired him to go and
tell what he had seen in Savona, but he remonstrated, saying
that the last time she had told him to do this he had obeyed
her and had been imprisoned in consequence. "Yes,"
answered the Virgin, " and it was I who released you ; go
then again boldly, and I will protect you." So he obeyed,
and went to tell what he had seen in Savona, but the people
mocked, and no one believed him, and he returned home
sorrowful. On his way, as he was pondering sadly over
26 ITALIAN CITIES.
these things, he met a great multitude of people. " Whence
do you come," he said, " and what are you going to do ? "
" Oh," they said, " we are the inhabitants of the Albergo del
Poveri, and we are going to Savona, that we may obtain
food and continue to live, for we have no corn left in our
granaries." Then he bade them return, for their granaries
should be filled. And they were unbelieving, yet still they
returned, and when they reached the granaries, they were
unable to open the doors on account of the quantity of grain
that was in them. All the people of Savona, when they saw
the miracle, gave praise to the Virgin who had delivered
them ; and now, convinced of the truth of the countryman's
story, they built the church and hospital in her honour,
which are still to be seen in the valley of S. Bernardo.
Within, the church is magnificent, its walls being entirely
covered with precious marbles, which in their turn are
encrusted with votive offerings of gold and silver. The
under church is even more splendid than the upper. Here
is the famous image of the Virgin, hideously radiant in the
jewelled crown of Pope Pius VII , and the diamond collar
of King Charles Albert. Beside her kneels a little marble
figure of the countryman to whom the discovery was due.
Beneath her feet issues a stream of water, served to visitors
from a massive silver jug upon a silver tray; "holy water,"
says the Sacristan, " and competent to cure all manner of
diseases," but, as a matter of fact, it is so icily cold that it
has quite the contrary effect upon those who drink it after
a hot walk from Savona. In the afternoon a Litany is
most sweetly sung at the Santuario by the inmates of the
neighbouring poor-house and orphanage, all looking most
picturesque ; the younger women in white veils (pezzottos),
COGOLETTO. 2?
the elder wearing over their heads scarfs with brightly-
coloured flowers stamped upon them (mezzaras). When
their seivice is over, they emerge from the church in pro-
cession, with crosses and banners.)
On leaving Savona, the road passes through Albizzola
Marina. One mile inland is Albizzola Superiore, where
there is a fine palace of the Delia Rovere family. The Delia
Rovere Popes, Sixtus IV. and Julius II., were both natives
of Albizzola. The family was then so much reduced, that
Sixtus IV., though of noble descent, was the son of a poor
fisherman, and his nephew, Julius II., was occupied in his
youth in daily carrying the products of his father's farm to
Savona, either by boat or mule, whatever the rudeness of the
season, and was often received with great severity on his re-
turn, if his provisions had not sold well.
In the church of S. Michelc is a picture by Pierino del
Vaga, which he vowed during a storm. Vorazze, a great
ship-building place on the sea-shore, was the birth-place
(1230) of Jacopo de Voragine, author of "The Golden
Legend," afterwards an excellent Archbishop of Genoa. In
the hills above this is the monastery of // Deserto,
founded by a lady of the Pallavicini family, who is repre-
sented there as the Madonna in an altar-piece by Fiasella.
Cogoletto is the reputed birth-place of Columbus, in
1447, and the house of his father Domenico (doubtful *) is
pointed out by the inscription
" Hospes, siste gradum. Fuit hie lux prima Colombo :
Orbe viro major! heu nimis arcta domus !
Unus erat mundus. ' Duo sunt,' ait ille. Fuere." \
* In his will Columbus says" Que siendo yo nacido en Genova. como natural
d'rtlla porque de ella sali y en ella naci."
t Gagliuffi.
28 ITALIAN CITIES.
Voltri is a large town with paper-manufactories. In the
neighbouring valley of the Leira are baths for cutaneous dis-
orders.
Pegli (Hotel d' Angleterre, facing the station with a
restaurant, de'jeuner 3 frs. very good. Hotel Gargini, in
a large garden, pension 8 to 9 frs., excellent). The
entrance to the Villa Pallavicini'v* through a house adjoining
the pretty railway station on the left. A visit to this famous
villa occupies quite two hours, and no one who is unequal
to a long walk should attempt it. It should also be remem-
bered, where time is an object, that there is nothing especially
to be seen in the villa. The grounds were entirely laid out
in 1836 1846, during which time 100 men were constantly
at work. The pleasant, shady walks are bordered by
immense heaths, and other flowering shrubs. There is a great
deal that is very foolish, and has been very expensive, in the
way of fifth-rate triumphal arches, marble summer-houses,
artificial cascades, &c. What is really pretty is a grotto,
where you step into a boat, and are rowed in and out
amongst the stalactyte pillars, emerging on a miniature
lake fringed with azaleas and camellias. The villa now
belongs 'to the Marchesa Pallavicini Durazzo.
The Villa Doria at Pegli has pleasant grounds.
Hence the approach to Genoa is through a continuous
suburb, till, after passing the light-house, one comes upon
one of the grandest city views in the world.
CHAPTER II.
GENOA.
ENOA stands at the north-western point of Italy, and
V_T is, as it were, its key-note. No place is more entirely
embued with the characteristics, the beauty, the colour of
Italy. Its ranges of marble palaces and churches rise above
the blue waters of its bay, interspersed with the brilliant
green of orange and lemon groves, and backed by swelling
mountains ; and it well deserves its title of Geneva La
Superba. The best view is that as you approach by the rail-
way from Savona : hence you see :
"The queenly city, with its streets of palaces rising tier above tier
from the water, girdling with the long lines of its bright white houses,
the vast sweep of its harbour, the mouth of which is marked by a huge
natural mole of rock, crowned by its magnificent light-house tower. Its
white houses rise out of a mass of fig, and olive, and orange-trees, the
glory of its old patrician luxury ; the mountains behind the town are
spotted at intervals by small circular low towers, one of which is dis-
tinctly conspicuous where the ridge of hills rises to its summit, and hides
from view all the country behind it. These towers are the forts of the
famous lines, which, curiously resembling in shape the later Syracusan
walls enclosing Epipolae, converge inland from the eastern and western
extremities of the city, looking down, the western line on the valley of
the Polcevera, the eastern on that of the Bisagno, till they meet on the
summit of the mountains, where the hills cease to rise from the sea, and
become more or less of a table-land running off towards the interior, at
a distance of between two and three miles from the outside of the city."
Arnold, Lectures on Modern History.
30 ITALIAN CITIES.
" Ecco ! vediam la maestosa immensa
Citta, che al mar le sponde, il dorso ai monti
Occupa tutta, e tutta a cerchio adorna.
Qui volanti barchette, ivi anchorate
Navi contemplo, e a poco a poco in alto
Infra i lucidi tetti, infra 1'eccelsi
Cupole e torri, il guardo irgendo a 1'ampio
Girevol mura triplicate, i chiusi
Monti da loro, e le minute rocche
A luogo a luogo, e i ben posti ripari
Ammiro intorno : inusitata intanto
Vaghezza a 1'occhio, e bell' intreccio fanno
Col tremolar de le frondose cime,
Col torreggiar de 1'appuntate moli. " Bettinelli.
Genoa, anciently Genua, was the chief maritime city of Liguria, and
afterwards a Roman municipium. Under the Lombards the constant in-
vasions of the Saracens united the professions of trade and war, and its
greatest merchants became also its greatest generals, while its naval
captains were also merchants.
The Crusades were of great advantage to Genoa in enabling it to
establish trading settlements as far as the Black Sea, but the power of
Pisa in the East, as well as its possession of Corsica and Sardinia, led
to wars between it and Genoa, in which the Genoese took Corsica, and
drove the Pisans out of Sardinia. By land, the Genoese territory was
extended to Nice on one side and to Spezia on the other. After the defeat
of Pisa in the battle of Molara, 1284, and the destruction of its harbour,
Genoa became complete mistress of the western sea. In the east its
power was only surpassed by that of Venice, but constant competition
with the rival city excited its energies to the utmost, and the services
which it was able to render to the Byzantine emperor led to its gradually
supplanting Venice in Greece and the Black Sea.
The most formidable enemy which Genoa had to deal with was its
want of the internal unity which was conspicuous at Venice. In the
1 2th century the people were already divided into eight political parties,
which in the time of the Hohenstaufens resolved themselves into the
Ghibellines under the Dorias and Spinolas, and the Guelfs under the
Fieschi. At the end of the I2th century the plan of government by a
foreign Podesta was introduced, assisted by a council of eight, but by
the I4th century the rivalries of the different noble families had led to
civil war in almost all the possessions of the State, though trade and
navigation only seemed to flourish the more ; and the speculations,
ventures, and spirit of enterprise of Genoa only increased.
HISTORY OF GENOA. 31
In 1339 the Genoese elected their first Doge, Simone Boccanera, who
abdicated, was recalled, and eventually poisoned ; and as the chief
power was afterwards always the subject of contention between the
families of Adorno, Fregosi, Marchi, and Montaldi, the possession of a
Doge failed utterly in establishing internal peace. Still trade flourished
and increased, and, from the beginning of the fifteenth century, the
chief power really rested with the managers of the famous Banco di
San Giorgio, which maintained an army and naval force of its own.
Genoa fell several times into the hands of France. The famous
Andrea Doria was at first Admiral of the French fleet, but, disgusted at
the breach of faith shown by Francis I. , and his inattention to the freedom
granted to Genoa, he went over to the Emperor Charles V. , and having
obtained a promise that his native city should be an independent
Republic, drove the French out of the city, and introduced a constitu-
tion in which all family interests were made subordinate to the real
welfare of the State. It was thus ordained that all the old families
possessing landed property were to be counted as equal ; and every noble
family which possessed six inhabited houses in the town was to form an
" Albergo, " to which poorer families were to associate themselves, an
arrangement which gave an opportunity of uniting those families who
had hitherto favoured the Guelphs to Ghibelline Alberghi, and those
who were Ghibellines to Guelphic Alberghi, and in this way gradually
extinguishing their party-spirit by their interests. Out of the 28
Alberghi thus formed, a senate of 403 members was chosen, which was
to fill up all the offices of state, the Doge being only elected for two
years.
Having no children, Andrea Doria had chosen as his heir his great-
nephew Gianettino, a vain young man, who was suspected of wishing
to aspire to the sovereignty when his uncle should be dead. The offence
which he gave to one of the great Genoese nobles, Giovanni Luigi di
Fieschi, Count of Lavagna, led to the famous conspiracy of the Fieschi,
by which it was resolved to overthrow the new constitution of Genoa
and the influence of the Dorias. For the moment the insurgents were
successful. Gianettino was killed at the Porta S. Tommaso, and Andrea,
on hearing of his death, fled to Savona ; but the conspiracy was brought
to nothing by the death of Fieschi, who fell into the water as he was
stepping into a galley, and was drowned by the weight of his armour ;
after which, Andrea Doria was brought back to Genoa with honour,
and the whole property of the Fieschi was confiscated and their palace
razed to the ground.
From this time Genoa enjoyed tranquillity, till the reign of Louis XIV. ,
who sent a fleet to besiege the town in 1684, when the Palace of the
32 ITALIAN CITIES.
Doge and many other fine buildings were destroyed by bombardment,
and the city was forced to submit.
In 1800 Genoa again underwent a siege, when it was attacked by sea
by an English and Neapolitan fleet, and by land by the Austrians. The
blockade caused a terrible famine, in which 20,000 persons perished,
and Massena, with his French garrison, was obliged to capitulate on the
4th of June, but re-entered the town on the i6th. The last Doge
chosen was Girolamo Durazzo. In 1805 Genoa was incorporated with
France, and its trade was stopped. In 1814 it was stormed by the
English. The Vienna Congress made it over as a Duchy to the King
of Sardinia, and it has since followed the fortunes of the house of Savoy.
The imports of Genoa are now estimated at three hundred million
francs, its exports at a hundred and twenty million. The number of
vessels anually calling at its port is considered to be 7000 sailing-vessels
and 2300 steamers, including 1 700 sa.ling- vessels and 800 steamers from
foreign countries.
The architectural features of Genoa are first its mediaeval churches,
with striped faqades of black and white marble, and, secondly, its
magnificent sixteenth-century palaces. The residence of Rubens and
Vandyke in the town has greatly enriched it with their paintings, which
for the most part remain in the hands of those families for whom they
were originally executed. The Genoese painters Ludovico Brea, c.
1483; Luca Cambiaso, 1527 1585; Castello il Bergamasco, 1500
1570; Bernardo Strozzi (called "II Cappuccino" or "II Prete"), 1581
1644; Carloni, 1593 1630; were of inferior importance.
The principal hotels are all ranged along the edge of the
port, but are separated from the sea by a tramway and a
high stone terrace, which hide the view from the lower win-
dows, so that rooms "al terzo piano" are greatly to be pre-
ferred. From these one can overlook the harbour, and
watch the glorious sunsets behind the grandly-proportioned
light-house, called La Fanale (built 1547), 247 feet high,
which closes the port at its western extremity.
Hotels. Albergo cf Italia, kept by Bottacchi, the proprietor of the
once well-known Croce di Malta, now closed ; Albergo delle Quattro
Nazioni, excellent and very reasonable (pension 10 frs.) ; Hotel de la
Ville ; Hotel Feder ; Hotel de France ; and the Hotel de Londres near
the station. Visitors to Genoa in warm weather will do well to go for
GENOESE LIFE. 33
luncheon or ices to the really beautiful and thoroughly Italian cafe, " La
Concordia," in the Strada Nuova : its garden, on summer evenings, is
perfectly delightful.
Carriages (in all the piazzas), the course, 80 c. ; at night, I fr. 25 c.
The 1st hour, I fr. 50 c. ; at night 2 frs. Every half-hour after the first,
75 c. For the day, with 2 horses, 15 frs. ; with I horse, 10 frs. For the
half-day, with 2 horses, 10 frs. ; with i horse, 5 frs.
Omnibus (public) from the station to Piazza S. Domenico, and all over
the town, 20 c.
Boats, with I rower, in the harbour, for 2 to 4 persons, 2 frs. the hour.
Post Office* 1 8 Piazza Fontane Amorose.
The principal sights of Genoa may be comprised within
a single walk, and may be visited in the following order :
The Strada degli Orefici, Cathedral, (S, Maria di Carignano),
S. Matteo, Palazzo Spinola, (Acqua Sola), Palazzo Doria
Tursi, Palazzo Brignole Rosso, L'Annunziata, Albergo dei
Poveri, Palazzo Balbi, Palazzo Durazzo della Scala, Palazzo
del Principe Doria. But there are many other objects
in Genoa full of beauty and interest, and several days
may be well spent in the examination of its glorious palaces,
and the treasures they contain. Those who are unequal to
much exertion will find constant amusement in the view
from their windows, for which it is most desirable to secure
rooms on the third story :
" Genes rend paresseux. De sa fenetre on y jouit trop pour qu'il n'en
coute pas d'aller chercher au loin ses curiosites. Le voyageur assez
heureux pour plonger sur cette vaste mer, sur ce port magnifique qui en
est comme le vestibule, sur cette foret de mats que les flots balancent
sous les yeux, ne peut pas s'en arracher. Le mouvement et la vie qui
se jouent et se deploient sous milles formes diverses, ces legers bateaux
qui se glissent entre les vaisseaux immobiles, ces voix confuses qui se
melent au bruit sourd des vagues, les cris des matelots adoucis par
1'espace, leurs costumes si pittoresques, leurs physionomies si expres-
sives, cette mer si bleue, ce ciel si pur, cette vive lumiere, ces brises si
fraiches et pourtant si douces, ce cintre qui resserre le tableau afin de
n'en faire perdre aucun detail, et tout cela un seul coup d'oeil 1'embrasse !
VOL. I. 3
34 ITALIAN CITIES.
Ici vraiment tout ce qui respire jouit, tout ce qui regarde est heureux !
II est sans doute un grand nombre de ports de mer qui offrent une vue
etendue et variee, mais en outre d'une magnificence que Ton chercherait
vainement ailleurs, les differents plans sur lesquels la ville de Genes est
batie, semblent comme autant de gradins disposes pour faire jouir les
habitans de 1'eternelle naumachie qui se deploie a leurs regards."
Madame Swetchine.
" Looking out from my bed-room, I saw beneath me rows of lengthy,
oddly-constructed waggons, laden, some with sacks of corn, some with
barrels of (I know not what), some with pigs of lead and iron, some with
cocoa-nut matting, others with logs of timber, others, again, with dried
fish ; and, what with the ceaseless din of human voices, pitched in
every key, the clang of iron rails as they were flung from the carts to the
ground, the blasting of the neighbouring rocks for the fortifications, the
braying of mules and donkeys, the tinkling of the bells affixed to their
harness, and the cracking of vetturinos' whips as they whirled their crazy
vehicles through the streets, the hammering of iron pots and copper
pans, the chanting monotone of the sailors, with their yo-ho, yo-ho ! as
they raised anchor before leaving harbour, the creaking of cordage, the
cries of hucksters as they advertised their wares for sale, and the vibra-
tion of all the church bells as they chimed the quarters, I thought rny
tympanum must have burst. I say nothing of the fragrant odours drawn
forth by the heat of the sun from Parmesan and Gruyere cheese and
Bologna sausages ; nor will I dwell on the filthy habits of women spit-
ting and men smoking at every turn. In spite of all these drawbacks,
the eye enjoys a perpetual feast in the strange dramas acting every
minute, and the picturesque groups standing at every corner. The
superfluous energy of gesticulation about the veriest trifle, in which
almost all classes indulge, would be amusing were it not fatiguing. It
was but now I saw two men, with naked, nervous arms and legs, and
swarthy breasts, with no article of clothing on them but cotton drawers,
flinging their arms about so wildly, and gabbling at each other with such
frantic vehemence, that I expected blood-shed every instant. The ring-
ing laugh which succeeded this redundancy of gesture taught me that I
did not yet understand the national temperament. " Julian C. Young.
Emerging from the hotels on the side towards the sea, the
traveller finds himself in a heavy white-washed arcade be-
neath the old houses, a place sufficiently repulsive in its first
appearance, but always full of life and " movimento," and
where the character of the Genoese people may be well
STRADA DEGLI OREFICI. 35
studied. Women pass in the veils of Genoa, the graceful thin
muslin veils of the unmarried women, called pezzottos, and
the picturesque mezzaras, a kind of gaily-flowered chintz, of
the married women. It will be observed what numbers of
priests and monks of every kind still abound in the city
which is especially dedicated to the Madonna. The Italian
proverb about Genoa,
Mare senza pesce*, monti senza legno, uomini senza fede, donnesenza
vergogna,
has no truth, and is probably of hostile Pisan origin : cer-
tainly the Genoese would not be likely to say it of them-
selves. However, two of the greatest of Italian poets con-
demn the faults of Genoa :
"Ahi Genovesi, uomini diversi
D'ogni costume, e pien d'ogni magagna
Perche non siete voi del mondo spersi. "
Dante, Inf. xxxiii. 151.
' ' Tue ricchezze non spese, eppur corotte,
Fan d'ignoranza un denso velo agli uni,
Superstizion tien gli altri ; a tutti e notte. "
Alfieri, Sonn. 76.
Following the arcades to the left (from the hotels), the Via
della Ponte Reale leads to the busy little Piazza Banchi,
containing the gaily-painted sixteenth-century Exchange
Loggia dei Banchi raised aloft on a balustraded platform.
From this square opens the Strada degli Orefici, the jewel-
ler's street, bright with shops of coral, and silver and gold
filigree-work, chiefly in the form of butterflies, flowers, or
feathers. On the left of the street, near the end, is a shrine,
much esteemed by the Genoese, containing a beautiful pic-
ture of the Virgin and Child with S. Eloy (the patron of
* There are 180 different kinds.
36 ITALIAN CITIES.
smiths), by Pellegrino Piola. Its oeauty is said to have
led to the assassination of the artist, in his twenty-second
year, by his jealous master Castello. When Napoleon wished
to remove this picture, the gold and silversmiths effectually
defended it, and it was never taken to France.
Returning to the arcades, we have, facing us, the black
walls and rugged arches of the old Dogana, enclosing the
Banco di San Giorgio, used for the Bank, which was founded
in 1346,10 meet the expenses of resisting the Grimaldi of
Monaco. The building is a memorial of Genoese hatred and
vengeance against Venice, having been erected stone for stone
with the materials of a castle belonging to the rival city,
which fell into the hands of Genoa in 1262, transported
hither by sea at great cost. Against the outer arches, hung
for nearly 600 years, a similar memorial of the remorseless
hatred of Genoa against Pisa the chains of the Porto
Pisano, carried off, in 1290, by Conrad Doria, with forty
galleys : these have lately been restored to Pisa. Amongst
the decorations of the building is the Griffin of Genoa
strangling the imperial Eagle, and the Fox of Pisa in its
claws, with the motto
" Griphus ut has angit
Sic hostes Genua frangit."
The upper hall, a striking picture of neglected and decay-
ing magnificence, is surrounded by two ranges of grand life-
size statues of Genoese heroes Spinolas, Dorias, Fieschis,
&c., the upper row standing, the lower seated.
In this neighbourhood, closing the eastern side of the
harbour, is the Porto Franco. Here there is a curious
population of porters, founded in 1340 by the Banco di
S. Giorgio, which imported 12 porters hither from the
CATHEDRAL OF GENOA. 37
valley of Brembana, of which the inhabitants were famous
for their industry and honesty. In order to succeed to his
father's employment it was indispensable that a son should
be born, either within the precincts of the Porto Franco, or in
the villages of Piazza and Lugno, and such was the morality
of the colony that in the annals of the police no complaint
has ever been brought against its people. The Caravanas,
as they were called, from the Arab fashion of their arrival,
had the privilege of selling their posts to their compatriots,
and these were often valued at as much as 10,000 francs.
Now they have lost their privileges, and the FftcchiniTS&y be
simple Genoese.
We now turn to the left, by the Via S. Lorenzo, to the
Cathedral, which was chiefly built in the twelfth century,
and restored in the fourteenth. It is striped in alternate
courses of black and white marble, like most of the great
Genoese buildings. In the west front are three tall Gothic
portals, divided by twisted columns taken after the siege of
Almeria, in 1 148, and approached by a staircase guarded by
two grand couchant lions. Over the central door is a relief of
the martyrdom of S. Lorenzo, the patron-saint of the church.
On the right is a beautiful semi-detached column, with a
saint in a niche, resting on a grotesque monster.
The church is approached through a kind of vestibule
or inner porch, and the effect of its interlacing arches is
very striking. The nave, which is far the finest part of
the building, is separated from the aisles by dark marble
pillars, supporting striped arcades of black and white marble.
Here and there a crimson curtain gives a bright patch of
colour, which is repeated in the figures kneeling below.
The chapel of the Doges at the end of the right aisle has
38 ITALIAN CITIES.
a great Crucifixion, by Vandyke : the arrangement is rather
stiff; S. Sebastian is represented with the Virgin and S. John
at the foot of the Cross. The choir is renaissance, with stalls
of tn/arsia-vfork. Before a chapel on the left of the altar
kneels the marble figure of Cardinal Pallavicini : the Genoese
say that he has confessed and long sought absolution, but
still waits for it. From the centre of the left aisle opens the
rich and picturesque Chapel of S. John the Baptist, built
1496. It is decorated with statues by Guglielmo della Porta,
and Matteo Civitali di S. Giovanni (a Florentine), 1490.
"The finest among the statues is that of Zacharias, a noble figure,
clad in the official robes of a Jewish high priest, standing with arms
raised to heaven as if 'executing the priest's office before God in the
order of his course.' The Elisabeth is remarkable for its fine drapery
and grandiose style ; the Habakkuk is a striking figure ; but the Adam
wants dignity, and the Eve is coarse and without expression." Perkin's
Tuscan Sculptors.
The shrine is adorned with hanging lamps, always kept
burning. The relics ot the saint are preserved in a silver
shrine by Daniele di Terramo (1437). In consequence of
the crime of Herodias' daughter, an edict of Innocent VIII.
forbids females to enter the chapel except on one day in
the year. In the treasury of the cathedral (only shown by
a special order from the Municipality) is the Sxcro Catino,
long shown to the people as the vessel used by Our Saviour
at the Last Supper; another tradition tells that it was
originally given to King Solomon by the Queen of Sheba.
When Cesarea was taken by the Genoese and Pisan Cru-
saders in no i, the Genoese gave up to the Pisans all the
rest of the booty, on condition that the Sacro Catino was
left to them. Nothing could exceed the veneration with
which it was afterwards regarded at Genoa. Twelve knights
S. MATTEO. 39
called " Clavigeri " were appointed as its special guard, each
being responsible during one month of the year for the safety
of the tabernacle in which it was contained. It was believed
to be formed from a single emerald, and as there were heretics
to this faith, in 1476 a law appeared, punishing with death
any one who made experiments upon the Sacro Catino, "by
touching it, with gold, stones, coral, or any other substance."
Unfortunately it was carried to Paris in 1809, and, when
sent back in 1815, it was broken between Turin and Genoa.
" II resulte que Genes ne croit plus que le Sacro Catino soit une
emeraude.
" Genes ne croit plus que cette emeraude ait etc donnee par la reine de
Saba a Salomon ; Genes ne croit plus que dans cette emeraude Jesus-
Christ ait mange 1'agneau pascal. Si aujourd'hui Genes reprenait
Cesaree, Genes demanderait sa part du butin, et laisserait aux Pisans le
Sacro Catino, qui n'est que de verre." Dumas.
Turning to the right on leaving the west door of the
cathedral, by the Via and Salita del Arcivescovado, we
reach the Church of S. Matteo. The little platform in front
of the church is surrounded by curious fifteenth-century
palaces. One (right) has a long inscription relating to the
victories of the Dorias. Two others have reliefs above
their doors, of S. George and the Dragon. The palace in
the right-hand corner, striped with black and white marble,
and with a door richly-adorned with arabesques, was that of
the famous Andrea Doria, given to him by the Republic,
and bears the inscription : Senat. Cons. Andrea de Oria
Patria Libemtori Mumts Publicum.
" This house was Andrea Doria' s. Here he lived ;
And here at eve relaxing, when ashore,
Held many a pleasant, many a grave discourse
With them that sought him, walking to and fro
40 ITALIAN CITIES.
As on his deck. 'Tis less in length and breadth
Than many a cabin in a ship of war ;
But 'tis of marble, and at once inspires
The reverence due to ancient dignity.
He left it for a better ; and 'tis now
A house of trade, the meanest merchandise
Cumbering its floors. Yet, fallen as it is,
'Tis still the noblest dwelling even in Genoa !
And hadst thou, Andrea, lived there to the last,
Thou hadst done well ; for there is that without,
That in the wall, which monarchs could not give,
Nor thou take with thee, that which says aloud,
It was thy Country's gift to her Deliverer.
'Tis in the heart of Genoa (he who comes,
Must come on foot) and in a place of stir ;
Men on their daily business, early and late,
Thronging thy very threshold. But, when there,
Thou wert among thy fellow-citizens,
Thy children, for they hailed thee as their sire ;
And on a spot thou must have loved, for there,
Calling them round, thou gav'st them more than life,
Giving what, lost, makes life not worth the keeping.
There thou didst do indeed a deed divine ;
Nor couldst thou leave thy door nor enter in,
Without a blessing on thee. " Rogers.
It was from the platform in front of the church that
Andrea Doria harangued the people in 1528, urging them
to resist the French, who were then besieging the town.
In the beautiful little cloister, on the left of the church, are
the remains of the colossal statues of Giannettino Doria and
another of the family, erected in front of the Doge's palace
in 1577, and broken to pieces by the mob in 1797.
The church itself is of the thirteenth century, and striped
with black and white marble. On the right of the west front,
in low relief, are some shields of the Dorias ; and, beneath
the window, an ancient sarcophagus, in which Lamba Doria
S. MATTEO. 41
was buried in 1323. Over the high altar hangs the sword of
Andrea Doria, sent to him in 1535 by Pope Paul III. At
Cloisters of 6. Matteo, Genoa.
the end of the left aisle is the Doria Chapel, with a picture
of Andrea and his wife kneeling at the feet of the Saviour.
Hence we enter a crypt adorned with stucco-reliefs by
Monforsoli, containing the tomb which Andrea Doria erected
for himself in his life-time, with figures allegorical of Vigilance
and Plenty. Facing it is a Reliquary of the True Cross, of
which the keys are always kept by the present Prince
Pamfili-Doria. The figures behind the high altar and the
beautiful balconied organ-loft are by Montorsoli. All the
monuments of the Dorias in suppressed churches or con-
vents have been collected in this church and its cloister.
The burial-place of Andrea Doria will recall the lines of
Ariosto
" Questo e quel Doria, che fa dai Pirati
Sicuro il vostro mar per tutti i lati.
Non fu Pompejo a par di costui degno,
Se ben vinse e caccio tutti i corsari :
42 ITALIAN CITIES.
Per6 che quelli al piu possente regno
Che fosse mai, non poteano esser pari ;
Ma questo Doria sol col proprio ingegno
E proprie forze purghera quei mari ;
Si che da Calpe al Nilo, ovunque s'oda
II nome suo, tremar veggio ogni proda.
Questi ed ognaltro che la patria tenta
Di libera far serva, si arrossisca ;
Ne dove il nome d' Andrea Doria senta,
Di levar gli occhi in viso d' uomo ardisca.
Veggio Carlo che'l premio gli augumenta ;
Ch" oltre quel ch' in coinmun vuol che fruisca
Gli da la ricca terra, ch' ai Normancli
Sara principio a farli in Puglia grandi. "
Orlando Furioso, xv.
Hence we may ascend to the handsome Piazza Carlo
Felice, containing the modern Exchange and Theatre. Close
by is the modern Palazzo Ducale, occupying the site of the
ancient Palace of the Doges, and with a handsome marble
hall and staircase. Facing the palace is the Church of
Sanf Ambrogio, built by the Pallavicini. It contains
three large and good pictures, which are shown by the
Sacristan :
Guido. The Assumption of the Virgin.
Rubens. The Circumcision (over the high altar).
Rubens. S. Ignatius healing a Demoniac.
From the Piazza Carlo Felice opens the street of the
same name. On the left is the Palazzo Pallavicini, once
remarkable for its pictures, now removed to the Palazzo
Durazzo in the Via Balbi. We now reach the Piazza delle
Fontane Amorose. On the left is the post-office. On the
right are the handsome Palazzo Negrotii and another
Palazzo Pallavicini. The upper end of the square is
ACQUA SOLA, PALAZZO SPINOLA. 43
Occupied by the picturesque Palazzo Spinola dei Marmt, built
of black and white marble in the fifteenth century, and adorned
with statues of Spinolas, commemorated beneath by ancient
Gothic inscriptions. This palace was erected with the
materials of the old Fieschi Palace, destroyed by the Senate
to punish their conspiracy in 1336. It contains some early
frescoes of Luca Cambiaso, or Lucchetto da Genova, 1527
1580, one of the best of the Genoese painters.
(On the left of the palace the steep Salita di Sta Catarina
leads to the beautiful Prommenade of Acqua Sola, much
frequented by the Genoese in summer. Here is the Caffe a"
Italia, in a pleasant garden.
At the top of the Salita, on the left, is the old Palazzo
Spinola, having a grand entrance court covered with decaying
frescoes. The rooms open upon a marble terrace, where the
walls are decorated in fresco by pupils of Pierino del Vaga.
Among the pictures are :
Pierino del Vaga. Holy Family.
Fiasella. Samson bound.
Bonifazio. The Prodigal Son.
Unknown. Portrait of Baldassare Castiglione.
Tlntoret. A fine portrait of a Spinola (signed).
Vandyke. Portrait of a Spinola.
Ann. Caracci. S. Jerome.
Titian. Holy Family.
Here also is a beautiful bronze figure by Giovanni da
Bologna.
The street beneath the arch of Acqua Sola leads to the
English Church.)
From the Piazza delle Fontane Amorose opens the Via
Nuova, a succession of palaces, one more splendid than
another.
44 ITALIAN CITIES.
" When can one forget the streets of palaces ; the Strada Nuova and
the Strada Balbi ; or how the former looks when seen under the brightest
and most intensely blue of summer skies, which its narrow perspective of
immense mansions reduces to a tapering and most precious strip of
brightness, looking down upon the heavy shade below. The endless
details of these rich palaces ; the walls of some of them within, alive
with master-pieces of Vandyke. The great heavy stone balconies one
above another, and tier above tier, with here and there one larger than
the rest, towering high up, a huge marble platform ; the doorless vesti-
bules, massively-barred lower windows, immense public staircases, thick
marble pillars, strong, dungeon-like arches, and dreary, dreaming, echoing,
vaulted chambers, among which the eye wanders again, and again, and
again, as every palace is succeeded by another ; the terrace-gardens
between house and house, with green arches of the vine, and groves of
orange-trees, and blushing oleanders in full bloom, twenty, thirty, forty
feet above the street ; the painted halls mouldering and blotting and rot-
ting in the damp corners, and still shining out in bright colours and
voluptuous designs where the walls are dry ; the faded figures on the
outsides of the houses, holding wreaths, and crowns, and flying upward
and downward, and standing in niches, and here and there looking
fainter and more feeble than elsewhere by contrast with some fresh little
cupids, who on a more recently decorated portion of the front, are
stretching out what seems to be the semblance of a blanket, but is, in-
deed, a sun-dial ; the steep, steep, uphill streets of small palaces (but
very large palaces for all that), with marble terraces looking down into
close by-ways, the magnificent and innumerable churches ; and the
rapid passage from a street of stately edifices into a maze of the vilest
squalor, steaming with unwholesome stenches, and swarming with half-
naked children, and whole worlds of dirty people, make up, altogether,
such a scene of wonder ; so lively and yet so dead ; so noisy and yet so
quiet ; so obtrusive and yet so shy and lowering ; so wide awake and
yet so fast asleep ; that it is a sort of intoxication to a stranger to walk
on, and on, and on, and look about him. A bewildering phantasmagoria,
with all the inconsistency of a dream, and all the pain and all the
pleasure of an extravagant reality. "Dickens.
Passing (right) the Cambiaso, Parodi, and Del Sindaco
Palaces we reach (No. 9) Palazzo Doria Tursi, now belong-
ing to the municipality, with a hanging terraced garden. In
the beautiful entrance court is a good statue of Giuseppe
Mazzini. We must ascend the splendid vast marble staircase
PALAZZO ROSSO. 45
to the great hall, now the Sala Communale, adorned with
modern mosaics of Columbus and Marco Polo. The room
on the right contains a hollow pillar, filled with the MS.
letters of Columbus, and surmounted by his bust. The room
on the left contains the bronze Tabula (discovered 1506),
recording the investigation of a boundary question between
the Genuenses and the Veturii, by Quintus Marcus Minutius,
and Q. F. Rufus in A. u. c. 633. Here also are a few good
pictures, especially a triptych of Albert Durer, representing
the Virgin and Child with S. Mark and S. Nicholas, and a
Van Eyck of the Crucifixion with the Virgin and S. John.
A sort of shrine, lined with pink silk, contains the relics of
Paganini his miniature, his medals, and his violin with its
case.
No. 1 8, in the Via Nuova, is the magnificent Palazzo
Brignole Sale, or Palazzo Rosso (from the red colour with
which it is painted), lately made over by the Duchess
Galiera, the heiress of the Brignole family, to the Municipio,
on condition of its being kept up, and its art collections
being undisturbed an act of extraordinary magnificence,
as the palace alone was valued at three millions of francs,
and the Library, included in the gift, is particularly rich in
" memoires pour servir " for the period of the French Re-
volution. The best pictures are :
yd Chamber (Sala della Primavera).
Vandyke. Portrait of a Prince of Orange.
*Id. Portrait of the Marchese Giulio Brignole, riding and waving his
hat, with his dog running by his side,
*Id. Portrait of the Marchesa Paolina Brignole (wife of Marchese
Giulio), a lovely woman, in a blue gown embroidered with
gold, and a black feather in her chestnut hair.
Id. Our Saviour bearing his Cross.
Paris Bordone. A portrait with red sleeves splendid in colouring.
46 ITALIAN CITIES.
4/// Chamber (Sala d' Estate).
Guercino. The Buyers and Sellers expelled from the Temple.
Guido. S. Sebastian, a replica of the famous picture at the Capitol.
$th Chamber (Sala d' Autumno).
Bonifazio Veneziano. The Virgin and Child, the Mother in a white
veil, in an open portico, receiving the adoration of the Magi.
6th Chamber (Sala d' Inverno).
P. Veronese. Judith and Holofernes.
jt/i. Chamber (Sala ddla Vita delV Uomo).
Vandyke. Young man in a Spanish dress.
*Id. Marchese Jeronima Brignole and her daughter (mother and
sister of Marchese Giulio).
No. 40 is the Palazzo Serra, splendidly adorned with
gilding and modern painting, but not much worth visiting.
Further, on the left, a little behind the street, is the
Church of S. Siro, once the Cathedral, when it was called
La Basilica dei Dodici Apostoli. Here the popular assem-
blies were held, in which in 1257 Guglielmo Boccanera
was made Captain of the People, and in which in 1339
Simone Boccanera was elected first Doge of Genoa. The
ancient building, however, has almost disappeared under
alterations.
Here we enter the Via Nuovissima, a street of shops, less
aristocratic than the others. It leads into the Piazza dell'
Annunziala. The Church of the Annunziata is splendid of
its kind, has fine marble columns, and is gilt with old
Genoese zecchini. Over the entrance is a Last Supper by
Procacdni. The church was built by the Lomellini, sove-
reigns of Tabarea, an island on the north coast of Africa,
till 1741.
"The S. Annunziata was built at the sole expense of the Lomellini
family, it is said, towards the end of the seventeenth century ; though
ALB ERGO DEI POVERI, PALAZZO BALE I. 47
how a church so pure in design came to be executed then is by no
means clear. The church is a basilica of considerable dimensions, being
82 feet wide, exclusive of the side chapels, and 250 feet long. The nave
is separated from the aisles by a range of Corinthian columns of white
marble, the fluting being inlaid with marbles of a warmer colour. The
walls throughout, from the entrance to the apse, are covered with
precious marbles, auanged in patterns of great beauty. The roof of the
nave is divided longitudinally into three compartments, which prevents
the awkwardness that is usually observed where windows of a semi-
circular form cut into a semi-circular vault. Here it is done as
artistically as it could be done in the best Gothic vaults. The one
defect that strikes the eye is that the hollow lines of the Corinthian
capitals are too weak to support the pier-arches, though this criticism is
equally applicable to all the original Roman basilicas of the Constan-
tinian age ; but, nevertheless, the whole is in such good taste, so rich
and so elegant, that it is probably the very best church of its class in
Italy. " Fergusson.
(The Via S. Agnese, behind the Annunziata, leads to the
immense Albergo del Poveri, beautifully-situated on a height,
with a fine sea view. It is a grand foundation of Emanuele
Brignole in 1564, and has been enriched by most of the
other great Genoese families. The long white chapel, on the
upper floor, has, at its high altar, a much-praised statue of
the Virgin by Puget, and, over a side altar on the left, a small
Pieta of Michael Angela, wonderfully touching and beautiful.
Over the staircase and in the court are interesting statues
of founders and benefactors.)
We now enter the Via Balbi, the most striking street in
Genoa. The splendour of the palaces seems to increase at
every step.
On the left (No. 4) is Palazzo Salbi, entered by a most
lovely cortile, enclosed by triple rows of slender columns,
through which a brilliant orange garden is seen. This is
the most comfortable and well-furnished of all the Genoese
palaces. The family inhabit the upper apartment, but
4S ITALIAN CITIES.
generously allow it to be shown to strangers. It contains
Great Hall.
Vandyke. Framcesco Maria Balbi on horseback.
n Cappuccino. Joseph interpreting the dream of the Chief Butler.
\st Chamber.
Guido Reni. Lucrezia.
Titian. The Virgin and Child, with S. Catherine and S. Dominic.
Vandyke. Madonna with a pomegranate.
znd Chamber.
* Vandyke. Philip II. on horseback (the head by Velasquez), the horse
quite magnificent
Id. A lady in a blue and gold dress, seated with a fan.
Id. A male portrait standing, in a black cloak and dress.
yd Chamber.
Caravaggio. The Conversion of S. Paul.
Ann. Caracci. Portrait of a girl. A most refined and lovely picture.
Gallery.
Garofalo. Holy Family.
H. Hemmling. Crucifixion.
On the right (No. i) is the magnificent Palazzo Durazzo
della Scala. Its beautiful court is surrounded by marble
pillars, and approached by a staircase with a triple row ot
pillars upon the steps. As the Marchesa Durazzo is daughter
and heiress of the late Prince Pallavicini, the Pallavicini
collection is now removed here. Amongst the pictures of
the Durazzo collection are
ist Chamber.
Ann. Caracci. A grand Portrait
2nd Chamber.
Andrea del Sarto. Virgin and Child,
Guido Reni. Sleeping Child.
Rubens. Portrait of himself.
PALAZZO DELL UNIVERSITA.
49
4/7* Chamber (passing the Sala Grande).
* 'Vandyke. The White Boy ("Ragazzo in abito bianco"), a most
beautiful picture. The parrot, monkey, and fruit are by Snyders.
Vandyke. Children of James I. of England.
Rubens. Philip IV.
Vandyke. A Lady and the Children.
The Pallavicini collection includes :
A so-called Raphael. " La Madonna della Colonna."
Albert Durer. Virgin and Child.
* Vandyke. The family of James I. of England.
Luca d'Olanda. The Descent from the Cross.
No. 5 of the Via Balbi is the Palazzo delV Universita,
approached from its cortile by a magnificent staircase,
guarded by the most grand lions. It contains some statues
Staircase of Palazzo dell' Universitsl, Genoa.
and bas-reliefs by Giovanni de Bologna, and has a Museum
of Natural History and a Botanical Garden.
VOL. i. 4
So ITALIAN CITIES.
No. 10 is the Palazzo Reale, purchased from the family
of Durazzo in 1815, and fitted up as a residence by Charles
Albert in 1842. Its pictures have, for the most part, been
removed.
The Via Balbi ends in the Piazza Acqua Verde (where is
the entrance to the Railway Station), adorned with a modern
monument to Columbus. It is here that Massena, after
having held the place for 60 days, and having exhausted all
his resources, even to the saddles of his horses themselves
eaten long ago, assembled the brave remnant of his garrison,
who sang French patriotic songs in the midst of their
Austrian conquerors.
Beyond the piazza, near the sea, is another palace, the
magnificent Palazzo del Principe, so called from the title
granted by Charles V. to Andrea Doria, by whom the
Palazzo Fregoso, presented in 1522, was rebuilt on this site
under Montorsoli. It bears the inscription : " Divino munere,
Andreas D'Oria (Cevae. F. S. R. Ecclesiae Caroli Im-
peratoris Catolici maximi et invictissimi Francisci Primi
Francorum Regis et Patrise classis triremium IIII. praefectus
ut maximo labore jam fesso corpore honesto otio quiesceret,
sedes sibi et successoribus instauravit. MDXXVIII."
On the upper floor is a loggia (now glazed), richly de-
corated with stucco by Montorsoli, and painted in fresco
by Pierino del Vaga, with portraits of the Dorias in heroic
costume. Andrea is at the end of the loggia on the right,
his brother Gioberti on the left. Lovely " putti " occupy the
lunettes above. By the fresco of Andrea, we enter a great
hall with a grand black and white marble chimney, and
furniture of the time of the great admiral. On the ceiling is
the Fall of the Giants, by Pierino del Vaga. Beyond this, is
S. GIOVANNI DI PRE. 51
Andrew Doria's bed-room, with a picture of him with his
favourite cat, and his portantina. The ceiling represents the
Caritas Romana. Beyond the loggia a delightful marble
terrace on arches overhangs the garden and overlooks the
port and town. Here, where the waves lap under the orange
trees, Andrew Doria gave to the ambassadors his famous
banquet, in which the plate was renewed three times, and
after each course was thrown into the sea. On the fountain
Andrew Doria is represented as Neptune. In another
garden, behind the palace, is the tomb of the dog which
Charles V. gave him " II gran Roldano." He died in the
absence of Andrea Doria, and was buried by his servants at
the foot of a statue of Jupiter, in order that, in the words of
the epitaph, " though dead he might not cease to guard a
god." It was in passing through the small gate of the neigh-
bouring Porta S. Tommaso that Gianettino, the son of An-
drea, was killed.
Further, on the left, are the lovely Scoglietto Gardens,
whose balustraded terraces and mazes of flowers, with views
of the sea between, are a perfect dream of beauty from
March to November.
In returning to the Hotels, the Church of S. Giovanni di
Pre may be visited. It dates from the thirteenth century,
and belonged to the Knights of S. John. In the adjoining
convent, Pope Urban V. resided after his return from Avig-
non, and here Pope Urban VI. murdered, in 1386, five of the
cardinals whom he made prisoners at Lucera, because he dis-
covered that they were plotting to restrict the evil use of the
papal power. Some say they were tied up in sacks and thrown
into the sea, others that they were put to death in prison
and buried in a dungeon ; only Adam of Hertford, Bishop of
52 ITALIAN CITIES.
London, was spared, at the intervention of King Richard II.
A separate excursion should be made to the humbler and
more populous quarter of Genoa, where, instead of streets
of palaces, we shall find only narrow alleys of tall houses,
where cats can jump from roof to roof across the way, and
where only a narrow slit of blue sky shines down upon the
darkness.
" In the smaller streets the wonderful novelty of everything, the un-
usual smells, the unaccountable filth, the disorderly jumbling of dirty
houses, one upon the roof of another ; the passages more squalid and
more close than any in St. Giles's, or in old Paris ; in and out of which,
not vagabonds, but well-dressed women, with white veils and great fans,
are passing and repassing ; the entire absence of any resemblance in
any dwelling-house, or shop, or wall, or post, or pillar, to anything one
has ever seen before ; and the disheartening dirt, discomfort, and decay,
perfectly confound one. One is only conscious of a feverish and be-
wildered vision of saints' and virgins' shrines at the street corners ; of
great numbers of friars, monks, and soldiers ; of red curtains waving at
the doorways of churches ; of always going uphill, and yet seeing every
other street and passage going higher up ; of fruit-stalls, with fresh
lemons and oranges hanging in garlands made of vine leaves .... And
the majority of the streets are as narrow as any thoroughfare can well be,
where people (even Italian people) are supposed to live and walk about,
being mere lanes, with here and there a kind of well, or breathing- place.
The houses are immensely high, painted in all sorts of colours, and are
in every stage and state of damage, dirt, and lack of repair. They are
commonly let off in floors or flats, like the houses in the old town of
Edinburgh, or many houses in Paris. There are few street doors ; the
entrance halls are, for the most part, looked upon as public property,
and any moderately-enterprising scavenger might make a fine fortune
by now and then cleaning them out." Dickens.
Following the arcades below the hotels (to the left) to
their end, we find steps leading up from the end of the Porto
Franco to the ramparts overhanging the sea, which are
always crowded with fishermen and sailors from the different
Riviera ports, who sit in groups on the broad flags, sprawl
in the sun upon the wall, or play at Mora, in their brilliant
S. MARIA IN' CASTELLO. 53
red berettt, loose white jackets, and crimson sashes. Most
glorious are the views towards the Rivieras, that towards
Pegli being backed by snowy Alpine ranges, while to the
south the lovely promontory of Porto Fino stretches out
into the sea, beyond the village and ruined church of Albaro.
"The Mediterranean is no more than a vast mass of salt water, if
people choose to think it so ; but it is also the most magnificent thing in
the world, if you choose to think it so ; and it is as truly the latter as it
is the former. And as the pococurante temper is not the happiest, and
that which can admire heartily is much more akin to that which can
love heartily, 6 Si aymru>i>, 6f f]8i] oftoiot;, so, my children, I wish
that if ever you come to Genoa, you may think the Mediterranean to be
more than any common sea, and may be unable to look upon it without
a deep stirring of delight. " -Dr. Arnold's Letters.
Near the little striped Romanesque Church of S. Giacomo
the steep Salita di S. Maria in Castello leads to the church
of that name, also striped of black and white marble, and
said to occupy the site of a temple of Diana, of which the
twelve granite pillars separating the nave from the aisles are
relics. The third chapel on the right is ancient, and con-
tains a very striking picture by Ludovico Brea of the Virgin
in glory, with a group of saints beneath, and an interesting
predella of the Entombment. The lower part of the chapel
is decorated with excellent azulejos. In the choir are tombs
of the Giustiniani. A Gothic stone pulpit projecting from
the wall of the chapel on the left of the high altar, and the
flat grave-stones, with incised portraits of ancient Genoese
citizens, should be observed. In the first chapel on the left
is an ancient sarcophagus, and above it a very curious panel-
picture of the Virgin and saints.
Turning left, below the church, we reach the small Piazza
Embriari, with an inscription which tells that "Round
this piazza the Embriaci had their home, a family renowned
54 ITALIAN CITIES.
in the wars of the cross and in their own country. Behind,
rises intact the giant height of their ancient tower." Not
far distant is another inscription of 1360, commemorating
the destruction of the palace of the Raggio family, on that
site, to punish their conspiring against the State (a similar
inscription near the Church of S. Maria in Via Lata com-
memorates the site of the Fieschi palace). Close by is the
Church of S. Donate, with an octagonal bell-tower of the
twelfth century. Hence the Stradone di S. Agostino leads to
the beautiful but ruined front of that church, of the fourteenth
century : the campanile is inlaid with coloured tiles. Be-
hind the church is the Piazza di Pontoria, with a picturesque
chicken-market. Hence the broad paved Via de Ponte di
Carignano leads across that extraordinary bridge to the
church, which is such a prominent feature in all distant views
of the town. In winter the bridge is a sunny and delightful
walk, and from it you look down on the immensely high,
many-storied, many-windowed houses of this crowded
quarter ; painted pink, blue, white, and yellow ; with gardens
of flowers on their roofs ; with clothes suspended in mid-air
from house to house. In the deep streets below are figures
moving like ants, in an obscurity which seems almost black
compared with the light above ; and beyond all, is the deep
blue sea, with the port, the light-house, the shipping, and
the lovely chains of pink mountains fading into an amber
sky.
The Church of S. Maria di Carignano was built in 1552,
entirely at the expense of the Sauli family.
" Voici a quel evenement cette eglise, 1'une des plus belles de Genes,
doit son existence.
' ' Le Marquis de Sauli, 1'un des hommes les plus riches et les plus
probes de Genes, avait plusieurs palais dans la ville, et un entre autres
S. MARIA DI CARIGNANO. 55
qu'il habitait de preference et qui etait situe sur 1'emplacement meme oii
s'eleve aujourdhui 1'eglise de Carignan. Comme il n'avait point de
chapelle a luij il avait 1'habitude d'aller entendre la messe dans celle de
Santa Maria in Via Lata, qui appartenait a la famille Fiesque. Un jour,
Fiesque fit hater 1'heure de 1'office, de sorte que le marquis de Sauli
arriva quand il etait fini. La premiere fois qu'il rencontra son elegant
voisin, il s'en plaignit a lui en riant.
" Mon cher marquis, lui dit Fiesque, quand on veut aller a la messe,
on a une chapelle a soi.
"Le Marquis de Sauli fit Jeter has son palais, et fit clever a la place
1'eglise de Sainte Marie de Carignan. " Dumas.
"As an example of how bad it is possible for a design to be, without
having any faults which it is easy to take hold of, we may take the much-
praised church of the Carignano at Genoa. It was built by Galeasso
Alassi, one of the most celebrated architects of Italy, the friend of
Michael Angelo and Sangallo, and the architect to whom Genoa owes
its architectural splendour, as much as Vicenza owes hers to Palladio,
or the city of London to Wren.
" The church is not large, being only 165 feet square, and the dome 46
feet in internal diameter. It has four towers at the four angles, and when
seen at a distance these five principal features of the roof group pleas-
ingly together. But the great window in the tympanum, and the two
smaller windows on each side, are most unpleasing ; neither of them has
any real connection with the design, and yet they are the principal
features of the whole ; and the prominence given to pilasters and panels
instead is most unmeaning. If we add to this, that the details are all of
the coarsest and vulgarest kind, the materials plaster and bad stone, and
the colours introduced crude and inharmonious, it will be understood
how low architectural taste had sunk when and where it was built. Its
situation, it is true, is very grand, and it groups in consequence well with
the city it crowns ; but all this only makes more apparent the fault of the
architect, who misapplied so grand an opportunity in so discreditable a
manner. " Fergusson.
Under the cupola are great statues of S. John and S.
Bartholomew by David, and S. Sebastian and the Blessed
Alessandro Sauli by Puget. The pictures are good speci-
mens of second-class artists. Beginning from the right, we
see :
Domenico Kola. S. Peter and S. John healing the palsied man.
Carlo Maratta. Martyrdom of S. Biagio.
56 ITALIAN CITIES.
Girolamo Piola. Virgin ("miraculous") and saints.
Vanni da Siena. The last Sacrament of S. Mary of Egypt.
Fiasdla. Alessandro Sauli in the plague of Corsica. A very fine
picture.
Cambiaso. The Deposition.
Procaccini. The Virgin with S. Francis and S. Carlo Borromeo.
Guercino. S. Francis receiving the stigmata.
In the sacristy, is the gem of the church an Albert Durer,
brought from an older church of the Sauli family, represent-
ing S. Fabiano, S. Sebastian, S. J. Baptist, and S. Antonio,
with the Annunciation, and a Pieta.
Behind the church, on the left, the broad Via Galeazzo
Alessi, and a shady rampart looking towards the mountains
(which continues to Acqua Sola), leads to the Church of S.
Stefano, with a stumpy brick Romanesque tower, a striped
marble front, and a beautiful small cloister. Over the high
altar is a picture of the Martyrdom of S. Stephen, supposed
to be the joint-work of Raphael and Giulio Romano, given
to the Republic of Genoa by Leo X. It was taken to Paris
by Napoleon, and, while there, was retouched by Girodet.
From the west front of S. Stefano, the Via della Ponte
degli Archi leads to the Vico di Pontecello, at the entrance
of which is a curious relief, relating to the capture of the
Porto Pisano by Conrad Doria, in 1260. Hence, passing
under the magnificent lofty old gate, called Porta di S. An-
drea, we again reach (right) the Piazza Nuova.
The visitor to Genoa will be constantly struck by the
immensity and magnificence of the old decaying villas and
palaces, with which, not only the city itself, but its outskirts
and all the surrounding villages, are filled. This perhaps is
owing to the fact that the sumptuary laws of the republic,
FROM GENOA TO TURIN. 57
which forbade fetes, velvet and brocaded dresses, and
diamonds, did not extend to buildings, into which channel
therefore the national extravagance of the people was
diverted. The luxury of building is nowhere more manifest
than in the suburb of Albaro, which abounds in mouldering
colonnades, painted walls, and decaying terraces. Here,
beautifully placed above the sea-shore, is a ruined church,
dedicated to S. John the Baptist, because here his relics
were first received upon their arrival at Genoa.
The Campo Santo of Genoa is beautifully situated, and
deserves a visit.
An excursion may be made to the villas at Pegli (see
chap i.), about half-an-hour by rail, 90 c. (a carriage 12
frs.). An order for the Villa should be asked for from the
porter of the Palazzo Pallavicini Durazzo.
Porto Fino (see chap, iii.) may also be visited in the day
from Genoa, as also many other places on both Rivieras.
The Railway from Genoa to Turin (18 frs. 30 c. ; 12 frs. 80
c. ; 9 frs. 150.), passes through the Apennines by a tunnel and
the valley of the Scrivia, and then across the plains of Aless-
andria and Asti. The journey occupies about five hours.
CHAPTER III.
THE RIVIERA DI LEV ANTE CARRARA AND
MASSA.
(The new railway from Genoa to Pisa, I7frs. 650. ; I3frs. 20 c. ; 9frs.
75 c., allows the traveller to accomplish the journey in six hours, but at
great sacrifice of the beautiful scenery and quiet enjoyment with which it
was formerly attended. He may, however, compensate himself by giving
the time thus gained to spending a few days between Spezia and Massa
Ducale, which are both delightful centres for excursions of perfectly
ideal loveliness.)
THE first station of any importance is Nervi (Pension,
II Stabilimento Inglese}, a place which is much fre-
quented by English invalids in winter. From the railway
and from the dusty high-road it appears most unattractive,
but there are charming orange groves between the houses
and the sea, with beautiful views towards Porto Fino. Still,
to those who are in good health, Nervi will, at best, be a
beautiful prison, as there are no walks, and its gardens are
hemmed in on all sides by the mountains.
Camogli (stat.) may be made the subject of a pleasant
excursion from Genoa.
"Camogli, seen from the road above, is like a tiny model on the
margin of the dimpled water, shining in the sun. Descended into, by
the winding mule-tracks, it is a perfect miniature of a primitive sea-faring
town ; the saltest, roughest, most piratical little place that ever was seen.
Great rusty iron rings and mooring chains, capstans, and fragments of
old masts and spars, choke up the way ; hardy rough-weather boats,
and seamen's clothing, flutter in the little harbour, or are drawn out on
the sunny stones to dry ; on the parapet of the rude pier a few amphibi-
RUT A AND PORTO-FINO. 59
ous-looking fellows lie asleep, with their legs dangling over the wall, as
though earth and water were all one to them, and if they slipped in,
they would float away, dozing comfortably among the fishes ; the church
is bright with trophies of the sea, and votive offerings, in commemora-
tion of escape from storm and shipwreck. The dwellings not immedi-
ately abutting on the harbour are approached by blind low archways,
and by crooked steps, as if in darkness and in difficulty of access they
should be like holds of ships, or inconvenient cabins under water ; and
everywhere there is a smell of fish, and sea- weed, and old rope."
Dickens.
Behind the town, rise on a hill the grounds of an old villa,
overgrown with a wild luxuriance of cypress, oak, ilex,
myrtle, and laburnum. From the shade of some old pine
tree at the top you look down on one side over precipitous
cliffs to the sea, and on the other through the woods to the
village of Ruta, embedded on the green mountain-side.
Far down, close to the shore, is a ruined chapel.
(Ruta, which in vetturino-days was the first stage from
Genoa, is situated almost on the highest part of the
mountain-side, which, further on, where it runs into the sea,
forms the peninsula of Porto Fino. There are two toler-
able inns here, and, close to the higher of them, is the
mouth of a short tunnel for the high-road, which, as it were,
forms an entrance to the sunny gardens of the south, and
whence you look over a swelling luxuriance of peaches and
almonds, carpeted with melons, and garlanded with vines,
to Rapallo, Chiavari, and Sestri, lying in brilliant whiteness
by the side of the deep-blue water, and thence to the
mountains, at whose point the marble rocks of Porto Venere
form the entrance of the lovely gulf of Spezia. The view
towards Genoa also is most striking in the sunset, mountains
and city and lighthouse and sea alike bathed with crimson
as the sun goes down behind the horizon of waters.
60 ITALIAN CITIES.
A charming excursion may be made from Ruta, when the
sun is not too hot, along the ridges of the promontory. Deep
down below, in one of its clefts, is the Convent of San
Fruttuoso, lying among its palm trees by the sea-shore, the
place where the Dorias are now brought by sea for burial,
and where their strange sarcophagus-tombs may be seen in
the crypt. The spot had a melancholy interest some years
ago, from the burning of a fine ship which had only left
Genoa a few hours before. Two heroic peasant women put
off in a small boat to save the crew, and one of them was
lost in the attempt. Porto Fino is an interesting little town
(about three miles from Ruta), situated in a tiny bay near
the end of the promontory. The houses are supported by
open arcades, the church is gaily painted, a fine umbrella-
pine shades the neighbouring rocks, and the little port is
crowded with picturesque fishing-boats. All the men in the
town are fishermen, with tall red beretti on their heads, and
the women are lace-makers, who sit at their pillows all day
under the shady arcades beneath the houses. An enchant-
ing terrace-walk of a mile, through the ilex-woods overhang-
ing the sea, leads round the point of the bay from Porto
Fino to the little cove of Piccolo Paggi, where a yellow
castle on a rock forms a picturesque foreground to the
purple mountains. Hence one may take a boat to Santa
Margherita, half-an-hour's row distant. Perhaps the finest
point in the whole promontory is seen by going this way ;
the desecrated Convent of Cervaro or Sylvano, on a rock
surrounded by gigantic aloes and palm trees, which is the
place where Francis the First was confined before he was
conveyed to Catalonia.)
S. Margherita (stat.) is beyond the tunnel by which the
SESTRI DI LEV ANTE.
6 1
railway passes under the ridge of Ruta. Here there is a
picturesque old castle in the sea.
Rapallo (stat.) is famous for the manufacture of lace. It
has a graceful campanile. In the Church of Madonna di
Montallegro, there is a great festa from July i to 3, with a
pretty illumination at night.
Chiavari (stat.) (Inn. Posta) is a large place, and is said
to be that whence most of the Italian organ-boys are sent to
England. In the Church of S. Francesco is a picture, at-
tributed to Velasquez, of S. Francis causing water to flow
from the rock of Lavernia by his prayers.
The approach by road to Sestri is most beautiful. The
mountains have grand and varied forms, the gaily-painted
churches and villages rise amid luxuriant olives and cypresses,
and magnificent aloes fringe the rocks by the way-side.
Approach to Sestri.
Sestri di Levante (stat), the Roman Segeste (Inns. Europa ,
62
ITALIAN CITIES.
Albergo della Strada Ferratd), is a charming spot, and quite
worthy of a halt. There is a ruined chapel of black and
white marble in a cove of the sea under the wooded pro-
montory, and artists will find beautiful subjects in the ascent
behind the town, looking towards Genoa.
(Immediately behind Sestri the post-road ascends, till it
reaches the summit of the Pass of Bracco, whence there is a
grand view over billow upon billow of hill, ending in the
noble forms of the pink, hazy, jagged mountains of Camara.
Hence the road descends by Matarana and Borghetto till it
reaches the wooded heights behind Spezia.
Pass of Bracco.
" Coming upon Spezia from the Genoa road, down the zig-zags which
descend the olive-terraced hills, nothing more beautiful can be imagined
than the first sight of the bay. The sea is of a light azure blue, streaked
with white lines of calm. On it are riding at anchor an abundance of
vessels, from the stately man-of-war to the tiniest fishing-boat, all
reflected in the waveless surface. Across the bay rise, one above another,
lines of wooded hills, the lower ranges studded with glittering buildings ;
the higher, melting away from brown and green, and the still lingering
yellow tints of autumn, into tenderest purple ; and all surmounted, far,
far above, in the blue sky, by a splendid jagged line of snowy Apen-
nines, glowing with the warmest tints of the rose. Nor is the inland
view from the shore unworthy of a sea-prospect so beautiful. Vast
hills keep guard around this arsenal of Italy, terraced to the very
summit with the grey olive. Seven different glens, each dark with
recesses of shade and buttresses of rock, divide off one hill from another ;
and thick-sprinkled on every knoll of vantage, gleam out villages with
LA SPEZfA. 63
their slender steeples through the sunny haze. East of the town, and
overhanging its suburbs, rises the dark ruin of its ancient castle,
buttressed with wild ravines of yellow rock, fringed with ilex and
myrtle." Dean Alford.)
By the railway one sees none of these things. There are
47 tunnels between Genoa and Spezia, and between Sestri
and Spezia one has only an occasional flash of blue sea, with
its white foam and jagged rocks ; indeed, where it is not
in a tunnel, the railway is almost in the sea, overhanging it
on the face of the precipice. The stations are mere fishing-
villages, and the train seldom stops at more than one of
them Levanto where, in one of the churches, there is a
good picture, by Andrea del Castagno.
La Spezia (stat.) (Inns. Croce di Malta, good, with beauti-
ful view ; Citta di Milano, where Garibaldi resided in cap-
tivity after the battle of Aspromonte ; Albergo Nazionale)
was, a few years ago, one of the most beautiful places in
Italy, and though the charm of the place itself is much
destroyed since 1861, when it was made the harbour for
Italian ships of war, it remains a centre for some of the
most interesting excursions on this lovely coast. The views
of the Carrara mountains are exquisite. There is a little
public garden, with an avenue of oleanders. Above the
town, under the olive-clad mountains, is an ancient castle of
the Visconti : their badge, the viper, may still be seen upon it.
The Gulf of Spezia, broken into a succession of little bays,
and studded with picturesque villages, is wonderfully beauti-
ful. It is seven miles long, by three broad. In ancient
times it was called the Gulf of Luna, being the port for the
great town of Luna, which Pliny calls "the first city of
Etruria."* Strabo accurately describes the harbour as one of
* Pliny, iii. 5, s. 8.
64 ITALIAN CITIES.
the finest and largest in the world, containing within itself
many minor ports, and surrounded by high mountains, with
deep water close to shore.* The advantages of the port
were afterwards evident to the Romans, who, long before
the subjection of the mountain tribes, were accustomed to
make the Lunae Portus the station for their fleets, destined
either for Spain or Sardinia.! It is celebrated by Ennius, as
quoted by Persius :
" Mihi mine Ligus ora
Intepet, hybernatque meum mare, qua latus ingens
Dant scopuli, et multa littus se valle receptat.
'Lunai portum, est operae, cognoscite cives.'
Cor jubet hoc Enni. " Persius, vi. 9.
and by other Latin poets :
" Tune quos a niveis exegit Luna metallis,
Insignis portu ; quo non spatiosior alter
Innumeras cepisse rates, et claudere pontum."
Sil. Ital. viii. 483.
" Advehimur celeri candentia moenia lapsu,
Nominis est auctor sole corusca soror
Indigenis superat ridentia lilia saxis,
Et Isevi radiat picta nitore silex.
Dives marmoribus tellus, quae luce coloris
Provocat intactas luxuriosa nives. "
Rutilitis Itin. ii. 63.
It was intended by Napoleon I. to make the bay of
Spezia the Mediterranean harbour of his Empire, but this
scheme was prevented by the outcries about the injury
which would then be done to Toulon.
(It is a drive of about eight miles (carriage 10 frs., a boat
with one rower costs the same), along the western shore
of the gulf to Porto Venere. The road passes above the
* Strabo, v. p. 222.
t Livy, xxxiv. 8 ; xxxix. 21, 32.
PORTO VENERE, 65
bays of Gala di Mare, Fezzano, Panigaglia, Delle Grazie,
Varignano, and La Castagna, and skirts a succession of
picturesque villages, which have each their own little bay
and shipping, and their old churches standing in groves of
tall cypresses, or their ruined watch-towers. At the mouth
of the gulf is the Island of Pa/maria, three miles in circum-
ference, famous in ancient times for its marble quarries, and
now containing a fortress for the imprisonment of brigands.
It has two attendant islets, Tino and Tinetto, on the former
of which are the ruins of a convent.
> f
Gate of Porto Venere.
Wonderfully picturesque is the little harbour of Porto
Venere, where the tall, many-coloured houses come sheer
down into the deep-blue water. Here, by a strange eastern-
looking gate-way, one enters the narrow street, which ends
on open rocks, where, at the extreme point of the pro-
montory, a broken stair ascends to the ruined Church of S.
VOL. i. 5
66
ITALIAN CITIES.
Pietro, of black and white marble, built by the Pisans in
1118, marking the site of the temple of Venus, which gave
the place its name. The ruined windows look down, on one
side upon the still bay with its background of marble moun-
tains, and the many villages reflected in its smooth surface ;
and, on the other, upon the precipices to the north, whose
colouring is all the more gorgeous from the peculiar marble
Portor of black, veined with yellow, which abounds
here.
A second excursion should be made to Lerici, at the
southern point of the gulf. The road runs inland for some
Lenci.
distance, but there is a noble view before arriving at the
Pisan castle, with its high machicolated towers, fringed with
golden lichen, and the town and harbour nestling beneath,
while, across the still reaches of the gulf, glow the rocks of
Porto Venere and Palmaria. Over the castle gate was the
boastful patois inscription :
Scopa boca al Zeno se
Crepacuore al Porto Venerese
Streppa borsello al Lucchese,
LERICI. 67
carried off in triumph in 1256 by the Genoese, who left lines
of their own upon one of the towers.
Close to Lerici, between it and Sant' Arenzo, is the beau-
tifully-situated villa of Casa Magni, once a Jesuit convent.
Hither Shelley came to reside with his wife, and their friends,
Mr. and Mrs. Williams, April 26, 1822. Here, as he was
walking in the moonlight on the terrace in front of the house,
he beheld the omen of " a naked child, which rose from the
sea, and clapped its hands in joy, smiling at him." Then,
in the night, he saw " a cloaked figure which came to his
bedside and beckoned him to follow. He did so, and when
they came to the sitting-room, the figure lifted its hood, dis-
closed Shelley's own features, and, saying ' Siete soddis-
fatto,' it vanished." Still, Shelley continued in high spirits,
though he said that this was in itself ominous of evil to him,
as " the only warning he found infallible was his feeling
peculiarly joyous, then he was certain that some disaster
was about to ensue."
On July i, he went to Leghorn with his friend Williams
to see Leigh Hunt. On the 8th they set sail from Leghorn
to return to Lerici. A sudden squall came on, after which
his boat was never seen again. Terrible days of suspense
ensued for the wives, and, on the 22nd, two corpses were
found, that of Shelley near Viareggio, that of Williams near
the tower of Migliarino at Bocca Lerici, three miles distant.
A volume of Sophocles was in one of Shelley's pockets ;
Keats' last book, lent him by Leigh Hunt, and doubled
back at the " Eve of S. Agnes," in the other " as if
hastily thrust away, when Shelley, absorbed in reading,
was suddenly aroused by the bursting squall." Three
weeks later their sailor-boy, Charles Vivian, was found, four
68 ITALIAN CITIES.
miles off. The schooner in which they were lost was like-
wise found in September; she had not capsized, but had
been swamped in a heavy sea.*
' ' The corpses were in the first instance buried in the sand, and quick-
lime was thrown in. But such a process, as a final means of disposing
of them, would have been contrary to the Tuscan law, which required
any object thus cast ashore to be burned, as a precaution against plague ;
and (Captain John) Trelawny, seconded by Mr. Dawkins, the English
consul at Florence, obtained permission to superintend the burning,
and carry it out in a manner consonant to the feelings of the survivors.
This process was executed with the body of Williams on the I5th of
August on the 1 6th with Shelley's. A furnace was provided of iron
bars and strong sheet-iron, with fuel, and frankincense, wine, salt, and
oil, the accompaniments of a Greek cremation : the volume of Keats
was burned along with the body. Byron and Leigh Hunt, with the
health-officer, and a guard of soldiers, attended the poet's obsequies. It
was a glorious day, and a splendid prospect the cruel and calm sea
before, the Apennines behind. A curlew wheeled close to the pyre,
screaming, and would not be driven away : the flame arose golden and
towering. ' The only portions of the corpse which were not consumed,'
says Trelawny, 'were some fragments of bones, the jaw, and the skull;
but what surprised us all was that the heart remained entire. In snatch-
ing this relic from the fiery furnace, my hand was severely burnt.' The
ashes were coffered, and soon afterwards buried in the Protestant ceme-
tery at Rome." RossettPs Memoir.
Leaving Spezia and the coast, the railway reaches
Arcola, with a fine old castle, and soon after crosses the
river Magra, which was once the boundary between Liguria
and Etruria, and afterwards between the territories of Tus-
cany and Genoa.
"Macra che per cammin corto
Lo Genovese parte dal Toscano.
Dante, Par. ix. 89.
Sarzana (stat.) (Inns. New York, Lunigiana), lying
* See Memoir, by William Michael Rossetti.
SARZANA, LUNA. 69
tow in the plain, was the birth-place of Pope Nicholas V.
(Tommaso Parentucelli, 1447 ^455). His statue adorns
the fa9ade of the Cathedral, an Italian Gothic building of
1355 1470 ; and in the Cappella di S. Tommaso is the grave
of his mother, Andreola dei Calandrini. In the Church of
S. Francesco is the tomb of the Pisan Giovanni Balducci,
1322. East of the town is the fortress of Sarzanello, built
by Castruccio Castracani, Lord of Lucca, for the defence of
the adjoining territory against the Malaspinas.
The family of Buonaparte (a name of partisanship, as
Malaparte of the Gherardescas). is descended from that
of Cadolingi, settled in this neighbourhood, where a Buona-
parte existed in 1264; and hence they migrated to Corsica.
The ancient name of Sarzana was Luna Nova, from its
having superseded the ancient Lima. An excursion may be
made to this celebrated site, which is situated on the left
bank of the Magra, near its mouth. This was the most
northern city of Etruria, but had fallen into the hands of the
Ligurians, before we hear of them in connection with Roman
history. It was colonized by the Romans in B. c. 177. It
had, however, fallen into complete decay before the time of
Lucan, who speaks of it as deserted
" Arruns incoluit desertse moenia Lunse ; "
but it continued to be famous for its white marble, of which
the Pantheon, the Pyramid of Caius Cestius, and other
monuments at Rome were built, as were probably the " Can-
dentia moenia " of Luna itself, which Rutilius speaks of. It
is strange that, being five miles distant from the Gulf ot
Spezia, it should have given a name to that harbour.
" About three miles from Sarzana, on the high-road to Lucca and Pisa,
the traveller will have on his right a strip of low, grassy land, in-
70 ITALIAN CITIES.
tervening between him and the sea. Here stood the ancient city. There
is little enough to see. Beyond a few crumbling tombs, and a fragment
or two of Roman ruin, nothing remains of Luna. The fairy-scene, de-
scribed by Rutilius, so appropriate to the spot which bore the name of
the virgin-queen of heaven ' the fair white walls ' shaming with their
brightness the untrodden snow the smooth, many-tinted rocks, overrun
with ' laughing lilies ' if not the pure creation of the poet, have now
vanished from the sight. Vestiges of an amphitheatre, of a semi-circular
building which may be a theatre, of a circus, a piscina, and fragments of
columns, pedestals for statues, blocks of pavement, and inscriptions, are
all that Luna has now to show." Dennis,
Continuing the railway, we reach
Avenza (stat.) on the left bank of the Carrion e, formerly
the Aventia a town fortified by Castruccio Castracani, in
1322. Hence there is a branch-line leading, in 12 min.
(55 c-; 4 c.; 30 c.), to
(Carrara (Locanda Nazionale, terrible mosquitos here),
a very ugly town, the capital of the marble- works, 400 mines
with 6000 workmen are in operation. The works may be
visited by ascending the right bank of the Torano and pass-
ing through the village of that name (Guide 3 frs.). The
hours of labour are from 5 A. M. to 3 P. M. ; a horn sounds
when the rock is about to be blasted.
The town is one series of sculptors' studios, in which the
greater part of the population is employed. A statue (1861),
of the Arch-duchess Maria Beatrice, adorns the piazza.
Several of the churches are well worth notice, especially
S. Andrea, which was built in the i3th century, under the
lordship of Pisa, in the semi-gothic style. S. Giacomo is of
the renaissance. The Madonna delle Grazie is rich in costly
marbles.
The only Carrarese sculptors of note have been Alberto
Maffioli in the 15th, and Danese Cattaneo in the i6th
MASSA DUG ALE. 71
century. The latter was the intimate friend of Torquato
Tasso, who speaks of him in his " Rinaldo " as being equally
illustrious as poet and sculptor, while Bernardo Tasso, in
the " Armadigi," places him on the mountain of glory, and
calls him
" Spirto alto ed egregio
E poeta, e scultor di somrao pregio. ")
The outline of the mountains, with their jagged precipices,
becomes unspeakably grand after leaving Avenza, but the
views reach a climax of poetic loveliness at Massa, where a
noble castle crowns the rich olive-clad height above the
town, while beyond it, the hills, dotted with convents and
Massa Ducale.
villas, and radiant with vegetation, divide, to admit, like a
fairy vision, the exquisitely-delicate peaks of the marble
mountains.
72 ITALIAN CITIES.
Massa Ducale (Albergo Qtiattro Nazione, good) contains
the immense Palace of Elisa Bacciochi, sister of Napoleon
I., Duchess of Massa Carrara. She pulled down the old
cathedral to improve her view, and only one door of it
remains, inserted in the modern building. The walks
through the lanes and vineyards near Massa, watered by
running streams, are exceedingly lovely. Artists should
make a point of staying here. The old castle of Montignoso,
which belonged to the Lombard Agilulf, is passed on the
left before reaching the station of Querceta.
Pietra Santa (stat.) (Inn. Unions) is another exquisitely
attractive point in this land of beauty. In summer, nothing
can exceed its soft loveliness, the richness of the plain, with
its Indian corn and vines, the luxuriance of the olive-covered
At Pietra Santa
hills, and the noble forms of the mountain back-ground. In
the midst rises the old walled town, which has stood many
SERRAVEZZA, VIAREGGIO. 73
sieges. Its perfectly mediaeval piazza contains a machi-
colated Town Hall of 1346, and two fine old Gothic
churches, while the battlemented walls rise behind.
S. Martino is of the i4th century, but restored internally
in the i6th. The red campanile is of 1380. The octangular
Baptistery has bronzes by Donatella. The pulpit and holy-
water basons are by Stagi, who was born here. S. Agostino
is Gothic, of the i4th century, with an unfinished fasacle.
It contains a number of curious monuments. In the ist
chapel on the right a picture by Taddeo Zacchia, 1519.
A delightful excursion (carriage 6 frs.) may be made from
hence to the marble-quarries of Serravezza, in which the
first breach was made by Michael Angelo, in 1517, on a
commission from Leo X. It is a lovely drive, through a
valley of indescribable richness, waving with Indian corn,
and with vines dancing in festoons from one peach tree to
another, while behind is a most noble range of mountains,
purple below, while above, the peaks gleam snowy-white
against a deep blue sky. In the narrow gorge beyond the
valley, are Silver-Mines, beautifully situated. In the moun-
tains above Serravezza the rocks often take such strange
forms, as to recall the descriptions of the beasts in the
Apocalypse.
Viareggio (Albergo del Commercio), much-frequented from
Florence and Pisa, is a dull sea-place, but it has exquisite
views of the mountains. Hence the railway passes through
the pine-forests, almost till it reaches the noble group of
buildings, which watch over the campo-santo of Pisa.
TURIN.
(Carriages, with I horse, the course I fr. ; the 1st hour, ij fr., (at
night 2 frs. ), each half-hour afterwards, 75 c. Each piece of luggage 20
c. With 2 horses, f fr. more either by course or hour.
Hotels. Europa, most excellent, with the most charming salle-a-
rnanger on the continent, and very well situated in the Piazza del
Castello. Londra, Piazza Castello. Trombetta, formerly Feder, 6 Via
S. Francesco di Paola. Close to the station is the Grand Hotel de
Turin, which is most thoroughly excellent, clean, and comfortable. It
is most convenient for those who only remain one night in Turin, or for
the excursion to S. Ambrogio. It should not be confused with the
Grand Hotel Suisse close by.
Restaurant. Caffe del Cambio, Piazza del Carignano.
Banker. Negra, 18 Via del Arsenale.
English Church. 15 Via Pio Quinto services n A.M., 3. 30 P.M.
Eglise Vaudoise. Corso del Re. Services, 9 A. M., Italian; II A.M.
French, with sermon ; 3 P.M. Italian, with sermon.
For Photographs of the Pictures in the Pinacoteca, Maggi, 6 Via del Po.
TURIN (Torino) is said to owe its foundation to the
Ligurian tribe of the Taurini, and afterwards to have
received a Roman colony, Julia Augusta Taurinorum. It was
ruled by its own Dukes in the middle ages, and came to the
House of Savoy in the middle of the eleventh century, by
the marriage of Adelaida, daughter of its last duke, Manfred,
with Otho of Savoy. This family, justly popular in their
own country, which is deeply indebted to them, have ever
THE HOUSE OF SAVOY. 75
since continued (until the late unhappy disturbances in the
south of Italy) to hold their court here. The first sovereign
was Emanuele Filiberto, 1553, after which the succession
was
Carlo Emanuele I., 1580.
Vittorio Amadeo I., 1630.
Francesco Giacinto, 1637.
Carlo Emanuele II., 1638.
Vittorio Amadeo II., 1675.
Carlo Emanuele III., 1730.
Vittorio Amadeo III., 1773.
Carlo Emanuele IV., 1796.
Vittorio Emanuele, 1802.
Carlo Felice, 1821.
The last of these princes died without male issue, when, in
accordance with the right of succession settled at the Con-
gress of Vienna, the crown passed to the House of Carignan
(founded by Prince Tommaso Francesco, son of Carlo Eman-
uele I.) in the person of Carlo Alberto, who, being defeated
by the Austrians at Novara, March 23, 1849, abdicated at
the monastery of Laghetto, and died at Oporto. He was
succeeded by his son, Vittorio Emanuele II.
To this line of (in their lawful kingdom) thoroughly
national and constitutional monarchs, Turin, which is now
one of the most prosperous cities in Europe, is indebted for
everything it possesses. The town is regularly built, like
an American city, long straight streets traversing it from end
to end, and each at right angles with its neighbour. Many
of the streets are lined with colonnades which form a plea-
sant shade from the burning Lombard sun in summer, while
those near the palace are the favourite evening lounge of
the upper classes, and are crowded after sunset with smartly
dressed officers and civilians. Exposed to bitter Alpine
winds, Turin is piteously cold in winter. It does not con-
tain much which deserves the special attention of strangers,
76 ITALIAN CITIES.
beyond the Pinacoteca and the Armoury, yet the vicinity of
the Po, the beautiful wooded hills on the further bank, and
the charming walks of the Public Garden near II Valentino,
render Turin far from unpleasant as a resting-place for a few
days in summer. The streets, in spite of their regularity,
have a picturesqueness of their own from the richness with
which the palaces are decorated, and, generally ending in
arcades, remind one pleasantly of the background of many
Venetian pictures.
No one who has strength for the ascent should omit
to make Turin head-quarters for the glorious excursion to
the Sagro di S. Michele.
Immediately opposite the station is the Piazza Carlo Felice,
adorned with a statue of Massimo Azeglio by Balzico. On
the pedestal are inscribed the remarkable words of his will
(July 2, 1857) " Rimanga la mia memoria nel cuore degli
uomini onesti e dei veri Italiani, e sara questo il maggior
onore che le si possa rendere e che io sappia imaginare."
Hence the Via di Roma leads into the heart of the town,
passing through the Piazza S. Carlo, surrounded by open
colonnades filled with book-stalls, where collectors may often
find treasures. In the centre of the square is a fine eques-
trian statue by Marochetti, erected, 1858, to Emanuele Fili-
berto " vindici et statori gentis suae."
The Via di Roma ends in the Piazza di Castello, in the
centre of which stands the old castle of Turin, the Palazzo
Madama, formerly inhabited by the Queen Mother, having
high tiled roofs crowded with chimneys, rich fragments ot
terra-cotta cornice, and four clumsy brick towers, two built
up in a later fa9ade, the others very quaint, and perforated
with holes. It is always crowded by birds, like the old
PALAZZO REALE, TURIN. 77
buildings at Venice, and gives quite a charm and character
of the Middle Ages to a comparatively featureless town. The
handsome modern palace, and the tower of the cathedral,
are seen behind it.
There is nothing especial to be seen in the Palazzo Ma-
dama. The Palazzo Reale, which contains public offices
and the Sala del Senate, is entered by a door on the left of
the central portal, whence a staircase leads to the great hall.
On the first landing is the equestrian statue of Vittorio
Amadeo I., commonly known as "II Cavallo di Marmo,"
by Adriano Frisio : the king is represented as awkwardly
riding over some captives.
In the Great Hall, Sala della Gitardia, is a great picture
of the battle of St. Quentin by Palma Giovane. Here
servants are waiting (fee i franc) who will show the other
state rooms. They are handsome, with rich ceilings, and
are adorned by modern pictures. In the Sala di Consiglio,
where the marriage contracts of the Princesses Clotilda
and Pia were signed, are portraits of all " the religious " of
the house of Savoy, including Boniface, Archbishop of Can-
terbury. The rooms formerly appropriated to Queen Maria
Teresa, and the Gallery, are no longer shown, being oc-
cupied by the family of the Duke d'Aosta.
(From the left of the Great Hall, except in the very early
morning, the Chapel of the Santo Sudario must be entered.)
The Armoiiry is in the wing of the palace, and is entered
by the first door in the arcade to the right when facing
the palace. A ticket of admission (free) is obtained on the
staircase.
The armour is not numbered; historical specimens
are :
78 ITALIAN CITIES.
In the 1st Compartment :
The sword of Napoleon I. , and the crown offered to Victor Emanuel by
Naples and Turin.
In the 2nd Compartment :
The four first equestrian suits belonged to the still existing but ruined
family of Martinengo da Brescia. The fourth is absolutely magni-
ficent.
The fourth equestrian suit on the right belonged to the family of
Rotta da Bergamo, under the Venetian Republic.
The last suit on foot in the next division was that of the Marchesc
Parella di S. Martino.
The next suit is gigantic, and is supposed to have belonged to a
Grimaldi of Monaco.
Near this, in a case, is the scimitar of Constantine Paleologus, last
Greek Emperor of Constantinople.
Last on right, is the figure of Prince Eugene of Savoy bearing his
cuirass and sword : near it is his shield.
Returning, on left, is the suit of Emanuele Filiberto di Savoia, 1557,
worn at the Battle of S. Quentin.
The cuirass of Carlo Emanuele III. worn at the Battle of Guastalla.
The cuirass of Prince Tommaso.
Shields taken at the battle of Pavia.
Saracenic armour.
Between the 3rd and 4th Martinengo, the suit of Count Lodroni of the
Tyrol.
Behind the Palace is a small Garden, entered under the
same arcade as the Armoury, and open to the public on
Sundays and Thursdays, from 1 1 to 3.
To the left of the Palace is the Cathedral, originally
founded in 602, but now an unimportant building of the
fifteenth century, with a few very indifferent pictures. Behind
the high altar, raised by a flight of steps, is the domed
Chapel of the Santo Sudario, the master-piece of Guarini-,
built in 1648, to receive the shroud in which our Saviour is
supposed to have been wrapped by Joseph of Arimathea.
Similar shrouds exist at Rome, at Besan9on, and at Cadouin
in Perigord. The present relic is preserved in an altar
CHURCHES OF TURIN. 79
beneath the cupola. The chapel is lined with black marble,
which has a singular effect. Surrounding it are monuments
of the house of Savoy.
Emanuele Filiberto. Marchesi.
Principe Tommaso di Carignano. Gaggini.
Carlo Emanuele II. (1675)- Fraccaroli.
Atnadeo VIII. (1451). Cacciatori.
Maria Adelaida (1855), wife of Vittorio Emanuele II. Revelli.
From the Via Porta Palatina, which runs almost in front
of the Cathedral (turning left), an opening on the right leads
to the Piazza di Citta, which contains the Palazzo del
Municipio. In the middle of the square is the bronze statue
of " II Conte Verde " Amadeus VI. of Savoy (1334 83),
by Pelagio Pelagi. At the entrance of the Piazza, on the
right, is the Church of Coitus Domini, built by Vitozzi in
1617. It commemorates the miraculous refusal of a con-
secrated wafer to be carried off in 1453, by a soldier who
was stealing it for the sake of the pyx in which it was en-
shrined.
The Via della Corte d'Appello on the right of the Palazzo
del Municipio, leads into the Piazza Savota, a little to the
right of which is the Church of La Consolata, built in the
1 7th century by Guarini, but retaining a tower of the middle
ages. It contains a so-called miraculous picture of " La
Madonna delle Grazie," surrounded with ex-votos.
Returning to the Piazza del Castello by the Via Dora
Grossa, we find, immediately on the left, unmarked by any
portico, but with a fantastic ribbed dome, visible at a little
distance above the houses, the Church of S. Lorenzo, built
by Guarini for Emanuele Filiberto as a thank-offering for
the victory of S. Quentin.
The Via delle Scienze, which opens from the piazza on the
So ITALIAN CITIES.
right, leads immediately to Piazza Carignano. On the left
is the fantastic Palazzo Carignano, one of the most extrava-
gant works of Guarini. In the square stands the statue of
the modern Italian philosopher Gioberti, a native of Turin
(1801 48), by Albertoni. On the right is the Accademia.
The Accademia delle Scienze is open daily from 10 to 4.
On the ground-floor are the Museum of Antiquities and the
Egyptian Museum (with the halls above) ; on the first floor
is the Museum of Natural History, containing the skeleton
of a Megatherium ; on the second floor is the Pinacoteca.
The Galleries have no catalogues.
The Egyptian Museum is a very fine collection, compris-
ing grand statues of :
Thothmes III. (basalt), B.C. 1591, and of his son
Amenophes (granite), B.C. 1565, and of his son
Setes II. (a gigantic figure), said to be the persecutor of Moses.
* Rameses II., "Sesostris" (basalt), B.C. 1300. The most beautiful of
all known Egyptian statues.
The Greek and Roman Museum contains :
Statue of Augustus from Susa.
Bust of Antinous.
Statue of Bacchus.
Bust of Juno from Alba Pompeja, supposed to have been used by the
priests for oracles.
Sleeping Cupid (the arm and foot modern).
Hercules sleeping on the lion's skin.
Hercules with the serpents.
Bronze statuette of Minerva, found at Stradella.
Bronze statuette of a Fawn (one leg missing).
* Head of Caligula in bronze very beautiful.
The Pinacoteca has a very interesting and too little known
collection of pictures, arranged in fifteen well-lighted walls.
The most important pictures are
Sala I. Pictures connected with the House of Savoy.
PINACOTECA, TURIN. 81
4. Giacomo Flamingo. Prince Eugene.
15. Giacomo Argenta de Ferrara. Boy in a white dress, with a dwarf.
*26. Vandyke. Two children with a bird.
27. Giacomo Argenta di Ferrara. Portrait of Emanuele Filiberto,
detto Testa di Ferro.
30. Vandyke. Principe Giacinto di Savoia a most charming picture
of an ugly child, sitting in its little chair, holding a bird.
Sala II. Piedmontese Painters, of great importance in art,
and many of them most beautiful.
33> 34> 36, 37, 39, 40. Macrino d 1 Alba (1496-1506). Pictures of
, Saints.
35- Presbyter Giovanni Canavesi. Altar-piece in 16 compartments.
41. Gandolfmo (1493). Altar-piece in 10 compartments.
*42. Defendente Deferrari di Chivasso. Altar-piece in many divisions,
the central compartment most beautiful, of the Madonna with
angels at her feet.
43. Gerolamo Giovenone (1514). Madonna and Child with saints, and
the donor with her children a very interesting picture.
44. Defendente Deferrari. Marriage of S. Catharine.
44, bis. Gandolfino. Madonna and Child with angels.
47, bis. Giov. Giovenone. Madonna and Child with four saints.
*49. Gaudenzio Ferrari. S. Peter and a kneeling donor glorious in
colour.
50, bis. Macrino d'' Alba. Virgin and Child in glory, with saints and
angels below.
5 2 > S3> 57> 58. Gaudenzio Ferrari di Valduggia. Four small
pictures.
54. Gaudenzio Ferrari. The Deposition.
54, bis. Gaudenzio Ferrari. Virgin and Child throned, with saints
the background most richly and carefully painted.
56. Bernardino Lanini de Vercelli. The Deposition.
59. Ottaviano Cane da Trino (1541). Virgin and Child throned, with
S. J. Baptist and S. Antonio. Feeble, compared with the
works of Gaudenzio and Macrino.
Sala III. Continuation of last hall, in later date.
60, bis. Bern. Lanini. Virgin and Child with saints.
62. Id. (1564). Virgin and Child with SS. J. Baptist, Nicholas,
Lucia, and James.
VOL. I. 6
82 ITALIAN CITIES.
63. Pietro Grammorseo da Casale Monferraio (1523). Virgin and
Child with SS. J. Baptist and Lucia.
64. Cane da Trino (1543). Marriage of S. Catherine.
Sala IV. Continuation, but inferior.
65. Guglielmo Caccia. "II Moncalvo." The Bearing of the Cross.
Sala V. General Italian School, i^th to \6th century.
93. Angelica da Fiesole ? Madonna and Child.
94, 96. Id. Two angels undoubted and beautiful specimens of the
Master.
97. Ant. Pollajuolo. Raphael and Tobias.
98. Sandra Botticelli. Tobias and three angels.
100. Spinetto Aretino. Siege of Jerusalem.
101. Francesco Francia. The Entombment.
103. Lorenzo da Credi. Madonna and Child.
106. Bugiardini. Holy Family.
in. "Scuola Lombarda." Holy Family a lovely picture
1 14. Gian Pietrino. SS. Catherine and Peter Martyr.
*H7- Girolamo S. Croce. S. Jerome a grand landscape.
* 1 1 8. Gir. Savoldo. Adoration of the Infant Jesus the figure of the
Virgin most beautiful and touching in its humility.
121. M. A. Franciabigio. The Annunciation.
122. Franc. Penni (1518). The Entombment a copy of the Bor-
ghese Raffaelle.
127. Bronzino. Lady in a crimson dress.
128. Id. Portrait of Cosimo de' Medici.
130. Paris Bordone. A woman with a basket of cherries.
Sala VI.
133. Rinaldo Mantovano. Assumption.
140. Ant. Badile (the master of Paul Veronese}. Presentation of the
Virgin in the Temple a very instructive picture.
148. Bassano. Portrait.
157. Paul Veronese. The visit of the Queen of Sheba A most
glorious picture, equally magnificent in effect, colour, and de-
tail. The dress of the queen alone is a most wonderful study.
The high-lights are nowhere more concentrated by the master
than in this composition.
Sala VII. i yth and i8th centuries.
PINACOTECA, TURIN. 83
170. G. Bait. Crespl. SS. Francis and Carlo Borromeo praying
before a statue of the Virgin.
182. Paul Veronese. The Finding of Moses. From the Palazzo
Durazzo at Genoa.
Sala VIII. Chiefly copies by Constantin.
196. Luca della Robbia. Holy Family.
Sala IX. Flower-pieces.
Sala X. Italian School, i6//z to i8/A centuries.
234. Paul Veronese. Mary at the feet of Christ. The dog in the
foreground is wonderful.
236. Guido Rent. A Group of Children.
237, 238. Caspar Poussin. Landscapes.
239. Guercino. S. Francesca Romana the head of the saint very
grand.
241. Eliz. Sirani. Death of Abel.
242. Guercino. Ecce Homo.
243. Bassano. The Rape of the Sabines.
244. Orazw Lomi. Annunciation.
249. Aurelio Lomi (Pisano). Adoration of the Magi.
251. Bernardo Strozzi. The Blind Homer.
254. Domenichino. Three Children, supposed to represent Architec-
ture, Astronomy, and Agriculture.
Sala XI.
260, 264, 271, 274. Francesco Albani. The Four Elements (as
Venus Juno Galatea Cybele) painted for Cardinal Mau-
rice of Savoy.
262. Guercino. The Return of the Prodigal Son magnificent in
light and shadow.
263. F. Albani. Salmacis and Hermaphroditus.
276. Carlo Dolce. Madonna.
283, 288. Canaletto. Views of old Turin good specimens of a bad
master.
Sala XII. German and Dutch Schools.
"338. Vandyke. Children of Charles I. of England.
351. Id. Clara Eugenia Isabella, daughter of Philip II. of Spain.
Sala XIII. Cape d'Opere.
84 ITALIAN CITIES.
355. A. Mantegna. Madonna and Child with saints the head of
the Virgin very grand, full of foreboding of the future, the rest
inferior.
356. Lorenzo di Credi. Madonna and Child.
357. Guercino. Madonna and Child.
358. y. Memling. The whole story of the Passion, wonderfully in-
terwoven in one picture.
359. P. Christophsen. Virgin and Child.
*3^3- Vandyke. Prince Thomas of the Savoy on a white horse one
of the noblest portraits in existence.
369. Sandro Botticelli. The Triumph of Chastity a very curious
and interesting picture.
371. Gaudenzio Ferrari. Crucifixion.
*373- Raffaelle. Madonna della Tenda a lovely replica of the pic-
ture at Munich.
374. Sandro Botticelli. Madonna and Child.
*375- Donatella. Virgin and Child a marble relief.
376. // Sodoma. Lucrezia.
*377- P au l Potter. Cows.
384. Vandyke. Holy Family.
385. G. Honthorst. Samson and the Philistines.
386. Holbein. Portrait of Erasmus.
392. Velasquez. Philip IV.
Sala XIV. German and Dutch.
415. Mytens. Portrait of Charles I. of England, standing at the end of
an arched corridor.
450. Rembrandt. A Rabbi.
Sala XV. French School.
481. Borgognone. Battle Scene.
Behind the Palazzo Carignano is the Piazza Carlo
Alberto, with an equestrian statue of Charles Albert, by
Marochetti.
The broad Via del Po, on the left of which is the Uni-
versity, with an admirable Library, leads to the river, by the
wide Piazza Vittorio Emanuele. This is our first sight of the
Po, which will meet us so often again in our Italian wander-
ings. It rises on Monte Viso and flows to the Adriatic,
PUBLIC GARDEN, TURIN. 85
being navigable for nearly 250 miles. Many are the classical
allusions to it :
" Proluit insano contorquens vortice silvas
Fluviorum rex Eridanus, camposque per omnes
Cum stabulis armenta tulit." Virgil, Georg. i. 481.
" Et gemina auratus taurino cornua vultu
Eridanus : quo non alius per pinguia culta
In mare purpureum violentior effluit amnis. "
Georg. iv. 371-*
On the opposite side of the river is the Church of the
Gran Madre di Dio, built by Carlo Felice in (ludicrously
bad) imitation of the Pantheon at Rome. From the Capu-
chin Convent which occupies the wooded hill above, there
is an exquisite view, far beyond the town which lies at its
feet, into the Alpine ranges.
The Avenue along the river-side is delightful, and leads to
one of the most beautiful Public Gardens in Europe, not to
I Cappuccini, Turin. From the Public Garden.
mere dressed walks, but to glades of elms and chestnuts,
with wide and green lawns undulating to the water-side, and
lovely views up the still reaches of the river, fringed with
tufted foliage which is reflected in its water; or into bosky
* See also Lucan, ii. 408 ; vi. 273.
86
ITALIAN CITIES.
valleys of the hills on the opposite bank, with old turretted
villas and convents rising on the different heights and look-
ing down into the luxuriance of wood and vineyard which
intersects them. Beyond all rises the Superga on its blue
height, and pleasure-boats with white sails or striped awn-
ings give constant life to the scene.
At the end of the gardens, where they melt into the open
hayfields completely in the country, though so close to the
town the grand old Palace of II Valentino rises from the
river bank. It was built in the old French style by a French
princess, Christine, wife of Vittorio Amadeo I. and daughter
of Henri IV. and Marie de' Medici. Of rich red stone,
II Valentino, Turin.
with high-pitched roofs, tall chimneys, and heavy cornices, it
resembles some of the best chateaux of the Loire, and, with
its richly verdant surroundings, forms a beautiful subject for
a picture. Altogether, though those who have not seen these
gardens in spring condemn Turin as an ugly featureless city,
those who have enjoyed their freshness, especially in May,
when the white and crimson chestnuts are all in bloom, will
carry away the impression of scenes of perfect Italian loveliness.
LA SUPERGA. 87
One may also visit the Villa della Regina, near the bridge
over the Po, built by Cardinal Maurice of Savoy, after he
had renounced his Orders in order to marry his niece,
daughter of Vittorio Amadeo I.
The most popular excursion is that to La Superga, the
building which crowns the highest summit of the hills near
the town. An omnibus (20 c.) starts every hour from 25
Via del Po, for the Madonna del Pilone, a village in the
valley, about i| mile from the town. Hence donkeys (i fr.)
may be taken, or it is a stiff walk of i| hour, to the Superga.
The high road must be followed to the turn on the right
beyond the next village, whence the Stradone della Superga
winds up the hill. There is a grand view from the platform
at the top towards the immense snowy barrier, which hems
in the valley of the Po with an endless variety of outline.
Turin, with its palaces and churches, is seen at the foot of
the envineyarded hills on the left. Beyond it rises the great
peak of Monte Viso : but the most beautiful point is where
the valley of Susa, half-shrouded in purple mist, opens
beneath the white ranges of the Mont Cenis.
When the army of Louis XIV. was blockading Turin,
King Vittorio Amadeo II., standing on this height with
Prince Eugene, vowed a church to the Virgin, " if the Lord
of Hosts would deliver him and his people out of the hands
of their enemies." The French were totally defeated in the
battle of Turin, Sept. 7, 1706, and Juvarawas then employed
to build the great Church of La Superga, which was begun
in 1717 and finished in 1731.
The Church is ill- proportioned externally, and is swallowed
up by its own dome. The interior is dull, cold, pompous
83 ITALIAN CITIES.
and splendid. The pillars are of coloured marble; three
great marble reliefs represent the Annunciation, the Nativity,
and " La Madonna del Ex-voto." In the vaults beneath, all
the later monarchs of the house of Savoy are buried, with
the exception of Carlo Felice, who rests at Haute Combe on
the Lac de Bourget. Like the popes, the last king always
occupies a temporary position here a colossal tomb at the
centre of the cross till his successor comes to turn him out.
Vittorio Amadeo II., Carlo Emanuele III., Vittorio
Amadeo III., and Carlo Emanuele IV., have monuments
here, surrounding that of the great Carlo Alberto, who died
at Oporto, July 28, 1849.
" Here a king may fitly lie,
Who, bursting that heroic heart of his
At lost Novara, that he could not die,
(Though thrice into the cannon's eyes for this
He plunged his shuddering steed, and felt the sky
Reel back between the fire-shocks, ) stripped away
The ancestral ermine ere the smoke had cleared,
And, naked to the soul, that none might say
His kingship covered what was base and bleared
With treason, went out straight an exile, yea,
An exiled patriot.
. . . And now that he is dead,
Admitting it is proved and manifest
That he was worthy, with a discrowned head,
To measure heights with patriots, let them stand
Beside the man in his Oporto shroud,
And each vouchsafe to take him by the hand,
And kiss him on the cheek, and say aloud,
' Thou, too, hast suffered for our native land !
My brother, thou art one of us ! be proud. ' "
E. Barrett-Browning.
Near each king rest his wives, one above another, as in
the berths of a ship. One great chamber is devoted to the
IL SAGRO DI S. MICHELE. 89
babies of the House of Savoy ! The reigning sovereign
annually visits the graves of his ancestors on the 8th of
September (the Nativity of the Virgin).
A pleasant object for a drive of about 6 miles, is the old
palace at Moncalieri (the ist station on the Alessandria line),
built by Vittorio Amadeo I., and exceedingly handsome.
Stupinigi (5 m.) is a handsome palace, built as a hunting-
lodge by Juvara for Carlo Emanuele III.
The most important expedition to be made from Turin
is that to the extraordinary convent called // Sagro di
San Michele, which occupies the summit of the mountain
overhanging the town of Sant' Ambrogio (on the way to Susa),
to which it is best to proceed by railway.
Avigliana (stat.) is the birth-place of the House of Savoy.
Sanf Ambrogio (stat.) is a most picturesque little town. Its
rugged street, full of country-people and donkeys, presents
one succession of pictures, with its buttressed walls, Roman-
esque arches, overhanging roofs supported by heavy beams,
and window-sills bright with carnations and chains of golden
Indian corn; and beyond and over all rises the brown
mountain side, with blue mist in its rifts, crowned by the
vast pile of the Sagro, half convent and half castle.
A steep mountain way ^donkeys may be obtained) winds
up behind the curious old church, through rocks and frag-
ments of chestnut forest. Near the summit, it passes the
little village of S. Pietro, and then emerges upon a terrace
on the top of the rocks, whence there is the most glorious
view, into a wilderness of snowy mountain-ranges. The
Sagro itself, a huge mass of building, rises in the fore-
90 ITALIAN CITIES.
ground, at the top of an almost perpendicular precipice,
where it was built as a penance in the loth century, by a
certain Hugo de Montboissier, on a spot where Bishop
Amisone had already been directed to found an oratory, by
fire which descended from heaven and marked out its site.
II Sagro di San Michele.
The most conspicuous portion externally is the apse of the
church, which has a Romanesque arcade. Great flights of
steps form the approach to a round-headed door facing the
precipice, whence a tremendous staircase, supported by a
single colossal pillar, ascends to the monastery, the walls
being partly formed by the rock itself, which projects in huge
masses through the masonry.* At the top of the first stair-
case a beautiful round arch with marble pillars, very richly
Some works describe this staircase as having been lined with dried corpses,
which were decorated with flowers by the peasants, but this has never been heard of
&t the Sagro itself.
LE CHI US A. 91
sculptured, opens upon a second ascent leading to the
Church, which is exceedingly curious, with many fragments
of ancient sculpture, and a fine Gothic tomb of Guglielmo
di Savoia, who was abbot here. A door on the left
forms the entrance to a little platform overhanging the rock
called // Salto della Bella Alda, from an imprudent dam-
sel, who, having leapt once from the top in safety under
the protection of the Virgin, attempted to do it again, and
perished in the attempt. Here is the entrance to the vaults
filled with modern tombs, to which Carlo Alberto caused a
number of the earlier sovereigns of the House of Savoy to
be removed from the church of S. Giovanni at Turin. It
is scarcely possible to imagine anything more beautiful than
the views upon which the Monastery looks down. It con-
tains several pictures of the surrounding scenery, by Massimo
cTAzeglio, who was, however, but a poor artist. Prince Eu-
gene, who never married, was a titular abbot of S. Michele.
There were formerly 300 Benedictine monks here, now the
monastery is a centre for the Missionary Preachers under
the direction of the Rettore Carlo Caccia.
A separate excursion on this line of railway should be
made from Turin to Susa. A little beyond S. Ambrogio,
on the left, may be seen the remains of walls on the side of the
mountain. The place is called Le Chiusa, and the walls are
relics of the famous fortifications erected in A. D. 772 by the
Lombard king Desiderius, against his enemies from the
north, and which he deemed impregnable. Charlemagne
did not attack them, but was guided round the mountains
by a Lombard spy (one Martin, a deacon, afterwards Arch-
bishop of Ravenna), and, falling upon the Lombards from
92 ITALIAN CITIES
the rear, totally defeated them. On this story is founded
the " Adelchi," Manzoni's best play, carefully studied on the
spot.
Susa, the ancient Segusio, is a wonderfully picturesque
place, filled with mediaeval towers and gateways, and with
the river Dora rushing through its midst. The most con-
spicuous building is the Cathedral of S. Justus, which has
a noble campanile of the nth century, a fine grey marble
font, and a gilt statue of the famous Countess Adelaida of
Susa, through whom the House of Savoy acquired its Italian
territory. In the sacristy is a silver cross, said to have been
given by Charlemagne.
On a rising ground, behind the cathedral, is the beautiful
marble Arch of Augustus, adorned with Corinthian columns,
and reliefs representing sacrifices of rams and swine. It
was erected, in honour of the Emperor, about B. c. 8, by
Julius Cottius, son of King Donnus. Above the town
is the ruined fortress of La Brunetta, destroyed by the
French in 1798.
At the top of the Monte di Roccia Melone, above Susa, at
a height of 11,139 f ee t> is a chapel, romantically founded by
the crusader Bonifazio d'Asti, who was taken prisoner by
the Saracens and vowed this shrine to the Virgin if he
were ever set free : his fetters hang in the chapel. A
pilgrimage is made here annually on the feast of the Assump-
tion.
A little to the east of Susa, close under the Alps,
is the site (it is little more now) of the famous Monas-
tery of Novalesa, founded in 739, where Charlemagne once
spent his Lent. In its prosperity, Novalesa used to send
out in harvest-time the plaustrum dominicale, a great car,
VILLASTELLONE, CARMAGNOLA. 93
supporting a pole with a bell hanging to it, which returned,
heading all the waggons, bringing back the supplies of corn
and wine from the monastic farms. It was a rule in the
country-side, that no fairs should begin till the plaustrum of
Novalesa had been seen to pass.
A railway leads in 3 hours from Turin to Cuneo for the
passage of the Col di Tenda. It passes
20 kil. Villastellone (stat), 6 m. west of which is Carig-
nano, a well-built town, with handsome churches. S.
Giovanni was built by Count Alfieri : in S. Maria delle
Grazie is the tomb of Bianca Palaeologus, daughter of
William IV., Marquis of Monserrat, and wife of Duke
Charles I. of Savoy, before whom Bayard contended in a
tournament. In 1650 the title of Prince of Carignano was
taken by Tommaso, the youngest son of Duke Charles
Emmanuel I., and from him the present royal family are
descended. Carignano is still one of the royal titles.
29 kil. Carmagnola (stat.) was once, as the border-town
of the Marquisate of Saluzzo, defended by a strong castle, a
fragment of which remains as the tower of the Church of S.
Filippo. In the cloister of 6". Agostino, is the tomb of James
Turnbull, a Scottish condottiere, 1496. This town is the birth-
place of Francesco Bussone, Count of Carmagnola, who was
born here, in 1389, as the son of a peasant, and served in
boyhood as a cowherd. He fought as general for Filippo
Maria Visconti, Duke of Milan, for whom he reconquered a
great part of Lombardy. From this service he passed
into that of Venice, in which he took Brescia, and gained
(1427) the battle of Maclodio ; but, by the jealousy of the
Senate, after having been allured back to Venice by a vote
94 ITALIAN CITIES.
of thanks and confidence, he was imprisoned, tortured, and
beheaded "between the columns," Mays, 1432. His life
is the subject of a tragedy by Manzoni.
The name of Carmagnoia is known throughout the world
from the "Dansons la Carmagnole, Vive le son des Car-
magnoles," of the great revolution, the name having been
given to the Savoyard boys, who were amongst the first
revolutionary recruits, and many of whom came from hence.
38 kil. Reuamigi (ptiA.). The Castle, restored by Palagi,
was the favourite residence of Charles Albert. Trissino
(1,510) sang the beauty of the women of Racconigi :
"E quei di Scarnafesso e Racconigi,
Ch' han bellissime donne."
45 kil. Cavallermaggiore (stat.). (Hence there is a
branch-line to Savona, passing through Bra, which has a
handsome Church of S. Chiara, built by Vettone in 1742.
The town is united by an avenue to the Sanctuary of S.
Maria del Fieri, where it is said that on Dec. 29, 1336, an
appearance of the Virgin was the means of rescuing a young
girl from murder, in a copse of wild sloes, which have ever
since blossomed three times annually. The Castle of
Pollenzo, two miles from this, marks the Roman Pollentia.)
52 kil. Savigliano (stat.), (Inn. Corona), on the river
Macra. A triumphal arch here commemorates the marriage
of Carlo Emanuele II. with the Infanta, Donna Caterina.
In the churches are many pictures by Giovanni Molineri
(called " II Carraccino," from his imitation of the Carracci),
born here in 1577.
(There is a branch-line from hence in one \ hour to
Saluzzo. Its old castle was the residence of the sovereign
CERTOSA DI PESIA, COL DI TEND A. 95
Marquises of Saluzzo, who became extinct in 1548. In the
Church of S. Bernardo are the tombs of the Counts Delia
Torre. Saluzzo was in 1789 the birth-place of the poet and
political martyr, Silvio Pellico, to whom a statue was erected
in 1863.)
88 kil. Cuneo (stat.), (Inn. Posta; Londra), usually
spoken of as Coni, so called from the wedge of land upon
which the town was erected, in the i2th century, under pro-
tection of the Abbot of S. Dalmazzo, by peasants who
rebelled against the tyrannies of the surrounding barons.
(About nine miles S. E. from Cuneo, in the Val Pe'sio, a
pleasant situation amid woods and mountains, always green
and fresh, is the Certosa di Pesia, now a pension, much
frequented by English who pass the summer in Italy.
20 miles S. W. from Cuneo, in the Val di Gesso, are the
Baths of Valdieri resorted to for the cure of wounds in a
very fine natural situation.)
There is a diligence from Cuneo to Nice, in 22 hours, by
the road, made in 1591, over the pass of the Col di Tenda
(5883 feet). The French frontier is passed at Limone. At
S. Dalmas di Tenda is a pension (6 frs.), most beautifully
situated. The defile of the Roya, with the picturesque
villages of Saorgio, Ghiandola, Broglio, and Sospello (Hotel
Carenco), is well worth seeing. The unprotected ledges of
the pass are, in places, very alarming.
CHAPTER V.
THE WALDENSES.
PROTESTANTS will be interested in an excursion to
Waldensian Valleys ( Vallees Vaudoises), which are
situated about thirty miles S. W. of Turin, and occupy a dis-
trict of about twenty-two miles by eighteen, under the Alps
which bound the French frontier. Here, in spite of the
most cruel persecutions, the inhabitants have preserved their
own form of faith unchanged for 600 years.
The name of the Waldenses is sometimes derived from
the Latin word Vallis, but more generally from Peter Waldo,
a rich bourgeois of Lyons, who became, as it were, the S.
Francis of heresy ; while his disciples, who received the name
of the Poor Men of Lyons, " resembled the Minorites,
the lowest of the low." At a meeting which was assembled
for devotional purposes, Waldo had seen a man fall dead,
struck by lightning, and thenceforward religion was his one
thought. Ignorant himself, he employed a poor scholar to
translate the Gospels and some of the other books of
Scripture, and in these he instructed his disciples. He sent
them forth by two and two to preach the Gospel. They
sought the support of Alexander III., but were harshly
repulsed and censured by the Pope, and treated with the
utmost obloquy and contempt by the clergy. The severity
they met with caused their entire alienation from the Roman
ORIGIN OF THE IVALDENSES. 97
Catholic Church. They denied that the priestly office had
any intrinsic virtue, and maintained that a layman of pure life
and manners might administer all religious rites. They
condemned the vices of wicked popes. They rejected all
the Sacraments, except Baptism and the Lord's Supper ;
and they denied all sanctity in the water of baptism, and
transubstantiation in the Eucharist. They renounced prayers
for the dead, purgatory, and indulgences. They enjoined,
to the extreme, a pure and virtuous life. Above all, they
read the Gospels, preached, and prayed in the vulgar tongue.
The followers of Peter Waldo are believed to have been
the first teachers of these Alpine villages. The Waldensian
Church occupies thirteen parishes situated in three valleys ;
S. Jean, La Tour, Villar, Bobbi, and Angrogna, in the
valley of Luzerne ; S. Germain and Pramol in the valley of
Perouse ; Pomaret, Maneille, Massel, Rodares, Prali, and
Prarustaing, in the valley of S. Martin, altogether a popula-
tion of 24,000. The English term " Lollard " came from
Peter Lollard, a Waldensian pastor in the middle of the
thirteenth century.
The Protestant villages were situated in the dominions of
the Duke of Savoy, from whom, early in the i5th century,
they suffered their first persecution, when the inhabitants of
the village of Prajelas were massacred or banished. In
1487, Pope Innocent VIII. issued a Bull calling upon " all
authorities, spiritual and temporal, to unite in the extermina-
tion of the Vaudois." At this time 18,000 regular troops
were sent against the valleys, when the inhabitants found
their only protection in the mountain-fastnesses by which
they were surrounded. When the Reformation in Germany
took place, Pastor Martin of Luzerne travelled thither, and
VOL. i. 7
98 ITALIAN CITIES.
brought back the writings of the Reformers, and, in the
Synod of Angrogna (Sept. 12, 1532), the division of the
Waldensian from the Catholic Church was formally ratified.
This led to a fresh persecution, in 1532, from Charles, Duke
of Savoy. In 1560, Emanuel Philibert of Savoy sent a
fresh army against the Waldenses ; they concealed their
helpless in caves, and defended their valleys by ambushes.
Their chief stronghold was the ravine of the Pra del Tor,
which was attacked by the army of Savoy, under the Count
de la Trinite, for four whole days ; at the end of which he
was repulsed with great loss, numbers of his soldiers being
precipitated from the rocks into the river. After this, the
Duke of Savoy perceived that he was only ruining both his
army and his treasury to please the Inquisitors, and, accept-
ing the mediation of his duchess Margaretta, he made a
treaty with the Vaudois, in terms which allowed them the
free exercise of their religion. Nevertheless, they were
perpetually tormented by his successors, till, in 1655, by
" the bloody order of Gastaldo," more than a thousand
families were banished in the depth of winter into the
Alpine recesses, where a great portion perished of cold and
starvation. The valleys were then entered by the Marchese
di Pianezza at the head of 1 5,000 men, who, aware of the
desperate resistance he should meet with if he encountered
the Vaudois on their own ground, pretended a wish for con-
ciliation, and requested that, in token of obedience to the
temporal power, they would receive companies of troops in
their different villages. Their compliance was followed by
the most cruel massacres. 14,000 Waldensians were im-
prisoned, of whom 18,000 died in thirteen days of hunger
and suffering; only 3000 saw the light again, and these
SUFFERINGS OF THE WALDENSES. 99
were banished. Such atrocities aroused the indignation
of all the Protestant powers. Cromwell ordered a general
fast, had the narrative of the Waldensian sufferings printed
and distributed through England and Wales, and himself
headed a subscription for them with 362000 from the privy
purse. A sum of ^38,241 was raised for them. The British
Ambassador, sent by Cromwell to the Duke of Savoy and
received in the presence of his mother, Madame Royale,
daughter of Henry IV., gave expression to the feeling of
England.
" Audivit enim Protector (quod nemo celsitudinis vestrse regalis
voluntate factum esse dixerit) miserrimos illos, partim ab vestris copiis
esse crudeliter occisos, partim vi expulsos, domoque patriaque exturba-
tos, adeoque sine lare, sine tecto, inopes, omnique ope destitutes, per
asperrima loca atque inhospita, montesque nivibus coopertos, cum suis
conjugibus ac liberis vagari. Quid enim per hosce dies, quod genus
crudelitatis inausum illis militibus, aut prasteritum fuit ? Fumantia,
passim tecta, et laceri artus, et cruenta humus ! Virgines, post stupra,
differto lapillis ac ruderibus utero, setate ac morbo clinici, in lectulis
combusti ? Infantum alii saxis allisi, alii jugulati, quorum cerebrum
ab interfectoribus, immanitate plusquam Cyclopasa, coactum ac
devoratum. "
It is this persecution of the Waldensian Church which
is immortalized in the sonnet of Milton :
" Avenge, O Lord, thy slaughter'd saints, whose bones
Lie scattered on the Alpine mountains cold ;
Even them who kept thy truth so pure of old,
When all our fathers worshipp'd stocks and stones,
Forget not : in thy book record their groans,
Who were thy sheep, and in their ancient fold
Slain by the bloody Piedmontese that roll'd
Mother with infant down the rocks. Their moans
The vales redoubled to the hills, and they
To heaven. Their martyr'd blood and ashes sow
O'er all the Italian fields, where still doth sway
The triple tyrant ; that from these may grow
ioo ITALIAN CITIES.
A hundred-fold, who, having learn'd thy way,
Early may fly the Babylonian woe."
For a time, the threats of Cromwell produced a certain
degree of toleration for the Vaudois, but, on Jan. 31, 1686,
Vittorio Amadeo II. published a decree that every Protestant
church and chapel should be razed to the ground, and that
every Protestant should renounce his faith within fifteen
days, upon pain of banishment. The whole population con-
sisted of 15,000, and of these only 2500 were capable of
bearing arms. " Death rather than the Mass " was, however,
the general answer. The French General Catinet asked
from the Duke of Savoy " the honour of striking the first
blow at the heretics," and, in the words of Henri Arnaud,
" had the honour of being well beaten." But prolonged re-
sistance against overwhelming numbers was useless, and the
Waldensians submitted, upon a promise that they should
then experience the mercy of the sovereign, which was kept
by his throwing the whole Protestant population into prison.
Here the greater part perished of hunger and fever, and,
after six months, the sentence of the survivors was remitted
to perpetual banishment. They were forced to cross the
Alps in the depth of winter, hundreds perishing amid the
snows, and they took refuge in the Protestant cantons of
Switzerland. After three years the survivors, 800 in number,
under the command of Henri Arnaud, determined to regain
their native villages or perish in the attempt. They crossed
the Alps, and so bravely maintained their position in the
defiles above Angrogna, that at last the Duke of Savoy was
induced to reinstate them, upon condition of their fighting
for him against Louis XIV. Of this " La glorieuse rentree
des Vaudois dans leurs vallees " Henri Arnaud has left a
detailed account.
DOCTRINE OF THE WALDENSES. 101
For the generalship of the guerilla warfare in which the
Vaudois were engaged, Arnaud was eminently fitted, and his
personal bravery greatly contributed to their success. In
battle he used to say " I know not what the occasion may
require of me ; but while I advance, follow me, and, if I fall,
avenge me." It is, however, only fair to Roman Catholics
to say that the return of the Vaudois was attended by the
most horrible massacres on their part, and that they avenged
their past sufferings by doing their best to exterminate the
inoffensive Catholic population which had taken their place
in the valleys. As they were unable to provide for prisoners,
none were taken, and no quarter was given to age or sex.
Vittorio Amadeo had afterwards so much reason to be
satisfied with his Waldensian troops, that they were brigaded
by themselves, were commanded by their own officers, and
had a distinguished place in every action; and when
Amadeo himself was forced to fly, it was with a Waldensian
family in the village of Rora that he took refuge.
After their return, the Waldenses exemplifying their
doctrine that " the great end of Christian teaching is charity
out of a pure heart, and of a good conscience, and of faith
unfeigned," drew up, at a Synod in the Valley of Prajelas
above Pinerolo, their " Rule of Conduct " :
How people should conduct themselves with strangers
1. Love not the world.
2. Avoid bad company.
3. If possible, live in peace with all men.
4. Strive not in law.
5. Revenge not yourselves.
6. Love your enemy.
7. Be willing to suffer toils, calumny, threats, rejection of men,
wrongs, and all torments, for truth's sake.
8. Possess your souls in patience.
9. Enter not into the yoke with the unfaithful.
102 ITALIAN CITIES.
10. Hold no communication with bad works, nor by any means what
savours of idolatry, nor with services inducing to it, nor with
anything of the sort.
How the faithful ought to keep their bodies under sub-
jection :
1. Serve not the mortal desires of the flesh.
2. Watch over your members, lest they be members of iniquity.
3. Rule your affections.
4. Submit the body to the soul.
5. Mortify your members.
6. Avoid idleness.
7. Be sober and temperate, in eating and drinking, in your words,
and the cares of this world.
8. Do works of charity.
9. Live by faith and moral practice.
10. Control your desires.
11. Mortify the works of the flesh.
12. Devote yourselves to religion in due season.
13. Confer with one another on the will of God.
14. Diligently examine your consciences.
15. Cleanse, amend, and pacify your minds.
It was in consequence of examining these canons that
Bucer declared that it must be allowed that the Vaudois had
truly preserved among them the discipline of Christ's church,
an opinion assented to by Luther, CEcolampadius, and
Melancthon. The latter, in a letter written to the Vaudois,
A. D. 1557, had thus expressed himself : " I cannot in truth
object to the severe discipline and practice prevailing among
you ; would to God it were a little more severe among us."
The pastors of the Vaudois were diligently taught and
rigidly examined. When approved of by the synod, they
were ordained, with imposition of hands, by the moderator
Their pastoral duties were explained and enforced, on these
occasions, in a sermon, also by the moderator. Their wants
PINEROLO, LA TOUR. 103
were supplied from the gratuitous offerings of their flocks,
paid publicly to the synod.*
' ' The functions of the ancient Waldensian moderator were the same
as those of the Protestant and Romish bishops. If the synod had a
more general, the moderator had a more direct, authority. Though
elected by the synod (as were all bishops in the primitive agesj he was
not amenable to it ; but, on the contrary, was, as now, its president,
and his office was for life. He only could confer holy orders, by the
imposition of hands ; and he only had authority to visit the churches,
inquire into the doctrine and practice of their pastors, examine at his dis-
cretion the whole economy of the Church, and reform such abuses as he
nvpht discover. Thus did the moderators, as overseers, take heed unto
the flock." H. Dyke Acland.
The Waldensian Valleys may be reached in i \ hour from
Turin by taking the train to Pinerolo (3 frs. 55 c. ; 2 frs.
55 c. ; i fr. 70 c.). There is an omnibus from Pinerolo to
La Tour.
Pinerolo (Inns. Grande Couronne, Verna Nova) is a plea-
santly-situated provincial town on the little river Lemina.
Hence it is i hour's drive to La Tour (Torre Luserna),
(Inns. Ours, Lion d'Or), which may be considered the capital
of the Vaudois, but is only a large country village, with a
clear stream running down its street. Above rises the fine
crag of Castelluzzo, and beyond it, Mont Vanderlin. The
primitive aspect of the people, and their good manners,
make them very attractive. All take off their hats and give
a kindly greeting to strangers, and they appear to be of a
different class to the usual Italian population. There is now
a handsome Protestant Church here ; a College for the edu-
cation of young men for the Waldensian ministry ; a Hos-
* See " Morland's History of the Evangelical Churches of the Valleys of Piedmont,"
and "The Waldenses " of W. S. Gilly.
104
ITALIAN CITIES.
pital ; and an Orphanage, where lace-making and straw-
plaiting are admirably taught, and where specimens of the
children's work may be purchased. Three excursions, which
will give the best idea of the Vaudois valleys, may be made
on foot, or on donkeys, from La Tour, in the day.
Villar.
I. (It is possible to drive, but the road is very bad) To
Villar, a most picturesque village, with a vine-shaded street,
and a glorious background of mountain-peaks. Beyond this,
about 2\ hours from La Tour, is Bobbi, or Bobbio, another
excessively picturesque village, nearer to the foot of the
mountains. It has been twice destroyed by inundation, and
is now defended by the Breakwater of the Felice, built by a
grant from Oliver Cromwell. In the war of 1799, the in-
habitants of Bobbio were conspicuous for the humanity
with which they treated the wounded French soldiers who
were left behind ; and, when their resources failed, carried
PR A DEL TOR.
105
them on their shoulders across the frontier, and set them
down in their own country. A wild mountain-path leads
from Bobbio to the ruined fortress of Mirabouc* and
beyond it (3^ hours from Bobbio) to the Bergerie de Pra.
II. It takes about z\ hours from La Tour to the Pra del
Tor. It is a pleasant ascent, by the village of Angrogna, to
this grand defile. In each village there are two churches,
for the two religions. The inscriptions on those of the last
village we pass are characteristic. On one is " Allons a la
Montagne de 1'Eternel et a la maison du Dieu de Jacob, et
il nous montrera de ses voies, et nous marcherons dans ses
sen tiers." On the portal of the opposite church is " Ave
Maria Mater Gratiae."
Pra del Tor.
The defile of Pra del Tor is as sacred ground to the Wal-
densian people. Here, most of all, they fought, suffered,
* The fact that this fortress was taken by the French, was used to inflame the
popuhr feeling against the Vaudois, though not a Protestant was there when it
.surrendered.
io6
ITALIAN CITIES.
and conquered for their faith, for, in the words of
Leger * " L'eternel Dieu, qui avoit destine ce paiis-la pour
en faire particulierement le theatre de ses merveilles, et
1'asyle de son arche, 1'a naturellement et merveilleusement
fortifie." Here, when the Count de la Trinite invaded the
pass in 1560, he was repulsed with shouts of "Viva
Gesu Cristo," and two colonels, eight captains, and four
hundred of his men perished. The Rocks of Roccialla are
pointed out, whence the Vaudois showered down stones upon
their enemies ; the narrow pathway, where they formed their
easy barricade ; the clear river Angrogna, rushing amid the
rocks in a succession of waterfalls, into which so many of
their assailants were thrown ; the stone from which, in 1686,
" the French General " was hurled into the whirlpool beneath.
At the end of the gorge is the Pra itself, not a meadow, but
a rocky wilderness, with a few poor cottages.
Waldensian Cottage, Pra del Tor.
III. By Luzerne, to Rora, the smallest and most southern
of the Protestant parishes, situated beneath the crags of Sea
Bianca. Here Vittorio Amadeo II. (the persecutor of the
Histoire des Eglises Vaudoises.
CASTELUZZO. 107
Waldensians) took refuge with the family of Durand, and
when he escaped, owing to their magnanimity, rewarded them
by granting their family for ever the privilege of using their
garden as a burial-ground !
Only hardy mountaineers will attempt to visit, in the crag
called " Le brie Casteluzzo,"* the famous Cavern of VanJelin,
or Casteluzzo, in which from 400 to 500 fugitives could take
refuge at a time. It is a kind of open gallery on the face of
the cliff, into which people had to be let down by ropes, as
into a mine. There are traces of a fountain there. It was
explored by Dr. Gilly in 1829.
(From Pinerolo there is a road by Fenestrelles and Pra-
gelas to Brianc,on.)
* From Bricca, a steep, craggy place.
CHAPTER VI.
THE VAL D'AOSTA.
ONLY 3 hours from Turin, by a branch line from Chi-
vasso (3 frs. 65 c.; 2 frs. 55 c. ; i fr. 85 c.), is the
pleasant town of Ivrea (Inns. Europa, Untverso), on the
Dora Baltea (Doire), with a fine machicolated castle.
(Diligence to Aosta 8 frs. ; a carriage with 2 horses, 30 frs. ; a very
large vetturino-carriage for much luggage, 60 frs. An arrangement may
be made with a small one-horse carriage for the whole excursion, at 12
frs. a day.)
The road to Aosta passes under the old castle of Af ant-
alto to (12 miles) Ponte S. Martina (Inn. Porta Rosso), a
very good halting-place, where there is a picturesque old
Roman bridge, over the Lys (Lesa), to sketch. Hence the
road ascends to Donnaz, where there is a Roman tunnel
through the rock, and on to Fort Bard (1019 feet), which for
eight days checked the advance of the French army under
Buonaparte in 1800 (before the battle of Marengo), being
garrisoned by only 400 Austrians. Passing the entrance
(left) of the Val di Campnrciero, and the village of Arnaz,
we reach (7^ m.) Vernex (Inns. Poste, Couronne), with an
old castle. Here French becomes the language of common
intercourse.
A little beyond this, we enter a narrow gulley in the
AOSTA.
109
rocks under the ruined castle of S. Germain, called the defile
of Montjovet The views are now most beautiful. The Doire
tosses deep below. After passing the bridge called Pont dcs
Salassins (Sarrasins) we reach
9 m. Chatillon (Inns. Hotel Royal, Lion d'Or\ and pro-
ceed by many small villages, and through a country rich in
vineyards, beyond which
"the mountains
Lift through perpetual snows their lofty and luminous summits,"*
To (15 m.) Aosta. (Inns. H. du Mont Blanc with a beau-
tiful view, kept by Jean .Tairraz, very clean and good.
Couronne, in the town.)
Aosta occupies the site of the city which was built for the
Arch of Augustus, Aosta.
permanent subjection of the Salassi, and to which Augustus
gave the name of Augusta Praetoria. It speedily rose to
prosperity, and became the capital of the whole surrounding
region. Pliny speaks of it as the extreme point of Italy
towards the north.
Longfellow's Evangeliite.
i io ITALIAN CITIES.
The town is entered by a noble Triumphal Arch of
Augustus (Arco della Trinita), the effect of which, how-
ever, is rather spoilt by the tiled roof with which it is
covered. To the right are the remains of a small Roman
Bridge of one arch, and of a ruin, shown as the amphi-
theatre, but in reality the straight wall of a Theatre.
Spanning the street further on, is a double Gate, with three
arches in each facade.
In the centre of the town is a large Piazza. The Cathe-
dral is the Minster of SS. Gratus and Jocundus.
" One can have little doubt in assigning a date of the eleventh cen-
tury to the twin-towers of the cathedral church, the minster of S. Gra-
tus and S. Jocundus. They must have been new when Anselm was
born beneath their shadow. The northern tower is untouched, a mag-
nificent example of the stern grandeur of this early style, which in
England we see only in smaller and ruder examples. Of the southern
tower, the upper part must have been rebuilt at the end of the twelfth
or beginning of the thirteenth century, but with a certain adapta-
tion to the earlier work, the midwall shaft being still used. The
towers flank the apse, but so great is the width of the church between
them that they hardly seem to belong to the same building. The
church itself is plain, and much disfigured, but its massive square piers
are most likely original. On the north side is an apsidal chapel of the
fourteenth century, which would look in place either in Germany or
England, and a cloister, bearing date 1636, of debased style certainly,
but which might well have passed for a century older. The choir has a
splendid mosaic pavement of about the fourteenth century, and a noble
set of stalls ; below it is a Romanesque crypt, in which classical capitals
have been used up again. The treasury has also shrines and vestments
to show, and a consular diptych of the time of Honorius." Freeman.
The Church of S. Urse contains the tomb of Duke
Thomas of Savoy, of 1232. It has a detached tower, and a
beautiful Romanesque cloister, with the history of Esau and
Jacob and other Scriptural subjects upon the capitals.
COURMAYEUR. MI
There are many picturesque points upon the old walls.
The name of the Tour Bramafan (Cri de la faim) records
the death of Marie de Bragance, wife of Count Rene of
Chalons, who was imprisoned there by the jealousy of her
husband in the fifteenth century, and left to die of starv-
ation.
A little further, abutting upon the city wall, is a square
tower called Tour de la Frayeur, from the ghost story of a
white woman holding a lamp, who is said to be seen emerg-
ing from it on dark nights. It is also called the Tour de
Lepreux, and is the scene of the pretty story of " Le Lepreux
de la cite d'Aoste," by Xavier le Maistre.
(From Aosta an excursion may be made to the Great S.
Bernard. It is about 5^ hours to the Hospice.)
A carriage from Aosta to Courmayeur costs for 2 people 12 frs., or
for 3 people 15 frs. Places in the Corriere to S. Didier 2/ frs.
The road to Courmayeur leads through a number of
villages sadly afflicted with goitres and cretinism. At
Fort Roc the road passes through a defile above the
Doire, and hence there is a grand view of Mont Blanc.
It is also well seen from the Baths of S. Didier (Hotel de la
Rose).
Courmayeur (Hotel du Mont Blanc, good ; Hotel Royal)
is a picturesque Italian village, with the most glorious view,
and delightful walks through meadows in which you can
" scarce see the grass for flowers." This is the starting-point
for the excursion to Chamounix by the Col de la Seigne,
the Col de Bonhomme, and the Col de Voza.
" There is a terrace upon the roof of the inn at Courmayeur where one
may spend hours in silent watches, when all the world has gone to sleep
1 1 2 ITALIAN CITIES.
beneath. The Mont Chetif and the Mont de la Saxe form a gigantic
portal not unworthy of the pile that lies beyond. For Mont Blanc re-
sembles a vast cathedral ; its connclfss spires are scattered over a mass
Courmayeur.
like that of the Duomo at Milan, rising into one tower at the end. By
night the glaciers glitter in the steady moon ; domes, pinnacles, and
buttresses stand clear of clouds. Needles of every height and most fan-
tastic shapes rise from the central ridge, some solitary like sharp arrows
shot against the sky, some clustering into sheaves. On every horn of
snow and bank of grassy hill stars sparkle, rising, setting, rolling round
through the long silent night. Moonlight simplifies and softens the
COURMAYEUR. 113
landscape. Colours become scarcely distinguishable, and forms, de-
prived of half their detail, gain in majesty and size. The mountains
seem greater far by night than day higher heights and deeper depths,
more snowy pyramids, more beetling crags, softer meadows, and darker
pines. The whole valley is hushed, but for the torrent and chirping
grasshopper, and the striking of the village clocks. The black tower
and the houses of Courmayeur in the foreground gleam beneath the moon
until she reaches the edge of the Cramont, and then sinks quietly away,
once more to reappear among the pines, then finally to leave the valley
dark beneath the shadow of the mountain's bulk. Meanwhile the
heights of snow still glitter in the steady light : they, too, will soon be
dark, until the dawn breaks, tinging them with rose." J. A. Symonds.
vol.. i.
CHAPTER VII.
VERCELLI AND NOVARA.
VERCELLI is reached in less than two hours by rail
from Turin. The line passes through a luxuriant
country, bounded, on the left, by the Alps. The only
places of importance the railway passes through are Chivasso,
which was the residence of the sovereign Marquises of Mont-
ferrat and Santhia, whence there is a branch-line to the
manufacturing-town of Biella, six miles from which is the
sanctuary of La Madonna d'Oropa, with an image, said to
have been carved by S. Luke, and brought from Syria by S.
Eusebio.
Vercelli, in a low marshy situation, presents many curious
architectural features, and is well worth visiting between the
trains. All those who are interested in Lombard art must
certainly stop here, as here alone can the works of the great
artist, Gaudenzio Ferrari, be seen in their perfection.
Close to the station is the noble Church of S. Andrea,
which is of great beauty externally both as to colour and
form. It was begun in 1219. The west front is gabled,
and has three portals, with a rose window and two arcades
above. The material is stone, but the inside of the arches
is brick, giving much colour. The central tower is of brick,
double, and octangular. On the south side is a detached
campanile. Over one of the side doors is a representation
VERCELLI. 115
of the dedication of the church by its founder, who was the
Cardinal Guala de' Bicchieri, the devoted ally of our King
John, and papal legate in England during his reign and that
of Henry III.
The Lombard exterior suggests something different to the
graceful early-pointed arches of the interior. The mixture
of brick and stone is most effective, but the church is spoilt
by wretched painting, and worse stained glass. The only
tomb (in the 2nd chapel in the right transept) is that of
Tomaso Gallo, first abbot, and architect of the church, ob.
1246, with a relief of his presentation to the Virgin, by
Dionysius the Areopagite.
The adjoining Hospital was also founded and endowed
by Cardinal Guala. It has a fine cloister, now used as a
garden.
Behind S. Andrea is the Cathedral, which has an old
brick campanile, but which otherwise is the work of Pelle-
grino Tibaldi, of the i6th century. It has a handsome
portico. Opening out of the transepts are the chapels of S.
Eusebio, first bishop of Vercelli, and S. Amadeo di Savoia.
The shrine of the latter was decorated with silver by Carlo
Felice, in 1823.
In the Cathedral Library is preserved the famous manu-
script of the Gospels written in the 4th century by the first
bishop, S. Eusebio, and bound in silver by order of King
Berengarius. The manuscript is of the greatest importance,
and is believed to be the most authentic copy of the " Itala "
of S. Augustine. The order in which the Gospels are
written is S. Matthew, S. John, S. Luke (" Lucanus "), and
S. Mark. The silver cover is very curious as a work of art.
It represents the Saviour presenting the Gospels to the world.
n6 ITALIAN CITIES.
By his side stands " Eusebius Episcopus." The inscription
4 .'I.- .
tells :
" Prsesul hoc Eusebius scripsit, solvitque verustas;
Rex Berengarius reparavit idem."
From the Cathedral, passing on the right the Church of
S. Bernardino, and crossing the Corso, we reach (about \
mile) the Church of S. Cristoforo, which contains the prin-
cipal works of Gaudenzio Ferrari, who was born in 1484 at
Valduggia, near Novara, and died at Milan in 1550. He
was a pupil of Luini, and his pictures nearly resemble the
works of that master. Lomazzo ranks him amongst the
seven greatest painters in the world.
" Gaudenzio must be pronounced a very great painter, and one who
approached nearest of any of Raffaelle's assistants to Pierino and Giulio
Romano. He appears truly unequalled in his expression of the divine
majesty, the mysteries of religion, and all the feelings of piety of which
he himself offered a notable example, having received the title of Eximie
Pius in one of the Novarese assemblies. He was excellent in strong
expressions ; not that he aimed at exhibiting highly-wrought muscular
powers, but his attitudes were, as Vasari entitles them, wild, that is,
equally bold and terrible where his subjects admitted them.
" The warm and lively colouring of Ferrari is so superior to that of the
Milanese artists of his day, that there is no difficulty in recognizing it in
the churches where he painted ; the eye of the spectator is directly
attracted towards it. If we may so say, he represented the minds even
better than the forms of his subjects. He particularly studied this
branch of the art, and we seldom see more marked attitudes or more
expressive countenances. Where he adds landscape or architecture to
his figures, the former chiefly consists of very fanciful views of cliffs and
rocks, which are calculated to charm by their novelty ; while his edifices
are constructed on principles of the best perspective." Lanzi.
The frescoes in S. Cristofero are in honour of the Virgir
and the Magdalen. They begin in the Left Transept :
1. The Birth of the Virgin.
2. The Marriage (the Presentation seen in the background)
VERCELLI. 117
3. The Nativity.
4. The Adoration of the Magi. (Between these S. Catherine of Siena
and S. Nicholas presenting two members of the Liguara family.)
5. The Assumption.
Most spectators will feel that the conception of this picture is far
grander than that of Titian. The Virgin in a light-coloured robe with
extended hands and long golden hair, floats upwards, her feet resting on
the back of a cherub, while other cherubs circle round her and hold a
crown over her head.
In the Right Transept are :
1. The Crucifixion. Angels of wondrous beauty float around the cross.
In the corner on the right is represented Padre Angelo Corradi,
one of two brothers at whose expense the frescoes were executed.
The Magdalen is the most conspicuous figure.
2. The Conversion of the Magdalen.
3. The Magdalen wiping the feet of our Lord.
4. The Preaching of the Magdalen at Marseilles.
5. The Assumption of the Magdalen.
The Altar-piece represents the Virgin and Child surrounded
by saints. S. Christopher has a tree in his hand as a staff;
there are two monks in white robes, and, in the foreground,
two lovely children, besides S. John, who is holding a Lamb.
In the Sacristy is a Nativity, with monks behind.
Other churches in Vercelli have works of Ferrari, but of
less importance.
(There is a branch-line from Vercelli to Valenza on the
line between Alessandria and Pavia. It passes through
Casale, the capital of the Duchy of Montferrat, with an in-
teresting Romanesque Cathedral, consecrated in 1107. In
the Church of S. Domenico, a Renaissance building of 1513,
is the grave of Benvenuto da S. Giorgio the historian, 1527.
Of the Marquises of Montferrat was Guglielmo the great
imperialist, taken prisoner in the war with Alessandria, who
died in an iron cage.* His daughter Jolante married the
* Dante, Pai. vii. 133.
1 1 8 ITALIAN CITIES.
Emperor Andronicus Palaeologus, and the Marquises of
Montferrat were continued by her second son Theodore.
The male line became extinct in 1533.)
Half an hour's rail takes us from Vercelli to Novara
(fnns, Tre Re. Italia), which a few years ago was an old
city with heavy arcades like Padua, but is now a modern
town like Turin. From the railway Novara has an
imposing appearance, the lofty white dome which is seen
from thence being that of the Basilica of S. Gauclenzio.
Novara is a good sleeping-place, and an evening walk on the
ramparts is agreeable, but its sights may easily be seen in
two hours.
From the railway we must ascend the hill to the Statue
of Cavour by Dint (1863.) A little to the right is the
Basilica of S. Gaudenzio, built 1547 by Pellegrino Tibaldi,
and a magnificent edifice of its kind. S. Gaudenzio, the
patron and bishop of Novara, rests beneath the heavy high
altar. The church contains :
Left, 2nd Chapel. La Madonna del Mezzo one of the finest works
of Gaudenzio Ferrari. An altar-piece intended for the high altar, and
executed in 1515. It is in six compartments. The Virgin and Child are
attended by S. Ambrose and S. Gaudentius. The other divisions repre-
sent S. Peter and S. J. Baptist ; S. Paul and S. Agibius ; the Annun-
ciation ; and the Nativity.
Right, 1st Chapel. Moncalvo. A Deposition.
Right, yd Chapel. Gaudenzio Ferrari. Crucifix.
Returning to his statue, we should now follow the Via
Cavour, on the right of which is a monument to Charles
Albert, recalling his abdication in consequence of the victory
gained over the Piedmontese at Novara by the Austrians
March 23, 1849.
NOVARA. 119
On the left is the Church of S. Pietro del Rosario, with
pictures by G. C. Procaccini in the 4th Chapel on the right.
The Church is only interesting at the place where, in 1304,
the papal anathema was pronounced against the heresy of
the fanatical reformer Fra Dolcino, who, having long de-
fended himself with his followers on Mount Zerbal above
Triverio, was put to a cruel death at Vercelli by order of
Clement V. Dante represents Mahomet as desiring that
Fra Dolcino may be warned of his danger :
' ' Or di'a fra Dolcin dunque, che s'armi,
Tu, che forse vedrai il sole in breve,
(S'egli non vuol qui tosto seguitarmi)
Si di vivanda, che strette di neve
Non rechi la vittoria al Noarese,
Ch' altrimenti acquistar non saralieve."
Inferno, xxviii. 55.
The street opposite this church leads to the old market,
on the left of which is the Cathedral, entirely modernized
(1860 70), and containing nothing of interest, unless an
angel, by Thorwaldsen, at the high-altar, can be called so.
Some frescoes, by Luini (once in the chapel of S. Giuseppe),
have been removed to the Sacristy. They are :
The Adoration of the MagL
The Massacre of the Innocents.
The Virgin (Mater-Dolorosa), with S. Catherine and other saints.
Here also are two panel pictures by Gaudenzio Ferrari
The Holy Family.
The Adoration of the Magi.
A " Last Supper " is attributed to Cesare da Sesto.
The Cloisters are of great size, and contain fragments 01
ancient fresco and sculpture, and two Roman pillars, of the
same character as those in the Baptistry.
120 ITALIAN CITIES.
At the west end of the cathedral is a pillared atrium, on
the other side of which is the circular Baptistry, surrounded
by fluted Corinthian columns, relics of some Roman edifice,
with a font for immersion in the centre ; also a Roman
relic, and bearing an inscription to " Umbrena Appolla." In
the chapels between the pillars, with frescoed backgrounds,
are sculptured groups from the Passion, by Gaudenzto Fer-
rari and his pupils. Some are very coarsely executed and
cause almost a shock, from the real hair and beards of the
figures, but the first group, of " the Agony in the Garden," is
exceedingly beautiful the suffering Saviour, the comforting
angel, and the intense sleep of the disciples, being so power-
fully pourtrayed as quite to take possession of the spectator.
The man who offers the sponge in the Crucifixion scene is
also a very fine figure.
121
CHAPTER VIII.
MILAN.
"NT OTHING of much importance, except Vercelli and
1. N Novara, is passed between Turin and Milan (16 frs.
95 c. ; ii frs. 95 c. ; 8 frs. 55 c.). The journey occupies 3^
hours.
{Hotels. Hotel Cavour, Piazza. Cavour ; Hotel de la Ville, Corso
Vittorio Emanuele ; Hotel de Milan, Corso del Giardino ; Albergo
Reale, Via del Pesce ; Hotel Gran Bretagna, Via Torino very good
and very reasonable in charges. Excellent Restaurants may be found in
the Galleria Vittorio Emanuele.
Omnibuses from the station to the Cathedral square, 25 c. ; to the
hotels, 50 c. ; from any of the gates to the Cathedral square, 10 c.
Carriages by day cost 75 c. , by night I fr. 25,0. for the course or by
the half-hour ; for each succeeding half-hour, they are 7$ c. and I fr. ;
each piece of luggage is charged 25 c.)
Banker. Ulrich, 21, Via Bigli.
Milan, as Mediolanum, situated in a plain midway between the rivers
Ticinus and Addua, was the chief city of -the Insubres in Cisalpine Gaul.
In B.C. 222 it was taken by the Romans, and in B.C. 49 received the
full Roman franchise and passed into the condition of a Roman munici-
pium. Strabo and Pliny both mention it as a considerable city, and it
was the native place of the Emperor Didius Julianus, and of Septimius
Geta. The Emperor Maximian made the town his permanent residencCj
thus raising it to the rank of the capital of northern Italy. But greater
importance was conferred upon the town by S. Ambrose, son of the
Praefect of Gaul, and himself Praetor of Upper Italy, who, elected Bishop
of Milan while yet an unbaptized catechumen, and consecrated in 374,
made Milan the intellectual centre of Italy. It was here that he gave
the great example of ecclesiastical independence, by refusing ad-
mission to his church to the Emperor Theodosius, while he was stained
122 ITALIAN CITIES.
with the guilt of murder, though the same Emperor, having done penance
for his crimes, afterwards died in his arms.
Though the imperial court was transferred to Ravenna in 452, Milan
continued to prosper, and, in the time of Theodoric the Great, surpassed
Rome in its population and riches. It was plundered by Attila, and
again (539) by Uraia, brother of Vitiges the Goth ; yet, though the Lom-
bard kings held their court in Pavia, Milan, as the seat of the Arch-
bishopric, appears to have retained the rank of the capital of Liguria.
Strongly Guelfic, Milan, having tyrannized over the neighbouring
town of Lodi, came in for a terrible siege from the Emperor Frederic
Barbarossa, and having been forced by famine to capitulate, March I,
1162, was destroyed by the imperialists ; but the town was soon rebuilt-
by the famous Lombard League, and the Milanese avenged their losses
by the victory of Legnano, gained desperately righting around their
carroccio, in 1176. The Emperor Henry VII. was crowned at Milan
with the Iron Crown of Monza in 1312. Soon after, the chief power
was conferred by the citizens upon Matteo Visconti, whose grandson
Azzo was made imperial vicar by the Emperor Louis the Bavarian. The
great alliances and the ability of the house of Visconti afterwards so
extended their power that all Lombardy and Piedmont were under their
rule.
In the I4th century lived Bernabo Visconti, so celebrated for his
cruelties, who was imprisoned and pels' ned by his nephew, Giovanni-
Galeazzo, Count of Virtu. This was the first of the Visconti to
obtain the title of Duke of Milan. Having already gained the
sovereignty, not only of all the principal Lombard towns, but of
Bologna, Siena, Pisa, Perugia, Assisi, and Spoleto, he was about to
march to Florence to be crowned King of Italy, when he died, in 1402.
It was under this Giovanni-Galeazzo that the greatest public works of-
the Visconti were accomplished. He spent the most enormous sums in
order to turn away the Mincio from Mantua and the Brenta from Padua,
and so render those towns defenceless. He founded the Certosa of
Pavia, and the Cathedral of Milan, and finished the palace of Pavia,
then of the utmost magnificence.
After the death of Gian-Galeazzo many of the towns he had governed
deserted from the rule of his son, Gian-Maria Visconti, who was a cruel
tyrant and was murdered in 1412. His successor, Filippo Maria, was
even more hated. He beheaded his first wife, Beatrice di Tenda, and
lived in such constant fear of assassination that he trusted no one, alien-
ated the Count of Carmagnola, first his faithful general, and then, under
Venice, his most formidable enemy, and shut himself up in the castle of
Milan, scarcely ever visiting the town ; he died, however, a natural
death, in 1447, leaving no sons.
SIGHTS OF MILAN. 123
Bianca, the daughter and heiress of Filippo-Maria, had married the
Condottiere Francesco Sforza, son of that famous Condottiere Giaco-
muzzo Attendolo, who, beginning life as a poor peasant of Cotignola,
obtained the name of Sforza, because he always carried everything by
force. Francesco ruled in Milan with great mildness and wisdom, and
died in 1466. His son, Galeazzo-Maria, who was equally passionate and
vicious, was murdered, and was succeeded by his brother, Ludovico il
Moro, in whose reign the arts flourished at Milan under Leonardo da Vinci
and Bramante. He fought against France, was taken prisoner in 1500,
and died in prison. His son succeeded in expelling the French from Milan
in 1512, but, being defeated at Marignano in 1515, was obliged to give
up Milan in exchange for an annuity. His younger brother, Francesco,
received the dukedom again in 1529 from Charles V., after his victory
over the French. Upon his death, in 1535, Charles V. gave Milan as
a fief to his own son Philip II. of Spain, and the Spanish rule con-
tinued till 1713, during which the proverb was verified " I ministri del
re di Spagna in Sicilia rosicchiavano, a Napoli mangiavano, a Milano
divoravano. "
In 1710 Milan fell into the hands of Austria, and, after being repeat-
edly re-taken by the French, was united to the Austro- Venetian kingdom
in 1814. By the peace of Villafranca, in 1859, it was restored to Italy.
The greatest architect who worked in Milan was Bramante, from 1479
to 1500. The chief painters employed here were JBorgognone, c. 1500,
and Leonardo da Vinci (1452 -1519). Among the pupils of Leonardo
were Cesare da Sesto (c. 1520), Glo. Antonio Bdtraffio (c. 1510), Fran-
c^sco Melzi (1568), Marco d'Oggione, Andrea Salaino, and the great Ber-
nardino Luini, c. 1530.
Two whole days at least should be given to Milan, but
weeks may be pleasantly devoted to the study of the art-
treasures it contains. Those who are only here one day
should see (the best) S. Ambrogio, S. Eustorgio, and the
Leonardo da Vinci at S. Maria delle Grazie (in this order),
S. Maurizio, the Cathedral, and the Brera Gallery. As a
residence, Milan is not pleasant, being exceedingly hot in
summer and dreadfully cold in winter. The streets are all
modern and handsome, but have none of the picturesque
beauty of other Lombard towns, and after the cathedral and
Chiaravalle have been seen there is little external to admire
124
ITALIAN CITIES.
either in the city or its environs. Beautiful views of the
Alps, however, may be obtained from the shady walks on
the ramparts, or from the top of the Cathedral.
" L'aspect franfais de Milan, si fort accru dans ces derniers temps, avait
etc deja remarque par Montaigne. II trouvait que ' Milan ressembloit
assez a Paris, et avoit beaucoup de rapport avec les villes de France.'
La meme ressemblance avait frappe le Tasse lorsqu'il vint passer a
Paris deux annees a la suite du cardinal d'Este, et qu'il ecrivit son
etrange parallele de 1'Italie et de la France. " Valery.
Nurses and peasant-women may still occasionally be seen
in the streets with the picturesque national head-dress of
silver pins arranged in a circle, like rays of the sun. Black
veils, after the manner of Spanish mantillas, are often worn by
women of the middle classes.
At Milan.
The great centre of interest at Milan must always be its
glorious Cathedral, built of white marble. It was founded in
1387, by Gian' Galeazzo Viscoftti, on the site of a more ancient
building, the original church on this site having been spoken
of by S. Ambrose when writing to his sister Marcellina, as
MILAX CATHEDRAL. 125
"the great new basilica." Heinrich von Gmunden, who
built the Certosa for the same great founder, was the prin-
cipal architect, though architects and sculptors from all
nations were associated in his work. Since his time the
building has been very gradually carried on. The octagonal
cupola was erected in 1490 1522, under the O model ; the
west end of the nave was finished in 1685 ; the spire in 1772,
from designs of Grace; the ugly western facade in 1790.
The Roman doors and windows in this fa9ade are portions
of a design for a huge Roman portico, by Francesco Ricchino,
which was fortunately not carried out. Even as it is, the
contrast of these portions of the front with the Gothic work
around them, greatly mars the effect of the whole.
Great variety of opinions exist as to the beauty of Milan
Cathedral, and, as a whole, the general feeling will be, that
the often er you see it, the uglier it seems externally. But,
as to the exquisite beauty and finish of its Gothic details
all will agree, though, in order to appreciate these thoroughly,
it will be necessary to ascend to the roof, an effort which
is also well worth while on account of the noble view of the
Alpine ranges to be obtained from thence.
" The Cathedral of Milan has been wonderfully contrived to bury
millions of money in ornaments which are never to be seen. Whole
quarries of marble have been manufactured here into statues, relievos,
niches, and notches ; and high sculpture has been squandered on
objects which vanish individually in the mass. Were two or three
thousand of those statues removed, the rest would regain their due
importance, and the fabric itself become more intelligible. Those
figures stand in rows which cross and confound the vertical direction of
the architecture ; for here the eye naturally runs up the channelled
pillars, the long windows, the lateral spires, the tall thin buttresses,
and never can keep in the horizontal line of the Greek entablature."
Forsyth.
" Upon the whole, the exterior is in no respect more Italian than it is
126 ITALIAN CITIES.
German in its style ; it belongs to no school, and has no fellows ; from
the beginning it has been an exotic, and to the end of time will pro-
bably remain so, without a follower or an imitator in the singular
development of which it is the only example ... It has all the appear-
ance of having been the work of a stranger who was but imperfectly
acquainted with the wants or customs of Italian architecture, working
to some extent with the traditions of his own native school before him,
but, at the same time, impressed with a strong sense of the necessity
under which he lay of doing something quite unlike what he had been
taught to consider necessary for buildings in his native land . . . There
is a constant endeavour to break up plain surfaces of wall, unlike the
predilection for smooth surfaces of walling so usual in thoroughly
Italian work, and destructive of the kind of breadth and dignity which
this last generally has . . . The architect appears to have been shocked
at the necessity under which he lay of sacrificing the steep lines of roof
so dear to him in his native land, and to have striven with all his might
to provide a substitute for their vertical effect by the vertical lines of
his panelled buttresses and walls, by the gabled outline of his parapets,
and by the removal of such a mark of horizontalism as the commence-
ment of the traceries of his windows even on one line. And his work
is a most remarkable standing proof of the failure of such an attempt ;
for, despite all these precautions, and I incline to believe in con-
sequence of them, the general effect is, after all, entirely depressing and
horizontal." Street's Brick and Marble in the Middle Ages.
The first appearance of the Interior is most striking the
great height of the pillars, their exquisitely-sculptured
capitals, the general solemnity, and the rich effect of light
which streams in from the upper windows upon the golden
pulpits at the entrance of the choir, form a picture to be
revisited again and again. Yet even here more intimate
acquaintance will serve to dispel many illusions, for the
traceried roof is only painted, and but a few of the
sculptures have any intrinsic merit.
"The solitary blot upon this otherwise noble work is one for which
its architect is in no way responsible the cells of the groining are all
filled in with painted imitations of elaborate traceries ui brown colour,
an abominable device, which never ceases to offend and annoy the eye
more and more every time it is observed. The window tracery through-
MILAN CATHEDRAL. 127
out is meagre, confused, and unmeaning, and the traceries introduced
at mid-height most unsatisfactory ; but the glass with which it is filled,
though poor and late in its character, contains much rich colour, and
gives the entire building a very grand and warm tone." Street.
At the entrance are the two huge granite columns given
by S. Carlo from the quarries at Baveno. Turning into the
right aisle, we see :
\st altar. F. Zucchero. S. Agata.
2nd altar. M. Gherardino. S. Augustine.
yd altar. Fiamminghino. Madonna and two Saints.
Right transept. The monument of the brothers, Gian' Giacomo and
Gabriele de' Medici (erected by their brother, Pope Pius IV.), by
Leon Leoni, but said by Vasari to have been designed by Michael
Angela ; the figures are in bronze. The splendid altar next to it was a
gift of Pius IV., who was uncle of S. Carlo. The tribune of this
transept has a statue of S. Giovanni Bono, Archbishop of Milan, ob.
660, by Busca. The elaborate bas-reliefs, which tell his story, are by
SimonMa, San Petro, Zarabatta, Bussola, and Brunetti. Then comes
the entrance to the subterranean passage to the archbishop's palace.
Then a relief of the Presentation of the Virgin (1510), by Bambaj.i.
Then the famous statue of St. Bartholemew flayed, with the inscription,
"Non me Praxiteles sed Marcus finxit Agrates."
Passing the Altar of S. Agnese, we enter the Ambulatory, at the back
of the choir, which is itself copiously adorned with bas-reliefs of the I7th
century, relating to the life of Christ. On the right is a most beautiful
Gothic door, by Porino Grassi, leading to the sacristy ; then a fine
statue of Martin V., by Jacopino di Tradate, placed here by Filippo-
Maria Visconti, to commemorate his having consecrated the high altar,
on his way from Constance to Rome, immediately after his election.
Then comes the tomb of Cardinal Marino Caracciolo, Governor of
Milan (ob. 1538), m black marble with figures in white marble, by
Bambaja. A curious tablet on the wall with a monogram is called the
" Chrismon Sancti Ambrogii," and has the inscription :
" Circulus hie summi continet nomina regis,
Quern sine principio, et sine fine vides,
Principium cum fine tibi denotat A CO."
Next, passing an inscription to S. Carlo, is the tomb of Ottone
Visconti (ob. 1295), Archbishop of Milan. Beyond, is the statue of
Pius IV. (1559 65) by the Sicilian, Angela de Manis: the beautiful
128 ITALIAN CITIES.
Gothic bracket which supports it is by Brambilla. Here is another
rich door leading to the second Sacristy.
Now we enter the North Transept, which contains the grand bronze
candelabrum, given in 1562 by Giovanni Battista Trivulzio, archpriest
of the church. Here are the slab tombs of two Visconti archbishops,
and that of Cardinal Federigo Borromeo, nephew of S. Carlo. By the
latter tomb travellers will remember with what tenderness and skill the
character of Cardinal Federigo is drawn in the delightful pages of the
Promessi Sposi. We watch the meekness and love of the saint softening
the haughty savageiy of the "unknown," the firmness and zeal of the
chief pastor rebuking and inspiriting the pusillanimous Don Abbondio :
" He was one of those too rare characters who have devoted with un-
changing energy great natural powers, all the resources of immense
wealth, all the advantages of an exalted position, to the search after and
practice of truth and goodness. His life was like a stream which flashes
pure from the rock, and without ever becoming stagnant or stained
carries its waters down their long and varied course, and pours them
pure into the river. He made truth the sole rule of his thoughts and
actions. Thus he learnt that life was not given to be a burden to the
many, a holiday to the few, but to all a charge, of which each must one
day give account : and from a child he began to think how he might
make his own life useful and holy. " It is said that the canonization of
his cousin Carlo had so crippled the fortune of his family that they
were fain to decline for Federigo so well-deserved but so costly an
honour.
Entering the Left Aisle we have a picture of S. Ambrose absolving
Theodosius, by Barocdo, and the Marriage of the Virgin, by F. Zucchero ;
then a crucifix, which S. Carlo carried in procession during the plague
of 1576, at an altar which is adorned by modern statues of Martha by
Monti, and Mary by Marchesi. Next is a tomb, with a Madonna by
Marchesi. Near the entrance is an early mediaeval bas-relief of the
Virgin and Child with eight saints, the latter in red Verona marble.
Opposite this is the Baptistery, by Pellegrini, a porphyry bason with four
columns of macchia-vecchia marble supporting the canopy.
The Choir was designed by Pellegrini. The High Altar supports a
great tabernacle of gilt-bronze, given by Pius IV., and wrought by the
Solavi.
Beneath, is the subterranean chapel of S. Carlo.
"The subterranean chapel in which the body of San Carlo Borromeo
is preserved, presents as striking and as ghastly a contrast, perhaps, as
any place can show. The tapers which are lighted down there, flash
and gleam on alti-relievi in gold and silver, delicately wrought by skilful
GALLERIA VITTORIO EMANUELE. 129
hands, and representing the principal events in the life of the saint.
Jewels, and precious metals, shine and sparkle on every side. A
windlass slowly removes the front of the altar ; and, within it, in a
gorgeous shrine of gold and silver, is seen, through alabaster, the
shrivelled mummy of a man ; the pontifical robes with which it is
adorned, radiant with diamonds, emeralds, rubies ; every costly and
magnificent gem. The shrunken heap of poor earth in the midst of
this great glitter, is more pitiful than if it lay upon a dunghill. There
is not a ray of imprisoned light in all the flash and fire of jewels, but
seems to mock the dusty holes where eyes were, once. Every thread of
silk in the rich vestments seems only a provision from the worms that
spin, for the behoof of worms that propagate in sepulchres. " Dickens.
The Sacristy contains some curious mediaeval vessels and church
ornaments.
From the Piazza del Duomo is the entrance to the really
magnificent Galleria Vittorio Emanuele, the handsomest
and loftiest arcade of shops in the world erected by an
English company. When lighted up in the evening and
filled with people, walking, or sitting under the Gaffes, it
has the effect of a great ball-room.
Having seen the cathedral, the other sights of Milan may
be visited in three walks, taking the Piazza del Duomo as a
centre, viz. :
I. The Church of S. Ambrogio, Baths of Hercules, Church of S.
Lorenzo, Church of S. Eustorgio, Churches of S. Celso and
S. Maria presso S. Celso, Church of S. Nazzaro Maggiore,
Ospedale Maggiore, Churches of 8. Giovanni in Conca and S.
Satiro.
II. Palazzo della Ragione, Loggia degli Ossi, Palazzo della Citta, Bro-
letto, Church of S. Maurizio, Palazzo Litta, Church of S. Maria
delle Gra2 e, Church of Sepolcro, Ambrosian Library.
III. Piazza and Teatro della Scala, Churches of S. Fedele, S. Carlo
Borromeo, S. Marco, and S. Sempliciano, Arco della Pace, Cas-
tello, Church of S. Maria del Carmine, Brera Gallery.
VOL. I.
ITALIAN CITIES.
I.
Turning to the left from the Piazza del Duomo, we follow
the Via Torino. An opening on the right shows the Church
of S. Giorgio in Palazzo, founded in 750 by Bishop Natalis,
but completely rebuilt in 1800. It contains :
Gaudenzio Ferrari. S. Jerome.
Luini. Ecce Homo very beautiful.
The Via del Torchio, and its continuation, the Via Lan-
zone, lead (right) to the Church of S. Ambrogio, the most
remarkable church in Milan, founded in 387 by St. Ambrose,
and dedicated to All Saints. It was at the same time en-
riched with the bones of the martyrs Gervasius and Protasius.
It is the church where S. Augustine was baptized, and where
the Te Deum was first recited by Ambrose and Augustine,
who took up the verses alternately as they advanced to the
altar. It was rebuilt by Archbishop Anspertus in the pth
century, and, though restored in the iQth century, it remains
comparatively unaltered.
" It was under the worthiest of the Karlings, Louis, King and Em-
peror, that the pile arose in which he lies buried. It seems impossible
to withstand the direct evidence which assigns not only the glorious
goldsmith's work of the high altar and the soaring baldacchino above it,
but the main part of the building itself, to Archbishop Ansbert, in 868.
The building has received large changes and additions ; the vault with
the pointed arches across the nave, the octagonal dome, the advanced
upper story of the west front, seem all to belong to a renovation which
began in the twelfth century, most likely after the overthrow of the city
by Frederick Barbarossa. But everything leads us to believe that, in
the main arcades of the nave, and in the most distinctive feature of the
whole building, the cortile, or western cloister, the genuine work of the
9th century still survives. It is the genuine Lombard style, something
S. AMBROGIO. 131
utterly unlike the classical forms of Ravenna, Lucca, Pisa. It comes
nearer to our Northern Romanesque in its Norman variety, but has
throughout an earlier and ruder air. The general look of the building
is dark and cavernous ; the proportions are low and broad ; the arcades
support a large open triforium, but without a clerestory. As at Pisa,
the arcade is continued across the transept arches, and the triforium
assumes the form of coupled arches under a containing arch. The
compound pier is used throughout both in the church and the cortile, to
the exclusion alike of the classical column, of the square piers of the
German Romanesque, and of the vast cylindrical piers of the English
form of Norman. But there is a heavy squareness and flatness through-
out, surpassing anything in Norman work. The capitals are famous for
the lavish use of animal forms ; nowhere in Italy is there less imitation
of classical forms. The subjects in some of the columns should be no-
ticed, as well as those in other parts where animal forms are used.
Some are mere plays of fancy, others seem to represent hunting-scenes ;
but there is a more remarkable one in the west front, representing a
human figure between two lions. The reference to the sports of the
amphitheatre is obvious, but its special purport may be doubted. It
may, of course, refer to some legend of martyrdom ; but it should not be
forgotten that the combats with wild beasts went on at least as late as
the reign of Theodoric, though they were looked on with no favouring
eye by the Gothic King and his great Minister. Altogether, if one can
really believe this church to be in its main features the genuine work of
Anspert, we have in it one of the most instructive buildings in all
Christendom, and the evidence seems directly in favour of such a belief."
Freeman.
The exterior of the church is highly picturesque. The
atrium is surrounded by open arches, the arcades being filled
with ancient inscriptions, altars, and fragments of carving.
In the doors are two small panels of cypress wood, removed
hither from the Basilica Portiana, now S. Vittore al Corpo,
and believed to be part of the identical gates which S.
Ambrose closed against the Emperor Theodosius.
"When Ambrose was informed of the massacre of Thessalonica, his
mind was filled with horror and anguish. The Emperor was deeply
affected by the reproaches of his spiritual father, and, after he had be-
wailed the mischievous and irreparable consequences of his rash fury,
he proceeded, in the accustomed manner, to perform his devotions in
132 ITALIAN CITIES.
the great church of Milan. He was stopped in the porch by the arch-
bishop ; who, in the tone and language of an ambassador of heaven,
declared to his sovereign, that private contrition was not sufficient to
atone for a public fault, or to appease the justice of the offended Deity.
Theodosius humbly represented, that if he had contracted the guilt of
homicide, David, the man after God's own heart, had been guilty, not
only of murder, but of adultery. ' You have imitated David in his
crime, imitate, then, his repentance,' was the reply of the undaunted
Ambrose. The rigorous conditions of peace and pardon were accepted ;
and the public penance of the Emperor Theodosius has been recorded
as one of the most honourable events in the annals of the Church."
Gibbon.
The interior of S. Ambrogio is exceedingly simple and
beautiful. On either side the nave stands a pillar ; that on
the right is surmounted by a curious old cross ; that on the
left by a bronze serpent, shown as the brazen serpent of the
wilderness, and given as such, in 1001, to Archbishop
Arnulphus by the Emperor of the East. In the decorations
of the pulpit, is a curious bas-relief, representing an Agape,
and, beneath it, an early Christian sarcophagus, called, with-
out foundation, the tomb of Stilicho. The Tribune is
covered with Byzantine mosaics upon a gold ground, repre-
senting the Saviour, with SS. Protasius, Gervasius, Satirus,
Marcellina, Candida, and the cities of Milan and Tours, the
latter in reference to the story of S. Ambrose having been
miraculously present at the death-bed of S. Martin of Tours,
without leaving his own episcopal city. The inscriptions
are partly in Greek and partly in Latin. They are supposed
to have been executed, A. D. 832, by the monk Gaudentius.
Beneath, is the ancient episcopal chair of S. Ambrose, in
which the archbishops sate in the midst of their eighteen
suffragans, whose sees extended from Coire to Genoa. The
seats of the other bishops remained till the i6th century. In
front of the tribune stands the high altar, beneath a baldac-
S. AMBROGIO. 133
chino, on the spot where St. Augustine was baptized by St.
Ambrose. Here the coronations with the iron crown took
place Berengar, 888; Lothair, 931 ; Otto the Great, 961 ;
Henry the Black, 1046; Henry IV., 1081 ; Henry VII.
of Luxemburg, 1311 ; Louis of Bavaria, 1327; Charles IV.,
1355 ; and Sigismund, 1431. The golden front of the altar
was presented by Archbishop Angilbertus II., about 835.
"Within this venerable and solemn old church may be seen one of
the most extraordinary and best-preserved specimens of Mediaeval Art :
it is the golden covering of the high-altar, much older than the famous
pala <?oro at Venice ; and the work, or at least the design, of one man ;
whereas the pala is the work of several different artists at different
periods. On the front of the altar, which is all of plates of gold,
enamelled and set with precious stones, are represented in relief scenes
from the life of our Saviour ; on the sides, which are of silver-gilt,
angels, archangels, and medallions of Milanese saints. On the back,
also of silver-gilt, we have the whole life of St. Ambrose, in a series of
small compartments, most curious and important as a record of costume
and manners, as well as an example of the state of Art at that time. In
the centre stand the archangels, Michael and Gabriel, in the Byzantine
style ; and below them, St. Ambrose blesses the donor, Bishop Angil-
bertus, and the goldsmith Wolvinus. Around, in twelve compartments,
we have the principal incidents of the life of St. Ambrose, the figures
being about six inches high, viz. :
1. Bees swarm around his head as he lies in his cradle.
2. He is appointed prefect of the Ligurian provinces.
3. He is elected Bishop of Milan in 375.
4. He is baptized.
5. He is ordained.
6, 7. He sleeps, and beholds in a vision the obsequies of St. Martin
of Tours.
8. He preaches in the Cathedral, inspired by angels.
9. He heals the sick and lame.
10. He is visited by Christ.
11. An angel wakes the Bishop of Vercelli, and sends him to St.
Ambrose.
12. Ambrose dies, and angels bear away his soul to heaven."
Jamtsorfs Sacred Art.
134 ITALIAN CITIES.
In making the round of the church, beginning on the
right, we see :
1st Chapel. Gaudenzio Ferrari. Three frescoes of the Bearing the
Cross, the three Maries, and the Deposition.
6th Chapel. Bernardino Lanini. The Story of St. George, signed
" Bernardinus Juvenis."
The "Jth Chapel (of S. Satire) was called the Basilica of Fausta in the
time of St. Ambrose, and was only united to the church in the 9th cen-
tury. The mosaics of the 5th century are very curious, and have full-
length figures of Ambrose, Gervasius, Protasius, Maternus, Felix, and
Nabor.
In the apse of the right aisle is a fine old Lombard picture of saints.
Hence, passing through the many-pillared crypt, we reach the apse of
the left aisle, where is a beautiful fresco of Christ amongst the Doctors,
by Amb. Borgognone. In returning down the Right Aisle, the chapel
nearest the entrance has a fresco of Christ between Angels, by Bern. Luini.
The shrine of SS. Gervasius and Protasius,* saints cele-
brated in the dedication of many cathedrals and churches,
is of unusual interest.
"Their relics were found by St. Ambrose, who fell into a vision
while praying in the church of SS. Nabor and Felix, in which he saw
two beautiful youths presented to him by SS. Peter and Paul, and it
was revealed to him, that their martyred bodies were buried beneath the
spot on which he knelt. These bodies, of huge size, with severed heads,
were found in a tomb, with a written record of their fate and story.
Their removal to this church by S. Ambrose, and his laying their bones
beneath the altar, saying, ' Let the victims lie in triumph, where Christ
is sacrificed ; He upon the altar, who suffered for all ; they beneath the
altar, who were redeemed by His suffering ! ' was the signal for calum-
nies of the Arians, who accused him of having invented the new saints
and bribed others to support him. The church was originally dedicated
to the brothers, but, after the death of St. Ambrose, was re-named.
Their legend tells that :
" ' They were twin-brothers, who had suffered for the faith under the
Emperor Nero. Having been sent bound to Milan, together with
Nazarus and Celsus, they were brought before Count Artesius, who,
* In honour of these saints an annual procession has taken place, but it has lately
been forbidden by the authorities, because the people of Piacenza threatened, if it
occurred again, to produce their relic the third leg of S. Protasius !
S. LORENZO. 135
sharing in the enmity of his master against the Christians, commanded
them to sacrifice to his idols. On their refusal, he condemned Gerva-
sius to be beaten to death with scourges loaded with lead ; and ordered
Protasius to be beheaded. A good man, whose name was Philip, carried
home their bodies, and buried them honourably in his own garden ; and
they remained undiscovered until their revelation to St. Ambrose. On
the second day after the discovery of the relics, they were borne in
solemn procession to the Basilica. And as they passed along the street,
many of those who were sick or possessed by evil spirits, threw them-
selves in the way, that they might touch the drapery with which the
bodies were covered ; and immediately they were healed. Among these
was a man, named Severus, well known to all in the city, who had been
blind for many years, and was reduced to live upon the alms of the
charitable. Having obtained permission to touch the bones of these holy
martyrs, he was restored to sight ; which miracle, being performed
before all the multitude who accompanied the procession, admitted of
no doubt, and raised the popular enthusiasm to its height.' "
Jameson's Sacred Art.
Returning to the Corso Porta Ticinese, which continues
the Via Torino, we find, on the left, the Colonne de San
Lorenzo, sixteen ancient Corinthian columns, said to be the
peristyle of the Baths of Hercules, built by Maximinian.
They were greatly injured by fire in 1071. Hence we enter
the curious octangular
Church of S. Lorenzo, rebuilt by Pellegrino and Martino
Bassi, in the i6th century, on the plan of S. Vitale at
Ravenna, On the right is the octagonal chapel of S. Aquil-
linus, containing the shrine of the saint in pietra-dura. Here
are some early Christian Mosaics, representing our Lord
amongst his Apostles, and the Sacrifice of Isaac; also the
sarcophagus adorned with the Christian monogram and two
lambs of Ataulphus, who married Galla Placidia, daughter
of Theodosius the Great. Some consider that this chapel
was a chamber in the Roman baths.
Behind the high-altar of the church is a fine tomb, erected,
1538, by Gaspare Visconti to Giovanni Conti.
136 ITALIAN CITIES.
Continuing in a straight line down the Corso di Cittadella
(which takes its name from this having been the first portion
of the town fortified by the Visconti), we reach, on the left,
the square, in front of the
Church of S. Eustorgio, originally built by Archbishop
Eustorgius, in A. D. 320. In the i3th century it was rebuilt
by Tomaso Lombardino, for the Dominicans who had estab-
lished themselves in the adjoining convent. The beautiful
brick steeple is of this period. The whole building (of brick)
is very interesting, as well as the tombs it contains. Adjoin-
ing the west front is the open-air pulpit from which S. Peter
Martyr often confuted the Manicheans. In the interior,
which has three aisles, are :
(Right) 1st Chapel. Architecture by Bramante. The beautiful cinque -
cento tomb of Stefano Brivio, 1456. The altar-piece in three parts, by
Amb. Borgognone, is a Madonna and Child with saints.
2nd Chapel (of S. Dominic). Tomb of Pietro Torelli, 1416, son of
Guido, Lord of Guastalla.
4//fc Chapel. Tomb of Stefano, son of Matteo Magno Visconti, 1327,
a sarcophagus supported by eight spiral columns, resting on lions.
yh Chapel. Tombs of Uberto Visconti and Bonacorsa Borri, brother
and wife of Matteo Magno.
6th Chapel (built to S. Martin, by the Delia Torre family). Tombs of
Gasparo Visconti, 1430, and his wife Agnese. The former bears traces
upon its armorial bearings of the Order of the Garter, conferred by
Edward III., when Gasparo was ambassador to the court of England.
Chapel, right of High-Altar. A great sarcophagus, supposed to have
contained the relics of the Magi, to receive which the church was origin-
ally built. The relics were carried off to Cologne by Rinaldus, Arch-
bishop of that city, when Milan was taken by Frederick Barbarossa. A
bas-relief, of 1347, attributed to the scholars of Balducdo di Pisa, tells
the story of the Nativity and the coming of the Magi.
The High- Altar has 14th-century bas-reliefs of the Passion.
From the Crypt beneath the church, a passage leads to the
Chapel of S. Pietro Martire, built, in 1460, by Pigello
dd Portinari, a Florentine. It contains the shrine of the saint,
TOMB OF S. PETER MARTYR. 137
by Balduccio da Pisa, looked upon by Cicognara and others
as a master-piece. It is inscribed " Magister lohannes
Balducci de Pisis sculpsit hanc archam, Anno Domini,
I339-"
Next to the founder, S. Peter Martyr is the glory of the
Dominican Order. He was born at Verona, 1205, and was
induced by S. Dominic to become a monk in his i5th year.
To reward his unrelenting persecution of heretics, he was ap-
pointed Inquisitor-General by Honorius III. His cruelties in
this office led to his murder, in a wood between Milan and
Como, by two Venetian noblemen, April 28, 1252. He was
canonized, by Innocent IV., in 1253. The history of his
imaginary miracles fills twenty-two pages of the Acta Sanc-
torum.
" Balduccio's monument to this saint (1336 1339) consists of a
sarcophagus, supported upon eight pilasters, in front of which stand
allegorical figures of Hope, Prudence, Justice, Obedience, Charity,
Faith, Force, and Temperance, all bearing the strongest evidence of
Giotto's influence upon him. Take, for instance, the Hope, with up-
turned eyes, full of intense expression ; and the Temperance, charming
in repose, and noble in drapery, with a wreath of ivy- leaves around her
veiled head, and a look of dreamy gentleness in her wide eyes ; or
the triple-faced Prudence, which looks at once at past, present, and
future. The eight bas-reliefs upon the side of the Area, representing
scenes in the saint's life, are very inferior in workmanship to these
statues, and cannot stand a moment's comparison with the bas-reliefs of
Nicola or Giovanni Pisano, and far less with those of Andrea Orcagna.
They are separated from each other by statuettes of SS. Peter, Paul,
Eustorgio, Thomas Aquinas, and the Doctors of the Church ; and upon
the sides of the lid of the 'Area,' the donators are represented in relief.
Statuettes of angels, and a tabernacle, under which sits the Madonna
and Child, with SS. Peter Martyr and Dominic, complete this elaborate
work, which has few equals in unity of design, earnestness of feeling,
and a judicious use of the symbolism of Christian art." Perkiris
Tuscan Sculptors.
Turning to the left, along the boulevard, just beyond S.
138 ITALIAN CITIES.
Eustorgio, and descending the first wide street on the left,
we find (right) the
Church of S. Celso, originally built, A. D. 396, by S.
Ambrose, over the remains of S. Celsus, which he discovered
here, with the body of S. Nazarus, in a field " ad tres moros."
The small church, as it now exists, with a handsome brick
campanile, was built by Filippo-Maria Visconti in 1429.
Beside it stands the large
Church of S. Maria pres so San Celso (generally called La
Madonna) begun in 1491, by Galeazzo Sforza, to accommo-
date the crowds of pilgrims who came out of devotion to a
small picture of the Madonna (who was said to have herself
appeared on the spot) placed by S. Ambrose in the adjoin-
ing church of S. Celso. The original designs were by Bra-
mante, but were altered, in 1572, by Martino Bassi, and
completed by Galeazzo Alessi. The church is approached
by a cloistered court. Over the door are two Sibyls, by
Annibale Fontana. The beautiful statues of Adam and Eve,
on either side, are by Stoldo Lorenzi.
The great chapel on the right contains a S. Jerome, by Paris Bordone,
Over the ist altar on the left, is a small head of the Madonna, by
Sassoferrato, and over it a Madonna with two angels, by Amb. Borgog-
none. Over the altar of the Madonna del Pianto, in the same aisle, is an
interesting fresco of the Madonna and two saints. The shrine of SS.
Nazarus and Celsus has a sepulchral urn of the fourth century.
Continuing along the Corso di San Celso as far as the
Piazza S. Eufemia, and turning (right) between that church
and S. Paolo opposite it, we reach the Corso di Porta Ro-
mana, on the right of which is the
Church of S. Nazzaro Maggiore, founded by S. Ambrose
in A. D. 382. Having been burnt 1075, it was rebuilt by
S. Carlo Borromeo. It is entered by the curious octangular
S. NAZZARO MAGGIORE, 139
sepulchral chapel, of 1518, of the Trivulzi family, who lie
around it, on eight sarcophagi, unfortunately too high up to
allow of their being well seen. They are Antonio Trivulzi,
1454 : his son, the great Gian-Giacomo, Marquis of Vige-
rano, 1518 (with the inscription "Johannes Jacobus Mag-
nus Trivultivs Antonii films, qui nunquam quievit quiescit,
tace ; " the wives of Gian-Giacomo, Margherita Colleoni,
1488, and Beatrice d'Avalos; his son, Gian-Niccolo, 1512,
and his wife, Paula Gonzaga ; Ippolita, Luigi, and Marghe-
rita, children of Gian-Niccolo ; and, lastly, his son Gian
Francesco, 1573, who erected these monuments to his family.
The chapel itself was built by Gian-Giacomo, and is said to
have been designed by Bramante.
From the left aisle of the church opens the Capella di S.
Caterina della Ruota, with noble frescoes by Bernardino
Lanini, of the story and martyrdom of the saint. Lanzi
says that the colouring is that of Titian, while the face
of the saint recalls the work of Guido, the angels that of
Gaudenzio. In the same chapel is a beautiful Gothic altar
in carved wood, representing the Adoration of the Magi.
(Higher up the Corso, a side street on the left leads to
the Church of S. Alessandro, opposite which is the Palazzo
Trivulzi (never shown without an order), containing many
interesting historical memorials, especially the tomb, by
Balductio, of Azzo Visconti, Lord of Milan.
" The front of the sarcophagus, on which the recumbent figure of the
deceased prince lies, watched over by angels, is sculptured with reliefs,
representing knights, and their patron saints (typical of the cities sub-
ject to Azzo), kneeling before S. Ambrose . It is supported upon two
columns, above which stood the now detached statues of S. Michael
and the Dragon, and a female figure holding before her a small child
with clasped hands, possibly emblematic of her soul." Perkin's Jus-
can Sculptors.
140 ITALIAN CITIES.
At the Porta Romana, which closes the Corso at the
lower end, are some curious reliefs.
"The victory of the Milanese at Legnano (A. D. 1176) is com-
memorated at Milan in the bas-reliefs of the Porta Romana, which re-
present the triumphal citizens returning to their half-destroyed homes,
headed by a monk named Frate Jacopo bearing the city banner in his
hand, and accompanied by their allies from Cremona, Brescia, and
Bergamo. One of the inscriptions upon the gate records the name of
Anselmus as the sculptor of these reliefs, and honours him with the title
of a second Dasdalus ; but by applying to him the name which erroneously
stood to them as the type of perfection in sculpture, his contemporaries
showed how incompetent they were to estimate him rightly, for the
short, clumsy, thick-set figures, ranged one behind the other in stiff
monotony, dangle in the air like a row of wooden dolls with pendent
feet and shapeless hands. Filled with contempt and hatred for Bar-
barossa, the Milanese caused two portrait bas-reliefs of himself and his
wife, the Empress Beatrice, to be set up upon the Porta Romana, one
of which is a hideous caricature, the other too grossly obscene for de-
scription." Perkin's Italian Sculptors.
Behind the Church of S. Nazzaro is the Great Hospital
(Ospedale Maggiore) founded by Duke Francesco Sforza
and his wife Bianca Maria, in 1456, on the site of an old palace
of Bernabo Visconti. It is a magnificent building of brick,
with terra-cotta ornaments. The southern portion is the
work of Antonio Filarete, the original architect ; the rest was
added in 1621. In the church is an Annunciation, by
Guercino.
" The immense faqade owes its effect not merely to its unsurpassed
wealth of ornament, but still more to its beautiful distribution and gra-
dations ; the brick style has never produced a more splendid and, at
the same time, a nobler creation. Briefly to recapitulate its principal
features : Two rows of pointed windows, bisected by small columns.
The common framework with its elegant decorations, above all with an
arabesque of vine-leaves and grapes, interspersed with exquisite birds.
In the upper arched compartment vigorously-treated half-length figures
of male and female saints. The lower row of windows, enclosed by
circular sham-arcades resting on semi-columns. In the pendentives half-
OSPEDALE MAGGIORE, S. STEFANO. 141
length figures of saints, standing out in strong relief. Then the broad
frieze, separating the two stories, decorated alternately with rosettes and
branch-work, eagles, and angels' heads. Above, the windows of the
lower story are repeated with the same rich ornament, but in rectangular
frames, and the compartments thus obtained are again adorned with heads
in relief, so that four rows are presented of these heads and half-length
figures. All this is executed with incomparable freshness and sharpness
in the purest forms, and is a perfect wonder in clay sculpture. The twenty-
nine arcades to the right of the principal portal are less richly executed
than the seventeen of the left side. The heads in the upper windows
are able and somewhat more realistic in style than those of the upper
parts, and here and there appear with a flowing and tolerably detailed
beard. On the left side the utmost abundance of ornament is displayed.
Its terra-cottas are perhaps the freest, most life-like, and most important
works which Upper Italy has produced in burnt clay. They bear the
perfect stamp of the sixteenth century. The male heads exhibit the
utmost power ; at the same time, the treatment of the forms through-
out is grand and bold. The female half-length figures are full and
soft, beautiful, even voluptuous in the flow of the lines and in the
mass of the falling hair ; the Putti in the framework of the windows are
full of life, freshness, and grace. In addition to all this there is the
equally rich ornament of the large central court, executed a little later
by Richini. In the upper and lower rows of columns, medallions fill the
compartments above the arches, forming altogether no less than 152
heads. The style here is somewhat feeble and more conventional than
even in the later parts of the facade, although a few very able works
appear among them." Liibke, History of Sculpture.
A little behind the Ospedale Maggiore is the Renaissance
Church of S. Stefano in Broglio, celebrated as the place
where Galeazzo-Maria Sforza was murdered.
"The most abominable lust, the meanest and vilest cruelty, supplied
Galeazzo-Maria with daily recreation. Three young nobles of Milan,
educated in the classic literature by Montano, a distinguished Bolognese
scholar, had imbibed from their studies of Greek and Latin history an
ardent thirst for liberty, and a deadly hatred of tyrants. Their names
were Carlo Visconti, Girolamo Olgiati, and Giannandrea Lampugnani.
Galeazzo Sforza had wounded the two latter in the points which men
hold dearest their honour and their property. The spirit of Har-
modius and Virginius was kindled in the friends, and they determined
to rid Milan of her despot. After some meetings in the garden of S.
H2 ITALIAN CITIES.
Ambrogio, where they matured their plans, they laid their project of
tyrannicide as a holy offering before S. Ambrose, the patron saint of
Milan. Then, having spent a few days in poignard exercise for the sake
of training, they took their place within the precincts of S. Stephen's
Church. There they received the sacrament and addressed themselves
in prayer to the Protomartyr, whose fane was about to be hallowed by
the murder of a monster odious to God and man. It was on the morn-
ing of Dec. 26, 1476, that the duke entered San Stefano. At one and
the sfffne moment the daggers of the three conspirators struck him
Olgiati's in the heart, Visconti's in the back, Lampugnani's in the belly.
He cried, 'Ah, Dio !' and fell dead upon the pavement. The friends
were unable to make their escape ; Visconti and Lampugnani were
killed on the spot ; Olgiati was seized, tortured, and torn to death."
SymondJ Renaissance in Italy.
Returning to the Corso Porta Romana, and its continua-
tion, the Via del Unione, we pass, on the right, the
Church of S. Giovanno in Conca, ruined and used as a
store-house. The brick front has a good rose-window and
doorway. Here was the grand tomb of the tyrant Bernabo
Visconti, now removed to the Brera. The house on the right
of the church is called Dei Cani, from the hounds which he
kept there, and for the maintenance of five thousand of
which he compelled the citizens to pay.
A little further (right) the Via del Falcone leads to the
curious brick chapels at the back of the
Church of S. Satiro. The original church was built by
Archbishop Anspertus in the pth century, but the present
building is of 1480. The interior is very simple and effective.
The octagonal sacristy is by Bramante. A curious Mortorio
in one of the chapels, " like a tableau-vivant out of one of the
old ' Mysteries,' " is by Ambrogio Caradosso, c. 1490.
Hence the Via Torino leads again to the Piazza del
Duomo.
PIAZZA D' TRIE UN ALL 143
II.
Leaving the Piazza del Duomo by the west, we find our-
selves at once in the Piazza de' Tribunals, surrounded by
some of the most curious buildings in the city. In the
centre rises the Palazzo della Ragione, almost dividing the
piazza into two parts. It stands upon open arches, now
enclosed with glass as a kind of Exchange. It was begun in
1228, and finished in 1233, by Oldrado da Tresseno, Podesta
of the city, who is represented on horseback, on the south
wall of the building. The inscription below sets forth, among
his other virtues, his persecution of Manichean heretics :
" Qui solium struxit, Catharos ut debuit ussit. "
On the shields ornamenting the third and fifth arches, is
introduced the traditional half-fleeced sow which guided the
Gaul Belovesus to the foundation of Mediolanum (In medio
lanae).
On the left of the piazza, is the beautiful Gothic Loggia
degli Ossi, so called from the family who built it, in 1316.
The front is richly adorned with shields. It was from the
balcony in front of this edifice that sentences were pro-
nounced upon criminals, and that the Podesta asked the
assent of the people to the acts of government. Beyond
this is the Scuola Palatina, a renaissance building, now an
office for mortgage deeds, with statues of Ausonius and
S. Augustine in front. The opposite side of the piazza
is occupied by the Palazzo della Citta (with a clock-tower),
a town hall of the i6th century. It is adorned with a
statue of S. Ambrose, replacing that of Philip II. of Spain,
144 ITALIAN CITIES.
destroyed by the mob in 1813. On the north of the piazza is
the Broletto, built by Filippo-Maria Visconti.
Turning a little to the right, beyond the piazza, we reach
the Via Meraviglie, descending which to its continuation,
the Corso Magenta we reach, on the left, the
Church of S. Maurizio, said to have been one of the three
buildings spared by Barbarossa in his general destruction of
Milan. Small fragments of Roman work may be discovered
in one of the two towers, which are the only really ancient
portions remaining. The present church was built by
Dolcebono, a pupil of Bramante, 1497 1506, and the fagade
added by Perovano in 1565. It is a perfect gallery of the
pictures of the school of Luini.
In the chapels on the left are, I. The Resurrection ; 2. The Preaching
and Stoning of S. Stephen (by Aurelio Luini) ; 3. The Birth and
Martyrdom of the Baptist (Aurelio Luini] ; 4. The Deposition (pupils
of Luini). The 2nd Chapel on the right has saints, by Bern. Luini ; the
4th Chapel, Christ bound between S. Catherine and S. Stephen, and the
founder of the chapel kneeling (Bern. Luini]. In the lunettes of the
screen are the Mocking, the Crucifixion, and the Deposition of Christ ;
on the side walls, the Agony in the Garden and the Resurrection (Bern.
Luini). The Almighty, the Evangelists, and the Angels, are attributed
to Borgognone.
' Numerous works in the church of the Monasterio Maggiore, the
altar-wall in the inner church (with the exception of the old altar-
picture), and a chapel, are painted by Luini. Here we have the most
beautiful figures of female saints, admirable heads of Christ, and lovely
infant angels. From the dado, painted in brown chiaro-scuro, to the
roof, the walls are covered with masterly frescoes, and the spectator can
scarcely fill his gaze in this lavish display of fancy. On the wall above
the entrance to the choir is a large composition representing the Cruci-
fixion, containing about 140 figures ; among which a group around the
fainting figure of the Virgin, the fine form of the Centurion, those of the
soldiers dividing the garments, and the Magdalen kneeling in ecstasy,
are peculiarly remarkable. The painter, however, has attained the
highest perfection in his figure of St. John, whose action and expression
are full of the loftiest inspiration and faith. Single figures, also of great
6 1 . MARIA DELLE GRAZIE. 145
beauty, are still preserved upon the different piers and walls of the
church. There is also a very graceful Madonna in a lunette over the
door of the Refectory, and a Last Supper in the Refectory itself, much
resembling Leonardo's, but not a copy of it (perhaps not even the work
of Luini)." Ktigler.
Nearly opposite this church is the handsome Palazzo Litta,
built by Richini. It contains some interesting frescoes of
Luini, brought from a ruined church, and a small Correggio
of Apollo and Marsyas. Beyond, on the same side of the
street, we reach the famous
Church of Santa Maria delle Grazie, built 1463 93,
having been founded by Count Gasparo Vimercati, com-
mander of the army under Francesco Sforza I. The great
cupola is a very rich and picturesque work of Bramante.
In the 4th Chapel on the right are grand frescoes of Gaudenzio Ferrari
(1452), of the Flagellation and the Crucifixion. On the vaulting are
angels bearing the instruments of the Passion.
In the Choir are a series of half-length terra-cotta figures, by Bra-
mante.
The adjoining convent is now turned into a Barrack, but
the Refectory is reserved under the superintendence of the
Academy of Arts. Here, on the wall by the entrance, is
a great fresco of the Crucifixion, by Giov. Donato Montor-
fano (dated 1495), and opposite it, the world-famous Cenacolo
of Leonardo da Vinci,
"The purpose being the decoration of a refectory in a rich convent,
the chamber lofty and spacious, Leonardo has adopted the usual
arrangement : the table runs across from side to side, filling up the
whole extent of the wall, and the figures, being above the eye, and to be
viewed from a distance, are colossal ; they would otherwise have appeared
smaller than the real personages seated at the tables below. The
moment selected is the utterance of the words, ' Verily, verily, I say
unto you, that one of you shall betray me : ' or rather, the words have
just been uttered, and the picture expresses their effect on the different
VOL. I. IO
146 ITALIAN CITIES.
auditors. The intellectual elevation, the fineness of nature, the benign
God-like dignity, suffused with the profoundest sorrow, in the head of
Christ, surpassed all I could have conceived as possible in Art ; and,
faded as it is, the character there, being stamped on it by the soul, not
the hand, of the artist, will remain while a line or hue remains visible.
It is a divine shadow, and until it fades into nothing, and disappears
utterly, will have the lineaments of divinity. Next to Christ is St. John ;
he has just been addressed by Peter, who beckons to him that he should
ask ' of whom the Lord spake ' : his disconsolate attitude, as he has
raised himself to reply, and leans his clasped hands on the table, the
almost feminine sweetness of his countenance, express the character of
this gentle and amiable apostle. Peter, leaning from behind, is all fire
and energy ; Judas, who knows full well of whom the Saviour spake,
starts back amazed, oversetting the salt ; his fingers clutch the bag,
of which he has the charge, with that action which Dante describes as
characteristic of the avaricious :
' Questi risurgeranno dal sepolcro
Con pugno chiuso.'
' These from the tomb with clenched grasp shall rise.'
"His face is seen in profile, and cast into shadow ; without being
vulgar, or even ugly, it is hateful. St. Andrew, with his long grey
beard, lifts up his hands, expressing the wonder of a simple-hearted
old man. St. James Minor, resembling the Saviour in his mild
features, and the form of his beard and hair, lays his hand on the
shoulder of St. Peter the expression is, ' Can it be possible ? have we
heard aright ? ' Bartholomew, at the extreme end of the table, has
risen perturbed from his seat ; he leans forward with a look of eager
attention, the lips parted ; he is impatient to hear more. On the left of
our Saviour is St. James Major, who has also a family resemblance to
Christ; his arms are outstretched, he shrinks back, he repels the thought
with horror. The vivacity of the action and expression are wonderfully
true and characteristic. St. Thomas is behind St. James, rather young,
with a short beard; he holds up his hand, threatening 'If there be
indeed such a wretch, let him look to it.' Philip, young and with a
beautiful head, lays his hand on his heart : he protests his love, his
truth. Matthew, also beardless, has more elegance, as one who
belonged to a more educated class than the rest ; he turns to Jude and
points to our Saviour, as if about to repeat his words, ' Do you hear
what he says ? ' Simon and Jude sit together (Leonardo has followed the
tradition which makes them old and brothers) ; Jude expresses constern-
ation ; Simon, with his hands stretched out, a painful anxiety.
THE CENACOLO. 147
" To understand the wonderful skill with which this composition has
been arranged, it ought to be studied long and minutely ; and to
appreciate its relative excellence, it ought to be compared with other
productions of the same period. Leonardo has contrived to break the
formality of the line of heads without any apparent artifice, and without
disturbing the grand simplicity of the usual order; and he has vanquished
the difficulties in regard to the position of Judas, without making him
too prominent. He has imparted to the solemn scene sufficient move-
ment and variety of action, without deducting from its dignity and
pathos ; he has kept the expression of each head true to the traditional
character, without exaggeration, without effort. To have done this,
to be the first to do this, required the far-reaching philosophic mind,
not less than the excelling hand, of this 'miracle of nature,' as Mr.
Hallam styles Leonardo, with reference to his scientific as well as
his artistic powers." Jameson s Sacred Art.
" Indefatigable was Leonardo in the execution of this work. ' I have
seen him,' says Bandello, the novelist, 'mount the scaffold at day-break
and continue there till night, forgetting to eat or drink. Not but what
he would sometimes leave it for many days together, and then return
only to meditate upon it, or to touch and retouch it here and there. The
Prior was for ever complaining of the little progress that he made, and
the Duke at last consented to sp?ak to him on the subject. His answer
is given by Vasari. ' Perhaps I am then most busy when I seem to be
most idle, for I must think before I execute. But, think as I will, there
are two persons at the supper to whom I shall never do justice Our
Lord and the disciple who betrayed Him. Now, if the Prior would but
sit to me for the last '
" The Prior gave him no more trouble." Notes to Rogers' Italy.
Retracing our steps, as far as the entrance of the Via
Meraviglie, a street on the right will lead to a piazza in
which is the
Chunk of S. Sepohro, modernized, but with towers of
the nth century. It contains some curious figures carved
in wood. Over the door is a fresco, by Suardi.
' Bramantino the younger, or more properly Bartolomeo Suardi, has
left a Dead Christ mourned by the Marys, which is particularly cele-
brated ; it is over the door of the church of S. Sepolcro ; the foreshort-
148 ITALIAN CITIES.
ening of the body (the feet being nearest to the eye) is said to be inimit-
able. To protect it from the weather, this picture is unfortunately shut
up in glass and grating, so that no part of it can be thoroughly examined."
Kugler.
Behind this church, occupying a large palace, entered on
the other side, is the celebrated Biblioteca Ambrosiana,
founded in 1609, by Cardinal Federigo Borromeo, Arch-
bishop of Milan.
The library is open from 10 to 3. The collection of MSS.
is of the greatest interest. It comprises some of the earliest
specimens of the Gaelic language known, consisting chiefly
of portions of the Bible, found in the convent of Bobbio,
which was founded in the /th century by S. Columba. The
Palimpsests, also from Bobbio, were discovered by Cardinal
Mai when he was at the head of this library. They are
written upon vellum, upon which the original MS. has been,
as far as possible, effaced, to make use of the same surface
for monastic purposes so that their deciphering and re-
storation has been both long and difficult : amongst them
are fragments of the Codex Argenteus, a Gothic Bible,
written A.D. 360 80, by Ulfilas, an Arian bishop. One of
the greatest treasures is Petrarch's copy of Virgil with his
notes, and a miniature by Simone Mernmi, representing Virgil
with " the various species of his poetry personified ; " this
afterwards belonged to Galeazzo Visconti. The correspond-
ence, and portions of the sermons, of S. Carlo Borromeo,
and his Missal with his motto " Humilitas " are preserved
here.
The upper rooms are used as a museum and picture-
gallery. The pictures are ill-arranged and numbered. The
best works are :
AMBROSIAN LIBRARY. 149
Sala III.
Amb. Borgognonc. Virgin and Child throned, with saints.
Virgin and Child with S. John, unfinished attributed to Raphael ?
Andrea Mantegna. Daniel and the lions.
Sala IV.
Sketches of the Old Masters.
Sala V.
* Raffadle. Cartoon for the School of Athens.
B. Luini. Holy Family, copied from the Paris Leonardo.
* Cesare da Sesto ? (called a Luini). Head of the young Christ.
"The early works of this master resemble Leonardo's ; among them
is a youthful head of Christ, in the Ambrosian Library, of very bland
and unaffected expression, simply and beautifully painted. " Kugler.
* B, Luini. St. John and the Lamb.
"The spirit of Leonardo was so largely imbibed by Luini, that his
latest works are generally ascribed to Leonardo. This was the case for
a long time with the enchanting half-length figure of the Infant Baptist
playing with the Lamb." Kugler.
* Leonardo da Vinci. Portraits of Ludovico Moro and Beatrice
d'Este.
" Painted in oil, in the early and rather severer manner of the artist."
Kugler.
Giorgione. Holy Family.
Titian. His own portrait.
Id. The Adoration of the Magi.
* B. Luini. Tobit and the Angel a most beautiful sketch.
Id. The Madonna reading a sketch.
Leonardo da Vinci. Two portraits in chalk.
.Sala VI,
Moroni. A standing Portrait, 1554.
Sala VII.
Vandyke. Portrait of a Lady.
Moroni. A Portrait.
Bonifazio. A Portrait.
ISO ITALIAN CITIES.
III.
Turning (right) from the Piazza del Duomo, through the
splendid Galleria Vittorio Emanuele lined with shops and
restaurants, and covered in with glass at the whole height of
the houses we reach the Piazza della Scala, with a modern
statue of Leonardo da Vinci. Facing us, is the magnificent
Theatre of La Scala, second only in size to that of San Carlo
at Naples, and capable of containing 3600 persons. It was
built from designs of Piermarini, and opened in 1779. It
derives its name from the Church of S. Maria della Scala,
on the site of which it was built.
Turning to the right from the end of the Galleria, and
passing (left) the Palace of the Magistrate) Camerale, we
reach (left) the
Church of S. Fedele, built by Pellegrino Pellegrini for S.
Carlo Borromeo. It contains a few tolerable pictures.
A street on the right leads us back to the Corso Vittorio
Emanuele, following which, on the left, we find the
Church of S. Carlo Borromeo, built from designs of Amati,
1838, as a thank-offering for deliverance from cholera. It is
circular, and surmounted by a dome, 105 feet in diameter,
and 1 50 feet high (with the lantern). It contains two marble
groups, by Marchesi on the right of the high altar, a Pieta,
called " II Venerdi Santo ; " on the left S. Carlo Borromeo
administering a first Communion.
Passing, on the right, S. BaMla, and, on the left, the
Seminario Arcivescovile, with a handsome gate, we reach
the Naviglio, which encircles Milan. Here, turning (left)
down the Via Senate, and passing (right) the Palace of the
S. MARCO, S. SEMPLICIANO. 151
Archivio and the Hospital of the Ben-Fratelli, we find
(right) the
Church of S. Marco, a very handsome brick building of
1254, with a good campanile, observe
Right, yd Chapel. Lomazzo. Virgin and Child, with Saints.
$th Chapel. A magnificent bronze candlestick.
8tA Chapel. Virgin and Child with S. Maurice ?
In the Right Transept are a most interesting collection of 13th-cen-
tury monuments, the most remarkable that by Balduccw de Pisa of Lan-
franco Settala, the first General of the Augustinians, 1243, and a Pro-
fessor of Theology .
"On the top of the sarcophagus, which is raised upon consoles, and
set against the wall, the deceased monk lies upon a mortuary couch,
behind which two figures raise the folds of a curtain. He is again re-
presented in the centre of the front of the 'Area,' seated at a desk,
instructing his scholars, who are sculptured in bas-relief within the side
panels, and his very earnest face, as well as his cowl, frock, and hands,
being coloured, the effect is life-like and striking." Perkin's Tuscan
Sculptors.
The frescoes are by Lomazzo. Near the higli altar are some huge
pictures by C '. Proccacini.
Continuing, the Strada S. Sempliciano (on right) leads
to the
Church of S. Sempliciano, built by the Milanese after they
defeated Barbarossa at Legnano, because they believed that
they had been assisted in the battle by the spirits of saints
(buried by S. Ambrose in a small oratory on this site), who
perched upon the mast of their carroccio. The church is
much altered : there are modern mosaics over the three
doors in its west front. In the tribune is a fresco of the
Coronation of the Virgin, by Amb. Borgognone.
Turning right, we reach the wide space called Piazza
cTArmi, beyond which, outside the Porta Sempione, is the
Arco della Pace, built 1807 38, from a design of the
Marchese Cagnola, originally intended and used (merely for
152 ITALIAN CITIES.
a wooden arch) in honour of the marriage of Prince Eugene
Beauharnois.
" Un arc de triomphe a qui celui du Carrousel passerait entre les
jambes, et qui pourrait latter de grandeur avec 1'arc de 1'E.toile, donne
a cette entree un caractere monumental que le reste ne dement pas.
Sur le haut de 1'arc, un figure allegorique, la Paix ou la Victoire, con-
duit un char de bronze attele de six chevaux. A chaque angle de 1'en-
tablement, des ecuyers tendant des couronnes font piaffer leurs montures
d'airain ; deux colossales figures de fleuves accoudes sur leurs urnes
s'adossent au cartel gigantesque qui contient 1'inscription votive, et
quatre groupes de deux colonnes corinthiennes marquent les divisions
du monument, soutiennent la corniche et separent les arcades au nombrc
de trois ; celle du milieu est d'une prodigieuse hauteur. " Tktophilt
Gautier.
On the other side of the Piazza d'Armi is the Castelh,
b,uilt originally by Galeazzo Visconti in 1358, but destroyed
on his death, and rebuilt by his son, Gian Galeazzo. The
second castle was destroyed by the people in 1447, and the
present edifice (much altered by Philip II., and stripped of
its fortifications by Napoleon) is the work of Francesco
Sforza. It is rather picturesque. Being now used as a
barrack, almost all the frescoes in the interior have perished.
Turning (left) to the Corso di Porta Garibaldi, and follow-
ing it for a little distance, the Via del Carmine leads to the
Church of S. Maria del Carmine, where, over an altar
on the left, is a beautiful little fresco by Bern. Luini of the
Madonna and two saints, and two pictures by Camilla Pro-
caccini.
"The Eclectic school of the Procaccini at Milan rose to greater im-
portance than that of the Campi, owing to the patronage of the Borro-
meo family. Its founder was Ercole Procaccini (1520 1590), who was
born and educated at Bologna. His best scholar was his son Camillo,
who flourished about the beginning of the seventeenth century. His
later pictures are in the churches and galleries of Milan ; in these a
peculiar gentleness occasionally reminds us of the manner of Sasso/-
ferrato. " Kuglrr.
THE BRER A. 153
Following the Via del Carmine to the Via della Brera,
and turning left, we reach (right) the Palace containing the
famous
Galleria della Brera (so called from the Collegio di Santa
Maria in Brera Brera, a corruption of Prsedium, meaning
meadow). The palace was erected by the Jesuits in 1618,
from designs of Richini ; the portal and fagade are by Pier-
marini. In the centre of the court is a bronze statue of
Napoleon I., by Canova : around it are statues of famous
natives of Milan.
The ground-floor is occupied by a Scientific Institute, a
Library, a Museum of Coins and Medals, and the
Anhceological Museum (entrance 50 c.), which is worth
visiting, if it is only for the sake of seeing the exquisitely
beautiful recumbent statue, by Agostino Busti {Bambaja) of
Gaston de Foix, nephew of Louis XII. and Governor of
Milan, who was killed, 1512, in the battle of Ravenna, after
a short career of two months " qui fut toute sa vie et son
immortalitd. "* The statue was brought from his famous
tomb in the now destroyed Church of S. Marta, where it
was erected by the French when they were in possession of
Milan.
" Were it not for this one statue, we should think Bambaja overrated,
notwithstanding his great skill as an ornamental sculptor. Clothed with
armour, and wearing a helmet wreathed with laurel upon his head, the
young soldier lies in a simple attitude, with his arms crossed upon his
breast, and a severe and dignified expression in his face, 'quasi tutto lieto
nel sembiante, cosl morto per le vittorie avute.' " Ptrkin's Italian
Sculptors.
In the centre of the gallery is a great equestrian statue of
Bernabo Visconti, Duke of Milan (1385), celebrated for
* Henri Martin. Histoire de France.
154 ITALIAN CITIES.
cruelties, which can can only be accounted for by insanity.
He kept five thousand hounds, which he quartered upon the
richest citizens. Every two months there was an inspection.
If a dog was too fat, the keeper was fined for over-feeding ;
if he was too thin, he was fined equally ; but, if a dog was
dead, the householder was imprisoned, and all his property
was confiscated. Bernabo was treacherously seized by his
nephew, Gian-Galeazzo, Conte di Virtu, and imprisoned in
the castle of Trezzo, where he died of poison, upon which
his nephew took possession of his sovereignty.
"It is well to recall what manner of man Bernabo was as we look at
his statue, which neech some historical association to give it interest.
Clad in armour, and holding the baton of command in his left hand, he
sits stiffly upon his horse, whose trappings, enriched with his cypher and
the emblems of his house, were once gay with gilding and colour ; two
diminutive figures of Fortitude and Justice stand like pages at his
stirrups. The statue is raised upon a sarcophagus which rests upon nine
short columns, and has its four sides adorned with coarsely-modelled
bas-reliefs of the Crucifixion, the dead Christ and Angels, the Evangel-
ists, and single figures of saints. It is not the monument of Bernabo,
as one would naturally suppose, but that which he erected to the
memory of his wife, Regina della Scala, who had great influence over
him, and to whom he was much attached, despite his cruelty, his bad
temper, and libertinism. It originally stood behind the high-altar at S.
Giovanni a Conca, in such a position that the worshippers appeared to
be praying to Bernabo, which was considered so scandalous, that it was
removed, soon after the tyrant's death, to a more fitting place near the
door. Matteo da Campione is said to have been its sculptor, but we feel
rather induced to ascribe it to Bonino, from the resemblance of the
equestrian group to that with which he crowned the Gothic tomb of
Can Signorio at Verona." Parkin's Italian Sculptors.
Among other monuments here, we must notice the beau-
tiful Renaissance tomb of Bishop Bagaroto, 1519, brought
from S. Maria della Pace.
"The figure of the deceased is dignified, and the drapery grandly
arranged ; the arm is drawn easily below the head, and thus the effect of
quiet slumber is obtained." Liibke, History of Sculpture.
THE BRERA. 155
The tomb of Lancino Curzio, 1513, is by Bambaja.
"Among the most important works here, which evidence the com-
mencement of the new style, there is an extremely nobly-conceived
female monumental statue, represented lying with arms crossed, with
grandly -arranged drapery, the head and arms treated with the finest per-
ception of nature, and with a long flowing garment, in which we can
still trace remains of the Gothic style. Several masterly heads in relief
exhibit the advanced realism of the fifteenth century : thus, for instance,
a male portrait of energetic expression, the luxuriant hair encircled with
a laurel wreath, and the mouth especially betraying vigorous power,
while the whole recalls to mind the heads of Mantegna or Buttinone.
Another head exhibits the still bolder and commanding features of an
older man, who acquires a character of unflinching firmness from the
strongly projecting lower lip. A cap covers the shortly-clipped hair.
Another, with a great wig-like head of hair, reminds us of Bellini's
heads. There is a head in relief in black marble of Ludovico Moro,
recognizable from the fat double chin and rich hair, a work of delicate
execution and masterly conception. Among the most important works
of the time, there is also a statue of a woman praying, with long hair
falling to her feet, in simple, flowing, and grandly-designed drapery, and
with an expressive head. Among the relief compositions, a gracefully
executed Madonna, with the Nativity, is especially striking. Mary and
Joseph and a group of angels are worshipping the Child, who is lying on
the ground. The style of the drapery belongs, in its creased and restless
folds, to the most conventional works of the period. On the other hand,
a relief of Christ teaching in the Temple, just as He is discovered by
his parents, exhibits the nobly-finished style of about 1520." Ltibke.
A number of Roman altars, fragments of sculpture, and
inscriptions, are collected here ; also some interesting in-
scriptions (near the entrance) relating to the great plague of
Milan.
Ascending the handsome staircase in the court-yard, we
reach (right) the entrance to the Pinacoteca, open on week-
days, from November to February, from 9 to 3 ; in the sum-
mer months from 9 to 4 ; on Sundays from 12 to 3 :
admission free.
The entrance corridor is almost entirely occupied by a
156 ITALIAN CITIES.
most lovely collection of the works of Bernardino Luini.
They are chiefly frescoes.
" Foremost amongst the scholars of Leonardo stands Bernardino
Luino (or di Luvino, a village on the Lago Maggiore), a master whose
excellence has been by no means sufficiently acknowledged. It is true,
he rarely rises to the greatness and freedom of Leonardo ; but he has a
never-failing tenderness and purity, a cheerfulness and sincerity, a grace
and feeling, which give an elevated pleasure to the student of his works.
That spell of beauty and nobleness, which so exclusively characterizes the
more important works of the Raphaelesque period, has here impelled a
painter of comparatively inferior talent to works which may often rank
with the highest which we know." Kngler.
All the pictures of Luini in this corridor are well-deserving
of study ; perhaps especially noteworthy are
23. The Ascension.
45. The Virgin and Child, with saints (signed 1521).
*5o. The Burial of St. Catherine.
" And when S. Catherine was beheaded, angels took up her body,
and carried it over the desert, and over the Red Sea, till they deposited
it on Mount Sinai. There it rested in a marble sarcophagus, and there
a monastery was built over it in the eighth century, where it is revered to
this day." Legend of S. Catherine.
" Three angels sustain the body of S. Catherine, hovering over the
tomb in which they are about to lay her. The tranquil, refined character
of the head of the saint, and the expression of death, are exceedingly
fine." Jameson's Legendary Art.
3. Bart. Suardi delta 1 II Bramantino, is a beautiful Madonna and
Child, with angels.
24. Gaudenzio Ferrari, is a most beautiful Adoration of the
Magi.
Hence we enter the Main Gallery, and may observe :
Sala I.
75. Titian. St. Jerome.
79. Palma Vecchio. Four Saints,
81. Vandyke. Madonna and Child, with S. Antony of Padua.
85. Niccolb Rondindli. S. Giovanni Evangelista appearing to
Galla Placidia in the church she had dedicated to him at
Ravenna.
THE BRER A. 157
94. Domenuhino. Virgin and Child throned, with saints.
96. Paris Bordone. Baptism of Christ.
115. Tintoretto. Dead Christ.
Sala II.
1 20. Giacomo Francia. Virgin and Child, with saints and wor-
shippers.
124. Paul Veronese. The Coming of the Magi.
12^ )
2 [ The doors to this picture the Fathers of the Church.
142. Girolamo Savoldo. Virgin and Child, with saints.
143. Tintoretto. A group of Saints.
144. Paul Veronese. SS. Cornelius, Antonius, and Cyprianus.
Sala III.
147. Gentile da Fabriano. Coronation of the Virgin called " II
Quadro della Romita."
149. Carlo Crivelli. In three divisions. In the centre, the Madonna;
on the left, S. Peter and S. Dominic ; on the right, S. Peter
Martyr and S. Gemignano.
154. Girolamo Genga. Saints around the Madonna, God the
Father and angels above.
155. Gentile Bellini. The preaching of S. Mark at Alexandria.
" In the works of Gentile the heads display more softness than those
of Giovanni Bellini. This may be said of a large picture with numerous
figures in the Brera ; the subject is St. Mark preaching at Alexandria.
This painter, as is well known, repaired to Constantinople, by desire of
the Sultan (1497). Several of his still-existing pictures bear evidence of
that journey, especially this, in which oriental costumes are almost
exclusively introduced. " Kugler.
158. Bart. Montagna da Vicenza, 1499. Madonna and Child, with
SS. Andrew, Monica, Ursula, and Sigismund.
162. Palmezzano (signed in his peculiar manner). Nativity (1492).
164. Timoteo della Vite. Annunciation, with S. John Baptist and
S. Sebastian.
"This picture is of the painter's earlier time, before he joined
Raphael ; the heads recall Francia and Perugino." Kugler.
168. Andrea Mantegna (1454). Saints in twelve compartments.
169. Cima da Conegliano. SS. Peter Martyr, Nicholas, and
Augustine.
172. Frate Carnevale (1484). Madonna, with the kneeling knight
Duke Federigo d' Urbino very interesting to those who
have studied his beautiful life.
158 ITALIAN CITIES.
1 73. Giovanni Sanzio. Annunciation.
181. Bartolomeo Montagna. Virgin and Child, with S. Bernardino
and S. Francesco.
184. Paul Veronese. The Supper in the Pharisee's house.
185. Giovanni da Udine. S. Ursula and her virgins.
187. Benvenuti Garofalo. The Crucifixion.
192. Giotto (signed "OP MAGISTRI JOCTI"). Madonna and Child.
This picture was originally in the Church of S. Maria degli Angeli
at Bologna. It had side-panels, with saints and angels, which are now
in the gallery at Bologna.
194. Marco Palmezzano da Forli (signed 1493). Madonna and
Child, with saints.
195. Stefano da Ferrara. Madonna and Child throned, with four
saints.
" This artist was a pupil of Mantegna ; his works have a peculiarly
fantastic character. " Kugler.
199. Carlo Crivelli. Virgin and Child, with garlands of flowers.
Sala IV. (The ist of the small rooms).
207. Lorenzo Lotto. Pieta.
212. Correggio. Virgin and Child, with SS. Barbara and Lucia.
220. Giovanni Bellini. Dead Christ, with the Madonna and S.
John.
234. Vittore Carpaccio. St. Stephen and the Doctors of the Law.
Sala V.
235. Palmezzano. Coronation of the Virgin.
250. Liberali da Verona. S. Sebastian.
Sala VI.
272. Scuola di Perugino. S. Sebastian.
*287. Cima da Conegliano. S. Peter throned, with S. Paul and
S. John Baptist standing.
288. Cima da Conegliano. Madonna
293. Giovanni Bellini. Madonna and Child.
*2g6. Francesco Albani. Dance of the Cupids.
*3i2. Giovanni Bellini. (Signed 1510). Madonna and Child.
Sala VII.
|! ' [ Cima da Conegliano, Two small pictures of Saints.
THE BRER A. 159
315. Sketch either for or from the Nozze Aldobrandini, attributed
to Raphael.
319. Guercino. Abraham and Hagar.
" Agar pleure de desespoir et d'indignation ; mais elle se contient,
1'orgauil feminin la roidit ; ella ne veut pas donaer sa douleur en pature
a Sarah, sa rivale heureuse. Celle-ci a la hauteur d'une femme
legitime qui fait chasser uue maitresse ; elle affecte da la dignite et
cependant regarde du coia de 1'oeil avec una mechancete satisfaite.
Abraham est un pare noble qui represente bien, mais dont le tete est
vide ; il etait difficile de lui trouver un autre role." Taine,
321. Marco Basaiti. S. Jerome.
322. Andrea Solari. Portrait.
323. Cesare da Sesto. Virgin and Child.
324. Luca da Cortona. The Flagellation.
325. Andrea da Milano. Holy Family.
326. Velasquez. Sleeping Monk.
* 328. Leonardj da Vinci. Head of Christ (in chalk).
" This sketch is of the highest interest, as being the original study for
the all but lost fresco in the Madonna d;lle Grazie."
329. Bern. Luini. Madonna and Child (much restored).
331. Fil Mazzu3la. Portrait.
332. Moroni (1565). Portrait.
* 334. Raffaelle. The Spozalizio.
" This picture is inscribed with the painter's name, and the date, 1504.
The arrangement is simple and beautiful : Mary and Joseph stand
opposite to each other in the centre ; the high priest, between them,
joins their hands ; Joseph is in the act of placing the ring on the finger
of the brida : beside Mary is a group of the Virgins of the Temple ;
near Joseph are the suitors, who break their barren wands, that which
Joseph holds in his hands has blossomed into a lily, which, according to
the legend, was tha sign that ha was the chosen one. In the back-
ground is the lofty Temple, adorned with a peristyle. With much of
tha stiffaess and constraint of tha old school, the figures are noble and
dignified ; the countenances, of tha swaetest style of beauty, are expressive
of a tender, exquisite melancholy, which lends a peculiar charm to this
subject, inappropriate as it is in more animated representations."
Kugler.
" Raphael avait vingt et un ans, et copiait avec quelques petits
changements un Perugin qui est au musee de Caen. C'est une aurore,
la premiere aube de son invention. La couleur est presque dure et
160 ITALIAN CITIES.
decoupee en taches nettes par des contours sees. Le type moral des
figures viriles n'est encore qu' indigne ; deux adolescents et plusieurs
jeunes filles ont la meme tete ronde, les memes yeux petits, la meme
expression moutonniere d'enfant de choeur ou de communiante. II ose
a peine ; sa pensee ne fait que peindre dans un crepuscule. Mais la
poesie virginale est complete. Un grand espace libre s'etend derriere
les personnages. Au fond, un temple en rotonde, muni de portiques,
profile ses lignes regulieres sur un ciel pur. L'azur s'ouvre amplement
de toutes parts, comme dans la campagne d'Assise et de Perouse ; les
lointains paysages, d'abord verts, puis bleuatres, enveloppent de leur
serenite la ceremonie. Avec une simplicite qui rappelle les ordonnances
hieratiques, les personnagas sont tous en une file sur le devant du
tableau ; leurs deux groupes se correspondent de chaque c6te des deux
epoux, et le grand pretre fait le centre. Au milieu de ce calme universel
des figures, des attitudes et des lignes, la Vierge, modestement penchee,
les yeux baisses, avance avec une demi-hesitation sa main ou le grand
pretre va mettre 1'anneau de mariage. Elle ne sait que faire de 1'autre
main, et, avec une gaucherie adorable, la laisse collee a son manteau.
Un voile diaphane et delicat effleure a peine ses divins cheveux blonds ;
un ange ne 1'eut pas pose sur elle avec un soin et un respect plus chaste.
Elle est grande pourtant, saine et belle comme une fille des montagnes,
et pres d'elle une superbe jeune femme en rouge clair, drapee d'un
manteau vert, se tourne avec la fierte d'une deesse. C'est deja la beaute
pa'ienne, le vif sentiment du corps agile et actif, 1'esprit et le gout de la
renaissance qui percent a travers la placidite et la piete monastiques. "
Taine.
Sala VIII.
343. F. Franda. The Annunciation.
345. Luca da Cortona. Virgin and Child.
346. ) Vittore Carpacdo. The Presentation and Marriage of the
V353- I Virgin.
*35o. Andrea Mantegna. Pieta.
"The giants painted in chiaro-oscuro by Paolo Uccello in the Palazzo
dei Vitelliani at Padua furnished Mantegna with an object of study and
emulation ; and by dint of constantly exercising his pencil in every
variety of fore-shortening, and habituating himself to overcome the
greatest difficulties in this branch of the art, he at length succeeded
in producing this astonishing figure of the dead Christ, which, from the
peculiar position of the body, with the feet towards the spectator, pre-
sented a problem to the artist, the solution of which had been hitherto
reputed impossible." Rio.
THE BRERA. 161
351. II Civctta. The Nativity.
352. Lorenzo Costa. The Coining of the Magi.
*354- Dosso Dossi (sometimes considered to be the work of Gior-
gione). S. Sebastian
"St. Sebastian is standing, bound to an orange tree, with his arms
bound above his head ; his dark eyes raised towards heaven. His
helmet and armour lie at his feet ; his military mantle of green, em-
broidered with gold, is thrown around him. This picture, with the
deep blue sky and deep green foliage, struck me as one of the most
solemn effects ever produced by feeling and colour. He is neither
wounded nor transpierced." Jameson's Sacred Art.
355. Guido Reni. SS. Peter and Paul.
*3^3- Giorgioiie. The Finding of Moses.
"A picture in the Brera at Milan, very deserving of notice, is perhaps
one of Giorgione's most beautiful works ; it is historical in subject, but
romantic in conception. The subject is the Finding of Moses ; all the
figures are in the rich Venetian costume of Giorgione's time. In the
centre the princess sits under a tree, and looks with surprise at the child,
who is brought to her by a servant. The seneschal of the princess, with
knights and ladies, stand around. On one side two lovers are seated on
the grass ; on the other are musicians and singers, pages with dogs, a
dwarf with an ape, &c. It is a picture in which the highest earthly
splendour and enjoyment are brought together, and the incident from
Scripture only gives it a more lively interest. The costume, however
inappropriate to the story, disturbs the effect as little as in other
Venetian pictures of the same period, since it refers more to a poetic
than to mere historic truth, and the period itself was rich in poetry ; its
costume, too, assisted the display of a romantic splendour. This
picture, with all its glow of colour, is softer in the execution than the
earlier works of the master, and reminds us of Titian, the more successful
rival of Giorgione not like him, to be cut off by death in the very midst
of the greatest efforts." Kugler.
" Personne ne songe ici a Mo'i'se : la scene n'est qu'une partie de
plaisir pres de Pailoue ou de Verone pour de belles dames et de grands
seigneurs. On voit des gens en beau costume du temps sous de grands
arbres, dans une large campagne montagneuse. La princesse a voulu
se promener et a emmene tout son train : chiens, chavaux, singes,
musiciens, ecuyers, dames d'honneur. Dans le lointain arrive le reste
de la cavalcade. Ceux qui ont mis pied a terre prennent le frais sous
les feuillages ; ils se donnent un concert ; les seigneurs sont couches
aux pieds des dames et chantent, la toque sur la tete, Tepee au cote ;
VOL. I. II
162 ITALIAN CITIES.
elles, rieuses, causent en ecoutant. Leurs robes de soie et de velours,
tantot rousses et rayees d'or, tantot glauques ou d'azur fonce, leurs
manches bouffantes a creves font des groupes de tons magnifiques sur
les profondeurs de la feuillee. Elles sont de loisir et jouissent de la
vie. Quelques-unes regardent le nain qui donne un fruit au singe, ou le
petit negre en jaquette bleue qui tient en laisse les chiens de chasse.
Au milieu d'elles et plus fasteuse encore, comme le premier joyau d'une
parure, la princesse est debout ; un riche surtout de velours bleu fendu
et rattache par des boutons de diamants laisse voir sa robe feuille-morte ;
la chemise pailletee de semis d'or avive par sa blancheur la chair satinees
du col et du menton, et des perles s'enroulent avec de molles lueurs dan
les torsades de ses cheveux roussatres." Taine.
Sala IX.
369.)
370. * Lorenzo Lotto. Magnificent Portraits.
371- '
376. Titian. Portrait.
377. Francesco da Cottignola. Virgin and Child, with SS. Nicholas
and Francis.
381. Sassoferrato. Madonna and sleeping Jesus.
385. Vandyke. Portrait of a Lady
Sala X.
388. Caspar Poussin. S. John Baptist as a child, in the
wilderness.
395. Pietro da Cortona. Virgin and Child, with saints.
427. Bonifazio. The Supper at Emmaus.
441. Salvator Rosa. S. Paul the Hermit, in the wilderness.
Sala XI.
445. Marco d'Og^ionc. The Archangels.
447. Gaudenzio Ferrari. Martyrdom of S. Catherine.
" St. Catherine is represented in a front view, kneeling, her hair dis-
hevelled, her hands clasped, and in the eyes, upraised to the opening
heavens above, a most divine expression of faith and resignation ; on
each side are the wheels armed with spikes, which the executioners are
preparing to turn : behind sits the emperor on an elevated throne, and
an angel descends from above armed with a sword. In this grand
picture the figures are life-size." Jamison's Sacred Art.
" This is a work of strong and somewhat coarse expression. The scene
of torture is well-executed, though the colouring is somewhat glaring ;
CIIIARA VALLE. 163
the saint is noble and gentle, and the executioners full of effective
action." Liibke.
449. Bernardo Zenale. Madonna and Child, with the Fathers of
the Church.
450. Calisto da Lodi. Madonna and Child, with S. Jerome and
S. John Baptist.
459. Cesare da Sesto. Holy Family.
460. Bern. Luini. The Drunkenness of Noah.
479. Amb. Borgognone. Christ bound.
480. Amb. Borgognone. Assumption and Coronation of the
Virgin.
Sala XII.
Among modern pictures, the Statue of " The Reading Girl" of Cav.
Magni, 1861.
Sala XX.
At the end of many rooms of sculpture. The Three Graces and
Cupid of Thorwaldsen, as a monument to Andrea Appiani.
In the Galleria Oggiotri, opening out of the first room
with the frescoes, are only two pictures especially demanding
notice :
762. Carlo Crivclli (signed 1493)- The Coronation of the
Virgin.
784. Bern. Luini. Madonna.
No one should leave Milan without making an excursion
to the wonderful old church of Chiaravalle, about 3^ miles
distant, beyond the Porta Romana.
"This was the church of the first Cistercian monastery that was estab-
lished in Italy. The Cistercian reform was first introduced by St. Bernard,
who was abbot of Clairvaux in France. In 1 134 St. Bernard crossed
the Alps to attend a council at Pisa, and on his way back paid a visit to
Milan. The citizens of Milan advanced seven miles beyond their gates
to receive him. His presence excited the most enthusiastic feelings ;
and within a year after his departure a monastery was built at a distance
of about four miles from the city, which was to be governed by St.
164 ITALIAN CITIES.
Bernard's rules, and to receive a name from the parent institution. The
monastery was inhabited in 1 1 36, but it was not till nearly the close of
the twelfth century that the church was completed. It is in the
Lombard style, and deserves consideration, as an architectural com-
position, for the importance of its central tower. The body of the
fabric is left perfectly plain, and, in effect, serves only as a base for the
leading features of the design. The tower alone is enriched. Octagonal
in its form up to a certain height, it becomes a spire above. Both the
octagonal and spiral portions are enriched with Lombard galleries,
which give an appearance of lightness, and attract the eye to that part
of the building on which it is intended to rest. It is evident that the
architect must have made the central tower the chief object ; and when-
ever an architect has had a peculiar object, and has succeeded in
producing the effect which he desired, his work deserves to be studied."
G. Knight.
The monastery was suppressed in 1797. The interior of
the church is falling into decay, but very picturesque and
beautiful. The tomb of Ottone Visconti is shown, who lived
much here in retirement. In the adjoining graveyard are
many monuments of the Torriani, who governed Milan before
the Visconti, including that of Pagano della Torre, 1241.
Here also is the tomb, marked by five stars on the wall, of
the famous Wilhelmina, a Bohemian, who died in 1282.
" She appeared in Milan, and announced her gospel, a profane and
fantastic parody, centering upon herself the great tenet of the Fraticelli,
the reign of the Holy Ghost. In her, the daughter, she averred, of
Constance, Queen of Bohemia, the Holy Ghost was incarnate. Her
birth had its annunciation, but the angel Raphael took the place of the
angel Gabriel. She was vary God and very woman. She came to save
Jews, Saracens, falsa Christians, as the Saviour the true Christians. Her
human nature was to die as that of Christ had died. She was to rise
again and ascend into heaven. As Christ had left his vicar upon earth,
so Wilhelmina left the holy nun, Mayfreda. Mayfreda was to celebrate
the mass at her sepulchre, to preach her gospel in the great church at
Milan, afterwards at St. Peter's at Rome. She was to be a female Pope,
with full papal power to baptize Jews, Saracens, unbelievers. The four
gospels were replaced by four Wilhelminian evangelists. She was to be
seen by her disciples, as Christ after his resurrection. Plenary indul-
TOMB OF WILHELMINA. 165
gence was to be granted to all who visited the convent of Chiaravallc,
as to those who visited the tomb of our Lord : it was to become the
great centre of pilgrimage. Her apostles were to have their Judas, to be
delivered by him to the Inquisition. But the most strange of all was
that Wilhelmina, whether her doctrines were kept secret to the initiate,
lived unpersecuted, and died in peace and in the odour of sanctity.
She was buried first in the church of S. Peter in Orto ; her body was
afterwards carried to the convent of Chiaravalle. Monks preached her
funeral sermon ; the Saint wrought miracles ; lamps and wax candles
burned in profuse splendour at her altar ; she had three annual festivals ;
her Pope, Mayfreda, celebrated mass. It was not till twenty years after
that the orthodoxy of the Milanese clergy awoke in dismay and horror ;
the wonder-working bones of S. Wilhelmina were dug up and burned ;
Mayfreda and one Andrea Saramita expiated at the stake the long unre-
garded blasphemies of their mistress. " Milman's Latin Christianity.
CHAPTER IX.
PAVIA.
NO lover of art must leave Milan without making an
excursion to the wonderful Certosa, and the curious
old city of Pavia.
(The Croce Bianca at Pavia is a tolerable hotel, but both the Certosa
and Pavia may be visited in a day from Milan. In the spring and
summer months, the best, way is to take the train which leaves Milan
at 12. 10 for the Certosa, proceeding to Pavia at 4.25, and returning to
Milan at 8.50. Tickets to Pavia, 4.40; 3.20; 2.30.)
The fine church of Chiaravalle (right) is the only object
of interest passed on the way to the Certosa.
The Certosa appears to be close to the station (of La
Certosa), but it is nearly a mile to the entrance, as half the
circuit of the wall of the convent garden has to be made.
Carriages may generally be procured at the station. Ladies
are now admitted to see everything here. The Certosa
stands in the midst of the unvaried Lombard plain, whose
marshy meadows, ever resounding from a chorus of frogs,
produce several crops in the course of the year. Thick
bands of willows and poplars, which follow the ditches and
canals, shut out the view on every side. Here Gian-Gale-
azzo Visconti founded (Sept. 8, 1396) the most magnificent
monastery in the world, as an offering of atonement for the
blood of his uncle and father-in-law Bernabo Visconti and
THE CERTOSA.
167
his family, whom he had sent to be poisoned at the castle
of Trezzo. Since the suppression of monasteries, only eight
monks have been allowed to remain here, barely sufficient
to take care of the monastic buildings, and to show them to
visitors.
Gate of the Certosa, Pavi'a.
The convent gate is covered with fading frescoes, by Luini,
and is most picturesque. It forms the entrance to a large
quadrangular court, on the opposite side of which rises the
gorgeous western facade of the church, which is coated with
marble, while the rest of the building is of brick. This
facade, which bears an inscription dedicating it to " Mary
the Virgin mother, daughter, and bride of God," is covered
with delicate arabesques, and small bas-reliefs of Scriptural
subjects, often beautiful in themselves, but producing, in
their general effect, more of richness than of grace. The
principal bas-reliefs on the right relate to the foundation of
the church, those on the left pourtray the funeral procession
of Giovanni Galeazzo from Melagnano to the Certosa, on
Nov. 9, 1443. The smaller reliefs relate to the lives of the
168 ITALIAN CITIES.
Virgin, St. John Baptist, S. Ambrose and S. Siro, and are
described by Cicognara as, " oltre ogni credere degni d'ad-
mirazione."
" If we are content, as the Italians were, that the facade of the Certosa
shall be only a frontispiece, suggesting rather than expressing the con-
struction of the church behind it, this is certainly one of the most beau-
tiful designs of the age. It was commenced in the year 1473, from
designs prepared by Borgognone, a Milanese artist, whose works here
show how much more essentially he was a painter than an architect.
The facade consists of five compartments, divided vertically by buttresses
of bold and appropriate form ; the three central divisions representing
the body of the church, with its aisles, the outer ones the side chapels of
the nave. Horizontally it is crossed by two triforium galleries if that
name can be applied to them one at the height of the roof of the aisles,
the upper crowning the facade, and reproducing the gallery that was round
the older church under the eaves of the great roof. All these features
are therefore appropriate and well placed, and give relief with light and
shade to the composition, to an extent seldom found in this age. The
greatest defect of the design as an architectural object is the amount of
minute and inappropriate ornament which is spread over the whole of
the lower part of the fa9ade, up to the first gallery.
The erection of the cupola on the intersection of the nave and tran-
septs was commenced and carried on simultaneously with that of the
fa5ade, and is not only a very beautiful object in itself, but is interesting
as being the only important example of a Renaissance copy of the sort
of dome used by the Italians in the Mediaeval period." fergusson,
The plan of the church is a Latin cross. The nave is
divided from the transepts and chapels by rich bronze gates.
The latter are still shown by a Carthusian monk in his
picturesque white robes.
"I think it is hardly possible to scan or criticize the architecture of
such a building as this ; it is better to follow the guidance of the cicerone,
and look at the pictures behind the many altars set round with precious
stones, and enclosed within reredoses made of such an infinite variety
of marbles, that, with some degree of envy, one thinks how precious
such an array would be on this side the Alps, even if spread through
fifty churches." Street's Brick and Marble in the Middle Ages.
THE CERTOSA. 169
Making the round of the church, beginning from the right,
we have :
I st Chapel. Procaccini. S. Veronica. Here, and in most of the other
chapels, the altar is a gorgeous specimen of pietra-dura work.
* 2nd Chapel. Madonna and Child, with two Cistercian saints
(Antelmo, and Hygoni, Bishop of Lincoln), by Macrino d'Alba. The
other compartments by Borgognone.
yd Chapel. Carlo Cornara, 1668. S. Benedict seeing the assumption
of his sister Scholastica in a vision
* 4,th Chapel. Borgognone. A Crucifixion, with angels floating round
the cross.
* $th Chapel. Borgognone. S. Syrus, Patron and first Bishop of Pavia.
6th Chapel. Guercino. The Virgin, with SS. Peter and Paul.
"]th Chapel. Procaccini. The Annunciation, with a beautiful modern
predella of the flight into Egypt, with angels floating in the sunset, by
Galli da Milano.
Here we enter the South Transept. At the end is a fresco, by Borgog-
none, in which Gian-Galeazzo Visconti, on his knees, presents the church
to the Madonna ; behind him kneels his son Filippo ; his sons, Giovanni
and Gabriele Maria, are on the opposite side. The beautiful stained
glass window representing S. Gregory, is by an unknown master. The
magnificent bronze candlesticks are by Fontana.
On the left is the grand tomb of the founder, Gian-Galeazzo Visconti,
begun in 1490 from designs of Galeazzo Pellegrini, but not finished till
1562. The figure of Galeazzo, guarded by angels, lies under a canopy,
surmounted by a statue of the Madonna. Giov. della Porta and Giav.
Cristoforo, whose name appears on one of the architraves, were em-
ployed in the details of this monument. Strange to say, Galeazzo never
benefited by his tomb. It was not finished till 60 years after his death,
and during that time it had become forgotten where his bones were pro-
visionally deposited !
Continuing, beyond the statue of S. Veronica, we come to a beauti-
ful door decorated with portraits of Bianca Maria, the wife of Galeazzo,
and her family, the Sforzas. Entering the sacristy, on the right of
the high altar, we find the magnificent Lavatoio dei Monati, sculptured
in marble by Alberto da Carrara ; over it is a bust said to represent
Heinrich of Gmunden, the architect of the church : near it is a well.
The beautiful stained glass here is by Cristoforo de' Motis, 1477. Op-
posite the Lavatoio is a beautiful fresco of the Virgin and Child, by
B. Luini.
Hence we enter the Choir, approached from the church between
170 ITALIAN CITIES.
splendid jasper columns. The tabernacle and altar screen are by Fran-
cesco Brittchi. The beautiful decorations to the right and left of the
altar by Stefano da Sesto : in that on the right St. Peter is administering
the Sacrament to the Virgin. The magnificent candelabra are by
Fontana. The frescoes are by Crespi. The intarsiatura work of the
stalls is by Bartolomeo da Pola, 1486.
Leaving the choir, we enter (right) the Sagreslia Vecchia, containing a
wonderful ivory altar-piece, with sixty small reliefs and eighty statuettes.
Here (left) is a fine picture of S. Augustine, by Borgognone. Re-enter-
ing the church, by a door adorned with medallion portraits of Galeazzo
Sforza and the males of his family, we have, in the North transept, first
a copy of the statue of Christ in the Minerva at Rome : then, the beau-
tiful figures, by Cristoforo Solari, of Ludovico il Moro * and his wife,
Beatrice d'Este, who died in child-birth, Jan. 2. 1497.
"The monument which contained these effigies was set up in the apse
of S. Maria delle Grazie, whence it was removed to one of the side aisles,
and finally, little more than a century after, was broken up and sold to
the highest bidder ; the sepulchral effigies were then purchased for the
Certosa, by Oldrado da Lampugnano, for 38 scudi a-piece. They are
most interesting as faithful portraits, and careful records of costume.
The duchess wears a closely-fitting hood, and her hair is curled in small,
elaborate ringlets, which fall upon her neck and about her heavy placid
face. The lids of her closed eyes are fringed with thick lashes, sharply
cut out in the marble, and her figure is completely enveloped in the
folds of a rich dress covered with a corded net-work, decorated with
jewels and tassels. Her arms are crossed and partially concealed under
her robe, and upon her feet she wears shoes, with extremely thick soles.
The figure of her husband, who is also dressed in the costume of his
time, is worked out in an equally realistic spirit. While looking at
these two statues it is interesting to remember, that the duke passed the
night before his escape from Milan, on the approach of the army of King
Louis XII., in watching by the tomb of his wife. She had been a sup-
port to him in previous hours of danger, and this was a last and touching
proof of the attachment which he had always shown to her while living,
by associating her name with his in all public acts and inscriptions, and
by causing her portrait to be always painted with his own. Had she
lived, he might perhaps have been spared the loss of his kingdom, and
those eight weary years of captivity in the castle of Loches, which were
closed by his death ; but when he lost her he was left to follow the
dictates of a fluctuating and uncertain will, and daring too much not to
* So called, not from his dark complexion, but because he adopted the mulberry-
tree as his device.
THE CERTOSA. 171
have dared more, he committed a series of mistakes, which at last threw
him into the power of his enemy. Although accused of some grave
crimes, he was in many respects a model sovereign, and a distinguished
patron of art and letters. " Perkin's Italian Sculptors.
At the end of the transept is a fresco of the Coronation of the Virgin,
by Borgognone, and a picture of Christ in Judgment but only with the
good by Crespi.
In the left aisle we have :
1st Chapel. Morosini. Madonna del Rosario.
2nd Chapel. Borgognone. S. Ambrogio, with his brother S. Satire,
his sister S. Marcellina, and SS. Nazaro e Celso (in a curious costume
with spurs).
6th Chapel. Perugino. God the Father encircled with cherubs. The
Virgin and Child below, and The Guardian Angel, are Copies of Peru-
gino ; The Fathers of the Church are by Borgognone.
From the South transept the cloisters may be visited. The
Chiostro della Fontana is entered by a beautiful marble door
covered with delicate reliefs, by Amadeo. It is filled with
flowers. The arches surrounding it are exquisite specimens
of terra-cotta ornamentation, and so is the lavatory. They
are left in their natural red colour, and, as the walls are
white-washed, they have a very singular effect The Refec-
tory is entered from this cloister ; it has frescoes of Borgog-
none. Another door leads to the Great Cloister, 412 feet
long by 334 feet wide, now enclosing a corn-field. It is
beautifully ornamented with terra-cotta, and is surrounded
by the cells of the monks pleasant little houses, with two
rooms below and two above, and delightful little gardens,
each with its flowers, its vines, its stone seats, and a well.
Only three of these are now inhabited.
The Sagrestia Nuova, which is generally shown last (and
where photographs of the buildings are sold by the monks),
172 ITALIAN CITIES.
contains an Assumption by Bernardo Campi, with saints on
each side, by A. Solari. Over the door is an interesting pic-
ture, by Bart. Montagna, of the Virgin and Child, with S.
John Baptist and S. Jerome.
"Bran tome raconte qu'apres sa defaite, Frai^ois I", pris prisonnier
dans le pare de la chartreuse, se fit conduire a Peglise pour y faire sa
priere, et que la, le premier objet qui s'offrit a ses yeux fut cette inscrip-
tion tiree d'un psaume : Bonum mihi quia humiliasti me, ut discam jus-
tificationes tuas. C'etait une grande, une touchante le^on, que la religion
seule pouvait donner au roi qui avait tout perdu fors Vhonneur."
Valery.
Through the rich plain we must now proceed to Pavia
Pavia, the ancient Ticinum, situated on the left bank of the Ticino,
about 5 m. above its junction with the Po, was originally founded by the
Celtic Lsevi and Marsici. It was a considerable town under the Roman
Empire, but was destroyed by Attila. Theodoric raised it from its ruins,
and, under the name of Papia, it became the residence and capital of the
Lombard Kings. It was then called by the name of Papia, which was
probably revived from the original name of the Celtic town. In A. D. 774
Desiderius, the last of the Lombard kings, was besieged here by Charle-
magne and forced to surrender. From this time Ticinus ("quse alio
nomine Papia appellatur " *) sank to the rank of an ordinary provincial
town. In 924 it was stormed by the Hungarians under Berengarius ; in
1004 it was destroyed by fire ; in 1139 it was stormed by the Emperor
Lothaire ; in 1315 it fell into the hands of the Visconti. In 1524 it was
unsuccessfully though repeatedly stormed by Francis I. of France with
20,000 men, and Francis I. and Henry II. of Navarre were made
prisoners in the then vast zoological garden of Pavia which was near the
Certosa. In revenge the French plundered the town in 1527.
Entering the town we follow the Contrada di Porta
Marengo (now called Corso Cavour) passing, on the right,
an old palace with handsome terra-cotta ornamentation till
we reach (right) the Contrada S. Giuseppe, which leads to
the Piazza del Duomo.
* Paulus Diaconus, ii. 15.
TOMB OF S. AUGUSTINE. 173
The Cathedral (dedicated to S. Siro, who was bishop of
Pavia for 56 years in the 4th century, and whose effigy
appears on the early coinage) is externally more picturesque
than beautiful. It was begun in 1488, but is still unfinished.
Among some earlier portions which are remains of an ancient
Lombard basilica, the principal is a glorious old doorway
between the campanile and the main building. The model
of Cristoforo Rocchi for the construction of the present
edifice is preserved in the church. On the left of the
entrance is a pillar brought from some Roman building. On
the left is a good picture, by D. Crespt, of the Virgin and
Child, with S. Syrus and S. Anthony of Padua ; on the right
is the Adoration of the Magi, by G. B. Crespi.
But the great interest of the church is concentrated in the
chapel on the right, which contains the famous Area di Sant'
Agostino, or Tomb of Augustine, which is attributed to
various sculptors.
" It was probably made by Matteo and Bonino da Campione, the two
most remarkable artists formed by Balduccio during his residence at
Milan. Twelve years were employed and four thousand golden scudi
spent in constructing it in the sacristy of San Pietro in Cielo d'Oro,
whence it was removed to its present position in the duomo, when that
building was demolished. It is enriched with bas-reliefs, statuettes, and
architectural accessories in the pointed style, which form an ensemble of
a most inspiring character. The effigy of the saint, covered with a wind-
ing-sheet held up at the corners and sides by six angels, lies upon a
mortuary couch, seen through the arches which support its second story.
The statuettes of the apostles are placed two by two in compartments
around the basement story, separated from each other by pilasters, faced
by statuettes of the Virtues. Above them smaller statuettes of saints and
prophets stand against the pilasters of the second story, upon which rest
consoles supporting seated figures of saints and martyrs. A row of
pointed gables decorated with crochets and finials runs round the upper-
most story, upon which is a series of bas-reliefs representing incidents in
the life of S. Augustine, separated from each other by twenty statuettes.
174 ITALIAN CITIES.
The figures, which are very Pisan in style, have their surfaces highly
polished, the borders of their robes carefully elaborated, and the pupils
of their eyes painted black, according to a common custom of the
time." Pcrkin's Italian Sculptors.
"The 'Area,' or shrine, of S. Augustine at Pavia, is attributed by the
best critics to the brothers Jacobello and Pietro Paolo of Venice, and
without a shadow of doubt belongs to the Sienese branch of the Pisan
school. It is rather heavy perhaps, but not the less a most elaborate and
beautiful piece of architectural sculpture. The sarcophagus, on which
the effigy is laid down by angels, the canopy that overshadows it, the
pillars that support the canopy, each and all are covered with bas-reliefs,
delineating the life and miracles of the Saint, and interspersed with
small statues of Apostles and Virtues ingeniously allegori/ed. These
single figures struck me as superior to the bas-reliefs, though even in
them there are many pleasing figures; the soft contemplative Sienese
expression prevails throughout, and some of the figures have even grace
and dignity. The Area was begun in 1362." Lord Lindsay's Christian
Art.
Proceeding northwards from the Cathedral, the Strada S.
Rocco leads to (left)
S. Maria del Carmine, externally one of the most beautiful
brick churches in Italy, built in 1373. It has a tall and most
graceful campanile, and exquisite terra-cotta ornamentation
round the doors and windows of the west front, where there
is a fine rose-window. In the interior the brick pillars are
left visible ; upon them are remains of frescoes ; one of S.
Onofrio is very curious.
Beyond this church (right) is the modern Palazzo Malas-
pina, containing a small gallery of indifferent pictures, and
some good engravings.
A little further, the street opens on a boulevard near two
old churches 5. Croce, with a good brick campanile, and
S. Pietro in Cielo <T Oro (desecrated), with a curious octangu-
lar cupola. It was celebrated for the important monuments
which it contained, especially that of Boethius.
UNIVERSITY OF PA VIA. 175
' ' Lo corpo ond'ella fu cacciata giace
Giuso in Cieldauro, ed essa da martiro
E da esilio venne a questa pace." Parad. x. 127.
" Le tombeau de Luitprand, d'abord place a 1'eglise Saint Adrien, fut
dans la suite porte a la basilique de Saint Pierre in del cTauro : il
avail voulu par son testament etre enterre aux pieds de Boece, afin,
disait-il, qu'en cessant de vivre, il ne parut point cesser de lui manquer son
respect. Le cerceuil de ce grand roi, rapporte un erudil pavesan, etait
soutenu par quatre petites colonnes de marbre ; au-dessus etait sa statue
en habits royaux. Le concile de Trente fit descendre le cerceuil, parce
qu'il avail decrete que la sepullure seule des sainls pouvail s' clever au-
dessus de terre. Les cendres de Luitprand furent deposees au pied d'un
pilaslre du choeur; 1'ancienne epilaphe, qui rappelait sa religion, sa
vaillance, la sagesse de ses lois, sa conquete de Petal romain, ses vicloires
en France sur les Sarrasins quand il accourul au secours de Charles-
Marlel, la prise de Ravenne, de Spolete, et de Benevent, tous ces
signes de gloire disparurent, et il ne resta sur cette lorabe dechue que
les mols : id sont les os du roi Luitprand, simple inscriplion qui, elle-
meme, devail etre un jour ignoblement enfouie sous des bottes de foin,
el que je ne pus relrouver." Valery .
Near these is the Castello, the old palace of the Visconti,
built 1460 69, and once most richly decorated and filled
with the treasures collected by Gian-Galeazzo. These were
all carried off to France by Louis XII., and little now
remains but the ancient walls with their picturesque towers
at the angles and bold Guelfic machicolations. The interior
is now a barrack.
Following the Corso Vittorio Emanuele, opposite the
castle, we reach a monument erected to " Pavesi caduti per
la patria, 1859 69."
Opposite this, are the buildings of the University, whose
foundation is attributed to Charlemagne the Great in 774.
It was greatly enriched in the i4th century by Gian-
Galeazzo, who appointed Baldus professor of law. Little
remains of the ancient buildings ; the present edifice is chiefly
IJ6 ITALIAN CITIES.
due to Maria Theresa in 1779, but in some of the courts are
curious monuments of early professors, removed from de-
secrated churches.
On the north of the university buildings, the Via Tre
Collegi leads to the
Church of S. Francesco, another beautiful brick church,
well deserving of study, though mo Jernized inside. Beyond
it is the Collegia Ghislieri, with a bronze statue of Pius V. in
the court in front of it.
From the west do3r of S. Francesco a street leads south,
passing two very tall brick towers (there are two others a
little to the left) slightly leaning, and something like those
of Bologna to the
Church of S. Michek, founded before 66 1, when Unulfus
took sanctuary there from King Grimoaldus. It is built of
stone, finished with brick. The interior is very handsome,
simple, and beautiful in colour. The cupola is eight-sided.
In the tribune is a fresco of the Coronation of the Virgin.
"The earlier period of Lombard architecture is the more original. It
may be seen in full development on the fa$ade of S. Michele at Pavia
rude indeed to a degree, bat full of fire and a living record of the
daring race that created it. The archangel trampling down the dragon
appears over the central door, S. George similarly victorious, and Jonah
vomited by the whale, over those to the right and left ; while in the
jambs of the arches ani in belts running along the walls, kindred sub-
jects are sculptured in every direction and without the least apparent
connection dragons, griffins, eagles, snakes, sphinxes, centaurs -the
whole mythological menagerie which our ancestors brought with them
from their native Iran, and these either fighting with each other or
with Lombard warriors, or amicably interlaced with human figures,
male and female, or grinning and ready to fly at you from the grey
walls interspersed with warriors breaking in horses or following the
hounds, minstrels, and even tumblers, or at least, figures standing on
their heads ; in short, the strong impress everywhere meets you of a wild
and bold equestrian nation, glorying in war, delighting in horses and
BRIDGE OF PA VIA.
177
the chace, falconry, music and gymnastics ever in motion, never sitting
still credulous, too, of old wives' stories, and tenacious of whatever of
marvellous and strange had arrested their fancy during their long
pilgrimage from the East, for zodiacs from Chaldaea, and emblems of
the stirring mythology of Scandinavia, constantly alternate, in these
and similar productions, with the delineation of those pastimes and
pursuits which their peculiar habits induced them to reiterate with
such zest and frequency. They are rude, most rude, I plead only
that they are life-like, and speak with a tongue which those who love
the Runic rhyme and the traditions of the North, and feel kindred
blood warm in their veins, will understand and give ear to." Lord
Lindsay's Christian Art.
Turning south from S. Michele we reach the picturesque
covered bridge, with a hundred little granite columns sup-
porting the roof, built by Gian-Galeazzo over the Ticino.
The bridge is of brick with stone quoins. The waters of
the Ticinus are celebrated by the Latin poets for their
clearness and beauty :
" frondentibus humida ripis
Colla levat pulcher Ticinus. "
Claud. VI. Cons. Hon. 194.
" Cseruleas Ticinus aquas, et stagna vadoso
Perspicuus servat turbari nescia fundo,
VOL. r. 12
178 ITALIAN CITIES.
Ac nitidum viridi lenta trahit amne liquorem.
Vix credas labi : ripis tarn mitis opacis,
Argutos inter volucrum certamina cantus
Somniferam ducit lucenti gurgite lympham."
SU. Ital. iv. 83.*
There are pleasant views both of Alps and Apennines
from the ramparts of Pavia.
* It was on the banks of the Ticinus that the first action took place (A.C. 218)
between Hannibal and the Romans, but the exact point of their meeting is unknown.
CHAPTER X.
MONZA AND COMO.
(Monza may be visited on the way to Como, but the trains are not
always convenient, being at long intervals, and travellers must remember
that the usual Como trains do not set down passengers at Monza, but
only those on the Milano Lecco line. Those who spend a few days
at Milan may, therefore, find it more convenient to make Monza an
afternoon's excursion from thence, taking the 1 .20 train to Monza, and
coming back by one of the return carriages which may generally be
obtained at Monza for 2 or 3 frs.
Inns. Falcone ; Castello, indifferent. l l / 2 hour suffices for seeing all
the curiosities of Monza.)
MONZA, as the ancient Modoetia, was the residence of
the Lombard kings, and thus of the famous Queen
Theodolinda, to whom the interest of the place is chiefly due.
Daughter of Garibald, King of Bavaria, she was married, in
589, to Autharis, King of the Lombards, who so romantically
won her affections, disguised as a follower in the suite of
the ambassador he sent to ask for her hand, that when,
from political motives, the marriage was afterwards broken
off, she fled from her country to join him at Verona,
where the wedding was celebrated with great pomp. As
the wife of Autharis, Theodolinda so gained the esteem
of the Lombard people, that upon his death six years
after, by poison, in the palace of Pavia, they offered her
the crown, and promised to acknowledge as King whom-
soever she should choose as her husband. She selected
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Agilulf, Duke of Turin, whom she converted from paganism,
and dissuaded from an intended attack upon Rome, thus
securing the gratitude of the pope, and lasting fame for
herself.
" The very existence of Monza in earlier times may be doubted. At
all events, it could have been a place of no moment whatever till it
attracted the discerning eye of the great Goth. Theodoric, not indeed a
King of Italy, but a King reigning in Italy, was the fitting founder of
the future home of the Italian crown. The Lombard Paul tells us how
he built himself a palace at Modicia seemingly the eldest of the many
spellings of the name on account of the healthiness of the air in a spot
so near to the Alps. One almost wonders that the spot was not
lighted on in the age when Milan was the dwelling-place of the
Emperors ; but, as far as we know, Theodoric was the first to make
the spot, if not a dwelling-place of man, at any rate, a dwelling-
place of Kings. But the glory of the Goth shone only for a mo-
ment ; the continuous history of Monza begins with the more lasting
dominion of the Lombard. At Monza, as elsewhere, the name of the
Arian was wiped out, and local devotion gathers round the second
foundress, the famous Queen Theodolinda. The local chronicle records
indeed the earlier work of Theodoric, but the legend which that
chronicle preserves, which represents the Queen as converting her
husband Agilulf from the worship of idols, evidently looked upon
Monza as a site which before her time stood desolate. She vows to
build a church an Oraculum to St. John the Baptist, and a miraculous
voice causes her to build it on a spot where there was only a great tree ;
and as the voice said ' Modo,' and the Queen answered ' Etiam,' the name
of the place was called Modoetia. And when we remember how Theodoric
is dealt with by the sculptor's art in the great minster of his own Verona,
we can hardly wonder that he should be forgotten in his own Monza.
Theodolinda stands by herself. When we read of the Bavarian
Princess as ' filia Garibaldi,' the name seems to carry us from the
earliest age of strictly Italian history to the latest ; and her two romantic
marriages, allowed as she was to carry the Lombard Kingdom as her
dower, her missionary zeal for the Orthodox faith, her friendship with
the great Gregory if these things really do not put her on a level with
her Gothic predecessor, they may at least have easily made her more
dazzling in local eyes. She built the palace of whose painted ornaments
the Deacon Paul gives so vivid a picture ; how in his day could still be
seen what manner of men the Lombards were in her day, and how,
among other points of costumes and manners, they wore innjr
CATHEDRAL OF MONZA. 181
garments, loose and of various colours, 'qualia Angli Saxones habere
solent.' She too founded the great church of Monza, the Basilica or
Oraculum of St. John, which we would gladly see in such sort as the
famous Queen left it ; not an episcopal church, but only a chapter of
secular canons. The fame of its foundress and the riches of its treasury
put it almost on a level with churches of higher rank, and the chief 01
its canons, the arch-presbyter, bore, like our united abbots, the episcopal
insignia, and asserted, at least in theory, his right to perform the most
dazzling of episcopal functions." Freeman.
Emerging from the station, and turning to the right, we
pass (right) the Church of S. Maria in Istrada with a
beautiful Gothic front in terra-cotta.
A little beyond (right) is the CatJudral of S. John
Baptist, founded by Theodolinda in 595, who employed the
" Magistri Comacini " to build it, in memory of the conver-
sion of her husband Agilulf. It was enlarged in the i4th
century, under Matheus de Campione. The front is inlaid
with black marble and very rich, but not effective. In the
centre is a porch resting on serpentine columns with lions,
and surmounted by a gilt figure of the Baptist. Over the
door is a very interesting relief of the Baptism of our Lord,
erected by Theodolinda.
"The Holy Spirit is represented in the likeness of a dove, holding a
vase in its mouth, from which water descends upon the head of our
Lord, whose garments are held by an angel, while near Him stand the
Virgin, S. John, S. Peter, and S. Paul. Queen Theodolinda appears
above in the act of offering a gemmed crown to S. John Baptist, with
her daughter Gundiberga, her husband Agilulf. and her son Adaloaldo
beside her ; the latter holding a dove in his hand, emblematic of his
extreme youth. The crowns, crosses, vases, &c. which she gave to the
Basilica, are introduced." Perkin's Tuscan Sculptors.
The great brick campanile was added by Pellegrini in 1606.
The interior is quite spoilt by the paint with which it is
overladen. It contains :
182
ITALIAN CITIES.
Right Transept. Ambrogiano da Brescia, an interesting Crucifixion ;
the cross is represented as a tree. On the right wall is a very curious
relief of the coronation of Otho III. in this cathedral, the vessels given
by Theodolinda are represented upon the altar ; the six electors present
have their names inscribed, the Count of Saxony holds the sword of
state
Right of Choir, Cappella dd Santo Chiodo. Over the altar is preserved
the famous Iron Crown of Lombardy, said to have been given to
Theodolinda, by Gregory the Great, containing the rim of iron inside a
circle of gold and jewels, which is supposed to have been beaten out of
one of the nails used at the crucifixion. It is only exhibited on the 1st
Sunday in September. A representation of it is given on the tablets
which commemorate the coronations of Napoleon I., 1805, and Ferdinand
L, 1838. Henry VII. of Luxemburg was crowned with the iron crown,
but at Milan, in 1311. Frederick Barbarossa was amongst those who
were crowned here. Napoleon I. placed it on his own head with the
words " Dieu me 1'a donne, gare k qui la louche." Now Monza is
neglected, but it is the Rheims of Italy, and king and archbishop
would do well to come hither for the coronations.
Right of High Altar. C. Procaccini. S. Joseph. On the rails of the
choir may be seen the arms of Theodolinda, a hen, and seven chickens
for her seven provinces. The silver gilt Paliotto of the high altar,
adorned with reliefs from the life of the Baptist, was given by Berengarius
in the Qth century.
Left of High Altar. Bern. Luini. S. Gherardo a very beautiful
figure.
Chapel left of Choir. Troso da Monza (l4th century). The History
of Queen Theodolinda the vision which urged her to build the church
at Monza - greatly injured.
Tomb of Queen Theodolinda.
Left Transept. Tomb of Theodolinda a sarcophagus resting on four
BROLETTO OF MONZA. 183
pillars. Here is the entrance to the Sacristy, which contains the gifts
made by Theodolinda to the church and other relics of her her crown ;
her fan of painted leather ; her comb of gold filigree and emeralds ;
her silver gilt hen and chickens ; her cup, said to be formed from a sap-
phire, but of very fine glass, and, above all, the precious Gospel book and
cross given to her by Gregory the Great upon the baptism of her eldest son
Aldoald, in a letter which contains the last words which he wrote before
his death, March 12, 604. Other relics here are the Sacramentary of
King Berengarius, and the Cross used at the coronations, and hung
round the neck of the sovereign.
Left Aislt. The 1st Chapel contains the Baptistery, by Pellegrini ; and,
Guercino, The Visitation.
Close by is the very picturesque Gothic Broletto (Town-
hall), and dating from the i3th century. It is raised upon
open arches of stone, two at each end and five at the sides,
with a canopied balcony projecting on brackets in the
centre of the gabled front.
Beyond the town, approached by avenues of trees, is the
Villa Reale built by Piermarini, 1777. It contains nothing
worthy of observation, but is an occasional residence of
Victor Emmanuel. The so-called " English Park " has
nothing English about it.
(It is I YT. hour from Milan to Camerlata (5 frs. 45 c. ; 4 frs. ; 2 frs.
85 c.), which is the station for Como, about I mile distant. Here
omnibuses set travellers down wherever they like (50 c.), and carriages
await the trains.
The sights of Como are the Cathedral, Broletto, and Church of S.
Fedele, all close together, and near the harbour, so that they may be
visited in an hour, but the place is pleasant, the hotel excellent, and
those who stay longer may employ their time agreeably. It is also well
to sleep at Como and take the early boat up the lake.
Inns. Hotel Volta, in the piazza on the lake, quite first-rate. Italia,
opposite.)
Pleasant avenues of trees skirt the descent from Camerlata
to Como. On the hill upon the left rises the old tower
i$4 ITALIAN CITIES.
called C t stello Baradcllo, frequently inhabited by Frederick
Barbarossa. Como is approached by a long suburb, but
retains its old walls and gates.
The Cathedral^ begun in 1396 and finished in 1528, is
built entirely of marble, and is one of the finest churches in
North Italy. The fa9ade is of later date than the rest of the
building, and was entirely erected in the latter half of the
fifteenth century, under Lucchino da Milano, an architect who
chose the transition style, the greater part of his work being
pointed, but having three rich round Lombardic portals,
with reliefs of the Nativity, the Coming of the Magi, and the
Circumcision. Above the principal door is the Virgin and
Child, with the native saints, Abbondio, Protus, Hyacinth,
&c. ; then on each side of the beautiful rose-window the
Annunciation. At the sides of the central door, in
beautiful Renaissance niches, by Tommaso and Jacopo
Rodari, 1498, are statues of the two Plinys. Below that of
the elder Pliny is a relief of the 'Eruption of Vesuvius. The
younger Pliny was born at Como. Reaching the whole
height of the fagade are four chains of saints. Some of
the figures are very beautiful, especially a bishop on the
first pillar on the right, a pope on the second, and S.
Antonio on the third.
The South Porch (right) by the two Rodari, of 1491, is
very rich and beautiful. The relief represents the Flight
into Egypt. The North Porch, also by the Rodari, and
inscribed with their names, has a relief of the Salutation ;
at the sides are SS. Peter, Paul, Protus, and Hyacinth. In
the frieze above are the prophets. The sculpture of this
door has been thought worthy of the most enthusiastic
praise by Liibke and other authorities. The Interior is
CATHEDRAL OF COMO. 185
very beautiful and simple in its proportions. The eight
sided cupola was added by Juvara in 1750. The Holy
Water basons rest on ancient marble lions.
Right. Tommaso Rodari (the great sculptor of Como), 1457. Ma-
donna between S. Peter and S. Catherine ; below, the Baptist, between
S. P/otus and S. Hyacinth.
The monument erected by the citizens to the Cardinal Bishop
Tolomeo Gallio, 1860 "angelo di luce, apostolo di carita pel povero."
On either side of some 14th-century reliefs of the Passion, are pictures
of SS. Sebastian and Christopher, by Luini.
The South Door. Above Christ between the Virgin and S. John.
The Tomb of Bishop Rodigadinus, 1350, with his statue and reliefs.
Above this, the black sarcophagus of Giov. Paolo Turrio.
The Altar of S. Abbondio, a rich work in wood, gilt. At the sides,
Gaudenzio Ferrari, Scene on the Flight into Egypt ; Bern. Luini, The
Adoration of the Kings. Then Luini, Madonna with saints and angels,
and a predella, in the centre of which is a beautiful figure of the
Baptist.
The Transepts are adorned with admirable figures of saints, of c.
1525. Lubke describes the statue of S. Sebastian as "beautifully ani-
mated, somewhat like a painting of the Venetian School."
The Apostles in the Choir are modern works of Pompeo Marchesi.
Left Aisle (returning) . Sarcophagus and bust of Zanino Cigalino.
Marble group of the Lamentation over the dead Christ.
Marchesi, S. Joseph. On the right, Luini, the Nativity ; on the left,
Gaudenzio Ferrari, the Marriage of the Virgin.
A curious sarcophagus adorned with three fishes, a mitre, pastoral
staff, and the lamb with the cross. Above this, the black tomb of
Benedictus Jovius, the historian of Charles V., 1544.
Beyond the South Door, busts of Innocent XI. (Odescalchi of Como)
and Bishop Carolo Rovelli, on either side of some reliefs by the Rodari.
A fresco of the Madonna, with SS. Peter and Paul; and a marble
temple as a Baptistery, probably by Bramante.
Joining the cathedral, is the most picturesque Broletto
(Town-hall) of 1215, built in courses of white, black, and
red marble. It is vaulted throughout beneath with heavy
octangular pillars.
"At Como Church and State must have been on friendly terms. The
1 86
ITALIAN CITIES.
home of the commonwealth joins hard to the synagogue ;
the broletto make up a single range. The secular building is the more
pleasing of the two. The tower is plain, one might say, rude ; but the
body of the building belongs to that momentary stage, early in the
thirteenth century, when the use of the pointed arch was just beginning
to creep into the Italian Romanesque, but when the distinguishing faults
of the Italian Gothic had not yet begun to shew themselves. The
massive arcades have the arches slightly pointed ; but there is no other
departure from the true national forms of Italy ; the grouped windows
alone are round. In the west front of the Cathedral all the faults of the
sham Gothic of Italy come out. The front itself is a sham, the doors
and windows are there, because doors and windows are things which no
building can do without ; but, as usual in the Italian Gothic, they are
simply cut through the wall, not worked into the design, as either in the
Italian Romanesque, or in the Northern Gothic. " Freeman.
Broleito, Como.
Behind the cathedral is the handsome modern Theatre, by
Cufi, 1813.
In the Corso Vittoria, the street parallel with the west
front of the cathedral, is (right) the old Lombard Church of
S. ABBONDIO COMO. 187
S. Fedele, which is exceedingly curious. It was used as the
cathedral, before the present one was built.
In the Borgo S. Annunziata, i m. from the town, is the
interesting Church of S. Abbondio, of the nth century. It
was originally dedicated to S. Carpofero, first Bishop of
Como, but, after the burial within it of the second Bishop, S.
Abbondio, it was called by his name.
" The eye is at once caught by the admirable grouping of its east end,
a grouping German rather than Italian, an apse of extraordinary height
and richness rising between two tall campaniles of the type which
Germany borrowed from Italy. But the great height of all this part of
the church, quite unlike the wide, spreading apse so common both in
Germany and Italy, and without the open gallery usual in both countries,
gives S. Abbondio a character of its own, and one which contrasts a
good deal with the rest of the building, where, in the outside view,
width is the prevailing dimension. Double aisles, unmasked in any
way, with a double clerestory, form a body as stately in its own way as
the eastern part, and in the side aisles height strongly predominates. Of
the four ranges of pillars, the central pair are tall columnar pieces of
masonry, something like those of Gloucester and Tewkesbury, but with a
more distinct cushion capital. The southern range are tall monolith
columns, lofty beyond any classical proportion, also with cushion
capitals. An English eye of course misses the triforium or its equiva-
lent of some kind between the arcade and the clerestory, but the whole
interior is of singular dignity. The western gallery within, the signs of
a western portico, destroyed or never added without, are points to be
noticed ; indeed, the church would well deserve a monograph. As to
its present state, it has either been singularly fortunate in having escaped
the destroying hands of Popes and Jesuits, or else it has been restored in
a singularly conservative fashion." Freeman.
In the same suburb is the gaudy modern Church of II
Crocefisso.
The Lyceum is adorned with busts of all the illustrious
natives of Como, including the popes Innocent XI.
(Odescalchi) and Clement XIII. (Rezzonico).
A few years ago the little Port of Como, crowded with boats
1 88
ITALIAN CITIES.
and guarded by twin chapels, was most picturesque. This
has now been filled up, and turned into a common-place
piazza with a fountain, in honour of the experimental
philosopher Volta, ob. 1826 a native of the town.
;-Ti(**<N.~
Como. (1866.)
Those who stay long enough at Como, will ramble along
the mule road which overhangs the eastern .shore of the
lake, so often revisited by Dr. Arnold, and will be glad to
read the following extracts on the spot.
"July 25, 1825. We are on a mule track that goes from Como along the
eastern shore of the lake, and as the mountains go sheer down into the
water, the mule track is obliged to be cut out of their sides, like a terrace,
half way between their summits and their feet. They are covered with
wood, all chestnut, from top to bottom, except where patches have
been found level enough for houses to stand on, and vines to grow ; but
just where we are it is quite lovely ; I look up to the blue sky, and
down to the blue lake, the one just above me, the other just below me,
and see both through the thick branches of the chestnuts. Seventeen
or eighteen vessels, with their white sails, are enlivening the lake, and
about half a mile on my right, the rock is too steep for anything to
grow on it, and goes down a bare cliff. A little beyond, I see some
MONTE GENEROSO. 189
terraces and vines, and bright white houses, and further still, there is a
little low point, running out into the lake, which just affords room for a
village, close on the water's edge, and a white church tower rising in
the midst of it. The opposite shore is just the same, villages and
mountains, and trees and vines, all one perfect loveliness.
"May 19, 1827. I am seated nearly in the same spot as in 1825.
And now, seated under its chestnut woods, and looking down upon the
clear water of the lake, it appears as beautiful as ever. Again I see the
white sails specking it, and the cliff running down sheer into it, and the
village of Tomo running out into it on its little peninsula, and Blevio
nearer to me, and the houses sometimes lining the water's edge, and
sometimes clustering up amidst the chestnuts. I feel to be viewing the
inexpressible beauty of these lakes for the last time. And I am fully
satisfied ; for their images will remain for ever in my memory, and one
has something else to do in life than to be for ever running about after
objects to delight the eye or intellect.
"July 25, 1830. For the third time seated under these delicious
chestnuts, and above this delicious lake, with the blue sky above, and
the green lake beneath, and Monte Rosa and the S. Gothard and the
Simplon rearing their snowy heads in the distance. I see no change in
the scenery since I was last here, and I feel very little, if any, in myself.
Yet for me, 'summer is now ebbing.' ... It is almost awful to look at
the overwhelming beauty around me, and then think of moral evil ; it
seems as if heaven and hell, instead of being separated by a great gulf
from one another, were absolutely on each other's confines, and indeed
not far from every one of us. Might the sense of moral evil be as strong
in me as my delight in external beauty, for in a deep sense of moral
evil, more perhaps than in anything else, abides a saving knowledge of
God ! "
Como is the best point from which to reach Monte
Generoso. The diligence from Como and Camerlata to
Capolago, on the Lago Lugano, passes through (in about two
hours) Mendrisio at the foot of the mountains, whence it is
an ascent of about 2\ hours to the inn. The air is delicious,
and the wild flowers in the woods are most beautiful ; indeed,
in rare plants, Monte Generoso is probably the richest
mountain in the whole Alpine chain. The Hotel du Monte
Generoso is excellent for a mountain inn, and most beautifully
igo ITALIAN CITIES.
situated; travellers are received en pension. The view is
glorious.
"The plain stretching up to the high horizon, where a misty range of
pink cirrus-clouds alone mark the line where earth ends and the sky
begins, is islanded with cities and villages innumerable, basking in the
hazy shimmering heat. Milan, seen through a telescope, displays its
Duomo perfect as a microscopic shell, with all its exquisite fretwork,
and Napoleon's arch of triumph, surmounted by the four tiny horses, as
in a fairy's dream. Far off, long silver lines mark the lazy course of
Po and Ticino, while little lakes like Varese and the lower end of
Maggiore spread themselves out, connecting the mountains with the
plain." y. A. Symonds.
It is only a few minutes' walk from the hotel to the edge
of the precipice, which abruptly overhangs the Lake of
Lugano, and an easy path leads, in about half-an-hour, to the
summit of the mountain, which has a magnificent view over
the lakes of Lugano, Varese, Como, and Maggiore.
There is a diligence daily (3 hours) from Como to
Lecco, by Erba and Incino, passing through the Brianza,
the richest district in Lombardy. There is also a diligence
(3 frs.) to Canzo in the Brianza, from the station of Seregno,
half-way between Monza and Camerlata,
CHAPTER XI.
THE ITALIAN LAKES.
(A portion of the beautiful group known as "the Italian Lakes,"
is really in Switzerland, but as their position south of the Alps, and
their thoroughly Italian character, makes them part of almost every
Italian tour, no work on Italy can be complete which fails to include
the whole of them. The entire Lake of Como, and a considerable dis-
trict to the north of it, including Chiavenna, are in Italy. The Swiss
frontier makes a sudden bend southwards to the west of Como and em-
braces nearly the whole of the Lake of Lugano and 'the extreme north
of the Lago Maggiore. The Lakes of Varese and Orta,Varallo, and
Domo d' Ossola, are in Italy.
The best positions for remaining some time upon the lakes are
Bellaggio or Cadenabbia on the Lago di Como, and Baveno or Stresa
on the Lago Maggiore. At all these places are first-rate hotels, where
travellers are received en pension and may make themselves exceedingly
comfortable. There is English Church-Service throughout the season
at Bellaggio, Lugano, and Stresa.
The usual Tour of the Italian Lakes is made in the following order.
Ascending the Lake of Como to Bellaggio, cross thence by steamer to
Menaggio, whence by omnibus to Porlezza on the Lago Lugano. By
steamer from Porlezza to Lugano, whence most travellers take a carriage
to Luino on the eastern shore of the Lago Maggiore, and thence pro-
ceed by steamer to Baveno or Stresa, visiting the Isola Bella on the
way. A more complete tour may be made by taking the steamer at
2 . 30 from Lugano to Porto, and proceeding thence to Varese, whence
the Sacro Monte may be visited. (If Varallo be seen, omit the Sacro
192 ITALIAN CITIES.
Monte,) From Varese one may proceed by omnibus or carriage to
Laveno on the Lago Maggiore, and thence by steamer to Stresa,
Baveno, and the Isola Bella, returning to Arena. From either Pallanza
or Arena a detour may be made to the lovely lake of Orta (well worth
while), and further, to Varallo. Travellers may return to Milan by rail
from Orta or from Arona. In all cases heavy luggage should be left at
a hotel at Milan, as it will be found a terrible encumbrance in travelling
upon the lakes, especially in landing and embarking.
In a leisurely tour of the lakes, the travellers will sleep ac, I . Como
or Villa d' Este ; 2. Bellaggio ; 3. Lugano ; 4. Varese ; 5. Baveno ;
6. Orta; 7. Arona. In the quick three days' tour of the lakes alone,
travellers will sleep at Bellaggio and Baveno. )
TRAVELLERS who pass straight through Como with-
out sleeping, should take a carriage from Camerlata to
the steamer, which will allow time for a hurried visit to the
cathedral and Broletto before embarking. The views from
the harbour, of the still reaches of water girdled by wooded
hills fringed with villas, are most charming.
(The steamer runs three times daily up the lake to Colico, 3! hrs.
Fares, I. 4 frs. ; II. 2 frs. 10 c. There are only piers at Cadenabbia,
Bellaggio, and Menaggio. At the other stations travellers have to land
in a rowing-boat, for which coupons of the steam-boat tickets are given,
but the boatmen expect two or three soldi of buono-mano. Those who
embark at the intermediate stations must be sure to provide themselves
with a ticket on the pier, before entering the steamer, to show that they
have done so, or they may be obliged to pay the whole fare from
Como.
A Rowing-boat (barca) throughout the lake generally costs I J fr. to each
rower for the first hour, and I fr. for every hr. afterwards. Oae rower
is sufficient. A boat from Bellaggio to Cadenabbia and back, or from
Bellaggio to Varenna and back, with two rowers, costs 4 frs. )
The Lake of Como was the Lacus Larius of the Romans.
Its size is extolled by Virgil :
"Anne lacus tantos? Te. Lari maxime "
Georg. ii. 159.
It is 30 miles in length, and its greatest width (from Men-
LA GO DI CO MO. 193
aggio to Varenna) is z\ miles. The hills which gird it are
seldom of very fine forms, but are beautiful from the rich
forests which clothe them, while the small space left between
the hills and the water is a perpetual garden of the loveliest
shrubs and flowers.
The charms of a voyage up the lake are described by
Claudian :
" Protinus umbrosa qua vestit littus oliva
Larius, et dulci mentitur Nerea fluctu,
Parva puppe lacum prsetervolat, ocius inde
Scandit inaccessos brumali sidere monies."
Immediately upon leaving Como we seem to glide
through a perfect avenue of villas. Among those on the
left bank are the Villa Battaglia, inhabited by Napoleon I.
in 1797, the Villa Odescalchi, and the red Villa Rattazzi,
then :
Left, Cernobbio. The station for the Villa tfEste, a
large hotel, beautifully situated, joining the gardens of the
villa built by Cardinal Gallic in 1568, and inhabited in 1815
by Queen Caroline, the unhappy wife of George IV. of Eng-
land. It has charming green walks and grottoes, close under
the mountain.
Left, Villa Pizzo, which belonged to the Archduke Rainer,
ob. 1853, with a promontory of cypresses rising from masses
of banksia-roses and westeria.
Right, Villa Taglioni, once the property of the famous
dancer ; and, beyond the little town of Blevio, Villa Pasta,
the home of the celebrated singer, ob. 1865.
Left, Villa Taverna.
Right, Villa Pliniana, with a spring mentioned by Pliny,
which daily changes its level.
VOL. i. 13
194 ITALIAN CITIES.
Right, Nesso, a village in a little bay, with a picturesque
ravine, bridge, and waterfall.
Left, Brienno ; here, on turning the promontory, is the
first view of the snowy Alps.
Left, Sala. Close to this is the only island on the lake,
the Isola Comaccina or S. Giovanni, celebrated as a refuge
in the mediaeval wars.
"The name of Comacine was derived from a body of Italian archi-
tects who built for the Lombards, and who kept alive those art-tradi-
tions, well-nigh smothered under the overwhelming weight of misfortune
which pressed upon the peninsula in every shape after the invasion of
those barbarians. For twenty years after Alboinus and his followers
overran the plains of Lombardy, the Isoletta Comacina, which held out
against their power under Francione, an imperial partisan, contained
numbers of fugitives from all parts of Italy, amongst whom were many
skilled artisans known as the Maestri Comacini, a name afterwards
changed into that of ' Casari ' or ' Casarii,' builders of houses. After
they had submitted to the invaders, their college or guild was favoured
by the Lombard kings ; its members were affranchised, made citizens,
and allowed certain important privileges, such as that of making con-
tracts, which were not however conceded to their assistants. " Perkirfs
Italian Sculptors.
Left, Campo. Here the beautiful promontory of Laredo
breaks the lines of the lake ; on its extremity is the Villa
Balbiamllo, with a colonnade.
Left, Tremezzo. Then the Villa Carlotta, or Sommariva,
with balustraded terraces and gardens of roses. It was pur-
chased in 1843 f r tne Princess Albrecht of Prussia, from
whose daughter Charlotte, ob. 1855, it received its present
name. It is now the property of her husband, Prince
George of Saxe Meiningen. The Interior (i fr.) is shown,
and contains a frieze representing the Triumph of Alexander,
executed for Count Sommariva by Thorwaldsen. In the
same hall are several statues by Canova, in the Billiard-room
CADENABBIA, BELLAGGIO. 195
a small frieze by Thorwaldstn. In the Garden-Saloon is
Napoleon as Consul by Lazzarini.
Close to the villa (left], is Cadenabbia (Ca di navia). Inn.
Hotel Bellevue, charmingly situated, with a long terrace on
the lake. There is a good view from the Madonna di San
Martina on the rock behind the town, but the views from
this place are inferior to those from Bellaggio, which is itself
the most conspicuous feature from hence, and not a beautiful
one.
(Travellers for Lecco change steamers at Cadenabbia. The Lecco
arm of the lake is of a more savage character than the rest, and its sides
are much more abrupt. The steamer runs three times a week, some-
times oftener. Lecco {Inns. Albergo d'ltalia, Croce di Malta) is de-
scribed in the Promessi Sposi of Manzoni. It is hardly deserving of a
separate visit, though it may be the object of an excursion for those who
stay long at Bellaggio. )
Right, Bellaggio, on the promontory between the Lecco
and Como arms of the lake.
(Inns. Hotel de la Grande Bretagne, an immense building, but
quite one of the best hotels in Italy, admirably managed and with large
gardens. More delightful, however, is the succursale of this hotel, the
former Villa Serbelloni, situated high upon the hill-side, in the lovely
grounds which give Bellaggio its principal charm. Pension at both
these, for not less than eight days, is 12 frs., everything included. No
more charming residence can be found for a week than the Villa Ser-
belloni : rooms with a view should of course be insisted upon.
The Hotel Gmazzini, close to the lake, is also excellent, and has a
little terrace upon the water, half-smothered in roses. The new
Grand Hotel at the landing-place is comfortable, but very inferior in its
attractions.
Those who stay at the Hotel de la Grande Bretagne should always re-
member to ask the landlord for a medal of free admittance to his grounds
of the Villa Serbelloni, otherwise they will either be charged I fr. or
be turned back after a hot walk up the hill.
Carriages are enormously dear at Bellaggio.)
Bellaggio is altogether one of the most charming places in
196 ITALIAN CITIES.
Italy, for those who are content to be quiet for a time. But
after having visited the Villa Serbelloni, and enjoyed its
lovely terraces, there is not much to be seen. The Villa
Melzi, the property of the King of the Belgians, near the
lake, has a pleasant garden. Behind it is an avenue of
cypresses and an old campanile, which artists will probably
sketch. Excursions may be made to Varenna, Villa Car-
lotta, &c. The view from the windows of the Villa Serbel-
loni will be recalled by the lines :
" Sublime, but neither bleak nor bare,
Nor misty are the mountains there,
Softly sublime profusely fair,
Up to their summits clothed in green
And fruitful as the vales between,
They lightly rise,
And scale the skies,
And groves and gardens still abound ;
For where no shoot
Could else take root
The peaks are shelved, and terraced round.
Earthward appears in mingled growth
The mulberry and maize, above
The trellis'd vine extends to both
The leafy shade they love.
Looks out the white-wall'd cottage here,
The lowly chapel rises near ;
Far down the foot must roam to reach
The lovely lake and bending beach ;
While chestnut green and olive gray
Chequer the steep and winding way." Henry Taylor.
Right, beyond the entrance to the Lake of Lecco,
Varenna (Inn. Albergo Reale good), beautifully situated.
In the hill above are the ruins of the Torre del Vezio.
Some of the gardens are lovely, and the dark spires of the
cypresses stand out gloriously against the shining water.
The upper part of the Lake of Como is of less interest.
COL/CO, CHIAVENNA. 197
Above Musso (left) is the castle of the Count of that name,
who, after the battle of Pa via, 1525, established an inde-
pendent principality which embraced the whole Lake of
Como. On the left are Dongo and the large village of
Gravedona. Those who are interested in ecclesiastical anti-
quities should not fail to make an excursion to the latter
place. It has a basilica dedicated to S. Vincenzo, which
contains in its sacristy a most glorious 15th-century proces-
sional cross of silver inlaid with gems, a beautiful chalice,
and other precious ornaments of the same date. Close by,
beautifully situated, is a very curious ancient Baptistery, built
of alternate courses of white marble and black limestone. It
is only 40 ft in length, and retains its ancient frescoes in the
interior. A large villa here was built by Cardinal Gallio.
Calico {Inn. Albergo Piazza Garibaldi very indifferent)
is in the low land at the head of the lake. From hence
there are diligences to Chiavenna (Inn. Hotel Conradi,
excellent), the ancient Clavenna, from its being the key of
the Alpine passes most beautifully situated, with pic-
turesque campaniles and an old castle of the De Salis
family. The beer of Chiavenna is delicious, and justly cele-
brated. Here the ascent of the Splugen begins, through
beautiful vineyards and chestnut forests. The Swiss frontier
is entered after passing the thoroughly Italian village of
Campo Dolcino.
Those who do not purpose crossing the Splugen, may
make a most pleasant excursion from Bellaggio or Menaggio
by sleeping one night at Chiavenna, and it is well worth
while, for the sake of the lovely chestnut forests, which are
more beautiful than anywhere else in Italy.
" Chiavenna is certainly amongst the most extraordinary places I ever
198 ITALIAN CITIES.
beheld. Its situation resembles that of Aosta and Bellinzona, and I
think, if possible, it surpasses them both. The mountains by which it
is enclosed are formed of that hard dark rock which is so predominant
in the lower parts of the Alps on the Italian side, and which gives them
so decided a character. Above Chiavenna their height is unusually
great, and their magnificence, both in the ruggedness of their forms and
the steepness of their cliffs, as in the gigantic size of the fragments which
they have thrown down into the valley, and in the luxuriance of their
chestnut woods, is of the very highest degree. The effect, too, is greater,
because the valley is so much narrower than that of the Ticino at Bellin-
zona, or of the Dorea Baltea at Aosta ; in fact the stream is rather a
torrent than a river, but full and impetuous, and surprisingly clear,
although the snowy Alps from which it takes its source rise at very little
distance ; but their substance apparently is harder than that of the Alps
about Mont Blanc, and the torrents therefore are far purer than the
Dorea or the Arve. In the very midst of the town of Chiavenna, now
covered with terrace walls and vineyards to its very summit, stands an
enormous fragment of rock, once detached from the neighbouring moun-
tains, and rising to the height, I suppose, of seventy or eighty feet. It
was formerly occupied by a fortress built on its top by the Spaniards, in
their wars in the north of Italy ; but it all looks quiet and peaceful
now. ... It is impossible to picture anything more beautiful than a
scramble about these mountains. You are in a wood of the most mag-
nificent trees, shaded from the sun, yet not treading on mouldering
leaves or damp earth, but on a carpet of the freshest spring turf, rich
with all sorts of flowers. You have the softness of an upland meadow
and the richness of an English park, yet you are in the midst of masses of
rock, now rearing their steep sides in bare cliffs, now hung with the
senna and the broom, now carpeted with turf, and only showing their
existence by the infinitely-varied form which they give to the ground,
the numberless deep dells, and green amphitheatres, and deliciously
smooth platforms, all caused by the ruins of the mountains which have
thus broken and studded its surface, and are yet so mellowed by the rich
Vegetation which time has given them, that they now only soften its
character.
" We drove a little way up the valley of Chiavenna to see a waterfall,
which was beautiful in itself as all waterfalls must be, but its peculiar
charm was this, that instead of falling amidst copsewood, as the falls in
Wales and England generally do, or amidst mere shattered rocks, like
that fine one in the Valais near Martigny here, on the contrary, the
water fell over a cliff of black rock into a deep rocky basin, and then as
it flowed down in its torrent it ran beneath a platform of the most
LAGO DI LUGANO. 199
delicious grass, on which the great chestnut trees stood about as finely
as in an English park, and rose almost to a level with the top of the fall,
while the turf underneath them was steeped in a perpetual dew from the
spray.
' ' The unrivalled beauty of the chestnut woods was again remarkable on
the road to Isola, on the way to the Splugen r in the valley of the Lima.
It is rather a gorge than a valley, so closely do the mountains approach
one another, while the torrent is one succession of falls. Yet just in one
place, where the road by a succession of zigzags had wound up to the
level of the top of the falls, and where the stream was running for a
short space as gentle and as limpid as one of the clear rapid chalk
streams of the south of Hampshire, the turf sloped down gently from the
road to the stream, the great chestnut trees spread their branches over
it, and just on its smooth margin was a little chapel, with those fresco
paintings on its walls which are so constant a remembrance of Italy.
Across the stream there was the same green turf and the same chestnut
shade, and if you did not lift your eyes high into the sky, to notice the
barrier of insurmountable cliff and mountain which surrounded you on
each side, you would have had no other images before you than those of
the softest and most delicate repose, and of almost luxuriant enjoyment. "
Dr. Arnold's Journals.
Most travellers cross at once from Bellaggio to Menaggio.
Inn. Vittoria.
(Tickets to Lugano may be taken on board the boat (including the
omnibus to Porlezza and the boat from thence), which will save trouble.
A small addition is paid for the difference between Swiss and Italian
money. Omnibuses with Coupe (i fr. extra) start soon after the arrival
of the boat.)
It is a drive of about 2 hrs, over a richly wooded ridge
of hills, from Menaggio to Porlezza. The road descends
upon the tiny Lake of Piano, then to Porlezza (Inn. Hotel
del Lago\ the harbour at the eastern end of the Lake of
Lugano.
The Lake of Lugano, taken as a whole, is inferior in beauty
to the other lakes. In the Porlezza arm the hills at the
sides, which rise abruptly from the water, have rounded 1
200 ITALIAN CITIES.
forms, and only attain the dignity of mountains at the two
ends of the reach. The Monte S. Salvadore above Lugano
is always a striking feature. On the right bank is the very
picturesque village of Sandria, with houses rising directly
from the water. On turning the promontory beyond this,
we come in sight of Lugano.
Inns. Hotel dti Pare, an old monastery converted into a comfortable,
reasonable, and excellent hotel, with a pleasant garden. It has a more
delightful Sttcctirsale in the Villa Beau Sejmir (close by), with lovely
gardens and terraces upon the lake. Other hotels are the Washington,
jBellevue, and Couronne.
Lugano is pretty, but has little special attraction, so that
travellers pressed for time will proceed at once to Luino or
Varese, only stopping to visit the Church of S. Maria degli
Angeli (joining the Hotel du Pare the steamer for Varese
stays long enough to allow of seeing this), which contains
glorious frescoes of Bernardino Luint, 1529, interesting as
being the most northern frescoes of any importance.
Over the Chancel Arch. The Passion. The immense crowd of figures
which tell the whole story of the Crucifixion are grouped below the three
crosses, which divide the whole composition. Behind are seen, the
Trial, the Bearing of the Cross, the Burial, and the Unbelief of Thomas.
Still beyond, as in vision, are seen, behind the Trial, the Agony in the
Garden ; behind the picture of the Unbelief, the Ascension. Beneath
are SS. Sebastian and Roch saints of whose repetition Italian travellers
going south will weary before they leave the country.
Right, 1st Chapel. Madonna and Child, with S. John the Baptist
and a lamb most beautiful.
Right (on pillar). The dead Christ supported by two monks.
Left. The Last Supper, in three fragments.
In front of this church is a Statue of William Tell by
Vincmzo Vela, surmounting a fountain. Beyond the Beau
Sejour, near the shore, is a bust of Washington, "magnum
VARESE. 201
saeculorum decus." In the Giardini Ciani is the statue
called " La Desolazione," by Vela.
The ascent of Monte S. Salvadore is frequently made from
Lugano. It is perfectly easy (no guide needed), monotonous,
and fatiguing, and occupies about 2\ hrs to the top. There
is little to be seen till you reach the chapel on the summit,
whence the view is glorious.
It is a drive of about 2\ hrs from Lugano to Luino
(Diligence 2\ frs. ; carriage with 2 horses, 20 frs. ; with i
horse, 10 frs.). The road passes the little Lake of Muzzano,
and, entering the Italian frontier at Fornasette, descends to
Luino (Inn. Hotel du Simplori). Here Bernardo Luini was
born, 1460. In the principal church are some of his frescoes.
The steamer from Lugano to Porto (i fr. 50 c.) follows
the southern arm of the lake and passes under the railway
bridge of Bissone. Beyond this a gulf of the lake opens on
the left to Capolago. On the right is the picturesque village
of Morcate, with a church and Lombard campanile well
placed high on the rocks. Here the last arm of the lake,
hitherto quite concealed, turns to the north-west. At the
end of the bay is Porto. At the landing-place is the Italian
Custom-House, and here a public carriage (i| fr. or 2 frs.
to the Grand Hotel) is waiting to take passengers to
Varese. It ascends by a pleasant road into wooded up-
lands, passes through the villages of Bisuschio and Arcisate
and, in about 2 hrs, reaches Varese, a handsome dull town.
(Inns. Europa, Corona, Stella; or, i m. outside the town, the
excellent Grand Hotel de Varese, where there is English
Church-Service during summer.) The older part of the town
has cool, pleasant arcades, but there is not much to see. The
202 ITALIAN CITIES.
Church of S. Vittore, which has a campanile by Pellegrino
(1516), contains a S. George by Crespt, and a Magdalen by
Morazzone. But it is worth while to visit Varese, if you stay
at the Grand Hotel, and have the magnificent sunset view.
In the day one often seems only to look down over richly
planted country to the Lake of Varese, which is embosomed
in low wooded hills, between which glimpses may be caught
of the further miniature Lakes of Monate and Comabbio.
The country seems comparatively featureless, though of the
rich character described by Henry Taylor
" I stood beside Varese's Lake,
Mid that redundant growth
Of vines and maize and bower and brake
Which Nature, kind to sloth,
And scarce solicited by human toil,
Pours from the riches of the teeming soil."
But on fine evenings, as the sun sinks, there is a most
glorious revelation. The whole Alpine range stands out
behind the lake against the crimson sky Monte Rosa,
Mont Blanc, Mont Cervin, and a hundred other peaks,
ending with Monte Viso.
Two excursions should be made from Varese, which
(though in opposite directions) may easily be taken in one
long morning by any one who is pressed for time.
It is a drive of about | hr. (carriage from Grand Hotel 3^
frs.) to the foot of the Sacro Monte, about 2\ miles north
of the town. Hence a steep path paved with pebbles leads
up the hill (horse i-frr-ye^c. but it is better to walk, as
you must constantly dismount to see the chapels), pleasantly
shaded by chestnut trees. At every turn of the road is a
chapel, all different, and often of great architectural merit,.
SACRO MONTE DI VARESE. 203
containing a terra-cotta group, with life-size figures illustra-
tive of some event of the Sacred History connected with
the different Mysteries of the Rosary. The whole is a sort
of terra-cotta Ober Ammergau. The events occur in the
following order :
1. The Conception.
2. The Annunciation. The homely details of the cottage interior, the
rush-bottomed chairs, pots and pans, &c., give great reality to
this scene.
3. The Visitation. The donkey and dog, and other by-play in-
troduced, is very effective.
4. The Nativity.
5. The Circumcision. This chapel is an architectural gem.
6. Christ amid the Doctors. Some of the figures are wonderfully full
of character.
7. The Agony in the Garden.
8. The Sepulchre. This is introduced here by the same principle
of "anticipation" which makes the Roman Catholic Church
celebrate the Burial of Our Lord on Holy Thursday, before the
Crucifixion.
9. The Flagellation.
10. The Crowning with Thorns some of the faces of the mockers
are quite horrible.
11. The Bearing of the Cross, and the Coming of ScholaDtica. Ve^rv
12. The Crucifixion.
13. The Resurrection.
14. The Ascension.
15. The Day of Pentecost.
1 6. The Assumption.
There is a fountain with a colossal statue of Moses, by
Gaetano Monti, at the entrance of the little village for the
sale of medals and other relics. At the summit of the hill
is a picturesque church La Madonna del Monte, rich in
stucco and colour, and containing terra-cotta groups of the
Adoration of the Magi and the Purification.
" Over the first of the chapels on the ascent is written, ' Her founda-
204 ITALIAN CITIES.
tions are upon the holy hills, ' and other passages of Scripture upon the
succeeding ones. I confess, the figures in the chapels seemed to me
anything but absurd ; from the solemnity of the place altogether, and
from the goodness of the execution, I looked on them with no disposition
to laugh or to criticize. But what I did not expect was the exceeding
depth and richness of the chestnut shade, through which the road
partially ran, only coming out at every turning to the extreme edge of
the mountain, and so commanding the view on every side. But when we
got to the summit we saw a path leading up to the green edge of a cliff
on the mountain above, and we thought if we could get there we should
probably see Lugano. Accordingly, on we walked ; till just at sunset we
got out to the crown of the ridge, the brow of an almost precipitous cliff,
looking down the whole mountain of S. Maria del Monte, which on this
side presented nothing but a large mass of rock and cliff, a perfect contrast
to the rich wood of its other side. But neither S. Maria del Monte,
nor the magnificent view of the plain of Lombardy, one mass of rich
verdure, enlivened with its thousand white houses and church towers, were
the objects which we most gazed upon. We looked westward full upon
the whole range of mountains, behind which, in a cloudless sky, the
sun had just descended. It is utterly idle to attempt the description of
such a scene. I counted twelve successive mountain outlines between
us and the farthest horizon ; and the most remote of all, the high peaks
of the Alps, were brought out strong and dark in the glowing sky
behind them, so that their edge seemed actually to cut it. Immediately
below, our eyes plunged into a depth of chestnut forest, varied as usual
with meadows and villages, and beyond, embosomed amidst the nearer
mountains, lay the Lake of Lugano. As if everything combined to
make the scene perfect, the mountain on which we stood was covered
with the Daphne Cneorum." Dr. Arnolds Journals,
It is about i hour's drive (carriage 8 frs.) from Varese to
Castiglione di Olona, a pleasant village, beautifully situated
in a wooded valley with a clear stream running through it.
Opposite the Piazza del Padre Eterno (!) is an old palace
with terra-cotta ornaments. The pretty little renaissance
Chiesa di Villa is adorned outside with gigantic stone
statues of SS. Anthony and Christopher. Hence, a steep
path paved with pebbles ascends to the Parrochia, a noble
brick church, with stone and terra-cotta ornaments. Over
CASTIGLIONE D'OLONA, 20$
the west door, of 1428, is a relief of the Madonna throned,
with four saints and the founder Cardinal Branda, who
was Cardinal of S. Clemente at Rome. On the left of the
choir is his beautiful tomb (ob. 1443), a sarcophagus with
his statue, supported by four crowned figures. The frescoes
of the choir are noble works of Masolino, the pupil of
Masaccio. The six compartments of the roof are occupied
by the Story of the Madonna The Annunciation, Corona-
tion, Marriage, Adoration of the Magi, Assumption, Nativity.
In the central medallion is the Saviour in benediction. On
the left wall is the Story of S. Laurence his almsgiving,
administration of baptism, death. On the right wall is the
Story of S. Stephen, but it has almost perished.
In the Sacristy is an interesting collection of old church
plate, illuminated choir-books, an ivory casket, and a small
Annunciation by Masolino.
The Chapel on the right of the choir contains a curious
15th-century altar, with figures of the Saviour and the twelve
Apostles.
The Baptistery is separated from the church, at the other
end of its little enclosure. It is covered with t frescoes by
Masolino, telling the Story of the Baptist, some of them
most beautiful.
Right Wall. The Feast of Herod. The Daughter of Herodias
bringing the head to her mother.
On the arch. Six Saints.
Tribune. The Imprisonmejit. The Preaching. The Baptism of the
Saviour. "Behold the Lamb of God" in this the
figure of the Saviour is of exquisite beauty.
On the vault of the Tribune is God the Father.
On the vault of the Baptistery. The Four Evangelists, with the Lamb.
Varese is connected with Milan by a branch from Galla-
206 ITALIAN CITIES.
rate on the line which goes by Rho in 3 hotjrs to Arona, the
pleasantest place at the lower end of the Lago Maggiore.
The Lago Maggiore (the Langensee of the Germans) is
the Lacus Verbanus of the Romans. It is 54 m. long, and
3 m. broad at its greatest breadth. Many will consider this
lake even more delightful than that of Como. Its most beau-
tiful point probably is Baveno. Those who wish to explore
it thoroughly, will stay at Arona, Baveno, and Locarno,
and it is only in this way that the lake can be enjoyed, for
the voyage part of the Italian lakes is certainly pleasanter in
recollection than reality ; then you can forget the smoke and
the blacks, the people who ate the greasy cutlets, and the
horrible smells.
Arona (Inns. Albergo Reale, most excellent and reason-
able. Italia, better view) is a dirty little town with narrow
streets, but the hotels are charmingly situated and the neigh-
bourhood lovely. Though at the flat end of the lake, Arona
has a beautiful view towards the mountains, and of the fine
old Castle of Angera, a fief of the Borromei, which crowns a
wood-crested rock on the other side of the water. In the
Church of S. Maria is a beautiful altar-piece of the Madonna
and Child with saints, by Gaudenzio Vinci.
About i \ mile from the town is the colossal Statue of S.
Carlo JBorromeo, modelled by Cerano, from designs of Crespi,
and erected in 1697 at the expense of the inhabitants and
the Borromeo family. The statue is 66 feet high on a
pedestal of 40 ft. The head, hands, and feet are of bronze,
the rest of copper. Visitors sometimes commit the folly of
ascending into the head.
STRESA, ISOLA BELLA. 207
Carlo Borromeo, born in 1537, was the second son of Count Borromeo,
the representative of one of the noblest families in Lombardy. Dedi-
cated to the Church from infancy, he was created Cardinal and Arch-
bishop of Milan by his uncle Pope Pius IV. when he was only in his
23rd year. His life at the papal court was without reproach. In
his 26th year, on the death of his elder brother Federigo, he inherited
the Borromeo estates, but only made use of their revenues, as well as of
those of the diocese, for charity, living upon bread and water himself, and
sleeping upon straw. He travelled as a missionary through all parts of
his bishopric, penetrating even to the remotest villages and knots of shep-
herds' huts amongst the mountains. His regard for Church discipline,
and the severity with which he enforced morality upon his priesthood,
made him many enemies, and a Franciscan monk fired at him in his
chapel, strangely enough just as he was singing the evening anthem
" Non turbetur cor meum neque formidet." The bullet glanced aside
from the stiff gold embroidery on his cope, and he lived to show the most
wonderful personal devotion to his people during the plague at Milan in
*575> besides selling his great property of Oria for 40,000 crowns, for
the benefit of the poor and suffering at that time. Though he constantly
exposed his life for others, he failed to take the infection, but died,
Nov. 4, 1584, in his 46th year breathing out, in a sort of dying rapture,
the words " Ecce Venio." He was canonized in 1610 by Paul V., and
is still revered throughout his diocese as "II buon santo."
Steamers leave Arona for the ascent of the lake three
times daily, calling at all the principal stations. We may
notice :
Left, Belgirate, where is the large Hotel Borromeo, in a
very unattractive situation.
Left, Stresa. Hotel des lies Borrome'es, excellent, im-
mense, and a very good centre, but the situation is inferior
to Baveno.
Nearly opposite Stresa is the Isold Bella {Hotel Delfino,
very good), the first of the three Borromean Isles, which
should certainly be visited, though every succeeding traveller
will form a different impression as to its beauties, which are
entirely artificial the earth which covers the slate rock
having all been brought from a distance. Burnet, for in-
2o8 ITALIAN CITIES.
stance, calls it " an enchanted island " and " the finest sum-
mer residence in the world." South ey, writing to Landor,
says, " Isola Bella is at once the most costly and the most
absurd effort of bad taste that has ever been produced by
wealth and extravagance," while Saussure describes it " un
magnifique caprice, une pensee grandiose, une espece de
creation."
There are two points to be visited (i fr.) the Palace, and
the Gardens. Those who have seen few other palaces, may
be amused by walking through the rooms, where the old
carved frames are much finer than the pictures, which, for
the most part, are mere daubs, and where the real attraction
lies in the lovely views of the lake from the windows. Imme-
diately beneath the walls, perfect shoals of fish may be seen
swimming in the deep clear water. In the chapel are some
magnificent tombs of the Borromeo family, removed from
the conventual church of S. Francesco at Milan, suppressed
in 1848.
"Two very important monuments by Omodeo (1447 1520) may be
seen in the family chapel of the Borromei. One is that of Giovanni
Borromeo, the other that of an unknown member of the family. Both
were originally erected in the church of S. Pietro in Gessate at
Milan. The knightly statues are dignified and noble, while the bas-
reliefs show the usual skill of Omodeo in composition and delicate chisel-
ling." Per/tin's Italian Sctilptors.
The present owners of the palace are five brothers, Counts
Borromeo, who only reside here in the autumn.
The Gardens consist of a pyramidal succession of ten
terraces, raised one above another, terminating in a square.
They all have gravel walks, shaded by orange and lemon
trees, and adorned with all the statues and grottoes which
were beloved in the i;th century, and to which age has
ISOLA MADRE, ISOLA DEI PESO A TORE. 209
given a sort of quaint beauty. The wonders of the vegeta-
tion here have been greatly exaggerated. There is a fine
camphor tree, but of the camellias, bamboos, and almost
all the other plants, better specimens may be seen in the
gardens near Penzance, or even at Torquay, and here,
nearly everything requires protection in the winter. There
is a graceful group of Aleppo pines, and some of the views
are charming.
It is about 20 min. in a boat from hence to the Isold
Madre which contains another palace, but unfinished and
uninhabited of which the grounds are more park-like, and
where Nature has been allowed to help herself.
"On debarque; sur les parois du rebord, des aloes aux feuilles
massives, des figuiers d'Inde aux larges raquettes, chauffent au soleil
leur vegetation tropicale ; des allees de citronniers tournent le long des
murailles, et leurs fruits verts ou jaunes se collent contre les quartiers
de roche. Quatre etages d'assises vont ainsi se superposant sous leur
parure de plantes precieuses. Au sommet, 1'ile est une touffe de ver-
dure qui bombe au-dessus de 1'eau ses massifs de feuillage, lauriers,
chenes-verts, platanes, grenadiers, arbres exotiques, glycines en fleur,
buissons d'azaleas epanouis. On marche enveloppe de fraicheur et de
parfums ; personne, sauf un gardien ; 1'ile est deserte et semble attendre
un jeune prince et une jeune fee pour abriter leur fiancailles ; toute
tapissee de fins gazons et d'arbres fleuris, elle n'est plus qu'un beau bou-
quet matinal, rose, blanc, violet, autour duquel voltigent les abeilles ;
ses prairies immaculees sont const ellees de primeveres et d' anemones ;
les paons et les faisans y promenent pacitlquement leurs robes d'or-
etoilees d'yeux ou vernissees de pourpre, souverains incontestes dans un
peuple de petits oiseaux qui sautillent et se repondent." Taine.
The third Island, Isola dei Pescatori, is the most picturesque
feature in all the views, and contains a crowded knot of
fishermen's houses. Lodgings may sometimes be obtained
here in summer. The islands may all be visited by boat
in one morning, if the visitor is dropped by one steamer
at Isola Bella, and goes on by the next to
VOL. I. H
210 ITALIAN CITIES.
Baveno. (Inn. Hotel Bellevue, excellent, with pleasant
garden and lovely views ; La Postal)* This is altogether the
best point on the lake for a long halt. There is an English
Church here. The walks behind the old church and its
painted cloister into the chestnut woods, are delightful. A
pleasant excursion may be made by water to the Convent of
S. Caterina, overhanging the lake on the opposite shore.
(Nearly opposite the Borromean Islands an arm of the
lake opens towards the west, admitting a view of Monte Rosa.
At the end of this gulf is Gravdlona, whence the Simplon
road runs up to Domo d'Ossola (Inn. Posta), a thoroughly
Italian town to those just coming from Switzerland, and de-
voted with frantic enthusiasm to the worship of S. Filo-
mena, a purely imaginary saint of the Catacomb of S.
Priscilla, formed out of the discovery of the fragmentary in-
scription lumena pax te cum fi near the skeleton of a
female figure.
On the way to Domo d'Ossola, at Vogogna, a road
diverges upon the left to the Val Anzasca, perhaps the
most beautiful mountain valley either in Switzerland or
Italy. The richest foregrounds of walnuts, chestnuts, and
vines, combine with the most glorious view of Monte Rosa.
Artists will find their most attractive subjects at Castiglione,
at Ponte-Grande, and at Macugnaga, which is 4389 ft. above
the sea, and very close beneath the magnificent mass of
Monte Rosa. This may be reached in four or five hours from
Vogogna. At Ponte Grande and Macugnaga are excellent
country inns.)
Opposite Baveno is
Pension. 10 frs. The charges for carriages, of 8 frs. the ist hour, and 5 frs. every
hour afterwards, are quite ludicrously extortionate for Italy, and should be made the
subject of constant remonstrance.
PALLANZA, LUINO.
211
Left, Pallanza, an ugly town, very hot, and with a view
very much inferior to that from Baveno. The Hold
Pallanza is a vast new building opposite a small island.
Continuing to ascend the lake, we pass
Left, Intro. (Inn. Leone cTOro), a large, dull town. The
Marchese Pallavicini has a beautiful garden here.
Right, Laveno (the steamers only stop here twice daily.
Inn. Posta). There is a view from hence of Monte Rosa.
Right, Luino (Inns. Simplon, Vittoria). The birth-place
(1460) of the painter Bernardo Luini, by whom there is a
fresco in the church. The place has no especial beauty.
Right, Macagno Inferiore, an exceedingly picturesque
village.
At the head of the lake is
, Left, Locarno (Inns. Corona, Svtzzero). This is the ter-
La Madonna del Sasso.
212 ITALIAN CITIES.
minus of the S. Gothard railway (buffet at Station). There
is nothing to see in the place itself, but good walkers should
not fail to ascend the hill behind to the Convent of La
Madonna del Sasso, founded in 1487. The convent is not
remarkable, but by scrambling round some of the little
paths behind it, a point may be reached well-known to
our water-colour artists in which it combines with the cliffs
and the deep wooded gorges in the foreground, and the
mountains and still lake behind, in a manner which is truly
enchanting.
It is not generally known that Locarno was one of the first
places to join the Reformation in Italy. Its inhabitants
were required to embrace the Romish faith or submit to
banishment, and as they preferred the latter, 200 families were
driven from their homes, March 3, 1555, and forced through
the ice-laden Alps, to take refuge in the Grisons. The papal
nuncio had sent officers to seize the principal lady of
Locarno, Barbara di Montalto, on a charge of blaspheming
the mass, but she escaped by a secret door leading to the
lake, while her pursuers were in the house.
The beautiful Lake of Orta, the " Lacus Ubartus," is di-
vided from the Lago Maggiore by the Monte Monterone which
rises behind Baveno. It is about 6 m. long by \\ m. broad.
At the upper end of the lake is the picturesque but dirty
town of Omegna ; at the lower end, on the eastern shore, is
the charming little town of Orta.
(Orta may be reached by carriage (12 frs. with I horse) in about
z\ hours from Arona and in about z\ hours, from Baveno, by Gravel-
lona. It is a walk of some 7 hours from Baveno to Orta over the Monte
Monterone.
Travellers coming from Milan or Turin may- take the branch-line of
railway from Novara to Gozzano, whence there is an omnibus (l fr. 25 c. ;
ORTA. 213
coupe I fr. 50 c. ) by Bolzano, which has a castle of the bishops, and
Buccione, which has an old castle to Orta.
Diligence from Gozzano to Omegna 2 frs. 50 c. Coupe 3 frs. )
Orta (Inns. Ronchetti and Leone d'Oro, both good and de-
lightfully situated) is a delightful little place, full of colour and
beauty. The lovely lake laps in close under the windows,
and the gardens are smothered in flowers. Close by rises the
Sacro Monte, with its ascent by 22 chapels, with groups in
terra-cotta, a minature of those at Varallo and Varese.
Opposite Orta is the marvellously picturesque Isola di San
Giulio, throwing bright reflections upon the water. It con-
tains a very curious church with a grand old pulpit, and the
grave of S. Giulio, who died here in 379. He is said to have
delivered the island from a monstrous serpent, and the
vertebrae of a whale are shown in proof of it.
Immediately opposite Orta, on the western shore of the
lake (20 min.), is Pella, a village where mules (6 frs.) may be
obtained for crossing the mountain ridge to Varallo, an
excursion of about four hours. The path leads chiefly
through woods, and has some good views of Monte Rosa,
but the scenery has been rather too enthusiastically praised.
Varallo may also be reached by carriage via Gozzano, Borgomanero,
and Romagnano (where Chevalier Bayard fell, 1524). Those who
come from Milan or Turin would leave the railway at the Borgomanero
station on the Novara-Gozzano line.
Varallo (Inns. Pasta, Italia) is a most beautiful place, in
the romantic valley of the Sesia, which rises near the foot of
Monte Rosa, and enters the Po near Vercelli. The town is
embosomed in delicious chestnut woods, and has a lofty
bridge of three arches, and several old churches, in one of
which, S. Gaudenzio, is an altar-piece, by Gaudenzio Ferrari,
in six compartments.* On the wall dividing the nave from the
* For an account of Gaudenzio Ferrari see chap. vii.
214
ITALIAN CITIES.
choir of S. Maria delle Grazie, near the foot of the Sacro
Monte, is a series of beautiful frescoes by the same master,
executed 1510 1513, illustrating the principal events in the
life of our Saviour.
Varallo is chiefly visited for the sake of ascending the
extraordinary pilgrimage hill of the Sacro Monte, with its 50
chapels. The design of this sanctuary first originated with
the monk Bernardino Caimo, who died in 1496. The visits
of S. Carlo in 1578 and 1584 afterwards gave zest to the
work, and he sent to it Pellegrino Tibaldi by whom the
Varallo.
outer gate and the chapel of Adam and Eve were built.
Many of the terra-cotta groups in the chapels are simply
fantastic, others are really beautiful as works of art ; all are
wonderfully vivid, and of a nature which lays hold of the
imagination of the peasants who visit them, and fixes an
impression for ever. Up to the representation of the Agony
in the Garden, most of the groups are attributed to Giovanni
VARALLO. 215
<T Enrico, and the frescoes to Melchiorre Gilandini, bu
Giovanni died in 1644, and other hands continued his work.
The principal subjects are :
Adam and Eve the Fall as the need for the Coming of Christ.
The Annunciation.
The Visitation.
The Nativity.
The Circumcision.
The Flight into Egypt.
The Massacre of the Innocents (by Giacomo Bargnola di Valsolda).
The Baptism in Jordan.
The Temptation.
The Woman of Samaria.
The Healing of the Paralytic.
The Widow of Nain.
The Transfiguration.
The Raising of Lazarus.
The Entry into Jerusalem.
The Last Supper.
The Agony in the Garden.
The Betrayal.
The Trial before Caiaphas.
The Trial before Pilate.
The Trial before Herod.
The Buffetting.
The Flagellation.
The Condemnation.
The Cross-Bearing.
The Nailing to the Cross.
The Crucifixion (the beautiful frescoes here are by Gaudenzio
Ferrari).
The Deposition.
The Burial.
Between these, other minor subjects, and figures of saints, are occasionally
introduced.
(An excursion may be made from Varallo to Gressoney S.
yean in the Val de Lys, an admirable starting-point for many
mountain excursions, and where very tolerable accommoda-
tion may be found.)
CHAPTER XII.
BERGAMO AND THE LAGO D'ISEO.
(By the quick train (8 frs. 35 c. ; 6 frs. 55 c.) it is only an hour's
journey from Milan to Bergamo. There is nothing to remark upon the
way.)
BERGAMO is a most beautiful place, and must on no
account be unvisited. It consists of an upper and
lower town ; the former, the Citta, being the aristocratic
quarter, surrounded by bastions and gates ; while the latter,
called Borgo and Sottoborgo, are full of gay shops, chiefly
jewellery, and possess some thriving silk-factories.
(The Albergo dTtalia is the best hotel, Albergo di Venezia is toler-
able both in the lower town.)
Bergamo occupies the site of the ancient Bergonum. Under the
Lombards it was the seat of a Duchy. In the Middle Ages it espoused
the Ghibelline cause and fought on the side of Milan against Lodi
(1335) and Brescia (1337)-
In the I4th century it was ruled by the Visconti, in the beginning of
the 1 5th by the Suardi, who sold the government to Pandolfo Malatesta,
from whom it passed into the hands of Venice in 1428. After 1814 it
shared the fate of the Austro-Lombardic kingdom.
The painter most represented in the churches of Bergamo is Lorenzo
Lotto, one of the leading disciples of Giorgione, wholly Venetian in his
manner. Donizetti, the composer, was born at Bergamo in 1797.
There is an old proverb which says ; " II Bergamesco ha il parlare
grosso e 1'ingegno sottile."
As early as 1370, Fazio degli Uberti wrote of the Bergamaschi as a
people " che grosso parla, ed ha sottil il senno."
BERGAMO. 217
It is half-an-hour's drive from the lower town to the upper,
where all the principal objects of interest are collected in a
small space around the Cathedral.
The Lower Town consists chiefly of a long old-fashioned
street, filled with gay shops, and ending in an open space
called the Prato, where a famous fair is held, called the
Fiera di Sant' Alessandro, which begins in the middle of,
August, and lasts for a month. It has existed ever since
the loth century, and is greatly resorted to. Close to the
church of S. Chiara is a tall column, evidently once broken
to pieces, and the remnant of a pagan temple. An inscrip-
tion on the base records the tradition that it was miracul-
ously broken to pieces by S. Alessandro, the standard-bearer
of the Theban legion, to confound the idolaters, and that it
was afterwards set up again in his honour. An ancient basilica,
dedicated to S. Alessandro, stood on this spot. A steep
road leads from hence to the Citta, which is entered on this
side by the Porta S. Giacomo. The bastions, which are very
handsome, are over-grown by snap-dragon and scarlet
valerian and are planted with chestnuts, forming a most
delightful promenade all round the walls, with grand
views, on one side over the mountains, on the others over
the immense Lombardic plain, which is like a great green
sea from its masses of closely-planted mulberries, and an
entire flat only the tower of Cremona breaking the long line
of faint distance.
Within the Upper Town, the streets are narrow and very
handsome, of tall stately houses. Here and there a spray of
vine clambers over a terraced pergola, or some bright
flowers relieve a dark balcony, or a bit of sculpture marks a
deserted convent or oratory. Almost all the streets lead in
218
ITALIAN CITIES.
time to the old Piazza Maggiore (now absurdly called
Piazza Garibaldi), which is wonderfully bright and gay in
its old age. It is a broad space paved with brick, between
which stone pathlets lead up to a fine old fountain sur-
rounded by lions. On one side is the unfinished Doric
Palazzo della Ragione, begun from designs of Scatnozzi, on
.the front of whose left wing is a figure of Bartolommeo
Colleoni. On the other side is the stately old Broletto, with
arches and Gothic windows of grey stone, like an English
abbey. In front of one of its pillars stands a statue of
Tasso, who always regarded Bergamo as his native place,*
and spoke of it as " patria " in his sonnets : his father was
born here. The upper floor of the Broletto contains the
town library. A grand Ghibelline tower rises beside it.
Piazza Maggiore, Bergamo.
* "Terra che 1' Sevio lagna." Rime, ii. 448.
Also Lett. Ined. Ixxxii. Ixxxvi. cxxxi. When Tasso was imprisoned in S. Anna,
Bergamo sent to the Duke of Este a lapidary inscription they had long desired, with
a petition for his release.
BERGAMO. 219
" The very position of the Broletto teaches us a lesson. Forming on
one side the boundary of the Piazza Pubblico, on the other it faces,
within a few feet only, the church of S. Maria Maggiore, and abuts at
one end upon the west front of the Duomo ; and to this singularly close
even huddled grouping, much of the exquisite beauty of the whole is
owing. No doubt S. Maria and the original cathedral were built first,
and then the architect of the Broletto, not fearing as one would fear
now to damage what has been done before, boldly throws his work
across in front of them, but upon lofty open arches, through which
glimpses just obtained of the beauties in store beyond make the gazer
even more delighted with the churches when he reaches them than he
would have been had they all been seen from the first. It is, in fact,
a notable example of the difference between ancient grouping and
modern, and one instance only out of hundreds that might be adduced
from our own country and from the Continent of the principle upon
which old architects worked ; and yet people, ignorant of real principles
in art, talk as though somewhat would be gained if we could pull down
St. Margaret's in order to let Westminster Abbey be seen ; whereas, in
truth, the certain result would be, in the first place, a great loss of scale
in the Abbey seen without another building to compare it with and
measure it by ; and in the next, the loss of that kind of intricacy and
mystery which is one of the chief evidences of the Gothic spirit. Let
us learn from such examples as this at Bergamo, that buildings do not
always require a large open space in front of them in order to give them
real dignity." Street's Brick and Marble in the Middle Ages.
Passing through the arches of the Broletto, we come at
once upon S. Maria Maggiore, the Colleoni Chapel, and
the Duomo.
S. Maria Maggiore is a grand Romanesque church of
black and white marble. It was begun in 1134. The
southern transept was added in 1360. On the north is a
splendid porch, removed hither from the Church of S.
Alessandro in the lower town, and consisting of three stages.
In the lower, the red Verona pillars which support the wide
portico, rise from magnificent lions, around which their
whelps are playing. In the second tier is the figure of S.
Alessandro on horseback between two other saints. In the
220 ITALIAN CITIES.
upper story, which ends in a pyramid, are the Virgin and
Child and two saints. The whole effect is most gorgeous
and quite unique.
" All the shafts except those in the upper division are of red marble :
the highest stage of all is entirely of grey marble : in the middle stage
all the moulded parts are of red, and the trefoiled arches and their span-
drels of grey marble : the space at the back of the open divisions and
the wall over the main arches of the porch are built in courses of red
and white marble. All the groining is divided into diamond-shaped
panels, composed alternately of black, red, and white marble, and all
the cusping of grey. The construction of the whole is very weak, and
depends altogether for its stability upon iron ties in every direction.
"The approach to the porch, by seven steps formed alternately of
black and white marble, increases the impressiveness of the grand door-
way in front of which it is built, the whole of which is of whitish marble,
whose carved surfaces and richly moulded and traceried work have
obtained a soft yellow colour by their exposure to the changing atmo-
sphere, and are relieved by one the central shaft being executed in
purest red marble. There are three shafts in each jamb, carved,
twisted, and moulded very beautifully. These shafts are set in square
recesses, ornamented, not with mouldings, but with elaborate flat
carvings, in one place of saints, in another of animals, and with foliage
very flat in its character, and mainly founded on the acanthus.
" To the English eye these columns in the doorways are some of the
most charming features of Italian architecture ; but they must be always
looked at as simply ornamental and not as constructional features ; and
perhaps in all doorways the shafts, being really incapable of supporting
any considerable weight, would be better if, by their twisting and
moulding, they were clearly shown by their architect to be meant to be
ornamental only. In the Bergamo doorway the spaces between the
shafts are so strong in their effect, though carved all over their surface,
that any lightness in the shaft is amply atoned for. Such a porch as
this northern porch at Bergamo is indeed a great treat to an ecclesiolo-
gist, teeming as it does with ideas so fresh and new, and in a small
compass giving so much of the radical points of difference between
northern and southern Gothic, and at the same time offering so beautiful
a study of constructional colouring, that it is impossible to tire of gazing
at it." Street's Brick and Marble Architecture.
The Southern Porch is of the same character as this, but
simpler in its details.
S. MARIA MAGGIORE. 221
The Interior has been greatly modernized, but is very
handsome. In the apse is a picture of the Assumption the
upper part with the Virgin and Angels, by Cavagna; the
lower, of the apostles looking into the empty tomb, by
Ercole Procaccini. The inlaid stall-work, begun 1520, is
perhaps the most beautiful known anywhere, and approaches
high pictorial art. The allegorical figures usually displayed,
the arabesques, and the frieze of classical subjects, are by
Alessandro Belli. Outer coverings are removed by the
sacristan, who displays with just pride the wonderful work
within, by Francesco Capo di Ferro da Bergamo. The sculp-
tures in the choir represent the stories of Noah, Abraham,
Lot, Samson, Joab, Amasa, &c. Beneath these, the Washing
of the Feet, the Last Supper, and the Agony in the Garden,
are by Alessandro Belli, from designs of Lorenzo Lotto. The
four large subjects outside the screen, the Deluge the
Crossing of the Red Sea Judith and Holofernes (a won-
derful effect of moonlight) and the Story of David, are by
Capo di Ferro. The picturesque effect of the choir is greatly
enhanced by old tapestries suspended from the music
galleries. A chapel on right of the high-altar has a beautiful
picture of Christ in glory, with two choirs of adoring angels,
and saints beneath, by Antonio Buselli da Bergamo. The
pulpit stair, by Camilla del Capo, 1603, is a splendid specimen
of wrought-iron work. On the north wall is an immense
fresco of the tree of St. Francis, of 1347. Near the west end
of the church, is the beautiful tomb of the excellent Cardinal
Longo degli Alessandri, who died at Avignon in the reign of
John XXII., removed here from S. Francesco, with a modern
inscription in honour of his numerous benefactions to the
town. Near this is the fine tomb of Donizetti, the musician,
222 ITALIAN CITIES.
ob. 1855, by the Swiss sculptor Vela of Lugano Music is
represented weeping for her loss. Opposite, is the tomb of
another musician, Mayr of Bergamo, ob. 1845.
Adjoining S. Maria is the Cappella Colleoni, with a
beautiful front of coloured marbles, delicately wrought in
arabesques, towards the piazza. Pagan and Christian orna-
ments are strangely mingled. Julius Csesar and Trajan are
among the busts : that of Faustina comes next to S. John.
The little reliefs around the windows with scenes from
Genesis, are perfectly lovely, and among the best works of
Antonio Omodeo. The interior is much modernized, and
adorned with frescoes by Tiepoli. Opposite the entrance is
the grand tomb of Bartolommeo Colleoni, the great com-
mander, who served the Venetian Republic, and whose famous
statue stands outside the church of SS. Giovanni e Paolo at
Venice. His chief residence was near this, at Malpaga,
where the old castle, in which he lived with the utmost splen-
dour, still remains and may be visited. He died in 1475. His
tomb, by Giovanni-Antonio Amadeo, or Omodeo, is absolutely
magnificent. It consists of two sarcophagi, of which the
lower rests on pillars supported by lions, and is adorned with
statuettes of the sons-in-law of the hero as Hercules, Mars, &c.
Above it are five heroes as watchers. The second sarcopha-
gus, adorned with statuettes of the sons and daughters of
Colleoni, supports the gilt statue of the knight. On the
lower sarcophagus are beautiful bas-reliefs of the Annuncia-
tion, the Nativity, and the Coming of the Magi ; on the
upper, the Bearing of the Cross, the Crucifixion, and the
Deposition.
" Bartolommeo Colleoni was born, 1400, at Solza, in the district of
Bergamo. His father, an eminent Guelph, having been driven out of
CAPPELLA COLLEOttl. 223
Bergamo by Galeazzo Visconti, lord of Milan, took refuge with his
family in the Rocca di Frezzo, a castle on the banks of the river Adda,
where he and his eldest son Antonio were murdered by four of his poor
and exiled kinsmen, to whom he had given hospitality ; while his wife
Riccardona, and his second son Bartolommeo, were detained as prisoners,
and succeeded in escaping, only to be seized by Benzone, tyrant of
Cremona, who imprisoned them for Antonio's debts which they were
unable to pay. When Bartolommeo was at last set free, he became the
page of Filippo d'Arcello, tyrant of Piacenza, and at the age of twenty
commenced his military education under the famous Perugian captain,
Braccio di Montone, and completed it under Jacopo Caldara, Carmag-
nola, and Francesco Gonzaga. His wisdom in council and boldness in
action enabled him to defeat the famous Condottiere Piccinino in a series
of strategic operations, and gained him the reputation of rendering in-
vincible those whom he led to battle, in consequence of which he was
appointed leader of 800 horse by the Venetian Senate, and made com-
mander of Brescia after the death of Gattamelata. Taken prisoner by
Filippo Maria Visconti, and confined at Monza, he effected his escape
to Landriano, where his soldiers received him with the wildest joy, and
served with him in the Milanese army, under Ludovico Sforza, until he
was recalled to Venice on the conclusion of peace. The last eighteen
years of his life were spent at Bergamo, and in his castles of Malpaga,
Romano, and Martinengo, guarded by six hundred veterans who had
grown grey in his service, and surrounded by a company of ' savans '
and artists in whose society he delighted. The latest biographer * of
this model Condottiere, who is not surpassed by Cornazzaro or Spina in
admiration for his hero, shows him to have been a pattern of every
Christian and knightly virtue, truthful and disinterested, and though
passionate and impetuous, ever ready to forgive his enemies and to
recognize their good qualities. He proves his piety by enumerating the
chapels, churches, and convents which he built ; and by telling us how
he ' transformed Romano into an Escurial, where he divided his time be-
tween pious and military exercises, in the midst of his double troop of
warriors and monks, his young and old guard, which represented to
him his memories and his hopes.' " Perkitis Tuscan Sculptors.
Against the left wall is the beautiful tomb (also by
Omodeo) of Medea Colleoni, ob. 1470, only child of the
commander, brought hither from the church of Basella on
the Sevio in 1842.
Rio, Art Chretien, vol. ii.
224 ITALIAN CITIES.
''This tomb is one of the most charming works of its kind in Italy.
The simply-disposed recumbent figure of Medea, draped in the folds of
a richly-embroidered robe, lies upon a sarcophagus whose front is
adorned with an Ecce Homo and two mourning angels in relief, above
which are placed statuettes of the Madonna, the Magdalen, and S.
Catherine. A delicate string of jewels encircles her head, which lies
straight upon an ornamented pillow, and a necklace is clasped about her
slender neck. Her face is turned upwards, her eyes are serenely
closed, and her arms peacefully folded upon her bosom." Perkin's
Italian Sculptors.
There is a pretty picture by Angelica Kauffmann in this
chapel, of the Holy Family.
The Duomo, originally built from designs of Antonio
Filarete, was much altered in the 1 7th century. In the 3rd
chapel on the left is a Madonna with saints, by Moretto. It
is quite a secondary church to S. Maria Maggiore.
Near this principal group is the richly gilt Church of S.
Grata, with some good mosaic work.
The pedestrian may vary his descent to the lower town by
taking the charming road shaded by horse-chestnuts, which
leads by the Porta S. Agostino. On the hill-side above this
gate is the Church of S. Andrea, where, over the altar con-
taining the relics of S. Domneoni, S. Domnoni, and S.
Eusebia, is a fine picture of the Virgin and Child, with these
saints, by Moretto. Outside the church is a curious rude
stone pedestal with a metal canopy like a crown ; on the
stone is a head, placed there, says the inscription, in 1623, to
incite people to more fervent devotion to S. Domneone, who,
after his head was cut off, carried it, and deposited it here
with his own hands !
The ruined Church of S. Agostino, with its adjoining
monastery, now used as a barrack, stand on a lofty terrace,
backed by mountains of exquisite form and colour. The
ACCADEMIA CARRARA. 225
front of the church has long Gothic windows filled with rich
tracery.
Turning left, beyond the Porta S. Agostino, and passing a
pretty tavern-garden, we reach the Accademia Carrara, open
from 12 to 3. It contains two collections of pictures : the
first bequeathed by Conte Giacomo Carrara in 1796, the
other by Conte Lochis. The pictures are, for the most part,
more curious than beautiful, and they are ill-arranged and
numbered. In the Carrara collection the best are
Sala II.
70. Lorenzo Lotto. Marriage of S. Catherine.
92.
93-
105.
Moroni. Portraits.
106.
107.
117. Girolamo Colleoni. Virgin and Child, with saints.
1 20. Moroni. St. Jerome.
121. Gaudenzio Ferrari. Virgin and Child.
150. Palma Vccchio. Virgin and Child, with saints.
151. Marco Basaiti. The Resurrection.
In the room opening out of this
195. Beato Giustiniani. Portrait.
198. Bartolomeo Vivaiini. St. Peter.
199. Id. Virgin and Child (1422).
200. Id. St. Michael.
In the adjoining Lochis collection are
Sala I.
3. Cfsare da Sesto. The Four Maries .
4. Giovanni Bellini. The Dead Christ.
8. Galeazzo Rivelli da Cremona. Three Saints.
10. Cima da Conegliano. Madonna and Child.
11. Filippo Lippi. Virgin and Child.
14. Cottignola. Madonna.
VOL. I. 15
226 ITALIAN CITIES.
1 7. Jacobello da Fiore. Madonna and Child, and six small pictures
of the Life of Christ.
25. Gentile da Fabriano. Virgin and Child.
26. Sebastiano Lazzaro. Coronation of the Virgin.
Sala II.
85. Vittore Bettiniano. Male figure before a Crucifix.
95. Moretto. Holy Family.
224. Francesco da Pante. Nativity, and Christ crowned with thorns.
Sala III.
104. Francia. Christ bearing his cross.
117. Girolamo Genga. Early Christian Baptism.
128. Cima da Conegliano. Group of Saints.
133. Titian. Virgin and Child.
*I35- Raffaelle. S. Sebastian.
136. Perugino. Nativity.
144. Moroni. Portrait.
148. Bernardino Zenale. Virgin and Child.
149. Girolamo da Santa Croce. Virgin and Child throned, with saints.
*I54- Lorenzo Lotto. The Virgin and St. Joseph showing the sleeping
Child to St. Catherine.
156. Palma Vecchio. Holy Family.
173. Correggio. Dead Portrait.
1 74. Correggio. Madonna.
183. Vittore Carpaccio. S. Roch.
,* 184. Girolamo Giovenone da Vercelli (signed 1527). Virgin and Child,
with the donors presented by angels.
187. Giorgione. Portrait.
189. Titian. Portrait.
' 191. Sebastian del Piombo. Portrait.
192. Andrea Mantegna. Portrait.
193. Gentile Bellini. Portrait of a Doge.
195. Perugino. Virgin and Child.
200. Mantegna. Resurrection.
Those who wish to continue their pictorial studies had
better go on from here to visit the three churches of 6". Ber-
nardino, S. Spirito, and S. Bartolomeo, all near together and
near this. In each there is a good work of Lorenzo Lotto
the especial painter of Brescia. These churches are all in
S. TO MM AS IN LIMINE. 227
the Sottoborgo di S. Caterina, which is a mile distant from
the Citta, and also from the Borgo, where the principal
shops and hotels are situated.
" In the Lorenzo Lotto of S. Bartolommeo, he has bestowed upon the
Virgin and Infant Jesus such varied and contrasted movement, that they
appear to be conversing with the holy bystanders, the one on the right,
and the other on the left. And in that of S. Spirito, sparkling as it is
with grace, we find the figure of S. John the Baptist, represented as a
child, standing at the foot of the throne embracing a lamb, and express-
ing such natural and lively happiness, at once so innocent and so simple,
and with a smile so beautiful, that, as we gaze upon it, we can scarcely
believe that it could have been excelled by Raphael or Correggio."
Lanzi.
Several churches should be visited from Bergamo by those
who are interested in architecture and painting. About
7 miles N., on the top of a hill, is the very curious little
round church of S. Tommaso in Limine, supposed to be of
the 7th century. It has a cupola resting on the walls them-
selves, and is surrounded by pillars with fantastically carved
capitals.
About 5 miles N.E. is Alzano Maggiore, where, in the
parish church, is a very fine picture of the Death of S. Peter
Martyr, attributed to Lorenzo Lotto, but doubtful,* and in
the sacristy, some good sculpture by Andrea Fantoni. In
the church of Olera, about 5 kils. further on, is an altar-piece
by Cima da Conegliano.
At Trascorre, 14 kils. E. of Bergamo, is a chapel covered
with frescoes by Lorenzo Lotto.
From Bergamo all travellers should proceed to the Logo
* Rumohr. Drei Reisen, p. 330.
228 ITALIAN CITIES.
d'Iseo, which is much less known than the other lakes of Italy,
but which, from the extreme variety of its mountain forms,
and perhaps also from its narrowness, is in many respects
the most beautiful of all.
A small branch line (opened 1875) leads from Palazzolo,
a station about 40 minutes from Bergamo, through an en-
vineyarded country, to Sarnico, a pretty village at the foot
of the lake, with an old wooden bridge where the river Oglio
emerges from it. The steamer starts on the arrival of the
first train from Milan, and returns to Sarnico in time for the
last train to Milan, which gives the Milanese from six to eight
hours at Lovere. Any waiting time at Sarnico may be spent
at the little Albergo Leone d'Oro, which is much better than
it looks outside.
The water of the Lago d'Iseo (Lacus Sebinus) is wonder-
fully clear. At Sarnico you see all the fish swimming be-
tween you and the white sand at the bottom, and, as you
proceed, all the mountains are reflected in the deep-blue.
On the right is Iseo (Inn. Albergo del Leone]. Then we pass the
Mezz'-Isola, an island, two miles long, very near the eastern
shore, and occupied by a mountain, at the foot of which lie
the two fishing villages of Peschiera d'Iseo and Siviano. The
view is most beautiful at Tavernola (left bank), with its vine-
hung pergolas and gaily-painted houses, beyond which the
lake winds like a gulf between great purple precipices. On
the eastern bank a road is cleverly engineered through a
succession of little tunnels under the rock. Passing Riva,
we enter a wide bay, steam to the right to Pisogne, and then
cross to Lovere, a most picturesque town, with the over-
hanging wooden roofs of Switzerland, united with the heavy
stone arcades of Italy, and beautiful mountain forms all
LOVE RE.
229
around. The walks and drives in this neighbourhood are
quite lovely, and were the accommodation better, it would
soon become a favourite resort, but the Inns (S. Antonio
Leone <?Ord) are very indifferent. The principal church is
Lovere.
handsome, but its pictures second-rate. In the Palazzo
Tadini is a gallery of indifferent pictures, and in its chapel
a monument by Canova. It was at Lovere that Lady Mary
Wortley lived from 1746 to 1757, and of which she wrote
" It is the most romantically beautiful place I ever saw in
my life."
CHAPTER XIII.
CREMONA.
REMON A may be reached from Milan by the branch-
line from Treviglio (12 frs. 85 c. ; 9 frs. 70 c. ; 6 frs.
15 c.), or by other branch-lines of railway from Brescia or
Piacenza.
Cremona (//2#.r. Albergo del Sole, good, though of unpre-
possessing exterior ; Italia) may easily be seen in a day,
but should not be omitted. A hurried traveller may visit
the town by taking a carriage at the station (i fr. 50 c. per
hour) and driving, in turn, to S. Luca, S. Agata, S. Mar-
gherita, S. Agostino, the Cathedral and Torrazzo, and S.
Sigismondo. If he is not especially interested in the works
of the brothers Campi, S. Agostino is the only church much
worth seeing besides the Cathedral ; if he is devoted to that
especial school, he may also visit S. Abbondio and S. Pietro
al Po. The Cathedral and its surroundings form a most in-
teresting and striking group, and are close to the Albergo del
Sole. Tolemaco Biazzi has a capital curiosity-shop in the
Contrada Corsi.
Ancient Cremona was destroyed in four days by the soldiers of Vespa-
sian. * The town was rebuilt in the 7th century by order of the Lombard
King Agilulf. In the Middle Ages it was continually decimated either
by civil wars or wars with its neighbours, Guelfs and Ghibellines making
* Tacitus, Hist. iii. 30.
' CREMONA. 231
its streets a perpetual battle-ground, till, in 1323, it was united by
Galeazzo Visconti with the duchy of Milan, the city to which up to that
time it had been most opposed.
Cremona has gained a great reputation from the Cremona
Violins, the manufacture of fiddles having been raised here
to the highest pitch of perfection by members of the fami-
lies of Amati, Guarnerius, and Stradivarius. A Stradivarius
violin is often worth 10,000 frs.
Cremona has its own School of Painting, which was at the
height of its fame in the i6th century under the brothers
Campi and their disciples.
The family of Campi consisted of four individuals, who devoted them-
selves without ceasing to art until they reached extreme old age. Giulio
Campi (1500 1572), who may be considered as the head of the
Cremonese school, studied chiefly under Giulio Romano. He educated
his brothers Antonio and Vincenzio, who were considerably his inferiors,
and his cousin Bernardino, who in a short time rivalled, and, in the
opinion of many, surpassed his master.
Even the greatest admirers of the Campi will be oppressed
by the infinite multitude of their works in Cremona, and will
turn with a sense of relief to the charming fragments of
mediaeval architecture which may be found in its streets.
" The rich array of buildings in elaborate brickwork is very striking ;
and the campanile of the cathedral, towering up high above the many
other steeples, combines well with them in the general view, and helps to
convert into a fine-looking city what is, perhaps, in its streets and houses
generally, very far from being anything of the kind. " Streefs Brick and
Marble in the Middle Ages.
Cremona rises out of the great green plain of Lombardy,
intersected by dykes and often flooded in winter, and
clothed with white mulberries, whose leaves are picked early
in the season for the silk-worms, leaving the trees prema-
turely bare. The streets are very wide, but have a forlorn
232 ITALIAN CITIES.
aspect in spite of the handsome palaces which frequently
line them and they are often grass-grown. Here and there
a tall rich tower varies the monotonous outline. Once there
were 87 churches, and there are still 44.
On entering the town from the railway-station by the Porta
Milano, we immediately pass on the left the Church of S.
Luca, with a beautiful porch resting on pillars and lions of
red Verona marble, and a handsome eight-sided baptistery.
Just beyond is the handsome Palazzo Maggt, with a splen-
did cinque-cento portal by Bramante Sacchi da Cremona.
The whole front of this palace is very rich : under the roof
are curious griffins as water-spouts. On the same side of the
street is the ugly Grecian portico of -5". Agata, concealing
a fine brick church and tower of 1495. The interior is
modernized. On the walls of the choir are the Martyrdom
and Burial of S. Agata by Giulio Campi (1537).
"These are the first works of Giulio, executed in his youth, and are
of such merit, that a practised artist could scarcely have done them
better. " Vasari.
Diverging from hence to the right, we reach on the left S.
Margherita, filled with some of the last paintings of Giulio
Campi, which were executed when Mario Girolamo Vida,
Bishop of Alba, was prior of the adjoining monastery. The
best are, Christ amongst the doctors, and the Circumcision.
A little further, in a square of its own, is the stately Gothic
brick church of S. Agostino, sometimes called S. Giacomo
in Breda, of 1558. The modernized interior is covered with
Campi decorations.
Right Aisle, 2nd Chapel. Barbarini da Corny. Curious stucco
figures of the Passion and Death of Christ.
5//4 Altar. A beautiful 15th-century picture of the Madonna and
Child throned, an orange hanging above.
S. ABBONDIO, S. PELAGIA. 233
6th Altar. P. Perugino. Madonna throned between SS. Peter and
Antonio Abbate, with the inscription, ' Petrus Perusianus pinxit, 1494."
This picture was carried off by the French and restored.
High Altar. A. Mainardi, 1590. The Saviour with S. Augustine
and other Saints.
Left Aisle, yth Chapsl. Gervasio Gatti, 1589. The Nativity.
"ind Chapel. Malosso. The Vision of S. Anthony.
Between yd and $th Chapels. Bonifazio Bumbo. Very interesting
fresco portraits of Francesco Sforza and his wife Bianca Maria Visconti,
both kneeling.
Among the other minor churches the most noticeable is
S. Abbondio, sometimes called S. Nazzaro, which has a
cupola painted by Giulio Campi and Malosso. In an ante-
chapel is a copy of the Holy House of Loreto : the walls
round it are covered with votive offerings.
The Church of S. Pietro di Po (sometimes called S.
Giorgio), on the other side of the city, built 1549 1570, is
perfectly filled with pictures of the Campi school, none very
remarkable, also :
Left Aisle, 2nd Altar. Bernardino Gatti, 1569. A Nativity, with S.
Peter present in his episcopal robes.
Left Aisle, End. An enormous picture of the Murder of S. Thomas a
Becket, in Canterbury Cathedral very unlike.
The Church of S. Pelagia contains the monument of
Girolamo Vida the Poet, celebrated by Ariosto :
" II Vida Cremonese,
D'alta facondia inessiccabil vena,"
and by Pope :
1 ' A Raphael painted, and a Vida sung :
Immortal Vida, on whose honour'd brow
The poet's. bays and critic's ivy grow :
Cremona nQW shall ever boast thy name,
As next in place to Mantua, next in fame. "
Vida composed a hymn in honour of S. Pelagia.
234
ITALIAN CITIES.
The Cathedral was begun in 1107, consecrated in
1190. The transepts were added 1342, the choir in
1479. The magnificent fagade towards the piazza was
begun in 1274, at which time the great porch and the rose
window were built under Giacomo Porata da Cremona, but
the other decorations of red Verona marble were not added
till 1491. The statues and the great marble lions are by
Sebastiano da Nant, 1560. The general effect is most
picturesque. On the left of the entrance stands the Tor-
razzo, on the right the Baptistery. Behind the Baptistery
is the Bishop's Palace, of brick Gothic. The other side
of the piazza is occupied by the Palazzo Pubblico, and
another Gothic building of moulded brick used as a college.
Porch of Cremona.
The interior of the cathedral is greatly wanting in archi-
tectural splendour, and the effect of the lofty transepts is
CATHEDRAL OF CREMONA.
entirely destroyed by the low arches which separate them
from the rest of the church. The building, however, makes
up in colour for what it wants in form, and is so entirely
covered with frescoes and pictures as to form a perfect
gallery of Cremonese Art. Lanzi considers it as a rival to
the Sistine Chapel in its pictorial magnificence. The
frescoes occur in the following order, beginning on the left
of the nave :
The Meeting of Joachim and Anna.
The Birth of the Virgin.
The Annunciation.
The Salutation.
The Birth of Christ.
The Circumcision.
The Coming of the Magi.
The Purification.
The Massacre of the Innocents.
The Flight into Egypt
Christ disputing in the Temple.
The Last Supper.
The Washing of the Feet.
The Agony in the Garden.
The Betrayal.
Christ before Caiaphas.
Christ before Pilate.
Christ bound.
Christ before Herod.
Boccaccio Boccaccino,
( Francesco Bembo, 1515.
Altobello Melone, 1517.
Boccaccino (turning to the other
side of the nave).
Altobello Melone.
C. Moretti.
Romanino.
Christ bearing the Cross. .
Christ falling under the Cross. \
Christ nailed to the Cross.
ThegreatCrucifixion(atthewestend). ( Pordenone.
The Marys lamenting over the body j
f\f PVirict /
of Christ.
The Resurrection very grand.
Bernardino Gatti.
236 ITALIAN CITIES.
On the vault of the Tribune is a grand figure of the Saviour between
the four patron saints of the city (Imerio, Omobuono, Marcellino, and
Pietro, by Boccaccino], 1506. On the side walls are the Triumphal
Entry to Jerusalem by Bernardino Campi, and the Healing of the Cen-
turion's son by Antonio Campi the painter is introduced in the fore-
ground. The four modern frescoes are the work of Diotti. Over the
high altar is the Assumption, the last work of Gatti (il Sojaro) ; he had
intended to paint the 12 apostles beneath, but had a paralytic seizure
when he had only completed three figures. After this he sketched in
three more with his left hand, and then he died.
Following the Chapels, beginning with the left aisle, are
2nd Chapel. Holy Family, sculptured in wood, by Bertesi da Cre-
mona, 1670.
yd Chapel. Gregory XIV. before the Virgin. Luca Cattapane.
At the end of the transept, is a beautiful Madonna by Bernardino
Ricca, of the school of Perugino : S. Dominic and S. Jerome stand
before her, S. Anna is behind in shadow. Near this is a curious old
tabernacle, with Christ rising from the grave and three saints. Close
to the adjoining door, used as a holy- water bason, is a stone vase
in which it is said that S. Albert used to knead bread for the poor.
Beyond the door is a Pieta by Antonio Campi, Then, S. Michael by
Giulio Campi, 1566.
The Chapel on the left of the High Altar contains a kneeling statue of
Bishop Antonio Novasoni " chiamato in cielo, 1867 ; " also
The Ascension. Malosso.
(Over it) The Baptist. Antonio Campi.
Baptism of Christ. Giulio Campi.
(Over it) Birth of the Baptist. Giulio Campi.
Herodias and her daughter and the Baptist. Antonio Campi.
( Over if) Salome with the head of the Baptist. Giulio Campi.
The Pentecost. Malosso.
The crypt is fine : the pillars in the tribune are twisted. Here are
shrines of all the local saints, and over the high altar that of SS. Mar-
cellino e Pietro, with beautiful bas-reliefs by pupils of the famous
Omodeo.
In the Chapel on the right of the High Altar are
The Supper at Emmaus. Borroni.
THE TORRAZZO. 237
The Washing of the Feet and (in
lunettes) the Multiplication of
Loaves. Giulio Campi.
The Repentance of the Magdalen.
The Raising of Lazarus.
The Last Supper. ) .
T-I. \f ii- *t. r* A \AntonwCampi.
The Magdalen in the Garden. )
Near this, in the Sacristy, is a wonderful picture of the Descent into
Hades, by Altobello Adam and Eve are the first to meet the Saviour
and kneel at his feet.
Entering the South Transept, we have, on the left, an Annunciation of
Malosso. On the south wall, a fine fresco of Christ bound, Malosso.
The Magdalene at the foot of the Cross, Boccacdno the figure of Arch-
bishop Sfondrato, the donor, is introduced. On the right wall, the
Salutation, a very fine picture, signed " Gervasius de Gattis, dictus
Solianus, 1583."
Over the entrance of this transept is a triple picture representing the
Triumph of Mordecai, the Petition of Esther, and the Death of Haman,
by Antonio Campi. Turning to the right aisle of the nave, in the $rd
Chapel, are S. Fermo and S. Jerome before the Cross, by Luca Cattapane,
1593. In the 2nd Chapel, St. Eusebius raising a person dead of the
plague to life ; a sculpture in wood by Arighi da Cremona ; and, lastly,
in the 1st Chapel, a most beautiful Pordenone of the Madonna, and saints
who are presenting the donor.
The Baptistery was built in 1 167. It is a very remarkable
brick edifice, surrounded by ranges of narrow Lombard
arches, and having an unadorned eight-sided cupola. The
porch rests on lions. The font is of red marble.
The Torrazzo was begun in 1283 to celebrate a peace
between Cremona, Brescia, Milan, and Piacenza. It is
396 ft high, and is said to be the tallest tower in Italy. "Its
design is much like that of all the other brick campaniles in
this district a succession of stages of nearly equal height,
divided by arcaded string-courses and marked with per-
pendicular lines by small pilasters, and almost without
238 ITALIAN CITIES.
windows until near the summit." * It is celebrated in the
distich :
Unus Petrus est in Roma :
Una Turris in Cremona.
"The Emperor Sigismund and Pope John XXIII. went together in
seeming amity to Cremona. There an incident had nearly taken place,
which, by preventing the Council of Constance, might have changed
the fortunes of the world. Gabrino Fondoli, from Podesta, had become
tyrant of Cremona. He entertained his distinguished guests with
sumptuous hospitality. He led them to the top of the tower to survey
the rich and spacious plains of Lombardy. On his death-bed Fondoli
confessed the sin of which he deeply repented, that he resisted the
temptation, and had not hurled Pope and Emperor down, and so secured
himself an immortal name." Milman's Hist, of Latin Chiistianity.
Behind the Baptistery, a door (No. 10) admits one to a
court-yard below, where, in a place called the Campo- Santo,
is an extraordinary mosaic pavement, with allegorical figures
of a Centaur, Faith, Cruelty, Piety, and Pity.
The Palazzo Pubblico, of 1245, is supported by arches and
adorned with two towers. In the interior is a chimney-
piece, brought hither from the Palazzo Raimondi, a work
of Giov. Gasp. Pedoni (in 1502), of whom Cicognara
says that "he treated the marble like soft wax. It has
richly decorated Corinthian columns. A small medallion on
one side encloses the likeness of Gian. Giacomo Trivulzio,
governor of Milan. In the great hall two grand pictures of
The Descent of Manna. Grassio Casaglio, 1589.
The Multiplication of Loaves. Litigi Miradori il Genovese.
The best of the other pictures here is a Salutation of Antonio Camfi.
In another chamber is a S. Lorenzo of Gatti, and a curious fresco of
Platina kneeling before Sixtus IV., from the Vatican.
In the plain beyond the walls, i mile from the Porta
* Street.
S. SIG1SMONDO. 239
Romana, are the deserted convent and the great Church of
S. Sigismondo, built by Francesco Sforza, as a token of
affection to his wife Beatrice, heiress of Cremona, daughter
of Filippo Maria Visconti, on the site of the old church in
which he received his bride, Oct. 25, 1441. Those who are
not utterly wearied by the Campi school within the walls may
obtain a surfeit here. The walls are entirely covered with
paintings by the brothers and their disciples. The most
interesting picture is that by Giulio Campi, in which
Francesco Sforza and Bianca Maria Visconti are presented
to the Virgin and Child by S. Sigismund and S. Chry-
santhus. The likeness of the artist is introduced under the
figure of the last saint, and that of his mistress as S. Daria.
The paintings round the high altar are by Camilla Boc-
caccino.
"The Cremonese artists, painting as it were in competition, rendered
S. Sigismondo a noble school for the fine arts. We may here study a
sort of series of these artists, their various merit, their prevailing tastes
in the Correggio manner, their different style of adapting it, and their
peculiar skill in fresco compositions. Camillo Boccaccino was the lead-
ing genius of the school. His most remarkable works are the four Evan-
gelists, seated, with the exception of S. John, who is standing up in a
bending attitude with an expression of surprise, forming a curved outline
which is opposed to the arch of the ceiling, a figure no less celebrated
for its perspective than its design. It is truly astonishing how a young
artist who had never frequented the school of Correggio, could so well
emulate his taste, and carry it even further within so short a period ; this
work, displaying such a knowledge of perspective and fore-shortening,
having been executed as early as 1537. The two side pictures are also
highly celebrated, representing the Raising of Lazarus, and the Woman
taken in Adultery. In these histories, as well as in their decorations,
the figures are arranged and turned in such a way, as scarcely to leave a
single eye in the figures visible, for Camillo was desirous of thus proving
to his rivals that his figures were not, as they asserted, indebted for their
merit to the animated expression of their eyes mt to the whole com-
position.
240 ITALIAN CITIES.
"The chapels of S. Sigismondo were all completed by Giulio Campi
and his family. They contain almost every variation of the art, large
pictures, small histories, cameos, stuccos, chiaroscuros, grotesques, fes-
toons of flowers, pilasters, with gold recesses, from which cherubs of the
most graceful form seem to rise with symbols adapted to the saint of that
altar ; in a word, the whole of the paintings and their decorations are the
work of the same genius, and sometimes of the same hand. This adds
greatly to their harmony, and in consequence to their beauty, nothing in
fact being truly beautiful that has not perfect unity.
"As to Bernardino Campi, the church of S. Sigismondo inspires us
with the loftiest ideas of his power. Nothing can be conceived more
simply beautiful, and more consistent with the genius of the best age,
than his picture of S. Cecilia playing upon the organ, while S. Cathe-
rine stands near her, and above them is a group of angels, apparently
engaged, with the two innocent virgins, in pouring forth strains worthy of
Paradise. This painting, with its surrounding decoration of cherub
figures, displays his mastery in grace. Still he appears to no less advan-
tage in point of strength in his figures of the Prophets, grandly designed,
for the same place ; although he seems more anxious to invest them with
dignity of feature and of action, than to give strength and muscle to their
proportions. Above all, he shone with most advantage in the grand
cupola, with which few in Italy will bear a comparison, and still fewer
can be preferred for the abundance, variety, distribution, grandeur, and
gradation of the figures, and for the harmony and grand effect of the
whole. In this empyrean, the vast concourse of the blessed, belonging to
the Old and New Testament, there is no figure that may not be recog-
nized by its symbols, and that is not seen in perfection from its own
point of view, whence all appear of the natural proportion, though they
are on a scale of seven braccia in height. Such a work is one of those
rare monuments which serve to prove, that it is possible for a great
genius to execute rapidly and well, for it was wholly conducted by Ber-
nardino in seven months." Lanzi.
The fortress called Pizzighettont, on the Po, is interesting
as having been the first prison of Francis I. after his defeat
at Pavia.
241
CHAPTER XIV.
BRESCIA.
(It takes % hr. by the quick train from Bergamo to Brescia (7 frs
15 c. ; 5 frs. 20 c.).
Inns. Albergo <f Italia, very good ; Albergo Reale ; Gambero.
Carriages. The course, 85 c. ; the hour, I fr. 25 c.)
BRESCIA can be seen in a day, but it is a pleasant
place to linger in. The traveller who wishes only to
see the best may take a carriage from the station, and visit,
between two trains, in the following order S. Maria dei
Miracoli, S. Francesco (for the picture of S. Margarita),
the Palazzo del Municipio, Piazza del Duomo (for an idea
of the two cathedrals which recall the two cathedrals of
Salamanca), the temple in the Museo Patrio, S. Clemente,
the Raphael in the Museo Civico, and S. Afra. This can
only be done before 12 o'clock. All the churches in
Brescia are closed from 12 to 5, and after that there is no
good light for the pictures. There is scarcely anything ex-
cept pictures to be seen in Brescia. Travellers coming
from the south will observe that all streets here are
" Contradas," not " Stradas." Living is exceedingly cheap
in Brescia. Pleasant excursions may be made thence to the
Lake of Iseo.
Brescia was the ancient Brixia, and as such is spoken of by Catullus
VOL. I. 1 6
242 ITALIAN CITIES.
as the mother-town of Veronae (Veronae mater amata mese). In the
Middle Ages, Brescia was repeatedly taken and retaken by the different
Italian tyrants. In 1258 it fell into the hands of Ezzelino, who punished
those citizens who opposed him by chaining them to a block of stone
(fletra del gallo) in the open field and leaving them to perish of hunger.
The tyrant himself died from a wound given by the sword of a Brescian,
1259, at the battle of the bridge of Cassano. After the fall of the
Scalas, Brescia fell into the hands of the Visconti, and through them be-
came the most prosperous province of Venice. After the town was
given up to the French at Cambray, the people rose and expelled the
garrison. It was re-taken by Chevalier Bayard (who was wounded in
the assault) and Gaston de Foix. The memoirs of Bayard speak of
22,000 slain. In 1516 Brescia returned to the Republic of Venice and
remained united to it till 1797- I n ^49, a rising of Brescia against the
Austrians was cruelly punished by Marshal Haynau.
The whole town of Brescia is like a picture-gallery for its
native artists ; of these the chief were Moretto and Ro-
manino. The churches are lined with their works, and
depend entirely upon them for their interest, as they have
scarcely any architectural beauty whatever.
" Alessandro Buonvicino of Brescia, commonly called II Moretto di
Brescia (1500 1547) has a style of his own. He adhered at first closely
to Titian's manner, but afterwards adopted much of the Roman school,
and by this means formed a mode of representation distinguished for a
simple dignity, and tranquil grace and stateliness, which occasionally
developed itself in compositions of the very highest character. In such
cases he evinces so much beauty and purity in his motives, and so much
nobility and sentiment in his characters, that it is unaccountable how
this master should, till within the last few years, have obtained little
more than a local celebrity. His colouring is colder than that of most
Venetian painters, but not less harmonious. He is most successful in
tranquil altar-pieces ; his talents not being adapted to the animation
requisite for historical painting. . . . Moretto was distinguished by a
child-like piety ; when painting the Holy Virgin he is said to have pre-
pared himself by prayer and fasting.
" Contemporary with Moretto, in Brescia, flourished Girolamo, called
II Romanino, an artist who likewise confined himself principally to the
style of the Venetian school, but who modified it in a peculiar manner.
While Moretto distinguished himself by simplicity and repose, Girolamo
PALAZZO DEL MUNICIPIO. 243
displays in his compositions a fantastic and lively imagination ; occasion-
ally also a certain grandeur of pathos, the more striking from the simple
and almost slight treatment of his details." Kiigler,
"It cannot be denied that in loftiness of idea in his subject and
nobleness of conception Moretto excels all the Venetians, except certain
first-rate works of Titian. His glories are more dignified and majestic,
his Madonnas grander in form and attitude, his saints, too, at times,
very grand in character." Burckhardt.
An arcaded street at the end of the Corso del Teatro,
which contains the principal hotels, will lead to the Palazzo
del Municipio, where sight-seeing may begin. It was designed
by Bramante, and begun in 1492 by Tommaso Formentone,
who built the first story; Sansovino executed the second story,
and the finishing touches were given by Palladia. It is a
beautiful specimen of cinque-cento. The council-chamber
projects over open arches. The decorations are most
delicately finished, the medallions of Roman emperors are
by Gasparo di Milano and Antonio della Porta.
On the opposite side of the piazza is the Torre delF Orologio
with a clock marking the 24 hours of Italian reckoning, made
by Lod. Barcella in 1522. Two bronze figures above strike
the hours.
Hence we reach the Piazza del Duomo. The ancient
building at the upper end is the Broletto, the palace of the
Republic, begun in 1187 and finished in 1227. The terra-
cotta mouldings under the cornice are very beautiful.
"A large quadrangle is formed by the buildings, which has a cloister
on two sides, and traces of another cloister on a third side now built up.
The cloister still remaining on the east side is ancient and on a large
scale : it opens to the quadrangle with simple pointed arches resting upon
heavy piers, and a row of piers running down the centre divides it into
two portions, so that it will be seen that its size is very considerable. The
groining has transverse and diagonal ribs, the former being very remark-
able, and, as not unfrequently seen in good Italian work, slightly ogeed ;
not, that is to say, regular ogee arches, but ordinary arches with the
244 ITALIAN CITIES.
slightest suggestion only of an ogee curve in the centre. Of the external
portion of the building the west front is the most perfect, and must always
have been the most striking ; it consists of a building containing in the
upper story five windows, the centre being the largest and probably once
the Ringhiera ; to the south of which rises the great belfry of rough stone
('Torre del Popolo '), and beyond that a wide building with traces
but no more of original windows throughout ; north of the building
with the five windows is a very beautiful composition executed almost
entirely in finely-moulded bricks ; it has an exquisite door with some
traces of fresco in its tympanum, executed mainly in stone, and a mag-
nificent rose-window, above which is a brick cornice, which continues
over the remainder of the west front and along the whole of the north
side." Street.
The Duomo Nuovo was begun from designs of Giov.
Baltista Lantana in 1604. The dome is the third in Italy
as to size, only coming after St. Peter's and the cathedral
at Florence. There is little to see in the interior. Over the
3rd altar of the right aisle is a beautiful marble shrine con-
taining the relics of the two Brescian bishops Apollonius and
Filastrius, removed hither from the crypt of the old
cathedral. The picture over the high-altar is an Assumption
by Zoboli.
Close beside the new building rises the quaint Duomo
Vecchio, a round church, dating from the yth century. It is
greatly below the present level of the soil, and is reached
by two lateral staircases. The interior is much modernized.
Near the 2nd altar on the right is the monument of Bishop
Lambertus de Bononia, 1349. At the end of the N.
transept is the red marble tomb of Bishop Berandi, 1308.
Over the high-altar is an Assumption of Moretto, 1526. In
the Chapel of the Sacrament are five pictures by Moretto,
three from the Old and two from the New Testament.
Beneath this church, deep as it is, is another, now a crypt,
the Basilica di S. Filastro, with three apses. The old
MUSEO PA TRIO. 245
cathedral is used for the six winter months, and the Duomo
Nuovo is closed ; at Pentecost the reign of the new cathedral
begins.
"The new cathedral by the side of the old one is a building of no
importance ; but it is at the least to the credit of its builders that they
left the old one standing. But if the round church has not been de-
stroyed, a vast deal of labour has been spent on the characteristic work
of spoiling it. The upper round, the clerestory, has not been seriously
meddled with, and it still keeps the majesty of its circular outline,
having a far greater effect of spreading massiveness the proper effect of
a round building than any of the round churches of England. But the
lower range has been sadly tampered with, and the interior has been
bedaubed to resemble Renaissance architecture. This makes the
general look of the inside sadly disappointing. But the disappointment
begins to vanish as soon as we make our way under-ground, and see the
spacious crypt, with the endless variety of its columns and capitals of all
manner of forms, some of them clearly classical ones used up again.
This crypt proves that the round church of Brescia had, as all our round
English churches have at present, a choir projecting to the east, but the
choir to which the crypt belonged has made way to a late building on a
much larger scale." Freeman.
In the piazza before the church is a fountain with an
allegorical statue of the city " Brescia armata " by
Caligari.
Close to the new cathedral is the Biblioteca Quiriniana,
founded by Cardinal Quirini in 1750. It contains a
number of beautiful illuminated manuscripts, some curious
ivories, and the Cross of Galla Placidia, on which there are
miniatures of the Empress and of her children Valentinian
III. and Honoria.
Passing through the Broletto and going straight on, one
reaches, on the left, the
Museo Patrio, arranged as an Antiquarian Museum, to
enclose the remains of a Temple of Hercules, supposed to
have been erected by Vespasian, A. D. 72.
246 ITALIAN CITIES.
(The Museo is supposed to be open free from 1 1 to 3, but there are
two Custodes, who each expect a small fee.)
The Temple was excavated in 1820, up to which time
only one Corinthian column, still the only perfect one, was
above-ground. Now, the pediment and portions of many
other columns are laid bare. The inner cella of the temple
is enclosed as a Museum. The central chamber is occupied
by all the Roman inscriptions (some are copies) found within
the province of Brescia, and form an interesting collection.
The right-hand room has mediaeval antiquities, some good
specimens of majolica, and the tomb of Niccolo Orsini,
Count of Pitigliano, a general under the Venetian Republic,
who commanded the Venetian forces during the war which
followed the league of Cambray, and died in consequence
of his fatigues in defending Padua against the imperial
troops. His sarcophagus bears a noble recumbent effigy,
brought hither from his neighbouring castle of Ghedi.
In the left-hand chamber are objects found among the
ruins, six busts, fragments of friezes, &c., and the beautiful
bronze winged Statue of Victory, the noblest ancient statue
in Italy north of Florence. It was found in 1826 ; the shield
and helmet are restorations.
Descending in a direct line from the Museo Patrio, the
fourth street on the left leads to
S. Clemente (closed after 9 A.M.), which may rightly be
looked upon as a gallery for the works of Moretto, of which
it contains five of the finest specimens :
Right, 2nd Chapel. The five great virgins of the church. Cecilia
stands on the middle with her organ, and leans over to address Lucia,
who stands on her right, with her eyes in a dish ; on her left is the stately
figure of Barbara looking out of the picture : behind are Agata with her
breasts, and Agnes with her lamb.
S. MARIA CALCHERA, S. GIULIA. 247
L'ft, ist Chap:l. S. Ursula and her companions ; the central figure,
holding a banner in either hand, is most stately and beautiful.
2nd Chapel. S. Paul and S Jerome adoring the Virgin and Child.
The infant Saviour is espousing S. Catherine, who kneels on the right ;
on the left is S. Chiara.
yd Chapel. Melchizedek bringing bread and wine to Abraham.
High Altar. The Assumption, with S. Dominic, S. Florian, S. Cle-
ment, S . Catherine, and S. M. Magdalen looking on. The painter Moretto
is buried amid his great works in this church. The bust over his tomb
is by San Giorgio.
A street on the left, towards Porta Torlunga, leads to
6". Maria Calchera, which contains
L;ft, ist Chapel. Morelto. The Magdalen anointing the feet of the
Saviour.
High Altar. Calisto da Lodi. Salutation.
* Next Altar (right). Romanino. S. Apollonius, Bishop of Brescia,
administering the Sacrament to a group of kneeling and most reverent
recipients.
Little Chapel under pulpit. Moretto. Christ rising from the tomb,
with SS. Jerome and Dorotea.
Very near the Porta Torlunga is S. Giulia.
' ' Within the range of extensive buildings which go by the common
name of S. Giulia a suppressed monastery, now put, it would seem, to
various uses, military and municipal are three churches. One of these,
Santa Maria in Solario, a square Romanesque building with an octagon
top, shows itself in the street, but, unlike the usual rule of Brescia, the
inside, except the crypt, hardly fulfils the promise of the outside. In
truth, a small building of this kind, where there can hardly be any
columns, allows of but little scope for display within, unless, like the
buildings of its class at Ravenna, it is covered with mosaics. Far more
important than this is another of the same group, San Salvatore, attached
at a lower level to the worthless church of S. Giulia proper. Here,
when we penetrate to it, we come to a genuine church of the basilican
type. Two ranges of columns above and a crypt below exhibit the usual
features of buildings of this class, columns with capitals of various
kinds, classical and other, ranged as happened to be convenient."
Freeman.
At the entrance of the Via Tosio is the Museo Civico,
248 ITALIAN CITIES.
occupying a palace lately bequeathed to the town by Count
Paul Tosio. It contains a precious little Raffaelle and a
few other good pictures, amid many inferior works. Among
the best are
Entrance chamber. Romanino. Two frescoes Mary in the rich
man's house, and the Supper at Emmaus.
Sala I.
5. Vincenzo Vivtrchio, c. 1480. Angels crowning S. Niccolo da
Tolentino, S. Roch and S. Sebastian at the sides.
8. Calisto da Lodi. Holy Family.
Sala II.
14. Moretlo. Herodias' daughter.
1 6. Moretto. Supper at Emmaus.
17. Romanino. Christ bearing'Jtiis cross.
38. Moretto. Holy Family.
Sala III.
1 8. Moretto. The Pentecost.
2O. Cfsare da Sesto. A Portrait.
22. Raffaelle. " Pax vobis."
" The small so-called Pieta, belonging to Count Tosi at Brescia, repre-
senting the risen Saviour with the crown of thorns, and in the act of
benediction, appears to belong to the year 1505. The picture is charm-
ingly executed, and in good preservation." Kugler.
A passage lined with old prints and etchings, some of
them very curious, leads from these rooms to a gallery of
modern pictures. They are of little importance. There is
a landscape of Massimo d'Azeglio. Among the sculptures
are " Night and Morning," and " Ganymede giving drink to
the Swan," by Thonvaldsen.
In a room opening out of the court below are two fine
pictures, removed from churches where they were ill seen.
Moretto, The Virgin and Child in the clouds, with four saints
S. AFRA. 249
below, once in S. Eufemia; and Romanino, S. Paul with
S. Jerome, S. John Baptist, S. Catherine, and S. Justina,
brought hither from S. Giuseppe.
Turning at once to the left from the Museum and descend-
ing the street on the left, one passes (left) the closed church
of S. Barnaba, then (left) one reaches
6". Afra, which is one of the oldest ecclesiastical founda-
tions in the town, on the site of a temple of Saturn, but was
entirely rebuilt about 1600, and is very ugly. The frescoes
are by Pietro Maria Bagnadore and Girolamo Rossi da
Brescia, 1583.
Beginning from the right, the 1st Chapel contains, Cesare Aretusio,
the Birth of the Virgin.
2nd Chapel. Bassano, 1530, the Baptism of S. Afra by S. Apollo-
nius, while SS. Faustinas and Jovita administer the Sacrament.
yd Chapel. Passerotto, Assumption.
Chapel at the end of the aisle. Cesare Proccaccini, the Virgin with S.
Carlo Borromeo and S. Latinus.
Over the High Altar. Tintoretto, the Transfiguration. At the sides,
Palma Giovane, SS. Faustinas and Jovita.
Over the door at the end of the left aisle,
* Titian. The Woman taken in Adultery (there are several replicas
in England) the sacristan draws a curtain.
"La figure du Christ est pleine de majeste ; elle exprime au plus
haul degre la sagesse divine, incree, si superieure a la raison humaine
et pourtant en si parfaite harmonic avec elle. La femme est de la plus
grande beaute et d'an coloris ou le Titien parait s'etre surpasse lui-meme.
Sa contenance est modeste, mais n'exprime ni confusion, ni repentir ; ce
sont ses juges qui 1'ont entrainee devant le Sauveur, et non pas le cri de
sa conscience. A 1'expression de ce visage, on sent que 1'admirable
pardon n'a point etc prononce, et que le miracle de la conversion attend
encore le miracle de la misericorde. Madame Siuetchine.
2nd Chapel left. Paolo Veronese. Martyrdom of St. Afra, SS. Faus-
tinus and Jovita lie with their heads severed in the foreground. The
portrait of Paul Veronese is introduced. The picture bears the signature,
" Paolo Cagliari, V. F."
250 ITALIAN CITIES.
Returning a few steps, the first street on the left leads to
S. Alessandro, which once .contained a beautiful Annunci-
ation of Fra Angelico. This is gone, but over the and altar
on the right is a beautiful picture of saints grouped around
the dead Christ, by some early Umbrian artist unknown ;
the predella, with five scenes from the life of the Virgin,
is by Civerchio.
Proceeding some distance, on the left is the large church of
La Madonna delle Grazie, now generally closed, and
many of its pictures sold and dispersed.
Reaching the Corso Vittorio Emanuele and turning to
the right, the first side-street on the left leads to
6"^. Nazaro Celso, which contains :
Over the Side Entrances. Foppa. The Martyrdoms of the patron
saints.
Right Aisle, \st Chapel. Moretto. The Transfiguration, with Moses
and Elias.
High Altar. A great work of Titian in five compartments. In the
centre is the Resurrection ; on the left SS. Nazaro e Celso present Bishop
Altobsllo Averoldi to the risen Saviour ; above is the Annunciation in
two compartments ; on the right are S. Sebastian and S. Roch ; at the
foot of the column to which the former is bound is the signature,
" Ticianus faciebat, MDXxn."
"The action of the divine Saviour is light, as becomes one who for
his own virtue ascends from earth to heaven. Shining with an immortal
radiance, he is seen illuminating a sky, loaded with dark clouds, which
opening here and there, discover some traces of country faintly lighted by
the rising sun. In an attitude becoming people who are awakening
from being struck by sudden fear, are seen near the open sepulchre some
soldiers in black armour, one of whom, placed in front of the picture, is
admirably foreshortened, to make way for others more behind. The
figures in this compartment are of the size of life, and rather less than
those of the two sides, in one of which is S. Sebastian, bound like
Marsyas to the trunk of a tree ; and the rope which ties the right arm
cuts the flesh of it deeply, so tender and delicate is it." Northcotis Lift
of Titian.
LA MADONNA DEI MIRACOLr. 251
Left Aisle, #h Chapel. Moretto. The Nativity, with SS. Nazaro
e Celso.
2nd Chapel. Moretto. The Coronation of the Virgin, with three
saints and the archangel Michael beneath.
Returning to the Corso Vittorio Emanuele, on the left
is the rich cinque-cento portico of
La Madonna del Miracoli, built in 1480, and the richest
church in Brescia. The decorations of the fa9ade are by
Lod. Beretta. The church has five cupolas. The internal
decorations are quite Venetian in character.
* Right, 1st Altar. Moretto. S. Nicolas presenting two school-boys
to the Virgin a most beautiful picture.
" This is an application of the religious character of this saint to por-
traiture and common life, which is highly beautiful and poetical. St.
Nicholas is presenting to the Virgin two orphans, while she looks down
upon them from her throne with a benign air, pointing them out to the
notice of the Infant Saviour, who is seated in her lap. The two boys,
orphans of the noble family of Roncaglia, are richly dressed : one holds
the mitre of the good bishop ; the other, the three balls. " Jameson's
Sacred Art, ii. 460.
The next side-street on the left leads to
S. Francesco, founded in 1254, and retaining a Gothic front
at the west-end, with a good rose-window.
Right Aisle (between the 2nd and yd Chapels). An interesting 14th-
century fresco (under glass) of the Lamentation over the dead Christ.
*$rd Altar. Moretto, 1530. S. Margaret between S. Francis and S.
Jerome.
High Altar. Romanino. S. Francis, S. Anthony of Padua, S.
Buonaventura, and S. Louis adoring the Virgin and Child.
Left Aisle, 1st Altar. Francesco da Prato di Caravaggio, 1547 (a very
rare painter). Marriage of the Virgin.
On the left is S. Domenico, full of pictures ; over the high
altar the Presentation in the Temple, by Romanino.
Just beyond, on the right, is the Torre ddla Palata, a fine
252 ITALIAN CITIES.
raachicolated tower, built 1253. At its foot is a fountain,
from designs of Bagnadore, 1596.
Turning right, the ist street on the left, leads to S. Gio-
vanni Evangelista, which, in its foundation, is the oldest
church in Brescia, having been built by S. Gaudentius in the
4th century, but rebuilt about 1600. It retains a Gothic
front, and has a projecting porch; the interior is quite
modern. It is filled with pictures.
Right Aisle, ^rd Altar. Moretto. The Massacre of the Innocents
the saved Saviour-Child appears in the clouds above.
High Altar. Moretto. Madonna with SS. John the Evangelist,
John the Baptist, Augustine, and Agnes.
The Chapel of the Sacrament at the end of the left aisle is covered with
frescoes of Moretto and Romanino. On the right are by Moretto : the
Manna in the Wilderness and the prophet Elijah, at the angles, Mark
and Luke, in the lunette above, the Last Supper, in the arcades,
half- figures of prophets. On the left, by Romanino, are : Jesus at the
Pharisee's house, the Raising of Lazarus, at the angles, Matthew and
John, in the lunette above, the Institution of the Sacrament, in the
arcades, Prophets. The little picture over the altar, of the three Marys
lamenting over the dead Christ, is by Giovanni Bellini.
Baptistery. F. Francia. Saints adoring the Trinity.
Turning to the right, a broad street leads to S. Faustina
Maggiore.
Right Aisle. Gambara. The Nativity.
High Altar. The black and white 17th-century marble tomb by
Carra of SS. Faustinus and Jo vita, whose bodies were removed here in
843.
Cloister. A curious fresco by Cossale, of Faustinus and Jovita
defending Brescia by flinging back the cannon-balls, when the town
was besieged by Niccol6 Piccinino.
Returning to the Broletto, a path (inaccessible for
carriages) runs up the heights, immediately below the
Castello, whence Haynau bombarded the town in 1849, and
leads to the fine convent and half-ruined church of S.
CASTLE OF BRESCIA. 253
Pietro in Oliveto. The pictures described by Murray, and
even by the usually accurate Gsell-fels, as existing in this
church, were all removed to the Vescovado in 1848, and
have never been here since. There is a picturesque wall
in the cloister. In the view over the plain the great tower
of Cremona is the most conspicuous feature.
' ' The view from the castle of Brescia is indeed a noble one. And it is
not a mere noble view ; it is a view on which the characteristic history
of Italy is legibly written. It may almost remind us of the famous letter
of Sulpicius to Cicero. With a single glance of the eye we look down
on a crowd of cities, each of which was once an independent common-
wealth, with its name and place in history. On one side are the spurs
of the Alps on which we are standing, reminding us that there is a land
beyond, from which Emperors came down to demand the crowns of
Italy and of Rome. To the far east we get a glimpse of smaller hills
on the same horizon, suggesting that the natural ramparts of Verona are
not beyond our sight. But to the south the eye ranges over the bound-
less plain of Lombardy, spreading like a sea, with a tall tower here and
there, like the mast of a solitary vessel. Each of those towers marks a
city, a city which once ranked alongside of princes, a city making war
and peace, and containing within their walls the full life of a nation.
The map seems to show that one of them is the mighty tower of Pia-
cenza, and that another is the yet mightier tower of Cremona, the
fellow-worker of Brescia in the great work of restoring Milan. We look
out on even more than this. We have vividly brought home to us how
near the great cities of Northern Italy lie to the Alpine barrier, the
barrier which was so often found helpless to shelter them against the
Northern invader. We think of all the conquerors who have crossed
the mountains from Hannibal to our own day. And we go back to
times earlier still, when the land which became the truest Italy was not
yet Italy at all, when the Po was as truly a Gaulish river as the Seine.
If the Alps themselves proved so feeble a barrier for the shelter of Italy,
how far more feeble was the barrier which sheltered Etruria and Rome,
when what is now Northern Italy was still Gaul within the Alps ! From
such a point we may well run over the shifting fates of the land before
us from Brennus to either Buonaparte. And, as our thoughts flit on
beyond Po and Macra and Arno to the seven hills by the Tiber, we may
feel thankful that the dominion of the last invader has become as much
a thing of the past as the dominion of the earliest.
254 ITALIAN CITIES.
" Yet, though the great historic view of Brescia lies to the south, it may
be well for him who stands on that height to turn his eyes to the north
also. There is an aspect in the history, if not of Brescia, yet of the
most renowned man of Brescia, which makes us look alike northward and
southward, which makes us span the space which lies between the Tiber
and the Limmat. If Como looks beyond the Alps for her own deliverer,
Brescia too looks beyond the Alps, not for a deliverer for herself, but
for a place of shelter for the citizen she sent forth to deliver others. In
the life of the Brescian Arnold his native city seems like a halting-place
between his city of refuge at Zurich and his city of glory and martyrdom
at Rome. We need not be harsh on either Pope or Emperor, in whose
eyes a republican reformer could hardly fail to bear the guise of a heretic
and a traitor. On the heights of Brescia we feel, as we look Romeward,
a regret that it was at Swabian and English hands that he met his doom.
But, as we look northward, we may feel comfort that it was a Teutonic
and Imperial city which sheltered the man who, if he took his memories
for hopes, could yet call back for a moment the days when Rome had
not to seek her master either in a German King or in an English Pontiff. "
Freeman.
The Brescians, not content with the innumerable works
of their native artists in the churches, frequently employed
them to paint the outsides of their houses in fresco. In
the Strada del Gambaro, Romanino was employed in this
way, but resigned the commission to Gambara when he gave
him his daughter in marriage. The subjects are classical.
In the Corso Palestra, a number of wall paintings of this
kind remain, attributed to the Cavaliere Sabatti, but time
and dirt have almost effaced the detail, and few will have
patience to make out the subjects, though the general effect
is agreeable and picturesque.
CHAPTER XV.
THE LAGO DI GARDA.
(The Lago di Garda is not so often visited as the other Italian Lakes,
yet the upper end of it possesses some magnificent scenery. Once or twice
a week (the day changes) a, morning steamer leaves Peschiera early,
when visitors may ascend the lake in the day and return, as an excursion
from Verona ; but, for those who are not pressed for time, the pleasantest
way is to take the afternoon steamer at 4. 15 from Desenzano to Riva,
sleep I or 2 nights at Riva, and return from thence to Peschiera,
which will enable the traveller to see both shores of the lake.
It is J hr. by rail, quick train (4 frs. 5 c. ; 2 frs. 95 c.), from Brescia
to Desenzano (omnibus 50 c., luggage 25 c.), Hotel Mayer.)
ESENZANO is a rather dismal-looking village in
the low ground at the end of the lake. Those who
sleep here will employ their time very well in making an
excursion by boat to the promontory of Sennione, the Sirmio
of Catullus.
" Paene insularum, Sirmio, insularumque
Ocelle, quascumque in liquentibus stagnis
Marique vasto fert uterque Neptunus,
Quam te libenter quamque laetus inviso,
Vix mi ipse credens Thyniam atque Bithynos
Liquisse campos et videre te in tuto !
O quid solutis est beatius curis,
Cum mens onus reponit, ac peregrino
Labore fessi venimus larem ad nostrum
Desideratoque adquiescimus lecto.
Hoc est quod unum est pro laboribus tantis.
Salve, o venusta Sirmio, atque hero gaude :
256 ITALIAN CITIES.
Gaudete vosque, O L'buae lacus undse
Ridete, quidquid est domi cachinnorum. " xxxi.
Just where the almost-island of Sermione is connected
with the main-land, is the fine old Castel Nuovo, built in the
1 4th century by Alboino della Scala, and a famous subject
artistically. Near the centre of the promontory, which is
almost covered with olive-gardens, is the old Church of S.
Pietro, with 14th-century frescoes; at the northern end,
whence there is a grand view down the lake, and in a most
charming situation, are the Roman walls and vaults called
Le Grotte di Catullo.
A second excursion may be made from Desenzano to the
Battle-field of Solferino (carriages with 2 horses to go and
return, 15 to 20 frs. At the Inn at Solferino there is a Guide
for the battle-field), marked from a great distance by the high
Scaligeran tower called " La Spia d 1 Italia" The battle began
at about 5 A. M. on the 24th of June, 1859, and was fought
with varying success till 4 P. M., when the French succeeded
in carrying Solferino, and repulsing the Austrians under
Marshal Benedek.
The Lago di Garda is the Benacus of the Romans, and
marbles are still found on its shores on which one may read
the word " Benacenses." It is the largest of the Italian
lakes, being 37 m. long, and nearly 14 m. wide at its widest
point. Its water is beautifully clear. The river Mincio
passes through it, now called the Sarca before it enters the
lake.
" Hinc quoque quingentos in se Mezentius annat,
Quos patre Benaco, velatus arundine glauca,
Mincius infesta ducebat in aequora pinu."
Virgil, Mn. x. 204.
LA GO DI CARD A. 257
" Undique concurrunt volucres qusecunque frementem
Permulcent Athesim cantu, quas Larius audit,
Qu<is Benacus alit, quas excipit amne quieto
Mincius." Claudian, Epith. Pal. et Cel.
On account of its straight course from N.N.E. to S.S.W.
the lake has always been notorious for its storms, which rise
and abate with equal suddenness, sweeping down it from the
Alps with unbroken force, and often imparting the miseries
of a sea-voyage to those upon the lake. One of its promon-
tories is called " delle tempeste."
"Anne lacus tantos? Te Lari maxime ; teque
Fluctibus et fremitu assurgens, Benace, marine." *
Georg. ii. 158.
An old Italian proverb says " Lago di Garda e Bocca di
Calina porta spesso la rovina."
The lake abounds in fish. According to their Italian
names those found here include, Anguila, Aola, Barbio,
Boza, Bulbero, Carpione, Cavazzi.no, Dorata, Faraguada,
Gambero, Luzzo, Majarone, Majella, Roncone, Sardella,
Scardova, Strega, Ternalo, Tinea, Trotta, Varone.
The residents on the Lago di Garda have their own names
for the winds. That which blows from Riva to Desenzano is
called Sover, as coming from above ; that which blows from
Desenzano to Riva, Ander, as coming from below. The
winds which are most beneficial to the vegetation are the
Montese. The Vinezza (a corruption of Venezia) is a damp
injurious wind.
In ascending the lake from Desenzano, we pass the little
island of Lecchio, generally called Isola del Frati, where S.
" Here vex'd by winter storms Benacus raves.
Confused with working sands and rolling waves ;
Rough and tumultuous like a sea it lies,
So loud the tempest roars, so high the billows rise." Addison.
VOL. I. .17
258 ' ITALIAN CITIES.
Francis founded a convent in 1220 on the site of a temple
of Jupiter. It now belongs to the Marchese Scotti of
Bergamo. This is at the entrance of the beautiful bay of
Salo (Inn. Gambero, good), which is charmingly situated at
the foot of Monte Pennine. In the Church of the Anmm-
ziata are frescoes by Pietro Vecchio. Here we begin to skirt
gardens of orange and lemon trees, which are more luxuriant
than anything of the kind short of Sorrento. The pergolas
which fringe the lake near the villages are covered with
perfect cascades of roses, and brilliant scarlet geraniums
cover the whole face of the houses, while large tufts of
oleander wave their pink plumes near the water's edge. The
ranges of tall white pillars of brick, often 20 ft. high, which
are used to support a protection for the lemons in winter,
have a strange effect. The fruit here is more bitter than
that of the south, but keeps longer. Its price varies, accord-
ing to the season, from 3 to 10 frs. per hundred. Many of the
villages are exceedingly picturesque. Maderno (Maternum)
nestles at the foot of Monte Pizzocolo, with the ruins of a
castle ; Campione is buried in lemon-groves. In the church
of Toscola.no (Tusculanum) are pictures by Celesti, 1668, and,
in its sacristy, a fine work of Dom. Bnisasorzi. It is here
that most ancient inscriptions have been found. Cervo is a
large fishing village.
After passing Gargnano (Albergo del Cervo) the character
of the lake changes. The space between the mountains and
the shore disappears, and the mountains themselves, no
longer clothed with olives, descend in savage precipices to
the water, only opening to admit the lovely lemon-gardens
of Limone. As we approach in the evening, the lamps of
RIVA.
259
Riva cast long streams of light upon the dark water, and the
precipices are unspeakably grand.
Riva.
Riva (Inns. Sole d'Oro, charmingly situated, but rather
dear ; Giardino) is in Austria, so that a little custom-house
axvaits travellers on landing, and if they are only going
thither for a day or two and returning, it may be as well for
them to leave their luggage at the other end of the lake. It
is also as well to take a little money in gold, as there is a
loss on Italian notes here. It is a very picturesque little
town, with open colonnades and an old clock-tower, and has
a wonderfully mild winter-climate, in spite of the brief pre-
sence of the sun, which disappears behind the mountains
at 2 P. M. The little garden of the Sole d'Oro, with its
meals al fresco, is very bewitching.
No one should visit Riva without walking or driving
along the western shore of the lake to the Ponal-bntckt
(about i hr.). A wonderful road winds along the face of
26o ITALIAN CITIES.
the mountains, and hangs in mid-air amid the tremendous
precipices over the lake. The flowers are most beautiful,
and many very rare plants are found here. The Bridge
itself only spans a small mountain brook, but there is a
delightfully wild walk above it, and the gorge should be
followed for some distance by the road which leads to Brescia,
and passes the little Lago d'Idro.
Other excursions may be made to the little Ledrosee in
the Ledrothal, and Giudicaria ; the Castle of Tenno ; the
Tennosee and the Falls of Stenico ; the Toblinosee ; and Arco,
with the old castle of its counts.
(It is a drive of 10 m. from Riva to the station of Mori,
on the line from Verona to the Tyrol, and those who dread
the lake voyage may take this way of seeing Riva. There
is an omnibus twice daily by the harbour of the Torbole,
the heights of Nago, and the Lake of Loppio. Those who go
as far as Mori will miss much if they fail to visit Trent
(Austrian), a most picturesque place, and of great historic
interest from the Council of 1545 1563.)
In descending the lake to Peschiera, artists will long to
stop at Malcesine, where there is an intensely picturesque
old castle upon an overhanging rock, said to have been
built by Charlemagne. Goethe narrates how, while sketching
here, he was nearly arrested as a spy by the Austrian govern-
ment. In the church is a Deposition by Giolfino. On the
two islands of Isolotto and Tremellone, there are ruins.
Garda has a picture of S. Stephen by Farinati in the
Church of S. Stefano, and the palace and garden of Count
Albertini of Verona. It was in the castle called La Rocca
di Garda that Adelai'da da Savoia was imprisoned by
Berengarius II., because she refused to marry his son
PESCHIERA. 261
Adalbert. With the help of a priest she escaped in a man's
dress, and eventually married the Emperor Otho I.
Peschiera (several small and very poor Inns in the town,
nothing but coffee at the station buffet) is almost invisible
until we enter the bastions which protect its harbour.
Partly situated on an island formed by the Mincio where it
issues from the lake, it has been strongly fortified by each
succeeding government in Lombard y. In 1848 it was taken
by the Piedmontese after a brave defence by the Austrian
general Rath. Two-thirds of the buildings in the miserable
town are barracks. There is no beauty in Peschiera.
' ' Siede Peschiera, bello e forte arnese
Da fronteggiar Bresciani e Bergamaschi
Ove la riva intorno piu discese. "
Inferno, xx. 70.
(Near Pozzolengo, the station between Desenzano and
Peschiera, is the Battle-field of S. Martino, where the Pied-
montese routed the right wing of the Austrian army, June
24, 1859.)
V
CHAPTER XVI.
VERONA.
ERONA is reached by rail in little more than | hr.
from Peschiera. 3 frs. 750.: 2 frs. 45 c.
(Inns. Due Torri. Piazza S. Anastasia, admirably situated. Torre
dl Londra, Corso, also very near S. Anastasia. Aquila Nera, Piazza
delle Erbe. Rainier, or Gran Parigi. Colombo. cfOro.
Carriages. To or from the stations, 65 c., each piece of luggage 20 c.
(Omnibus 30 c.) Course of not more than /^ hr., 60 c. ; night, 75 c. ;
I hr., 1 2 fr. ; each following hour, I fr. 25 c.
Stations. There are two stations at Verona, at which all the trains
stop. Porta Nuova is on the side of Mantua and Milan ; Porta Vesco-
vile on the side of Botzen (Germany) and Venice. It is therefore
necessary not to leave luggage at the station at Verona, unless you mean
to depart from the same station.)
" Come, go with me. Go, sirrah, trudge about
Through fair Verona." Romeo andjfuliet, i. 2.
The situation of Verona is most beautiful, and the
cypresses and tall campaniles which rise amid the lower
buildings, give it a southern aspect.
' ' I remember a city, more nobly placed even than Edinburgh, which
instead of the valley now filled by lines of railroad, has a broad and
rushing river of blue water sweeping through the heart of it ; which,
for the dark and solitary rock which bears the castle, has an amphi-
theatre of cliffs crested with cypresses and olive ; which, for the two
masses of Arthur's Seat and the ranges of the Pentlands, has a chain of
CHARACTERISTICS OF VERONA. 263
blue mountains higher than the haughtiest peaks of the Highlands ; and
which, for the far-away Ben Lodi and Ben More, has the great central
chain of the St. Gothard Alps ; and yet as you go out of the gates,
and walk in the suburban streets of that city I mean Verona the eye
never seeks to rest on that external scenery, however gorgeous ; it does
not look for the gaps between the houses : it may for a few moments
follow the broken line of the great Alpine battlements ; but it is only
when they form a back-ground for other battlements, built by the hand
of man. There is no necessity felt to dwell on the blue river or the burn-
ing hills. The heart and eye have enough to do in the streets of the city
itself; they are contented there; nay, they sometimes turn from the
natural scenery, as if too savage and solitary, to dwell with a deeper
interest on the palace walls that cast their shade upon the streets, and
the crowd of towers that rise out of that shadow, into the depths of the
sky. That is a city to be proud of indeed." Ruskin, Lectures on
Architecture and Painting.
"Pleasant Verona! With its beautiful old palaces, and charming
country in the distance, seen from terrace walks, and stately balustraded
galleries. With its Roman gates, still spanning the fair street, and
casting on the sunlight of to-day the shade of fifteen hundred years ago.
With its marble-faced churches, lofty towers, rich architecture, and quaint
old quiet thoroughfares, where shouts of Montagues and Capulets once
resounded,
And made Verona's ancient citizens
Cast by their grave, beseeming ornaments.
To wield old partizans.
With its fast-rushing river, picturesque old bridge, great castle, waving
cypresses, and prospect so delightful, and so cheerful ! Pleasant
Verona ! " Dickens.
Verona was an important town of Gallia Transpadana,
and belonged either to the Cenomani or the Euganei, but
very little is known of its early history. It has always pre-
served its ancient name unchanged. Of the Roman period
the amphitheatre and the gateways remain. It was here
that Theodoric gained his victory over Odoacer, and for a
time Theodoric made it his residence; his palace is de-
stroyed, but memorials of him remain in the reliefs in
the faade of S. Zeno, while the rock-chapel behind
264 ITALIAN CITIES.
SS. Nazzaro and Celso dates from the time of the Ostro-
goths. In the palace of Theodoric afterwards lived Alboin,
the founder of the Lombard kingdom, who was murdered in
574. Here also the famous Theodolinda was married to
her first husband Autharis. In the beginning of the i3th
century, the contests of the house of Este with the Ezzelini
and Montecchi began at Verona the wars of the Guelphs
and Ghibellines. As the Ghibellines gained the upper hand,
Ezzelino da Romano became almost absolute sovereign of
Verona, Vicenza, and Treviso, and maintained his power by
wholesale murder and cruelty. Being wounded in battle at
the bridge of Casciano, he was imprisoned at Castel Solano,
where he hastened his death by tearing the bandages from
his wounds. After the fall of the Hohenstaufens, Mastino
della Scala* was chosen Podesta of Verona, and became
so popular, that in 1262 he was made "Signore perpetuo."
From this time, for 127 years, the condition of Verona re-
flected the virtues and vices of the Scaligers. They were
succeeded for a short time by Giovanni Galeazzo Visconti,
Duke of Milan, after whose death, in 1405, Verona was
united to Venice, and has since shared its fate.
Verona is a place to linger at, and there are few places in
Italy where so many different periods of history are still
illustrated, or where more various branches of study may be
pursued.
" There is at once the classic Verona, the Verona of Catullus and
Pliny ; there is the Verona of the Nibelungen, the Bern of Theodoric ;
there is the mediaeval Verona, the Verona of commonwealths and
tyrants, the Verona of Eccelino and Can Grande ; and there is the
Verona of later times, under Venetian, French, and Austrian bondage,
* The family name was originally Villani they obtained the name of Scala from
the fortune made by one of their family, a merchant of Montagna, who sold ladders.
HISTORY OF VERONA. 265
the Verona of Congresses and fortifications. Verona, like Le Mans, is
an Ecbatana, spreading, circle beyond circle, each range having its own
history and its own monuments- Of one of these ranges it is at first
disappointing to find so little to remind us. When we think of the fame
of Verona in Teutonic romance how the city and the hero have each
taken the name of the other, and how they have been fused together on
Teutonic lips we are inclined to wonder that ' Dietrich von Bern '
should have left such slight traces of himself in his own Dietrichsbern.
But it is perhaps well that the surviving monuments of Theodoric and
his age should be gathered together round the one spot which stands by
itself in the whole world, and that the city which boasts of his church,
his palace, and his tomb should not be exposed to rivalry from another
city which, though it has come to bear his name, was, after all, only his
occasional sojourn. It is perhaps well that, as Ravenna has no share
in the earlier and later glories of other cities, as it boasts no arches or
amphitheatres of heathen days, no palaces and churches of the later
Christian ages, it should have its own intermediate age wholly to itself,
and that neither Verona nor any other city should intrude on its special
privilege as the bridge which joins together the two worlds which else-
where are parted by so yawning a gap. Certain it is that, while Verona
is so rich in remains of earlier and later times, it has not a single perfect
building, nothing beyond doubtful portions of wall, which even pretends
to belong to the age of Theodoric or to the ages immediately before and
after him. Of his palace on the further side of the river, looking down
on the city and surrounding lands, a contrast indeed to the site of his
own home among the canals and marshes of Ravenna, the history
can be traced down to our own century. But all traces both of the
palace itself and of the many successive buildings which have succeeded
it have vanished before the necessities of modern warfare and defence.
As far as the great monuments of the city go, we leap from Gallienus
and Diocletian to Henry the Third. The intermediate space is filled
only by some fragments of wall, which, truly or falsely, bear the name
of the great Charles, and by the single strange structure under the
shadow of St. Zeno's minster, which calls itself the tomb of his son, the
youngest Pippin, the first of the Prankish House who reigned over Italy
as a separate kingdom. The series is not an uninstructive one ; Diocle-
tian, Charles, and Henry each mark stages in the history of the Empire ;
each was a restorer after a time in which its power and glory had fallen.
It is well that the series should be formed by them, while Theodoric,
with all the splendour and happiness of his Italian reign, stands rather
as a break than as a link in the Imperial series. And when we reach
the reign of Henry the Third, we cannot point with certainty to any
266 ITALIAN CITIES.
monument of his reign, except the unadorned lower stage of the great
campanile of St. Zeno. All that gives that noble tower the character
which is impressed on all the towers of the city for so many centuries is
due to the stages which were carried up perhaps a hundred and thirty
years later. Among the great buildings of Verona there is in truth a
gap which spreads from the third century to the twelfth, and carries us
at a bound from the amphitheatre in the days of Diocletian to the church
of St. Zeno in the days of Frederick Barbarossa. To the architectural
student indeed that church, the great example of what, in contrast to
Pisa and Lucca, we may be tempted to call the barbaric form of Italian
Romanesque, is alone worth a pilgrimage. It ranks as an example of
its own style with Durham and Pisa and Speyer and St. Sernin at Tou-
louse. And far less stately, but hardly less interesting, is the little church of
St. Stephen on Theodoric's side of the river. Its main body ruthlessly
disfigured, but still keeping its central octagon, its pillared crypt, the
arcades of its upper and its lower apse, and the stone chair of the bishop
still in its ancient place, it is a monument of the times when St. Stephen's
disputed with the vaster Duomo on the other side of the river its right
to hold the first place among the churches of Verona, as the seat of her
bishops in life and their burying-place in death.
" No less full of associations in their own way are the later buildings,
the tall tower of the municipality, the palaces and tombs of the tyrants,
the house that sheltered Dante, the castle looking forth so proudly on
the northern mountains, the broad arches of the bridge that stems the
rushing Adige, the long array of domestic buildings which make Verona
one of the chief schools of architecture of its own type. For the admirers
of that type there is the Z>#w0 containing also parts of earlier and
better work and the more striking pile of St. Anastasia, one of those
vast churches of pointed arches without appropriate detail which we
should welcome at Palermo in the days of King Roger, but which we
look on with less respect when we remember that, when they arose,
Westminster and Koln and Amiens were already risen or rising."
Freeman.
For the benefit however of those who can only give one
whole day to Verona, we will take the Piazza. S. Anastasia
(near which the traveller is almost certain to have selected
his hotel) as a centre, and make an excursion from thence
which will embrace all the principal objects of interest.
The points which even the most cursory pilgrim must not
ARTISTS OF VERONA. 267
omit, are : S. Anastasia, the Piazza dei Signori, Piazza delle
Erbe,Tomb of the Scaligers, Amphitheatre (S. Bernardino?),
S. Zenone, Porta Borsari (S. Eufemia ?), Duomo, the Giusti
Gardens quite enchanting towards sunset, the Pinacoteca,
and S. Fermo Maggiore.
The pictures in the Churches and Gallery would not, with
a few exceptions, be of any great importance out of Verona,
but are exceedingly interesting here, being almost entirely
by native artists. Of these, perhaps the most important
have been Liberale da Verona (1451 1536), Girolamo dei
Libri (1452 1555), and Francesco Morone (1474 1529)
of the earlier period ; and, following them, Carotto (1470
1546), and Cavazzola. The works of Francesco Torbido,
called " II Moro," a scholar of Giorgione, of Niccolo Giol-
fino, and of Domenico Riccio, called II Brusasorci (1494
1567), also always deserve notice.
"In Verona two painters more particularly represent the golden
period Gianfrancesco Carotto, pupil of Mantegna, and Paolo Morandi,
named Cavazzola, pupil of Francesco Morone ; to whom we may add
Giolfino. " Biirckhardt.
More than its pictures, we should study in Verona the
works of its great architect Michele San Michele (1484
1558) whose palaces and churches are still the chief modern
ornaments of the city.
" San Michele was a man of a most orderly and upright life, highly
honourable in all his actions ; he was of a cheerful disposition, yet grave
withal ; a man who feared God, and was so rigidly attentive to his
religious duties, that he would on no account have commenced any work
in the morning till he had heard mass devoutly, and repeated his prayers.
On the first beginning any work of importance, moreover, he would
cause the Mass of the Spirito Santo, or that of the Madonna, to be
solemnly sung before any other thin;; was attempted. He was of an
exceedingly liberal disposition, and so obliging towards his friends, that
$68 ITALIAN CITIES.
they were as much masters of all he possessed as he was himself."
Vasari.
The Corso ends in the fascinating little piazza which is
closed by the glorious Church of S. Anastasia, one of the
most perfectly beautiful Gothic buildings in Italy. It was
built by the Dominicans in the i3th century the time of
the Scaligers. The fa9ade is still unfinished, but noble in
its proportions.
"The Church of S. Anastasia looks so beautiful at the end of the
narrow street, whose dark shade contrasts with the bright sunshine which
plays upon its lofty arched marble doorway and frescoed tympanum,
and lights up by some kind of magic the rough brickwork with which
the unfinished church has been left so brightly, that, as you gaze, thoughts
pass across your mind of portions of some lovely painting or some
sweeter dream; you feel as though Fra Angelico might have painted
such a door in Paradise, and as though it were too fair to be real.
There, however, it is, rich and delicate in colour, shining with all the
delicate tints of the marbles of Verona, pure and simple in its softly-
shadowed mouldings, beautiful in its proportions, and on a nearer ap-
proach revealing through the dark shade of its opening, and over and
beyond the people who early and late throng in and out, the vague and
misty forms of the solemn interior." Street's Brick and Marble in the
Middle Ages.
On the left of the church, over a gateway, is the beautiful
Tomb of Count Guglielmo de Castelbarco, who died in 1320.
"In this case the monument is supported on a large slab of stone
corbelled forward and balanced upon the top of a thin wall. Four
shafts with sculptured capitals, resting on the angles of this slab, sup-
port four trefoiled arches, those at the ends wider than the others, and
almost destitute of moulding save that the outer line of the arch has a
broad band of delicate sculpture all round it. The arch terminates in a
kind of small cross, and above on each side is a very flat pediment,
moulded and finished on the under side with one of the favourite Italian
arcaded corbel-tables ; the finish is a heavy pyramidal mass of stone
rising from behind the pediments. The four bearing-shafts are of white
marble, all the rest of the monument of red. Within the four supporting
S. ANASTASIA.
269
shafts stands a kind of sarcophagus, supported on the backs of couchant
lions, very plain, but ornamented at the angles in very classic fashion
and bearing a recumbent effigy." Street.
Tomb of the Count of Castelbarco.
Within the little court, over the entrance of which rests the
Count of Castelbarco, are three other beautiful mediaeval
tombs.
Close by is the little Gothic Church of S. Pietro Martire,
of 1350.
The Interior of S. Anastasia is 300 ft. long and 75 ft. wide.
The colour is subdued and beautiful. The nave is separ-
ated from narrow aisles by six pointed arches. Near the
entrance are curious holy-water basons, supported on crouch-
ing figures " I Gobbi." They are full of quaint character ;
that on the left is by Gabriels Cag/iari, father of Paul Ve-
ronese.
Right, 1st Chapel. The 1st altar is also the tomb of Giano Fregoso
early Renaissance by Danese Cataneo, the Tuscan poet antl sculptor.
270 ITALIAN CITIES.
A,th Altar (Pindemonte). Francesco Caroto. S. Martin quite mag-
nificent in colour.
Right Transept. Gir. dei Libri (also attributed to Fr. Morone).
Madonna between SS. Augustine and Thomas Aquinas, with the donors
a very beautiful picture.
" Has strong reminiscences of Mantegna's altar-picture in S. Zeno."
Kugler.
Right of Choir, 1st Chapel. Tomb of Federigo de Caballis, and
above it, in fresco, by an unknown master, an excellent votive picture.
2nd Chapel. Tombs of the Pellegrini Family, and two good frescoes
Madonnas enthroned.
High Altar. Francesco 7oretlt. S. Peter Martyr. The splendid
tomb of Cortesia Serego, 1432, brother-in-law and general of Antonio
della Scala. The frescoes are by Pisandlo.
Left of Choir. Tomb of the Lavagnoli family, with frescoes probably
by Pisanello, 1452 1455.
Sacristy (Outside, over door). Falcieri. The Council of Trent
curious as almost contemporary.
(Inside) Cavazzola. S. Paul and other saints. The Madonna carried
up by angels.
Cappella del Rosario. In the altar-piece Mastino II. della Scala, and
his wife Taddea Carrara, kneel before the Virgin.
Left Aisle, 2nd Chapel. Giolfino. The Saviour in glory, with saints
below ; S. George, standing in armour, points upwards with one hand,
and in the other holds an inscription " Quid bono retribua Dfio."
Tomb of Gerardo Bolderio, 1 500.
A short distance down the Corso (left, behind the Hotel
Torre di Londra) is the Piazza dei Signori, with a statue ot
Dante by Zannoni (1865) in the centre, and surrounded by
the most interesting mediaeval buildings. The Piazza is
entered from the west, on which side are the Palazzo del
Consiglio and the remains of the Palaces of Mastino I. and
Alberto della Scala. At the south-west corner is the passage
towards the Piazza delle Erbe, called II Volto Barbaro,
where Mastino I. was assassinated by one Scaramello, above
which there is now a statue of Scipione Maffei, the historian
of Verona. From the east of the Piazza a street leads to the
PIAZZA DEI S1GNORI. 271
Piazza Navona, having on the right the Palazzo della
Ragione, on the left the Cortile Tribunale. From the north
a passage leads to the Tombs of the Scaligers.
The Palazzo del Consiglio, of the isth century, is attri-
buted to Fra Giocondo (ob. 1514). The bronze Annuncia-
tion in the front is by Giovanni Campagna. The parapet
is surmounted by statues of those whom Verona boasts as
her citizens : Pliny the younger, Cornelius Nepos, Emilius
Macer, L. Vetruvius Cerdo, and Catullus, the especial poet
of Verona as Virgil was of Mantua.
"Mantua Virgilio gaudet, Verona Catullo."
Ovid. Amor. iii. el. 15, I, 7.
"Tantum magna suo debet Verona Catullo,
Quantum parva suo Mantua Virgilio."
Martial, xiv. ep. 195.
Modern times are represented by the poet Fracastoro,
and the historian Scipione Maffei. Over the entrance are
the words " Pro summa fide sumus amor MDXCII " an
encomium of Venice upon Verona.
In the palace are preserved several pictures illustrative of
Veronese history, especially :
Titian. The recognition of the Lordship of Venice by Verona on
the Piazza S. Marco, 1505 most of the heads probably by Bonifazio.
" The Doge is represented on a throne, on each side of which are the
Senators in red costume ; on the right, the Sclavonian guard ; on the
left, in white silk habiliments, the councillors of Verona, delivering up
the banner and keys of their city to the Doge. Above, in the clouds, is
the Virgin, with S. Mark, and S. Zeno, the patron saint of Venice and
Verona. In some parts of the picture (the figures of the saints, for in-
stance) the hand of an inferior artist is easily to be recognized. The
portrait-heads are, however, very excellent, and full of life. " Kiigler.
The Palazzo della Ragione encloses the court-yard of the
Mercato Vecchio, surrounded by Lombard arcades, and
272 ITALIAN CITIES.
with "one of the most beautiful Gothic outside staircases
imaginable.
The magnificent brick Campanile is nearly 300 ft. high.
" This wonderfully simple and grand erection rises out of a large
pile of buildings, and for a short distance above their roofs is built in
alternate courses of brick and a very warm-coloured stone, and then
entirely in brick, pierced with only one or two small openings, and ter-
minating with a most gloriously simple belfry stage ; the belfry windows,
with their arches formed without mouldings and with the sharp edges
only of brick and stone used alternately, are divided into three lights
by coupled shafts of shining marble ; the shafts, being coupled one
behind the other, and thus giving strength with great lightness, are very
striking in their effect. They have, too, remarkably large balconies, but
without balustrading of any kind. The upper and octangular stage of
the campanile is I think comparatively modern, but perhaps rather
improves the whole effect." Street's Brick and Marble in the Middle
Ages.
Passing under the arch at the north of the piazza we
reach the Church of S. Maria Antica, the court -chapel
of the Scaligers, now only remarkable for its tiny grave-yard
surrounded by an exquisite trellis of wrought-iron, which
contains their tombs. The Scaligers or Delia Scalas existed
in Verona as early as 1035. In 1257 the brothers Bonifazio
and Federigo della Scala were beheaded by Eccelino da
Romano. Upon the death of Eccelino, Mastino della
Scala was chosen as " Capitano del Popolo." After a wise
and prosperous rule of 15 years, he was murdered 1277, in
the archway called // Volto Barbara, on the other side of the
Piazza dei Signori. His tomb is the first which we find
here, a plain sarcophagus with a cross ; it once had a
canopy which has been removed.
Mastino I. was succeeded by his brother Alberto I., ob.
1301, who ruled wisely for 24 years and was greatly beloved.
His remains are believed to rest in a sarcophagus which
TOMBS OF THE SCALIGERS. 273
stands on the ground, decorated with his figure, riding, with
his sword in his hand.
He was succeeded by his son Bartolommeo, who also ruled
wisely for three years and died in 1304. His was the time
of Romeo (dei Montecchi) and Juliet (Giulietta de' Capelli).
A nameless sarcophagus is attributed to Bartolommeo.
Bartolommeo was succeeded in 1304 by Alboino, who
shared the government with his more celebrated brother
Francesco, the famous Ghibelline Can Grande (the Great
Dog) della Scala. With these two chieftains Dante
sought a refuge, and in the Divina Comedia he represents
Cacciaguida as foretelling his retreat :
" Lo primo tuo rifugio, e il primo ostello
Sara la cortesia del gran Lombardo
Che in su la Scala porta il santo uccello ;
Ch'avra in te si benigno riguardo,
Che del fare e del chieder, tra voi due,
Fia primo quel che tra gli altri e piu tardo,
Con lui vedrai colui che impresso fue
Nascendo, si da questa Stella forte,
Che notabili fien 1'opere sue.
Non se ne sono ancor le genti accorte,
Per la novella eta ; che pur nove anni
Son queste mote intorno di lui torte.
Ma pria che'l Guasco 1'alto Arrigo inganni,
Parran faville della sua virtute
In non curar d'argento, ne d'affanni.
Le sue magnificen/e conosciute
Saranno ancora si, che i suoi nemici
Non ne potran tener le lingue mute.
A lui t'aspetta ed a suoi benefici ;
Per lui fia trasmutata molta gente,
Cambiando condizion ricchi a mendici."
" Can Grande, le plus illustre des Scaliger, faisait de son palais un
refuge et un asile pour tous ceux que les revolutions politiques avaient
bannis de leur patrie. Soignant les imaginations des proscrits dont il
VOL. i. 1 8
274 ITALIAN CITIES.
recueillait Pinfortime, il avatt fait representer dans les divers apparte-
ments qui leur etaient reserves divers symboles analogues a leur destinee :
pour les poetes le> Muses, Mercure pour les artistes, le paradis pour les
predicateurs, pour tous 1'inconstante Fortune.
" Une court oisie aussi delicate envers le malheur et le talent fait hon-
neur & cette famille heroique et barbare, dont 1'histoire est pleine de
crimes et de grandes actions, comme celle des autres petits souverains
italiens de la meme epoque. Les noms singulierement vulgaires des
Scaltger semblent annoncer des moeurs brutales et sauvages. II est
curieux de trouver une recherche d'hospitalite pareille chez des princes
qui s'appellent Matin premier, Matin second, le Grand Chien (Can
Grande). Ces Matins de Verone, comme les Mauvaises-Tetes (Ma-
latesta) de Rimini, devancaient glorieusement le role dont on a trop
exclusivement fait honneur aux M edicts." Ampere, Voyage Dantesque.
Can Grande died in 1329, and his tomb surmounts the
entrance to the church.
"As early as about the year 1335, the consummate form of the
Gothic tomb occurs in the monument of Can Grande della Scala. It
is set over the portal of the chapel anciently belonging to the family.
The sarcophagus is sculptured with shallow bas-reliefs, representing the
principal achievements of the warrior's life, especially the siege of
Vicenza and battle of Piacenza ; these sculptures, however, form little
more than a chased and roughened groundwork for the fully relieved
statues representing the Annunciation, projecting boldly from the front
of the sarcophagus. Above, the Lord of Verona is laid in his long robe
of civic dignity, wearing the simple bonnet, consisting merely of a fillet
bound round the brow, knotted and falling on the shoulder. He is laid
as asleep, his arms crossed upon his body, and his sword by his side.
Above him, a bold arched canopy is sustained by two projecting shafts,
and on the pinnacle of its roof is the statue of the knight on his war-
horse : his helmet, dragon-winged and crested with the dog's head,
tossed back behind his shoulders, and the broad and blazoned drapery
floating back from his horse's breast, so truly drawn by the old work-
man from the life, that it seems to wave in the wind, and the knight's
spear to shake, and his marble horse to be evermore quickening its
pace, and starting with heavier and hastier charge, as the silver clouds
float past behind it in the sky.
" . . . . Though beautiful, the tomb is so little conspicuous or in-
trusive, that it serves only to decorate the portal of the little chapel, and
is hardly regarded by the traveller as he enters. When it is examined,
TOMBS OF THE SCALIGERS. 275
the history of the acts of the dead is found subdued into dim and minute
ornament upon his coffin ; and the principal aim of the monument is to
direct the thoughts to his image as it lies in death, and to the expression
of his hope of resurrection ; while, as seen by the memory, far away,
diminished in the brightness of the sky, there is set the likeness of his
armed youth, stately, as it stood of old in the front of battle, and meet
to be thus recorded for us, that we may now be able to remember the
dignity of the frame, of which those who once looked upon it hardly
remembered that it was dust." Ruskin, Stones of Venice^ iii. 72.
The successor of Can Grande was his nephew Alberto II.,
who was succeeded by Mastino II. In his reign Parma,
Reggio, Lucca, Bassano, Brescia, Vicenza, Treviso, and
eventually Padua, acknowledged the rule of the Scaligers,
yet owing to his vanity and to his abandonment of Ghibel-
line for Guelphic politics, the decline of his family began
with him. He died in 1351, and his tomb occupies one
corner of the cemetery.
" The tomb which stands beside that of Can Grande, nearest it in the
little field of sleep, already shows the traces of erring ambition. It is
the tomb of Mastino the second, in whose reign began the decline of his
family. It is altogether exquisite as a work of art ; and the evidence of
a less wise or noble feeling in its design is found only in this, that the
image of a virtue, Fortitude, as belonging to the dead, is placed on the
extremity of the sarcophagus, opposite to the Crucifixion. But for this
slight circumstance, the monument of Can Mastino would have been as
perfect as its decoration is refined. It consisted, like that of Can Grande,
of a raised sarcophagus, bearing the recumbent statue, protected by a
noble four-square canopy, sculptured with ancient Scripture history.
On one side of the sarcophagus is Christ enthroned, with Can Mastino
kneeling before Him ; on the other Christ is represented in the mystical
form, half-rising from the tomb, meant, I believe, to be at once typical
of His passion and resurrection. The lateral panels are occupied by
statues of saints. At one extremity of the sarcophagus is the Crucifixion ;
at the other, a noble statue of Fortitude, with a lion's skin thrown over
her shoulders, its head forming a shield upon her breast, her flowing
hair bound with a narrow fillet, and a three-edged sword in her gaunt -
leted right hand, drawn back sternly behind her thigh, while, in her left,
she bears high the shield of the Scalas. "
276 ITALIAN CITIES.
The successor of Mastino II. was Can Grande II., who
built the Castel Vecchio and the bridge near it. He died
in 1359, but it is scarcely likely that he was murdered by
his brother (as stated by many authorities), as that brother
was only 1 1 years old at the time. He was however suc-
ceeded by his brother Can Signorio, who, on his death-bed
in 1375, commanded the execution of another brother, Paolo
Alboino, from fear that he might endanger the succession of
his own sons. His tomb is by the Milanese sculptor,
Boninius a Compigliono, or Da Campione.
" This monument is the stateliest and most sumptuous of the three ;
it arrests the eye of the stranger, and long detains it, a many-pinnacled
pile, surrounded by niches with statues of warrior saints.
"It is beautiful, for it still belongs to the noble time, the latter part
of the fourteenth century ; but its work is coarser than that of the other,
and its pride may well prepare us to learn that it was built for himself,
in his own lifetime, by the man whose statue crowns it, Can Signorio
della Scala. Now observe, for this is infinitely significant. Can Mas-
tino was feeble and wicked, and began the ruin of his house : his sarco-
phagus is the first which bears upon it the image of a Virtue, but he lays
claim only to Fortitude. Can Signorio was twice a fratricide, the last
time when he lay upon his death-bed : his tomb bears upon its gables
the images of six virtues, Faith, Hope, Charity, Prudence, and (I
believe) Justice and Fortitude." Raskin.
Can Signorio was succeeded by his son Bartolommeo II.,
who was also murdered, 1381, by his half-brother, Antonio.
"After this, the iniquities of the family could no longer be endured,
Antonio endeavoured to fasten his own crime on the brothers Mala-
spina and others. The accused fled to Milan, and persuaded its Duke,
Visconti, to attack Antonio. Antonio was easily defeated, and banished
from Verona. His son Guglielmo, and his grandson Brunoro, received
the appointment of Vicar Imperial of Verona from the Emperor, but
were never able to gain admittance to the city. The virtues of the
early Scaligers had raised them to power : the vices of their descendants
terminated their reign. The Veronese, disgusted with the Scaligers,
voluntarily surrendered themselves to the Venetians in 1405." Gaily
Knight.
TOMBS OF THE SCAL1GERS. 277
Nothing can be more picturesque than the whole group
of monuments, standing as they do, close together, under
the open sky, and in the midst of the busy town.
" Avant de quitter Verone, j'y ai fait le soir une promenade qui me
laissera un long souvenir. Je suis alle contempler le chateau-fort bati
par les Scaliger Puis je suis venu de la forteresse des Scaliger
vers leur tombeau. Les pyramides de sculptures et de colonnes etaient
plongees dans la nuit, tandis que les figures equestres, blanchies par la
lune, semblaient planer dans les airs comme le coursier-spectre de
Lenore ou comme le cheval blanc de la mort dans 1'Apocalypse.
"La tradition sanglante m'est revenue a la memoire en regardant
scintiller les etoiles au-dessus de ces cavaliers de marbre ; il m'a semble
qu'ils se mettaient en mouvement et que le fratricide poursuivait son
frere a travers les airs dans le silence de la nuit. Bientot 1' illusion a
cesse, et j'ai senti que tout, dans ce lieu funebre, etait immobile et
froid, 1'image des morts comme leur cendre, la pierre de leur armure
comme la pierre de leur tombeau." Ampere.
"The small burial-ground of Sta Maria 1'Antica is fenced from the
busy thoroughfares, which on two sides bound it, by an iron railing of
most exquisite design, divided at intervals by piers of stone on whose sum-
mits stand gazing upwards as in prayer, or downwards as in warning to
those who pass below, a beautiful series of saintly figures. Within, a
glorious assemblage of monuments meets the eye one over the entrance
doorway, the others either towering up in picturesque confusion above
the railing which has been their guardian from all damage for so many
centuries, or meekly hiding their humility behind the larger masses of
their companions.
" The monuments are all to the members of one family the Scali-
geri who seem to have risen to power in the thirteenth century, and
to have held sway in Verona until almost the end of the fourteenth. In
this space of time it was, therefore, that these monuments were erected,
and they are consequently of singular interest, not only for the excessive
beauty of the group of marble and stone which, in the busiest highway
of the city, among tall houses and crowds of people, has made this
churchyard, for some five hundred years, the central point of architectural
interest, but because they give us dated examples of the last pointed
work during nearly the whole time of its prevalence in Verona. In the
monument of the first Duke we see the elements of that beauty which,
after ascending to perfection in that of another, again descends surely
and certainly in the monument of Can Signorio, the largest and most
elaborate of all, and, therefore, I am afraid, the most commonly ad-
278 ITALIAN CITIES.
mired, but the one which shows most evidence of the rise of the Re-
naissance spirit, and the fall of true art. Nor is it, I think, to be for-
gotten, as an evidence of the kind'of moral turpitude which so often pre-
cedes or accompanies the fall of art, that this Can Signorio first murdered
his own brother Can Grande II. that he might obtain his inheritance (?),
and then, before he died, erected his own monument, and adorned it
with effigies of SS. Quirinus, Valentine, Martin, George, Sigismund,
and Louis, together with allegorical figures of the Virtues with whom
he of all men had least right to associate himself in death, when in life
he had ever despised them ; and the inscription, which records the name
of the architect on this monument, does but record the vanity of him
who was content thus to pander to the wretched Can Signorio's desire
to excuse the memory of his atrocious life by the sight of an immense
cenotaph.
" The situation of the monuments, rather huddled together, with the
old church behind them, the archway into the Piazza dei Signori on the
other side, and the beautiful iron grille which surrounds them, the
number of saintly and warlike figures, and the confused mass of pinnacle
and shaft, half obsc-ired by the railing, do, I verily believe, make the
cemetery of Sta Maria 1'Antica one of the most striking spots in the
world for the study of Christian art in perfection. What either Cologne
Cathedral, or Ratisbon, or the Wiesen Kirche at Soest is to Germany,
the Choir of Westminster Abbey or the Chapter House at Southwell to
England, Amiens Cathedral or the Saint Chapelle of Paris to France,
that is the Cemetery of the Scaligeri in Verona to Italy, the spot, i. e.
where at a glance the whole essence of the system of a school of artists
may be comprehended, lavished on a small but most stately effort of
their genius." Streefs Brick and Marble in the Middle Ages.
Recrossing the Piazza dei Signori, let us enter the
Piazza delle Erbe, the ancient Forum, now crowded with
the huge white umbrellas of the market-women. On the
side towards the Corso, in front of the Palazzo Maffei,
is a marble Pillar, erected 1524 by the Venetians as a
pedestal for the lion of S. Mark, which was thrown down
in 1799, when the Venetian republic came to an end.
Over the Fountain is a statue of Verona, with a scroll in-
scribed " Est justi latrix urbs h?ec et laudis amatrix." This
is due to Can Signorio (1368), who also built the tower at
THE AMPHITHEATRE. 279
the end of the square and adorned it with the first clock (now
removed) which had been seen in Verona. At the corner
of the Via Pelleciai is the Casa del Mercanti, built by Alberto
della Scala in 1301, and adorned with a statue of the Virgin
by Campagna. The small quadrangular canopied space and
the Gothic market-cross marks the site of one more ancient,
where the newly appointed Capitano del Popolo was pub-
licly invested with his office and then addressed the people.
The sentences of condemned criminals were delivered from
hence. Most of the houses in this piazza were decorated
with frescoes by Liberate and other masters, of which many
fragments still remain.
From the east end of the piazza, the Via Nuova (passing
on the left a good Gothic house No. 19) leads to the
Piazza Bra (now Vittorio Emanuele !) which contains
the famous Amphitheatre, called the Arena (entrance by the
5th arch marked " Ingresso all' Ahfiteatro dell' Arena").
It is believed that the Amphitheatre was built under Dio-
cletian. It is 1 06 ft. high, 546 long, 436 wide, and 492
yards in circumference. The interior is wonderfully perfect,
and its 45 tiers of seats (18 inches high, 22 wide) have been
carefully kept in repair by immemorial custom. The num-
bers sculptured on the outer arches to guide the spectators
where to present their tickets are still in many cases quite
legible. The arcades are let as shops to dealers in all kinds
of wares, but the interior is still often used .as an open-air
theatre. An inscription commemorates the presence of the
Emperor Joseph II. at one of these displays.
" In the midst of Verona, in the Piazza di Bra a spirit of old time
among the familiar realities of the passing hour is the great Roman
Amphitheatre. So well preserved, and carefully maintained, that every
row of seats is there, unbroken. Over certain of the arches, the old
280 ITALIAN CITIES.
Roman numerals may yet be seen, and there are corridors, and staircases,
and subterranean passages for beasts, and winding ways, above-ground
and below, as when the fierce thousands hurried in and out, intent upon
the bloody shows of the arena. Nestling in some of the shadows and
hollow places of the walls, now, are smiths with their forges, and a few
small dealers of one kind or other ; and there are green weeds, and
leaves, and grass, upon the parapet. But little else is greatly changed."
Dickens.
Near the Amphitheatre, in the Piazza Bra, is the Palazzo
della Guardia, built by Andrea Midano, a pupil of San-
micheli. On the other side of the Portone della Bra are
the Accademia Filarmonica and the Museo Lapidario, not
of much importance.
Passing these, we come into the end of the Corso, opposite
the Castel Vecchio, built, together with the noble battlemented
bridge over the Adige, adjoining it, by Can Grande II. in
1355. The main arch of the bridge is said to be 160 ft.
wide, and instead of being in the centre, it is on the side next
the castle, and from it the other arches slope away to the north
bank, in a strange down-hill kind of way.
(The continuation of the Corso leads to the Porta Stuppa
or del Palio, one of the noblest works of Sanmichele.
" In this gate and the neighbouring Porta Nuova the Venetian
Signori may be said, through this architect's genius, to have equalled the
buildings of the ancient Romans. The gate of the Palio is of the Doric
order, with columns of immense height and girth, and these columns,
which are in all eight, are placed in pairs . . . The front is exceedingly
wide and is entirely of rustic work, deeply cut, and having, each projection
not rough, but polished, the whole enriched moreover with decorations
of great beauty ; the passage of the gate retaining the quadrangular
form, but of an architecture which is new, fanciful, and very beautiful.
On the inner front is a magnificent Doric loggia, and at the summit a
Doric cornice richly carved. This was the last marvel performed by
Michele San Michele, for he had only just completed the first range of
columns, when he finished the course of his life." Vasari.)
S. BERNARDINO, S. ZENO. 281
Close to the Castello, the Via S. Bernardino leads (left)
to the handsome cloister and brick Church of S. Bernar-
dino of 1499. Hence opens the celebrated Cappella Pelle-
grini, the master-piece of Sanmichele. It was begun by
Margaretta Pellegrini, who died in 1557, before it was com-
pleted, recommending her heirs to finish the work, but
they, from avaricious motives, took it out of the hands of
Sanmicheli, and the details were finished by inferior archi-
tects in 1793. However, Carlo Pellegrini carried out the full
design of Sanmichele in 1793.
" It is a circular building in the manner of our ancient temples of the
Corinthian order, the material being that hard white stone, which in
Verona, from the sound rendered by it while in the process of working,
is called bronzo. . . Sanmicheli has given the circular form to the whole
structure, insomuch that the three altars which are within its circle, with
their pediments, cornices, &c., all turn in a perfect round, as does the
opening space of the door. Above the first range of colums, Sanmicheli
also constructed a gallery which is continued entirely round the chapel,
the columns and capitals of the same being enriched with exquisite
carvings, and every part in effect being decorated with foliage, gro-
tesche, and other ornaments, all sculptured with indescribable care and
pains. The door, a very beautiful one, has a quadrangular form outside,
resembling, as Sanmicheli averred, an antique example which he had
seen in some building at Rome." Vasari.
Hence, the Vicolo Lunga S. Bernardino leads to the mag-
nificent Church of S. Zeno Maggiore or San Zenone.
The original building on this site was erected in the gth
century by Bishop Rotaldus. The present church was built
1138 1178. Within, it is a simple Latin basilica. The
western fagade, in the Lombard style, has a single lofty gable,
with a lean-to on either side. There is only one portal,
with a canopy resting on pillars supported by lions. Above,
is a great round window by one Briolottus, evidently in-
282 ITALIAN CITIES.
tended as typical of the wheel of fortune, as is evinced by
the outer inscription :
En ego fortuna moderor mortalibus una
Elevo, depono, bona cunctis, vel mala dono.
And the inner :
Induo nudatos, denude veste paratos.
In me confidit si quis, derisus abibit.
The bas-reliefs at the sides of the door are most curious.
Below those illustrative of the Old and New Testament, on
the left, are two warriors charging one another with lances,
and a figure running another through with a sword. On the
right is what is called the Chase of King Theodoric " the
Dietrich of the Hildebrand-lay and the Helden-buch." The
dogs have seized upon the stag, and a demon waits for the
huntsman, probably because he was an Arian. " In these
sculptures the character and habitual associations of the
Lombards may be distinctly read."* Maffei quotes this as
the first piece of sculpture in which the horseman rides in
stirrups. The ancient bronze doors themselves are covered
with reliefs.
The beautiful Campanile of S. Zenone is quite detached
from the church. Begun by the Abbot Alberic in 1145, it
was finished 1178. It is built of alternate courses of brick
and marble.
"The proportions of S. Zeno are so very grand, and its detail gener-
ally so perfect, that I think it may be regarded as, on the whole, the
noblest example of its class ; indeed, except the very best Gothic work of
the best period, I doubt whether any work of the Middle Ages so much
commands respect and admiration as this Lombard work. There is a
breadth and simplicity about it, and an expression of such deep thought
in the arrangement of materials and in the delicate sculpture, which with
* Lindsay's " Christian Art."
.S 1 . ZENO. 283
a sparing hand is introduced, that one cannot sufficiently admire the men
who planned and executed it. Beyond this, the constructive science was
so excellent and so careful, that with ordinary care such a church as San
Zenone would seem still likely to last for ages." Street,
The Interior, entered by descending 13 steps, is grand in
its proportions. The nave is separated from the aisles by
alternate piers and columns. The wooden and painted roof
is very curious. The choir, which was rebuilt in the i$th
century, is approached by a lofty flight of steps, which
allows space for the crypt. On the right of the entrance is
the ancient font by Briolottus, and opposite it a curious
vase for holy-water called " Coppa di San Zenone" On the
choir screen are ancient statues of Christ and the Apos-
tles, much alike in type, but full of solemn expression. The
and altar on the right has a canopy supported by columns
banded together, and resting on a lion and a stag.
' ' The interior of S. Zenone preserves the basilica form complete, and
is remarkable for the two triumphal arches which span the nave, a third,
as usual, admitting to the sanctuary, as well as for the splendour of the
crypt, supported by forty-eight slender columns, clustered, round and
polygonal, surrounding the tomb, and for the three noble flights of steps,
one of them leading down to the crypt, the other two, to the right and
left, ascending to the presbytery, the former occupying the breadth of
the nave, the latter that of the aisles. " Lindsay's Christian Art.
Aloft, in the choir, is seated the African S. Zeno, Bishop
of Verona in the 4th century, said to have been martyred
under Julian the Apostate, April 12, 380. His curious
wooden statue sits in his episcopal chair, with a fish hanging
from his rod, referring, not as local tradition says, to his
passion for fishing in the Adige, but to the Christian symbol
of baptism. Right of the High-Altar is the great picture
of
Andrea Mantegna. The Madonna and Child throned, between SS.
284 ITALIAN CITIES.
Peter, Paul, and John; and SS. John Baptist, Laurence, and Benedict.
" Rich architecture, adorned in front with festoons of fruit, surrounds the
composition. The Madonna, on whose lap the infant is standing, is un-
affected, dignified, and sweet. Some of the saints also have admirable
heads, and are grandly draped. A lower series of subjects, which, since
carried off by the French, have never been recovered, contained the
Mount of Olives, the Crucifixion, and the Ascension." *Kugler.
Of the frescoes scattered over the church, the best per-
haps is an Annunciation on the triumphal arch, and the
Virgin and Child, receiving a whole family, presented by
their patron saints, on one of the walls of the presbytery,
dated 1490 probably by Stefano da Verona.
The Crypt is supported by forty-eight pillars. It contains
the stone sarcophagus of S. Zeno and many other tombs of
early bishops of Verona. Through the Sacristy one reaches
the beautiful brick Cloister. Its arches on the east and west
sides are pointed, on the north and south are round. The
coupled columns of red marble which support them are
banded together at the centre. Amongst the tombs here
are those of Giuseppe della Scala, and of Ubertino della
Scala, who was Prior of the adjoining monastery. From the
northern side of the cloister, the lavatory of the monks pro-
jects into the court.
On the right, facing the church, in front of a tomb of one
of the Vico family, is a stone which is shown as the public
Measure of Roman times. In the adjoining cemetery is a
curious vault enclosing a sarcophagus ; a worthless modern
inscription declares it to be that of King Pepin, who died at
Milan, 810. The battlemented tower on the left of the
church dates from the pth century, and is believed to have
been part of the palace of Pepin.
Returning to the Castello by the Rigesta di San Zenone,
* Copies of these are now here : the originals are at Paris and Tours.
PORT A DEI BORSARI, S. EUFEMIA. 285
we pass on the right the picturesque Oratorio di San Zenone,
a charming "artist's bit." Following the Corso, we shall
pass several of Sanmicheli's celebrated palaces. Such are,
on the left, the Palazzo Canossa, built for Ludovico Canossa,
Bishop of Bayeux ; and, on the right, the faade of the
Palazzo Bevilacqua. Just beyond the Canossa is the Ionic
Palazzo Portalupi, of the i8th century.
A little beyond this, the Corso is spanned by the fine
double Roman Arch called Porta dei Borsari, which is
believed to have been erected under Gallienus, c. 265.
" The Greek features are still here, masking the Roman construction;
over the actual openings, over the windows above them, we get un-
meaning entablatures and pediments, stone pictures, so to speak, of real
entablatures and pediments. This gives the front the appearance of a
confusion of Greek and Roman ideas Still, with all this, the
Porta dei Borsari is a striking object, the more so from the way in which
it is hemmed in by modern buildings, which take away somewhat from
its effect as a work of architecture. One wonders how it has lived
through so many ages. It is almost more striking than the preservation
of the gateway itself to see the small inscribed stones, which stand near
it, remaining there in the crowded street untouched by the changes of
sixteen hundred years. And it must always be remembered that the
present gateway is simply one wall of the ancient structure ; the place of
its fellow may easily be marked some way back, where a small piece of
the wall, which is still to be seen in the adjoining side street, marks the
place where the other wall of the gateway spanned the main street."
Freeman,
To the right of the gate is the House of Giolfino, covered
with faded frescoes by him.
The next street on the left leads to the Church of S.
ufemia, a fine brick building dating from the 1 3th century,
but entirely modernized internally. Over the side door is a
faded fresco of S. Augustine in glory by Stefano da Zevio, c.
1433, and, near it, a handsome tomb of one of the Verita
family, by Sanmichelt. The church contains :
286 ITALIAN CITIES.
Right, yd Altar. Brusasorci. Virgin and Child with Saints.
(At the end of Right Aisle]. Cappella dei Spolverini. Caroto.
" There is a small side-chapel in Santa Euphemia dedicated to St.
Raphael. The walls are painted with frescoes from the story of Tobit ;
and over the altar is that master-piece of Carotto, representing the three
archangels as three graceful spirit-like figures without wings. The altar
being dedicated to Raphael, he is here the principal figure ; he alone
has the glory encircling his head, and takes precedence of the others ; he
stands in the centre leading Tobias, and looking down on him with an
air of such saintly and benign protection, that one feels inclined to say
or sing in the words of the Litany, ' Sancte Raphael, adolescentium
pudicitise defensor, ora pro nobis ! ' Even more divine is the St. Michael
who stands on the right, with one hand gathering up the folds of his
crimson robe, the other leaning on his great two-handed sword ; but
such a head, such a countenance looking out upon us so earnest, power-
ful, and serious ! we recognize the Lord of Souls, the Angel of Judg-
ment. To the left of Raphael stands Gabriel, the Angel of Redemption ;
he holds the lily, and looks up to heaven adoring : this is the least ex-
pressive of the three heads, but still beautiful. The colouring in its
glowing depth is like that of Giorgione. Vasari tells us, that this pic-
ture, painted when Carotto was young (about A. D. 1495) was criticized
because the limbs of the angels were too slender ; to which Carotto,
famous for his repartee, replied, ' Then they will fly the better ! ' The
drawing, however, it must be conceded, is not the best part of the pic-
ture." aMttOtft Sacred Art.
Left Transept. The fine tomb of Pietro Guarienti, 1404, removed
from the centre of the pavement.
Left, 1st Chapel. Moretto. The Virgin and Child, with SS. Ono-
frio and Anthony.
The street at the back of S. Eufemia leads to the Duomo
of S. Maria Matricolare, which stands near the Adige be-
tween the Ponte Garibaldi and the Ponte Pietra. 3
The Cathedral is said to be founded on the site of a temple
of Minerva. The original church on this site was repaired
by the Archdeacon Pacifico, as is shown by his epitaph,
before 846, which was the year of his death.
In 806, when the Bishop's palace near S. Zenone was
CATHEDRAL OF VERONA. .. 287
burnt, the episcopal throne was removed hither by Bishop
Rotaldus.* The existing cathedral was re-consecrated by
Urban III. in 1187. The vaulting, begun in 1402, was not
finished till 1514.
The magnificent Porch is of the i2th century. Its canopy
is supported by pillars resting on noble griffins. The figures
of Roland and Oliver at the entrance commemorate a
groundless tradition that the church was built by Charle-
magne. Roland (on the left) holds his famous sword in-
scribed Du-rin-dar-da, but Oliver holds a staff with a ball
suspended from it, such as, till lately, was shown as his in the
monastery of Roncesvalles. Above the door is a relief
once coloured of the Adoration of the Magi, with Faith,
Hope, and Charity beneath. The small Southern Porch is
also of great beauty.
The Interior with its giant-like procession of red Verona
columns is singularly beautiful and impressive, f Much of
it was re-arranged by Sanmicheli, the choir by Giulio Ro-
mano.
Right, 2nd Altar. Andrea del Fino. Pieta. The Adoration of the
Magi and saints beneath are by Liberali.
End of Right Aisle. The beautiful Gothic shrine and tomb of S.
Agata, of red and white marble.
Choir. Francesco Torbido, called // Moro. The frescoes" of the Life
of the Virgin in the semi-dome and on the upper walls. " Not entirely
due to Torbido, but executed after designs by Giulio Romano, who was
then under Correggio's influence, and was striving to bring the realiza-
tion of space of the latter into harmony with his own style in a manner
worthy to be observed. " Burckhardt.
Left, 1st Chapel. Titian. The Assumption. "The way in which
* The first cathedral was S. Stefano, whence the Bishops were expelled by Theo-
doric, who was an Arian. They then made S. Pietro in Castello the cathedral, but
returned to S. Stefano in 801, and remained there for five yearsi
t See Lord Lindsay's Christian Art.
288 ITALIAN CITIES.
the single figure of the Virgin is borne up on the clouds without any
attendant angels is here very beautiful. " Kiigler.
" The Apostles at the empty grave look upwards, full of emotion and
adoration, to her who is soaring aloft alone." Burckhardt.
In one of the Apostles Titian has portrayed Michele
Sanmichele, the Veronese architect, who was a great friend
of his.
Opposite the Cathedral is the little Gothic chapel of .S.
Pietro in Cathedra, with his seated statue.
The Baptistery, or Church of S. Giovanni in Fonte, con-
tains a huge font of red Verona marble, decorated with rude
sculptures from the New Testament history. Through the
Cloister we may enter the Biblioteca Capitolare, which was
founded by the Archdeacon Pacificus. It contains much
that is very curious, especially a Palimpsest of a 4th-century
Virgil, under a Commentary on the Book of Job of the 8th
century ; and the famous Palimpsest of the " Institutes of
Caius," which was known to be the foundation of the " In-
stitutes of Justinian," and which was discovered by Niebuhr,
in 1816, beneath the Homilies of S. Jerome ! * Among later
curiosities preserved here is the baptismal certificate of Prince
Charles Edward Stuart *' Roma, Ultima Decemb. 1720."
Adjoining the Baptistery, approached by a cloister with
quaint capitals, is the Church of S. Elena, which contains
some curious tombs, and some pictures by early Veronese
masters.
Liberali. Madonna and Child.
Falconetto. Christ at the Tomb.
Moretto. Madonna and Child.
The Vescovado (Bishop's Palace) contains a number of
imaginary portraits of early bishops by Brusasorci, and a large
* These, with all other known Palimpsests, came from the monastery of Bobbio.
CAST EL S. PIETRO.
289
Crucifixion by Jacopo Bellini. In the court-yard is a statue
by Alessandro Vittoria. The columns of the portico have
some curious capitals.
Verona, on the Adige.
We must now cross the Adige by the Ponte Pietra, from
which a flight of steps leads up the hill to the Castel S.
Pietro (now a barrack). It occupies the site of the Palace
of Theodoric, which was a magnificent building surmounted
by an equestrian statue of the Emperor Zeno, of such size
that " birds flew in and out of the distended nostrils of the
horse, and built their nests in his belly."* Theodoric lived
alternately here and at Ravenna, and while here embellished
Verona with many noble buildings. In the same palace
lived afterwards, Alboin, who founded the Lombard king-
dom, and here he forced his miserable wife Rosmunda to
drink from the skull of her father whom he had killed with
his own hand. Alfieri makes Rosmunda say
* Agnelli. Liber Pontificalis, pt. II. ch. ii. The palace is represented on a town
seal.
VOL. I. 19
290 ITALIAN CITIES.
" e di vivande e vino
Carco, nol veggio (ahi fera orrida vista !)
Bere a sorsi lentissimi nel teschio
DelPucciso mio padre ? inde inviarmi
D'abborrita bevanda ridondante
L' orrida tazza? E negli orecchi sempre
Quel sanguinoso derisor suo invito
A me non suona? Ampio ei dicea : 'Col padre
' Bevi, Rosmunda ! '" Tragedie, Rosmunda,
Here also, in 905, the Emperor Louis III. was seized by
the mercenaries of Berengarius, and his eyes were put out.
Berengarius himself was assassinated here, and his remains
were said to be preserved in a sarcophagus at the foot of
the steps leading to the terrace of the new castle. From
this and from the further fortress Castel S. Felice, there
is a very fine view.
Left of the bridge, is the CJmrch of S. Stefano, once the
cathedral of Verona. The church dates from the 6th cen-
tury, but is modernized. The central tower is octagonal.
In the interior a great flight of steps leading to the choir
leaves space for the crypt, where many of the early bishops
were originally buried. In a chapel on the right of the nave
are two modern tombs to five bishops and forty martyrs !
The sarcophagus, once in the crypt, of Placidia, daughter of
Valentinian III. and Eudoxia, and wife of Olibrius, Em-
peror of the East, with that attributed to the patrician Mar-
cian (A. D. 427), are now enclosed in modern altars, for, as
the custode explains, " In Verona se venerano questi come
santi." Behind the high altar is the bishop's throne. On
the left, at the top of the steps, is a curious statue of S.
Peter, brought hither by the Austrians from the old church
of S. Pietro in Castello : it is proposed to remove this to the
Museum. Many curious fragments of frescoes were laid
A GIORGIO IN BRAIDA. S. GIOVANNI IN VALLE. 291
bare in 1848, and if the proposed restoration of S. Stefano
it carried out by the municipality, much of value will doubt-
less be discovered. Among the pictures are :
Right Transept. Giovanni Caroto. Virgin and Child, with SS. Peter
and Andrew.
Left, yd Chapel. Titian. Virgin and Child, with four saints.
Beyond S. Stefano is the Church of S. Giorgio in Braida,
built 1477 by Sanmicheli. It contains :
Over Entrance. Tintoretto. Baptism of Christ.
Right, yd Altar. Id. Descent of the Holy Ghost.
*4// Altar. Brusasorci. The Three Archangels.
High Altar. Paul Veronese. S. George a magnificent work of the
master.
Left, ^th Altar (under the organ). Romanino Buonvirino, 1540. The
Glory of the Virgin, with SS. Cecilia, Agnes, Agatha, and Lucy.
*Left, $th Altar. Girolamo del Libri. Madonna under a lemon tree,
between SS. Zeno and Lorenzo Giustiniani exceedingly beautiful.
Returning past the Ponte Pietra, on the left, under the
hill of S. Pietro, is the site of the Roman Theatre. It was
already so dilapidated in 895 that King Berengarius issued a
decree allowing any one who pleased to carry otf portions of
the ruins. Enough however remained in the i6th century,
for the painter Caroto to delight in sketching it. Now
nothing remains but a few fragments inserted into walls.
Built apparently out of the Theatre, and in the time of
Berengarius, but quite modernized, is the little Church of S.
Siro. An inscription says that the first mass in Verona was
said here.
(Beyond this, the Via Redentore leads (left) up the hill
to the Church of Giovanni in Valle, with a crypt contain-
ing two curious early Christian sarcophagi. One is decorated
with the usual subjects from the New Testament, to which
292 ITALIAN CITIES.
the figures of two monks (perhaps the discoverers) have been
added. The other has a husband and wife, between SS.
Peter and Paul.)
Near the river (right) is the Church of S. Maria in
Organo, built on the site of an ancient building called the
Organum, of unknown intention. The church was begun
1481 by Sanmichele. The campanile, of 1533, is by Fra
Giovanni da Verona.
Right Transept. Guercino. S. Francesca Romana.
Chapel Right of High Altar. Frescoes by Giolfino.
Choir. Pictures by Paolo Farinati. Stall work of wonderful beauty,
also a candelabrum in walnut-wood by Fra Giovanni da Verona.
Sacristy. A beautiful picture of the Virgin and Child with SS. Ste-
fano and Tecla (?) by Girolamo dei Libri (who has introduced his favour-
ite lemon-tree). Wood-carving by Fra Giovanni, and frescoes by
Morone and others.
" The master-pieces of Francesco Morone are in the sacristy of S.
Maria in Organo, where the walls and ceiling are rilled with incidents
freely adapted from Mantegna's in the Camera degli Sposi at Mantua.
The room is quadrangular, and divided into sections with lunettes like
Peruzzi's in the Farnesina ; the centre compartment of the ceiling repre-
senting a well-opening with a balustrade in perspective from which
angels look down, whilst the Saviour in benediction floats in the heaven,
the lunettes and the course beneath them containing half-lengths of
popes, Olivetan monks, and female saints. This sacristy is one of the
grand monuments of local art in the Venetian provinces, second only to
Mantegna's creations in the display of perspective and foreshortening,
and in the geometrical distribution of the space. There is ground for
believing that this beautiful sacristy was finished in the first years of the
1 6th century." Crowe and Cavalcasette.
Left, 2nd Altar. Morone. Madonna, with SS. Agostino and Lorenzo
Giustiniani.
Right, from this church, is the Island in the Adige,
united on the other side to the city by the beautiful bridge
by Sanmichele called Ponte Nuovo. In the centre of the
island is the fine brick Church of S. Tommaso Cantuariense,
which contains the tomb of Giovan' Battista Beket Fabriano,
GIUSTI GARDENS. SS. NAZZARO E CELSO. 293
who claimed to be of the family of Thomas a Becket. We
may also notice :
Right, $th Altar. Girolamo dd Libri. SS. Roch, Sebastian, and
Giobbe.
'"Sacristy. Garofalo. The Virgin and Child with S. John an ex-
quisitely lovely picture. The group are seated in a meadow with a
beautiful distant landscape, backed by a sunset sky. The Virgin looks
down with graceful sweetness upon the children who are playing with
the cross of S. John. In the grass, on the right, grows the pink which
is like the signature of the master.
In a Reliquary are preserved three teeth and the frontal bone of S.
Thomas a Becket.
Behind the High Altar. UOrbetto (some say by Carotto). Madonna
and Child. In front, S. Luke painting the Virgin. Right, S. Thomas
of Villanuova and S. John Baptist. Left, S. Thomas a Becket and S.
Francis.
From the Ponte Acqua Morta, which connects the island
with the left bank of the Adige, a street leads to the Palazzo
Giusti, behind which are the famous Giusti Gardens, perhaps
the most beautiful spot in Verona. The main walk is girded
by gigantic cypresses, and above rise terraces, each present-
ing a view more beautiful than the last, of Verona, its
churches and bridges, and tall campaniles standing out
against the soft distances of plain and the blue hills.
" The Giusti garden is beautifully situated, and contains monstrous
cypresses, pointing like spikes into the air. A tree, whose branches, the
oldest as well as the youngest, are striving to reach heaven a tree
which will last its three hundred years, is well worthy of veneration.
Judging from the time when this garden was laid out, these trees have
already attained that venerable age." Goethe.
Beyond the Palazzo Giusti, the Via Muro Padre leads to
the Church of SS. Nazzaro e Celso, partly designed by San-
michele. It is rich in pictures :
Right, 2nd Altar. Paolo Farinati. The Annunciation. The fresco
294 ITALIAN CITIES.
of Adam and Eve in the lunette above, also by Farinati, is considered
the best work of this master.
Right Transept. Montagna. Pieta and SS. Biagio and Giuliana.
Sacristy. Brusasorci. Madonna with SS. Peter and Paul. The
chamber was designed and adorned in fresco by Gio. Maria Falconetto.
Choir. Frescoes by Paolo Farinati.
Left Transept. The Chapel of S. Biagio covered with frescoes. Those
near the altar are by Montagna ; the Annunciation over the entrance by
Cavazzola ; the rest by Falconetto. The altar-piece by Fr. Buonsignori
represents the Martyrdom of SS. Sebastiano and Biagio. The predella,
with scenes from the lives of SS. Biagio, Sebastiano, and Giuliana, is by
Gir. dei Libri. On the left is a beautiful Virgin and Child, with saints,
by Moceto. Beneath this picture, is the entrance to a passage containing
a fresco of the Baptism of Christ, by Cavazzola.
Left Aisle, 1st Chapel. Montagna. Two noble pictures of Saints.
Behind this church is a private garden (which once be-
longed to the monastery) backed by abrupt cliffs, in which
is a most interesting caverned Chapel of the earliest Chris-
tian Art in the north, adorned with rude frescoes much like
those in the Roman catacombs. From the outer cave, a
roughly-hewn passage leads into this tiny sanctuary ; both
retain their ancient mosaic pavements. Over the centre of
the vault is the Saviour in benediction : over the altar, S.
Michael between SS. Nazaro and Celso ; on the left is a
tomb which has never been opened. The proprietor kindly
allows the chapel to be visited on application at the house
adjoining the church.
" The most ancient pictorial remains in the Venetian territory, I be-
lieve to be in a subterraneous part of the nunnery of SS. Nazaro e Celso
at Verona. In this, which was formerly the Chapel of the Faithful, are
represented several mysteries of our redemption ; some apostles, some
holy martyrs, and in particular the transit of righteous souls from this life,
assisted by S. Michael the Archangel. Here the symbols, the workman-
ship, the attitudes, the drapery of the figures, united with the characters,
do not permit us to doubt that the painting must be much earlier than
the revival of the arts in Italy." Lanzi.
PINACOTECA. 295
Returning by the Via Porta Vescovo and the Strada
Vicentina to the river, a little to the left, on the Rigosta
Porta Vittoria, is the Palazzo Pompei, one of the earliest
works of Sanmichele, used since 1854 as the Museo Civico.
On the ground floor is the clock erected by Can-Signorio in
the Piazza delle Erbe. On the upper floor is the Pinacoteca,
which was entirely re-arranged in 1875, owing to Cav. Ber-
nasconi, a former Conservatorio. having bequeathed all his
collections to it : they occupy the first three rooms, and in-
clude some of the best pictures.
(Open daily for a small buono-mano to the Custode.)
\st Hall
12. M. A. Caravaggio. Joseph's coat brought to Jacob.
22. Bonifazio. Last Supper.
28. Schidone. Adoration of the Shepherds.
31. Paul Veronese. Baptism of Christ.
34. Perugino. Holy Family and Angels.
52. Titian. Holy Family.
68. Bonifazio. Noah and his sons,
74. Bassano. Adoration of the Shepherds.
2nd Hall.
86. Giovanni Bellini. Presentation in the Temple.
87. Raffaelle. (?) Adoration of the Magi.
138. Fr. Morone. Four pictures of saints.
141. Parmigianino . Holy Family.
151. Fr. Francia. Madonna and Child with saints.
4/A Hall
351. Francesco Carotto. SS. Francis, Antonio, Bernardino, and
Chiara.
The works of this master (14701546), are rare out of Verona, and
should be studied here. " Carotto may be compared to Razzi in the
general tendency of his style, and the success with which he followed it up ;
like the Veronese painter too, he is less known than he deserves. He was
educated in the school of Andrea Mantegna, but has little in common
with him ; he inclines much more to the manner of Leonardo, and must
296 ITALIAN CITIES.
have derived his peculiar taste from the influence of that master : in his
later works, however, there is an evident approach to Raphael's style.
The warm and well-blended colouring of this artist forms a peculiar con-
trast to the severe style of his drawing." Kilgler.
351. Giolfino. Madonna and Child.
364. Girolamo del Libri. Baptism of Christ.
367. Id. Virgin and Child between S. Sebastian and S. Roch.
Paul Veronese. Count Pace Guarienti.
$th HalL
393. Girolamo'dei Libri. The Virgin with SS. J. Baptist, Jerome,
and Joseph, adoring the Infant Saviour. Two rabbits in the
foreground.
375. Id. Madonna throned. S. Raphael presents the young Tobias.
376. Id. Madonna and saints.
392. Id. Madonna and Child, with saints.
6th Hall.
418, 419, 420. Paolo Morando della Cavatzola. The Passion. These
and a number of pictures of saints in the last room formed one
large altar-piece in the Convent of S. Chiara.
" A marvellous transition from the realism of the 1 5th century to the
noble free character of the i6th, not to an empty idealism." Burck-
hardt.
428. Carlo Crivelli. Madonna and Child. Children present the
emblems of the Passion. In the distant landscape the whole
story of the Passion is prefigured a very curious picture from
the Barbini-Braganzi collection. Signed "opus Raroli Cri-
velli Veneti."
431. Francesco Benaglio, 1487. Madonna and Child with two bishops
and angels, from S. Silvestro. This may be observed as a
specimen of the master, who lived in a weak period of art at
Bologna. There are many of his pictures here.
433. Cimabue (?). Thirty small pictures from the life of Christ.
435. Vittore Pisano or Pisanello (ob. 1451). Madonna seated in a
garden of flowers with saints and angels. The halo round the
Virgin's head is adorned with peacock's feathers, a quail hops
upon her robe, and peacocks strut past. A good specimen
of Pisanello, whose chief power lay in his birds and quad-
rupeds, and who painted in such detail that Guerino says he
S. PER MO MAGGIORE. 297
"could represent the sweat on a labourer's brow, or the
neighing of his horses. "
438. Jacopo Bellini (father of Giovanni and Gentile). The Cruci-
fixion tempera.
446. Giov. Maria Fakonetto. Augustus and the sibyl who foretold
the birth of the Saviour. This picture is often attributed to
S. Squarcione (probably Turone), 1394 1474.
3^ Hall
220. Paolo Farinati. Victory of the Lombards over Frederick Bar-
barossa, 1164.
224. Felice Brusasorci. Victory of the Veronese over the Brescians,
We must now cross the bridge opposite the Museo the
Ponte delle Navi, which in 1757, when the then bridge was
destroyed by a flood, was the scene of the valiant deed of
the " Brave Man of Pojano," who saved, at the peril of his
life, the toll-keeper, his wife, and child, who lived in a
cottage on the centre of the bridge. The feat was described
ten years after in the poems of Gottfried Burger. A fresco
on the neighbouring Casa Cipolla shows the original form of
the bridge.
On the other side of the bridge is the grand Church of S.
Fermo Maggiore, founded as early as 751, though the earliest
part of the existing building, the crypt, only dates from
1065. The church is of brick with layers of marble intro-
duced. Against the facade is raised the canopied sarco-
phagus of Aventino Fracastoro, physician in ordinary of
Can Grande. The apse is very picturesque, and the north
porch is very fine ; the jambs of its doorway are of black,
white, and red marble alternated.
The Interior (1313 1332) has a single wide nave with a
curious wooden roof. It contains :
298 ITALIAN CITIES.
Over the Entrance. Turone. (?) A fresco of the Crucifixion with
saints standing round.
Right. The pulpit corbelled out of the south wall, and exceedingly
picturesque, is by Morani da Modena. * On the sides are heads of pro-
phets and others in fresco, and the inscription, " Opus Martini." In the
neighbouring chapel is a beautiful tomb of one of the Morani.
yd Altar. Francesco Torbido. Madonna and saints.
South Transept. Urns of Pietro and Ludovico Alighieri, erected by
their brother Francesco, the last male descendant of Dante. His
daughter married into the Veronese family of Serego, which, as Serego-
Alighieri, still represents the poet.
" II n'y a pour 1'imagination qu'un Dante Alighieri; pourtant il y en a
eu plusieurs dans la re'alite. La famille du poete se fixa a Verone et s'y
maintint pendant deux ou trois generations. Le dernier rejeton de la
ligne masculine qui provenait du grand poete a fait clever deux monu-
ments a deux fils de Dante. Sur 1'un des tombeaux on lit : 'A Pierre
Alighieri Dante III., savant dans le grec et le latin, epoux incomparable :'
sur 1'autre: 'A Louis Alighieri, Dante IV., jurisconsulte orne de
toutes les vertus.' Malgre ces pompeuses epitaphes, et bien que 1'un des
deux freres fut un epoux incomparable, titre auquel son pere n'eut peut-
etre ose pretendre, on n'est pas fache de savoir que la famille a fini avec
ces savants et qu'on n'est pas expose a rencontrer le signore Dante en-
seignant les racines grecques ou les Institutes. Une seule chose me plait
dans les inscriptions funeraires que je viens de rapporter, c'est le chiffre
place apres le nom illustre ; Dante III., Dante IV. ; on dirait une dyn-
astie. ' ' A mpere.
Choir. Bronze Crucifix by Battista da Verona. On the outer wall
of the choir, a fresco, attributed to Pisanello, introduces the two founders
of the church, Fra Daniele Guzman and the Count of Castelbarco.
Chapel left of Choir. Liberali. S. Anthony.
Chapel opening from North Transept. Tomb of Girolamo and Marc-
Antonio della Torre (father and son), decorated with bronzes by Andrea
Riccio, the architect of S. Giustina of Padua. The best have been
stolen by the French, and are still at the Louvre, those here being copies.
Chapel of the Sacrament. Caroto. "The Madonna with S. Anne
floats on a cloud above four saints in strong action, who are rather given
like portraits than as ideal figures." Burckhardt.
Over the side door, in a Gothic arch, is a Crucifixion of the end of the
1 4th century.
As colour, this bit of church interior is quite beautiful, and the artist will find no
better subject in Italy morning light.
ROMEO AND JULIET. 299
Left of principal Entrance. Tomb of the Brenzoni (i5th-cent.) by
Giovanni Russi. Over this are frescoes by Pisanello an Annunci-
ation, &c.
Left, from S. Fermo, the Via Filippini leads to the Garden
of the Orfanotrofio (Vicolo delle Franceschine), where is a
trough of Verona marble, pointed out as the tomb of Juliet.
It may be visited out of pure sentiment. The tomb which
was shown here in the last century was all chopped up
long ago by relic hunters, and French and English ladies
are wearing it in bracelets. In returning (past S. Fermo
again) we may observe, in the Via Leone, the picturesque
Roman fragment called A no dei Leone, and in the Via S.
Sebastiano, formerly Cappello, an Inn called the Osteria del
Cappello, which is supposed to be a remnant of the Palace
of the Capulets. That these " Cappelletti " were really an
illustrious and formidable family, we learn from Dante :
"Vieni a veder Montecchi e Capelletti
Monaldi e Filippeschi, uom senza cura,
Color gia tristi, e costor con sospetti. "
Purgatorio, vi. 107.
The love-story of Romeo and Juliet which has been
popularized throughout all Italy by Verdi, is said to have
occurred in 1302, the reign of Bartolommeo della Scala, but
only one chronicler, Girolamo della Corte, mentions the
story as a historical fact. Many such may have grown out
of the contentions of great families who were such close
neighbours as the Montecchi and Cappelletti. Shakspeare
tells the story in the introductory lines of his tragedy
" Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
300 ITALIAN CITIES.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life ;
Whose misadventured piteous overthrows
Do, with their death, bury their parents' strife. "
"Les Capuletti et les Montecchi pourraient encore se quereller dans
les rues de Verone, et Tybalt y tuer Mercutio ; la decoration n'est
pas changee : la tragedie de Shakspeare est merveilleusement exacte. A
Verone, comme dans une ville espagnole, il n'y a pas une maison sans
balcon, et 1'echelle de soie n'a qu'a choisir. Peu de villes ont mieux
conserve le cachet moyen age: les arcades ogivales, les fenetres en
trefles, les balcons decoupes, les maisons a piliers, les coins de rue
sculftes, les grands hotels aux marteaux de bronze, aux grilles ouvrages,
ou 1' entablement couronne de statues brille de details d'architecture que
le crayon seul peut rendre, vous reportent aux temps passes, et 1'on est
tout etonne de voir circuler dans les rues des gens habilles a la
moderne. " Theophik Gautier.
The fortifications of Verona must not pass unnoticed.
They are of five different periods, i. The walls of Galli-
enus, of which only a few vestiges remain some in the
Piazza Bra, behind the Amphitheatre. 2. The walls of
Theodoric. 3. The walls on the left of the Adige, attri-
buted to Charlemagne. 4. The walls of the Scaligers, built
in great measure upon those of Theodoric. 5. The walls
of Sanmicheli, who was the first to introduce triangular
and pentangular bastions.
A short distance beyond the Porta Vescovile (near SS.
Nazaro and Celso), is the village of 6". Michele, where the
famous architect Michele Sanmicheli was born 1484. The
Church of La Madonna di Campagna was built from his
designs. Its best pictures have been removed to the Pinaco-
teca.
"Verona, qui te viderit,
Et non amarit protinus,
Amore perditissimo,
SLOVINO DI S. MARCO. 301
Is, credo, se ipsum non amat,
Caretque amandi sensibus,
Et odit omnes gratias." Cotta.
An excursion should be made from Verona for the day to
Quinto, where the Church of S. Maria della Stella has a
most curious crypt, with a clear stream flowing through it.
In the hills beyond this, at the head of the Val Pantena, is
the extraordinary natural arch, 150 in span, called Ponte della
Veja, over a small cascade. It is said to have served Dante
as a model for his bridges in the Inferno. North of this, in
the Val Lunella, rises the Monte di Bolca, exceedingly in-
teresting to geologists.
Lovers of Dante should visit Gargagnano, where he is
supposed to have written the Purgatorio, and where he
possessed some property. Also, in the valley of the Adige,
between Ala and Roveredo (accessible by the railway to
Trent and visible from the line), 'the extraordinary chaos of
rocks and stones called the Slovino di San Marco, said to
have been an avalanche from the mountain-side, which over-
whelmed a town on this site in 845, and which is described
by Dante to give an idea of one of the barriers of hell :
" Era lo loco ove a scender la riva
Venimmo, alpestro, e per quel ch'ivi er'anco,
Tal, ch'ogni vista ne sarebbe schiva.
Qual'e quella ruina che nel fianco
Di qua da Trento 1'Adice percosse,
O per tremuoto o per sostegno manco ;
Che da cima del monte, onde si mosse,
Al piano e si la roccia discoscesa,
Ch'alcuna via darebbe a chi su fosse." Inf. xii.
CHAPTER XVII.
MANTUA.
It is 22 miles from Verona to Mantua, and the railway journey occu-
pies rather more than an hour from the Porta Nuova Station at Verona.
I. 4 frs. 40 c. II. 3 frs. 20 c. III. 2 frs. 30 c. We pass :
J7ILLAFRANCA Station. Here the treaty of Villa-
franca was concluded, July u, 1859, between the
Emperors of France and Austria, by which Lombardy was
given back to the Italians. The great ruined Castle is of
the 1 4th .century. In the old church is a Madonna of
Brusasorci. The new church is a copy of the Redentore at
Venice.
A little to the right is Ctistozza, where Radetzky gained
(July 25, 1848) his victory over the Piedmontese, and
where (June 25, 1866) the Archduke Albert also defeated
the Italians.
(It is about i hour's drive (carriage 5 frs.) from hence to
Valeggio, a small town situated beneath one of the finest
ruined castles in this district, which has five smaller towers
grouped around its tall keep. The valley beneath the
castle is crossed by a curious low fortified causeway, built
by Giov. Galeazzo Visconti in 1393. It is defended by a
VALEGG1O. 303
succession of towers now half-buried in shrubs and ivy, and,
in the centre, are two larger, more massive towers, guarding
the (now broken) bridge over the (here) swift-flowing Mincio.
All this sounds like a beautiful artist's subject, but, some-
how, it fails in the composition.)
"Was the way to Mantua as beautiful, when Romeo was banished
thither, I wonder ! Did it wind through pasture land as green, bright
with the same glancing streams, and dotted with fresh clumps of graceful
trees ! Those purple mountains lay on the horizon, then, for certain ;
and the dresses of these peasant girls, who wear a great, knobbed, silver
pin through their hair behind, can hardly be much changed. Mantua
itself must have broken on him in the prospect, with its towers, and
walls, and water, as it does now. He made the same sharp twists and
turns, perhaps, over the rumbling drawbridges ; passed through the
like long, covered, wooden bridge ; and leaving the marshy water
behind, approached the rusty gate of stagnant Mantua. " Dickens.
(Inns. Aquila d'Oro, best ; Croce Verde.
Carriages. The course 60 c., the hour i| fr., each hour after, I fr. ;
for the afternoon to the Palazzo del Te and S. Maria delle Grazie, 5 frs. )
Mantua, of Etruscan origin, became known to the world in very
early times, through the verses of Virgil, who acknowledges it as his
fatherland, and says that it derives its name from the prophetic nymph
Manto, the daughter of Tiresias.
" Ille etiam patriis agmen ciet Ocnus ab oris,
Fatidicae Mantus et Tusci films amnis,
Qui muros matrisque dedit tibi, Mantua, nomen,
Mantua, dives avis : sed non genus omnibus unum ;
Gens ille triplex, populi sub gente quaterni ;
Ipsa caput populis : Tusco de sanguine vires." ^#. x. 198.
After the fall of the Western Empire, Mantua fell into the possess-
ion of various rulers of Upper Italy. Alboin conquered it in 509. The
Exarchate took it from Autharis in 590, in 603 Alboin reunited it to the
Lombard kingdom. Charlemagne is said to have fortified the town.
The Emperor Otho II. gave it as a fief to Tebaldo, Count of Canossa,
and thus it came to his granddaughter the famous Matilda of Tuscany.
When Henry IV. entered Italy it fell into his hands, but was reconquered
by Matilda after his death. In 1167 it joined the Lombard league and
304 ITALIAN CITIES.
was ruled by its own consuls. In 1183 the two great bridges were built,
and the 12 mills on the Ponte S. Giorgio were erected. In the thirteenth
century a succession of rulers of the Buonacolsi family seized the govern-
ment by force ; under Guido, surnamed Bottigella, the building of the
afterwards Ducal Palace was begun in 1302. His successor Rinaldo
Buonacolsi, being a zealous Ghibelline, obtained from Henry VII. the
title of Imperial Vicar, with Mantua as a fief. His exactions in favour
of the Emperor led to an insurrection of the people under Luigi Gonzaga,
who was chosen Signore in his place, and in 1329 received the title of
Imperial Vicar from the Emperor Louis the Bavarian. He was the
founder of a dynasty, and of a family whose members intermarried with
the principal royal families of Europe. In the time of Luigi Gonzaga,
Mantua had 28,000 inhabitants, and an immense jurisdiction. Guido,
son of Luigi, was a friend of Petrarch. Mantua continued to prosper
under the rule of the Gonzagas. Under Ludovico (1444 1478) called
" II Turco " on account of his long beard, S. Andrea was built by the
celebrated architect Alberti, the Palazzo Belvidere and the Great Hos-
pital were erected, and a printing press established, where Boccaccio's
Decameron was published in 1472. Under Luigi Bodomonte, son of
Lodovico, the friend and companion of Charles V. , the Museum was
founded. The eighth Gonzaga, Gian- Francesco III. (1484 1519) was
a great patron of literature, and Bembo, Ariosto, and the father of
Tasso, sent their works to his court, which was the most distinguished
in Italy after the dissolution of that of Urbino in 1518. His wife,
Isabella d'Este, was one of the greatest connoisseurs in art of her time.
Of his younger sons, Ercole was cardinal and governor of Monferrat,
and in 1559 President of the Council of Trent ; Ferrante was the founder
of the line of Guastalla. His successor Federigo (1519 1540) was
created first Duke of Mantua, because of his fidelity to Charles VI. ,
who visited the town in 1530. Federigo was the builder of the Palazzo
del Te, and the great patron of Giulio Romano, but in his reign (1528)
the plague swept away two-thirds of the population.
Under the nth Gonzaga the town increased again to 40,000 in-
habitants. He built the costly summer palace. Vincenzo (1589 1612)
squandered the treasures of the state in the utmost extravagance. His
three sons by Eleonora dei Medici all came to the throne, but left no
descendants.
The refusal of the Emperor Francis to recognize the next heir
Charles, Duke of Nevers, whose cause was espoused by France, led to
the " war of the succession of Mantua," in which the town was cruelly
plundered by the Imperial troops. In 1631 Charles at length obtained
an investiture of Mantua from Ferdinand II., who was in need of his
troops. The last Gonzaga was Ferdinand X. (1605 1707), "whose life
APPROACH TO MANTUA. 305
was the most foolish and inglorious of modern times." He fled to
France during the war of the Spanish succession, and in 1785 the
Duchy was united with Austrian Lombardy. The town was taken by
the French in 1 797 after a siege of eight months, and retaken in the
same year by the Austrians, after three months blockade and four days
bombardment. In the peace of Villafranca (1859) it fell to Venice as a
river fortress of the first rank, in the celebrated quadrangle of fortresses
Peschiera, Mantua, Verona, and Legnano. Mantua became part of
the kingdom of Victor Emanuel in 1 866.
In art Mantua owed everything to the house of Gonzaga. It did not
possess any great artists of its own, but Leon Battista Alberti and Andrea
Mantegna (head of the Paduan school of painters) were drawn into the
service of Duke Ludovico, and Giulio Romano into that of Duke Fede-
rigo. The town is full of the works of Giulio, and it is only in Mantua
that one can become really acquainted with him. The death-blow of
art in Mantua was given by the death of Giulio (1546), concerning whom
Cardinal Ercole Gonzaga wrote to his brother: "We have lost our
Giulio Romano, so greatly to my grief that I feel as if I had lost my right
hand. To see the good in the evil, I feel that the death of so rare a
character will at least cure me of my longing after buildings, plate,
pictures, &c. , for I shall never have courage to undertake anything with-
out the guiding power of that great genius."
The railway to Modena now passes through Mantua, and
crosses the lagoon just behind the bridge of the Argine del
Mulino, with a station in the modern town. But the
romance of the approach is thus totally destroyed, and all
good pedestrians who have time before them would do well
to leave the train at the old station of 6". Antonio. The ap-
proach to the town in this way is most picturesque. The
long lines of grey buildings, broken here and there by a tall
campanile, rise abruptly from the lagoons which surround
it. The fishing vessels flap their red sails close beneath
the windows of the houses. In the shallower parts of the
marsh masses of reeds rustle and sigh in the wind the very
reeds described by Virgil as a characteristic feature of his
native place :
306 ITALIAN CITIES.
" Hie virides tenera prsetexit arundine ripas
Mincius." *
Indeed the scenery constantly reminds one of Virgil,
especially in the stealthy flow of the winding Mincio :
" tardis ingens ubi flexibus errat
Mincius." f Georg. iii. 13.
Mantua.
We pass through the fortifications of the Citadel. Here
Andrew Hofer, the brave chief of the Tyrolese insurgents,
having been betrayed in his refuge at Passeyr by a priest
named Douay, was brought to trial, and, though the majority
of his judges voted against it, was shot in obedience to a
telegraph from Milan, Feb. 20, 1810.
Beyond this we enter the extraordinary covered bridge
called Argine del Mulino by a fortified gateway. The bridge
divides the part of the Lagoon (left) called Lago di Mezzo
from that (right) called Lago Superiore. The water above
being on a higher level, turns the wheels of the 12 mills
* " Here wanton Mincius winds along the meads,
And shades his happy banks with bending reeds." Dryden.
t " Where the slow Mincius through the valleys strays." Drydcn.
MANTOVA LA GLORIOSA. 307
which join the bridge, and which bear the names of the 1 2
apostles. Near the Porta Mulina is a little mill which was
built in the beginning of the i5th century.
As you enter Mantua on this side you feel as if you had
left the outer world altogether. The bridge is a prepara-
tion and the vast lagoon with the wind waving its miles
upon miles of bulrushes.
But when you tread the deserted and silent streets in the
older town, and the five squares of the deserted palace, so
solemn in their utterly decaying and mouldering splendour,
you feel as if you were dead as if this was some strange
intermediate state, in which all things were patiently waiting.
All is placid stagnant decay. Nothing looks as if it were
ever put into repair. The buildings seem to stand by their
own indestructible mightiness and magnitude. Grass grows
on the parapets, grass grows on the roofs, grass grows
in the streets. All is damp, and mossy, and mouldy.
When a human figure comes stealthily round a corner it
startles you that anything can be living here besides yourself.
And yet, when the sky is blue, and when the long shadows
fall crisp and clear on the old brick piazzas, and the vast
lagoon glistens like a silver mirror, and the endless arches of
the bridge lengthen out their shadows in the still shallow
water, Mantua is unspeakably beautiful !
The centre of past life and present death in Mantua is the
Piazza S. Pietro, where nearly all that was once most im-
portant in Mantova la Gloriosa, stands grouped around a
desolate square. On the right (as we stand with our backs
towards the town), is the vast Castello di Corte, the palace
of the Gonzagas, into which several later palaces have in the
lapse of centuries been incorporated. On the left is the
308
ITALIAN CITIES.
Duomo, the Palazzo Castiglione, and the tall tower called
Torre della Gabbia with the iron cage hanging from it in
which criminals used to be exposed for three hours on three
successive days. Close to this is the Torre del Zuccaro, and
behind soars the graceful dome of S. Andrea.
Piazza S. Pietro, Manlua.
Of the ancient Duomo di S. Pietro, there is very little
remaining except one of the side-walls and the unfinished
tower. The church, as it now stands, is the work of Giulio
Romano. The pillars are Corinthian, and the wooden roof
very richly gilt. The Cappella dell' Incoronata is by L. B.
Alberti. The only picture which is even worth notice, is
a fresco in the chapel of the Crocefisso, now covered with
glass, attributed to Mantegna. At the end of the left aisle
PALAZZO DUCALE. 309
is an ancient marble sarcophagus appropriated as the tomb
of S. Giovanni Boni, 1248.
The Palazzo Ducale, sadly spoilt by recent white-wash
(entrance by the 2nd door on the right), was begun in 1302
by Guido Buonacorsi, third sovereign lord of Mantua. The
front is of his time, and most of the side towards the Corte
di Pallone, but the interior was transformed by Giulio
Romano, and has become quite a museum of the precious
thoughts, both pictorial and architectural, of that artist and
his followers.
"Giulio Romano considered it mere amusement to adorn the Palace
of Mantua and the great suburban Palazzo del Te. So many chambers
with gilded entablatures ; such a variety of beautiful stucco work ; so
many stories and capricci finely conceived and connected with one an-
other, besides such a diversity of colours adapted to different places
and subjects, altogether form a collection of wonders, the honours of
which Giulio divided with no other artist. For he himself conceived,
composed, and completed these vast undertakings." Lanzi.
The Uffirio di Custodia, formerly the Scalcheria, has fres-
coes of Giulio Romano, representing the Chase of Diana ;
over the chimney-piece is Venus in the Workshop of Vulcan ;
on the ceiling, Apollo.
The rest of the apartments are shown in the following
order :
The rooms, with modern decorations, prepared for Maria Louisa,
widow of Napoleon I.
The Sala del Fiume , with frescoes of the rivers in the Mantovan
territory.
The Camera del Zodiaco, with paintings of the signs of the Zodiac by
Lorenzo Costa, who was a native of Mantua.
The Camere degli Arazzi, once hung with tapestries from the designs
of Raphael, carried off by the Austrians.
The Galleria dei Quadri, filled with indifferent pictures. Two good
busts of members of the Pico family.
310 ITALIAN CITIES.
The Galleria degli Specchi, a very handsome room decorated by the
pupils of Giulio.
(On right) The Camere Vicereali, prepared for Prince Eugene Beau-
harnois. The Camere Ducale, with splendid ceilings, especially that of
the Labyrinth. Room (copied at Ford Castle in England), with the
inscription, " Forse che si, forse che no," often repeated, put up by
Duke Vincenzo in time of war, when doubtful of his success.
The rooms called // Paradiso, prepared for Isabella d'Este, wife of
Francis III., Marquis of Mantua.
From the end of the Galleria del Specchi we pass, by long
corridors, to the older parts of the palace, and enter the
Sala del fifarmi, or di Mantegna, with beautiful arabesque designs
from his hand, some of them of quite extraordinary loveliness. In the
medallions of the ceiling are groups of cherubs.
The adjoining Sala di Troja is painted entirely by Giulio Romano
himself with scenes from the story of the Trojan war, but they are very
unequal in execution, and very inferior to his works at the Palazzo
del Te.
On leaving the Sala dei Marmi, from a loggia, you look down upon
a court designed by Giulio. In the time of the Dukes this was almost
entirely enclosed with glass.
A number of old rooms succeed, which are in the
Castello di Corte, the ancient castle of the Gonzagas, built
by Bertolino Novara for Francesco Gonzaga IV. between
1393 and 1406. It is the part of the palace nearest the
Ponte S. Giorgio, and looks out over the Lago di Mezzo.
These rooms should be especially asked for, otherwise they
are not shown. They have magnificent decaying ceilings.
The Sala di Primaticrio has lovely decorations from his
designs in stucco. In another room is the only perfect fresco
of Mantegna, representing some of the first Mantuan captains
taking the oath. One room is filled with portraits of the
Gonzaga family and of that of Pico, to which they were
related. The Gabinettini al Raffaellesco have exquisite
arabesques by Giulio Romano; they look down upon the
MUSEO. PIAZZA VIRG1LIANA. 311
Corte di Cani, where the Gonzaga dogs were kept. The
Sala della Storia Naturale has decorations by Primaticcio.
Opposite the Palazzo Ducale are three Palaces. Nearest
the cathedral is the Palazzo Bianchi, with a sculptured
portal ; then the Gothic Palace of CastigHont, who wrote " II
Cortegiano " : nearest to the Torre della Gabbia, the Palazzo
Guerrieri.
The road which passes round the corner of the Palazzo
Ducale by the Castello di Corte, leads to the Ponte S.
Giorgio, an immense bridge across the lake, 2500 ft. long,
built in 1401.
Close to the Palazzo Ducale, in the Contrada della SS.
Trinita, is the Museo, containing a number of fragments of
ancient sculpture : the best :
198. Torso of Venus.
210. Apollo and a bay tree, round which twists the serpent, the sym-
bol of wisdom.
287. Bust of Homer the nose a restoration.
In the same building is the Public Library.
The Contrada del Vescovado, between the Palazzo
Bianchi and the Cathedral, leads to the Piazza called
Virgiliana, in honour of Virgil.
" Mantua mittenda certavit pube Cremonae:
Mantua Musarum domus, atque ad sidera cantu
Evecta Andino, et Smyrnaeis semula plectris. " Sil. Ital. viii. 594.
The actual birth-place of the poet, however, was a village
called Andes in the Mantuan territory,* which is supposed
to be identical with Pietola, about 3 miles distant. It is thus
extolled by Dante :
" E quell' ombragentil per cui si noma
Pietola piu die villa Mantovana. " Purg. xviii.
* Donatus. Vit. Virg. \.
312 ITALIAN CITIES.
Returning through the Piazza S. Pietro, the Via Broletto
leads to the Piazza Dante, decorated with a statue of Dante
in 1871. Here is a noble gateway of brick and stone mixed
(restored 1874), and, on the left, under a beautiful Gothic
canopy, a seated figure of Virgil with a book, probably of
the 1 4th century.
Just beyond is the Piazza delle Erbe, containing the
Palazzo della Ragione, built 1 198 1250 : it has a campanile
with a Dondi clock. At the angle of the piazza is a house
with most admirable terra-cotta ornaments.
On the right is the noble Church of S. Andrea, built from
designs of Leon Battista Alberti. It was begun in 1732, but
not finished till 1781. The cupola was added by Juvara.
The fagade is exceedingly simple, with one noble triumphal
arch, with deeply recessed portico, and four Corinthian
columns sustaining a gabled front.
" S. Andrea, the work of Alberti, is interesting in a historical point
of view, as being the type of all those churches which, from S.
Peter's downwards, have been erected in Italy and in most parts
of Europe during the last three centuries. . . . The dimensions of
the church are considerable, being 317 ft. long internally, and the
nave and transepts are each 53 ft. wide by 95 in height, but owing
to the simplicity of the parts it appears even larger than it really
is. The great charm, however, is the beauty of its proportions, the ex-
treme elegance of every part, and the appropriateness of the modes in
which Classical details are used, without the least violence or straining.
The exterior never was finished, except the entrance front, and this is
worthy of the interior. Nothing in the style is grander than the great
central arch, well supported on either side, and crowned by a simple
unbroken pediment." Fergusson.
The noble brick campanile is a remnant of the basilica of
14721494.
" The detail of this is throughout very fine. The tracery is all of a
kind of plate-tracery, consisting, that is to say, of cusped circles pierced
S. ANDREA. PALAZZO DEL TE. 313
in a tympanum within an enclosing arch ; the shafts between the lights
are of polished marble, and coupled one behind the other. " Street.
The church contains :
Right, 1st Chapel. Giulio Arrivabene. S. Antony admonishing
Ezzelino.
yd Chapel. A sarcophagus supposed to contain the remains of S.
Longinus, the Roman centurion, who stood by the cross and pierced
the side of our Saviour. The frescoes are from designs of Giulio
Romano. They represent the Crucifixion and the bringing of the
miraculous blood of our Saviour to Mantua by S. Longinus.
South Transept. Tomb of Bishop Andreasi, 1549, by Prospero de-
menti. Tombs of the Donati family, 1581.
Apse of Chair. Anselmi. Fresco of the martyrdom of S. Andrew.
A kneeling statue of Duke Guglielmo Gonzaga, founder of the church.
The frescoes of the cupola are by Campi.
North Transept. Tombs of Pietro Strozzi, 1529, and of Count
Andreasi, from designs of Giulio Romano.
1st Chapel left of Entrance. Tomb of Andrea Mantegna, ob. 1506,
with a bronze bust by Sperandio, erected in 1560, by Andrea, nephew
of the artist. Under the bust is inscribed, "Esse parem hunc noris, si
non praeponis Apelli. Enese Mantinae, qui simulacra vides."
Giovanni Santi places Mantegna at head of painters of
his time because of his skill in perspective and fore-shorten-
ing.
" Perche de tucti i membri de tale arte
Lo integro e chiaro corpo lui possede
Piu che huom de Italia o dele externe parte. "
Hence, following the Via S. Sebastiano, we pass (right)
the Church of S. Sebastiano, now desecrated, but a good
work of L. B. Alberti of 1460 ; and (right) the Casa di
Mantegna, given to him by the Gonzagas.
Here is the Porta Pusterla, a little beyond which, in a
grove of plane-trees, is the famous Palazzo del Te (sometimes
written The, and probably an abbreviation from Theyetto or
Taglietto).
" Mounted on a horse which was presented to him by the Marquis,
3H ITALIAN CITIES.
Giulio Romano rode forth in his company to a spot without the walls,
where his Excellency had a place with some stables, called the T,
situated in the midst of meadows, and where he kept his breeding stud.
Here, the Marquis announced that, without destroying the old walls, he
would like to have a small building arranged to which he might some-
times resort for amusement.
"Giulio availed himself of the old walls, and in the principal space at
his disposal, erected the first hall which is seen on entering, with the
chambers on each side of it, and as there is no stone in the place, nor
any quarries whence it could be excavated, he contented himself with
bricks and other substitutes, which he covered with stucco, and out of
these materials made columns, bases, capitals, cornices, doors, and
windows, all in the most perfect proportion and beautifully decorated. . .
All which induced the Marquis to change his purpose, and, from a small
beginning, he determined that the whole edifice should be arranged as a
great palace.
"Giulio thereupon constructed a most beautiful model, the outer walls,
as also the interior towards the court-yard, being in the rustic manner.
The building is a rectangle with an open court in the centre, which is
rather like a meadow or public square, into which four ways open in the
form of a cross ; one conducts into a very wide loggia, whence another
entrance leads to the gardens, while two others open into various
apartments, all of which are decorated with stucco-work and paintings."
Vasari.
From the ante-chamber on the left we enter :
I. Camera del Cavalli. Portraits of the horses of the Marquis Fed erigo
Gonzaga, designed by G. Romano, and executed in fresco by his pupils
Benedetto Pagni and Rinaldo da Mantova. It was the success of this
room which decided the Gonzaga to build a palace instead of a hunting-
lodge.
II. Camera di Psiche. Wonderfully gay and rich in colour. The
walls are covered with the story of Psyche in fresco. In the centre of
the vaulting is the marriage of Cupid and Psyche. The lunettes which
are in oil are considerably blackened. Some of the scenes are ex-
ceedingly erotic. The whole are by Rinaldo de Mantova and Benedetto
da Peseta from designs of G. Romano.
" Here, with very few graceful groups, we find an almost total indif-
ference to beautiful and noble forms, as well as to pure colouring ; and
these faults cannot be altogether laid to the charge of the assistants : a
coarseness of conception is visible throughout, which, in some of the
PALAZZO DEL TE. 315
pictures (that of Olimpia for example), can hardly be carried further."
Kiiglfr.
III. Camera del Zodiaco, by the scholars of Giulio.
IV. Camera di Faetonte a beautiful little chamber; the Fall of
Phaeton is represented in oil upon the ceiling by Giulio Romano.
V. Loggia di Davide, an open hall, with five reliefs from the life of
David. The ornaments by Primaticcio.
VI. Sala degli Stucchi, with friezes by Primaticcio and Giambattista
Mantovano from designs of G. Romano. They represent the triumphal
entrance of the Emperor Sigismund into Mantua in 1433. In the year
before he had created Gian Francesco Gonzaga Marquis of Mantua.
VII. Camera dei Cesari. . In the centre of the ceiling Julius Caesar is
burning the letters of his enemies. In the two lunettes in fresco, by
Giulio Romano, Alexander discovers a chest containing the writings
of Homer, and restores the wife of Mardonius.
VIII. Sala dei Giganti.
" Original and ingenious as he was, Giulio desired here to display all
his resources ; and determined to construct an apartment where the
masonry should be adapted to the requirements of the painting, in order
more effectually to deceive the eye of the spectator. Having first there-
fore secured this angle of the palace, which is on a marshy soil, by means
of double foundations of great depth, he caused a large circular chamber
to be erected, giving extraordinary thickness to the walls, to the end
that the four external angles of the same might have all the strength
required for the support of a double vaulting, which he proposed to
make in a round form, like that of a furnace. This done, he caused
the doors, windows, and mantelpiece of the room to be formed in rustic
masonry, purposely constructed so much out of square, and set together
in so disjointed and distorted a fashion, that they appeared to be really
leaning on one side, and as if they must necessarily fall into the room.
The apartment being thus strangely constructed, Giulio began to paint
it with the most extraordinary conceptions he could devise. The subject
he chose was Jupiter hurling his thunderbolt at the Giants, and having
caused the vaulting to represent the Olympic heaven, he placed there
the throne of Jove, foreshortened, as seen from below. . . Lower down
he has depicted Jupiter in anger hurling his thunderbolt at the Giants,
with Juno still further down, who is assisting him. Around them are
the Winds, represented by the most extraordinary faces, blowing towards
the earth, while the goddess Ops turns away with her lions at the terrible
roar of the thunders, as do the other gods and goddesses, especially
Venus, who is at the side of Mars, and Momus, who with extended
316 ITALIAN CITIES.
arms, seems to be anticipating that heaven itself will fall asunder, but
stands nevertheless immoveable, waiting for the end.
" The Graces also are filled with dread, and indeed all the gods, seized
with terror, are taking to flight, each in his chariot. The Moon, Saturn,
and Janus, turn to that part of the heaven which is least overwhelmed
with darkness, as if to flee as far as possible from such horrible tumult
and confusion, and also Neptune, who, with his dolphins, seems striving
to stay himself upon his trident, while Pallas, with the nine Muses, stands
watching the awful catastrophe which is taking place, as if questioning
what so dreadful an event may portend. Pan embraces, with supporting
arms, a nymph who is trembling with fear, and seems anxious to shelter
her from the flashes of lightning and fire with which the heavens are
filled. Bacchus and Silenus, with the Satyrs and Nymphs, show the
utmost terror and anxiety, Vulcan with his huge hammer on his shoulder
looks towards Hercules, who is speaking with Mercury of the crisis
which is occurring : near these is Pomona with terror-stricken aspect,
and the same feeling is evinced by Vertumnus and the other gods, who
are dispersed through the heaven.
" In the lower part, that is to say upon the walls, are the Giants,
some of whom, those who are nearest to Jupiter, have mountains and
enormous rocks upon their backs, which they support upon their power-
ful shoulders, intending to make a pale wherewith to scale the heavens,
where their ruin is preparing, where Jupiter is thundering, where all the
denizens of heaven are kindled with anger against them, and where the
whole assembly appears not only to have a sense of terror at the rash
presumption of those Giants, on whom it is casting mountains, but as if
apprehensive that the whole world was in confusion and coming to an
end. In this lower part of the painting, Giulio has also depicted
Briareus in a dark cavern almost covered with enormous masses of rock,
with other Giants lying crushed and some dead beneath the ruins of the
mountains. Through the cleft of another dark cave, moreover, which
is managed with infinite skill, other Giants are seen in full flight ; struck
by the thunderbolts of Jove, they seem also on the point of being crush-
ed, as the others are. In another part of the picture are still other
Giants, upon whom temples, columns, and other fragments are falling,
with immense slaughter and destruction of those proud assailants of the
gods. It is amidst these falling ruins that the fire-place of the apart-
ment is placed, and when the fire is lighted there, the Giants seem to be
burning in the flames. Here the master has pourtrayed Pluto in his
chariot ; drawn by meagre bare-boned horses, and accompanied by the
Furies, he is flying towards the centre." Vasari.
S. MARIA DELLE GRAZIE. 317
Some smaller rooms have exquisite arabesques by Giulio Romano.
"The Palazzo del Te stands in a swamp, and is, indeed, as singular
a place as I ever saw.
" Not for its dreariness, though it is very dreary. Not for its damp-
ness, though it is very damp. Not for its desolate condition, though it
is as desolate and neglected as house can be. But chiefly for the un-
accountable nightmares with which its interior has been decorated
(among other subjects of more delicate execution) by Giulio Romano.
There is a leering Giant over a chimney-piece, and there are dozens of
Giants (Titans warring with Jove) on the walls of another room, so in-
conceivably ugly and grotesque, that it is marvellous how any man
could have imagined such creatures. In the chamber in which they
abound, these monsters, with swollen faces and cracked cheeks, and
every kind of distortion of look and limb, are depicted as staggering
under the weighf of falling buildings, and being overwhelmed in the
ruins ; upheaving masses of rock, and burying themselves beneath ;
vainly striving to sustain the pillars of heavy roofs that topple down
upon their heads ; and, in a word, undergoing and doing every kind of
mad and demoniacal destruction. The figures are immensely large, and
exaggerated to the utmost pitch of uncouthness ; the colouring is harsh
and disagreeable ; and the whole effect more like (I should imagine) a
violent rush of blood to the head of the spectator, than any real picture
set before him by the hand of an artist. This apoplectic performance
was shown by a sickly-looking woman, whose appearance was referable,
I dare say, to the bad air of the marshes ; but it was difficult to help
feeling as if she were too much haunted by the Giants, and they
were frightening her to death, all alone in that exhausted cistern of a
palace, among the reeds and rushes, with the mists hovering about out-
side, and stalking round and round it continually." Dickens.
About 3^ miles from Mantua is the curious Church of S.
Maria delle Grazie, an ex vote, consecrated in 1399 by Fran-
cesco Gonzaga and the people of Mantua, in gratitude for
the cessation of the plague. It is one of the most curious
places of pilgrimage in Europe and is well worth a visit.
The acacia-fringed road leads across the Seregno, as the
marshy country round Mantua is called, and passes (right)
the brick church of S. Maria degli Angeli, and (left) a
Monument raised to the Tuscans who fell near this in 1848.
3i8 ITALIAN CITIES.
S. Maria delle Grazie is a handsome brick and terra-cotta
church, approached through a kind of street of relic-stalls.
In its outer cloister are frescoes commemorating benefits
supposed to have been obtained here, and, on the left of
the entrance, are cannon-balls which fell harmless in the
siege of Mantua, 1522, and were vowed afterwards by
Federigo Gonzaga. On entering the church you find your-
self between the double lines of a regiment of figures, life-
size, dressed, and coloured, arranged in niches along the
walls. Each represents some devotee, who thus wished to
express his gratitude to the Virgin, for graces which he
believed that he had received from her, and these figures
include Pope Pius II., Charles V., and his son Federigo
Gonzaga, and the Constable de Bourbon. Some of the
statues are most extraordinary, and the story of each is told
in rude verses beneath. Thus, a criminal, who appears
with the punishment of " the Cord " to which he was con-
demned, is supposed to say :
" Dalla fune ond' in alto era sospeso
Vergine benedetta io Te chiamai
Leger divenni, e non rimasi offeso."
Rinaldo della Volta, condemned to be beheaded, says :
" Per mio delitto condannato a morte
E in van datomi un colpo il giustiziere
L'altro sostenne per Tua destra forte. "
A soldier, with a wooden leg, exclaims :
" Nella guerra crudel mi fu troncato
Un di membri, ch' al corpo era sostegno
Quando Maria chiamai fu risanato."
Beneath a representation of angels drawing up a man,
S. MARIA DELLE GRAZIE. 319
with an immense stone tied round his neck, from a well, is
written :
" Fuor desto pozzo uscy libero e sciolto
Col grave sasso, che pendea al collo,
Perch' allor fui da le tue braccie accolto."
A figure standing beneath a gallows, of which the halter is
loosed, says :
" Io veggo e temo in cor lo stretto laccio
Ma quando penso che Tu 1'ai disciolto
Ribenedico il tuo pietoso braccio."
A converted Saracen attests :
" In mezzo rio camin di questa vita
D'ogni fedel nocchier fidata guida
Per noi se posta e Tu ne porgi aita."
But the most curious of all is a man represented fixed in
iron stocks with burning coals at his feet, who exclaims :
"Col fuoco appiedi, ahime, posto tra cappi
Sottrato fui dal barbaro tormento,
Perche devoto a Te, volger mi seppi. "
Piles of crutches of lame persons who have recovered, and
ex-voto pictures of every kind, appear in every available space
in the church. From the ceiling hangs a kind of little
Crocodile, of which the legend says that it attacked two
brothers in the neighbouring Curtatone, killed one brother,
and was killed by the other, who vowed its body to the
Virgin. Altogether S. Maria delle Grazie is quite unlike
any other place in Italy.
Here the House of Gonzaga and other illustrious Man-
tuans are buried. Among the monuments is that of Baltha-
sar Castiglione, "the Perfect Gentleman," who was the author
of " II Cortegiano," the friend of M. Angelo and Raffaelle.
He was twice painted by Raffaelle. He died at Toledo
320 ITALIAN CITIES.
(Feb. 2, 1529), but was brought here to rest in the tomb of
his young wife. His epitaph is by Bembo :
" Non ego nunc vivo, conjux dulcissima : vitam
Corpore namque tuo fata meam abstulerunt;
Sed vivam, tumulo cum tecum condar in isto,
lungenturque tuis ossibus ossa mea.
' ' Hyppolytse Taurellae, quse in ambiguo reliquit, utrum pulchrior an
castior fuerit. Primos juventse annos vix. Baldassar Castilion insatia-
biliter mserens posuit anno Dom MDXX."
The admiration in which Castiglione was held may be
seen in the verses of Mercantonio Flaminio :
" Felix Mantua, centiesque felix
Tantis Mantua dotibus beata ;
Sed felix magis, et magis beata,
Quod his temporibus, rudique sseclo
Magnum Castaliona protulisti. "
CHAPTER XVIII.
VICENZA.
(fnns. Hotel de la Ville Albergo Roma.)
IT is about one hour by quick train from Verona to
Vicenza 7 frs. : 5 frs. 10 c. The line passes
Caldiero Stat., where the sulphureous baths, known as
Calidarium in the first year of the Christian era, are still in
service, though somewhat neglected. Leaving the Scaliger
town of Soave to the left, and passing Villanuova, where the
campanile of the church was a fortified tower of the family
of San Bonifacio, we reach
Sambonifacio Stat. Three miles south of which is Arcola,
where Napoleon I. gained his victory over the Austrians,
Nov. 15 to 17, 1796.
Lonigo Stat. The village (right) is at the base of the
wooded volcanic hills of the Monti Berici.
Montebello Stat. On the heights are castles of the Mon-
tecchi, the Montagues of Shakespeare.
We enter Vicenza between the city and Monte Berico. A
pleasant walk lined with trees leads into the town. On the
left is seen a noble machicolated tower of the Scaligers,
VOL. I. 21
322
ITALIAN CITIES.
At Vicenza.
now serving as a campanile to the Church of S. Felice e
Fortunato. Just inside the Porta Castello, close to the
gardens of the Marchese Salvi, is the long-established
Inn, called Hotel de la Ville*
The History of Vicenza follows that of Padua, Verona, and Venice :
first with a constitution of its own, then subjugated by Ezzelino, stormed
by Frederick II. in 1236 and destroyed by fire, subjected to Padua, then
in 1311 to Can Grande della Scala, after 1387 to the Visconti, and after
1404 to Venice.
Vicenza is emphatically the city of Palladio, 1518 1580,
and owes all its characteristics to that great architect. Those
who cannot admire Palladio will not care about Vicenza.
But though many may quarrel with his details, there are few
who will fail to acknowledge the perfection of his propor-
* Pension of six francs a day includes everything.
PALLADIO AND MONTAGNA. 323
tions, and the wonderful way in which his windows, doors,
entablatures, and columns, are all related to, and all balance,
one another.
" Pallaclio was a man really and intrinsically great, and whose great-
ness was outwardly manifested. The chief difficulty with which this
man, like all modern architects, had to contend, was the suitable appli-
cation of the orders of columns to buildings for domestic or public use ;
there is always a contradiction in the combination of columns and walls.
But with what success has he not united them ! What an imposing
effect has the appearance of his buildings, at the sight of which one for-
gets that he is attempting to reconcile us to an isolation of the rules of
his art. There is, indeed, something divine in his designs, which may
be compared to the creations of a great poet, who, out of truth and
falsehood, can elaborate something which participates in both, and
which charms us with its borrowed existence." Goethe.
The palaces have also a great charm from the wealth of
verdure and bright flowers seen through their wide-opening
porticoes, giving such an idea of space and air within the
walls of the town .
What Palladio was to the architecture of Vicenza, such to
its art was Bartolomeo Montagna, 1475 1523, whose works,
wonderfully beautiful and characteristic as they are, are little
known out of his native place.*
"An Umbrian repose dwells in the lazy calm of his dramatis personas,
but the faces have peculiarities by which Montagna is always distin-
guished, a long oval, though not a simple, shape, a thin barrelled nose,
arched brows, a small mouth with a round projecting chin, and eyes of
great convexity guarded by broad and drooping upper lids." Crowe
and Cavalcaselle.
The sights which must not be omitted in Vicenza are
the Piazza dei Signori and Palazzo della Ragione; the
* Yet the works of Montagna, once in the churches of S. Michele and S. Rocco
at Vicenza, are not now to be looked for here. They are either lost, or removed to
the Brera Gallery at Milan. Those once in S. Bartolommeo are now in the Museo.
324
ITALIAN CITIES.
pictures at S. Stefano, S. Corona, and in the Pinacoteca ; the
Teatro Olimpico, and a general survey of the buildings of
Palladio, ending in a visit to the Rotonda, and the ascent to
Monte Berico.
The town is divided by the Corso, which ends at the Porta
Castello. Here, from the windows of our inn we may begin
our study of Palladian architecture, by looking down upon
the admirable, never-finished fragment of the Palazzo del
Conte Porto al Castello, generally known as the Ca' del
Diavolo.
Casa del Diavolo.
A little behind the hotel (right of the Corso), is the Duomo,
a Gothic building of 1235. The front is inlaid with red
marble. The nave is a single aisle with chapels. A great
staircase of red marble ascends to the choir, giving room for
a very lofty crypt which contains the ancient Lombard bath
for baptism by immersion. The church contains :
Left, yd Chapel. Frescoes by Giiolamo del Toso, c. 1526. The
PALAZZO DELL A RAGIONE. 325
altar-piece, by Bart. Montagna, represents the Virgin and Child with
SS Catherine and Lucia.
Against a pillar. Giacomo da Ponie. The Preaching of S. John
Baptist.
$th Chapel (del Sacramento). Bart. Montagna. The Glory of Para-
dise.
Facing the west end of the cathedral is the Palazzo
Loschi, which contains, or lately contained, a grand picture
of Christ bearing his cross, by Giorgione. Returning hence
to the Corso, we pass on the right the Palazzo Annibale
Tiene, a noble work of Palladia, completed by Scamozzi.
Beyond this, a side street, Contrada Morte, leads (right) to
the very picturesque Piazza del Signori, which is like the
Piazza S. Marco at Venice in miniature. At one end stand
the pillars which the Venetians erected in all the cities
which acknowledged their rule. Like the campanile of S.
Mark's also, the brick Torre del Orologio here soars up to a
height of 270 ft. But the great feature is the Basilica, or
Palazzo della Ragione, a Gothic building, encased by Palladio
(in 1550) in noble cloistered galleries of stone, which, in-
stead of marring, greatly add to its effectiveness. At the
west end is a modern statue of Palladio.
The Basilica was continued by Scamozzi into the adjoin-
ing Piazza della Biava, here under the name of Palazzo del
Commune.
Descending the street which faces the central passage of
the Basilica, the first turn on the right is the Contrada della
Luna, containing the Casa Pigafetta, a very curious small
house, finished in 1481, and very highly decorated. On
the lower story are sculptured roses with the French
motto, " // n'esf rose sans esjpine" The upper story
is richly carved with arabesques in lower relief, and the
326 ITALIAN CITIES.
three windows have balconies resting on very rich brackets.
The house was inhabited by Antonio Pigafetta, the navigator,
but its architect is unknown.
Returning to the Corso, a little to the left, almost facing
a very handsome Palladian palace, is the Church of S.
Stefano, which contains :
Left, 1st Chapel. Tintoretto. S. Paul.
*Left Transept. Palma Vecchio. Madonna and Child seated with
SS. George and Lucia.
' ' I scarcely know a church out of Venice which can show so splendid
a work." Miindler.
Close by, passing (left) the Casa Sah'i, the next turn (left)
from the Corso leads to the brick Church of S. Corona, of
1260. Its west front is like the other churches here a
single gable with a western doorway and a large circular
window above. It contains :
Right, 1st Altar. Speranza (contemporary of Montagna). Two saints,
Dominic and Bernardo da Campo, at the sides of the altar.
yd Altar. P. Veronese. Adoration of the Magi much injured.
Chapel right of High Altar. Fine gilt Gothic tombs of the Tiene
family still the great family of Vicenza.
*Left, $th Chapel. Giovanni Bellini. The Baptism of Christ.
"In the old Gothic church of Santa Corona at Vicenza, let us stand
where, under a gorgeously carved cinque-cento canopy, looks out, in-
stinct with life and colour, that wonderful Baptism of our Lord, by
Giovanni Bellini. Let us remain long, and look earnestly ; for there is
indeed much to be seen. That central figure, standing with hands folded
on his bosom, so gentle, so majestic, so perfect in blameless humanity,
O what labour of reverent thought, what toil of ceaseless meditation,
what changes of fair purpose oscillating into clearest vision of ideal truth,
must it have cost the great painter, before he put forth that which we
now see ! It is as impossible to find aught but love and majesty in the
Divine countenance, as to discover a blemish on the complexion of that
Body, which seems to give forth light from itself, as He stands in His
obedience, fulfilling all righteousness. And even on the accessories to
this figure, we see the same loving and reverent toil bestowed. The
S. CORONA. 327
cincture, where alone the body is hidden from view, is no web of man's
weaving ; or, if it were, it is of hers, whose heart was full of divine
thoughts as she wove : so bright and clear is the tint, so exquisitely
careful and delicate every fold where light may play or colour vary.
And look under the sacred feet, on the ground blessed by their pressure :
no dash of hurrying brush has been there : less than a long day's light
did not suffice to give, in individual shape and shade, every minutest
pebble and mote of that shore of Jordan. Every one of them was worth
painting, for we are viewing them as in the light of His presence who
made them and knew them all. And now let us pass on to the other
figures : to that living and glowing angelic group on the left-hand corner
of the picture. Three of the heavenly host are present, * variously affected
by that which they behold. The first, next the spectator, in the corner
of the picture, is standing in silent adoration, tender and gentle in ex-
pression, the hands together, but only the points of the fingers touching,
his very reverence being chastened by angelic modesty : the second
turns en that which he sees a look of earnest inquiry, but kneels as he
looks ; and, indeed, that which he sees is one of the things which angels
desire to look into. The third, a majestic, herald-like figure, stands, as
one speaking, looking at the spectator, with his right-hand on his gar-
ment, and his left held out as in demonstration unmistakably saying
to us who look on, ' Behold what manner of love is here ! ' Then,
hardly noticing what might well be much noticed, the grand dark figure
of the Baptist on the right, let us observe, how beautifully and accurately
all the features of the landscape are given, even to the expression of the
stratification and cleavage of the rocks in the foreground. Truly our
minutes spent before a picture like this are minutes of upward progress.
We depart, and the scene itself passes from our memory, but the effect
of tracing all these its attributes does not pass away, if it has been
rightly done, but flows over and hallows our conceptions of the blessed
event, and of Him round whom all its interests are centered." Dean
Alford.
Left, ojh Chapel. Fogolino. Madonna and Child in a glory of angels
the town of Vicenza below.
2nd Chapel. Bart. Montagna. A most noble group of saints.
Palladio was at first buried in this church, but has been
removed to the Campo Santo, where a monument by De
Fabris has been erected in his honour.
Passing (left) the Casadi Palladio, on the right is the beau-
Are they not simply spectators, and females .'
328 ITALIAN CI7IES.
tiful Palazzo Chiericati erected by Palladio, c. 1566. Here
is the Museo Civico containing a collection of pictures, open
daily from 9 to 5. With much rubbish, it contains some
most interesting specimens of Vicentine art Custode | to
i fr.
We may especially notice :
Entrance Hall.
2. Jacopo da Ponte. The ' ' Rettori " of Vicenza, Giovanni Moro and
Silvan Cappello, kneeling before the Virgin, by whom SS.
Marco and Vincenzo are standing.
31. Bernardo Strozzi, 1581 1644. The Supper in the Pharisee's
House.
38. Girolamo del Toso, 1526. Virgin and Child, with SS. Catherine
and Apollonia.
(Left) Stanza del Re.
10. Domenichino. S. John Baptist preaching.
23. Jacopo da Ponte. Madonna and Child, with SS. Mary Magdalen
and Catherine. The donor kneels beneath.
Stanza del Cima.
9. Moceto (pupil of Giov. Bellini). Madonna holding the Child
erect on her knee in front of a green hanging. In the left
corner "Hieronimo Moceto p."
12. Bern. Luini. Adoration of the Magi.
15. Giov. Bellini. (?) Madonna and Child.
36. Giov. Bellini. (?) Madonna and Child, with SS. Sebastian and
Roch.
*54. Cima da Conegliano, 1489. Madonna under a bower of vines,
with SS. James and Jerome. A very early and most beautiful
work of the master from the Church of S. Bartolommeo.
Stanza delle Antiche.
2. Bernardino da Murano.^:} Madonna, with SS. Jerome and Francis
and two others. There is no proof of the existence of the
painter to whom this picture is attributed. It is probably by
a pupil of Montagna.
10. Paolo da Venezia, The Death of the Virgin, her soul is received
MUSEO CIVICO. 329
above by the Saviour a very curious picture, inscribed
" MCCCXXXIII. Paulus de Veneciis Pixit he opus."
14. Andrea da Castagno. S. Michael weighing souls.
15. Andrea Bussato (apparently a pupil of Basaiti, c. 1510). S.
Anthony of Padua.
Stanza degli Antichi Vicentini.
I. Bart. Montagna, 1438 1523. Holy Family.
*2. Id. Madonna and Child under an arcade, with SS. J. Baptist
and Bartholomew, Sebastian and Augustine. The predella
represents the Legend of S. Bartholomew.
'3. Id. Madonna, in a blue veil, adoring the Infant Saviour,
between SS. Monica and Mary Magdalen.
4. Battista da Vicenza. Saints a tabernacle.
5. Marcello Fogolino, 1450. S. Jerome.
*8. Bart. Montagna. The Presentation in the Temple. S. Simeon
kneels, as the Virgin, kneeling, presents the Child. Behind
the Virgin is S. Joseph ; behind Simeon, a kneeling patron.
It is signed " Opus Bartolomei Montagna.''
18. Id. Virgin and Child, with SS. John Baptist and Onofrio.
19. Id. A Predella the story of S. Biagio.
20. Giov. Buonconsiglio. The Dead Christ, with the Virgin, S. John,
and the Magdalen.
21. Giov. Speranza, 1460. The Assumption, with two kneeling saints
in the predella, the twelve apostles.
22. Marcello Fogolino. The Adoration of the Magi from S. Barto-
lommeo. In the predella are the Annunciation, Nativity, and
Flight into Egypt.
Stanza del Ritratti.
21. Leonardo da Vinci. (?) Unknown.
46. Giorgione. Pietro d'Abano.
47. Raffaelle. (?) Lorenzo dei Medici da Urbino.
58. Jacopo Tintoretto. Vincenzo Scamozzi the architect.
Sala dei Disegni Autografi.
A most valuable collection of the sketches of Palladia (1518 1568)
and the two other great Vicentine architects, Scamozzi and Calderari, for
the buildings in the town.
In the great Hall of the Palace are the relics of the great
picture of The Supper of S. Gregory, by Paul Veronese, which
330 ITALIAN CITIES.
was hacked into 32 pieces by the Austrian soldiers who
occupied the Convent of Monte Berico in 1848.
Close to the Museo on the left (by the door No. 988 Leva
degli Angeli) is the entrance to the truly wonderful Teatro
Olimpico built from designs of Palladia, though completed
after his death by his son Scilla. The scenery of the
stage represents a piazza with streets opening behind it
but it is indescribable though well worth seeing.
" The Olympic theatre is a theatre of the ancients, realized on a small
scale, and indescribably beautiful. Compared with our theatres, how-
ever, it reminds me of a genteel, rich, well-bred child, contrasted with a
shrewd man of the world, who, though neither as rich, or genteel, or
well-bred, knows better how to employ his resources." Goethe.
A short distance to the right from hence (by the Ponte
degli Angeli) is the Church of S. Pietro which is united to
Casa de Ricovero, or Ospizio del Poveri. Over the door is
a relief by Canova of Charity writing on the pedestal which
supports the bust of Octavio Trento, founder of the institu-
tion. The church contains pictures by Maganza, and
statues of Adam and Eve by Albancse.
Returning down the Corso, we may observe (on the right)
in the Contrada da Porto, a noble palace by Palladia, and
several fine specimens of Venetian Gothic houses. Further,
on the right, in the Via Porta S. Croce, is the Church of S.
Lorenzo, the finest of the brick churches here, built 1185.
The picturesque west front has seven long deeply-recessed
arches, in four of which are canopied Gothic tombs, with
the portal in the centre. The interior is very lofty and well-
proportioned. It contains a number of tombs of illustrious
Vicentines, especially (left) those of the architect Scamozzi,
the artist Bart. Montagna, and J. Ant. Fasoli, 1572, also
Right, yd Altar. B. Montagna. SS. Lawrence and Vincent
MONTE BERICO. 331
The other churches of Vicenza are of no importance.
Many other palaces by Palladio deserve notice, and will be
admired in walking about the streets, such as the Palazzo
Barbarano, Marc-Antonio Tiene, Porto, and Valmarana.
They have all much the same character.
The great charm of Vicenza is its vicinity to the beautiful
Monte Berico, which no one should fail to ascend (about J mile),
to the Church and Convent of S. Maria del Monte, built to com-
memorate an appearance of the Virgin, in 1428, but much
added to in 1688. The church is a Greek cross with a
cupola. It contains a fine picture of Bart. Montagna,
1500 the Madonna and saints bewailing the dead Christ.
There is a delightful walk beyond the church, along the
ridge of the hill, whence the view of Alps and plain and
city is most beautiful.
Vicenza, from Monte Berico.
On one of the lower ridges of Monte Berico, reached by
a road which diverges " Al Cristo " from the portico (to the
332 ITALIAN CITIES.
right in descending), is the Villa Valmarana, adorned with
frescoes by Tiepolo, and above it the famous Rotonda Capra,
" Palladio's Villa," from which Chiswick is copied.
"The Rotonda is a quadrangular building, enclosing a circular hall,
lighted from the top. On all the four sides, you ascend a broad flight
of steps, and always come to a vestibule, which is formed by six Corinth-
ian columns. Probably the luxury of architecture was never carried to
so high a point. The space occupied by the steps and vestibules is much
larger than that occupied by the house itself ; for every one of the sides
is as grand and pleasing as the front of the temple. With respect to the
inside it may be called habitable, but not comfortable. The hall is of
the finest proportion, and so are the chambers ; but they would hardly
suffice for the requirements of any gentleman's family as a summer resi-
dence. Still, its appearance is most striking, from whatever side it may
be seen. The variety produced by the principal mass, as, with its pro-
jecting columns, it is brought gradually before the eyes of the spectator
who walks round it, is very great : and the intention of the owner, who
wished to leave a large trust-estate, together with a visible monument of
his magnificence, is completely attained. And, as the building appears
in all its glory, from whatever site it may be looked upon, so in itself
it is the point whence an enchanting view may be obtained. You see
the course of the Bachiglione as it bears vessels from Verona to the
Brenta, while you overlook the immense possessions which the Marquis
Capra wished to preserve intact in his family. The inscriptions on the
four gables, which together constitute one whole, deserve to be re-
corded :
Marcus Capra Gabrielis filius
Qui asdes has
Arctissimo primogeniture gradui subjecit
Una cum omnibus
Censibus agris vallibus et collibus
Citra viam magnam
Memorise perpetuae mandans hsec
Dum abstinet ac subiret.
"The conclusion in particular is strange enough. A man who can
command so much wealth and such a capacious will, still feels that he
must bear and forbear. This can be learned at a less expense."
Goethe.
VALDAGNO. 333
At S. Giovanni Ilarione, near Vicenza, is a beautiful pic-
ture by Barf. Montagna, of the Madonna between SS.
Anthony of Padua and John the Evangelist.
On summer evenings, when the meadows between the
town and Monte Berico are aflame with fire-flies, all the
" high life " of Vicenza turns out to walk in the beautiful
passeggiate beyond the Porta Castello. Then the great
tower of the Scaligers stands out magnificently against the
jagged blue mountains, and the stately groups of trees are
solid blots upon the transparent sky, like the backgrounds
of Titian's pictures. At such times it will be felt, that
Vicenza is one of the places and they are rare where the
ideal Italy of pictures and story-books may really be found.
(From Vicenza a pleasant excursion of 26 miles may be
made to Valdagno and the Baths of Recoaro (carriage 18
frs., or 14 frs. to Valdagno only). The road passes through
the long straggling village of Montecchio (Montagu), above
which the great ruined castles of the Montecchi and Cap-
pelletti are pointed out. The country will give an idea of
the wealth of the Veneto, the richest district in Italy, and
famous for its cattle. Hay is made three or even four times
in a year, and the leaves of the white mulberries are no
sooner gathered for the bacchi (silk-worms) than they begin
to come again. To the left is Trissino, where Count Porto-
Tiene of Vicenza has a charming summer palace. At 20
miles we reach Valdagno (Albergo delle Alpe), a small town
embosomed in verdure and approached by a long avenue
of trees. In the latter part of the last century this quiet
country-place was the resort of several English families to
334 ITALIAN CITIES.
whom economy was an object : Julius Hare, afterwards
Archdeacon of Lewes, was born here in 1795.
t After this the road ascends almost perpetually to Recoaro,
which is quite in the depths of the hills, and, like Valdagno,
intersected by the swift and dangerous stream of the Agno.
After June 15, when the bathing season begins, this pretty
little place is crowded by representatives of every European
nation. Though there are pleasant walks all round, it has
no especial feature. But the life here is remarkably social,
and, on summer evenings, sometimes as many as 800 or
1000 mounted donkeys are driven off together on an excur-
sion, which has an amusing effect. Balls and picnics are
also frequent, to which a very slight introduction ensures a
welcome.)
I
CHAPTER XIX.
PADUA AND THE EUGANEAN HILLS.
T is rather more than hr. by quick train from Vicenza
to Padua 4 frs. 35 c. : 3 frs. 150.
Hotels. Aquila d'Oro, a comfortable, old-fashioned hotel, looking
upon S. Antonio ; pension 6 francs. Stella d'Oro, very good. Aquila
Nera.
Carriages, from the station, I franc ; with 2 horses, I fr. 50 c. ; each
piece of luggage, 40 c. Course in the town, 50 c. For an hour 2
francs ; with 2 horses, 2 frs. 50 c.
Omnibus, 75 c.
Two days may be well spent at Padua. More hurried
travellers should see the Sala della Ragione, the University,
and the squares around them ; the Cathedral and Baptistery ;
the Prato della Valle and S. Giustina ; S. Antonio and its
appendages (this the most important) ; the Eremitani and
the Chapel of the Arena.
Padua, the ancient Patavium, is said to owe its foundation to
Antenor.
"Hie tamen ilia urbem Patavi, sedesque locavit
Teucrorum, et genti nomen dedit, armaque fixit
Troia."* Virgil, JEn. i. 242.
* " Antenor founded Padua's happy seat,
And gave his Trojans a secure retreat,
There fix'd his arms, and there renew'd their name,
And there in quiet rules, andcrown'd with fame." Drydeii.
336 ITALIAN CITIES.
It grew so rapidly in power that, according to Strabo, it was able to
bring 200,000 men into the field, and when the Spartan Cleonymus
came to Italy with a Greek fleet and attacked Padua, he was repulsed
and driven out of the territory of the town, which then extended to the
sea. Livy (x. 2) narrates that the remembrance of this victory was
annually celebrated by a naval contest on the Brenta. The historian
Livy was born here in 50 B.C., and also died here in his 76th year. In
452 Padua suffered severely from the invasion of Attila, and in 601 was
burnt by Agilulf, king of the Longobards.
In the Middle Ages, Padua was one of the towns which struggled most
successfully against the Imperial rule. In 1164 it joined the Lombardic
league and instituted its free government. The town was then extended,
and the Palazzo della Ragione built. In 1222 the University of Padua
was founded, in consequence of the dissolution of that at Bologna.
As a Guelphic city, Padua fought against the detested tyrant Eccelino,
the son-in-law of the Emperor, but, in 1237, he succeeded in gaining
possession of the town, and avenged, by the most fearful massacres, the
destruction of his family castle by the inhabitants. Padua was relieved
by the Guelphic army raised by Pope Alexander IV., and, unable to
reconquer it, Eccelino vented his fury by the massacre of 1 1,000 Paduans
in his army at Verona. Upon the fall of Eccelino in 1259, the town
rose to great power, governed by a council of eight chosen patriots.
This time was marked by the building of the grand church in honour of
S. Antonio, who, a Portuguese noble, the strictest and most celebrated
of the followers of S. Francis, died at Padua in 1231. In 1311 disputes
as to the possession of Vicenza led to a war with Verona, in which the
Paduan troops were headed by the famous Guelphic chieftain Jacopo
da Carrara, who was elected Signore of Padua in 1318. In 1319 Can
Grande besieged the town, and demanded the abdication of Carrara as
a condition of peace. He sacrificed his position, and Padua submitted
for a short time to the representatives of the Emperor. But in 1337
Marsiglio da Carrara became independent prince of Padua, and was
succeeded by his son Ubertino, who ruled from 1338 to 1345, and was
a noble and beneficent prince. The Palazzo dei Principi was built and
the town greatly adorned under his government. His successor Mar-
siglietto Papafava was mtfrdered by Jacopo da Carrara (the friend of
Petrarch), who was in his turn murdered in 1350, after which his brother
Jacopino ruled for five years. He was succeeded by his nephew
Francesco da Carrara, who was celebrated for his wars against the
Venetians and afterwards against the Milanese under the Visconti. An
alliance between Venice and Milan ended in the total defeat of the
Paduans in 1388, and the temporary fall of the house of Carrara. The
HISTOR Y OF PADUA. 33 7
story of the imprisonment and the after adventures of the Carraras is
one of the most romantic of the Middle Ages. Francesco Novello da
Carrara and his devoted wife Taddea d'Este escaped from the castle
where they were immured by the Visconti, and after a series of almost
incredible adventures they reached Florence. With assistance obtained
from Bologna and Friuli, Francesco once more presented himself before
his native town with a banner bearing the arms of the House of Carrara.
He called upon the Milanese governor to surrender, and was received
with derision, but he swam the Br.enta by night, crept into the town,
and was welcomed with joy by the citizens, who rose suddenly and
successfully against the Milanese, and proclaimed Francesco Novello
sovereign Lord of Padua on Sept. 8, 1390. He ruled till 1405, when a
succession of wars with the Visconti and Venice ended in the treacher-
ous capture of the city by the Venetians. Then the brave Francesco
Novello da Carrara and his sons were strangled, after having endured
imprisonment in an iron cage 8 feet broad and 12 feet long. Hence-
forth Padua shared the fortunes of Venice.
The finest edifices in Padua date from the time of her freedom ; those
raised under the dominion of Venice (the Cathedral, S. Giustina, &c. ) are
comparatively unimportant. The earlier buildings, the Palazzo della
Ragione, S. Antonio, the Arena, the Baptistery, &c., are of the greatest
value in the history of art. Here also we make our principal acquaint-
ance with the immortal creations of the Florentine Giotto. He was
succeeded by Andrea Mantegita (born at Padua, 1431), who, with his
master Francesco Squardone, founded the Paduan school of painting.
In sculpture, Padua is rich in works of Donatello, who came here from
Florence, and of his pupil Andrea Riccio. Among the native architects
Falconetto is the most important.
"Many-domed Padua proud
Stands, a peopled solitude,
'Mid the harvest-shining plain,
Where the peasant heaps his grain. " Shelley.
The plain in which Padua lies is backed by the Euganean
hills. It is buried in gardens and vineyards, and has a
charming character of brightness and verdure in the spring
and summer months. Its tall towers and its many domes
rising high above the walls, give it a stately aspect. Within,
VOL. I 22
338 ITALIAN CITIES.
the streets are narrow, and everywhere along the sides
arcaded walks run beneath the houses, which are a delight-
ful protection from wet in winter and from heat in summer.
The stately old palaces have large court-yards and radiant
gardens of flowers in the very centre of the town, and the
principal churches stand in wide open spaces which are
always fresh and pleasant to walk in.
The town is approached from the station through walks
bordered by chestnuts. On the right an inscription on an
old pillar tells that " Here was the bulwark where our
countrymen, at the cost of many a free-man's blood, defeated
Maximilian, avenged the infamy of the league of Cambray,
and the aggression of the stranger, Sept. 29, 1509." On
the first bridge another inscription tells that " Here Novello
da Carrara with forty hero friends went down into the stream,
attacked the bridge, routed the Visconti, and in glad triumph
was received again by the people as their lord. June 19,
1390."
On the left of the first gate is the great Church of the
Carmine, a stately brick building with a tall campanile and
dome. The neighbouring oratory called Scuola del Carmine
is covered with important frescoes ; some of them appear to
have almost perished, but it is hoped that they may be
restored by the cleaning process of white wine and bread
which has already often proved efficacious. The best are :
End Wall. Cavazzola. The Adoration of the Magi and the Ador-
ation of the Shepherds.
Left Wall. Girolamo Santa Croce. The Birth, Presentation, Purifi-
cation, and Marriage of the Virgin.
Id. Titian. The Meeting of Joachim and Anna.
The Altar-piece is a beautiful Madonna and Child by Palma Vecchio.
PIAZZA DEI SIGNORL 339
In the piazza opposite the Scuola is a Statue of Petrarch,
erected 1874.
On the right is a brick tower with a heavy stone basement
built as a fortress by the tyrant Ezzelino, in 1250.
Crossing the stream of the Bacchiglione (a branch of the
Po, most picturesque, with its old water-mills and overhang-
ing houses), we enter the town by a second gateway, and an
old tower from which, as the inscription tells us, Galileo
tracked out many paths in the heavens.
The Via Maggiore with heavy colonnades (there is a good
Venetian Gothic house on the right) leads hence to the
centre of the town, where there are a group of piazzas.
That first entered is the Piazza dei Signori (which they now
attempt to call Piazza, dell' Unita d'ltalia), containing the
Palazzo del Capitan, and the Loggia del Consiglio, beyond
which are the University Library, the Baptistery, and
Cathedral. A block of houses only separates this square
from the Piazza, delle Erbe and the Piazza delle Frutte,
which are divided by the huge mass of the Palazzo del
Ragione. Examining these buildings separately :
The Palazzo del Capitan has a great clock-tower, con-
taining what is said to be the earliest striking clock, invented
at Padua by Giacomo Dondi, c. 1344. The descendants of
the clock-maker are still called Dondi dell' Orologio. The
doorway of the palace is by Falconetto, 1532, and its beauti-
ful staircase by Palladia,
Adjoining, is the Library of the University, which has an
immense hall ornamented with frescoes by Campagnola,
1540. The portrait of Petrarch belongs to an earlier series
of frescoes. The Library, which is a very good one, is open
to students from 9 A.M. to 3 P.M.
340 ITALIAN CITIES.
The Palazzo della Ragione is an immense building with a
high roof, surrounded by wide loggias resting upon open
arches, beneath which there are arcades with shops. The
entrance is from behind, on the left of the Via S. Martino,
where a staircase in a court-yard leads to the upper court of
the Palazzo Municipale, and beyond that to the vast Sala
(a custode) which occupies the whole upper floor of the
Palazzo. This chamber is 26 7^ feet long and 89 both wide
and high. It was built, or rather arranged and roofed, for
there were three halls here before, in 1306, byFra Giovanni,
an Augustinian monk, who had brought back the design of
its vast wooden roof from a palace he had seen in India.
The walls were originally decorated with frescoes by Giotto,
executed under the direction of Pietro d'Abano, but these
were destroyed by fire in 1420, and the present frescoes are
partly by Zuan Miretto of Padua, partly by an unknown
artist from Ferrara. They depict, in 319 compartments,
the months, planets, and other things allegorical. None are
of any great importance ; Dante is represented as Sagittarius.
At the end of the hall is the huge wooden model of
Donatella for the horse of Gattamelata, near S. Antonio,
looking here like the horse of Troy ; it. was executed in 1466.
The head is a restoration. Formerly it was covered with
skins so as to resemble life. Ludovico Lazzarelli, a con-
temporary poet, sang its praises as equal to the works of
Daedalus, Phidias, or Praxiteles.
On the right of the horse is a monument, of 1547, erected
in honour of Livy, who was a native of Abano near Padua.
Some bones, certainly not those of the historian, which were
found in 1413 near where an inscription had been discovered
relating to Titus Livius Halys, a freedman of Livia Quarta,
IL BO. 341
were brought here with great pomp, a jawbone having been
given, at his own request, to King Alfonso of Arragon. To
the right of this memorial is a still stranger one of 1661 to
Lucrezia Dondi, who died under such excessively odd
circumstances, that those who are very particular had better
not read her epitaph ! To the left of the horse is a bust to
Sperone Speroni, the philosopher.
At the other end of the hall, between two Egyptian figures
presented by him, is a medallion to Belzoni, who was a
native of Padua, Near these, is the Lapis Vituperii, or Altar
of Insolvency, upon which debtors were cleared. In the
loggia, over the different doors, are memorials to the Frate
Alberto Padovano, 1323; to Paulus, a jurist under the
Empire ; and to Pietro d'Abano, the physician and astrologer,
1250 1316, with an inscription refuting the accusation of
using magical arts which was brought against him.*
The Archivio Pubblico, near the Sala, has a very important
collection of documents relating to the city. In the Sala
Verde are some pictures connected with Paduan history.
The Via S. Martino, which runs through an arch behind
the richly decorated Palazzo del Municipio, leads speedily
to the University, commonly called // Bo, which was founded
by Urban IV. in 1260. Galileo was a Professor here. The
University was formerly greatly renowned, and is still much
frequented. The class-rooms surround a handsome court,
attributed to Sansovino, and highly picturesque from the
multitude of shields of arms of the students with which the
walls are crowded. At the foot of the staircase is the statue
of Elena Lucrezia Piscopia, who died in 1684, having
* Those who stay in Padua may be interested in reading Tieck's tale of Pietro
d'Abano.
342 ITALIAN CITIES.
received a doctor's degree here, in honour of her extraordinary
learning. Galileo was a Professor, and the University was
once of great renown ; but, though still much frequented, it
is long since it has produced anything very remarkable,
"In thy halls the lamp of learning,
Padua, now no more is burning ;
Like a meteor, whose wild way
Is lost over the grave of day,
It gleams betrayed and to betray." Shelley.
The Cathedral was built in the sixteenth century by
Andrea della Valle and Agostino Righetti, but is falsely
attributed to Michael Angelo. The proportions of the
interior are admirable, a second transept with a second
dome has been inserted half-way down the nave. We may
observe :
Right Aisle (near door). The Monuments of Sperone Speroni and his
daughter Giulia.
Sacristy. An Evangeliarium with miniatures by one Isidorus, of
1170; an Epistolarium with minatures by Giovanni Gaibana, 1259; and
some curious reliquaries.
In the North Transept 'is a Madonna ascribed to Giotto. Its authenticity
has been doubted, but it is most interesting as having been the property
of Petrarch, who considered it a Giotto, and bequeathed it as such in
his will to his friend Francesco Carrara the elder. There are good early
monuments of bishops in both the transepts.
Tribune. Padovanino (copy of Titian). Madonna and Child.
Left Aisle (near door). A modern bust of Petrarch, who was a canon
here, by Rinaldi.
The Baptistery, on the left of the entrance, dates from the
twelfth century. The walls are covered with frescoes believed
to have been executed by Giusto Padovano in 1378, at the
expense of Fina Buzzacarina, wife of Francesco di Carrara.
The donor and her family, with Petrarch, are represented
kneeling before the Virgin.
BAPTISTERY OF PADUA. 343
' ' The Baptistery is a quadrangular building, surmounted by a cupola,
characteristic without and beautiful within, where the eye roves delighted
over a perfect garden of frescoes.
" The Gloria on the cupola is the first instance, I believe, of the style
of composition subsequently adopted by Correggio and later painters, but
originally, as in the present instance, imitated from the mosaics. Our
Saviour, blessing with his right hand and holding the open book,
inscribed, 'Ego sum A et Q,' in his left, stands in the centre, within a
circle of light, and below him, in a vesica piscis, the Virgin, erect, with
her hands raised in prayer, as at St. Mark's and in the Duomo of
Murano. To their right and left sit, in different attitudes, arid with
their distinctive emblems, the Saints of God, male and female, five rows
deep, in a vast circle ; the effect is singularly brilliant, and reminds one
of Dante's comparison of the church in heaven to a snow-white rose.
The lower circuit of the cupola is filled with the history of the book of
Genesis, ending abruptly with the Concealment of Joseph in the welL
" The history of John the Baptist is represented on the southern wall,
and that of the Virgin and our Saviour on the western and northern
and on the triumphal arch. . . . The cupoletta of the chancel represents
the Descent of the Holy Spirit, the traditional composition, as depicted
in mosaic at S. Mark's ; and the walls of this little recess are completely
lined with about forty small subjects, entirely taken from the
Apocalypse, and treated with the most fearless originality ; one of them
is delightfully quaint and naive the four angels kneeling on the four
corners of the earth, and forcibly compressing with both hands the
mouths of the four winds, represented as ^iolus' heads ; in spite, how-
ever, of their utmost efforts, they cannot prevent great blasts escaping,
and you almost hear the spluttering and fizzing that is going on. Others
of these compositions are very grand, and the painter has combined,
added, and taken away, with singular felicity. The lunette above the
altar represents God the Father within a vesica piscis, the lamb lying
in his bosom, the four beasts keeping watch around the throne, the
lamp burning in front, the twenty-four elders, to the right and left,
offering their crowns, the angels in front adoring. The four horsemen
are represented in the four pennacki or pendentives of the cupola, the
Vision is then continued round the walls and under the arches, the subjects
being most skilfully adapted to the different spaces that were to be
covered ; the seven trumpets, for instance, are carried from the summit
of the small transverse arch to the left hand on entering the chancel, all
round it, to the soffit of the corresponding transverse arch to the right
hand, similarly, and with exquisite propriety, the seven last vials are
disposed on the soffit of the triumphal arch of entrance, symbolical of
344 ITALIAN CITIES.
death. It is the most complete and comprehensive illustration of the
Apocalypse ever attempted in painting, and, rude as it undoubtedly is
in detail, there are hints here by which a painter desirous of taking" a
lofty flight might profit much." Lindsay's Christian Art.
The Cathedral Library contains many illuminated MSS.,
Letters of Tasso, MSS. of Sperone Speroni, &c.
The Via Teatro Concordi leads from hence (right) to the
Palazzo Pappafava, which contains a curious sculptured
group representing the fallen angels, of sixty figures carved
out of a single block of marble, by Agostino Fasolato. There
are a few rather good pictures here.
Hence, by the Via Scaloni, we reach a bridge over the
Bacchiglione, whence there is a good view of the fine old
Torre di S. Tommaso, full of character, with exceedingly long
machicolations. It was built by Eccelino, and was the scene
of many of his cruelties ; now it is used as an Observatory.
The Via Seminario leads from the bridge to the small
Church of S. Bovo. On the left is the Church of S. Maria
in Vanzo, which contains two pictures by Bartolommeo Mon-
tagna at the high-altar, and a Burial of Christ by Bassano
in the chapel on the left.
Hence, turning to the left, we reach the vast and unique
square called Pratodella Valle* On the right is the Gothic
Loggia Munidpale. In the centre is a garden, surrounded
by a canal, and peopled by a vast multitude of gigantic
statues, representing all illustrious citizens of Padua, and
many others who have any bond of connection with the
town, including Gustavus of Sweden, who studied at the
University in 1609. Beyond the statues rises, in eastern-
looking domes
* A ludicrous attempt is being made to change this time-honoured name to the
Piazza Vittorio Emanuele!
S. GIUSTINA.
345
Prato della Valle, Padua.
The Church of S. Giustina, which dates, as it now stands,
from 1532 49. Its fagade is unfinished, but very stately
in its proportions. At the top of the steps are two griffins
which belonged to an earlier church of the thirteenth century.
Making the round of the church we may see :
Right Aisle, ind Altar. Libert. S. Gertrude supported by angels.
4/ Altar. Luca Giordano. Death of S . Scholastica.
yh Altar. Palma Giovane. S. Benedict and his disciples.
Right Transept. An altar supposed to cover part of the body of
S. Matthew. In the chapel behind this, is a well with bones of the
Paduan martyrs at the bottom, and behind it the prison of the martyr S.
Daniele, and a catacomb with the graves of S. Giustina and S. Pros-
docimo, the first bishop of Padua, with the bull authorizing their
canonization. Also the Chapel of S. Luca, with frescoes by Campagnola,
and a Madonna (not black) set in gold, and brought in the eighth
century from Constantinople. In front of the altar is the sleeping figure
of S. Prosdocimo.
Right of High- Altar. Parodi. A group of the Dead Christ with the
Virgin, the Magdalen, and S. John.
346 ITALIAN CITIES.
Choir. Stalls by A. Campagnola of 1556. The altar-piece is the
Martyrdom of S. Giustina, by P. Veronese. Hence, a door on the right
leads to another Choir, a remnant of the thirteenth-century church,
which contains some fine tombs, of Ludovico Barbo, and Jacopo, a
Doctor of Law.
Left Transept. A tomb covering relics of S. Luke, with alabaster
reliefs set in Serpentine, and an iron case containing the coffins in which
the remains of the Evangelists were brought from Constantinople in 1 1 77.
A little to the right of the church is the Orto Botanico,
the earliest Botanic Garden in Europe, instituted 1543.
On the right of the Prato della Valle the simple direction
" Al Santo " indicates the way to S. Antonio.
" No one among the disciples of S. Francis was more conspicuous
than S. Anthony for holiness of life and the gift of persuasive eloquence.
Although born in an age of fierce and unbridled passion, he preached
peace and goodwill to men, enforced it by example, and so moved the
vast audiences assembled around him, in city squares and open fields,
that the bitterest enemies fell upon each other's necks and swore ever
after to live like brothers.
"In the sermons of S. Anthony, whose texts are developed by images
fitted to touch the heart, and illustrated by striking similes, there is
enough of sentiment and fancy to explain the interest which they excited
in the minds of his hearers, who gave him all their confidence, because
they were convinced 'che le sue parole rispondevano alia sua santa
vita,' and because so many of them had witnessed his fearlessness in
rebuking sin, when he saluted Eccelino the tyrant of Padua with the
words, ' O most cruel tyrant, and mad dog ! the terrible sentence of God
hangs over thee. When wilt thou cease to spill the blood of innocent
men ? ' and had wondered at his power when they saw the monster,
whom all feared, fall upon his knees, with a cord about his neck, before
the man of God, confessing his sins and imploring pardon. " Perkins 1
Tuscan Sculptors.*
* S. Anthony was once sent for to preach before the Pope and Cardinals in the
Consistory, and " explained the word of God so devoutly, so sweetly, so clearly, and
in a manner so efficacious and learned, that all who were in the Consistory, though
they spoke different languages, understood what he said as perfectly as if he had
spoken the language of each. And the Pope, considering the deep meaning of his
words, exclaimed, ' In truth this man is the ark of the Testament, and the treasure
of the Holy Scriptures.' " Fioretti di S. Francesco, xxxix.
S, ANTONIO. 347
The vast Church of S. Antonio is one of the most extra-
ordinary buildings in Italy. Externally it is like a mosque,
a huge square mass surmounted by a crowd of domes and
minarets. It was begun in honour of S. Antonio, immedi-
ately after his death, from designs of Niccolb da Pisa, and was
completed in 1307, being 280 ft. long by 188 ft. broad.
"The Gothic elements which Niccolo used were a homage to the
peculiar predilections of the followers of S. Francis ; the clustering
Byzantine cupolas showed the effect produced upon him by the Church
of S. Mark at Venice ; while the Romanesque fa9ade told that he had
not forgotten the well-beloved Duomo at Pisa, under the shadow of
whose walls his early years had been spent." Perkins' Tuscan Sculptors.
The paved Piazza in front of the church is full of interest.
On the left is the noble equestrian statue of the Venetian
general Gattamelata (Erasmo da Narni) by Donatella, in-
scribed " Opus Donatelli, Flor."
"Being more conversant with human than equine anatomy, Donatello
succeeded less well with the horse than the rider, who, dressed in armour,
and holding the baton of command in his left hand, while the reins are
gathered in his right, sits somewhat stiffly, though with considerable
dignity, on the back of a ponderous war-horse, whose head wants nobility
and fire, and whose heavy limbs seem ill adapted for pursuit or flight.
Close observers have remarked that like the bronze horse which bears
Bartolommeo Colleoni at Venice, like that painted by Paolo Uccello
at Florence, this horse lifts two legs on the same side, which being con-
trary to nature, surprises us in the work of one who studied her so care-
fully as Donatello." Perkins' Tuscan Sculptors.
On the right are the Museo, the Scuola del Santo, and the
Chapel of S. Giorgio, and, close to the church, the tomb of
Rolando Piazzola.
The west front of the church is rather spoilt by recent re-
parations. Over the central door is a fresco of S. Antonio
and S. Bernardino, with the famous monogram of the latter
348 ITALIAN CITIES.
painted by A. Mantegna in 1452. Above is a statue of S.
Antonio, backed by an injured fresco, and then a range of
pointed arches.
The general effect of the interior, from its crowd of pictures,
tombs, and sculpture of every description, with lamps hang-
ing before the shrines, is quite magnificent. Making the
round of the church we find
Right Aisle.
1st Pillar. Antonio Boselli (a native of the Val Brembana). The
Virgin and Child, with SS. Antonio, Buonaventura, Francis, and
Paul a beautiful specimen of this rare master, who painted c.
15001536.
Close to this is one of the two beautiful holy-water basons sur-
mounted by figures of the Saviour and S. J. Baptist.
"2nd Pillar. Fine tomb of Cardinal Pietro Bembo.
1st Chapel (of the Sacrament}. Beautiful bronze gates and orna-
ments by Donatella. Picturesque tombs in red, black, and white
marble, of (left) Gattamelata, and (right) his son.
qth Pillar. Behind the pulpit a fresco by Stefano da Ferrara.
Transept. Chapel of S. Felice, with a beautiful screen of red and
white marble, built in 1372 76 by Andriolo da Venezia for Bonifazio
de Lupi, Marchese di Sorogna, whose tomb is within, on the right of the
altar. It was originally dedicated to S. James, but afterwards to S. Felix,
when his remains were transported hither. Behind the altar is buried
Bartolommea degli Scrovigni (sister of the builder of the Arena), who is
said to have been poisoned by her husband Massilio da Carrara soon after
their marriage. Over the altar are five statues of saints by Andriolo.
The walls are entirely covered with frescoes of great beauty, by Jacopo
Avanzi and Altichieri da Zevio. On the Left -wall begins the legendary
story of S. James.
I. Hermogenes the Magician sends Philetes to dispute with S.
James : in the centre, S. James converts Philetes by his preach-
ing : to the right Hermogenes sends his demons to arrest S.
James and Philetes : in the right-hand corner the devils com-
plain to them of Hermogenes.
?.. Altar wall, left, 1st lunette. Hermogenes is brought to S. James
by the devils : Philetes burns the magical books : Hermogenes
and Philetes converse with S. James.
S. ANTONIO. 349
3. Middle lunette. S. James healing a paralytic man on the way to
execution, and his decapitation.
4. Third lunette. Sea-shore in front of the castle of Queen Lupa ;
an empty boat beside it, an angel holding the rudder ; Hermo-
genes and Philetes lay the body on the stone, which shapes
itself into a sarcophagus ; Queen Lupa, with her sister, looks
down from the balcony of the castle.
5. Right-hand wall, to the left of the window. Hermogenes and
Philetes arrested by a soldier of the Spanish king.
6. Right -wall, right of the window. Their imprisonment much
defaced.
7. 1st of three lunettes on the outer wall. Their release from prison ;
their pursuers are drowned.
8. Second lunette. The sarcophagus drawn by^wild oxen into Queen
Lupa's palace. In the background they seem to go down on
their knees before Hermogenes and Philetes.
9. Third lunette. Interior of Queen Lupa's palace : she receives
baptism.
10. Left-hand watt, below No. I. Apparition'of S. James in a dream,
to Don Ramiro I., King of Leon, and his deliberation there-
upon with his council, which led to
11. The Defeat of the Saracens at Clavijo, A.D. 844 (when 70,000
infidels fell, and after which S. lago became the Spanish battle-
cry) : S. James appears above the broken arch in the back-
ground. *
Left (entrance of Choir}. The Crucifixion, with those who foretold it,
and saints standing below, by Montagnana,
Right. A fresco, by Filippo. Veronese, of Gregory X. presenting the donor
to the Virgin and Child, and close to it the curious painted effigy of Lupi
da Parma under a canopy. Here is the entrance to the Sacristies. The
Ante-chamber has a most curious fresco of S. Antonio preaching to the
fishes at Rimini. The Sacristy is painted by Liberi. The Old Sacristy
beyond is connected with the cloisters by open arches.
The Cappella del Smtuario behind the high-altar is extremely rich in
marbles and gilding. It possesses some minor fragments of the saint,
his tongue, his chin, his hair, &c. f . . . In the second chapel beyond
this is a fifteenth-century tomb by Antonio Tuni, in imitation of an early
Christian sarcophagus.
Right. The tomb of two Marchetti, professors in the University.
Then a fresco of Christ bound and crowned with thorns, by Andrea Man-
tegna.
* See Lindsay's " Christian Art," ii. 341.
35 ITALIAN CITIES.
Right, Cappella della Madonna Mora. A most picturesque chapel,
full of effect and colour, containing the image from the church of S. Maria
Nuova, which was venerated by S. Antonio. Part of the side wall is occu-
pied by the grand fourteenth-century tomb of Raffaello Fulgoso. On the
other side is the red marble sarcophagus of the Rogati, an ancient Paduan
family. This was the original chapel of II Santo. The chapel within
this, Cappella del Beato Luca Belludi, is entirely covered with frescoes,
chiefly by Giusto Padovano, of the fourteenth century. Over the altar
are the Virgin and Saints ; on the roof, the Evangelists ; on the left
wall, the Crucifixion ; on the right, the story of S. Philip and S. James
the Less ; within the tribune, the extraordinary miracles attributed to
the Beato Belludi.
Right (left transept}. The Cappella del Santo, begun in 1500 by Gio-
vanni Mincllo and his son Antonio, continued by Sansovino, and finished
in 1553 by Falconetto. In the centre is the tomb, before which many
lamps burn eternally. The chapel is covered with reliefs which tell the
story of the saint. It seems worth while giving Addison's translation of
one of the many tablets hanging up in honour of the divinity of Padua.
"To the thrice holy Anthony of Padua, delight (whiter than the lily)
of the most holy Child of Bethlehem, highest son of seraphs, highest
roof of sacred wisdom, most powerful worker of miracles, holy dispenser
of death, wise corrector of error, pious deliverer from calamity, power-
ful curer of leprosy, tremendous driver-away of devils, most ready and
most trusty preserver of the sick and shipwrecked, restorer of limbs,
breaker of bonds, stupendous discoverer of lost things, great and won-
derful defender from all dangers, the most pious (next to God and his
Virgin Mother) defender and safeguard."
Left Aisle, Last Pillar but one. Magnificent tomb of Alessandro Con-
tarini, I5S5 by Sanmichele, and fresco of the Madonna by Stefano da
Ferrara.
Last Pillar. The miraculous fourteenth-century ' ' Madonna dei
Ciecchi."
The Choir, which stands isolated in the church, has bronze gates by
Tiziano Aspetti. The reliefs of the high-altar and the crucifix are by
Donatella. The glorious bronze candelabrum, and two reliefs of the
Translation of the Ark from the house of Abinadab and of the Story of
Judith, are by the Paduan sculptor Andrea Briosco, called Crispo from
his curling hair (1470 1532). The sculptor is himself introduced in
the former of these. *
In an unnamed grave before the Cappella del Crocefisso lies the body of Edward
Courtenay, Earl of Devon, who died at Padua, not without suspicion of poison, Oct.
4, 1566.
S. ANTONIO. 351
The Cloisters are exceedingly interesting and filled with
curious monuments, forming a perfect museum of Italian
sepulchral art. In the south porch of the church is the tomb
of Federigo da Lavalongo, with his effigy in armour, lying
within a frescoed arch. The lady opposite, with her hands
crossed upon her breast, is the learned Bettina di San Giorgio,
" che fu di scienza un chiaro fonte," and who, as Professor
of Ecclesiastical Law, gave public lectures before crowds of
students in the Archigymnasium.
Passing the opening arches of the Chapter-House, at
the end of the cloister facing the south door, in a tomb
adorned with spiral columns, niches, and a relief of the
Madonna and Child, lies the famous lawyer, Rainerio
degli Assendi : his feet rest against the huge volumes
of his works. In the adjoining passage, which leads
from the Chiostro del Capitolo to the Chiostro del Novi-
ziato, is the tomb of Manno Donate, 1370, a Florentine
Guelph who fought for Franscesco da Carrara, with an in-
scription by Petrarch. Near this is the canopied sarco-
phagus of the brothers Gerardo, Alberto, and Giovanni
Bolparo.
Beyond the Chiostro del Noviziato, and behind the east
end of the church, are remains of a smaller and more ancient
cloister adorned with terra-cotta, very interesting as being
that in which S. Antonio used to walk, belonging to the old
Church of S. Maria Nuova, which was destroyed when the
present church was erected.
To the left, from the west entrance of S. Antonio, is the
little Church of S. Giorgio, built as a mausoleum for his
family by Raimondino di Soragna in 1 3 7 7. It contains some
interesting frescoes by Avanzi. The once splendid tomb of
352 ITALIAN CITIES.
Soragna was mutilated by the French soldiers during their
occupation of Padua in the last century.
Close by, is the Scuola del Santo, surrounded with frescoes
of the story of S. Antonio, all interesting. The best are by
Titian :
I. He causes an infant to speak to prove the innocence of his
mother. ,
11. He raises to life an innocent wife killed by her jealous husband.
12. He heals a child with a broken leg.
The Convent of S. Antonio is gradually being turned into
a Museum, and the Pictures, till lately at the Palazzo del
Municipio, have been removed here. They are a very poor
collection, but at the end of the gallery is :
1215. Girolamo Romanino. The Virgin and Child, with S. Prosdoci-
mus, S. Giustina, S. Benedict, and S. Scholastica brought
from the Coro Vecchio of S. Giustina.
We may also notice :
1 8. Marco Basaiti. The Virgin and Child, with S. Peter and S.
Liberali.
74. Bonifazio. Holy Trinity, with S. Catherine, S. Francis, and the
Shepherds.
The Statue of " The Reading Girl," by Magni of Milan, is
here in one of the rooms.
The Via S. Antonio falls into the Via S. Francesco oppo-
site an old brick palace. Here, a little to the left, is (on
the left, at the entrance of a side street) the so-called Tomb
of. Antenor, a sarcophagus supported by pillars, beneath a
brick canopy of the thirteenth century. The sarcophagus
was discovered by some builders in 1274, and was found to
contain a large skeleton, with a sword in his right hand.
The sword was given to Alberto della Scala in 1334. An
THE EREMITANL 353
inscription upon it was believed to indicate that the body
was that of Antenor, the legendary founder of Padua :
" Antenor potuit, mediis elapsus Achivis,
Illyricos penetrare sinus atque intima tutus
Regna Liburnorum, et fontes superare Timavi ;
Unde per ora novem vasto cum murmure mentis
It mare proruptum, et pelago premit arva sonanti.
Hie tamen ille urbem Patavi, sedesque locavit
Teucrorum et genti nomen dedit, armaque fixit
Troia, nunc placida compostus pace quiescit."
Virgil, ALn. iii. 243.
Turning in the opposite direction (right) we reach (right)
the Church of S. Francesco, entered through the cloisters,
which contains frescoes by Girolamo da Santa Croce, 1530.
To the left of the high altar is the monument of Pietro Ricca-
bonella, Professor of Medicine, with two large reliefs by the
Paduan sculptor Bartolommeo Bellano, 1430 1451. A
street in front of S. Francesco leads to the curious little old
Church of S, Sofia, believed to have been the original
cathedral of Padua.
Hence, after following the Via S. Sofia for some distance,
a street on the right leads to the great Church ofthcEremitani,
built c. 1270. It is a single nave ending in three arches,
and has a roof by Fra Giovanni who gave the design of that
at the Sala della Ragione. This roof is now painted blue
and white, and spoils what would otherwise be a striking and
beautiful building. It was here that (Dec. 24, 1585) the
surpassingly beautiful body of Vittoria Accorambuoni, niece
of Pope Sixtus V., lay in state, robed in satin, with her ducal
coronet on her brows, and her long golden hair flowing
around her, on the day after her murder by Prince Luigi
Orsini. Meanwhile the Paduans watched her with fury for
VOL. i. 23
3?4 ITALIAN CITIES.
the crime " dentibus fremebant," says the chronicle and
vowed vengeance for her death.
On the left of the entrance is the tomb of Jacopo da Carrara, 5th
Lord of Padua, the friend of Petrarch, who composed his Latin epitaph ;
and opposite that of Ubertino de Carrara, 1354. Further, on the left,
is the great tomb of Benavides, professor of law, 1583, by Ammonati.
In the Choir are curious frescoes by Guariento di Arpo.
The altar-piece by Fiumuelli represents Doge Andrea Gritti, in-
troduced by four saints, presenting the city of Padua to the Virgin.
The Chapel of SS. Christopher and James to the right of the high
altar has also a number of frescoes. The best are by A. Mantegna, and
represent the story of S. Christopher. The bronze-like figures on the
altar are of terra-cotta by Giovanni da Pisa.
In the Sacristy is a monument to Paulus de Venetiis, 1419, who is
represented lecturing to his pupils. Here also is the tomb of Prince
Frederick of Orange, 1799, who died at Padua in his 25th year.
Close to the west door of the church, a gate on the left (a
bell) leads into the Arena, the site of a Roman Amphitheatre,
now a garden and vineyard, containing the famous Giotto's
Chapel, properly S. Maria deW Arena, built c. 1303, by
Enrico Scrovegno. He was the son of that Reginald, who,
for his avarice, is placed by Dante in the /th circle of the
Inferno. The chapel was given to the Cavalieri di S. Maria.
The founder died in exile at Venice in 1320, but was buried
here, where he has a monument (in which he is represented
standing) in the sacristy, and a tomb with his worn reclining
effigy behind the altar. Giotto was summoned to decorate
the chapel about 1306 "summoned as being at that time
the acknowledged master of painting in Italy."
"The walls of the chapel are covered with a continuous meditative
poem on the mystery of the Incarnation, the acts of Redemption, the
vices and virtues of mankind as proceeding from their scorn or accept-
ance of that Redemption, and their final judgment.
"The first twelve pictures of the series are exclusively devoted to the
apocryphal history of the birth and life of the Virgin (recorded in the
5. MARIA DELL: ARENA. 355
two apocryphal gospels known as the 'Protevangelion ' and the ' Gospel
of S. Mary'). This the Protestant spectator will observe, perhaps, with
little favour, more especially as only two compartments are given to the
ministry of Christ, between his Baptism and Entry into Jerusalem. Due
weight is, however, to be allowed to Lord Lindsay's remark, that the
legendary history of the Virgin was of especial importance in this chapel,
as especially dedicated to her service ; and I think also that Giotto
desired to unite the series of compositions in one continuous action,
feeling that to have enlarged on the separate miracles of Christ's
ministry would have interrupted the onward course of thought. As it
is, the mind is led from the first humiliation of Joachim to the Ascen-
sion of Christ in one unbroken and progressive chain of scenes ; the
ministry of Christ being completely typified by his first and last con-
spicuous miracle : while the very unimportance of some of the subjects
is useful in directing the spectator rather to pursue the course of the
narrative, than to pause in satisfied meditation upon any single incident.
And it can hardly be doubted that Giotto had also a peculiar pleasure
in dwelling on the circumstances of the shepherd life of the father of
the Virgin, owing to its resemblance to that of his own early years."
J. Ruskin.
The order of the frescoes is :
1 . The Offering of the holy Jew Joachim is rejected by the priest in
the temple, because, having been married for twenty years to
Anna his wife, God had not given him the blessing of children.
2. Joachim retires to mourn amongst his shepherds, leaving Anna
desolate and ignorant of what had become of him.
3. An angel appears to console Anna, and tells her that God is
about to answer her prayers, that she will give birth to a
daughter, and that at the Golden Gate of Jerusalem she will
find the husband she has lost. Judith, her maid, who has
taunted her with her childlessness, is working in the passage.
4. Joachim offers an acceptable sacrifice of a burnt-offering.
5. The Angel appears to Joachim and forewarns him of the birth of
the Virgin.
6. Joachim meets Anna at the Golden Gate.
7. The Birth of the Virgin.
8. The Presentation of the Virgin.
9. The High-Priest ordains that all men of the lineage of David
who were not married should bring their rods to the altar ; and
that to the man whose rod budded, and upon whom the Holy
356 ITALIAN CITIES.
Spirit descended, the Virgin should be given. (Gospel of S,
Mary, v. 1 6, 17.)
10. The Watching of the Rods at the altar.
11. The Betrothal of the Virgin. Joseph bears his rod, upon which
the Holy Spirit is resting ; the unsuccessful suitors break their
rods.
12. Joseph having gone to prepare his home, the Virgin returns for
the time with seven virgins, her companions, to her father's
house in Galilee.
13. 14. The Annunciation.
15. The Salutation.
" I do not know any picture which seems to me to give so truthful an
idea of the action with which Elizabeth and Mary must actually have
met, which gives so exactly the way in which Elizabeth would stretch
her arms, and stoop and gaze into Mary's face, and the way in which
Mary's hand would slip beneath Elizabeth's arms, and raise her up to
kiss her. I know not any Elizabeth so full of intense love, and joy, and
humbleness ; hardly any Madonna in which tenderness and dignity are
so quietly blended. She is not less humble, and yet accepting the
reverence of Elizabeth as her appointed portion, saying, in her simplicity
and truth, ' He that is mighty hath magnified me, and holy is His
name.' The longer that this group is looked upon, the more it will be
felt that Giotto has done well to withdraw from it nearly all accessories
of landscape and adornment, and to trust it to the power of its own
deep expression. We may gaze upon the two silent figures until their
silence seems to be broken, and the words of the question and reply
sound in our ears, low, as if from far away : ' Whence is this to me,
that the Mother of my Lord should come to me ? ' ' My soul doth
magnify the Lord, and my spirit hath rejoiced in God my Saviour.' "
J. Ruskin.
1 6. The Nativity.
17. The Adoration of the Magi.
1 8. The Presentation in the Temple.
19. The Flight into Egypt.
20. The Massacre of the Innocents.
21. The Young Christ in the Temple.
22. The Baptism of Christ.
23. The Marriage of Cana.
24. The Raising of Lazarus.
25. The Entry into Jerusalem.
26. The Expulsion from the Temple.
.S. ANTONINO. 357
27. The Bribery of Judas.
28. The Last Supper.
29. The Washing of the Feet.
30. The Betrayal.
31. The Trial before Caiaphas.
32. The Flagellation.
33. The Bearing of the Cross.
34. The Crucifixion.
35. The Entombment
36. The Resurrection.
" With Giotto the leading thought is not of physical re-animation, nor
of the momentarily exerted power of breaking the bars of the grave ;
but the consummation of Christ's work in the first manifesting to human
eyes, and the eyes of one who had loved Him and believed in Him, His
power to take again the life He had laid down. " J. Ruskin.
37- The Ascension.
"The works of Giotto speak most feelingly to the heart in his own
peculiar language of Dramatic composition, he glances over creation with
the eye of love, all the charities of life follow in his steps, and his
thoughts are as the breath of the morning. A man of the world, living
in it and loving it, yet with a heart that it could not spoil nor wean
from its allegiance to God ' non meno buon Christiano che eccellente
pittore,' as Vasari emphatically describes him his religion breathes of
the free air of heaven rather than the cloister, neither enthusiastic nor
superstitious, but practical, manly, and healthy." Lindsay's Christian
Art.
Half a mile outside the Porta Codalunga (the gate near
the Railway Station), on the way to Altichieri, is (right) the
Church of S. Antonino, built over the hermitage in which S.
Antonio resided during the last year of his life, when he
was daily preaching in Padua. Hither, having been taken
ill while preaching at Campo S. Pietro, 18 miles distant, he
was brought back in a common contadino's cart drawn by
oxen, and here he died (June 13, 1231), while reciting his
favourite hymn to the Virgin " O gloriosa Domina " in the
rude brick chamber which is still preserved, like the cell at
35 ITALIAN CITIES.
Assisi, within the present church. The brotherhood wished
to keep his death a secret that they might bury him in the
church, feeling sure that the people of Padua would carry
off his remains, but moved by the Divine will, the children
ran about the streets, crying, " II Santo e morto, II Santo e
morto."* The scenes of his bringing back and his death,
are represented on the church walls.
(From Padua an excursion should be made in autumn or
spring to the Euganean Hills Colli Euganei so called
from the people who are mentioned by Livy as having occu-
pied the whole tract from the Alps to the head of the
Adriatic from which they were expelled by the Veneti.
The highest point is Monte Venda, 533 met. Though pos-
sessing no grandeur of scenery, these hills are full of luxuri-
ant loveliness, and the views from their heights are those of a
most Italian Italy
" Beneath is spread like a green sea
The waveless plain of Lombardy,
Bounded by the vaporous air,
Islanded by cities fair." Shelley.
The easiest way of visiting the hills will be to go for
at least one night to Este (which may be taken on the way
to Ferrara) and seeing Arqua and Monselice from thence.
The pleasantest time for the excursion is during the
autumnal tints of the vintage. The long lines of mules upon
the roads will recall the lines of R. Browning
" You know,
With us in Lombardy, they bring
Provisions packed on mules, a string
* Hence it is that, in ^ Padua, S. Anthony is simply called "II Santo," without
adding his name.
ABANO. 359
With little bells that cheer their task,
And casks, and boughs on every cask
To keep the sun's heat from the wine."
On leaving Padua the Railway skirts the navigable canal
of Battaglia.
Abano (stat.) Inn. Orologio is celebrated for its mud
baths, the muds being impregnated with the mineral waters
of the hot springs which rise here at the foot of a little hill.
The baths are greatly frequented, and the buildings are well
fitted up. This is the Fons Aponus, so often celebrated by
classical authors :
" Euganeo, si vera fides memorantibus, augur
Colle sedens, Aponus terris ubi fumifer exit."
Lucan, viii. 193.
"Etrusci nisi thermulis lavaris,
lllotus morieris, Oppiane.
Nullae sic tibi blandientur undae :
Nee fontes Aponi rudes puellis."
Martial, vi. Ep. 42.
" Huic pater Eridanus, Venetasque ex ordine gentes,
Atque Apono gaudens populus, seu bella cieret,
Seu Musas placidus doctseque silentia vitae
Mallet, et Aonio plectro mulcere labores,
Non ullum dixere parem." Sil. Ital. xii. 217-
"Felices, proprium qui te meruere coloni,
Fas quibus est Apono juris habere sui ;
Non illis terrena lues, corrupta nee Austri
Flamina nee ssevo Sirius igne noceL
Quod si forte malus membris exuberat humor
Languida vel nimio viscera felle virent ;
Von venas reserant, nee vulnere vulnera sanant,
Pocula nee tristi gramine mista bibunt :
Amissum lymphis reparant impune vigorem,
Pacaturque, segro luxuriante, dolor." *
ClauJian, Eidyl. Apon.
1 "Thrice happy are the swains, a favour'd throng,
To whom thy treasures, Apoous, belong ;
3<5o ITALIAN CITIES.
From an epigram of Martial " Censetur Apona Livio suo
tellus " (I. Ixi. 3) it would appear that Titus Livius was born
here and not at Patavium, but possibly " Apona tellus " only
designates the territory of Patavium in general. Valerius
Flaccus was born here, and, in later times, Pietro d'Abano,
1250.
Montegrotto (stat.) has a Roman bath. Near this is
Carrara di S. Stefano, where a famous Benedictine monas-
tery was founded in 1330; it was suppressed in 1777.
Several of the Carrara family are buried in the church. The
marble tomb of Marsilio (1330) is adorned with reliefs. A
Lombard inscription recording the death of Ubertino da
Carrara in 1365, calls the family " Papafava, Lords of Carrara
and Padua."
Passing through a long tunnel, on the right is Castel Catajo,
built in 1550 by Pio degli Obizzi. A member of this old
Venetian family claimed to have invented the howitzer :
it is now extinct, and its last representative bequeathed the
castle to the Duke of Modena, on condition of his keeping it
up. It contains frescoes by Gian-Battista Zelotti, ob. 1580,
a pupil of Titian, and the friend and companion, though
rival, of Paul Veronese.
" One of his grandest works is at Catajo, where he represented, in dif-
ferent rooms, the history of the ancient Obizzi family, distinguished no
less in the council than in arms. The place is continually sought by
foreigners, attracted thither by its splendour, by the fame of these
No fell disease they fear, nor Auster's breath,
Nor Sirius, charged with pestilence and death ;
But if distemper fills the languid veins,
Or bile, malignant in th' intestines reigns,
No blood they draw, nor trenchant knife apply,
Nor goblet drugg'd with nauseous med'cines try ;
Thy waves alone their wasted strength restore ;
The grateful draught is drunk, and pain exists no more-" Eustace.
MONSELICE, ESTE. 361
pictures, and by the valuable museum of antiquities, collected by the
Marchese Tommaso Obizzi, which in point of taste, abundance, and rarity
of specimens, is calculated to confer honour upon the state." Lanzi.
Battaglia (stat.) is a great Bath resort, only considered
second to Abano. The springs belong to the Countess
Wimpffen, who has a villa here.
Monselice (stat.) Inn. Grand Hotel is the Mons Silicis.
The Rocca, a 13th-century fortress, belonged to the House
of Este. It is on a rock, guarded by long lines of curtain
wall. The palace on this hill was built by Scamozzi for the
Duoli family under the Venetian rule. In the Villa Cramer
is the Esculapius of Canova, 1778.
Este Stat. is 4 m. from the town of Este (Inn. La Speranza,
tolerable), situated at the S.W. base of the Euganean Hills.
It is a dull town, with many of the houses supported on heavy
colonnades. In the Church of S. Maria delle Grazie is a
beautiful Madonna by Cima da Conegliano, 1509. The
Romanesque Church of S. Martino is modernized internally.
The Castle has grand machicolations. It will be looked
upon with interest as the fortress which gave a name to the
House from which our own royal family are descended ; in-
deed most of the royal families of Europe originate with
Alberto Azzo, Marquis of Este, himself descended from the
Adalbati, Margraves of Tuscany. His first wife, the Swa-
bian Cunegunda, was mother of Welf (Guelph), Duke of
Bavaria, from whose eldest son, Henry the Proud, the Dukes
of Brunswick and the Kings of Hanover and England are
descended. From Giulio, the second son of Welf, the Dukes
of Modena and Ferrara descended. The grandmother of
the late Duke (Francesco V.) of Modena was Maria Beatrice
d'Este. Este itself passed into the hands of the Carraras
in 1294.
362 ITALIAN CITIES.
Castle of Este.
(A carriage 6 to 8 frs. should be taken from Este to Arqua. The
return may be varied by a visit to Monselice, or the railway may be re-
joined there.)
(Arqua is beautifully situated close under the green slopes
of the Euganean Hills, here clothed with vineyards and
orchards. The church and old houses group picturesquely
where two ridges slope toward each other. This was
the home of Petrarch, and his House stands on the hill-side,
with a beautiful view over the wooded plains. It is marked
by a small brick loggia, containing the chair in which he died,
ink-stand, and his stuffed cat. " Petrarch retired to Arqua
immediately on his return from the unsuccessful attempt to
visit Urban V. at Rome, in 1370, and with the exception of
his celebrated visit to Venice in company with Francesco
Novello da Carrara, he appears to have passed the four last
years of his life between this charming solitude and Padua.
ARQUA. 363
For four months previous to his death he was in a state ot
continual languor, and in the morning of July the iQth. 1374,
was found dead in his library chair with his head resting
upon a book." His memory adds a wonderful charm to the
hills which he loved
" Half-way up
He built his house, whence as by stealth he caught,
Among the hills, a glimpse of busy life
That soothed, not stirred. But knock, and enter in.
This was his chamber. 'Tis as when he went ;
As if he now were in his orchard -grove.
And this his closet. Here he sat and read.
This was his chair ; and in it, unobserved,
Reading, or thinking of his absent friends,
He passed away as in a quiet slumber. " Rogers.
Petrarch's House, Arqua.
The soft repose of the scenery seems described in one of
Petrarch's own verses
"Qui non palazzi, non teatro, non loggia
Ma'n lor vece un abete, un faggio, un pino,
Tra 1'erba verde, e'l bel monte vicino,
Onde se scende poetando e poggia
Levan di terra al ciel nostro intelletto ;
E '1 rossignuol che dolcemente all' ombra
364 ITALIAN CITIES.
Tutte le notti si lamenta e piagne,
D'amorosi pensieri il cor ne 'ngombra." Sonn. x.
The Tomb of the Poet, a simple and stately sarcophagus of
red Verona marble, is raised upon low pillars in front of the
village church. It was erected by Francesco di Brossano,
who had married his daughter Francesca.
"There is a tomb in Arqua ; rear'd in air,
Pillar'd in their sarcophagus, repose
The bones of Laura's lover : here repair
Many familiar with his well-sung woes,
The pilgrims of his genius. He arose
To raise a language, and his land reclaim
From the dull yoke of her barbaric foes :
Watering the tree which bears his lady's name
With his melodious tears, he gave himself to fame.
They keep his dust in Arqua, where he died ;
The mountain village where his later days
Went down the vale of years ; and 'tis their pride
An honest pride and let it be their praise,
To offer to the passing stranger's gaze
His mansion and his sepulchre ; both plain
And venerably simple, such as raise
A feeling more accordant with his strain
Than if a pyramid form'd his monumental fane.
And the soft quiet hamlet where he dwelt
Is one of that complexion which seems made
For those who their mortality have felt,
And sought a refuge from their hopes decay'd
In the deep umbrage of a green hill's shade,
Which shows a distant prospect far away
Of busy cities, now in vain display'd,
For they can lure no further ; and the ray
Of a bright sun can make sufficient holiday.
Developing the mountains, leaves, and flowers,
And shining in the brawling brook, whereby,
Clear as its current, glide the sauntering hours
With a calm languor, which, though to the eye
ROVIGO.
365
Idlesse it seem, hath its morality.
If from society we learn to live,
'Tis solitude should teach us how to die ;
It hath no flatterers ; vanity can give
No hollow aid ; alone, man with his God must strive. "
Byron, Childe Harold.
Tomb of Petrarch, Arqua.
"The revolutions of centuries have spared these sequestered valleys,
and the only violence which has been offered to the ashes of Petrarch
was prompted, not by hate, but veneration. An attempt was made to
rob the sarcophagus of its treasure, and one of the arms was stolen by a
Florentine through a rent which is still visible. The injury is not for-
gotten, but has served to identify the poet with the country where he
was born, but where he would not live. A peasant boy of Arqua being
asked who Petrarch was, replied ' that the people of the parsonage
knew all about him, but that he only knew that he was a Florentine.' "
Notes to Childe Harold.
The Pozzo di Petrarca, enclosing a clear spring, is said to
have been built by the Poet for the benefit of his native
place.)
Rovigo (stat.) Inn. Corona Ferrea, is a rather pictur-
esque little town on the wide Naviglio Adigetto. The chief
feature is a tall tower in the Ghibelline battlements. There
366 ITALIAN CITIES.
is a collection of pictures here, which has nothing great but
its names.
(Half way between Rovigo and Mantua is the town of
Legnago, fortified by Sanmicheli, formerly one of the strongest
fortresses of Austria in Venetia.)
The railway continues through the rich low-lands, pro-
tected by high embankments from the outbreaks of the Po
and Adige, to Ferrara. See Chap, xxviii.
CHAPTER XX.
BASSANO AND THE FRIULIAN ALPS.
IT is 21 miles from Vicenza to Bassano. A dili-
gence (2 frs. 50 c.) leaves at 8 A.M. and 2 P.M.,
and performs the journey in 4 hours. The only place of
interest we pass through is Marostica, with arcaded streets,
old gates, and walls and towers extending up the hill above
the town. The piazza has the Venetian pillars and lions, in
extreme miniature.
Bassano (Inn. S. Antonio, tolerable, but over-run with
black beetles) is a fine old town with a covered bridge over
the Brenta, and is overlooked by a fortress built by Eccelino
da Romano, and now containing the parocchia.
Bassano.
Just within the bridge is the House, marked by a fresco
368 ITALIAN CITIES.
of the Annunciation, of the famous family of Da Ponte,
Jacopo(Bassano), born 1510; his father Francesco (Vecchio);
and his three sons, Leandro, Francesco (Giovane), and
Girolamo. The Museo Civico (open 9 till i P.M.), joining
the principal church in the upper of the three piazzas, is
filled with the works of the Da Ponte family, collected from
the different churches and convents in the town, and form-
ing a most interesting series. They are :
Jacopo Bassano. A Venetian Podesta making a vow to the Virgin.
Id. The Three Children condemned by Nebuchadnezzar.
Id. The Woman taken in Adultery.
Id. Susanna much retouched.
Leandro Bassano* The Conversion of S. Paul.
Id. The Marriage of S. Catherine.
Id. SS. Sebastian and Michael.
Francesco (Vecchio). S. Peter.
Id. S. John Baptist.
*Id. Madonna and Child throned, with SS. Peter and Paul.
* Jacopo Bassano. The Flight into Egypt the first manner of the
artist.
*Id. S. John Baptist.
*Id. Paradise or All Saints a glorious picture.
*Id. The Baptism of Lucilla by S. Valentino perhaps the master-
piece of the artist.
Id. The Nativity.
Id. S. Martin and the Beggar. In the corner, S. Antonio is intro-
duced reading his pig gets under the horse's feet.
Id. Moro, Podesta of Venice, makes a vow to the Virgin the colour
of his robe is quite splendid.
Id. The Vow of a Knight to S. John the Evangelist.
Id. The Visit of Titian to the family of Da Ponte.
Id. Pentecost in the third manner of Jacopo.
Leandro Bassano. Podesta Cappello before the Virgin.
The Presentation in the Temple by Francesco {Giovane), the Demons
beneath by Jacopo. This picture illustrates the legend that when
Christ was presented, Earth, Heaven, and Hell alike worshipped.
Jacopo Bassano. The Crucifixion.
* There are quantities of pictures by Leandro in the Ducal Palace and churches
of Venice.
BASS A NO. 369
Cirolamo Bassano (the youngest son of Jacopo). SS. Ermagora and
Fortunato.
yacopo Bassano. Madonna with SS. Agatha and Apollonia.
Francesco (Vecchw). The Dead Christ with the Virgin, Nicodemus,
S. John, and the Magdalen.
The other pictures (unnumbered) in this gallery in-
clude :
Guarienti. The Crucifixion.
Dario da Trevigi (of whom only three pictures are known). SS. J.
Baptist and Bernardino.
Girolamo S. Croce, 1519. The Calling of S. Matthew signed.
Bonifacio. The Last Supper.
Nosocchio da Bassano. Virgin and Child, with SS. Paul and John
Baptist.
Once the property of Canova, and greatly prized by him, are two
subjects from the Story of Cleopatra, attributed to Paul Veronese.
A large collection of the first models for the works of
Canova is preserved here, presented after his death by his
half-brother Bishop Canova, of whom there is a fine bust by
Tenerani. Of the two large horses here, one was never cast,
the other is that of Charles III. of Naples, and is to be seen
there.
There are many picturesque old houses in the town with
outside frescoes, especially some in the piazzas, and that in
which Lazzaro Buonamico was born, near the fortress.
At the suburban Church of the SS. Trinita is a fine
Crucifixion, with the Almighty and the Dove of the Holy
Spirit above, by Jacopo da Ponte.
There are symptoms of costume at Bassano. The women
wear wide-awake hats, generally of black velvet, adorned
with brilliant bunches of artificial flowers, and they have
huge earrings and quantities of chains falling low round their
necks. In church they put on handsome veils of black or
VOL. i. 24
370 ITALIAN CITIES.
white lace, which have a very pretty effect : in country-places
the process of veiling and unveiling takes place at the
church doors.
(A diligence (3 frs. 50 c.) leaves Bassano for Padua at
4 A.M. and 2 P.M. daily, and performs the journey of 25
miles in 4 hours. The road passes through the market-town
of Cittadella, which retains its old walls and towers.
Giorgione was born near Castelfranco, a few miles from this,
and one of his best pictures adorns the high altar of the
parish church.)
A diligence leaves Bassano for Feltre at 2 P.M. and 8 . 45
P.M., and in the summer months (after June i) at 4 A.M. It
occupies 7 hrs. on the way. Not far from Bassano some
curious caves are passed, which may be reached by a ferry.
Feltre (Inn. Al Vapore) is a dull, unattractive place, and the
mountains have no grandeur of form. The first Monte de
Pieta was established here. Feltre may be used as a halt-
ing-place by those who proceed (the road only fit for mules
or in part of the way for very rough carriages) across the
Austrian frontier, to La Fiera in the district of Primiero
(Inn, Aquila Nera), amid very grand mountains. Near
Primiero the curious rock-built castle, Castello della Pietra
(on the road which may be taken by mules from thence to
Agordo), should be visited. A drive of 3 hrs. may be
taken to Martino de Castrozzo. From Feltre there is a dili-
gence, or a carriage may be engaged (25 frs. with 2 horses),
a drive of 3 hrs. to Belluno (Inns. II Cappello, Due Torre), the
ancient Bellunum. It is a most picturesque town situated
on a promontory at the junction of the Piave and the Ardo.
BELLUNO.
371
The arcaded streets are full of fragments of mediaeval archi-
tecture. The Palazzo Vecchio was built in 1400 by Giovanni
Ac Belluuo.
Candi, and is decorated with the arms and busts of the
Venetian Podestas. The finest of the 14 churches is the
Cathedral, built by Palladia. It contains :
Giacomo Bassa.no. S. Lorenzo.
Palma Giovane. The Deposition.
Outside the Gothic Church of S. Stefano, which has an
altar-piece of the Adoration of the Magi by Titian, is a
curious ancient sarcophagus. The town has been terribly
injured by earthquakes. Gregory XVI. was born at Belluno.
The great valley of Belluno is portrayed in a picture by
Titian, No. 635, in our National Gallery. Most beautiful
are the views from hence at sunset, when
572
ITALIAN CITIES.
"A sea
Of glory streams along the Alpine height
Of blue Friuli's mountains." Childe Harold.
Peasants of Belluno
(A carriage may be taken from Belluno (resting at Cer-
cenighe), 3 hrs., by a grand gorge through the mountains to.
Agordo (Inn. Albergo degli Miniere, large and good), sur-
rounded with high mountains, which, though very colourless
by day, become quite magnificent in the sunset. The grand-
est peaks are those of the Cima di Vezzana. Hence a little
carriage should be taken, passing the beautiful little Lake of
Alleghe, in 4 hrs., to Caprile, on the Austrian frontier (Inn.
Alle Marmolate, Signora Pezzi, humble, but good). The
little piazza here retains its Venetian lion. All around are
beautiful mountains, of which La Ctvetta, 10,400 ft., is the
finest. It is a short walk to the very curious Sasso Ranch,
with a fine view of the Civetta and Pelmo. Hence also, by
mule or on foot/ the Lake of Alleghe and Castle of Andras
TAI CADORE. 373
and the picturesque village of Buchenstein (a mule costs 18
frs.) may be visited. The road, a very rough one for light
vehicles, can be continued by this to Cortina, Travellers
going north will proceed from hence to Botzen by Campi-
clello (Inn. Al Mulino), which is reached by the Fidaya
Pass, on the summit of which (6,884 ft.) the frontier between
Italy and Tyrol is passed. Hence it is two days' ride by
Castelruth ( Weisse Lamb) to Waidbruck Station, on the
line from Verona to Innsbruck. In going to Castelruth from
Campidello two ways may be taken, but the most beautiful
is that by S. Ulrich in the Grodner Thai.
It is a drive of about 3^ hrs. (a carriage with two horses,
35 frs.) from Belluno to Tai Cadore. At the village of
Termini, are a narrow gorge and magnificent peaks. At
Perarolo, crossing the bridge over the Boita, the Antelao
mountain comes in sight.
Tai (Albergo Cadore) has a better inn than Pieve di
Cadore i m. further, though the scenery is finer at the
latter. At Tai is the humble house in which the great
master Tiziano Vecelli da Cadore was born in 1477, the
son of Gregorio Vecelli and his wife Lucia, who was of
Venetian birth. The little fountain in front is surmounted
by a statue of his patron S. Tiziano, Bishop of Odessa, himself
a member of the Vecelli family. On the tower of the Pre-
fettura is a fresco, and in the Church are two pictures, at-
tributed to Titian (the Virgin is asserted by the natives to
be a portrait of his young wife), and a water-colour picture
of the Madonna surrounded by cherubs by Antonio Rossi t
Cadorino ; it is signed " Opus Antonii Rubei."
This Antonio is now believed to have been the first master
374
ITALIAN CITIES.
of Titian, who was intended by his father for the law. but
evinced his genius by colouring a figure of the Virgin so
*e
Titian's House, Tai Cadore.
beautifully with the juice of flowers that he was sent while
very young to reside at Venice with his uncle Antonio
Vecelli, that he might study art, which he did, first under
Sebastiano Zuccati the mosaicist, and then under Gentile
Bellini. His elder brother Francesco, who for some time
also devoted himself to art, retired to Cadore at an early
period of his life, and enriched himself there by trading in
timber, but he passed the winter with Tiziano in Venice.
Their parents seem to have survived till the great master
had attained his fiftieth year, and he constantly visited them
at Cadore. Francesco (born 1476) died in 1560. The
only sister, Orsa, who lived with Titian at Venice, and took
care of his domestic affairs, died in 1550. Titian himself
survived, in full possession of all his powers, rich, honoured,
and beloved, and daily practising his art, till his 99th year,
when he was cut down by the plague, which was raging at
TAI CADORE. 375
Venice. At the age of 90 he had still been able to under-
take the troublesome journey to Cadore, where he would
pass the hot months amongst his cousins who lived
there, and at the time of his death he was wishing to fly
thither, but settled his departure too late, after the authorities
of Cadore had prohibited communication with the infected
city. He desired by will that he might be buried in the
church of his native village, but this also was not complied
with from fear of infection, though in his case, the rule de-
priving all who died from the plague of the honours of burial
was broken through, and he was honourably though quietly
interred in the church of the Frari. His wife, who died very
young, had left him three children, Pomponio, a canon (1513
1580); Horatio, an artist (1515 1576); and Cornelia,
married to Cornelio Sarcinello. The family of the Vecelli
was continued at Cadore in the person of the painter's first-
cousin, Tommaso Tito Vecelli, a lawyer, who married the
daughter of Giacomo Alessandrini, of the parish of Cadore,
and had two sons, Marco and Graziano ; Marco, himself
an artist, was the father of the painter Tiziano, called
Tizianello, the godson of the great Titian, who died in
Venice c. 1650.
It is interesting that the chemist's shop adjoining Titian's
house should still be kept by one of the Vecelli family.
Ariosto speaks of the connection of Titian with Cadore
. " E Tizian che honora
Non men Cador, che quei Venezia, e Urbino."
Hence it is a drive of 3 hrs. to Cortina d'Ampezzo a
rough carriage with one horse, 20 frs. (Inn. Aquila JVera,
excellent and reasonable), on the beautiful Ampezzo pass.
The road passes through Venas, where travellers will be
376
ITALIAN CITIES.
amused with the sign of the Inn, in which two geese are
drinking out of the ink-stand, and finding it delicious.
Cortina is surrounded by grand mountains, of which the
finest are the Pelmo, the Antelao, and the Cristallo. Excur-
sions should be made, on mules or on foot, to the Tre Croci
\\\ hr.), and 2 hrs. further to the Misurino Lake. The
ascent of the Guesella scarcely repays its fatigue. Hence
the traveller going north will probably proceed by Landro
and Lienz to Heiligenblut, whence he may go by Ferleiten
to Salzburg.
On all these mountain excursions on foot, it will be well
to bear in mind the verdict of the Alpine Club " Do not
dispense with a guide, except when and where you are ca-
pable of taking his place." Travellers should remember that
the charges of porters employed to carry luggage across the
mountains are enormous, much higher than those for mules
yet these are very expensive, especially for luggage
generally as much as 10 Gulden (;i) a day for each.
END OF VOL. I.
IN DEX.
A.
Abano, i. 359
Agordo, i. 372
Alassio, i. 20
Albaro, i. 57
Albenga, i. 21
Albizzola, i. 26
Alessandria, ii. 185
Altopasico, ii. 507
Alzano Maggiore, i. 227
Ambrogiana, villa of, iii. 249
Ancona, ii. 390 400
Arch of Trajan, 393
Cathedral, 395
Churches
S. Agostino, 398
S. Ciriaco, 395
S. Francesco dell' Ospedale,
399
S. Maria della Misericordia,
398
S. Maria Piazza, 398
Loggia dei Mercanti, 398
Palazzo del Comune, 400
Anghiari, iii. 411
Angrogna, i. 105
Antelao, the, i. 373
Aosta, i. 109
Arcola, i. 68
Arezzo, iii. 322 331
Amphitheatre, 331
Cathedral, 324
Churches
S. Annunziata, 331
Badia, La, 329
S. Francesco, 327
S. Maria della Pieve, 323
Confraternita della Misericordia,
326
Palazzo Pubblico, 323
I
Arezzo continued.
Piazza Grande, 325
Arona, i. 206
Arqua, i. 362
Asciano, iii. 314
Assisi, iii. 370 401
Cathedral, 380
Churches
S. Antonio, 382
S. Chiara, 381
Chiesa Nuova, 380
S. Damiano, 396
S. Francesco, 384
S. Francesco delle Carcere,
394
S. Maria degli Angeli, 373
Rio Torto, 399
S. Rufino, 380
Porziuncula, La, 375
Temple of Minerva, 379
Avellana, ii. 439
Avenza, i. 70
Avigliana, i. 89
B.
Badia di Settimo, iii. 214
Bagnacavallo, ii. 296
Bagni di Lucca, ii. 505
Barga, ii. 506
Bassano, i. 367
Battaglia, i. 361
Baveno, i. 210
Belcaro, castle of, iii. 294
Belgirate, i. 207
Bellaggio, i. 195
Bellosguardo, iii. 211
Belluno, i. 370
Bergamo, i. 216
Accademia, 225
Cappella Colleoni, 224
INDEX.
Bergamo continued.
Cathedral, 224
Churches
S. Agostino, 224
S. Andrea, 227
S. Bartolommeo, 227
S. Bernardino, 227
S. Chiara, 217
S. Grata, 224
S. Maria Maggiore, 219
S. Spirito, 226
S. Tommaso in Limine, 227
Bergeggi, i. 23
Bevagna, iii. 416
Bibbiena, iii. 228
Biella, i. 114
Blevio, i. 193
Bobbi, i. 105
Bobbio, ii. 194
Bologna, ii. 246 294
Accademia delle Belle Arti, 268
Antico Archiginnasio, 257
Campo Santo, 294
Casa Galvani, 287
Lambertini, 265
Rossini, 276
Cathedral, 258
Certosa, the, 294
Churches
S. Annunziata, 285
S. Bartolommeo di P. Rave-
gnata, 261
S. Bartolommeo di Reno, 288
S. Benedetto, 289
S. Caterina Vigri, 285
S. Cecilia, 284
S. Cristina, 277
S. Domenico, 281
S. Francesco, 287
S. Giacomo Maggiore, 262
S. Giorgio, 289
S. Giovanni in Monte, 277
S. Gregorio, 289
S. Lucia, 280
La Madonna di S. Luca, 293
di Galiera, 259
di Mezzaratta,
290
di Misericordia,
280
in Monte, 289
S. Maria dei Servi, 276
S. Martino, 266
S. Michele in Bosco, 293
S. Niccol6, 288
S. Paolo, 286
Bologna continued.
S. Petronio,
S. Pietro, 258
S. Procolo, 284
S. Salvatore, 287
R. Stefano, 278
S. Trinita, 277
S. Vitale ed Agricola, 275
Collegio di Spagna, 286
Crocetta di Trebbio, 294
Giardini Pubblici, 289
Liceo Rossini, 265
Loggia dei Mercanti, 261
Montagnola, 289
Orto Botanico, 275
Palazzo Albergati, 287
Bentivoglio, 275
Bevilacqua, 286
Bianchi, 277
Bolognini, 280
Fantuzzi, 276
Fava, 259
Grabinski, 284
Hercolani, 277
Malvezzi Campeggi, 265
Marescalchi, 288
Montanari, 289
Pedrazzi, 276
Pepoli, 280
Piella, 259
del Podesta, 252
Pubblico, 252
Zamheccari, 286
Zampieri, 276
Piazza S. Domenico, 280
Maggiore, 254
Nettuno, 251
Portico dei Banchi, 254
Torre degli Asinelli, 260
della Garisenda, 260
Borgo S. Donino, ii. 204
Borgo S. Sepolcro, iii. 407
Bracco, pass of, i. 62
Brescia, i. 241 254
Biblioteca Quirimana, 245
Broletto, 243
Castle, 253
Cathedrals, 244
Churches
S. Afra, 249
S. Alessandro, 250
S. Clemente, 246
S. Domenico, 251
S. Faustino Maggiore, 251
S. Francesco, 251
S. Giovanni Evangelista, 252
INDEX.
Brescia continued.
S. Giulia, 247
Madonna delle Grazie, 250
delle Miracoli, 250
S. Maria Calchera, 247
S. Nazzaro e Celso, 250
S. Pietro in Oliveto, 253
Museo Civico, 247
Patrio, 245
Palazzo del Municipio, 243
Torre del Orologio, 243
delta Palata, 251
Brianza, the, i. 190
Brienno, i. 194
Broni, ii. 186
Buonconvento, iii. 299
Busseto, ii. 204
C.
Cadenabbia, i. 195
Cagli, ii. 433
Caldiero, i. 321
Camaldoli, convent of, iii. 242
Camerino, ii. 418
Camerlata, i. 183
Camogli, i. 58
Campaldino, iii. 223
Campi, School of the, i. 231
Campione, i. 258
Campo Reggiano, iii. 403
Campo Rosso, i. 8
Caprese, iii. 412
Caprile, i. 372
Careggi, villa of, iii. 219
Carmagnola, i. 93
Carrara, i. 70
Carrara di S. Stefano, i. 360
Casale, i. 117
Cascina, iii. 251
Casebruciate, ii. 392
Casentino, the, iii. 226
Castagnolo, iii. 215
Casteggio, ii. 186
Castel Arquato, ii. 204
Castel Catajo, i. 360
Castelfidardo, ii. 401
Castel Franco, i. 370
Castel Guelfo, ii. 206
Castellaro, i. 18
Castello, iii. 219
Castelluzzo, i. 103
Castel Secco, iii. 331
Castiglione, i. 210
Castiglione Fiorentino, iii. 332
Castiglione d'Olona, i. 204
Cavallermaggiore, i. 94
Centa, river, i. 22
Cernobbio, i. 193
Cerreto-Guidi, iii. 250
Certaldo, iii. 251
Certosa, the, i. 166
of the Val d'Emo, iii. 208
Cervaro, i. 60
Cervi, i. 20
Cesena, ii. 363
Cesenatico, ii. 350
Chatillon, i. 109
Chiana, Val di, iii. 321
Chiaravalle, i. 163
Chiavari, i. 61
Chiavenna, i. 197
Chioggia, ii. 141
Chivasso, i. 117
Chiusi, iii. 319
Cittadella, i. 370
Citta di Castello, iii. 403
Citta del Pieve, iii. 321
Civitella Raniari, iii. 403
Cogoletto, i. 27
Colico, i. 197
Como, i. 184
Como, lake of, i. 192
Cortina d' Ampezzo, i. 375
Cortona, iii. 333 338
Cathedral, 337
Churches
S. Agostino, 338
S. Domenico, 334
S. Margherita, 335
S. Niccol6, 335
Fortezza, 336
Etruscan Museum, 336
Cospaglia, Republic of, iii. 407
Courmayeur, i. in
Cremona, i. 230 240
Baptistery, 237
Campo Santo, 238
Castle, 240
Cathedral, 232
Churches
S. Abbondio, 233
S. Agata, 232
S. Agostino, 232
S. Giacomo in Breda, 232
S. Luca, 232
S. Margherita, 232
S. Nazzaro, 233
S. Pelagia, 233
S. Pietro al Po, 233
S. Sigismondo, 239
Palazzo Maggi, 232
INDEX.
Cremona continued.
Palazzo Pubblico, 238
Torrazzo, 237
Cuneo, i. 95
Custozza, i. 302
D.
Desenzano, i. 255
Diano Marina, i. 20
Dolceacqua, i. 9
Domo d'Ossola, i. 210
Dongo, i. 197
Donnaz, i. 108
E.
Empoli, iii. 249
Erba, i. 190
Este, i. 361
Euganean Hills, i. 358
F.
Faenza, ii. 353
Fano, ii. 387 390
Feltre, i. 370
Fermo, ii. 414
Fiesole, iii. 193
Finale Marina, i. 23
Fiorenzuola, ii. 204
Florence, iii. i 188.
Accademia della Crusca, 18
delle Belle Arti, 131
Filarmonica, 80
del Pimento, 18
Badia, La, 54
Baptistery, 101
Bargello, 57
Bigallo, 91
Borgo dei Greci, 69
S. Apostoli, 8 1
dei Pinti, 140
S. Jacopo, 181
Bridges (Ponte)
Carraja, 161
S. Trinita, 161
Vecchio, 164
alle Grazie, 168
Campanile of Giotto, 94
Canto delle Colonnine, 68
Cantonata dei Pazzi, 52
Cascine, the, 160
Cathedral, 95
Collegio Eugeniano, 105
Florence continued.
Cemeteries
Florentine, at S. Miniato, 201
Jewish, 1 88
Protestant, 142
Churches
S. Ambrogio, 143
S. Ahnunziata, 138
S. Apostoli, 81
S. Apollonia, 114
La Badia, 55
S. Biagio, 82
Calze, le, 184
S. Carlo Borromeo, 87
Carmine, the, 185
S. Croce, 69
S. Elisabetta, 184
S. Firenze, 67
S. Frediano, 188
S. Gaetano, 149
S. Giovanni Battista, 101
S. Giovannino, 117
S. Jacopo sopr' Arno, 181
S. Leonardo in Arcetri, 42
S. Lorenzo, 108
S. Lucia, 160
S. Maddalena dei Pazzi, 141
S. Marco, 129
S. Maria in Campidoglio, 89
dei Fiore, 95
Maggiore, 107
Nipaticosa, 88
Novella, 149
sopr' Arno, 165
S. Margherita dei Ricci, 50
S. Martino, 49
S. Niccol6, 169
Ogni Santi, 161
Or S. Michele, 83
S. Piero Buonconsiglio, 89
Scheraggio, 42
S. Pietro Maggiore, 54
S. Salvador, 161
S. Sitnone, 80
S. Spirito, 182
S. Stefano, 82
S. Trinita, 15
Convents
S. Apollonia, 114
Carmine, 185
S. Croce, 78
Maratte, 79
S. Maddalena dei Pazzi, 141
S. Marco, 117
S. Maria degli Angeli, 140
S. Maria Novella, 159
INDEX.
Florence continued.
S. Onofrio, 158
Croce al Trebbio, 149
Egyptian Museum, 159
Fortezza di S. Giorgio, 169
Galleries
Uffizi, 19
Feroni, 34
Pitti, 172
Gardens
Boboli, 181
Ruccellai, 160
Torregiani, 184
Gates (Porta)
S. Frediano, 188
S. Gallo, 114
S. Giorgio, 169
S. Niccolo, 169
S. Romana, 185
Hospitals (Ospedale)
Innocenti, 138
S. Maria Nuova, 144
della Scala, 159
S. Matteo, 151
Misericordia, 92
Houses (Case) of
Alfieri, 17
S. Antonino, 170
Corso Donati, 54
Dante, 49
Folco Portinari, 50
Fra Bartolommeo, 184
Ghiberti, 144
Guidi, 170
Mariotto Albertinelli, 49
Michael Angelo, 80
Niccol6 Soderini, 182
S. Zenobio, 82
Libraries
Magliabecchian, 18
Marucelliana. 117
Nazionale, 18
Palatine, 18
Riccardi, 117
Marzocco, the, 43
Mercato Nuovo, 82
Vecchio, 89
Palaces (Palazzo)
Alessandri, 53
Antinori, 149
Arte di Lana, 87
Barbadori, 181
Barberini, 69
Borgherini, 81
Canigiani, 168
Capponi, 140
Florence continued.
della Cavajola, 89
Cento Finestre, 107
Cerchi, 49
Cocchi, 69
Conte Bardi, 80
Corsini, 162
dei Galli, 53
Gondi, 67
Guadagni, 184
Guicciardini, 171
Martelli, 117
della Mercanzia, 36
Montalvo, 53
del Municipio, 81
Nonfinito, 52
Orlandini, 107
Pandolfini, 114
Pitti, 171
Quaratesi, 52
Riccardi, 115
Ridolfi, 171
Rinuccini, 182
Salviati, 50
Seristori, 69
Spini, 17
Strozzi, 146
Stufa, 69
Torrigiani, 168
del Turco, 81
Uffizi, 18
Uguccione, 36
Valori, 54
Vecchio, 42
Velluti Zuti, 140
Passage of the Ponte Vecchio,
35
Piazza
della Annunziata, 137
d'Azeglio, 143
del Carmine, 188
dei Castellani, 68
S. Croce, 69
del Duomo, 104
S. Felicita, 169
S. Firenze, 67
dei Giudici, 68
del Grano, 68
dell' Indipendenza, 158
Manin, 161
S. Maria Novella, 149
S. Miniato tra due Torre, 90
de Renai, 169
della Signoria, 35
S. Spirito, 184
S. Trinita, 15
JADEX.
Florence continued.
Streets (Via)
Albizzi, 52
Allegri, 79
S. Agostino, 184
dei Bardi, 165
Calimala, 91
Calzaioli, 83
Cerretani, 149
Condotta, 48
S. Egidio, 144
dei Fibbiai, 141
del Fosso, 80
S. Gallo, 114
dei Ginori, 114
Giraldi, 80
Ghibellina, 79
Guicciardini, 169
Maggio, 170
dei Malcontenti, 78
della Mandorla, 140
Marsigli, 170
della Morta, 104
Nazionale, 158
dei Oricellari, 159
Parione, 162
Pelliceria, 91
della Pergola, 141
dei Pinti, 141
Por S. Maria, 82
Porta Rossa, 83
S. Sebastiano, 141
Seragli, 184
S. Spirito, 183
Tornabuoni, 146
dei Vecchietti, 89
Theatre of the Pagliano, 80
Towers (Torre)
dei Amidei, 82
Barbadore, 112
Bocca di Ferro, 49
dei Donati, 50
S. Zenobio, 82
Foligno, iii. 4.15
Forli, ii. 356 362
Cathedral, 357
Citadel, 362
Churches
S. Girolamo, 358
S. Mercuriale, 357
The Servi, 359
Pinacoteca, 359
Forlimpopoli, ii. 363
P\>rt Bard, i. 108
Fratta, iii. 402
Furlo, pass of the, ii. 432
G.
Galicano, ii. 506
Gallinara, island of, i. 21
Garda, i. 260
Garda, lake of, i. 256
Gargnano, i. 258
Garlanda, i. 22
Genoa, i. 29 56
Acqua sola, promenade of, 47
Albergo dei Poveri, 47
Banco di S. Giorgio, 36
Campo Santo, 57
Cathedral, 37
Churches
S. Agostino, 54
S. Ambrogio, 42
S. Annunziata, 46
S. Donate, 54
S. Giacomo, 53
S. Giovanni di Pre", 51
S. Maria di Carignano, 54
S. Maria di Castello, 53
S. Matteo, 39
S. Siro, 46
S. Stefano, 56
House of Andrea Doria, 39
Loggia dei Banchi, 35
Piazza
Acqua Verde, 50
Bianchi, 35
Carlo Felice, 42
Embriaci, 53
Pontoria, 54
Ponte di Carignano, 54
Porta di S. Andrea, 56
S. Tommaso, 51
Porto Franco, 36
Strada degli Orefici, 35
Gombo, the, ii. 479
Gravedona, i. 197
Gravellona, i. 210
Gressoney S. Jean, i. 215
Gubbio, ii. 434 438
Guesella, the, i. 376
I.
Idro, lake of, i. 260
II Deserto, i. 27
Imola, ii. 296
Impruneta, iii. 210
Inciso, i. 190
Intra, i. 211
Iseo, lake of, i. 228
INDEX.
Isola Bella, i. 207
Comaccina, i. 194
dei Frati, i. 257
S. Giulio, i. 213
Madre, i. 209
dei Pescatore, i. 209
Ivrea, i. 108
La Cattolica, ii. 385
Civetta, i. 372
Chiusa, i. 91
Falterona, iii. 241
Penna, iii. 241
Tour, i. 103
Vernia, iii. 229
Verruca, ii. 480
Lampedusa, i. 18
Laveno, i. 211
Lecco, i. 195
Leghorn, ii. 481
Legnago, i. 366
Lerici, i. 66
Levanto, i. 63
Limone, i. 258
Loano, i. 22
Locarno, i. 212
Lonigo, i. 321
Loreto, ii. 402 411
Lucca, ii. 491 504
Cathedral, 492
Churches
S. Cristoforo, 504
S. Francesco, 497
S. Frediano, 498
S. Giovanni, 466
S. Giusto, 504
S. Maria Forisportam, 497
S. Maria della Rosa, 497
S. Michele, 500
S. Pietro Somaldo, 497
S. Romano, 504
S. Salvatore, 504
Galleria delle Belle Arti, 501
Palazzo Guinigi, 497
Pubblico, 492
Lucignano, iii. 314
Lugano, i. 200
lake of, 5. 199
Lugliano, ii. 506
Lugo, ii. 296
Luino, i. 201, 211
Luna, i. 69
M.
Macagno Inferiore, i. 211
Macerata, ii. 413
Macugnaga, i. 210
Maderno, i. 258
Madonna d'Oropa, i. 114
Maggiore, lake of, i. 206
Malcesine, i. 260
Malmantile, iii. 215
Mantua, i. 303 320
Argine del Mulino, 306
Casa di Mantegna, 313
Castello di Corte, 310
Cathedral, 308
Churches
S. Andrea, 312
S. Maria delle Grazie, 317
S. Sebastiano, 312
Museo, 311
Palazzo
Bianchi, 311
Castiglione, 311
Ducale, 309
Guerrieri, 311
della Ragione, 312
del Te, 313
Piazza. Dante, 312
delle Erbe, 312
S. Pietro, 317
Virgiliana, 311
Ponte S. Giorgio, 311
Torre della Gabbia, 308
del Zuccaro, 308
Malelica, ii. 417
Menaggio, i. 199
Mendrisio, i. 189
Metaurus, the, ii. 391
Milan, i. 121 163
Arco della Pace, i. 151
Archaeological Museum, 153
Biblioteca Ambrosiana, 148
Brera, the, 153
Castello, 152
Cathedral, 124
Cenacolo of Leonardo da Vinci,
145
Churches
S. Ambrogio, 130
S. Carlo Borromeo, 150
S. Celso, 138
S. Eustorgio, 136
S. Fedele, 150
S. Giorgio in Palazzo, 130
S. Giovanni in Conca, 142
$. Lorenzo, 135
INDEX.
Milan continued.
S. Marco, 156
S. Maria del Carmine. 152
S. Maria delle Grazie, 145
S. Maria presso S. Celso, 138
S. Maurizio, 144
S. Nazaro Maggiore, 138
S. Pietro Martire, 136
S. Satire, 142
S. Sempliciano, 151
S. Sepolcro, 149
S. Stefano in Broglio, 141
Colonne di S. Lorenzo, 131
Galleria Vittorio Emanuele, 139
La Scala, Theatre of, 150
Loggia degii Ossi, 145
Ospedale Maggiore, 140
Palazzo della Citta, 145
del Ragione, 145
Litta, 145
Trivulzi, 139
Piazza d'Armi, 151
del Duomo, 129
della Scala, 150
del Tribunale, 145
Seminario Arcivescovile, 150
Mincio, the, i. 303
Mirabouc, i. 105
Modena, ii. 232 245
Cathedral, 235
Churches
S. Francesco, 244
S. Giovanni Decollate, 245
S. Maria Pomposa, 245
S. Pietro, 244
S. Vincenzo, 244
La Ghirlandaja, 237
Palazzo Ducale, 240
Piazza Reale, 240
Grande, 236
Pinacoteca, 240
University, 244
Moncalieri, i. 89
Monferrat, duchy of, i. 117
Monselice, i. 361
Monte- Aperto, iii. 297
Montebello, i. 321 ; ii. 186
Monte Berico, i. 331
Montecatini, ii. 507
Monte Catini, mines of, ii. 489
Montecchio, i. 333 ; ii. 226
Monte Chiaro, ii. 194
Monte C'onero, ii. 400
Monte Corona, iii. 403
Montefalco, iii. 417
Monte Generoso, i. 189
Montegrotto, i. 360
Montelupo, iii. 248
Monte Murlo, ii. 522
Monte Nero, ii. 482
Montepulciano, iii. 315
Monteriggione, iii. 252
Monte !S. Bartolo, ii. 387
Monte Venda, i. 358
Monte Zago, ii. 204
Montjovet, i. 109
Monza, i. 179
Moriano, ii. 504
Murano, ii. 149
Musso, i. 197
Muzzano, lake of, i. 201
N.
Nervi, i. 58
Nesso, i. 194
Noli, i. 23
Novalesa, i. 92
Novara, i. 168
O.
Olera, i. 227
Orta, lake of, 212
Orvieto, iii. 321
Osimo, ii. 401
P.
Padua, i. 335358
Archivio Pubblico, 341
Baptistery, 342
Cathedral, 342
Churches
S. Antonio, 347
S. Antonino, 351
S. Bovo, 344
Carmine, 338
Eremitani, 353
S. Francesco, 353
S. Giorgio, 351
S. Giustina, 345
S. Maria dell' Arena, 353
S. Maria Nuova, 351
S. Maria in Vanzo, 344
II Bo, 341
Loggia del Consiglio, 339
Municipale, 344
Orto Botanico, 346
Palazzo
del Capitan, 339
del Municipio, 341
INDEX.
Padua contin tied.
Papa fa va, 344
della Ragione, 340
Piazza
S. Antonio, 347
delle Erbe, 339
delle Frutte, 339
del Signori, 339
Prato della Valle, 344
Scuola del Santo, 352
Tomb of Antenor, 352
Torre d' Ezzelino, 339
S. Tommaso, 344
University, 339
Pallanza, i. 211
Palmaria, island of, i. 65
Parma, ii. 207 225
Archjsological Museum, 219
Baptistery, 216
Camera di S. Paolo, 224
Cathedral, 211
Churches
S. Alessandro, 218
Annunxjata, 225
S. Giovanni Evangelista, 212
S. Maria della Steccata, 217
S. Sepolcro, 211
Collegio Lalatta, 211
Palazzo Farnese, 219
del Giardino, 225
Pilotta, 225
Piazza di Corte, 217
Grande, 211
Pinacoteca, 220
Teatro Farnese, 219
Parola, ii. 206
Passerine, iii. 411
Pavia, i. 172 178
Bridge, 177
Castello, 175
Cathedral, 173
Churches
S. Croce, 174
S. Francesco, 176
S. Maria delle Carmine, 174
S. Michele, 176
S. Pietro in Cielo d'Oro, 174
Collegio Ghislieri, 176
Palazzo Malaspina, 174
Tomb of S. Augustine at, 173
University of, 175
Pegli, i. 27
Pelago, iii. 223
Pella, i. 213
Pelmo, the, i. 376
Perarolo, i. 373
Peretola, iii. 216
Perugia, iii. 343 367
Arco d'Augusto, 356
Biblioteca Pubblica, 347
Casa Baldeschi, 346
di Pietro Perugino, 363
Cathedral, 350
Churches
S. Agnese, 358
S. Agostino, 357
S. Angelo, 357
S. Antonio, 355
S. Bernardino, 362
S. Domenico, 364
S. Ercolano, 363
S. Francesco degli Conven-
tual!, 362
S. Francesco al Monte, 358
S. Giuliana, 367
S. Lorenzo, 356
S. Maria Assunta, 356
S. Maria di Monte Luco, 363
S. Pietro dei Casinensi, 365
S. Severe, 355
Etruscan Museum, 362
La Veduta, 367
Palazzo Antinori, 356
Conestabifi Staffa, 355
Monaldi, 346
Pubblico, 349
Piazza del Papa, 353
Sopramuro, 346
Pinacoteca, 358
Porta Manzia, 345
Sala del Cambio, 347
Tomb of the Volumnii, 368
Torre degii Sciri, 363
University, 358
Pesaro, ii. 385
Peschiera, i. 261
Pescia, ii. 507
Pesia, Certosa of, i. 95
Petraja, iii. 218
Piacenza, ii. 187 194
Cathedral, 188
Churches
S. Agostino, 193
S. Antonio, 189
S. Giovanni in Canale, 193
S. Francesco, 198
S. Maria della Campagna, 191
S. Sepolcro, 191
S. Sisto, 192
S. Vincenzo, 189
Hospital of S. Lnzzaro, 193
Palazzo Communale, 190
Farnese, 192
Piano, lake of, i. 199
INDEX.
Piccolo Paggi, i. 60
Pienza, iii. 317
Pietra Santa, i. 72
Pinerolo, i. 103
Pisa, li. 440 480
Accademia delle Belle Arti, 471
Baptistery, 451
Campanile, 446
Campo-Santo, 452
Cascine, 479
Cathedral, 416
Churches
S. Biagio, 477
S. Caterina, 475
Cavalieri di S. Stefano, 472
S. Francesco, 470
S. Maria delle Spine, 468
S. Matteo, 477
S. Michele in Borgo, 479
S. Niccola, 469
S. Paolo del Orto, 476
S. Paolo Ripa d'Arno, 478
S. Pietro in Grado, 480
S. Sepolcro, 477
S. Sisto, 475
Giardino Botanico, 470
Palazzo Agostino, 469
dei Banchi, 478
Conventuale dei Cava-
lieri, 475
del Governo, 478
Gualandi, 475
Lanfreducci, 469
Pieracchi, 478
Toscanelli, 478
Ponte alia Fortezza, 477
al Mare, 470
del Mezzo, 469
University, 469
Pisogne, i. 228
Pistoia, ii. 510 519
Baptistery, 516
Cathedral, 517
Churches
S. Andrea, 517
S. Bartolommeo, 511
S. Domenico, 511
S. Francesco, 517
S. Giovanni Evangelista, 511
S. Jacopo, 514
S. Maria dell' Umilta, 518
S. Paolo, 512
S. Pietro Maggiore, 512
S. Salvatore, 517
Palazzo del Comune, 513
Pretorio, 514
Piazza Maggiore, 513
I Po, river, i. 84, 85
I Poggibonsi, iii. 252
Poggio a Cajano, iii. 216
Poggio Imperiale, iii. 199
Pontassieve, iii. 222
Pontedera, iii. 251
Ponte Felcino, iii. 402
Ponte Grande, i. 210
Ponte S. Martino, i. 108
Poppi, iii. 227
Porlezza, i. 199
Porto, i. 201
Porto Fino, i. 60
Maurizio, i. 20
Recanati, ii. 412
Venere, i. 62
Pozzolengo, i. 261
Pra del 1'or, i. 261
Prato, ii. 519
Pratolino, iii. 197
Prato Vecchio, iii. 246
R.
Racconigi, 94
Radicofani, iii. 317
Rapallo, i. 61
Ravenna, ii. 295 352
Arcivescovado, 320
Biblioteca Communale, 323
Cathedral, 320
Churches
S. Agata, 323
S. Apollinare Nuovo, 327
S. Apollinare in Classe, 337
S. Domenico, 315
S. Francesco, 323
S. Giovanni Battista, 303
S. Giovanni Evangelista, 316
S. Maria in Affrisco, 316
S. Maria in Cosmedin, 303
S. Maria Maggiore, 307
S. Maria in Porta Fuori, 332
S. Nazaro e Celso, 304
S. Niccolo, 323
S. Spirito, 302
S. Teodoro, 302
S. Vitale, 308
Colonna dei Frances!, 348
House of Byron, 349
Mausoleum of GalLa Placidia,
3H
Palazzo Communale, 317
Guiccioli, 349
Theodoric, of, 330
Piazza, dell' Aquila, 317
S. Francesco, 324
INDEX,
Ravenna con tin ued.
Maggiore, 317
Pinacoteca, 321
Tomb of Dante, 324
the Exarch Isaac, 315
Theodorie, 324
Recanati, ii. 412
Recoaro, i. 334
Reggio, ii. 231
Rho, i. 206
Rimini, ii. 365377
Amphitheatre, 374
Arch of Augustus, 373
Bridge of Augustus, 373
Castle of the Malatesti, 376
Churches
S. Chiara, 374
S. Francesco, 367
S. Giuliano, 376
Palazzo del Comune, 375
Ruffo, 375
Piazza Cavour, 374
Giulio Cesare, 371
Ripafratta, ii. 490
Riva, i. 259
Rocca di Fontenellato, ii. 206
Rocca Silana, ii. 489
Rora, i. 106
Rovigo, i. 365
Rubicon, the, ii. 350
Rusina, ii. 226
Ruta, i. 59
S.
Sacro Monte of Orta, i. 213
Varallo, i. 213
Varese, i. 202
Sagro di S. Michele, i. 84
S. Agostino, i. 6
Ambrogio, i. 89
Angelo in Vado, ii. 365
Columba, tomb of, iii. 293
Domenico di Fiesole, iii. 189
Fiora, mountain of, iii. 317
Fruttuoso, convent of, i. 60
Gimignano, iii. 302 311
Giovanni Ilarione, i. 333
Giuliano, ii. 490
Giustino, iii. 407
Leo, ii. 382
Lorenzo al Mare, i. 20
Margherita, i. 60
Maria Pomposa, ii. 352
Marino, republic of, ii. 377
Martino, i. 261
S. Michele, Sagro di, i. 89
Miniato, iii. 199
Miniato dei Tedeschi, iii. 251
Niccolo, ii. 186
Pierino, iii. 251
Quirico, iii. 318
Remo, i. 13
Romolo, i. 16
Salvatore, Monte di, i. 201
Salvi, convent of, iii. 199
Severino, ii. 417
Stefano al Mare, i. 20
Vivaldo, iii. 311
Salarco, iii, 315
Salo, i. 358
Saluzzo, i. 94
Sambonifazio, i. 321
Sandria, i. 200
Santuario, the, of Savona, i. 24
Sarnico, i. 228
Sarzana, i. 68
Sarzanello, i. 69
Sassoferrato, ii. 417
Savigliano, i. 94
Savignano, ii. 365
Savona, i. 23
Sermione, i. 255
Serravalle, ii. 508
berravezza, i. 73
Sestri, di Levante, i. 61
Settignano, iii. 198
Shelley, death of, i. 67
Siena, iii. 252 296
Baclia, La, 289
Biblioteca Communale, 285
Casa di S. Caterina, 276
dell' Opera, 272
Cathedral, 265
Churches
S. Agostino, 287
S. Ansano, 292
S. Bernardino, 289
Carmine, 288
Concessione, 286
S. Cristoforo, 285
S. Domenico, 278
Fonte Giusta, 290
S. Francesco, 288
S. Giovanni Battista, 273
Osservanza, La, 293
S. Quirico, 288
Servi di Maria, 286
S. Spirito, 286
Collegio Tolomei, 288
Fonte Branda, 276
Gaja, 256
INDEX.
Sien a contin ued.
Nuova, 289
Hospital of S. Maria della Scala,
273
Istituto delle Belle Arti, 281
Lizza, La, 289
Loggia dei Nobili, 263
del Papa, 263
Palazzo Buonsignori, 287
del Capitano, 264
dei Diavoli, 294
Grottanelli, 264
Magnifico, 274
Piccolomini, 263
Piccolomini delle Pa-
pesse, 263
Saracini, 263
Spanocchi, 289
University, 286
Signa, iii. 215
Sinalunga, iii. 314
Sinigaglia, ii. 391
Soci, iii. 241
Solferrino, i. 256
Spello, iii. 413
Spezia, gulf of, i. 63
Spotorno, i. 23
Stresa, i. 207
Stupinigi, i. 89
Superga, La, i. 89
Susa, i. 92
Sylvano, i. 60
T.
Taggia, i. 17
Tai Cadore, i. 373
Tavernola, i. 228
Tenda, Col di, i. 95
Terminara, i. 373
Thrasymene, iii. 338
Ticino, river, i. 177, 178
Tolentino, ii. 416
Torcello, ii. 153
Tortona, ii. 185
Toscolano, i. 358
Trascorre, i. 227
Trebhia, the, ii. 186
Trissino, i. 333
Turin, i. 74 86
Accademia, 80
Armoury, 77
Cappuchin Convent, 85
Cathedral, 78
Churches
Consolata, La, 79
Turin continued.
Corpus Domini, 79
S. Lorenzo, 79
Madre di Dio, 85
Superga, 87
Palazzo
Cangnano, 80
Madama, 76
Municipio, 79
Reale, 77
Valentino, 86
Piazza
Carignano, 80
Carlo Alberto, 84
Carlo Felice, 76
Castello, 76
di Citta, 79
Savoia, 79
Public Gardens, 85
U.
Urbino, ii. 420431
Accademia delle Belle Arti, 426
Casa Santi, 427
Cathedral, 425
Churches
S. Bernardino, 429
Francesco, 429
Giovanni Battista, 429
Spirito, 429
Ducal Palace, 421
Urbisaglia, ii. 417
Uso, the, ii. 350
V.
Vado, i. 23
Val di Camporciero, i. 108
Valdagno, i. 333
Valdieri, baths of, i. 95
Valeggio, i. 302
Valenza, i. 117
Varallo, i. 213
Varenna, i. 196
Varese, i. 20 > .
Varigotti, i. 23
Venas, i. 376
Venice, ii. i 156
Abbazia della Misericordia, 109
Accademia, 51
Archaeological Museum, 45
Armenian Convent, 136
Arsenal, 97
Bridge of Sighs, 40
INDEX.
Venice continued.
Campanile, 16
Campo
S. Angelo, 105
S. Angelo Raffaello, 116
S. Benedetto, 106
S. Giovanni in Bragora, 100
S. Maria, 131
S. Maria Formosa, 82, 83
S. Margherita, 117
S. Paternian, 106
S. Polo, 132
S. Stefano, 105
S. Zaccaria, 81
Campiello Angaran, 119
della Strope, 131
Canareggio, the, 114
Casa Businello, 66
Ferro, 79
Goldoni, 130
Churches
S. Andrea, 119
S. Angelo di Murano, 149
S. Antonino, 82
S. Aponal, 132
S. Apostoli, 75, 109
S. Biagio, 96
S. Donato di Murano, 148
S. Fosca di Torcello, 153
S. Francesco delle Vigne, 92
S. Geremia, 73
S. Giacomo del Orio, 130
S. Giacomo del Rialto, 68
S. Giobbe, 114
S. Giorgio, 135
S. Giorgio dei Greci, 82
S. Giovanni in Bragora, 99
S. Giovanni Crisostomo, 107
S. Giovanni e Paolo, 84
S. Gregorio, 50
S. Giuliano, 107
S. Giuseppe di Castello, 94
S. Lazaro, 91
S. Luca, 105
S. Marco, 19
S. Marcuola, 73
S. Maria del Carmine, 117
S. Maria Formosa, 82
S. Maria dei Frari, 125
S. Maria dei Gesuiti, 109
S. Maria Mater Domini, 131
S. Maria dei Miracoli, 107
S. Maria del Orto, no
S. Maria della Salute, 47
S. Maria Zobenigo, 103
S. Martino, 99
Venice continued.
S. Marziale, no
S. Maurizio, 104
S. Moise, 103
S. Niccol6 al Lido, 139
S. Niccold al Tolentino, 119
S. Pantaleone, 118
S. Pietro di Castello, 94
S. Pietro di Murano, 149
S. Polo, 132
S. Raffaello, 116
II Redentore, 134
S. Rocco, 125
S. Salvatore, 106
I Scalzi, 72
S. Silvestro, 67
S. Simeone Grande, 70
S. Spirito, 117
S. Stae, 70
S. Stefano, 104
S. Trovaso, 115
S. Vitale, 79
S. Zaccaria, 80
Corte del Maltese, 106
del Sabion, 107
del Rener, 75
Doges of, 6
Fondaco dei Tedeschi, 75
dei Turchi, 71
Frari, the, 125
Giardini Papadopoli, 119
Pubblici, 94
Giudecca, the, 134
Gondolas, 10
Grimani Breviary, the, 41
Islands
' Burano, 149
Castello, 102
S. Elena, 138
S. Giorgio, 135
Giudecca, 134
S. Lazaro, 136
S. Michele, 145
Mazzorbo, 149
Murano, 146
S. Niccol6, 102
Pelestina, 141
S. Pietro, 93
Poeggia, 141
S. Servolo, 140
Sotto Marina, 141
Torcello, 150
Libreria di S. Marco, 41
Vecchie, 15
Lido, the, 138
Loggia sotto il Campanile, 17
IXDEX.
Venice contin ued.
Museo Corner, 71
Orto Botanico, 114
Palazzo
Badoer, 100
Balbi, 65
Barbarigo delle Terrazze, 66
Bembo, 82
Benzon, 77
Bernardo, 66
Ca d'Oro, 74
Camerlenghi, 70
Capello, 132
Cavalli, jj, 79
Contarini, 78, 106
Contarini delle Scrigni, 63
Capovilla, 71
Corner della Ca Grande, 79
della Regina, 70
Spinelli, 78
Dandolo, 76
Dario, 51
Dona, 66
Ducale, 30
Duodo, 71
Emo, 79
Erizzo, 74
Falier, 108
| Farsetti, 77
Fini, 79
Foscari, 63
Foscarini, 117
Grassi, 78
Grimani, 74, 77, 82
Grimani a S. Polo, 65
Giustiniani, 79
Giustiniani Lonin, 78
Labia, 73
Loredan, 76, 105
Manfrin, 73
Manin, 76
Manzoni, 51
Marcello, 74
Martinengo, 77
Michele delle Colonne, 75
Mocenigo, 78
Moro Lin, 78
Morosini, 75, 105
Municipio, 77
Persico, 65
Pesaro, 70
Pisani, 65, 105
Polo, 107
Rezzonieo, 63
Sagredo, 75
Sanudo, 108
Venice continued.
Tiepolo, 65
Trevisan, 8
Tron, 71
Vendramin Calenghi, 73
Zenobio, 117
Papadopoli Gardens, 119
Piazza S. Marco, 17
Piazzetta, 15
Pietra del Bardo, 16
Piombi, the, 39
Ponte del Corner, 131
del Paradiso, 80
S. Polo, 132
del Rialto, 68
del Sospiri, 40
S. Toma, 130
Pozzi, the, 41
Procuratie Nuove, 15
Vecchie, 15
Railway Station, 7
Rialto, 67
Scala dei Giganti, 33
Scuola degli Albanese, 104
S. Giovanni Evangelista,
132
S. Marco, 91
S. Rocco, 119
Statue of Bartolommeo Colle-
one, 84
Teatro Rossini, 106
Torre del Orologio, 15
Verona, i. 262 302
Aecademia Filarmonica, 280
Amphitheatre, 299
Arco dei Borsari, 285
del Leone, 299
Baptistery, 288
Castel S. Felice, 290
S. Pietro, 289
Vecchio, 280
Cathedral, 286
Churches
S. Anastasia, 268
Bernardino, 281
Elena, 288
Eufemia, 285
Fermo Maggiore, 297
Giorgio in Braida, 291
Giovanni in Fonte, 288
in Valle, 291
Maria Antica, 272
della Campagna, 300
Matricolare, 286
in Organo, 292
Nazzaro e Celso, 293
INDEX.
Verona contin ued.
S. Pietro Martire, 269
Siro, 291
Stefano, 290
"lommaso Cantuariense,
392
Zeno, sSi
Gardens
Giusti, 293
of the Orfanotrofio, 299
House of Giolfino, 285
Museo Civico, 295
Lapidario, 280
Oratorio di S. Zenone, 284
Palaces
Bevilaoqua, 285
Canossa, 285
Cappelletti, 299
del Consiglio, 271
Giusti, 293
della Guardia, 280
Maffei, 278
Pompei, 295
Portakipi, 285
Piazza. Bra, 279
della Erbe, 278
Navona, 271
dei Signori, 270
Pinacoteca, 295
Ponte Acqua Morta, 298
Castello, 280
delle Navi. 297
Nuovo, 292
Pietra, 289
Porta Stuppa, 280
Tombs
Count of Castelbarco, 268
The Scaligers, 272
Vescovado, 288
Walls, 300
Viareggio, i. 73
Vicenza, i. 321 333
Basilica, 325
Casa di Palladio, 327
Pigafetta, 325
di Ricovero, 330
Cathedral, 324
Churches
S. Corona, 326
S. Lorenzo, 330
S. Maria al Monte, 331
Vicenza continued.
S. Pietro, 330
S. Stefano, 326
Museo Civieo, 328
Palazzo
Barbarano, 331
Chiericati, 328
Conte Porto al Castello, 324
Loschi, 325
Porto, 331
della Ragione, 325
Annibale Tiene, 325
Marc Antonio Tiene, 331
Valmarana, 331
Rotonda Capra, 332
Teatro Olimpico, 330
Torre del Orologio, 325
Villa Valmarana, 332
Villa Carlotta, i. 194
d'Este, i. 193
Melzi, i. 196
Pizzo, i. 193
Pliniana, i. 193
Villafranca, i. 302
Villanuova, i. 321
Villar, i. 104
Vinchiana, ii. 504
Voghera, ii. 185
Vogogna, i. 210
Volterra, ii. 483 489
Baize, le, 488
Baptistery, 487
Buche dei Saracini, 489
Cathedral, 486
Churches
S. Agostino, 488
S. Francesco, 488 ,
S. Michele, 488
S. Salvatore, 488
Etruscan Museum, 485
I Marmini, 489
Palazzo Communale, 485
Porta del Arco, 484
di Diana, 489
Villa Inghirami, 489
Voltri, i. 27
Vorazze, i. 27
W.
Waldenses, the, i. 96107
JOHN CHILUS AND SON, PRINTfcKS.
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