BiEDEKER'S CtUIDE BOOKS. BELGIUM and HOLLAND, with 6 Maps and 13 Plans. Third Edition. 1S74 4 s. THE RHINE from ROTTERDAM to CONSTANCE, witli 15 Maps and 16 Plans. Fifth Edition. 1S7 3 . . 5 s. NORTHERN GERMANY, with 11 Maps and 27 Plans. Fifth Edition. 1873 5 s. SOUTHERN GERMANY and AUSTRIA, inchiding the EASTERN ALPS [the Tyrol Styria, C«rm//«a etc.), with 28 Maps and 27 Plans. Third Edition. 1873. . 8 s. NORTH. ITALY, as far as LEGHORN, FLORENCE, and ANCONA, and the ISLAND OF CORSICA, with 6 Maps and 27 Plans. Third Edition. 1874 . . G s. CENTRAL ITALY and ROME, with 7 Maps, 1 1 Plans and a Panorama of Rome. Fonrth Edition. 1874. In the Press B S. SOUTHERN ITALY, SICILY, and excnrsions to the LIPARI ISLANDS, TUNIS [Carthage], SARDINIA, MALTA, and ATHENS, with 7 Maps and 8 Plans. Fourth Edition. 1873. . . . > 5 s. PARIS and, NORTHERN FRANCE, with 2 Maps and ^ 2i PlaP3> Third jidition. 1872 5 s. SWITZERLAND, and the'adjacent portions of ITALY, SAVOY, and the TYROL, with 22 Maps, 10 Plans and 7 Panoramas.* SHth Edition. 1873 . . . 6 s. THE TRAVELLER'S MANUAL OF CONVERSATION in English, German, French and Italian. Twenty- first Edition. 1873 3 s. Mav 1874. / NORTHERN ITALY, MONEY- TABLE (comp. p. XI). Approximate Hqiiirdlenls. Lire. Italian. I Centesimi. American . Dollars. \ Centa. English. L. St. \iihilli»gs.\ Pence. 1 2 3 4 5 (i 8 9 10 11 12 13 14 15 16 17 18 19 2U 25 KTCI 25 ( = 5() ( = 75 ( = 1 soldo) 5 soldi) 10 „ ) 15 „ ) 20 .- ( 93(4 93|4 V, i'h ITALY. HANDBOOK FOR TRAVELLERS K. B^DEKER. FIRST PART: NORTHERN ITALY, IXCLVDINO LEGHORN, FLORENCE, AND ANCONA, AM) THE ISLAND OF CORSICA. With 7 Maps and 28 Plans. THIRD EDITION, REVISED AND AUGMENTED. LEIPSIC: KARL B^DEKER. 1874. 'Go, little book, God send thee good passage, And specially let this be thy prayere Unto them ail that thee will read or hear, Where thou art wrong, after their help to call. Thee to correct in any part or all.' CHAUCER. l^SL6-S ARTS BG B>l3 PREFACE. The object ot the Handbook for Italy , like that of the Editors other works of the same description, is to enable the traveller to dispense as far as possible with the services of j?uides, valets-de-place, and others of the same class, to supply him with a few remarks on the progress of civilisation and art amonji,- the people he is about to visit , and generally to aid him in deriving enjoyment and instruction from his tour. The Handbook will, moreover, inform the reader how to visit the chief objects of interest with the greatest possible economy of time , money, and, it may be added, temper; for in few countries is the travellers patience more severely put to the test than in Italy. The Editor will endeavour to ac- company tlie enlightened traveller through the streets of the Italian towns , to all the principal edifices and works of art ; and to guide his steps amidst the exquisite scenery in which Italy so richly abounds. The Editor has repeatedly explored most of the places described, and the Handbook is mainly the result of his own observation.) The present edition has been carefully revised, and provided with the most recent information obtainable. The Editor will highly appreciate any bond fide information with which travellers may favour him and he gratefully acknowledges that alread)^ received, which in many instances has been most serviceable. The Maps and Plans , upon which special care has been bestowed, will abundantly suffice for the use of the ordinar}- traveller. The inexperienced are recommended, when steering their course with the aid of a plan, before starting, to mark with a coloured })encil the point for which they are bound. This will often enable them to avoid a circuitous route. Trav- ellers who desire a more minute acquaintance with Northern VI PREFACE. Italy will find the following maps most serviceable : Kteperts Special 3I(q) of X. and Central It'tli/ , pub. by D. Reimer, Berlin, 1860 (scale 1 : 800.000: price P/s Thlr., or 5 fr.) ; then Nos. IV. (S. Switzerland. Savoy, and Piedmont) , V. (S. E. Switzerland, S. Tyrol, Lombardy, and Venice) , VII. ^S. E. France, Sardinia, Nice, Genoa), and VIII. (Parma, Modena, Emilia, Tuscany of O. Maifr's Atlas of the Aljfs , admirably executed, scale 1:450.000 (mounted, 2 Thlr. each . Heights are given in English feet (1 Engl. ft. = 0.3048 metre = 0,938 Parisian ft.). Distances are given in English miles. The Italian 'miglio' varies in different districts. Approximately it maybe stated that 1 Engl. M. = V? Ital migl. = I'/u Koman migl. Time Tables. The most trustworthy are contained in the ' Guida-Orario ufjieialc di tutte le strade ferrate d' Italia contcnente anche le indicazioni dei Piroscaji, Corrieri, Diligenze' , etc., with map, published at Milan (price 40c.). Hotels. In no country docs the treatment whicli the traveller experiences at hotels vary more than in Italy , and attempts at extortion are perhaps nowhere so outrageous; much improvement, however, in this respect has taken place of late years, and good hotels will now be found at most of the principal resorts of travellers. The asterisks prefixed to the names of hotels indicate those which the Editor believes to be comparatively respectable . clean , and reasonable. Hotel and other charges are liable to constant fluctuation, but those stated in the Handbook will at least enable the traveller to form a fair estimate of the demands which can be justly made. CONTENTS. Introduction, Page I. Travelling Expenses. Monetary System ... XI II. Period and Plan of Tour XII III. Language XIII IV. Passports. Custom-house. Luggage .... XIII V. Public Safety. Mendicancy XIV VI. Intercourse with Italians XIV VII. Conveyances XV VIII. Hotels XVII IX. Restaurants and Cafe's XVIII X. Churches. Theatres. Shops, etc XIX XI. Postal Arrangements XX XII. Calculation of Time XXI XIII. Climate. Mode of Living XXI XIV. Dates of Recent Events XXII XV. History of Art XXIII Route Routes to Italy. p^„^ 1. From Paris to Nice by Lyons and Marseilles .... 1 L From Stra."5.«bur<; (Bale) to Lyons 5 2. From Geneva to Lyon."' 6 3. From Sorgue.s to Carpontras 13 4. Vaucluse 15 5. St. Romv. :Nirae<' 16 6. MontpelHer 18 7. ALx 21 8. Hyere.s 26 2. From Paris (Geneva) to Turin by Mont Ccnis .... 28 1. From Geneva to Culoz 29 2. Haute Combe 30 3. From Martigny over the Simplon to Arena on the Lago Maggiore (and Milan) 33 4. From Lucenie over the St. Gotthard to Como (and Milan) 35 1. Monte Camoghe 41 5. From Coire over the Spliigen to Colico (and Milan) . . 42 6. From Spliigen to Bellinzona. Bernardino Pass ... 46 7. From Innsbruck over the Stelvio to Colico (and Milan) 47 8. From Innsbruck to Verona by the Brenner .... 52 1. From Trent to Venice by the Val Sugana 56 2. From Trent to Verona by Riva and the Lago di Garda . 57 9. From Vienna to Trieste. Semmering Railway ... 59 1. Quicksilver Mines of Idria 62 2. The Stalactite Caverns of Adelsberg 62 3. From Trieste to Pola, Fiume, and Dalmatia .... 65 VIII CONTENTS. Northern Italy. Route Page ■ 10. Turin 68 1. The Superga 78 2. From Turin to Torre Luserna by Pignerol .... 78 11. From Turin to Aosta 78 12. From Turin to Piacenza by x\lessandria 81 1. From Tortona to Xovi 81 2. From Piacenza to Robbio 83 3. Velleia 83 13. From Turin to Genoa •. . . 83 14. Genoa 84 1. Villa Pallavicini at Pegli 94 15. From Genoa to Nice by the Riviera di Ponente ... 94 1. The Berceau 102 2. FrIaggiore to Bra and Alessandria . . HI 4. From Villastellone to (Jarignano Ill 18. From Turin to Milan by Novara 112 1. From Santhia to Biella 112 2. From Vercelli to Valenza 112 3. From Novara to Gozzano 113 19. Milan 113 20. From Milan to Como. The Brianza 126 1. From Monza to Lecco 127 2. From Seregno to Bellaggio throusih the P.rianza . . 127 3. Monte S. Primo ."...' 125 4. From Como to Lecco bv Erba 129 21. Lake of Como . . . ". 130 1. Lake of Lecco 135 22. From the Lake of Como to the Lake of Lugano and the Lago Maggiore 136 1. From Como to Laveno direct 136 1. From Varese to Gallarate 137 2. From Como to Luino by Lugano 137 1. Monte Generoso 137 2. Mimte S. Salvatore 140 3. Monte Bre. Monte Caprino 140 4. Grotto of Osteno 141 3. From Cadenabbia or Menaggio by Porlezza and Lugano to Laveno 141 1. Madonna del Monte 142 23. Lago Maggiore. Borromean Islands. From Arona to Milan 142 24. From Stresa to Varallo. Monte Motterone. Lake of Orta. Val di Sesia 147 1. The Sacro Monte near Orta 149 2. The Sacro Monte near Varallo 150 25. From Arona to Genoa 150 1. From Mortara to Milan by Vigevano 151 2. Fnmi Alessandria to Acqui 151 CONTENTS. IX Route Page 26. From Milan to Genoa by Pavia. Certosa rli Pavia . . 152 1. From Pavia to Valenza 155 27. From Milan to Verona 156 1. From Bergamo to Lecco 157 28. The Lago di Garda 158 1. Fall of the Ponale. Monte Brione. Monte Baldo. Valle di Ledro. Lago d'ldro ltj(.l 2. From Riva to Mori 161 29. From Pavia to Brescia bv Cremona 161 30. Brescia ' 162 31. From Brescia to Tirano in the Valtellina. La^o tVIseo. Monte Aprica 166 1. The Tonale Route 1«8 32. From Milan to Cremona 1()9 1. Soncino 171 2. From Cremnna to Parma and Piarenza 171 33. Verona 171 34. From Verona to Modena by Mantua. From Maiitna to Reggio, Parma. Cremona, or Brescia 178 1. Pietole 18(t '2. Mirandola 181 35. From Verona to Venice. Vicenza : 181 1. Bath.s of Reeoaro 185 36. Padua 185 37. From Padua to Bologna by Ferrara lyU 1. The Monti Eu5?auei " 19(-l 2. Adria . . " 192 3. Cento 19G 38. Venice 196 1. Murano. Torcello. Cliioggia 232 39. From Venice to Trieste 233 a. By Land via L'dine 233 1. From L'onegliano to Beiluno 233 2. Aquileia 235 b. Sea Voyage to Trieste 235 40. From Milan to Bologna 236 1. Scandiano 238 2. Correggio 238 3. Cano.ssa 238 41. Parma 239 42. Modena 243 1. Vignola ^ 240 2. Sassnolo 24U 43. Bologna 246 44. From Bologna to Ravenna 259 1. From Ravenna to Rimini 2GS 45. From Bologna to Ancona 268 1. S. Marino 273 2. Urbino 275 46. Ancona and its Environs. Osimo. Loreto .... 278 47. From Bologna to Florence 283 48. From Genoa to Florence (by sea) by Leghorn, Pisa, and Empoli 284 X CONTENTS. Ronte Pagp 49. From Genoa to Pisa (by lami) by La 8pezia .... 288 1. From Avenza to Carrara 290 50. Pisa . 292 I. Environs of Pisa 300 51. From Pisa to Florence by Lucca and Pistoja .... 301 I. The Baths of Lncca ' 305 52. Florence 311 53. Environs of Florence 359 a. S. Miniato 359 b. Poggio Imperiale. Torre dol Gallo. Villa del Galileo . 361 c. Certosa in the Val d'Ema 361 d. Bello Sgiiardo 362 e. Monte Olivcto 363 f. The Cascine. Villa DemidotV. Villa Careggi. Villa della Petraia 363 g. Fiesole 36i h. S. Salvi 366 i. Vallonibrosa 366 k. Camaldoli and Alvernia. The f'asenlino .... 36S 54. Island of Corsica 370 A.iaccio. 372 From Ajaccio to Bonifacio, and to Bastia hy the E. Coa.st 375 From A.jaccio to Bastia 375 Corle and the M(mte Rotcmdo 377 Bastia 378 From Bastia to Capo Corso, S. Fioren/.o and Calvi . . 379 Index 380 Maps and Plans. 1. Gknkral Map of N. Italy: before the title-page. 2. Environs ok Nice: between pp. 106, 107. 3. Italian Lake.s: between pp. 130, 131. -i. Lagu i>i Gakoa : between pp. 158, 159. 5. Envikuns of Florence: between pp. 360, 361. 6. LsLANi) OF Corsica: between pp. 370, 371. 7. Railway Map of N. Italy: after the Index. Plans of: 1. Ancona. 2. Avignon. 3. Bergamo. 4. Bologna. 5. Brescia. 6. Cremona. 7. Feuraka. 8. Florence. 9. Genoa. 10. Lucca. 11. Lyon?. 12. Mantua. 13. Marseilles. 14. Milan. 15. Modena. 16. Nice. 17. NiMES. 18. Paoua. 19. Parma. 20. Pavia. 21. Pisa. 22. Ravenna. 23. Trieste. 24. Turin. 25. Venice. 26. Verona. 27. Vicenza. Abbrevations. M. = Engl, mile; hr. = hour; iiiin. = minute; r. = right; \. = left; N. = north, northwards, northern; 8. — south, etc.; E. = east, etc.; W. = west, etc.; R. = room; B. = breakfast; D. = dinner; A. = atten- dance; L. = light. Asterisks denote objects deserving of special attention. INTRODUCTION •Thou art the garden of the world, the home Of all Art yields, and Natnre can decree; Even in thy desert, what is like to theeV Thy very weeds are beautiful, thy waste ]Morc rich than other climes" fertility, Thy wreck a glory, and thy ruin graced With an immaculate charm which cannot be defaced." Byron. From the earliest ages down to the present time Italy has ever exerrised a powerful influence on the denizens of more northern lands . and a journey thither has often been the fondly cherished wish of many an aspirijig traveller. That wish may now be gratified with comparative facility. A great network of railways now over- spreads the entire peninsula; and even the more remote towns may be visited with little sacritire of time. Northern Italy, in particular, with Milan. Venice, and Genoa, is of very easy access to travellers in Switzerland and the Tyrol : and although its attractions are doubt- less inferior to those of Florence, Rome . and Naples, it is replete with interest and instruction for the ordinary traveller, as well as for those whose object is scientific research. Rapidity of locomotion is not, however, the only advantage which has been recently at- taiued. A single monetary system has superseded the numerous and perplexing varieties of coinage formerly in use; the annoyance inseparable from passport and custom-house formalities, with which the traveller was assailed at every frontier, and even in many an in- significant town , has been greatly mitigated ; and energetic mea- sures have been adopted in order to repress the extortions of vet- turini, facchini. and other members of this irritating class. I. Travelling Expenses. Monetary System. Travelling in Italy is hardly more expensive than in the most frequented parts of Germany and Switzerland. The average expen- diture of a single traveller may be estimated at '25 — 30 fr. per diem, or about half that sum when a prolonged stay is made at one place; but a moderate degree of familiarity with the language and ••ustoms of the country will enable him to reduce his expenses to an even lower average. In the Kingdom of Italy the French monetary system is now universal. The franc (lira or franco) is worth 9^ '4 d. Engl., and contains 100 centesimi : 1 fr. 25 c. = 1 s. = 10 silbergroschen = 35 S. German kreuzer = 50 Austrian kreuzer. The silver coins in XII MONEY. common circulation are Italian pieces of 1 and 2 fr. , and Italian or French 5 fr. pieces ; the commonest gold coins are Italian or French 10 and 20 fr. pieces (those of o and 40 fr. rare ). The 5-centime pie(;e, or sou , is termed soldo. Since the war of 1866 a paper- currency, at a compulsory rate of exchange, has been introduced, in consequence of which the valuable metals have entirely dis- appeared from ordinary circulation, copper-coins and banknotes down to 1 fr. being their usual substitutes. Besides this paper- currency issued by government, several towns and proviiK^es issue notes of 50 c. and 1 fr., which are worthless in other parts of the country. The change for gold or silver should always be given in silver; and paper should be declined, unless 3 — o per cent in excess of the value be proffered , a premium which the money- changers always give. In the same way paper may be exchanged for gold or silver, at a loss of 4 — 6 per cent. In exchanging gold or silver for notes it should be observed: (1) that small iiotes (^of 1 — 5 fr. ) are preferable, owing to the difflculty of changing those of greater value in ordinary traffic ; and {'2) that public aud railway offices refuse to give change when payment is made in paper. lu this case the traveller should always be prepared to tender the pre- cise sum. To provide for emergencies, he should of course also carry a reserve of silver. The traveller should . before entering Italy . provide himself with French Gold, which he may procure in England , France, or Crermany on more advantageous terms than in Italy. Sovereigns are received at the full value (25 fr. in silver, 251/2 — 26'/.2 fr. in paper) by the principal hotel-keepers in the more frequented districts. For the transport of large sums the 10 I. clrculur notes issued by the London bankers will be found convenient. II. Period and Plan of Tour. The season selected for a tour, and its duration, must of course depend on the traveller himself. As a general rule the spring and autumn months are the most favourable, especially September, when the heat of summer has considerably abated. Nice and tlie whole of the Riviera di Ponente, Pisa, and Venice afford the most sheltered quarters for the cold season. The height of summer can hardly be recommended for travelling. The scenery, indeed, is then in perfection , and the long days are hailed with satisfaction by the enterprising traveller ; but the fierce rays of an Italian sun seldom fail to impair the pliysical aiul mental energies. This result is not occasioned so much by the intensity as by the protracted diiration of the heat, the sky being frequently (doudless ami not a drop of rain falling for several months in succession. The lirst showers w liich refresh the parched atmosphere in autumn generally, fall about the end of August. LUGGAGE. XITI III. Language. The time and labour whi«h the traveller has bestowed on the study of the Italian language at home will be amply repaid as he proceeds on his journey. It is by no means impossible to travel through Italy without an acquaintance with Italian or French . but in this case the traveller cainiot conveniently deviate from the ordi- nary track, and is moreover invariably made to pay •alia Inglese by hotel-keepers and others, i. e. considerably more than the ordi- nary prices. A knowledge of French is very useful, as the Italians are extremely partial to that language, and take every opportunity of speaking it. For those, however, who desire to confine their expenditure within the average limits, a slight acquaintance with the language of the country is indispensable, y IV. Passports. Custom-house. Luggage. On entering the kingdom of Italy, the traveller's passport is rarely demanded . but it is unwise not to be provided with one of these documents, as it may occasionally prove useful. Registered letters, for example, will not be delivered to strangers, unless they exhibit a passport to prove their identity. The examination of luggage at the Italian custom-houses is generally lenient. Tobacco and cigars are the articles chiefly sought for. At the gates of most of the Italian towns a tax is levied on comestibles, but travellers baggage is passed on a simple declara- tion that it contains no such articles. The traveller is particularly cautioned against parting from his luggage where a frontier is to be crossed. Goods-agents will not be responsible for the damage, pilferage, custom-house examination, vexatioiis delays, and other annoyances to which the sender of lug- gage across a frontier is invariably exposed. It is therefore far pre- ferable to have one's luggage safe in the railway-van or on the top of the diligence, even at the expense of a heavy payment for over- weight, and to superi]itend its examination at the frontier in person. + '^ Baedeker's Manual of Conversation in four languages (Enylish, French. German and Italian) with vocabulary/, etc.^ (21st edit.) will be found ser- viceable for this purpose, and. with the addition of a pocket-dictionary, will enable the traveller to encounter the difficulties of the situation. A few brief remarks on the pronunciation may be made here for the benefit of those unacquainted with the language. C before e and i is pronounced like the English ch . fj before e and i like j. Before other vowels c and ; dolee. r'ai;oi/ ^or/. cauliflower. sweet; no.^rni/e, table-wine. f'afex are frequented for breakfast and lunch, and in the even- ing by numerous consumers of ices. Caffe nero, or coffee without milk, is generally drunk (20 — 30 c. per cup). Ca/fe latte is coffee n»ixed with milk before served (20 — 30 c.), caffe e latte is with the milk served separately (30 — 40 c). Miachio , a mixture of coffee and chocolate (20 — 30 c.). is considered wholesome and nutritious. The nsual viands for lunch are ham, sausages, cutlets, and eggs {uora da here, soft; toste, hard; worn al pintto, fried). Ices (sorbetto or gelato) of every possible variety are supplied at the cafes at 30 — 90 c. per portion; or a half-portion (mezzo) may be ordered. Granita . or half-frozen ice (limonata, of lemons: aranciata , of oranges), is much in vogue in tlie forenoon. The waiter (bottega), who expects a sou or more according to the amount of the payment , is occasionally inaccurate in changing money, if not narrowly wat<'hed. The principal Parisian newspapers are to be found at all the larger cafes. English rarely. X. Churches, Theatres, Shops, etc. Churches are open till noon, and generalU a^ain frwn 4 to 7 p. m. Visitors may inspect the works of art even during the hours of divine service, provided they move about noiselessly, and keep aloof from the altar where the clergy are officiating. The verger (sagrestano , or nonzoloj receives a fee of ^/.i fr. or npwards . if his servii^es are required. Theatres. Performances in the large theatres begin at 8. and terminate at midnight or later, operas and ballets being exclu- sively performed. The first act of an opera is usually succeeded bv a ballet of three acts or more. Verdi is the most popular composer. The pit (platea) is the nstial resort of the men. A box ( palco) must always be secured in advance. — A visit to the smaller the- atres , where dramas and comedies are acted, is chiefly recom- mended for the sake of habituating the ear to the language. Per- formances in summer take place in the open air, in which case smoking is allowed. The charming comedies of Goldoni are still b* XX POSTAL ARRANGEMENTS. among the most popular. The theatre is a favoiirite evening lounge of tlie Italians, who never observe strict silence during the perior- maiice of the music. Shops rarely have fixed prices. As a rule two-thirds or three- quarters of the price demanded should he ottered. The same rule applies to artizans . drivers, and others. ^Non volete?' (then you will not?) is a remark which generally has the ett'ect of bringing the matter to a speedy termination. Purchases should never be made by the traveller when accompanied by a ralet-de-place. These individuals , by tacit agreement, receive from the seller at least 10 per cent of the purchase-money, a bonus which of course comes out of the pocket of the purchaser. This system of extortion iscarried so far that, when a member of the above class observes a stranger enter a shop, he often presents himself at the door and afterwards claims his percentage under the pretext that by his recommendation the purchase has been made. In such cases it is by no means superfluous to call the attention of the shopkeeper to the imposition (^non conosco quest' uomo). Valets de Place (servitori di piazza) may be hired at 5 fr. per day, the employer distinctly specifying beforehand the services to be rendered. They are generally trustworthy and respectable, but implicit reliance should not be placed on their statements respect- ing the places most worthy of a visit. These the traveller should ascertain from his guide-book or other source. Their services may always be dispensed with, unless time is very limited. Travellers are cautioTied against employing the sensali , or commissionaires of inferior class, who pester the stranger with offers of every descrip- tion. Their intervention invariably tends to increase prices . and is often productive of still more serious anjioyances. This remark applies especially to villages and small towns, whether on or out of the regular track. Cigars in Italy . as in France and Austria , are a monopoly of Government, ranging in price from 5 to 50 c. ; those under 20 — 30 c. are scarcely smokable. Passers-by freely avail themselves of the light which burns in every cigar-shop, without making any purchase. XI. Postal Arrangements. The address of letters (whether 'poste restante, Italian ferma in pasta . or to the travellers hotel ) should, as a rule, be in Italian or French, and written in a round and legible hand. Postage- stamps are sold at all the tobacco-shops. Letters to England cost 130 c, to France 40 c.. Germany 40 c, Switzerland 30 c. Belgium 40 c. Holland (via France) 50 c, Denmark 50 c., Norway and Sweden 75 c.. Kussia (via Austria) 70 c, America (_Uiiited-Statesj via England bO c, via France 1 fr. 20 c. CLIMATE.. XXI Letters by town-post 5 c. ; within the kingdom of Italy 20 c. prepaid, 30 c. unpaid. Telegram, of 20 words to England 9 , N. Germany 6. S. Ger- many 4^2 ^ France 4 , Switzerland 3 , Austria 3 — 4. Belgium f), Holland 5 . Denmark 6» 2, Sweden 8. Norway S^/.j, America (10 words) 50 fr. — Within Italy 15 words 1 fr, , if with extra speed 5 fr. ; each additional word 10 or 50 c. ; registered telegrams doiible. XII. Calculation of Time. The old Italian reckoning from 1 to 24 o'clock is now disused, except by the lower classes. Ave Maria , or sunset = 24 . regu- lates all the otlier hours ; but to avoid too frequent change . the clock* are set about once a fortnight only. The ordinary reckoning of other nations is termed ora francese. Tlie traveller will ttnd little difficulty in employing the Italian reckoning should he have occasion to do so. XIII. Climate. Mode of Living. Travellers from the north must in some degree alter their mode of living while in Italy, without however implicitly adopting the Italian style. Strangers generally become unusually susceptible to cold in Italy, and should therefore be well supplied with warm clothing for the Avinter. Carpets and stoves , to the com- forts of which the Italians generally appear indifferent, are in- dispensable in wiuter. A southern aspect is an absolute essential for the delicate , and liighly desirable for the robust. Colds are most easily caught after sunset and in rainy weather. Even in summer it is a wise precaiition not to wear very light clothing. Flannel is strongly recommended. Exposure to the summer-sun should be avoided as much as possible. According to a Roman proverb , dogs and foreigners (luglesi) alone walk in the sun. Christians in the shade. Um- brellas and coloured spectacles (grey , concave glasses to prote("t the whole eye are best) may be used with advantage when a walk in the sun is unavoidable. Repose during the hottest hours is advisable, and a siesta of moderate length refreshing. AVindows should be closed at night. English and German medical men are to be met with in the larger cities. The Italian therapeutic art does not enjoy a very liigh reputation in the rest of Europe. English or German chemists, where available, are recommended in preference to the Italian. It may, liowever, be sometimes wise to employ native skill in mala- dies arising frcuu local causes. XXII HISTORY. XIV. Chronogical Table of Recent EventB. 1846. June 16. Elrctii.n ..f Tins IX. 1848. March 18. Insurrection af Milan. 22. Charles Albert enters Milan. 2'i. Republic proclaimed at Venice. May 15. Insurrection at Jfaplcs quelled by Ferdinand II. (^ReBoinba). '29. Radetzky's victory at Curtatonc. 30. Radetzky defeated at Ooito; capitulation of Peschiera. July 25. Radetzky's victory at Custo/,/.a. Aug. 6. Radetzky's victory at Milan. 9. Armistice. ;N(»v. 15. Murder of Count Rossi at Rome. 35. Flight of the Pope to Gaeta. 1849. Febr. 5. Republic proclaimed at Rome. 17. Republic proclaimed in Tuscany, under Gucrazzi. March 16. Charles Albert terminates the armistice (ten days' campaifin). 23. Radetzky's victorv at Novara. 24. Charles' Albert abdicates (d. at Oporto on 26th July); accession of Victor Emmanuel II. 26. Armistice; Alessandria occupied by the Austrians. 31. Haynau conquers Brescia. April 5. Republic at Genoa overthrown by La Marmora. 11. Reaction at Florence. 30. Garibaldi defeats the French under Oudinot. 3Iay 11. Lcg;horn stormed by the Austrians. 15. Subjugation of Sicily. 16. Bologna stormed by the Austrians. July 4. Rome capitulates. Aug. 6. Peace concluded between Austria and Sardinia. 22. Venice capitulates. 1850. April 4. Pius IX. returns to Rome. 1855. Sardinia takes part in the Crimean War. 1856. Congress at Paris. Cavour raises the Italian question. 1859. Mav 20. Battle of Montebello. Juiie 4. Battle of Magenta. 24. Battle of Solferino. July 11. Meeting of the emperors at Villafranca. ^ov. 10. Peace of Zurich. 1860. March 18. Annexation of the Emilia (Parma, Modena. Romagna). 22. Annexation of Tuscany. 24. Cession of Savoy and Xice. Mav 11. Garibaldi lands at, Marsala. 27. Taking of Palermo. July 20. Battle of Melazzo. Sept. 7. Garibaldi enters IS'aples. 18. Battle of Castellidardo. '29. Ancona capitulates. Oct. I. Battle of the Volturno. 21. Plebiscite at Naples. Dec. 17. Annexation of the principa lit ies,l'nibria, and the two Sicilies. 1861. Febr. 13. Gaeta capitulates after a four nxmths" -lege. March 17. Victor Emmanuel assumes the title of king of Italy. 1864. Sept. 15. Convention between France and Italy. 1866. June '20. Battle of Custozza. July 5. Cession of Venetia. "20. Naval battle of Lissa. 1867. Nov. 3. Battle of Mentana. 1870. Sept. 12. Occupation of the States of the Church by Italitin troops. 20. Occupation of Rome. Italian Art. An Historical Sketch by Professor A. Springer. One of the primary objects of the cnlijrliteued traveller in Italy is usnally to form some acquaintance with its treasures of art. Even those whose ordinary vocations are of the most prosaic nature un- consciousl Y become aflniirors of poetry and an in itaiy^ The tra- ,1 veller here tinds them so interwoven with scenes of everyday life, / that he encounters their impress at every step, and involuntarily becomes susceptible to their influence. A single visit can hardly suffice to enable any one to acquire a just appreciation of the numerous works of art he meets with in the course of his tour, nor '•an a guide-book teach him to fathom the mysteri ous depths of Ita- l ian cre ativg_genius, the past history of which is particularly attract- ive ; but the perusal of a few remarks on this subject will be found materially to enhance the pleasure and facilitate the researches of even the most unpretending lover of art. Works of the highest class, the most perfe<;t creations of genius, lose nothing of their charm by being pointed out as specimens of the best period of art; while those of inferior merit are invested with far higher interest when they arc shown to be necessary links in the chain of development, and when, on comparison with earlier or later works, their relati\e defects or superiority are recognised. The following observations, therefore, can hardly be deemed out of place in a work desigiied to aid the traveller in deriving the greatest possible amount of enjoy- juent and instruction from his sojourn in Italy. The two great epochs in the history of art which principally arrest the attention are those of classic antiqu ity, and of the 16th century, the culminating period of the so-called Renaissance"^ Tl)e intervening space of more than a thousand years is usually, with much unfairness, almost entirely ignored: for this interval not only continues to exhibit vestiges of the ttrst epoch, but gradually paves the way for the second. It is a common error to suppose that in Italy alone the character of ancient art can be thoroughly appreciated. This idea dates from the period when no precise distinction was made between Greek and Roman art, when the connection of the former with a particular land and nation, and the tendency of the latter to pursue an independent course were alike overlooked. Now, however, that we are acquainted with more n merous Greek originals, and have acquired a XXIV ITALIAN ART. deeper insight into the development of Hellenic art, an indis- criminate confusion of Greek and Roman styles is no longer to be apprehended. We are jiow well aware that the highest perfection of ancient architecture is visible in the Hbllexic temple alone. The Doric order, in which majpstii^ ,o;r.7 , vity is_ Hxj;re^^rl by massive proportions and symmetrical decoration, and the^'lonic stFiicture, with its li ghter and m ore graceful characte r, exhibit a creative spirit entirely different from that manifested m the sumptuous Roman edifices. Again, the most valuable collection of ancient sculptures in Italy is incapable of affording so admirable an insight into the development of Greek art as the sculptures of the Parthenon and other fragments of Greek temple -architecture preserved in the British Museum. But, while instruction is afforded more abundantly by other than Italian sources, a iLcient arM s^ perhaps thoroughly admired in I taly alone , where works of art encoujiter the eye with more appropriate adjuncts, and wherejjlimatej, scenery, and people materi ally contr ibute to intensify their imjpressiveness. As long as a visit to Greece and Asia Minor is within the readi of comparatively few travellers, a sojourn in Italy may be recommended as best calculated to afford instruction with respect to the growth of ancient art. An additional facility, moreover, is afforded by the circumstance, that in accordaiice with an admirable custom of classic antiquity the once perfected type of a plastic figure was not again arbitrarily abandoned, but rigidly adhered to, and continually reproduced. Thus in numerous cases, where the more ancient (rreek original had been lost, it was preserved in subsequent copies ; and even in the works of the Roman imperial age Hellenic creative talent is still reflected. The non-scientiflc traveller will hardly be disposed to devote much of his attention to the works of the earliest dawn of art, to the so-called Cyclopean walls , constructed of polygonal blocks of stone (as those of Pyrgi, Cosa , Saturnia, but more commonly met with in Lower Italy), or to the artistic progress of the mysterious Etruscan nation (manifested in their tombs, cinerary urns, imple- ments of metal, and mural paintings); but the eye will not fail to rest with interest upon their magnilicent golden ornaments, their beautiful designs engraved on metal (bronze-mirrors; the finest engraved design handed down by antiquity is on the Ficoronian cista in the Museo Kircheriano at Rome), and their numerous painted vases. The latter not only disclose to the observer a wide sphere of ancient artistic ideas, and prove^ how in tirna_te]jL a love of the_beajitital--*»**L-£racefal wjs associated^wlth the pTTrsuit of a m ere trad e , but at the same time present one of th^ earTTest^Tustances of artistic industry. Although most of these vases were discovered in Etruscan tombs , they are not all (»f Italian Avorkmanship . for many of them were imported from Greece, where they were systematically manufactured, originally ITALIAN ART. XXV perhaps at Corinth . and subsequently at Athens (vases with red tigures). The artistic dependence of ancient Italy on Greece was not confined to this single, and comparatively subordinate branch of art, but gradually extended to every other department, including architecture and sculpture. This supremacy of Greek intellect in Italy was established in a twofold manner. In the first place Greek colonists introduced their ancient native style into their new homes. This is proved by the existence of several Doric temples in Sicily, such as those of Selinunto (but not all dating from the same period), and the ruined temples at Syracuse, Girgenti, and Segesta. On the mainland the so-called Temple of Neptune at Psestum , as well as the ruins at Metapontum, are striking examples of the fully developed elegance and grandeur of the Doric order. But, in the second place, the art of the Greeks did Jiot attain its universal suprem- acy in Italy till a later period, when Hellas , nationally ruined, had learned to obey the dictates of her mighty conqueror, and the Romans began to combine with their political superiority the refine- ments of more advanced culture. The ancient scenes of artistic activity in Greece ( Athens for example) became re-peopled at the cost of Rome; Greek Avorks of art and Greek artists were in- troduced into Italy ; and ostentatious pride in the magnificence of booty acquired by victory led by an easy transition to a taste for su.ch objects. To surround themselves with artistic decoration thus gradually became the universal custom of the Romans , and the foundation "oT puBTTc~m6ilumtiTlls came to" be regarded as an in- dispensable duty of government. Although the Roman works of art of the imperial epoch are deficient in originality compared with the Greek , yet their authors never degenerate into mere copyists, or entirely renounce inde- pendent effort. This remark applies especially to their Archi- TBCTURE. Independently of the Greeks, the ancient Italian na- tions, and with them the Romans , had acquired a knowledge of ^tone- cutting , and discovered the method of con st.ru ctiitj^ arches anX^vaTHting. With this technically and scientifically important art they aimed at combining Greek forms, the column supporting the entablature. The sphere of architecture was then gradually ex- tended. One of the chief requirements was now to (;onstruct edifices with spacious interiors, and several storeys in height. No precise model was afforded by Greek architecture . and yet the current Greek forms appeared too beautiful to be lightly disregarded. The Romans therefore preferred to combine them with the arch-prin- fiple. and apply this combination to their new architectural designs. The individuality of the Greek orders, and their originally un- alterable coherence were thereby sacrificed, and divested of much of their importance; that which once possessed a definite organic significance frequently assumed a superficial and decorative (;harac- XXVI ITALIAN ART. ter; but the aggregate effect is always imposing, the skill in blend- ing contrasts, and the directing taste admirable. The lofty gravity of the Doric--- style must not be sought for at Rome. The Doric column in the hands of Roman architects lost the llnest features of its original character, and Avas at length entirely disused. The Ionic column also, and corresponding entablature, were regarded with less favour than those of the Corinthian order, the sumj^ Uious- itpsa fif w hich was more co ngenia l^ to the a rtistic taste ot_lhe Romans, lis the column m Roman architecture was no longer destined exclusively to support a superstructure, but formed a projecting portion of the wall, or was of a purely ornamental (diaracter , the most ornate forms were the most sought after. The graceful Corinthian capital, consisting of slightly drooping acanthus-leaves, was at length regarded as insufficiently enriched, and was superseded by the so-called Roman capital ( first used in the arch of Titus), a union of the Corinthian and Ionic. An mpartial judgment respecting Roman architecture cannot, however, be formed from a minute inspection of the individual columns. T Those unacquainted with architcclure wiJl easily learn to distinguish the diflerent Greek styles. In the Doric the shafts of the column.s (without bases) rest immediately on the common pavement, in the Ionic they are separated from it by bases. The llutings of the Doric column immediately adjoin each other, being separated by a sharp ridge, while those of the Ionic are disposed in pairs, separated by bi-oad iintluted intervening spaces. The Doric capital, expanding towards the summit, somewhat resembles a crown of leaves, and was in fact originally adorned with painted representations of wreaths; the Ionic capital is distinguished by the volutes (or scrolls) projecting on either side, which may be re- garded rather as an appropriate covering of the capital than as the cap- ital itself. The entablature over the columns begins in the Doric style with the simple, in the Ionic with the threefold architrave ; above which in the Doric (trder are the metopes (originally t)penings, subsequently receding panels) and triglyphs (tablets with two angular channels in front, and a half channel at each end, resembling extremities of beams), and in the Ionic the frieze with its sculptured enrichments. In the temples of both orders the front culminates in a pediment. The so-called Tuscan, or early Italian column, approaching most nearly to the Doric, exhibits no decided distinctive marks; the Corinthian, with the rich capital formed of acanthus-leaves, is essentially of a decorative character only. The fiillowing technical terms should also be observed. Temples in which the columns are on both sides enclosed by the projecting walls arc termed 'in antis' (antie = end-pilasters); those which have one ex- tremity only adorned by columns, prostyle; those with an additional pediment in the rear, supported by columns, amphiprostyle; those entirely surrounded by columns, peripteral. In some temples it was imperative that the image of the god erected in the cella should be exposed to the rays of the sun. In this case an aperture was left in the ceiling and roof, and such temples were termed hyprethral. Temples are also named tetrastyle, hexastyle , octastyle, etc. according to the number of columns at each end. — A most attractive study is that of architectural mouldings and enrichments, and of those constituent members Avhich indicate super- incumbent weight, or a free and independent existence. Research in these matters will enable the traveller more fully to appreciate the strict harmony of ancient architecture. ITALIAN ART. XXVII nor 15 the highest rank in importance to be assigned to the Kou)an temples, -whirh. owing to the different (projecting) construction of their roofs, are excluded from comparison with the Greek. Atten- tion nnist be directed to the sevcral-storeyed structures, in which the tasteful ascending gradation of the component parts . from the more massive (^Doric) to the lighter (Corinthian), chiefly arrests the eye: and the vast and artistically vaulted interiors, as well as the structures of a merely decorative description . must also be examined , in order that the chief merits of Kontan art may be understood. In the use of columns in front of closed walls ( e. g. as members of a facade), in the cojistruction of domes above circular interiors , and of cylindrical and groined vaulting over oblong spaces, the Roman ediftccs have served as models to posterity, and the imitations have often fallen short of the origi- nals. No dome-building has yet been erected which will bear i comparison with the simple and strikingly effective Pantheon, I which originally belonged to the Thermae of Agrippa ; nor does ' there exist any edifice so sumptuous . with so varied an aggregate of structures, and yet so harmonious and monumental in character, as the Thermae of Caracalla aiui^ Diocletian must once have been. Boldness ^ X-d6sig" • aKill_iji. execution . acciirate estimatio n fi f re- sources. co)isi stent prosecution of the object in view, and jmacticai,, u tility combined with splendour characterise most of the Roman fabrics , whether destined for public business like the basilicas of the fora, to gratify the popular love of pageantry like the . amphitheatres, theatres, and circuses, to commemorate the achievements of the living by means of triumphal arches , or to / perpetuate the memory of the dead by monumental tombs. Finally ■' it is worthy of note that arc|>itnctiiri'. m^istt^d d.^gra.L^f.inif Ir.i.fi-pr t han a ny other art . and does not betray palpable signs of declensum~lTnTrrthe beginning of the 4th century, after having attained its culminating point under the Flavii, considerably earlier. The history of the art of Sculpturk among the Romans, which never evidenced their national greatness in the same degree as architecture . is of briefer duration. Two different methods of investigation may here be pursued. Those who pos- sess sufficient preliminary information , and do not shrijik from an 1 arduous although interesting task , should examine the numerous statu-es of gods and heroes copied from Greek models , of which Tve possess written records, and compare them with the descrip- / tions. In the statue of Zeus from the house of the Verospi. and in the bust of Otricoli (YaticanJ . the lineaments of the Olympic Zeus created by Phidias will be sought for, in the statues of Hercules their derivation from the ideal of Lysippus , in the Juno Ludovisi. and the other head of Hera in the Museum at Naples, their descent from the Juno of Polycletes ; while the dis- XXVTII ITALIAN ART. cus-throwers of Myron, the Amazons of Phidias . Ctesilaus, etc., the Ares and Apollo of Soopas, the statues of Venus by Praxiteles and others will be recognised in their imitations and slightly vary- ing copies. P>y these means a correct judgment will be formed Avith regard to the position of the individual work in the develop- ment of ancient art, and the relation of the later sculpture of the Romans to that of the earlier Greeks will be clearly understood. By means of this systematic criticism the science of arfh?eology has of late years led to most interesting results ; it has proved that a series of Greek works , once regarded as irrecoverably lost , still survive in their copies, and it has correctly explained other mis- interpreted sculptures ( e. g. the Apollo Belvedere). The amateur, however, will probably prefer to adhere to the course which was formerly pursued by the scientific, and be satisfied with con- templating the niere artistic, beauty of the sculp tures , irrespect ive of their historical sigluffcance. This jesthetic mode of investigation is justified by the fact that the sculpture of antiquity presents to the eye a harmonious whole, in which tlie same principles and the same tendency of imagination almost invariably recur. Strongly marked as the distinction is between Greek and Roman views of art. and between the earlier and later development of the art of sculpture, yet the existence of numerous common elements, and the voluntary subordination of the later artists to the once estab- lished types cannot be disputed. This will be rendered clearer by an illustration. A universally predominant ideal of the Madonna, on which the images of mediaeval and modern art are based . cannot possibly be discovered. Between the Madonnas of Raphael, and Our Lady of the old German and Dutch schools, not the faintest resemblance can be traced; were the former lost, their character could never be divined from the latter. In ancient art, on the contrary, the image of a god, even of the later Roman period , con- tinues to exhibit the distinctive character of the original ideal, and often serves admirably to throw light upon defects in the earlier images ; moreover every plastic work of antiquity , whether remote or more recent, faithfully embodies for us the precepts of sculpture, and teaches us the treatment of the nude, the disposition of drapery, and the just standard of expression and movement. Whether archaeological or ccsthetical interest be placed in the foreground . opportunities will always present themselves for an examination of the characteristic features of Roman sculpture. This art developed itself most freely between the reigns of Augustus and Hadrian, flourishing contemporaneously with the most brilliant period of the Empire, and constituting its artistic adornment. Apti- tude in imparting a living and attractive character to allegorical representations, as is well exemplified by the charming group of the Nile (Vatican), is not to be regarded as a peculiar feature of Roman art so much as the strikingly individuali expressed in ITALIAN ART. XXIX portrait-busts and statues . and the realistic element from wliich the creation of historical reliefs has emanated. Specimens of this faithful and detailed historical representation, which however occa- sionally deviates from the plasti*; standard, are afforded by the triumphal arches of Titus andConstantine (reliefs partly transferredj from the arch of Trajan), and tlie columns of Trajan and Marcus Aurelius. As late as the time of Hadrian a new ideal was sought in Antinous. but after that period the art rapidly declined, although even down to the latest era of the Empire great technical skill was still frequently exhibited. The most interestLng of these later works are sarcophagus-sculptures . owing to their almost encyclo- paedic richness in representations, and the extensive sphere of ideas which they embrace. They formed the principal school of art for subsequent generations , and are therefore of great historical importance ; but the same cannot be said of the later monumen- tal architecture . although it now exhibits the most diversified and attractive picture of the artistic life of antiquity. The ruins of Herculaneum and Pompeii prove more forcibly than any record, how universally art was applied in the ancient world, and how even the hiimhlest implfmpntc -n-Q^p oiii.r>Kiofi v.y flpf|i°||;j" forms ; they form an inexhaustible mine of decorative enrichments .and refute the prevailing idea that an entirely subordinate rank is to be assigned to ancient painting. As they were not rescued from oblivion till the 18th century . they exercised no influence on the art of the middle ages or the Renaissance : but, on the other hand, we no longer possess the decorative paintings of the Roman Thermte, which so powerfully influenced the artistic imagination as lately as the 16th century. In the 4th century the heathen world . which had long been in a tottering condition, at length became Christianised . and a new period of art began. This is sometimes erroneously regarded aa the result of a forcible rupture from the ancient Roman art, and a sudden and spontaneous invention of a new style. But the eyo and the hand adhere to custom more tenaciously than the mind. While new ideas , and altered views of the character of the Deity and the destination of man were entertained , the wonted forms were still necessarily employed in the expression of these thoughts. Moreover the heathen sovereigjis had by no means been unremit- tingly hostile to Christianity (the most bitter persecutions did not take place till the ord century ) , and the new doctrines were per- mitted to expand, take deeper root, and organise themselves in the midst of heathen society. The consequence was. that the transition from heathen to Christian ideas of art was a gradual one. and that in point of form early Christian art continued to prosecute the tasks of the ancient. The best proof of this is afforded by the paintings of the Roman Catacombs. These, forming as it were a subterraneaji belt around the city, were by no means originally thtj XXX ITALIAN ART. secret and anxiously concealed places of refuge of the primitive Christians, but constituted their le^^aUx_jrecognisedj^ publicly accessible burial-places (e. g. the catacombsoTNTcomedes" aitil^f FI. Domitilla) , and were not enveloped in intentional obscurity until the periodically recurring persecutions of the 3rd century. Keared in the midst of the customs of heathen Rome, the Christian community perceived no necessity to deviate from the artistic principles of antiquity. In the embellishment of the catacombs tliey adhered to the decorative forms handed down by their an- cestors; and in design, choice of colour, grouping of figures, and treatment of subject, they were entirely guided by the customary rules. The earlier the date of the paintings in the catacombs , the more nearly they approach the ancient forms. Even the sarcophagus- sculptures of the 4th and 5th centuries differ in purport only , and not in technical treatment, from the type exhibited in the tomb- reliefs of heathen Rome. Five centuries elapsed before a new artistic style was awalcened in the pictorial , and the greatly neg- lected plastic arts. Meanwhile architecture had developed itself commensurately with the requirements of Christian worship, and. in connection with the new modes of building, painting acquired a different character. The term Basilica-Style is often employed to designate early Christian architecture down to the 10th century. The name is of great antiquity, but it is a mistake to suppose that the early Chris- tian basilicas possessed anything beyond the mere name in com- mon with those of the Roman fora. The latter structures, which are proved to have existed in most of the towns of the Roman empire, and served as courts of judicature and public assembly- halls, differ essentially in their origin and form from those of the Christian church. The forensic basilicas were neither fitted up for the purposes of Christian worship, nor did they serve as models for the construction of Christian »;hurches. The latter are rather to be regarded as extensions of the private dwelling-houses of the Romans, where the first assemblies of the community were held, and the component parts of which were reproduced in ecclesiastical I 'edifices. The most faithful representative now extant of the [ architectural character and internal arrangements of an early Chris- Jtiau basilica is the church of ■^r''C^e^Ilente aL -Roni_ e. A small portico borne by columns leads to the anterior court (atrium), surrounded by colonnades and provided with a fountain ( cantharus) in the centre ; the eastern colonnade is the approach to the interior of the church, which usually consisted of a nave and two aisles, the latter lower than the forruer, and separated from it by two rows of columns, the whole terminating in a semicircle (apsis). lu front of the apse there was sometime> a transverse space (transept); the altar, surmouuteil by a columnar structure, occupied a detached position in the apse; the space in front of it, bounded by cancelli ITALIAN ART. XXXI or railings, was destined for the choir of officiating priests , and contained the t\vo_]2iilpits ( ambones") where the o-o>pel and epistles were read. Unlike the ancient temples, the early Christian basili- cas exhibit a negl ect of exter nal arc hitecture, the cliief importance being attached to the interior, tlie decorations of which, however, especially in early mediieval times, were often pro<-ured by plun- dering the ancient Roman editic^es, and transferring them to the churches with little regard to liarmony of style and material. Tluis the churches of S. Maria in Trastevere and S. Lorenzo fuori le Mura each possess columns of entirely different workmanship and materials. Other instances of a similar transference of columns are afforded by the churches of S. Sabina, S. Maria Maggiore, etc. The most appropriate ornaments of the churches were the metallic objects, such as crosses and lustres, and the tapestry bestowed on them by papal piety ; while the chief decoration of the walls consisted of mosaics, especially those covering the backgrouiul of the apse and the (triumphal ) arch which separates the apse from the nave. The mosaics, as far at least as the material was concer- ned, were of a sterling monumental character, and contributed to give rise to a new style of pictorial art; in them ancient tradition was for the first time abandoned, and the harsh and austere style erroneously termed Byzantine gradually introdut-ed. Some of the earliest mosaics (composed of fragments of glass) are in the cliurch of S. Pudenziana. dating, like those of S. Costanza and the Bap- tistery of Naples, from the 4th century, while those of S. Maria Maggiore and S. Sabina belong to the 5th. The mosaics in the rhurch of SS. Cosma e Damiano in the Forum ( date 526 — 530j are regarded as the finest compositions of the kind. Christian art originated at Rome , but its development was actively promoted in other Italian districts . especially at Ravenna, where during the Ostrogothic supremacy (493 — 55'2j, as well a-^ under tlie succeeding Byzantine empire, architecture was zealously cultivated. The basilica-type was there more highly matured , the external architecture enlivened by low arches and projecting but- tresses, and the capitals of the columns in tlie interior appro- priately moulded with reference to the superincumbent arches. At Ravenna the occidental style also appears in combination with the oriental . and the (;hurch of S. Vitale (dating from 547 ) may be regarded as a fine example of a Byzantine structure. The term •Byzantine' is often totally misapplied. Every work of the so-called dark centuries of the middle ages . everything in archi- tecture that intervenes between the ancient and the Gothic, every- tliing in painting which repels by its uncouth, ill-proportioned forms, is apt to be termed Byzantine ; and it is commonly supposed that the practice of art in Italy was entrusted excl\isively to By- zantine hands from the fall of the Western Empire to an ad- vanced period of the 13th century. This belief in the universal XXXII ITALIAN ART. and unqiialifled prevalence of the Byzantine style, as ^vell as the idea that it is invariably of a (jlumsy and lifeless character, is entirely unfounded. The forms of Byzantine architecture are at least strongly and clearly defined. While the basilica is a long - extended hall , over which the eye is compelled to range until it finds a natural resting-place in the recess of the apse, every Byzantine structure may be circumscribed with a curved line. The aisles, which in the basilica run parallel with the nave, degenerate in the I'yzantine style to narrow and in- significant passages; the apse loses its intimate connection witli the nave, being separated from it; the most conspicuous feature in the building consists of the central square space . bounded by four massive pillars which support the dome. These are the essential characteristics of the Byzantine style, which cul- minates in the magnificent ch\irch of S. Sophia, and prevails throughout oriental Christendom, but in the West, including Italy . only occurs sporadically. With the exception of the churches of S. Vitale at Ravenna, and St. Mark at Venice, the edifices of Lower Italy alone show a frequent application of this style. When baptisteries and mortuary chapels are styled Byzan- tine on account of their circular form . this is no more justifiable than the popular classification of the whale among fishes. External points of resemblance must not be confounded with fundamental relationship. The Byzantine Imagination does not appear to have exercised a greater influence on the growth of other branches of Italian art than on architecture. A brisk traffic in works of art was carried on by Venice, Amalfi, etc. between the Levant and Italy; the position of Constantinople resembled that of thu modern Lyons ; silk wares, tapestry, and jewellery were most highly valued when imported from the Eastern metropolis. Byzantine artists were always welcome visitors to Italy , Italian connoisseurs ordered works to be executed at Constantinople, chiefly those in metal . and the superiority of Byzantine workmanship was universally acknowledged. All this, however, does not justify the opinion that Italian art was entirely subordinate to Byzantine. In the main , notwithstanding various external influences, it underwent an independent and unbiassed development, and never entirely abandoned its ancient principles. A considerable interval indeed elapsed before the fusion of the original inhabitants with the early niediajval immigrants was com- plete, before the aggregate of different tribes , languages , customs, and ideas became blended into a single nationality , and before the people attained sufficient concentration and independence of spirit to devote themselves successfully to the cultivation of art. Unproductive in the province of art as this early period is, yet an entire departure from native tradition, or a serious conflict of the latter with extraneous innovation never took place. It may be ITALIAN ART. XXXIII admitted, that iu the massive columns and cumbrous capitals of the churches of Upper Italy, and iu the art of vaulting which was developed here at an early period . symptoms of the Germanic character of the inhabitants are manifested, and that in the Lower Italian and especially Sicilian structures . traces of Arabian and Norman influence are unmistakable. The pointed arches of the ca- thedral of Amalfi, a7id those in the cloisters of the monastery-church of Kavello . the interior of the C'appella Palatina at Palermo . etc. point to Arabian models ; whereas the fayades of the churches at Cefalu andMonreale. and the enrichments of their portals recal Norman types. In the essentials, however, the foreigners con- tinue to be the recipients; the might of ancient tradition, and the national idea of form could not be repressed or superseded. About the middle of the ilth century a zealous and proniising artistic movement took place in Italy , and the seeds were sown which three or four centuries later yielded so luxuriant a growth. As yet nothing was matured, nothing completed, the aim was obscure, the resources insuftlcient ; meauAvhile architecture alone satisfied artistic requirements , the attempts at painting and sculpture being barbarous in the extreme ; these, however, were the germs of the subsequent development of art observable as early as the lith and 12th centuries. This has been aptly designated the Romanesque period, and the then prevalent forms of art the Ro- manesque Style. As the Romance languages . notwithstanding alterations, additions, and forruptions. maintain their relation of daughtership to the language of the Romans, so Romanesque art, in spite of its rude and barbarous aspect, reveals its immediate descent from the art of that people. The Tuscan towns were the principal scene of the prosecution of mediaeval art. There an in- dustrial population gradually arose, treasures of commerce were collected, independent views of life were acquired in active party- conflicts, loftier common interests became interwoven with those of private life, and education entered a broader and more enligh- tened track; and thus a taste for art also was awakened, and ifisthetic perception developed itself. When Italian architecture of the Romanesque period is examined, the difference between its character and that of contemporaneous northern works is at once apparent. In the latter the principal aim is perfection in the construction of vaulting. French, English, and German churches are unquestionably the more organically conceived, the individual parts are more inseparable and more appropriately arranged. But the subordination of all other aims to that of the secure and ac- curate formation of the vaulting does not admit of an unrestrained manifestation of the sense of form. The columns are apt to be heavy, symmetry and harmony in the constituent members to be disregarded. On Italian soil new architectural ideas are rarely found, constructive boldness not being here the chief object; on the B^DEKEK. Italy I. 3rd Edit. C XXXIV ITALIAN ART. /other hand, the decorative arrangements are richer and more grate- Uiil. the sense of rhythm and symmetry more pronounced. The cathe- 'liaJ-fl f P i&A, founded as early as the 11th century, or the church of S. Miniato near Florence, dating from the 12th, mayhe'!aT^n' as an example of this. The interior with its rows of columns, the mouldings throughout, and the flat ceiling recal the basilica-type ; while the exterior, especially the facade destitute of tower, with the small arcades one above the other, and the variegated colours of the layers of stone, present an appearance of decorative pomp. But the construction and decoration of the walls already evince a taste for the elegant proportions which we admire in later Ita- lian structures; the formation of the capitals, and the design of the outlines prove that the precepts of antiquity were not entirely forgotten. In the Baptistery of Florence (^S. Giovanni) a definite Roman structure (the Pantheon) has even been imitated. A pe- culiar conservative spirit pervades the mediajval architecture of Italy; artists do not aim at an unknown and remote object; Ahe ideal which they have in view, although perhaps iustinctiv- 1 ely only, lies in the past; to conjure up this and bring I about a Renaissance of the antique appears to be the goal of their \ aspirations. They apply themselves to their task with calmness and concentration, they indulge in no bold or novel schemes, but are content to display their love of form in the execution of detail. fVhat architecture as a whole loses in historical attraction is ompensated for by the beauty of the individual edifices. While the North possesses structures of greater importance in the history of the development of art, Italy boasts of a far greater number of pleasing works. The position occupied by Italy with regard to Gothic archi- tecture is thus rendered obvious. She could not entirely ignore its influen(;e, although incapable of according an unconditional re- ception to this, the highest development of vault-architecture. Gothic was introduced into Italy in a mature and perfected con- dition. It did not of necessity, as in France, develop itself from the earlier (Romanesque) style, its progress cannot be traced step )y step; it was imported by foreign architects (practised at Assisi >y the German master Jacob), and adopted as being in consonance kvith the tendency of the age ; it found numerous admirers among ;he mendicant orders of monks and the humbler classes of citizens, • )ut could never quite disengage itself from Italianising infltiences, t was so far transformed that the constructive constituents of Gothic are degraded to a decorative office, and the national taste thus became reconciled to it. The cathedral of Milan cannot be regarded fes a fair specimen of Italian Gothic, but this style must rather be 'soiight for in the mediieval cathedrals of Florence, Siena, Orvieto, and in numerous secular edifices, such as the loggia of the Lanzi at Florence, and the communal palaces of mediteval Italian ITALIAN ART. XXXV towns. An acquaintance with true Gothic construction, so con- tracted notwithstamling all its apparent richness, so exclusively adapted to practical requirements, can certainly not be acquired from these cathedrals. The s pacious interior, invi ting, as it were, to calm e nioyment . Avhile the cathedrals of the north appear to call forth a st ^itiment o|^lougin g) the predominance of horizontal lines, the playful application- of pointed arrhes and gables, of tiiiials, canopies, etc., prove that an organic coherence of the dif- ferent architectural distinguishing members was here but little regarded. The characteristics of Gothic architecture, the towers immediately connected with the facade, and the prominent jlyin^ - bjiittresses are frequently waiiting in Italian Gothic edifices, — whether To their disadvantage, it may be doubted. It is not the sumptuousness of the materials which disposes the spectator to pronounce a lenient judgment, but a feeling that Italian architects pursued the only course by which the Gothic style could be re- conciled with the at mosphere and light, the t^d imate and natural feat ures of J taly. Gothic lost much of its peculiar l^afasTTfer in ItaT>\ but by these deviations from the (;ustomary type it there became capable of being nationalised , especially as at the same period the other branches of art also aimed at a greater degree of nationality, and entered into a new combination with the funda- mental trait of the Italian character, that of retrospective adherence to the antiqjie. The apparently sudden and unprepared-for revivaM of ancjent ideals in the 13th (Century is one of the most interesting ( phenomena in the history of art. The Italians themselves could only account for this by attributing it to chance. The popular story was that the sculptor Niccolo Pisano was induced by an in- spection of ancient sarcophagi to ex(;hange the prevailing style for the ancient. We are. however, in a position to trat-e the course pursued by Italian sculpture more precisely; we conjecture that Nicholas of Pisa was stimulated by the example of I.ower Italy, where during the Hohenstaufeii sway a golden era of civilisation was developed; and we know that this inclination towards anti- quity was by no means <;onflned to Italy, but was equally active at an even earlier period in the North (e. g. in the ancient district of Saxony). We admit, however, that Niccolo Pisano's influence was instrumental in inaugurating a new epoch in the development of Italian imagination. His sculptures on the pulpits in the Baptistery j of Pisa and the Cathedral of Siena introduce us at once into a new I world. It is not merely their obvious resemblance to the works of antiquity that arrests the eye; a still higher interest is awakened by their peculiarly fresh and lifelike tone, indicating the enthu- siastic concentration with which the master devoted himself to his task. During the succeeding period ( Pisan School) ancient character- istics were placed in the background, and importance was attached solely to li fe and exp ression (e. g. reliefs oji the facade of the XXXVI ITALIAN ART. Cathedral at Orvietu ). Artists now bcnaii to impart to their com- liositioiis the impress of their own peculiar views ami the puhlic taste for poetry, whieli had already stronaly juauifested itself, was now succeeded hy a love of art also. From this period ( 14th ceiituryl therefore the Italians date the origin of their modern art. Contem- poraneous Avriters who observed the change of views, the revolution in sense of form, and the superiority of the more recent Avorks in life and cxpressloji. Avarjuly extolled their authors, and zealously pro- claimed how greatly they surpassed their ancestors. But succeeding generations began to lose sight of this connection between ancient and modern art. A mere anecdote was deemed sufticient to con- nect Giotto di Bondonk (1276 — 1336), the father of modern Ita- lian art, with Giovanni Cimabue, the most celebrated represen- 1 tative of the earlier style (Cimabue is said to have watched Giotto, when as a shepherd - boy relieving the monotony of his office I by tracing the outlines of his sheep in the sand, and to have received him as a pupil in consequence"). But it was forgotten \ that a revolution in artistic ideas and forms had taken place at Home and Siena still earlier than at Florence, that both Cimabue and his pupil Giotto had numerous prefessional brethren . and that the composition of mosaics, as well as mural and panel- painting, was still successfully practised. Subsequent investigation has rectified these errors, pointed out the Koman and Tuscan mosaics as works of the transition-period, and restored the Sienese master Duccio. who was remarkable for his sense of the beauti- ful and the expressiveness of his figures, to his merited rank. Giotto, however, is fully entitled to rank in the highest class. The amateur , who before entering Italy has become acquainted with Giotto from'; insignificant panel-pictures only, often arbitrarily attributed to this master , and even in Italy itself encounters little else than obliquely drawn eyes , clumsy features . and cumbrous masses of drapery as characteristics of his style, will regard Giotto's repntation as ill-founded. He will be at a loss Uo comprehend why Giotto is regarded as the inaugurator of a jiew era of art , and why the name of the old Florentine master is only second in popularity to that of Raphael himself. The fact is. Giotto's celebrity is not due to any single perfect work of art. His indefatigable energy in different spheres of art. the enthnsiasm which he kindled in every direction, and the development for which he paved the Avay, must be taken into consideration, in order that his place in history may be understood. Even when, in con- sonance with the poetical sentiments of his age , he embodies ■allegorical conceptions, as poverty, chastity, obedience, or displays to us a ship as an emblem of the Church of Christ, be shows a masterly acquaintance with the art of converting what is perhaps in itself an ungrateful idea into a speaking, life-like scene. Giotto is an adept iji narration, in imparting a faithful reality to ITALIAN AKT. XXXVII his compositions. The i nilividual figur es in his pictures may fail to satisfy the ex pectation s, and even earlier masters, such as Duccio, may hav^ surpassed him in execution, but intelligibility of movement and dramatic efYe <:t were first naturalij-ed in art by Giotto. This is partly attributable to the luminous colouring employed by liim instead of the darlc and heavy tones of his predecessors , enabling him to impart the proper expression to his artistic and novel conceptions. On these grounds tliere- fore Giotto, so versatile and so active in the most extended spheres, was accounted the purest type of his century, and succeeding generations founded a regular school of art in his name. As in the case of all the earlier Italian painters, so in that of Giotto and his successors, an opinion of their true merits can be formed from their mural paintings alone. The intimate connection of the picture with the architecture, of which it constituted the living ornament, compelled artists to stiuly the rules of symmetry and liarmonious composition, developed their sense of style, and. as extensive spaces were placed at their disposal, admitted of broad and unshackled delineation. Almost every church in Florence boasted of specimens of art in the style of Giotto, almost every town in Central Italy during the I4th century practised some branch of art akin to Giottos. Tlie most valuable works of tliis style / are preserved in the Churches of S. Croce and S. Maria Novella at Florence (in the latter the Cappella degli Spagnuoli is very important). Beyond the precincts of the Tuscan capital the tinest work of Giotto is to be found in the Cappella dell" Arena at Padua, where in 1303 he executed a representation of scenes from the life of the Virgin. The Campo Santo of^i sa affords specimens of the handiwork of liis pupils. In the works on the walls of this unique national museum the spectator cannot fail to be struck by their finely-conceived, poetical chara cter (e. g. the Triumph of Death), t heir sub limity (Last Judgment. Trials of .lobj, or their richness in (I r iTmnTh? effe ct (Historv of St. Rainerns, and of tlie Martyrs Ephesus aiul Potitus). In the loth century, as well as in the 14th, Florence continued to take the lead amongst the capitals of Italy in matters of art. Vasari attributes this merit to its pure a nd delicious atj3 ia^)ere, which he regards as highly conducive to inteino;£u,ce and refine- ment. The fact, however, is. that Florence did not itself produce a greater number of eminent artists than other localities. During a long period Siena successfully vied witli her in artistic fertility, and Upper Italy in the 14th century gave birth to the two painters d"Avanzo and Aldighieri (paintings in the Chapel of S. Giorgio in PaduaJ, who far surpass Giottos ordinary style. On the other hand, no Italian city afforded in its politi<'al institutions and public life so many favourable stimulants to artistic imagination , or pro- moted intellectual activity in so marked a degree , or combined XXXVIII ITALIAN ART. ease and dipnity so harriutniously as rioreiioe. What therefore -svas but obscurely experienced in the rest of Italy , and manifested at irregular intervals only, was jrenerally first realised here with tan- gible distinctness. Florence became the birthplace of the revolution in art effected by Giotto, and Florence Avas the home of the art of the Renaissance, which began to prevail soon after the beginning of the 15th century, and superseded the style of (liotto. The word Renaissance is commonly understood to designate a revival of the antique; but while ancient art now began to influence artistic taste more powerfully, and its study to be more zealously prosecuted, the essential character of the Renaissance by no means <-onsists exclu- sively . or even principally, in the imitation of the antique ; nor must the term be confined merely to art, as it tr\ily embraces the Avhole progress of civilisation in Italy during the 15th and 16th centuries. How the Renaissance manifested itself in political life, Kud the different phases it assumes in the scientific and the social world, cannot here be discussed. It may, however, be observed that the Renaissance in social life was chiefly promoted by the 'hu- manists . who preferred gcnei al culture to great professional attain- ments, who enthusiastically regarded classical antiquity as the golden age of great men, and who exercised the most extensive in- fluence on the bias of artistic views. In the period of the Re- naissance the position of the artist with regard to his Avork , and the nature and aspect of the latter are changed. The education and taste of the individual leave a more marked impress on the work of the author than was ever before the case; his creations are pre-emi- nently the reflection of his intellect; his alone is the responsibility, his the reward of success or the mortification of failure. Artists now seek to attain celebrity, they desire their works to be examined and judged as testimonials of their personal endowments. ^^x& tpchpical skil l by no means satisfies them, although they are far from despising the drudgery of a handicraft (many of the most emi- nent quattrocentists having received the rudiments of their education in the workshop of a goldsmith ). the exclusive pursuit of a single sphere of art is regarded by them as an indication of intellectual poverty, and they aim at mastcr jjj^ the principles of each different branch. They work sinmltaneously as pMintPr^^pil g^u lpto rs , and when they apply their abilities toarchitefTuTe, it isdeemerTnothing unwonted or anomalous. ~: ^cODjprehonsive _ancL v'^^"'*^^^*^ pdiicatinii u nited with refijLed- -perBQuaLs eittinie iltS- 4tMr»4«-.JJieilJofti est ai m . TlTis they attain in but few instances, but that they eagerly^pired to it is proved by the biography of the illustrious Leo lUttista Al- berti. who is entitled to the same rank in the 15th century, as Leonardo da Yinciin the 16th. Rationally educated, physically and morally healthy . keenly alive to the calm enjoyments of life, and possessing clearly defined ide;'S and decided tastes, the artists of the /Renaissance necessarily regarded nature and her artistic embodiment ITALIAN ART. XXXIX with different views from their predecessors. A fres h ainljuyous love of iiaji ire s eems to pervade the whole of this perioii. iii accordanne with the diversified tendencies of investigation, artistic imagination also strives to approach her at first by a careful study of her various phenomena. Anatomy, geometry, perspective, and the study of dra- pery and colour are zealously pursued and practically applied, i nter- n al truth, fide lity to nature, and a c orrect re "'^^^'-''"^ "^' ^'^"'^ ^MVi" 'H nnnute it details are amon^the necessary Qualities in a perfect w ork. The realisni of the representation is. however, only the basis for the e xpression of life-like charac ter and enjoyment of the present. The earlier^ artists of the Renaissance exhibit no partiality for pathetic scenes, or events which awaken painful emotions and turbulent passions; their preference obviously inclines to «-i>fArfiii and jny nii:^ subjects. In the works of the loth century strict faithfulness, iii an objective sense, must not be looked for. "Whether the topic be derived from the Old or the New Testament . from history or fable, it is always transferred to the immediate present, and adorned with the colours of actual life. Thus Florentines of the genuine national type are represented as surrounding the patriarchs, visiting Eliza- beth after the birth of her son . or witnessing the miracles of Christ. This transference of remote events to the present bears a striking resemblance to the naive and not unpleasing tone of the chronicler. The development of Italian art, however, by no means terniinates with mere fidelity to nature, a quality likewise displayed by the contemporaneous art of the North. A superficial glance at the works of the Italian Renaissance enables one to recognise the Ij J^gher go f^1 f'f iTna,oriii(^|wvii Xhe r-arefully selected groups of digni- fied men, beautiful worn(?h . ami pleasing children , occasionally without internal necessity placed in the foreground . prove that at- tractiveness was pre-eminently desired. This is also evideiwed by the early-awakened enthusiasm for the nude, by the skill in dispo- sition of drapery, and the care devoted to boldness of outline and accuracy of form. This aim is still more obvious from the keen sense of symmetry observable in all the better artists. The indi- vidual figures are not coldly and accurately drawn in conformity with systematic rules. They are executed with refined taste and feeling ; harshness of expression and unpleasing characteristics are sedulously avoided , while in the art of the North physiognomic fidelity is usually accompanied by extreme rigidity. A taste for symmetry does not prevail in the formation of the individual figure only; obedience to rhythmical prec-epts is perceptible in the dispo- sition of the groups also, and in the composition of the entire work. The intimate connection between Italian painting (fresco) and architecture naturally leads to the transference of architectural rules to the province of pictorial art , whereby not only the invasion of a mere luxuriant naturalism was obviated , but the fullest scope was afforded to the artist for the execution of his task. For, to discover XL ITALIAN ART. the most effective proportions , to^ inspire life into a scen e by^the very rh ythm of the lineaments, are not accomplishments to be a(;quire(l by extraneons aid ; precise measurement and calcu- lation are liere of no avail; a discrimin ating eye, refined taste. , and a creative imagination, which instiiTctiveiy divines the appro- ' priate forms for its design , can alone excel in th is_spJiere of art. This enthusiasm for external be auty and just and harmonious pro- portions is the essential charactmstTc of flie art of the Renaissance. Its veneration for the antique"°"is tTvlis also accounted for. At first an ambitious longing for fame caused the Italians of the loth and 16th centuries to look back to classical antiquity as the era of illus- trious men, and ardently to desire its return. Subsequently, how- ever, they regarded it simply as an excellent and appropriate re- I source, when the s tudy of actual life did noj ^auffice , and an ad- mirable assistance in perfecting their sense of form and symmetry. They by no means viewed the art of the ancients as a perfect Avhole, or as the product of a definite historical epoch , which developed itself under peculiar conditions ; but their attention was arrested by the individual works of antiquity and their special beauties. Thus ancient ideas were re-admitted into the sphere of Renaissance art. A return to the religious spirit of the Romans and Greeks is not of course to be inferred from the veneration for the ancient gods shown during the humanistic period ; belief in the Olympian gods was ex- tinct; but just because no devotional feeling was intermingled, because the forms could only receive life from creative imagination, did they exercise so powerful an influence on the Italian masters. The importance of mythological characters being entirely due to the perfect beauty of their forms , they could not fail on this ac- count pre-eminently to recommend themselves to artists of the Re- naissance. These remarks will, it is hoped, convey to the reader a general idea of the character of the Renaissance. Those who examine the architectural works of the loth or 16th century should refrain from marring their enjoyment by the not altogether justifiable re- flection, that in the Renaissance style no new system was invented, as the architects merely employed the ancient elements , and ad- hered principally to tradition in their constructive principles and selection of component parts. Notwithstanding the apparent want of organisation, however, great beauty of form, emanating from the most exuberant imagination , will be observed in all these struc- tures , from the works of Brunelleschi (1377 — 1446) to those of Andrea Palladio of Vicenza (1518 — 1580) , the last great architect of the Renaissance. The style of the loth century may easily be distinguished from that of the 16th. The Florentine palaces (Pitti, Riccardi, Strozzi) are still based on the type of the \mediieval castle. A taste for beauty of detail, coeval with the rea- listic tendency of painting, produces in the architecturw of the 15th ITALIAN ART. XLI century an extensive application of graceful and attractive orna- ments, which entirely cover the surfaces, and throw the true organ- isation of the edifice into the background. For a time the true aim of Renaissance art appears to liave been departed from, anxious care is devoted to detail instead of to general effect ; the re-appli- cation of columns did not at first admit of spacious structures, the dome rose but timidly above the level of the roof. But this atten- tion to minutic'e, this disregard of effect on the part of these archi- tects, was only, as it were, a restraining of their power, in order the more completely to master, the more grandly to develop tlie art. The early Renaissance is succeeded by I'ram ante's epoch (^1444 — 1514), with which began the golden age of symmetrical con- struction. With a wise economy the mere decorative portions were circumscribed , while greater significance and more marked expression were imparted to the true constituents of the structure, the real exponents of the architectural design. The works of the Bramantine era (High Renaissaiice) are less graceful and attractive than those of their predecessors, but superior in their well defined, lofty simplicity and finished character, llad the Church of St. Peter been completed in the form originally designed by Bramante . we fould have pronounced a more decided opinion as to the ideal of the •diurch-architecture of the Renaissance. The circumstance that the grandest work of this style has been subjected to the most varied alterations ( for vastness of dimensions -"vas the principal aim of the architects) teaches us to refrain from the indiscriminate blame which so commonly falls to tlie lot of Renaissance churches. It must at least be admitted that the favoiirite form , that of a Greek cross (with equal arms) with rounded extremities, crowned by a dome, possesses concentrated unity, and that the pillar-construction re- lieved by niches presents an aspect of imposing grandeur ;»nor can it be disputed that in the churches of the Renaissance the same ar- tisti(; principles are applied as in the universally admired palaces and secular edifices. If the former therefore excite less interest, this is not due to the inferiority of the architects, but to causes beyond their control. The succeeding generation of the 16th century did not adhere to the style establislied by Bramante, but not reduced by him to a finished system. They aim more sedu- lously at general effect, so that harmony among the individual members begins to be iieglected : they endeav our to_ arrest the _e x.e by boldness of c on_s.trujGtia n and striking contr asts ; or they borrow new" modes of expression from antiquity, the precepts of which had hitherto been applied in an unsystematic manner only. Throughout the diversified stages of development of the succeeding styles of Renaissance architecture . felicity of proportion is invariably the aim of all the great masters. To appreciate their success in this aim should also be regarded as the principal task of the spertator, who with this object in view will do well to compare a Gothic with XLII TTALIAN ART. a ReiiaissaiK-e structure. This coiiiparisoii will prove to him that harmony of proportion is not the only effective element in architecture; for, especially in the cathedrals of Gerniany, the exclusively vertical tendency, the attention to form without regard to measure , the violation of precepts of rhythm , and a disregard of proportion and the proper ratio of the open to the closed cannot fail to strike the eye. Even the nnskillcd amateur will thus be convijiccd of the abrupt contrast between the medieval and the Renaissance styles. Thus prepared, he may. for example, proceed to inspect the Palace of the Pitti at Florence , which , undecorated and unorganised as it is, would scarcely be distinguishable from a rude pile of stones, if a judgment were formed from the mere de- scription. The artistic charm consists in the sii nplicity of the m ass, thjajustn ess of propor tion in the clevatioii_ jiil-tUe storeys . and the tasteful adjustment of the windows in the vast surface of the fa- ^•ade. That the arcHTfe^'ts" thoroughly understood the jesthetical effect of synimetrical proportions is proved by the mode of con- struction adopted in the somewhat more recent Florentine palaces, in which the roughly hewn blocks ( rustica") in the successive storeys recede in gradations, and by their careful experiments as to whether the cornice surmounting the structure should bear reference to the highest storey, or to the entire fayade. The same bias manifests itself in Bramantes imagination. The Cancelleria is justly considered a beautifully organised structure ; and when, after the example of Palladio in church-facades, a single series of columns superseded those resting above one another, syn)metry of proportioji was also the object in view. Every guide-book and every cicerone points out to the traveller in Italy the master-pieces of Renaissance architecture which he should inspect. Of that of the loth century the Tuscan towns afford the linest examples, but the brick structures of the cities of Lombardy . with their copious and florid decoration, should not be overlooked. An ac(|uaintan(;e with the style of Bra- mante and his contemporaries (Peruzzi. San (rallo the younger) may best be formed at Rome, although the archite<;ture of the 17th century is most characteristic of the Eternal City. The most important works of the middle and latter half of the IGth century are also to be sought for in the towns of Upper Italy (Genoa, Vicenza, Venice). In Venice especially, within a very limited space, the development of Renaissance architecture may conveniently be surveyed. The fundamental type of domestic; architecture recurs here with little variation. The nature of the ground aiforded little scope for the caprice of the architect, while the conservative spirit of the inhabitants inclined them to adhere to the style established by custom. Nice distinctions of style are therefore the more observable, and that Avhich emanated from a pure sense of form the more appreciable. Those who have beep ITALIAN ART. XLIII ooiiviiiced >iy rarefiil oomparison of the great superiority of the Biblioteca ( iii the Piazzetta) of Sansoviiio over the new Prorurazie of Scamozzi. although the two edifices exactly correspond in niauy respects, have made great progress towards an accurate insight into the architecure of the Kenaissaucc. Mu<;h. moreover, would be lost hy the traveller who devoted his attention exclusively to the master- works which have been extolled from time immemorial, or solely to the great monumental structures. As even the insignificant vases ( majolicas, manufactured at Pesaro. Urbino. Gubbio. and Castel- \ Duvante) testify to the taste of the Italians, their partiality for classical models, and their enthusiasm for purity of form, so also in inferior works, some of which fall within the ])rovince of a mere handicraft, the peculiar beauties of the Renaissance style are often detected. and,jdiaiiiijji£;_a£ecinieii&JiLajchitecture are some- times discii5:^Fed iTn^eajote corners of Italian towns. Xor must thej vjisFHomain of decorative sculpture be 'disregarded, as such works, whether in metal, stone, or stucco, inlaid or carved wood, oftenverge on the sphere of architecture. On the whole it may be asserted that the architecture of the Re- naissance . whif'h in obedience to the requirements of modern life I manifests its greatest excellence in secular structures, cannot fail to gratify the taste of the most superficial observer. With the sculpture of the same period, however, the case is different The Italian architecture of the 15th and IGth centuries still possesses a practical value and is frequently imitated at the pre- sent day; and painting undoubtedly attained its highest consum- mation at the same period: but the sculpture of the Renais- sance does not appear to us worthy of revival, and indeed cannot compete with that of antiquity. Yet the plastic art. far from enjoying a lower degree of favour. Avas rather viewed by the ar- tists of that age as the proper centre of their sphere of activity. Sculpture was the first art in Italy which was launched into the stream of the Renaissance, in its development it was ever a step in advance of the other arts, and in the popular opinion possessed the advantage of most clearly embodying the current ideas of the age. and of affording the most brilliant evidence of the re-awakened love of art. Owing probably to the closeness of the connection be- tween the plastic art of the Renaissance and the pe<-uliar national cul- ture, the former lost much of its value after the decline of the latter, and was less appreciated than pictorial and architectural works . in which adventitious historical origin is obviously of less importance than general effect. In tracing the progress of the sculpture of the Renaissance, the enquirer at once encounters serious deviations from strict precepts, and numerous infringements of a'sthetical rules. The execution of reliefs constitutes by far the widest sphere of action of the Italian sculpture of the 15th century. These , however , contrary to immemorial usage , are executed XLTV ITALIAN ART. in a pictorial style. Gluberii , for example . in his celebrated (eastern) door of the Baptisfery o f Florence , is not satisfied with grouping the figures as in a pallltTng . and placing them in a rich landscape copied from nature. He treats the background in accord- ance with the rules of perspective ; the figures at a distance are smaller and less raised than those in the foreground. He oversteps the limits of the plastic art, and above all violates the laws of the relief-style, according to which the figures are always represented in an imaginary space , and the usual system of a mere design in profile seldom departed from. In like manner the painted reliefs in terracotta by Luca della Robbia are somewhat inconsistent with purity of plastic form. lUit if it be borne in mind that the sculp- tors of the Renaissance did not derive their ideas from a previously defined system, or adhere to abstract rules, the fresh and life-like vigour of their works (especially those of the loth century) will not be disputed , and prejudice will be dispelled by the great attrac- tions ot the reliefs themselves. The sculpture of the Renaissance adheres as strictly as the other arts to the fundamental principle of representation : scrupulous care is bestowed on the faithful and at- tractive rendering of the individual objects; the taste is gratified by expressive heads, graceful female figures, and joyous children : the sculptors have a keen appreciation of the beauty of the nude, and the importance of a calm and dignified flow of drapery. In their anxiety for fidelity of representation . however, they do not shrink from liarshness of expression or rigidity of form. Their predilection for bron/.e-casting accords with their inclination for the characteristic. In this material, decision and pregnancy of form are expressed without restraint, and almost, as it were, sponta- neously. Works in marble also occur, but these generally trench on the province of decoration, and seldom display the bold and unfettered aspirations Avhich are apparent in the works in bronze. It is remark- able that the progress of the earlier sculpture of the Renaissance is confined to form alone, while tradition is invariably followed in the selection of subjects. Most of these works have been executed for ecclesiastical purposes. The best museum of Italian scnilpture >f the loth century is formed by the exter nal niches o f t^r H^" JbTorence. v.here Ghiberti. Verrocchio, and others, as rell as Uoi)ate llo the principal master, have immortalised their names. These with other statues on church-facades (the best spe- cimens of the second generation of sculptors of this period are perhaps the works of Rustici and Sansovino in the Baptistery of Florence), reliefs of pulpits, organparapets , altar-enrichments, church-doors , etc. form the principal sphere of plastic activity. The most admirable specimens of the earlier Renaissance sculpture are to be found in Central Italy. Besides Florence, the towns of Lucca (where Civitali wrought) . Pistoja, Siena, and Prato should be explored. At Rome (S. Maria del Popolo) and Venice (school ITALIAN ART. XLV of the Lombardi. Brcgni. and of Leopardo) the inonuniciital tombs especially merit L-areful examination. We may perhaps frequently take exception to their inflated and somewhat monotonous style, which for a wliole century remained almost unaltered . but we cannot fail to derive genuine jtleasure from the inexhaustible freshness of imagination displayed within so narrow limits. As a museum cannot convey an adequate idea of the sculpture of the 15th century, so a visit to a picture gallery will not afford an accurate insight into the painting of that period. Sculptures are frequently removed from their original position, many of those belonging to the Florentine churches, for example . having been of late transferred to museums ; but mural paintings are of course generally inseparable from the walls which they adorn. Of the fres- coes of the loth century of which a record has been preserved, perhaps one-half have been destroyed or obliterated , but those still extant are the most instructive and attractive examples of the art of this period. The mural paintings in the C hurch del Carmine^ (Cap- pella Brancacci) at Florence, executed by Masaccio and others, are usually mentioned as the earliest specimens^f the painting of the Renaissance. This is a chronological mistake, as some of. these frescoes were not completed before the second half of the 15th century; but in the main the classification is justifiable, as this cycle of pictures may be regarded as a programme of the earlier art of the Renaissance, and served to maintain the im- portance of the latter even during the age of Raphael. Here the beauty of the nude was first revealed , and here a calm dignity was for the first time imparted to the individual figures, as well as to the general arrangement; and the transformation of a group' of indifferent spectators in the composition into a sympathising choir . forming as it were a frame to the prim^ipal actors in the scene, was first successfully effected. It is. therefore, natural that these frescoes should still be regarded as models for imitation, aiid that , when the attention of connoisseurs was again directed during the last century to the beauties of the pre - Raphaelitc period, the works of Masaccio and. Filippino Lippi should have been eagerly rescued from oblivion. A visit to the churches of Florence is well cal<;ulated to con- vey an idea of the subsequent rapid development of the art of painting. The most important and extensive works are those of Domenico Ghirlandajo : the frescoes in 8. Trinita (a comparison with the mural paintings of Giotto in S. Croce , which also re- present the legend of St. Francis, is extremely instructive ; so also a parallel between Ghirlandajo's Last Supper in the monasteries of S. Marco and Ognissanti, and the work of Leonardo ) , and those in the choir of S. Maria Novella, which in sprightliness of con- ception are hardly surpassed by any other work of the same pe- riod. Beyond the precincts of Florence, Benozzo Gozzoli's char- XLVI ITALIAN ART. mingly expressive scenes from the Old Testament on the nor- thern wall of the Campo Santo of Pisa, forming biblical genre- pictures, Filippo Lippis frescoes at Prato . Piero della Francesca's Finding of the Cross in 8. Francesco at Arezzo, and llnally Luca Signorelli's representation of the Last Day in the Cathedral at Orvieto, afford a most admirable survey of the character and deve- lopment of Renaissance painting in Central Italy. Arezzo and Orvieto should by no means be passed over, not only because the works they contain of Piero della Francesca and Luca Signorelli show how nearly the art even of the 15th century approaches perfection , but because both of these towns afford an immediate and attractive insight into the artistic taste of the mediieval towns of Italy. Those who cannot conveniently visit the provincial towns will find several of the principal masters of the 15th century united in the mural paintings of the gi xtine Chapel at Rom e . and will obtain a general idea of the development of Renaissance- painting from the pictures in the gallery of the Florentine Academy. But an acquaintance with the Tuscan schools alone can never suffice to enable one to form a judgment respecting the general progress of art in Italy. Chords which are here but slightly touched vibrate powerfully in Upper Italy. Mantegna's works (at Padua and Man- tua) derive their chief interest from having exercised a marlced influence on the German masters Holbein and Diirer. The Um- brian school , which originates with Gubbio . and is admirably re- presented early in the 15th century by Ottaviano Nelli, blending with the Tuscan school in Gentile da Fabriano and Giovaniu da Fiesole , and culminating in its last masters Perugino and Pinturicchio , also merits attention , not only because Raphael was one of its adherents during his first period , but because it supplements the broadly delineating Florentine style , and not- withstanding its peculiar and limited bias is impressive in its character of l;^riour, a partition of individual tasks were principles unknown to him. He laid, as it were , his entire personality into~T!Te scale ln'^all that he undertook. He regarded careful pliysical traiuiug as scarcely less important than comprehensive culture of the mind; the vigour of his imagination aroused the applii^ation of his intellect also ; his minute observation of nature developed his artistic taste and organ of form. One is frequently tempted to regard Leonardos works as mere studies, in which he tested his powers, and which occupied his attention so far only as they gratified his love of investigation and experiment. At all events his personal impor- tance has exercised a greater intluence than his productions as an artist, especially as his prejudiced age strenuously sought to obliterate all trace of the latter. Few of Leonardo's works \ have been preserved in Italy , and these sadly marred by neglect. 1 A reminiscence of his earlier period , when he wrought under Verrocchio at Florence, and was a fellow-pupil of Lorenzo di Credi. is the fresco (Madonna and donor j in S. Onofrio at Rome. Se- veral oil-paintings, portraits. Madonnas, etc. (in theGalleria Sciarra at Rome ) are attributed to his Milan period, although careful re- search inclines us to attribute them to his pupils. The best in- sight into Leonardo's style, his refornas in the art of colouring, is obtained by an attentive examination of the works of the Ian school (Luini. Salaino). as these are far better preserved than the original works of the master, of which (his battle -cartoon having been unfortunately lost with the exception of a single equestrian group) tlie L^igt ^n puer in S. Maria delle Grazi e at Milan is now the only worthy representative. Although now a total wreck, it is still well calculated to convey an idea of the new- epoch of Leonardo. The spectator should first examine the delicate equilibrium of the composition , and observe how_ the individu al griai£s^recomplete in themselves, and yet simultaneously point to a common centre and inipart a monumental character to the work; then fhe" rljmarkabTe physiognomical fidelity which pervades every detail, the psychological distinctness of character, and the dramati(r life , together with the calmness of the entire bearing of the picture. He will then comprehend that with Leonardo a new era in Italian painting was inaugurated . that the development of art had attained its perfection. 5t m- etc.A e y[[-\ XLVlll ITALIAN ART. The accuracy of this assertion will perhaps be regarded by the amateur as dubious when he turns from T.eouardo to Michael Angklo (1474 — 1563). On the one hand he hears Michael Angelo extolled as the most celebrated artist of the Renaissance . while on the other it is said that he exercised a prejudicial influence on Italian art, and was the precursor of the decline of sculpture and painting. Nor is an inspection of this illustrious master's works calculated to dispel the doubt. Unnatural and arbitrary features often appear in juxtaposition AviLh vNhallti perfect, p'fo^ foundly signiflcative, and faithfully conceived. As in the case of Leonardo, biographical studies alone afford an explanation of these anomalies , and lead to a true appreciation of Michael Angelo's artistic greatness. His principles do not differ from those of his (contemporaries. Educated as a sculptor, he exhibits partiality to the nude , and treats the drapery in many respects differently from his professional brethren. But, like them, his aim is to in- spire his figures with life which he seeks to attain by imparting to them an imposigg and i mpress ive character. At the same time he occupies an isolated position , at^^TarTance with many of the tendencies of his age. Naturally predisposed to luclancholy, con- cealing a gentle and almost p<'^'''PiiiPte_t emperame ut beneath a mask of auster ity . Micbael Angelo was contirmed in his peculiarities by adverse political and ecclesiastical circumstances, and wrapped himself up within the depths^^2l_J^j^_^^^L^i^^fiI^liillS_J'^0il£]i^ His sculpture most clearly mamfests tha't profound sentinientto which however he often sacrificed symmetry of form. His figures are therefore anomalous, exhibiting a grand conception, but no distinct or tangible thoughts , and least of all the traditional ideas. It is difficult now to comprehend what hidden senti- ments the master embodied in his statues and pictures, which often present nothing but a massive and clumsy form , and appear to degenerate into meaningless mannerism. The deceptive ef- fect produced by Michael Angelo's style is best exemplified by some of his later works. His Moses in S. Pietro in Vincoli is of impossible proportions ; such a man can never have existed ; the huge arms and the gigantic torso are utterly disproportionate; the robe which falls over the celebrated knee could not be folded as it is represented. Nevertheless the work is grandly impressive ; so also are the monuments of the Medicis in S. Lorenzo at Flor- ence, in spite of the forced attitude and arbitrary moulding of some of the figures. Michael Angelo only sacti fico s - aoeuc agy of detail in order to enhance the aggregate effect. Had so great and talented a master not presided over^the"^ whole , the danger of an inflated style would have been incurred , the forms selected would have been exaggerated, and a professional mannerism apparent. Michael Angelo's numerous pupils, desirous of faithfully following the example of the master's Last Judgment in the Six- ITALIAN ART. XLIX tine, succeeded only in representing complicated groups of unna- turally foreshortened nude ligures, while Baccio Bandiuelli. think- ing even to surpass Michael Angelo . produced in his group of Hercules and Cacus (in the Piazza della Signoria at Florence) a mere caricature of his model. Amateurs will best he enabled to render justice to Michael Angelo by first devoting their attention to his earlier works, among which in the province of sculpture the group of^ietk (in St. Peters) occupies the highest rank. The statues of Bacchus and David (at Florence) likewise do not transgress the customary precepts of the art of the Renaissance. Paintings of Michael Angelo's earlier period are rare; the finest, whether conceived during his youthful development, or his maturer years, is unques- tionably the ceiling-painting in the Sistine. The architectural arrangement of the ceiling, and the composition of the several pictures are equally masterly ; the taste and discrimination of the painter and sculptor are admirably combined. In God the Father, Michael Angelo produced a perfect type of its kind ; he under- stood how to inspire with dramatic life the abstract idea of the act of creation , which he conceived as motion in the prophets and sibyls. Notwithstanding the apparent monotony of the fundamental intention (foreshadowing of the Redemption), a great variety of psychological incidents are displayed and embodied in distinct characters. Finally, in the so-called Ancestors of Christ, the forms represented are the genuine emanations of Michael Angelos genius , pervaded by his profound and mystically ob- scure sentiments , and yet by no means destitute of gracefulness and beauty. Whether the palm be due to Michael Angelo or to Raphael (1483 — 1520) among the artists of Italy is a question which for- merly gave rise to vehement discussion among artists and amateurs. The admirer of Michael Angelo need, however, by no means be excluded from enjoying the works of Raphael. "We now know that it is far more adva7itageous to form an acquaintance with each master in his peculiar province . than anxiously to weigh their respective merits ; and the more minutely we examine their , works, the more firmly we are persuaded that neither in any way / obstructed the progress of the other., and that a so-called higher/ comlnTnrtton of flie two styles was impossible. Michael Angelo's' unique position among his contemporaries was such, that no one, Raphael not excepted , was entirely exempt from his influence ; but the result of preceding development was turned to the best account , not by him , but by Raphael , whose susceptible and discriminating character enabled him at once to combine different tendencies within himself, and to avoid the faults of his pre- decessors. Raphael's pictures are replete with indications of pro- found sentiment, but his imagination was so constituted that B.s:dekeu. Italv I. 3rd Edit. d L ITALIAN ART. he did not distort the ideas which he had to embody,, in order to accommodate them to his own views, but rather strove to ideHz, ti fa' himself with them , and to render them with the utmost lidelity. In the case of Raphael , therefore, a knowledge of his works and the enjoyment of them are almost inseparable , and it is difficult to point out any single sphere with which he was especially familiar. He presents to us with equal enthusiasm V I pictures of the Madonna , and the myth of Cupid and Psyche; in J great cyclic compositions he is as brilliant as in the limited sphere of portrait-painting; at one time he appears to attach paramount importance to strictness of style , architectural arrangement, sym- metry- of groups, etc. ; at other times one is tempted to believe that he regarded colour as his most effective auxiliary. His excellence ^.onsists in his rendering equal justice to the most varied subjects, and in each case as unhesitatingly pursuing the right course , both in his apprehension of the idea and selection of form , as if he had never followed any other. In each period of his development worthy rivals trench closely on his reputation. As long as he adhered to the Umbrian School, Pinturicchio , and to some extent the Bolognese goldsmith Francia , contested the palm with him, and when he went over to the Florentine School (1004) numerous competitors maintained their reputation by his side. Leonardos example had here given a great impetus to art , and his works had yielded an insight into a new world of ideas and forms. Without entirely quitting local ground , the artists of Florence became familiar with the loftier spheres of imagination , and proceeded far beyond the original goal of strict fidelity to nature. It is hardly necessary to direct the attention to Fra Bartolommeo (1467 — 1517J and Andrea del Sarto (1488 — 1536); those who ,visit the Pitti Gallery only may form an adequate idea of the styles >i these masters (the altar-piece in the cathedral of Lucca by Fra bartolommeo, however, should not be overlooked); but other [Florentine painters of the 16th century deserve more notice than usually falls to their share. It is commonly believed that all the gems of the Galleria degli Uffizi are collected in the Tribuna , and the other pictures are therefore passed over with a hasty glance ; yet on entering the second Tuscan room the visitor encounters several highly finished works, such as the Miracles of St. Zenobius by the younger Ghirlandajo; nor is tlie enjoyment and instruction afforded by the portraits of artists , most of them by their own hands, to be despised. There is nothing unintelligible in the fact that Raphael did not at once rise above all his contemporaries in art during the first period of his development. The enthusiastic admirer of Rapliael will be still more unwilling to admit that even in his Roman period (1508 — 1520) his then matured qualities, especially his charming gracefulness of representation, were most successfully displayed by another master. This was Bazzi or Sodoma , who has ITALIAN ART. LI been most unfairly treatedby the biographers of Italian artists. His frescoes in theFarnesina and liis numerous mural paintings at Siena, where he spent the greater part of his life , are worthy rivals of Raphael's works of the same description , and even surpass them in colouring. But , whilst Sodoma , like all other rivals of the master of Urhino , vie with him in a single branch of art only, the latter excels equally in all. Raphael's versatility, therefore, constitutes his principal merit. Several of Raphael's most celebrated easel-pictures are distrib- uted throughout different parts of the world , but Italy still possesses a valuable collection , together with the three works which correspond to the terminations of the three distinct periods of the master's development (Nu£tials of Mary, at Milan , at the close of the Umbrian period: Entomb"ment of Christ, in the Gall. Borghese , at the close of the Florentine period ; Tjansliguration, in the Vatican, at the close of the Roman period, left uncompleted Fy Raphael), as well as a great number of portraits, among which the so-called Fornarina in the Barberini Gallery derives a still higher interest from its subject. The amateur, moreover, should on no account omit to see the S t. Cecilia in Bologna, and the Madonna della Seggiola in the Pitti Gallery. The latter is a charactertstity specimen ot" Raplia^t's MadoTmas , which are by no means calcu- lated to awaken feelings of devotion. The ecclesiastical idea generally yields to feelings of a less elevated character: and maternal ha^piiiess , the b1i&& (^f mianllip d famil y-life , or the perfection of female beauty are the predominating features. In Italy only, or ratherlTi-iiome (the mural painting in S. Severo at Perugia is a solitary specimen of his earlier period), Raphael's merits as a fresco-painter can be appreciated. Like all the great Italian painters , his finest productions have been in this province of art. The highest rank must be assigned to his works in the papal chambers of state in the Vatican. In order to understand them, the spectator should on the one hand bear in mind that fresco- painting is never entirely divested of a decorative character, and on the other keep in view the pecnliar position of papacy at the beginning of the 16th century. In the Palace of the Vatican the same courtly tone, the same taste for pleasure and enjoyment as in the residences of other Italian princes are exhibited; se- cular views here met with a willing reception , and humanistic tendencies especially appear not to have been repugnant to the dignity of the Roman court. All these qualities are more or less apparent in Raphael's frescoes ; the courtly tone is repeatedly assumed , even the refined compliment paid to the patron of the artist is not disdained, the ceremonial representation not excluded, and personal allusions are not less frequent than political. We must finally remember that Raphael was always compelled to employ with discrimination the space at his command , and to d* LII ITALIAN ART. distribute his decorative paintings appropriately on walls and ceil- ings , and that the limits imposed on him could not fail fre- quently to hamper his movemeuts, and oblige him to alter his plans. His theological and philosophical erudition, exhibited in ^the Disputa and the School of Athens, his address in combining the most disconnected subjects, such as the expulsion of llelio- dorus from the Temple , and the retreat of the French from Italy, and his unvarying success in the treatment of all the complicated series of subjects in the Stanze are sources of just astonishment. iRaphael is, moreover, admirably discriminating in selecting what was capable of artistic embodiment from a heterogeneous mass of ideas, and energetic in asserting the privileges of imagination and his sense of the beautiful, thus rendering the most intract- able materials obedient to his designs. This is most strikingly exemplified in the picture which represents the conflagration of the Leonine city, the so-called Borgo , or rather, in accordance at least with the design of the donor , the extinction of the fire by means of the papal benediction. No spectator can here detect the unreasonableness of the demand that a miracle should be ma- terially represented. Raphael transfers the scene to the heroic age, paints a picture replete with magnificent figures and lifelike groups , which have stimulated every subsequent artist to imi- tation , and depicts the confusion , and preparations for flight and rescue, accompanied by the corresponding emotions. The painting does not perhaps contain what the donor desired, but on the other hand is transmuted into a creation inspired by imagination, and suggested by the most versatile sense of form. Raphael executed his task in a similar manner in the case of the celebrated frescoes in the first Stanza , viz. the Disputa and the School of Athens. Although he was not precisely desired to illustrate a chapter in the history of ecclesiastical dogmas (development of the doctrine of transubstantiation) , or to produce a sketch in colours of the history of ancient philosophy , yet the task of representing a mere series of celebrated philosophers, and propounders of church doctrine could possess but little attraction. By interspersing ideal types amid historical characters , by representing the assembled congregation of believers in the Disputa as having beheld a vision, which necessarily called forth in each individual evidences of pro- found emotion , and by emphasising in the School of Athens the happiness of knowledge and the pleasure of being initiated in the higher spheres of science , Raphael has brilliantly asserted the rights of creative imagination. " r-y y After these observations the amateur hardly requires another hint respecting an impartial examination of Raphael's works. If he directs his attention solely to the subjects of the representa- tion, and inquires after the name and import of each figure, if he feels bound to admire the versatility of the artist, who derives ITALIAN ART. LIII his different forms from remote provinces of learning and abounds in erudite allusions, he loses the capability of appreciating the special artistic value of KaphaeVs works. He will then perceive no material distinction between them and the great symbolical pictures of the middle ages ; nay, he will even be tempted to give the latter (e. g. the mural paintings in the Cap. degli Spagnuoli, in S. Maria Novella) the preference. These unquestionably comprise a wider range of ideas, aim with greater boldness at the embodiment of the supersensual, and may boast of having abundantly cultivated the didactic element. It is doubtful to what extent Raphael's scientitic know-ledge was based on his intercourse with contemporaneous scholars (such as Castiglione, Bembo, Ariosto, etc. ). or whether he was entirely independent of these. In the former case the merit of versatility would be due to these savants ; but in the latter, had Raphael independently recollected all the recondite allusions which the paintings in the Stanze are said to exhibit, his artistic character would not thereby be more clearly revealed to us ; his intellect, not his imagination, would have been exercised. Ra- phaels pictures will not only be enjoyed in a higher degree, but a better insight into his character and greatness acquired, if the attentioii be chiefly directed to the manner in which the artist, by the vigour of his imagination, imparted a living form to ideas in themselves devoid of life, in which he distinguished the various ligures by a marked psychological impress, so that the bearers of historical names at the same time appear to the spectator as real human characters, and in which he skilfully produced an equilibrium of movement and repose in his groups, and not only studied beauty of outline, but effected a happy reconciliation of profound intellectual contrasts. It must not, however, be thought that the labour and interest of such an investigation will speedily be exhausted. Numerous questions still present themselves to the enquirer. He will ask by what motives Raphael was actuated in imparting so different a colouring to the Disputa and the School of Athens ; how far the architectural background of the latter contributes to the general effect ; why the predominance of portrait- representation is in one part limited, at another (Jurisprudence) extended : what considerations gave rise to the various alterations in the compositions which we discover by comparison with the numerous sketches, etc. An examination of the paintings in the Stanze is unfortunately little calculated to give pleasure owing to their faded condition ; and it is now difficult to appreciate the magnificence of the unique decorative painting of the Loggie. or the consummate art displayed by Raphael in the sadly disfigured tapestry. The details of the composition of the latter can only now be seen in the cartoons preserved in the Kensington Museum : but the designs at the base, and the marginal arabesques, partially preserved in the original tapestry, contribute materially to convey LIV ITALIAN ART. an idea of the festive impression which these representations, originally destined for the Sistine Chapel, were intended to produce. RaphaeVs frescoes in the cheerful Farnesina present an ap- parently irreconcilable contrast to his works in the Vatican. The latter bear the impress of religious fervour, of aspiration to the sublime, and a tendency to serious reflection, while in the former the art of the master is dedicated to joyous scenes, and every figure beams with pleasure and innocent happiness. But the frescoes of the Farnesina are also a characteristic manifestation of Ra- phael's genius. He derived his knowledge of the myth of Cupid and Psyche from the well-known work of Apuleius, which was as eagerly perused in the 16th century as during Roman antiquity. No author of ancient or modern times can boast of a more charm- ing illustration that that of Apulehis by Raphael, although the subject is somewhat freely treated. In Raphael's hands the myth acquires a new form. Well aware that his task was the decoration of a festive hall, Raphael has studiously avoided everything of a sombre character. Psyche's sulferings are placed in the back- ground; her triumph alone occupies the artist's attention. The confined limits of the hall appear transformed into stimulants of the artist's sense of form. He embodies the myth in an abridged form, suggests many scenes in a superficial manner, yet without omitting any essential point, and thus without constraint contrives to adapt the historical details to his decorative purpose. Harmony in conception and design, symmetrical precision, and capacity of concentration in adhering strictly to the subject, without admixture of personal caprice, — all genuine attributes of Raphael, — are as distinctly observable in the frescoes of the Farnesina as in those of the 'V^atican. The ceiling-paintings in the principal hall are far inferior in execution to the so-called Galatea in the adjoining apartment; but the contemplation of both works affords enjoyment of the highest order. The traveller cannot duly prepare himself on the North side of the Alps for a just appreciation of the works of Leonardo, Michael Angelo, and Raphael ; however familiar he may imagine himself to be with them, he will be forcibly struck by the new light in which they appear on their native soil. The case is different with Correggio who is frequently elevated to equal rank with these three great masters. An approximate idea ot Correggio's merits may easily formed in the galleries of the North , but some peculiarities will be be detected for the first time in Italy. He will be discovered to tend to naturalism ; it will be observed that not only his treat- ment of space (perspective cupola-painting) is devoid of delicacy, but that the individual characters possess nothing beyond their natural charm. He is destitute of depth of character, and is merely an attractive colourist who highly matured one branch of his artistic education, but totally neglected the other. Giorgione ITALIAN ART. LV and Titian, the great masters of the Yenetiau school, cannot, on the other hand, be duly appreciated as artists of the Renaissance except in Italy. These are not mere colourists, they are not indebted exclusively to local impulses for their peculiar art ; the joyous and festive scenes which they are unwearied in depicting are a true emanation of the culture of the Renaissance (Titian's connection with the 'divine" Aretino is in this respect very sug- gestive); the happy individuals, rejoicing in the delights of love, whom they so often represent, remind one of the ancient gods, and afford a clue to the manner in which the revival of the antique is associated with the Renaissance-period. Correggio, as well as subsequent Venetian masters, v/ere fre- queTitly regarded as models by the Italian painters of the 17th century, and the influence they exercised could not fail to be de- tected even by the amateur, if the entire post-Raphaelite period were not usually overlooked. Those who make the great cin- quecentists their principal study will doubtless be loth to ex- amine the works of their successors. Magnificent decorative works are oecasionally encountered (those of Giulio Romano at Mantua, and Perino del Yaga at Genoa), but the taste is offended by the undisguised love of pomp and superficial profes- sionalism which they generally display. Artists no longer ear- nestly identify themselves with the ideas they embody; they mechanically reproduce the customary themes, they lose the desire, and finally the ability to compose independently. They are, more- over, deficient in taste for beauty of form, which, as is well known, is most attractive when most simple and natural. Their technical skill is not the result of mature experience, slowly acquired and justly vahied : they came into easy possession of great resources of art, which they frivolously ami unworthily squander. The quaint, the extravagant, the piquant alone stimulates their taste ; rapidity, not excellence of workmanship, is their aim. Abundant specimens of this mannerism are encountered at Rome and Naples (cupola of the cathedral at Florence by Zuccaro, frescoes in the Roman chur- ches of S. Maria Maggiore and 8. Prassede by d'Arpino, in S. Stefano by Tempesta, etc.). The fact that several works of this class produce a less unfavourable impression does not alter their general position , at it is not w-ant of talent so much as of con- scientiousness which is attributed to these artists. The condition of Italian art, that of painting at least, improved to some extent towards the close of the 16th centur>-; a kind of second efflores- cence, known in the schools as the 'revival of good taste', took place, and is said to have manifested itself in two main directions, the eclectic and the naturalistic. But these are terms of little or no moment in the study of art, and the amateur had better disregard them. The difficulty, however, of forming a fair judgment still remains. Down to the close of last century the works of Bernini, LVI ITALIAN ART. Gnido Reni, Domeiiiclnno , and even of Carlo Dolce and Maratta were in high repute. Scaffoldings were erected in the Tiber in order to afford a better view of Bernini's statues on the Ponte S. Angelo, and travellers indulged in unbounded admiration of the paintings of the 17th century. .\ reaction subsequently took place; during the modern 'romantic" period the public became averse to fluent beauty and easy gracefulness of form , and censiire of the 17th century and of the 'baroque' style was hailed as a sign of the revival of good taste. At the present day the bias of the preceding period has again become a subject of investigation, and Bernini's architecture is now less frequently stigmatised as 'baroque'. The Italian art of the 17th century is now accepted as a recognised style , and the estimation in which it is held is therefore often dependent on the fashion of the day. This period of art should also be studied historically. The principal architectural monu- ments of the 17th century are the churches of the Jesuits, which unquestionably produce a most imposing effect; but the historical enquirer will not easily be dazzled by their meretricious magni- ficence. He will perceive the absence of organic forms and the impropriety of combining totally different styles, and he Avill steel liimself against the gorgeous, but monotonous attractions of the paintings and other works of the same period. The bright Renais- sance is extinct, simple pleasure in the natural and human ob- literated. A gradual change in the viev,-s of the Italian public and in the position of the church did not fail to influence the tendencies of art, and in the 17th century artists again devoted their energies more immediately to the service of the church. Devotional pictures now became more frequent, but at the same time a sensual, naturalistic element gained ground. At one time it veils itself in beauty of form, at another it is manifested in the representation of voluptuous and passionate emotions ; classic dignity and noble symmetry are never attained. Allori's Judith should be compared with the beauties of Titian, and the frescoes of Caracci in the Pa- lazzo Farnese with Raphael's ceiling-paintings in the Farnesina, in order that the difference between the 16th and 17th centuries may be clearly tinderstood ; and the enquirer will be still farther aided by consulting coeval Italian poetry, and observing the development of the lyric drama or opera. The tendency of poetry in particular furnishes a key to the mythological representations of the School of the Caracci. Gems of art, however, were not unfrequently produced during the 17th century, and many of the frescoes of this period are admirable (the Aurora of Guide Reni in the Pal. Rospigliosi, Life of St. Cecilia in S. Luigi, Life of St. Nilus in Grottaferrata, paintings on the cupola and vaulting of S. Andrea by Domenichino, etc. j. Beautiful oil-paintings by various masters are also preserved in the Italian galleries. Besides the public collections of Bologna. (St. Jerome by Ag. Caracci, Slaughter of ITALIAN AKT. LVII the Innocents and II Pallione by Guido Keni), Nai)los. and the Vatican and Capitol ( Guercino's Petronilla), the private galleries of Rome are of great importance. The so-called gallery-pieces, figures and scenes designated by imposing titles, and painted in the prevailing taste of the 17th century, were readily received, and indeed most appropriately placed in the palaces of the Roman nobles, most of which owe their origin and decoration to that age. This retreat of art to the privacy of the apartments of the great may be regarded as a symptom of the universal withdrawal of the Italians from public life. Artists, too. henceforth occupy an isolated position, unchecked by public opinion, exposed to the caprices of amateurs, and theuiselves inclined to an arbitrary deportment. Several qualities, however . still exist of which Italian artists are never entirely divested ; they retain a certain address in the arrangement of figures, they preserve their reputation as ingenious decorators, and understand the art of occasionally imparting an ideal impress to their pictures ; even down to a late period in the 18th century they excel in effects of colour, and by devoting attention to the province of genre and landscape-painting they may boast of having extended the sphere of their native art. At the same time they cannot conceal the fact that they have lost all faith in the ancient ideals . that they are incapable of new and earnest tasks. They breathe a close, academic atmosphere, they no longer labour like their predecessors in an independent and healthy sphere, and their productions arc therefore devoid of ab- sorbing and permanent interest. This slight outline of the decline of Italian art brings us to the close of our brief and imperfect historical sketch, which, be it again observed, is designed merely to guide the eye of the enlightened traveller, and to aid the uninitiated in independent discrimination and research. 1. From Paris to Nice by Lyons and Marseilles. Railway to Marseilles in 24 (express in 16»|4) hrs. ; fares 106 fr. 30, 79 fr. 75, 58 fr. 45 c. (Express from Paris to Lyons in 9'J4, ordinary trains 123|4 hrs. ; fares 63 fr. 5, 47 fr. 30, 34 fr. 70 c. From Lyons to Mar- seilles express in 62|3 , ordinary trains ll'(4 hrs.; fares 43 fr. 25, 32 fr. 45, 23 fr. 75 c") From Marseilles to Nice in 7'|2 (express in 6) hrs.; fares 27 fr. 70, 20 fr. 75, 15 fr. 20 c. Soon after quitting Paris the train crosses the Marne, near its confluence with the Seine, at the station of Charenton (lunatic asylum on an eminence to the left). To the right and left rise the forts of Ivry and Charenton, which here command the course of the Seine. Stat. Villeneuve St. Georges is picturesquely situated on the slope of a wooded eminence. The beautiful green dale of the Yeres is now traversed. Picturesque country residences, small parks , and thriving mills are passed in rapid succession. Stat. Montgeron. The chain of hills to the left, as well as the plain, is studded with numerous dwellings. Before Brunoy is reached the train crosses the Yeres , and beyond the village passes over a viaduct. The valley of the Yeres is now quitted, and the country becomes flatter. Stations Combes- la- ViUe, Lieusaint, and Ces.on. The Seine is again reached and crossed by a handsome iron bridge at Helun ( Hotel de France) , capital of the department Seine- et-Marne, an ancient town with 11,000 inhab., known to the Romans, and picturesquely situated on an eminence above the river. The Church of Notre Dame, dating from the 10th cent., and the modern Gothic town-hall are fine edifices. After affording several picturesque glimpses of the valley of the Seine, the train reaches the forest of Fontainebleau. Stat. Bois- le-Roi. "EontsiinelalesLVL (Hotel deLondres; AigleNoir; Hotel de France) is a quiet place with broad and clean streets (11,900 inhab,). The *Palace, an extensive pile, containing five coiirts. is almost exclu- sively indebted for its present form to Francis I. (d. 1547), and abounds in interesting historical reminiscences. It contains a series of handsome saloons and apartments (fee 1 fr.). The *Forest occupies an area of 50,000 acres (60 M. in circumference) and affords many delightful walks. (For farther details, see Bcedeker's Paris.) Next Stat. Thomery, celebrated for its luscious grapes (Chat- selas de Fontainebleau). The forest is quitted here. Stat. Moret, a venerable town on the Loing, which here falls into the Seine, BjBDKKEB. Italy I. 3rd Edit. 1 2 Route 1. TONNERRE. From Paris possesses a Gothic church of the 13th cent, and a ruined chateau once occupied by Sully. (Railw;iy hence to Lyons by Nemours, Gien, Nevers, and Roanne.^ The line crosses the valley of the Loins by a viaduct of 80 arches. Stat. St. Mammts ; then Montereau (Grand Monarque), picturesquely situated at the continence of the Seine and Yonne. (Branch line to Flamboin, a station on tlie Paris and Troves line. ) The train ascends the broad and well cultivated valley of the Yonne. Stat. Villeneuve-la-Guiard, Pont- sur- Yonne. Sens (Hotel de CEcu), the ancient capital of the Senones, who under Brennus plundered Rome (B.C. 390), the Agedincum of the Romans, is a quiet and clean town with 11,000 inhab. The early Gothic * Ca- thedral (St. Etienne) dates from the 12th cent. ; magnificent S. Portal in the Flamboyant style. The episcopal vestments and other relics of Thomas a Becket, who soiight an asylum at Sens in 1164, are shown. Next stations Vllleneuve-sur- Yonne, St. Julien du Sault, CSzy. Joigny (Due de Bourgogne), the Joviniacum of the Romans, is a picturesque and ancient town (6000 inhab. ) on the Yonne. Next stat. Ln Roche. From La Roche by a branch .line in 52 min. to Auxerre ( Hdtel du Leopard), capital (13,000 inhab.) of the Dei)artment of the Yonne, possess- ing several good churches, especially the late Gothic cathedral. Chablis, well known for its wines, lies between Auxerre and Tonnerre (see below), 13'f2 M. to the E. of the former. Near La Roche the line crosses the Yonne , into which the Ar- man^on here empties itself, and follows the latter river and the Canal de Bourgogne, which connects the Seine and Saone. About 6 M. from St. Florentin is the Cistercian Abbey of Pon- tigny, where Thomas k Becket passed two years of his exile. Langton, archbishop of Canterbury, banished by John, and other English prelates liave also sought a retreat within its walls. Tonnevre ( Lion d' Or ; *Rail. Restaurant), picturesquely situ- ated on the Arman^on, a town with 5000 inhab., possesses a monu- ment to the minister Louvois (d. 1691). The church of St. Pierre, on an eminence above the town, commands a pleasing prospect. Stat. Tanlay boasts of a fine chateau in the Renaissance style, founded by the brother of Admiral Coligny, the chief victim of St. Bartholomew's Night, who with the Prince de Conde and other Huguenot leaders held meetings in one of the apartments. Then a tunnel, 540 yds. in length ; bridge over the Arman^on ; tunnel 1020 yds. long; and the canal and Arman^on are again crossed. From stat. Nuits-sous-Raviere a branch-line runs to ChCitillon-sur- Seine and Chaumont. Montbard, birthplace (1707) of Buffon, the great nattiralist (d. at Paris in 1788), contains his chateau and a monument to his memory. Beyond stat. Blaisy-Bas the line penetrates the watershed (1324 ft.), between the Seine and the Rhone by a long tunnel to Nice. DIJON. 1. Route. 6 ('21/2 ^^O- Hence to Dijon a succession of viaducts, cuttings, and tunnels. Beyond stat. Me la Cloche; du Parc; *dv Juka, near (he station, R. 2, D. 3ij2, B. 1, A. ijo fr. ; i>e la GALftiiE, de Boukgogxe, ou Xoud, DE Geneve, the last four of the second class. Rail. Kesiauraitt; *Cufi ad- joining the theatre. Brasserie AUacienne, Place St. Etienne, opposite the theatre), with 39.000 luhab. , the ancient capital of the Duchy of Burgundy, is now that of the De'partement de la Cote d'Or. For four centuries and a half, from 101') to the death of Charles the Bold'in 1477, this was the residence of the Dukes of Burgundy. The monuments of that period impart an additional interest to this pleasant and cheerful town. The Rue Guillaurae leads from the station to the centre of the town , where the *Palais des Etats, the ancient residence of the Dukes , is situated. After various vicissitudes the edifice was re- modelled during the last century and converted into an Hotel de Ville. It contains the Museum (principal court to the r. in the Place d'Armes ; admission gratis on Sundays and holidays 12 — 3 o'clock, at other times for a fee of 1 fr.), with collections of engra- vings, statues, casts, antique vases, and smaller antiquities. The *Salle des Gardes, formerly the Burgundian banqueting hall, contains a handsome old chimney-piece ; *three altar-cabinets with beautiful wood-carving (14th cent.); the ^Monument of Jean sans Peur and his con- .sort JIargaret, dating from 1444. with their statues and lions at their feet; still finer the *Moiiument of Philip the Bold, date 1390, with frieze adorned with 40 statuettes of celeltrated contemporaries. Both these mo- numents were destroyed during the Revululion, hut restored in 1827. The Picture Gallerv contains about 500 works, most of them me- diocre: 434. Portrait of Charles the Bold, master unknown; 291. Mem- liitg(';). Adorati|2fr., omni- bus to the station 60 c; Paris; Europe)., the ancient Vesoudo, capital of the Sequani, a town of the German Empire down to 1651, but in 1674 cou- (luered by Louis XIV. and united with France. It is now the capital of Franche Comte, with 46,000 inhab. Its peculiar situation in a wide basin, on the Doubs, which flows round the town and once rendered it an im- portant military point, is described by Csesar (l)e Bell. Gall. I. 38j. The substantial, old-fashi(med architecture of the town is interesting, and modern innovations are ccmiparatively rare. One of the tlnest struc- tures of the 16th cent, is the HOtel de Ville in the Place St. Pierre, bearing the civic motto: Deo et Caesari jidelis perpetuo. The *Mu8ECM is establislicd in a modern building in the Place de 'Abondance (admission on Sundays 1 — 4 o"cl. gratis, at other times by payment of a fee). The vestibule and the staircases are adorned with Roman inscriptions and antiquities. The principal saloon contains pic- tures: 1. *92. A. Diirer., Christ on the Cross, at the foot of which is the Mater Dolorosa, surrounded by 6 medallions representing the principal !«cene9 from the life (jf Christ, on the wings pr(tphets; r. 116. Gaelano, Portrait on copper of Cardinal Granvella (born at Besan^on 1517, minister of Philip II. in the Netherlands, viceroy of Naples and president of the privy council of Spain, d. at Madrid in 1586); *46. Bronziuo, Descent from the Cross; r. 157. Kei/ , Count Palatine Frederick III.; r. 183. Girl with a dove, painted by the Empress 3Iarie Louise. — The other saloons con- tain casts and antiquities, weapons and implements of the Celtic and Roman periods found in the neighbourhood, etc. — The Library (oj)en to the public on Mond., Wed. and Sat. 12 — 5 o'clock), founded in 1694 by Boisot, contains iOO,0(jO vols., about 1800 MSS., a collection of coins, etc. In the principal street, the Grande Rue, which ascends from the Pont de la Madeleine to the citadel, is situated the Palaia Granvelle, a hand- some structure in the Renaissance style (1530 — 40). Farther on is the *Porte Noire, a triumphal arch of the late Roman period, of very grace- ful proportions and adorned with sculptures and reliefs, most of which are almost obliterated. The date of its erection is unknown. The r. side has been restored. We next reach the ^Cathedral of St. Jean, dating from several different epochs, restored for the last time during the last century. The 1st chapel on the r. near the entrance (W.) contains the monument of the archdeacon Ferrico Ca- rondelet (d. 1528) ; above it the Death of Sapphira , by Heb. del Piombo. In the chapel on the 1. the *Virgin surrounded by angels with SS. Se- bastian, John, Dominicus, and the two donors of the picture, by Fra Bartolommeo , in admirable preservation , but unfortunately not favour- ably hung. The street ascends hence to the Citadel, constructed by Vauban (per- mission to visit it must be obtained from the commandant in the town). b Route 1. LYONS. From Paris The summit commands an admirable view. At the base of the citadel (8 min. walk from the Porte de Rivotte), on the river, is situated the Porte TailUe^ originally appertaining to a Roman aqueduct, subsequently widened so as to form a gateway. Beyond Kcsancon the line crosses to the r. b!ink of the Doubs, inter- sects the Dijon and yenchatel line, passes three small stations and reaches stat." Lons - le - Saulnier , chief town of the Department of the Jura , with 9800 inhab., and celebrated saline springs in the vicinity. Beyond it the Chateau Moniinorot, birthplace of GeneralLccourbc. Stat. St. Amour. The line then crosses the rivers Solman and Sevron. Stat. St. Etieiine du BoU., pleasantly situated; then Bourg (p. 29) ; scenery thonce to Lyons uninteresting. From Geneva to Lyons railway in 53|4 hrs. (fares 18 fr. 80, U fr. 10, 10 fr. 35 c). From Geneva to Ainberieu.r, see p. 29. The Lyons line here diverges from that to Macon and proceeds towards the S.W. Pic- turesque district, presenting a scries of pleasing landscapes. Beyond stat. Leyinent the line crosses the Ain. commanding a beautiful glimpse of the valley of that siream. Then several unimportant places. Near Lyons the line intersects the suburbs of La Crolr Rousse and La Guillotih'e. and soon reaches the extensive station (at Lyon-Perrache). Lyons. Hotels. *Grand Hotkl de Lton (PI. a). Rue Tmpe'rialc, in the Parisian style, with restaurant, cafe, etc., R. 3, B. I'j2, A. I fr. ; *Ghaxu Hotel Collet (PI. b) , Rue Impe'riale (jO; *Hotel dk l'Eukope (PI. c), Place Louis le Grand, R. 3, D. 4, L. and A. I'lj fr. ; these three hotels are of the highest class. Grand Hotel des Beaux Arts (PI. d); *HoTEL DES XfiGocxANTS (PL el; *H6tel DU Havre et du Luxembourg (PL f). Rue St. Dominique 3, R. 2' 2, L. 75 c. . D. 3»;2. A. I fr. ; Beau- QUis (PL g), Place Louis le Grand; Hotel Michel (PL h), Hotel D'ANr gleterre et des Deux SIondes (PL i). Hotel de lT'nivers (PL n), the.<«e three in the Cours Xapolcon near the Perrache station; Hotel de 3Iilan (PL k); De la Eombarde (PL 1); Ecu de France (PL m) ; Hotel i>e France, Rue de I'Arbre Sec, near the Museum, R. 2, D. 3 fr. — Cafes: du RhCme^ de la Jeuiie France., Rue du Perra ; Phini-v. Place Imperiale. -— Restaurants : Maison Dorie., Place Bellecour; Bavout., Place de la Pre- fecture, etc. — Brasserie Alsacienne ., a large establishment in the Cours Napoleon, near the station. Fiacres (two-horse carr. of the Compagnie des Petils Maitres) per drive 1 fr. 25 c, Lst hour 1 fr. 50, each following hour 1 fr. 25, luggage free (from midnight I0 7 a. m. per drive 1 fr. 65. per hour 2 fr. 50 c. ; out- side the town per hour 2 fr. ; vehicles of other companies more expen- sive). — Omnibus from the station to the town 50, with luggage 75 c. ; hotel-omnibus I — li)2 fr. Booksellers: H. Georg, Rue de Lyon 65'; Ch. 3Iera , Rue Imperiale 15. — Post. Office., Place Louis le Grand (open from 7 a. m. to 8 p. m.). — Bai/ts du Rhdne, Rue du Perra. — English Church Service., resident chaplain. Bailway Stations. The Oare de Perrache (PL H, 4, 5) is the principal station , where all the trains arrive and depart. The Paris trains also stoi> at the Gare de Vaise (PL B, 0), reached in 8 min. from the central station; and the Geneva trains at the Gare des Broteau.r {y\. D, I), 19 — 24 min. from the central station. Lyons, the ancient Lwpf/unum, which after the time of Augustus gave its name to one-third part of Ganl, is now the second city, and the most important manufacturing place in France, with 324,000 inhab.. silk being its great staple commodity. Lyons is an archie- piscopal see. As an episcopal residence it is mentioned at a very early period. The first bishop St. Potinus is said to have suffered to Nice. LYONS. /. Route. 7 martyrdom in 177, during a fearful persecution of the Christians under Marcus Aurelius, which raged here , as -well as at Yienne and Autun. The situation of the city at the confluence of the Rhone and Saone is imposing. The Saone is crossed by ten. the Rhone by seven bridges. The construction of the Pont de la Guillotiere. the most ancient of the latter, is erroneously attributed to Pope Inno- cent lY. (1190). Lyons is one of the best built towns in France. Great altera- tions have taken place within the last 50 years, so that tlie general aspect of the city is modern. It consists of three distinct por- tions , the original town on the tongue of land between the Rhone and Saone . the suburbs of Les Broteaux and La Guillotiere on the L bank of the Rhone, and the suburb of Vaise on the r. bank of the Saone. The city is guarded by^eighteen forts, which form a spacious circle of nearly 12 M., extending from Ste. Foy and Fourvieres and the heights above the suburb of La Croix Rousse (connected with the city by means of a railway on an inclined plane, fares 15 and 10 c.) to Les Broteaux and La Guillotiere. The beauty of the situation and the extent of the city are best appreciated when viewed from the **Height of Fourvieres^ crowned by its conspicuous church , to which a number of different ways lead. The direct route is between the handsome modern Palais de Justice (PI. 67 ) and the cathedral, through narrow and steep streets, passing the hospital of Les Antiquailles, which occupies the site of the ancient Roman palace where Claudius and Caligula were born. We now continue to follow the main street, or proceed to the r. by the 'Passage Abrege' (5 c), leading past gardens, vine- yards, and a number of fragments of Roman masonry, with ex- planations attached to them , which however are not to be im- plicitly trusted. This footpath leads to the Observatoire on the summit . not far distant from the church of Notre Dame de Four- vieres (PI. 25), which contains a highly revered 'miraculous* image of theYirgin (visited by upwards of li/o million pilgrims annually) and numerous votive tablets. The church is a modern structure, surmounted by a gilded statue of the Madonna. The terrace ad- joining it commands a noble prospect, which is still more extensive from the tower (25 c. ). A more picturesque view, however, is en- joyed from the so-called -Observatoire' already mentioned, a small wooden tower in the vicinity, the route to which is indicated by sigu- posts (adm. 1/2 fr. ; cafe adjacent). At the feet of the spectator lie the imposing city with its environs, the two rivers and their bridges, and the well cultivated district in the neighbourhood; to the E. in fine weather Mont Blanc, 85 M. distant, is sometimes visible; farther S. the Alps of Dauphine', the Mts. of the Grande Chartreuse and Mont Pilat, and to the W. the Mts. of Auvergne. 8 Route 1. LYONS. From Paris The Cathedral of St. Jean Baptiste (Fi. 41) on the r. bank of the Saone, adjoining the Palais de Justice, a structure of the 13th cent., possesses several remarkable features, a fine central tower, stained glass windows , and a curious and complicated clock of 1508. resembling that of Strassburg. The Bourbon chapel (1st on the r.) , erected by Cardinal Bourbon and his brother Pierre de Bourbon, son-in-law of Louis XL, contains some fine sculptures. On the 1. bank of the Saone, about 1/2 ^1- lower down, is si- tuated the church of the Abbey cVAinay (PI. 24), one of the oldest in France, dating from the 10th cent., the vaulting of which is borne by four antique columns of granite. Its Latin name was Athenaeum, supposed to be derived from the fact that Caligula once founded an Athenaeum , or school of rhetoric, here. Beneath the sacristy are the former dungeons. In the Place des Terreaux (PI. 3), in which the Hotel de Ville and the Museum are situated, Richelieu caused the youthful Mar- quis de Cinq-Mars , who for a brief period was the favourite of Louis XIII. , and his partisan de Thou to be executed as traitors, 12th Sept., 1642. Numerous victims perished here by the guil- lotine in 1794, until the more wholesale system of drowning and shooting was introduced. In the Hotel de Ville (PI. G2), a hand- some edifice of the 17th cent. (1647—55), the revolutionary Tri- bunal, under the presidency of Collot d'Herbois, held its meetings. This miscreant, who had previously been an actor, and whose per- formances had been hissed at Lyons, availed himself of this oppor- tunity to wreak his revenge on the unfortunate citizens. He was subsequently banished to Cayenne, where he died in 1796. In the Avenue des Martyrs (in the quarter Les Broteaux) a chapel has been erected to the memory of 2100 victims of the Revolution who perished here. Within the Palais des Beaux Arts, or Museum (PI. 69 ; admis- sion gratis, daily 9 — 3), under the arcades of the spacious court, are some remarkable Roman antiquities , a taurobolium (sacrifice of oxen), altars, inscriptions, sculptures, etc. The Picture Gallery is on the first floor. Salle des Anciexs Maitres : in the centre four Roman mosaics, representing Orpheus, Cupid and Pan, and tlie games of the circus. Among the pictures may be mentioned: 1. 5i. Charlet , Episode from the Russian campaign; 17L Ann. Caracci, Portrait of a priest; 102. Heem , Breakfast; 9. Lesueur , Martyrdom of SS. Gervasius and Protasius; 82. Rubens, Intercession of the saints with Christ; 108. School of Rembrandt, Martyrdom of St. Stephen; 151. Greenen- braeck, View of Paris in 1741; 115. Tevburg, The Message; 210. Rychaert, The miser; 164. Bordone, Titian's mistress; 178. Carletto Veronese, Queen of Cyprus; 46. Girard , Corinna; 89—92. Breughel, The four elements; 117. Teniers junr.. Liberation of St. Peter; 80. Moreeleze , Portrait; 257. Sasso/errato, Madonna. — On the r. (beginning again from the entrance door): 140. Schalken, The smokers; *169. Palnia Giovine , Scourging of Christ; 112. Qiielli/n, St. Jerome; 105. Ph. de Chainpaigne, Finding of the relics of SS. Gervasius and Protasius ; *156. Pietro Perugino, Ascension, one of this master's finest works, painted in 1495 for the cathedral of Perugia, and carried off by the French; it was reclaimed in 1815, but presented to to Nice. LYONS. /. Route. 9 Lyons by Pope Pius VII.; 1(30. Seb. del Pioinbo , Repose of Christ; 21. Jouvenet, Christ expelling the money-changers; 99. Van Dyck ^ Studies-. *186. Guerciito^ Circumcision; 155. Perugino^ SS. James and Gregory; *73. Diirer, Madonna and the Child, bestowing bouquets of roses on the Emp. Maximilian and his consort, a celebrated picture containing numerous figures, painted by the master at Venice in 1506, originally preserved in the Imperial Gallery at Vienna, brought to Paris by Napoleon I. and presented to Lyons; 83. Rubens, Adoration of the Magi; 197. Zuj-baran(1), Corpse of St. Francis; 161. A. del Sarto , Abraham's sacrifice. — One storey higher is the Gallbkib des Peintkes Lyoxnais: Boriiie/onds , Por- trait of Jacquard, inventor of the improved loom, born at Lyons in 1752, died 1834; also busts of the celebrated Lyonnese Pfiilibert Delonne (d. at Paris 1577), the botanist .Bernard Jusiieu (1699—1776), Marshal Su- thet, etc. The Musee Archeologique, also on the first floor, contains in the en- trance room to the 1. the ^brazen tablets (found in 1528) with the speech delivered by the Emperor Claudius before the Senate at Rome in the yeai 48, in defence of the measure of bestowing citizenship on the Gauls : in the central saloon antique and mediaeval bronzes, coins, and various curiosities; among them a treasure found in 1841 on the height of Four- vieres , comprising necklaces, bracelets and other trinkets, and coins, buried during the Roman period. Life-size statue of Neptune in bronze, Head of Juno in bronze, both found in the Rhone. Gallic weapons, vases from Athens, etc. — There is also a Musee d' Hisioire Naturelle here, con- taining zoological and mineralogical collcetions. — Finally a Library. The second floor of the Palais clu Commerce et de la Bourse contains the Musee iVArt et d' Industrie, founded in 1858 ; the spe- cimens in illustration of the silk-culture are particularly instructive (admission daily, 11 — 5). The Civic Library (Pi. 6), possessing 150,000 vols, and 2400 MSS., is situated on the bank of the Rhone. In the vicinity rises the bronze Statue of Marshal Sachet (born at Lyons 1770. d. 1826), *Duc d" AlbufeTa\ who once served as a merchant's apprentice in the adjacent house. Two magnificent new streets lead from the Hotel de Vllle to the *Flace Louis le Grand, or Bellecour (PL K, 3), one of the most spacious squares in Europe, which was destroyed during the Revo- lution in 1794, but subsequently restored, and adorned with a Statue of Louis XIV. in 1825. The Place Napolion (PL F, 4) is adorned with an Equestrian Statue of Napoleon I. in bronze, erected in 1822. Adjoining the E. side of this Place is the broad Cours Napolion, where the railway station La Pcrrac/ie is situated, planted with trees, and lying between the Rhone and Saone. The Places Louis le Grand and Napo- Mon, and the streets connecting them (Rue de Bourbon, etc.), are the most aristocratic quarter of Lyons. Beyond the station, and occupy- ing the point of the tongue of land between the rivers, is the suburb Perrache, namedafterits founder (1770), and still rapidly increasing. The traveller may proceed as far as the confluence of the Rhone and Sa6ne (I'j^ M. from the railway-station Perrache; omnibus from the Place de la Charity to the Pont de Mulatiere 25 c), where the rivers are separated by a breakwater. The different characters of the two streams are here distinctly observable. The Rhone, a genuine mountain-river, is clear and rapid, whilst the current of the sLuggish snd muddy Saone is scarcely perceptible. Steamboats ply on both rivers. 10 Route 1. VIENNE. From Paris Steamboats start near the Place Xapoleon: to Avignon everv morning in 7—10 hrs. , to Aries in 13 hrs. (faros 30, 20, 10 fr.). Stations Vienne, Tournoii, Valence^ Avignon, Beaucaire^ Aries. If time permits, the steam- boat-journey will be found pleasanter than the railway. The former dis- tantly resembles a trip on the Rhine, but the scenery of the Rhone is less striking, and the steamers ('papins') far inferior. The Jardin des Plantes at the Croix Rousse has since the con- struction of the railway heen converted into a square (near it is the Place Sathoiiay with the hronze Statue of Jacquard hy Foyatier), and is superseded hy the *Parc de la The d'Or, on the 1. hank of the Rhone, at the N. end of the Quai d'Alhert (1 M. from the Place des Terreaiix), containing" rare plants, hothouses, and pleasure- grounds in the style of the Bois de Boulogne at Paris. The Railway to Marseilles (station, see p. (3) crosses the Rhone, affording a glimpse of the imposing city . passes La Guillotipre (p. 7), and traverses an attractive district surrounded hy moun- tains. Stations Saint-Fons. Feysin with a handsome chateau on the Rhone. Serezin. Chasse. and Estressin. Yienne (^Hutel Omhry, E. li/o— '^fi'- ; du Nord ; Table Ron de, R. '2. D. 3, A. 1 fr.), the Vienna Allohrogum of the ancients, with 24,800 inhah., lies on the I. hank of the Rhone, at the influx of the Gere. Several interesting mementoes of its former greatness are still extant. The so-called ^Temple of Auyustus, of the Corinthian order (88ft. long, 49 ft. wide, 56 ft. high), with IB columns, and hexastyle portico, is approached from the ancient forum hy twelve steps , in the middle of which stands an altar. The cdilice was used in the middle ages as a church and seriously disfigured, but has been restored as nearly as possible to its original condition. It formerly contained a Museum of Roman antiquities wliich has been temporarily removed to the Hotel de Yille and will eventually he transferred to *2 Marius gained a bloody victory over the Teutones, was in the middle ages the capital of Provence and seat of the Trou- badours and their 'cours damour". The church of St. Sauveur is a fine edifice. Aix also possesses a museum with numerous French and Italian pictures, warm baths, and a number of valuable private collections. The oil of Aix is in high repute. At Stat. VitroUes the Etang de Berre is finally quitted. Beyond Stat. Pas-des-Lanciers the train traverses the longest tunnel in France , nearly 3 M. in length (transit 6 min.), on emerging from which it passes some grand rocky scenery. The sea now comes in sight, and the rocky islands of Chateau d'lf, Ratonneau , etc. are seen rising from the Gulf of Marseilles. Stat. UEstaque. Groups of pines occasionally diversify the landscape, which is of a southern character and surrounded by the imposing mountains Mont de I'Etoile, St. f'yr, Gardiole, Paget, etc. In the foreground lies Mar- seilles. Marseilles, the principal sea-port of France , termed Massalia by the Greeks , Massilia by the Romans , an important place even at an early period of antiquity, now a city with 300,000 inhab., 22 Route 1. MARSEILLES. From Paris is the capital of the Department of the Embouchures of the Rhone, and depot of a brisk maritime trafllc with the East, Italy, and Africa (Algiers). Hotels. *Grand Hotrl dd Lol'vrb et de la Paix (PI. a), with 350 rooms , principal fafade facing the S., *Grani> Hotel ue Marseille (PI. b), *HnTEL DE NoAiLLES (PI. c), Rue dc Xoailles, all in the Cannebiero- Prol()np;e'c , and fitted up in the style of the pjreat Parisian hotels, con- taining 250 rooms from 2 fr. upwards, table dliote at 6 p. m. 5 fr., B. ii|2 fr., A. and L. 3 fr. ; *Hotel i»u Petit louvre (PI. d), Rue Canne- biere, B. 2 fr.; Hotel uu Luxembourg (PI. e), Rue St. Ferreol 25, B. 3, L. and A. Uj-i, I^- 4 fr. ; *Hotel des Colonies, Rue Vacon; Hotel des Ambassadeurs (PI. f), Rue Beauveau, R. li'a fr. ; (:1rani) Hotel des Prin- ces (PI. g), Place Royale; Hotel d'Italie (Pi. i), at the harhoiir: Hotel DE Rome (P). h). — The atmosphere of the town in summer is hot and oppressive. Those who contemplate a stay of several days during the warm season should select the *Hotel des Catalans (PI. k), in the vicinity of the sea-baths and near the so-called Residence Imperiale (p. 24); the situation is delightful, and the house spacious and comfortable (open from May to the end of Octoher only); omnihus to and from the station. A small establishment, somewhat more distant , is the *P1otel Victoria (PI. 1), situated at the extremity of the Cours du Prado , at the point where it approaches the sea; there is a good balhing-place near it, and the house is recommended for a prolonged stay. Restaurants. De la Cannebiere; H6tel de I' Orient; *Eonbion (a la Re- serve), beaulifully situated on the new road La Corniche; JIdtel du Lvx- embourg (Parrocel). Bovillabaisse, a good fish. ChabJis, Graves, and Sau- terne are the white wines usually drunk. Cafes. De France and de VUniverf. Cafe Tvrc^ etc., all in the Canne- biere; JJodoiil, Rue St. Ferreol; all in the handsome Parisian utyle. Post Office, Rue de Grignan. Bookseller Veuve Cainoiu , in the Cannebiere , with reading-rooms (25 c. per diem). French newspapers, Galignani, etc. Carriages are of two kinds. First, the voitures du service de la garc, destined tor the conveyance of travellers to and from the railway-station, and posted tliere only! The passenger on entering receives a detailed ta- rill', in which even fhe driver's name is stated: one-horse carr. 1 fr. 25c. for 1 pers., for each additional pers. 25 c. ; two-horse carr. 1 fr. 75 c. for 1 pers. , for each additional pers. 25 c. , for a drive at night 25 c. more ; each article of luggage 25 c. ; if the traveller fail in obtaining accommo- dation at the hotel, 25 c. additional for driving to another. Secondly, the vaihires de place (fiacres): one-horse 1 fr. 50 c. per drive, 2 fr. 25 c. for the tirst, and 2 fr. for each succeeding hour; two-horse 2 fr. per drive, 2 fr. 50 c. for the first, and 2 fr. for each succeeding hour. From 6 p. m. to 6 a. m. one-hor.^e 1 fr. 75 c, two-horse 2 fr. 50 c. per drive. — Omnibus 30 c. each article of luggage 25 c. Steamboats to Ajaccio (R. 54) once weekly in 26 hrs., fare 30 or 20fr. ; to Algiers 3 times weekly in 50 hrs., fare 95 or 71 fr. ; to Getioa and Leg- horn^ steamers of Valerv d: Co. once weeklv; to Nire, twice weekly in 14 hrs.. 32 fr. Boats in the Ancien Port at the extremity of the Rue Cannebiere; I'jjt'r. for the first, 1 fr. for each succeeding hou.r. In fine weather ii de- liehtful excursion may be made to the islands of Ralonneau, Pomegues, and the Chateau d'lf (p. 25). Sea-baths, handsomely fitted up, in the Anse des Catalans, on the E. .side of the town, below the conspicuous Residence Imph-iale; also wnrm seawater-baths, douche, vapour, etc. for gentlemen and ladies. Adjacent, the large *H6tel des Catalans , with restaurant. Omnibus to or from the baths 30 c. to Nice. MARSEILLES. 1. Route. 23 Theatres. Grand Opera (PI. 41), to the W. of the Place Royalc, and Theatre d" G-jinnuse (PI. 42) iu the Allee de Meilhan, both good. There ;iro al.«<> two smaller theatres frequented by the humbler classes. English Church Service performed by a resident chaplain. Massilia was a colony founded about B. C. 600 by Greeks from Phocsea iii Asia Minor, who .soon became masters of the sea, conquered the Car- thaginians in a naval battle near Corsica, and established new colonies in their neighbourhood, such as Tauroeis (near Ciotat), Olbia (near Hyeres), Antipolis (Antibes), and Nieaea (Xice), all of which, like their founders, adhered to the Greek language, customs, and culture. Massilia maintained this reputation until the imperial period of Kome, and was therefore treat- ed with leniency and respect by Julius Ceesar when conquered by him, B. C. 49. Tacitus informs us that his father-in-law Agricola, a native of the neighbouring Roman colony of Forum Julii (Frejus), even under Clau- dius found ample opportunities for completing his education at Massilia in the Greek manner, for which purpose Athens was usually frequented. The town possessed temples of Diana (on the site of the present cathedral). ofXeptune (on the coast), of Apollo, and other gods. Its government was aristocratic. After the fall of the W. Empire Marseilles fell successively into the hands of the Visigoths, the Franks, and Arelate; it was de- stroyed by the Saracens, restored in the lUth cent, and became subject to the Vicomtes de Marseille: in 1218 it became independent, but shortly af- terwards succumbed to Charles of Anjou. In 1481 it was united to France, but still adhered to its ancient privileges, as was especially evident in the wars of the Ligue, against Henry IV. In 1660 Louis XIV. divested the town of its privileges, so that it retained its importance as a sea-port only. In 1720 and 1721 it was devastated by a fearful pestilence. During the revolution it remained unshaken in its allegiance to royalty and was there- fore severely punished. In 1792 hordes of galley-slaves were sent hence to Paris, where they committed frightful excesses. It was for them that Rougel de V Isle, an officer of engineers, composed the celebrated Marseil- laise.1 'Allons, enfants de la patrie', which subsequently became the battle- hymn of the republican armies. The town contains few objects worthy of special mention. The harbour whence it derives its commercial importance is one of the most interesting points. Since 1850 it has been extended to four times its former size, notwithstanding which there is still a demand for increased accommodation. In 1853 the Bassin de la Joliette was added to the Ancien Port, and is now the starting-point of most of the steamboats. The Bassin du Lazaret , d' Artne, and Xapoleon were next constructed. It is now proposed to form two new docks and an entrance-harbour (avant-port), which will render Marseilles one of the greatest sea-ports in the world. Nearly 20,000 vessels on an average , of an aggregate burden of 2.000,000 tons, enter and quit Marseilles annually. The annual amount of customs- dues exceeds 60 million francs (i. e. 2,400,000 /.}. The old har- bour is long and narrow. Its entrance is defended by the forts of St. Jean and St. Xicolas. Near the former is the Consigne (PI. 6; entrance by the gate, fee 50 c), or office of the 'Intendancc Sani- taire' (quarantine authorities), the principal hall of which contains several good pictures : Horace Vernet , the cholera on board the frigate Melpomene ; Guerin , the Chevalier Rose directing tlie sepulture of those who have died of the plague ; Puyet. the plague at Milan, a relief iu marble ; Gerard , Bishop Belsunce during the 24 Route 1. MARSEILLES. From Paris plague of 1720; Tanneurs , the frigate Justine returning from the East with the plague on board. A few paces farther N. is the Cathedral, a new edifice construc- ted of alternate layers of black and white stone, in a mixed Byzan- tine and Romanesque style. The towers are surmounted by domes. The venerable old cathedral of St, Lazare has been removed. The terrace commands a pleasant survey of the Bassin de la Joliette (see p. 23). On the S. side of the Ancien Port is the church o'i St. Victor, with a crypt of the 11th cent., superstructure of 1200, and towers added in 1350 by Pope Urban V. who was once abbot here. — To the E., in front of the old harbour, is the ^Residence Imperiale' (PI. E, 5), which however was never occupied by the late emperor. *La Cannehiere , a broad street , intersects the town from W. to E., from the extremity of the Ancien Port to the centre of the town where the ground rises. In this street, a few paces from the harbour, stands the Bourse, with a portico of Corinthian columns. and adorned with the statues of (r.) Euthymenes and (1.) Pytheas, two natives of Massilia who distinguished themselves as navigators before the Christian era. To the latter we are indebted for the earliest data as to the length of the days in the different nor- thern latitudes, and the ebb and flow of the tide. The opposite Place Royale is used as a fish-market. A short distance further the Cours de Belsunce is reached on the 1., a shady promenade generally thronged with foot-passengers, at the S. end of which stands the statue of Bishop Belsunce, ^pour perpetuer le souvenir de sa charite et de son devouement durant la peste qui desola Marseille en 1720'. This intrepid prelate, during the appalling plague which carried off 40,000 per- sons, alone maintained his post and faithfully performed the solemn duties of his calling. From this point the Rue d'Aix ascends to the Arc de Triomphe, originally erected to commemorate the Spanish campaign of the Duke of Angouleme (1823), now decorated with sculptures of the battles of Marengo, Austerlitz, Fleurus, and Helio- polis, by Ramey and David d' Angers. The railway-station is situa- ted to the N. of this point. AVe now return to the Cannebiere. Opposite the Place Bel- sunce opens the Cours St. Louis, continued by the Rue de Rome and the Cours du Prado , which is 2V2 M- i» length. At the S. end of the latter is the Chateau des Fleurs, a small park with fish- ponds, affording various kinds of entertainments, a poor description of 'Tivoli'. ExcuKsros. Thq following pleasant drive of several hours is recom- mended, especially for the afternoon .and evening: From the Porte de Rome or the Place Castelane (both PI. E, 2) ascend de Cours du Prado, passing the Chateau des Fleurs ^ then descend to the coast, atTording charming views, and by the Chemin de Ceinlurc to the village ui Endoiime; hence, skirting the Anse des Catalans (baths and hotel, p. 22), to the Promenade to Nice. MARSEILLES. 7. Route. 25 Bonaparte. We may now either return to the town, or ascend on foot to the r. to the chnrch of Xotre Dame de la Garde (see below). To the 1. in the Cours St. Louis at the entrance to the narrow Rue de la Palud, is a fountain , adorned with an insignificant bust of Pierre Paget, the celebrated sculptor , who was a native of Mar- seilles. At the E. end of the Boulevard de Longchnmp rises the new and handsome * Musee de Longchamp (PI. 34) , consisting of two extensive buildings connected by a colonnade of the Ionic order, adorned with a fountain in the centre. The r. wing contains the .Musee d'Histoire Xaturelle , the other the Musee des Beaux Arts. The latter is approached by a vestibule embellished with two frescoes from the history of Marseilles. Prixoipal Saloox. To the r. of the entrance : /. Vernet, Harbour ; Afurillo. Capuchin: Sjmgnoletto, St. Peter; Salv. Rosa, Hermit examining a skull; Langlois , Bishop Belsunce. On the opposite wall: Holbein, Portrait (retouched); Snj/ders, Still life; Guevcino, HecXor taking leave ot Priam,- Rubens, Christ scourged; * Perugino , Madonna with saints; Va7i Dyck, Christ on the Cross; Rubens, Wild-boar hunt; Schalken, Newspaper- reader; Flemish Sch., Portrait of an old man. To the 1. of the entrance: Ruysdael, Landscape. — The adjoining saloon on the r. is in course of being filled with pictures of the Provenfal school, that on the 1. with modern works. Among the latter: * Philippoieaux , Farewell repast of Girondists on the eve of their execution; Curzon , Female weavers of "Naples ; Ary Scheffer, Magdalene. The well-kept grounds at the back of the Museum extend to the ZooLogicaL Garden (adm. 1 fr.), which contains a valuable col- lection of animals. The Old Museum , in the Boulevard du Musee , now contains nothing worthy of note. *ViEW. The best survey of the town and environs is afforded by the church of *Notre Dame de la Garde (PI. F, 3), situated on an eminence to the S. of the old harbour. The old chapel , as well as the Fort Notre Dame , have been taken down , and a new chapel erected on the site of the former in the same style as the cathedral (p. 24). It contains an image of the Virgin and innumerable votive tablets presented by those who have been rescued from shipwreck or disease. The terrace in front of the church, and especially the gallery of the tower (154 steps) , which contains a huge bell 10 tons in weight , and is to be crowned with a large figure of the Virgin , command an admirable survey of the exten- sive city , occupying the entire width of the valley , the innumera- ble white villas (hastides) on the surrounding hills , the harbour and the barren group of islands at its entrance , with the Chateau dTf , where Mirabeau was once confined (also mentioned in Du- mas" Monte Christo), and part of the Mediterranean. Several diffe- rent paths ascend to this point from the old harbour, terminating in steps , a somewhat fatiguing climb. The full force of the pre- vailing Mistral, or piercing N.W. wind, the scourge of Provence, is often felt here. 26 Route 1. TOULON. From Paris Railway to Toulon and Nice (140 M. , in 7 hrs. ; fares 25 fr. 20. 18 fr. 90, 13 fr. 85 c. ; to Toulon 4'2 M., in \^/^ hr. ). The train starts from the station outsiile the Arc de Triomphc (p. 24), running at first at some distance from the sea , and passing through several rocky defiles. Several small stations ; then Aubngne. with a statue of Abbe Barthel^my. Near Cassis several tunnels penetrate the rocky ridge of OlUoule , and the train reaches stat. La Ciotat , charmingly situated on the coast , a most agreeable retreat in winter and spring. Near stat. St. Cyr is situated the Tauroeis of the ancients. Bandol , with a fortified harbour , is delightfully situated in a bay. Then Ollioules-St. Nazaire , La Sexjne, and Toulon (Cjiuix de Maltk, R. 5, D. 4, A. 1 fr. ; * Ckoix u^Ok, Place des Trois Da\iphins; Amikalte and Victoria in the Boulevard Louis Napoleon; Ca/^s de Paris and de la Marine in the Champ-de-Bataille, where a military band generally plays in the evening), the war-harbour of France for the Mediterranean, with 77,100 inhab., possesses a double harbour , protected by eleven forts which crown the sur- rounding heights. The strongest of these are La Malgue, Aiyuii- lette , Ballaguier , and Fort Xapoleon. The latter, which is sometimes termed Le Petit Gibraltar , was gallantly defended in December, 1793, by 300 English soldiers against an enemy of tenfold number, but was at last taken by storm, whereupon the other forts also surrendered. This attack was conducted by Buonaparte, lieutenant of artillery, then in his 23rd year, who six years later became Consul. In 1707 Toulon was besieged less successfully by the Austrians and Sardinians under Prince Eu- gene,, who were obliged to retire after bombarding the town. The town contains nothing to detain the traveller except the War Harbour . with the Bagno (prison of the fori'ats , or galley- convicts) and the ArsenaL to Avhich visitors are now seldom admit- ted. Travellers may, however, apply at the Admiralty Office about 9.30 a. m. , where on showing their passports they are sometimes permitted to visit the dock-yard at 2 p. m. (gratuities prohibited). The *view from the height of La Malgue, S.E. of Toulon, is one of the most beautiful in Provence. Steamboats ply twice weekly from Toulon to Corsica , reaching Ajaccio in 22, Bastia in 24 hrs. The Botanical Garden contains some line southern plants, such as date-palms, etc.. which flourish in the open air. Beyond Toulon the line quits the coast and winds through the Montagues des Maures to the N.P2. ,• stations La Ciarde and Hytres. The small town of Hyeres (Hotel Jes Hespirides; des lies d'Or-. de V Europe; d' Orient; du Pare; ^des Ainbassadetirx, less expensive:, de Pari^. — English Church Service in winter and spring. — Physicians: Drs. Dun- can, Griffith) lies 3 M. from the railway (omnihus) and the same distance from the sea, on the slope of the lofty Mts. des Maures, but not suffi- ciently pr(dected from the Mistral. It is much visited as a winter-resi- dence by persons sullering from pulmonary complaints, and is surrounded to Mce. CANNES. i. Route. 27 by a number of villas , but the town itself is \ininviting. Most of the heights in the vicinity are barren. The orange and lemon-trees of which Hyeres boasts arc generally concealed by garden-walls. The low ground is marshy at places and exhales unwholesome vapours in summer and autumn. The Inlands of Hyeres (the Stoechades of the ancients; 'lavandula stoechas' is an aromatic plant frequently occurring here) are a group of rocky islands and cliffs near the const. The largest of them are the He du Levant or Titan. Portcros , Porqiierolles. and Bagneav. Some of them are fortified and inhabited, but they do not enjoy so mild a climate as Hyeres itself, being more exposed to the wind. J. B. Massillon . the celebrated preacher, who lived during the reigns of Louis XIV. and XV., was born at Hyeres in 1663 (d. 1742 a.s Bishop of Clermont). The Place Rot/ale is adorned with his bust. A number of iiniDiportaut places are next passed. Then stat. Le Luc . with the ruins of an ancient Ahhey , and Vidauban. in a picturesque district. From the next stat. Les Arcs a branch-line runs to Draguignan (Poste) , a beautifully situated town with 10.000 inhab., and enjoying a mild and salubrious climate. Next stations Le Muy and Roquebrune. Frejus (HdteL du Midi. K. Q. B. 1, D. 3. A. 1 fr.), a small town with '2i- 30 Route 2. CHAMBERY. From Paris BASSDEURS; GuiLLAND (Poste), Icss expensive. — One-horse carr. 2 fr. per drive of 25 min.) , the Aquae AUobrogum or Aquae Gratianae of the Romans , is a celebrated watering-place with 4200 inhab. (5 — BOOO visitors to the baths annually), possessing sulphur-springs (113^ Fahr.), adapted for internal and external use. The large new Etablissement Thtrmal with baths and pump-room deserves inspection. In the place in front of it rises a Roman triumphal arch of the 3rd or 4th cent. ; the other scanty relics of the Ro- man period (fragments of a temple and of baths) are almost all within the precincts of private property and not easily accessible. Pleasant excursion to *Haute Combe, r Cistercian Abbey on the N.W. bank of the Lac du Boicrget^ at the base of Mont du Chat. This wa^ the l)urial-place of the Princes of Savoy til! 1731, after which they were in- terred in the Superga at Turin (p. 78). The abbey was destroyed during the French Revolution, but restored in 1824 by Charles Felix, king of Sardinia. The church contains a number of magnificent monuments. The prospect from the Phave de Gessen.i, a tower in the vicinity, has been described by Rousseau. From Aix-les-Bains to Annecv branch-railwav in I'la hr. (fares 4 fr. 50, 3 fr. 35, 2 fr. 45 c). Near stat. Vo. Route. 31 by Goffredo Benso , an ancestor of Cavour (d. 1861) , during thirteen months against the army of Louis XIII. In 1705 it was destroyed by Louis XIV. Next stations St. Pierre d'Albiyny and Chamouaset. Picturesque view of the broad valley of the here to the L, enclosed by beautifully formed mountains on both sides. At the intlux of the Arc into the Iscre the line quits the valley of the latter and ascends the valley of the Arc , which is at first of considerable width. Beyond stat. Aiguehelle , which is grandly si- tuated , the Arc is crossed. The valley expands ; scenery pic- turesque. The district near stat. Epierre is rendered unhealthy by the marshy nature of the soil, and cretinism is prevalent here. Stat. Ln Chambre. Beyond St. Jean de Maurienne (Hotel de TEurope) . the chief place in the valley , the line crosses to the r. bank, and near St. Julien recrosses to the 1. bank of the Arc. The valley contracts , and the scenery assumes a bleak aspect. Se- veral tunnels , then St. Michel ( Hotel de la Poste ; Rail. Restaurant , dear) , a vil- lage on the r. bank of the Arc. Between this and Modane there arc nine tunnels. Halfway Is the small stat. La Praz, then the village of Fourneau. Stat. Modane (34G8 ft.) (Croix d'Or; *RaU. Restau- rant, dear, D. A^/.jfr.) is the seat of the French and Italian custom- house authorities (change carriages). — Road over Mt. Cenis to Susa, see p. 32. The train describes a wide curve round the village . crosses Fell's railway, now disused (p. 32), and passing through two short tunnels enters the great *Moiit Cenis Tunnel, by which the Col de Frejus (8338 ft.) is penetrated in a S. E. direction. The tunnel (8 M. in length; ^\ entrance 3802 ft., S. entrance 4163 ft. above the sea-level; height in the centre 4245 ft., depth below the sur face of the mountain 4093 ft.) was begun in Jan. 1861 and completed in Dec. 1870, and its total cost amounted to 75 million francs. The inge- nious boring- machines, constructed for the purpose, were worked by means of compressed air, by the engineers Soiumeiller, Grandis and Grat- toni. From ISTK) to 2000 workmen were constantly employed on each side. The tunnel is 26 ft. wide, 19 ft. high , and almost entirely lined with masonry. It is lighted by lanterns placed at intervals of 500 metres, and the distances are given in kilometres. The carriages are lighted with gas. The air in the tunnel, although somewhat close, is not unpleasant, even when the windows are left open. The transit occupies 30 minutes. At the S. end of the tunnel is stat. Bardoneche (4127 ft.) (Tra- foro delle Alpi ; Aquila Nera) , prettily situated in a green basin. The line crosses the brook of that name and passes through a short tunnel. Stat. Beaulard. Near stat. Oulx (3497 ft.), the Roman Villa Martis , the line enters the valley of the Dora Riparia. (A road to the S. W. leads hence to Cesanne at the confluence of the Dora and Ilipa , and over the Mont Genevre to the French fortress Brian(:on on the Durance ; comp. p. 78.) The train traverses the picturesque valley of the Dora. Between stat. Salbertrand (3302 ft.) and the next there are eleven tunnels. To the 1. between the second and third a glimpse is obtained of the 3*2 Route 2. SUSA. small town of Exilles with the frontier fortress of that name ; far- ther on, a fine waterfall. Stat. Chknnonte, or Chaumont (2526 ft.) (Rail. Restaurant). Then a number of tunnels and aqueducts. The valley contracts and forms a wild gorge (le Gorgie) , of which beautiful views are obtained, with the Mont Cenis road winding up the hill on the farther side , and the Eochfinelon , Roche-Michel, etc. towering above it. When the valley expands, Susa with the arch of Augustus comes in sight on the 1. (see below ). Stat. Meana (1949 ft.) , 1 M. from Susa , lies 324 ft. higher than the latter. Three tunnels. The train then descends through beautiful chest- nut woods, crosses the Dora (to the 1. lies the Susa line, see belowX and reaches stat. Bussoleno. The Mont Cenis Hoad, constructed by Fabbroni under Napoleon in 1802—1805, leads from :»Iodane (p. 31) in the bleak valley of the Arc by Fort Esseilon and the villages of Braman and Thermignon to (15M.) Lans- lebourg (Hotel de France). It here quits the valley of the Arc and ascend.n in numerous windings to the (5 M.) summit of the pass (6845 ft.); then, becoming nearly level, it passes the {\.^2 M.) old and new post-house, the trout-stocked Lac du Mout Cenis, and the (*|4 M.) Hospice (6365 ft.), which was founded by Charlemagne or Louis le Debonnaire. The road now descends to (3J4 M.) La Grande Croix (Inn), and winds down in zigzags (Les Echelles) to the small plain of St. Mcfiolas. From this point it fol- lows the slope on the r. (to the 1. in the valley of the Cenisio , at the foot of the Rochevielon, lie the villages of Ferrera and Novalesa) , alTord- ing beautiful views of the valley of Susa (valley of the Dora), and leads by Bard, Molaret, S. Martino, and Giaglione to (23 M. from Lanslebourg) Susa (L625 ft.) (H6tel de France; Soleil; Rail. Restaurant), a small and ancient town, the Roman Segusio , situated on the r. bank of the Dora. A garden on the W. side of the town contains a triumphal arch, 44 ft. in height, 39 ft. in width, and 23 ft. in depth, with projecting Corinthian columns at the corners and sacrificial scenes on the frieze, erected accord- ing to the inscription in A. 1). 8. There are also a few other Roman relics. The church of S. Giiisto dates from the 11th century. On the opposite bank of the Dora rises the fort La Brunette, which was destroyed by the French in 1798. Susa is connected with Bussoleno (see above) by a short branch-railway. Fell's Railicay , by which the Mont Cenis traffic was carried on in 1868—71, has been closed since the completion of the tunnel. The rail- way consists of two ordinary rails with a third broad rail in the middle, against which horizontal wheels under the locomotive and carriages work, a system which facilitates the ascent of steep inclines (1 : I2V2) and pre- vents the danger of overturning. The road was altered in several respects on the construction of the railway, but is now being restored to its ori- ginal condition. Next stations Boigone, S. Antonino, Condove, and -S. Ambroyio, high above which , on a rocky eminence to the r., rises the abbey S. Michele delta Chiusa , or La Sagra , remarkable for a peculiar property of its tombs which convert dead bodies into natural mum- mies. At Stat. Avigliarta the valley expands into a broad plain. Stations Rosta, Alpiynano, Collegno, Turin, sec p. 68. 33 3. From Martigny to Arona on the Lago Maggiore (and Milan) over the Simplon. lUO M. Railway from Martigny to Sierre in l')4 hr. (fares 5 fr. 5, 3 fr. 35, 2 fr. 5U c). Thence over the Simplon to Arona Diligexce once daily in 18 hrs. ; coupe to Domo d'Ossola 23 fr. 70 c, thence to Arona 10 fr. 40 c. f'ee remarks as to diligence seats, p. 35). Through-tickets from Lausanne to Milan 51 fr. 55, 44 fr. 50, 40 ifr. 30 c. Martigny (^1558 ft.) Q-'Hotel Clerc ; *H6tel de la Tour; Grande- Maison-Foste ; Bellevue , at the station) is a busy little town in summer , being the starting-point of the Simplon and Great St. Bernard routes, and of the- bridle-paths over the Tete Noire and Col de Balme to Chamouny. Stations Baths of Saxon and Riddes, where the Rhone is crossed. Sion (^1709 ft.) (*Poste; Liond'Or), with 4895inhab., the capi- tal of the Canton du Valais, which in 1810 — 15 was the French Departement du Simplon , has an important appearance in the dis- tance with the picturesque castles towering above it. Two of these, the Tourbillon (^*view) and Majoria , were burned down in 1788; Valeria , the third , erected on the site of an ancient Roman fort, is now a seminary for priests. The adjacent church of St. Cathe- rine , founded in the 9th cent., is architecturally interesting. Stat. St. Leonard , and then Sierre (1775 ft.) (*H6tel et Pension Baur, at the farther end; Bellevue ; Poste), picturesquely situated on a hill , with several ruins in the vicinity, at present the terminus of the railway. Good wine is produced in the environs. DiLiGKNCE hence over the Simplon. The road soon crosses the Rhone. German begins to be spoken at the small village of Pfyn, the boundary between the French and German languages. To the 1. rises the picturesque old village of Leuk, or Lo'eche, with its castle and towers , high above the Rhone. The road next passes through the hamlet of Susten (_*H6tel de la Souste). 9 M. Turtman (2086 ft.) (Post or Lowe; Sonne). To the 1., high up in thi Lcetsctienthal which opens here , rise the icy slopes of the Tschingel Glacier; to the r. in the background, above the Simplon group , is the extensive Kaltwasser Glacier (see below). To the 1., above Raron , rises the snow -clad Bietschhorn (12,969 ft.). 81/2 M. Vispach or Visp, French Viege (2155 ft.) (*Sonne, R. 2, B. 11/2, D- 4, A. V2 fr. ; Post) is a small village with beautiful environs. *V"iew from the sluice-gate and the cemetery. 51/4 M. Brieg (2244ft.) (*Trois Couronnes ; *Anyleterre, R. 21/2, B. 11/25 A. and L. 1 fr.) , is a small town at the base of the Simplon. The Simplon Route , properly so called, which begins here, was constructed by order of Napoleon in 1800 — 1806, and after the Brenner (p. 53) was the first carriage-road across tlie Alps from Switzerland to Italy. The road quits the valley of the Rhone , as- B.EDEKEK. Italy I. 3rd Edit. 3 34 Route 3. SIMPLON. From Martigny ccnds in numerous windings, and avoids the Ganterthal by means of a long circuit to the E. 9 M. Berisal (5006 ft.), the 3rd Refuge, is also a post-station and *inn. Above the 4th Refuge a retrospect is obtained in clear v\'eather of the Bernese Alps (to the N.) , from which the huge Aletsch Glacier descends. The part of the road between the 5th Refuge and the culminating point is the most dangerous during the period of avalanches and storms. Within a distance of less than 3 M. there are no fewer than six houses of refuge and a hos- pice. The road passes through the Kaltxcasser Glacier Gallery^ over which the stream issuing from the glacier is precipitated into the depths below . forming a Avaterfall which is visible through a side opening. From the 6th Refuge a splendid final view is enjoyed of the Bernese Alps ; far below in the Rhone Valley lies Brieg. The Simplon Pass (6594 ft.) is 6V2 M. from Berisal. About 3/4 M. beyond the summit is the Hospice (no payment demanded for hospitality . but strangers should contribute at least as much to the poor-box as they would have paid at an hotel) , a spacious building founded by Napoleon , but not completed till 1825. A broad, open valley, carpeted at places with Alpine roses, here forms the highest portion of the Simplon Pass , bounded by snow-capped heights and glaciers. The imposing Raut Glacier is a conspicuous object on the mountains to the 8. The Old Hospice, a lofty square tower now tenanted by herdsmen, lies far below the new road. 121/2 M. Simplon (4856 ft.), Ger. Simpeln , Ital. Sempione (*Poste; Hotel des Alpes). The road now describes along curve to the S., which pedestrians may cut off by a rough path regaining the road at the Algahy Gallery , where the most remarkable part of the Simplon route begins. It leads through the *Ravine of Gondo, one of the wildest and grandest in the Alps . becoming narrower and more profound at every step, until its smooth and precipitous walls of mica-slate completely overhang the road , below which rushes the impetuous Diveria. The most remarkable of the cut- tings by which the road penetrates the rocks is the Gallery of Gondo, a tunnel 245 yds. in length . constructed by Napoleon in 1805 and fortified by the Swiss in 1830. At the end of the tunnel the Fressinone (or Alp ienbach) forms a fine waterfall which is cross- ed by a slender bridge. On both sides the rocks tower to a dizzy height of 2000 ft. The dark entrance of the tunnel forms a striking contrast to the white foam of the falling torrent. This magnificent Alpine *scene , especially when viewed at a distance of 40 — 50 paces, surpasses the Via Mala (p. 43). Gondo (2818 ft.) is the last Swiss village ; 1/2 ^- beyond it is the Italian boundary-column. S. Marco is the seat of the Italian custom-house. 9 M. Iselle (2175 ft.) {'^Po^ta, R. I'/o, B. 1 fr.). The valley, although now less wild, continues to be extremely picturesque. It unites with the broad^ and fertile valley of the Tosa (or Toce') at to Arona. DOMO DOSSOLA. 3. Route. 35 the bridge of Crevola. 100 ft. iu height , below which it is termed the Val d'Ossola. The characteristics of the scenery are thoroughly Italian. 9 M. Domo d'Ossola (1000 ft.) {Grand Hotel de la Ville , spa- cious rooms ; Hotel d'Espagne ; one horse carr. to Stresa 121/2, Ba- veno 15, Brieg 45, three-horse carr. to Brieg 80 fr. , diligence daily to Pallanza on Lago Maggiore , p. 145 , 6 fr.) is a small town of Italian character. At Masone^ where the Anzasca Valley opens on the W., the Tosa is crossed. 9 M. Vogogna (*Corona) , a small town, at the base of precipi- tous rocks. The next villages are (IV2 ^1-) Premosello, Cuzzago, and (4'/2 ^1-) Migiandone , where the Tosa is crossed by a five- arched stone bridge. 71/2 M. Omavasso (Italia; Croce Bianca). The marble-quarries in the vicinity yielded the material for the construction of the ca- thedral of Milan. To the S. a road leads through the valley of the Strona, which falls into the Tosa near Gravellona (Europa), to the Lake of Orta (p. 149). Near Fariolo (Leone d'Oro), the next vil- lage , situated in a most luxuriant district , covered with olive- groves , maize-fields , vineyards , chestnuts , and fig-trees , the road passes an extensive granite quarry, where the columns (26 ft. in height) of the restored Basilica S. Paolo fuori le Mura near Rome were hewn , and soon reaches the S. W. bank of Lago Mag- giore (R. 23) , from which in the distance rises Isola Madre . the most N. of the Borromean Islands. 71/2 M. Baveno (*Bellevue ; Beau-Rivage) is a steamboat station. Travellers from the Simplon usually visit the Borromean Islands from this point. The road, most of which rests on buttresses of granite and solid masonry , skirts the lake and leads by Stresa (p. 146). Belgirate, Lesa, and Meina, to 12 M. Arona, see p. 146. Railway to Milan see p. 147; to Genoa R. 25 ; to Turin RR. 25, 18. 4. From Lucerne to Como Umd Milan) over the St. Gotthard. Steamboat from Lucerne to Fliielen 5 times daily in 2^^ hrs. (fare 4 fr. 60 c): from Fliielen to Camerlata Diligence twice daily in summer in 223|4 hrs. (35 fr. 5 c, coupe 41 fr.). Through-tickets for this' route may be procured at the post-office of Lucerne (where coupe'-places are most easily secured) , on board the steamboat , at Fliielen, or at Altorf. Through- tickets are also issued at the railway-stations of Bale and Lucerne for Milan. Trayellers are cautioned against forwarding their luggage across the frontier, but it may be safely transmitted by post or by goods' train within the limits either of Switzerland or Italy. The diligences have three seats in the coupe (comfortable, booking see above), and six in the interior (the two middle seats inside of course afford little or no view) : in addition to these, there are two very desirable seats outside, both at the disposal of the conductor, who will on application (5 — 6 fr.) assign one to the tra- veller. 3* 36 Route 4. ■ LUCERNE. From Lucerne Carriages (tariff of 1869). Cne-horse to Andermatt or Hospenthal 20, two-horse 35 fr. ; two-horse from Andermatt to the St. Gotthard Pass 15, Airolo 30, Faido 45, Bellinzona 70, Lugano 95, Magadino 85, Como 125 fr., and a gratuity (about 2 fr. per stage). These fares, if shared by four per- sons are little in excess of the coupe fares in the diligence. " The inn- keepers at Fliielen and the other places just mentioned generally provide good carriages at these rates, but extortionate demands are sometimes made, especially on the Italian side, a spurious tariff being exhibited as an authority. In every contract the number of horses , duration of the journey, stations for the night, amount of driver's foe, etc., should be distinctly specitied. The drivers are prohibited to change horses, private posting being illegal. St. Gotthard Railway. The St. Gotthard line now in course of con- struction will consist of theZ/Wce/vje, KiissnacJii, and Goldau, the Zug, Goldau, Fliielen, Goscheneu, Airolo, Biasca, Bellinzona, and Locarno, the Bellinzona, Lugano, and Chiasso ( Cainerlata), and the Bellinzona, Magadino, and Pino lines. The great St. Gotthard Tunnel will be 9i|4 M. in length (i. e. about l')4 M. longer than the Mont Cenis Tunnel), extending irova. Goschenen (p. 38) on the N. side to Airolo (p. 39) on the S. side. From the central point of the tunnel (3779 ft. above the sea-level, i. e. 610ft. lower than the highest point of the Mont Cenis tunnel) there will be a fall towards Goschenen of 6' per 1000', and towards Airolo of 1' per 1(X)0'. This stupend- ous work was begun in 1872 and is to be completed in 1880, at a cost of jtbout 50 million fr. Lucerne (*Scuweizekhof, *Luzerner Hof, both on the quay; *Hotel National, on the Kiissnacht road; these three expensive. Stadthof, near the quay; *CrGNE, and * Hotel du Rigi, both near the steamboat-pier. * Hotel i)U Lac, on the 1. bank of the Reuss , and *St. Gotthard, both near the station. ^Balances. *Beacrivage, on the Kiissnacht road. Adlek, Rossli, *Poste, Hotel des Alpes, *Mohr, Hirscii, Krone, Kreuz, and * Wilder Mann, all unpretending. Pensions, etc., see Baedeker's * Switzerland), the Capital of the canton of that name , with 14,524 inhab., is situated at the efflux of the Reuss from the Lake of Lucerne. Its well-preserved walls and watch-towers, as well as its palatial modern hotels , impart a handsome appearance to the town. The view from the quay is strikingly beautiful. The celebrated *Lion of Lucerne (V4M. from theSchweizerhof ), design- ed by Thorvaldsen , is the principal attraction in the town. The Arsenal, on the 1. bank of the Reuss, may also be visited. Walks and excursions, see Baedeker's Switzerland. The *Lake of Lucerne (1433 ft.) , or Lake of the Four Forest- Cantons (viz. I'ri, Schwyz, Unterwalden, Lucerne'), is unsurpassed in Switzerland, and perhaps in Europe , in the beauty and magni- flcrnce of its scenery. It is nearly cruciform in shape,- length from Lucerne to Fliielen 25 M., greatest width about 3 M. The Steamboats start from the railway station and touch at the piers on the opposite bank , near the hotels , before their flnal departure. Strikingly picturesque retrospect of the town , as the quay is quitted. As the vessel proceeds , the Rigi on the 1., Pila- tus on the r. , and the Biirgenstock and Stanser Horn opposite the traveller are the most conspicuous mountains. To the 1. of Pilatiis, the Majestic Bernese Alps (Schreckhorner , Monch , Eiger , Jung- frau) gradually become visible. to Como. FLtJELEN. 4. Route. 37 A view is soon obtained of the Lake of Kiissnacht to the 1.. and of the Alpnacher See to the r.; on the bank to the 1. rises the chateau of Neu-Habsburg. The steamer soon reaches (1. ) Waggis fLoirc; Concordia), in a very fertile district, at the foot of the Kigi. The *Rigi (5905 ft.)^ an incomparable point of view, witli its numerous hotels and pensions, is best ascended by railway from Vitznau (in l')4hr.)i or on foot from Art/i, Goldau, Kiissnacht, or Wdggis in 3ij2 hrs., from Im- mensee in 33j4 hrs. , or from Gevsau or Lowerz in 4 — 4ii2 hrs. , by bridle- paths leadinf: to the Kulm (see Baedeker's Switzei-lnnd). The next village on the 1. is Vitznau , with the lofty red pre- cipice of the Rothenfluh^ the terminus of the Rigi-railway. Two promontories, aptly termed the Nasen (noses) , the one a spur of the Rigi , the other of the Burgenstock , here extend far into the lake and appear to terminate it. The bay towards the W. beyond this strait takes the name of the Lake of Buochs from the village of Buochs on the r. , above which rise the Buochser Horn (5938 ft.) and Stanser Horn (6232 ft.). {^r. ') Beckenried (yiond] Sonne), delightfully situated. Then, on the opposite bank, Gersau (*Hotel Miiller; Sonne), high above which stands the pension of the Rigi-Scheideck (5406 ft.). To theE. rise the bald summits of the two Mythen (6243 ft. and 5954 ft.) , at the base of which , 3 M. inland , lies the small town of Schicyz. On the bank of the lake , at the mouth of the Muotta, is situated Brunnen (*Waldstdtter Hof; Adler ; '^Rossli ; *HirschJ, the port of the canton of Schwyz. To the r. on the hill, Morschach and Kurhaus Aienstein. On the opposite bank , in the canton of Uri, is Treib, a small harbour. On the hill above it stands the vil- lage of Seelisberg (2628 ft.) , with two favourite pensions near the chapel of Maria Sonnenberg (3287 ft.). Near Brunnen begins the S. arm of the lake , termed the Lake of XTri , the grandest part of the lake , with mountains rising al- most perpendicularly on both sides. At the sharp angle which here abuts on the lake, rises the Wytenstein, or Mythenstein, a pyramid of rock, 80 ft. in height, bearing an inscription in honour of Schiller. A little farther , at the base of the Seelisberg , lies the Riltli , a meadow , memorable as the spot where on the night of 7th Nov., 1307, the first Swiss league (between Uri, Schwyz, and Unterwalden) was solemnly concluded. A little farther, on the opposite bank, rises the Axenberg (3353 ft.), at the base of which nestles the Chapel of Tell amid rock and wood. It stands on the Tells- Platte ^ a ledge of rock on the margin of the lake, where Tell is said to have sprung out of Gessler's boat when over- taken by a storm. Above it runs the *Axenstrasse , a highly picturesque road . leading from Brunnen to Fliielen , hewn in many places through the solid rock. Immediately above the chapel, 21/2 M. from Fliielen. is *Tell's Platte Hotel (steamboat-station). Fluelen, Ital. F/ora (1433 ft.) (-^ Adler; *Kreuz) , where pas- sengers disembark, is beautifully situated at the S. end of the Lake 38 Route 4. AMSTEG. From Lucerne of Lucerne, at the moutli of the Reuss. The St. Gotthard road leads hence to (2 M.) Altorf (^1535 ft.) (*Adler; *Schlussel; ^L'owe; Krone; Tell), the capital (^27'24:inhab.) of the canton of Uri, where Tell is said to have aimed his arrow at the apple on his son's head. On a hill beyond it, at the mouth of the SchdchenthaL, lies the village oiBiXrglen (*Tell), the traditionary birthplace of Tell. The road crosses the impetuous Scluichenhach , and at the Klus, opposite the village of Erstfelden , approaches the Reuss. To the 1. rise the Kleine Windgelle (9846 ft.) and Grosse Windgelle or Seiuelistock (10,463 ft.). Towards Silinen , which lies to the r. of the road, a fine view of the superb Bristenstock (10,085 ft.) is obtained. 101/2 ^- Amsteg (1758 ft.) ('■''Stern; '-^Kreuz; '^Hirsch; Lowe) lies picturesquely at the mouth of the Maderanerthal. The St. Gotthard Route, properly so called , begins at the new bridge over the Reuss a little beyond Amsteg. It was constructed in 1820 — 32 by the cantons of Uri and Ticino. The scenery sur- passes that of the other great Alpine routes. The road at first gradually ascends on the 1. bank of the Reuss, which flows in its deep channel far below. Near Jntschi (2168 ft.), a village IV2 M. from Amsteg, a fall of the Leutschdchbach is passed, and beyond it one of the Intschialpbach . The Pfaffensprung bridge (2661 ft.) affords a beautiful view in both directions. The road next crosses the rapid Meienbach. The vil- lage of Wasen (2756 ft.) (*H6tel des Alpes ; *Ochs ; Krone), 6 M. from Intschi , is picturesquely situated on a height. To the r. of the Reuss bridge is a beautiful fall of the Rohralpbach, near Wat- tingen. To the W. of Gosehenen (3609 ft.) (Rossli), 21/4 xM. from Wasen , opens the valley of the Gosehenen- Reuss, terminated by the grand Dammafirn. About 1 M. beyond Gosehenen, below the Vordere, or Hdderli Brucke, is the N. entrance to the great St. Gotthard Tunnel (comp. pp. 36, 39), to which visitors are not admitted. Here begins the dark and rocky defile of the *SchdUenen. On both sides rise vast and almost perpendicular walls of granite, at the base of which dashes the impetuous Reuss. The road winds upwards and crosses numerous bridges. Pedestrians may cut off most of the curves by the old bridle-path. This part of the road is much exposed to avalanches , and is carried past the most dan- gerous spot by a gallery or tunnel, 80 yds. in length. The *Devil's Bridge (4593 ft.), in the midst of a scene of wild desolation, is now reached. The Reuss here forms a beautiful fall, about 100 ft. in height, the spray of which bedews the bridge above. The old moss-grown bridge below is disused. In 1799 this spot was the scene of fierce struggles between the French and Austrians, and a month later between French and Russians. Im- mediately beyond the bridge the road passes through the Timer Loch, a tunnel 70 yds. long, cut through the solid rock in 1707, to Como. AIROLO. 4. Route. 39 but not accessible to carriages until it was enlarged when the new road was constructed. The Valley of Vri, or Urseren , which the road enters beyond the tunnel, forms a striking contrast to the bleak region just tra- versed. This peaceful dale, watered by the Reuss, and surrounded by lofty and partially snow-clad mountains , was probably a lake before the Reuss had forced a passage through the Schollenen. 131/2 M- Andermatt (4730 ft.), or Urseren, Ital. Orsera (*Bel- lei'ue; *St. Gotthard ; Drei Koniye ; *Oberalp ; Krone). 1 M. from the Devil's Bridge , is the principal village in the valley. The Oberalp route to the valley of the Voider- Rhein andCoire, diverges here to the left. Hospenthal (4800 ft.) (*-Meyerhof: *Lowe , unpretending), i^/o M. farther, derives its name from a former hospice. The Furca road to Realp and the Rhone Glacier diverges here to the right. The St. Gotthard road now ascends in numerous windings through a desolate valley, on the 1. bank of that branch of the Reuss which descends from the Lake of Lucendro (GS'di ft.) (not visible from the road), and crosses the river for the last time by the liodont Bridge, I1/4 M. from the summit of the Pass of St. Gotthard (0936 ft.). It then leads between several small lakes and traverses a dreary valley , enclosed by the highest snow-clad peaks of the 8t. Gotthard group. 10 M. Albergo del S. Gottardo (6867 ft.), a post-station, 1/4 ^• beyond the pass. Opposite is the *H6tel du Mont Prosa, adjoining which is the Hospice for poor travellers. Pedestrians may descend to Airolo in II/2 hr. Snow often lies on the pass throughout the Slimmer. About 1/2 ^^- helow the hospice the road crosses the Ticino. the principal arm of which rises in the Lago di Sella to the E. (not visible from the road). A little farther, near a large mass of rock lying by the road, an inscription near the old bridle-path commem- orates the events of 1799: the words -Suwarow Victor' only are now legible. Near the 1st Refuge, Cantoniera S. Antonio, the road enters the Val Tremola, a dreary valley 1^2 M. long, into which avalanches are frequently precipitated in winter and spring. Pe- destrians follow the telegraph-wires. Beyond the Val Tremola an extensive *view of the green valley of Airolo down to Quinto is obtained. To the r. opens the Val Bedretto, from which the W. arm of the Ticino descends. In the bottom of the valley below the road is the S. end of the great -S^^ Gotthard Tunnel (p. 36). V2 M. to the W. of 8 M. Airolo (3868 ft.) (*Posta), the tirst village where Italian is spoken. Below Airolo on the 1. opens the Val Canaria. The road enters the Strelto di Stalvedro , a defile which in 1799 was defended by 600 French against 3000 Russians, and passes by means of rock- hewn galleries through four parallel ridges which descend to the 40 Route 4. BELLINZONA. From Lucerne Tlcino. On the r. bank , 1 M. below the ravine , Is the beautiful ■waterfall of the Calcaccia. Beyond the poor inn of Dazio Grande (3110 ft.) the mouth of a second *ravine is reached. The Ticino has here forced a pas- sage through the Monte Piottino , and precipitates itself in a succession of *cataracts through the gloomy ravine into which the road descends close to the falls. To the r., near Faido, where the culture of the vine begins, is a beautiful fall of the Piumogna. IOV2 M. Faido (2366 ft.) f*An^eio; Prince of Wales; Hotel Vella), a village of thoroughly Italian character, Is the capital of the Leventina, as the valley of the Ticino is termed. This district formerly belonged to the Canton of Uri , and was despotically go- verned by bailiffs who purchased their appointments from the authorities , but this system was abolished by the French in 1798. In 1814 the Leventina and the seven other Italian bailiwicks belong- ing to Switzerland were united under the name of Canton Tessin or Ticino. Beautiful scenery , with numerous campanili in the Italian style peeping most picturesquely from the surrounding heights. Cascades on both sides of the road ; that of the *Cribiasca resembles a veil in form. Huge masses of rock lie scattered about, intersper- sed with tine chestnut-trees. Vines and mulberry trees now begin to appear. Where the road descends in windings to the bottom of the valley , the Ticino forms another beautiful fall , spanned by a bridge over which the road passes. Beyond Giornico (1325 ft.) (Cervo ; Corona) another picturesque waterfall on ther., termed La Cramosina. 91/9 M. Bodio (1086 ft.) (Posta; AquilaJ. Beyond Polleggio the Brenno descends from the Val Blegno to the Ticino. The valley of the Ticino now expands and takes the name of Riviera, or river-valley. Luxuriant vines, chestnuts, walnuts, mulberries , and fig-trees now remind the traveller of his proximity to 'the garden of the earth, fair Italy'. The vines extend their dense foliage over wooden trellis-work supported by stone pillars, 10 — 12 ft, in height. Frequent, inundations render the district unhealthy. The next village, 3 M. from Bodio, is Biaaca (Unione), with an old Romanesque church on a hill (1112 ft.). 63/4 M. Osogna (964 ft.). At Cresciano several picturesque waterfalls. On the 1., above Claro, rises the monastery of S. Maria. On the 1. descends the road from the Bernardino (p. 47), and a little farther the road crosses the Moesa which rises on the Ber- nardino. Arbedo (p. 47) lies to the 1. of the road. 91/2 M. Bellinzona (777 ft.) {*Posta; Hotel de la Ville, outside the S. gate; ^Angelo, Italian style), one of the three capitals of the canton of Ticino, presents a strikingly picturesque appearance when viewed from a distance, but the charm is dispelled when the town is entered. The three picturesque castles were once the residence to Como. MONTE CENERE. 4. Route. 41 of the bailiffs of the three ancient confederate cantons. The largest, the Castello Grande, on an isolated hill to the W., belonged to Uri ; of the other two, towards the E., the lower, II Castello di Mezzo, belonged to Schwyz, and the Castello Corbario or Corbe (1502 ft.), the upper, now a ruin, to Unterwalden. Each once possessed a small garrison and a few guns. The Castello Grande is now used as an arsenal and prison ; visitors are admitted to the court and gardens to see the beautiful view (fee to the guide). Another admirable point is the loftily situated pilgrimage-chapel of S. Maria della Salute. The road now descends the broad valley of the Ticino, which expands as the Lago Maggiore is approached. The luxuriance of the vegetation and the beautiful forms of the mountains enhance the charms of the scenery. Near Cadenazzo (751 ft.) the road to Magadino (p. 143) on the Lago Maggiore diverges to the r. The road now quits the valley and winds upwards for 4V2 M. through a beautiful chestnut wood, along the slope of Monte Cenere, com- manding a succession of * views of Bellinzona and the Ticino Valley, the Influx of the latter into the Lago Maggiore, the N. end of that lake, and Locarno (p. 143). On the summit of the pass (1814 ft.) stands a guard house (Corpo di Guardia), and near it the Osterla Nuova (inn). The road then descends through a fertile valley to 91/2 M. Bironico (1420 ft.), where the Vedeggio (a stream which rises a few miles to the E. at the base of the Monte Camoghe, usually dry in summer ) is reached. The Monte Camoghe (7303 ft.), generally ascended (6—7 hrs.) from Bel- linzona or Bironico, commands a magnificent view of the broad plain of Lomhardy , and the Alps from Piedmont to the Valtellina. A survey of the lakes may also be obtained from the summit of Mo7}te Cenere (3776 ft.), 2 hrs. from the Osteria Nuova. Beyond Bironico the scenery is picturesque and the co^intry fertile; the double-peaked Mte. Camoghe is kept constantly on the 1.; 33/4 M. Taverne Superiori ; 1/4 M. *Taverne Inferiori; 2'/2 M. Cadeinpino; 1 M. Vezia (view from the church of Ma- donna di S. Martino). Towards (I72 ^1-) Lugano, during the descent, the beauty and fertility of the country increase. The hill and shrine of Monte S. Salvatore tirst become visible ; then the lake , in the clear green water of which the beautiful outlines of the mountains are reflected. The road passes several handsome villas and soon reaches the town ^vith its flat-roofed houses. In the foreground are the extensive Barracks. 93/4 M. Lugano (932 ft.), and thence to 193/4 M. Como, see R. 22, No. 2. From Como to Milan, see R. 20. 42 5. From Coire to Colico {and Milan) over the Splugen. 75i|2 M. Diligence fromjj Coire to Colico twice daily in summer in 161)4 lirs. (coupe' 27 fr. 90 c, interior 24 fr. 5 c). Remarks as to diligence- seats, see p. 35. Through-ticket from Coire to Milan 33 fr. 5, 31 fr. 65 c, to Genoa 51 fr. 50, 45 fr. 65 c, to Florence 71 fr. 35, 61 fr. 80 c. Coire (2208 ft.) {*Steinbocki *Freieck; *Lukmanier , near the station; *Stern, *RotherL6w€, andL Sonne, second class), Ger. Chur, situated on the Plessur, IY2 M. from its confluence with the Rhine, is the capital of the Canton of the Grisons or Graubiinden , with 7552 inhab., and an episcopal residence. Within the Episcopal Court, which is surrounded by walls and rises above the town, are the ^Cathedral of St, Lucius, the oldest part of which is said to date from the 8th cent, (choir 1178 — 1208, nave consecrated in 1282) , and the mediaeval Episcopal Palace. The Chapel , one of the earliest Christian structures in this district , lies within the walls of the old Roman tower of Marsoel (Mars in oculis), which is connected with the Palace on the N. This tower and another named Spinoel (Spina in oculis) form the N. angles of the Court. Their names suggest the mode in which the Rhaetians were kept in sub- jection by the Romans. An ancient tower to the N.W. and the adjacent wall also appear to be of Roman origin. The Diligence Road from Coire (leading to the Spliigen , the Bernardino , and the Vorder Rheinthal) ascends the broad valley of the Rhine , and is nearly level as far as Reichenau. On the opposite bank of the river , at the base of the Calanda, lies the village of Felsberg, which was partly destroyed by a landslip in 1850. The road passes through the thriving village of Ems, near the ruins of the old castle of Hohenems. A dark covered bridge, 84 yds. long, and 85 ft. above the Rhine, now carries the road to 6 M. Reichenau (1922 ft.) (*Adler), a group of houses at the confluence of the Vorder and Hinter-Rhein. The chateau of M. de Planta, built by the bishops of Coire and used as a school at the close of the last century, afforded refuge to Louis Philippe in 1794. A second covered wooden bridge crosses the Vorder- Rhein, immediately before its confluence with the Hinter-Rhein. (Through the valley of the Vorder-Rhein a post-road, not crossing this bridge, leads to Dissentis , whence a bridle-path crosses the Lukmanier to Olivone; a post-road leads from the latter to Biasca on the St. Gotthard route, p. 40.) The road soon ascends for a short distance, and passes the villages of (1 M.) Bonaduz (2146 ft.) and (8/4 M.) Rhdzuns, with a castle of the Vieli family. The Domleschg Valley, Romanseh Tomiliasca, as the E. bank of the valley of the Hinter-Rhein is here termed (the W. side is called Heinzenberg, or Montagna), is remarkable for its fertility and its numerous castles . THUSIS. 5. Route. 43 Between the Bridge of Rothenbrunnen and Katzis are the castles of Juvalta, Ortenstein, Paspels, Canova, and Rietberg on the 1. and that of Realta on the r. Towards (2V4M.) Katzis (2iSb ft.) (^Kreuz) the scenery is particularly line. To the S. rises the snow-clad summit of the Piz Carver (9761 ft.); beyond this, to the 1., the Schyn Pass with the majestic Piz St. Michel (10,371 ft.) in the background; to the N. the Ringelspitz (10,659 ft) and the Trinser- hom (9934 ft.). Near the village of Masein rises the castle of Tag stein. 11 M. Thusis (2447 ft.), Romansch Tusaun (Tuscia) C^Via Mala; *Adler; *Rhaetia), lies at the confluence of the Rhine and the NoUa , the turbid water of which tinges the Rhine for a con- siderable distance. Interesting view from the bridge over the NoUa. In the background of the valley towers the barren Piz Beverin (9843 ft.). The valley of the Rhine is apparently terminated by lofty mountains. The entrance of the ravine of the Rhine is guarded on the r. bank by the ruined castle of Hohen-Rhdtien^ or Hoch-Realt, on the S. side of the mountain; while on the N. side stands the Chapel of St. John^ the oldest Christian church in the valley. Prior to 1822 the bridle-path from Thusis ascended the valley of the Nolla on the r. bank through forest , and entered the gorge below Rongellen. The path through the gorge, the celebrated *Via Mala, was then only 4 ft. wide, and followed the 1. bank. The new road was constructed in 1822. The limestone-rocks rise almost perpendicularly on both sides to a height of 1600 ft. At the A'an- zeli , a little way from the entrance of the raviue, there is a tine retrospect. About i^/o M. from Thusis is the Verlorne Loch, a tunnel 50 yds. long, penetrating the projecting rock. Beyond it the road passes beneath a huge overhanging cliff. At the point where the side-wall ceases and the wooden railings recommence, a view of the brawling torrent is obtained. The retrospective view, through the narrow and gloomy defile , of the solitary tower of Hohen-Rhffitien and the sunny slopes of the Heinzenberg beyond is very striking. Near the (2/4 M.) post-house of Rongellen the gorge expands, but soon again contracts. The road crosses the river three times at short intervals. The scene is most imposing in the vicinity of the * Second Bridge, 1 M. from Rongellen. The Rhine, 300 ft. below the road, winds through a ravine so narrow that the precipices above almost meet. In Aug. 1834 and Sept. 1868 the river rose to within a few feet of the arch of the bridge. At the third bridge , about 1 M. farther, the Via Mala ends. The road now enters the more open Valley of Schams (2838 ft. , Vallis Sexamniensis, from the six brooks which descend from the rocks; Ital. Sessame\ the green meadows and cheerful cottages of which present a pleasant contrast to the sombre defile just quitted. To the S. in the background are the peaks of the Hirli (9360 ft.). 44 Route 5. sfeuGEN. From Coire Above the old bridge the Rhine forms a small waterfall. The first village in the valley of Schams (6 M. from Thusis) is Zillis, Roman. Ciraun (Inn), with the oldest church in the valley. On the hill to the r. stands the ruined castle of Fardiln, or La Turr. Far- ther down Is the village of Donat, above which towers the Piz Beverin. 71/2 M- Andeer (3212 ft.) (*Krone, or Hdtel Fravi) is the principal village in the valley , with 583 inhab. Near it stands the tower of Castellatsch. Fine view of the valley from the church, built in 1673. The road ascends In windings , passes 'the ruins of the Bdren- burg , and enters the *Eoffna Ravine, a gorge 3 M. in length, in which the Rhine forms a series of waterfalls. Near the entrance the Aver.'^er Rhein descends from the Ferrem Valley and joins the Hinter-Rhein. Towards the end of the gorge, the Einshorn comes into view. An ancient bridge crosses the Rhine here. Farther on , a rocky gateway (Sassa Plana), 16 yds. in length, is passed. The open Alpine landscape of the Rheinwaklthal (Val Rhein) is now dis- closed ; to the r. is the village of Suvers (4672 ft.) ; opposite rise the Pizzo I'ccello (8910 ft.)^nd the Einshorn (9649 ft.); to the 1. of the Spliigen , near the Uccello , is the Tambohorn (10,748 ft.); to the W. the Zapporthom (9803 ft.), etc. 81/4 M. Spliigen (4757 ft.), Roman. Spluga (*H6telBodenhaus), the capital of the Rheinwaldthal , Is a busy place, owing to its po- sition at the junction of the Spliigen and Bernardino routes. The latter (p. 46) here runs towards the W. The Spliigen route turns to the 1., crosses the Rhine, and ascends in windings, passing through a tiinnel 93 yds. in length. Retrospect of the barren Kalk- berg rising above Spliigen. The road then enters a bleak valley and ascends on the W. side by numberless zigzags , passing a soli- tary Refuge, to the summit of the Spliigen Pass (6945 ft.) (Colmo delV Orso), 3803 ft. below the precipitous Tambohorn, or Schnee- horn (10,748 ft.). To the E. rise the Surettahorner (9925 ft.). This narrow ridge forms the boundary between Switzerland and Italy. The pass , which was known to the Romans, was traversed by a bridle-path only dOAvn to 1818. The road was constructed by the Austrian government in 1819 — 21. About ^/^ M. beyoi.d the pass is the Dogana (6247 ft.), the Italian custom-house, a group of houses with a poor inn, at the head of a bleak valley surrounded by lofty mountains. Tlie road now descends by numberless zigzags along the E. slope, being protected against avalanches by three long galleries. Beyond the second gallery a beautiful view is obtained of Isola and the old road, destroyed by an inundation in 1834. The new road avoids the dangerous Liro gorge between Isola and Campo Dolcino. Beyond Pianazzo, near the entrance to a short gallery, the Madlsimo to Colico. ' CHIAVElSlrA. 5. Route. 45 forms a magnificent *waterfall , about 700 ft. in height , which is best surveyed from a small platform by the road-side. 151/2 M. Campo Dolcino (^3553 ft.) consists of four groups of houses. The first contains the church , surrounded by ash-trees, and the ^ Campo Santo'. At the second, 1/2 ^^- farther, is the Post Inn (R. 11/2 B. 1 fr.). The Liro Valley is strewn which fragments of rock, but the wildness of the scene is softened by the luxuriant foliage of the chestnuts lower down , from which rises the slender white campanile of the church of Madonna di Gallivaggio. Near S. Giacomo there are whole forests of chestnuts, which extend far up the steep mountain slopes. The vineyards of Chiavenna soon begin, and the rich luxuriance of Italian vegetation unfolds itself to the view. 8V2M. Chiavenna (1040 ft.) (*ifdfei Conradi; Chiaved'Oro; Chiavenna beer is the best in N. Italy), the Roman Clavenna, an ancient town with 3800 inhab., is charmingly situated on the Maira, at the mouth of the Val Bregaglia, through which the road to the Maloja Pass and the Engadine leads. Opposite the post-office are the extensive ruins of a castle, formerly the property of the De Salis family, and frequently besieged in ancient times. Picturesque view from the castle-garden or '■paradiso' (fee 1/2 trO» ^^^ich ex- tends along an isolated vine-clad rock. S. Lorenzo , the principal church, near the post-office, has an elegant slender clock-tower or campanile, rising from the old Campo Santo, or burial-ground, with its arcades. The Battisterio contains an ancient font adorned with reliefs. The road to Colico at first traverses vineyards ; farther on , the effects of the inundations of the Maira, and its tributary the Lira, which joins it below Chiavenna, become apparent. Near 6 M. Biva the road reaches the Lago di Eiva , or di Mezzola, which , before the construction of the road, travellers were obliged to cross by boat. This piece of water originally formed the N. bay of the Lake of Como , but the deposits of the Adda have in the course of ages almost entirely separated the two lakes , and they are now connected by a narrow channel only. The road skirts the E. bank of the lake, in some places supported by embankments and masonry, in others passing through galleries, and crosses the Adda. Before the road joins the Stelvio route (p. 52), the ruins of the castle of Fuentes, erected by the Spaniards in 1603 , and destroyed by the French in 1796, are seen on the r. It was formerly situated on an island, and considered the key of the Val Tellina. At 9 M. Colico (7'22 ft.) (Jsola Bella, Angela, both in the Italian style), the Lake of Como is reached. The Swiss diligence runs as far as Lecco (p. 136). Diligence to Bormio in 14, to Sondrio 5, Tirano 9 hrs. — From Colico to Como, and from Como to Milan, see R. 20. 46 6. From Spliigen to Bellinzona. S. Bernardino Pass. 451(2 M. Diligence in 7i|2 hrs. (fare 15 fr. 20, coupe 17 fr. 55 c.)- Carriage with two horses from Coive to Bellinzona 170, to Lugano 200 fr. Spliigen, see p. 44. The road ascends the npper Rheinwald- ihal , or Val Rhein , where traces of the great inundation of 1868 are still visible, and passes (1^2 M.) Medels , (I1/4 M.) Ebi, and (I3/4 M.) Novenna, or Nufenen (5170 ft.), at the mouth of the Areue-Thal. 6V2 M. Hinterrhein (5328 ft.) (*Post) is the highest village in the valley. The source of the Hinter-Rhein may be visited hence in 4 hrs. The Bernardino Road , constructed in 1819 — 23, crosses the Rhine 1/2 M- beyond the village, and winds up a steep slope com- manding a fine view of the valley. On reaching the top it leads through a bleak valley to the S. Bernardino Pass ( 6768 ft.), which was known to the Romans, and was called the Vogelberg down to the 15th century. When 8. Bernardino of Siena preached the gospel in this region a chapel was erected on the W. slope and gave its name to the pass. Near the small (3|4 M.) Logo Moesola, where several rare plants occur, is the large Casa di Rifugio (Inn). From the S. end of the lake issues the Moesa , which the road follows down to its confluence with the Ticino above Bellinzona. The river forms a fine waterfall and is crossed by a handsome bridge. Farther on, the road is protected against avalanches by a roof. The S. side of the mountain is much more precipitous than the N., but the wind- ings of the road are so ingeniously contrived that the descent pre- sents no difficulty. 101/2 M. S.Bernardino (5335 ft.) (Hotel Brocco ; Ravizza; Motto), the highest village in he Val Mesocco, or Mesolcina, pos- sesses a mineral spring which attracts invalids in summer. The val- ley opens into the Riviera (p. 40) near Bellinzona. The lower part of this valley contrasts strongly with the Rhein waldthal in language, customs, scenery, and climate. Everything here is Italian and the inhabitants exclusively Roman Catholic , Card. Borromeo having successfully crushed the first germs of the Reformation in the 16th century. The road ascends : i^U ^- fall of the Moesa, 1^/4 M. S. Giacomo, 1/2 M. Cebbia. In order to see the fall to advantage, take the path between S. Bernardino and S. Giacomo which runs first on the 1., and then on the r. bank. The road descends in numerous wind- ings, which command fine views. Beautiful distant views from the bridge of S. Giacomo (3757 ft.). 9 M. Mesoeco, or Crcmeo (2559 ft.) (*Toscani; Desteffanis) is charmingly situated amidst walnuts, chestnuts, vines, and maize- fields. Numerous brooklets fall from the surrounding mountains. INNSBRUCK. 7. Route. 47 Between Mesocco and Lostallo there are eight considerable -water- falls. Fine view here of the imposing ruins of the castle of Misox (Monsax, Mafux. Mesocco), V'> M- below the village , destroyed in 1526. Beyond (IV2 M.) Soazza (2067 ft.) the bottom of the valley is reached, and the road becomes level. Near the second bridge below Soazza the Buffalora forms a fine cascade near the road. Near (I3/4 M.) Cahbiolo another waterfall ; then (1 M.) Lostallo (1562 ft.) (Postal, with extensive vineyards. The first figs and mulberries are seen near the Capuchin monastery of 93/4 M . Cama (1260 ft."). The next villages are (3/4 M.) Leggia and (IV4M.) Grorjo (1000 ft.), the latter at the entrance to the Vol Calanca. with the massive tower of Florentina ; then (IV4 M.) Roveredo (974 ft.) (Posta; Croce; *Angelo), the capital of the lower Val Mesocco with the ruined castle of the Trivuhio family. iS^. Vittore (882 ft.) is the last village in the Grisons, Lumino the first in the Canton Ticino. On this side the bridge over the Moesa the road unites with the St. Gotthard route (p. 40). Below the confluence of the Moesa and the Ticino stands Arbedo (813ft.), where a battle was foueht in 1422 between 24,000 Milanese and 3000 Swiss, in which 2000 of the latter fell. 93/4 M. Bellinzona, see p. 40. 7. From Innsbruck to Colico (and Mila?i) over the Stelvio. 200 M. Diligence from Innsbruck to Landeck daily (at 4 a. m.) in 83|4 hrs., from Landeck to Mais 4 times weekly in S'ja hrs. — Stellwagen daily from Innshruck to Landeck, and from Landeck to Mais. — Diligence in summer from Eyrs to the Baths of Bormio daily in 11^2 hrs. (fare 12 fr. 55 c). There are also open carriages. (If a seat in one of the latter cannot be procured, it is pleasanter in fine weather to walk over the pass.) — Messagekie between Bormio and Sondrio, and between Sondrio and Colico daily. From 1st Oct. to 15th June no diligence from Eyrs to Sondrio (carriage with two horses 60 fr.). The Stelvio Road, the highest in Europe, 9045 ft. above the sea- level, was constructed by the Austrian government in 1820—25. The bold and skilfxil construction of the road and the grandeur of the scenery ren- der this one of the most remarkable routes in E'TOpe. The vast glaciers and snow-fields of the Ortler and Monte Cristallo present a striking con- trast to the vineclad slopes of the Valtellina, and the luxuriant southern vegetation of the banks of the Lake of Como. Pedestrians are strongly recommended not to take any of the short cuts , as all the finest views are from the road itself. Since the evacuation of Lombardy by the Aus- trians, the road on the Tyrolese side was much neglected, but" has since been repaired. Innsbrnck (Oesterreich. Hof, *Goldne Sonne, both near the post-office; *EuropdischerHof. opposite the station ; Stadt Miinchen, near the station; *Goldn€r Adler ; Hirsch ; Stern, on the 1. bank of the Inn), the capital of the Tyrol, with 16,000 inhab. and a gar- rison of 1500 men, is charmingly situated on both banks of the Inn, in the midst of a broad and fertile valley enclosed by lofty 48 Route 7. LANDECK. From Innsbruck mountains. The chief object of interest in the town Is the *Hof- kirche, or Franciscan Church, built at the beginning of the 16th cent., and containing the *monuments of Emp. Maximilian I. by Alex. Colin (d. 1612) and of Andreas Hofer, in white marble, by Schaller. The road ascends on the 1. bank of the Inn, passing the Mar- tinswand (3778 ft.) , a precipice where the Emp. Maximilian I. nearly lost his life in 1493, while chamois-hunting. At the base of the cliff lies 8 M. ZirL ('2001 ft.) (*Stern ; Lowe). On the r. rises the ruined castle of Fragenstein. Near 9 M. Telfs (Post; Lowe) the road crosses the Inn and passes the considerable (1.) Cistercian monastery of Stams. Beyond 8 M. Silz (Steinbock). with a handsome modern church , rises the wooded Petersberg on the 1., crowned with the ruined castle of that name. Beyond Haimingen the road crosses the Inn to Mayer- bach (*Inn by the bridge) and skirts the base of the Tschurgant (7766 ft.). A remarkable view is obtained here of the masses of debris with which the Oetzthaler Ache, descending from the Oetz- thal, covers the whole valley. 11 Vo M. Imst ('^'Post) is a well-built village at the base of the Laggersberg and the Platteinkogl. The road again descends and approaches the Inn at the base of the Laggersberg. Mils possesses a pretty modern church. Beyond Starkenbach the imposing ruins of the Kronburg rise on a lofty eminence on the opposite bank. The bridge over the Inn near Zams (2722 ft.) has frequently been the scene of fierce battles 14 M. Landeck (2638 ft.) (*Schwarzer Adler ; Post; Goldner Adler), a considerable village on both banks of the Inn, is com- manded by the old castle of the same name. A road leads hence over the Arlberg to Bludenz, from which a railway runs to Bregenz and to Lindau. The road passes the [castle on the r. bank of the river, which here forces its way through a narrow ravine and forms several ra- pids. The Pontlatzer Bridge , 6 M. from Landeck , has frequently proved a most disastrous spot to the Bavarian invaders of the Tyrol. On the r., on a precipitous rock above Prutz, stands the ruin of Laudegg. Near it, on the height, is the village of Ladis, 1 hr. from Prutz, with sulphur-baths ; V2 ^r. higher up are the charmingly situated baths of Obladis. Prutz (Rose), where the road recrosses the Inn, lies in a swampy plain at the entrance of the Kaunserthal. 91/4 M. Ried (2871 ft.) (*Post ; Adler) is a thriving village, with the castle of Siegsmundsried , the seat of the local authorities. At Tosens the Inn is again crossed. 91/4 M. P funds (=-=Traube) consists of two groups of houses, separated by the river. To the S. W. rises the Mondin-Femer, one of the N. Engadine chain. to Colico. MALS. 7. Route. 49 Above Pfunds the road crosses the Inn and gradually ascends on the r. bank, hewn at places in the perpendicular rock , or sup- ported by solid masonry, and commanding picturesque views of the narrow valley of the Inn. The finest point is at *B[och-Finstermuna (3730 ft.) C^'Innj, about 4V.2M. from Pfunds, a small group of houses on the road. Far below is the old Finstermiinx tower (3'294 ft.) and a bridge over the Inn. These, with the defile through which the river issues from the Engadine, and the mountains in the back- ground, form a very striking picture. 91/2 M. Nauders [4462 ft.) (*Post; Mondschein), with the old castle of Naudersherg, which contains the district court of justice. The road now ascends to the Reschen-Scheideck (4898 ft.), the watershed between the Black Sea and the Adriatic. Beyond the village of Reschen (4839 ft.) (*Stern), near the muddy lake of that name, a very striking *view is disclosed. The entire background is formed by the snow and ice-fields of the Ortler chain. The Etsch, Italian Adige, rises near Reschen, flows through the lake, and also through the Mittersee andHeidersee, which the road passes farther on. 9 M. St. Valentin auf der Heide (4695 ft.) (*Po3t) , formerly the hospice of the bleak and rocky Malser Heide. where 8000 in- habitants of the Grisons defeated an army of Emp. Maximilian of double that number in 1499. The beauty of the view increases as the road approaches the Vintschgau (Yal Venosta). The Ortler con- tinues to form the Imposing background. As the road descends, the villages of Mais. Glurns, and Tartsch, when viewed from the height, almost appear to form a single town. To the r., before Mais is reached , is seen the village of Burgeis, with its red spire, and the castle of Fiir^ienftur^, now occupied by a number of poor families. Farther on, the Benedictine Abbey of Marienberg lies on the hill to the r. 7 M. Mais (3478 ft.) (*Poiit; *Hirsch; Gans) is a small town of Roman origin. Beyond it the ancient tower of the Frblichshurg is passed. In the distance to the r., on the opposite bank of the Etsch, rises the handsome but dilapidated castle of Lichtenberg . To the 1. of the road, near Schluderns, is the Churburg , a chateau of Count Trapp. At Spondinig (2917 ft.) (*Inn) the road crosses the broad, marshy valley of the Etsch and the river itself by^ long bridge, which forms the boundary between the Upper and Lower Vintschgau. 91/4 M. trad (3100 ft.) (Post), or Bivio di Prad. The road now enters the narrow valley of the Trafoi-Bach. On the mountain to the r. lies the village of Stilfs, Ital. Stelvio, from which this route derives its name. Pedestrians are recommended to cross the valley from Mais to Glurns, a small town with an ancient church, and proceed thence along the foot of the mountain by the castle of Lichtenberg and Agums . to Prad, a walk of 2' (2 hrs. Near Gomagoi (Inn), with its large 'Defensive Barracks', the wild Suldenthal opens on the E. To the S. the snow mountains of BiEDEKEK. Italy I. 3rd Edit. 4 50 Route 7. STELVIO T>ASS. From Innsbruck Trafoi come in sight; to the N. the Weisskugel, the second highest of the Oetzthal Alps, long remains visible. B M. Trafoi (5079 ft.) (*Post), a gronp of half-a-dozen houses, is beautifully situated. Pleasant walk of 3'4 hr. to the *Three Holy Springs , ^^iuch rise in the valley below at the foot of the Ortler {_guide unnecessary"). The Stelvio route now ascends in bold windings, commanding a fine view of the vast Mondatsch or Madotsch Glacier, overshadowed by the Madatsch-Spitz. At the Cantoniera (d Bosco, which was destroyed in 1848, the road passes close to the glacier. 41/2 M. Franzenshohe (7159 ft.) (-"WaUnofer), a post-station destroyed by Italian irregular troops in 1848, has since been re- stored. The road ascends in numerous windings. Vegetation grad- ually disappears , and scanty moss alone is seen clinging to the rocks. The summit of the Stelvio Pass (9045 ft.). Germ. Stilfser Joch, about 61/2 M- from the Franzenshohe , is the boundary between Austria and Italy, 1/2 M. N. is also the boundary of Switzerland (Grisons). A workmen's house stands at the top. A footpatli ascends b}^ the house to the 1. in 20 min. to a rocky height which commands an extensive ^panorama. The view of the Ortler (12,812 ft.), the highest mountain in Germany, is very striking. Below in the foreground are the ravines of the Stelvio route. The Monte Pressitra towards the N. W. intercepts the view of the Miinsterthal. Immediately to the 1. of the road rise the huge icy masses of Monte Cristallo, and several glimpses are obtained of the Miinster- thal in the Grisons to the r. The road here is seldom free from snow except in warm seasons , and icicles are frequently seen hanging from the roofs of the galleries. 7 M. S. Maria (8317 ft.) (Inn), the fourth Cantoniera and the Italian custom-house (1/9 hr. from the summit of the pass), is situated in a bleak basin, almost destitute of vegetation, and sur- rounded by barren mountains. The diligence runs from this point to Bormio (p. 51) in less than 2 hrs. (in the opposite direction in 41/2 ^rs., while a good walker will accomplish the journey in 3 hrs.) The road next reaches the third Cantoniera al Piano del Bra ulio ( ijin tolerable), in a green valley, with a chapel ; then the Casino dei Rotteri di Spondalonga, a road-menders' house. The road descends by innumerable windings ("yirauoiie'^ which the pedestrian can generally avoid , skirts the rocky slopes , and passes a number of waterfalls. A succession of galleries, partly of wood and partly hewn in the rocks , protect the road against avalanches and waterfalls in the defile termed ^11 Diroccamento\ Near the (second) Cantoniera al Piede di Spondalonga (6906 ft.), which was destroyed by the Garibaldians in 1859 and has since been a ruin, are two picturesque waterfalls of fho Braulio, which falls from a ckft in the rock above. The (first) Cantoniera di Piatta Martina is a refuge for travellers. to Colico. BORMIO. 7. Route. 51 Several more waterfalls are passed. Farther on to the r., the Adda emerges from the wild Val Fraele (a considerable brook issuing from the rocks below the Val Fraele is sometimes erroneously termed the Source of the Adda). A magnificent view is now disclosed, comprising the valley from Bormio to Ceppina, S. W. the Piz S. Colombano (9655 ft.), the Cima di Piazza, and the Piz Redasco, W. the Val Viola, S. E. the Cima di Gobetta and the ice pyramid of the Piz Tresero (11, 604 ft.). To the r. lies the old bath-house on the brink of a profound ravine. Beyond the Galleria dei Bagni, the last tunnel, a fine view is obtained near the bridge. To the r. of the road , perched on the rocks, are the Bagni Vecchi, or Old Baths. Far below flows the Adda. The handsome *Ne'w Bath-House (^Bagni Xuovi, 4580 ft.) (R. from 272, B- IV2? ^- and L. I74 fr.), situated on a terrace commanding a fine survey of the valley of Bormio and the sur- rounding mountains, is much frequented in July and August, but is closed about the end of September. The mineral water (containing salt and sulphur, 117*') is conducted hither by pipes from the springs at the old bath, 1 M. higher up. The windings of the road terminate at 1"2 M. Bormio (4012 ft.) (Posta; Cola, in the market-place), an old-fashioned little town of Italian character , with several dilapidated towers. The road crosses the muddy Frodolfo , which unites with the Adda below the bridge, and turning towards the S. enters a broad green region of the valley termed Piano di Bormio, extending to the village of Ceppina, and enclosed by lofty mountains. Below Ceppina is the hamlet of 5. Antonio; then Morignone, in the green Valle di Sotto, with its church on the hill above. The defile of La Serra , 1 M. in length , here separates the 'Paese Freddo' , 'cold region', or district of Bormio, from the Val- tellina , which belonged to the Grisons down to 1797, then to Austria , and has since 1859 been Italian. The broad valley is watered by the Adda , the inundations of which often cause considerable damage. The vineyards on the slopes yield excellent red wine. The climate is considered unhealthy, and cretinism is not unfrequent. The Ponte del Diavolo was destroyed by the Austrians in 1859. Near the issue of the defile are the ruins of a house ; farther on, to the r. , fragments of an old fortification. The valley now expands, and the vegetation of the south gradually develops itself. 12 M. BoUadore (2838 ft.) (Angelo). On the hill to the W. rises the picturesque church of Sondalo. Near the considerable village of (31/2 ^I-J Grosio the road crosses the Adda and recrosses it below (3/^ M.) Grosotto (Leone), at Mazzo. To the S.W. rises the precipitous Piz Masuccio (9245 ft.), a landslip from which in 1807 closed the narrow bed of the Adda and converted the 52 Route 7. SONDRIO. populous and fertile valley, as far as Tovo, into a vast lake. The devastation caused by subsequent Inundations Is still observable. The road now descends from the district of Semio, passing vine- clad hills, to IIV2 M. Tlrano (1509 ft.) (*Posta; Due Torri), a small town with old palaces of the Viscontl, Pallavicini , and Sails families, which has often suffered from the Inundations of the Adda. About 3/4 M. farther, on the r. bank of the Adda, lies Madonna di Tirano C^S. Miehele). (The road which here diverges to the r. leads to Poschiavo and over the Bernina to the Upper Engadine; see Baedeker's Switzerland. The ^Confine Svixzero' is ^/^ M. N. W. of Madonna dl Tirano.) The road next crosses the Poschiavino , a stream descending from the Bernina glaciers. At Tresenda the new road over the Monte Aprica diverges (R. 31). About halfway up the N. slope of the valley rises the ancient watch-tower of Teglio, whence the valley (Val Teglino) derives its name. Near Sondrlo the churches of Pendolasco and Montagna are seen on the hill to the r. 16 M. Sondrio (1197 ft.) (*Posta ; Maddalena), the capital of the Valtellina, is situated on the Malero, a wild torrent which has frequently endangered the town , but is now conducted through a broad artificial channel. The Nunnery, a large edifice outside the town, is now a prison ; the castle of the governors is used as a barrack. Farther to the W. rises the church of Sassella, built on a rocky eminence and supported by galleries. Vines, mulberries , and pomegranates flourish luxuriantly in the valley, while in the back- ground tower the snowy peaks of the Monte della Disgrazia (12,057 ft.), one of the Bernina range. 16y2 ^1- Morbegno ('*^e(/ ma d'lnyhilterra , or Posta) is noted for its silk-culture. The lower part of the Valtellina is rendered unhealthy by the inundations of the Adda. Before reaching 9 M. Colico^XP- 4:5) the road joins the Splijgen route (R. 5). 8. From Innsbruck to Verona by the Brenner. Railway in 9')4— 12 hr,«.: express fares 15 11. 91, 11 tl. 84 kr. ; or- dinary 13 fl. 32, 9 fl. 99. 6 fi. 66 kr. (these are the fares in silver, to which is added a trifling stamp duty, and, if they are paid in paper, the difference in value between silver and paper!. There are two stations at Verona; a ticket should be taken to the Porta Ivnova only (comp. p. 171). Views on the right as far as the summit of the Brenner. The Brenxer, the lowest pass over the principal chain of the Alps, is traversed by the oldest of the Alpine routes, used as early as the Roman period, and rendered practicable for carriages in 1772. The railway, opened in 1867, one of the grandest modern works of the kind, aflbrds the most direct communication between Germany and Italy. It ascends for 21 M. with an incline of 1:40 to the culminating point. The descent to Brixen is less rapid. There are 23 tunnels in all. Innsbruck, see p. 47. The train passes the Abbey of Wilten (r.) and penetrates the hill of Isel by a tunnel. It then ascends BRENNER. 8. Route. 53 on the r. bank of the Sill, by a cutting in the rock ; far below runs the brawling river. As far as stat. Patsch seven tunnels. The valley becomes narrower and wilder. Four more tunnels. The Sill is cross.^d twice. Stat. Matrey {3'2U ft.) (*Stern; *Krone), with the chateau of Trautson, the property of Prince Auersperg, is charmingly situated. Stat. Steinach (3448 ft.). The village (^Post ; Steinbock), rebuilt since a fire in 1853, lies on the other side of the valley, at the mouth of the Gschnitzthal. The train then passes the village of Staff lack in a wide curve, turning into the Schmirner Thai. Three tunnels. Beyond stat. Gries the train ascends in long curves, high above the profound ravine of the Sill, passes the small green Brennersee, and reaches Stat. Brenner (4485 ft.), with the old Post-House, the watershed between the Black Sea and the Adriatic. View limited. The Sill, which rises on the N. side of the pass , falls into the Inn ; the Eisack, rising on the S. side, descends to the Adige. The train follows the course of the Eisack and soon stops at stat. Brennerbad, a solitary bath-establishment. It then descends rapidly by means of a long embankment and through two tunnels to stat. Schelle- berg (4069 ft.), where it turns into the Pflersch-Thal. Here it enters the N. slope of the valley by a curved tunnel , 800 yds. long, from which it emerges in the opposite direction, soon reaching stat. Gossensass, which lies 588 ft. below Schelleberg. This is one of the most interesting parts of the line, and is most striking when seen in the reverse direction. The train now runs high above the Eisack , passing through wild rocky scenery at places. Stat. Sterzing (3107 ft.) (*Post, *Rose, both 1/2 M- from the station), a clean and picturesque little town vdth curious old build- ings and arcades , deriving its prosperity from mines formerly worked here, lies in the broad Sterzinger Moos, or Upper Wippthal. From Sterzing to Franzensfeste the valley of the Eisack is wild and romantic , and the mountains precipitous. High above the line are the castles of Sprechenstein on the 1. and Reifenstein on the r. Stat. Freienfeld. On the 1. rises the ruined castle of Welfen- stein , where Roman mile-stones have been found. Beyond stat. Grasstem the train enters a narrow defile in which the *post-inn of Mittewald is situated, where the French were defeated in 1809. The lower end of the defile, termed the Brixener Klause, near Unterau (2703 ft.) , is strongly fortified by the Franzensfeste^ constructed in 1833 — 38. These works , which are very conspi- cuous when seen from the S., command the Brenner route. Stat. Franzensfeste (*Rail. Restaurant) is the junction for the Pusterthal line, which diverges to the 1. within the precincts of the fortifications, a little farther on, and crosses the Eisack by a 54 Route 8. BOZEN. From Innsbruck lofty bridge. [Change carriages for the Pusterthal; halt of 15 — 30 min.). The vegetation now assumes a more southern character, vineyards and chestnuts gradually appearing. Stat. Brixen (1867 ft.), Ital. Bressanone (*Elephant, adjoining the post-office ; *Sonne ; Goldnes Kreuz ; all ^/o M. from the station ; Rail. Restaurant) was for nine centuries the capital of a spiritual principality, which was dissolved in 1803, and is still an episcopal residence. Most of the churches are of the last cent., the principal being the Cathedral which contains a good Crucifixion by Schopf. To the r. of the portal is the entrance to the old ^Cloisters, at the beginning of which is the tomb of the German minstrel Oswald von Wolkenstein (d. 1445). At the S. W. end of the town is the Epis- copal Palace with an extensive garden. Stat. Klausen (1791 ft.) (Rosseli Post), consisting of a single narrow street, is situated in a defile, as its name imports. The Benedictine monastery of Seben, on the r., commands a very striking view. It was once a Rhsetian fortress , then a Roman fort under the name of Sabiona , afterwards an episcopal residence down to the 10th cent., and finally a baronial castle. The Loretto Chapel adjoining the Capuchin Monastery (where visitors apply for ad- mission) contains the most valuable collection of ecclesiastical treasures in the Tyrol , presented in 1699 by the founder of the monastery, who was confessor to the queen of Carlos II. of Spain. Below Klausen the valley contracts. The line skirts precipitous porphyry cliffs. On the heights above extend fertile plains, sprinkled with numerous villages. Stat. Waidbruck. Near Kallmann (Kreuz) the Grodenerbach descends from a deep rocky gully to the Eisack, above which rises the Trostbury with its numerous towers and pinnacles, the property of Count Wolkenstein. This is the most picturesque point in this narrow part of the valley of the Eisack. Stat. Atzwang (1214 ft.) (*Post). To the r. opens the valley of the Finsterbach. Four short tunnels, then stat. Blumau. The valley again contracts. Beyond the defile an extensive plantation of chestnuts on the slope of the mountain is passed. The train now enters the wide basin of Bozen, a district of luxuriant fertility, resembling a vast vineyard. Bozen (850 ft.), Ital. Bolzano (*Kaiserkrone; Mondschein; *Goldne Traube ; Erzherzog Heinrich ,• *Badl, beyond the Talfer, on the road to Meran; Schwarzer Adler ; Stadt Meran), ^ith 9000 inhab. , the most important commercial town in the Tyrol , is situated at the confluence of the Eisack and the Talfer, which descends from the Sarnthal on the N. The background towards the E. is formed by the strikingly picturesque dolomite mountains of the Fassathal. The Gothic *Parish Church of the 14th and 15th cent, has a W. Portal , with two lions of red marble , in the Lombard style. to Verona. TRENTO. 8. Route. 55 Beautiful open tower , completed in 1519. On the E. side a gateway with the inscription ^ Resurrecturis' leads to the ^Cemetery, surrounded by arcades. A chapel adjoining the sacristy in the Franciscan Monastery contains a finely carved old German altar. The *Calvarienberg (25 min. walk; beyond the Eisack bridge cross the railway to the 1. and ascend to the r.) commands a fine view of the town and environs. Beyond Bozen the train crosses the Eisack, which falls into the Etsch (or Adige') 4 M. below the town. The latter becomes navigable at Stat. Branzoll (Ital. Bronzollo'). Beyond slat. Auer (Ital. Ora), where the road through the Fleimserthal diverges, the train crosses the river. The next stat. Neumarkt , Ital. Egna (Krone ; Engel), where the German element still preponderates, lies on the 1. bank of the Adige, and consists of a single street only. On the slopes to the r. lie the villages of Tramin, Kurtatsch, and Margreid. Stat. Salurn is the last place where German is spoken. The village lies on the 1. bank of the river, commanded by a dilapidated castle on an apparently inaccessible rock. The Rorchetta Pass to the r. leads to the VaL di j\on. Mezzo Tedesco and Mezzo Lombardo (or Deutsch and Wdlsch- Metz'), situated on different sides of the pass , separated by the Noce , are both Italian. S. Mirhele , or Wdlsch- Michael (Aquila) , with a handsome old Augustine monastery, founded in 1143, but now suppressed, is the station for the Yal di Non. The train again crosses the Adige. Next Stat. Lavis on the Avisio , which here descends from the Val Cembra. This impetuous torrent with its different ramifications is crossed above its junction with the Adige by a bridge 1000 yds. in length. Trento (715 ft.), or Trent, Lat. Tridentum (,*'EvnopA; the dining- room is adorned with the armorial bearings at Count Artois, afterwards Charles X. of France, Eugene Beauharnais, viceroy of Italy, and other princes who once lodged here; *Hotel de la Ville; both of these near til; station, R. 80, B. 50, A. 25 kr. •, Coroxa; Al Rebecchixo, next to the Hotel de la Ville, Aquila Bianca, and Castello on the road to the Val Sugana are second class inns; Ca/e adjoining the Europa), with 17,000 inhab. , formerly the wealthiest and most important town in the Tyrol , founded according to tradition by the Etruscans , and mentioned by Strabo, Pliny, and Ptolemy, possesses numerous towers, palaces of marble, dilapidated castles, and broad streets, and is surrounded by imposing groups of rocks. Above the town rises the considerable castle of Buon Consiglio, once ?.n archie- piscopal residence, now a barrack. The *Cathedral, founded iii 1048, begun in its present form in 1212, aT\d completed at the beginning of the 15th cent., is a Romanesque church surmounted by two domes. The portal, as at Bozen, is adorned with a pair of lions (p. 54). In the S. transept are several old monuments , half-faded frescoes , and on the wall 56 Route 8. BASSANO. From Innsbruck the porphyry tombstone of the Venetian general Sanseverino, whom the inhabitants of Trent defeated and killed at Galliano (see below) in 1487. In the Piazza of the cathedral . which is embel- lished with a fountain , are the courts of justice and the old guard- house. S. Maria Maggiore, where the celebrated Council of Trent sat in 1545 — 63, contains a picture, on the N. wall of the choir, covered with a curtain, with portraits of the members of the council (7 cardinals , 3 patriarchs , 33 archbishops, and 235 bishops), and an excellent organ. Adjoining the S. side of the choir is a cohinm dedicated to the Virgin , erected In 1855 on the 300th anni- versary of the meeting of the Council. The rocky eminence of Verruca, or Dos Trento^ on the r. bank of the Adige, was fortitied in 1857, and is not accessible without special permission. The best point of view in the environs is the terrace of the Capuchin Church on the E. side of the town. From Trent to Venice by the Val Sugana, 115 M. Diligence 3 times daily between Trent and Borgo (i fl. 40 kr.); twice daily from Borgo by Pilmolano to Bassano in 7 hrs. ^ from Ba«sano to Padua , to Treviso, or to Vicenza in 6 — 7 lir,^. ; railway from Padua or Treviso to Venice, see pp. 185, 233. Arrival at Venice, see p. 196. This direct route to Venice (although not the most expeditious) tra- verses the beautiful Venetian Mountains. The road, which ascends soon after Trent is quitted, is hewn in the rocks or supported by buttresses of masonry as far as Pergine. Near 9 M. Perfirjwe (Cavallo), an extensive prospect is enjoyed ; to the 1., on a commanding rocky height, rises the handsome castle of that name. To the r. lies the picturesque lake of Caldonazzo , which is drained by the Brenta (on the mountain to the S.W. lies Calceranica, with a line view). Farther on is the smaller lake of Levico, in which Monte Scanupia (7050ft.) is reflected. The Val Sugana begins at Levico, its capital being 8\(2 M. Borgo C^Croce), on the X. side of which rises the ruined castle of Telvana, with the remains of a second castle high above it. Below the town is the beautiful chateau of Ivano. Near Gi-igno the valley of Tesino opens on the N., watered by the OHgno. Beyond Grigno the valley is confined between lofty cliflfs which barely leave room for the road. The Austrian custom-house is at Le Tezze. the Italian 3|4 M. beyond it. In a rocky cavity beyond 16 M. Primolano (Inn) is situated the ruined castle of Covelo, a me- diaeval stronghold, which could only be reached by means of a windlass. About 1 M. farther the Cismone descends from the Val Primiero. Valstagna is inhabited chiefly by straw-hat makers. (About 12 M. to the S.W. is situated .istavo, with 5000inhab., capital of the Sette Comuni, or seven parishes, where an unintelligible German patois is spoken in the midst of an Italian population. Down to 1797 they formed an .independent republic under the protection of Venice. The dia- lect is rapidly giving way to Italian.) At Solagiia the ravine of the Brenta expands, the road turns a corner, and a view is obtained of the broad plain with extensive olive-plantations in which lies the town of 18 M. Bassano (*S. Antonio, near the chief piazza), picturesquely situ- ated, with 14,827 inhab., and surrounded by lofty old ivy-clad walls. In the centre of the town rises the once fortified tower of the tyrant Ezzelino. Bassano possesses no fewer than 35 churches, the chief of which is the Cathedral , containing good pictures, the finest of which are by Giacomo da Ponte , surnamed Bassano, this town having been his birth- place. His best work, a Nativity, is in the Oratorio S. Giuseppe. The to Verona. ROVEREDO. <9. Route. 57 Villa Rezzonica, l^Jj M. from the town, contains Canova's Death of Socrates and other valuable works of art (application for admission must be made the day before the intended visit). On 8th Sept. 1796, four days after the battle of Roveredo, Napoleon defeated the Austrians under Wurmser near Bassano. In 1809 he erected the district of Bassano into a Duchy, with which he invested Maret , his secretary of state. (Possa^o, Canova's birthplace , is beautifully situated at the base of the mountains, 12 M. N.E. of Bassano. The road to it is rough and hilly. The church, in the form of a circular temple, designed by Canova, con- tains his tomb and an altar-piece painted by him. The bridge which here spans the river by a single arch was built with funds bequeathed by Canova for the purpose. The Palazzo, as his house Is termed, contains models and cast? of his works.) 14 M. Castel/ranco, an ancient town surrounded by walls and towers, was the birthplace of the painter Giorgione. The principal church con- tains a *Madonna by him; in the sacristy is a fresco by Paolo Veronese, representing Justice. 16 M. Treviso, and railway thence to Venice, see B. 39. Fkom Teent to Verona bt Riva and the Lago di Garda. From Trent to Riva 25 M., omnibus once daily (9 a. m.), fare 2 fl. ; one- horse carr. 8, two-horse 14 fl. Steamer from Riva to Peschiera in 41(2 hrs., see p. 158. Railicay from Peschiera to Verona in 1 hr., see p. 157. This route is far preferable to the direct railway-journey, on account of the charming scenery of the Lago di Garda. The traveller from Bo- zen, whose time is limited, may shorten the route by taking the railway as far as stat. Mori and driving thence to (10 M.) Riva (see p. 161). The road crosses the Adige, traverses the suburb Pie di Castello, and ascends. Fine retrospect from the height (I'fs M.). A wild and rocky defile (Bucco di Vela) is now entered, terminating in a kind of (11(2 M.) fortified vault, beyond which the road emerges suddenly on a smiling and fertile district. Farther on (li|2 M.), the view of Terlago and its lake at the base of Monte Gazza (6696 ft.) is beautiful and imposing. Then (liJ2M.) Vigolo-Baselga and (3 M.) Yezzano (Corona), the principal place between Trent and Arco. At ii^\-i M.) Padernione the road turns to the r. and passes the Lake of Toblino and the picturesque castle of that name. Below (li|2 M.) Le Sarche, where the Sarca emerges from a gorge, and the road to Giudicaria diverges , is a bridge over the Sarca , the scene of a skir- mish between Italians and Austrians in 1848. Next (li|2 M.) Pietra Mu- rata. Near (41(2 M.) Drb is the ruined Castello di Drena on an eminence to the 1. The road now traverses a more fertile district to (3 31.) Arco (* Co- rona; Olivo), with a handsome parish-church with metal-clad domes, a place where invalids sometimes winter. The vegetation now becomes most luxuriant (olives, pomegranates, figs, grapes). The peaches and other fruit of Arco are in high repute. To the N., on a precipitous height, rises the Chateau of Arco, with well-kept gardens. The road which turns to the r. from the S. gate of Arco leads to {^\k 31.) Riva (p. 159), that to the 1. to Nago. Beyond Trent the railway continues to traverse tlie broad and fertile valley of the Adige. To the S. TV. of Trent, on the r. bank, is the village of Sardagna, with a considerable waterfall. Stat. Matartllo. On a height near stat. Calliano rises the extensive castle of Beseno , the property of Count Trapp. The rocky debris here are tlie result of a landslip. Roveredo (Cervo; Corona) is noted for its silk-culture. The most remarkable building is the old Castello in the Piazza del PodestJi. 58 Route 8. MORI. The lower part of the valley of the Adige, down to the Italian frontier, is termed Val Lagarina. On the r. bank lies Isera, with vineyards, numerous villas, and a waterfall. On the 1. bank, to the E. of the railway, j\e&x Lizzana , is a castle , which about the year 1302 was visited by Dante when banished from Florence as an adherent of the Ghibellines. The line follows the 1. bank of the Adige. Stat. Mori; the village lies in a ravine on the opposite bank, on the road leading to Riva (p. 159), and is famed for its asparagus. Omnibus to Riva twice daily in 2^/2 hrs., fare 65 — 75 kr. ; one-horse carr. 4, two- horse 7 fl. (comp. p. 161). Near S. Marco on the 1. bank are the traces of a vast landslip, which is said to have buried a town here in 833, and is described by Dante (Inferno A'//, 4 — 9). At Serravalle , a fort which once guarded the defile, the valley contracts. Stat. Al(l (Posta), a place of some importance, possesses velvet- manufactories which once enjoyed a high reputation, and is the seat of the Italian and Austrian custom-house authorities. Those who have forwarded luggage by this route to or from Italy should take the precaution to enquire for it at the custom-house here. Halt of Y2 ^^- ^'-'*o is the last station in the Austrian dominions. The village , with a well preserved chateau of Count Castelbarco, lies on the r. bank. Peri is the first Italian station. The Monte Baldo (7090 ft.) on the W. separates the valley of the Adige from the Lago di Garda. Stat. Cernino. The line now enters the celebrated Chiusa di Verona , a rocky defile which was defended against the Milanese in 1155 by the German army under Otho of Wittelsbach , in the reign of Frederick Barbarossa. On an eminence on the r. bank lies Rivoli , which was stormed several times by the French in 1796 and 1797 under Masse'na, and afterwards furnished him with his ducal title. Next stations Domegliardt, Pescantina, and Parana. The train crosses the Adige , reaches the Verona and Milan line at S. Lucia (p. 158), and a little farther the railway- station (outside the Porta Nuova) on the S. side of Verona, see p. 171. 9. From Vienna to Trieste. Semmering Railway. AusTKiAn S. Eailwat. Express (1st, in winter Ut and 2nd class) in 143(4 hrs., ordinary trains in 2'2 — 23 hrs.; fares 28 fl. 26, 21 fl. 20, 14 fl. 13 kr. (express 'Isth more). Fifty lbs. of luggrape free, provided it is at the station at least 1J2 hr. before the departure of the train: otherwise the whole is liable to be charged for. Best views generally on the left. For farther particulars, see Baedeker s S. Oerviatiy and Austria. The station of the S. Railway is between the Belvedere and the Favorite 'Lines', or boundaries of the city. The train, soon after NEUSTADT. 9. Route. 59 starting, affords a good survey of Vienna, the environs, and the surrounding ranges of mountains. On a Mil to the 1. of stat. Atz- gersdorf is the large reservoir of the "Vienna water- works, by which spring water is conducted from the HoUenthal to the city, a dis- tance of 731/2 ^- Ori the hills to the r. near stat. Brunn are several artificial ruins , and Liechtenstein . a genuine ruined castle which was destroyed by the Turks. Near stat. Modling the Brilhl, a picturesque rocky valley, opens on the W., and a branch-line di- verges to the E. to the Imperial chateau and park of Lax enburg. Stat. Gumpoldskirchen. To the r. as Baden is approached rise the Calvarienberg and the ruins of Rauhenstein and Rauheneck. with the chateau of Weilburg and the Helenenthal between them. The view to the 1. over the broad plain, sprinkled with villages, is bounded by the Leitha Mts. Baden (Stadt Wien; *Schwarzer Adler), with handsome vil- las, the Roman Thermae Pannonicae^ is celebrated for its mineral springs (72—100° Fahr.). Voslau (*H6tel Back) , which yields the best Austrian wine, is also frequented as a watering-place (74° Fahr.). Stations Kottingbrunn. Leobersdorf (where the barren Schnee- berg, 6808 ft., rises on the r.), Felixdorf. Theresienfeld . Neustadt, or Wienerisch-Neustadt (^Hirsch ; Ungar. Krone, both in the town ; Stadler, near the station), has been rebuilt since a fire in 1834 (popul. 18,070). On the E. side is the old ducal Castle of the Babenberg family, converted in 1752 into a military academy. Branch-line to the S.E. in 2 hrs. to Oedenburg, which lies 7 M. to the W. of the saline Neusiedler See. On the r. beyond Neustadt the Schneeberg is visible almost from base to summit; on the 1. rises the Leitha range. On the hills to the r., in the[ distance , stands the well-preserved castle of Sebenstein , the property of Prince Liechtenstein. Near stat. Ternitz the Schneeberg is again visible on the r. ; then stat. Potschach , a manufacturing place. On the height to the 1. near Gloggnitz rises the castle of Wartenstein. Schloss Gloggnitz on the hill , with its numerous windows, was a Benedictine Abbey till 1803. At stat. Gloggnitz (1378 ft.) (*Rail. Restaurant) begins the *Semmering Railway, one of the most interesting lines in Europe (best views on the left), and the train now ascends. Fine retrospect of Gloggnitz. In the valley lies the green Schwarzau, with the imperial paper- factory of Schleglmi'ihl. On the 1. the three-peaked Semmering ; to the W. in the background the Raxalp. The lino describes a wide circuit round the N. side of the valley to stat. Payerbach and crosses the Valley of Reichenau by a viaduct 300 yds. long (gradient 1:40). Two small tunnels ; to the 1. an extensive view over the plain. Gloggnitz now lies 558 ft. below the line. 60 Route 9. GRATZ. From Vienna The Gotschakogel is next skirted and two more tunnels are tra- versed. Stat. Klamm ; the half-ruined castle of Prince Liechten- stein, on a rocky pinnacle, was once the key of Styria. Far below runs the old Semmering road ; the green dale visible beyond the next tunnel Is the Untere Adlitzgraben. The Weinzettelwand is next skirted by a long gallery; then a tunnel, and two bridges which carry the line to the S. slope of the Obere Adlitzgraben. After three more tunnels the train reaches Stat. Semmering (2894 ft.), the culminating point of the line. At the highest point of the road (3255 ft.) is the *Erzherzog Johann Inn, 1 M. from the station. In order to avoid the remaining part (360 ft.) of the ascent the train now penetrates the highest part of the Semmering , the boundary between Austria and Styria , by means of a tunnel nearly 1 M. in length, beyond which it traverses the peaceful dale of the Froachnitz. Stat. Spital; then Miirzzu- sclilag (2178 ft.) (*Brauhaus ; Elephant; Rail. Restaurant), where the express trains stop 1/4 hr. The line now follows the picturesque , pine-clad valley of the Miirz, containing numerous forges. To the r. in the valley, beyond Krieglach, is the new chateau, and on the height the old castle of Mitterdorf. Then Kindberg and Kapfenberg with the castles of these names. Nearstat. Brack rises the ancient castle of Landskron. Bruck (Eisenbalm- Gasthof; Adler ; Mitterbrdu) Is a small town at the confluence of the Miirz and the Mur , with an old castle. The train now enters the narrow valley of the Mur. Stat. Pernegg, with a large chateau. The forges of Frohnleiten on the r. bank and the castle of Pfannberg on the 1. belong to Prince Lobkowitz. Schloss Rabenstein on the r. bank is the property of Prince Liechten- stein. The line next passes the Badelwand and skirts the ri" er by means of a rocky gallery of 35 arches , above which runs the high road. Stat. Peggau possesses silver and lead mines. The train crosses the Mur , passes stat. Klein-Stubing , and enters the fertile basin in which Gratz is situated. On an emi- nence to the W. rises the picturesque Gothic pilgrimage-church of Strassengel (1443 ft.). To the r. rises the castle of Gosting, the property of Count Attems , a favourite resort of the Gratzers. Farther on is the castle of Eggenberg, 3 M. from Gratz. Gratz (1068 ft.) (On the r. bank of the Mur, ^ELEPnAXT, R. 1 fl.; Oestekreichischer Hof; Goldnes Ross^ *Florian; Goldner Lowe; Drei Raben. On the 1. bank, *Erzhehzog Johann ; Stadt Triest ; Kaiseb- KHONE-, Tngar. Krone), the capital of Styria (81,000 inhab.), pictu- resquely situated on both banks of the Mur, which is here crossed by four bridges, is one of thepleasantest provincial capitals of Austria. The *Schlossberg, which rises about 400 ft. above the river , com- mands one of the finest views in Germany, embracing the course of the Mur and the populous valley, enclosed by picturesque mountains : N. the Schockel (4586 ft.), N.W the Upper Styrian Mts., S.W. the to Trieste. MARBURG. 9. Route. 61 Schwanberg Alps, S. tlieBacliergeblrge. The Gothic Cathedral dates from 1446. The Landhaus, or Council Hall, an extensive and imposing pile, was erected in 1569. The *Joanneum , a spacious edifice with gardens, was founded by Archduke John In 1811 as an insti- tution for the promotion of agriculture and practical science in StyrJa. It contains specimens of the staple commodities of this district, and a well arranged natural history museum. As the train proceeds , indications of the richer vegetation of the south become more apparent. On the mountains to the r. rises the castle of Premstetten ; on the 1. beyond stat. Kalsdorf the castle of Weisseneck. The mountains on the r. separate Styria from Carlnthla. Near Wildon the Kainach is crossed. To the r. near Leibnitt Is the archiepiscopal chateau of Seckau; farther on, the castles of (1.) Labeck, and (r.) Ehrenhausen. The chateau of Spielfeld, which comes in view, once belonged to the Duchess de Berry, whose sump- tuous chateau of Brunnsee is 4^2 M. distant. The line quits the Mur and enters the mountainous district which separates the Mur from the Drau. Near Possnitx a viaduct 700 yds. in length (64 arches) and a tunnel of equal length are traversed. Marburg (Stadt Wien; Stadt Meran ; both near the station) is the second town in vStyria. To the S.W. extends the long vine and forest-clad Backer- Gebirge. (Branch-line from Marburg to Klagenfurt, Yillach, and Franzensfeste.) A pleasing view is obtained from the train as It crosses the Drau. Stations Kranichsfeld and Fragerhof (whence a line runs to Stuhlweissenburg and Pest). Beyond stat. Poltschach , at the foot of the Botsch, the scenery improves. The German language is now replaced by a Sclavonic or Wend dialect. The line winds through a sparsely peopled district. The valleys are generally narrow and picturesque, the mountains richly wooded , with occasional vineyards and fields of maize. Several small stations and foundries are passed, and an extensive view of the Sannthal, a populous and undulating plain, bounded by the Sulzbach Alps, is at length suddenly disclosed. Cilli (787 ft.) (Krone; Elephant, new; Rail. Restaurant), an ancient town, founded by the Emp. Claudius (Claudia Celleia). Roman reliefs and memorial stones are still found imbedded in the town-walls. On a wooded height in the vicinity stands the ruined castle of Ober cilli; on the slope to the N.E. the Lazarist monastery of St. Joseph with its two towers. The train crosses the green Sann , and enters the narrow and wooded valley of that stream. The most picturesque part of the whole line is between Cilli and Sava. Stations Markt Tiiffer, with a ruined castle , and Romerbad (which memorial stones prove to have been known to the Romans), also called Teplitz (i. e. 'warm 62 Route 9. LAIBACH. From Vienna bath'), are watering-places with attractive grounds and promenades, much visited from Trieste. Steinbriick (*Rail. Restaurant; 25 min. allowed for express passengers to dine, D. 1 fl. 5 kr., or 2i la carte), a thriving village on the Save or Sau, which here unites with the Sann. (Branch- line to the S.E. to Agram.) The train now runs for 1 hr. in the narrow valley of the Save, enclosed by lofty limestone cliffs, and often barely affording space for the river and railway. Stations Hrastnig (with valuable coal-mines), TriffaU, Sagor (the first place in Carniola), and Sava. The valley now expands. At Littai the Save is crossed. Scen- ery still very picturesque. Stations Kressnitz , Laase. At the influx of the Laibach into the Save , the line quits the latter and enters the valley of the former. The lofty mountain-range now visible is that of the Julian or Carnian Alps. Stat. Salloch. Laibach (994 ft.) (^Stadt Wien; Elephant; Europa), Sclav. Ljubljana , on the Laibach , the capital of Carniola, with 23,000 inhab., is situated in an extensive plain enclosed by mountains of various heights. An old Castle, now used as a prison , rises above the town. The Cathedral, an edifice in the Italian style, is deco- rated with stucco and numerous frescoes of the 18th cent. The Congress-Platz (Narodny-Terg), so named from the congress which sat here from 27th Jan. to 21st May 1821 , is adorned with a Monument of Radetzky, a bust in bronze erected in 1860. The line now traverses the marshy Laibaeher Moos by means of an embankment , l^/^ M. in length , and crosses the Laibach, which becomes navigable here , although hardly 3 M. below the point where it issues from the rocks near Oberlaibach. Near stat. Franzdorf the line is carried past Oberlaibach by a viaduct 625 yds. long , 120 ft. high in the centre, and supported by a double row of arches (25 in number), and enters a more moun- tainous district with beautiful pine-forest. Stat. Loitsch (1555 ft.) (Post or Stadt Triest). Quicksilver Mines of Idria, 15 M. N.W. of Loitsch ; carriage thither in 4 hra. , 6 — 8 fl. for the excursion; inspection of the mines 3 — 4 hrs.; drive back 4 hrs. The entrance to the mines is approached by 787 steps hewn in the limestone-rock, in the ancient town of Idria (1542 ft.) (Schwar- zer Adler) , which lies in a sequestered valley. Drops of the pure metal are seen adhering to the ore which is brought to the surface in tuns from a depth of 2661 ft. Annual yield 125 tons , part of which is converted into cinnabar on the spot. Next stat. Rakek , 31/2 M. to the S.E. of which is the Zirk- nitzer See , enclosed by lofty mountains. Then stat. Adelsberg (1798 ft.) (Krone; Eisenbahn), Sclav. Postdjna. The celebrated ^Stalactite Caverns, known in the middle ages and accidentally re-discovered in 1816, are 3,14 M. W. of Adelsberg. All the fees are iixed by tariff and are somewhat high for a single visitor , but less when shared' by a party. Brilliant illumination is necessary in order to produce a satisfactory effect. A visit to the grotto occupies 2^2 — 3 hrs., or if prolonged to the Belvedere 4 hrs. Temperature 48° Fahr. Ful- ler particulars, see Baedeker's S. Germany and Auttria. TRIESTE, .'^■''t to Trieste. TRIESTE. .9. Route. 63 The train now traverses a dreary, inhospitable plain, strewn with blocks of limestone, termed the Karst (Ital. Carso, Sclav. Gabrek), extending from Fiume (p. 66} to Gorizia (p. 234). At Stat. Frestranek it crosses the Poik , and beyond stat. St. Peter (branch line to Fiume ^ p. 66) passes through six tunnels. Next stations Leseee, Divazza (21/2 M. to the S.E. are the grottoes of S. Canzian), Sessana (1627 ft.). The train now descends to stations Prosecco and Nabreslna ( Hotel Daniel), where the line to Venice by Udine diverges (R. 39), and affords a magnificent *view of the blue Adriatic , Trieste , and the Istrian coast (views to the right). The slopes are planted with olives, flg-trees , and trellised vines. Grignano, the last station, is not above I1/2 ■^- below Prosecco in a straight direction. On the Punta Grignana, which here projects into the sea, is situated the handsome chateau of Miramar (p. 65). The train then passes through a tunnel and reaches the station of Trieste. Hotels. ^IIoTEL DE LA ViLLE (PI. a), R. li|2 fl., L. 40, B. 70, A. 40 kr. ; Hotel Delorme, opposite the Exchange; Locanda Grande , in the Pescheria ; *Europa (PI. c), nearest the station; Aquila Kera , in the Corso; Hotel de France (PI. d) ; Albergo Daniel (PI. e). Cafes. H6tel de la Ville (see above); Begli Specchi , Piazza Grande; several near the post-office and many others. — Restaurants. Alia Borsa Vecchia^ Berger, both in the old town; Monte Verde^ Scala d'Oro, Cervo d'Oro, Sotto il Monte., and many others with gardens in which concerts are frequently given. Fiacres. From the station to the town, one-horse 60 kr., two-horae lij-2 fl. ; from the town to the station 40 kr. or 1 fl. ; drive in the town, il4 hr. 30 or 45 kr. , i|2 hr. 50 or 80, 3,^ hr. 75 kr. or 1 fl. 10 kr., 1 hr. 1 fl. or 1 fl. 80 kr., each additional 'jn hr. 20 or 30 kr. ; at night 5 kr. more per i)4 hr. ; luggage 15 kr. per box. — Omnibus from the station to all the hotels 20, at night 30 kr. Steamboats of the Austrian Lloyd, to Venice (R. 39) three times weekly, to Pola three times weekly; to Greece, Constantinople, and the Levant once weekly ; to Alexandria every Saturday. Baths. ester reicher ., near the Artillery Arsenal; Ildtel de la Ville; warm salt and fresh-water baths at both. Turkish baths at the Bagni Russi, neAT the public gardens. Sea-baths at the Bagno Maria ^ opposite the Hotel de la Ville ; Bagno Boscaglia, to the r. of the last; Bagno Angeli (al Soglio di JVettuno), at the Pescheria ; Militari/ Swimming Bath, to the 1. below the lighthouse. Ferry to the baths 4, back 2 kr. — Boats 1— li|2 fl. per hour. Public Gardens. One by S. Antonio Vecchio ; another in the Piazza Grande ; also the pleasant Giardino Pubblico by the Boschetto. Theatres, Teatro Grande (PI. 21) , opposite the Tergesteo ; Teatro Mauroner (PI. 22), Corsia Stadion; Teatro Filodranunatico (PI. 23); Ar- monia (PI. 24). Italian plays and operas usually performed at all these. Railway Station, a handsome structure 1 M. from the Exchange. English Church Service performed by a resident chaplain. Trieste (more fully described in Baedeker's S. Germany and Austria), the Tergeste of the Romans, situated at the N.E. extremity of the Adriatic , is the capital of Illyria and the most important seaport of Austria (popul. 70,274). It was constituted a free har- bour by Emp. Charles VI. in 1719, and may be termed the Ham- burg of S. Germany. Every European nation has a consul here. The population is very heterogeneous , but the Italian element predominates. The Harbour is the centre of business. It is enter- 64 Route 9. TRIESTE. From Vienna ed and quitted "by 15,000 vessels annually, of an aggregate burden of one million tons. The quays are being greatly extended to meet the increasing requirements of the shipping trade. A lofty Light- house rises on the S.W. Molo. The well-built New Town, adjoining the harbour, is Intersected by the Canal Grande (PI. 5), which enables vessels to discharge their cargoes close to the warehouses. At the end of the Canal Is the modern church of S. Antonio (PI. 7) in the Greek style. Near the Hotel de la Yille Is the Greek Church (PI. 10) with its two green towers, sumptuously fitted up (divine service at 6 a. ra. and 5 pr m.). To the 1. of the Hotel de la Yille Is the Palaxto Carciotti , with a green dome. In the vicinity Is the *Tergesteo (PI. 25). an extensive pile of buildings , on the outside of which are shops, and In the interior a glass gallery in the form of a cross, where the Exchange (12 — 2 o'clock) is situated. The principal part of the edifice is occupied by the offices and *Reading Room of the ^Austrian Lloyd\ a steamboat -company established in 1833. Strangers are seldom denied access. The adjacent Old Exchange is disused. In front of it are a fountain, and a Statue of Leopold I. erected in 1660. The Corso, the principal street of Trieste, connecting the Piazza Grande with that of the Exchange , separates the new town from the old. The latter, nestling round the hill on which the castle liseSj consists of narrow and steep streets, not passable for carriages. To the 1. on the route to the cathedral and the castle is situated the Jesuits^ Church (S. Maria Maggiore, PI. 9) , containing a large modern fresco by Sante. Nearly ^^ opposite is the Piazzetta di Ric- cardo , named after Richard Coeur de Lion , who is said to have been imprisoned here after his return from Palestine. The Arco di Riccardo (PI. 2) is believed by some to be a Roman triumphal arch, but probably belonged to an aqueduct. The *Cattedrale S. Giusto (PI. 8) consisted originally of a basi- lica , a baptistery , and a small Byzantine church, dating from the 6th cent., which in the 14th cent, were united so as to form a whole. The tower contains Roman columns , and six Roman tombstones (busts in relief) with inscriptions are immured in the portal. The facade is adorned with three busts of bishops in bronze. The altar-niches of the interior contain two ancient mo- saics, representing Christ and Mary. The Apostles in the 1. bay, under the Madonna, are Byzantine (6th cent.). Some of the capi- tals are antique , others Romanesque. The S. aisle contains the tombstone of Don Carlos, pretender to the Spanish crown (d. 1855). A disused burial-ground adjoining the church is now an open- air Museum of Roman Antiquities (PI. 16) of no great value, those on the upper terrace having been found at Trieste , those on the lower at Aquileia (key kept by the sacristan of the cathedral, 50 kr.). "Winckelmann , the German archaeologist, who was robbed and to Trieste. TRIESTE. 9. Route. 65 murdered by an Italian at the former Locanda Grande in 1768, is interred here, and a monument was erected to him in 1832. Fouche. Due d'Otranto. once the powerful minister of police of Napoleon I., died at Trieste in 1820, and was interred on the terrace in front of tho church. Fine viev.' thence of the town and sea ; still more extensive from the height on Avhich the Castle stands. A long avenue, skirting the coast and commanding a succession of beautiful views, leads from the Campo .Marzo , on the E. side of the town . past the Villa Murat , the Lloyd Arsenal . and the Gas -Works, to Servola. To the 1. are the live picturesque cem- eteries. Another pleasant walk is along the Acquedotto through a pretty valley to the Boschetto . a favourite resort (large brewery). On the opposite hill is the * Villa Botacin with a gardeJi containing rare plants. From the Boschetto a shady road leads to the Villa Fer- dinandiana (restaurant), adjoining which is the RevoUella Chapel 'ommanding a charming view of the town, the sea. and the coast. A very pleasant excursion (carr. 3 fl., boat 4 fl.) may be made to the chateau of *Miramar. formerly the property of Emp. Maxi- milian of Mexico (d. 1867), charmingly situated in a park near rail. Stat. Grignano (p. 63), and commanding a fine view of Trieste, the sea, and the coast. It is open to the public on Sundays. The chateau contains a suit of handsome apartments hung with modern and copies of ancient pictures (fee to attendant 40 — 50 kr.). A small museum near the entrance to the garden contains Egyptian and Greek antiquities collected by the archduke. Barcola (restau- rant) is a favourite resort halfway between Trieste and the chateau. The extensive Wharves of the Lloyd Co. opposite Servola (4M. j may be visited daily, except holidays , Saturdays, and between 1 1 and 1 o'clock (guide 1/2 — ^ ^O- Excursions to Optschina (Inn), (commanding a beautiful view of the town and the sea ; Servola ; S. Giovanni ; the grotto of Cor- niale, 9 M. to the E. ; to Lipizza (imperial stables), etc. From Trieste to Pola, Fiume and Dalmatia. Steamboat three times weekly to Pola in 10 hrs. 5 thence to Fiume twice weekly in 11 hra. ; return by railway (p. 66). The steamer skirts the undulating, olive-clad coast of Istria. In a dis- tant bay to the S.E. lies Capo d Istria with an extensive house of correction. Un an eminence rises the church of Pirano; the town itself, with 9000 inhab., is picturesquely situated in a bay; the pinnacles and towers of the disused fortress peep from amidst olive-plantations. The lighthouse of Salvore is next passed, then Cmdgo, the castle of Daila, CWanova, Pa- renzo (with remarkable cathedral, a basilica of 961), and Orsera. In the distance to the E. rises Monte Maggiore (4560 ft.j. The vessel now stops at Rovigno (Sismondi), a prosperous town with 14,000 inhab. ; staple com- modities wine, oil. and sardines. To the r. near Fasana rise the Brionian Inlands., separated by a narrow strait from the mainland. Immediately beyond this strait tlie grand amphitheatre of Pola comes in sight. The excellent harbour, the principal station of the Austrian lleet , and now of considerable commercial importance, is defended by two towers. B^DKKER. Italv I. 3rd Edit. O 66 Route 9. POL A. From Trieste Pola C^Hdtel Riboli, neai* the harbour; Pavanello; beer at Zeiser's; Trattoria al Buon Pesce, on the way to the Arena), a thriving seaport with 16,324 inhab., is of very ancient origin, having been founded, accord- ing to tradition, by the Colchians who pursued Jason in order to recover the golden fleece. It was afterwards the Fielas Julia, a war-harbour of the Romans, from which period its magnilicent and highly intere.^ling antiquities date. These may be visited in the following order (guide unnecessary). The * Temple of AikjuhIus and Roma (B. C. 19), 26 ft. in height and 50 11. in width, with a colonnade of six Coi-inlhian columns 23 ft. in height, and with admirably executed decorations on the frieze , is in almost per- iod preservation. The collection of antiquities in the interior is insig- nificant. In the vicinity stood a temple of Diana, or more probably of Roma, of which the posterior wall only is preserved. This fragment was em- ployed ab(mt the year 1300 in the construction of the Palazzo Pubblico, which is incorporated with it with some skill. A bust of Signor Carrara (d. 1854), to whose efforts the antiquities are partly indebted for their preservation , has been erected here. The traveller now crosses the market-place towards the S. , and at the end of a long street reaches the Porta Aurata , an elegant isolated arch in the Corinthian style , 20 ft. in height, erected by the Sergian family. At some distance to the r. stood the ancient Theatre, the site of which only is now recognisable by a semicircular depression in the hill. The remnants were employed in 1630 in the construction of the fort. Excavations which are still prosecuted have brought to light the an- cient Porta Erculea and the Porta Gemina. The latter formed the entrance to the Roman capitol , the site of which is now occupied by the Castle. On the E. side of the latter is a Franciscan Monastery, erected in the I3th cent., now a military magazine. It possesses fine cloisters, and an elegant Romanesque portal on the W. side. A celebrated old laurel-tree in the court, which was said to be a scion of that which yielded its foliage to grace C8esar''s triumphal entry into the capiiol , had to be replaced by a young tree in 1864. Beyond the latter the *Arena is reached. It was erected alwjut the period of the Antonines (A. D. 150) and could accommodate 15,000 specta- tors. Height 78 ft., diameter 344 fl. The lower storeys consist of two se- ries of arches (72 in number) 18 ft. in height, one above the other; the upper storey is a wall with square openings for windows. The exterior is in admirable preservation, but the interior presents a scene of desolation ; the arrangements for the Naumacliia in the centre can alone now lie traced. Four gates, with projecting buttresses of which the object is un- known, form the entrances. The steamboat (once weekly) generally quits Pola late in the evening and arrives at Flume early next morning. The broad Quarnero Bay is travrrsed. To the 1. rises Monte Maggiore (4688 ft.): r. in the distance the Croatian Mts. of which the Capella range is the most prominent. Fiume, lllyr. Reka C^ Enropa , on the quay; Cafi near the market; *swimming-bath on the X. W. side of the town, 35 kr.), the capital of the Hungarian coast-district, with 13,000 inhab., contains little to interest the traveller. On a height, ij-j hr. from the inn, is the ruined castle of Tersato , the property of the Austrian Marshal Nugent. A small temple here contains a good collection of ancient reliefs, busts, statues, i>te, see p. 63.J ExcuKsioN TO Dalmatia. Voyage to Pola, see above. The steamer next touches at Lussin- Piccolo, the capital of the island of Lussin, with to Dalmatia. SPALATO. 9. Route. 67 7000 inhab., and the most important place in the Quarnero Islands. Then at the island of Selve. Zara, the capital of Dalmatia, the Roman Jadera, with 8000 inhab. , is quite Italian in character. The lofty rampart.s are now used as promenades. The Cathedral, in the Lombard style, was erected by the Doge Enrico Dandolo, in the 13th cent., after the town had been stormed by the Venetians and French at the beginning of the 4lh Crusade. The Porta Maritima is one of the few relics of the Roman period. The handsome Porta Terra Ferma was erected by Sanmicheli. Maraschino is made in large quantities (from cherries) at Lunardo's manufactory. From Zara the steamer proceeds in 6 hrs. to Sebenico (Pellegrino) - a town with 7000 inhab. , picturesciue^ situated near the mouth of Hie Kerka. A narrow canal connects it with the sea, from which it is 3 M. distant. Handsome Cathedral in the Italian Oothic style (i5th cent.). About 9 )I. farther inland lies Scardona, on a lake formed by the Kerka. The fine Fall of the Kerka, li|2 31. higher np, is precipitated in a bmad volume from a height of 160 ft. in several leap'^. The steamer rounds the Pitnta delta Planca, 3 hrs. after leaving Se- benico. To the S. in the distance is the island of Lissa , where the Austrians gained a naval battle in. July, 1866. Spalato (Hotel on the i|uay), with 12,000 inhab., is the most beautiful tnwn in Dulmatia. Nu- merous remains of a vast palace of Diocletian, on the foundation of which half the town is built , are still extant. The Cathedral in the Pia/.j^a del Duomo. once a temple of .lupiter. is an octagonal cditice in the Corinthian style. Opposite to it is the Church of St. John, once a temple of ^;;cu- lapius, with handsome external frieze. The ruins of Saloiia , the Roman capital of Dalmatia, lie 3 31. to the E. A good road leads from Spalato along the coast to the N. \V. to Trau , beautifully situated on a lofty peninsula . with an interesting cathedral of the i3th cent. The steamer next touches at Milna , the harbour of the island of Brazza, the largest belonging to Dalmatia, Lesiua, and Curzola (separated from the long peninsula of Habioncella by a narrow strait). It then passes ♦ he island of Meleda and stops at Ragusa (Inn, near the Porta Pille) , a town with streets rising in terraces, and a number of handsome buildings in the Venetian style (Cathedral. Palazzo, iJotjuua, etc.). Outside the Portji 3Iaritima a bazaar in the Turkish fashion is held three times weekly. — Krom Ragusa either l)y steamer in 7 hrs. (or Jiy land through the narrow Turkish coast-district of the Huttorina in 12 hrs.) to Castel Xuovo, a town with 8000 inhab., beautifully situated at the entrance to the Bay of Cal- laro. The entrance into the harbour, the *-Bocche di Cattaro , is grand ^ind striking. Cattaro, a strongly fortified town with 4000 inhab.. at Hie foot (if the lofty mountains of Montenegro, is uninteresting. A good road leads from Cattaro to Cettinje, the capital of the Zrnagora (a ride of 6 lir»i.(. The traveller may then eitlier proceed to Corfu via Anlivari and Duratzo . or return to Trieste by steamer (twice weekly). 68 NORTHERN ITALY. 10. Turin, Ital. Torino. Arrival. The principal railway-station at Turin is tlie Stazione Cen- (rale , or Porta j^'itova (I'l. (i, 7, 8), in the Piazza Carlo Felice, at the end of the Via Rmna , a handsome edifice with waiting-rooms adorned with frescoes , and the terminiis of all the lines. Travellers to Milan may take the train at the Stazione Porta Susa (PI. C, 5, 6) , at the end of the Via della Cernaia, the first stopping place of all the trains of the Xovara-JIilan line (omnibuses and carriages meet every train), or at the Stazione Sncciirsale , on the 1. bank of the Dora , a station of the slow trains of the Novara line. — Station of the branch line to Rivoli in tlic Piazza della Statute ; of that to Cirie l)etween the Piazza Emanuele Fili- herto and the Ponte Mosca. • Hotels. *EuKOPA (PI. a), Piazza Castello 19, R. from 3, L. 1, B. 2, 1>. 4i|2, A. 1 fr. ; *(*KAND Hotel de la Ligukie, Via Roma 31, R. 3, D. 4, \j. and A. li|2 fr. -, *Hotel Feder (PI. c), Via S. Francesco di Paola 8, near the corner of the Via di Po , R. 3, I). 41)2, A. 1 fr. ; Grand Hotel de Turin, opposite the central station, D. 5 fr. ; Bonne Femme, or Grand Hotel d'Anoletekre (PI. f.J , Via Barbaroux 1; Hotel Tkombetta, Via Homa, corner of Via Cavour; Albekgo Centrale , Via delle Finanze, R. 2, B. I1J4, A. 3J4 fr. — Second class , with restaurants : Caccia Reale (PI. g) , Piazza Castello 18 ; *Hotel de France et de la Concorde (PI. h) , Via di Po, R. from 2, D. 3i)2, L. and A. 1, omnibus 1 fr. ; Tre Corone, Via S. Tommaso ; Bologna, Piazza d'Armi ; *Dogana Vecchia, Via Corte dWppello 4, near the Palazzo di Citta (PI. 27), I). 3 fr. — Table d'hote generally at 5 o'clock , also U. a la carte , or at a fixed charge (3'J2 to o fr.). The Grissini, a kind of bread in long, thin, and crisp sticks, are said to be particularly wholesome. Best wines : Barbera, Barolo, Nebiolo, (irignoUno. Restaurants. Cambio, Piazza Carignano 2, good wines ; Paris (PI. k), Via di Po 21, good cuisine, D. 4 fr. ; Bifo, Via Roma 13; S. Carlo (PI. n); Concordia (PI. h) , Via di Po 20; Meridiana (PI. m) ; Due Indie, Vir Guasco 4. Good wines at the Trattoria d'Oriente, Via Lagrange, and at the Coccagna, Via Dora Grossa. Cafes. Cafe de Paris (PI. k) ; S. Carlo, handsomely fitted up. Piazza S. Carlo 2; Nation ale , Via di Po 20; Madera^ Via Lagrange 10; Al fieri, Via di Po; Afene . Piazza Carlu Alberto; Borsa, Via Roma 25; Roma, corner of the Via di Po and Via Carlo Alberto; Bara Giuseppe, Via di Po 24; Liguria , Corso del Re, near the station; Cafe-lieataurant at the Central Station. Ices everywhere, sorbetti and pezzi duri (the former half, the latter quite frozen). A favourite morning beverage is a mixture of coffee , milk , and chocolate , '■un bicchierino'' 20 c. — Confectioner. Bass, Piazza Castello, S. side. — Beer, 40 c. per bottle, generally bad: Grosetti. Via di Po ; Lumpp , at the corner of Via delT Arsenale and Via Alfieri. Vienna Beer: Via di Dora Grossa 5; Birraria di Vienna, Via Lagrange 6; Birraria Centrale, Via di Po. Cabs, or Cittadine , stand in most of the piazzas and in the streets leading out of the Via di Po. Per drive (corsa) 1 fr. , at night (12—6 a. m.) 1 fr. 20 c; first ifa hr. 1 fr., first hr. (ora) 1 fr. 50 c., each following 'J2 hr. 75 c. , at night l'j2 fr. and 2 fr.; each trunk 20 c. — Two-horse carriage per drive 1 fr. 50 c. ; first IJ2 hr. 1>|2 fr. , first hour 2 fr. , each additional »|2 hr. 1 fr. 25 c; at night per drive 1 fr. 70c., first i|2 hr. 2fr.. etc. — Omnibuses run frequently from the Piazza Castello to each of the four gates, and by the Via Borgonuovo to the Via della Rocca, fare 10 c. — Tramwutj from" the Piazza Castello by the Via Lagrange to the Barriera di Xizza, 10 c. Railway (Central Station in the Piazza Carlo Felice, see above). To the E. to Alessandria (Genoa, Bologna), see RR. 12, 13 ; S. to Saluzzo, Bra, and Cuneo (Nice) in 2>J2 hrs. (R. 17); S.W. to Pinerolo (p. 78) in 1 hr. ; W. TURIN. /(/. Route. 69 to l^usa (3Iont Cenit> . p. 32) in 13!4 hr. ; N.E. \o Irrea (p. 78), Biellu mid Aovat-a tArnna, Milan), see R. 18. Diligence (t rum Cuneo) to Nice: Oflice Ballesio, Strada Cavour (coupe 22, intorimir 20 fr.). Post Office (Posta Lettere) , Via del Teatro d"Angenno.'^ lU (branch- offices \in Dora (Tro.>i.sa 22 and at the Central Station). Telegraph Office, Via del Teatro d'Angennes 8. Booksellers. Loescfier, Via di Po 19, with circulating library of Eng- lish, French, (German, and other books; Beuf, Via delT Accademia delle Scienze 2. Military music in front of the Royal Palace daily, in winter at 4, in summer at 5 o'clock; on Sunday 12 — 2, in .summer in tiie Giardino Realc, in winter in the Pia/za Vittorio Emanuele; in the evening in the Piazza d\\i-me (daily, in summer only). Baths, Via di Po 51 ( I fr. 25 c.) and Via delta Consolata. iSwiuuitimj Bath (scuola di nuoto) above the old bridge over the Po (p. 77), 6() c. Commissionaires, or ciceroni, are to be found in the Piazza Castello and Carignano , but their services may bo dispensed with (5fr. per day). Theatres. Teatro Rcyio (P. 36), in the Piazza Castello , with seals for 2500, generally open during the Carnival i»i\od hy Abhondio Sangiorgio in 1842. To the 1. in the hall of the palace , to whicli the public are admitted, in a niche near the staircase, is the 'Cavallo di Mar mo' , an equestrian statue of Duke Victor Amadeus I. (d. 1675); the statue is of bronze, the horse in marble ; beneath the latter are two slaves. The royal apartments are generally accessible in the absence of Armoury. TURIN. KK Route. 71 the king. The private library contains a very copious collection of historical and genealogical works . and a valuable cabinet ot drawings. Visitors apply to the custodian in the palace itself. The Palace Garden (Giardino Reale), entered from the arcade opposite the Palazzo Madama , is open daily from 1st May to 30th Sept. It — 8 o'clock (military music, see p. 69). Adjacent to the Oiardino Reale is a well-stocked Zoological Garden (open to the public Mond. and Thurs. 2 — 3 ; to strangers daily on application at the palace). — Services of a commissionaire in the palace and armoury unnecessary. The long S. E. Aving of the edifice (Galleria Beaumont) contains tlie *Armovirj (Armeria Reale , PI. 11), entered from the arcade (first door to the r. when approached from the palace), opposite and to the N. E. of the Palazzo Madama. It is open to the public on Sundays. 11 — 3 o'clock , and daily at the same hours by tickets (obtained between 11 and 3 o'clock at tl\e office of the secretary of thf Armoury, on the ground-floor). The collection is very choice and in admirable order (custodian 1/2 — ^ f"*-)- In the centre of Room I. is a handsome modern * marble group by Fitielli., representing St. Michael with raised sword keeping down Satan in fetters, presented in 1844 by '^f. CriMna Ji liovhone vedova del Be. Carlo Felice' . Ly the pedestal are two French regimental eagles and the sword worn by Napoleon I. at the battle of Marengo. Numerous models of mo- dern weapons-, Japanese and Indian weapons and armour; busts of cele- brated Piedmonteso and Savoyards. A cabinet on the r. contains gifts presented to the king by Italian towns, a sword presented by Rome in 1859, a crown by Turin" 1860, and a sword in 18G5 , on the occasion of the Dante Festival: in the centre the favourite horse of Charles Albert; Piedmontese tlags from the wars of 1848—49 over the cabinets, and the cootume of the notorious brigand Monaco, etc. The long Hall adjoining Room I., contains cavalrv-accoutremcnts ; the first sword to the r. (No. 949) at the top of cabinet' K. is by neuveimto Cellini. The finest suits of armour are those of the Brescian family Martinengo. A saddle of Emp. Charles Y. in red velvet. On the middle of the wall to the r. a gigantic suit worn by an equerry of Francis I. of France at the battle of Pavia : at the end oi" it the armour of Prince Eugt-ne worn at the battle of Turin, and a Roman eatrle of the 8th Legion. Over the door a bust of King Charles Albert (d. 1849); also two of his swords, sword of St. Maurice, sabre of Tipoo Sahib; two Austrian flags captured in 1848 at the battle of Somma Campagna. A cabinet here contains a rare and valuable col- lection of 32 halberds. (A small adjacent room is occupied by a very valtiable Collection of Coins, trinkets, mosaics, carved ivory, etc.) On the r., as the long hall is re-entered, under glass, a ^shield by Benvennto Cellini, embossed and inlaid with gold, representing scenes from the wars of Marius against Jugitrtha. A number of ancient helmets are also preserved here. The sword of the Imperial General Johann v. Werth (d. 1652) bears a curious German inscription in verse. In the Piazza ('arignano, near the Piazza Castello. and reached by the Via Lagrange leading to the S., rises the Palazzo Carignano (PI. 26), with its curious brick ornamentation , where the Italian Chamber of Deputies met down to 1865. A new fagade has been built at the back, towards the Piazza Carlo Alberto , and part 01 the collections of the Academy (p. 72) will be transferred to tliis palace. — In the Piazza Carignano. in front of the palace, stands 72 Route 10. TURIN. Academy. the fliiely-executed marble statue of the philosopher and patriot Gioberti (PI. 20), by AlbertonL erected in 1859. — The Piazza Carlo Alberto (E. side of the Palazzo Carignano) is embellished with a bronze monument of King Charles Albert (PI. 18), designed by Marochetti. and east in London. The pedestal stands on four steps of Scottish granite , at the corners below are four colossal statues of Sardinian soldiers ; above them are four allegorical female figures, representing Martyrdom, Freedom, Justice, and Independence. In the vicinity, at the corner of the Piazza Carignano and the Via deir Accademia, is the Palazzo dell' Accademia delle Scienze (PI. 10), containing a picture-gallery and museums of natural his- tory and antiquities. To the r. on the ground-floor are the Egyp- tian. Roman, and Greek sculptures ; on the first floor the natural history collection ; on the second floor smaller Egyptian antiquities and the picture callery (all collections open on week-days — 4, Sund. 9—1). The Natural History Museum contains fossil impressions of fish ; a cabinet wilh fossil teeth and bones of an antediluvian '■ Tetralophodon Arveniensis\ found during the construction of the railway; opposite lo it a gigantic '■Gluptodon clavipe.s' from the La Plata district ^ also a '■Mega- therium Cuviert ; valuable collection of stuft'ed animals. — The Mineralogi- cal Collection is considered good. The Museum of Antiquities (Muaeo Egizio e di Antichita Oreco-lioiiiane) consists of two sections. An ante-room on the ground-floor, to the r., contains the complete skeleton of a whale. The door leads to Hall I., containing Egyptian statues and late Greek works found in Egypt; on (he r. a good torso, on the 1. four figures placed round a column, bearing the name ofProtys the sculptor. Minerva, over life-size. In the centre of the room "tfniosaics found at Stampacci in Sardinia, representing Orpheus with his lyre, and a lion, goaf, and ass, probably the animals listening to him." Hall II. : large Egyptian sphynxes, figures of idols and kings, sar- cophagi , reliefs; over the sitting figure of Sesostris is an inscription in honour of the celebrated Parisian antiquarian Champollion, '■qui arcanae Aegijptiacoruia scripturae recoiiditani doctrinain primus aperuit.^ — The visi- tor now enters the 1st Gallery to the left. In the centre, statue of a youth , Hercules killing the snakes (in Greek marble). Posterior wall, colossal female head (Venus), found at Alba in 1839, used as a fountain- jet; Antinous ; repetition ofDIarsyas and Olympus. On the pillar, Athlete ofl'ering sacrifice (a relief). Window-wall, head of basalt with Coptic in- scription. 2nd Gallery: two rows of busts of emperors. On the pillar, works in ivory and wood: Judgment of Solomon and Abraham's Sacrifice, by Simon Troger of Munich , 1741. The cabinets contain statuettes and luLsts in marble and bronze, many of them modern. Along the window- wall busts of philosophers and poets. Last Room : Vases ; by the pillar dishes and terracottas (*liead of Medusa, Mercury and a youth, Olympus from the group already mentioned , graceful dancing nymphs). By the wall opposite, a *statuette of Minerva in bronze, found in the Versa near Stradella in 1829: a tripod and *Faun found near Turin. — The smaller antiquities are on the Second Floor (visitors ring a bell on the r.), con- sisting of mummies , papyrus writings , scaraljees, statuettes, trinkets, vases , etc. In the centre of the second room is the formerly celebrated Tabula Isiaca, found under Pope Paul III. (d. 1549) in the Villa Ca.'larelli at Rome, a tablet of bronze with hieroglyphics and figures partially in- laid with silver. Attempts to decipher the characters elicited the uaost profound and erudite explanations and conjecluros from the savants of three centuries , but it has been recently proved that the tablet is spu- rious, having been manufactured at Rome under Hadrian. The cele- Picture Gallery. TURIN. 10. Route. 73 hrated papyrus with the annals of )Ianetho, discovered by Champollion, is also preserved here. Finally a number of roman and mediaeval antiqui- ties , at present in disorder. The Picture Gallery ( Finacoleca) consists of 15 rooms containing 514 paintings , many of them very valuable (catalogue i'J4 fr.). Room I. : Princes of the House of Savoy and battle-pieces. Beginning on the r. : ten of the battles fought by Prince Eugene, by Huchtenbtirg?i ., thirteen portraits of members of the House of Savoy, Xo. 28 is by Horace Vernet; 29. 31. Clouel; 39. Van Duck; i. Van Schiippen. Prince Eugene on horse- hack. — The 2nd , 3rd and 4th Rooms contain works of the school of Vercelli and Monferrato. of no great value. Room II.: *49. Gaiidemio t'erran (the best master of the school, 1484 — 1559), St. Peter; 49 bis. Ferrari, Adoration of the Child; 50. Sodoma (Giov. Ant. Bazzi, 1477—1549), Holy Family (not of this school); 54. Ferrari. Descent from the Cross. — Room III.: V55. Sodoma, Madonna and saints. — Room IV. : 99. Landscape liy Massimo d'Azeglio, the celebrated author and statesman (d. 1866). — Room V.: 93. Fra Angelico da Fiesole (?) , Madonna; * 94, 96. Adoring angels, by the same; 97". PoUaJtiolo. Tobias and the angel; 98. Sandro Botticelli. Same subject: 101. Fr. Francia. Entombment; 103. Lorenzo di Credi, JIadonna and Child; 106. Bugiardini, Holy Family; I08bis. After Raphael, Portrait of Pope Julius II. in the Palazzo Pitti at Florence ; 111. Sodoma, Madonna and John the Baptist; 118. Cirolainu Sacoldo. Holy Fami- ly; 122. Franc. Penni. Good copy (1518) of Raphael's Ent'^asso/erraio , 3Iadonnas, the first termed 'della rosa' ; 260, 264. 271, 274. Albani. The four Elements: 276. Carlo Dolci. Madonna; 284,288. Bernardo Bellotti. Views of Turin; 295. Maratta, Madonna; 299,300. Angelica Kauff- inann, Sibyls. — Room XII.: "Netherlands and German school: 306. Engel- hrechtsen. Passion; 309. Adoration of the Magi in the style oi Hieron. Bosch (I5th cent.); 318. Briiun. Portrait of Calvin (?); 32*2. Paul Bril, Landscape; 325. Gollz. Warriors: *388. Van Duck. Children of Charles I. of England ; 340. Rubens. Sketch of his apotheosis of Henry IV. in the X'fiizie ; 351. Van Dyck. Princess Isaliella of Spain. — Room Xlll. , containing the gems nf the collection: 355. Mantegna, Madonna and saints; +358. Hans Mem- ling. Seven Sorrows of ^larv . forming the counterpart of the Seven Jovs of 3Iary at Munich : +363. ' Van Dijck. Prince Thomas of Savoy; 364. D. Teniers. Tavern; 366. Wouicerman . Cavalry attacking a bridge; 368. D. Teniers . Younger. The music-lesson ; *373. Raphael, Madonna della Tenda (a very line picture, but the original is at Munich); 376. Sodoma, Lucretia killing herself; +377. Paul Potter (1649). Cattle grazing: 377 bis. Jan Li- vens, Man asleep; 378. Jan Breughel, LanA'^CHiiC with accessories; 379. Frans Mieris. Portrait of himself; 360. Velvet Breughel, (^lav ; +383 bis. Murillo, Capuchin; +384. Van Dyck, Holy Family; 385. Honthorst (Gherardo delle A'otti), Samson overcome by the Philistines: +386. H. Holbein. Portrait of Erasmus; 382. J. Ruysdael. Landscape; 391. Gerard Dow, Girl plucking grapes; 392. Velasquez, Philip IV. of Spain ; 393. Rubens (V), Holy Family; 395. C. Netschevy Scissors-grinder. — Room XIV. : 410. Floris, Adoration 74 Route 10. TURIN. Cathedrnl. of the Magi; 417. School of Rithens ^ Soldier and girl; 420. Woiiwerman^ Horse-market-, 435. Geraid Dow. Portrait; 434. .S'. Ruij.ulael. Land.<»cape ; 428. Teniet:^, Yotrnger, Card-Players : 430. School of Remhiaiiill . Portrait of a Rabbi; 458. Schalkei) ., Old woman; *470 bis. Murillo , Portrait of a hoy. — Room XV. : 478, 483. Claude Lorrain. Landscapes: 484 bis. Netscher. Portrait of 3Ioliere. The spacious Piazza S. Carlo , which adjoins tiio Academy, is embellislied Avith the equestrian * Statue of Emmanuel Fhilibert (PI. 19), Duke of Savoy (d. 1580), surnamed 'THe de Fer, in bronze, designed by Mfirochetti, and placed on a pedestal of granite, with reliefs at the sides. On the AV. side the Battle of St. Qnen- tin , gained by the duke under Philip 11. of Spain against the French in looT"; on the E. side the Peace of Cateau Cambresis (lon.H), by which the duchy was restored to the House of Savoy. The duke as yacem redditurus' is in the act of sheathing his sword (^liis armour preserved at the armoury is placed in the same attitude). The Via Roma (formerly Nuova) leads in a straight direction from the Piazza S. Carlo to the Piazza Carlo Felice and the railway- station. To the 1. in the Via dell' Ospedale is the Exchange, the Industrial Museum and the Ospedale S. Giovanni Battista. Near the latter, in the Piazza Carlo Emanuele II, a handsome monu- ment to Count CamiUo Cavour, by Dupre of Florence, was erected in 1873. To the r. of the Via Roma, in the Via dell' Arsenale is the spacious Arsenal (PI. 12), containing the Museo Nazionale d'Artigleria (shown to strangers only by special permission of the war minister) , the artillery-workshops , a manufactory of arms, stores of weapons, cannon-foundries, laboratories, a library, and a collection of maps. In the Via Cavour , at the corner of the Via Lagrange, is the house in which Count Cavour was born in 1810 (d. 1861), with a memorial tablet. Adjoining the Palazzo Reale on the W. side rises the Cathedral of S. Giovanni Battista (PI. 8), with- a marble facade in the Renais- sance style erected by Baccio Fintelli in 1498. It is a cruciform structure with aisles, and covered with an octagonal dome in the centre. Over the VV. Portal in the interior is a copy of Leoiiardo da Vinci's Last Supper (p. 121 ). Over the second altar on the r. nrv. 18 small pictures , blackened with age , erroneously attributed to Alb. Diirer; altar-piece on a gold ground in Gothic framework, by a good master. Frescoes on the ceiling modern. The seats of the royal family are on the 1. of the high altar. Behind the high altar is situated the ^'('appella del 8S. Sudario (open during morn- ing mass till 9 o'clock), approached by 37 steps to the r. of the high altar, constructed in the 17th cent, by the Theatine monk Guarini. It is a lofty circular chapel of dark brown marble contrast- ing strongly with the white monuments, separated i'rom the choir by La Consolata. TURIX. 10. Route. 75 a glass partition, and covered witii a curiously shaped dome. This is the hurial-chapel of several Dukes of Savoy, and was embellished by King Charles Albert in 1842 with statues in white marble and symbolical figures to the memory of the most illustrious members of his family: (x.) Emmanuel Philib€rt(d. 1580), Ti-stitutor imperii', by Marchesi; Prince Thomas [d. 1656), by Gaggini; Charles Emmanuel Jl. (d. 1675). by Fraccaroli ; Amadeus VIII. (d.l451), by Cacciatori. The chapel also contains the marble monument of the late Queen of Sardinia (d. 1855j, by Kevelli : -Conjugi dul- cissimae Marine Adelaidi posuit Victorias Emanuel 1856\ The pe- culiar light from above enhances the effect. In a kind of urn over the altar is preserved the SS. Sudario, or part of the linen cloth in which the body of the Saviour is said to have beei» wrapped. The door in the centre leads to the upper corridors of the royal palace, which are used as a public thoroughfare. Corpus Domini (PI. 5), near the cathedral, was erected in 1647. The church was restored in 1753 by Count Altieri, then "decurione' of the city, and lavishly decorated with marble, gilding, and paint- ings. — In the adjacent church of .S. Spirito Kousseau when an exile from Geneva, at the age of 16, Avas admitted within the pale o'the Roman Catholic Church in 17'28, but again professed himself a convert to Calvinism at Geneva in 1754. The Piazza del Palazzo di Citth is adorned with a mouument to Amadeus VI. (PI. 16), surjiamed the -conte verde , the couqueror of the Turks and restorer of the imperial throne of Greece (d. 1383), a bronze group designed by Palayi ^ and erected in 1853. The marble statues in front of the portico of the Palazzo di Cittk (town- hall) of (1.) Prince Euijene (d. 1736) and (r.) Prince Ferdinand (d. 1855), Duke of Genoa and brother of Victor Emmanuel , were erected in L858 ; that or King Charles Albert (d. 1840) in the hall to the I. was erected in 1859 ; that of the present king to the r. in I860. Opposite these statues are several Memorial Tablets. In the Piazza Savoia rises the ' Monumento Siccardt (PI. 23j, an obelisk 75 ft. in height, erected in 1854 to commemorate the abo- lition of ecclesiastical jurisdiction, named after Siccardi. minister vif justice, on whose suggestion it was erected with the consent of the king and Chambers. The names of all the towns which con- tributed to the erection of the monument, are inscribed on the iolumn. The Via della Consolata leads hence to the E. to the church of La Consolata (PI. 4), containing a highly revered Madonna, and formed by the union of three churches ; the present structure is in the -baroque' style of the 17th ceiit. The chapel to the 1. beneath the dome contains the kneeling statues of Maria Theresa. Queen of Charles Albert, and Maria Adelaide, Queen of Victor Emmanuel (both of whom died in 1855), erected in 1861. The passage to the r. of the church is hung with votive pictures, most 76 Route 10. TURIN. Giardino Puhblico. of them very rude. The piazza adjoining the church is adorned with a granite column surmounted with a statue of the Virgin, erect- ed in 1835 to commemorate the cessation of the cholera. Returning to the Piazza Savoia and crossing the Corso Siccardi, we reach the new Giardino della Cittodella , where statues were erected in 1871 to Brofferio , the poet and orator, and in 1873 on the opposite corner to the jurist J. B. Cassini; on the other side of the street a bust of Dr. Borella. Farther on , in the triangular Piazza Pietro Micca, at the corner of the Via della Cernaja is a mon- ument in bronze , erected in 1864 in memory of Pietro Micca, the brave ^soldato minatore', who at the sacrifice of his own life saved the citadel of Turin, on 30th Aug., 1706, by springing a mine when the French grenadiers had already advanced to the very gates. Nearly opposite rises the statue of Count Alex. Lamarmora (d. 1855 in the Crimea). In the Via di Po (p. 70j Avhich leads to the S. from the Piazza Castello , on the 1., is the University (PL 38), with a handsome court in the late Renaissance stylo with two arcades one above the other. It contains a Museo Lapidario of Roman antiquities, chiefly inscriptions. Marble statues have been erected here to Prof. Riberi (d. 1861) and Dr. L. Gallo (d. 1857). On the corridor of the first floor are busts of celebrated professors and a large alle- gorical group presented by Victor Emmanuel. The library, on the second floor (200,000 vols.^, contains a number of valuable manu- scripts and rare editions. No. 6, to the r. in the \U dell' Accademia Albertina , is the Accademia Albertina delle Belle Arti (PI. 9 ; shown on week- days on payment of a fee). It contains a small collection of pic- tures; among them a Madonna ascribed to Raphael, a cartoon by Leon. da Vinci, and "24 cartoons by Gaudenzio Ferrari. The Via Montebello , the next cross-street , leads to the new Synagogue, a square building resembling a tower , and the loftiest in the city , with a singular facade consisting of several rows of columns. The streets leading out of the Via di Po to the S. terminate at the former Giardino dei Ripari, on the site of the old fortifications, now superseded by new streets and squares in course of construction. The statues formerly placed here of the Dictator Manin, of Cesare Balbo and of the Generals Bava and Pepe are at present removed. S.Massimo, between Via S. Lazzaro and Via Borgonuovo , is in the style of a Roman temple, surmounted by a dome. The fa- ^•ade is adorned with statues of the Four Evangelists. Good modern frescoes in the interior, and several statues by Albertoni. A favourite promenade, especially in the evening, is the *Nuovo Giardino Pubblico, above the iron bridge on the 1 . bank of the Po, with a Cafe in the Swiss style. It comprises the Botanical Garden. and extends beyond the royal chateau II Valentino , a turreted Cemetery. TURIN. 10. Route. 77 building of the 17th cent., now occupied by the Polytechnic School ('scuola superiore d'applicazione degli Ingegneri'). In the Corso del Re , which leads from the Iron Bridge to the Piazza Carlo Felice, on the 1., is the handsome Protestant Church (Tempio Valdese , or church of the Waldenses , see p. 78; Pi. 8), completed in 1854 , the first erected at Turin since the establish- ment of religious toleration in 1848. — In the Piazza Carlo Felice, near the station , is a statue of Massimo d'Azeglio, the author and statesman (d. 1866); to the r., in the Piazza Lagrange, of the mathematician Lagrange (d. 1813 at Paris) ; to the 1., in the Piazza Pnleocapa, of the engineer and minister of that name. Opposite the spacious Piazza Yittorio Emanuele, at the end of the Via di Po, the Po is crossed by a Bridge of live arches construc- ted of granite in 1810. (Above the bridge is the swimming-bath, p. 69). Beyond the bridge , on the r. bank of the river is a flight of 82 steps ascending to the spacious dome-church of Gran Madre di Dio (PI. 7), erected in 1818 in imitation of the Pantheon at Rome . to commemorate the return of King Victor Emmanuel i. in 1814. The groups sculptured in stone on the flight of step.-; are emblematical of Faith and Charity. The lofty columns of the por- tico are monoliths of granite. A few hundred yards farther is the Villa della Regina , now a school for the daughters of officers who have fallen in battle, commanding a tine view of the town. On the wooded hill to the r. rises the Capuchin Monastery (PI. 24), 1/4 hr. walk from the bridge, approached by broad paths on the S. and N. sides. The latter is to be preferred, being shady and unpaved. The terrace in front of the church (morning best time for a visit, as the evening light is dazzling) commands a tine *survey of the river, city, plain, and the chain of the Alps in the background , above which (r.) the snowy summit of Monte Rosa is prominent, then the Grand-Paradis and Monte Levanna ; farther W. the valley of Susa (p. 32), S. Michele della Chiusa (p. 32), rising conspicuously on a hill, above it the Roche-Melon, to the r. of Mont Cenis, farther S. W. Monte Viso. This hill of the Capu- chins has always been a point of great importance in the military history of Turin. The Cemetery [Cimitcro, or Campo Santo, open 12—4 o'cl. in winter, 3 — 8 in summer; in Sept. and Oct. 2 — 4 only), 1^2 M. N.E. of Turin, on the road to Chivasso (see p. 112), is superior in extent and arrangement to most of the Italian burial-grounds, but contains few monuments worthy of note. The front part is enclosed by a wall with arches, while the more interesting portion beyond is surrounded by arcades covered with small domes. To the 1. by the wall in the first section is the tomb of Silvio Pellico (d. 1854). A separate space on the N. side is reserved for the interment of non-Romanists. 78 Route 11. IVREA. The *Superga (2555 ft.), the royal burial-church, a handsome edifice with a colonnade in front, and surmounted by a dome, conspicuously situ- ated on a hill to the E. of Turin, is well worthy of a visit (l^-i hrs. Walk) and commands a splendid view. It ia said that Prince Eugene recon- noitred the hostile camp from this height before the commencement of the battle of Turin (17U6), and that, observing symptoms of irresolution in their movements, he observed to Duke Amadeus II. '// me semble , qu« res gens-la sont a demi baltiis\ The latter, it is said, on thi.s occasion vowed to erect a church here in honour of the Virgin, in case of his suc- cess in the battle. The building was begun in 1717 and completed in 1731. The kings of the House of Savoy arc interred in the vaults here-, Ihr last was Charles Albert in 1849. The pleasantest route to the Superga is to descend by boat (barchetfa) on the Po (also an omnibus from Piazza Castello every ij^ hr.) to the Madonna del I'llone , about 1 31. below Turin, where donkeys C.5oma?"e;^f, 3 fr.) may be engaged for the ascent of the hill. Excursion from Tui-in to the Valley.s of the Waldenses ( Valines Va>i- doises), extending along the French frontier , about 30 M. to the S. "VV. The well-known and interesting Protestant communities (about 26,000 souls) who have occupied these valleys for 600 years, have .steadily ad- hered to the faith for which they were formerly so cruelly persecuted. Their language is French. Railway from Turin to Pignerol (Ital. Pine- n>lo) (Corona grossa) in V\-> hr. (fares 3 fr. 55, 2 fr. 55. I fr. 70 c); omni- bus thence in 1 hr. to La Tour, Ital. Torre Luserna (L' Ours; Lion d'Or). the chief of these communities, which possesses excellent schools. — From Pignerol a road ascends the valley of the Cfiisorie by Perosa and Fenes- frelle, a strongly fortified place, to the Mont Genkvr.e and the Frencl) fortress of Brianqon in the lofty valley of the Durance. At Cesanne this road unites with that from Turin by Susa (p. 32). 11. From Turin to Aosta. Railway to Ivrea (38 M.) in 4 hrs. (fares 6 fr. 85, 5 fr. 80, 3 fr. 45 c). Diligence thence to Aosta in 9 hrs. (fare 8 fr.). From Turin to Chivasso, see p. 112. Between the depression.s of the lower mountains the snowy summits of the Grand Farad is are conspicuous, which conceal the view of Mont Blanc ; farther to the E. , Monte Rosa is visible. At Chivasso carriages are changed. Next stations Montanaro, Caluso , and Strambino , villages of some importance. Ivrea (768 ft. J (*Europa; I'niverso), a town with 9600 inhah., is picturesquely situated on the Dora Baltea (French Doire), on the slope of a hill crowned by an extensive and well-preserved ancient Castle, with three lofty towers of brick, now a prison. Adjacent is the modern Cathedral, the interior of which was restored in 1855. An ancient sarcophagus adorns the adjoining Piazza. Ivrea is an episcopal see and capital of the proviuce of that name. This was the ancient Eporedia, which was colonised by the Romans, B.C. 100. in order to command the Alpine routes over the Great and Little St. Bernard. Pleasant walk to the Madonna del Monte (pilgrimage church) and the lake of <*?. Giuseppe with a ruined monastery (1 hr.J. Ivrea may be termed one of the 8. gateAvays to the Alps. The luxuriantly fertile valley, here IV2 M. in breadth , is flanked with VERREX. 11. Route. 79 mountains of considerable lieiglit. The post - road skirts the Dora Baltea the whole way to Aosta. On a height to the r. stands the well-preserv.'d. pinnacled castle of Montnlto (a waterfall near it); several other ruins crown the hills farther on. The vines which clothe the slopes are carefully cultivated. The road leads through the villages of Settimo-Vittone and Carema. At 1*2 M. Pont St. Martin (Rosa Ro!assage is supposed to have been originally constructed by the Komans. The JDoire forms a succession of waterfalls in its rugged channel far below. The small village of Montjovet , on the roofs of which the traveller looks down from the road , appears to cling precariously to the rocks. The castle of St. Germain is again visible from several different points of view. As soon as the region of the valley in which Aosta is situated is entered , a grand and picturesque landscape, enhanced by the richest vegetation , is disclosed. The Pont des Salassins (see 80 Route 11. AOSTA. below), a bridge crossing a profound ravine, commands a magnifi- cent view. On the 1. rises the castle of L'sseUe. Near St. Vincent (Lion iVOr ; Ecu de France) is a mineral spring and bath-establishment. Then (IY2 M. farther) 9 M. Chitillon (1738 ft.) (Hotel de Londres ; Lion d'Or, poor), the capital of this district, possessing a number of forges and hand- some houses. To the N. opens the Vat Tournanche, through which a bridle-path leads to the Matterjoch (10,899 ft.) and Zermatt, and thence to Vispnch (p. 33) in the Rhone Valley (see Baedeker's Sxintzerland). The road is shaded by walnut and chestnut-trees and trellised vines. The wine of Chamba^^e, about 3 M. from Chatillon , is one of the best in Piedmont. A slight eminence here commands an imposing retrospect; to the E. rise several of the snowy summits of Monte Rosa, r. Castor and Pollux (Les Jumeaux), 1. the bold peak of the Matterhorn and the Matterjoch (see above). The whole of the background towards the W. is formed by the Mont Blanc chain. To the 1., at the entrance of the valley, stands the picturesque castle of Fenis. The poor village of Nus, with fragments of an old castle, lies midway between Chatillon and Aosta. A footpath leads from Villefranche to the castle of Quart on the hill above (now a hospital) and descends on the other side. Beau- tiful view from the summit. 15 M. Aosta (1912 ft.) (*Hdtel du Montblanc, at the upper end of the town , on the road to Courmayeur , R. from 2, D. 4, A. 1 fr. ; Couronne, in the market- place, conveniently situated, R. 2, B. 11/2 fr-) ? ^^^^ Augusta Praetoria Salassorum of the Ro- mans, now the capital (7760 inhab.) of the Italian province of that name , lies at the confluence of the Buttier and the Doire, or Dora Baltea. The valley was anciently inhabited by the Salassi , a Celtic race , who commanded the passage of the Great and the Little St. Bernard , the two most important routes from Italy to Gaul. They frequently harassed the Romans in various ways , and on one occasion plundered the coffers of Caesar himself. After protracted struggles the tribe was finally extirpated by Augustus , who is said to have captured the whole of the sur- vivors, 36,000 in number, and to have sold them as slaves at Epo- redia. He then founded Aosta to protect the high roads , named it after himself, and garrisoned it with 3000 soldiers of the Prae- torian cohorts. The antiquities which still testify to its ancient importance are the Town Walls , flanked with strong towers, the double ^. Gate, resembling the Porta Nigra of Treves in miniature, a magnificent Triumphal Arch constructed of huge blocks and a'dorned with ten Corinthian half-columns, the half-buried arch of a bridge , the ruins of a basilica, etc. The Avails are reached in a few min. by one of the streets leading to the N. from the Place Charles Albert in the centre of the town, and the other relics may be VOGHERA. 12. Route. 81 seen in 1/2 ^r- (from the Place follow the principal street towards the E. leading to the Roman Gate and the Triumphal Arch; "200 paces straight beyond the latter, bearing to the 1.. is the narrow Rue du Pont Romain crossing the Roman bridge . the construction of which is seen by descending a few paces to the left). The modern Cathedral possesses a singular Portal . with fres- coes; above it the Last Supper in terracotta, gaudily painted. Near the church of St. Ours are cloisters with handsome early Romanesque columns. Modern Town Hall in the spacious Place Charles Albert, or market-place. The *Becca di Nona (10,354 ft.), which rises to the S. of Aosta, coui- niiinds a superb view uf the Alps. Good bridle-path to the summit (6'j'i hrs. ; small inn thrt e-quarters of the way up). From Aosta over the Great St. Bernard to Martigvy (p. 33), and from Aosta to Courinayeur and round Mont Blanc to C/iamounu, see Baedeker^ s Switzerland. One-horse carr. to St. Romy (.where the carriage-road to the Great St. Bernard at present terminates) 15, to Courmayeur 20, to Chatillon (p. 80) 12 fr. — Diligence to Courmayeur and Pre St. Didier. 12. From Turin to Piacenza by Alessandria. L16 3I. Railway in 4ii2— 6'|- hrs.^ fares 20 fr. 75, 14 fr. 55, 10 fr. 40 c. From Turin to Alessandria, see R. 13. Beyond Alessandria the train traverses the Battle-field of Marenyo (p. 151). The village of that name lies a little to the X.W. of the first stat. Spinetta. Next Stat. S. Giuliano. The train then crosses the Scrivia and reaches the small town of Tortona ( Croce Bianca), the ancient Dertona. with a Cathedral erected by Philip IT. in 1584, containing a re- markably fine ancient sarcophagus. Raihcau to Xovi (p. 151), by stat. Pozzuolo . in 35—45 min. (2 fr. 10, 1 fr. 50, 1 fr. 5 c). The train traverses a fertile district . and near stat. Ponte crosses the impetuous Curone. Stat. Voghera (Italia ; Albergo del Popolo). a town with 10,173 inhab. on the 1. bank of the Staffora (perhaps the ancient Iria). was once fortified by Giov. Galeazzo Visconti. The old church of S. Lorenzo., founded in the 11th cent., was remodelled in 1600. This town was frequently mentioned in the war of 1859. On the high road from "N'oghera to the next station Casteygio, to the S. of the railway, is situated Montebello , where the well known battle of 9th June, 1800 (five days before the battle of Ma- rengo), took place, and whence Marshal Lannes obtained his ducal title. On 20th May. 1859. the first serious encounter between the Austrians and the united French and Sardinian armies also took place here. Casteygio, a village on the Coppa , is believed to be identical with the Cla-^tidium so frequently mentioned in the an- nals of the wars of the Romans against the Gauls. — From Voghera by Pavia (and the Certosa) to Milan, see R. 26. The train skirts the base of the N. spurs of the Apennines. Stations .S. Giuletta, Broni, Stradella. At stat. Arena-Po it enters B.iii>EKEK. Italy I. 3rd Edit. 6 82 Route 12. PIACENZA. the plain of the Po , thioiij^h which it runs , at some distance from the river, to Piacenza. Stat. Castel S. Giovanni is situated in tlie ex-Duchy of Parma. Stations Sarmato, Rottofreno ; then \AZioNi (PI. d), PaJazzo Serra; *Hotel de la Ville (PI. c), R. 2i(... D. 4i|2. L. iT2. A. 1. omnibus I1J2 fr.: *H6tel Genova (PI. b), near the Teatro Carlo Felice, R. 2i|-.', A. 3|4 fr. ; *H6tel de Fkance fPl. g), opposite the Hotel Trombetta, D. 4 fr. : Pension Suisse, E. 2, D. 3, A. ij_' fr. ; Albekgo i>ella ViTTOiciA, Piazza delT Annunziata 16, R. 2'J2, L. 3)4, A. 3|4 fr. • Hotel de lEukope, Via Teodoro. and Hotel Smith, near the exchange, Via Ponte Reale, are unpretending, R. and A. 21(2 fr. ; Hotel ve Loxi>kes, near the station, well spoken of. — Those who make a prolonged stay at any of the hotels should come to an understanding bc- tV)rehand as to the charges. Cafe-Restaurants. ^Concordia, Via IJfiiova, opposite the Palazzo Rosso (PI. 25), dinner 4 — 5 fr.. good ices 60 c., nmsic frequently in the evening; *Cafe d'Jtalie at Acqua Sola (p. 93j, in summer only, I). 4 fr. ; Cafe delV Acqitasola, corner of Via and Salita Acquasola ;' Cafe de France, Via Carlo Felice, U. 2')2 fr. ; *Eossini , opposite the post-oflice ; 3/a//*f/rm , by the Teatro Carlo Felice: Elveiico, Via Giulia; del Centvo. Via Nuova 8: deW Om/iih>is, Via Lomellina , and many others. * Trattoria della Coufdeiiza. Via Carlo Felice 9, D. 3—4 fr. ; Trattoria dell" Unione, Piazza Campetto 9. Birraria Midler, Via Cafiaro, beer only. GENOA. U. Route. 85 Consulates. Enfflis/i, Salita di S. Caterina; American., Salita de' Cap- pviccini, near the Acquasola. Also a (Jerinan and a French consulate. Steamboats: to Leghorn (R. 48) daily in 9 hrs., fares Si'l-, 20'|2 fr. ; to ^pezia ( R. 49) three times a week in 5 — 6 hr-;. ; to Leghorn. Cirita- Vecchia and Xaples. twice weekly in 32 — 42 hrs.; to Afarseille.^ (p. 22) dailv in IS— 20 hrs., fares 76, 58, 37 fr. ; to Xice (p. 103) daily in 9—10 hrs., fares 27'|-.', 17'j.> fr. ; to Sardinia l>y Leghorn 3 times weekly; to Tnnis once weekly. Embarcation in each case 1 fr. for each pers., incl. luggage. Boat for 2 — 4 persons with one rower 2 fr. per hour. Baths. Via delle Grazie 11, Piazza Sarzano 51, Via delle Fontane 12 (charge 80 c). Hea-Bathx at the Punta della Cava, to which omnibuses (20 c.) run in summer, and at Pegli (p. 95); accommodation poor. Swim- mers are recommended to bathe from a boat. Post Office, Piazza delle Fontane Morose, open 8 a. m. to 8 p. m. Telegraph Office in the Palazzo Ducale (PI. 22). Cabs. Per drive 80 c, at night li|4 fr. ; per hour li|-i, at night 2 fr. Omnibuses traverse the city in every direction , fare 10 c. From the Piazza Carlo Felice to the Stazione Occidentale 20 c. — Smaller vehicles run to places in the environs, but are often crowded. Theatres. Carlo Felice (PI. 36), built in '1827, one of the largest in Italy, with five tiers of boxes , holding nearly 3000 persons: parterre 2, fauteuil 5 fr. : operas performed here. Paganini (PI. 42), Str. CatTaro 10. Teatro DiHrno (PL 41), Salita Cappuccini 19, and several others. Photographs, etc. at Arnulfs, Via Xuovissima 41. English Chirch Service in an apartment in the Via Assarotfi (PI. II. 3). Presbyterian at the Waldensian Church in the same street. Principal Attractions. Walk in the morning on the Gran Terrazzo (p. 88): walk through the Via S. Lorenzo past the Cathedral (p. 88) and l>ack to the Piazza Xuova ; ascend to the Madonna di Carignano (p. 87) and return to the Piazza Fontane Morose (or descend from the Madonna di Carignano by the Via Galeazzo Alessi and Mura S. Stefano to the park of Acqna Sola and the Villa Xegro, comp. p. 93, and thence to the Fontane Morose); walk through the line of streets mentioned at p. 86 with their numerous palaces, and visit the Palazzi Pallavicini (p. 90) and Brignole (p. 91) (the mansions of the Genoese noblesse are generally shown between 11 and 4 o'clock, and probably earlier in summer), the .*/o//?//m«'w^ o/ roi«H(6M.< (p.92), and the Palazzo Doria (p. 93j. Make excursion in the afternoon to the Villa Pallavicini (p. 94; permesso, p. 92); or. if pre- ferred, visit the latter the following morning, or on the way to "Nice, and devote the afternoon to a drive to the Campo Santo (p. 94), after which the evening may be spent in the park of Acqua Sola (p. 93). The city of Genoa (with 130. 269 inhab.), justly termed -In superba. owing to its beaiitiful situation and its numerous palaces of marble, stands on a slope rising above the sea in a wide semi- circle. It has been celebrated as a harbour from a very remote period, and under the Romans was a great mart for the products of the coast- districts of the Ligurian sea. The city in its present dimensions, however, dates from the middle ages. At the begin- ning of the iOth cent, a republic, presided over by doges, was con- stituted here. The citizens participated in the crusades , and ac- quired valuable possessions in the distant East. Their great rivals were the Pisans and Venetians, with whom they waged fierce and interminable wars (pp. '201, 292). The History of Genoa consists of a .succession of violent , and often ■sanguinary party-struggles, originated chiefly by the Doria and Spinola (Ghibellines) and the Grimaldi and Fieschi (Guelphs) families, to which the Doges.^ the presidents of the republic belonged. Andrea Doria (p. 93) at length restored peace by the establishment of a new oligarchical con- 86 Route 14. GENOA. Fortifications. stitntion , and the unsticccssful conspiracy of Fieschi in 1547 was one of the last instances of an attempt to make the supreme power dependent on unbridled personal ambition. Tlie power of Genoa was, however, al- ready on the wane. The Turks conqviered its Oriental possessions one after another, and the city was subjected to severe humiliations by its powerful Italian rivals, as well as by the French, who took Genoa in 1684. In 1736 the ambition of Theodore de Neuhof., a Wcstphalian noble- man, occasioned great di^qnietude to the republic. He was created king by the inhabitants of Corsica, who had been subjects of Genoa, but now threw ofl' their yoke. The Genoese pronounced the newly elected king guilty of treason C-qitcd seduttore del popolo, reo di lesa maesta')^ in conse- quence of which the usurper fled, and, with the aid of the French, they succeeded in re-establishing their supremacy over Corsica. After the battle of 3Iarengo (1800) Genoa was taken possession of by the French. _ In 1805 it was formally annexed to the Empire of France, and in 1815 to the Kingdom of Sardinia. — According to an old saying of the Tuscans, which is very characteristic of the ancient rivalry between them and the Genoese, and in its first half not untrue, Genoa possesses 'mare senza pesce , mon- tagne senza alberi, uomini senza fede, e donne senza vergogna". The city possesses a douMe line of Fortifications. The first of these, about 7 M. in length, encloses the city itself; the other consists of a hroad rampart, 20 M. In length, vrhich extends along the hills at some distance from Genoa and at the liighest points is defended hy small fortified towers and intrenchments , completed in 1632, and recently strengthened. Genoa is the chief commercial town in Italy. The annual im- ports are valued at 300 million fr., the exports at 120 million. Of the imports ahout oue-third is from England , and the rest chiefly from France and North America. The great business thoroughfare of Genoa is a line of broad and handsome streets, which, like the Boulevards at Paris, eucircle the old town, beginning at the Western Station, passing the Mon- ument of Columbus (p. 92), continued by the Via Balbi, passing S. Annunziata (p. 91); then by the Via Nuovissima, Via Nuova, Piazza delle Fontane Morose (or delta Posta'), Via Carlo Felice, Piazza S. Domeniro (or Carlo Felice). Piazza Nuova, and theuce by the Via S. Lorenzo past the Cattedrale S. Lorenzo to the Har- bour. The principal churches and most of the numerous palaces for which Genoa is famous are situated in these streets. Many of them were erected by Galeazzo Alessi (a pupil of Michael Angclo, born at Perugia 1500, d. 1572), whose example was generally fol- lowed by subsequent architects. In spite of occasional defects, the architecture of the city is of an imposing and systematic cha- racter, and great ingenuity has been displayed in employing an un- favourable and limited site to the best advantage. The palaces moreover contain a considerable number of works of art, while Kubens, who resided at Genoa in 1606—1608, and Yan Dyck at a later period have contributed to preserve the memory of many members of the noblesse. Between these loftily situated streets and piazzas a labyrinth of narrow streets and lanes descend to the harbour, those adjacent to which are the most ancient. Harbour. GENOA. 14. Route. 87 The beauty of its situation and the interesting reminiscences of its anciiMit niagnilicence render a visit to Genoa very attractive, especially to the traveller who is visiting Italy for the first time. The finest general view is obtained from the church of *S. Maria di Carignano (PI. 13). which occupies one of the highest sites at the S.E. end of the city, and is most conveniently reached from the Piazza Nuova (PI. F, 4; p. 89) thus: follow the Salita PoUa- juolo opposite the Palazzo Ducale, then ascend the Stradone Ago- stino to the r., cross the piazza to the 1. and follow the Via al Ponte Carignano to the r. to the Fonte Carignano. a bridge over streets nearly 100 ft. below, and leading direct to the church. This struc- ture, in the form of a Greek cross, with a lofty dome, designed by Galeazzo Alessi, is an imitation of the original design of St. Peters at Rome, and is of harmonious proportions in the interior. The tasteless statues beneath the dome are by David and Paget ; the paintings by Vanni, Maratta. Guercino, and Carnbiaso. The *view from the highest gallery of the dome (ascended by an easy and well lighted stair of 249 steps), embraces the city, harbour and for- tifications . and the well peopled coast (W. the Riviera di Ponente, R. 15; E. the Riviera di Levante. R.49). being bounded on the E. by the picturesque promontory of S. Martin/) d'Albaro, and stretch- ing to the S. over the vast bl\ie expanse of the Mediterranean. (Sacristan 25 c. his attendance for the ascent is unnecessary.) The *Harbour (Porto) consists of a semicircular bay. about 2 M. in diameter, into which two long and substantial Piers project. That on the E. is the Molo Vecchio. with the small old lighthouse ; that on the W. the Molo Nuovo. adjoining which is the new lighthouse, or Lanterna. with its dazzling reflectors 520 ft. above the sea-level. The summit commands a fine view (fee '/i ^^-^i and the arrangements of the interior may also be inspected (best visited by boat, as the road is dusty and glaring). On the N. E. side is the Navai Harbour (Darsena Reale) with the Arsenal (Ar- .tenale di Marina), accessible by special permission only. It was here that Gian Luigi de" Fieschi was accidentally drowned in 1547, when he and the other conspirators against Andrea Doria had taken possession of the harbour. The Dogana occupies the building of the Banco di S. Giorgio, an institution founded in 1346. but sup- pressed during the French Revolution. The large hall contains two rows of statues of Genoese celebrities, some of them of the 15th cent. On the E. side is the Porto Franco, or Commercial Harbour. where numerous vessels lie at anchor. The quay is connected by rails with the railway station. A lofty wall with arcades separates the harbour from the houses , most of them six storeys in height, of the long Via Carlo Alberto and the Piazza di Caricamento, in which almost all the hotels are situated. These arcades are the favourite lounge of the red-capped denizens of the harbour, 88 Route 14. GENOA. S. Lorenzo. sailors and boatmen, porters, valets-de-place, etc. The best point for snrveyiiia: the harbour is the Gran Terrazzo Marmoreo. the mar- ble platform of these arcades, about 500 yds. long and 15 yds. wide, which affords a very pleasant *walk in the early morning, but is exposed to the sun later in the day (three approaches : one to the N. of the Hotel Quattro Nazioni ; another in the centre, opposite the Hotel de la Ville, called the Scala della Rotonda, and always open ; and a third to the S. of the Hotel Trombetta). As the traveller approaches, he is assailed by the boatmen with offers of their services (p. 85). If a boat be taken it is sufficient to row out 1/2 — ^U ^^- ^^ order to obtain the finest view of the city. The long Via Carlo Alberto leads from the principal railway- station past the large hotels (p. 84} to the Piazza Caricamento. and is continued by the Via Commercio leading past the Gran Terrazzo Marmoreo and the warehouses of the harbour to the lower end of the Via S. Lorenzo ; the Via Vittorio Emanuele leads hence to the S. to the Piazza Carour, from which the Via and Porto (built by Alessi about the middle of the IGth cent.) del Molo Vec- chio descend to the Molo Vecchio (see above). The following route (comp. p. 85) is more interesting. From the railway-station pass at the back of the hotels to the Via di Pre and Piazza della Darsena (the Virt delle Fontane to the 1. leads to the Piazza Annunziata, p. 91), then through the Via del Campo (to the 1. at the back of the Hotel d'ltalie is the small Piazza Vac- oliero, where, as an inscription at the back of the fountain records, Giulio Cesare Vacchero was executed for high treason in 1628, while his children were banished, and his house razed to the ground) to the Piazza Fossatello, from which the T/a Lomellini leads to the Via Annunziata to the 1. Then follow the Via S. Luca (in a side- street to thel. is the church ofA^. Siro, erected in 1576, modernised in 1820, containing statues by Taddeo and frescoes by Giov. Bait. Carlone) to the Piazza Banclii, in which is situated the Exchange (^Loggia de' Banchi, Borsa, PI. 7), erected at the end of the 16th cent, from plans by Alessi, and adorned with a sitting Statue of fa- vour in marble by Vine. Vela. The narrow but handsome *Via degli Orefici to the 1. (at the beginning of it, on the r, is a door with an interesting Adoration of the Magi in relief, of the middle of the 15th cent.) and then the Via Luccoli lead to the Piazza delle Fontane Morose (p. 90), from which the Via S. Lorenzo and the piazza of that name are reached in a straight direction. *S. Lorenzo (PI. 9), the cathedral, erected in 1100 on the site of an earlier edifice, was subsequently so much altered that it now presents three distinct styles, the Romanesque, the French Gothic, and the Renaissance. The lower part of the facade, which consists of alternate layers of black ami white marble, was constructed in the 13th cent, in the style peculiar to French churches; the two lower of the recumbent lions with which it is adorned, on the r. S. Matteo. GENOA. 14. Route. 89 and 1. of the steps, are modern. Tlie sides of the principal portal are decorated with good reliefs representing the early history of Christ (end of 13th cent.}; the scnlptures in the lunette, Christ and the emblems of the four evangelists, with the martyrdom of St. Lawrence below them , are inferior works of the same period. The sculptures on the side-portals are of the I'ith century. The Interior, constructed in 1307 , i-» borne bjj the columns of the earlier church. Beyond the massive snbistructure of the towers, which forms a kind of atrium, lies the nave with its aisles, covered with cylindrical vaulting and a dome (which last was constructed by Alessi in 1567), and borne by sixteen Corinthian columns of coloured marble and four buttresses, above which is another series of columns alternating with pillars. Un the r. by the second side-portal is the monument of a bishop of 1336 with reliefs and statues, the sarcophagus being supported by four lions. In the chapel to the r. of the choir a Crucifixion by Fed. Baroccio. and statues by P. Francavilla. In the choir handsome stalls with inlaid-work by Franc. Zabello. In the chapel to the 1. of the choir a statue and six pictures by L. Cambiaso. In the 1. transept seven statues by Gugl. delta Porta. Tile second chapel to the 1. of the entrance, that ot *S. Giovanni Baitista . erected in 1451 — 96, contains a stone reliquary of the 13th cent, in which the remains of John the Baptist, brought from Palestine during the Crusades, are said to be preserved. The six statues at the sides are by Matteo Civitali (d. 1501); the 3Iadonna and John the Baptist hy Andrea Sansovino (d. 15* 3) ; the canopy and the other sculptures by Giacoiuo and Guglielmo della Porta (d. 1532). — In the sacristy is preserved the Vaso Catino., the vessel out of which the Saviour and his disciples are said to have partaken of the paschal lamb, and in which Joseph of Arimathea is said to have caught some drops of the blood of the Crucified (a fine glass vessel, captured by the Genoese at Cesarea during the Crusades), and other prec ous relics. Farther up the Piazza Nuova is S. Ambrogio (PI. 12), a church of the Jesuits, overladen with marble, mosaics, gilding, ami ceiling-paintings of the end of the 16th cent., and containing sumptuous chapels founded by noble families of Genoa. Durazzi Chapel (principal altar on the r., the third): Guide Reni., Assumption. High-altar-piece, the Circumcision, by Rubens. The four black monolith columns are from Porto Venere near La Spezia. First chapel on the 1., Martyrdom of St. Andrew, by Semini, Elder. Carrega Chapel (principal chapel on the 1., the second): Rubens., St. Ignatius healing a man possessed of an evil spirit. In the same piazza is situated the Palazzo Ducale (PI. 22), or del Govcmo, formerly the palace of the doges, and now the town- hall, built entirely of white marble. In niches above are warlike emblems and statues of eight doges. Handsome flight of steps by Ronco Ptnnone {[bb'^). The building was entirely modernised in 1777 after a great lire. Route to S. Maria di Carignano opposite the palace, see p. 87. Then turn to the 1. through the Via Seliai to the Piazza S. Domenico. or Carlo Felice. The Salita di S. Matteo. the second si.le-street to the 1. of this piazza, leads to the small church of S. Matteo (PI. 14j, originally a Gothic structure (1278), which con- tains numerous rendniscences of the Doria family, the fa(;ade being covered with inscriptions to their memory. The interior was altered in 1530 by the Florentine Gianantonio Montorsoli, who was 90 Route 14. GP:\0A. Academy. invited to Genoa "by Andrea Deri a, and who with his assistants executed the whole of the fine sculptures with which the church is embellished. Above the high-altar is Doria's sword. To the 1. of the church are handsome cloisters with double columns, dating from 1308, with ancient inscriptions relating to the Dorias and remains of two statues of Andrea Doria (by Montorsoli 1548) and one of Gianetto Doria (1577), which were mutilated during the Re- volution in 1797. — A palazzo opposite, the lower half of which is covered with black and yellow marble, bears the inscription, ^Senat. Cons. Andreae de Oria. patriae liberatori munus publicum'. To the r. in the Piazza Domenico is situated the Teatro Carlo Felice (p. 85), adjoining which is the Accademia dalle Belle Arti (PL 1). The vestibule below contains mediaeval sculptures from the suppressed church of S. Domenico. On the first floor is the library, well stocked with modern works (open daily), and on the second floor a picture-gallery (shoA\n by the custodian). The copying-room leads to a large saloon with 'ancient picturec, still unarranoge:, Van Dyck. Prince of Orange ; * Van Dyck .^ Marchesa Paola Brignole-Sale; Van Dijck ., Bearing of the Cross; *Paris Bordone. Portrait. — IV. Sala k'Estate : Luca Giordano, Chlorinda liberating Glyntho and Sophronia ; Paolo Veronese.! Adoration of the shepherds (a sketch) ; Lucas of Lei/den (?), ^Portrait, and St. Jerome'; Caravaggio, Raising of Lazarus; *Guido Rent., St. Sebastian; Lanfranco . Bearing of the Cross. — V. Sala d'Altusno: Bassano, Portrait; *Bonifazio, Adoration of the Magi; Guido Reni, Madonna; Andr. del Sario., Holy Family (repetition of the picture in the Pal. Pitti iit Florence); Guercino. Madonna enthroned; Giov. Bellini (more i)robably Bernardit'o Licinio da Pordenone. brother of the more celebrated master), Portrait of Franciscus Philetns. — VI. Sala dell' Invekso: Paolo Veronese, Judith; *Van Dyck, The tribute-money; Ri/bens ., Portrait of an old man; Leonardo da Vinci (probably Lvini)., John the Baptist; Pari,'; Bordone, Holy Fanjily; Pellegr. Piola , Holy Family. — VII. Sala della Vita Umana : ^ Van Dyck, Portrait; *Van Dyck. The Marchesa Geronima Prignole-Sale with her daughter; Carlo Dolce, Ecce Homo. — VIII. Sala delle Akti Libekali: nothing noteworthy. — Ante-Room: two portr;i'ts of doges. Beyond the Piazza Brignole the Via Nuovissima is next reached. To the I. at the end of it (No. 13) is the *Palazzo Balbi, by Gre- gorio Petondi (18th cent.), through which a fine view is obtained of the lower lying Via Lomellini. Farther on, in the Piazza dell' Annunziata, is the Capuchin church of *S. Annunziata (PI. 10), the richest in Genoa, erected in 1587, with portal borne by marble columns, the unsightly brick facade being otherwise unfinished. It is a cruciform structure with aisles, and the vaulting is borne by twelve fluted and inlaid columns of red marble. The round, vaulting and dome arc richly gilded and painted. In the broad and handsome Via Balbi, which leads hence to 92 Route 14. GENOA. Palazzo Balhi. the railway-station (No. 1), on the r. , is the Palazzo Filippo Du- razzo, or della Scala (PL 27), with a handsome fa(;a(le added in the 17th cent, by Tagliafico. The small picture-gallery here has been augmented by the collection from the Pal. Pallavicini fp. 90), but is not at present accessible. The permessi tor the Villa Palla- vicini at Pegli are issued here (obtainable also from the landlord of the Hotel de la Mediterrane'e at Pegli; see p. 95). On the same side of the street is the *Palazzo dell' University (PI. 54), begun as a Jesuit college by Bart. Bianco in 1623, and erected into a university in 1812. The rich court and staircase are probably the finest structures of the kind at Genoa. The building contains a library, a natural history museum, a small botanical garden, and several bronzes by Giovanni da Bologna. The second palace on the 1. side of the Via Balbi (No. 4j is the *Palazzo Balbi (PL 19), erected in the 17th cent, by Bart. Bianco and Ant. Conradi, with a beautiful glimpse of the orai\gery through the colonnades. The picture-gallery on the first floor is worthy of a visit (fee 1 fr.). I. Room. Van Bi/ck, Francesco Maria Balbi on hon^ieback^ Bernardino fitrozzi, surnamed Cappuccino., Joseph explaining the dream. — II. Room. Titian., St. Jerome; Rubens., Christ and St. John tis children; * Titian (more probably Gio%\ Ant. or Bernardino Licinio da Pordenone) , Madonna with Sr. Catharine, St. Dominicus, and the donors; Gaud. Ferrari, Holy Family; Van Di/ck y Madonna with the pomegranate; Michael Angela (f), Gethse- mane. — III. Room. Three portrait.^ of the Balbi family by Van Dyck (the head of Philip IV. in the equestrian piece is said to have been substituted by Velasquez for that of the Balbi, who had meanwhile been banished). — IV. Room. Caravaggio , Conversion of St. Paul; portraits by Tintoretto, Allori, Van Dyck., and Holbein (Of then, Lucas of LeydenCO, Madonna and Nativity. — V. Room. Four sketches by Perino del Vaga; small pictures by ScMavone ; market-place, l)y one of the Bassanos. — VI. Gallkrt. Perino del Vaga, Holy Family; Guido Reni, Assumption of Mary Magdalene ; *Van Dyck, Holy Family; Mending (/), Christ on the Cross; Fra Filippo Lippi (Oi Comniuniun of St. Jerome; Titian (?), Portrait of himself. Next, on the 1. , the Pal. Durazzo , with a simple colonnade; then on the 1. the Palazzo Reale (PL 21), formerly Marcello Du- razzo, opposite the church of S. Carlo, erected in the 17th cent., with handsome staircases and balconies (shown daily, except when the royal family is in residence). The upper floor contains a suite of sumptuously furnished apartments. The pictures and antiqtiities are of no great value, the best having been removed to Turin. Ante-Chamber: Battle-pieces by ^Mrrasca. Room on the r. : Van Dyck, Portrait of a lady; good portrait of the Lombard school, attributed to Leon, da Vinci; Perino del Vaga, Holy Family. To the r. a handsome gallery with rococo-painting and a few ancient and modern statues: on the r." Apollo and Apollino, on the 1. Mercury; at the end, Rape of Proser- pine by Scldaffino. On the 1. of the gallery are three small rooms; the second contains a Crucifixion by Van Dyck; the third, landscapes attri- buted to Poussin. The throne-room rs adorned with two large pictures h\ Luca Giordano. To the 1. of the ante-chamber, *Adulteress by Moretto. The terrace commands a fine view of the city and harbour. In the Piazza Acquaverde, which is next reached, rises the Statue of Columbus (PL 47), who is said to have been born at Aequo Sola. GENOA. 14. Route. 93 Cogoleto (p. 05") in 1447. It was erected in 1862, and stands on a pedestal adorned with ships' prows. At the feet of the statue, which rests on an anchor, kneels the figure of America. The monument, which consists entirely of white marble, is surround- ed hy allegorical figures in a sitting posture, representing Religion, Geo- ■;raphy. Strength, and Wisdom. Between these are reliefs of scenes from the history of Columbus , with the inscription of dedication. Opposite tlio monument is situated the Palace of Columbus., with the inscription, ■ Cristoforo Colombo Geiiovese scopre I' America'. A niche on a house (the 5th to the ^. from the beginning of the harbour line of streets, p. 88) contains a small statue of Columbus, with the inscription, 'Z>t.?«, volli, credi. ecco itn secoudo sorger iiuoco dalV onde ignote mondo\ To the W. of the railway-station is situated the long *Palazzo del Principi Doria ( Fl. '24), erected for Andrea Doria. the -padre delta patria' (d. 1560, at the age of 95), as the long Latin inscrip- tion in front of the edifice records (comp. p. 90). Arii>sto says of this illustrious prince, 'Questo e quel Doria., che fa dai jiirati sicttro il rostro mar per tutti i lati'. The palace was presented to him in 1522, and the restoration conducted by Montorsoli. It was decor- ated with frescoes by Perino del Vaga, a pupil of Raphael, and renovated in 1845. Visitors are conducted through the great entrance-hall, a corridor hung witli portraits of the Doria family, and a saloon with a large ceil- ing-painting representing Jupiter overthrowing the Titans. The latter also contains a portrait of the aged prince fwho was admiral of the fleets uf the Pope, of Emp. Charles V., and of Francis of France, as well as of that of Genoa), with his favourite cat. The elder branch of the Doria family, to whom the palace now belongs, generally resides at Rome. The garden of the palace , extending towards the harbour, contains an extensive Loggia with arcades. The gardens on the hill opposite, with a statue of Hercules ('Jl Gigante) in a niche, also belong to the estate. A magnificent *view of Genoa and the harbour is obtained from the lofty belvedere of the Villa Negri ^ the beautiful garden of which (always open, gardener 1 fr.j rises beyond the Palazzo of the Mar- chese Nesri (situated on the road, not far from the Pal. Doria). The most favourite promenade is the small park (Giardino Fubblico) of *Acqua Sola (PI. 41). adorned with a fountain , situ- ated on an eminence at the N. E. end of the town (approached most conveniently from the Piazza delle Fontane Morose by the Salita S. Catarina ascending opposite the post-office). The Caffe delC Italia (p. 84) is a favourite resort here. During the military concerts on Sunday afternoons the grounds are crowded. Pleasant views to the E. and 8., finest towards the sea. Adjoining the promenades of Acqua Sola on the N. is the Villa Negro (PI. 46; reached direct by the Salita delle Batistine, to the r. of the Yia Nuova), the property of the city, and open to the public, with a W( U-kept garden. Winding promenades ascend hence to a bastion at the back of the villa, about 150 ft. above Acqua Sola, com- manding a fine survey of the city, the harbour, and environs. The walk may be pleasantly extended thus : from Acqua vSola proceed to the S. by Mura S. Stefano (to the 1. below is the Manicomio, i. e. lunatic asylum); then by Mura Cappuccini, Mura 94 Route 14. GENOA. Villa Pallavicini. Strega, etc., to S. Maria di Cariynano (p. 87), or to the Molo Vecchio (p. 87). The *Campo Santo {Cimitero di Staylieno , opened at 10 a. m.), situated on the slope of the valley of the Bisagno, 11/2 -^I- troi^^ tlie town, is reached from the Piazza Carlo Felice (p. 89) by the Via Giulia, Via S. Vincenzo, and Porta Romann (cab there and back 31/2 fr.). It was laid out with considerable taste in 1867 and contains several good monuments. One of the finest is that of March. Tagliacarno 1ti the lower row on the 1. ; the rotunda borne by columns in the upper row should also be noticed. The large pipes which are seen crossing the valley in the vicinity belong to the water-works of the city. The most attractive excursion in the environs is to the *Villa Pallavicini (admission, see p. 92), at Pegli, l^/o^.^'. of Genoa, a station on the Genoa and Nice Railway (p. 95 ; reached in 1/0 ^r. , fares 1 fr. 10, 88, a7id55c.). The villa is immediately to the 1. on leaving the station. One of the gardeners (fee 1 — 2 fr. for 1 person, more for a party) of the Marchesa conducts visitors through the grounds and park, which extend to a considerable height on the slopes rising from the coast and display the richest luxuriance of southern vegetation (a walk of about 2 hrs.). Cedars, magnolias, oleanders, azaleas, camellias, etc. thrive here in profusion. Several points of view afford delightful prospects of Genoa, the sea, coast, and mountains. On the highest of these points stands a building in the mediaeval style with a tower which affords an extensive and magnificent panorama. Other objects of interest are the Mauso- leum ; the remains of an ancient Roman burial-place ; a stalactite grotto with a subterranean piece of water, over which visitors are ferried (boatman 1/2 f*".), and a striking glimpse under the bridge of the lighthouse of Genoa and the sea; kiosques in thePompeian, Turkish, and Chinese style, obelisk, fountains, etc. may also be inspected. The gardens also contain examples of the coffee, vanilla, cinnamon, pepper, sugar-cane, camphor, and other tropical plants, some of them remarkably fine. 15. From Genoa to Nice by the Riviera di Ponente. Railway (117 M.) in 6i|2— 8'J4 hrs.; fares 2i fr. 5, 14 fr. 90, 10 fr. 65 c. in gold. A slight saving is effected by booking to the frontier-station Ventimiglia only (fares 16 fr. 75, 11 fr. 75, 8 fr. 40 c. in paper), where there is ample time to procure a new ticket. Steamboat (in 8—10 hrs.) of the Italian Ptirano Danovaro Co. onTuesd., Thursd., and Siind. at 8 p. m., returning from 2\ice on Mond., Wed., and Frid. at 9 a. m. ; fares, including dinner, 32iJ2, 22ij2, 12 fr. — Steamboat of the French Fraissinet Co. on Mond. and Frid. at 8 p. im. ; fares 27'|2, 17>|2 fr. The *CavnageRoad alongthe charming Riviera di Ponente, the famous Route de la Corniche, will however still be preferred by many travellers, if not for the whole distance, at least for the most beautiful parts of the PEGLl. 15. Route. 95 route, especially where the view is lost in passing through the numerous railway-tunnels , as between Savona and Loano , and between Sanremo and Nice. Carriages (dear) are best obtained through the hotel-keepers. The inns on this route are generally good, but expensive. This journey is very attractive. The road aftords a delightful succession of varied landscapes, traversing bold and lofty promontories, wooded hills, and richly cultivated plains near the coast. At some places it passes precipitous and frowning cliffs, the bases of which are wa'^hed by the surf of the Mediterranean, while the summits are crowned with the venerable ruins of towers, erected in bygone ages for protection against pirates. At other places extensive plantations of olives, with their grotesque and gnarled ''terns, bright green pine-forests, and luxuriant growths of figs, vines, ci- trons, oranges, oleanders, myrtles, and aloes meet the view, and even palms are occasionally seen (at S. Remo and Bordighera). Many of the towns are picturesquely situated on gently sloping heights (Porto Mauri- zio, S. Remo, Burdighera , Ventimiglia) ; others, commanded by ancient strongholds and castles , are perched like nests among the rock's (Rocca- bruna, E/.a). Small churches and chapels peering from the sombre foliage of cypresses , and gigantic gray pinnacles of rock rising proudly above the smiling plains, frequently enhance the charms of the scenery. Fin- ally, the vast expanse of the sea, with its ever varying hues, constitutes one of the chief attractions. At one time it is bathed in a flood of sun- shine , at another its beautiful blue colour arrests the eye: or while the shore immediately beneath the spectator is lashed Jwith wild breakers the snowy crests of the waves are gradually softened to view in the purple distance. The railway skirts the coast, and runs parallel with the high road as far as Savona. The numerous promontories are penetrated by tunnels, that of Voltri, the lirst after starting, being the longest. Stations S. Pier d^ Arena (Alb. del Commercio), Comiyliano (*H6tel Beau Se'jour), Sestri Ponente, a ship-building place, then (6'/4 -^I-) Stat. Pegli (^Lrrand Hotel de la Mediter ranee, formerly the Palazzo Lomelli, with garden, permessi for the Villa Pallavicini obtained here, see p. 9'2 ; Hotel Ganjini; these two on the coast; *H6tel Mi'hel, opposite the station), a small ship-building town with 4000 inhab., is a sea-bathing place, visited chiefly by Italians. Villa Pallavicini, see p. 94. The gardens of the villas Kostan, Elena, and Borgia should also be visited by those who make some stay here. Stations (2 M.) Pra, another small ship-building place, and (I74 M.) Voltri, with 11,000 inhab. , which carries on a consider- able traffic in -contitures', situated at the mouth of the Ceruso in a fertile plain sprinkled with villas. Beyond Voltri four tunnels and numerous bridges. (41/4 M.) Stat. Arenzano, with a number of villas in the midst of cypresses, olf anders, and aloes ; beautiful; retrospect of the coast as far as Genoa. Three more tunnels. (21/2 M.) Stat. Cogoleio is the sup- posed birthplace of Columbus (p. 92). The house in which he is said to have been born, now a poor tavern, bears the inscription : Hospes^ siste gradum. Fuit hie lux prima Columho ; Orbe tiro majori heu nimis arcta douiiis.! Unus erat mundus. -Duo sunt', ait ille. Fuere. Eight tunnels are traversed, and one of the watch-towers which afterwards occur at regular intervals is passed. (41/2 M.) Stat. 96 Route 15. SAVONA. From Genoa Varazze , or Voragine . a town with 8000 iiihab. , is a considerable ship-building place. The coast on both sides of it is rocky, and there are numerous cuttings and tunnels. Next stations (272 M.) Celle, (2 M.) Albissola at the mouth of the Sansohhia, and Savona {^Rail. Restaurant; *Alberyo Svizzero , R. 2, D. 4, B. 11/2. A. 1 fr., omnibus 3/^ fr. ; Italia, both in the Piazza of the theatre; Roma, near the station), a town with 24,851 inhab., the capital of the Montenotte department under Napoleon I., is charm- ingly situated amidst lemon and orange gardens. The harbour, commanded by a fort, presents a busy scene. The Cathedral of 1604 contains several good pictures. The handsome theatre, erect- ed in 1853, is dedicated to the poet Chiabrera, a native of the place. Savona was the birthplace of the popes Sixtus IV. and Julius II. (della Rovere). Pius VII. was detained as a prisoner here for some time. The train continues to skirt the sea. l>eautiful scenery be- tween Savona and stat. Vado^ especially on this side of the exten- sive Capo Bergeggi, where a tine *retrospect of the Riviera as far as Genoa is enjoyed. Thru a tunnel and galleries, through the arches of which the sea and the small island of Bergeggi are seen. The construction of the line was attended with much difficulty here, and several long tunnels are traversed. Stations (77-2 ^l-) Spotorno and (2 M.) Noli, a small town shaded by dense olive- groves, with the ruins of a castle. The train penetrates the pro- montory of Noli by means of eight tunnels. [The high road on this part of the route is much more attractive than the railway. Beyond Noli it gradually ascends (*retrospect) the promontory of Noli , the extremity of which it penetrates by means of a tunnel (dalleria di Noli), passes a second ruin- crowned promontory on the 1., leads inland across a hill to the village of Varigotti w^hich stretches along the slope to the r., almost concealed amidst olive-trees, and then traverses a second tunnel.] (5 M.) Stat. Finalmarina (Hotel de Venise) is the seaport and principal part of the town of Finale, which consists of three different villages. To the r. lies Borgo , the oldest part , with a castle and a cathedral with double columns of white marble, a dome, and rich gilding: and farther to the E. is Finalpia. Next (3'V4M.) stat. Pietraliyur e, with the ruins of a castle in the middle of the village. ^ The train skirts lofty hills and passes through numerous tunnels. (2V2 M.} Stat. Loano (Europa); to the r. of the line are two suppressed monasteries, of which Monte Carmelo, the higher, erected by the Dorias in 1609, commands a flue view. The large twelve-sided church of the village was also erected by the Dorias. Beyond (2 M.) stat. Ceriale, with its ancient fortifi- cations, the mountains recede. The line now quits the coast and traverses olive groves, vineyards, and orchards to to Nice. ONEGLIA. 15. Route. 97 (3 M.) Stat. Albenga (Alhergo Reale), the Albigaunum of the Komans, aji ancient town and episcopal residence. About V4 ^I- to the E. of the town are extensive remains of the Ponte Lungo, a Roman bridire. Several chateaux of the old noblesse with lofty towers; cathedral with towers and elegant fayade, all of brick. The station and the line farther on command a charming view of the town ami the mountains beyond. To the 1. in the sea rises the rocky island of Gallinaria. crowned with a tower. The train crosses the Centn and skirts the promontory of 5. Croce. Several tunnels. (4'/4 M.) Stat. Alassio (Hotel de Londres, ' newly titted up ) . a seaport with 4000 inhab. . with orangeries containing palm-trees. (2 M.) Stat. Laigueglia ; beautiful retrospect of the wild Capo della Croce. The train penetrates the prominent Capo delle Mele by means of a long tunnel and enters a valley thickly planted with olives. ('21/2 M.) Stat. Pigna-Avdora ., the village of Andora lies on the hill to the r. ; then three tunnels. ('2^/2 M.) Stat. Cervo. picturesquely situated on the slope ; then (^2 M.) Stat. Diano Marina, in a fertile plain where olives and tigs abound; to ther., inland, Diano Castello. Beyond the next tunnel the train enters a more extensive coast district, in which Oneglia and Porto Maurizio are situated. (3 M.) Stat. Oneglia. (Rail. Restaurant; Alhergo del Vapore), a beautifully situated town with 8000 inhab. and a shallow harbour. The prison near the station somewhat resembles a church. The train crosses the broad stony bed of the Impero. which the rciad crosses to the 1. by a neat suspension-bridge. (2 M.) Stat. Porto Maurizio (Hotel de France), a town with 7000 inhab. ami a good harbour, most picturesquely situated in the midst of dense olive-groves, and frequented of late as a winter residence. This town is the seat of the authorities of the district. The station commands a view of the harbour, but little or nothing is seen of the town. Three tunnels, then (3 M.) stat. S. Lorenzo. The low, massive towers which now rise at intervals along the coast to the r. of the line, some of which have been converted into dwelling-houses (^others were removed on the conttruction of the railwayj. were erected for the defence of the com try against Saracen marauders in the 9th and 10th centuries. The line runs close to the shore as far as stat. Riraligure. To the r. on the hill stands the fortified ^. Stefano, beyond which the broad Val Taggia is entered. The train crosses the Taggia and stops at the station of that name (the village lies 3 M. up the valley). Beyond the next short tunnel a valley opens on the r. commanding a charming view of Bussana, romantically perched on a rock. Tin- village opposite to it is Poggio, which fir:>t becomes visible. The train now passes through the Capo Verde by means of a tunnel and reaches B^DKKKR. Italv 1. 3rd Edit. 7 98 Route 15. SANREMO. From Genoa (11 1/4 M.) Stat. Sanremo. Hotels and Pensions on the W. side of the town: Grand Hotel de la Paix, near the station, new, in a fine open situation; * Grand Hotel de Lonhrks; adjoining it Hotel Bellevue, lately erected. In the Via Vittoria Emanuele, the principal street in the lower part of the town: * Hotel Hotal, R. 2'|2, B. li)-j, D. 4, A. 1, pension 7 — 10 fr. ; *HoTEL Sanremo, pension 8 — 12 fr. ; Hotel Grande Bretagne (Italian style). To the E. of the town: * Hotel Victoria, farthest from the station, but with S. aspect and a pleasant garden extending down to the sea; nearer the town, *H6t£l d'Angleterre , pension 8 — 12 fr. ; Hotel de Nice, new; Pension Anglaise, T — 10 fr. ; Pension Eose, beau- tifvilly situated, new. • Apartments. Small suites of apartments are not easily procured, espe- cially if with a S. aspect (such as those at the back of Vicarious offices); most of the others look to the S.S.W. (Vicarious dwelling-house and tlie Villa Drago in the Via Gioberti). Villas abound; rent for the winter 1(XX)— 7000 fr. (list at Asquasciati, the banker's), including furniture and the other requisites for housekeeping (with regard to which however a distinct bargain is necessary). A more moderate rent than that adver- tised is generally taken. Situation should be carefully considered where invalids are concerned, and a S. aspect is essential. Restaurant. Brianzi, Via Vitt. Emanuele, D. 3 fr., but less to sub- scribers. — Cafes. Vicario; *Garibaldi^ cup of coffee 25, beer 30 c.; both in the Via Vitt. Emanuele. Keading Room at the Circolo Ijiiernazioftale, where balls and concerts are also given; subscription for the winter 50, per quarter 30, per month 12 fr. Physicians. English, Drs. Daube?ii/ , d^reeman, tind WMtletj ; German, Dm. Goltz., Bi'dk-ing, and Biermann; Italian, Drs. AJcardi, Amey (4 M.) Castellarn to the summit of the Berceau (3—4 hrs.) ; magnificent pro- spect embracing the mountains of the coast, the blue expanse of the Medi- terranean, and Corsica in the distance. — To »Si. Agnese in 2 hrs., re- turning by (2 hrs.) Gorbio and Roccabruna to Mentone (in 4 — 5 hrs. more). From S. Agnese the '■Aiguille' may be ascended in 2 — 2iJ2 hrs., a higher point than the Berceau, also commanding a fine view. — To Camporosso situated 3i|2 M., and Dolce Acqua 7 M. inland from Ventimiglia (p. 11K3). The Road from Mentone to Nice., 183J4 M. (by carr. in 3i|2 hrs.), the so- called 'Route de la Cohniche', traverses the most beautiful part of the Riviera , and is far preferable to the railway (see below). It ascends through the most luxuriant vegetation , and commands a charming retro- spect of Mentone and the coast as far as Bordighera. Then a viev.- (»f Monaco (see below), to which a road descends to the 1. beyond the highest point of the road. To the r. of the road higher up Roccabrttna is visible. Then Ttirbia with its huge Roman tower, now a mere shell, the remains of the Tropaea At/gusti (whence the name 'Turbia'), erected to commem- orate the subjugation of the Ligurian tribes (A. D. 13). Here another very beautiful" view is enjoyed. To the E. the wild mountains and the entire coast from Ventimiglia to Bordighera ; W. (view in this direction from a point a few steps above the tower) the Mediterranean, the French coast near Antibes , the island of St. Marguerite , the Montagnes de lEs- tercl . and other distant coast -hills. The road attains its culminating point in a bleak mountain-district ^l^ M. beyond Turbia. On the 1. is Eza (p. 103) , a group of grey and venerable houses with a white campanile, perched on an isolated rock rising abruptly from the valley. Farther on, the wooded promontory of itekran6e , de Rome, all fir.«t class. Bj- the .lardin Public : "^Gkande Bketagne, *A>"gleteri:e. On the Quai llla.''.«e'na (Quai dcs Palmiers) : * Hotel de Fkaxce, II. 3, L. i, B. Iii2, A. 1 fr. Quai St. Jean Baptiste: * Hotel Chauvaix , Hotel de la Paix, *Guaxd Hotel , all lirst clas.«. In the Boulevard Carabaccl : Hotel de Pakis ; Europe et Ameriqce; Perixo; *H6tel de \ice . well situated, good cuisine ; Hotel et Pension Carabacel. In the Boulevard Bouchage : * Hotel Windsor; Hotel Steimel. In the Rue Pastorclli: Hotel et Pension Julien. Avenue Beaulieu : *Hotel et Pension Rais- SAN. Avenue de la Gare : *Iles Britanniqves, first class; Hotel des Empereuks ; Hotel Helvetique ; Hotel des Devx 3Iondes ; Maison Do- REE. In the Boulevard Longchamp : *Hotel Paradis , of the first class, new. Rue St. Etienne : Hotel du Louvre. Avenue Dolphine : Hotel et Restaurant du Midi, near the station; Beau-Site. Rue GrimaJdi : Hotel Royal. Place Massena : Hotel Meuble. Rue des Ponchettes on the coa.st , at the W. base of the castlc-hili : *Hotel et Pension Suisse, R. 3 , L. and A. 1 , B. li|2, D. 4, pension 7—10 fr. In the Boulevard du Midi : Hotel Victoria. In the old town : *Hotel des Princes , Rue des Ponchettes; *H6tel de lT'nivers, Place St. Dominique; *Hotel des Etrangers , Rue du Pontneuf. well spokenof, R. 3, D. 3, B. fi'-j fr. Pensions. In the Promenade des Anglais : Pension Eivoir , Pension Anylaise. In the Rue de France : P. de la Metropole. Rue Longchamp : *P. St. Etienne. Rue St. Etienne : */». Milliet. Petite Rue St. Etienne : * P. Internationale. Avenue Delphine : P. Royale. Boulevard Carabaccl : P. Geneve. At Cimies : *P. Anglaise. Villa Garin. *P. Cimi'es. The usual charges at these houses are 7 — 12 fr. per day. Restaurants. In the Avenue de la Oare : ^Restaurant Frangais ; Res- taurant des De'ix Mondes ; Maison Doree : ^Restaurant tSuisse , *Americain., de Paris, du Pavilion. In the Rue Massena: Tonelli , Scala . de la Rose. London House. Rue Croix de Marbre ; Trois Suisses, Rue Macarani; Ville de Li/on ^ des Voiiageurs , both in the Boulevard du Pontneuf. In the (.'orso : Restaurant du Cours , de France, du Commerce. — Cafes. "^Cafe Xational (with restaurant) and -^CaU Ainericain ., both in tlie Promenade du Cours ; de la Victoire, Place dlassena ; Grand Ca/e, Quai St. Jean Bap- 104 Route 16. NICE. Physicians. tiste ; Maison Don-e and Deux Mondes (see above). Lyons and Stra,ssburg beer in all. — Ices : the best at Jiuiiq^elmeier's, Place Etienne. — Pre- served fruits : Fea , Avenue de la Gare : Escoffer. Place Massena ; JUiiller, Place St. Dominiqtie. Fiacres are stationed in the Place Charles Albert , Place Massena, Boulevard du Pont Vicux, etc. — One-liovse: per drive 70 c. (i fr. 25 c. at night); for 1 hr. 2 fr. 10c. (,2 fr. 60c. at night), each additional \-z hr. 80 c. (i fr. 30 c. at night). Carriages with two seats only at some- what lower rates. Two-horse: per drive 1 fr. (at night liJ2fr.); for i hr. 2 fr. 60 c. (at night 3 fr. 10 c), each additional ^-i hr. 1 fr. 10 c. (at night 2 fr.). From the station to the town: 1 — 2 pcrs. one-horse 1 fr. 25 c. (at night 1 fr. 75), 3—4 pcrs. 1 fr. 50 c. and 2 fr. ; two-horse carr. 2 pers. 2 and 2iJ2, 4 pers. 2^\i and 2^\i fr. 5 trunk 25 c, drive from one hotel to another 25 c. — To Villa/ranca and back, one-horse carr. with two seats 4, with four seats 5, two-horse 6 fr. ; charges for a prolonged stay accord- ing to tarilf. "No fees. Omnibuses cross the town in several directions (25 c); from the station to the town 30 c. ; trunk 25, hat-box 10 c. 5 jto Villafrauca and Beaulieu every 2 hrs., starting from the Pont Vieux, 1. bank of the Paillon. Horses may be hired of Nigio ., Ruelle St. Michel; Mouton , Rue Pas- torelii, etc.; 6 — 10 fr. for a ride of 3 — 4 hrs. In winter a horse may be hired liy the month for 250 — 350 fr., in summer for less. Donkeys 3— 4fr. per day, and 1 fr. for the attendant; half-day l^i^ — 2fr. Booksellers. Librairie Etrangeve of Barber;/., with circulating library, .Tardiu Public; VUcontts reading-room, well supplied with newspapers, Rue du Cours, with garden; Fleitrdeli/s, Avenue de la Gare 5; Jougla, Rue Gioffredo 1. Post Office, Rue St. Francois de Paule, 7 a. m. to 6, in summer to 7 p. m. ; Sund. 7—12, 4—6 only. — Telegraph Office, Rue du Pont Xeuf, adjoining the Prefecture. Physicians. Drs. Travis , Gurney , Marcet , Crolhers , Crossbij , Blest, Ziirc/ier. Lippert, Rehberg, etc.; JJrs. Jantzen , and Proll, homreopathists. — Dentists: Nail, Place 3Iassena 1; Weber, Rue Carabacel 8. — Chemists: Pharmacie Anglaise, Quai Massena ; Pharmacie Internationale, Quai St. Jean Baptiste, etc. Bankers. Lacroix, Rue du Cours ; Avigdor aine el fils , Quai St. Jean Bapti'^te. Baths. Warm Baths: Bains Polythermes, Rue du Cours; Turn, Rue du Temple, both well lifted up. — Turkish and other baths at the Bain.J2, 30 fr. ; to If aples 132^1-2, 92ij2, 40 fr. — To Mar- seilles (p. 22) twice weeklv in 12 hrs., 30, 12, 8 fr. — To Corsica (R. 54) in 12 hrs., 30, 20, 15 fr. House Agents, Samaritani, Lattis , Dalgoutte , Tiff en , and Jougla, to whom a percentage is paid by the proprietors. A more advantageous bargain may therefore be made without their intervention. Houses and apartments to let are indicated by tickets. A single visitor may pro- Climate. NICE. 16. Route. 105 cure 1 — 2 furnished rooms for the winter in the town for 300 — 700 fr. ; suites of apartments are let for 2000 — 5000 fr. , villas for 5000 — 8000 fr. and upwards. The hirer should not take possession until a contract on stamped paper has been signed by both parties, containing stipulations with regard to damage done to furniture and linen, compensation for breakages, etc. This is the only way to avoid the disputes which are apt to arise on the termination of the contract. English Church in the Rue do France, service also at Carabacel. BcotcJi C/mrch, Rue Ma.-A Marble Cross in the Rue de France, commemorating the meeting of Charles V. and Francis I. in 1538. which was effected through the intervention of Pope Paul III., has given its name (Croix de Marhre) to this quarter of the town. The Square, a broad space formed by covering in the Paillon between the Pont Vieux and Pont Neuf , is embellished by a Statue of Masscna (see above) in bronze, erected in 1867; in front Clio is represented on the pedes- tal writing his name on the page of history ; at the sides are re- liefs. The Town Library (40.000 vols. , open daily 10—3 . on Sundays 10 — 12 o'clock). Rue St. Franf^ois de Paule 2, contains a few Roman antiquities (milestones , etc.) , and a natural his- tory cabinet. The Jardin Public (military music, see p. 104) at the embou- chure of the Paillon, and the ^Promenade des Anglais adjoining it on the W., which was laid out by English residents in 18*22 — 24, and greatly extended in 1862, are thf principal resorts of visit- ors. These grounds stretch along the coast for i^jo M., as far as the brook Magnan., and are bordered Avith handsome hotels and villas (at the beginning of the promenades is the Casino, mention- ed p. 104). On the 1. bank of the Paillon , which is crossed here by the Pont Napoleon , they are continued by the Boulevard du Midi (p. 105). To the E.' of the town rises the Castle Hill, 320 ft. in height (ascent from the N. side. 20min.), crowned by the ruins of a castle destroyed by the Duke of BerAvick under Louis XIV. in 1706, now converted into beautiful grounds, where palms, oranges, cypresses, and aloes flourish in profusion. The platform on the summit, erected in honour of the emperor, commands an admirable view in every direction: S. the Mediterranean; W. the French coast, the promontory of Antibes , the two lies de Lerins , the mouth of the Var (which down to 1860 formed the boundary between France and Sardinia), below the spectator Nice itself; N. the valley of the Paglione, the monasteries of Cimella , or Cimies, and St. Pons, in the distance the castle of S. Andre', Mont Chaiive, the Aspremont, and the Alps: V,. the harbour, the mountains and Fort Montalban, and the promontory of Montboron which separates the roadsteads of Villafranca (p. 108) and Nice. The S. slope of the castle-hill, which descends precipitously towards the sea, is termed the Rauba- Capeu (iiat-robber". owing to the prevalence of sudden gusts). — The Cemeteries . with the exception of the English, are on the N. side of the castle-hill. At the base of the castle-hill on the E., where a house opposite the dogana was destroyed by a landslip in the winter of 1871, lies the small Harbour, termed Limpin from an excellent spring (lim- pida) which rises near the E. pier. It is accessible to small ves- sels only ; those of large tonnage cast anchor in the bay of Villa- Enrirom of Nice. TORRETTA. 16. Route. 107 franca (p. i08). The Place Bellevue adjoining the harbour is embellished with a Statue of King Charles Felix in marble, erected in 1830. On the farther side of the harbour is the Boulevard de V Imperatrice. The Ekvirons of Nice are sprinkled with attractive villas and clothed with luxuriant vegetation, and afford a variety of beautiful excursions. The Franciscan monastery of Cimies, Ital. Cimella, is situated 3 M. to the N. of Nice. The best, although not the shortest route to it is by the new road ascending to the E, from the Boulevard Carabacel (PI. E, 2), which on the top of the hill intersects the site of a Rom. Amphitheatre (210 ft. long, 175 ft. wide). About 1/4 M. to the r. from the cross-road immediately beyond the amphitheatre the traveller reaches the monastery (two pictures by Bre'a in the chapel), re-erected in 1543 after its destruction by the Turks. It stands on the site of the Roman town of Cemenelium , to which the above-mentioned amphitheatre and a quadrangular structure, com- monly termed a ■Temple bf Apollo', belonged. Traces of baths and other buildings have also been discovered. The Villa Clary, to which the public are admitted, below Ci- mies, on the road to St. Andre (see below), possesses the finest orange and lemon-trees at Nice and many rare plants. A good carriage-road ascends on the r. bank of the Paglione to the (40 min.) monastery of St. Pons, founded in 775 on the spot where St. Pontius, a Roman senator, suffered martyrdom in 261. It was destroyed by the Saracens in 890, and the present edifice erected in 999. The treaty by which the County of Nice was an- nexed to the Duchy of Savoy was concluded here in 1388. The chateau of St. Andre (restaurant, closed in summer), which is reached in '/o ^^- more, erectedinthe 17th cent., is now unoccupied. About '/4 hr. farther up the valley is the grotto Les Cluses de St. Andre, or rather a natural bridge over a brook, crossed by the road. An avenue of cypresses leads from the chateau to the grotto (V4 I'-t. )• The excursion may be extended still farther in this di- rection. Beyond the chateau of St. Andre' the road enters a desolate rocky gorge , almost entirely destitute of vegetation, lying between 3/6nf Chauve (ov Monte Calvo . p. 105) and Mont Maccaron. Beyond it, cultivated land is again reached. The road next reaches the antiquated village of Torretta (7 M. from Nice. carr. 10 fr.), with the picturesque ruin of that name (Fr. La Tourette^. The tower of the castle commands a very singular sur- vey of the sterile mountain sceiie, especially of Mont Chauve, the Aspremont, and the deserted village of Chateau Neuf (see below), perched on a barren ridge of rock ; to the S. Montalban and the sea. About IV2 ^- farther is the dilapidated village of Ch&teau Neuf, founded on the ruins of old fortifications and probably used in the 15th and 16th cent, by the inhabitants of Nice as a refuge 108 Route 16. VILLAFRANCA. from Turkish invaders. It has rece7itly been abandoned by most of its inhabitants on account of the want of water. This is another tine point of view. To the I^. of the harbour La Limpia rises the Montboron, a promontory 890 ft. in height, which separates Nice from Yillafranca. The summit, to which a carriage-road has recently been constructed., commands an extensive prospect. The mountains of Corsica are visible towards the S. in clear weather. The Road to Vlllafrancn (2 M. ; for its commencement in Nice see Pi. G, 4), constructed by the French government, leads round the promontory of Montboron and passes a number of villas, the most conspicuous of which is the Villa Smith, a red building in the oriental style. Immediately beyond the extremity of the cape a view is obtained of the small seaport of *Villafranca, Fr. Villefranche (carr. from Nice, see p. 104 ; rowing-boat 10 fr.), very beautifully situated on the Bay of Villafranca, which is en- closed by olive-clad heights (to the 1. on the height rises FortMon- talban). Villafranca, which was founded'in 1295 by Charles II. of Anjou, as king of Sicily, is now a French naval station. In return- ing to Nice take the old road (i^/o^l.^, which crosses the pro- montory and affords a fine view on the descent. Kail. stat. at Villafranca (see p. 103) close to the sea. If the road which ascends the hill to the 1. above Villafranca be followed for i^/o M. farther, a road to the r. crossing the railway by a stone bridge will lead the traveller (3/4 M. farther) to Beaulieu (rail. stat. to the 1. of the bridge, see p. 103), an insignificant vil- lage situated in the midst of rich plantations of olives, figs, carob- trees, lemons, and oranges. Many of the olive-trees are remarkably large, one of them measuring 22 ft. in circumference. Beaulieu lies in a wide bay, bounded on the S. by the long peninsula of St. Jean. At the foot of the latter lies the village of S. Oiovanni, or St. Jean (dear inn), 1^/^ M. from Beaulieu , a favourite resort of excursionists from Nice. Tunny fishing is successfully carried on here in February, March , and April. At the extremity of the peninsula , the Cape St. Hospice, are the ruins of an old Saracenii^ castle, destroyed in 1706 under Louis XIV. (see p. 106), and the ruined chapel of St. Hospice. Instead of proceeding to St. Jean by the above route, the traveller may be ferried across the bay to the creek of Pasbles (60 c.) , and thence cross the peninsula on foot to St. Jean. On the W. side of Nice pleasant walks may be taken in the valley of the Magnan (p. 105) in which a road ascends to (2 M.) the church of La Madeleine. The beautiful , sheltered banks of the Var, which falls into the Bale des Anges (p. lOoj 4^/4 M. to the W. of Nice, are also worthy of a visit. Route de la Corniche by Turbia to Mentone, see p. 102. Monaco, see p. 102. 109 17. From Nice to Turin by the Col di Tenda. Mkssageries to Cuneo (87 M.) in 20 — 22 hrs. (delay is sometimes occa- sioned in winter by snow on the Col di Tenda. which is crossed in sledges); Railway from Cuneo to Turin (54'J2 M.) in 2'|2 hrs. (fares 9 fr. TO, 6 fr. 80, 4 fr. 85 c). Through-ticket from Kice to Turin includ- ing second class in railway, 27 fr. This is a very attractive route, especially for those coming from Turin. The views during the descent from the Col di Tenda to the Mediterranean are strikingly beautiful. The road crossing the Col pi Tenda (6145 ft.) was constructed by Charles Emmanuel in 1591 and improved by Victor Amadens III. in 1780 (as two inscriptions on the road record). It is inferior to the skilfully constructed modern Alpine roads, being in many places only 13 ft. in width . and generally unprotected by parapets or railings. The descent is therefore somewhat unpleasant, especially at the sharp turnings on the N. E. side of the mountain. During 3 — 4 months of the year the road is traversed by sledges only. A violent wind often prevails at the summit of the pa.ss. especially in the afternoon, sometimes seriously retarding the progress of the mules which are used for the journey (generally six in number). — About half-way up is the opening (tf a tunnel, begun by the Duchess Anne of Savoy in order to avoid the highest part of the pass. Tha works were stopped at the time of the French occupation in 1792 and have never been restimed. The road leads from Nice, on the bank of the Paglione, through the villages of Ln Trinith-Vittoria and Drappo, beyond which it crosses and quits the river. 12 M. Scarenn. Fr. Escarene. The road hence to Sospello tra- verses a sterile and unattractive district. The barren rocks which enclose the bleak valley are curiously stratified at places. The road ascends to the Col di Braus (423*2 ft.}. To the S., on a lofty rock to the r., is seen the castle of Chatillov. or Castiylione (p. 102}. At the foot of the pass on the E. lies 14 M. Sospello, French Sospel (1174 ft.) (Hotel Carenco), situ- ated in the valley of the Bevera (affluent of the Roja, see below), in the midst of olive-plantations and surrounded by lofty moun- tains. A new road leads from Sospello to Mentone. The road now ascends to the Col di Brouis (2871 ft.). Near the summit of the pass a final view is obtained of the Mediterranean. District unattractive, mountains bleak and barren. Then a descent to 121/2 M- Giandola (1250 ft.) (Hotel des Etrangers; Poste), grandly situated at the base of lofty slate-rocks. Breglio, a town with 2500inhab. and the ruined castle of Trivella, lies lower down on the r. The road now ascends the narrow valley of the Roja^ which falls into the sea near Yentimiglia (p. 100). Saorgio, rising in ter- races on a lofty rock on the r., with the ruins of a castle in the Oriental style , destroyed by the French in 1792, commands the road. On the opposite side is a monastery of considerable extent. The valley contracts . so as barely to leave room for the river and the road between the perpendicular rocks. Several small villages are situated at the points where the valley expands. Beyond (5 M.) Fontana the road crosses the Italian frontier. The southern no Route 17. CUNEO. From Nice t character of the vegetation now disappears. Then Borgo 8. Dal- mazzo, with 3800 inhab.. where an old ahhey is fttted up as a hy- dropathic establishment , frequented in summer by some of the winter residents of Nice. T'/o M. Tenda (Hotel Royal; Hotel Impe'rial) lies at the S. base of the Col di Tenda. A few fragments of the castle of the unfor- tunate Beatrice di Tenda (comp. p. 153) are picturesquely situated on a rock here. The road traverses a dreary valley by the side of the Roja and ascends by 69 zigzags on the barren mountain, passing several re- fuges, to the summit of the Col di Tenda, or di Cornio (6145 ft.), Avhere the Alpes Maritimes ( W. ) terminate and the Apennines (^E.) begin. The view embraces the chain of the Alps from Mont Ise'ran to Monte Rosa ; the plains of Piedmont are concealed by interven- ing mountains. Monte Yiso is not visible from the pass itself, but is seen from a point a little beyond it, near the 4th Refuge. The descent is very steep. The road follows the course of the Ver- manayna to 25 M. Limone (^3668 ft.) (Hotel de la Poste), an Italian excise- station, and then becomes more level. The valley of the Yer- managna. which is now traversed, is at some places enclosed by wooded heights , at others by precipitous limestone cliffs. To the the 1. rises the magnificent pyramid of the Monte Viso (12.608 ft. j. Rohillnnte. Roccarione, S. Dalmazzo, then 11 M. Cuneo, or Coni (1499 ft.) (Albergo delta barra di ferro; Hotel de Londres), a town with 22,882 inhab., at the confluence of the Stura and the Gesso, once strongly fortified. After the battle of Marengo (p. 151) the works were dismantled in accordance with a decree of the three consuls (at the same time as the citadels of Milan and Tortona and the fortifications of Ceva and Turin) and converted into pleasure-grounds. In the principal street are arcades with shops on either side. The Franciscan Church, like most churches of this order beyond the Alps, is in the Gothic style (12th cent.), which was regarded by the Italians as the architecture most expressive of the simplicity and austerity inculcated by the Franciscans. Cuneo is a great depot for wares on their route from Nice to N. Italy and Switzerland. A considerable fair is held here in autumn. Pleasant walk to the Madonna degli Angeli , at the confluence of the Gesso and the Stura. About 7 M. S. E. of Cuneo, in the Val Phio, is the romantically situ- ated Certosa di Val Fesio, now used as a hydropathic establishment, also frequented as quarters for the summer by persons in search of retire- ment. — In the Val di Gesso, about 15 M. S. W. of Cuneo, are the Baths of Valdieri, the waters of which somewhat resemble those of Aix-les-Bains in Savoy (p. 29). The Railway to Turin intersects the fertile plain , bounded on the W. by the Alpes Maritimes and , farther distant, the Cottian Alps, and on the E. by the Apennines. Centallo, the first station, to Turin. CARMAGNOLA. 27. Route. 11] \ with 4900 inhab. , possesses remains of mediaeval walls and towers. Next stat. La Maddalena; then Fossano, an episcopal residence , on the 1. bank of the Stum , beantifuUy situated on an eminence, with ramparts and a mediaeval castle. '22 m. Stat. Savigliano (Corona) is a pleasant town on the Macra, enclosed by old fortifications. The principal church contains pictures by Mulinari (1721 — 93), a native of Savigliano, surnamed Caraccino, as an imitator of Caracci. Railway to Salczzo (in 1)2 hr. •, fares 1 fr. 80, i fr. 25, 90 c), ca- pital of the province rtormerly a marquisate) of that name , with 10,000 inhab. The higher part of the town, with its precipitous streets, aflbrds a tine prospect over the Piedmontese plain. Saluzzo was the birth-place of Silvio Pellico^ to whom a monument was erected here in 1863. 5i/-> M. Stat. Cavalier Mayyiore (Bne Rossi), formerly fortitied. Railavat to Alessanduia in s'hrs. (fares 10 fr. 80, 7 fr. o5, 5 fr. 40 c). Stat. Madonna- Pilone; then Bra, a prosperous town with 13,000 inhab. (staple commodities cattle, corn, and wine). The church of Sta. Cfiiara was erected in 1742 by Vet tone in the richest style of that period. Xext stations S. Viitoria, where the line reaches the Tanaro; Monticelli, Mussotto: the Tanaro is crossed, and Alba, with 9600 inhab., reached. The cathedral of S. Lorenzo dates from the loth cent. Stations Seive , Castaguole, Costi- gliole., S. Stefano-Belbo., on the river of that name, the valley of w^hich the train traverses for a considerable distance; Caiielli, Calamandrana ^ and Sizza di Monferrato , whence a good road leads to Acqui (p. 151). Stat. Incisa, a considerable distance from the railway, is situated on the Belbo. Then Castelnuovo. Bruno., Bergamasco, Oviglio, Cantaltipo, and Alessandria, |2, D. 4,' A. 1, L. 1 fr. ; *Gi:an Bretagxa (PI. d) , similar charges; *Hotel de Milan, Via del Giardino 29, R. 2i|2, D. 4, L. and A. 11(2 fr. ; *H6tel de l^Eukope, Corso Vittorio Emanuele 9; *Roma, Corso Vittorio Emanuele 7, R. 2 fr., A. 75, L. 75 c, with restaurant, no table d'hote; *Pozzo, Corso Torino, near the Ambrosiana, R. 2, B. 11)2, D. 3, L. and A. l')2 fr. ; Fka>xia, Corso Vitt. Emanuele 19; Albergo Manin, Via Manin 15. *S. Marco (Via del Pesce), *Bella Vexkzia (Piazza S. Fedele), and * Ancora (Via Agnelo and Corso Vitt. Emanuele) are second-class inns ; *Tkois Suisses, Via Larga 16, R. 2, B. 1, L. and A. 1 fr. ; Pension Suisse, commercial; Falcone, well spoken of; Albergo Fikenze, Via Principe Umberto, near the station; Borsa, Via Rebecchino 16; Aquila, Via S. Margarita, moderate; Leone, Passe- RELLA , BissoNE , Rebecchino , and Agnello (Corso Vitt. Emanuele 4), all in the Italian style, with restaurants. Restaurants (Trattone, comp. Introd. V). *Cova, with garden, near the Scala, concerts on Sund. and Thursd. ; Borsa., near the Scala; Acca- deiiiia., near the latter; *Biffi, Gnocclti., in the Galleria Vittorio Emanuele (see below); "^Rebecchino., near the Piazza del Duomo; Rinascimento , with garden, by the Porta Venezia;. Milano ., Via del Giardino. Isola Botta., outside the town, by the Triumphal Arch (p. 121), a favourite re.sort on holidays. Dinner-hour 3 — 7 p. m. Cafes. In the Giardino Pubblico (p. 125) ; Enropa ; *Merlo (best ices), Corso Vitt. Emanuele; *Bi/ji, *Gnocchi, Cova (see above); Martini near the Scala; delle Colonne. Corso Venezia 1; CapellCi Via Capello 14, etc. Dejeuner a la fourchette may be procured at most of the cafes; also Vienna (35 c.) and Chiavenna beer (30 c). Ices (sorbetto) after 4 p. m. and granita (half-frozen) at an earlier hour are a specialty of the caft^s. — Beer. Birraria Viennese and Birraria Nazionale opposite the cathedral; Birrari't della Scala., adjoining the Scala; * Mazzola, in the 1. outlet of the Galleria Vitt. Emanuele (approached from the cathedral), with a garden. Baths, Corso Vittorio Emanuele 17, clean and not expensive; Via Pasquirolo 11, etc. — Swimming-Baths : *Bagno di Diana., outside the Porta Venezia; Bagno Nazionale^ outside the Porta Ticinese. Cabs (-Broughams"). Per drive by day or night 1 fr. ; half-hour 1 fr., per hour 11)2 fr. ; each article of luggage 25 c. Omnibuses from the Piazza del Duomo to the different gates 10 c, to the railway-station 25 c. ; the most frequented are the '■Porta Ticinese'' and the '■Porta Garibaldi' lines. These conveyances are often useful , as the pedestrian is apt to lose his way in the intricacies of the streets. Rail-way to Camerlata (Como, R. 20) , Arona (p. 147), Xovara (Turin, K. 18), Genova (bv Mortnra, p. 151), Puvia (R. 26), .Piacenza (Bologna, Ancona, R. 40), Venice (R. 27). Diligence ( Impresa Merzario, Via di S. Dalmazio 2, near the Scala) to Coire bv the Spliigen once dailv in 25 hrs. (RR. 20, 21, 5), by the Bernardino in 26i|-. hrs. (RR. 23, 4, 6); to Lucerne by the St. Gotthard dailv in 27i)2 hrs. (RR. 20, 22, 4) ; to Sion bv the Simplon dailv in 29 hrs. (RR". 25, 23, 3). Post Office (PL 53), near the cathedral, at the back of the Palazzo Keale. ^'ia Rastrelli 4919, open from 8 a. m. to 9 p. m. — Telegraph Office (PL (i9), near the Borsa, Piazza dei Mercanti (PL 8). Theatres (comp. Introd. VI). *Teatro della Scala (PL 63); alia Canob- biana (PL 63), during the Carnival only, both with ballet; S. Radegonda (PL 66), operas, a second-class theatre; Carcdno (PL 64); Teatro Reaie (PL 65) generally operas. Performances at the Scala Theatre during the autumn and Carnival only; interior worthy of inspection (1 fr.). Theatres for the lower classes Fossati and CiniselU, in the Piazza d'Armi. %\ ^y^4> History. MILAN. 19. Route. 115 Bankers. Myliiis. , Via Clerici 6; I'likh, Via Bigli 21; Weill-Scfwtt, Via Pietro Verri 7. Shops. The best are in fhe torso and the Galleria Vitf. Emanuele. Booksellers: Sacelii (formerly Arlaria), Via S. Margherita ; Valentinev d- Mues. same street. Silks. Manfredi d- Zanardi , Via Rastrelli , near fhe po:^t-oflice. Haberdashery; Martindli d- Landi , Coi'so Vitt. Emamiele 28. Marbles : Bianchi, Via Rastrelli 12. English Church Service. Vicolo San Giovanni della f'onca 12. Pkiscipal Attkactioxs: Cathedral, ascend tower; Galleria Vittorio Emanuele ; Brera (picture-gallery); Arco della Pace : S. Maria della Grazie and Leonardo da Vinci's Last Supper; S. Ambrojrio , the oldest, and S. Alessandro, the must sumptuous of the churches; Piazza de' Jlercanti; between 6 and 7 p. m. walk through Corso Vittorio Emanuele to and beyond the Porta Venezia. Milan (390 ft.), 'suniaDied 'la grande. the Mediolanum of the Romans, which was rebuilt after its total destruction in 1162 by the Emp. Frederick Barbarossa, is the capital of Louibardy and one of the wealthiest manufacturing towns in Italy, silk being one of the staple commodities. Population , exclusive of the garrison and the suburbs, 212.500. The circumference of the city is upwards of 9 M. It is situated on the small river Olona, vrhich however is navigable and is connected by means of the Naviglio Grande (p. 113) with the Ticino and Lago Maggiore. by the Naviglio di Pavia (p. 152) with the Ticino and the Po, and by the Naviglio delta Martemna with the Adda (p. 136). the Lake of Como, and the Po. The favourable situation of Milan in the centre of Lombardy has al- ways secured for it a high degree of prosperity. Under the Romans it was one of the largest cities in Italy , but owing to its repeated destruc- tion hardly a trace of that period has been left. Its heroic struggles aizainst the German emperors are well known. With the exception ofS. Ainbrogio and a few other churches, the city was totally destroyed in 1162 by the emperor Frederick Barbarossa, but in 1167 rebuilt by the allied cities of Cremona, Brescia, Bergamo, and Mantua. It was subse- (juently governed by the Visconti (1312—1447), then by the Sforza family (1447—1535). Under the supremacy of the latter it attained the zenith of it's reputation as a jiatron of art, having: been the residence of Bramante from 1476 to 15(X) and of Leonardo da Vinci from 1494 to 1516. Tiie mr)st eminent of Leonardo's pupils who flourished here were Bernardino Luini, Cesare da Sesto, Giov. Ant. Beltratfio, 3Iarco d'Oggionno, Andrea Salaino, and Gaudenzio Ferrari. 3Iilan with the rest of Lombardy afterwards fell into the hands of the Spaniards , and in 1714 fell to Austria. In 1796 it became the capital of the 'Cisalpine Republic', and then (down to 1815) that of the kingdom of Italy. The bloody insurrection of 17th 3Iay, 1848 compelled tlie Auslrians to evacuate the city , and after they regained possession of it their unpopularity gave rise to frequent disturbances. \o town in Italy has undergone such marked improvement as Milan since the events of 18.59. The old part of the town, a portion of which consists of narrow and irregular streets, is enclosed by canals, beyond which suburbs (borghi), named after the different gates, have sprung up. (^f the latter, eleven in number, the principal are the Porta Yenezia at the extremity of the handsome ncvr Corso Venezia. the prolongation of which, the Corso Yittorio Emanuele. the principal street of Milan, leads to the cathedral; the Porta Sempioiie (p. 121), and between these the Porta Garibaldi , erected in 1828, so named and furnished with an appropriate inscription in 1859. 8* 116 Route 19. MILAN. Cathedral. The most celebrated of the eighty churches of Milan is the ** Cathedral [Cattedrale, PI. 5), dedicated ^Mariae Nas- centi\ as the inscription on the facade announces, and as the gild- ed statue on the tower over the dome also indicates. It is regard- ed by the Milanese as the eighth wonder of the world, and is, next to St. Peter's at Rome and the cathedral at Seville, the largest church in Europe. The interior is 159 yds. in length, 61 yds. in breadth; nave 155 ft. in height, 17 yds. in breadth. The' dome is 220 ft. in height, the tower 360 ft. above the pavement. The roof is adorned with 98 Gothic turrets , and the exterior with up- wards of 2000 statues in marble. The structure was begun by Enrico Gamodia (Heinrich Arler of (xmund) in 1386, one year after the cathedral of Prague had been completed by Peter Arler of (Tmiind; the dome was begun in accordance with the design of Francesco di Giorgio in 1490 ; and the whole was finished in its principal parts at the close of the 15th century. In 1805 Napo- leon caused the works to be resumed, and the tower over the dome to be added , and at the present day additions and repairs are constantly in progress. The church is in the Cxothic style and cruciform in shape, with double aisles, and a transept also flanked with aisles. It is sup- ported by 52 pillars, each 12 ft. in diameter, the summits of which are adorned with canopied niches with statues instead of capitals. The pavement consists entirely of mosaic in marble of different colours. The vaulting is skilfully painted in imitation of per- forated stone-work. Interiok. By the principal inner portal are two huge monolith co- lumns of granite from the quarries of Baveno (see p. 35). The band of brass in the pavement close to the entrance indicates the line of the meridian. South Aisle: Sarcophagus of Bishop Heribertus Antimianus (d. 1045), with crucifix. Gothic monument of Bishop Marcus Corellus. South Transept (W. wall): Monument of the brothers Giacomo and Ga- briele de' Medici, erected by their brother Pope Pius IV. (1564), the three bronze statues by Leone Leoni (Aretius). Tickets for the roof (25 c.) are obtained near this monument. The altar of the Oflering of Mary (E. wall of S. transept) is adorned with fine Reliefs by Agostino Busti (Bambaja); adjacent is the Statue of St. Bartholomew by Marcus a Grate (end of 16th cent.) , anatomically remarkable, as the saint is represented flayed. The door of the S. Sacristt (r. in the choir) is remarkable for its richly sculptured Gothic decorations. (The *Treasur>j here may be in- spected, fee 1 fr. :, among other valuables it contains lifesize statues in silver of S. Ambrogioand S. Carlo Borromeo , and the ring and staff of the latter). A little farlher is the marble Monument of Cardinal Marino Carraccioli (d. 153S), by whom Emp. Charles V. was crowned at Aix-la-Chapelle in 1520. The stained glass in the three vast choir win- dows, comprising 350 representations of scriptural subjects, were executed by Alois and Giov. Bertini of Guastalla during the present century •, most of them are copies from old pictures. Before the N. Sacristy is reached, the Statue of Pius JV. is seen above, in a sitting posture, by Angela Si- ciliano. The door of this sacristy is also adorned with fine sculptures in marble. By the E. wall of the N. Transept is an altar with the Crucifixion in high relief, by Ant. Prestinari. In the centre of this transept, in front of the altar , is a valuable bronze ^Candelabrum , in the form of a tree, Cathedral. MILAN. 19. lioute. 117 executed in the 13th cent., and decorated with jewels. pre.^ented bv Giov. Batt. Trivulzio in 1562. XoKTH Aisle: Altar-piece, painted in 1500 hy Fed. Baroccio , repre- senting S. Ambrogio releasing Emp. Theodosius from ecclesiastical penal- ties. Upon the adjoining altar of St. Joseph, the Nuptials of Mary, by F. Zuccheri. The following chapel contains the old wooden €ruciti.c which S. Carlo Borromeo , barefooted, bore in 1576 w^hen engaged in his niis- .«ions of mercy during the plagiie. Under the next window is a Monument, with a relief of the Virgin in the centre, by Marchesi ; r. and 1. the two SS. John by Monti. Not far from the X. side door is the Font ^ consist- ing of a sarcophagus of S. Dionysius, but appropriated to its present use by S. Carlo Borromeo. The canopy is by Pellegrini. In front of the choir, beneath the dome, is the subterranean Cappella S. Carlo Borromeo , sumptuously decorated with gold and precious stones (open in summer 5 — 10, in winter 7 — 10 a. m. ; at other times 1 fr. ; for showing the relics of the saint 5 fr.). The traveller should not omit to ascend to the * Roof and Tower of the Cathedral. The stair ascends from the corner of the r. transept (ticket 25 c. ; map of town and environs 11/2 fr- more useful than the services of a commissonaire, 1/0 fr.). The visitor should mount at once to the highest gallery of the tower (by 194 steps inside and 300 outside the edilice). and after having sur- veyed the prospect descend and examine the details of the archi- tecture of this vast marble structure. A watchman generally stationed at the top possesses a good telescope, through which the statues , especially the four by Canova, may be inspected. The cathedral is opened at 5 a. m. The earlier the ascent of tlie tower is undertaken, the greater is the probability oT a fine view of the Alps. View. To the extreme 1., S.W. , Monte Viso . then Mont Cenis (p. 3'2) ; farther distant, between these two, IJie Superga tp. 77) near Turin ; Mont Blanc, Great St. Bernard; Monte Rosa, the most cdnspicuous of all; 1. of the last the prominent ilatterhorn ; then the Cima di Jazi, Strahl- horn, and Mischabel ; N.W. the 3Ionte Leone by the Simplon (p. 34); the Bernese Alps; X. the summits of the St. Gotthard (p. 39) and Splugen (p. 44)^ and E. in the distance the peak of the Ortler (p. 50). S. the Cer- tosa ot Pavia (p. 153) is visible, farther E. the towers and domes of Pavia itself, in the background the Apennines. To the S., opposite the cathedral, is situated the Palazzo lieale (PI. 48); on tlie N. side is the dog and bird market. Adjoining the Piazza del Duomo on the W. is the interesting Piazza de' Mercanti , the central point of the mediseval city, and formerly provided with live gates. In the centre of the piazza is the build- ing which was formerly the Palazzo delta Ragione , erected in i'2'28 — 33 by the podesta (or mayor) Tresseno , to whom an eques- trian statue was erected on the S. side with the inscription, 'qui solium struxit, Catharos utdebuit ussit' (the Cathari were an heret- ical sect). The ground-floor is now the corn-exchange , above which is the Archivio Notarile. On the N. side of the piazza is the ancient Palazzo della Citta , erected in the 16th century, with the exchange on the ground floor ; on the S. side is the Loggia degli Ossii , erected in 1315, adjoining which is the telegraph office. 118 Route 19. MILAN. Ptnzza delta Scala. The Piazza del Buomo Cornis the modern centre of business at Milan. It was formerly contined between narrow lanes , but has recently been greatly extended by their removal. Farther improve- ments are contemplated , with a view to impart a more uniform appearance to the Piazza and render it a more worthy adjunct of the cathedral. The principal work which has been undertaken and completed since the emancipation of Milan from the Austrian yoke is the '-'Galleria Vittorio Emanuele (PI. 40), connecting the Piazza del Duomo with the Scala. Tliis is the most spacious and attractive structure of the kind in Europe. It was begun in March, I860, by the architect Menyoni, and inaugurated in Sept., 1867, and is said to have cost 8 million fr. (320,000 L). Length 320 yds., breadth 16 yds., height 94 ft. The form is that of a Latin cross, with an octagon in the centre, over which rises a cupola 180 ft. in height. The gallery contains handsome shops , and is lighted in the evening by 2000 gas-jets. The decorations are well- executed and bear testimony to the good taste of the Milanese. It is adorned with 24 statues of celebrated Italians: at the entrance from the Piazza del Duomo, Arnold of Brescia and O. B. Vico; in the octagon r. Cavour, Emmanuel Philibert, Vittorc Pisano, Gian Galeazzo Visconti; Roma^nosi , Pier Capponi , JIacchiavelli , Marco Polo-, Raphael, Galileo, Dante, Michael Angelo ; Volla, Lanzone, Giov. da Procida, Bec- caria ; at the r. lateral oiillet Beno de' Gozzadini and Columbus, at the 1. lateral outlet Ferruccio and Monti; at the entrance from the Scala, Savonarola and Ugo Foscolo. The frescoes of the upper part of the octa- gon represent the four quarters of the globe-, on the entrance-arches are Sfienco, Industry, Art, and Agriculture. rhe Piazza della Scala is ejubellished with the ^Monument of Leonardo da Vinci (1452 — 1519) by Magni, erected in 1872. The statue of the master in Carrara marble, over life-size, stands on a lofty pedestal, surrounded by Marco d'Oggionno , Cesare da Sesto, Salaino, and Beltraffio, four of his pupils, and adorned with copies of his principal works in relief. In the piazza , to the W. of the statue, is the Teatro della Scala (p. 114), to the E. is the large Palazzo del Marino, now Municipio (PI. 52), erected in 1555 from designs by Galeazzo Alessi, with a massive fa<;ade and interesting court. Beyond it is the Jesuit church of S. Fedele (PI. 15) in the Piazza of that name, erected by S. Carlo Borromeo in 1569 from designs by Pellegrini, containing a sumptuous high altar. The ad- joining Palazzo del Censo ed Archivio, formerly the Jesuit college, contains part of the government archives, chiefly documents relat- ing to thehistory of Milan. We next proceed from the Piazza della Scala to the N. by the Via S. Giuseppe and Via di Brera to the Brera. In the Via del Monte di Pieta, the second side-street on the 1., is the handsome new Cassa di Risparmio , or savings-bank, an imitation of the Palazzo Strozzi at Florence. The '-'Brera (PI. 50), or Palazzo delle Scienze edArti, open daily in buniuier 9 — 4, in winter 9 — 3, on Sundays 12 — 4 o'clock, for- Brera. MILAN. 19. Route. 119 merly a Jesuits' College , contains the Picture Gallery and Library of the Academy (170.000 vols., about 1000 MSS.), and a collection of Casts from the antique. The court contains statues in marble of the political economist Count Pietro Verri^ the architect Marchese Luigi Cagnola (d. 1833), Tommaso Grossi , the- mathematicians Gabrio Pi&la and Fra Bonaventura Caoalieri (_d. 1647), and it f Carlo Oitavio Castiglione ; in the centre of the court is a bronze statue of Napoleon 1., as a Roman emperor, with a long staff in his left hand and in his right a statue of Victory , by Canova. considered one of his finest works. By the staircase, to the 1., the statue of the celebrated jurist Beccaria (d. 1794), who in his-treatise ^dei delitti e delle pene' was the first to call in question the justice of capital punishment; to the r., that of the satirist Gius. Parini (A. 1799), professor of rhetoric at the college of the Brera. On the wall of a back-staircase to the library is the Marriage of Cana, a fresco by Calisto Piazza da Lodi. The *Picture Gallery (Pinacoteca) in thirteen rooms , contains upwards of 400 oil paintings , and admirable frescoes which have b^en carefully detached from old monastery-walls. Each picture bears the name of the painter. 1st and 2nd Axte-Chambeks : 1—70. Frescoes by Lvini , Ferrari., Bra- mantino . and Marco da Oggionno ; the finest by Luini., some of them ap proaching the genre style (Nos. 11, 62) , scenes from the life of 3Iary (4C), 41, 51, *67), *3Iadonna with St. Anthony and St. Barbara (45), Angels (13, 4o, 47, 52, 66), and St. Catharine borne by angels (50); Gaiidemio Ferrari, Adoration of the Magi (24). — Room I: 75. Titian., St. Jerome; 79. Palma Vecchio (?), Cnicifi.xion and four saints, a picture in three sec- tions; 81. Van Buck, Madonna and St. Anthony of Padua; 91. Rubens, The sacrament; %. Pari.'i Bo. done. Baptism of Christ ; 115. Tintoretto., Pieta. — Room II.; (on the 1.) 120. Giacomo Francia , Madonna in the clouds and saints (1544) ; 124 — 126. Paolo Veronese, Adoration of the Magi; 142. Girolamo Savoldo. Madonna and four saints ; 144. Paolo Veronese, SS. Cornelius, Antonius Abbas, Cyprian, and a monk with a page. — Room III.: 149! Carlo Crivelli , 3Iadonna and four saints; *155. Gentile Bellini, Preaching of St. Mark at Alexandria; 161. Bartolommeo Montayna , Ma- donna enthroned, angels playing on instruments, and four saints (1499); 167. Timoteo delta Vite, Annunciation and two saints; *17l. Andrea Man- tegna. Picture in twelve sections; 176. Giovanni Sanzio (father of Raphael), Annunciation: 187. Antonio and Giovanni da Murano, Altar-piece in sixteen sections; 187. Paolo Veronese, Christ in the house of the Pharisee; 188. Martina da t^dj'ne, St. Ursula and her virgin attendants (1507); 190. Garo- falo , The Maries at the Cross; 195. Giotto, Jfadonna and child (from S. Maria degli Angeli at Bologna, p. 257). — Room IV. : 213. After Correggio, Madonna and Child, with two saints; 223. Giovanni Bellini, Piciii ; 237. Vittore Carpaccio, St. Stephen and the scribes (1.514); 240. Hobbema (V). Landscape; 245. Jan Breughel , Genre-picture. — Room V. : 261. Liberate da Verona, St. Sebastian. — Room VI.: 290. Cima da Conegliano, John the Baptist, St. Peter, and St. Paul; 295, 296. Giov. Bellini (?), JIadonnas ; 299. Fran- cesco Albani, Cupids dancing; 316. Garofalo, Madonna; 315. Giov. Bellini, Madonna (1516). — Room VII. : 318. 'II bersaglio de' dei' (shooting-match of the gods) , a sketch attributed to Raphael , but apparently marked as a work of Michael Angelo by Raphaels own hand; 322. Guercino, Abra- ham and Hagar; 3'2j. Solaria. Portrait; *329. Velasquez, 3Ionk a^sleep; 332. Bern. Luini, 'Madonna: 331. Leonardo da Vinci, Study for the head of Christ in the Last Supper; 333. Rembrandt, Portrait of a lady; **337. Raphael's far-famed Sposalizio , or the ;Xuptials of the Virgin , an early 120 Route 19. MILAN. Brera. work of the master , with aLi^pnsiderable resemblance to Perugino's Spo- salizio which is now at CaenTA- Room VIII. : 346. Francesco Francia, An- nunciation; 354. Civetta (properly Bles) , Nativity, Adoration, Flight into Egypt; 353. Andrea Mantegna , Pieta, 'a tempera' on canvas; 358. Guiclo Reiii , Peler and Paul. — Room IX.: 366. Bonifazio., Finding of Moses; 371, 3T3, 374. Lorenzo Lotto .^ Portraits; 384. Sassoferrato , Madonna and Child; *3^^8. Van Duck , Portrait of a lady. — Room X. i mi. Gaspard. Poussin, John the Baptist in the forest ; 398. Pietro da Cortona., Madonna enthroned , with four saints ; 432. Bonifazio, Christ at Enimaus ; 446. Sal- vator Rosa, Forest scene with the dead body of Peter the Hermit. — Room XI. (copying-room): 421. Marco d'Oygionno, Fall of Lucifer; 452. Gaud. Ferrari, Martyrdom of St. Catharine; 461. Cerano-Crespi, Presenta- tion in the Temple; 465. Cesare da Sesto, Holy Family; 479. Fnea Sal- inaggio, surnamed Talpino, Madonna and saints ; 494. Ainbrogio Borgognone, Assumption and Coronation of Mary. To the left, farther on , are several rooms containing modern pictures, sketches of academicians, casts from the antique, Renaissance and modern sculptures. (An annual exhibition of art takes place in these rooms, generally in September.) — Room XIV. : 564. Paolo Veronese (?), Sacrament. — Room XIX. : 1297. Canova, Vestal Virgin; *T/iorvaldsen, Monument of Andrea Appiani, Three Graces, and Cupid. — Room XXIII. (the last) contains two copies of Leonardo da Vinci's Last Supper, that 'al fresco' by Marco d' Oggionno being the best. — Returning hence to the ante-chamber, the visitor enters the Gallekia Oggioni to the r: 813. Luini. Holy Family; 2762. Cnvelli, Coronation of Mary (1493); 797. Guido Rent, St. Jerome. The Museo Archeologico on the ground-floor (admission daily 10—3, 50 c. ; Sundays 2 — 4, gratis; entrance in the small Piazza di Erera , or through a passage to the r. on the ground-floor) contains a small collection, imperfectly arranged, of antique, mediaeval , and Renaissance sculptures and ancient frescoes, chiefly found at Milan, or collected from churches now destroyed. First Room. Wall of the door (r.) : I. Tomb -relief (Greek workmanship); adjoining it a Renaissance pvitto between inscrip- tions and sculptures. Window-wall : Sledianal sculpture from the tym- panum of a church; Gothic bell of 1352. Next wall: Roman and medi- 8Bval architectural fragments, ancient *head in terracotta. Fourth wall: Portions of the monument of Gaston de Foix (who fell at the battle of Ravenna in 1512), from the monastery of S. Marta, the most important being (E.) a recumbent figure of the hero by Agost. Busti, surnamed Bam- baja (1517). U. Monument of Lancino Carzio (d. 1513) from S. Marius, by the same master. F. Marble coping of a door from the Casa Medici, attributed to Michelozzi. In the corner, C. Monument of Bishop Bagareto by Bambaja. — By the pillars to the r. , and between them: Ancient Roman sarcophagus; T. Roman cippus. Last pillar: *fragment of a cip- pus , a youth leaning on a stall (Greek). By the pillars on the 1., and between'them: Head of Zeu.s (nose modern). H. Torso of Venus with the dolphin. B. Monument of Regina della S-ala, wife of Bernabo Visconti. In the centre; A. Large monument of Bernabo Visconti (d. 1385), from S. Giovanni in Conca, erected during his lifetime (1354), resting on twelve columns, and richly gilded; on the sarcophagus are reliefs, in front the four evangelists, at the back the coronation of Mary ; at the sides the Crucifixion and Entombment; above, the equestrian statue of the deceased. — Second Room. On the r. suits of armour and bronze implements from the graves of Gauls discovered near Sestri Calende in 1867; in the cabin- ets, relics from tombs excavated in the Nuovo Giardino Pubblico, terra- cottas , crystal, majolicas, etc.; also vases and Assyrian antiquities. On the walls are nine ancient frescoes, one of them in the style of Giotto. A little to the W., in the Piazza del Carmine, is the Gothic church of S. Maria del Carmine {V\. 20) of the 15th cent., now modernised, containing a Madonna in fresco by Luini. At the N.W. angle of the city lies the spacious Piazza d'Armi, or esplanade, with the Castello , once the seat of the Visconti and Arco della Pace. MILAN. 19. Route. 121 the Sforzas, and now a barrack. The corner-towers and part of the walls connecting them on the S.W. side are the sole remains of the original building. The adjoining Arena, a kind of circus for races, etc., constructed under Napoleon I., can accommodate 30,000 spectators (closed, fee 1,2 ^0- Opposite the castle , on the N.W. side of the Piazza d'Armi, is the *Arco della Pace (PL 1), or Arco di Sempione, a triumphal arch in the Roman style , begun in 1804 by Napoleon as a termi- nation to the Simplon route . and completed by the Emp. Francis in 1830, the dedication and decorations having been altered (ascend- ed by 107 steps). The inscriptions in honour of the Emp. Francis have been replaced by others commemorating the emancipation of Italy in 1859. This lofty gateway , with three passages , erected entirely of white marble by Cagnola (p. 119), is adorned with numerous reliefs and statues. On tlie platform is the goddess of Peace in a chariot with six horses, at the four corners Victories on horseback. Side towards the town: on the r. and 1. of the inscription, the river-gods of the Po and Ticino. On the 1. under the cornice, the entrance ot Emp. Francis into Milan in 1825, aljove it the battle of Kulm, below it the surrender of Dresden. On the r. the foundation of the Lombard and Venetian kingdom , above it the passage of the Rhine, below it the taking of Lyons, all by Pompeo Afarchesi. Beneath the great arch the foundation of the 'Holy Alliance' in two reliefs. On the W. side the battle of Arcis-sur-Aube , E. the vic- tory of Lyons, by Marchesi. Side towards the country: river-gods of the Tagliamento and Adige , by Marchesi. Under the cornice on the 1. the Congress of Vienna, institution of the order of the Iron Crown, taking of Paris ^ r. Peace of Paris, entry of the Allies into Paris, entry of General ^eipperg into Milan 1814. Returning from the triumphal arch, either across the esplanade, or by the Strada di Circonvallazione , a kind of boulevard planted with trees , to \.\\e Porta Magenta (formerly Vercellina), we reach the Corso Magenta, in which is situated the church of *S. Maria delle Grazie (PI. 22), an abbey-church of the 15th cent., of which the choir, transept, and dome were erected by Bramante in the early Renaissance style , partly in stone , and partly in brick , with curious etirichments in terracotta. The 4th chapel on the r. contains frescoes by Gaudenzio Ferrari (on the r. the Crucifixion, on the 1. Christ crowned with thorns, Christ scourged), executed in 1542, his last works, and an altar-piece (Descent from the Cross) by Caravaygio. In the 6th chapel frescoes by Fiamingo. To the r. on the organ above, a Madonna by Luini. In the sacristy two frescoes by Luini. St. John, altar-piece by Uggioniw., good paintings on the cabinets. In the S.E. angle of the small piazza to the N. oL" this church is the entrance to the refectory of the suppressed monastery of Sta. Maria delle Grazie (now a cavalry-barrack) , containing the celebrated **Last Supper of Leonardo da Vinci (the 'custode del cenacolo' is generally in the refectory). The picture is unfortu- Tiately in bad preservation, chiefly from having been painted on the wall in oils. A fresco by Donato Montorfano (Crucifixion) of 1495, opposite the Last Supper, is in much better condition. 122 Route 19. MILAN. S. Ambrogio. In the Corso Magenta farther on, to the 1., is the Palazzo of the Duca Litta (PI. 55), whose picture-gallery was sold in 1866. On the r., opposite to it, is the small church of S. Maurizio [PI. 27), or Monastero Maggiore, erected by Gio- vanni Dolcebrone ^ a pupil of Bramante , containing *frescoes by Luini, the best of which are near the high altar. The Via S. Agnese leads hence to the S. E. to the Piazza S. Ambrogio, in which is situated the church of *S. Ambrogio (PI. 7), founded by St. Ambrose in the 4th cent, on the ruins of a temple of Bacchus , and dating in its present Ro- manesque form, with its peculiar galleries, from the i2th century. In front of the church is a tine atrium of the 9th cent., surrounded by arcades with ancient tombstones, inscriptions, and half-obliter- ated frescoes of the 12th cent., and earlier. The gates of this church are raid to be those which St. Ambrose closed against the Emp. Theodosius after the cruel massacre of Thessalonica ; there is a portrait of the saint on the 1. side of the principal entrance. The Lombard kings and German emperors formerly caused themselves to be crowned here with the iron crown , which since the time of Frederick Barbarossa has been preserved at Monza (p. 126). Mass is celebrated here on Sundays between 10 and 11 o'clock, accom- panied by the old "Ambrosian' music. Interior. On tlic r. and 1. of the side entrance on the r. : frescoes hy Gaudemio Ferrari , representing the Bearing of the Cross, the three Maries, and the Descent from the Cross. 2nd Chapel on the r. (Cappella delle Dame) : a kneeling *statue of St. Marcellina , hy Pacetti. 5th Chapel on the r. : Legend of St. George , *frescoes by Bernardino Lanini. In the entrance to the sacristy is the Cappella S. Satiro with mosaics of the 5th century. 6th Chapel: Madonna with St. John and Jerome, by Liiini. Beneath the pulpit is an early Christian sarcophagus of the 6th cent., said to tie that of Stilichu. The canitpy (»ver the high altar, which is adorned with reliefs of the 8th cent., formerly painted, is borne hy four columns of porphyry. The high altar still retains its original decoration intact, consisting of reliefs on silver and gold ground (in front), enriched with enamel and gems, executed in the Carlovingian period by Volfoinus, a German (covered, shown only on payment of 3 fr.). In front of the high altar is the tombstone of Emp. Lewis II. (d. 875). The choir contains an ancient episcopal throne. By the high altar is an *Ecce Homo, in fresco by Lxiini^ under glass. In the Tribuna *mt»saics of the 9th cent., earlier tlian those of St. Mark's at Venice: Christ in the centre, at the sides the history of St. Ambrose. — At the entrance to the crypt Christ among the scribes, a fresco by Borgognone. The modernised crypt contains the tombs of SS. Ambrose, Protasius, and Gervasius. The brazen serpent on a column in the nave is said to be that raised by Moses in the wilderness. ■•••S. Lorenzo (PI. 18; entrance in the Corsodi Porta Ticinese, in the colonnade mentioned below) is the most ancient church in Milan. Although it is uncertain whether the handsome interior once formed the principal hall of the thermae or of a palace of Maximian (4th cent.), or belonged to a very ancient Christian place of worship, like S. Yitale at Ravenna (p. 263). and although it was subsequently altered at least three times (the last time by S. Maria di S. Celso. MILAN. 19. Route. 123 Martino Bassi), it is still an objet-t of great interest to architects. It is octagonal in form and covered with a dome. On the four principal sides are large semicircular apses in two storeys , each borne by four columns alternately octagonal and round, and the whole structure is simple and dignified. At the back of the high altar is the Cappella S. Jppolito containing the tomb of Maria Vis- conti. To the r. of the church is the Chapel of St. Aquilinus, containing mosaics of the 6th and 7th cent, representing Christ and the apostles, and the revelation to the shepherds, and an ai\- cient Christian sarcophagus supposed to be that of the founder, the Gothic king Ataulph (d. 416). The entrance to the chapel is adorn- ed with an antique marble coping. The extensive * Colonnade (PI. 57) of 16 Corinthian columns, now standing detached in the same street, also belonged to the same ancient structure. By the Porta Ticinese , farther S., rises the ancient church of S. Eustorgio (PI. 14), founded in the 4th cent., re-erected in the Gothic style by Tosano Lombardo in the 13th cent., and restored in the bad taste of the I7th cent, by Richini. The 'bones of the Magi', to whom the church is dedicated, were formerly deposited here, but were removed to Cologne after the conquest of ."Milan by Frede- rick Barbarossa in 1162. At the back of the choir is a chapel in the best Renaissance style by Michelozzo (after 1462), containing the tomb of St. Peter the Martyr by G. Balducci of Siena. S. Maria di S. Celso (PL '21 i, i\ear the Porta Lodovka , pos- sesses a handsome atrium attributed to Bramante and a fa(;ade of which the upper part was constructed by Galeazzo Alessi. On the r. and 1. of the portal are Adam and Eve by Stoldo Lorenzi. In the interior is a picture by Paris Bordone, St. Jerome adorijig the Child (2nd altar on the r.); Gaudenzio Ferrari . Baptism of Christ (behind the high altar); Borgognone, Madonna adoring the Child, surrounded by John the Baptist , St. Kochus , and the donors of the picture (1st chapel 1. ); above it, Sassoferrato, Madonna. The 2nd chapel on the 1. contains a sarcophagus with the relics of St. Celsus. Adjacent to this church is S. Celso, a Romanesque edi- fice, partially removed in 1826. The Corso S. Celso leads back from this point to the interior of the city. To the r. in the Piazza S. Eufemia is the church of that name (PI. 13), dating from the 5th cent. , but entirely modernised in the 17th. with an Tonic colonnade. Farther towards the N. is situated S. Alessandro ( PI. 6 ), erected in 1602 , the most sumptuously decorated church in Milan , but destitute of works of art. High altar adorned with precious stones. We return by the Via Lupetta and the Via di Torino to the Piazza del Duomo. To the r. in the new Via Carlo Alberto is the small church of S. Satiro (PI. 311, founded in 829. and re-erected by Bramante and his pupil Suardi in the 15th cent. ; the octagonal 124 Route 19. MILAN. Bibl. Ambrosiana. *Sacristy contains a handsome frieze halfway up the wall . with a gallery above it. and niches by Bramante below. The celebrated *Biblioteca Ambrosiana [PI. 3), open 10 — 3 o'clock (fee 1 fr. ; picture-gallery, or Pinacoteca, open to the public on Wed. , 10 — 21/2 , t)ut a fee expected , entrance from the reading-room to the r. in the court) , contains 60,000 vols, and 15.000 MSS. and palimpsests, ov codices rescripti , some of them very valuable. The library was founded in 1609 by the archbishop Cardinal Fred. Borromeo , to whom a statue was erected in front of the building in 1865. Codice Atlantico, i. e. original drawings and MSS. of Leonardo da Vinci; Virgil with marginal notes by Petrarch; a number of miniatures; letters of S. Carlo Borromeo, Tasso, Galileo, Liguori , etc. Then, Christ crowned with thorns, al fresco, Bernardino Luini; Cupid in marble , R. Schadow ; several reliefs and bust of Byron by Thorvaldsen ; mosaics, coins, old woodcuts, and drawings by celebrated masters. — First Floor. First door on the left : Cabinet of bronzes, containing busts of Canova and Thor- valdsen, by the masters themselves, and pictures of no great value : IG. Rafael Mengs., Pope Clement XIII.; without number, Marco Basaiti, The risen Christ ; 60. Carlo Dolce , John the Baptist ; Adoration of the Magi, attributed to Luca d'Olanda (Lucas o/Leyden); models of Trajan's column and the obelisks at Rome. — Second door to the left: entrance to the Pinacoteca : 1st Room, nothing noteworthy. 2nd Room : without number, Annibale Caracci , a colossal Mary from the Assunta of Correggio; 80. Anibrogio Borgognone. Madonna enthroned and saints; without number, a small picture groundlessly attributed to Raphael; 82. Fit. Mazzola^ Annun- ciation; without number, Dosso Dossi ., Washing of the feet; 96. Lower Rhenish Master., Madonna. The door to the left leads to the 3rd room of the drawings: immediately to the 1., *pen-and-ink sketches by A. Dilrer (Samson and the Philistines, 1510; Coronation of Mary). By the window : A. Mantegna , Triumph of Csesar. In the 5ih frame, sketches by Leon- ardo da Vinci , the finest the *female head at the top to the left. Op- posite wall: drawings by and after Michael Angelo (a frame with draw- ings for the Sistinc Chapel). 4th wall , above : part of Raphael's cartoon of the Battle of Constantine, unfortunately half obliterated. 4th Room: Copy of Leonardo da Vinci's Last Supper by Andrea Banchi; 137. Ber- nardino Luini., portrait-head; without number, * Raphael., Cartoon of the 'School of Athens' ; 170. Titian , Adoration of the Shepherds (the other Titians are propably copies); 165. Holy Family with the young Tobias, attributed to Giorgione, but probably by Girolamo Romanino ; between the windows, drawings by Raphael; *i52. Leonardo da Vinci, Portrait of Isa- bella of Arragon; 153. Portrait of her husband Galeazzo Sforza, also attri- buted to Leonardo; Andrea Salaino., John the Baptist. The 5th Room (to the r. of the 2nd) contains nothing worthy of mention. — In the court are Roman inscriptions; stained glass by Giov. Bertini (p. 116); adjoining the porter's lodge, the Mocking of Christ, a fresco by Bern. Luini. To the S. in the Piazza del Duomo, opposite the cathedral, is the Palazzo Reale (formerly Ducale, PI. 48), containing handsomely decorated apartments in the baroque style. Adjacent is the spacious Archiepiscopal Palace (Arcivescovado, PI. 49), with a handsome court with double rows of columns, by Pellegrini { 1565). The Piazza Fontana, which adjoins the Piazza del Duomo on the E. is embel- lished with a fountain in red granite. Beyond it, in front of the Palazzo di Giustizia, is the statue of Beccaria, the celebrated jurist (d. 1794). Giardini Pubblici. MILAN. 19. Route. 125 The Via Brolo leads hence to the S. to the Piazza S. Stefano, with the simple Renaissance church of that name (PI. 34). The Via deir Ospitale leads to the E. to the Corso di Porta Romana. The *Ospedale Maggiore (Pi. 46), a vast and remarkably tine Gothic brick structure . begun in 1457 by Antonio Filareti of Florence, contains no fewer than nine courts. The extensive prin- cipal court, surrounded by arcades, is by Richini; the court to the r. of it is ascribed to Bramante. The editice is entirely covered externally with terracotta, in a style frequently observed in other Milanese buildings. On the N. E. side of the cathedral begins the broad Corso Vittorio Emanuele, the principal business street in Milan, contain- ing the best shops. On the 1. side is situated the church of S. Carlo Borromeo (^Pl. 12), a rotunda in the style of the Pantheon at Rome. io6 ft. in height, consecrated in 1847. It con- tains two groups in marble by Marchesi, and modern stained glass by Jose Bertini (the tinest on the r. of the entrance: S. Carlo Borromeo visiting persons sick of the plage). The adjacent Galleria de Cristoforis , now occupied with shops, was designed by Pizzala and erected in 1830 — 32. To the r.. farther on, at the corner of the Via Monforte , is the small church oiS. Babila (PI. 10). which is supposed to occupy the site of an ancient temple of the sun. In the Via Monforte is situated the Palazzo di Prefettura (PL 54 ), with a modern fat;ade. to the S. of which, in the Via del Conservatorio, is the church of S. Maria delta Passione (PI. 24) of the 15th cent., with a spacious dome by Crist. Solaris surnamed II Gobbo (1530), and paintings by B. Luini, Gaud. Ferrari, etc. The Conservatoire of Music occupies the old monastery buildings. The Corso Vittorio Emanuele is prolonged to tlie Porta Venezia by the Corso di Porta Venezia. On the r.. beyond the canal, is the Archiepiscopal Seminary (PI. 61) with a tine court by Gius. Meda ( I6th cent.), with double colonnades, the lower Doric, the upper ionic. Then, on the 1. (Nos. 59 — 61), the Pal. Ciani (PI. 54), completed in 1861, with rich ornamentation in terracotta. Opposite is the Pal. Saporiti (PI. 56j, another modern building, with Ionic columns, reliefs by Marchesi. etc. The *Giardiiu Pubblici , between the Porta Venezia and the Porta Nuova, pleasant grounds which have been recently much extended, containing tine avenues and several sheets of water, are the favourite promenade of the Milanese, especially on Sunday afternoons. The broad chestnut avenue on the N. side, extending between these two gates, and planted on the old ramparts (bastione), is a fashionable drive towards sunset. A broad flight of steps ascends to the older part of the gardens, opened in 1785, in the centre of which is a square building containing a large and hand- some saloon used for concerts and balls. The New Giardino Pubblico 126 Route 20. MONZA. between the Via Palestro , Via Maiiiu , and the above mentioned bastions, opened in 1861, contains a small zoological garden, and is adorned with a .statue of the Milanese poet Carlo Porta and an /(aZia by Puttinati. In the Piazza Cavour, outside the S.W. en- trance, rises a bronze statue of Cavour on a lofty pedestal of granite. Clio is represented in front registering his name in her tablets. The Villa Reale , a plain modern building in the Via Palestro, is the property of the crow^i-prince of Italy. In the Via Manin, to the W., is the Museo Civico(Pl. 43) (ad- mission on Tues., Wed., and Sat. 11 — 3 o'clock, 1/2 tT- i 011 Thurs. gratis), containing natural history collections: on the 1st floor pala3ontology and ethnography false a phrenological collection of skulls) ; on the 2nd floor zoology, comprising one of the finest collec- tions of reptiles in Europe, founded by the director Jan (d. 1866). At the entrance are busts of Jan and Cristoforis, former directors. The extensive new *Cemetevy ( Cimitero Monumentale), outside the Porta Garibaldi, already contains several handsome monuments. 20. From Milan to Como. The Brianza. Railway from Milan to (28 M.) Camerlata in I1J2 hr. ; fares 5 fr. 45, 4 tr., 2 fr. 85 c. ; omnibus thence in 20 (in the reverse direction 35) min. to Comu and the steamboats, 50 c. Through-tickets to Como, Tremezzina, Cade- nabbia, Bellaggio, Menaggio, and Colico are issued at the railway-station at 3Iilan. The railway traverses a fertile plain , luxuriantly clothed witli vineyards , mulberry-plantations , and fields of maize , ,and inter- sected by innumerable canals and cuttings for purposes of irri- gation. First Stat. Sesto. (8 M.) Monza (*Palazzo Reale ; Angelo ; Falcone; *Alb€rgo del Castello) is a town with 15,587 inhab. Leaving the station and following the Corso d'ltalia to the r., we reach the Cathedral, the chief object of interest. It was erected in the 14th cent, in the Lombard Gothic style on the site of a church founded in 595 by the Lombard queen Theodolinda , and contains double aisles and transept, flanked with chapels on both sides. Intekiok. In the K. aisle the sarcophagus of Queen Theodolinda; in the E. transept reliefs of the 13th cent., supposed to represent the coro- nation of Emp. Otho III., or that of Henry III. — In a casket forming the centre of a richly decorated cross over the altar, r. of the choir, is preserved the celebrated Iron Crown, with which 34 Lombard kings were crowned. This venerable relic was last employed at the coronation of the Emp. Charles V., of Napoleon in 1805, and of Emp. Ferdinand I. in 1838. It consists of a broad hoop of gold adorned with precious stones, round the interior of which is a thin strip of iron, said to have been made from a nail of the true Cross brought by the empress Helena from Palestine. In 1859 it was carried oil" by the Austrians, but after the peace of 1866 was restored to its former repository. — The Tkeasukv contains .several objects of historical interest: a hen with seven chickens in gold, representing Lombardy and its seven provinces, executed by order of Queen Theodolinda; the queen's crown, fan, and comb; two silver loaves, presented by INapoleon I. after his coronation; the cross which was placed CANZO. 20. Route. 127 on the breast of the Lombard king? at the moment of their coronation ; goblet of Berengarius; diptychs (ivury tablets with reliefs), etc.; then, in a cabinet outside the treasury, the mummy of one of the Visconti, who died in 1413. The treasury is shown for a fee of 1 fr. for 1 — 2 pers. ; it also contains a model of the iron crown. The Broletto . or town -hall, of the 13th cent., with round arched windows and to\ver. is believed to be part of a palace of the Emp. Frederick I. and the Lombard kings. The royal Summer Palace near Monza is a large building with an extensive and beautiful park . traversed by the Lambro. The church of the .Madonna di Tirano contains frescoes by Luini , Gaudenzio Ferrari, and Cesare da Sesto. Fkom Monza to Lecco omnibus twice daily. (14 31.) Carsaniga; the beautiful hills of the Brianza to the 1. (see below) are studded with country- residences of the wealthy Milanese. A bridge constructed in the i4th cent, (see p. 136) crosses the Adda at its eftlux from the Lake of Lecco. (14 M.) Lecco^ see p. 136. The hilly tract which comes in view farther on, to the r. of the railway , is the fertile Brianza (see below ) , with its numerous country-residences. The train passes through several tunnels and reaches stat. Desio, then Seregno, a town with 5000 inhab. To Bellaggio thkucgh the Bkianza , a route strongly recommended to pedestrians , especially if they have seen the Lake of Como from the steamboat only. Seregno is a convenient starting-point, from which ii is advisable to drive to Canzo (see below) , a distance of 16 31., and proceed thence on foot. At the station of Seregno carriages are generally in waiting to convey passengers to Canzo , fare 5 — 7 fr., but exorbitant demands are frequently made. An omnibus (3 fr.) runs in the morning daily, except Sundays, from Canzo tn Seregno, returning in the evening; travellers by this conveyance must therefore pass the night at Canzo, and will thus be enabled to start early next morning. The route from Canzo to Bellaggi(j is by a carriage-road, but the ccmntry being very hilly , walking is pleasanter than driving and almost as expeditious. The road from Seregno to Canzo intersects the W. side of the Brianza, an undulating, grassy, partially wooded, and extremely fertile tract, 12 3L in length, 6 31. in breadth, extending between the Lambro and the Adda., and stretching N.E. to the vicinity of Lecco (p. 136). At Inverigo, about one-third of the way, rises the *Eotunda , a handsome and conspicuous country-seat with small park and admirably kept garden, the property of the 3Iarchese Cagnola, situated on an eminence in the midst of vines, mulberry, and other fruit-trees, and commanding an extensive prospect. Where this road crosses that from Lecco to Como, near £rba (p. 129), several small lakes are situated, W. the Lago d' Alserio ^ E. the Lago di Pusiano. The road now enters a more mountainous district , and the sce- nery becomes more attractive. Caslino, possessing considerable .silk-fac- tories (filatoje) . rises picturesquely on the .slope of the hill. The road follows the course of the small river Lambro. Canzo (*Croce di Malta, the first house on the 1. ; a pleasant liqueur, called Vespetro . is manufactured at Canzo) . almost contiguous to Asso, IM4 31. beyond. At the entrance of Asso is a large silk-manufactory ( Casa Versa). The road now gradually ascends for a considerable distance in the picturesque valley of the Lambro, the ValV Assina , the slopes of which are well wooded ; it pa.sses through several villages , (2'J4 31.) Lasnigo, (2')4 3L) Barni., and MagregUo. where the .accent becomes more rapid; first view of both arms of the Lake of Como from the eminence near the (11)4 31.) Chapel. Delightful * survey of the entire W. arm to Lecco and far beyond, from the rear of the first church of (IIJ4 31.) Civenna , with its graceful 128 Route 20. COMO. From Milan tower. The road now runs for 2'|4 M. along fhe shady brow of the moun- tain which extends into the lake at Bellaggio ; beyond the chapel the following striking views are obtained: the W. arm of the lake (of Como), the Tremezzina with the Villa Carlotta and Cadenabbia (p. 132), the E. arm (Lake of Lecco) , a large portion of the road of the E. shore, the entire lake from the promontory of Bellaggio to Domaso (p. 135), and the rising ground with the Serbelloni park (p. 133). The road winds doAvnwards for about 3 M., passing the Villa Giulia (p. 134) on the r., and 'juM. before Bellaggio is reached, the churchyard of that place , containing the monument of the painter Carlo Bellosio, several of whose pictures are to be seen at Bellaggio. From Civenna to the hotels at Bellaggio on the lake (p. 132) 2 hrs. walk. A longer route, which will reward the pedestrian, is by the Monte S. Primo (5586 ft.). Ascent from Canzo with guide in 4—5 hrs. , descent to Bellaggio 2i|2hrs. Magnificent panorama from the summit, comprising the Brianza as far as Milan, the Lago Maggiore, Lago di Varese, the Lake of Como to the N. as far as the Alps from Monte Rosa to the Spliigen. Farther on, beyond stat. Seregno , the long, indented Monte Resegone rises on the r. Stations C'amnago, Cucciago. Above Camerlata {Caffe delta Stazione ed Albergo ; a good trattoria^ oppo- site the post-ofrtce , near the station) rises the lofty old tower of the Castello Baradello , which was ocv:asionally occupied by Fre- derick Barbarossa. The harbour of Como is 2 M. from the station at Camerlata; omnibus thither in 20 min. (50 c.J. Diligence from Camerlata to Varese (p. 136) on the arrival of the trains from Milan ; on the arrival of the first train, also to Zai'ewo (p. 144) on the Lago Maggiore, in 5 hrs. FrOm the Corona (see below) omnibus (2fr. 10 c.) to Capolago (p. 138) in connection with the steamboat to Lugano. In the morning and evening, Swiss diligence (from the station at Camerlata) to Lugano (p. 138) in 3i|2 hrs., Bellinzona (p. 40) in 7i|2 hrs., Lucerne (over the St. Gotthard, R. 4) in 25112 hrs., Coire (over the Bernardino, R. 6) in 241)2 hrs. (in the morning only) ; see p. 114. Como (705 ft.) (*HoTEL VoLTA, formerly Angelo; Italia, R. from 2, L. 3|4, B. liJ2, D. 4, A. 1 fr., both at the harbour; Corona, outside the Porta Milanese; Como; Cof^ C'avour, near the quay; * Trattoria di Frasconi Confa- lo72ieri, at the end of the street leading straight from the harbour; Baths in the lake by the Giardino Pubblico, to the 1., outside the pier), with 20,614 inhab., the birthplace of the elder Pliny and of the celebrated electrician and philosopher Volta(d. 1826; his Statue by P. Marchesi is on the W. side of the town near the quay), lies at the S. end of the S.W. arm of the Lake of Como, and is enclosed by an amphi- theatre of mountains. The * Cathedral, begun in the Lombard Gothic style in 1396, and altered in the Renaissance style by Tommaso Rodari (choir, transept, outside of nave) in 1513 — 21, is built entirely of marble, and is one of the best in N. Italy. Over the portal reliefs (^adora- tion of the Magi) and statuettes (Mary with S. Abbondio, St. Pro- tus, etc.). At the sides of the principal entrance are statues of the elder and the younger Pliny, erected in 1498. Interior. The gaudy vaulting , restored in 1838 at an expense of 600,000 fr. , destroys the" effect of the fine proportions, which resemble those of the Certosa near Pavia (p. 153). The windows of the portal contain good modern stained glass, representing the history of S. Abbon- dio. To the r. on entering is the monument of Cardinal Tolomeo Gallio, a benefactor of the town, erected in 1861. Farther on, over the altar to Como. ERBA. 20. Route. 129 of S. Abbondio on the r., the Adoration of the Magi, by Bern. Luini^ and the Flight into Egypt , by Gaud. Ferrari. Over the altar of St. Jerome a Madonna by B. Luini. In the X. transept the Altare del Crocefisso of 1498, with a fine statue of St. Sebastian. In the choir the Apostles, by Pompeo Marchesi. The sacristy contains pictures by Guido Rent , Paolo Veronese, etc. In the 1. aisle the altar of the Mater Dolorosa with an Entombment by Tommaso Rodari (1498). At the altar di S. Giuseppe : G. Ferrari, Nuptials of the Virgin, in style resembling Raphael ; B. Luini, Nativity ; St. Joseph , a statue by P. Marchesi , and a basrelief below, the last work of this master; at the entrance the busts of Pope Inno- cent XI. (Odescalchi) and Carlo Ravelli, bishop of Como. Adjoining the church is the Town Hall (Broletto) , completed in 1215, constructed of alternate layers of different-coloured stones. Behind the cathedral is the handsome Theatre, erected in 1813. The old church of 5. Fedele, of the 10th cent., is in a remote part of the town. The Porta del Torre, a massive five-storeyed struc- ture, is also worthy of note. Extensive silk manufactories. On the promenade outside the town is the church Del Cro- cefisso , richly decorated with marble and gold, of the 17th cent.; beyond it, to the 1., on the slope of the mountain about 1 M. from the town, is the tine old Basilica S. Abbondio of the 11th cent. ; iron foundries in the vicinity. Walk on the E. bank of the lake. Two roads lead from Como along the slopes on the E. bank. The lower passes several hamlets and villas. The upper (after 40 min.) atlords a view of magnificent snow-mountains towards the W., and leads by Capo-Vico, Sopra-Villa, and Cazzanore (all in the parish of Blevio), leaving the Villa Pliniana (p. 131) far below, to (3 M.) Riva di Palanzo (osteria on the lake) , whence the traveller may cross to the steamboat-station Carate on the opposite bank. Or the walk may be shortened by descending at (2»|2 hrs.) Torno (steamboat-station). From Como to Erba and Legco, diligence daily in 3 hrs. (steamer see p. 130). The road quits Como by the Porta Milanese and ascends the hills to the E. The view of the lake is concealed by the beautifully wooded Monte S. Maurizio ; to the S. a survey is obtained of the district towards Milan and the Brianza (see p. 127). The church of Camnago , a A'illage situated N. of the road , contains the tomb of Volta (see above). Farther on, S. of the road is the sharp ridge of Montorfano near a small lake. Near Gassano is a curious leaning campanile. Beyond Albesio a view is disclosed of the plain of Erba (Pian d'Erba) and the lakes of Alserio , Pusiano , and Annone, above which the Corni di Camo (4612 ft.) and the Resegone di Lecco (6161 ft.) rise on the E. Near (lO'jz M.) Erba (1017 ft.) (Inn), a small town in the luxuriantly fertile 'Pian d Erba' district, are several handsome villas ; the Villa Amalia on the W. side commands a charming view of the Brianza. Near Incino, with its lofty Lombard campanile , once stood the Forum Licini of the Romans, mentioned by Pliny together with Como and Bergamo. Before the road crosses the Lanibro, which is here conducted by an artificial channel to the Lago di Pusiano, the road to stat. Seregno (p. 128) diverges to the r. , that to Bellaggio to the 1. (see p. 128). Penzano on the N. bank of the Lago di Pusiano is next reached , then Pusiano itself. Beautiful glimpse to the N. of the ValV Assina (p. 127) and of the Corni di Canzo, and of the Brianza to the S. Near Civate is the double Lago d' Annone (E. rises the Resegone di Lecco) , connected bv the Ritorto which the road follows , with the Lake of Lecco. The latter is reached at Malgrate, on the W. bank, with numerous silk-factories. Opposite to it lies Lecco (p. 136). B.^'.DEKER. Italy I. 3rd Edit. 130 21. Lake of Como, Plan of Excursion. The most beautiful point on the Lake of Como is Bellaggio (p. 132), which is admirably situated for a stay of several days and for short excursions. — The Lakes of Como and Lugano (p. 138) and the Lago Maggiore (p. 142) may be visited from Milan most expeditiously as follows : train at iO. 50 a. m. in 2 hrs. to Como (Cathedral) 5 proceed by steamboat at 1. 15 p. m. in IIJ2 hr. to Cadenahbia or Bellaggio, and spend the night there. In the evening and next morning visit Villa Carlotta, Serbelloni , and Melzi; by steamboat in i|4 hr., or by rowing-boat, to Menaggio ; thence by omnibus at 11 a. m. (fare 2i|2 fr.) in 2 hrs. to Por- lezza ^ in time for the steamboat which starts for Lugano at 1. 15 p. m. (Sund. and Tuesd. excepted), arriving in 1 hr. (2 fr. or Ifr.), early enough to leave time for the ascent of Monte S. Salvatore. From Lugano dili- gence to Luino at 9 a. m. in 2'^\^ hrs., steamboat from Luino in IIJ2 hr. to the Borvomean Islands , thence in 1 hr. to Arona. Steamboat 5 times daily from Como to Colico in 3i|2 hrs. ; from Colico to Lecco (.railway to Bergamo) once daily (at 4i|2 a. m., returning at 2 p. m.) (fares from Como to Colico 4 fr. or 2 fr. 10 c, from Como to Caden- abbia or Bellaggio 2 fr. 55 or 1 fr. 40 c.). Two societies; the new 'Piro- scaJi-Salon" are more elegantly fitted up, while the post-steamers of the Societd Lariana are more convenient for procuring diligence-tickets (through tickets available for the latter only). Stations: Cernobbio , MoUrasio, Torno^ Carafe, Palanzo e Pognana, Torriggia, Nesso, Argegno, Sala, Campo, Lezzeno, Lenno , Tremezzo, Cadenabbia (pier) , Bellaggio (pier) , Menaggio (pier) , Varenna , Bellano, Rezzonico, Dervio, Cremia, Bongo, Gravedona^ Doniaso, Colico; tickets (gratis) for the ferry-boats attached to the steam- boat-tickets. Between Cadenabbia, or Menaggio, and Bellaggio, the steam- boat is the cheapest conveyance , especially for single travellers. Those who embark at intermediate stations between Como and Colico must pro- cure a ticket at the pier ; otherwise they are liable to be charged for the whole distance from Como or Colico. Rowing-boats (barca). First hour li|2 fr. for each rower, each addi- tional hour 1 fr. each rower. From Bellaggio to Cadenabbia and back (or vice-versa) 3, with 2 rowers 4 fr. ; Bellaggio-Menaggio and back 4 fr. ; Bel- laggio- Varenna and back 4 fr. ; Bellaggio, Villa Melzi , Villa Carlotta, and back with two rowers 8 fr. — One rower suffices, unless the tra- veller is pressed for time; a second may be dismissed with the words 'basta uno I ' When traveller", are not numerous , the boatmen readily reduce their demands. In making a bargain the following question may be put : Quanto volete per vna corsa d'un ora (di due ore)? Siamo due (ire, quattro) persone. E tropjio , vi daro un franco (due franchi, etc.). In addition to the fare , it is usual to give a '■buonamano" of i|2 fr. or 1 fr. according to the length of the excursion. The Lake of Como (699 ft,), Italian Lago di Como or II Lario, the Lacus Larius of the Romans, is extolled "by Virgil (Georg. II. 159), and is in the estimation of many the most beautiful lake in N. Italy. Length from Como to the N. extremity 30 M., from the Punta di Bellaggio fp. 134) to Lecco 12- '3 M.; greatest width be- tween Menaggio and Varenna 210 ^^- ; greatest depth 1929 ft. Numerous gay villas of the Milanese aristocracy, surrounded by luxuri- ant gardens and vineyards, are scattered along the banks of the lake. In the forests above, the brilliant green of the chestnut and walnut contrasts strongly with the greyish tints of the olive, which to the unaccustomed eye bears a strong resemblance to the willow. The mountains rise to a height of 7000 ft. The scenery of the lake, as seen from the deck of the steamboat, though on a far grander scale, faintly resembles that of the Rhine , the banks on both sides being perfectly distinguishable by the traveller. At Bellaggio (p. 132) the lake divides into two branches, termed respectively the Lakes of Como and Lecco. The Adda enters at the upper extremity and makes its egress near Lecco. The W. arm, or rjH^^'^'- V'^" "t^ TORNO. 21. Route. 131 Lake of Como, has no outlet. — The inhabitatits ot the banks of the hike are of an industrial character, being principally occupied in the production and manufacture of silk. — The Lacus Larius derives a classic interest from its connection with the two Plinies , natives of Como, the elder of whom prosecuted his philosophical researches in the .surrounding dis- trict. — The lake abounds in fish, and trout of 20 lbs. weight are occasion- ally captured. The 'Agoni' are small, but palatable. The prospect from the quay at Como is limited , but as soon as the steamer has passed the lirst promontory on the E. the beauty of tlie lake is disclosed to the view. Lake of Como. Westekn Baxk. Villa Raitnondi, formerly Odes- calchi, the largest on the lake, is situated at Borgo Vico, theN.W. suburb of Como. Villa d'Este (now *H6t€l Reine d'Angleterre), was for a considerable time the residence of Queen Caroline (d. 1821), the unfortunate consort of George IV. — Villa Pizzo. Villa Passalacqua , with its numerous windows, resembles a manufactory. Near Moltrasio is a picturesque waterfall. Then Carate, with the Monte Bisbino (4390 ft.) in the background. — Villa Colobiano, a green and red building. The Eastern Bank. Villa Napoli , a castellated edifice ; Villa Taylioni , with a Swiss cottage, formerly the pro- perty of the famous danseuse, now belonging to her son-in-law Prince Trubetzkoi ; Villa Pasta was the residence of the cele- brated singer (d. 1865); Villa Taverna^ formerly Faroni. Torno is surrounded by villas. Villa Pliniana at the end of the bay , at the entrance of a narrow gorge , a gloomy square lofty pyramid, with the inscrip- i edifice, erected in 1570 by Count tion 'Joseph Frank' and a me- Anguissola, one of the four con- dallion, was erected to the me- , spirators who assassinated Duke mory of a professor of Pavia of j Farnese at Piacenza , now the that name (d. 1851), grandson of the celebrated physician Peter Frank of Vienna, at a cost of 25.000 fr. bequeathed by the de- ceased for this purpose. — Laylio, with Villa Gaggi, now Antonylna. Villa Galhiati , completed in 1855, gaily painted ; then Tor- riggia. Brienno is embosomed in laurels. property of the princess Belgio- joso, whose name figured so con- spicuously in the disturbances of 1848. It derives its name of Pliniana from a neighbouring spring which daily changes its level, a peculiarity mentioned by Pliny. Extracts from his works (Ejpist. IV. 30, Hist. Nat. II. 206) are inscribed on the walls of the court. Quarsano and C arena. Nesso, at the foot of the Piano del Tivano (3742 ft.), Nesso So- pra, and Nesso Sotto ; near the 9* 132 Route '21. CADENABBIA. Lake Wbstern Bank. Argegno, at the mouth of the Intelvi Valley. Sala, with the small island of S. Giovanni, or Comacina , fre- quently mentioned in the annals of mediaeval warfare, once forti- fied, and now occupied by a small ehuvch. Campo lies in a bay formed by the promontory otLavedo, which here projects far into the lake. On its extremity glitters the Villa Balbianeilo, with its colonnade, the property of Count Arcomati. Tremezzo (_Albergo Bazzoni) is almost contiguous to Cadenabbia ; between the tT\'0 places stands the Villa Carlotta. This district, termed the Tremezzina , is not in- aptly called the garden of Lom- bardy. Cadenabbia (c^ de' navi, 'ship- houses') (*Bellevue, R. 3, D. 41/2, B. li|2, L. and A. 1 fr. ; Ville de Milan, formerly Pension Majolica, pension 5— 8 fr. ■ +BELLE Ile; Cafe Lavez- zari), halfway between Como and Colico. In a garden sloping down to the lake, in the midst of lemon and citron trees, stands the celebrated *Villa Carlotta, or Sommariva, from the Count of that name to whom it formerly belonged. In 1843 it came into the possession of Princess Albert of Prussia, from whose daughter Charlotte (d. 1855) it derives its present appellation. The wid- ower of the latter, Duke George of Saxe-Meiningen, is the pre- sent proprietor. Visitors ring at the entrance to the garden and ascend the broad flight of steps, Eastern Bank. latter in a rocky gorge is a water- fall of considerable height, fre- quently dry in summer. Near Lezzeno is one of the deepest parts of the lake. Villa Besenna. S. Giovanni , with the Villa Trotti. Villa Poldi, bearing the family name of the Gonzagas , contains the mausoleum of the last of the race, in the form of a round Ro- manesque temple. Fine view. Villa Melzi, see below. Bellaggio (708 ft.) [^Grande Bketagne, with the dependance HGtel-Pension Villa Serbelloni ; Grand Hotel Bellaggio (formerly Villa Frizzoni); ^Genazzini, R. 2'|2, D. 4112 fr., pension 7—10 fr. and up- wards according to bargain ; Hotel ET Pension Suisse; Hotel Florence, moderate, pension 5 fr. 5 boats, see p. 130], at the W. base of the promontory which separates the two arms of the lake, perhaps the most delightful point on any of the lakes of Upper Italy. To the 1., close to the steamboat-pier , is situated the Villa Frizzoni (now a hotel, see above). ■ — About 1/2 ^^- to the S. of the village is the *Villa Melzi , erected by Albertolli for Count Melzi d'Erile , who was vice-president of the Italian Re- public under Napoleon in 1802, of Como. BELLAGGIO. '21. Route. 133 Western Bank. where they are received by the intendant (1 fr. , more for a party). Interior. The Marble Hall con- tains a frieze decorated with cele- brated +*reliefs by Thorvaldsen, re- presenting the Triumph of Alexan- der (for which a sum of nearly 375,000 fr. was once paid by Count Sommariva) ; also several statues hyCanova (Cupid and Psyche, Magda- lene, Palamedes. Venus); Paris by Foiitaita:, bust of Count Sommariva: Mars and Venus, by Acquisti; Cupid giving water to pigeons, by liieti- aimi , etc. — The Billiard Room contains casts, and a small frieze in marble on the chimney-piece representing a Bacchanalian pro- cession , .<;aid to be an early work of Thorvaldsen. — In the Garden Saloon several modern pictures (//a- gar , Romeo and Juliet; Sordon. Athalie; Fuar, Virgil), and a marble relief of Napoleon as consul , by Lazzarini. The Garden (attendant 1)2 fr.), although less richly stocked than those of Melzi and Serbelloni, may also be visited; pleasant view to- wards Bellaggio. Behind the 'Milan' hotel rises a rock, IL Sasso S. Martino. on which stands a small church. Madonna di S. Martino, com- manding a beautiful view; ascent I '/o hr. , path destroyed by tor- rents at places. — The Monte Crocione. a more lofty mountain to the W., commands a striking view of the Monte Rosa chain, the Bernese Alps and Mont Blanc, the lakes and the plain of Lom- bardy (a fatiguing ascent of 6 — 7 hrs. ; guide 5 fr. ; in order to a void the heat the traveller should start at 2 or 3 a. m."). Eastern Bank. and afterwards Duke of Lodi. It now belongs to his grandson the Duca di Melzi, and is not less attractive than the Villa Car- lotta (attendant 1 fr., more for a party). Interior. In the vestibule, cft- pies of ancient bu.sts in marble by Canova; bust of the present pro- prietor by Vela ; statue of the son of the "duca, by Pessina; David, by Fraccaroli: Innocence, by Pan- diani, etc. — The walls of the following rooms are embellished with appropriate frescoes. In the 2nd Room a bust of Michael An- gelo by Canova. 3rd R.: Bust of Michael Angelo by himself: Ma- donna by Bern. Liiini 4th R. : Co- tnolli, Eugene Beauharnais, vice- roy of Italy; Appiani , IJsapoleon I. as president of the Italian Republic. 5th R. Ceiling frescoes by Bossi, representing Parnassus; statuettes by Marchesi; chimney piece by Tfior- valdsen with medallion-portraits of celebrated Italians. 5th R. (Flower- Room) : Canova., Bacchante. The *Garden (attendant i/o fr.) exhibits all the luxuriance and fra- grance of southern vegetation (magni- ficent magnolias, camellias, cedars, Chinese pines, gigantic aloes, etc.). — The Chapel contains monuments in marble to the two former pro- prietors, and to the mother of the present duke, by Sessi. — In an- other part of the garden , Dante and Beatrice, by Comolli; colossal busts of Madame Lsetitia , mother of Xapoleon I., and the empress .Ti>«ephine, by Canova. Higher up stands the *VilIa Serbelloni (Hotel and Pension. see above), the park of which commands an exquisite view, probably the finest on the lake (admission '/-j fr.). Charming glimpses of Varenna, Villa Bal- bianello, Carlotta, etc. — The belvedere of the Villa Belmonte, the property of an Englishman, commands another fine view (ad- mission 1/2 fr.). — A little to the S., in the direction of the 134 Route '21. MENAGGIO. Lake Western Bank. , Eastern Bank. Lake of Lecco, is the Villa Giu- lia, the property of Count Blome. — Excursion to Monte S. Primn, see p. 128. Here , at the Punta di Bellaggio , the two arms of the lake, termed the Lago di Coma and the Lago di Lecco (p. 135), unite. Menaggio C* Vittoria , beauti- fully situated, new ; Corona) pos- sesses an extensive silk manu- factory, to wliLch visitors are ad- mitted. On the lake . S. of the village, the handsome Villa My- liu8. A road leads hence to Por- lezza on the Lake of Lugano (9 M. ; omnibus daily at 11 a. m., see p. 130). On an eminence (V2 lir.), near the church of Loveno (*Inn), stands the Villa Vigoni (*view) , formerly the property of Herr Mylius of Frankfort, a liberal patron of the fine arts ( d. 1845), and the benefactor of the whole neigh- bourhood, as the monuments to his memory testify. The villa contains some admirable works in marble (Eve, Jesus in the temple, the Finding of Moses, Ruth) by modern Italian sculp- tors, reliefs by Thorvaldsen (Ne- mesis, in the temple, erected by Herr Mylius to his son's memory) and Marchesi ; in the garden- I saloon a *group by Argenti, the } proprietress with her children. The steamer next passes a wild , yellowish-brown cliff , // Sasso Rancio ('the orange-rock"), which is traversed by a dange- rous footpath. This route was undertaken in 1799 by the Rus- sians under General Bellegarde, on which occasion many lives were lost. Varenna (*Albergo Reale) is charmingly situated. In the vici- nity, especially towards the N., some remarkable galleries have been hewn in the rock for the passage of the road. Most of the marble quarried in the neigh- bourhood is cut and polished in the town. About 3/4 M. to the 8. of Va- renna the Flume Latte f'milk brook', from its colour) is preci- pitated in several leaps from a height of 1000 ft. , forming an imposing cascade in spring. The Torre di Vezio, a ruin on the hill above, commands a noble prospect. Gittana is the station for the hydropathic establishment of Re- goledo (pension 6fr., baths, etc. 2 fr.), situated 500 ft. above the lake ; donkey from Gittana to Regoledo 1 fr.. horse or litter 2fr. of Como. COLICO. 21. Route. 135 Western Bank. S. Abbondio is the next village. Rezzonico (Raetionicum), with the picturesque ruins of a for- tress of the 13th cent. Cremin with handsome church then Pianello. On rocks rising precipitously Eastern Bank. Bellano lies at the base of Monte Grigna (7254 ft. J, at the mouth of the Pioverna, the val- ley of which extends to the neighbourhood of Lecco , and contains flourishing iron-works. Dervio, at the mouth of the Varrone, is situated at the base of the abrupt Monte Legnone above Musso are situated the (8566 ft. ) and its spur Monte ruins of the Castle of Musso, the i Legnoncino (4951 ft.). Corenno and Dorio are the following vil- lages. count of which after the battle of Pavia (1525) established an independent principality , em- bracing the entire Lake of Como. Then Dongo, with a monastery. Above it, on the height to the r., lies Garzeno, whence a some- what neglected path crosses the Passo Jorio to Bellinzona. Gravedona (Albergo del Sasso), the most populous village on the lake , is picturesquely situated at the entrance of a gorge. The handsome villa with four towers at the upper end was built by the Milanese Cardinal Gallio. The church , dating from the 13th cent., contains two Christian inscriptions of the 5th cent. Domaso ( Inn ) , charmingly situated, possesses several hand- some villas, particularly iheVilla Calderara and Villa Lasquez. From Colico to Chiavekna Swiss diligence (also an omnibus, 2i|2fr.) twice daily in 3 hrs. ; thence daily (twice in summer) over the Splugen to Coire (R. 5) in 13' I2 hrs. Fbosi Colico to Sondrio in the Valtellina diligence twice daily in 5 hrs., also an omnibus (comp. p. 47). Colico {Isola Bella ; Angelo ; both in the Italian style ; *Re- staurant on the lake adjoining the former), comp. p. 45. The Monte Legnone, mentioned above, may be ascended hence without difficulty in 7 — 8 hrs. Lake of Lecco. From Bellaggio to Lecco and back steamboat daily (at 10'i2 a. m., returning at 8'|2 a. m.), see p. 130. The S. E. arm of the Lake of Como is worthy of a visit, although inferior in attraction to the other parts. Lecco is' charmingly situated. The precipitous and formerly almost inaccessible E. bank of the lake is traversed by a road constructed in 1832 and carried along the rocks at places with the aid of embankments, tunnels, and galleries. Three of the 136 Route 21. LECCO. latter near Olcio are together 1000 yds. in length. It affords admirable views of tho lake. The steamboat rounds the Punta di Bellaggio ; on the height ahove is situated the garden of the Villa Serbelloni , and adjoining it the Villa Giulia and the village of Visgnola. Then Limonta, and opp. to it (l.J Liema and Sornico, (r.) Onno, (1.) Olcio, then Mandello on a flat promontory. On the opposite bank (t.) lies the small town of Pare , separated from Malgrate by the promontory of S. Dionigio. Malgrate itself lies at the entrance of the Val Ma~ drera, through which a road to Como leads by Erba fp. 129). The lake gradually contracts into the river Adda, by which it is drained, and is crossed by the Ponte Grande , a stone bridge of ten arches, constructed in 1335 byAzzone Visconti, and furnished with fortified towers at the extremities. Fine view of the town from the bridge. Lecco (^Albergo d' Italia; *Croce di Malta ; Leone d' Oro ; Co- rona; all very Italian), an industrial town with 8000 inhab. and silk , cotton , and iron manufactories, situated at the S. end of the E. arm of the Lake of Como , is admirably described in Manzoni's '1 Promessi Sposi'. Pleasant walks to the hill of Castello and the pilgrimage-church on the Monte Baro (view of the Brianza). A little below Lecco the Adda again expands into the Logo di Garlate, and further down, into the small Logo di Olgirate. A navigable canal connects Trezzo with Milan. — From Lecco to Milan railway by Bergamo in 3 hrs., see p. 157. 22. From the Lake of Como to the Lake of Lugano and the Lago Maggiore. 1. From Como to Laveno direct. 30 M. The road traverses a beautiful district of Lombardy, command- ing views of several lakes, of Monte Rosa and the Simplon chain, and of other high mountains. One-horse carr. from Como to Laveno 20, two- horse 30 fr. ; a drive of about 6 hrs. Diligences and omnibus, see p. 128. The road ascends through the long S. suburb of S. Barto- lommeo, skirts the base of an eminence surmounted by the ruins of the Castello Baradello (p. 128), and leads to Camerlata (p. 128), station of the railway for Milan. It then turns E. to Rebbio, Lucino, and Lurate Abbate, traversing a luxuriantly fertile district containing numerous villas of the Milanese aristocracy. At Olgiate the road attains its culminating point (900 ft. above the Lake of Como), whence a view of the Alps is obtained; through the deep opening to the N., which indicates the situation of the Lake of Lugano, the chapel on the Monte S. Salvatore (p. 140) near Lu- gano is visible. The road next passes the villages of Solbiate and Binago, descends rapidly by Malnate, and crosses the Lanza, near its influx into the Olona, which after a farther course of 30 M. washes the walls of Milan. Y&rese (^Angelo ; *Stella ; *Corona ; icone d'Oro, starting point of the diligences), a wealthy town halfway between Como and MENDRI8I0. 22. Route. 137 Laveno , is often visited in summer by the wealthy Milanese . who possess villas in the environs. S. Vittore. the principal church, contains a St. George by Crespi and a Magdalene by Morazzone. A diligence runs daily from Varese to Marchirolo, Ponte Tresa (p. 141), and Porto {Morcote, p. 142), fare l^/o fr. ; also to Luino (p. 144). 11/2 fr- From Vakese to Milan (ST'J-i M.) by railway in 21J4 hrs. (fares 7 fr. 30, 5 fr. 35, 3 fr. 80 c.). Stations Gazzada, AWizzate, Gallarate; from the latter to Jlilan, see p. 147. The road to Laveno leads by Masnago (1 hr. to the N. is the Madonna del Monte, p. 142) and Cosciago, and ascends to Lumaie, whence a beautiful view S. W. is obtained of the Lake of Varese and the small adjacent Lake of Biandrone, also of the farther distant lakes of Monate and Comabbio. The next village is Bar- rasso, then Comerio (about 950 ft. above the lake), with a number of pleasant villas, whence the road, passing near the N.W. extremity of the Lago di Varese , gradually descends to Gavirate. In the vicinity of the latter are quarries of the 'marmo majolica', a species of marble used for decorative purposes. For a short distance the road commands a view of Monte Rosa. Cocquio and Gemonio are situated r. of the road. Farther on, the Boesio, which flows through the Val Cuvio, is crossed, and, beyond Cittiglio, its r. bank skirted. The road then leads past the S. base of the Sasso del Ferro to Laveno (p. 144), where the steamboats do not always touch, comp. p. 142. Small boat to the Borromean Islands and Pallanza with 3 rowers 10—12 fr. ; to Isola Bella l^o hr. , thence to Isola Madre in 20 min.. to Pallanza in 20 min. more. 2. From Como to Luino by Lugano. To Lugano iO M., to Luino 12 M. more. Svvi.is diligence from Camer- lata to Lugano twice daily ia 3'i2 lir?., from Lugano to Luino once dailv in 23[4 hrs. — Omnibus from Como to Capolago see p. 128. Steamer from Capolago to Lugano see p. 138. On re entering the Italian dominions (at Fornasette, p. 141) from the Canton of Ticino the formalities of the cu'tom-bouse must be undergone. The road leads through Borgo Vico, the W. suburb of Como, and ascends the Monte Olimpino, commanding charming retrospects of the lake, Como, the Villa Raimondi fp. 131), etc., above which the Corni di Canzo rise on the 1. and the rocky eminence crowned with the Castello Baradello on the right. Ponte Chiasso is tlie Italian frontier custom-house for travellers from Switzerland. Chiasso (900 ft.) (Angelo, or Posta) is the first Swiss village ; then (li/., M.J Cafcrno and (1 1/2 M.) Mendrisio (II9I ft.) (*H6iel Mendrisio, R. 27.2, B. 11/2, L. and A. 1 fr. ; Angelo), a small town with 2337 inhab., in a luxuriantly fertile district, with large wine-cellars and a handsome hospital. *Monte Generoso (5561 ft.) (Monte Gionnero , or Monte Calvaggwie), the Rigi of Italian Switzerland , is frequently ascended from Mendrisio 138 Route -22. LAKE OF LUOANO. From Como (where horses and guides may be hired, the latter unnecessary) in 4 hrs. The bridle-path, passing the wine-cellars of the village of Salon'no, ascends in zigzags (pedestrians may go through Salorino and follow the telegraph- wires) to a dale, at the upper extremity of which (li|4 hr., halfway to the hotel) there is a spring in the rock , and a hut where refreshments are sold. The path then leads through a grove of chestnuts, and farther on through a beech-wood to the (li)4 hr.) *H6tel du Giniroso (R. 2iJ2, A. i|2, L. 'J2, D. 4 fr. 5 post and telegraph offices), the property of Dr. Pasta of Mendrisio, a comfortable house and well adapted for a prolonged stay. 1(4 hr. farther, beyond the ridge, are the chalets of Cassina where a fine breed of cattle are reared. From the hotel to the hut on the summit a steep ascent of I'j-j hr., past several peaks of the Generoso. The *view embraces the lakes of Lugano, Como, Varese,- and the Lago Maggiore, the populous plains of Lombardy, and to the N. the entire Alpine chain from the Monte Viso to the Bernina. At the foot of the mountain, figs and grapes thrive luxuriantly ; higher up are dense forests of chestnuts and beeches , and beyond these, broom and scanty herbage. The mountain abounds in rare plants. — The Monte Generoso may also be ascended from Maroggia (see below): pleasant bridle-path by Rovio (where horses and guides may be hired) to the top in 4 hrs.; or from Balerna (see above) by Muggio (to which there is a carriage-road) and Scudelaite to the summit in 4 — 4iJ2hrs. At Capolago {Inn on the lake) the road reaches the *Lake of Lugano, or Lago Ceresio (892 ft.), the scenery of which is little inferior to that of its more celebrated neighbours Como aiid Mag- giore. In the vicinity of Lugano the banks are picturesquely studded with villas and chapels, and planted with the vine, fig, olive, and walnut. The W. side of the S. arm also presents several delightful points of view. On the N. bank, Gandria with its terraced gardens (on lofty arcades) and vineyards is charmingly situ- ated at the base of Monte Bre. Beyond this point the lake assumes a wilder character. The rocks are so abrupt in some places that scarcely sufficient space is left for the footpath at their base. At the N. extremity of this bay Porlezza (p. 142), a harbour and seat of the Italian custom-house, is situated. Small boat to Lugano 10 — 12 fr. Beyond Capolago the road , commanding a succession of beau- tiful views, leads on the E. bank of the lake by Melano and Ma- roggia to Bissone , where it crosses the lake by means of an un- sightly stone dyke, Y2 ^- in length , 26 ft. in width, completed in 1846 at a cost of 700,000 fr. Each end of this structure is provided with an arch. The road then passes Melide , on a pro- montory opposite Bissone, and skirts the lake, passing the E. base of Monte S. Salvatore (p. 140). The white dolomite, of which the mountains chiefly consist here , changes near Melide to dark porphyry, and as S. Martino is approached, there is a gradual transition to shell-limestone. Lugano does not come in view until the road turns round the N. base of Monte S. Salvatore , where the striking beauty of the situation at once becomes apparent. Lugano. Hotels. *H6tel dc Parc, in the suppressed monastery of -S. Maria degli Angioli ., on the S. side of the town, with a pleasant garden and a dependance called the Belvedere du Pabc on the lake (comp. also the Villa Vasalli, p. 140), R. 2iJ2 — 5, L. 3|^, b. l'J2, D. 4i|2, A. 1 fr. ; pension in summer 6 — 9 fr. , in winter S'ja — 6 fr. ; *H6tel Washington, in the old government buildings, R. 2iJ2, D. 4 fr. ; *Gband to Luino. LUGANO. '22. Route. 139 Hotel Suisse; Hotel de la Couronne, tolerable, but without view; *Bellevce , new , R. 2, B. 2, D. 4, L. and A. isj^ fr. — Post and Tele- graph Office at the Gov. Buildings (see below). Restaurants. Concordia and Americana ^ both on the lake; Caf4 Fe- /VH(, Jacchini, and del Teatro in the Piazza della Riforma, at the back of the Hotel Washington. Lake Baths of the Societd Salvatote adjoining the Hotel Bellevue, and Bagni Galleggiauti by the Hotel du Pare (for swimmers, 1 fr. with towels). Diligence to Luino (p. 144) once daily in 2'j2 hrs., coupe 3 fr. 60, in- terieur 2 fr. 90 c; steamboat-tickets for Lago Maggiore are also issued at the office (two-horse carr. 20. one-horse 12 fr., incl. fee): to Lucerne by the St. Gotthard twice daily; to Coire by the Bernardino once daily; to Camerlata twice daily. Steamboat to Capolago 1 fr. or 60 c. ; to Porlezza 2'|2 or 1 fr. Boats to Porlezza (p. 142) with one rower 7 fr., two 12 fr., three Itj'l^ fr. ; to Capolago 6, 10, or 12 fr., incl. fee. Carriages. To Luino with one horse 10 , two horse 20 fr., Bellinzona 16 or 30, Magadino 16 or 30, Como 15 or 25, Camerlata 16 or 30, Varese 16 or 30, Baveno 22 or 40, Fluelen with two horses 140 fr. (driver's fee extra). English Church Service at the Hotel du Pare. Lugano [932 ft.), the capital of the canton of Ticino, with 6024 inhab., is charmingly situated on the lake of the same name and enjoys quite an Italian climate (the aloe blooming here in the open air). It is a very pleasant place for a lengthened stay ; the environs possess all the charms of Italian mom\tain scenery ; nu- merous villages and country-seats are scattered along the margin of the lake . and the lower hills are covered with vineyards and gardens, contrasting beautifully with the dark foliage of the chest- nuts and walnuts in the background. To the 8., immediately ab- ove the town , rises Monte S. Salcatore , wooded to its summit (p. 140); among the mountains towards the N. the double peak ot .Monte Camoghe fp. 45) is conspicuous. The interior of the town with its arcades, workshops in tlie open air , and granite-paved streets, is also thoroughly Italian in character. On market-day (Tuesday) a variety of picturesque Italian costumes may be observed here. The once numerous monasteries of Lugano were suppressed be- tween 1848 and 1853. with the exception of two. The most impor- tant was that of S. Maria degli Angioli , now the Hotel du Pare. The adjacent church contains three Frescoes by Luini, the *Cruci- fixion, one of his finest works, the Last Supper (on the 1. wall) in three sections . formerly preserved at the Lyceum, and a Madonna (1st chapel on the r.). — S. Lorenzo, the principal church, on an eminence (fine view from the terrace), probably erected by Tom- maso Rodari at the end of the 15th cent., has a tastefully adorned marble facade. Adjoining the Theatre is the Hotel Washington, formerly the government buildings , with a cool and pleasant colonnade court. The hall contains a monument to the architect Canonico di Tesse- rete, and a marble bust of Gen. Diifour. A small temple at the Villa Tanzina , where suites of apart- ments may be hired, 1/4 M. S. of the Hotel du Pare , contains a 140 Route 22. MONTE S. SALVATORE. From Como bust of Washington , 'magnum saeculorum decus\ The proprietor is an Italian who amassed a fortune in America. — The Villa Va- salli, charmingly situated near the Hotel du Pare, of which it is now a d^pendance , has a beautiful and very extensive garden, containing fine cedars , magnolias, camellias, etc. — Superb view from the tower in the garden of the Villa Enderlin, to which access is permitted by the proprietor. The beautiful *Park of M. Ciani (d. 1867) extending along the N. bay of the lake (travellers admitted , gardener 1 fr.), contains a marble Monument erected by the late proprietor to the memory of his parents and executed by Vine. Vela in 1850. On the broad quay opposite the Hotel du Pare is a Fountain with a Statue of William Tell, 8 ft. in height, in white sandstone, designed by Vine. Vela, and erected by M. Ciani. Delightful excursion to *Monte S. Salvatore (2982 ft.), ascent 2 lirs., descent VI2 hr., guide (4 fr.) superfluous, as the path cannot be mistaken; horse 9 fr., mule 8 fr., incl. fee. About 10 min from the Hotel du Pare, between a detached house and the wall of a garden , a good paved path diverges to the r. from the road to Como ; 2 min. farther, where the path divides, not to the r., but straight on to the houses; between these the road ascends, past the handsome and conspicuous (25 min.) Villa Marchino, to (5 min.) the village of Pazzallo . from which Monte Rosa is visible through a mountain-gorge. Here the path diverges to the 1. from the broad road, through the gateway of the fourth house and ascends to the 1. by a stony but easy ascent in li|2 hr. to the Pilgrimage Chapel on the summit (refreshments at a house near the fop, dear). The *view embraces all the arms of the Lake of Lugano, the mountains and their wooded slopes, especially those above Lugano, sprinkled w-th numerous villas. To the E. above Porlezza is Monte Legnone (p. 135), to the 1. of which, in the extreme distance, are the snow-peaks of the Bernina-, N. above Lugano the double peak of Monte Camoghe (p. 41), 1. of this the distant mountains of St. Gotthard; W. the chain of Monte Rosa, with the Matter- horn and other Alps of the Valais to the r. This view is seen to best advantage in the morning , when Monte Rosa gleams in the sunshine. The construction of a carriage-road and of a hotel on the summit is projected. In descending, the route through Carona (1966 ft.) and Melide (somewhat longer) may be chosen. A drive round the Monte S. Salvatore (4i|2 hrs.) is strongly com- mended. Proceed by ('(2 hr.) Paiubio, where a monument by Vela has been erected near the church of S. Piefro to Capt. Carloni , Avho fell at Somma Campagna in 1848, to (1 hr.) Figino , where the road approaches the W. arm of the lake. Then skirt the lake, round the Monte Arbosiora., to (3J4 hr.) Morcote., charmingly situated and commanded by a ruined castle (view from the top), and to (1 hr.) Melide. Thence to Lugano., see p. 138. — The churchyard of ^?. Abbondio, 2 M. to the W. of Pambio (see above), contains a fine monument of the Torriani family by Vela. The ascent (2i|2 hrs.) of *Monte Bre (3100 ft.), to the X. E. of Lugano, is another easy excursion, scarcely less interesting than that of 3Ile. S. Salvatore. A road runs inland towards several mills at the foot of the mountain. Thence a broad and well-constructed path winds upwards to the r. to the small village of Desago , passing a few groups of houses. Another route to Desago from the town runs along the lake to the foot of the mountain, and then ascends from hamlet to hamlet, through gardens etc. Above Desago the path divides; both routes are broad, and well- constructed, leading round the mountain to the village of BH on its farther side (Inn, bread and wine only). The route to the r., above the lake, is of surpassing beauty, while that to the 1. commands a fine inland view. Near the church of Br^ a narrow forest-path ascends to the summit to Luino. OSTENO. '22. Route. 141 of the mountain. This path also divides; the branch to the r. traverses the highest crest of the hill , that to the 1. leads to a spur of the moun- tain in the direction of Lugano. The summit may be attained by either. The view^ of the several arms of the Lake of Lugano, especially in the direction of Porlezza, and the surrounding mountains, is remarkably fine. Lugano itself is not visible from the summit, but from the above-mentioned spur a good view of it may be obtained. All these paths are easily traced. From Lugano to Bre about" l'|2 hr. ; from Bre to the summit by the longest way about 1 hr. Monte Caprino, opposite Lugano, on the E. bank of the lake, is much frequented on holidays by the townspeople, who possess wine-cellars (can- tine) in the numerous cool grottoes by which the side of the mountain is honeycombed. These receptacles are guarded by numerous huts, which from a distance present the appearance of a village. Good wine of icy coolness may be obtained here ('Asti' recommended). These cellars should be visited oIi account of their thoroughly Italian characteristics. The interesting ^^Grotto of Osteno may easily be visited from Lugano by the steamboat bound for Porlezza (or by small boat). The grotto is 7 min. from the landing-place: walk through the village, and outside the gate turn to the r. immediately before the stone bridge, and then cross the brook. The mouth of the gorge, in which there are two small water- falls, is near a projecting rock. Visitors embark in a small boat and enter the grotto, the bottom of which is entirely occupied by the brook. The narrow ravine through which the boat now threads its way is curiously hollowed out by the action of the water. Far above, the roof is formed by overhanging bushes, between which an occasional glimpse of blue sky is obtained. The gorge, which is terminated by a waterfall, resembles that of Pfafters, and is equally imposing, although shorter. Beyond Lugano tho road gradually winds upwards to the W., turns S. past the small Lake of Muzzano , crosses the Agno , and leads through the village of that name (967 ft.), and a short distance farther reaches the W. arm of the Lake of Lugano. Near Magliaso , with an ancient castle of the Beroldingen family, the lake is quitted, but another of its bays is touched near Ponte Tresa (so called from a bridge across the Tresa, here connecting the Swiss and Lombard banks). This bay is so completely enclosed by mountains, that it appears to form a distinct lake ; it is con- nected with the Lake of Lugano by a narrow channel only. The Tresa, which here emerges from the lake, falls into the Lago Mag- giore 3^4 M. S. W. of Luino. The road follows its course as far as the Italian frontier at Fornaseite, where luggage is examined ; it then descends and soon affords a view of the Lago Maggiore. Luino, see p. 144. 3. From C.^denabbia (p. 132) or Menaggio [p. 134) by Porlezza AND Lugano to Lavexo (or Luino, comp. No. 2). Omnibus and steamer see p. 130. One-horse carr. from Menaggio to Porlezza in 2 hrs., 6 fr. ; boat thence to Lugano in 3 hrs., 7—12 fr., from Lugano to Porto in 3 hrs., 5 — 6 fr. ; or take a boat direct from Porlezza to Porto, a Lombard harbour at the S. W. bay of the Lake of Lugano; one-horse carr. from Porto to Laveno in 4 hrs., 12 — 15 fr. The journey from Cadenabbia or Menaggio to Porlezza (9 M.) is recommended to pedestrians, as the road leads through a succession of imposing and attractive mountain-scenes. The Villa Vigoni (p. 134) lies r. of the road , to the N. The retrospect from the height 142 Route 23. LAGO MAGGIORE. near Croce, 2M. from Menaggio, is lovely. The road then descends to the small Lago del Piano and the village of Tavordo. Forlezza (^Inn on the lake) (p. 139} is nearly 2 M. farther. Attempts at extortion are frequently made here by the fraternity who prey upon travellers. The scenery of the E. arm of the Lake of Lugano is of a severe character. Soon after Porlezza is quitted, the Monte S. Salvatore (p. 140) becomes conspicuous to the S.W. The lake becomes more attractive as Lugano is approached. Gandria, Lugano (where travel- lers to Luino descend), stone'dyke near Melide, see p. 138. Morcote lies on a tongue of land which forms the S. base of Monte S. Salvatore. Porto (see above) is the seat of the Italian custom-house. The road , which at first ascends rapidly , commands picturesque retrospects. Beyond Induno (*Inn), 6 M. from Porto, the road to Varese is quitted, and that r. to S. Ambrogio followed. The village lies ;3 31. N. of Varese (p. 136) and I'l- M. S. E. of the base of the *Madonna del Monte, a celebrated i-esort of pilgrims. Fourteen chapels or stations of various forms, adorned with frescoes and groups in stucco, have been erected along the broad path , by which the monastery and church on the mountain (2841 ft.) are attained in 1 hr. The view hence is not less celebrated than the peculiar sanctity of the spot. The small lakes of Comabbio, Biandrone, and Monate, that of Varese, two arms of the Lago Maggiore , part of the Lake of Como, and the expansive and fruitful plain as far as Milan are visible. A far more comprehensive view, including the glacier-world also, is obtained (best bv morning-light ) from the Tre Croci (3966 ft.), 1 hr. N. W. of the Madonna. Several cabarets adjoin the monastery. Donkeys and guides (unnecessary) are to be found at the foot of the mountain. The road then leads from S. Ambrogio to Masnago , where it joins that leading from Varese to Laveno, see p. 137. 23. Lago Maggiore. Borromean Islands. From Arona to Milan. steamboats ply on the lake 3 times daily during the summer: from Magadino to Arona in 5i|2 hrs., from Luino to Lsola Bella in 2^i hrs., from Isola Bella to Arona in 11)4 hr. ; fares from Magadino to Arona 4 fr. 80 and 2 fr. 65 c, from Luino to Isola Bella 1 fr. 85 and 1 fr. 15 c, from Lsola Bella to Arona 1 fr. 80 and 90 c, landing and embarking included. The steamboats are the best and cheapest conveyance to Isola Bella, especially for a single traveller (from Pallanza 60, from Stresa 40 c.) ; and as they touch at the island 4—5 times daily, frequent opportunities are afforded for the excursion. Stations (those at which the steamers do not touch regularly are printed in Italics; those with piers are in capitals; the steam- boat communicates with the others by rowing-boat: for particulars see the '■Horaire pour la Navigation a vapeur du Lac Majetir\ which may be obtained at the principal inns on the banks) : Magadino, Locakno, Asco7ia, Brissago, Cannobbio, Maccagno, Luino, Cannero , Oggebbio, Ghiffa, Porto Valtraraglia , Laveno, Intka , Pallanza, Suna., Feriolo., Baveno, Isola Bella, Stkesa, Belgirate, Lesa, Meina, Angeva, Akona. Boats. Travellers coming from the Simplon usually take a boat at Baveno (pp. 35, 145) to visit the Borromean Islands. The charge for an excursion not exceeding 2 hrs. is fixed for each rower at 21(2 fr.; for 1 — 3 pers. 2 rowers, for 4—6 pers. 3, more than 6 pers. 4 rowers, so that the half-hour's passage to Isola Bella is somewhat expensive. Half-way be- tween Stresa and Baveno, opposite the island, there is a ferry, where 1—2 LOCARNO. 23. Route. 143 fr. is exacted for a passage of scarcely 10 min. ; the other boatmen demand 5 fr. The passage from Stresa for 1 — 2 pers. costs 2 fr., for 3 or more with 2 rowers 4 fr., according to tarili". For the return from the island to the mainland, to Baveno, Stresa, etc., the boatmen demand 5 fr., but they re- duce their terms as the time for the departure of the steamboat approaches (see above). From Isola Bella to Isola Madre and back , incl. stay, 5 fr. with two rowers. Diligence from Arona twice daily in 6 hrs. to Doino cfOssola (p. 35), in correspondence with the diligence over the Simplon (R. 3). — From Xwino Swiss diligence daily in 2*14 hrs. to Lugano, see p. 137. — From Magadino (in 13)4 hr.) and Locarno (in 2^a hrs.) a ^wiss diligence twice daily to Bellinzona (p. 40), thence in summer twice daily over the St. Gotthard to Lucerne in 18 hrs. (R. 4) and over the Bernardino to Coire in 17 hrs. (R. 6). Lago Maggiore (646 ft.. greatest depth 2800 ft. ), the Lacws Verhanus of the Komaiis, is 37 M. in length and averages 41/2 M. in width. The canton of Ticino possesses only the N. bank for a distance of 9 M. ; this portion of the lake is also called the Lake of Locarno. The W. bank beyond the brook Valmara , and the E. bank from Zenna belong to Italy. Its principal tributaries are on the N. the Ticino (Tessin). on the W. the Tosa, on the E. the Tresa , flowing from the Lake of Lugano. The river issuing from the S. end of the lake retains the name of Ticino. The N. banks are bounded by lofty mountains , for the most part wooded, whilst the E. shore towards the lower end slopes gradually away to the level of the plains of Lombardy. The W. bank affords a succession of charming landscapes. The water is of a green colour in its N. arm, and deep blue towards the S. The Steamboat leaves Magadino . the most N. harbour of the lake (immediately to the S. of which lies Vira, picturesquely jut- ting into the lake), and steers across the lake to Locarno (682 ft.) {*Corona. on the lake ; *Albergo Svizzero, R. 1^2 fr.. in the town, higher up ; Caffe dell' L'nione, on the lake), with 2667 inhab., one of the three capitals of the Canton of Ticino, situated on the W. bank of Lago Maggiore , at the mouth of the Maggia, the deposits of which have formed a considerable delta. Politically Locarno is Swiss , but the character of the scenery and population is thoroughly Italian. The Collegiate Church contains a few good pictures. The handsome Government Buildings are situated in a large 'piazza' and public garden. The pilgrimage- church of *Madonna del Sasso (1168 ft.), on a wooded eminence above the town, commands a remarkably fine view. The busy market held at Locarno every alternate Thursday af- fords the visitor an opportunity of observing a variety of costumes of the peasantry of the neighbourhood. Great national festival on 8th Sept.. the Nativity of the Virgin. The boat now skirts the W. bank, passes Ascona with its castle and seminary, Ronco, and Brissago (*Albergo Antico), a delightful spot, with picturesque white houses conspicuous from a great distance, and an avenue of cypresses leading to the church. The slopes above the village are covered with flg-trees , olives 144 Route 23. LAVENO. Lago Maggiore. and pomegranates ; even the myrtle flourishes in the open air. Then S. Agata and Cannobbio (*Albergo del Bissone), one of the oldest and most prosperous villages on the lake , situated on a plateau at the entrance of the Val Cannobbino , and overshadowed by richly-wooded mountains. The high altar-piece of the church Delia Pieth, the dome of which is ascribed to Bramante, is a Cruci- fixion by Gaud. Ferrari. Pleasant walk of '/^hr. inland to the hydro- pathic establishment of La Salute, the property of Dr. Fossati-Barb5 (pension 6 fr. , omnibus at the pier), and thence to the (20min.) Orrido. a wild rocky scene with a bridge and [in spring) a waterfall. The boat now steers for the E. bank, touches at Maccagno, and stops at Luino (*H6tel da Simplon; Vittoria; Posta), with the Palazzo Crivelli surrounded by pines, the station for Lugano (p. 138), and a favourite summer resort on" account of the beauty of its environs. About ^/2^- to the S., at the mouth of the Margorabbia, lies Germignaga, with the large silk-spinning (fllanda) and silk- winding (filatoja) factories of Cesare Bozotti and Co. of Milan. On the W. bank rise two grotesque-looking castles (Castelli di Cannero), half in ruins, the property of Count Borromeo. In the 15th cent, they harboured the five brothers Mazzarda, notorious brigands, the terror of the district. Cannero is beautifully situated in the midst of vineyards and olive-groves , which extend far up the slopes of the mountain. The VI. bank is clothed with the richest vegetation, and studded with innumerable white houses and a succession of picturesque villages. The small villages of Oggebbio and Ghiffa on the W. bank, and Porto Valtravaglia , on the E. In a wooded bay beyond the last lies Calde , with the ancient tower of the Castello di Calde on an eminence. Then Laveno (*Posta; Moro; Stella), a village of some importance , beautifully situated in a bay at the mouth of the Boesio , formerly a strongly fortified harbour for the Austrian gun- boats (omnibus to Varese and Como see p. 137). Behind Laveno rises 11 Sasso del Ferro (5918 ft.), the most beautiful mountain on the lake, commanding a magnificent view of the lake , the plain as far as Milan , and the Monte Rosa chain. The five-peaked summit of Monte Rosa is also visible from this part of the lake. At the boat approaches Intra , a rotunda with a statue , belong- ing to the Villa Prina, becomes visible. The valley, which here opens to the W., suddenly discloses a strikingly picturesque view of the N. neighbours of Monte Rosa: first the Strahlhorn , then the Mischabel and Simplon. They are lost to view as the steamboat turns the point between Intra and Pallanza , but soon re-appear and remain visible until Isola Bella is reached. From the island itself they are hidden by the mountains of the valley of the Tosa. Intra ( Vitello d' Oro ; Leone d'Oro), a flourishing town with manu- factories , chiefly belonging to Swiss proprietors , is situated on an Lago Maggiore. BORROMEAN ISLANDS. '23. Route. 145 alluvial soil, between tlie mouths of two mountain-streams, the .Sf. Giovanni and S. Bernardino. Omnibus daily between Intra, Pallanza. Gravellona. Omegna, and Orta ; comp. R. '24. On the promontory of S. Remigio , which here juts into the lake , stauds a church on the site of an ancient Roman temple of Vfuus. This is the widest part of the lake. The little Isola S. Giovanni, one of the Borromean group , with its chapel . house, and gardens, is the property of Count Borromeo. Pallanza (+Grand Hotel Pallanza, a large house, l>eaiitifully situat- ed , R. 3, E. I1J2, D. 4i|.;, A. and L. [}[> iV. ^ omnibus on the quay. — Posta: Italia. — Boat with one rower to the Isola Madre i'Ja. with two 3 fr., to Isola Bella 2i|2 or 4i|2; to hoth islands 3i|o or 6. to Stresa 2i|2 or 4, to Laveno 2'J2 or 4'|2, to Luino G or 10 fr., etc. — Diligence to Domo d"Ossola in 5 hrs., on the arrival of the steamboat from 31agadino. Oninihux to Orta, see p. 149), the Seat of the authorities of the pro- vince, is a thriving little town (4000 inhab.), delightfully situated opposite the Borromean Islands. Some of the gardens here (iJorcZ^/, '(ruttij etc.) deserve a visit. The lake here forms an extensive bay, 4i/2 ^- long and 2'/4M. wide, running in a N. W. direction , at the N. extremity of which is the influx of the impetuous Tosa (Toce). On its N.E. bank lies Suna , on the S.W. Feriolo (Leone d"Oro), where the Simplon route (p. 35) quits the lake ; the steamboat does not always touch at these two stations. Tlien Baveno (*BeU€>me; Beaurimye ; Sempione) , a small town with 1300 'inhab. . the usual starting- point of travellers from the Simplon for a visit to the *Borromean Islands. The steamers touch at the most S. of these, the Isola Bella , wliich with the Isola Madre is the property of the Borromeo family. Between these lies the Isola del Pescatori, or Superiore. the property of the fishermen who inhabit it; to tlie N. is the Isola S. Giovanni mentioned above. Count Vitalio Bor- romeo (d. 1690) erected a chateau on *l8ola Bella {*H6tel du Dauphin, R. from 2, B. 1' •_>, D. 4, L. and A. 11/4 fr.), and con- verted the barren rock into beautiful gardens, rising on ten terraces 100 ft. above the lake, and stocked with lemon-trees, cedars, mag- nolias, cypresses, orange-trees, laurels, magnificent oleanders, and other luxuriant products of the south. The view is very beautiful (evening light most favourable J. Shell-grottoes, fountains (dry ), mosaics, and statues meet the eye in profusion , but in some- what questionable taste. The Chateau, v^^hich is quite dispropor- tionate to the small extent of the island, is richly decorated, and contains a Collection of Pictures more numerous than valuable. The N. wing is in ruins. The view through the arches of the long galleries under the chateau is very striking. A domestic hurries visitors through the apartments (fee '/.) — 1 fr. for each pers.J , and consigns them to a gardener . who shows the gard. n with equal dispatcli for a similar fee. B.tDEKER. Italy I. 3rd Edit. 10 14G Route 23. ARONA. The *Isola Madre on its 8. side resembles the Isola Bella and is laid out in seven terraces with lemon and orange-trellises ; on the upper terrace is an uninhabited 'Palazzo'. On the N. side, there are charming walks in the English style, with most luxuriant vegetation, which render it a far pleasanter resort than the Isola Bella (fee 1 fr,). — The Isola del Pescatori is entirely occu- pied by a small fishing- village, the single open space being just sufficient for drying the nets. The scenery around the Borromean Islands rivals that of the Lake of Como in grandeur, and perhaps surpasses it in softness of character. Moute Rosa is not visible; the snow-mountains to the N. W. are the glaciers and peaks of the Siniplon; of the nearer mountains the most conspicuous are the white granite-rocks near Eaveno (p. 35). The ti-aveller coming from the ^S". cannot fail to be struck with the loveliness of these banks, studded with innumerable habitations, and clothed with southern vegetation (chest- nuts, mulbei-ries, vines, figs, olives): the extensive lake with its deep blue waters and beautiful girdle of snowy mountains combining the stern grandeur of the High Alps with the charms of a southern clime. Rousseau at one time intended to make the Borromean Islands the scene of his 'Nouvelle Heloise', but considered them too artificial for his romance, in which liuman nature is pourtrayed with such a masterly hand. The steamboat now steers S, to Stresa (^HOtel des Iles BoRKOMfeES , with diligence office, 'jz M. from the landing-place, R. from 2i|2, B. l^jz. A. ^^, D. 4 fr., pension in summer 7i(-j — Oij-^ fr.. in winter 5—6 fr., boat without rower Pj-z fr. for the first, 1 fr. for each subsequent hour. — *Hotel i>k Milan, R. 2, D. 3, L. and A. 1, pension 6 — 7 fr. ; *H6tel nu Simplon; Alber&o Re.\le, Italian inn. Oite-horse carr. to Domo d'Ossola 15 — 20 fr., two- horse 30 — 35 fr. ; to Arona with one horse 6 fr. ; carriages for the Simplon route to Sion may also be procured. Ko supplementary carriages provided when the diligence is full), situated on the coast, opposite the Isola Bella. The handsome Roaminian Monastery halfway up the mountain is now a college. Beautiful cypresses in the Church- yard. — Ascent of Monte Motterone, see p. 148. As the boat pursues its course along the W. bank, the con- struction of the high-road, in many places supported by piers of masonry, attracts attention owing to the difficulties Avhich had to be overcome. The banks gradually become flatter, and Monte Rosa makes its appearance in the W, The boat touches at Belgirate (Hotel Borromeo), Lesa, and Meina (Albergo Zanetta) on the W., and at Angera on the E. bank (once a day only), and finally stops at the Arona station. The handsome chateau above Angera be- longs to Count Borromeo. Arona (738 ft.) (*Italia, or Posta, diligence-office ; *Albergo Reale. both on the quay ; Cafe adjoining the Albergo Reale ; Cafe du Lac . near the quay) , an ancient town on the W. bank , with 3153 inhab., extends upwards on the slope of the hill. In the prin- cipal church of -S. Maria, the chapel of the Borromean family, r. of the high altar, contains the *Holy Family as an altarpiece , by iiaudenzio Vinci, a master rarely met with ; it is surrounded by five smaller pictures, the upper representing God the Father, at the sides eight saints and the donatrix. GALLARATE. 23. Route. 147 On a height overlooking the entire district, ^ 2 ^r. N. of the station and pier, is a colossal * Statue of S. Carlo. 70 ft. in height, resting on a pedestal 4'2 ft. high, erected in 1697 in honour of the celebrated Cardinal , Count Carlo Borromeo, Archbishop of Milan (born here in 1538, died 1584, canonised 1610 ). The head, hands, and feet of the statue are of bronze, the robe of wrought copper. Notwithstanding its enormous dimensions, the statue is not devoid of artistic merit. The various parts are held together by iron clamps, and by stout masonry in the interior. By means of ladders, kept in readiness in the neighbourhood (fee), the lower part of the robe can be attained on the W. side, and the interior entered. The venturesome climber may now ascend by means of iron bars to the head of the statue, which will hold three persons. A window is introduced at the back of the statue. The sulYocating heat and the number of bats which infest the interior render the ascent far from an enjoyable undertaking. The adjacent church contains a few relics of S. Carlo. The extensive building in the vicinity is an Ecclesiastical Seminary. Railway from Arona by Novara to Genoa and Turin see R. 18. From Arona to Milan. 42 31. Railway in Qij*— 2i|2 hrs. ; fares 8 fr. 5, 5 fr. 85, 4 fr. 15 c. The line follows the S. bank of the lake, crosses the Ticino (Tessin), the boundary between Piedmont and Lombardy (till 1859 the boundary between Sardinia and Austria), and reaches Sesto- Calende (Posta) at the S. E. extremity of the Lago Maggiore. at the efflux of the Ticino. 8tat. Vergiate, then Somma. where P. Corn. Scipio was defeated by Hannibal. B. C. 218. The dis- trict continues arid and sandy as far as stat. Gallarate (the junction of the Varese line, p. 137 ). a town with 5200 inhab. at the S. E. base of a range of hills which form the limit of the vast and fruitful plain, planted with maize, mulberries, and vines, extending hence to Milan. Next Stat. Busto Arsizio, the church of which, designed by Bramante. contains frescoes by Gaudenzio Ferrari. Then stat. Leynano, where Frederick Barbarossa Avas defeatedby the Milanese in 1175; the principal church contains a tine altar-piece, one of the best works of Luini. Stat. Parabiayo. Stat. Rhu (p. 113) possesses a church (Madonna dei Miracoli) by Pellegrini, which however remained unttnished till near the middle of the present century. Last stat. Musocco. Milan, see R. 19. Omnibuses and tiacres, see'p. 114. 24. From Stresa to Varallo. Monte Motterone. Lake of Orta. Val di Sesia. Three days suffice for a visit to this district, which, though seldom visited, is one of the most beautiful of the S. Alps. Travellers from the Simplon (R. 3) should, after visiting the Borromean Islands, begin this excursion at Stresa (p. 146) and terminate it at Arona; or Gravellona (p. 35) may be taken as the starting-point, and Stresa the termination, in which case the portion between Orta and Varallo must be traversed twice. 10* 148 Route 24. ORTA. From Stresa From Stresa or Isola Bella to Orta 7, from Orta to Yarallo 5 hrs. walking; from Varallo to Arona or Novara about 6 hrs. drive. — A guide (to the summit of the pass 4, to the top of Motterone 5, to Orta 10 fr., and gra- tuity) should be taken as far as the culminating point of the pass , OT to the chalets^ especially if the traveller intends to ascend to the summit of the mountain (recommended in fine weather, 2 hrs. additional). A supply of provisions is necessary for Ihe excursion, little except milk being procurable. Donkey 6 fr. to the summit of the pass. The loi!g Monte Motterone separates the Lago Maggiore from the Lake of Orta. The footpath which crosses it from Stresa to Orta (road in course of construction) begins opposite Isola Bella, at the landing-place of the boats, and ascends rapidly by the r. bank of the brook as far as the (Uj hr.) village , beyond which it pursues a N. direction through the chestnut-wood on the slope of the mountain (i/o ^^r.), commanding a beautiful view of the Lago Maggiore. On (i/'o l^r-) emerging from tlie wood, the path ascends to the W., traversing moor and pasture; in V2 ^'^r. it passes three rocks, crosses the brook, and (2/4 hr.) reaches a small group of houses (Ristorante alV Alpe Volpe), 10 min. below the culminatiug point of the pass. The summit of the mountain may be attained hence in 1 hr. The extensive prospect commanded by the summit of *Monte Motterone (4891 ft.) or 2fargozzolo, which may be termed the Rigi of the S. Alps, embraces the entire amphitheatre of mountains from Monte Rosa to the Ortler in the Tyrol. To the r. of Monte Rosa appear the snow-mountains of Mont/ 3Ioro, Pizzo di Bottarello, Simplon, Monte Leone, Gries, and St. G^otthard; farther E. the conical Stella above Chiavenna, and the long, imposing ice-range of the Bernina, which separates the Val Bregaglia (p. 45) from the Valtellina (p. DQ). At the spectator's feet lie six different lakes, the Lake of Orta. Lago Maggiore, Lago di Monate, Lago di Comabbio, Lago di Biandrone , and Lago di Varese •, farther to the r. stretch the extensive plains of Lombardy and Piedmont, in the centre of which rises the lofty cathedral of Milan. The Ticino and the Sei^ia meander like silver threads through the plains, and by a singular optical delusion frequently appear to traverse a lofty table-land. The simultaneous view of the Lsola Madre in Lago Maggiore and the Isola S. Giulio in the Lake of Orta has a remarkably picturesque eflect. The mounlain ilself consists of a number of barren summits, studded with occasional chalets, shaded by trees. At its base it is encircled by chestnut-trees, and the foliage and luxuriant vegetation of the landscape far and wide impart a peculiar charm to the picture. At the chalets, 10 min. from the tlnger-post mentioned above, milk may be procured; 4 hr.) the solitary church of Madonna di Lucciago, (3/^hr.) Chegino, (i^hr. ) Armeno, and (40 min.) Miaslno are successively passed, and (I/2 ^^^■) ^^^ high-road is reached (3 '4 M. from Orta) near the pension Ronchetti Posta. A little beyond the latter a path diverges from the road to the r., ascending in 10 min. to the Sacro Monte (see below), which may now be most conveniently visited in passing. Orta (1220 ft.) ij' Leone d' Ore ; Hotel S. Giulio ; hoth on the quay; one-horse carr. to Gravellona 8 fr.), a small town with narrow streets , paved with marble slabs , is most picturesquely situated on a promontory extending into the lake, at the base to Vandlo. COL DI COLMA. L>^. Route. 149 of a precipitous cliff. At the .S. entrance of the town is the handsome villa of tl»e Marqnis Natta of Xovara. Omuibus and Diligence from Orta daily to Omeyna (Posta), at the X. end of llie Lap> di Orta, and by Gravelloiia (p. 35) to Pallanza (p. 145); also from Orta by Biiccione . a village at the S. end of the Lago di Orta, commanded by the old Castello di Bucdone, to Gozzano., the terminus of the Novara-Gozzano railway. Above Orta rises the Sacro Monte (ascent between the two hotels), a beautifully wooded eminence, laid out as a park, on which 20 chapels were erected iii the 16th cent, in honour of S. Francis of Assisi, tach containing a scene from the life of the saint. The life-size figures arc composed of terracotta, highly coloured, with a background al fresco; as a whole, though destitute of artistic worth, the representations are spirited and elfective. The best groups are in the 13th, 16th. and 20th chapels , the last representing the canonization of the saint and the assembly of cardinals. The * Tower on the summit of the hill commands an admirable panorama; the snowy peak of Monte Rosa rises to the W. above the lower intervening mountains. The '■Evemita del Monte'' expects a fee of 1 fr., for showing the above-mentioned three chapels. In the Lake of Orta (9 M. in length, I1/2 M. in width), op- posite to Orta . rises the rocky island of S. Giulio , covered with trees and groups of houses (boat there and back 1 fr.j. Tlte Chur(;h, founded by St. Julius, who came from Greece in 379 to convert the inhabitants of this district to Christianity, has been frequently restored; it contains several good reliefs , some ancient frescoes, a handsome pulpit in the Romanesque style, and in the sacristy a Madonna by Gaudenzio Ferrari. On the W. bank of the lake . opposite the island , the white houses of the village of Pella peep from the rtiidst of vineyards and groves of chestnut and walnut-trees. Passage from Orta to Pella 2 fr. with two rowers. A path towards the S. winds upwards from Pella, through a grove of chestnut and fruit trees, in 20 min. to the Madonna del Sasso, the pictu- resque church of the village of Boletto. An open space by the church, on the brink of a precipice several hundred feet above the lake, commands a One prospect. At Pella mules may be procured for the journey over the Colma to Varallo (5 hrs., guide unnecessary). A steep path ascends the hill to the W., traversing luxuriant gardens (vines, figs, pumpkins, and fruit-trees); in 12 min. the ascent to the r. must be avoided. In 1 hr. (from Pella) Arola is reached , at a small chapel beyond which the ascent to the r. must again be avoided ; the path pursues a straight direction and soon descends. The Pellino , a mountain- torrent , descending from the Colma, forms [5 min.) a picturesque waterfall. }3eautiful retrospective views of the lake. The path now ascends through a shady wood, between disintegrated blocks of granite which crumble beneath the touch, to the Col di Colma (21, -2 hrs. from Pella), a ridge connecting Monte Pizziyone with Monte Ginistrella. The prospect of the Alps is beautiful, embrac- ing Monte Rosa, the lakes of Orta and Yarese , and the plain of Lombardy. The whole route is attractive. In descending on the W. side (to the r,) the traveller overlooks the fruitful Val Sesia, 150 Route 24. VARALLO. with its inimerons villages. The path, again traversing groves of chestnut and walnut-trees, carpeted with turf and wild-flowers, now leads through the Val Dugyin to (1 hr. ) Civiasco and (1 hr.) Varallo (1515 ft.^ (* Italia; *Posta ; Falcone Nero), the prin- cipal village (3200 inhab.) in the valley of the Sesia, a stream Avhich is frequently dry in summer. The old town and the Sacro Monte are very picturesque Avhen seen through the arches of the bridge. In the town a monument has been erected to Victor Emmanuel. The Sacro Monte (1981 ft.), the object of numerous pilgrimages, rise." in the immediate vicinity of the town. It is attained in 'J4 hr. by a path shaded l»y beautiful trees, but the enjoyment is somewhat marred by the importunities of beggars. The .summit, surmounted by a chapel and crucifix, commands a magnificent view. Besides the church there are in all 46 Chapels or Oratories on the summit and slopes of the Sacro Monte, many of them buried among the trees, containing scenes from the life of the Saviour, in terracotta, with life-size figures arranged in groups. Each chapel is devoted to a different subject ; the 1st, for example, the Fall, the 2nd the Annunciation, and so on to the 46th, which contains the Entombment of the Virgin. Some of the frescoes by Pele- grino Tibaldi and Gavdenzio Ferrari are worthy of inspection. This "Nvora Gei-iixalemme nel Saero Monte di Varallo' was founded by Ber- nardino Caloto, a Milanese nobleman, with the sanction of Pope Inno- cent VIII. As a resort of pilgrims, it did not come into vogue until after the visits of Cardinal Borromeo (p. 147) in 1578 and 1584, from which period most of the chapels date. Varallo is admirably adapted as head-quarters for excursions to the neighbouring valleys , which are very attractive and easily accessible (comp. Baedekers Switzerland). A carriage-road (omnibus twice daily) descends the picturesque valley of the Sesia to (6 M. ) Borgo Sesia, (7^/.) M. ) Romagnano (_Posta); then quitting the Val Sesia, by Sizzano, Fara, and Briona to Novara (p. 110). 25. From Arona to Genoa. Ill M. Railway in 5—6 hrs. ; fares 19 fr. 65, 13 fr. 75, 9 fr. 95 c. ; no luggage free except small articles carried in the hand. Good refresh- ment-rooms at Novara and Alessandria. If Arona has been quitted late in the day, it is better to spend the night at Alessandria than to perform the interesting journey through the Apennines in the dark. The railway at first commands picturesque views (to the L") of the S. extremity of Lago Maggiore (p. 146) and the mountains of the Brianza (p. 127). Numerous cuttings and embankments. A flat, agricultural district extending as far as Alessandria is soon reached. The Ticino flows at some distance to the 1. Stations Borgo-Ticino, Varallo- Pombia, and Oleggio (^to the r. a fine glimpse of the Monte Rosa chain). Then stat. Bellinzago, and (23 M.) Novara (p. 112), where the Arona and Genoa line is crossed by that from Milan to Turin (R. 18); to Turin in 3 hrs. (fares 10 fr. 45, 7 fr. 85, 5 fr. 25 c). Next stations Vespolate, Borgo Lavezzaro. Mortara, the last of which was taken by storm by the Austrians two days before the ALESSANDRIA. 1^5. Route. 151 battle of Novara (p. 11*2). To the r. and 1. are numerous fields of rice, which are laid under water during two months in the year, Fkom 3I0RTARA TO Milan- (32 31.) railway in i\i—2 hrs.; fares 4 fr. 4d, 3 fr. 30, 2 fr. 15 c. (from 31ilan to Genoa by this line express in 5, ord. trains in S hrs.; comp. R. 26). Stat. Vigevano (Albergo Reale), a town of some importance in the silk-trade, with 15,000 inhaV)., is situated near the r. bank of the Ticino. Spacious market-place surrounded by arcades. Beyond Vigevano the Ticino in crossed; stat. Abbiategrasso, Gnggiano^i Corsico, and Milan (p. 113). Next Stations Valle, Sartintna, Torre-Beretti (railway to Pavia, see p. 155). To the 1. the long chain of the Apennines forms a bl\ie line in tlie distance. Rice-fields are seen in every direction. The line crosses the Po by means of a bridge of twenty-one arches , and traverses sandy hills planted with vines. Beyond (30 '/j ^I-) stat. Valenza (branch-line to Vercelli, see p. 112) the train passes through a tunnel I'/s -^I- i" length. Then stat. Vnl Madonmt ; several picturesquely situated small towns lie on the chain of hills to the r. The Tannro is then crossed, and some fortifications passed. (10 m.) Alessandria (Hotel de VUnivers; Europa ; Victoria; Aquila ; ^Railway Restaurant), an uninteresting town with 57,079 ii)hab., situated on the Tanaro in a marshy district, and strongly fortified, was founded in 1168 by the Lombard towns allied against the Erap. Frederick Barbarossa and named after Pope Ale- ander TIL It is surnamed della paglia , i. e. of straw, perhaps because the first houses were built of clay and straw. Alessandria being a junction of several lines, carriages are generally changed here. Railway to the W. to Turin , see R. 13; E. to Piacenza, Parma, Bologna (Ancona), RR. 12, 40; to Cavaller-Maggiore, p. 111. From Alessandria to acqli, a branch-line towards the S. in 1 hr. 10 inin. (fares 3 fr. 75, 2 fr. 65, 1 fr. 90 c). Acqui , the Aquae Stattelae of the Romans, an episcopal town on the Bormida with 8600 inhab., is well known for its mineral waters, which resemble those of Aix-la-Chapelle in their ingredients and etTects. The Cathedral, with its double aisles, dates from the 12th cent. Kear Acqui the Austrians and Piedmontese were defeated by the French in 1794. Good wine is produced in the vicinity. This line is to be prolonged to Cairo and Savona fp. 96), where it will unite with the coast-line from Genoa to Xice. The line crosses the Bormida , which a short distance below Alessandria falls into the Tanaro. About IV4 M. E. of the bridge, in the plain '>etween the Bormida and the iSerivia , is situated the small village of Marengo, near which, on 14th June, 1800, v-as fought a battle which influenced the destinies of the whole of Europe. The French were commanded by Napoleon, the Austrians by Melas. The battle lasted 12 hrs.. and the French lost Desaix, one of their best generals. The district which the railway now intersects is at first flat ; in the distance rise the Apennines. Next stat. Frugarolo. (14M.J Stat. Novi (*Sirena) (branch-line to Pavia and Milan, see R. 26 ; to Piacenza, see R. 12), situated on the hills to the r., commanded by a lofty square tower, was the scene of the victory gained by the 152 Route '26. BUS ALL A. Austriaiis ami Russians under 8u\varow over the French on 15th Aug., 1799. At Stat. Serravalle the train enters a mountainous district; then Arquata, witli a ruined castle on the height. Be- tween this point and Genoa there arc eleven tunnels. The train winds its way through profound rocky ravines (la bocchetta), tra- versing lofty euihankments and several times crossing the mountain- brook (Scriria). The scenery is imposing and beautiful. Stat. Isola del ('(intone; on the height to the r. the ruins of an old castle. Stat. Busalld, the culminating point of the line, 1192 ft. above the sea-level, is the watershed between the Adriatic and the Mediter- ranean. The last tunnel, the Galleria del Giovi, is upwards of 2 M. in length, the transit occupying 7 min. Then several short cuttings. The landscape becomes more smiling; the hills, planted with vines and corn , gradually become more thickly sprinkled witli the villas of the Genoese. To the r., on the loftiest summit of the mountain near stat. Pontedecimo, rises the white church of the Madonna della Guardia. Next Stat. Bolzaneto aiul Rirarolo. The railway now crosses the Polcevera , the stony channel of which is occasionally covered by an impetuous torrent. On the summits of the heights to the 1. are towers belonging to the old fortifications of Genoa. The last Stat. S. Pier d'Arena is a suburb of Genoa. On the r. are the lighthouse and citadel, beneath which the train enters the town by a tunnel, (hi the r. , before the station is entered, stands the Palazzo del Principe Doria. (33' -2 ^1- ) G-enoa, see p. 84. 26. From Milan to Genoa by Pavia. Certosa di Pavia. 95. 31. RAIL^VAY from Milan to Pavi.a in 50 min. or 1 lir. (tares 4 t"r. 40, 3 fr. 20, 2 fr. 30 c); from Milan to Genoa in 43|4— 5'|2 hrs. (fares 17 fr. 25, 12 fr. 75, 8 fr. 75 c). An early train should be taken in order that the remarkal>le scenery of the Apennines may be seen to advantage. Those who desire to visit both the Certosa and Pavia from Milan are recommended to take a return-ticket to Pavia^ inspect the town (in about 3 hrs.), and then drive (one horse carriage 4—5 fr.) to the Certosa. a pleasant journey of 50 min., skirting a canal. A visit to the Certosa occupies li|2 — 2 hrs.; thence to stat. Certosa a walk of i|4 hr. (The return-ticket is of course not available for the journey from Pavia to the Certosa and thence to Milan, as the journey cannot be broken without (he ticket being given ui>.) The train to Pavia at first follows the Piacenza line , then diverges to the S.W. before ^stat. Rogoredo is reached. The high road , which in a straight direction follows the Naviglio di Pavia (p. 115), a broad canal, lies on the r. Below Pavia, near the union of this canal Avith the Ticino . there are some remarkable locks. The district is flat; underwood and rice-fields are traversed alternately. Stations Locate and Villamaggiore. CKRTOSA ni PAVIA. 1'6". Soute. 153 On the road, to the W. of the line . lies Binasco, a small town with an ancient castle, in which, on 13th Sept.. 1418, the jealous and tyrannical Duke Fil. Maria Yisconti caiised his noble and inno- cent wife Beatrice di Tenda (p. 110) to be executed. If the Certosa is visited from the railway, the train is quitted at Stat. Guinzano , or della Certosa . whence the path planted with willows is followed , and the long garden-wall of the moiiastery skirted towards the r. (walk of V4 hr.). The Sagrestuno should be enquired for at the entrance. A French lay-brother generally acts as guide (fee for 1 pers. 1 fr.; the fees are expended in the mainten- ance of the buildings ). The monastery at present numbers 11 inmates. The celebrated *Cert08a, or Cartl\usian monastery, founded in 1396 by GianGaleazzo Yisconti. and suppressed under Emperor Jo- seph II.. was restored to its original destination in 1844 and present- ed to the Carthusians. The **Farade , begun in 1473 by Ain- broyio Bon/oynone, an example of tlie richest Renaissance style, is entirely covered with marble of different colours and most taste- fully decorated; below are medallions of Iloman emperors, above them scenes from sacred history, and from the life of Giangaleazzo ; then heads of angels, beyond them the magnificent windows, and above these numerous niches filled with statues. All the most distinguished Lombard masters from the 15tli to the 17th cent, have had a share in its embellisliment. and it is unquestionably the finest work of this decorative description in N. Italy, although in- ferior to the fa(;ades of the cathedrals of Orvieto and vSieua , es- pecially as the upper part has never been completed. The body of the church, begun in 1396 by Marco di Campione in the Gothic style , consists of a nave with aisles and 14 chapels , and is sur- mounted by a dome, borne by ten slender columns. The Interior ( to which ladies are now admitted) is sumptuously and tastefully fitted up. The handsome coloured enrichments were probably designed by Borgognone , and the pavement of modern mosaic is also worthy of notice. The chapels and altars are richly adorned with valuable columns and precious stones, and the church contains several interesting pictures aiid monuments. 2nd Chapel on the r. : good altar-piece in six sections by Macrino iVAlba (1496): 4th Chapel r.. Crucifixion by Ambrogio Borgognone; 5th Chapel r., St. Sirus with four saints, by the same. The 2nd Chapel on the J, (counting from the entrance) formerly contained a picture by Periigino in six sections, of which the central part, above, representing *God the Father, is alone original, the other parts being now in France and England. The other frescoes and paintings by Borgognone, Procaccini . Guercino . Biancfn\ Crespi, father and son, and others are of no great value. The transept and choir are separated from the rest of the church by a beautiful screen of iron and bronze. S. Transept : magnificent ^Monument of Giangaleazzo Yisconti, designed in 1490 by Galeazzo Pellegrini, but executed chiefly by Antonio da Amadeo And Giacomo della Porta^ and not completed till 1562. X. Transept : Monuments of Ludovico il Moro and his wife ^Beatrice d'Estc (d. 1497). The *choir contains a line altar with carving of the 16th century. The choir-stalls are adorned with figures of apostles and saints from drawings 1 54 Route 26. PA VI A. From Milan by Borgognone. The four handsome bronze candelabra in front of them are by Libero FoiUana. The old sacristy to the 1. of the choir contains a beautifully carved ivory altar-piece in upwards of 60 sections by Leonardo de' Ubriachi of Florence (16th cent.). The door to the r. of "the choir, handsomely framed in marble, leads to the Lavaiorio, which contains a richly adorned fountain and (on the 1.) the Madonna and child in fresco by Bern. Luini. To the r. of the lavatory is a small burial-place. The Sagrestia Nuova, or Oratorio, is entered from the S. end of the transept : *Altar-piece, an Assumption by Andrea Solaria^ but the \ipper part is said to have been painted by Giulio Catnpi of Cremona. Over the door, Madonna enthroned, by Bart. Montagna; the side pictures by Borgognone. The front part of the *Cloisters (della Fontana) possesses slender marble columns and charming decorations in terracotta. Fine view hence of the side of the church and the S. transept with its trilateral end. The refectory is also situated here. Around the large cloisters, farther back, are situated the 24 small houses occupied by the monks, each consisting of three rooms with a small garden. The battle of Pavia, at whioh Francis I. of France was taken prisoner by Emperor Charles V., took place near the Certosa in 1525. Pavia {*Croce Bianea, R. from SU) fr- L. ^/-j, omnibus 1/2 fr. ; Lombardia ; Pozzo, near the bridge over the Ticino ; Tre Re, start- ing-point of the diligences ; Cafe at the corner of the Corso Vittorio p]manuele and the Corso Cavour), with 29,618 inhab., situated near the confluence of the Ticino and the Po, the Ticinum of the ancients , subsequently Papia, was also known as the f'iW) (U Cento Torri from its hundred towers, many of which still exist. In the middle ages it was the faithful ally of the Ger- man emperors, until it was subjugated by the Milanese; it is still partly surrounded by the walls and fortifications of that period. At the N. end of the town is situated the Castle , erected by the Visconti in 1460 — 69, now employed as a barrack. Leaving the railway - station , Ave enter the Corso Cavour through the Porta Borgorato or Marengo (in a wall to the r. is the statue of a Roman magistrate), and following the Via S. Giuseppe to the r. reach the Piazza del Duomo. The Cathedral (PI. 4) rises on the site of an ancient basilica, to which a gateway on the 1. and the huge Romanesque campanile still belong. The present edifice, begun in accordance with a design by Bramante , and continued by Cristoforo Rocchi in 1486, but never completed, is a vast circular structure with four arms. In the interior, on the r.. is the sumptuous *Arca di S. Agostino, adorned with 290 figures (of saints and allegorical ), begun , it is supposed, in 1362 by Bonino da Campiglione, by whom the figures on the tombs of the Scaliger family at Verona (p. 173) were exe- cuted. The lance of Roland is also preserved here. Then, to the r. of the entrance, a large model in wood of the church as originally projected. We may now proceed to the Corso Vittorio Emanuele, a street intersecting the town in a straight direction from N. to S., from the Porta di Milano to the Porta Ticinese , and leading to the covered Bridge (a pleasant promenade with picturesque view) over the A B C D i Bagni puBbUei A. 5. lS.5a« ftwjo Co. TS.PioRUiro di S.Croce B.3 2 Casa d'btdusfrtn C. ?' ?J ^J "' - - -!i ilJ 1=1 I fill 1^1 ' •a: =5 ^ ^ PESCHIERA. 27. Route. 157 On the slope of the liill, in the street leading to the lower town, is situated the Accademia Carrara, a school of art containing models and a picture-gallery (open laily. 10 — 3). 1st Room : 28. Velasquez. Portrait. — 2nd R. : 79. Leandro Bassano, Monk praying; 8.5. Vittore Belliniano, Crucilixion; 75. Civetta , St. Chri.^- topher; 97. Paolo Veronese, St. Christina; 95. Moretto , Holy Family; 87. Titian, Sketch. — 3rd R. : '200. AfaiUegim, Resurrection; 218. Bart. ViraHni. Madonna; 204. (fiov. Bellini, Portrait; 205. Carotto., Adoration of the3Iagi; 213. Beltra/Jio, Madonna; 212. Antonello da Messina, St. Sebastian; 194. Crivelli. Madonna; 210. Giov. Bellini. Madonna; 19'2. Mantegna ^ Por- trait; *190. B. Luini, Annunciation; 187. Giorgione fO, Portrait ; 154. Lor. Lotto, Holy Family; 146. A. Previtali., Madonna; 128. Cima^ Saints; *185. Raphael. St. "Sebastian (questionable, perhaps Perugino); 104. Fr. Francia , Bearing of the Cross; 106. Diirer , same subject. — 4th R. : 237. A. Paltnezzano, Madonna; 128. Previtali, Madonna; *187. Mantegna^'Madonna.. Fkom Bergamo to Lecco by railway in li|4 hr. ; fares 4 fr., 2 fr. 90, 2 fr. 5 c; stations: Ponte S. Pietro, Afapello, Cisono, Caloleio, Lecco. From Lecco to Varenna and Colico, see p. 136. The line now describes a wide curve towards the S.E., and at Stat. Seriate crosses the Serio. Stations Garlago and Grumello (hence to the Lago d'Iseo , see p. 167). At stat. Palazzolo the Oglio (p. 167). descending from the Lago d'Iseo, is crossed. Picturesque glimpse of the village in the valley to the 1. with its slender towers. Then stat. Coccaglio, witli the monastery of MonV Orfnno on a height, stat. Ospedaletto, and stat. Brescia (seeR.30), commanded by its castle. The slopes near Brescia are sprinkled with villas. The red colour of the mountains is due to the presence of abundant iron-ore (comp. p. 162). Tlie line soon quits the hilly district. Stat. Rezzato. Near stat. Ponte S. Marco the Chiese is crossed. Beyond stat. Lonato a short tunnel and a long cutting. A long viaduct now carries the line to Desenzano (p. 159), a harbour at the S.W. eiul of the Lago di Garda ( see below). The train affords an admirable survey of the lake and the peninsula of Sermione (p. 159), connected with the land by a narrow isthmus. The venerable castle with its pinnacles and tower is especially conspicuous . Next stat. Pozzolengo. In this district, extending from the banks of the lake to a point considerably beyond Guidizzolo (on the road from Brescia to Mantua), the obstinate and sanguinary battle of Solferino was fought on '24th June , 1859 , between the united French and Italian armies and the Austrians. The defeat of the latter led shortly afterwards to the Peace of Villafranca (p. 178). The line of battle extended to a length of upwards of 15 M. The village of Solferino (Inn, good red wine; guides) lies on the heights to the S., about 5 .\I. from the railway ; carriage from stat. Desenzano, there and back. 15 fr. The train next reaches (in 20 min. from Desenzano) Peschiera (^Railway Restaurant; station 3^^ M. from the town; in the latter, 158 Route 28. LAGO DI GARDA. Tre Corone), a fortilied town situated at the S.E. end of the Lago di Garda , at the efflux of the Mincio from the lake. In 1848 Peschiera was taken by the Piedmontese after a gallant defence by the Austrian General Rath. The villages of VoLta and Goito, situ- ated at some distance to the S.. were also the scene of battles during the same year. Beyond Peschiera the train crosses the Mincio. Stat. Castel- nuovo ; the village is picturesquely situated on the 1. Beyond a chain of hills, penetrated by means of several cuttings , the train reaches stat. Somma Campagna, then S. Lucia, and hnally Verona, see p. 171. 28. The Lago di Garda. steamboat. W. Bank, between Dcsenzano and Riva; dep. from Desenzano daily at 1. 50 p. in., arr. at Riva at 6. 30 p. m., dep. from Riva daily at 7.30 a. m., except Tuesdays, when it starts at 4 a. m. (fares 4 fr. 35, 2 fr. 40 c). Stations 8alo ., Madei-rio , Gargnano ., Tignale, Tremosine, Limoite , Riva. E. Bakk, between Riva and Peschiera: dep. from Riva daily at 6 a. m., except Mondays, when it starts at 4 a. m. ; dep. from Peschiera daily at 3 p. m., arr. at Riva at 7. 15 p. m. (fares 4i|2, 2i|2 fr.). Stations Mulcesine, Assema., Castelletto, Torri, Garda., Bardo- lino, Lazist., Peschiera. — Poor restaurant on board the steamers. The Lago di Garda (226 ft.), the Lacus Benacus of the Romans, the largest of the N. Italian lakes, is 35 M. in length , and 7 M. broad at the widest part; area 189 sq. M.. depth in many places upwards of 1000 ft. The whole lake belongs to Italy, except the N. extremity with Riva, which is Austrian. The lake is rarely perfectly calm , and in stormy weather is almost as rough as the sea, a circumstance recorded by Virgil (Georg. II. 160). The blue water, like that of all the Alpine lakes, is remarkably clear. The carpione , or salmon-trout, which attains a weight of 25 lbs., the trutta, or trout, 1 — II/2 lb., the lagone, and the sardene are excellent tish. The banks, although inferior in attraction to those of the Lake of Como, present a great variety of beautiful landscapes, enhanced by the imposing expanse of the water. Those of the S. half are flat and well cultivated, but they become bolder between Capo S. Vigilio and a point to the N. of Salo, where the lake contracts. The vegetation is luxuriant, especially on the more sheltered W. bank. Even the sensitive lemon arrives at maturity here (nowhere else in N. Italy, except on the Riviera di Ponente, see p. 95), but the trees require to be carefully covered in winter. This is accom- plished with the aid of numerous white pillars of brick, 8 — 20 ft. in height, erected at regular intervals, and united by transverse beams at the top. The fruit is more bitter and aromatic than that of Sicily, suffers less from carriage, and keeps longer. Price in plen- tiful seasons 3 — 4 fr. per hundred, but frequently as high as 10 fr. 'iLn^lisK m RIVA. 28. Route. 159 Desenzano (Mayer's Hotel; Posta Vecchia . pension 6i •> fr. ; Vittoria ; Aquila). a thriving little town with 4000 inhab.. at the S.W. angle of the lake, is a station on the railway from Milan to Verona (R. 271. Omnibus from the steamboat to the train 50 c, luggage 25 c. To the E., not quite half-way to Peschiera (p. 161). is the narrow promontory of Serinione ('Sirmio . penisularum insulnrum- que ocellus'), projecting 3 M. into the lake, which here attains its greatest breadth. The poet Catullus once resided and composed his poems in a villa on this peninsula. The still existing ruins con- sist of two vaults, remains of a bath. etc. A castle was also erect- ed here by the Scaligers , who for upwards of a century (1262 — 1389) were princes of Verona. The Steamboat steers near the W. bank, but does not touch at the small villages of Moniga and Manerba. Opposite to the promon- tory of c?^. Yigilio ( p. 161 ) it next passes the small Isola di S. Bio- gio and the beautiful crescent-shaped island of Lecchio., or Isola dei Frati, the property of the Marchese Scotti of Bergamo. The latter was fortified by the Italians in 1859, but the works have since been removed. The steamer now steers to the W, and en- ters the bay of Salo (Gambero) , a delightfully situated town with 3400 inhab., surrounded with terraces of fragrant lemon-groves. The Monte S. Bartolommeo , at the foot of which the town lies, affords a charming view, especially by evening light. (D'ligenc(> to Brescia, see below.) Gardone is the next village ; then 3/a- demo. on a promontory extending far into the lake, beyond which rises the Monte Pizzocolo. Farther on are Toscolano, Cocina, and Bogliaco. At the latter a large country-residence of Count Bettoni. Most of the lemon-gardens belong to members of the Italian noblesse. Then Gargnano (*Cenio), an important looking place (4000 inhab. I ill the midst of lemon and olive plantations , and one of the most attractive points on the lake (diligence twice daily to Brescia by .Salo, Gavardo, and Kezzata ). The mountains now become loftier. The small villages of Muslone, Piovere, Tignale. and Oldese are almost adjacent. Then Tremosine, on the hill, scarcely visible from the lake, to which a steep path ascends on the precipitous and rocky bank. In a bay fartlier on are seen the white houses of Limone, another lemon and olive producing village. The Austrian frontier is passed a little beyond La Nova , and a view is soon obtained of the Fall of the Ponale (see below). Riva (*:A.LBEKGo Tkaffkllini at. Sole uT)I!o, R. 1 11., L. and A. 50 kr.; *GiAKDiNo, R. 90, B. 40, L. an M. froin Riva) Piere di Ledro. At Bezzecca. 3J4 M. farther, opens the Val Conzei , with the villages of ('(4 hr.) Engitiso and (iji hr.) Lenzumo (thence back to Riva direct, by the Mte. Tratta and Cainpi, in 3i|2 hrs.). From Bezzecca the road leads by Tiarno and through the sequestered Val Ampola to (9 M.) Storo (Cavallo Bianco) in the Val Bona. or Cftiese, in which, 3 M. higher, lies Condino (Torre), the capital Of S. Giudicaria. — Near the Fort Ampola^ which formerly defended the road, but was destroyed in 18G6 (3 M. before Storo is reached), the wild Val Lorina opens on the 1.; through this valley a rough path leads to \fagnsa in the Val Vestino , surrounded by lofty mountains (more conveniently accessible from Toscolano on the Lago di Garda, or from Bondone or Anfo on the Lago didro, see below). Beyond Storo, and about l^l? M. below the bridge over the Chiese, the road crosses the Caffaro near Lodrone (Austrian and Italian frontier), and reaches {U\-i M.) the Lago d'Idro, M. long, >|4 M. broad, the W. bank of which it skirts. Opposite (Z^\i 31.) Anfo, with the mountain-castle Lago di Onrd.i. MALCESINE. 28. Route. 161 Rorca dAnfo, lies the 3niall village ol" Idro. At (3 U.) Lavenone, at the S. end of the lake, begin? the picturesque Val iiabbia., of which the capi- tal io (3 M.) re.ie (Tre Spade). At (3 )I.) Barghe the road divides; that to the E. lead? by Sahbio, Vohanio., and Volciano to (12 M.) tSald on the Lago di Garda (p." 159); that to the W. to Prefeglie and through the Val Garza to (15 31.) Brescia (p. 162). Fkom Riva to Mori (p. 58) omnibus (Leonard! s) twice daily in 2 hrs. (fare 65, coupe 75 kr.). The road skirts the lake, and leads through Fort >S. Xircol^ to Torbole (^Bertolini), a harbour at the influx of the Sarca into the lake. It then rapidly ascends a wild and stony height (where the omnibus requires the aid of o.xen), commanding magnificent retrospects of Arco and the lake, and passes X((go , where a fort was erected in 1859. The road next skirts the picturesque little lake of Loppio (9'28 ft.), from the middle of which a wooded rock ri'ses, passes Loppio, an estate of Count Castelbarco of Milan, and reaches the villagL- of Mori^ '2 M. from the station. 10 mill, after the steamboat has quitted Riva the above mentioned fall of the Ponale comes in view. Torbole ( s-h- above) is left on the 1. The steamer now steers S. to Malcesine ^2000 inhab.J, a good harbour on the E. bank, with an old cistle of Charlemagne , which was subsequently a robbers' stronghold. Goethe, while sketching this ruin, narrowly escaped bc'ing arrested as a spy by the Venetian government. The castle has since been restored. Beyond it is the rock of Jsoletto, then Cassone, and a short distance farther the small island of Tremelone. The next places of importance are Castello , S. Giovanni , Castelletto. Mon- tagna, and somewhat inland Torri. The banks gradually become flatter. The promontory of San Vigilio, sheltered from the N. wind by the Monte Baldo, extends far into the lake, and is the most beautiful point of view on the E. bank. The surrounding hills are planted with vines . olives . and fig-trees. The village of Garda (1100 inhab.), beautifully situated in a bay at the influx of the Tesino which descends from the Monte Baldo. gives its name to the lake. The chateau belongs to Count Albertini of Verona. To the S. in the distance is the peninsula of Sermione (p. 159). The next places are Bardolino (2000 inhab.) with a harbour. Cisano, and Lazist [2600 inhab.J, another harbour. Peschiera [Restaurant on the quay) (see p. 157) at the efflux of the Mincio from the lake . is a station on the Milan and Verona railway. Station 1*4 M. from the lake, omnibus 75 c. 29. From Pavia to Brescia by Cremona. 77iJ2 31. R.4ILWAT in 5 hrs. (fares 13 fr. 90, 9 fr. 80 c, 7 fr.). Isone of the stations are worthy of note except Cremona . but this line affords the most direct communication between Genoa and Verona (on the Brenner Railway). — From Pavia to Piacema bv Codogno in 2 hrs. (fares U fr. 75, 4 fr. 80, 3 fr. 45 c). The line intersects the fertile plain watered by the Po and the Olnna. Stations Motta San Damiano. Belgiojoso. with a hand- some chateau: neaiX Corteolona the Olona is crossed. Then .Wi- B^deki:r. Italv I. 3rd Edit. 11 162 Route JO. BRESCIA. radolo. Chiynolo on a smaW tributary of the Po , Ospedaletto , and ('ii.«ilpust€rlengo , where the lino unites with that from Piacenza to Milan (K. 40 ). Stat. Codogno possesses large cheese manufacto- ries ; the line to Piacenza diverges here to the S. (p. 236). Near Pizzighettone, a fortified place, the Adda, which is here navigable, is crossed. This district is considered unhealthy. Stations Ac- quanegra and Cava Tigozzi. Cremona fp- 169 ) is a terminus station , from which the train backs out. To Treviglio (Milan and Bergamo), see R. 32. From Cremona to Jirescia the line proceeds due N. , following the direction of the high road, through a flat district. Stations Olmenetd. Hohecco-Fontevko, beyond which the Oglio, a consi- derable affluent of the Po, is crossed. Verolanuova, Manerbio, then across the Mella to B a gnolo and . 3, A. 1 fr.; Albekgo Fenice, in fhe Piaz7.li rtelDuomo; Italia, well spoken of; Tokke Di Londka; *Gam- BEKo and +Scuuo m Fkaxcia, moderate ; Capello. Cafes. Several adjacent to tlie theatre and in the Piazza del Duomo. — Beer at WiUirer\f, near S. Clemente (PI. 20). Fiacres (Citladine) 85 c. per drive, i^t I'r. per hour. Diligences twice daily to Edolo , 5 fr. 80 c. (comp. p. 166). From Brescia to Iseo 1 fr. 70 c.'; from Edolo to Pisogne 3 fr. From Brescia to Mantua, see p. 181. — Itailwai/ by Cremona to Pavia, see R. 29. Brescia (515 ft. ), the ancient Brixia, which was conquered by the Gauls and afterwards became a Roman colony, vied with Milan at the beginning of the 16th cent, as one of the wealthiest cities of Lombardy, hut in 1512 was sacked and burned by the French under Gaston de Foix, after an obstinate defence. Five years later it was restored to the dominions of Venice, to which it belonged till 1797. but it has never recovered its ancient impor- tance. On 1st April, 1849, the town was bombarded and taken by the Austrians under Haynau. The town, with 38,906 inhab., many of whom are occupied in the manufacture of iron wares, is delightfully situated at the base of the Alps. Previous to the events of 1848 the town and its environs constituted a vast manufactory of weapons ('Brescia armata'), and furnished a large proportion of the arras used by the Austrian array. Its energies are now devoted to the service of Italy. We quit the station by a broad street, turn to the r. into the Corso Garibaldi, and follow the third side street to the 1. as far as some painted houses . pass between them , and again turn to the 1. in front of tlie double arcades. The first side street on the r. then leads to the Piazza del Duomo. v*w — ff n_ * ■3 '* "s «^t« s -mi*,' 4 ^ hiiy-H ji BRESCIA. 30. Route. 163 The *Duomo Nuovo (PI. o), or episcopal cathedral, begun in 1604 by Lattanzio Gambaro. but the dome not finally completed till 1825, is one of the best churches of that period. Interior. By the first pillar on the r. is the large ^monument of Bishop Xava (d. 1831), with groups in marble and a relief by Monti of Ravenna; by the first pillar on the 1. the monument of Bishop Ferrari. The second aitar on the r. is adorned with modern statues in marble of Faith by Selfii-oni, and Hope, by Emanueli ., and a modern painting. Christ healing the sick, by Gregoletti. Then (3rd altar on the r.) a sarcophagus with reliefs, date about 1500, containing •Corpora D. D. Apollonii et Philastri\ transferred hither in 1674 from the crypt of the old cathedral. High altar- piece an Assumption by Zoholi. designed by Conca. In the dome the four Evangelists in marble. The Duomo Vecchio , generally termed La Rotonda (PI. 6"), situated on the low ground to the S. of the Duomo Nuovo, is shown by the sacristan of the new cathedral (who lives at the back of the choir of the latter"). This massive structure is circular . as its name imports, with a passage round it. surmounted by a dome, and resting on eight short pillars in the interior. The substructure isvery ancientf9th cent. ), while the dome and cupola (Romanesque) date from the 12th century. The transept and choir with lateral chapels at the hack were added at a very early period. On both sides of the pulpit are statues by Alessandro Vittoria. At the second altar on the r. is the monument of Bishop Lambertino (d. 1349) with reliefs. Altarpiece. an *Assumption by Moretto. Beneath the dome is the crypt, or Basilica di S. Filastrio, sup- ported by 42 columns (not at present accessible ). The Broletto (PI. 2), adjoining the cathedral on the N., is a massive and spacious building of the 12th cent., but subsequently so much altered that its original form has been almost entirely obliterated. It was anciently the seat of the m\inicipal authorities, and now contains the courts of justice. Part of it is used as a prison. The (Campanile on the S. side, termed La Torre delPopolo, belongs to the original edifice. A well preserved fragment of Romanesque architecture in the street ascending hence, with circular windows and brick mouldings, is also interesting. Opposite the E. side of the Duomo Nuovo is the entrance to tlie *Biblioteca Quiriniana(5i6iwf eca Comunale, PI. 19 ; fee ^/-ifr.)? comprising 40,000 vols. , bequeathed to the town in 1750 by Car- dinal Quirini. Several curiosities are preserved in a separate cabinet. (Admission daily, except Wed., 11 — 3, in winter 10 — 3, Sund. 2 — 5; vacation from 24th Dec. to 1st Jan. and from 1st Oct. to 2nd Nov. ; closed on high festivals, and during the carnival). A Book of the Gospels of the 9th cent, with gold letters on purple vellum; a Koran in 12 vols., adorned with miniatures and gilding; a *cross 4 ft. in height ( Croce Magna), of gold, decorated with cameos and jewels and portraits of the Empress Galla Placidia and her sons Honorius and Valentinian III., resembling modern miniatures, the whole a most valuable specimen of the workmanship of the 4th cent.; a small cross adorned with gold and pearls and a fragment of the 'True Cross', said to have been worn by St. Helena. The Lipsanoteca, carved in ivory, a cross 11* 164 Route 30. BRESCIA. Museo Patrio. composed •)f the sides of an ancieat relic - casket , with scriptural scenes, of the 4th or 5th cent. The DUHco Quirinia7to, carved in ivory, presented hy Pope Paul II., and other diptychs (ivory tablets with reliefs). Several calendars carved on a stall'. Two caskets containing letters which passed between Xapoleon and Canova. — In a separate room old Books of Ihe Gospels with miniatures; a MS. of Dante on parchment, with miniatures; a Petrarch of 1470 with various illustrations ('Pe.trarca figurato'') and written annotations; a Dante with notes, printed at Brescia in 1487; the Codice Ensebiano^ a concordance of the 11th cent, with minia- tures; Jladonna painted on lapis lazuli by Titian. Ascending the street at tiie back of the cathedral ami Bro- letto, and turning to the r., Ave reach the small piazza with the entrance to the *Museo Patrio (PI. 17; open 11 — 3 daily, gratis; on Simd., holidays, and during the vacations, Sept. and Oct., on payment of a foe ,• visitors knock at the door), established in a Corinthian temple of Hercules (?), which according to inscrip- tions was erected by Vespasian in A. D. 72 (Tempio di Vespasiano). and excavated in 1822. It stands on a lofty substructure with a projecting colonnade of ten columns and four pillars to which the steps ascend. The substructures , portions of the steps, the bases and parts of the shafts of the columns, in white marble, are still well preserved. The Principal Hai-l contains the Altar, still in its ancient position. The pavement has been restored with the aid of the original relics. An ancient mosaic and Roman inscriptions from the province have also been placed here. The Room on the right contains mediaeval and other curi- osities, ornaments, the monument of Count Pitigliano, weapons, medals (those of the Napoleonic period very numerous). In the Room on the left are ancient sculptures , the most valupble of which is a fine statue of ** Victory , excavated in 1826, a bronze figure about 6 ft. in height, with a silver wreath of laurel round the head, in the left hand a (restored) shield on which she is about to write, beneath the 1. foot a (restored) helmet; this is one of the most admirable specimens in existence of the ancient plastic art. Also a number of coins and medals, ornaments, busts in gilded bronze, fragments of a colossal figure from a temple, portions of sarcophagi, decorated breastplate of a horse, etc. The street opposite the museum descends to a small piazza, from which a street to the 1. leads to S. Clemente. Remains of an ancient edifice are built into the wall of the house No. 285 in the small piazza. S. Clemente (PI. 20) is a small church containing the tomb of the painter ALessandro Bonvicini, surnamed Moretto (d. 1564), a monument recently erected to him , and five of his works : r. 2nd altar, SS. Cecilia, Barbara, Agnes, Agatha, and Lucia; 1. 1st altar, St. Ursula ; 2nd altar, St. Jerome praying ; 3rd altar, Abra- ham and Melchisedech ; *high altar-piece, SS. Clement, Mary Magdalene, and Catharine. Moretto is a highly esteemed master, and is well represented in Brescia , both in the Galleria Tosi and in the churches of S. Maria Calchera , S. Eufemia , Madonna dalle Grazie, S. Francesco, S. Giovanni Evangelista, and S. Pietro in Oliveto. The *Galleria Tosi (_or Museo Civico, PI. 21), situated a little to the S. of S. Clemente, in the Contrada Tosi, Quartiere VIII., Galleria Ton. BRESCIA. 30. Route. 165 No. 596 (open daily 11 — 3 o'clock; on Sundays and festivals and during the vacations. Sept. and Oct. , on payment of a fee), bequeathed with the palace to the town by Count Tosi , contains a number of ancient and modern pictures, drawings, engravings, modern sculptures, etc. in a series of a small apartments. In a room on the ground-tloor the Laocoon, a group in marble by Fer- rari; bust of Galileo h\ Motiti; copies of Canova'.M colossal busts of himself and Xapoleon, by Oandolji; Moretto. Virgin and Saints, from the church of St. Afra. — In the ante-chamber on the first floor a bust of Count Tosi by Monti, drawings, and frescoes by Bomaiiino. Handsome inlaid read- ing desk by Fra Raffaele da Brescia (IGth cent.j. — 1st Room (immediate- ly to the 1. of the entrance): 2. Fra Bartolomineo, Holy Family; 3. Morettu, Annunciation; 6. Moretlv, Tullia d'Arra^ona; 13. Carat-agrgrjo,' Lute player; 16. Portrait in the style of Giorgione: drawings. — 2nd R. : 1. Monbello, Presentation in the Temple: 2. Aforetto . after Titian, St. Sebastian; 4^ Moroni, Portrait (1.560); 13. Francesco Francia^ Madonna; 10. Lor. Lotto., Nativity; Moretto, 14. Herodias; *16. The disciples at Emmaus. — 3rd R. : 3. Albano , Venus and the Graces; 39. Civerc/iio, Adoration of the Child; 10. Moretto. Madonna and saints; 1. Andrea del Sarto, Holy Family (much damaged) ; 18. Moretto, De-^cent of the Holy Ghost ; 20. Cesare da Heslo , Youthful Christ (?) ; 21. Ann. Caracci, St. Francis; *22. Raphael, Christ crowned with thorns. — Cabinets with interesting drawiniis and engravings (by .1. Hiirer, etc.). - 4th R. : Modern pictures. 2. Miyliara, La Certosa near Pavia ; 3. liorsato. Winter at Venice; 7. Vernet., Kight ; 20. Doinenico Presenti, Church of St. Celso at Milan, in water-colours; 13. BaMletti, Ischia; 17. Canella, Dyeing-works at Roano. — In the adjacent cabinet a bust of Eleonora d'E'^te, by Canova:, drawings; in the passage a b*»y treading out grapes, by Dartolini. — Corridor with engravings. — In the chapel a statue of the youthful Saviour, by Marched. — oth R. : Barurzi. Silvia, statue in marble, from Tasso. — 6th R. : 2. Canella, Night, and other pictures t>y the same master; 11. Azeglio, Episode from Ariosto. — 7th R. : Basiletti, Renica, Riccardi, Bisi., Italian landscapes. — 8th R. : *Day and *Night , reliefs by Thorialdsen. — 9th R. : Marble statues: 4. Franceschetti, Flora; 1. Same master, Dante's Beatrice; without number, Gherardo of Obstal, Sacrifice of Isaac; without number. Gandolfi, Genius of music; *8. T/iorcaldsen, Ganymede; 9. Fanipaloni, Boy praying.' — 10th R. : Modern pictures. 1. JJayez , Jacob and Esau; 6! Appiani, Madonna. — 11th R. : 10. Palagi, Newton. - 12th R. : 1. Belzuoli, Copy of Raphaers Disputa. — 13th R. : 1. Podesti , Tasso at the court of Fer- rara; 2. Diotti, Death of Ugolino: 3. >Schiavoni, Raphael ! M. in breadth, somewhat resembles an S in form. The Oglio enters the lake between Pisogne and Lovere and emerges from it near Sarnico. The scenery vies in beauty with that of the Lago di Garda , the soil is admirably cultivated, and the vegetation of a luxuriant, southern character. The Mezz- IsolGy an island i\.2 M. in length, consisting of a lofty ridge descending precipitously on the E. side (at the S. E. base of which lies Peschiera d'Iseo, and at the N. W. base Siriano. two Ashing- villages), rises picturesquely and boldly in the middle of the lake. Opposite Peschiera lies the islet of S. Paolo. The new rock-hewn *road on the E. bank, beginning at Sale Marazzino and terminating at Pisogne, a distance of 6 M. , is little inferior in boldness to that on the banks of the Lake of Como (p. 135). It is carried through a number of galleries and sup- ported by solid masonry. Immediately to the 1. lies the lake, while the rocks rise precipitously on the r. overhanging the road at places. From Iseo it winds througli a sticcession of vineyards, which cover the valley and its slopes, and reaches the bank of the lake at Sulzano, opposite the island mentioned above. On the mountain, far above, is seen the white church of S. Rocco ; then the ruins of the monastery of S. Loretto on a rock in the lake. Sale Marazzino ( Albergo della Posta ), consisting of a long row of houses, is the largest village on the road. Next Marone, at the W. base of Monte Guglielmo [i^Ai-i ft. •., ascent 4 hrs. . beautiful view), and 11' -2 M. Pisogne (Albergo Grisoni), at the N. E. end of the lake. Towards the close of this part of the route the scenery is strikingly beautiful, especially where the lake terminates in a rounded bay. and where Lovere (S. Antonio, or Posta; Leone d'Oro: Canon d'OroJ, with its busy harbour, which before the construction of the road afforded the sole outlet to the industry of the Val Camonica, lies picturesquely on the N. bank. The long and handsome Palazzo Tadini, a conspicuous point in the distance, contains a collection of antiquities, pictures, and natural history specimens, and in the 168 Route 31. EDOLO. family chapel a monument by Canova. Omnibuses between Lovere and Edolo. and Lovere and Bergamo (p. 156). The road now quits the lake and traverses a fertile, alluvial tract. To the 1. flows the Oglio, a considerable river, which is crossed at Darfo. The road skirts the W. side of the valley, which presents the usual characteristics of the valleys of the S. Alps, yielding rich crops of maize, grapes, mulberries, etc., and enclosed by lofty, wooded mountains. The dark rocks (ver- rucano)here contrast peculiarly with the light triassic formations. At Cividate the Oglio is crossed by two bridges. On the height a very picturesque deserted monaatery. Near Breno a broad hill, planted in numerous terraces with vines and mulberries, and surmounted by a ruined castle, rises from the valley. 14 M. Breno (^Pellegrino ; Albergo d'ltalia, poor) is the capital of the Val Cumonica, which is 36 M. in length , extends from Lovere and Pisogne to the Monte Tonale (see below), and produces a considerable quantity of silk and iron. The construction of the lake-road (p. 167) at a cost of 150,000 fr., defrayed by this district alone, bears ample testimony to the prosperity of the inhabitants. The road now crosses a mountain-torrent descending from Monte Pizzo, the indented crest of which peeps from an opening on the r. A massive mountain of basalt here extends towards the road, and columnar basalt is visible at places near the summit. Beyond Capo di Ponte (1374 ft.) the character of the scenery gradually changes. The valley contracts, maize and mulberries become rarer, while numerous chestnut-trees flourish on the slopes and in the valley itself. The road ascends slightly. 16 « -2 >!• Edolo (2287 ft.) (*Posta; Due Mori; Leone), a moun- tain-village possessing iron-works , lies in a basin on the Oglio, which descends from the rocks hero and forms a waterfall. (Dili- gence to Tirano, see p. 166 ; one-horse carriage to Tirano in 6 hrs., 10 fr.; to Lovere in 9 hrs.. 15 fr. Distance from Edolo to Tirano 25 M.) The new Tonale Route, diverging here to the Jv. E. to the Monte Tonale (6345 ft.), is one of the -most important military roads from the Tyrol to jS". Italy, and was formerly intended by the Austrian government to supersede the much higher SfelVio Route (p. 47), the maintenance of which was attended with far greater expense. The road leads on the E. side of the Monte Tonale, which forms the boundary between Lombardy and the Tyrol, through the Val di fiole (Sulzberg) and Val di iVon (JVons- berg), which descend to S. Michele Cor Wdlsch- Michael) , a station on the railway from Bozen to Verona (p. 55), in the valley of the Adige. The new road , which crosses numerous bridges and rests al- most entirely on masonry, gradually ascends from Edolo on the N. slope of the mountain. At Cordenedolo, a village with a large church and handsome parsonage, the new road is joined by the old , which leads on the r. (s.) bank of the Corteno. Beyond it is a picturesque rocky gorge. High up on the r. lies the village of Galleno. Near the poor village of ^. Pittro the highest point of the Fasso ^^ -Ill-rani's a^ C f^ ,:3s •-? >i --^ «^ »i so ^ ' -^ rJ M •* L'* ic 1-^ ce « S( CREMONA. 32. Route. 169 d'Aprica (4049 ft.) is reached. The boundary-stone between the Val Camonica and the Val Tellina stands on the old road to the I., about half-way between Edolo and Tirano. The inn Alia Croce d'Oro is 3 ^ M. farther. Aprica. il-i ^^- ^^ • of 8. Pietro, is another village consisting of rude huts only. A view of the Val Tellina , with Sondrio in the background, is now soon disclosed. The broad, gravelly bed of the Adda (p. 52) and the devastations frequently cauttsd by the stream are well surveyed hence. Several of tlie snowy spurs of the Bernina come in view to the N. ; lower down, above Tresenda, rises the square watch-tower of Teylio (p. 52). On the road is the Belvedere rinn), l'/'2 M- from Aprica. Fine view of the valley of the Adda. The admirably constructed road now descends through plan- tations of chestnuts , in a long curve , to La Malta ; it finally reaches the bottom of the valley of the Adda by means of two tunnels, and crosses the river near Tresenda (p. 52). In tolerably dry seasons, when no inundation of the Adda need be apprehended, pedestrians are recommended to quit the high road, a few paces from the point where it turns to the W., by a footpath to the r., at first somewhat steep, which near the village of Staziona crosses a brook, passes through an opening in the wall, and reaches Madonna di Tirano (p. 52) in l'/^ hr. A saving of 41/2 M. is thus effected. From Tresenda to Tirano about 6 M. Tirana (1413 ft.), see p. 52. Those whose destination is Sondrio need not proceed first to Tirano, but carriages are seldom to be obtained at Tresenda. 32. From Milan to Cremona. 61 M. Railway in 31,4 lirs. ; faro? 11 Ir. 90. 8 fr. 65. 6 tr. t5 c. From Milan to Treviglia. see p. 156. The train here diverges to the S.E. First stat. Caravaggio . birth-place of the painter Michel Angelo Amerighi da Caravaggio (1569 — 1609) with the pilgrimage- church of the Madonna di Caravaggio. Next stat. ('asaletto-Vapria ; then Crema , an industrial town (9000 inhab.) and espiscopal residence, with an ancient castle. Next stations Castellone . Soresina , Casalbuttano . Olmenetta. riie station at Cremona is outside the Porta Milanest'. Cremona (Sale d'Oro; *Italia, R. 2, L. and A. 1 fr., omnibus 75c.; Cappello; cab per drive '/2 fr., per '/2 ^^r- 1 fr- ), situated in a fertile plain on the 1. bank of the Po, with 31,000 inhab., possesses spacious streets and piazzas , bearing testimony to its ancient importance. The original town was wrested by the Romans from the Gallic Ceno- mani and colonised by them at various periods , the first of whicli was at the beginning of the second Punic war (B. C. 218). It sulfered seri- ously during the civil wars and was several times reduced to ruins, but was restored by the Emp. Vespasian. The Goths and Lombards, especial- ly King Agilulf, ar, well as the subsequent conflicts between Guelphs 1 70 Route 3-2. CREMONA. and Ghibellines, occaaioned great damage to the town. Cremona espoused the cause of Frederick Barbarossa against Milan and Crema, and after- wards came into the possession of the Visconti and of Francesco Sforza, after which it belonged to Milan. On 1st Feb., 1702, Prince Eugene surprised the French marshal Villeroi here and took him prisoner. In 1799 also the Austrians defeated the French here. The manufacturers of the far-famed violins and violas of Cremona were Amati ( lo90— 16'20) , the two Gnarnen (1552— 80 and 1717—40) and Stradivari (1670—1728). Ill the Piazza Grande rises the Torrazzo ^ a tower 397 ft. in height, said to be the loftiest in Italy, erected in 1261 — 1284, connected with the cathedral by a series of loggie. The summit commands an extensive prospect. Opposite the tower is the Gothic *Palazzo Pubhlico (PI. 12) of 1245 (restored), containing a few pictures by masters of the Cremona school and a richly decorated chimney-piece in marble by G. C. Pedone (1502). Adjacent is the * Palazzo de' Giureconsulti, of 1292, now a school. In the same piazza rises the *Cathedral (PI. 3), of 1107, in the German- Lombard style, with a rich facade embellished with columns. Tlie interior with its aisles and transept, also flanked with aisles, is covered with frescoes executed by the chief representatives of the school of Cremona , such as Boecaccino , father and son , and the later masters Campi , Altobello , Bembo , and Gatti. The best, however, are by Giov. Ant. da Pordenone of Venice, particularly on the wall of the entrance and the r. wall of the nave. — In the vicinity are the octagonal Battistero of 1167 and the Campo Santo with curious and very ancient mosaics ; among these are Hercules and Nessus; Piety wounded by Criielty; Faith tearing out the tongue of Discord, etc. (^entrance to the r. of the cathedral , No. 10). — The street between the Pal. Pubblico and the Pal. de' Giureconsulti leads to the Palazzo Ala di Ponzone ( i:ow Pal. Keale, open daily 9 — 3, except Sundays), which contains natural history and other collections, a cabinet of coins, and a few pictures. — To the r. of this edilice is N. Afiostino e Giacomo in Braida (PI. 6), of the 14th cent., containing paintings by Pietro Peruyino (6th chapel on the r., Madonna and two saints, 1494) and Galeazzo Campi. — Facing the traveller is the Ospedale Dati, with a fine staircase of coloured marble. — Among the numerous handsome palaces of Cremona may be mentioned the Pal. S. Seeondo in the Corso di Porta Milanese , with a sculptured portal by Sacchi ; the Casa Vidoni, in a side-street, off the Corso; then , the Pal. Stanga a S. Vicenzo , with a tine Renaissance facade towards the court with enrichments in terracotta. — S. Sigismondo, l^/o M. from the town in the direction of Mantua (E. ), contains frescoes and pictures by Campi , Boecaccino , and other Cremonese masters. *Altar-piece by Giulio Campi, Madonna among the clouds ; below , Francesco Sforza and his wife , the founders of the church, and saints. — Near the village of le Torri is the Villa *le Torri di Pirenardi . now Sacerdoti, with beautiful garden and park. VERONA. 33. Route. 171 In the chateau of Soncino on the 0ne of the lower sections is known as the 'Chase of Theodoric', an allusion t»t his having embraced the heretical Arian doctrines. Then represent- ations from the life of St. Zeno. and of themimths, beginning with March. The doors , of the same or a still earlier period , consisting" of a number of small brazen plates with reliefs (the eldest very rudely executed) , are said to have been presented by Dukes of Cleve (on the Rhine). The Interior is borne by alternate pillars and columns, and ha.s an open roof. To the 1. of the entrance is a large ancient vase of porphyry, 28 ft. in circumference. On the choir screen are statues of Christ and the 12 Apostles, in marble, some of them painted, supposed to be coseval with the reliefs on the portal. The walls are covered with remains of ancient frescoes ; behind those of the 14th cent. . which have peeled off at places, are traces of others of the 12th. The approach to the spacious f'njpt, in accordance with the ancient plan which has been followed in the restoration of the building , occupies the entire width of the church. It contains the tomb of St. Zeno and ancient sculptures and frescoes ; the capitals of the 40 columns are mediaeval, some of them bearing the name of the sculptor. The steps to the choir on the r. are Hanked with columns of brown marble, resting on lions and bulls, each in one block. To the r. in the Choir., above the crypt, is the very ancient painted marble figure of St. Zeno, Bishop of Verona, holding his episcopal stall" and (as patron-saint of fishermen) a fishing-rod with a silver fish. Behind the high altar is a fine ^picture (covered) by Mantegna, in excellent pre- servation, in three sections, a Madonna and angel*, with groups of saints on the r. and 1. ; the three lower pictures are copies from Mantegna. A door in the N. aisle leads to the admirably preserved "^Cloisters. 176 Route 33. VERONA. Museo Civico. with elegant double columns and a projecting structure, restored (accord- ing to an old inscription) as early as 1123. Immediately to the r. two tombstones are recognised as pertaining to the Scaliger family by the ladder represented on them. — On the S. side of the church is a .small disused Chvrchifavd^ whence a general view of the church with its cam- panile of 1045 (restored in 1120) is best obtained. At the entrance to a disused MausDleum, with a sarcophagus and two columns (descent by 12 steps), a stone bears the inscription, '• Pipini Italiae regix , Magni C'aroli imperatori.t filii piisximi sepiilcru>n\ Adjacent is a very large Roman sarco- phagus. Within a closed garden (^visitors ring at the gate facing them, 2 — 3 soldi ) in the Yicolo Franceschine , a side-street of the Via Cappuccini , is situated the suppressed Franciscan Monastery (JPL 20), where a partially restored chapel contains a rude sar- cophagus in red Verona marble, called without the slightest author- ity the Tombn di Giulietta , or 'Tomb o/" Juiief (fee 25 c). The whole scene is prosaic and unattractive. Shakespeare's play of 'Romeo and Juliet' is founded on events which actually occurred at Verona. 'Escalus, Prince of Verona' was Bartolomraeo della Scala ( d. 1303). The lofty and narrow house of Juliet's parents (Pi. E, 4) in the street of S. Sehastiano (formerly Capelletti), now a tavern, still bears the hat (over the entrance to the court) which was the distinctive emblem in the armorial bearings of the family. To the 1. in the Via Leoni, which leads from the Piazza delle Erbe to the Ponte delli Navi, at the corner of the Corticella Leoni, rises the *Arco de Leoni, the half of a Roman double gateway, coieval with the Porta de'Borsari, but more delicately executed, and bearing an inscription partially preserved. A little farther N. is the Gothic church of S. Fermo Maggiore (PI. 6), erected at the beginning of the 14th cent. The architec- ture of the exterior, with its facade of brick, enriched with marble, is worthy of inspection. The interior is modernised ; beautiful old ceiling in walnut-wood, and remains of good frescoes of the 14th cent, by Zevio , Fra Martino , and Plsanello , the finest being a Crucifixion over the 1. side entrance. To the 1. of the entrance is a Resurrection carved in wood; in the chapel to the 1. of the choir a Madonna with saints, by Franc. Buonsignori (1484). TheCappella del Sagramento contains (1.) an altarpiece by Caroto , painted in 1528; above are the Virgin and St. Anna, beneath are John the Baptist, St. Sebastiano, and other saints. The Ponte delle Navi in the vicinity , which commands a good survey of the choir and transept of S. Fermo, was erected to replace a bridge destroyed by an inundation in 1757. Immediately to the r. beyond it, at the beginning of the promenade, is situated the *Palazzo Pompei alia Vittoria (PI. 367-2)' an architecturally interesting edifice, by Sanmicheli, presented by the family to the town, and now containing the Museo Civico (fee 1 fr.). On the Ground Floor are several rooms containing casts, antiquities, chiefly from excavations in the old theatre near the Porta Pietra , and fossils from the Monte Bolca •, in the 4th, & *dT&wi-ag\)Y Andrea Afantegna. Castello S. Pietro. YERONA. 33. Route. 177 — The PiVACOTECA , or picture-gallery, on the first floor , contain'? works principally of the Veronese school. The first and second rooms contain the Galleria Beniasconi, presented to the town by Dr. Bernasconi. I. Room : 9. Paris Bordone, Portrait; 27. Giovanni Bellini, Madonna and Child; 31. Paolo Veronese. Baptism of Christ; 51. Tintoretto, Portrait of a do2:e ; 52. Madonna and Child with the infant John, attributed to Titian: 71. Car- toon by Giiilio Romano. — II. R. (r.): 158. Girolamo dai Libri , Madonna; 157. Franc. Bnonsignori, Madonna; 151. Francia, IMadonna with two saints ; 82. Correggio f?) , Head of an angel; 83. Bern, da Pordenone. Conver'sion of St. Paul; *8S. Fra Bartolommeo, Head of Christ; 87. Adoration of the shepherds , ascribed to Raphael , a charminq: picture of the Umbrian school ; 86. Circumcision , after the picture by Giovanni Bellini in S. Zaccaria at Venice; 93. Holy Family, of the TFerrara school: 100. Am berger ., Portrait of the scholar Falb; without number. Franc. Caroto., 3Iadonna and Child ; 125. Cesare da Sesto , Entombment ; 129. Moniagna., Entombment. — III. R. : Four pictures by Andrea Schiarone; 1^. Bagna- cavallo, Holy Family; *196. Moretto, Madonna; 202. Copy of the picture by Veronese" in S. Gior?:io. — IV. R. fto the 1. of the 1st): 79. Giolfino, Madonna; 74*. Paolo Veronese, Entombment; *81. Girolamo dai Libri, Adoration of the Child; without number. Holy Family, School of Ra- phael ; 88. Franc. Caroto. Adoration of the Child ; *74< Paolo Veronese, Portrait of Gualtieri , 1556. — V. R.: Ligozzi , Surrender of Verona to Venice ; 90. Paolo Veronese , Music , a fresco transferred to canvas ; 93. Paolo Moranda. surnamed Carazzola. Madonna with two saints, 1522; 94. Girolamo dai Libri, 3Iadonna and saints, 1530. — VI. R. : 51. Tin-one, Altar-piece of 1360; 68. Cimabue (?) , Old Testament in 30 sections on a gold ground ; without number, large Crucifixion by Giacomo Bellini (father of Giovanni) ; 59. Benaglio. Altar-piece ; 99—109. Carazzola, Passion. Re- turn hence through the 5th and 6th rooms, and enter (to the 1.) the — VII. R. : Nothing noteworthy. — VIII. R. : a corridor with engraving.s, some of them by Agostino Cararci . Rembrandt, and Diirer. — IX., X., XI., and XII. R. : Nothing of importance. — An adjacent room without a number contains two large pictures of scenes from the history of Ve- rona : 220. P. Farinati , Battle of the Veronese against Fred. Earbarossa at Vigasi in 1164; 224. F. Bnisasorci, Victory of the Veronese over the inhabitants of the banks of the Lago di Garda in 849. — XIV., XV., XVI. R. : Nothing important. In the vicinity is the Porta S. Vittorin , beyond which, to the 1. is the uninteresting; Campo Santo, enclosed by a Doric colonnade, connecting a lofty church with two temples. The summit of the pediment is adorned with a marble group of Faith , Hope , and Charity, by Spazzi. A fine *view of Verona and its environs , the Alps and the distant Apennines , is obtained from the Giardino Giusti on the 1. bank of the Adige (PI. G. 4; always accessible; ring at a gate on the r. ; fee 25 c.~), containing a few Roman antiquities, but chiefly celebrated for its numerous and venerable cypresses, some of which are 400 — 500 years old. and 120 ft. in height. The cam- panili of S. Lucia (IVo M.") and S. Massimo are conspicuous. Somma Cnmpagna (p. 158) and Custozza fp- 178 ) lie 10 — 12 M. to the S. W. The view is still finer from the Castello''S. Pietro (ascent near the Ponte delta Pietra, built by Fra Giocondo ; permission obtained at the commandant's office at the entrance), the ancient castle of Theodoric the Great, the "Dietrich of Bern' of German lore. It was entirely remodelled by Galeazzo Visconti in 1393, destroyed B^DEKER. Italy I. 3rd Edit. 12 178 Route 34. MANTUA. by the Freucli in 1801, and refortitied by the Austrians in 1849. At its base, immediately below the bridge, are the remains of an ancient semicircular Roman Theatre (PL 37), excavated in the court of a private house. 34. From Verona to Modena by Mantua. From Mantua to Reggie, Parma, Cremona, or Brescia. 62 M. Railway in 5 hr.s. ; fares 12 fr. 35, 9 I'r. 5, 6 fr. 60 c. 8oon after quitting the station outside the Porta Nuova (p. 171) the train diverges to the S. from the Milan line (R. 27) and tra- verses a richly cultivated plain , varied occasionally with wood. Fields of rice are passed near Mantua. Stations Dossobuono and Villa franca , with an ancient castle, where the preliminaries of a peace between France and Austria were concluded on 11th July, 1859, after the battle of Solferino. About 5 M. to the N.W. lies Custozza , where the Italians were defeated by the Austrians in 1848 and 1866. Next stations Mozzecane and Roverbella. The line then passes the Citadel of Mantua , where Andreas Hofer, the Tyrolese patriot, was shot by order of Napoleon on 20th Feb., 1810, and intersects the Lago di Mezzo (see below). Mantua, Ital. Mantova (Aquila d'Oko, or Leone; Crock Verde, or Fenice , R. 2, L. '|2, A. 3J4 fr. •, both in the centre of the town , in the Contrada Croce Verde. — Cab per drive 60 c, Ist hr. 1 fr. 50 c. , each following 112 hr. 50 c. ; diligences^ see p. 180), a very ancient town founded by the Etruscans , with oO,000 inhab. (3000 Jews), is a strongly fortified place, bounded on the N.W. by the Lago Superiore, on the N.E. by the Lago di Mezzo, on the E. by the Lago Inferiore, and on the S. and S.W. by marshy land, which in case of a siege is capable of being laid under water. The aspect of the town is unattractive and dull , although it contains a number of large palaces. The traffic of the place is chiefly confined to the arcades of the Contrada Croce Verde and the Piazza delle Erbe , near S. Andrea. Beyond the latter, in a small piazza in front of the Ca- mera di Commercio, is a Statue of Dante, erected in 1870. A little farther in the same direction is the Piazza S. Pietro , the N.E. corner of Mantua , with the Cathedral ( see below) and the Corte Reale (PI. 5 ) , the ducal palace of the Gonzagas , part of which is now a barrack. The latter was begun in 1302, but was altered by Giulio Romano and adorned with interesting frescoes. The custodian's room (second large gate on the r.) , the Uffizio delta Schalcheria, is adorned with hunting-scenes by pupils of Givlio Romano, but the Diana over the chimney-piece is by himself (d. 1546). On the upper floor is a large saloon containing portraits of the Gonzagas by Bibbiena. Then the Stame deW Imperatrice, a suite of apartments in which Raph.iers tapestry, now at Vienna, was formerly preserved. The Dining- Room is adorned" with allegorical figures of the rivers and lakes around Mantua; adjoining it is a garden with a casino. *^(la dello Zodiaco, with allegorical and mythological representations of the signs of the zodiac ^ Strada fexrata ^ iulcademia. ]).4 Z.Arehh>it> E3. 3. Camera di Ctmmereia D.3. 4 Commantbdi attaediFoHezza^i 9 GtrteJmptruda I)E3 . Gnmas£Mu>t ( ^^ ' MustoLueo ) t Ortehotanito A6 •'a \tm'^" %^^ 8 OspeddL cwde iB4 WiWJ^ Clu( 15. Tea/rtf della Socieik C.4. e CatUdrale SFietro D.3. | o ' Mawuto Bl»t — >arituiladi ,Ed .Vagner , MANTUA. 34. Route. 179 by Giulio Romano (^^apoleon 1. once slept in this room) ; then three Stanze delV linperatore , containing copies of the tapestry formerly here, painted on the walls by Canepi. The Picture Gallery contains nothing worthy of note; to the 1. , by the door, a good bust of a Gonzaga by Bernini. The visitor now passes through several dilapidated rooms into the Stanza dell' Jliade. with four scenes from the Iliad by Giulio Romano. Then the four Stanze Vicereali (named after the viceroy Eugene Beau- harnais) , with fine ceilings. The Ball Room contains three ceiling-paint- ings , Night. Olympus, and Day, the last, and the 5th medallion to the 1. of it by Giulio Romano, the rest by his pupils. A stair descends to a remote part of the palace containing the Appartainento and Sola di Troja^ decorated by Giulio Romano , and a dilapidated but handsome gallery fview of the lake), and finally two small rooms with frescoes in the style of Raphael. — The hall of tlie archives (shown during office-hours only) is adorned with frescoes by Andrea Mantegna (d. 1506). The Cathedral of S. Pietro (PI. e ). a church with double aisles, and a transept covered with a dome, and flanked with tvro rows of chapels, possesses an unpleasing facade and a huge unfinished tower of much earlier origin. The interior was remodelled from designs by Giulio Romano. The nave has a fine fretted ceiling. *S. Andrea (PI. a), in the Piazza delle Erbe, a church of very imposing proportions, the finest in Mantua , was erected in 1492 from designs by the Florentine Leo Battista Alherti, but the dome was not added till 1782. Adjoining the white marble facade, with its spacious portico, is a square tower, built of red brick, and sur- mounted by an elegant octagonal superstructure witl\ Gothic spire. The summit affords a good survey of the town and its peculiar situ- ation. T!ie IxTEKioK. 110 yds. in length, is covered with massive barrel vaulting, the panels of "which are partly painted. 1st Chapel on the r. : Arrivabene, St. Antony admonishing the tyrant Ezzelino (painted in 1844). At the sides are frescoes representing Hell, Purgatory, and Paradise according to Dante. — 3rd, Cappella S. Longino: on the 1. Sarcophagus with the inscription: Longini ejus , qui latus Christi percussit , ossa. Tc» the r. is the sarcophagus ofGregorius of Nazianz. The frescoes, designed by Giulio Romano, represent the Crucifixion, beneath is Longinus, on the opposite side the finding of the sacred blood. The saint is said to have brought hither some drops of the blood of Christ, which were preserved in an altar (destroyed by Hungarian soldiers in 1848) in the Crypt, beneath the high altar. The S. Transept contains the monument of Bishop Andreasi (d. 1549), erected in 1.551 by dementi, a pupil of Jlichael Angelo. The swan is the heraldic emblem in the armorial bearings of Mantua. — Choir. Martyrdom of St. Andrew, a fresco by Anselmi, a pupil of Paolo Veronese. In the corner to the 1. by the high altar is the marble figure of Duke Guglielmo Gonzaga, founder of the church, in a kneeling posture. — X. Transept. Chapel on the 1.: Monument of Pietro Strozzi. with cary- atides, designed by Giulio Romano (best seen from the middle of tlie nave). Another monument with the recumbent figure of u Count Andreasi, was also designed by G. Romano. — The first small chapel to the 1. of the W. portal contains the tomb of the painter Andrea JIantegna (d. 1506), with his *bust in bronze. The frescoes on the walls and dome , which exhibit a rare harmony of colouring, arc of the 18th cent., most of them by Canipi. In the vicinity to the N.W. is a very extensive space, planted with trees and bounded by the Lago di Mezzo on the N., termed the Piazza Virgiliana, adorned with a bust of Virgil, who was born in the neighbouring village of Pietole (see belowj. The Teatro 12* 180 Route 34. MANTUA. Virgiliano (PI. 16) is employed for open-air performances on sum- mer evenings. Beyond the theatre, from the parapet towards the Lago di Mezzo, a superb view of the Tyrolese Alps is enjoyed in clear weather. The Accademia Virgiliana di Scienze e Belle Arti (PI. 1) contains fcescoes, sculptures, casts of little value. P>ehind it is the Liceo (PI. 6) with a Library (a room in which contains the Trinity, by Rubens, torn into two parts) and Museum. The museum contains some very valuable antiques. Near the entrance a bust of Euripides and that of an unknown Greek poet, erroneously termed Virgil. To the r. of the entrance, torso of a Minerva-, busts of emperors-, sarcophagus %vith the myth of Medea ; another with a battle of the Amazons -, in the centre (opposite ) , torso of Venus in Greek marble ; Bacchanalian figures on a square pedestal ; relief, perhaps from a Roman triumphal arch ; in the centre , opposite , a young Hercules asleep , by Michael Angela. In the adjoining room the so-called 'scat of Virgir and inscriptions. Then return to the galleries. Window-wall: Greek cippus. Wall on the 1. , several modern objects -, sarcophagus with Selene and Endymion ; large Bacchanalian relief; in the centre, opposite, *archaic Apollo; at the end of the galleries, a Roman tomb-relief, father and son. Opposite wall, colossal *head of Juno ; warriors sacrificing, in relief; in the centre , a youthful Mercury. A short distance hence, immediately beyond the Porta Pusterla, the S. W. gate, is situated the *Palazzo del Te (PI. 11] (contracted from Tajetto), erected by Giulio Romano, and containing in com- paratively small apartments some of that master's largest frescoes. Antechamber, to the r. of the entrance, the sun and moon. 1st Room to the 1., the favourite horses of Duke Frederick Gonzaga ; 2nd R., myth of Psyche and Bacchanalians ; 3rd R. , representation of the zodiac ; 4th R. . fall of Phaeton and numerous smaller pictures • then several rooms with beautiful friezes in stucco ; fine open loggia -, at the back of the latter the celebrated *Sala de Qiganti, with the fall of the giants, whose figures are 14 ft. in height. The long Ponte S. Giorgio leads to the N. E. between the Lago di Mezzo and the Lago Inferiore to the suburb Borgo S. Giorgio. which also belongs to the fortifications. Pietole, supposed to be the Andes of the Romans and the birthplace of Virgil, lies about 3 M. S.E. of Mantua, near the efflux of the Mincio from the Lago Inferiore. From Mantda to Reggio (37ij.. M.) diligence daily in 7i|2 hrs. Near Borgoforle (p. 181) the road crosses the Po and reaches Guastalla C Pos^a; , a small town on the r. bank, which in the 16th cent, gave its name to a principality of the Gonzagas , Dukes of Mantua. They became extinct in 1746, and their territory fell to Parma. In the market-place is the bronze Statue of Ferdinand I. Gonzaga (d. 1557 at Brussels), by Leone Leoni. The road then leads by Gualtieri , which contains a large market-place sur rounded with arcades and a palace of the Gonzagas , and crosses the Croxtolo to (9 M.) Reggio (see p. 237). From Mantua to Parma (30 M.) diligence daily in 61(2 hrs. (fare 7, coupe 8 fr.). A little beyond the town the road diverges to the 1. from that which leads to Cremona (see below), and ^msses Montanara and Campitello. It then crosses the broad channel of the Oglio ., and leads by Sahbionetta to Casalmaggiore (Croce Verde)., whence an omnibus runs to MIRANDOLA. 34. Route. 181 Verona. A ferry here crosses to the r. bank of the Po. Then Golomo on the Parma., with an extensive, but now neglected ducal chateau, with pleasure-grounds and hothouses. From this point to Parma 9i|2 M. — Parma, see p. 239. Feom Maxtca to Ckemo>"a (43i;2 M.) diligence daily in 10 hrs. (rail- way projected). The road passes Curtatone ; then, near the influx of the Mincio into the Lago Superiore , the church of S. Maria delle Grazie, founded in 1399, a celebrated place of pious resort , chiefly remarkable for a number of life-size figures in wax, presented by various devotees. The next places are Castellncchio. Marcaria, Bozzolo (4(X)0 inhab.), where the old road to Parma diverges to the r. ; Piadeiia, whence another road leads tu Parma; Cicognolo, and 10 M. farther Cremona (p. 169). Fkom Mantca to Brescia (39 M.) diligence daily in 9 hrs. , passing through Goilo , Guidizzolo (both scenes of engagements during the war of 1848) , Castiglione (for the capture of which in 1796 Marshal Augereau was afterwards created Due de Castiglione by Xapoleon) , Montechiaro, Castenedolo, Brescia (see p. 162). The Railway to Modexa intersects the S. fortifications, passes the Palazzo del Te (see above) , and crosses the Po at stat. Borgo- forte. once an important tete-de-pont. the fortifications of which were blown up by the Austrians in 1866. The railway-bridge being still unfinished , travellers alight and cross the river by the bridge of boats to stat. Motteggiano , where another train awaits them. Next stations Suzzara. Regyiolo-Gonzaga, Rolo-Novi. About 10i[2 M. E. iif Novi is situated Mirandola, formerly the capita of a duchy which belonged tn the Pico family, a town with broad streets and picturesque, antiquated buildings. It was originally under the juris- diction of the abbey of Xonantola and the Countess Matilda, and after many vicissitudes came info possession of the Counts of Pico, who re- tained their supremacy for upwards of three centuries. Count Gio- vanni Pico (1463 — 94) was remarkable for his ability and learning. Alexander I. was the first of the family who bore the" title of Duke of Mirandola and Concordia. Francesco Maria, the last duke, sold his dominions to 3Iodena in 1710. The Old Palace of the dukes, the Cathedral, and the church of Gesii should be visited. The line skirts several canals and reaches stat. Carpi, with 5000 inhab. , an episcopal see , possessing a Cathedral attributed to Bramante. an old castle, a modern palace, and broad streets. Correggio (p. 238) is situated 7 M. to the S. W. Solliera is the last station. The railway crosses the Secchia and reaches Modena (p. '243). 35. From Verona to Venice. Vicenza. 72 M. Railway in 3i|4— 4 hrs. ; fares 13 fr. 95, 10 fr. 15, 7 fr. 25 c. ; finest views generally to the left. Arrival at Venice, see p. 196. Venice being a free port , travellers entering it are exempt from the payment of imposts , but those quitting it are subjected to the formalities of the dogana. Railway-stations at Yerona , seep. 171. Soon after quitting the station outside the Porta Nuova the train crosses the Adige below the town. On the r. and 1. are a number of detached forts, which render Verona the stronge8t_ fortress of N. Italy. The line 182 Route .''5. VrCENZA. From Verona skirts tlie S. spurs of the Alps and intersects the great Venetian plain. Vineyards, mulberry plantations, and fields of Indian corn intersected by cuttings for their irrigation are passed in unbroken succession. Near «S. Michele on the 1. stands the pinnacled castle of Mon- tario, formerly the property of the Scaliger family (p. 173). Stat. S. Martino. The mineral springs of stat. Caldiero, which attract many visitors, were known to tlie Romans. On the hill to the 1. the slender campanile of S. Vittore. Villanuova , with the castle of Soave, once belonging to the Scaligers, on the height to the 1., presents a good picture of a mediaeval fortified town. Next Stat. S. Bonifacio. Arcole, S^'o M. to the S., was the scene of the battle of 15th — i 7th Nov., 1796, between the Aus- trians and the French under Bonaparte , Masse'na , Augereau , and Lannes. Stat. Lonigo ; the village lies 41/0 ^- S. E., at the W. base of the Monti Berici, a chain of volcanic , Avooded hills , be- tween which and the spurs of the Alps the line now runs to Vicenza. Stat. Montehetlo is not to be confounded with the place (p. 81 ) of that name in Piedmont. Beautiful view towards the mountains; the stately chateau belongs to Count Arrighi. To the 1. on the hill the castles of t]\e Montecchi \ then stat. Tavernelle. 30m. Vicenza [Hotel de laVille (PI. a), at the railway-gate, R. from 2 fr., D. 3, A. and L. 1 fr. ; Stella d'Oko , in the Corso; Due Moki r Gkan Parigi, good cuisine, omnibus to meet the trains; Albergo k Trattokia ai tre Gakofani , both in the Contrada delle due Ruote ; Roma ; Caff^ Principe Umhevto and Caff'e Nazionale , in the Corso •, Garibaldi, Piazza de' Signori; ^Railway Rextaurant] , the Vicetia of the ancients, with37,G86inhab., situated on the J5acc/H'^i/one, is celebrated as the birthplace of PaUaclio (lolS' — 80), who erected his finest secular structnres here (churches at Venice, see p. 202). His successors Scamozzi, Longhena, and others adhered uniformly to his style, so that the town presents a remarkably handsome and ornate ap- pearance. If time is limited, a glimpdo at the interesting buildings may be obtained in an hour, by walking through the Corso to the Piazza de' Signori, and thence to the Contrada Porto. The town is entered by the W. gate (near the entrance the Palazzo Gusano, now Hotel de la Ville); in the Piazza to the r. is the Casa del Diavolo, a large unfinished palace by Palladio ; the traveller then follows the long Corso Principe Vmberto. On the 1. the new church of S. Filippo Neri (PI. 16). The short Contrada del Monte (opposite which is the Contrada Porto with numerous palaces, some in the Venetian and others in Palladio's style) to the r. leads from the Corso to the handsome Piazza de Signori, with two columns of the Venetian period. Here rises the *Palazzo del Consiglio, or Basilica (PI. 40), with a double series of grand and beautiful open arcades, the lower with Doric, the upper with Ionic columns, surrounding the Palazzo delta Rag ione 110 wn-hM). Thesu arcades, begun in 1549 , are one of """"ifenli JK\ \>^fk / to Venice. VICENZA. 35. Route. 183 Palladio's earliest works. The lofty and slender rod tower is of later date ; adjoining is ^the Tribunate. Opposite tlie Basilica is the unfinished Lotigia del Delegato, or Palazzo Prefettizio (PI. 47), also by Palladio (1571), adjacent to which are the Monte di Pieth and the church of S, Vicenzio. In the Piazza, near the Basilica, stands a. good Statue of Palladio in marble, by Gajassi, erected in 1859. On the 1., at the E. end of the Corso, is the small Casa di Pal- ladio (PI. 8), the fa(;ade of which was once painted; then r., in the Piazza Yittorio Emanuele, the *Museo Civico fPl. 39), a handsome modern edifice, incorporated with the Palazzo Chieregati, which was erected bv Palladio (open daily 9—5, 1/2 fr-)- On the Ground Floor Roman antiquities from an ancient theatre, among which two female statues only deserve mention. The Upper Floor contains the *Pinacoteca. Some of the pictures are provided with num- bers, others are without. Since the re-arrangement they no longer cor- respond with the numbers in the written catalogue, ist Saloon : 3. Giro- lamo di Tonsi of Vicenza , Madonna enthroned and two saints (1526) ; 4. Luca Giordano., Marriage of Cana; 25. Andrea Basato , St. Anthony; 37. Giov. Bellini, Madonna and Child, SS. Sebastian and Rochus ; German School, Crucifixion. — 1st Room on the 1. : 9. Faw Dyck ., The four ages; Titian (?) , Madonna and Child; 32. Bernardino da Murano , Madonna enthroned and four saints. The shoes which the doge wore in the Bu- cintoro on his nuptial procession (corap. pp. 209, 212) are also preserved here. — 2nd R. : * Cima da Conegliauo . Madonna with St. Jerome and John the Baptist (1489): 35. Giov. Bellini, 3Iadonna and Child (much injured); 50. Girolamo Moceto, Madonna and Child; Paolo da Venezia, Death of Mary (1333); 58. Marco Palmezzano, Dead Saviour and three saints. — 3rd R. : Cinia da Conegliuno , The angels of the last day. — 4fh R. : Masters of Padua and Vicenza only: *Bartolommeo Montagna, Madonna enthroned and four saints, with three angels below; Madonna and Child, with two saints; Madonna enthroned with St. Jerome and John the Baptist; ^Presentation of Christ in the Temple. — 5th R. : Portraits. — Returning to the saloon , to the r. are two rooms with pictures of inferior value , then two rooms with coins , and one room with drawings and reminiscences of Palladio. — The Natural History Collec- tion contains some fine fossils: a fish, a palm, a crocodile, etc., most of them found in the neighbourhood of Vicenza. In the vicinity is the *Teatro Olimpico (PI. 51; fee 1/2 f^.), designed by Palladio, but not completed till 1584, after his death. It was inaugurated by the performance of the 'CEdipus Tyrannus' of Sophocles. Palladio is said to have adhered to the directions given by Yitruvius with regard to the construction of ancient theatres, but the result differs materially from what would have been anticipated. The perspective of the stage is very remark- able ; it is closed by a facade adorned with statues, through three doors in which a glimpse of the distant landscape is obtained. The orchestra is in front of the stage, 5 ft. below its present level. Besides the' above mentioned, the following structures of Pal- ladio may be noticed: Palazzo Barharano (^Pl. 34), Tiene (_P1. 48), 184 Route 35. VICENZA. Valmarano (PI. 49), Porto Coleoni (_P1. 45), and the Rotonda (see below). The Cathedral (PI. 10) consists of a broad and low nave, the aisles having been converted into chapels, a choir considerably raised above the rest of the church and covered with a dome, and a crypt beneath it, but contains nothing remarkable. To the 1. in the piazza is the Vescovado, the court of wliich to the 1. contains beautiful, but uncompleted arcades. Opposite to it is the Casino. — The church of S. Corona (PI. 12), a brick edifice with plain Lombard fayade, contains a large Baptism of Christ by G. Bellini, an Adoration of the Magi by P. Veronese , and a handsome monu- ment in a chapel to the r. of the choir. — S. Lorenzo (PI. 19), in the Contrada di S. Lorenzo, has a Gothic facade which deserves notice, and contains the tomb of B. Montagna (d. 1572), by whom the high altar-piece, representing SS. Lorenzo and Vicenzo was painted. — S. Stefano (Pi. 29) contains in the 1. transept a large *altar-pioce by PaUna Vecchio , the Madonna with SS. Lucia and George. A Avalk to the pilgrimage-church of Madonna del Monte (PI. 24) on the Monte Berico is recommended in the morning before the heat of the day, or in the afternoon when the arcades afford shade. The route is either through the Porta S. Giuseppe (before passing through which the *Ponte S. Michele crossing the Retrone, by Palladio, is seen on the r.), or immediately to the r. from the railway-station, past the Villa Karolyi, and across the railway, to the arcade leading to the church, a passage resting on 180 pillars, and 715 yds. in length, which was sharply contested in 1848 by Italian irregular troops, who had fortified the hill with its villas, and the Austrians. To the 1., beyond a bend in the arcade, a view is obtained of Palladio's Villa Rotonda. The church is in the form of a Greek cross with a dome, the present 1. transept was the original church, erected in 1428 and adorned with pictures by Montagna. The old refectory of the monastery (shown by the sacristan) contains the Banquet of Gregory the Great by Paolo Veronese^ which was entirely torn to pieces in 1848, but has been restored with the aid of the copy in the Pinacoteca. Behind the church is a monument to those who fell here in 1848 ; to the r. an Italia Liber ata dedicated to them by the municipio of Vicenza. Pleasant view hence (tolerable tavern). On the hill of S. Sebastiano, at the N. E. base of Monte Be- rico (not visible from the road thither), I1/2 M. from the town, is situated the celebrated Villa Rotonda Palladiana (PI. G, 7) of the Marchesi Capra, with an Ionic colonnade surmounted by a pediment on each of the four sides. In the centre is a circular hall with a dome. The Cimetero, which deserves a visit, contains the grave of Palladio (d. 1580). AUiodlu I c PADUA. 36. Route. 185 The Baths of Recoaro (Inn of Domenico Trettenero), about 25 M. N.W. of Vicenza (.by carr. in 4 hrs.), are picturesquely situated and much frequented, especially in July and August. The mineral water contains iron. Stat. Pojana, the only one between Vicenza and Padua. Coun- try flat. To the S. in the distance . the Monti Euganei (_p. i9i). 19 M. Padua, see below. To the 1. as the train proceeds the Tyrolese Alps are perceived in the distance. Near stat. Ponte di Brenta the line crosses the Brenta ; at stat. Dolo a lofty, slender campanile; at stat. Marano an arm of the Brenta is crossed. From (18 M.J stat. Mestre the line to Trieste by Treviso and Udine diverges to the N. (R. 39j. Venice, with its dark blue line of towers and churches rising from the sea, now gradually comes into view. The islands with their groups of houses appear to float in tlie water. The line passes Fort Malyhera and two large barracks on the I. and reaches the immense *Bridge. the longest in the world (^222 arches, length 2i 3 M., breadth 28 ft.), by which the train crosses the Lagune (p. 203) in 8 min. and reaches the station at the N. W. end of ( 5 M.) Venice (R. 38). 36. Padua, Ital. Padova. Lat. Patavum. Hotels. Stella dOro, in the Piazza Garibaldi (or dei Noti), R. 2i|2, D. 4, A. 3 ,,, L. J|2 fr. ; AguiLA d Oro. near S. Antonio. R. 3. L. 3,4, D. 4, A. 1, omnibus ^\\ fr. ; *^Croce dOru , in the Piazza L'avuur (or Biade), R. 2, omnibus ^\2 fr. ; Aqcila Xera, in the same Piazza and belonging to the same proprietor, opposite Cafe Pedrocchi; Albergo Paradiso, ad- jacent to the Stella dOro; *Dce Croci Biaxche , opposite S. Antonio. Cafes. * Pedrocchi (PI. 28j , opposite the L'niversity, an imposing edifice with halls and columns of marble; "^Vittoria, in the Piazza Unita d'ltalia (or de" Signori). — Birraria di Franc. Stoppato ., Via Eremitani; also on the ground-floor of the Albergo del Paradiso (see above). *RU- toratore Oasparotto at the back of the Caf^ Pedrocchi. Cabs. ^Broughams' are those with one horse : to or from the station 1 fr. , luggage 40 c, 1,2 hr. 11,2 fr. , 1 hr. 2 fr. , drive in the town 50 c, at night 25 c. more. Omnibuses from the hotels meet each train. Sights. The following walk is recommended. Proceed straight through the Porta Codalonga , then turn to the 1. past the church of / Carmini {*Scuola adjacent) to the Ponte Molino and the Strada Maggiore , follow the latter to the Piazza de^ Signori (or Unita d'lialia), turn into the Piazza dei Frutti to the 1., pass through the Palazzo delta Ragione to the Piazza delle Erhe , see the Caf( Pedrocchi on the 1. , turn to the r. to the Strada di S. Lorenzo and (where there is a direction 'al Santo') again to the r. into the Selciato di S. Antonio leading to the * Santo (Scuola., S. Giorgio, Museo Civico); then back to the Cafe' Pedrocchi, pass through it, and cross the Piazza Biade and Piazza Xoti to the * Eremitani and *6'. Annunziata. Fadua, situated on the Bacchiglione which flows through it in several branches, a town of vt-ry great antiquity, tracing its origin traditionally to Anteiior, brother-in-law of Priam, was the weal- thiest town in Upper Italy during the reign of Augustus. In 1405 it placed itself under the protection of the republic of Venice , to which it adhered until the dissolution of that state. From the 186 Route 36. PADUA. S. Antonio. middle ages down to tlie present day Padua has been celebrated for its University, which was founded by Emp. Frederick II. in 1238. The town, a quiet place with 51,000 inhab., occupies an extensive area. Its narrow streets and arcades are interspersed with spacious gardens. *S. Antonio (PI. 1), the Basilica of St. Antony of Padua (d. l'23l ), commonly known as 'II Santo\ is supposed to have been designed by Nicola Pisano in 1237, but was not begun till 1296. The principal part of the church was completed in 1307, the remainder not before 1475 (when the domes were raised] ; the whole was restored in 1749 after a Are. This vast structure with its seven domes is larger than 8. Marco at Venice. Over the portal of the fa^^ade, wjiich is 117 ft. in width, stands a statue of the saint; in the lunette Madonna with SS. Bernardino and Antonio, a fresco by Mantegna. The church is 100 yds. in length, 49 yds. in width across the transepts, and 123 ft. high in the centre. The nave and aisles are supported by twelve pillars ; the semicircular choir contains eight clustered columns and a series of eight chapels ; at the back of the choir is the Santuario, in the 'baroque' style, con- taining the treasury of St. Aiitony. The Interior , now whitewashed , was probably once covered with frescoes. At the entrance, in the nave r. and 1., two handsome 'benitiers"', with statuettes of St. John the Baptist and of Christ, dating from the beginning of the 16th cent. S. Aisle. By the ist pillar a *Madonna in Trono with SS. Peter, Panl, Bernard, and Antony, an altar-piece by Antonio Boselli of Bergamo. — 1st Chapel: Altar with reliefs in bronze by Donatello, representing the miracles of St. Antony; 1. the sarcophagus of General Gattamelata (p. 187) and his son. S. Transept. *Gappella S. Felice, with frescoes from the history of Christ and St. James, by AUichieri da Zevio and Jac. d'Avanzo, painted in 1376, and restored in 1773, also architecturally interesting. — On the N. side of the choir is the Cappella del B. Luca Belludi , a pupil of S. Antony, with frescoes representing the history of St. Philip and St. James the Less, painted by Gior. and Ant. Padovano in 1382, and restored in 1786; the walls are covered with numerous votive paintings. ^^. Transept. ^Cappella del Santo, designed by Sansovino; the fajade has four columns and two elegant corner pillars adorned with reliefs by Matteo and Tommnso Garvi; between the five arches are the Evangelists; above is the inscription: Bivo Antonio confessori sacrum Ep. Pa. po. The walls are embellished with nine ^reliefs of the 16th cent. , representing the miracles of St. Antony : (beginning to the 1. of the altar) *1. Ordina- tion of St. Antony, by Antonio Minelli (1512); 2. Resuscitation of a mur- dered woman, by Giovanni Maria Padovano; *3. Resuscitation of a youth, by Girolamo Campana; 4. Resuscitation of a suicide, by Sansovino; 5. Re- suscitation of a dead man; 6. Tullio Lombardo, Discovery of a stone in the corpse of a miser instead of a heart (1525) ; 7. Tullio Lombardo, Cure of a broken leg ; 8. Miracle with a glass ; *9. A child testifying to the in- nocence of its mother. The bones of the saint repose beneath the altar, which is also adorned with many votive tablets. Two magnificent silver candelabra, borne by angels in marble. N. Aisle. Large monument of the Venetian Admiral Caterino Cor- nelio (d. 1674), with two figures as supporters, two prisoners in fetters, and the life-size statue of the admiral by Giusto le Curt; ^Monument of Antonio de' Rovcellis (d. 1466), of an architectural character; by the last Museo Civico. PADUA. 36. Route. 187 pillar (1st from the W. portal) the monument of Count Sicco ; opposite to it is the last altar , that of St. Stanislaus , with a vault which once be- longed to the kingdom of Poland; adjacent to it is a relief by Luigi Fer- rari to the memory of the Princess Jablonowska (d. 1846). In the Choir are twelve reliefs in bronze , representing scenes from the Old Testament, most of them executed by Vellano , a pupil of Donatello, at the end of the 15th cent. The features of the full-length figure of St. Antony are said to be faithfully represented. The reliefs on the altar and the symbols of the four evangelists on the r. and 1. are by Donatello. Adjacent to the altar is a bronze * Candelabrum , ll'(2 ft. in height, by Andrea Bicrio , adorned with a variety of Christian and heathen repre- sentations (15<37|. The Crucifix in bronze, with the Virgin and the tutelary saints of Padua, is by Donatello: the marble work is attributed to Giro- laino Campagiia. Nave. (Jn the 2nd pillar on the 1. the "^Monument of Alensandro Cm- tarini (d. 1C»53), General of the republic of Venice, with six slaves as supporters. On the opposite pillar ('2nd on the 1.) is the simple and chaste monument of Cardinal Bembo (d. 1547) ; on the 4th pillar on^the 1. the monument of the Venetian Admiral Hieronymus Michiel (d. 1557). The Cloisters , entered from the S. aisle (several monuments and frescoes in the style of Giotto in the passage) , with their wide and lofty pointed arches , contain a number of ancient tombstones. The Scuola del Santo, adjoining tlie cliurcli, the assembly-hall of the brotherhood of St. Antony, is adorned with seventeen frescoes by early Padvian masters (viz. Nos. 4, 8. and lOj, by Domenico Campagnola (Jsos. *2, 3, 9, and 17). by Titian in his early period (1500 — 1520) (Nos. *1. St. Antony giving speech to a child; 11. The saint saves a woman who is threatened with death by her jealous husband: 12. Healing of a youth), and by pupils of Titian. Written catalogue for the use of visitors. The ancient *Chapel of S. Giorgio, adjacent, contains twetity-one admirable frescoes of 1377 lay Jacopo cTAvanzo and Altichieri: to the r. below is the legend of St. Lucia, above it the legend of St. Catharine: to thel., above and below the legend of St. George. Altar-wall: Crucifixion, Coronation of the Virgin. Wall of the door: Flight into Egypt, Adoration of theMagi. Nativity. The cliapel is undergoing restoration, but the scaftolding commands an excellent view of the pictures. In front of the church is the equestrian Statue of Erasmo da Narni, surnamed Gattamelata, commander of the army of the Republic of Venice in 1438 — 41, cast in bronze by Donatello, the tirst great specimen of bronze-casting of the modern period of Italian art (15th cent. ). To the 1. of the church of S. Antonio, on the' way to the Orto Botanico, is the Museo Civico e Bottacio, established in an old monastery, with a handsome Gothic court. The Pinacoteca. or picture gallery, is temporarily placed in a large room on the first floor. * 51. Gurofalo, Madonna and Child, Elizabeth and-Zachariah with the infant John: Xl.'Girolamo da Santa Croce. Entombment; 56. Lorenzo Lotto, Madonna and Child with saints; 74. Bonifazio . Madonna and Child with saints: 88. Titian (?). Christ, Mary, andjapostles ; 91. Giorgione (?), Ma- donna and Child in a .landscape; ^125. Basaiti, Madonna and saints; Squatcione. 133. Altar-piece in three sections; 148. Madonna and Child- 164. Tiepolo. S. Patricio healing a lunatic; 170. Romanino , Sacra- 188 Route 36. PADUA. Eremitani. ment^ 181. Romanino ., ^ladonna enthroned and lour saints, one ot the angels with a tambourine; Marco Palmezzani da Forli , 179. Madonna and Child with John the Baptist , 185. 3Iadonna and Child with John the Bap- tist and St. Joseph (1535); 187. Eomanino, Madonna enthroned, saints, and singing angels (1521); 29. Mantegna, Warriors. — The coins, casts, re- liefs, and bronzes are not at present shown. Eremitani (PI. 12), an Augustine cliurcli of the middle of the 13th cent., judiciously restored of late, with painted vaulting of wood, is a very long building , destitute of aisles, columns, and pillars. On the r. and 1. arc two old monuments of Princes of Carrara , the ancient lords of Padua , in a style peculiar to this town. The walls of the Choir are covered with indiflerent frescoes by Guariento (beginning of 15th cent.) , representing scenes from the history of the Augustine Order, subsequently restored. — The celebrated *frescoes of Mantegna in the chapel of S. Jacopo e Cristo/oro (the beautiful decorations also worthy of notice), adjoining the church on the r., are in a very damaged condition: 1. the history of St. James by Mantegna, the two highest pictures by An^ suino or Pizzolo; r. that of St. Christopher (of the latter the lower part only is by Mantegna; the small lance-bearer, whose head alone now remains recognisable, on the 1. is the painter himself; the upper scenes are by Ansiiino , one of his pupils). The terracotta altar. Madonna and Saints by Giovanni da Pisa .a. pupil of Donatello; behind it, Assumption of the Virgin, by Pizzolo. The chapel to the r. of the high altar contains a Coronation of Mary of the school of Giotto. — The Sackisty (entrance 1. of the choir) contains an altar-piece by Guido Reni (covered), repre- senting John the Baptist. In a garden adjoining the Piazza in front of the church (if closed , ring at the large wooden gate) , is situated the ^Madonna dell' Arena [Annunziata , PI. 2 ; the oval garden is the site of an ancient amphitheatre), a small Romanesque chapel, erected by the Paduan master Scrovegno in 1303 , the walls of which are covered with **Frescoes , most of them in good preservation, painted by Giotto in 1304, and representing the history of the Virgin and Christ, from the birth to the death of the former. The series begins in the 1. corner of the 1. side, in the upper row, and is coii- tinued by the upper row to the r. , the middle row to the r. , the lower row to the 1. , and the lower row to the r. ; beneath are alle- gorical tigures ; in the choir the Coronation of the Virgin and saints, by a follower of Giotto. On the W. wall is a single painting, grandly conceived, representing the Last Judgment , supposed to have been suggested by Dante, when on a visit to his friend Giotto (custodian i^ fr.). Morning light is the most favourable. (Photo- graphs from the originals may be purchased of Naya at Venice, l»/.2 fr. each.) Near the Porta Codalunga , in the vicinity, is the church of I Carmini (PI. 6), with a dome and large choir with six chapels on each side, and an unflnished facade. Adjoining it on the r. is the * Scuola del Carmine (now a baptistery) with frescoes from the lives of SS. Joachim, Anna, Mary, and Christ: 1. *Titian, Joachim and Anna (a shepherd kneeling on the r.); Girolamo da Santa Croce , Birth of Mary, Presentation in the Temple, Purifl- University. PADUA. 36. Route. 189 cation, and Sposalizio ; the others by Paduan masters. *Altar piece, Madonna and Child in an attitude of benediction, by Palma Vecchio. The Cathedral (PI. ill, dating from the latter half of the 16th cent., with a plain facade, is uninteresting. The Baptistery fPl. 3), adjoining it on the N., a brick structure of the 12th cent., is adorn- ed with frescoes of 1380 by Giusto Padovano. The Palazzo della Bagione (PL 37), now the Municipio, situat- ed between the Piazza d'Erbe and the Piazza diFrutti, a 'Juris Basilica' as the inscription records, was erected in the 11th cent, and remodelled in 14'20. It is celebrated for its great Hall, with vaulted wooden ceiling, one of the largest in the world, 91 yds. in length, 30 yds. in breadth, and 79 ft. in height (custodian ^/-i fr. ). It contains a large wooden model of a horse by Donatello , which has given rise to various conjectures , but was probably employed by the artist as a model for the horse in the monument of Gatta- melata (see above ; it closely resembles the third horse to the r. on St. Mark's at Venice, p. 205, which was probably the original model). The walls are adorned with about 400 pictures in fresco . painted soon after 1420 by Giov. Miretto and others, representing the influence of the constellations and the seasons on mankind. Under the loggia towards the Piazza di Frutti, and that towards the Piazza delle Erbe are Roman antiquities, chiefly inscriptions. Behind the horse is the tombstone of T. Livius Halys , a freedman of the family of the historian Livy , who is believed to have been born at Abano (p. 190). The Palazzo del Podesth , in the Piazza delle Erbe . the Pal. del Capitaneo , with a clock - tower, in the Piazza de' Signori (now the Piazza dell' Unitk d'ltalia) , and the Pal. Giustiniani near the church of S. Antonio also merit inspection. The Loggia del Consiglio, or Gran Guardia, in the Piazza deir UnitSi d'ltalia, to the W. of the Palazzo della Ragione , by Biagio Rossetti, is a very elegant example of the early Renaissance style, possessing a deep vestibule with an open arcade above a broad and lofty flight of steps. The University (PL 47). opposite the Caf^ Pedrocchi (p. 185), is established in a building termed 'II BV , from a tavern which once existed in the vicinity with the sign of the ox. Beneath the handsome colonnades in the court, erected in 1552 by Jac. San- sovino, are numerous inscriptions and coats of arms of distinguished 'cives academicV. Padua has also dedicated a number of monuments to the 'audi- tores Patavinf , or students of the university, who distinguished themselves in after-life. A double series of statues . a few only of which possess artistic merit (e. g. those of Poleni and Capello by Canova), adorn the "^Piazza Vittorio Emanuele II., formerly termed Prato della Valle from its original condition as a grassy dale (no^^ a promenade, V4 hr. walk from the university; PI. C, 8, 4). In 190 Route 36. PADUA. the inner row to the 1. No. 63. Savonarola , 74. Steph. Bathori, 75. John Sobieski ; in the external row Tasso , Ariosto . Petrarch, Galileo. This spacious Piazza presents a busy scene at the time of the fair (fiera) , which begins on the festival of St. Antony (13th June). Opposite to the Prato, to the N. W. , in front of the Gothic halls of the Palazzo della Loggia (PI. 40 ) , a modern structure of brick and stone, are the two marble Statues of Dante and Giotto, by Vincenzo Vela , erected in 1865. To the E. of the Prato is situated the church of *S. Giustina [PI. 16), an edifice of strikingly noble and im- posing proportions, especially in the interior, completed in 1549 by Andrea Riccio or Briosco. It possesses a nave with two aisles, four domes and an unadorned facade of brick . approached by a hand- some flight of twelve steps, of the entire breadth of the structure. The church is paved with black, yellow, and red marble. In the 1. transept is the sarcophagus of St. Luke , in the r. transept that of St. Matthew. Over the high altar , which contains the tomb of St. Justina , is the ^Martyrdom of St. Justina , by Paolo Veronese. Magnilicently carved *Choir-stalls by Tavolino (1550"), in 50 differ- ent sections , each representing a subject from the New Testament above . and one from the Old below. In the chapel on the r. of the choir is represented the Virgin with the body of Christ, at the sides John and Mary Magdalene . a large group in marble by Parodi. The old choir, the sole remnant of the original church, also possesses fine carved stalls. In the vicinity is the Botanic Garden (PI. 32), the oldest in Europe, well stocked with trees peculiar to the south. The traveller is often importuned here by commissionaires to visit the Castello Pacerotti, a miniature imitation of a feudal castle, erected about 1830 , containing old armour , an imitation of the dungeons at Venice, implements of torture, etc., but not \\orthy of a visit. 37. From Padua to Bologna by Ferrara. 77i|2 M. Railway in 3—5 hrs.; fares 14 fr. 50, 11 fr. 10, 7 fr. 95 c. The line skirts and crosses the navigable Canale di Battaglia. Stat. Abano , a small town , the birthplace of the historian Livy, lies at some distance to the r. of the line. In the vicinity is Bagni ('Baths', a well-appointed establishment) , i]\e Aquae Patainnae, or Fons Aponi, of the Komans, on the E. slope of the Monti Euganei, with warm springs and mud-baths. The Monti Euganei, an isolated volcanic chain of hills rising on the 1-., 12 31. in length, from X. to S. , 6 M. in breadth, from E. to W., contain extensive quarries of trachyte, and aflord interesting excursions from Padua. Their culminating point is Monte Venda (1890 ft.), with the i-uins of a monastery. ESTE. 37. Route. 191 Stat. Montegrotta. To the 1. , beyond a long tunnel, near stat. Battagiia, is seen the old and well-preserved chateau of Cattajo, the property of the Duke of Modena , adorned with numerous fres- coes by Celotti. It was erected by the now extinct Venetian family Obizzo , who , according to a notice on a family-portrait . claim to have invented the howitzer. The chateau contains valuable collections. Antiques. Ground-floor. Ante-chamber: inscriptions, large trilateral Roman monument ; farther on, a room with inscriptions and architectural fragments. First floor. 1st Room: casts. 2nd R. : early Christian sculp- tures. Hall: twenty Etruscan cinerary urns with scenes of leave-taking and battles; 9, 17," 19. Death of Iveoptolemos at Delphi; 18. Cadmus slaying the dragon; 7. Rape of Helen; to the 1., farther on. 35. Torso of a Cupid ; 40. Cippus of a tomb ; 43. Torso of a satyr. Brazen cinerary urns from the Euganean Mts.; *102. Greek (?) tomb-relief; ICO, 115. Terracottas, Artemis, Selene, and Endymion; 111. Scene from the con- quest of Troy, in relief; *288. Basrelief, Victory (?), the laurel-wreath modern. Terracottas from Etruscan tombs: 479. Mithras; 5'29. Woman in relief (the swan modern); 5, 9. Minerva; *545. Statue of Sabina, wife of Hadrian, in a sitting posture; 561. Antinous; 605. Isis . in imitation of the Egyptian style; 656. Cinerary urn in terracotta, formerly painted, with Troilus and Achilles; 1065. Statue of a youth; 1155. Augustus as an augur (the staff modern); 1179. Bearded Dionysus. In the centre, 1196. Statue of a magistrate; 1'2C)6. Torso of Hercules.' — A room to the r. con- tains a large collection of mediaeval relics, weapons, guns, and artillery models. The Oratorio S. Michele, or chapel of the chateau contains good early Italian pictures. (11 M.) Stat. Battagiia (Albergo della Luna, no fixed charges) possesses warm baths of considerable repute. The principal spring ( S. Helena ) adjoins the chateau of Count Wimpffen, the proprietor of the watering-place. About 3 M. to the S. W. of Battagiia, on the Monti Euganei, is situated Arquh del Monte, a small town prettily situated in a valley, and a favourite retreat of Petrarch, who died here in 1374. His monument in front of the churcli consists of a sarcophagus resting on short columns of red marble, bearing the inscription : Frigida Francisci lapis hie tegit ossa Petrarce, Suscipe virgo parens animam ! Sate virgine, parcel Fessaque nam terris cell requiescat in arce. On the top is a bust of Petrarch . dating from 1547. His liouse in the upper part of the town, with painted wooden ceilings and faded frescoes in allusion to his poems , contains a few reminiscences of its former illustrious owner. Stat. Monselice , a town at the base of the Monti Euganei , has remains of fortified walls and a ruined castle. To Arqua and Este a drive of 3 hrs. (7M.) Stat. Este. The town , the Ateste of Tacitus according to ancient inscriptions, lies 33 4 M. to the N., on the road which here diverges to Mantua. It possesses the extensive, but now ruinous ancestral residence of the House of Este, a spacious piazza surrounded with arcades, a Museo Civico in the church of S. Francesco (contain- ing several interesting Roman inscriptions), a cathedral of elliptical 192 Route 37. FERRARA. From Padua plan with a lofty choir , and a chnrch of S. Martino with a leaning tower. The line now quits the canal, and near stat. Stanghella crossps the Gorzone Canal. The country is fertile , but flat and marshy. Near Boara a small new fort is passed and the Adige crossed. (91/2 M.") Stat. Rovigo (Cappa d'Oro; Corona Ferrea), on the Naviglio Adigetto , an episcopal residence and the capital of a 'Delegation', also has a leaning tower. Adria, 16i|o M. to the E., on the Bianco Canal, occupies the site of the very ancient Etruscan town of the same name, whence the Adriatic derives its appellation. The sea has gradually receded from it, and is now 17 M. distant. Stat. Arquh. The line crosses the Bianco Canal near the Bosaro, and near Stat. Polesella reaches the Po , which is here the boundary between Venetia and the Romagna. The 1. bank of the Po is now- followed. ^tSit. Paviole ; then 5. Maria Maddalena. The river is then crossed, and the train reaches stations Pontelagoscuro, and (I41/2 M.) Ferrara [Eur op a , opposite the post-offlce, R. 2, omnibus 3/4 fr. ; Stella d' Oro , opposite the castle, R. 2, L. and A. 1 fr. ; Tre Corone, R. IV2, A. 1/2 f"*-, tolerable; Caffhdel Corso ; Caff^ Castiglione , Piazza del Commercio ), situated near the ancient Forum Alieni , 31/2 M. S. of the Po , in the midst of a fertile , but unhealthy plain. It is the capital of a Delegation , with 27,688 inhab. , and possesses broad, deserted streets , mouldering palaces, and other imposing reminiscences of its golden period. It was once a prosperous commercial place, numbering 100,000 inhab., and was the seat of the renowned court of the House of Este, several mem- bers of which were great patrons of literature and art in the middle ages. Ariosto and Tasso were among the most brilliant stars of this court. The family of Este was of Tuscan extraction. Azzo I. became Count or Margrave of Este under Emp. Henry III. His eldest son TTcZ/ (founder of the younger branch of the Ouelphs) was invested with the Duchy of Bavaria, which had belonged to his grandfather, the last male representa- tive of the elder branch of the Guelphs , and his son Henry the Proud became the founder of the families of Brunswick and Hanover. Oitdio, the second son of Welf , was the ancestor of the dukes of Ferrara and Modena. Obizzo JIT., who added Modena and Reggio to his dominions (d. 1352), considerably extended the power of his house , which from an early period was a liberal patron of art and science. In 1452 Borso received the title of Duke. of Modena and Reggio from Emp. Frederick III., and that of Duke of Ferrara from Pope Paul II. He died in 1471. His brother Hercules I. (1471—1505), and the son of the latter, Alphonso I. (1505—34), husband .of the infamous Lucrezia Borgia, were powerful and influential princes. Cardinal Hippoli/tus iVEste, Archbishop of Milan, brother of Alphonso , was the friend and patron of Ariosto. Hercules 11. (1534—58), son of Alphonso, was the husband of Renata, daughter of Louis XII. of France , patroness of the Reformers Calvin and Marot, to whom she accorded an asylum. -Having declared herself in favour of the reformed doctrines, she was separated from her husband and children. Her son Alphonso II. (1558—97) raised the glory of Ferrara to its culmi- nating point, but with him the family became extinct, his three marriages /' . c. to Bologna. FERRARA. 37. Route. 193 being childless. He was the patron of the poets Tasso and (/Martnt (author of the 'Pastor Fido", born at Ferrara in 1537, died at Venice in 1612). Grethe in his 'Torquato Tasso' har. drawn a faithful picture of the court of Ferrara about the year 1575, although a .somewhat ideal colouring is given to some of the characters. His description of the attachment of Tasso to Eleonora (1537 — 81), the youngest unmarried sister of the duke, is however not without foundation. ^4«na (1531 — 1607), one of the sisters, was married to the Due de Guise, and afterwards to the Due de Nem<»ur,s-, Lvcrezia (1534—98), the other sister, was the wife of the Duke of Urbino. Alphonso II. was .succeeded by Cesarc d'Este, descendant of a natural son of Alphonso I., but only as duke of Modena and lleggio, Ferrara and Comacchio havinti been claimed by Pope Clement VIII. as vacant fiefs. In the history of art and science the renown of the House of Este is immortal. 'Whoe'er in Italy is known to fame This lordly House as frequent guest can claim.' Several celebrated painters who lived at Ferrara must also be men- tioned : Cosinio Ttira., a pupil of Mantegna; Lorenzo Costa, who subse- quently became a follower of Francesco Francia at Holoj;na; then, at the beginning of the 16th cent., Dosso Dosfi and Benvenuto Ti.^io, surnamed Garofalo (1481 — 1559), an adherent of Raphael. Titian also occasionally resided at Ferrara, where he painted his 'Criato della Moneta', now at Dresden. The *Palace (PI. 17), an ancient and picturesque edifice with four towers, situated in the centre of the town, is now occupied by the local authorities and the telegraph-office. The custodian shows several dungeons, and among them one at the base of the 'lion tower', where on 21st May. 1425, the Marquis Nicholas III. caused his faithless wife Parisina Malatcsta and his natural son Hugo, her paramour, to be beheaded. Lord Ryron in his poem of 'Parisina' substitutes the name of Azzo for Nicholas as being more metrical. The Sola del Consiylio for Sola de' GUjanti] in the building of the prefecture, contains frescoes by Dosso Dossi, repre- sf'nting wrestling- matches of the ancient palaestra. The Sahi delV Aurora , with frescoes by the same master , is shown only by special permission of the prefect. The *Cathedral (S. Paolo. PI. 1), of 1135, has an imposing farade with three series of round arches, one above the other, an ailmirable example of the Lombard style. The lower part of the front and the lateral facades date from 1135; the upper part is of the 13th cent., the sculptures of the 13th and 14th. The projecting portal, enriched with sculptures and four lions, was added at a later period. The sparious interior, with its aisles and double transept, has been entirely, but not unpleasiugly modernised. In the 2nd transept on the r. : *St. Peter by Garofalo, Martyrdom of St. Law- rence by Guercino. Crucifix and four figures in bronze by Niccolb BaroncelU; terracotta figures of Christ and the apostles in both transepts by Alfonso Lombardi. In the choir, to the r. , Annuncia- tion , to the 1. St. George , by Tura ; above , Last Judgment, by Bastianino. 3rd Chapel on the 1., Madonna enthroned with saints, by Garofalo. On the r. and 1. of the principal door, SS. Peter and Paul, in fresco, by the same master. 15a;i>ekek. Italy I. 3rd Edit. 13 104 Route 37. FERRARA. From Padua At the S. corner of the cathedral rises a lofty and handsome Campanile in four massive storeys, erected in the Renaissance style under Ercole Jl. (p. 19*2j. Opposite to it is the Pal. delta liayione, a Gothic brick building with restored facade. S. Francesco (_P1. 7), erected in 1498 by Pietro liennenuti, is entirely covered with domes and each aisle is flanked with chapels. 1st Chapel on the 1., frescoes by Garofalo, the Donors and the Kiss of Judas. The other pictures are copies, of which the originals are preserved in the pinacoteca. The church contains monuments of the family of Este and that of Giambattista Pigna , the secretary of Alphonso II. and rival of Tasso (^a simple slab, outside, to the I. of the entrance). A famous echo here (^under the second dome in the nave) answers sixteen times if awakened with due energy. On the way to the railway-station is S. Benedetto (PI. 3), dating from the same period, erected by Giambattista and Albert Tristani, consisting of nave and aisles supported by pillars, and flanked with chapels. The circular vaulting is interrupted by the domes. The monument of Ariosto was removed hence to the library (p. 195) in 1801. The old monastery, now a hospital (keys at the Palazzo Comunale not always easily obtained), is adorned with frescoes by Scarsellino and Dosso Dossi; that of the ante-chamber of the re- fectory represents Paradise, with saints and angels, among whom Ariosto caused himself to be painted. <9. Domenico (PI. G) was adorned with statues on the facade by Ferreri, and with paintings in the interior by Garofalo and Carlo Bonone (the latter now in the pinacoteca). The celebrated Celio Calcagnini of Ferrara (1479 — 1541), who to some extent antici- pated Copernicus in his discoveries regarding the solar system, the contemporary and friend of Ariosto , bequeathed his library to the adjacent monastery. His bust is placed over the entrance. S. Maria in Vado (PL 11 ), one of the oldest churches at Ferrara, but altered after 1475 by Biayio Rossetti and Bartolommeo Tristani , consists of a nave divided into three parts , with a flat ceiling resting on ten columns , and surmounted by a dome sup- ported by buttresses. It contains admirable paintings by Carlo Bonone (Marriage of Cana, Coronation of Mary, etc.), Dosso Dossi, and Palma Vecchio. S. Paolo (PI. 13) is adorned with paintings by Bonone and Scarsellino , and contains the monument of Antonio Montecatino, the friend and minister of Alphonso II. The *Palazzo rfe' Diamanti {Fl. 30), so called from the peculiar facing of the stones with which the building Is covered, a liamlsome early Ilenaissance structure, begun in 1493 and completed in 1567, contains the Ateneo Civico and the Civic Picture Gallery, most of the works in which have been collected from suppressed churches. to Bologna. FERRARA. 37. Route. 195 Gdrofalo ami Dosso Dossi are particularly well represented (open daily 9 — 3 ; good catalogue i/o fr. ; ring on the 1. at the entrance ; fees prohibited). I. Room: 2. (two pictures) Bastoruolo, SS. Christopher and Sebastian ; 8. Bambini. Xichulas of r>ari and two saints; 10. Basiianino.i Madonna and saints; 114. Doinenico Tintoretto, Madonna del Rosario. — II. Room: 19. Boccacdno (d. 1515), Ueatli of the Virgin; 23. Lor. Co.Ha., Madonna enthroned with SS. Petronius and Jerome; S3. Panetli (d. 1531, the teacher of Garo fah)), Annunciation; 87. Paiietti, St. Andrew; 1(J6. Tura, St. Jerome (about 1450). — III. Room: 45. Garo/alo., Large fresco symbolical of the victory of Cliristianity over Judaism; 96. Scarsellino (d. 1U14), Marriage of Canu; in the centre of the room, without numlier, ^Garo/alo, Madonna in clouds with saints; Errole G'ranJi, St. Sebastian. — IV. Roo.m : *81. Palma Veccfiio (Y)^ Jesus and the Pharisees; 53. Oarofalo , Madonna del Riposo; 52. Oarofalo, St. Peter the Marfyr; 28. Carpi (d. 15G7), St. Antony of Padua, causing an infant to bear testimony to the honour of its mother; 51. Caro/ti/o, Adora- tion of the 3Iagi. — V. Roo.m : *3S. Dosso Dossi, St. John the Evangelist in the island of Patmos; 25. Cortellini, Madonna enthroned and four saints (1500); *75. Mazzolino (d. 1560), Adoration of the Child; 54. Gavofalo, Madonna del Pilastro; *55. Garofalo , Adoration of the Magi, 1537 (the artist has painted a 'garofalo' or carnation by way of signature in the foreground); 82. Panelti , Mary's meeting with Elisabeth; 79. Ortolano, Adoration of the Child (about 1500); 56. Garo/alo, Christ in Geth- semane. — VI. Room: 66. Guercino, Beheading of St. Maurelius; 33. Carpaccio , Death of Mary ; 39. Dosso Dossi, Annunciation ; 58. Garo/alo, Slaughter of the Innocents; 61. Garo/alo, Finding of the Cross; *60. Oaro/alo, Raising ai Lazarus. — VII. Roo.m : 107. Tiinoleo della Vite, Assumption. — VIII. Room: *33. Dosso Dossi, Madonna surrounded by 8aint.s, a very large picture in several divisions. Also a room with modern pictures. The *Studio Pubhlko, or Unioersith (Pi. 22), a school of medi- cine, mathematics, and jurisprudence, contains a valuable collec- tion of coins and Greek and Latin inscriptions ( in the court several early Christian sarcophagi and one of Roman origin ), and a Library of 100,000 vols, and 1100 MSS. Among the latter are several cantos of the 'Orlando Furioso' in Ariosto's handwriting, with numerous corrections , and a copy of Tasso's 'Gerusalemme Libe- rata', also with corrections; letters and poems written by Tasso in prison: Guarinrs MS. of the 'Pastor Fido' ; a number of choir- books of the i3th — 16th cent, with beautiful miniatures. Among the printed books are (ifty-two old editions of Ariosto. His monu- ment was brought here from S. Benedetto in 1801. The simple House of Ariosto (PI. 25), which he erected for himself and occupied during the latter part of his life, Via dell' Ariosto No. 67, has bisen the property of the town since 1811. It bears the inscription, composed by the poet himself: 'Parva, sed apta mihi, sed nulli obnoxia, sed non Sordida, parta meo sed tamen acre domus.' A few reminiscences of Ariosto are shown in the interior. A monument was erected to him in the Piazza Ariostea (PI. E, F, 3). While the poet was studying law, which however he soon exchanged for poetry, he resided in the Casa degli Ariosti, n^ar 13* 196 Route 37. CENTO. the church of S. Maria tVi J'.oochp. He quitted this house on his father's death, (junrmfs House still belongs to his descendants. The Hof^piltil of St. Aima (entrance in the Stradella Giovecca, next door to the Enropa, PI. 29) is interesting as the place where Tasso was kept in continenient for seven years (from 1579) by order of Alphonso II. He is supposed to have incurred the displeasure of his patron hy his passion for the Princess Leonora, the sister of Alphonso, or to have sutfered from periodical attacks of insanity. A dungeon is shown in which he is said to have been incarcerated, with the names of Byron and other poets written on the walls. In the church of -S. Giorgio, outside the Porta Komana, Pope Eugene IV. opened the Council convened in 1438 with a view to effect a union of the Greek and Roman churches, in the presence of the Greek Emp. John PaUeologus. This locality being considered unhealthy, the seat of the Council was afterwards transferred to Florence. From Ferrara to Boloyna by railway in 1 — 1 '/2 ^r- The train crosses the Cavo Tnssone Canal, which communicates with the Ph di Primaro, and traverses flat, well cultivated land (rice- liclds). Stations Poygio Renatico, Galliera, S. Pietro in Casale, and San Giorgio. From S. Giorgio an excursion may be made to (5 M.) Cento, a small town on the Beno, (he tiirttiplace of the great painter (Utercino (d. at Bolocina 1666). Several of the churches, particularly those of **Si. Biagio and the Madonna del liosario, contain admirable works by Guercino^ who was greatly attached to his native town. His house, where he received many illustrious visitors, is still shown. In the centre of the town is his statue by Galelti. — Near Cento is situated Fievc di Cento, a small town with the pilgrimage church of S. Maria Assunta ; the high altar-piece is an ^Assumption by Guide. Next stations Castel Maggiore and Corticella. The fertility of the soil increases as Bologna is approached. Bologna, see K. 43. 38. Venice, Italian Venezia. Arrival. The railvvay-slalion is confined and noisy. The porters with badges convey luggage lo an omnibus-boat (p. 198) or to a gondola, according to the wish of the traveller, to whom^ an official presents a number for a gondola and a printed tariil of fares from the station to any part of the city (as far as S. 3Iarco 1 fr., to more distant points 1 fr. 25 c, each box 15 c. ; with two rowers double these charges). A second generally proffers his services, but may be dismissed with the words 'basta uno !' The hotels send commissionaires to meet the trains, but their services are unnecessary. The 'omnibus' is a very slow craft, often crowded and alTording no view. — Gondola tarifl' for those who arrive by sea, see p. 198. Hotels (comp. Introd. V). Gkand Hotel Royal (Danieli, PI. a) in the old Palazzo Bernardi., Riva degli Schiavpni , E. oT the Palace of the Pogos, K. from 3, L. 1, B. 2, D. 5, A. 1 fr. ; ^Eukopa (PI. b), in the former Palazzo Giiistiniani , on the Grand Canal, opposite the Dogana di Mare and near the Piazza of St. Mark, similar charges. *Hotel Baubesi N pa3sea iini_ rower himself is" hailed as "^ Foppe^ itrom the poppa un which he stands. J \ hNEZLV. VENEDIb r\ VENICE. 38. Route. 197 (PI. c), in the Palazzo ZucchelU, on the Grand Canal, opposite the church delta Salute; *Vittori.\ (PI. g), R. 2'|2 fr. and upwards, D. 4, L. and A. 1, \i. I'ja fr., situation less favourable. (Traveller.s are sometimes requested to pay in gold, but they cannot be legally required to do so.) — S. Marco (PI. e), in the Piazza of St. Mark, in the old Procuratie, similar charges; *Hotel Bkllevue (PI. d), N. side of the Piazza of St. Mark, R. 3 fr. and upwards, B. li(2, A. 1 fr. ; *IIotel New York, in the former Palazzo Ferro (p. 21G); *Luna (PI. fj, to the W. of and opposite to the former Imperial Garden, close to the Piazza of St. Mark, similar charges; *CiTTa i»i MoNaco (Munich Hotel) (PI. 1), on the Grand Canal, near the Piazza of St. 3Iark, K. 2'|-.> fr., L. 75, A. 60 c. ; CiTxa i>i Roma, S. Moise, Piscina, new; Hotel Pension' Suisse, on the Grand Canal, opposite S. Maria delta Salute; (^Italia (PI. h); *IIotel Bauer (PI. m), S. Moise, Calle Lungn, with restaurant; Hotel Gakni National and H(jtel Laguna, both in the Riva degli Schiavoni; ^Pension Anglaise in the former Palazzo Giastinian Vescovi^ Grand Canal, recommended; Vapore (PI. i); S. Gallo (PI. k), with good restaurant; *Leon Bianco, Calle de' Fabbri, N. of the Piazza of St. Mark; Sandwirth, Riva degli Schiavoni, Cxerman, unprelending. — H«"iTEL Garni au Beau-Rivage , 'dependance' of Hotel Danieli (see above), Riva degli Schiavoni; Scharfnagel's Hotel Garni (PI. n) by the Campanile, well spoken of, R. and L. '2Sf. Marco (p. 205); ** Palace of the Doges (p. 208)-, *-S. Gior- gio Muggio're (p. 230) (ascend campanile); *Redentore (p. 230); S. Sebaxtiano (temporarily closed, see p. 231). 2nd Dav. Pal. Emo Treves (p. 216); S. Maria delta Salute (p. 226); **Accademia delle Belle Arti (p. 212) ; *S. Ste/ano (p. 226); *Frari (p. 22A); *Scuota di S. Rocco (p. 225). 3rd Dav. S. Salvaiore (closed, seep. 222); *Pat. Vendramin (p. 219) ; Museo Correr (p. 220); * Madonna detV Orto (p. 227); Gesuiti (p. 227); S. Maria de MiracoU (p. 229). 4th Day. *-S'. Zaccaria (p. 221) ; 8. Maria Formosa (p. 222) ; ».Sr. Gio- vanni e Paolo (p. 228); S. Francesco delta Vigna (p. 229); Arsenal (open till 3 p. m.); Giardini Pubbtici (view, p. 231). Finally ascend the Campanile of S. Marco, p. 207. Those who make a longer stay may proceed by S. Lazzaro to the Lido {p. 232), and make excursions to the N. to Murano, and Torcello (p. 232, 5 hrs. there and back); to the S. to Malamocco and Cliioygia (p. 232). — Every leisure hour should be devoted to S. Marco and its environs. Admission is generally obtained to the Churches from 6 a. m. till 12 or 1 o'clock, after which application must be made to the sacristan (nonzolo, fee 30— bi) c), for whom one of the officious loungers in the neighbourhood may be sent (5 c). ''*Academi/ (p. 212) 9—4 daily, on Sundays and festivals 10—4 o'clock. *Arsenal (p. 212) 9—3 daily. **Palace of the Doges (p. 208) 9—4 daily, on Sundays and festivals 10—4. * Museo Correr (p. 22U) Mond., Wed., Sat. 10—4. Permanent Exhibition of Art (p. 217) in the Pal. Mocenigo open daily, adm. 40 c. Seminario Patriarcale (p. 216) daily. The Private Palaces (* Vendramin, Emo-Treves, Fini-Wimpfen, Pesaro) are generally shown between 9 or 10 a. m. and 3 or 4 p. m. When the proprietors are residing in them, application should be made on the day previous to the visit, but is often dispensed with (fee to attendant 1 fr., to porter 25—50 c). History. The modern Venetia was inhabited during the Roman period by the Veneti, whose principal towns were Patavium, Altinum , Aquileia, etc. These were successively destroyed, after the fall of the W. R(jman Empire , by the hordes of barbarian invaders by whom Italy was now overrun, aiid their inhabitants took refuge on the islands of the Lagune, founded a new state there, and at an early period carried on a consider- able commerce with the Levant. The necessity of a constitutional govern- ment was soon felt, and in 697 Pauluccio Anafesto was elected the first doge. In 819 the doge Angela Participaco transferred the seat of govern- ment from Malamocco to Rialto, which he connected with the adjacent islands by means of bridges, thus laying the foundation of the modern oity of Venice. During the following centuries, notwithstanding continual internal dis- sensions, the might of Venice steadily increased. The foundation of its subsequent greatness, however, was principally laid at the period of the History. VENICE. 38. Route. 201 Crusades (1097 — 1271), which the shrewd policy of Venice contrived to turn to its own aggrandizement. In 1177. under the Doge Seitasliaiio Ziani., ttie celebrated meeting of Emp. Frederick I. with Pope Alexander III. (p. 209) took place at Venice. Enrico Daudulo (1192— I'ido), one of the most valiant of the doge.s , conquered Constantinople in 1204 with the aid of French crusaders. In consequence of this the Byzantine Empire was divided, and Venice obtained possession of the coast-districts of the Adriatic and Egyptian seas and numerous islands, among which was Candia. Under the successors of Enrico Dandolo the republic underwent severe contests with Genoa, which T)Ccasioned the loss of the Venetian conquests in the East, but at length terminated with !the total defeat of Genoa in 1252, under Andrea Dainlolo. His successor Marino Falieri contemplated the overthrow of the aristocratic form of government, f)ut his scheme was discovered, and he was beheaded on 17th April 1355. During the reign of Andrea Conlarini (1367 — 82) Padua, Verona, Genoa, Hungary , and Naples formed an alliance against Venice. In 1379 the Genoese took possession of Chioggia, but were surrounded in the Lagune and compelled to surrender, 24lh June, 138(1. In 1381 the peace was con- cluded by which Venice lost all its possessions on the mainland. The republic, however, soou recovered from these reverses. In 1380 Antonio Venter (1382 — 1400j took possession of the island of Corfu, then of Durazzo, Argos, etc. I'nder Micliele Uteno (1400 — 14) the Venetian general Malalesta conquered \'icenza, Belluno, Feltre, Verona, and Padua (1405); in 14(lS the republic gained pos-session of Lepanto and Patras, in 1409 of Guastalla, Casalmaggiore, and Brescello. In 1421 Tominaso Mocenigo waged war successfully against Hungary. In 1416 the Venetian fleet under Loredan conquered the Turkish at Gallipoli , and in 1421 subjugated all the towns of the Dalmatiao coast, so that Venice was now in possession of the entire coast district from the estuary of the Po as far as the island of Corfu. Mocenigo's successor was Francesco Fuscari (1423 — 57"). In 1426 Brescia fell into the bands of the Venetian general Cannagnolu , but in 1431 his successful career was terminated in consequence of a su-'picion of treason, and in 143'i he was executed by order of the Council of Ten. In 1449 the Venetians gained possession of .Crema, but were unable to prevent the elevation of Sforza to the dignity of Duke of Milan (1450). In 1457 Foscari, now enfeebled by old age and domestic misfortunes, was deposed by the Council of Ten owing to the intrigues of his enemies. Under Cristo/oro Moro (1462 — 71) the Morea was conquered by the Turk-. In 148*1, in Consequence of the renunciation of Catharine Cornaro, wife of king James of Cyprus', this island came into the possession of Venice, and in 1483 the republican dominions were farther augmented by the island i-f Zante. The close of the 15th cent, may be designated as the culminating point of the glory of Venice. It was now the grand focus of the entire commerce of Europe, numbered 200,000 inhab. , and was universally respected and admired. Its annual e.xpurts wire valued at 10 millions ducats, 4 millions of which were estimated as clear profit. It possessed 300 sea-going vessels with 8000 sailors, and 3(.KJU smaller craft with 17,aiO, as well as a fleet of 45 galleys manned by 11,000 men, who maintained the supremacy of the republic over the Mediterranean. At the beginning of the 16th cent, the power of Venice began to decline. Its commerce was gradually superseded to a great extent by that of the Portuguese, in consequence of the discovery of the new sea-routes to India. The League of Cambray, formed by the Pope , the Emperor, and the kings of France and Arragon against Venice in 1508 , and the victory of the French at Agnadello in 1509 occasioned serious losses to the republic. The wars between Emp. Charles V. and Francis I. of France (1521 — 30) were also very prejudicial to Venice, and its power was still more undermined by the extension of the Usman empire in Europe and Asia. In 1540 Xauplia, the islands of Chios, Paros, and others were lost, and in 1571 Cyprus notwith- standing its brave defence by Bragadino. In the naval battle of Lepanto 202 Route 3S. VENICE. History. (1st Oct., 1571) llio Venetian tleit greatly distinguished itself. In 1659 the island of Candia was conquered hy the Turks. In 1684 the Venetians under Francesco Moronhii and Koiiignmark were victorious in the Morea and conquered C'oron , I'atras, Corinth, etc.; in 1696 and 1698 they again defeated the Turkish fleets, and by the Peace of Carlowitz in 1709 they retained possession of the Morea \ but in 1715 the Tiirks reconquered the peninsula , and in 1718 were confirmed in their po.sses3ion by the Peace of Passarowitz. From this period Venice ceases to occupy a prominent position in the history of Europe. It retained it.s N. Italian possessions only, observed a strict neutrality in all the contests of its neighbours, and continued to decline in power. On the outbreak of the French Revolution Venice at first strenuously opposed the new principles, on the victorious advance of the French it endeavoured to preserve its neutrality , and repeatedly rejected Buonaparte's proposals of alliance. Irritated by this opposition, the French broke otV their negotiations and took possession of the city on 16th May, 1797. Hy the Peace of Campo Formio (1797) Venetia was ad- judged to Austria, by that of Pressburg (1805) to the kingdom of Italy. In 1814 Venice was again declared Austrian, and remained so until 1848, when a revolution broke out, and the citizens endeavoured to re-establish their ancient republican form of government, under the presidency of Manin. Their renewed independence, however, proved most disastrous and short-lived. The city was torn by internal dissension , and at the same time besieged by the Austrians. After a siege of 15 mf)nths it was com- pelled to capitulate to Radetzky ^ in August, 1849, a victory which cost the Austrians upwards of 20,0(J0 soldiers. The war of 1859 did not affect the supremacy of Austria over Venetia, the re-union of which with Italy was finally effected by the events of 1866. In the, HiSTouY of Akt Venice occupies a prominent position. The Venetian School of painting, which was especially celebrated for the l)ril- liancy of its colouring, boasts of many illustrious names. The most con- spicuous painters of the lOlh cent, were Anlouio BartoloDuneo and Luigi Vivarini of Murano, Vittore Carpaccio ^ Gentile and Giovanni Bellini. The Madonnas of the latter are remarkable for their grace and tenderness. Among his numerous pupils, Giainhattista Cima of Conegliano and Giorgio Barbarelli of Castelfranco (^ 11 Giorgione\ 1478 — 1511) were the most distin- guished. The next well-known names are Jacopo Palma il Vecchio oi 'B&r- gamo, Paris Bordone, and Pordenone, but the most celebrated of all is that of Titian., or Tiziano Vecellio (1477—1576), whose marvellous power of life- like delineati(m and richness of colouring are unparalleled. His greatest contemporaries were the talented masters Jacopo liobnsti, surnamed ' Tinto- retto'' (1512—94), Paolo Cagliari , surnamed '■Veronese' (1528—88) from his native town, and Jacopo da Ponte of Bassano ; then Bonifazio., Alessandro Bonvicini., surnamed '• II Morctio\ and Giov. Batt. Morone. In the 17th cent. Pahna Giovine and Padovanino attained a well-merited reputation, but the art was now decidedly on the decline. The only subsequent names worthy of mention are liosalba Carriera (d. 1757), a paintress of miniatures, Antonio Canale , surnamed '■Canaletto" (d. 1768), and Tiepolo (d. 1769), the mannerist. Venice is adorned with several structures in the Byzantine and Gothic styles , but its architecture did not attain to a high degree of perfection until the period of the Renaissance. To this epoch belong the Lombardi, Michele Sanmicheli ., Jac. Sansovino , Antonio da Ponte, Palladio, Scamozzi, and Longhena. The Lombardi and Sansovino were also sculptors. — Ve- nice still enjoys a considerable reputation in the artistic world. The father of the celebrated Canova was a A'enetian. Venice, the population of wliich had dwindled from 200,000 to 60,000 after its dissolution as an independent state (1797), gra- dually revived under the Austrian regime , owing chiefly to its ad- vantages as a Free Harbour, and is now , although much inferior to Trieste , one of the greatest seaports on the Adriatic (128,901 Situotion. VENICE. 38. Route. 203 inhab., 1/4 paupers). The 15.000 houses and palaces of Venice are situated on three large and 114 small islands, formed by 147 canals, connected by 378 bridges [most of them of stone), and altogether about 7 M. in circumference. The city is surrounded by the Lngune , a shallow bay about 25 M. in length and 9 M. in width, protected from the open sea by long sand-hills (lidi). which are converted into a still more efficient bulwark by means of bulwarks (murazzi) of solid masonry, averaging 30 tt. in height and 40 — 50 ft. in width. Towards the Lagune the Murazzi are per- pendicular, while towards the sea they descend i:i four terraces. The Murazzi on the Lido from Palestrina to Chioggia date from the last ])eriod of the republic. The Diga of Malamocco. a pier which extends for a distance of i^ ^ M. into the open sea, was constructed by the Austrian government after 1825, in order to previ^nt the harbour from becoming choked with mud. The Lagune are connected with the open sea by means of four entrances , of which those of the Lido and Malamocco alone are available for vessels of heavy tonnage. The steamers usually enter by the Porto di Lido (p. 232), but in stormy weather occasionally by that of Malamocco. The Lagoons are termed either 'lagune xnve\ or Hagune morte\ about one half of them belonging to each' class. In the former the tide rises and falls about 2 ft. ; the latter, shallower, and situated nearer the mainland, arc unaffected by the tide. Venice is situated in the 'laguna viva'. At high water innumerable stakes , protruding from the water in groups of the most varied form , mark the situation and shape of the low sand -islands which surround the city on every side, forming a complicated network of navigable channels, most of them accessible to small boats only. Most of the houses rise immediately from the canals (rii), or are separated from thom by narrow streets only, here termed fas in Spain ) colli { sing, il calle) and paved with broad slabs of stone, or sometimes with brick or asphalt. These lanes form a laby- rinth from which the stranger will frequently find it difficult to extricate himself; none, however, but walkers can form an adequate acquaintance with the picturesque nooks of the city and the char- acteristics of its inhabitants. The following description is so arranged that many of the sights can be visited on foot (comp. p. 22r), but all the principal buildings may also be visited by boat. Gondola-travelling is very pleasant . and is of course far preferable to walking for expeditions of any length. The *Piazza of St. Mark, usually termed 'La Piazza: fthe other small open spaces are termed campi), is a square paved vrith blocks of trachyte and marble. 192yds. in length, on the ^V. side 61, and on the E. 90 yds. in breadth. On three sides it is enclosed by 204 3.^. Route. VENICE. Piazza of St. Mark. imposing structures, which appear to form one vast marble palace, blackened by age ami exposure to the weather; on the E. it is bounded by the Church of St. Mark and the Piazzetla (p. '208), a small piazza, tlie S. side of which adjoins the Lagune. These palaces were once the residence of the 'procurators', the highest officials of the republic , whence their appellation of Procurazie : N. the Procurazie Vecchie, erected at the close of the 15th cent, by Bartolommeo Buon; S. the Procurazie Nuove , begun by Scamozzi in 1584, 710SV the Palazzo Rente, containing handsome modern apartments (^euviance under the New Procurazie; custodian i fr. for I — 3 pers.}; the modern edilice on the W., termed the Atrio, ox Nuova Fabhrica . was erected under Napoleon in 1810 on the site of the former church of S. Geminiano. Tlie ground-floors of these structures consist of arcades, in which the cafe's and shops mentioned at pp. 197, 199 are established. — The Piazza of St. Mark is the grand focus of attraction at Venice. On summer evenings, after sunset, all who desire to enjoy fresh air congregate here, and the prince, as well as the humblest citizen, may be seen enjoying their sorbetto in front of the cafe's. The scene is most animated towards 8 p. m., especially on the evenings Avhen the military band plays (^Sundays, and generally on Tuesdays and Thurs- days also, 8 — 10 o'clock), when the Piazza is sometimes thronged until after midnight. On other L-venings the crowd disperses abcit 10 o'clock. In winter the band plays on the same days, 2 — 4 p. m. , ami the Piazza is then a fashionable promenade. Early in the morning a few visitors to the cafe's may be seen sipping their coffee, but these are rarely natives of Venice. The Venetians themselves are seldom visible at a very early hour, and the Piazza is comparatively deserted except at the hours just mentioned. The Piazza with its adjuncts (the Procurazie, St. Mark's, the Palace of the Doges, Piazzetta, and Lagune) presents a strikingly imposing appearance by moonlight. The Piazza is also the chief scene of the Carnival , which has retained more of its original attractive character at Venice than in any other town in Italy. A large flock of pigeons resorts daily to the Piazza at 2 p. m. to be fed at the expense of the city. According to tradition , Admi- ral Dandolo, while besieging Candia at the beginning of the 13th cent., received intelligence from the island by means of carrier- pigeons, which greatly facilitated its conquest. He then despatched the birds to Venice with the news of his success , and since that period their descendants have been carefully teiuled and highly revered by the citizens. They nestle in the nooks and crannies of the surrounding buildings, and are generally seen in great numbers in the evenii\g, perched on the facade of St. Mark's. The three lofty Flaystaffs (Pili) of cedar in front of the church, rising from pedestals resembling candelabra, executed in 1505, once bore the banners of the kingdoms of Cyprus, Candia, and the 8. Marco. VENICE. 38. Route. 205 Morea. to commemorate their subjugation by the republic. On Sundays ami festivals the Italian colours are now hoisted here. **S. Marco (PI. 17). the Church of St. Mark, the tutelary saint of Venice , whose remains are said to have been brought from Alexandria to Venice in 828, was erected in 976 — 1071 in the Romanesque -Byzantine style peculiar to Venice, and decorated with lavish and almost oriental magnificence during subsequent centuries. The facade received some additions in the Gothic style in the 1 ith cent. The form of the edifice is that of a Greek cross fwith equal arms ), covered by a Byzantine dome in the centre and one at the extremity of each arm. Around the W. and part of the N. transept is a vestibule covered by a series of smaller domes. Externally and internally the church is adorned with five hundred columns of marble, the capitals of which present an ex- uberant variety of styles. The most remarkable are eight detached columns in the vestibule, four at each of the lateral portals on the W. side, with peacocks and lions. The mosaics, the oldest dating from the 10th cent., cover an area of 45,790 sq. ft., whilst the interior is also profusely decorated with gilding, bronze, and orien- tal marble. The aggregate effect is highly picturesque and fan- tastic. Since 1807 St. Mark's has been the cathedral of Venice, a dignity which formerly belonged to S. Pietro di Castello (p. 231). Over the principal portal are *Fouk Horses in gilded bronze, 5 ft. in height , which were long supposed to be the work of a Greek niitster {Li/sippus), but are now believed to be of Roman workmanship, probably of the time of Xero. They are finely executed and are especiMlly valuable as the sole existing specimen of an ancient quadriga preserved intact. They probably once adorned the triumphal arch of Nero, then that of Trajan. Constantine caused them to be conveyed to Constantinople, whence the Doge Dandolo brought them to Venice in 1204. In 1797 they were carried by Napoleon I. to Paris, where' they afterwards occupied the summit of the triumphal arch in the Place du Carrousel. In 1815 they were brought back to Venice by the Emp. Francis and restored to their former position. Facade. * Mosaics in the arches, best surveyed from the steps of the flagstaffs. Below, over the principal entrance, the Last Jugdment. exe- cuted in 1836, r. the embarcation of the body of St. Mark at Alexandria, its disembarcation at Venice, both executed in"l660 ; 1. the veneration of the saint, of 1728. and the church of St. 3Iark into which the relics are con- veyed, of the 13th century. Above are the four horses in front of the great arched window, 1. and r. are four mosaics of the 17th cent.. Descent from the Cross, Christ in Hell, Resurrection. Ascension. Entr.\nce Hall (A(vio), the entire breadth of the church: the vault- ing consists entirely of mosaic, of which the older portion (i2th cent.) represents Old Testament subjects, beginning on the r. with the Creation; the modern part, scenes from the New Testament; over the entrance to the church is St. Mark, executed in 1545 from a design by Titian. The three red slabs commemorate the reconciliation between the Emp. Fred. Barbarossa and Pope Alexander III., which was effected here on 23rd July, 1177, through the mediation of the Doge Seb. Ziani. According to an old tradition the emperor kneeling betV)rc the pope said , '//o« tibi sed Pet7-o\ to which the pope replied, '«•< mi/ii et Petro\ In the corner to the 1. is the temporary tomb of Daniele Afanin , president of the republic in 1848, whose remains were brought from Paris in 1868 and deposited here, this 206 Route 38. VENICE. S. Marco. being the only interment which has taken place in the church for upwards of three centuries. iNTERioit, 86 yds. in length, 70 yds. in width, with five domc^ and an apse. Over the Entrance-door Christ, Mary, and St. Mark, of the 10th cent., one of the oldest mosaics in the church. The beautiful stone mo- saic pavement of the 11th cent, is smooth and slippery , and very uneven at places from having settled. By the screen, on the r. and 1. of the approach to the high altar, are two Pulpits in coloured marble, each placed on seven columns in accordance with the ancient custom. The mosaic (of 1542) on the upper part of the wall in the N. aisle (1.) repre- sents the genealogy of Mary. Adjoining it in the 1. transept (1. side) are some remarkably fine Byzantine mosaics. On the Screen are fourteen statues in marble (of 139^), representing St. Mark, Mary, and the twelve Apostles, with a bronze Crucifix. On the arched Parapet on each side of the C/ioir are three reliefs in bronze , by Sansovino (d. 1570) , representing events from the life of St. 3Iark. On"the parapet of the Stalls the four Evangelists in bronze , by Sansovino , and four Fathers of the church, by Cagliari (1614). The IJigh Altar (Altare Maggiore) stands beneath a canopy of verde antico, borne by four columns of marble (with reliefs of the 11th cent.). The Pala d'Oro^ enamelled work with jewels, wrought on plates of gold and silver, executed at Constantinople in 1105, constitutes the altar-piece, which is uncovered on high festivals only. (It was originally intended to embellish the front of the altar.) Beneath the high altar repose the relics of St. Mark , as the marble slab at the back records. — Behind the high altar is a second altar with four spiral columns of alabaster, of which the two white ones in the middle are semi-transparent, and are said to have once belonged to the Temple of Solomon. The Sacristy (Sagrestia), to the ]., contains some fine mosaics on the vaulting; cabinets with inlaid work of 1523 ; on the door leading from the high altar, reliefs in bronze by Sansovino (1556); to the r. of the handle is the portrait-head of the maker of the door; in the r. corner the head of Titian. Entrance to the Crypt, see below. To the r. of the high altar: Cappella di S. Cleniente, with altar relief of the 16th cent., representing SS. Nicholas, James, and Andrew and the Doge Andr. Gritti. In front of the Cappella del Sag r amen to ., in the r. transept , are two rich candelabra in bronze ; on the other side a corre- sponding pair. In the r. aisle, close to the principal entrance, is the Battistero, in the centre of which is a large bronze font of 1545 ; above it is John the Baptist. Also the monument of the Doge And. Dandolo (d. 1354). The stone over the altar is from Mt. Tabor. To the 1. of the allar the head of John the Baptist, of the 15th cent. ; beneath it is the stone on which he is said to have been beheaded. — From the Baptistery the stranger enters the ^Cappella Zen, containing the handsome monument of Cardinal Giam- battista Zen (d. 1501), wrought entirely in bronze; on the sarcophagus is the figure of the cardinal, over life-size; beneath are the six Virtues. The *altar and canopy are also cast in bronze, with the exception of the frieze and the bases of the columns. Over the altar are groups in bronze, of the Madonna, St. Peter , and John the Baptist; on the altar itself a relief of the Resurrection. To the r. and 1. two lions in coloured marble. In the r. transept is the entrance to the Treasury ( Tesoro di S. Marco, open on Mondays and Fridays i2^l-, — 2 o'clock, except on festivals), containing candelabra by Benvenu'to Cellini ; cover of the books of the Gospels from the church of St. Sophia at Constantinople, decorated with gold and jewels ; a crystal vase with the 'Blood of the Saviour', a silver column with a fragment of the 'True Cross', a cup of agate with a portion of the 'skull of St. John', the sword of the Doge Morosini, cuneiform writings from Persepolis , an episcopal throne of the 7th cent., said to be that of St. Mark, and a number of other curiosities. The Crypt , freed from water and restored in 1868, also deserves a visit; open 12 — 2 o'clock, entrance by the first door to the r. in the Sa- Clok Tower. VENICE. 3fl. Route. 207 cristy (p. 206) i at other hours it is shown by the sacristan. To the r. a we'll executed Christ in relief by Sansoviuo. A walk (sacristan i|2 fr.) round the Gallery inside the church is strongly recommended in order that the mosaics may be more closely inspected. The ascent is from a door to the r. in the principal portal, which the sacristan opens. The gallery on the outside of the church should then be visited for the sake of examining the bronze horses. On the iS. Side of the church are two short square *Colujnns^ inscribed with Coptic characters, brought hither from Ptolemais in 1256, from the church of St. Saba which was destroyed by the Venetians. From the Pietra del Bando , a block of porphyry at the S.W. corner, the decrees of the republic were anciently pro- mulgated. Two curious Reliefs in porphyry are immured by the entrance to the Palace of the Doges, representing two pairs of knightly and armed ligures embracing each other. They are said also to have been brought from Ptolemais and have given rise to a great variety of conjectures, the most recent being that they re- present four emperors of Jiyzantium of the lith cent., and once adorned the pedestal of an equestrian statue. Opposite St. Clark's, to the S.W., rises the isolated square *Cainpanile of St. Mark (PI. 4), 322 ft. in height, which is always open to the public (doorkeeper 10 c. on entering). It was founded in 911, restored in 1510, and tinally completed in 1591, the upper part and the spire having been constructed by Bartolommeo Buon, the architect of the Palace of the Doges. The ascent by a wind- ing inclined plane , and tinally by a few steps , is easy and well- lighted. The watchman at the summit is provided with a telescope and opens the door to the second gallery for a trifling gratuity. The *view comprises the city, the Lagune (comp. p. 203), the Alps, and part of the Adriatic; W. the Monti Euganei near Padua (p. 190), rising from the Lagune; E. in clear weather the Istrian Mts. (p. 65j, rising above the Adriatic, a magniticent spectacle towards sunset. The ascent of the campanile is recommended to the stranger , both for a preliminary survey, and as an appropriate termination to his visit to Venice. The *Bronze Doors of the Loggetta, or vestibule (erected by Sansovino in 1540), on the E. side of the campanile, cast in 1750, deserve inspection. This chamber once served as| a waiting-room for the procurators, whose oflice it was, during the sessions of the great Council, to command the guards. It is now employed for public auctions and 'tombola' (lottery) drawings. The bronze statues of Peace, Apollo, Mercury, and Pallas, and the reliefs on the coping are by Sansovino. The Clock Tower (La Torre deW Orologio), on the opposite side, at the E. end of the old Procurazie, erected by Pietro Lomhardo in 1496, rises over a gateway, resembling a triumphal arch, restored in 1859. On the platform are two Yulcans in bronze, who strike the hours on a bell. The custodian of the clock, who lives in the building, shows and explains the mechanism (fee Y.2 fr.). The 208 Route 38. VENICE. Pal. of the Doges. entrance is under the arcliway to the 1., where it is indicated by a notice. The Mercerla fp. 222), the principal commercial street of Venice, quits the Piazza of St. Mark here and leads to the Ponte Rialto(v. 218). On the W. side of the Piazzetta is the *Library (Librerin Vecchin, or Antica Librerin di S. Marco), which now belongs to the royal palace, begun by Sansovino in 1536, a magniticont structure of the 16th cent., and one of the finest secular edifices in Italy. In the direction of the Lagune are two Granite Columns, brought by the Doge Michiel from Syria in 1120 and erected hr-re in 1180; one of them bears the Winged Lion of St. Mark, the emblem of the tutelary saint of Venice; the other is surmounted by St. Theo- dore on a crocodile, the patron of thr ancient republic, placed there in 1329. This is tbe headquarters of the gondoliers. On the Lagune, between the Library and t]ye Royal Garden, is situated the Zecca or Mint, from which the old Venetian Zecchino or sequin derives its name. The **Palace of the Doges (Palazzo Ducale, PI. 60), the W. side of which, 82 yds. in length , looks towards the Piazzetta, and the 8. side, 78 yds. in length , towards the Molo, was founded in 800, subsequently destroyed tive times, and as often re-erected in a style of greater magnificence. The present sumptuous structure, in the Venetian-Gothic style, was erected about 1350 by Filippo Calendario. On the W. towards the Piazzetta, and on the S. towards the Molo the palace is flanked by two colonnades of 107 columns (36 below, 71 above), one above the other, with pointed vaulting. The mouldings of the upper colonnade, termed 'La Loggia', are remarkable for their richness. From between the two columns of red marble ( 9t,h and 10th from the principal portal) in the Loggia, the Republic anciently caused its sentences of death to be published. The capitals of the short columns below are richly decorated with foliage, figures of men and animals, etc. On the corner-pillar by the portal is a group representing the Judg- ment of Solomon, the ^justizia alia vedova\ as the long inscription terms it. At the corner towards the Lagune , Adam and Eve. (Porphyry-reliefs on the corners to the I., see p. 207. ) The fine Portal adjoining St. Mark's, constructed of marble of different colours in 1-439 in the Gothic style with a Renaissance tendency, and recently restored , is termed the Porta della Carta, from the placards formerly exhibited here to announce the decrees of the republic. Justice is represented in the pediment. The *Court. begun at the close of the 15th cent, by Antonio Bregno and Antonio Searpagnino , but only partially completed, has an admirable finished facade on the E. wing. The unsym- melrical form of the court was probably rendered necessary by the previous existence of surrounding buildings. Within one of the highest windows to^the 1. was once the prison of the poet Count Pal. of the Doges. VENICE. 38. Route. 209 Silvio Pellico , who was subsequently incarcerated from 1822 to 1830 in the Spielberg at Briinn (^in Moravia). In the centre of the court are two Cistern- fronts in bronze. To the r. on the facade of the Clock Tower is a statue of the Venetian general Duke Maria I. of Urbino ( d. 1625). The other statues are antique , but freely restored. The charming small facade farther E., perhaps the best, is by Guglielmo Bergamasco (1520). The Scala del Gignnti , the flight of steps by which the palace is entered, derives its name from the colossal statues of Mars and Neptune at the top, executed by Sansovino in 1554. On the highest landing of these steps the doges were once wont to be crowned. Opposite the landing are two statues of Adam and Eve, by Antonio Rizzo (^1462). Around the upper colonnade are placed the busts of a number of Venetian scholars, artists, and doges. The first staircase is the Scala d'Oro (generally closed) , constructed by Sansovino, which was once accessible to those only whose names were entered as Nobili in the Golden Book. The visitor ascends the next broad stair closed by a gate, enters the door of the library to the 1., and turns to the r. to the principal suite of apartments, which may be designated No I. ; to the r. also to the Arclueological Museum, suite No. II. ; one storey higher is suite No. III., with the inscription 'Storia Naturale'. Guide unnecessary; information is obtained from the custodians if required (fee prohibited). I. *Sala del Maggior Consiglio (door generally open; if not, ring). In this large hall (55 yds. long, 26 yds. broad, 47" ft. high) the NoMli, \vh(jse names were entered in the "Golden Book', and who constituted the highest authority in the Republic, formerly sat. In l&i8— 49 the deputies under the Dictator Manin also a,ssembled here. On the frieze are the portraits of 76 doges, beginning with Angelo Participaco (d. 827); on the walls 21 large pictures by Bassano, Paolo Veronese, Tintoretto, etc., painted to commemorate the achievements of the Republic, especially against Fred. Barbarossa. On the E. wall Jac. Tintoretto's Paradise, said to be the largest oil-painting in the world, containing a perplexing multi- tude of figures. — The series of Historical Pictures begins on the S. wall: 1. l)oge Enrico Dandolo and French Crusaders swear an oath of alliance at St. Mark's in r20i , for the purpose of liberating the Holy Land, by Giov. Le Clerc : 2. Surrender of Zara to the Crusaders in 1202, by Dom. Tintoretto (placed over the door to a balcony, which ati'ords a fine view of the Lagune and the islands of S. Giorgio and Giudecca) -, 4. Alexius, son of the dethroned Greek Emp. Isaac Angelos , requesting the aid of the Venetians in behalf of his father in 1202, by Andrea Vicentino; 7. Count Baldwin of Flanders elected Greek Emp. in the church of St. Sophia, 1204, by Andr. Vicentino; 8. Coronation of Baldwin by the Doge Enrico Dandolo, 1204, by Aliense. (Above this, a black tablet on the frieze among the portraits of the Doges bears the inscription: Sic est locus Ma- rini Falethri decipitati pro criininibus.) *9. Return of the Doge Andr. Contarini from the victory over the Genoese fleet near Chioggia, 1378, by Paolo Veronese; 10. Pope Alexander III. presenting gifts to the Doge Ziani in recognition of his defence of the papal throne against Fred. Barbarossa, e. g. a ring, the symbol with which the Doge annually Svedded the Adri- atic', 1177, by Oiiilio dal Aforo; 11. (over the door) Conclusicm of Peace between the Pope, Doge, and Emp. Fred. Barbarossa, by Girolamo Gam- barato; 12. Fred. Barbarossa kneeling before the Pope (p. 201), by Fede- B^DEKER. Italy I. 3rd Edit. 14 210 Route 38. VENICE. Pal. of the Doges. rigo Zticcaro; 13. Pope Alexander granting permission Ei DiECi. On the wall of the entrance. Pope Alexander III. and the Doge Ziani , the conqueror of Emp. Fred. Barbarossa, by Bassaiio ; oppo- site, the Peace ot Bologna, concluded in 1529 between Pope Clement VII. and Emp. Charles V., by Marco Vecellio ; on the ceiling near the entrance, portraits of an old man and a handsome woman, by Paolo Veronese, re- stored. Large modern ceiling paintings. Fine pufto f.ieze. — We now retrace our steps through the Sala della Bussola and enter (to the r. ) the Stanza dei tre Capi del Consiglio, with ceiling-paintings (an angel driving away the vices) by Paolo Veronese; chimney-piece by San- sovino; caryatides by Pietro da Said; on the 1., Madonna and Child, John the Baptist, and two saints, by Vine. Catena. — A passage leads hence to the Atkio Quadkato, with ceiling-painting by Tintoretto, representing the Doge Priuli receiving the sword of justice. On the walls eight por- traits of doges. — Sala delle quattro Porte , restored in 1869; doors designed by Palladia., 1575; r. Verona conquered by the Venetians, 1439, by ft'iov. Contarini; the Doge Ant. Grimani kneeling before Religion, by Titian; 1. the Arrival of Henry III. of France at Venice, by Andrea Vi- cenlino; the Doge Cicogna receiving the Persian Ambassadors in 1585, by Carletto Cagliari. Magnificent ceiling. — Sala del Senato (door on the r.): over the throne, Descent from the Cross by Tintoretto; on the wall the Doge Franc. Venicr before Venice, the Doge Cicogna in presence of the Saviour, Venetia on the Lion against Europa on the Bull (an allusion to the League of Cambray, see p. 201), all three by Palma Giovine; the Doge Pie'ro Loredano imploring the aid of the Virgin for Venice, by Tintoretto. — Beyond this room (to the r. of the throne) is the Ante- Chambek to the chapel of the doges, containing five pictures of little value. — In the Chapel over the altar a Mr.donna by Sansovino. To the 1. of the altar: Paris Bordone, Pieta; *Paolo Veronese, Forest landscape with accessories; Cinia da Coner/liano O), Madonna in a landscape ; Titian, Crossing of the Red Sea (to the r. of the door). — We return through the Sala del Senato and enter (to the r.) the Sala del Collegio. To the r. over the door, the Nuptials of St. Catharine (beneath, the Doge Franc. Dona), Virgin in glory (with the Doge Iviccolo da Ponte), Adoration of the Savioiir (with the Doge Aloise Mocenigo), all three by Tintoretto ; over the throne a memorial picture of the Battle of Lepanto, *Christ in glory (beneath, the Doge Venier, Venetians, St. JIark , St. Justina, etc.), both by Paolo Veronese; opposite, the Prayer of the Doge Andrea Grit»i to the Virgin, Ijy Tintoretto. Ceiling-paintings, Neptune and Mars, Faith, Venetia on the globe with Justice and Peace, all by Paolo Veronese. — Anticol- LEGio: 1. *Rapc of Europa, by Paolo Veronese; Jacob's return to Canaan, by Ba.. (tn the high altar a larpc candelabrum in bronze by Andrea Alessaudro da lircscia , of admirable workmanship; the Virgin banishing the demons of the plague, a group in marble by Le Curt. On the ceiling eight medallions with portraits of the evangelists and fathers of the church by Titian; the large pictures by Salviali. Outer Sacrtslu: Pieta, a relief of the 15th cent., by Denlone (?); * Titian., St. 3Iark and four saints; Marco Basaiti., St. Set)astian. — Sacristi/ : by the entrance-door, St. Rochus and other saints, by Girolamo da Trc- viso; on the r. and 1. of the door four Madonnas by /iasso/errato (V), Viva- /•/«/, and Palina Vecchio; 1. wall: Tintoretto ., Marriage of C'ana ; by the altar statues and candelabra by Cristo/oro da Parma. Ceiling-paintings : Cain and Abel, Abraham and Isaac, David and Goliath, by Titian. Adjoining this cliurcli are the Seminario PutriarcQle (p. 216) and the Dogana di Mare (p. 215). which lie obliquely opposite the Piazza of St. Mark (traghetti. or ferries, see Plan ). The more remote quarters of the city are most conveniently visited by gondola. Leaving the Canal Grande opposite the Pol. Pesaro (p. 219). we enter the Rio S. Felice; here, on the 1., is the *Pal. Giovanelli(Pl. 67) of the loth cent., with sumptuously furnished apartments, a liandsome ball-room (with family portraits by Titian and Tintoretto) . and a room with modern pictures ; in the boudoir, *Giov. Bellini. Madonna; *Titian. St. Jerome; *Paris Bordone, Madonna and saints. Eollowing the same canal, we pass the Ahhadiazza della Miseri- cordia, and turn to the 1. to the church *S. Maria dell' Orto (PI. 21 ), witli a beautiful late Gothic *Fa^:iide erected by Pietro Lomhardo soon after 1481. and recently restored, and a curious tower. The church contains many good pictures. Right, 1st altar: *Cima da Conegliano., St. .Tohn the Baptist with SS. Peter, Mark, .Terome, and Paul. Between the 3rd and 4th altars : Monu- ment of Hieronymus Carraccio (d. 1657) in the baroque style. Above the entrance of the sacristy , A'irgin and Child , high relief by Giovanni de Sanctis. — In the Sacristi/ : 28 pano's iufluence in 1240, and completed in 1430, a very spacious and magiiiticent Italian Gothic edifice, supported by ten circular columns, and covered with a dome. This cluirch, next to St. Mark's the most imposing at Venice, contains the burial-vaults of the doges, whose funeral-service was always performed here, and may be termed the Westminster Abbey of \ enice. S. AisLi;. In front: ^Mausolcuiu of the victorious Doge Pietro Mocenigo (i\. l-iTO), with fifteen statues by the Lombardi; the sarcophagus is ^ex hostinin vudiithiis" (from the spoils of his enemies) (see below). Between the Ist and 'Jiid altar, a pyramid to the memory of the painter Melch. Lanza (d. 1UT4)5 monument of 3Iarc Antonio Bragadino (d. 1571), who long de- fended Famagosta in Cyprus against the Turks , and after its surrender was harbarously flayed alive, as the picture above indicates; *altar-piece in six sections by Bellini, or Carpaccio; monument of the Senator Alb. Jlicliicl (d. 1589). In the chapel: altar-piece. Descent from the Cross, hy J'iflro Liberi. Over the doors the ^Mausoleum of Bertucci , Silvestro, and Elisabetta Valier with their statues, a rich architectural 'baroque' monument in marl>le of the 18th cent., embellished with numerous sta- tues and reliefs. In the chapel below the monument, 1. St. Hyacinth crossing a river dry-shod, by L. Bassano. The second door is an egress. The following chapel contains si.v reliefs in bronze and wood, scenes from the life of St. Dominicus, 1720. S. Tkanskpt. At the corner, St. Augustine, an oil-painting bj' Viva- rini da Murano (1473) ; tomb of General Niccolo Orsini (d. 1509) with equestrian statue; St. Antoninus, an altar-piece hy Lorenzo Lotto:, stained glass designed by Vivarini (1473, restored in 1814); altar-piece, Christ, SS. Andrew and Peter, by Rocco Marconi. — The chapels on the r. and 1. of the choir, recently restored, contain nothing noteworthy except a monument of 1347. Ciiuiu. Tombs of the Doges, (r.) *3Iichele Morosini (d. 1382), in the Gothic style, and ^Leonardo Loredano (d. 1521), (1.) *Andrea Vendraniin (d. 1478) (by Alexsaudro Leopardo ^ perhaps the finest monument at Venice), and *Marco Corner (d. 1368), Gothic. X. Tkansept. Above , by the entrance to the chapel of the Rosary, a *group in marble by Antonio Dentone, of the 15th cent., St. Helena jiresenting General Vittore Capcllo with the marshal's baton; over the door the monument of the Doge Antonio Venier (d. 1400). — The adjacent (on the 1.) Cajipella del Ko.^ario ., founded in 1571 to commemorate the victnument with equestrian statue of General Pompeo Giustiniani ; ^monu- ment of the Doge Tommaso Mocenigo td. 1423), Gothic; monument of the Doge Xiccolo Marcello (d. 1474) by Pietro Loinbardo; '2\u\ altar. 1. of the principal entrance, early copy of Titian's martyrdom of St. Peter (see above), presented by King Victor Emmanuel to replace lln' de.-^troy.d pic- ture ; monument, with equestrian statiie , of Orazio Eaglioni (d. 1617); over the last altar a statue of St. Jerome by Aless. Vittoria; adjoining it, the monument of the JIarquis de Chasteler (d. 1825), who distinguished himself in the Tyrolese war in 1809. Mausoleum of the Doge Giov. Mo- cenigo (d. 1485) by Tnllio Loinbardo. Over the Princijial Entrance the mausoleum of the Do^^e Aloise I. ilocenigo, his wife, and the Doge (Uov. Bembo (d. 1618). This whole side, which is very handsomely arranged belongs to the Mocenigo family, and was constructed by fiillio Loin- bardo. Adjoining S. Giovanni c Paolo is the rich *Fa9ade (of 1485) of tho Scuola di S. Marco, erected hy the Lombardi. with sin'rn'ar reliefs in perspective, two lions, and the aduovements of St. >rark. In the interior the lower hall only is preserved. This bnildinu, together with the long edifice on the IJio dei Mendicantl. is now an immense hospital. To the S., on a lofty and elegant pedestal of marble, rises the equestrian *St(itu€ of Hart. CoUeoni (d. 1475), general of the repnhlic, modelled hy Andr. Verrocchio, cast in bronze by Aless. Leopardo. We now proceed through the Rio di Marina to the church of *S. Maria dei Miracoli (PI. 20). a small, early Renaissance structure, erected in 1480. under the influence of Pielro Lomhardo, and entirely covered on the facade and in the interior with valuable marble. The quadrangular choir with a dome, twelve steps higher than the nave , is peculiar (below it is the sacristy ). On the r, and 1. are ambos, or lecterns where the epistles and gospels are read, as in the ancient Christian churches. The *decorations are by Pietro Lomhardo. The cofforL-d barrel-vaulting is sumptuously painted and gilded. The church is not expected to be reopen- ed till 1879, but the facade and the side next the canal are well worthy of a visit. We now return through the Kio di 8. Giovanni Laterano, 8. Lorenzo, and Fontego. to S. Francesco della Vigna (PI. 9). the interior of which was constructed in 1534 bv Sanso>-in.o. the fa(;ade bv Andr. Pallndio in 15(38—72. At the entrance a holy water vessel with St. John the Bapti.U and St. Francis, statuettes in bronze by Vittoria. 1st Chapel on the r. , Last Supper, by franc. Santacroce ; 3rd chapel encrusted with coloured marble, property of the Contarini family; 4th chapel, Resurrection, by Paolo 230 Route 38. VENICE. S. Giorgio Mngg. Veroneae. S. Transept, Enthi-oned Maclonrica , bj' Fra Antonio da Negro- ponte. To the 1. of the high altar the *CappeUa Giiisthiiaiii^ the altar entirely covered with reliefs in marble , Last Judgment beneath , above (as al(ar-piece) St. Jerome and four saints, ctver them JIadonna and angels, at the sides of the chapel tw^elve prophets and the four Evangelists, higher the history of Jesus in eighteen sections , below on the altar the history (jf St. Jerome in three sections , the whole a work of the 15th cent. — In the chapel of the N. transept a Madonna and four saints, by (tioi'. Bellini. Over the pulpit, God the Father and Christ, by Girolamo Santacroce , modernised. In the 5th chapel to the 1. (at the principal door) , a JIadonna and four saints , by Faolo Veronese ; i3rd chapel , titled up with white marble, containing busts of the Patriarch and the Doge Sagredo , erected in 1743; over the altar the statue of S. Gherardo. A little to tlie S. ii» the Rio della Piet?t is the church of S. Giorgio degli Schiavoni (PI. 13), with a good Ktiiaissaiice facade of iof)! , a low wooden ceiling, and pictures by C(irpyzantine mosaics. The head of Christ in the dome is said to have been designed by Titian. We now proceed to the S. to the Riva degli Schiavoni and the Piazzetta (p. 204). Opposite the latter, on an island fortilied in 1S4S, is situated *S. Giorgio Maggiore (PI. 12), belonging to the adjacent IJenedictiue monastery, a cruciform church with dome , and apses terminating the transepts, begun by Pnlladio in 1560. Over the door in the interior a portrait of Pope Pius VII., in comme- moration of an ordination of Cardinals held by him here in 18(X). To the r. the monument of Lorenzo Venier (d. 1G6T). Over the 1st altar, Ts^a- tivity, by Bassano; 2nd, Crucifix in wood, by Michelozzo; 3rd altar. Mar- tyrdom of SS. Cosmas and Damianus and their companions; 4th altar, Coronation of the Virgin, the two last ])y Tintoretto; 5th altar, Adoration of the Madonna, by liizzo, al fresco. — Choir: r. Lf>st Supper, 1. Rain of 3Ianna, both by Tintoretto ; over the high altar :i *group in bronze by (lirolanio Campagna, representing God the Father on a gilded globe borne by the four Evangelists, beside them two angels; two candelabra in bronze by Nicoletto lioccatagliota (1597); the 48 *choir-stalls, admirably carved in wood in the 17th cent, by Alberto de Brule of Flanders, represent scenes from the life of St. Benedict. — In the Corridor, to the r. of the choir, the mausoleum of the Doge Diunenico Jlichiel (d. 1129), erected in 1637; in a chapel behind it. Descent from the cross by Tintoretto. — To the 1., farther on in the church, the Resurrection, and the Martyrdom of St. Stephen, both by Tintoretto; Virgin and Child, a group over life-size by Girolamo Campagna; last altar. Martyrdom of St. Lucia, by Bassano; nu>nument of the Doge Marc Antonio Memmo (d. 1616). A staircase in 32 spiral windings , well lighted and of easy ascent , leads to the summit of the Campanile , which commands the tinest *view of the city and the Lagune. On the adjoining island of Giudecca is situated the church of *Redentore (PI. 28), erected in 1576 by Andr. P(dladio , a spacious churdi belonging to the neighbouring Franciscan men- ^9. Sebnsti.ino. VENICE. ;W. Route. 231 astery, with a portal borne by colnmiis, chiefly interesting in the interior. On the r. : 1st Chapel, Nativity, by Francesco Bassano; 2nd, Baptism, Carletto Cagliari ; 3rd, Scourging, Tintoretto. On the 1.: 3rd Chapel , De- scent from the Cross, Palma Giov.; 2nd, Resurrection, F. Bassano; 1st, Ascension', Tintoretto. In front of the high altar, Christ bearing the Cross , behind it a Descent from the Cross , reliefs in marble by Massa da Bologna; the hronze lignrLS by Canipagna. — The Sacristy contains three admirable '♦^Madonnas by Giovanni Bellini; that with the sleeping Child is the most richly coloured, l>ut somewhat still"; that over the door is easier. We now cross the Cunnle della Giudeccn and skirt the Fonda- mentii delle Znttere | p. 197) to *S. Sebastiano ( PI. 33j, containing a number of works by Paolo Veronese, and liis tomb. It was erected in 1500 — 18, and has recently undergone careful restoration. Several of the pictures have been temporarily removed to the Academy (p. 21-i). S. Side. 1st altar, St. Nicholas, painted by Titian in his 8Gth year-, 2nd, Madonna, a small picture by Paolo; 3rd, ♦Madonna with John, a group in marble by Tonunaso da Lugano., the only nujuumont in the church; 4th, Christ on the Cross, and the Maries, by Paolo; ^monument of Bishop Livio Podoeataro (d. 15o5) , by Sansorino. — Choir. Altar-piece, Madonnu in glory and four saints, on the wall to the r. ^Martyrdom of St. Se- bastian, 1. >'Martyrdom of SS. Mark and JIarcellinus , all three by Paolo. — Organ , on the extreme wing the Purilication of 3Iary , on the inner the Pool of Bethesda, both by Paolo; to the 1. the bust," and near it the tomb of the master (d. 1588), bearing the inscription: ■ Paulo Caliaro Ve- roneiisi pictori , naturae aeniulo ., arli.< niiraculo , superstite fatis ., fama ric- turo.' — Sacristu. Ceiling-paintings by Veronese, Coronation of tlie Virgin, in the corners the four Evangelists. Farther on in the church the *Bust of the Procurator Marcantonio Crrimani (d. 1565), by Vitlorio; 2nd altar, Baptism of Christ, by Paolo; ceiling-paintings also by Paolo, aided by his brother Benedetto Caliari. Beautiful festoons. In the vicinity is the Campo di Marte, or esplanade ( PI. P., 4), a large grassy island surrouiulf .1 witli trees, and aftording a plea- sant evening walk. At the 8.E. extremity of Venice (Piinta delta Motta) are the Giardini Fubblici (PI. I, o), laid out by Napoleon in 1807. the space liaving been obtained by the demolition of several monas- teri»^s. They are about 300 yds. in length and 100 yds. in width, and are planted with ^ix rows of acacias and sycamores. At the 8. end is a small shrubbery, with a poor cafe. The grounds, which are generally almost deserted , afford line views of the city anout l'|-^ M. N. of Venice. The route to it i)asses the Ckmetkky Island (Ci/iiitcro) ., with the church of *'. Mi- c/tele, built by Moro Lombardft in 1466. — The ^Cathedral (S. Jtonato), a vaulted church supported by columns, with transept restinfi; eyond stat. Spresiano the train crosses tlie Piave and approaches the mountains, which it skirts as far as Sacile. The lofty Friaul Mts. continue in sight as far as Monfal- cone on the Carso. Stat. Piave. 17 M. Coneglia.no (*Posta), birthplace of the celebrated painter (i)na{A. 1517). surnamed da Coneglimio, is commanded by an extensive and conspicuous castle on an eminence. The French Marshal Moncey bore the title of Duke of Conegliano. Fkom Conegliano to Bklllno a road leads to the X., via Ceneda, »S'. Croce., and Capo di Poiite (dilij;encc once dailv in 6 hrs.). Belluno (1365 ft.) (*lJue Torri, R. 1 fr. 6(), A. 50 c), capital of a province, with 14,600 inhab.. situated on a hill between the Ardo and the Piave, which here unite, presents all the features of a Venetian town. The Cathedral, erected by Palladio, is the'lincst of its fourteen churches. It contains several good altar-pieces and an ancient sarcopha;j:us. The massive campanile, 216 ft. in height, commands a beautiful prospect. An old sarcophagus of some artistic merit adorns the small Piazza in front of the J^hurch of S. Stcfano. The triumphal arch outside the gate, completed in 1815 and dedicated to the Emp. Francis, was probably originally intended, like that at Jlilan, as a monument in honour of Napoleon. Stat. Pianzano. Stat. Sacile, a town on the Livenza, sur- rounded by walls and fosses, with a handsome palace of the Podesta, exhibits trace of its ancient importance. Stat. Pordenone. probably the Portus Naonis of the Romans, was the birthplace of the painter Giov. Ant. Licinio da Pordenone (d. 1540). The cathedral con- tains a St. Christopher by him. Beyond stat. Casarsa, the train crosses the broad diannel of the Tayliamento by an iron bridge. V2 "^^- i" length. The stony deposits of the stream have raised its bed so considerably that t")ie next stat, Codroipo (Imperatore), situated between the Tagliamento 234 Route 39. UDINE. From Venice aivl the Coma, lies 28 ft. below the level of the bottom of the former river. To the r. lies Passeriano, at the chateau of which the pre- liminaries of peace between France and Austria were adjusted, tlie treaty being ttnally concluded on 17th Oct., 1797, at the small village of Cinnpo I'onnio. also situated to the r. of the line. By this treaty the Republic of Venice was dissolved. An in- signittcant house where the plenipotentiaries met is still shown. Stat. Pasian Schiavonesco. The next important station is 49 M. Udine (Italia; Stella; Croce di Malta), an ancient town with 20,000 inhab., formerly the capital of the Austrian province of Friaul, and a place of great importance, surrounded by walls of considerable antiquity. In the centre is the old town, with walls and fosses. Above it rises the castle, on an eminence, which according to tradition was artificially thrown up by Attila, in order that he might thence survey the conflagration of Aquileia (^p. 235J. Udine may in some respects be termed a miniature Venice, as it presents several points of resemblance to the metropolis to which it was so long subject. It possesses a town -hall (Palazzo Publdico)o{ 1457, resembling the palace of the doges, two columns like those of the Piazzetta of Venice, and a campanile with two figures which strike the hours. The Romanesque Cathedral contains a few interesting pictures, and some fine sculpturing in wood and stone. In the Episcopal Palace a ceiling-painting by Giovanni da Udine. The Castle, now a prison, commands an extensive survey of Friaul. Cividale, tlie ancient Forum Ji/lii, interesting on account of its nuuier- ous Roman antiquities, lies 9 M. tu the E. of L'dine. The train now turns towards the 8.E., and at Buttrio crosses the Torre by a long bridge, then the Natisone beyond stat. S. Giovanni Manzano, the Italian frontier-station (_where tlie luggage of travellers coming from Austria is examined). The small Indrio forms the frontier. Stat. Cormons (^Austrian custom-house), beyond which the Isonzo is crossed. 18 M. Gorizia, Germ. Gorz (Tre Corone; Trieste; Rail. Restaurant) is charmingly situated on the Isonzo in a hilly district (13.300 inhab.). Cathedral worthy of i\otice. In the upper part of the town is the dilapidated castle of the former counts of the place, partly used as a prison. The preserved fruit of Gorizia is highly esteemed ; the best is sold by Redaelli. Charles X. of France (d. 1836) is interred in the chapel of the monastery of Castaynovizza. on a height above the town. In the vicinity rises the Monte Santo, with a pilgrimage-church, commanding a line view. The train traverses the broad and beautiful valley of the Isonzo, and at ftrst runs towards the S.W., skirting the sterile Carso and to Trieste. AQLILEIA. 39. Route. 235 the fertile plain on the 1. bank of the Isonzo. The Wipbach, a tributary of the Isonzo, is crossed. To the 1. of stat. Kubbio is the chateau of that name. Fine view of the Alps, beyond the Isonzo. Stat. Sagrado. Grndisca with its church lies on a height to the left. The train now turns towards the S.E. ; stat. Ronchi. To the E. of stat. Monfalcone (Leone d'Oro), the train enters the stony wilderness of the Carso, and the Adriatic comes in sight on the left. Thus far the Venetian style of church-architecture is prevalent throughout the coast-district, the slender campanile being always separate from the church as in the case of St. Mark's. Aquileia, 18 M. to the W., once a most important Roman colony, and at that period strongly fortitied. was the principal bulwark, of Italy on the X. E. frontier. The population at the time of Augustus, who frequently visited the town , is computed to have heen 100,000. It was then the great centre of the traftic between Italy and the N. and E. of Europe, and supplied the inhabitants of Illyria and Pannonia with grain, oil, and wine, in return for slaves and cattle. The incursions of the Romans into these districts were always undertaken from this point. In 452 Attila, exasperated by the obstinate resistance he encountered here, caused the city to be plundered and destroyed. The sole trace of its ancient glory is the Cathedral, erected in 1019 — 42, once the metropolitan church of the patriarchs of Aquileia. The place is now a poor village with 500 inhab., t»ut interesting on account of the valuable antiquities frequently found in the neighbourhood. The collections in the Battistero adjoining the cathe- dral, of Count Cassis, and the apothecary Zantonati, maj' be visited. In 186'2 a large Castellum Aquse was discovered between Afoiia.tlero and Aquileia. One of the principal curiosities is a fine mosaic, with the Rape of Europa. At S. Giovanni the Timavo, the Timavus of the Romans, which under the name of Recca (orRjeka, i. e. riverj is lost in the grottoes of the Carso near St. Can/ian, re-appears after a subter- ranean cxjurse of '23 M. and falls into the Adriatic !• 2 M. lower down. A pond formed by the river is crossed by a bridge. Farther on is Duino, with an ancient castle of Prince Hohenlohe. At \abresina the line unites with the Vienna and Trieste Railway, and the train runs back a short way on the line just traversed. From this point to Trieste, see p. 68. 321/2 M. Trieste, and excursions to Pola and Fiume, see R. 9. b. Sea Voyage to Trieste. Steamboat three times a week, corresponding with the express train to Vienna, usually starting at midnight, and reaching Trieste next morning; fare 9 or B'|;. 11.; return-ticket, available for a fortnight, 13 or iU fl. — Gondolas, etc., see p. 198. The steamer starts from the Canal S. Marco, opposite the Piazzetta, passes the Giardini Pubblici (p. 231j, the small island of .S>. Elena, and the fortified island of S. Andrea del Lido, which commands the entrance to the harbour of the Lido ( p. '232j. The navigable channel is indicated by stakes. Beautiful retrospect of Venice on moonlight nights. As Trieste is approached, a view is obtained of the distant, snow-clad Julian Alps, the light-house of Salvore, Pirano. the coast of Istria to the S. E., and Capo d'Istria in a bay, and finally of tlie charmingly situated city of Trieste itself. 236 40. From Milan to Bologna. 135 M. Railway in 53|4— 7 hrs. ; fares 24 fr. 70, 19 fr. 15, 14 fr. 15 c. At Stat. Rogoredo the lino to Pavia diverges to the r. (S.). Stat. Melegnano, formerly Muriynano, is a memorable place in the annals of mediaeval and modern warfare. Here, on loth Sept., 1515, Francis 1. of France, in his campaign against Milan, defeated the Swiss allies of the city, 15,000 of whom fell in the action. In the (environs, and especially in the town itself, a sanguinary coiiflict took place between the French and the Austrians, on 7th June, 1859, in consequence of which the latter were compelled to retreat. Stat. Tavazznno. Innumerable cuttings for purposes of irrigation and drainage here intersect the plain. 20'/2 ^f- I-odi f.?ok,- Europa; Tre Re) , a town with 18,150 inhab., 4'/2 M- F. of which lies Lodi Vecchio, the ancient Roman colony of Lnus Pompein, was one of the bitterest enemies of Milan in the middle ages. It is celebrated as the scene of Napoleon's storming of the bridge over the Adda, 10th May, 1796. Excellent Parmesan cheese (p. 239) is made in the neighbourhood. The Cathedral contains an ancient relief of the Last Supper. The Renaissance church of * Incoronata , erected by P.ramante in 1476, is adorned with frescoes by Calisto Piazza da Lodi, a pupil of Titian. Stations Secugmufo, Canalpusterlenyo, Codogno. From CasaJpusterlciifio ;trid Codopno branch-line to Pavia, see p. 162, to Cremoini, p. 162; coiup. H. 29. Stations S. Stefano and 22 '/.J M. Piacenza (p. 82), where carriages are frequently changed. The railway to P>ologna tiow follows the direction of the Via Mmilia, a Roman road constructed by the consul M. ^milius Lepidus, P. C. 187, and named after him. This great route led hence to Parma, Reggio, Modena, Pologna, Forli, and Rimini ( Ariminum ) on the Adriatic, from which the other consul C. Fla- minius Nepos simultaneously constructed the Via Flaminia through Umbria and Ftruria to Rome. These roads are still traceable in many places, especially as most of the modern routes in Italy follow the same direction as the ancient. The train passes uj)il ot'Guido Ueiii. The altar in the latter, presented by the town in 16*21, has an altar-piece hy Guercino. The frescoes in the choir are by Tiarini of Hologna of the school of Caracci ; the Annunciation at the back of the high altar is by Carlo Coliari (brother of Paolo Veronese ), and the frescoes in the S. transept by Lionello Spnda and others. — S. Pro^pern (reached by passing through the arches to the r. of the cathedral) was entirely re- erected in 1504 by (insparo Bisi on the site of an earlier Lombard edifice, to which the six marble lions of the fa<;ade originally belonged. The choir contains damaged frescoes by Canipi and Procaccini, and pictures by Tiarini. — The Madonnti delta Con- cezione is a handsome modern church in the main street adjoining the theatre, and near the railway-station. The Theatre, the chief boast of Keggio . is a remarkably tine edifice for so small a town. — Keggio also possesses a Library and a Museum, (containing the natural history collection of the celi'brated Spallanzani, born at Reggio in 1729 (d. 1799). Dili:icnco from Kcp^io to MuntiKt (p. ISU) daily in 7 hrs. (fare 6 f'l*.). At Scandiano, 7 W. to the S.E. of Keggio, is tlio chateau of the Bojardi. aflcrwards that of the Rontivogli. Correggio, 9 JI. to the N.E. of Reggio, formerly the capital of a principality lielonging to the Duchy of Modena , was the birthplace (in 1494) of the cele])rated painter Antonio Allegri da Correggio. Old copies of hi.s two earliest works are preserved here. Kx(;uKSioN TO Canospa, 8 hrs. there and back; carriages at the 'stabili- niento di vetturc'' at Reggio near the Albcrgo della Posta (with one horse 15, with two horses 2() — 25 fr. ). The route is by the road to Massa (p. 291), traversing a fertile and picturesque plain, enclosed by hills which at first are sprinkled with villas, and leading by Pajanello and Vezzano (on the hills to the r. lies Qmdtrocastella , with the ruins of four castles which once Itelonged to the Countess Matilda of Tuscany, d. 1115) to the small village of Pecorile (tavern). The route beyond this point must be continued on horseback or on foot. The path cannot be mistaken. It leads through the village, and then to the r. towards the church of Casola , which is left on the hill to the r. ; at the corner of the hill Canossa comes in sight, and the path leads in the direction of the village along the dreary bed of the Campola. The walk to the foot of the castle hill occupies 1 hr. \ then ascend for •|2 hr. in the direction of the church of S. Paolo which lies three-quarters of the way up the hill, follow a level path round the castle-rock and at the back of the small village of Canossa (poor tavern), and finally mount to the summit of the rock , which is crowned by the scanty, ivy-clad ruins of the castle of Canossa. The castle once belonged to the Countess of Tuscany above mentioned, and was afterwards destroyed by the inhabitants of Reggio in 1255. The Emp. Henry IV. performed penance here in presence of Pope Gregory VII. during three days in 1077. The castle-well contains good water. Magnificent view of the Apennines towards the S., with the well preserved castle of Rosscna in the foreground, and of the vast plain ,of the Po towards the N., with Parma, Reggio, and Modena. A little beyond Reggio the railway passes S. Maurizio, where Ariosto frequently resided at the house of the Malegn/.zi. Rubiera, with a castle of the r>ojardi, is the only station between Reggio and Modena. The Secchia is then crossed. 15 M. Modena, see R. 42. The train continues to follow the direction of the Via iEmilia PARMA. 41. Route. 239 fp. 236^ ami t TOsses the Panaro near S. Ambrogio. .Stat. Castel- franco. a small town, supposed to be the Forum Gallor urn where Antony was defeated by Octavian and Hirtius. R. C. 43. Near stations Samoggia and Larino the train crosses the rivers of these names, and then the narrow Reno, the ancient Rhenus, or Amnis Bononien^h . As Bolojnrna is approached the country is open and richly clothed with vegetation ; the Monte delta Guardia (p. 258 ) is a conspicuous point; and to the r. rises the tower of the Certosti fp. 258) with the Campo Santo. The approach to Bologna is remarkably picturesque. 23 M. Bologna (*Rail. Restaurant), see R. 43. 41. Parma. Hotels. Albergo uella Posta , in \ho principal street , adjacent to the post oflicc, R. l'|2, L. ij-i, A. '(2, ' omnihus ^t fr. ; Concokoia; Leone k'oko; Italia, in the narrow Via S. Lucia, near the cathedral, with restaurant, R. i'|2, L. and A. 1 fr. ; Pavune ; Ckoce Bjanca. Restaurants. * Italia (see above), entrance from the side-street ; Cafe Cavour, Via S. Lucia. Cab to or from the station 1 fr., two-horse 1 fr. 60 c. ; at nijiht 1*|4 or 2 fr. ; per hour 1 fr. 60 c. or 2 fr. ; omnibus 40 or 50 c, trunk 20 c. '■Pnrtnexan Cheeae' ( Panneggiano)., here termed Grana, is a misnomer, as it is manufactured in Lombardy , in the district between tlie Ticino, Po, and Adda, and not in the neighbourhood of Parma. The most esteemed quality is produced at Gorgomola, between Milan and Bergamo, about 2'j4 M. N. of rail. stat. Melzo fp. 1.56). Farma, situated on the river Parma, a town of entirely modern appearance, but of very ancient origin, was founded by the Etruscans, conquered by the Romans, and in R. C. 183 constituted a Roman colony at the same time with Mntina ( Modena ). It was subsequently extended by Augustus, and termed Colonia Julia Au- gusta Parma. In the middle ages it adhered to the Guelphs, in 1245 it was besieged by Emp. Frederick II., and was afterwards the scene of a succession of fierce struggles between the rival Vis- conti, Scaligers (p. 173), Terzi, etc. In 1545 it became the seat (»f princes of the house of Farnese. who were Dukes of Parma and Modena, and in 1731 it was annexed to the dominions of Spain. In 1815 it became the capital of the Duchy of Parma under Marie Louise, ex-Empress of the French (d. 1847). and she was succeeded by Duke Charles II. who was banished in 1848. Charles III. was assassinated in 1854. and in 1859 his widow was superseded by the new Kingdom of Italy. Parma, the capital of an episcopal diocese, with 47.067 inhab., possesses an university, many spacious, neglected looking buildings, ai\d broad streets. The ancient Via .Emilia (p. 236) intersects the town, from the Porta S. Michele to the Porta S. Croce, crossing the *Piazza Grande with the Palazzo del Comune, or del Gooerno (PI. 20), whence two streets to the r. lead to the Piazza del Duomo. The 240 lioute 41. PARMA. Cathedral. *Cathedral (^Pl. 1), an admirable example of the LombarJ- Ronianesque style, begun in 1117, but not completed till the 13th cent., is a cruciform structure surmounted by a dome, with somewhat raised choir above a crypt, and a broad fa\;ade with a triple columnar gallery. The three porials are embellished with two huge lions and four of smaller size, executed in 1281 by Bono da Bisone. and sculptures by Bianchino, 1493. The Interior, consisting of nave and aisles, rests on fourteen articulat- ed pillars, above which runs a tine triforium. The vaulting of the nave was painted by Girolamo Maztola. 3rd chapel on the r., a Descent from the Cross in relief by Benedetto Antelami (1178j; 4th chapel r., frescoes of the loth cent.-, 5th chapel r., frescoes by lioudani, a pupil of Correggio. To the r. of the steps to the choir is the Cappella S. Agata with an altar- piece by Gatti, and on the v. a bust of Petrarch, who was archdean of the cathedral, a work of 1713. The octagonal Dome is adorned with an ^Assumption by Correggio (p. 238), to whom Parma is chietly indebted for its importance in the history of art; this was one of the last (1526 — 30) great works of the master, but has unfortunately been much injured by damp. The figures and groups of angels are especially admired. Noon is the best hour for inspecting the painting. Persons not liable to dizziness may ascend into the dome to examine the painting more closely, but no great advantage is thus gained. (Copies in the picture-gallery, see p. 242.) To the r. above the tribune are portraits of Correggio and his family. In the Cuoin, David and St. Cecilia, by Camillo Procaccini, and good half Gothic stalls by Cristo/oro Leudenari (1473). — The Ckypt , a spacious cruciform structure with thirty-eight columns, contains monuments of the (r.) Canon Montini (1507), the jurist Prati farther on, by Clementi (1542), and of Uernardo degli Uberti. Principal altar also by Clemetiti. 5th Chapel to the 1. ,)f tlie entrance, frescoes of the 14th cent., on the 1. St. Peter, on the r. SS. Sebastian and Catharine. The sacristy also contains frescoes of the same period, and intarsias by Lucchino Bianco. — In the 3rd chapel from tlie altar a Descent from the Cross, a relief by Benedetto Antelami, 1178. The Cap. S. Agata , the first beyond the side-entrance, contains a monument (1713) to the memory of Petrarch, who was archdeacon of the cathedral (see above). The *Baptistery (PI. 2), constructed of white marble darkened by age, externally octagonal, with four round-arched portals, and consisting of six storeys with colonnades, was designed by Benedetto Antelami, and erected in 1196— 1270. Around nearly the whole building runs a series of medallions, representing various animals of symbolical import. The portals are adorned with scriptural subjects, the finest being the Last Judgment on the W. portal. All these sculptures are probably by Antelami. The flat roof is surmounted by eight turrets. The Intkrior (closed; key in the house opposite the S. entrance) is sixteen-sided, with niches be"low and two galleries above, and graceful columns on the walls. The sculptures have only been partly completed. The old frescoes in the dome (13th— 14th cent.) represent the history of John the Baptist, with a number of saints below. The whole population of Parma since 1216 is said to have been baptized here. The font dates from 1294. Altar-piece by FUippo Mazzola (15th cent.). At the back of the cathedral is situated the church of *S. Giovanni Evangelista (PI. 10), belonging to an ancient Benedictine monastery, which has been recently restored. This Palazzo Farnese. PARMA. 41. Route. 241 elegant cruciform structure, covered with a dome, with aisles and two series of chapels, was erected in 1510 by Bernardino Zaccagni. Interior. In the two first chapels on the 1.. *frc.«coes by Pavmeggia- nino (SS. Lncia and Apollonia, two deacons, S. Oiorgio and S. Agata); in the l3t chapel on the r., a handsome monument of the Countess San- vitale-Montenuovo; in the '2nd a Nativity, by Giacomo Francia, 1519. The sombre Dome is adorned with *frescoes by Correggio., representing Christ in glory, surrounded by apostles and angels, painted in 15'20 — "24 (the best time to see them is at noon or 4 p. m. ; copies in the picture-gallery, see p. 242). The half-dome of the Choir containing a Coronation of Mary by Correggio was removed in 15S4 (the original of the principal gi'oup is in the Library, p. 242; copies of other parts of this great composition by Ann. and Ag. Caracci are in the picture-gallery, see p. 242). The new dome of the choir was adorned with a copy of the complete work by C'esare Arttuxi. The hand'^ome choir-stalls are by Zucchi and Testa. In the archway of the door of the sacristy (X. transept) *S. Giovanni by Correg- gio. The picturesque monastery-courts (to the 1. of the church) are not now accessible. Among the guests who have been entertained in the monasterv were Kint; Charles Kmmanuel, when a fugitive in 1798, Pope Pius VI. as a prisoner of the b'rench in 1799, and Pope Pius VII. in 1805. The *Madonna della Steccata (PI. 11), an imitation of St. Peter's (a Greek cross witli rounded ends), designed by Bernardino Zaccagni in 1521, is situated in the street leading from the princi- pal piazza to the (formerly) ducal palace. It is adorned with frescoes hy Anselmi aiud Parmeyyianino on the archway of the choir, and contains monuments of Bertrando Rossi (corner-chapel oji the r., 15'27), Guido da Correggio (corner-chapel to the r. of the choir, by Giov. Franc, da Grado), Count Neipperg, second husband of the empress Marie Louise of France, by BartoLini (in the S. transept, 18'29 ), Ottavio Farnese, and Sforzino Sforza (corner- chapel to the 1. of the choir, by ^'rmhmcni; y/e/jo^o. Heresy conquered by Religion ; Arinib. Caracci , Descent from the Cross ; Giovanni da S. Giovanni, A merry party. Statue of Marie Louise in a sitting pnsture, in marble, by Canova. The door to the 1. at the upper end of the room leads to the studio of Toschi (see above), which contains admirable engravings from Correggio, Raphael, etc. The door opposite the picture-gallery in the same storey leads to the ^Library (PI. 23), containing 80,000 vols, and 4000 MSS.; several of the latter are of Oriental origin , amongst them the Koran which the Emp. Leopold 1. found in 1683 in the tent of the grand vizier Cara Mustapha after the raising of the siege of Vienna; the 'livre d'heures' (prayer- book) of Henry II.; a Dante written by Petrarch in 1370; the original fresco of Corrcggio's Coronation of Mary from S. Giovanni (p. 241); a room with frescoes from the 'Divine Comedy' by Franc. Scaramuzza , now the director of the academy, completed in 1857. The dilapidated Teatro Farnese, also situated here (keys kept by the custod-an of the picture-gallery, fee 30 c), was erected in 1618 — 28 by Duke Ranuccio Farnese. The (formerly) ducal Tipograjia (PI. 28), foxinded by Bodoni in 1766, is celebrated for its admirable printing. The custodians of the picture-gallery also keep the keys (fee 50 c. ) of the ■•'Convento di S. Paolo (PI. 131, formerly a Benedictiite nunnery, now a school, an insignificant building, but remarkable for the charming ^Frescoes by Correggio in the Camera di S. Paolo, one of the apartnu'Jits, which was thus decorated by order of the abbess Giovanna da Piacenza in 1519 (the best preserved works of the master) : over the chimney-piece Diana, on the ceiling Cupids MODENA. 4-2. Route. 243 and emblems of the chase, on the frieze the Graces, Fortuna, Adouis, etc. TJie most favoiaable light is in sunny weather, 10 — 12 a. m. The adjacent room was adorned with paintiujss by AL Alardiii]. 1528). Quitting the museum and crossing the small river Purma by the Ponte Verde, we soon reach the ( formerly ) Ducal Harden, at the N. end of which is tlie Palazzo del Giardino ( PI. 19 ), erected by Ottavio Farnese, and adorned with numerous frescoes. One of the apartments contains the Kape of Europa, the Triumph of Venus, the Marriage of Peleus and Thetis, etc., by Ayostino Caracci. The garden adjoins the Stradnne. a promenade encircling the town, and laid out on the site of the former fortifications. From Parma to Mantua diligence daily at 5 u. m. (7 fr.), see p. ISO. 42. Modena. Hotels. Albkkgo Rkale (PI. a), R. 2, L. »)2, D. 3—4, A. '(« fr.^ +ALBEitGo S. Marco (PI. b), commercial, good cuisine; Mondatoka (PI. c) ; Leopajiuo (P). d). — Caffc Xazionale , Corso della Via Emilia, opposite the I>(jgana (PI. '2b). Birraria on fhe W. ramparts, between the Porta S. Agostino and Baloardo di S. Fr.iucescu. — Cab with one horse 70, with two 90 c. per drive, at night 1 fr. or i fr. 2C» c. ; per hour 1 fr. 1() or i fr. 70 c, at night 1 fr. 40 c. or 2 fr. ; each additional half-hour 50 or 80 c. — Military Music on Sunday forenoons in summer in the Giardini Pubhlici, and once weekly in the evening in the P>aloardo di S. Pietro. — Arena Goldoni, an open-air theatre near the Porta Bologna (i or >(2 fr.). — Zanic/ielli., bookseller, Corso di ^'ia Emilia. Modena, a town with 55.000 inhab.. situated in a fertile plain betwren the Secchia and the Panaro. formerly the capital of the dut;hy of that name, and now that of the province of Emilia, pos- sesses broad streets, spacious arcades, an university, and an aca- demy of art. It was the ancient Mutina, in the dominions of the Gallic Boii ; it became a Roman colony B. C. 18.3. and being situated on the high road from Rome to Mediolanum (^Milan ), Avas a place of some importance. After the murder of Cgesar, Brutus was besieged here by Antony for four months, Dec. M to April 43 B. C. (Bellum Mutinense); but the latter was defeated by Octavian with the consuls Pansa and Hirtius, and compel- led to raise the siege. — In the middle ages Modena belonged to the estates of the Countess Matilda, but eventually obtained its independence and became the scene of violent conflicts between the Guelphs and Ghibellines. In 1288 Obizzo (TEste gained possession of the supreme power, which his descendants continued to enjoy. In 1452 Borso was created Duke of Modena b'y Emp. Frederick III.,' and in 1470 obtained the title of Duke of Ferrara from Pope Paul II. The House of Este now soon attained the zenith of its glory. Hercules I. (1471—1505) and his son Cardinal Hippolytus cVEste (1479 — 1520) were the patrons of Ariosto, and Alphonso n. (1558—97), the patron of Tasso (comp. p. 192). On the death of Alphonso II., without issue, the states of Modena and Reggio (but not that of Ferrara) fell to his kinsman Cesare d' Este (1598), husband of Virginia de' Medici , daughter of Grand-dukc Cosmo I. of Florence. Hercules III. (d. 18(.)3), who by the Peace of Luneville lost Modena in 1801, was the last of the family of Este. Through his daughter Beatrice, who married Archduke Ferdinand, the duchy came into the possession of 16* 244 Route 42. MODENA. Cathedral. the younger branch of the House of Austria in 1814. The insurrections of 1848 and 1851 wore quelled with cruel severity. Francis V., the last duke, quitted liis dnminions in 1859 and went over to the Austrians. Tlie *Cathed.ral ( PI. 1 ), bogun in tlie Komaiiesque style in 1099 by Lanfranco^ consecrated in 1184, has a superstructure of later date. The facade is relieved by a large rose window and a simple colonnade (three arches resting on columns in the wall and enclosed by a larger arch), which is continued round the whole building. The portals are adorned with the often recurring marble lions. The rude sculptures of the facade, representing the liistory of tlie first men and the death of King Arthur, are by iVi- colnus and GuUelmus ( abotit 1100); oji the S. side, to the r. near the choir, is the history of St. Geminianus, a relief by Ayontino da Firenze, 1442 ( perhaps Agostino di Duccio ). The Intkkiok is low and heavy, but of handsome proportions. The nave and aisles are supported by alternate pillars and columns, over which runs a triforium, and the vaulting is pointed. In the 2nd chapel on the 1., a late Gothic *altar of terracotta; 3rd chapel 1., a Coronation of Mary with saints on a gold ground, by Serufiiniii de Sera fin is , the oldest extant picture of the schotd ofModena (1385) ; 4th chapel 1., Madonna in clouds, St. .leronie, St. Sebastian, and John the Baptist, by Dosxo Dossi. By the opposite pillar is the pulpit by Tommaso di Campione, 1322; very ancient font, to the r. of the approach to the choir, adapted for the purpose from the capital of a column. Choir-stalls by Cristoforo Lendeitari ^ 1465; in the choir, on the r., sculptures of the beginning (jf the 12th cent, by Nieoldus and G'uilelmux , representing the Passion. By the 1. entrance to the choir, and on the 1. side of the choir, are several monuments of the Rangoni family, the best being that (designed by Qinlio Romano) of Claudio, Count of Casielvetro (d. 1537), husband of Lucrezia, daughter of the celebrated scholar Pico of Mirandola (p. 181); and that of Hercules III. of Este (d. 1803). The lofty crypt, with four lions at the entrance, and supported by thirty slender columns, most of them with Romanesque capitals, the lluted ones in front of the high-altar being antique, contains the tomb of St. Geminianus ; over the altar on the r. a Madonna and four saints by Mazzoni. The *Campanile, or Ln Ghirlandina (PI. 2), erected in 1224 — 1319, 335 ft. in height, is one of the finest in N. Italy. It leans slightly towards the back of the cathedral, which is itself somewhat out of the perpendicular. In the campanile is preserved an old Secchia ., or pitcher, which the Modenese (Geminiani) captured from the Bolognese ( Fetronii) at the battle of Rapolino, 15th Nov., 1325. Alesudndro Tasi^otii of Modena (15U5— 1635) has humorously descrilied this incident in his comic t'pic poem 'La Secchia Rapita' (1616). A monument was erected to him in 18tiU in the principal street, behind the cathedral. S. Pietro (PI. 10), at the S. end of the town, is a spacious church with double aisles , a good faeade of brick , and groined vaulting , partly in the pointed , and partly in the circular style. 2nd Altar on the r., Pieta by Herri de Bles ; 3rd altar r., Assump- tioii by Dossio Dossi ; in the chapel to the r. of the choir, *Mourn- ing for the dead Christ, in terracotta , by Antonio Begarelli of Mo- dena (d. 1555). Six statues in the nave by the same master. The Madonna and Child in clouds , with four saitits below, a group in the S. transept, was begun by Begarelli and completed by his Palazzo Ducale. MODENA. 42. Route. 245 neplipw Lodoviro. 2mi Altar on the 1., Madonna in clouds with two saints by (Tinmbattista Doxsi. S. Francesco (PI. 6) contains a *DpsceHt from the Cross (in the chapel to the 1. of the choir) by Begarelii. an imposing compo- sition in terracotta, with thirteen life-size tigures. S. Agostino, now iS'. Michele (PI. 3). is uninteresting. The old choir of S. Agostino only is now us-^d as a church. The body of the church ( keys at the Ragioneria of the Ospedale Civico op- posite) contains the tombs of the celebrated savants Carolu^ Sigo- nim ([^)'2A—^')) and Lod. Ant. Muratnri (1672 — 1750) of Modena, the latter chiefly eminent as an historian of Italy (monument to him. see below), and a Pieta by Beyarelli. The Mnseo Lapidario, in the court to the 1. of S. Agostino, c/)n- tains Roman inscriptions and sarcophagi, and in the passage to the 1. two medijeval monuments of 1312 and 1300 respectively. The Piazza Muratori in the main street is adorned with a marble statue to the celebrated historian of that name (see above). The *PaIaz20 Ducale (PI. 15), at the end of the Corso Vittorio Emanuele, a magniftcent edifice with a handsome court, begun under Francis I. in 1634 by the Roman Bartolommeo Avanzini, contains a Picture Gallery fopeji daily 9 — 3 ; entrance at the back of the palace, second floor; catalogue 3 fr. ). 2nfl Room: 24. Siinone Avami , Madonna and angels (1370); without number, Barnaba da Modena., 3Iadonna ( I4th cent.); 33. Gfierardo da Haarlem (or rather by an early master ol the school of Bologna), <'rnci- flxion; *36. Biatic/ii Ferrari (Correggios teacher), Annunciation; 43. Filippo Lippi (?)., Madonna; 48. Crucifixion, attributed to Andrea Mantegna ; nl. Bernardino Losco ., JIadonna and two saints (1515); 58. Marco Meloni\ 3Iadonna and two saints (1504). — 3rd R. : *60. Corrcggio., Ganymede carried otT by the eagle fcciling-painting); 66. Correggio., Angels. Then a number cd" frescoes, comprising nine scenes from the .^neid (transferred to canvas), by Niccolb deir Ahbate of Modena (1512 — 71); by the same master, the octagonal piece No. 107, with singers and musicians. — 4th R. : 108 — 112. Ceiling-paintings by Tintoretto from Ovid's Metamorphoses; 115 — 118, by the same master; 117. r/^/aw, Portrait of a lady ; 129. Madonna and saints after J'alina Vecchio ; 140. Palnia Giovine, Allegory; 141. Boni- /azio, Adoration of the Magi; 143. Ci/na da Conegliaiio ., Descent from the Cross. — 5th R.: >149. Giiido Beni, Christ on the Cross; 168. Giiercino, Martyrdom of St. Peter; in the centre the statue of a wounded warrior by Obbigi. This room and the 8th contain a number of drawings. — 6th R. : 189, 190. Garofalo., Madonna and saints; 176. Dosso Bossi, Adoration of the Child; 178, 191, 193, by the same master. In the centre a marble statue of Psyche by Capelli. — 7th R.: 201. Lodovico Caracci , Flora; 204. Annibale (Jaracci, Venus. — 8th R. : unimportant , and most of the names questionable (among the drawings are the ^Judgment of Paris and the Flight of Helen). — 9th R. : 297. Madonna , after Andrea del Sarto. To the left is the — 10th R. ( Sala Grande): Statue of Francis I. by Bernini; two landscapes, without numbers, by Salvalor Roxa; 32.5,346. Tintoretto., Mythological pictures; 3.55. Guercino, Xuptials of St. Catharine; 348. Lionello Spada , Gipsy woman. — 11th R. : 404. Gasparo Pagano, Nuptials of St. Catharine. — 12fh R. : Xitgari, Copy of Correggio"s La Xotte ; pictures by Malatext'i ., the director of the gallery. — Ro<^m to the r. (generally closed): *423. Giorgione (more probably Palnia Vecchio)., Portrait of a lady; *488. Raphael (more probably by another pupil of Perugino), Madonna and Child ; 490. Murillo, Portrait'of a Benedictine; 458. Mending, St. Christopher 24G Ronte 43. HOLOGNA. an old copy of the original at Munich; Bern. Ltirni, Infant John-, Oitilio Jioitudio^ Study of a head. — Another room contains niodiifval curiosities and other objects, among them a fine cabinet attributed \o Ihinemilo Cellini. On tlte tirst floor of the palatic is tlie Library ( Bildioteca Estense ) , with yO,000 vols, ami 3000 x\lS8. ( closed 1st Aug. to 1st Oct. ), transfer red by Duke Cesare d'Este frouiFerrara toModeua in 1598, when Pope Clement VIII. claimed the Duchy of Ferrara as a va- cant ttef. The eminent scholars Zaccaria, Tirabofichi Muratori (p. 245) and the archieolo^ist Cavedoni (d. 1865) were once librarians liere. Some of the M88. are very valuable, e. g. a collection of Provencal poems by Ferrari ( 1254j, Dante with miniatures of the 14th cent. The same building also contains the Ciibinet of Coins and the Archives. The well-kept Uardens of the palace, now the Oiardino Pubblico (idosed in rainy weather only), as well as the ramparts of the town, afford pleasant walks. From Modena to Verona bii Mantua see R. 34. Vignola, l"2'|-2 M. S.E. of 3Iodena, on the Ponaro ., is situated on an eminence and commands the landscape far and wide. The celebrated Muratori and the architect Gidcomo liarozzi da Viynola were born here. Duke Francis III. of Modena constructed (about ITTUj a bold and interesting, but now neglected road hence to Pistoja (diligence three times weekly), a distance of 46 M., leading by Forniicjine . Sierra., Paullo , I'ieve a Felayo , and Fiumalho , at the base of the lofty Monte Cimone, where charming views of the Apennines are obtained. — To the W. of this road, about 10' J2 JM. S.W. of Modena, is situated Sassuolo, a small town on the Secrfiia ^ with a ducal * Villa and beautiful park. The Zibio., a neigh- bouring volcanic mountain, is remarkable for its naphtha springs. 43. Bologna. Hotels. *IIoTKr. IJkun (Pension Suisse, PI. a), in the Palazzo Malvasia (good survey of the town from the loggia), R. 3, D. 4-5, L. 3|4, A. 1, omnibus 1 fr. ; S. Makco (PI. b), same charges; Ai.bekgo Uoloona (lorm- erly Tre Mori)-, *Pi.;llkgkino (PI. c), R. 2>|v., L. and A. 1 fr. (all these hotels are in the Strada Ugobassi); Hotel i/Italie, Portico delle Gabelle Vecchie , well spoken of; Albekoo oe' Tue Re, Mercato di Mezzo; CoMMERcio, Via di Pelra Fitta. — Pace, Aquila, in the Galea Vinazzi, a side street of the Strada Ugobassi; Elkopa, Str. Ugobassi; Kella Vknezta. Mercato di Mezzo; Cannon u'Uko, corner of Via Porta Nova and Via (lombnili, R. I'li— 2 fr. Restaurants. ^Ristorante Felsineo, Mercato di Mezzo, near the Piazza Vitt. Emanuele, on the 1st (loor, D. 2—4 fr. ; *Caff'e del Corso , Strada S. Stefano; also at most of the hotels. (Tha '■Morladella\ or liologna sausage, and the ^Cerrellalo\ which is eaten in winter, are much esteemed by the natives.) Cafes. The most frequented are in the arcades near the Palazzo Pubblico, and in the streets to the S. of S. Petronio, most of them sombre and uninviting. Majani (confectioner); *delle Scieme , Via Miola; del Comniercio., opposite Hotel IJrun; *del C'orso (see above); Caffe Cacciatori, by the leaning tower; Caffk de" Servi., Via Maggiore. — Beer: *Birraria delta Dittu Neciuni in the side arcade of the Piazza, E. of S. Petronio; *Birraria Milano, Via Miola, adjacent to the Cafte delle Scienze; Nitovo Caffe del I'avaylione in the Piazza, W. of S. Petronio; Mat/r's Fabbrica di Birra, Via Pratello; /i/v^v/v/ at the S.W. side of the Piazza d'Armi, etc. Railway Station outside the Porta Ualliera ., ^I.W. of the Montagnola (p. 257). Railway to Ancoua see R. 44; to Ferrara (and Poute Lagoscuro), - t^M MV.ib,, BOLOGNA. 43. Route. 247 see R. 37; to Ravenna (by Castel Holognese), see R. 4G; to Florence (by Pistoja), see R. 47 : to Piacen/.a, soe R. 4U. Post Office (PI. 80), in the street S.W. of HOtel Brun, adjoining the church of S. Francesco. — Telegraph Office in the Palazzo Comunale, first floor. Cabs. Per hour l'|2, each additional »J2 hr. 3J4 fr. ; per drive 3J4 fr. ; to or from the station, with or without luggage, 1 fr. To S. Michele, for the Urst hour 2ij-2, each additional ija hr. Sj^ tr. After 10 p. m., in winter alter 9 p. m., 50 c. more in each case. Baths. Bar/ni di S. Lucia, Strada Castiglione; alia Carita , Strada Ugobassi; delle Moline^ Via delle Muline, near the Montagnola. Vapour- hath.^, corner of Via Repubblicana and Vicolo della Maddalena. Theatres. Teatro del Comuue (PI. 72), the largest, erected by Bibiena in 1756 on the site of the Palazzo Bentivoglio. Coniavalli (PI. 73), estab- lished in 1814 in the former church of the Carmelites ; del ('o/-5o (PI. 74) ; Teatro Brunetti. in a side-street of the Strada Castiglione ; Arena del Sole, \'ia de' Malc(mtenti , near the Montagnola, open-air theatre. Marionette Theatre in the evening in the Piazza Vittorio Emanuele. Shops. The best are in the ai-cades near the Palazzo Pubblico. Ebhardt, Via Mercato di Mezzo, and Zcniichelli, under the arcades, to the E. of S. Petronio, booksellers. Dalpini, glover, Mercato di Mezzo, near the leaning towers. Semi, Palazzo Tanari, \'ia Galliera (PI. 67), dealer in old books, curiosities, and pictures. The situation of Bologna is considered healthy, although the summer is often very hot and the winter keen. The character of the natives is generally described as impetuous and restless , but art and science have attained a high degree of development here. The town is sometimes termed '■ Bologna la gra.'o^a", owing to its reputation for wealth and good- living. The neighbourhood produces tolerable wines and excellent fruit. The grapes are delicious; the yellow Uva Faradisa is a kind which may be kept a considerable time. The once favourite lap-dogs of Bologna are now almost extinct. Soap, maccaroni, and liqueurs ('bebita') are among the most esteemed commodities of the place. — The favourite Giuoco di Pallone, or ball-game, always attracts spectators; a large space (PI. 76) in the Promenade Montagnola (p. 257) is lilted up for the purpose, and should be visited (bills are posted up to announce the names of the parties to the matches about to be played). Principal Attkactions : Piazza Vitt. Emanuele with the Pal. Puld)lico and del Podesta , *S. Petronio, *S. Domenico, *S. Stefano, S. Giacomo Maggiore, S. Cecilia, *Accademia delle Belle Arti, the Leaning Towers, Loggia de' Mercanti, *Campo Santo, and, if possible, the ^Madonna di S. Luca for the sake of the view. If time remains, the Archiginnasio, the University, the Palaces Bacciocchi, Bevilacqua Fava, etc. may be visited. Bologna, with 109,000 inhab., one of the most ancient and im- portant towns in Italy, tlie capital of the Romngna, or Mmilia as it was anciently termed , is situated in a fertile plain at the base of the Apennines, between the Reno, the Aposn, and the Savena. It possesses 130 chu rches. 20 monasteries, and a venerable and cele- brated university, whence the inscription on old coins '■Bononia donet\ The town was founded by the Etruscans and named Felsina, but was afterwards conquered by the Gallic Boii , and by them termed Bononia. In the Punic War it espoused the cause of Hannibal , after which, B. C. 190, it was converted into a Roman colony, at the same time as Cremona and Placentia, by the consul C. Lselius , and as such was a place of a great importance. Under the Empire it was even occasionally the residence of the monarchs themselves. It subsequently belonged to the Greek Exarchate, then to the Lombards and Franks. Charlemagne constituted Bologna a free town (whence its motto '■Liberia.';' ), and its commerce and prosperity rapidly increased. In 1119 the Univeksity , one 248 Route 43. BOLOGNA. Palazzo PtMlico. of the oldest in the worhi, was founded, and as a School of Jurisprudence^ where Irnerius and other celet>rated jurists taupht , soon attained an EuroiM an reputation, and was visited l>y many thousand students annually. In 1262 the nunuber is said to have attained to nearly 10,000; at the present day there arc 400 only. Irnerius introduced the study of the Konaan Law, while his successors the Glossntors devoted their energies to its inter- pretation. The study of medicine and philosophy was introduced at a later period, and a theological faculty established by Pope Innocent VI. The anatomy of the human frame was first taught here in the 14th cent., and galvanism was discovered here by Jos. Galrani in 17S9. It is a remarkable fact that the university of I?ologna has numbered members of the fair sex amy the r.olognese, and kept in comenico. in which is situated the church of *S. Domenico, formerly .carings of all the jurists who taught law here from 1441 to 1800. — Farther 8. in the Str. Castiglione is the Pal. Pepoli (PI. 64), of 1344. the castellated residence of this once powerful family, with a rich gateway and an imposing court with a colonnade on one side and arched passages on the three others. On the 1. in the Str. S. Stefano is situated S. Stefano. BOLOGNA. 43. Route. 253 *Sto. Stefano (PI. 36), a pile consisting of seven different churches, containing ancient columns and mural paintings, and according to an inscription still extant (of which there is a copy on the exterior to the I., of 1769) occupying the site of a temple of Isis, having probably been founded in the 0th century. The churches are not all on the same level, the last having been con- stDicted as a crypt below the tirst. The first church contains nothing noteworthy. A chapel leads thence into the Baptistery. surrounded by a passage, and erected for its present purpose before the year iOOO. In the 12th cent, the tomb of 8t. Petronius was added in imitation of the Holy Sepulchre at Jerusalem, and a brick column was placed adjacent to each of the antique marble c,olumns. The ambo with the symbols of the evangelists is of the Dth century. Over the altar are frescoes of the li'jth cent, by an unknown master. To the 1. is situated the 4th church, that of SS. Pietro e Pnolo, an ancient basilica, in which the last column to the r. of the altar has an antique Ionic capital. The altar adjoining the choir on the I. is an early Christian sarcophagus (of 38*2) containing the bones of the martyr St. Vitalis. Above it, a Madonna with saints by Lor. S the Via Maggiore, was erected by the great composer in 1825, and adorned with inscriptions from Cicero and Virgil. The houses of Guercino and Guido Reni, the latter with frescx)es by the master himself, are also shown. Ai Servi (S. Maria ai Servi) (PI. 35), at the corner of the Str. Maggiore and Cartoleria Nuova , erected by Andrea Manfredi in 1393, with remarkably thin columns placed very wide apart, cont- ains nothing noteworthy in the interior. S. Vitale ed Agricola ( PI. 38), ii\ the Str. S. Vitale, consecrated in 428 by St. Petronius, is undergoing restoration. The large chapel contains an altar-piece (covered) hy Ft. Francia. Side- frescoes on the r. representing the Adoration of the Shepherds by Fr. Francia, on the 1. the Conception by Bagnacavallo. The most northern of the streets radiating from the leaning towers is the Strada Luigi Zamhoni, or S. Donato, to the r. in which is the handsome Pal. Malvezzi- Medici (PI. 61). Farther on, in the small Pia/za Rossini, is S. Giacomo Maggiore (PI. 13), founded iu 1267, consisting of a nave with barrel-vaulting of 1407. with a colonnade erected in 1483 by GiisparoNadi, and adorned with several excellent pictures. Over the altar, immediately to the r. of the entrance, is the 'Vergine della Cintura", attributed to Franc. Francia (covered with a view of the town of Bologna, over which angels hover); 3rd Chapel r. : Ercole Pro- caccini. Conversion of Saul ; 5th Chapel r. : Passerotti, Madonna enthroned, with saints and the donor; 7th Chapel r. : Marriage of St. Catharine, by Innocemo da Jmola (1536; the green colour unfortunately faded); 9th Chapel, St. Rochus with an angel, by Lod. Caracci; Uth Chapel, erected University. BOLOGNA. 43. Route. 255 by Pellegr. Tibaldi , the teacher of Caracci , and decorated by him with frescoes. In the C/ioir large painting.s of the Resurrection, etc. by Tom- tnaso Lauretti. The 3rd chapel in the passage round the choir contains a gilded altar with numerous .-aints; to the 1., on the wall, a large painted crucitix by Simone de Crocefissi (1370); 6th, *Cap. de' Bentivogli, contains a *Madonna, with four saints and four angels, the best work of Fr. Francia , and frescoes by Lorenzo Costa; equestrian statue of Annibale Bcntivoglio by Xiccold dell" Area (1458); r)pposite to it the monument of Antonio Bentivoglio (d. 1435) by Jacopo delta Quercia. The 9th Chapel in the left aisle contains a Presentation in the Temple, by Orazio tSainmachini. The sacristan of S. Giacomo also keeps the keys of the adjacent oratory of *S. Cecilia (PI. 6). erected in 1481 by Giovanni Bentivoglio. The frescoes by Fr. Francid and his pupils represent the legend of 8t. Valerian and 8t. Cecilia ( Nos. 1 and 10 by Fr. Francia., 2 and 9 by Costa. *3 and 8 by Giacomo Francia, 4 by Chiodarolo. 5, 6, and 7 by Asp€rtini\ Opposite, on the 1. side of the street, is the Pal. Malvezzi- Campegyi {P\. 62), with an interesting court; then the Teatro del Comune (PI. 72). On the r. is the University, established since 1803 in the old Palazzo Cellesi [PI. 47 ). with a court by Triachini. After that of Salerno it is the oldest in Italy, having been founded in 1119. and now possesses a staff of 58 professors ( 400 stud. ) and a considerable number of scientilic institutions (clinical hospital, anatomical theatre, natural history collections, open on Sundays, botanical garden, and observatory). It also contains a jVuseMmo/" Antiquities (the keys of which are kept by the bidello, or custodian, Monti). Ante-Chamber: Roman mile-stones. In the room to the left are in- scriptions; on the r. and 1. of the door tire [fragments of an ancient columbarium. — We now pass through the gate to the right (and begin on the r.). four good antique capitals, with earthen and leaden conduit- pipes between them. Earthen cinerary urn with the battle of Eteocles and Polynices (the same scene is repeated six times; the two winged figures are gods of death). *Five marble figures, probably part of the decoratiim of a fountain: 1. Venus stooping in the bath; 2. Venus rising from the water (Anadyomene) , above it a bakehouse; 3. Satyr with a boy on his shoulder; 4. Torso of a young satyr; 5. Sa«ae subject. Be- tween Nos. 2 and 3, torso of a figure in arm(mr. Oi/ the r. and 1. of No. 4 are fragments of an Amazon battle in relief. Head in black marble (high relief). End-wall; trilateral *pedestal of a candelabrum. Left wal>: ^corner-brick with Hercules and Dionysus, Zeus and Hera. Rich cornice. Room on the right : portraits of popes Urban VIII.. Innocent III., Boniface VIII. , and others. The cabinets cftntain fine terracottas (.^ome of them found at the Certosa) : Victory sacrificing a bull , the drunken Dionysus supported by a satyr boy, etc.; also vases, bronzes (weights in the form of a head, chariots, spoons, lance-points, etc.). End-wall: bronze statuettes, Etruscan mirrors (birth of Athena, Hera with the in- fant Hercules, etc.); on the 1. a few Egyptian antiquities. The extensive Library of 100,()00 vols, is open daily. 9 — 3 o'clock, except Sundays. The oldest of the MSS. is that of Lactantius ; also letters from Voltaire to Fred, the Great, miniatures, etc. The celebrated linguist Giuseppe Mezzo fanti (born at Bologna 1776, cardinal under Pope Gregory XVI. in 1837, died at Naples in 1849), professor of Oriental languages at the 256 Route 43. BOLOGNA. Acidemy. university, was once librarian here. At the age of 36 he is said to have spoken 18 languages tluently, and at the time of his death no fewer than 4*2. — The Archives comprise a number of ancient documents on papyrus, the Codex Diplomaticus Bononiensis in 44 vols., etc. — The Geological Museum has been established Iti an adjoining building, Via Luigi Zamboni 2230, under the superin- tendence of Prof. Capellini, who has enriched it with interesting fossils from the neighbourhood of Bologna, minerals from different parts of Europe and America, and a collection of prehistoric anthropological curiosities. — The Tower commands a good survey of the town. — We ne.\.t proceed to the *Accademia delle Belle Arti (PI. 39), established in the old College of the Jesuits. It contains on the ground-floor collections of casts and modern works of art; on tlie first floor (1. ) a collection of weapons (Oploteca), comprising arms captured from the Turks, Venetians, etc., and (r. ) a valuable *Picttire Gallery, ot Pinacoteca, consisting chiefly of works of the Bolognese School (open daily, y — 3 o'clock). Visitors ring. Catalogue ( 11/2 f"".) unnecessary, as the pictures bear the names of the artists; fees prohibited. As the 3rd Room is undergoing re.storalion, the finest pictures have been placed in the 1st, 2nd, and 4th Rooms, or in the corridor and the 6th Room. CoKRiuuK: 221. Oiov. Batt. Franria, Madonna with the Child, Joseph, and Catharine; 15. Giiercino, John the Baptist; 39,40. Annib. Caracri^ Annun- ciation; 281. Elisabella Si rani , Mary Magdalene. — I. Room (reached in a straight direction): Francesco Francia, Picture in three sections, on the 1. the Adoration of the Shepherds , in the centre the Madonna and Child, on the r. the Crucifixion in a beautiful landscape; 175. Elisabetta Sirani, St. Antony of Padua; 117. Mazzoliiio, Mary and Joseph adoring the Child. Without number, Lor. Costa (V), Three saints (1502); 74. Prospero Fon- tana., Entombment. In the centre: *78. Franc. Francia ., Madonna and Child, with four saints, angels, and the donor (1494). — II. Room: (r.) 37. Ann. Caracci , Madonna with saints; 2. Albano , Baptism of Christ ; *42. Lod. Caracci , Madonna with SS. Dominicus , Francis, Clara, and Mary Magdalene, being portraits of members of the Bargellini family, at whose cost the picture was painted ; 206. Domenichino. Martyrdom of St. Agnes; 36. Ann. Caracci , Madonna with SS. Lewis, Alexis, John the Baptist , Francis, Clara, and Catharine ; 35. Ag. Caracci, Assumption ; 47. Lud. Caracci., Conversion of Paul ; 55. Giacoino Cavedoni^ Mad(inna in glory with saints; 183. Tiarini ^ Xuptials of St. Catharine; 34. Aff. Caracci, Communion of St. Jerome; 207. Domenichino., Madonna del Rosario. In the centre, without number, Lor. Costa., Sposalizio (of 1505) ; without number, Francia (V), Mourning at the Cross; without number, Fr. Franria, Madonna enthroned, SS. Paul, Francis, John the Baptist, and angels; **152. RaphaeVs St. Cecilia listening to the heavenly music in an ecstatic trance, surrounded by SS. Paul, John, Augustii.e , and Mary Magdalene. This exquisite picture (which should be viewed from some distance), the gem of the collection, was painted about the year 1515 for the chapel of the Bentivogli in S. Giovanni in Monte (p. 253). It was at Paris from 1796 to 1815. 210. The young St. John, an old copy from Raphael (original in the Pitti palace); *197. P. Ptrngino, Madonna in glory, the archangel Michael, SS. John, Catharine, and Apollonia. — III. Room: at present empty. — IV. Room: 13. Guerciiio , St. Bruno in the wilderness; *137. Guido Reni, Samson victorious over the Philistines ; 12. Guercino, William of Aquitaine receiving the robe of the Order of St. Felix; *136. Guido Reni, Crucifixion ('Cristo del Cappuccini', the high altar of whose church it formerly adorned), one of his finest works; 208. Domenichino , Martyr- S. Michele in Bosco. BOLOGNA. d3. Route. 257 dum of St. Peter; *134. Gttido Rent, Madunna delta Pieta, below are St. Pctronius, Carlo Borroinen , Dominicus , Francis, and Proculiis; tlie pic- ture was painted in 1616 for the Town Council, who rewarded the painter with a valuable gold chain and medal , in addition to his remuneration \ 141. Gutdo Rent, Coronation of the Virgin, with four saints below; 183. Tiariui. Entombment ; *135. Guido Rent, Slaughter of the Innocents; 138. G. Rent.. Madonna del Rosario, painted on silk in 1630 (as a procession-flag). — In the Cokridor: (r.) without number, Cima da Coiiegliano, Madonna; without number, GiuUano Bugiardini , St. John in the wilderness; 83. Fr. Francia, Christ mourned over by angels ; 116. Parniegr/ianino. Madonna and Child with St. Catharine; 204'. Thnoteo Vite. Magdalene; *90. Jnno- cenzo da Iniola , Ha d'Oko, Strada del Monte, R. 2, D. 3, A. »]•» fr.; Albkkgo dElropa , or S. Marco, in the same street, R. 3, L. 'J2, D. 3, A. 'I'.., omnibus i|-j, facchino 1(2 fr. ; Caffe in the Piazza Vitt. Enianuele. Fiacres: per drive 1, at night l'|2 fr., two-horse l')2 or 2 fr. ; first hour l'|2— 2>|2 fr., each additional >|2 hr. 75 c. or i fr. 25 c. ; beyond the town 2 or 4 fr. per hour. Steamer to Trieste once weekly in i2"hrs., fare 27'J2 or 17«|2 fr. — Chief Attractions: Baptistery (p. 261), S. Vitale (p. 263), S. ^Jazario e Celso (p. 264), S. Maria in Cosmedin (p. 265), S. Apollinare Xuovo (p. 265), S. Apullinare in Classe (p. 267)], a town of ancient origin, capital of a province down to 1860, with 19,118 inhab., is situated in the plain between tlie rivers Lamone and Ronco (Rom. Bedcsis), in a somewhat unhealthy locality. Ravenna is one of the mijst ancient towns in Italy, but under the Republic was a place of little importance. Augustus constructed the Portus Classis and a canal, connected with the Po , round the S. side of the town, and appointed Ravenna the headquarters of the Adriatic fleet. The commerce of the place n(jw impntved, and a new quarter was erected between the town and the harbour (Ciesarea , a name per- petuated by the ruined church of lime m(muments of triumphant Christianity are profoundly impressive, and their effect is greatly enhanced by the stillness and solitude of the environs. Lord Biiroti., who preferred Ravenna to all the other towns of Italy, and was influenced in some measure by his intimacy with the Countess Guiccioli, a member of tlie Gamba family of Ravenna, spent two years here, during which he wrote several of liis finest w(»rks , the 'Prophecy of Dante', 'Marino Faliero'', the 'Two Foscari', 'Cain', 'Heaven and Earth"', and the 'Vision of Judgment'. He resided at No. 225 Strada di Porta Sisi, near the Piazza S. Francesco, and the same house was afterwards occupied by Garibaldi, as a memorial-tablet records. The towji is 3 M. in circumferciif.e, but nearly one-lialf of tlio area is occupied by gardens. It was originally a seaport, but is now nearly 5 M. distant from the sea. After the Porto Candiano had become choked up , the Canale Naviylio was constructed in 1737, in order to connect Kavenna with the sea, and is chiefly important for communication with Chioggia and Venice. The present harbour of Ravenna is used for the coast-trafflc only. Near it is the hut in which (Jaribaldi sought refuge in 1849 from his Austrian pursuers on his flight from Rome. His wife died during the flight and was interred here. Tlie *Pinzzn Maggiore , now Vittorio Emanuele (PI. D, 4), in the centre of the town, which is said to correspond with the ancient Forum Senatorium, is adorned with two lofty columns of granite erected by the Venetians in 1483, and bearing statues of 8S. Apol- linaris and Vitalis , with a statue of Pope ClenuMit XII. (1738), and a colonnade of eight columns of granite , supposed to have be- longed to a basilica erected or restored by Theodoric. Beyond this Pia/./a is the Piazzetta deW Aquila , with a granite columji crowned with an eagle, erected in 16()9 to Cardinal Gaetani. The Strada del Duomo leads direct hence to the Cathedral (PI. 10) of S. Ortio, or Basilica Ursiana , almost entirely rebuilt by Archb. Guiccioli in the 18th cent, on the site of a church of the year 400, and consisting of nave and aisles with transept, sur- mounted by a dome in the centre, and a round campanile. iNTKRioit. 2nd Chapel r. : sarcophagus of SS. Exuperantius and Maximianus. In the S. Tkansept is the chapel of the Madonna del Sudore, containing the marble sarcophagi of SS. Barbatian (r.) and Reginald (I.) of the 6th century. The Iliou Altab contains a marble sarcophagus with Baptistery. RAVENNA. 44. Route. 261 the remains of nine bishops of early date; to the r. a silver crucifix with tigures executed in the 6th century. At the back of the Choir, on each side, are several marble slabs with figures of animals, dating from the 6th cent., fragments of an ancient pulpit ('ambo'). The Sacristy contains the Easter Calendar from 532 to 626 and the *fvori/ Throne of St. Maximian, with bas-roliefs of the oth and 6th cent, representing John the Baptist in the centre in front, the four Evangelists on the r. and 1., and the history of Joseph at the sides. The missing tablets are said to have been carried itir during the wars of the 16th cent., one of them, of which a poor copy is shown, being now preserved at Florence. In the lunette above the entrance of the sacristy, to the r., ^Elijah in the desert, fed by the angel, a fresco by Guido Reni. The chapel of the Holy Sacrament in the N. Transept contains the *^Falling of the Manna, also by Guido Reni; the frescoes on the ceiling, Christ in glory, are by his pupils. In the N. Aisle is the monument of the above-mentioned Archbishop Guiccioli. The * Baptistery (PI. 6) (S. Giovanni in Fonte, or Battistero degli Ortodossi), adjoiiiiitg the cathedral (^entrance through the house of tlie cure, '20c.), probably also founded by St. Ursus {d. 396j, and dedicated to John the Baptist, is an octagonal struc- ture, with two arcades in the interior one above the other. Tlie cupola is decorated with remarkably flne *inosaics of the 5th cent., the most ancient at Ravenna, representing the Baptism of Christ with the river-god of the Jordan and the twelve Apostles. The large font in white marble is of the 5th century. An ancient metal cross in front of the church, formerly on the roof, dates from 688. The Archiepiscopai Palace (PI. 29 J, to the E. of the cathedral, possesses a square vaulted *C'hapeL of the 5th cent., preserved in its original condition. The vaulting is adorned \vitl\ ancient mosaics representing saints; in the centre, on the groining, *four angels holding the monogram of Christ; under them the four Evan- gelists; above the door the Madonna. The Madonna and two saints over the altar, originally in the catliedral, are of tlie lltli century. The ante-room contains amnent inscriptions, chiefly of the Christian period , and the torso of a magistrate in porphyry. The episcopal Archives comprise about 25,000 documents on parchment. On the r., at the beginning of the .Strada di Classe leading to S. Mamante, is the Academy of the Fine Arts (PI. 1 ; open in the forenoon only; ring at the gate, 75 c.), containing an interesting collection of pictures, chiefly by masters of the place, such as a Crucifixion, Descent from the Cross, and several portraits by Luca Longhi(d. 1580); pictures by his son Francesco; a Descent from the Cross by Vasari ; Madonna and saints by Cotiynola ; a large ancient mosaic found near Classe. On the upper floor a collection of casts , among them a bust of St. ApoUinaris by Thorvaldsen ; *tombstone with recumbent statue of Guidarello Guidarelli, 'guer- rier Ravennate', formerly in S. Francesco. In the same street, No. 192, is the secularised Camaldulensian Monastery of Classe (PI. 7), now occupied by the Collegio and the Academy. The Library, or Biblioteca C'omunale (first floor) founded in 1714 by the Abbate Caneti, contains upwards of 50,000 262 Route 44. liAVENNA. Dnvtes Tomb. vols. , 700 MSS. , etc. : the celehruted MS. of Aristophanes of the 10th cent. , one of Dante of 1369 , another by Pietro Dante, com- mentary of Benven\ito ila Imola, praycr-hook of Mary .Stuart with miniatures, visitors' hook from the tomb of Dante fp. 263), the Avooden cofJin whic.h contained the remains of the great poet, found in 1865 in the course of researches instituted on the 6th centenary of his birth, rare editions, such as the Decretals of r)0niface VIII. printed by Fust at Strassburg in 1465, and a n\imber of 'cditiones principes'. There is also a small collection of objects in ivory, bronzes and coins of the popes, the Medici, and the Malatesia, the golden ornaments of the helmet of King Odoacer (?), etc. (all shown gratuitously^. At the entrance to the library several Koman inscriptions and sculptures are built into the walls (a good female head and an early Christian cinerary urn). — The old Refectory of the Camaldulensians (shown by the custodian, or by the sacristan of St. Komuald , door to the r. opposite the refec- tory ) contains the Marriage at Cana in fresco by Lvca and Francesco Lovghi , and some tine carving on the door. • — The altars of the monastery-church of S. Romunldo are richly decorated with rare and beautiful marbles; in the 2nd chapel on the 1. St. Romuald by (j'uercmo ; 3rd chapel 1., a beautiful ciborium (with candelabrum and cross from the sacristy) in lapis lazuli, frescoes by Longhi. S. Niccolo ( PI. 21 ), built by Archb. Sergius in 760 ( closed^, contains numerous paintings by the Augustinian monk Padre Cesnre Pronti and by Francefico da Cotignola. S. Agata(Pl. 2; entrance in the Via di Porta Sisi, between Nos. 96 and 97), of the 5th cent., consisting of nave and aisles with a vestibule, contains fine columns of marble. — The Palazzo LovatelU del Corno (PI. 33), near the Porta Sisi, contains several ]iictures. In the same street is Byron's house (p. 260). S. Francesco (PI. 12) is said to have been founded by St. Petrus Chrysologus about the year 450, on the site of a temple of >«cptune, but is now entirely modernised. The aisles are separat- ed from the nave by 22 columns of coloured marble. Unpleasing modern ceiling. At the entrance are several ancient tombstones; r. that of Ostasio da Polenta of 1396 tp. 259); 1. that of Enrico Alfieri, who died in 1405 as general of the Franciscans. On the r. the sarcophagus of the archbishop St. Liberius, of the 5th cent. The Cappella del Crocefisso, the 2nd on the r., contains two ^columns of Greek marble with capitals by Pietro Lomhardi. Adjoining the church is ^Dante's Tomb (PI. 41 ; closed, keys at the town-hall ; but it may be seen through the gate ). The poet died at Kaveniia, whore he enjoyed the protection of Guido da Polenta, on 14th Sept., 1321, at the age of 56 , and was interred in the church of S. Francesco. In 1482 Bernardo Bembo, the Venetian governor (father of the celebrated Cardinal Bembol, caused the present mausoleum to be erected from designs by Pietro 5. Vitale. KAVENNA. 44. Route. 2(33 Lombardo, and it was subsequently restored in 1092 and 1780. It is a square structure with a dome, embellished with medallions of Virgil, Brunette Latini the poet's master, Can Grande della Scala, and Guido da Polenta his patron ; opposite the entrance is a half- length relief of Dante, and below it a sarcophagus, a marble urn in which now contains the poet's remains (originally deposited in a wooden coflin, see above). It bears an epitaph attributed to Dante himself : Jura Monarchiae, Superos, Phlegethonta lacusque Ltisirando cecitii, roluerunt fata qt/ousque, Sed quia pars cessii melioribus hospita castris, Actoremque suum petiit felicior aslris, Hie claudor Dantes^ patriis :xtorris ab oris, Quern genuit parvi floreiicia mater amoris. The visitors" book formerly kept here, and now preserved at the library, contains the following beautiful lines (Purg. XI., 100), written by Pope Pius IX. when here on a visit in 1857. A'on e il moiidan ruinore altro che un fiato Di rento ch'or va qiiinci ed or va quindi, E inuta nome, perche muta lato. S. Michele in AfFricisco (PI. 20), erected in the 6th cent., but now destroyed, still contains mosaics from the tribune and the old tower. S. Domenico (PI. 9), a basilica in the vicinity, founded by the exarchs and subsequently restored , is adorned with works of J\'ic- colb Rondinelli of Itavenna. *S. Vitale (PI. 5) was erected during the reign of Justinian by Archb. Ecclesius on the spot where S. Yitalis suffered martyrdom, and was consecrated by St. Maximian in 547. It is an imitation of the not much more ancient church of St. Sophia at Constanti- nople, and served in its turn as a model to Charlemagne for tlie cathedral of Aix-la-Chapelle. The church is octagonal (37' 2 ytls. in diameter), with a choir, three-sided on the exterior, and round in the interior, added to it on the E. side. The Interior, un- fortunately marred by modern restoration , is divided by eight massive pillars into a central space with a passage around it. Be- tween the pillars are semicircular niches with pairs of columns and arches, in two series, one above the other, over which rises the dome, constructed of earthen vessels. Each of the windows in the dome is divided by a mullion into two round-arched halves. The pavement has been raised more than 3 ft., and the street is 7 ft. above the former level. The Choir is adorned with admirable * Mosaics , which are however inferior in ,«fyle to those of earlier date in the baptistery (p. 261) and to those of S. Maria in Cosmedin (p. 265) : Christ enthroned on the globe, angels on both sides; on the r. St. Vitalis and on the 1. Ecclesius with the church itself. Below, 1. Emp. Justinian with the bishop Maximian and attendants, r. the Empress Theodora with the ladies of her court, both presenting oflerings. On the arch of the choir are represented Jeru- salem and Bethlehem. Above , at the sides , (1.) the four Evangelists 264 Route 44. RAVENNA. S. Naznrio e Celso. sitting, Isaiah and Jeremiah standing, (r.) Moses as a shepherd, above which he is represented removing his sandals at the burning bush; (1.) hf receives the Tables of the Law; on the r. in the central scene an altar with bread and wine ; at the sides the blood-sacrifice of Abel and the bloodless oflering of Melchisedech. On the 1. in the centre a table at which the three angels are entertained by Abraham , Sarah at the door laughing, and sacrifice of Isaac. In the archway l)usts of Christ , the Apostles , and SS. Gervasius and Protasius sons of S. Vitalis. On the r. at the entrance to the choir an admirable * Greek Relief from a temple of Xeptune, representing his throne with shells, trident, and genii; opposite to it a modern copy. In the portico of the sacristy a */Jo- mari Relief, the Apotheosis ' of the emperor; the goddess Roma is observed sitting on the 1.; on the star above is Julius Csesar, with Augus- tus and Claudius adjacent; on the 1. a fragment of a procession with victims, forming part of the same work. Opposite are fragments of an early Chri.. C. 184, was afterwards destroyed by Totilas , but rebuilt by Helisarius. During the middle ages Pesaro was successively go- verned by the Malatestas, the Sforzas, and the della Rovere, dukes of Urbino, under whom, and chiefly through the influence of Lucrezia d'Este . it became a cradle of art and literature, and was visited by Bernardo and Torquato Tasso. In 1631 it was united to the States of the Church. Pesaro was the birthplace of the celebrated composer Gioacchimo Rossini {h. 1789, d. at Paris 1868), the 'swan of Pesaro' as he has been termed. Two of his admirers , Baron Salamanca of Madrid and M. Delahautc of Paris , have erected a statue to him (in bronze"), on the r. of the egress from the station (visible from the train ). The route from the station to the town ( carr. to the Piazza Maggiore 1/2 ^^.^ leads to the r., past the back of the monument of Rossini , and enters the gate from which the old diligence road issues. To the 1. is the Teatro Rossini, in a straight direction the Piazza. In the latter, on the 1., is the Prefettura, the ancient palace of the dukes of Urbino, with a large hall containing the archives. Facing the traveller is the Palazzo Municipale. Oppo- site to it is a facade erected in 1848 with statues of Rossini and Perticari in marble , behind which is the church of S. Domenico with a ha)jdsome portal of the 15th cent. Passing through the second court of the prefettura to the 1., and traversing the Via S. Caterina, we reach the Bibliotecn Olivieri in the Palazzo Marchonelli, containing 13,000 vols, ami 600 MSS., among which are various reminiscences of the golden age of Pesaro under the dukes, and letters and remarks by Tasso. In the entrance, the court, and the staircase are a few sculptures and inscriptions (on the staircase is an interesting ancient Greek inscription on the fluting of a Doric column). The P'oglia is crossed by an ancient bridge dating from the Roman period. The house in which Rossini was born, and another in which Francesca da Rimini is said to have lived, are shown to visitors. None of the Churches possess much merit. S. Francesco con- tains an enthroned Madonna by Giovanni Bellini, S. Cassiano a S. to Ancona. URBINO. 45. Route. 275 Barbara by Simone da Pesaro , and /8. Spirito a *Christ on the Cross by Luca Signorelli. Opposite the spacious Manicomio, or Ospizio degli Incurabili (lunatic asylum), which contains a pleasing collection of majolica vases, are the small Orti (iiidi, where a bastion of the town-wall commands a tine view of the Foglia and Monte S. Bartolo. A memo- rial tablet near it records that the house once stood here in which Torquato and Bernardo Tasso lived and wrote their poetry during the regime of the della Rovere. Pesaro is famous for its tigs. Near Pesaro is Monte S. Bartolo, where the Roman tragic dramatist L. Attius is said to be interred ; beyond it L' Jmperiale, a villa erected by Leonora Gonzaga , and adorned with frescoes by Raffaele del Colle, once a favourite residence of the dukes, and praised by Bernardo Tasso, but sadly neglected since the last century. In the vicinity is the church of the Girolamitani, with a damaged picture of St. Jerome by (riovanni Santi. One of the linest prospects in the environs is obtained from an eminence behind the monastery. An ExuuKSioN to Urbino is most easily accomplished from Pe- saro. Diligence daily at 5 a. m. from Urbino to Pesaro in 5 — 6 hrs., leaving again at 1 p. m. in time to meet the evening trains. The road leads through the valky of the Fo'jlid, which falls info the sea at Pesaro, to Montecchio., and then gradually ascends by the brook which falls into the Foglia. TJrbino (Italia., tolerable), the ancient Urbinum Metaurense^ deriving its name from the neighbouring Metaurus, lies on an abrupt cliff, surrounded by barren mountains. The town (15,U00 inhab.) boasts of an university with as many professors as students. Its monuments and historical associations are interesting. In the 13th cent, the town came into the possession of the Monlefellro family, and under Federigo Monlefeltro and his sfm Guidobaldo in the I5th cent, attained to such prosperity as entirely to eclipse the neighbouring courts of the Malatestas at Rimini and the Sforzas at Pesaro. Federigo Monlefeltro., who distinguished himself as a condottiere in the feuds of the 15th cent., married his daughter in 1474 to Giovanni della Rovere., a nephew of Sixtus IV., and was in consequence created duke of Urbino. In thi^ ca- pacity he acquired a well-merited reputation as a patron of science and art, and Urbino was styled the 'Italian Athen.s". His example was followed by his son Guidobaldo /., who was zealously seconded by his duchess, the beautiful and accomplished Elisabetta Gonzaga. Guidobaldo was expelled in 1497 by Caesar Borgia., but after the death of Alexander VI. returned in triumph to Urbino, where he was visited during three festive days by his relative Julius II.., who had now become pope (1503 — 13), and was on his route to Bologna. On this occasion the latter became acquainted with the youthful Raphael Santi (born March 28th, 1483, at Urbino), who at first studied under the guidance of his father, the master Giovanni Santi., subsequently under the celebrated Pietro Vannucci (Perugino) at Perugia, and in 1504 went to Florence to perfect himself by the study of the ad- mirable works of Leonardo da Vinci and Michael Angela Buonarroti. On the death of Duke Guidobaldo in 1508, Julius II. summoned Raphael to decorate the Stanza della Segnatura with frescoes. Under Julius and his successor Leo X. Raphael acquired the reputation of the greatest painter of the day, and died 6th April, 1520. For the development of his genius, however, he was in a great measure indebted to the munificent patronage of the court of Urbino. Here Count Balthasar Castiglione wrote his 'Cor- 18* 270 Route 45. URBINO. From Bologna tegiano', the ideal of a courtier; here, also, resided the learned PoUjdorus Vergilius ; and the artist Federigo Baroccio., who distinguished himself at Rome as a successful imitator of Raphael, was a native of Urbino (b. 1528), where he died in 1612. In 1626 the duchy was incorporated with the States of the Church, when Urban Vlll. persuaded the last and childless duke Francesco Maria II. to abdicate. The town still contains many memorials of its golden period. The *Ducal Palace^ erected for Federigo Montefeltro by Luciano Laurana^ an lllyrian, in 1488, was then regarded as the finest structure of the kind in Italy, and is still an unrivalled example of the early Renaissance, being remarkable for its symmetrical proportions and the rich decoration of it,s halls, windows, buttresses, chimney-pieces (.by Francesco di Giorgio and Aiiibrogio Baroccio, ancestor of the painter of that name), etc. On the staircase the statue of Duke Frederick. The library of the palace and other collections have been transferred to Rome. The corridors contain a considerable collection of well arranged inscriptions from Rome and the Umbrian municipia, begun by the epigraphist Fabretti. The churches still contain valuable pictures, although many of their treasures have been removed to the Pinacoteca Miinicipale. The * Cathedral possesses good pictures of St. Sebastian and the Eucharist, by Baroccio\ in the sacristy the Scourging of Christ, almost in miniature, beautifully finished, by Piero della Francesca:, St. Martin and Thomas a Becket, by Timoteo della Vite, and a portrait of the duke. S. Francesco contains pictures by Giovanni Santi, a Madonna with St. John the Baptist , St. Sebastian, St. Jerome, and St. Francis, with three kneeling figures of the donors , members of the Buffi family (not of the family of Raphael, as was formerly believed); St. Rochus and Tobias by Timoteo della Vite-., also monuments of the princes of Urbino. a. Francesco di Paola., with two pictures of Titian., the Resurrection and Eucharist. — S. Giuseppe , with a *Madonna by Timoteo della Vite., and (in the oratorio) a copy of Raphaels Sposalizio by Andrea Urbani. — The Oratorio of the Con/raternita di S. Giovanni is covered with paintings by Lorenzo da S. Heverino and his brother, of the school of Giotto, His- tory of the Virgin and John the Baptist. — The college near 8. Agata contains an interesting picture by Justus van Ghent, a pupil of Van Eyck, of 1474. In the church of *t>. Bernardino, ^It M. from the town, are the tombs of the dukes Federigo and Guidobaldo; in the sacristy thirteen painted panels by Antonio di Ferrieri (1435), and the Dead Christ by Giovanni Santi. Raphael' s House is indicated by an inscription. On one of the walls is a Madonna with sleeping Child, long regarded as an early production of Raphael, but ascertained to have been executed by his father Giovanni Santi. It is intended to erect in his native town a monument worthy of the great master, for which purpose a committee has existed for some years. In the Theatre, formerly celebrated for its decorations by Girolarno Gengu, the first Italian comedy was performed. This was the Calandra of Cardinal Bibbienu (or rather Bernardo Divizio of Bibbiena in the Casentino, b. 1470, d. at Rome 1520), the friend of Pope Leo X. and patron of Raphael. From the height occupied by the Forlezza an interesting * survey of the sterile chain of the Apennines may be made. From Urbino a small diligence runs daily to Fossombrone in 3 hrs. The traveller may alight at the point where the road reaches the Me- taurus, and visit the neighbouring *Furlo Pass on foot. A carr. may be procured at the village of Acqualagna (3'|2 M.) to convey the traveller back to Fossombrone. Communication between Fossombrone and Fano is kept up by vetturini, by the diligence from Perugia 3 times weekly, and by the corriere daily. The traveller bound for Rome may therefore easily accomplish an excursion to Urbino, either from Pesaro, or from Fossombrone. to Ancona. FANO. 45. Route. Til From Pesaro to Aucoiia the line skirts the coast, occasionally approaching within a few yards of the sea, of which a pleasant view is afforded. 71 '2 M. Fano (*Moro ; Tre Re), the ancient Fanum Fortunae, is Indebted for its origin to a temple of Fortune . a fact commem- orated by a modern statue of Fortune on the public fountain. It afterwards prospered , and was celebrated as the birthplace of Vitruvius. It is now a pleasant little town, surrounded by ancient walls and a deep moat, and sometimes visited as a watering-place (less expensive than Rimini). The chief attraction is the *Triumphnl Arch of Augustus, a structure of simple design, to which an additional storey was added in the 4th cent, when it was re-dedicated to Constantino. Churches: * Cathedral of S. Fortunato ; in front of it are four recumbent lions which formerly supported th(^ pillars of the portico. In the interior the chapel of 8. Girolamo (Qnd to the 1.^ contains a monument of the Rainalducci family ; nearly opposite (4th to the r.) is a chapel adorned with sixteen frescoes hy Domenichino , once excellent, but now disfigured by restorations. In the chapel of the sacristy, a Madonna with two saints, by Lodovico Caracci. S. Maria Nuova possesses two fine paintings by Pietro Perugino, one a Madonna, painted iji 1497 for the Duranti family, with beau- tiful 'predella , the other the Annunciation. S. Croce, the hospital-church , contains a Madonna with four saints by Gioi\ Santi. S. Patemiano, dedicated to the first bishop of Fano, a handsome structiire. possesses a Betrothal of the Virgin, by Guercino. S. Pietro, an imposing and richly decorated church, is embel- lished with fine frescoes by Viviani; in the chapel of the Gabrielli an Annunciation by Guido Reni. S. Francesco contains several monuments of the Malatestas of the 14th and 15th cent, (closed). The Collegio Folfi contains David with the head of Goliath, by Domenichino, and copies of his frescoes in the cathedral. The Theatre, decorated by Bibbiena. once one of the most cele- brated in Italy, has recently been re-erected. Pope Clement YIII. ( Aldobrandini) was born at Fano in 1536. The first printing-press with Arabic types was established here in 1514 at the expense of Pope Julius II. A good road leads from Fano by Fossouibrone to Urbino ; another over the Fi/rlo Pass (p. 276) to Fossato, on the line from Ancona to Rome. Beyond Fano the train crosses the broad and impetuous Me- tauro, the ancient Metaurus, celebrated for the defeat of Hasdrubal, B. C. 207; then the Cessano, near stat. Marotto, and reaches I3V2 M. Sinigaglia (Locanda delta Formica), the Roman Sena Gallica, a seaport-town with 23,000 inhab., a great number of whom are occupied in the fishing trade. The ancient town, be- 278 Route 46. ANCONA. longing to the Galli Senones, was destroyed by Pompey during the civil war between Marius and Sulla. During the middle ages it was frequently devastated by fire and sword , so that the presejit aspect of the town is comparatively modern. The church of S. Maria delle Grazie contains an Annunciation by Fra Carnevale ( Bartoloinmeo Cormd'mi of Urbino, d. 1484). — The town is well known for its important Fnir., held between 20th July and 8th Aug. , established 600 years ago, and once the most frequented in Italy. Sinigaglia was an episcopal diocese as early as the 4th cent. Pope Pius IX. (Giovanni Maria, Count Mastai-Feretti ) was born here in 1790, and the celebrated singer Angelica Catalani in 1784 (d. at Paris, 1849). Stat. Case Bruciate ; fine view towards the S. of the promon- tory of Ancona , rising above the sea. A short distance farther, the train crosses the Esino. At (101/.2 M. ) stat. Falconard the line unites with the Ancona and Rome Railway (^see Bnedtkefs ('entral Jtniy), and soon reacjhes (5 M.J Ancomi. 46. Ancona and its Environs. Osimo. Loreto. Hotels. *La Pack (PI. a), on the quay, D. 3'J2, omnilius 1, facchino «j-^ fr. ; ViTToKiA (PI. b), Strada Calanio, with * trattoria, R. 2—3, A. 'j-.-, omnibus 1 fr. ; Europa, Via S. Annunziata. — C'a,tf^ del Commercio at the theatre; Dorico, opp. the Exchani^e (p. 280); del (brso ; Garibaldi, Piazza Cavour; *Birraria Olaeiizer, witJi garden, Corso Vitt. Emanuele; Leone d''Oro, Corso. Post Office (PI. 20; 8— U o'clock), Sfr. Calaino. Telegraph Office, Via del Porto. Cabs. ()ne-b(}rse cab from station to town , incl. luggage, 1, at night l'|a fr. ; two-horse l'|v or 2 fr. — For 1 hr. I')-— 2 fr. ; each additional >|.; hr. 00—80 c. — Beyond the town 2 fr. 50 or 3 fr. 60 c. for 1 hr., each additional '|a hr. 1 "fr. 15 or 1 fr. 70 c. — Omnibus from the station to the town 35 c. Steamboats of the Austr. Lloyd (office in the Piazza S. Maria) to Trieste once weekly in 20 brs., to Athens in 6 days, comp. Baedeker\^ S. Itultj. There arc also English, French, and Italian companies ; agents in the V'ia di Porto. Bailway to Foggia and Hrindisi (Foggia-Naples) , see Buedekev'x S. Ilulij. First stations (p. 280) Osimo., Loreto., and Porto Recanati; thus far in 1— 1>|4 hr. (fares 3 fr. 10, 2 fr. 20, 1 fr. 50 c). From Ancona to Foligno and Rome, see Baedeker^s Central Italy. Ancona, the capital of a province, with 46,000 inhab. (of whom upwards of 6000 are Jews), and possessing an excellent har- bour, is beautifully situated between the two promontories of Monte Cirinco and Monte Conero or Monte Guasco. It has been a free harbour since 1732, a privilege it was permitted to retain when incorporated with the kingdom of Italy (the formalities of the dou- ane must therefore be undergone when the town is quitted ). Silk and oil are largely manufactured here. Ancona is celebrated for the beauty of its women , and deserves a visit on account of its beautiful situation and interesting buildings. J ^^H ^^^'^f ' - .*^ ^^^^^^^^^B WJMr , . . ^J ^. ANCONA. 46. Route. 279 Ancona is supposed to have been founded by Doric Greeks from Syra- cuse, whence termed Dorica Ancon (i. e. 'elbow', from the form of the promontory). It was subsequently a Roman colony, and the harbour was enlarged by Trajan. In the middle ages it repeatedly recovered from the ravages of the Goths and others, and in 1532 came into the possession of Pope Clement VII. through the instrumentality of Gon- zaga. Ancona is also frequently mentioned as a fortress in the annals of modern warfare. Thus in lT9(i it was surrendered to the French, in 1799 to the Austrians , in 1805 to the French again ; in 1815 it was ceded to the pope, to whom it belonged till ISGO. In 1832 — 38 the citadel was garrisoned by the French (under the Perier ministry), in (jrder to keep in check the Austrians, who were in possession of Bologna and the sur- rounding provinces. In l&i9 the town was the scene of many excesses, and on 18th June was re-captured by the Austrians ; on 20th Sept. 1860, after the batle of Castelfidardo, it was finally occupied by the Italians. Following the handsome quay towards the N., in the direction of Monte Giiasco, we reach the marble * Triumphal Arch (_P1. 2), erected A. D. 112 by the Roman senate in honour of Trajan on the completion of the new quays, as the inscription records, and one of the finest ancient works of the kind now extant. The holes to which its original bronze enrichments were attached are still ob- served. The new quay constructed by Pope Clement XII., a continua- tion of tlie old, also boasts of a triumphal arch, designed by Van- vitelli, but iar inferior to the other. Its farade is towards the sea and is destitute of inscription. The harbour is defended by several forts. The *Cathedral of S. Ciriaco (PI. 6), dedicated to the first bishop of Ancona, stands on an eminence rising above the harbour and commanding an extensive view of the town and the sea, oc- cupying the site of a temple of Venus mentioned by Catullus and Juvenal. It contains ten beautiful columns which once belonged to the ancient temple. The church, like St. Mark's at Venice, is in a mixed Lombard and Oriental style of architecture , and is in the form of a Greek cross , each of the arms being flanked with aisles. The octagonal dome with which it is covered is one of the oldest in Italy. The facade, which fs said to have been designed by Maryheritone (fArezzo in the 13th cent., has a beautiful Gothic portico, the foremost columns of which rest on red lions. The crypt of the r. transept contains the *Sarcophagus of Titus Gorgonius, Praetor of Ancona, with scenes from the life of Christ ( the Nativity, Adoration , Baptism , Entry into Jerusalem , Christ before Pilate, Christ as Judge, Christ and the apostles with Gorgonius and his wife at the Saviour's feet), and other Christian antiquities (^Mary and two saints, head of Christ of 1213, Entombment in painted terracotta, etc.). The crypt of the I. modernised transept contains the tombs of SS. Cyriacus, xMarcellinus, and Liberius. Within a house at the foot of the cathedral are scanty remains of a Roman amphitheatre. The Falazzo ComunaU (P. . 1 0) contains a few unimportant Roman 280 Route 46. ANCONA. antiquities. The Strada delle Sciiole descends thence to (1.) the (.liurcli of *5. Francesco (PI. 9 ), resting on a massive substructure ( now a harrack K with a very rich Gothic *portal. The street next leads to the ( r. ) Prefettura. In front of the fine Renaissance arch- way leading into the court we turn to the r. (Contr. della Catena ) to the chiirch of fr. and up- wards , D. 3i|2 fr. ; *H6tel du Nokd and Hotel d'Angleterre , on the harbour; Iles Britanniques , Via Vitt. Emanuele 33-, *Robert.son"s Private Boarding House, comfortable. Some of the less pretending inns, which have trattorie, or restaurants, connected with them, are tolerable and inexpensive, such as Giappone , Pergola, Luna, Ville de Turin, Roma, Patria , etc., most of them in the Via Vitt. Emanuele. — For a prolonged stay private apartments are easily obtained. Cafes. *'Viitoria., *Ronzi, both in the Piazza d'Armi; Posta, Via Vitt. Emanuele, opposite the post-office-, Borsa., Americano, and Minerva in the same street. — Beer: Meyer, Via Ricasoli 6 and Via dei Prati 1. — Res- taurants: Oianlinetto, Pergola, both in the Via Vitt. Emanuele; Ghiaccaio, Piazza d'Armi. Post Office at the corner of the Corso Vitt. Emanuele and Piazza Carlo Alberto. Telegraph Office, Via de' Lanzi 5. Cabs. Drive in the town 85 c. , beyond the town 1 fr. 70 c. ; per hour 1 fr. 70 c, each additional ')•.; hr. 60 c. ; to or from the station 1 fr. — At night, from 1 to 6 a. m. , in the town 1 fr. 15 c, beyond the town 2 fr. 80 c. ; per hr. 2 fr. 85 c. ; to or from the station 1 fr. 80 c. — The services of the railway facchini at the station are gratuitous , but they generally expect a tritling fee. Reading Room. Gahinetto Letterario e Hcientifico , Piazza d'Armi 30, open the whole day, admission ija fr. ; Schweizer Verein, Via Cecconi 2. Sea Baths outside the Porta a Mare. Bath with boat and towel 1 fr. ; season from the middle of June to August. — Warm Baths in the town, near S. Marco , in winter 1 fr. 40 c. , in summer 1 fr. ; also in the Via della Pace. Consuls. American, next door to the Victoria Hotel; English (Mr. Macbean), Via della Madonna 12; French, Piazza Maria; German, Piazza dei Doraenicani 6; Russian, Via Ricasoli 5; Spanish, Piazza dei SS. Pietro e Paolo 7. — Belgian, Danish, Dutch, Swedish, and other consuls also reside here. Theatres. Regie Teatro degli Avvolorali ^ in the street of that name; Regio Teatro dei Floridi , Via S. Marco 9, etc. English Church, resident chaplain. Railway by Pisa and Massa to La Spezia, see R. 49. — To Rome by the Maremnie Line in 10 hrs. (see Baedeker'^ s Central /tali/). Steamboat- passengers touching at Leghorn generally have time for a short excursion to Pisa , to visit the cathedral and Campo Santo. Leghorn, which was a very insigniticaiit place in the 16th cent, (in 1551 only 749 inhab. ), is indebted for its size and importance to the Medicis, who invited hither the oppressed and discontented from all parts of the continent, as , for example Roman Ca- tholics from England , Jews and Moors from Spain and Portngal, and merchants from Marseilles who were anxious to escape from the perils of civil war. Montesquieu consequently terms Leghorn 'the master-piece of the dynasty of the Medicis'. Leghorn is a free harbour, and protected by fortittcations. The rapidly in- creasing population is now 99,500 souls (including numerous 286 Route 48. LEGHORN. From Gemla Jewsl, exclusive of a fluctuating sea-faring community of upwards of 3000. The town which is a well built, thoroughly modern place, con- taiTting little to detain the traveller, may be explored in a few hours. The Harbour is a very busy spot, and extensive new works are now in progress. The inner harbour (Porto Vecchio, or Mediceo) is too shallow to admit vessels of large tonnage; the Porto Nuovo was therefore constructed during the present century, to the W. of the old harbour, and protected from the open sea by a semicircular mole. Picturesque glimpses are obtained hence of the sea with the islands of Elba , Gorgona, and Capraja. An excursion by boat on the harbour will be found pleasant in fine weather (1 fr. per hr. , bargain necessary). By the har- bour is the *Statue of the Grand Duke Ferdinand /. , by Giov. delV Opera , with four Turkisli slaves in bronze by Pietro Tacca. On the pier, which is 500yds. in length, rises the Lighthouse, erected by the Pisans in 1303; its platform affords a good survey of the town, harbour, and sea. The town possesses well -paved [streets and large, hand- some squares. It is intersected by canals, and connected by a Jiavigable canal with the Arno, the influx of which is 7 M. to the N. The Corso Vittorio Emanuele is the principal street. It leads from the harbour to the spacious Piazza d'Anni , in which the cathedral, the town-hall, and a small royal palace are situated. It proceeds thence to the Piazza Carlo Alberto, formerly termed Piazza dei Principi, adorned with colossal Statues of the Grand Dukes Ferdinand III. and Leopold JL, the last but one (d. 1824), and the last grand-duke of Tuscany. — The water of Leghorn is bad, but this evil was greatly remedied by the construction of a conduit, 5 M. in length, during the reign of Leopold II. Walks. Pleasant grounds to the 8., outside the Porta a Mare, and along the coast by the road to Ardenza; also in the Giardino dei Bagni (adm. 50 c., or by subscription) in the same neigh- bourhood, where a band plays every evening during the bathing- season (Caffe Ristoratore ). Railway from Lpghorn to (11 M.) Pisa in 25 min. , fares 2 fr. , 1 fr. 50, 1 fr. 20 c.; from Pisa by Empoli to (50 M.) Florence in 2i|2 hrs., fares 7 fr. 80, 6 fr. 40 c, 5 fr. The line crosses the Arno Canal and traverses flat meadow- land, intersected by canals and occasionally relieved by a few pines ; to the r. rises a range of hills at some distance. 11 M. Pisa, see p. 292. The Railway to Florence traverses a beautiful and fertile district on the 1. bank of the Arno, running parallel to the high road as far as Montelupo. To the 1. are the Monti Pisani (p. 300) with the ruined castle on the Verruca. Stat. Navacchio ; then Stat. Cascina on the Anio, where on the festival of S. Vittorio, to Florenre. EMPOLI. 48. Route. 287 2Bth July. 1364. the Pisans were defeated by the Florentines (in the vicinity are the hydraulic works employed in draining the Logo di Bientina). Next stat. Pontedera, a small town at the confluence of the Era and Arno. where the road through the beautiful valley of the Era to Volterra diverges (diligence 3 times weekly in 6 hrs., fare 5 fr. ). Next stations La Rotta, S. Romano, and S. Pierino. To the 1. in the distance the chain of the Apennines comes in view; to the r. on the height is San Miniato del Tedeschi, a small town, raised by Emp. Frederick II. in 1226 to the dignity of seat of the imperial governor. Francesco Sforza was born here. The Cathedral, dating from the 10th cent., was remodelled in 1488, and decorated with statues in 1775. This town, like those of Fiesole. (^olle, and Volterra, has the privilege of conferring the rank of nobility by an entry in its 'golden book'. 29'/2 M. 'Stat. Empoli is a small town in a fertile district. In 1260. after the defeat of the Florentines on the Arbia, the Ghibel- lines proposed to transfer the seat of government hither and to raze Florence to the ground. This project, however, was strenuously opposed by the heroic Farinata degli Uberti, an incident beau- tifully recorded by Dante in the 10th canto of his Inferno. The town is a busy place with old houses and narrow streets, and a church of 1093, containing good pictures by Lorenzo Monaco, S. Botticelli, Francesco di Giovanni, Cigoli, and others, and a fine Baptistery of 1447. A festival, celebrated here on Corpus Christi Day (Fete de Dieu), commemorates the ancient importance of the town. Railtcai/ to Siena and Orvieto , towards the S., sec Baedeker's Central Italy. The line follows the valley of the Arno, crosses the small river Pesa, and reaches Montelupo. The castle (Rocca ) of this place, according to the historian Villani. was fortitied by the Florentines in 1203 in order to keep in check the hostile C'apraja on the op- posite side. Hence the appellation Montelupo, 'mountain of the wolf, which was desirous of devouring the goat(capra). On the 1., before Montelupo is reached, the traveller perceives the Villa Ambrogiana. erected by Ferdinand I. on the site of an ancient castle of the Ardinghelli, and surmounted by towers and pinnacles. Beyond Montelupo the line crosses the Arno, and slowly winds through the defile of the Gonfolina, through which the Arno flows. The heights are clad with rock-pines, below which the pietra serena, a kind of sandstone frequently employed in the construction of the palaces of Florence, is quarried. At the extremity of the Gonfolina the line crosses the Ombrone. which falls into the Arno, and traverses a vine-clad district to the old borough of Signa. with its grey towers and pinnacles, founded in 1377 by the Florentines to command the road at this point. This place, as well as the op- 288 Route 49. CHIAVAUI. From Genoa posite village of Lastra, is noted for its straw-plait. The valley now expands, being richly cultivated and resembling one continuous garden. Near stat. S. Donnino is Brozzi, with numerous villas which proclaim the proximity of the capital. The train now ap- proaches the Cascine, the park of Florence, and enters the station near S. Maria Novella. 20V_> M. Florence, see p. 311. 49. From Genoa to Pisa (by land) by la Spezia. From Genoa to Sestki Levante ('i6'j-2 M.") in 2^\i brs., fares 4 fr. 75, 3 fr. 35, 2 fr. 40 c. (The railway station is in the Piazza del Rifugio, at the end of the Via Serra, and to the E. of Acqua Sola, and will be eventually connected with the central station by a long tunnel beneath the town. On arriving at the central station travellers about to proceed direct to La Spezia should at once secure a liacre to convey them to the other station.) Between Sestri Levante and La Spezia (37 M.) diligence 3 times daily, generally full and not recommended, in correspondence with the trains, in 8 hrs. ; fares during the day coupe 8, interior 7, ban- quette 6 fr. , at night (corriere) coupe 12, interior 10 fr. ; one-horse carr. 25—30, two-horse 40 fr. — Steamer daily from Sestri to La Spezia (12 or 10 fr. ( and Leghorn. — From La Spezia to Pisa railway in 2'|2 hrs., fares 7 fr. 50, 6 fr. 10, 4 fr. 65 c. The line generally follows the direction of the high road and skirts the coast, the Riviera di Levante, wliich aflbrds views hardly inferior to those on the Riviera diPonente(p. 94). The numerous promontories are penetrated by means of cuttings and tunnels, of which there are 38 in all, many of them of cojisiderable length. Most of the villages resemble towns in their appearance, having narrow streets and lofty and substantial houses with painted enrichments as at Genoa. Stations -Star^/, Quinto, and [by-i^-) ^^^^U with lemon-groves, the mild climate of which attracts visitors in winter ( Hotel Oriental ; Pension Anglaise ) ; then Pieoe di Sori, Sori (^charming view of the town and valley from the lofty viaduct of three storeys, which crosses the river high above the town), Recco, Camoyli (situated to the r. on the shore). Farther on, the promontory of Sti Malta, R. 3 fr. ; *Ville de Milak, R. 3, L. 1, A. 1 fr. — Second class: Albergo "Kazionale. R. 2, A. and L. 3)4 fr., and CtRan Bretagxa (commercial), hoth in the principal street. — **?ert Baths 50 c, indifterent, the best near the station behind the Cappuccini. Warm Baths adjoining the •Croce di Malta'. — Diligence twice daily, at 10 a. m. and 10 p. m., and carriages to Sestri Levante; fares as in the reverse direction. — Steamboat to Sestri Levante and Genoa daily at 3 p. m.), a small towji with 11,000 inhab., is charmingly situated at the N.W. angle of the Golfo delta Spezia, between two rocks crowned with forts. It possesses one of the best harbours in Europe, known and praised by the Romans as the Portus Lunae (Ennius : 'Lunai portum, est operae, cognoscite cives' ), and since 1861 the principal naval depot of Italy. La Spezia is visited as a bathing-place in summer, especially by the Genoese. Mild climate and rich vege- tation. Beautiful walks along the coast. Delightful excursion to Porto Venere on the W. side of the bay (two-horse carr. in 11/2^^^. , 10 fr. ; boat, in the same time, with one rower 8, with two 10 fr.), on the site of the ancient Portus Veneris. A most charming prospect is enjoyed from the ruins of the church of S. Pietro rising above the U^DEKEK. Italy I. 3rd Edit. lU 290 Route 49, CAIIRARA. From Genoa sea, and supposed to occupy the site of the former temple of Venus. The opposite island of Palmaria, with a small fortress, is employed as a penal establishment for brigands. Pleasant excursions may also be made to the E. side of the bay, to the village of Lerici, etc. The Railway to Pisa (47 M. ) passes through several tunnels and reaches stat. Areola, with a conspicuous campanile. Beyond the next tunnel the broad Magra is crossed. Then on the 1. lies Stat. Sarzana (New York; Luniginna), Rom. Sergiana^ or Luna jYoya, from its having superseded the ancient Luna, with the picturesque fortification of Sarzanella, constructed by Castruccio Castracani. In 1467 the place fell into the hands of the Floren- tines under Lorenzo de' Medici, from whom it was again wrested by Charles YIII. of France ; it subsequently belonged to the Genoese, then to the Sardinians. Sarzana was the birth-place of Pope Nicholas V. (Tommaso Parentucelli, 1447 — 55), a great patron of learning, and the founder of the library of the Vatican. The Buonaparte family is also said to have been settled in the Lunigiana, near Sarzana, before they transferred their residence to Corsica. The Cathedral, a good example of Italian Gothic, constructed of white marble, was begun in 1355. The environs are very fertile. Among the mountains to the 1. the white rocks and gorges of the neighbouring marble-quarries are visible. To the r. a fine view of the Bay of La Spezia. Between Sarzana and the next stat. Avenza are the ruins of Luna, situated on the coast. This old Etruscan town fell to decay under the Roman emperors, and was finally destroyed by the Ara- bians in 1016 ; its episcopal see was transferred to Sarzana in 1465. The site of the ancient town is still marked by the ruins of an amphitheatre and circus. From the town of Luna the district derives its appellation of La Lunigiana. I6V2 M. Stat. Avenza, a small town on the brook of that name, above which picturesquely rises an old castle of Castruccio Castra- cani, of 1322, with bold round towers and pinnacles. This was formerly the frontier town of the Duchy of Massa. On the coast to the r. is a small harbour for the shipment of the Carrara marble. Branch Railway from Avenza in 12 inin. to (3 M.) Carrara (Locanda NazionaUy with the Trattoria del Giardinetlo, in the principal street on the r., pranzo 2 fr. ; travellers are cautioned not to spend the night here, as the mosquitoes are insufferable). A visit to the celebrated and interesting quarries requires 3 hrs. at least. Guides demand 5 fr., tnit will generally reduce their charge to 2—3 fr. ; for a mere superficial survey their services may l)e dispensed with. Leaving the station, we turn to the r. and follow the street in a straight direction, j.ast the theatre, to the Piazza, which is adorned with a statue of the grand-duchess Maria Beatrice, over life-size, erected in 1861. The bridge to the 1. at the end of the piazza should then be crossed, and the road with deep ruts, ascending on the r. bank of the Torano, followed. At (>|4 M. ) a group of houses a path diverges to the r. to exten- sive quarries of an inferior kind of marble, but we continue to follow the road, passing numerous marble cutting and polishing works. Beyond the village of Torano , round which the road leads, the first mines, to Pisa. MASSA. 49. Route. 291 recognisable by broad heaps of rubbish, ai-e situated on both sides of the valley. The tilocks are detached , drawn out by oxen, and rolled down the hill. The finer description is termed niarino ftaluario. About 400 mines with 6tX)0 workmen are at present in operation. The working hours are from 5 a. m. to 2 or 3 p. m.; the forenoon is therefore the best time for a visit (a supply of copper coins should not be f<)rgottcn). A horn is blown as a signal when the rock is about to be blasted. The mines of Moute Cre.. 4ij'2 fr. ; *noTEL de la Minekve, opposite the station, R. 3, L. ^jt^ A. ^j^ fr. ; *Hotel de la Ville , adjoining the last, R. 3, D. 3 fr. ; *Roma, Via Vitt. Emaniiele, R. I1J2 — 3, pension from G fr. ^ La Pekuola, Via del Borgo, near the Ponte di Mezzo, a small Italian inn. — ^Pension Ludtcig^ Palazzo Bagnani, Lung" Arno Mediceo. Kestaurants. ^Nettuno^ in the Lung' Arno; Restaurant Fraiigais, near the station. — Cafes. Ciardelli , Burc/ii , Ugsero , all in the Lung' Arno, Is. side. Furnished Apartments in the Lung' Arno , 2 — 3 rooms 100 — 130 fr. per month; cheaper as the summer approaches. Cabs. One-horse per drive 45 c, two-horse 7U c., to or from the sta- tion GO or 80 c, 1st hour 1 fr. 10 or 1 fr. 70., each additional hour 85 c. or 1 fr. 15 c. Post Office ou the 1. bank of the river, below the Ponte di Mezzo. Physicians. Bacchetti, Feroci, Fedeli, Landi (surgeon), Von Brunn. Photographers. Huguel db Van Lint, Lung' Arno , below the Ponte di Mezzo. Baths. Bafjni Geccheri/ii, Lung' Arno, N. side, near Ponte Mare. English Church Service in winter and spring. risd, a quiet town with 50,000 iiihab., situated 6 M. from the soa ou both banks of the Arno, is considered a good winter- residence for invalids, on account of the mildness and moisture of the atmosphere, but the heat in summer is very oppressive. It was the Pisae of the ancients, and once lay at the confluence of the Arnus and Auser (Serchio), which last now has an estuary of its own. Pisa became a Roman colony in B. C. 180. Augustus gave it the name of Colonia Julia Pisana, and Hadrian and Antoninus Pius erected temples, theatres, and triumphal arches here. At that period the town must have been a place of considerable importance , but all its ancient monuments, with the exception of a few scanty relics (p. 300) have disappeared. At the beginning of the Uth cent. "Pi-^a attained the rank of one of the greatest commercial and seafaring towns on the Mediterranean, and became a rival of Venice and Genoa. It was chiefly indebted for its power to the zeal with which it took the lead in the wars against the Infidels. In 1025 the Pisans expelled the Saracens from Sardinia and took permanent possession of the island. In 1030 and 1089 they again defeated the Saracens at Tunis, and in 1063 destroyed their fleet near Palermo. In 1114 they conquered the Balearic Islands and soon afterwards took a prominent part in the Crusades. In the i2th and 13th centuries their power had reached its zenith; their trade extended over the entire Mediterranean, and their supremacy embraced the Italian islands and the whole of the coast from La Spezia to Civita Vecchia. In the intestine wars of the peninsula Pisa was the most powerful adherent of the Ghibellines, and therefore sustained a severe shock through the downfall of the Hohen- staufen. The protracted wars which the citizens carried on with Genoa led to their, disastrous defeat at Meloria near Leghorn on 6th Aug. 1283, and the peace concluded in 1300 compelled them to evacuate Corsica and other possessions. In 1320 the pope invested the kings of Arragon with Sardinia, and Pisa was thus deprived of this important island also. The city was farther weakened by internal dissensions and fell a victim to the Cathedral. PISA. 50. Route. 59^ ambition of the condottiori. In 1406 it -was sold to Florence, but on the arrival of Charles VIII. endeavoured to shake off the yoke of its arrogant neighbour. In 1509, ho%vever, it was besieged and again occupied by the Florentines, to whom it thenceforth continued subject. In the History of Art the golden age of Pisa corresponds with the period of its political greatness, and forms a precursor of the Renaissance era. A ta^te for the beautiful gradually swept away the trammels of conventional types within which art had hitherto been confined. This was the case with the architecture of the Pisans, and still more so with their sculpture, in which an entire revolution was effected by Xiccolb Pixavo (about 1250), who had been deeply imbued with the spirit of anti- quity. In painting also a new era was afterwards introduced here by Giotto. Xiccolo Pisano was followed by numerous adherents. His son Giovanni was one of the most famous sculptors of his period, and the reputation of Pisa was still more firmly established by Andrea Pisano fd. after lSi9), his son Nino . and others. The Pisan school of painting held a considerably inferior rank , but fine works were executed in the Campo Santo and elsewhere by Bufalmacco., Benozzo Gozzoli., and others who were not natives of the place. The busiest part of the town and chief resort of straiigers is the Lung' Amo (especially the sheltered N. side), a broad and handsome quay extending along both banks of the river, which are connected by means of three bridges (besides that of the railway). At the W. end of the Lung' Amo rises the statue of Ferdinand I. (1595; near the church of 8. Nicola), a work of the school of Giovanni da Bologna. The far-famed illumination (La Luminara) here takes place on 17th June, every three years, and the Carnival is also celebrated here. The Lung' Arno with its pro- longation outside the Porta alle Spiagge (Passeggiata Nuova) is much frequented in the evening. The inundation of the Arno in 1869 caused considerable damage here. Churches and buildings in the Lung'Arno worthy of note, see pp. 299, 300. Of the sights of Pisa the most interesting is the **Pia2za del Duomo, with the Cathedral, the Leaning Tower, the Baptistery, and the Campo Santo, a group of buildings without parallel, especially as it is situated beyond the precincts of the town and therefore removed from its disturbing influences. Three hours at least are required to explore these edifices (guide unnecessary). The**Cathedral(Pl. Il), erected after the great naval victory of the Pisans near Palermo (1063 ) by Biisketus and Rainaldus in 1067 — 1103 in theTusean style, and consecrated by Pope GelasiusII. in 1118, is a basilica with nave and double aisles, and transept flanked with aisles, 104 yds. in length, and 351/2 vfls. in breadth in the interior, and covered with an elliptieal dome over the centre. This remarkably perfect edifice is constructed entirely of white marble, with blaek and coloured ornamentation. The most magnificent part is the facade, which in the lower storey is adorned with columns and arches attached to the wall, and in the upper parts with four open galleries, gradually diminishing in length. The choir is also imposing. The ancient bronze-gates were replaced in 1602 by the present doors, with representations of scriptural subjects, 294 Route 50. PI8A. P.aj>tisterif. . executed by Mocchi, Tacca, Morn, and others, from designs by Giovanni dn Bologna. The only one of the old doors extant is the ('rociera di S. lianieri in the S. aisle, by Bonnnnus ( l'2th cent. ). representing 24 scriptural scenes. The Interior (usually entered by the last mentioned door on the E. side, opposite the Campanile ) is borne by 65 ancient Roman and Greek columns captured by the Pisans in war. (The capitals are now covered with stucco.) The nave has a flat coffered ceiling, richly gilded, the aisles are vaulted, and above them run triforla which cross the transept to the choir. On 15th Oct., 159(1, the dome and the whole church, with the exception of the choir, were seriously injured by lire, but were subsequently restored. Many traces of the restoration are observable in the interior. Nave. Most of the tombstones formerly here have been removed to the Campo Santo. A few still remain by the W. ^Vall ., on the r. and 1. of the principal entrance, among them that of Archb. Rinnccini (d. 1582), by Tacca, and that of Archb. Giuliano de' Medici (d. 1600). On the pillar to the r. of the door an old fresco of Christ and the Marios by Bernardo Falcon i. The designs of the twelve altarsare attributed to MUh. Angela, the execution to *S7aj7i da Pietra Santa. The large altar-pieces are Ijy Lomi, Allori, Passignano, Salimbeni, and other masters of the IGih cent.; the intervening pictures are of the 17th and 18th centuries. — Pulpit adorned with lions and evangelists by Niccold Pixano. The swaying of the bronze lamp which hangs in the nave is said first to have suggested to Galileo the idea of the pendulum. On the last pillar of the nave on the r., St. Agnes, by And. del Sarto. Opposite is a Madonna by Perino del Vaga. S. Tkansept: 1st altar on the r.. Madonna, by Perino del Vaga and Sogliani. Above the ^Cappella di S. Ranieri, wliich contains a sarcophagus by Foggini, is a Madonna in mosaic, by a folbjwcr of Cimabue ; the relief on the niche and the statues by Francesco Mosca (about 1600j. A niche adjoining the chapel on the r. contains an ancient statue of Mars, commonly revered as St. Ephesus. The Madonna and Child which adorn the basin for holy water at the entrance were designed by Michael Angela. The CnoiE contains finely carved stalls, with prophets, landscapes, animals, etc., attributed to Giuliano da Majano. The two angels in bronze on the r. and 1. are by Giovanni da Bologna. The high altar, overload- ed with marble and lapis lazuli, dating from 1774, was restored in 1825. Above it, Christ on the Cross, by Giovanni da Bologna. The episcopal throne is by Giov. Ball. Cervellesi (1536), the six reliefs by masters of the school of Giovanni Pis^no. On the arch of the choir, angels by Bom. Ghirlandajo, unfortunately much retouched. The mosaics in the dome (Christ between Mary and St. .John) arc by Cimabue (begun about 1302). Of the pictures in the choir, SS. Margaret and Catharine on the r. in front of the high altar, and SS. Peter and John on the 1., bv And. del Sarto, are worthy of inspection ; beyond the high altar, ^Abraham's Sacrifice, and Entombment l)y Sodoma. The capitals of the two porphyry columns on the r. and 1., with figures of children , are by Stagi, the designs being attributed to Michael Angela. N. Tp.anskpt. Over the Cappella del SS. Sagramento, the Annuncia- tion in mosaic by a follower of Cimabue. The altar, richly decorated with silver by Foggini, was presented by Cosmo III. 5 behind it, Adam and Eve, a basrelief by Mosca, by whom the other statues were also executed. The ""Baptistery (II Battistero), begun in 1153 by Diotisalvi, but according to the inscriptions not completed till 1278, and with Gothic additions of the 14th cent., is also entirely of marble. It is a beautiful circular structure (33'/2 y*is. in diameter), surrounded Leaning Toiler. PISA. 50. Route. 295 by half columns below, and a gallery of smaller detached columns above, and covered with a conical dome (190 ft. high, restored in I856j. It has four entrances ; at those on the N. and E. are sculptures in marble of the i2th century. The Interior rests on eight columns and fuur pillars, above which there is a simple triforium (^restored) ; in the centre the octagonal Font, with beautiful marble rosettes, and an admirable hexagonal *Puipit, borne by seven columns, with reliefs by iViccoZt) P/sano, 1260: (^1 J Annunciation and Nativity ; [2 ) Adoration of the Magi ; ( 3) Presentation in the Temple ; (_4) Cruciflxion ; ( 5 ) Last Judgment ; {Q) allegorical figures ; in the corners the apostles. The ^Campanile, or clock-tower, begun by the architects Bonannus of Pisa and Willifim of Innsbruck m 1174, and completed by Tovimaso Pisano in 1350, rises in eight different storeys, which like the Baptistery are surrounded with half-columns and six colonnades. Owing to its remarkable oblique position, 13 ft. out of the perpendirular (height 179 ft.), it is usually known as the Leaning Tower. The question whether this pe<"uliarity was intentional or accidental lias frequently been discussed. The most probable solution is that the foundations settled during the progress of the structure, and that, to remedy the defect as mu(Oi as pos- sible, an attempt was made to give a vertical position to the upper part. Galileo availed himself of the oblique position of tlie tower in his experiments regarding the laws of gravitation. The* View from the platform, embracing the town and environs, the sea to the W., and the mountains to the N. E., is very beautiful; a good stair of 294 steps leads to the top. Permission (for a party of not fewer thdiU three, but if necessary the custodian will make up a party ; fee • — 1 fr.) is obtained at the town-hall. The tower contains seven bells, the heaviest of which, weighing 6 tons, hangs on the side opposite the overhanging wall of the tower. The **Campo Santo ( PI. iQ), ox Burial Ground, was founded by Archb. Ubaldo, 1188 — 1200 (open daily ; knock at the door to the 1., 1 2 fr. to the custodian on leaving). After the loss of the Holy Land the archbishop conveyed 53 ship-loads of earth hither froui Mt. Calvary, in order that the dead might repose in holy ground. The structure which surrounds the churchyard was begun in 1278 by order of the senators of the city, and completed in 1283 by Giovanni Pisano, in the Gothic-Tuscan style. It is 138 yds. in length, 57 yds. in width, and 48 ft. in height. Externally there are 43 flat arcades resting on 44 pilasters, the capitals adorned with figures. Over one of the two entrances is a marble canopy, with a Madonna by Giovanni Pisano (?). In the interior there is a spacious hall, the open, round-arched windows of whii-h, with their beautiful tracery, 62 in number, look upon a green quadrangle. Three chapels adjoin the Campo ; the oldest is to the r. of the entrance, in 296 lioute r)0. PISA. Campo Santo. the centre of the K. side, with dome ol" later date. The walls are covered with *frescoes by painters of the earliest Tuscan school of the 14th and 15th centuries, below which is a collection of Roman, Etruscan, and medieval S(;ulptures, these last being important links in the history of early Italian sculpture. The tombstones of per- sons interred here form the pavement. Paintings. To the r. of the chapel, on the E. Wall: Ascension, the fl()ul)ting; Thomas, Resurrection, and Crucifixion, by a follower of Giotto, supposed to be Bnffalmacco^ end of 14th century. On the S. Wall: *Triumph of Death, represented as filling with horro those who are devoted to earthly joys, but as welcome to the miserable and self-denying (on the 1. an admirable equestrian group, who on their way to the chase are suddenly reminded by three open coffins of the transitori- ness of human pleasures); the *Last Judgment (attitude of the Judge celebrated), attributed by Vasari to Andrea Orcaijna , and Hell , the next picture, attributed by the same authority to Bernardo., Andrea's brother, have been pronounced by modern investigators not to be the works of these masters. — Next is the life (temptations and miracles) of the holy hermits in the Theban wilderness , by Pietro and Avibrogio Lorenzetti of Siena (about 1340; the two preceding paintings perhaps by the same masters). Between the two entrances, the life of St. Ranieri, the tutelary saint of Pisa; the three upper scenes (conversion from a worldly life, journey to Palestine, victory over temptation, retirement to a monastery) completed by Andrea da Firenze in 1377 (erroneously attributed to Simone Memvii and others); the three lower and better executed scenes (return from Palestine, miracles, death, and removal of his body to the cathedral of Pisa, the last much injured) were painted l)y Antonio Veneziano about 1386. -^ Then, above, scenes from the life of St. Ephesus (who as a Roman general, fighting against the heathens, receives a flag of viclory from the Archangel Michael, but is afterwards condemned and executed) ; below, scenes from the life of St. Potitus, admirably pourtrayed by Spinello Aretino about 1390, but now almost obliterated. Next, the history of Job, l)y Francesco da Volterra (erroneously attributed to Giotto)., begun in 1371, a vigorous work, but in bad preservation. On the W. wall no paintings of importance. On the N. Wall the history of the Genesis : first the Creation (God the Father holding the world in both hands, 41 mappamondo'') ; then in the upj»er series, Creation of man, the Fall, Expulsion from Paradise, Cain and Abel. Building of the ark , Deluge , and Noah's Sacrifice, by I'ietro di Piiccio of Orvieto , aboxit 1390 (erroneously attributed to Buffal- macco). The lower series and all the following paintings on the N. wall are by Benozzo Gozzoli of Florence, 1469 — 85, twenty-three *representations from the Old Testament, admirably executed 'a tempera': Noah's vintage and drunkenness (with the ' Vergognom di Pisa\ or ashamed female spectator), the Curse of Ham, the Tower of Babel (with portraits of celebrities of that period, Cosmo de' Medici, his son Pietro, and his grandsons Lorenzo and Giuliano), the history of Abraham , Isaac, Jacob and Esau, Joseph, Moses and Aaron, Fall of the walls of Jericho, history of David, Solomon and the Queen of Sheba; this last much injured. Itenozzo himself was interred below the history of Joseph. Sculptures and Monuments. S. Side. In the 1. corner 152, 153. inscrip- tions in honour of Cains and Lucius Cgesar, grandsons of Augustus. XL. Roman sarcophagus with the rape of Proserpine, on which is placed a fine head of M. Agrippa in basalt. V. Early Christian sarcophagus with a represen- tation of the Good Shepherd (2nd "or 3rd cent.). 179. Column with muti- lated statue of the Madonna, of the later period of the school of Giovanni Pisano. VIII. Fragment of a sarcophagus with fine Bacchanalian represen- tation. To the r. of the entrance, AA. *BIonument of the oculist Andrea Vacca (d. 1826) by Thorvaldsen., Tobias curing his father's blindness. 33. Madonna Campo Santo. PISA. 50. Route. 297 and Child with six saints, beneath them the history of Christ by Tommaso Pisano. CC. Tombstone of Count Algarotti (d. 1764), erected bv Frederick the Great. W. End. 7. Ancient palm frieze with dolphins and tridents. XI. Large ancient bath , latterly used as a sarcophagus. 45. *Virgin and Child by Giovanni Pisano (mutilated). 46. Monument of Count delta Gherardesca (14th cent.). GG. Monument of Emp. Henry VII. of Luxem- bourg, protector of Pisa as a partizan of the Ghibellines (d. 1313 at Buonconvento), of the school of Giovanni Pisano , the apostles on the sarcophagus by Tino di Camaino. On the wall above, the chains of the ancient harbour of Pisa, captured by the Genoese in 1632; parts of them were given to the Florentines, who suspended them at the entrance of the Baptistery at Florence, but were restored to the Pisans in l&iS; the second chain was restored to them by the Genoese in 1860. XII, XIII. Two Roman sarcophagi with Etruscan cinerarj- urns placed on them; between them, 47. Caritas, above the four cardinal virtues, by Giovanni Pisano. Bust of Cavour by Dupre of Florence. LL. Sarcophagus of Bishop Ricci (d. 1418), of the earlier Pisan school. 50. Madonna attributed to Orcagna. 52. On a broken column, a marble vase with fine Bacchanalian represen- tation. QQ. Tomb of the fabulist Prof. Lor. Pignotti. N. Side. 57. Large Greek *relief from a tomb. XIV. Roman sarco- phagus. 62. Virgin and Child by Giovanni Pisano. 76. Madonna in terra- cotta by the Rohbias. The chapel contains remains of a large fresco from the church del Carmine at Florence, which was destroyed by fire, attrib- uted to Giotto. On the 1. the tombstone of Ligo degli Ammanati (d. 1359). Farther on, 78. Beautiful head of a young Greek, perhaps Achilles. 83. Head of Pluto. XIX. Sarcophagus with Bacchanalian scene, upon it the bust of Isotta of Rimini by Mino da Fiesole. XX. Sarcophagus with the procession of Bacchus. XXI. *Sarcophagus with the myth of Hippolytus and Phsedra , from which Xiccolu Pisano copied several figures for his pulpit (p. 295); the remains of the Countess Beatrix (d. 1076), mother of the celel)rated Matilda, were subsequently deposited here. XXV. Sarco- phagus with children gathering fruit. In the chapel the tombstone of Cardinal Maricotti (d. 1345). XXVI. Mithras sarcophagus. Several Egyp- tian antiquities. XXIX. Bacchanalian sarcophagus with the myth of Actfeon on the cover. 135. Sitting statue, supposed to be the Emp. Henry VII., surrounded by four of his counsellors. XXX. Sarcophagus with the hunt of Meleager. XXXII. Sarcophagus with a battle of barbarians. XXXIII. Sarcophagus with the nine Muses. E. End. 134. Griffin in bronze with Coptic inscriptions. Sarcophagiis of Ph. Dezio (d. 1535) by Stagi. Statue of Leonardo Fibonacci by G. Paggamtcci. 136. Pedestal with the seven arts , bearing a saint with a pair of scales by Giovanni Pisano. Monument of Count Mastiani , with the sitting statue of his inconsolable widow, by BartoUni , 1842. Bevond it the large monument of Gregory XIII. (d." 1543). 139, 141. Etru"scan altar with rams' heads at the corners. Monument of the singer Angelica Catalani (d. at Paris 1849), by Costoli. Statue of Xiccolo Pisano by Salvini. By the inner wall of the S. passage are a number of Roman and early Christian sarcophagi (e. g. LXXVI. and LXXVIL). In the open space between the arcades two antique fountain-spouts. A visit to the Campo Santo by moonlight is very impressive (notice must be given to the cu«itodian previously). The Via del Carmine leading from the railway station to the cfthedral crosses the Arno by the Ponte di Mezzo, beyond which it is continued by the Via del Borgo. We turn here immediately to the r. and reach S. Michele in Borgo (PI. 29), in the Gothic style of the 13th cent., from a design attributed to Niccolb Pisano (but more probably by his pupil Fra Guglielmo'), with an ancient crypt supposed to occupy the site of a heathen temple. 298 Route 50. PISA. S. Slefano. The first broad side-street to the 1. leads to the Piazza del f'dvalieri, formerly degli Anziani, once the central point of the republic of Pisa. In this piazza rises S. Stefano ai Cavalieri (PI. 18), begun from designs by Vasari in 1565, interior completed 1596, ^vith fai^ade designed by BuonUi- lenti, the church of the knights of the Order of St. Stephen. It contains Turkish trophies on the r. and 1. of the door, and ceiling- paintings of the battle of Lepanto (1571) and other victories over the Turks, by Cristoforo Allori, Jacopo da EmpoU, and others. On the 2nd altar to the 1. a Nativity by Alessandro Allori: '•Quern genuit adoravit\ a finely conceived work, 1564. Excellent organ. The Palazzo de Cavalieri, adjoining the church, erected by Vasari, is now a school ; above the door are busts of six. masters of the order ; in front of the building a marble statue of the Grand- Duke Cosmo, designed by Giambologna and executed by Francavilla (1596). Opposite to it once stood (down to 1655) the ill-famed 'Tower of Hunger', or rather Torre dei Gualandi alle sette Vie, in whi(Oi, in 1288, Archb. Ruggieri degli Uhaldini caused Count Ugolino dei Gherardeschi with his sons and nephews to be starved to death as a punishment for treason, as described by Dante in the 33rd canto of his Inferno. On the r. , in the Via S. Frediano (No. 972), leading from the piazza to the Arno, is the Accademia delle Belle Arti (PI. 1), founded by Napoleon, and containing a collection of pi(;tures, chiefly of the earlier Pisan and Florentine schools, still imperfectly arranged. I. Room. Umhrian School, S. Agnella; fiodoma , Madonna enthroned and saints (from the church of S. Maria della Spina); School of Fra An- (jelico, Madonna-, Amhrogio d'Asti, God the Father and anjiels; Hyzantine Madonna. — II. Room. Beccafumi, Birth of John the Baptist; Fra Ange- licoO), Angels: Tempesii, Portrait of himself. — III. Room. Zenobio Mac- chiarelli, Madonna and four saints; Giunia Pisano, Crucifix, interesting on account of the old view it contains of the cathedral and its environs; Paolo Uccello, Triumphal procession of an emperor; Orcagiia('i), Four saints; Tomniaso (1366), Christ on the Cross, 3Iary, and the Magdalene; *St. Catharine, with a view of the city by a Dutch master of the 15th cent, (wings by a different hand). — IV. Room. Traini , St. Domenicus; Giotlino (school of Giotto), Annunciation, Crucifixion, and St. Ursula; Ainbrogio d"A$ti(ib\.^), Christ, 3[adonna, and angels; Fra Filippo Lippi (1), Madonna, two angels, and four saints; lienozzo Qozxoli, Madonna and four saints; Deodatus Orlandi of Pisa, Madonna and four saints (1301); Barnaha da Modena^ Madonna enthroned (1370); Cimabue , Madonna (wings still in the Byzantine style). — Another room contains the sketches of the pictures in the cathedral. — The Hall contains a Coronation of the Madonna by Gentile da Fabriano (/)■ — Last Room. Benozzo Gozzold cartoon of the 't^ueen of Sheba's visit to Solomon' in the Campo Santo; a small Madonna in the style of Andrea del Sarto; several works by Btnozzo Gozxoli and Botticelli; Adoration of the Magi by Cigoli. The street then leads past the church of S. Frediano to the University, or La Sapienza (PI. 58), not far from the Lung' Arno, a spacious structure of 1493, extended in 1543, with a fine court S. Pranresco. PISA. 50. Route. 299 (early Renaissance) and a library containing among other curiosities the celebrated Statuto di Pisa, the basis of the ancient constitution. Connected witli the university are the Museum of Natural Histoi'y, founded in 1590, chiefly illustrative of the ornithology and geology of Tuscany, and the *Botanical Garden (^both in the Via 8. Maria, PI. 37j, one of the oldest in Italy, founded in 1544, remodelled in 1563 by the celebrated Cesaiplno, and superseded by the present garden in 1595 which was laid out by Giuseppe Benincasa. The university, mentioned in history as early as the 12th cent., and extended by Cosmo I. in 1542, is now provided with a staff of about 60 professors and attended by 600 students. The celebrated Galileo was appointed professor of mathematics here in 1610, and a statue was erected to him in the court by Emilio Demi in 1839 to commemorate the first meeting of the Scienziati Italiani. The street opposite the church, to the W., leads from tlie Piazza dei Cavalieri to (1.) the church of S. Sisto (PI. 36 ). founde.l on the festival of S. Sisto, 6th Aug. 1089, to commemorate several victories of the Pisans, and containing line columns of marble and granite in the interior. It was frequently used as a place of assembly by the Council of Pisa. The transverse street in a straight direction leads hence to the Via S. Maria, which to the r. leads to the Piazza del Dnomo, and to the 1. to the Arno. On the r. in the latter direction is the Natural History xMuseum and the Botanical Garden (see above); then on the 1., near the Arno, rises S. Nicola (PI. 11), founded about the year 1000 by Count Hugo of Tuscany as a Benedictine Abbey, with an obliquely placed f'am- panite wliich contains an admirable winding staircase ascribed to Niccolb Pisano. The Piazza in front of the church is adorned with a statue of Ferdinand I. (see p. 293 j. Following the Via del Borgo in a straight direction, and turning to the r. into the Via S. Caterina, we reach S. Caterina (PI. 17), erected about 1253, with an interesting Pisan Gothic facade. It contains (to the 1., near the door) the tombstone of Archbishop Simone Saltarelli by Nino Pisano, 1342; an altar (3rd 1.) of St. Thomas Aquinas with the glory of the saint by Francesco Traini, 1341 ; in the 1st chapel r. of the choir, a Madonna with SS. Peter and Paul, by Fra Bartolommeo and Mariotto Albertinelli (d. 1512). — The church is situated in a beautiful piazza planted with trees and adorned Avith a statue of Peter Leopold hy Pampaloni. — In the vicinity, to the S. E., is the church of S. Francesco (PI. 10), with frescoes on the ceiling of the choir by Taddeo Gaddi (1342), cloisters with richly decorated columns (end of 15th cent.), and a good campanile. On the 1. bank of the Arno ia situated 300 Ponte 5(K PISA. J^nrhovx. *S. Maria della Spina fPl- '20), so railed from a fragment of the veritable 'Crown of Thorns" preserved here, an elegant little church in the French Gothic style, erected in 1230 by the senate and the noble families Gualandi and Gattosi, for sailors about to go to sea. It was enlarged in 1323, and adorned with sculptures by pupils of Giovanni Pisano and by Nino, the son of Andrea Pisano (key kept at the opposite house, No. 22; ring). Farther on, at the end of the town, near the Porta a Mare, is *S. Paolo a Ripa d'Arno (PI. 31 ), dating from the 12th or 13th cent., with a tine facade embellished with three rows of columns, the finest at Pisa after that of the cathedral. The interior is adorned with badly preserved frescoes of 1400. The following Palaces on the Lung' Arno are worthy of inspection: Palazzo L(infreditcci(F\. A7\ no^w Vppezinghi, designed by Cosimo Pagliani, with part of a chain over the principal entrance and the motto ^AUn Giornata\ The small picture gallery contains 'Heavenly and Earthly Love' by Ouido Reni. *Pal. Agostini, a fine Gothic brick structure of the 16th cent., the ground-floor of which is occupied by the Cnffe delV Ussero. Loggia de' Banchi (V\. 39), erected in 1605 by Buontalenti, is now a corn-exchange. — The handsome Pal. Oambacorti is now the custom-house (dogana). Pal. Lanfranchi (now Toscanelli\ attributed to Michael Angela, where Lord Ryron resided for some time. The Archivio del Duomo (formerly church of S. Felice) con- tains very ancient documents. A repository for the municipal archives is now being prepared. Nothing is now left of ancient Pisa except remains of baths (Bagni di Nerone) near Porta Lucca. The house where they are to be seen is indicated by an inscription. Environs. Ontpidc the Porta Nuova, between the Maltraverso Canal and the r. hank of the Arno, al)ont l'J2 M. in the direction of the sea, is situated the Cascine S. Rossore, a farm founded by the Medici , with fine plantations of pines. On the coast, about 3J4 51. farther, liesIlGombo, an unpretending sea- bathing place, commanding a beautiful view of the mountains of Viareggio and the Bay of Spezia (omnibus to the baths in summer from the Sotto- IJorgo). Tlic poet Shelley was drowned here on 7th July, 1822. His friend Byron afterwards caused his remains to be burned, and the ashes deposited near the pyramid of Cestius at Rome. The Monti Pisani , a range of hills to the E., are very picturesque ; among them, about 6 M. from the town, in the Valle dei Calci , lies La Certosa, or the Carthusian Abbey, a fine structure of the 14th cent. (1367), with church and cloisters , restored in 1814. To the r. above it is La Vermca., a mountain 17G5 ft. above the sea-lerel, crowned with ruins of a castle of the 15th cent, and commanding a delightful prospect. Al>out 3 M. vS.W. of Pisa, on the old post-road to Leghorn, to the r. of the railway, in the direction of the Arno and opposite 8. Rossore. is situated the ancient basilica of *S. Pietro in Grado, erected before the year iOCO, containing beautiful antique columns and capitals , occupying the spot, according to tradition , where St. Peter first landed in Italy. It was LUCCA. 61. Route. 301 formerly mucli frequented as a pilgrimage-eliurch. The faded paintings in the interior are of the 14th cent. The ancient estuary of the Arno, with the harbour of Pisa, must once have been at this spot, before the present coast was formed by alluvial deposits. One of the favourite excursions hence is to the Baths of Pisa, or Bayni di S. Giuliano (see below), which are reached in a few minutes by the Lucca line. 61. From Pisa to Florence by Lucca and Pistoja. Gl M. Railway in 4 hrs. ; fares 9 fr. TO c, 7. fr. 85 c, 6 fr. The line intersects the fertile plain between the Arno and Serchio. First stat. (S-^^ M. ) Bayni di San Uiutiano, at the hase of the Monti Pisani, known to the ancients as Aquae Calidae Pisa- norum (Plin. Hist. Nat. II., 104). 11 Pozzetto is the warmest spring 1^104" Fahr.), Bayno deyli Ebrei the coklest (82"). Twelve different baths are distinguished by the names of heathen divinities ; there is also a bath for the poor, as well as the usual adjuncts of a watering-place. Many Roman antiquities have been found here. At the following stat. Kiyoli the line approaclies the Serchio, tlie 1. bank of whicli it traverses as far as the next stat. Ripafratta. It tlien describes a complete semicir(de round the beautifully form- ed Monte S. Giuliano, whicli, as Dante says (^Inferno, 33, 30), prevents the two towns of Pisa and Lucca from seeing each other. 91/4 M. Lucca, {* Croc e di Malta, PI. a; *L'L'nioer8o , PL b; Campana, or Posta, PL c; Alberyo and ^Trattoria Corona, in the Via Pozzotorelli, near the Piazza Grande J, one of the pleasantest provincial towns in Italy, with 64,000 inhab., formerly the capital of the duchy of that name, is an antiquated place situated in a fertile plain, with well-preserved fortihcations, and many interest- ing churches. 'Lucca Vindustrioisa'' is noted for its silk factories, a branch of industry introdut;ed from Sicily in the 14th cent., and also for its woollen goods. The oriental fez is largely manufac- tured here and exported to the Levant. Lucca (Roman Lucu) was founded at a very remote period. It first belonged to Liguria, afterwards to Etruria, and became an important raunicipium. In B. C. .56, Julius Caesar, then governor of Gaul, held a conference here with Pompey and Crassus, with whom he had been associated since B. C. GU, in order to discuss a plan for the ad- ministration of the Roman empire for the ensuing live years. The splen- dour of Lucca at that period is still indicated by the remains of the Ro- man * Amphitheatre near S. Frediuno. After the fall of the Roman Empire. Lucca belonged successively to the Goths, Lombards, and Franks, then became a duchy , and in the r2th cent, a republic. The feuds of the Guelphs and Ghibellines impaired the strength of the place so seriously that in 1314 it was compelled to succumb to Uggucione delta Faggiuola of Arezzo, the warlike governor of Pisa, who is believed by some to be the deliverer promised to Italy by Dante (Inferno, I, 102). The poet resided with his friend Uguccione at Lucca in 1314. and there became enamoured of the youthful Gentucca (Purgatorio 24, 23), but he does not describe the inhabitants in very flattering terms (Inferno 21, 41). After the expulsion of Uguccione, Lucca fell in 1325 into the hands of the powerful Castruecio Castrani degli Inierminelli of Lucca. , who was also master of Pisa and Pistoja. On 23rd Sept. 1325 he defeated the Floren- 302 Route 51. LUCCA. From Pisa tines at Altopascio, and in ISTl was nominated imperial governor of Tus- cany by Emp. Lewis the Bavarian. On his death in \3'2S the power of Lucca declined; its next master was Martina delta Scala\, it subsequently came into the possession of Pisa, but in 1369 purchased its own freedom from Charles IV. for 300,000 fl., and remained independent till the inva- sion of the French in 1799. In 1805 Napoleon gave Lticca as a principality to his sister Elisa Bacciocchi ; in 1814 it came into the posse.ssion of the dukes of Parma of the house of B(mrbon , who in 1847 ceded it to Tuscany. In the history of architecture Lucca holds an important rank. The greatest artist of the place was the talented sculptor Matteo Civiktli (1435 — 1501), whose principal works are in the cathedral. Immediately on qnittiiiK the station , we perceive within the ramparts to the r. the handsome *Cnthedral of S. Martina fPl. 1), erected in 1060— 70 in the Romanesqno style by Bishop Anselmo Badagio (afterwards Pope Alexander II. ), but siihseqnently frequently restored, remarkable for the sumptuous facade added by Ouidetto in 1204, and for its im- pressive choir. The vestibule contains sculptures of the begin- ning of the 13th cent, representing the history of St. Martin. Over the small door is 8t. Regulns on the r., and a *Descent from the Cross on the 1. by Niccolb Pisano (?) (1233). The church is entered by three doors of carved Av^od , that in the centre being the finest. The Interior^ in the form of a Latin cross, with nave and aisles 136 paces in length, transept 70, and nave 44 paces in width, has a clerestory ( with large windows and rich tracery) over the aisles and continued across the transept, which it also intersects longitudinally (the transept seems narrower than projected), and received various Gothic additions in the I4th cent., especially in the arches of the transept. Above the aisles is a triforium. The old frescoes on the vaulting were restored in 1858. The stained glass in the side windows" is modern, those in the choir by Fandolfo di U'jolino d(i Pisa. 1st Altar on the r., i>iativity by Passig- iiano; 2nd, Adoration of the Magi, F. Zucche)o\ Srd, Last Supper, Tinto- retto; 4th, Crucifi.xion, Passifjnatw; *Pulpit by Matteo Civitali (1498). In the Sackisty a ^Madonna with SS. Clement, Peter, Pitul, and Sebastian, with predella by Dom. Ghirlandajo. *La Croce dei Pitani , beautifully executed in 1350 by Bettuccio Baroni, in silver, gilded, originally belonged to the Pisans, but was carried otT by the inhabitants of Lucca (not shown except by special permission, to be procured on the previous day). The S. TuANSEi'T contains the beautiful marble *monument of Pietro a Noceto, secretary of Pope Nicholas V., by Matteo Civitali (1472); by the same master, on the wall to the r., is the portrait of Count Domenico Bertini (1479); also in the Cappella kel Sacramento (1st Chapel r. of the choir) two angels in an attitude of adoration and the *Altar of St. Reguhis (r. of the choir), with St. Sebastian and John the Baptist and beautiful li.isreliefs (1484). To the 1. of the choir the 'Altaii of libertt\ which Lucca recovered in 1369 from Emp. Charles IV. (inscription: Christo liberatori atque divis tutelaribiis), with a Resurrection by Giambologna (1579). On the wall St. Petronilla, by Daniele da Volterra. In the following Cappella uel Santuaiuo, a Jladonna with SS. Stephen and John by Fra Bartclommeo (1509). The decorations of the pilasters are by Civitali'. The X. Transept contains the * sarcophagus of Ilaria del Car- retto (d. 1405). l»y Jacajm delta Quercia. In the Nave is *Il Tempietto, a small octagonal chapel of marble, partially gilded, erected in 1484 by M. Civitali, and containing the Volto Santo di Lucca, an ancient crucifix to Florence. LUCCA. 51. Route. 303 in cedar-wood, said by tradition to have been made by Nicodemi/s, and to have been transferred in a miraculous manner from the Holy Land to Lucca in 782. It is shown publicly three times a year only. The em- broidery on the red curtain is a faithful copy of the sacred relic behind it. In front of the entrance i.^ suspended a candelabrum of solid gold, 24 lbs. in weight, presented by the inhabitants of Lncca in 1836, when the approach of the cholera was dreaded. On the opposite side a statue of St. Sebastian, also by Civitali. In the N. Aisle, 5th altar (from the entrance) Visitation of the Virgin, by Jacopo Ligozti. Over the 2nd altar, Presentation in the Temple, by A. Allori. On the 1. of the entrance, Descent from the Cross , and St. Xicodemus carving the Volto Santo (see above), frescoes by Cosimo Roselli. On the pavement of the nave, inlaid work of coloured stones, represen- ting Solomon's Judgment. At the back of the cathedral is the Archiepiscopal Palace, and beyond it the small Gothic chapel of Sta. Maria della Rosa (1333). S. Giovanni (PI. 41, near the cathedral, is a basilica of the l'2th cent., with aisles and transept. The fagade is modern with the exception of the portal, over which there is a relief of the Madonna with the Apostles of the 12th cent., and gronps of animals on the r. and 1. In the interior the flat coffered ceiling is sup- ported by ten columns, of which the shafts and some of the capitals are probably ancient. In the 1. aisle a monument to Giov. Farina ( d. 1847 ). — Adjoining the 1. transept is a venerable Baptistery, the roof of which was renewed during the Gothic period. A few paces from this church is the Piazza Maggiore (Xapoleone) , where a Monument by BartoUni was erected to the Duchess Marie Louise in 1843, in recognition of the service rendered by her to tlie town in constructing an aqueduct in 18'23 — 32. In this piazza is situated the Palazzo Pubblico (PI. 10), formerly Ducale, begun in 1578 from designs by Ammanati, but still incomplete, containing a small Collection of Pictures, chiefly modern, by Michele Ridolfi (of Lucca, d. 1853), Nocchi (Aurora), (riovanetti, Camuccini, etc. (open Wed. and Sat.). Not far from the Piazza Maggiore ( in the first side street to the r. of the Via della Rotonda ) is the church of S. Alessandro, a simple structure completed before 1080, with fine antique columns. A little farther, in the Via della Rotonda, at the end of the street diverging to the 1. opposite the 'Croce di Malta' hotel, is situated S. Romano (PI. 8), which existed as early as the 8th cent., but was remodelled in bad taste in the 17th by Vincenzo Buonamici. It contains two excellent pictures by Fra Bartolommeo , the *Ma- donna della Misericordia (to the 1., adjoining the choir), with por- traits of the Moncalieri family, of 1515, and *God the Father with Mary Magdalene and St. Catharine of Siena, of 1509 (to the 1. of the principal entrance, both covered). Beneath the high altar is the sarcophagus of St. Romanus , attributed to Civitali, 1490, but it is probable that the recumbent figure of the saint only was executed by him. We now return to the Piazza Maggiore and proceed to the 1. to 304 Route 51. LUCCA. From Pisa the venerable cliurch of iS. Michele(Pl. 6), founded in 764 by Teut- prandus and his wife Gumpranda, with an over-decorated facade of 1288, rising high above the nave, and surmounted by a figure of the angel with brazen wings. The row of columns on the S. side was added in 1377. 1st Altar r. : Madonna in Trono by Fra Filippo Lippi. — The Palazzo Pretoria, in the style of the 15th cent., is also situated in the Piazza S. Michele. Opposite the N. portal of the church rises the statue of S. Burlamacchi (d. 1548), by Cambi, erected in 1833. On the N. side of the town is situated *S. Frediano (PI. 2), a basilica of the 7th cent., founded by the Lombard kings Bertharic and Cunibert, in honour of St. Frigi- dianus. an Irishman , who was bishop of Lucca in 560 — 78. The present fat^ade was erected in the 12th cent, on the site of the former apse ; the Ascension in mosaic of the same period with which it is adorned was restored in 1827. Tlie nave was originally flanked with double aisles, tlie outer of which have been converted into chapels. Most of the 22 columns are ancient. The ^Cappella di S. Agostino C2nd to the 1.) contains two old *frescoes by Ainico Aspertiiii , a pupil of Francia, judiciously retouched by Michele Ridolfi. On the ceiling God the Father, surrounded by angels , prophets, and sibyls; in the lunette to the 1. the Entombment; below it, to the 1., an image of Christ found in the sea (Volto Santo, p. 303), drawn by two oxen, r. St. Augustine, baptized by St. Ambrosius at Milan. In the lunette on the wall on the r. St. Augustine instructing his pupils, and presenting them with the rules of his order; beneath, to the 1., the Nativity and Adoration of the Magi ; r. the miracles of S. Frediano, who checks an inundation of the sea. — In the Cappella del Sacramento (4th to the 1.), an altar with a * Madonna and four saints in relief by Jacobus magislri Petri de Senis (Jacopo delta QuerciaT) (142'2). — Opposite, over the altar to the r. behind the pulpit, is the * Coronation of Mary ; below are king David and Solomon, St. Anselm and St. Augustine, by Francesco Francia (covered). At the foot of the picture are four scenes from the history of the Augustinian Order. — The 2nd chapel on the r. from the entrance contains the tomb of St. Zita, the patroness of Lucca, mentioned by Dante (Inferno 21, 28) ; in the church, in front of the chapel, is the ancient font, with unexplained representations by Magister Robertas (1151); by the wall is the more modern font by MatteO or Niccolb Civitali (brother of Matteo); above it the Annunciation, heads of angels, children, and rich garlands by the della Robbias. On the wall of the entrance, to the r. of the door, a Madonna and Child by Amico Asperlini; to the 1. the Conception by Rid. Ghirlandajo, both al fresco. We now cross the Piazza S. Frediano, which adjoins the church on the E., and turning either to the r. or 1. reach an en- trance to the Piazza del Mercato (PI. D, 2), the houses enclosing which are built upon the foundations of a Roman Amphitheatre. Two series of tlie arcades, of 54 arches each, are still visible on the outside. Remains of an ancient theatre are also shown near the church of S. Maria di Corte Landini. To the E. is situated S. Francesco (PI. 3j, a spacious edifice, erected in 1442, containing the monuments of the poet Giov. Guidiccioni (IGth cent.) and the celebrated Castruccio Castracani (d. 1328 J, to the r. by the wall, between the 3rd and 4th altars. to Florence. BAGNI DI LUCCA. 51. Route. 305 Among the numerous rharitaltle institutions of Lucca may be mentioned the Deposito di Mendicith (poor-house), established in the Italian -Gothic Palazzo Borghi, with a lofty tower, erected in 1413 by Paolo Guinigi, chief of one of the most powerful families of Lucca. Of the Libraries the most remarkable are the Archiepiscopal, containing 20 valuable MSS. and 400 rare editions, the Library of the Chapter with about 500 MSS., the Biblioteca Rente with MSS. (among them Latin poems of Tasso, written by his own hand ) and early specimens of printing. The Archives are also very valuable. A spare hour should be devoted to a *Walk round the ramparts, which afford a succession of pleasant views of the town with its numerous towers, and of the beautiful mountains in the vicinity. In the grounds on the N. side stands the monument of Charles III. of Spain, ere<^ted by his grand-daughter the Duchess Marie Louise, in 18'2'2. The Environs of Lucca are bermtiful, and many of the pleasant villas are comfortably furnished for the reception of strangers, l>ut in summer the country is hot and destitute of shade. The traveller should visit the f3>)-2 31.) royal *Villa di Marlia, with i*s beautiful srrouuds, fine points of view, and fountains, resemblina: Marly at Paris (whence the name), and with a Greek chapel containing old paintings, etc. (iiermission must be j2 hr-^., 3 fr. ; carr. 15 fr.), are situated in a mountainous district on the small river Lima. The road quits Lucca by the Porta Sta. JIaria and leads to the "N. by the bank of the Serchio, an unrulv stream confined between loftv embankments. A road diverges to the T. to the beautiful Villa Marlia (see above). The road then crosses the Serchio by the bridge of Mariano., decorated with figures of saints (IS29), and traverses a charming hilly district. It passes the villages of .SV.artments are at the Bagni alia Villa and the Bagni Caldi, the most frequented at Ponte a Serraglio, which is the central point of the various establishments , and the usual evening resort of visitors. The casino, or Ridotti , stands on the hill in the vicinity. Xear it is the Nuovo Ospedale , erected by the Russian Prince Demidoff (p. 363). The Railway from Lucca to Pistoja at first traverses the plain BiEDEKEK. Italv I. 3rd Edit. 20 306 Route 51. PISTOJA. From Pisa to the E. ; a little to the S. lies the Lago di Bientina (p. 2871. Stations Porcari, Altopascio (where the line turns to the N.), S. Salvatore, and ( 14'/4 M. ) Pe.scm (Posta), a small town, situated about 172^- to theN. on the river of that name, which the railway crosses, in a beautiful district, with silk and paper manufactories. The Cathedral of Pcscia has remains of a facade of 1306 and a fine monument of Baldassare Turrini by Rnffaele da Montelupo, a pupil of Michael Angelo. The country between Pescia ard Pistoja continues to be very attractive. Stations Borgo a Bugiano and C4'/4 M. ) Monte Catini, where Ugguccione della Faggiuola, the Ghibelline prince of Pisa and Lucca, defeated the Florentines on '29th Aug., 1315. The warm baths (Bagni di Monte Catini) in the vicinity, fitted up by Grand Dnke Leopold 1., attract many visitors. The water is exported to different parts of Tuscajiy as a remedy for diarrhoea. The line intersects the rich valley of the jYiei'oie. Stat. Pieve a Nievole ; r. Monsummano on a conical eminence, with warm springs ; near it a grotto discovered in 1852, famous for the cures of rheumatism, gout, and paralysis which it has effected. Near the next stat. Serravalle, which was an important frontier-fortress during the wars between Lucca and Pistoja, the line crosses the watershed between the Nievole and Ombrone, both affluents of the Arno (tunnel). On au eminence near the Ombrone, in a fertile district, is situated the ancient town of 8Y2 M- Pistoja (*Albergo ui Londra, outside the town, on the way to the "station; Globo, R. 3, L. and A. 1 Ir., with tolerable trattoria, and Albergo jjkl Popolo , both in the Piazza Cino; Caffe del Globo. One-horse cah per drive 60 c, two-horse 80 c. ; 1st hour 1 fr. 40 or 1 fr. 70 c, each additional hour 1 fr. or 1 fr . 30c.), the Roman Pistoria, near which Catiline was defeated and slain, B. C. 62, and in the middle ages the centre of the fiercest struggles between the Guelphs and Ghibellines. In the^year 1300 the Cancellieri and Panciatichi, or Black and White parties, mentioned by Dante (Inferno 24, 143), who afterwards extended their intrigues to Florence and influenced the fortunes of the poet himself, were formed here. Pistoja was the birthplace of the celebrated jurist and poet Cino (1270—1336), a contemporary of Dante, and of the satirist Niccolh Forteguerri (1674—1735), author of the Ricciardetto. In the history of art the town also holds a prominent position owing to its valuable sculptures of the 12th— 14th cent. The modern Pistoja has broad, well-built streets, 12,000 inhab., and important manufactories of guns and iron wares. Pistols are said to have been invented at Pistoja, and thence to derive their name. We follow the Via Cino, leading from the station and intersect- ing the Corso Yitt. Emanuele at a right angle, as far as the Piazza Cino, and turning here to the r. into the Via Cavour, soon reach the old Romanesque church of to Florence. PISTOJA. 51. Route. 307 S. Giovanni Fuoricivitas (Evangelistn), erected about 1160, with a somewhat overladen facade adorned iu Pisan fashion with rows of columns. Over the side entrance is a relief representing the Eucharist by Gruamons. as an inscription on the architrave records ( 12th cent.). On the r. is the Pulpit, adorned with ten reliefs on the three sides by Fra Guglielmo. a pupil of Niccolo Pisano. about 1270, the series beginnin,g to the 1. with the Annunciation, Conception, etc. ; in front Christ among the Apostles. On the 1. a handsome basin for holy water by Giovanni Pisano, with tigures of the virtues at the four corners. The Visitation of Mary, a life-size group in terracotta, by Andrea della Rohhia. — Opposite the church is the Pal. Panciatichi. Following the Via Cavour, and diverging from it by the Via S. Matteo, the third side-street to the 1. , we reach the Piazza. On the r. rises the *Cathedral of S. Jacopo, of the 12th cent., remodelled in the 13th from designs by Niccolo Pisano (?), with a tribuna added in 1599 by Jacopo Lafri. In the vestibule are faded frescoes by Giovanni Cristiani da Pistoja (14th cent. ). Over the principal entrance a good bas-relief iu terracotta (Madonna surrounded by angels) by Andrea della Robbia. The barrel-vaulting was adorned with coffering and rich garlands in terracotta by Luca della Robbia. The interior, sadly marred by alterations, and restored with little taste in 1838 — 39, consists of nave and aisles borne by 16 columns and 2 buttresses. Hy the wall of the entrance is the *Font, adorned with a large relief (Baptism of Christ) and four smaller one's (History of the Baptist.) by Andrea Ferrucci da Fiesole (d. 1526). To the r. of the entrance is the *JIonument of the jurist and poet Cino da Pistoja (d. 1336). by the Sienese master Cinello (1337). The bas-relief represents Cino lecturing to nine pupils, among them Petrarch, who afterwards composed a sonnet on his death, exhorting the women to mourn for Cino as the poet of love. To the 1. of the entrance the Monument of Cardinal Fortiguerra, with bust and high reliefs, by Verrocchio (1474) and Lorenzetto. — The Cap- ptLLA DEL Sagkamento (1. of the choir) contains a Madonna with St. Zeno by Lorenzo di Credi (d. 1513). High relief bust of Bishop Donato de' Medici by A. Eossellini (1475). Over the High Altar a Resurrection by Angelo Bronzino. Beautifully inlaid choir stalls, attributed to Vitoni (1500). In the Cappella S. Jacopo (r. of the choir) a rich silver *altar executed in the 14th and 15th cent, (covered) ; in a niche above is a sitting statue of St. James , surrounded by apostles and prophets , wrought in silver, and gilded, by Siinone di Ser Memmo and other masters in the middle of the 14th cent. ; beneath is a large silver tablet with wings ; in the centre 15 reliefs of subjects from the Kew Testament and apostles, by Andrea di Jacopo d'Ognabene (1316) of Pistoja-, the wings consist of lO reliefs on the 1., from the Old and New Testament by J'iero da Firenze (1357) and on the r. from the life of St. James by Leonardo di Ser Giovanni, pupil of Orcagna (1331). About 446 lbs. of silver are said to have been used in the execution of this work of art. The frescoes in this chapel are by Alesso d' Andrea and Bonaccorso di Cino (1347)- The Crypt, borne by six columns, is also modernised. The campanile was originally a fortified tower, termed Torre del Podesta, and still bears the arms of governors of the town. 20* 308 Route 61. PISTO.TA. From Pisa The three series of arches were added in Pisan fashion when the tower was adapted to its present purpose. Opposite the cathedral is the octagonal * Battistero di San Giovanni, erected after 1339 by Cellino di Nese in the Italian Gothic style, with a handsome pnlpit on the exterior. The lar^e font (folder than the building, and probably dating from 1256 ) is embellished with beautiful and richly decorated slabs (others of the same kind on the wall to the r.J. The doors are also worthy of notice. Adjacent is the *Palazzo Pretorio, or dei Tribunali, formerly del PodesUi, a building of the 14th cent., the seat of the courts of justice. The quadrangle is enclosed by four round arches; the arcades are adorned with numerous painted armorial bearings of the Podestk's, remarkable for their admirable heraldic style, restored in 1844. To the 1. of the entrance are the stone table and seats of tlie ancient tribunal, bearing the inscription of 1507 : Hie locus odit^ amai, punit^ conservat., Jionorat, Nequitiam^ leges^ a'imina, jura, probos. The piazza is adorned with a Statue of Forteguerri (seep. 306), erected in 1863. Opposite the Pal. Pretorio is the Palazzo della Comunita, or del Comune (degli Anziani), erected in the Italian Gothic style in 1294—1385. with a vestibule, now the Municipio. Passing between the cathedral and the Pal. del Comune (by the Via S. Rartolommeo) we next visit the church of S. Bartolom- meo in Pantano, a Lombard edifice with open roof, borne by twelve columns, with very varied capitals, and two buttresses. The sculptures on the facade by Rudolfinus represent the Mission of the Apostles, 1167; pulpit borne by lions, with eight reliefs from the history of Christ, by Guido da Como, 1250. — The Via Porta Guidi to the r. leads hence to the Osped, Via Cerretani; Isole Britanniche, Piazza S. Maria Ni.volla. Boarding Houses and furnished Apartments , indicated by signs or placards, are situated in the Lung' Arno, Piazza della Signoria, near the cathedral. Piazza S. Maria Novella, Piazza Pitti, etc.: *Rodolfo, Via della Scala 2, pension 7 fr. ; Molini-Bavbenxi^ Lung' Arno Guicciai-dini 15, 8 — 10 fr. ; Mrs. Boronowskij, Casa Guidi, Piazza S. Felice 10, 7 fr. ; *3frs. Laurent, Via del Presto 11 (near S. Spirito), 5 — 6 fr. (also without board) ; Mrs. Jennings, Via Maggio 28, 7 — 8 fr. ; Mrs. Jandelli , Piazza Soderini 1, 8 fr. ; Miss Dohler, Via S. Paolo 4, near the Piazza delT Indipendenza, furnished rooms only. Travellers who make a stay of 10 — 14 days and upwards may effect a considerable saving by engaging private lodging, but rooms are sometimes difficult to procure in winter, which is the season at Florence. The charges depend of course on the situation. Two furnished rooms cost on an average 60 fr. per month , attendance about 5 fr. ; in summer 40—50 fr. The pleasantest situation in winter is the sunny side of the Lung' Arno. The other quarters of the town on the r. side of the Arno (environs of the cathedral , Via dei Cerretani , Piazza S. Maria Novella, Via Cavour, Piazza delT Indipendenza, etc.), as well as the Piazza Pitti, may also be mentioned as healthy and pleasant situ- ations. The quarter of the town on the 1. bank of the Arno , espeoially below the Porta S. Frediano , is considered less healthy. In winter it is most important to secure rooms with a S. aspect, which is essential to health and comfort in Italy , where brilliant sunshine so often contrasts with bitterly cold winds. The Lung' Arno is almost deserted in summer on account of the exhalations and the mosquitoes which infest it, and a N. aspect is preferred. The heat in July and August is oppressive, and for these months quarters should be sought for in one of the numerous 312 Route 52. FLOKENCE. Restaurants. villas charmingly situated on the neighbouring hoight.s. Information re- garding houses to be let in whole or in part may be obtained at the of- lices of the commission-agents. — The water at Florence is bad, and should not be drunk unless boiled or mixed with wine. The best soda-water is" manufactured at Borgo S. Croce 4. — Andreas Miicke , a good valet-de-place, may be enquired for at the Hotel de la Ville. Restaurants, most frequented at the dinner-hour, 5 — 7 o'clock: *Doiiei/ , (lour. Via Tornabuoni 16; *GiUi <(• Lelta , Piazza Signoria; Victor, \'ia Rondinelli 3; Itnlia, Lung' Arno Corsini. — '^ La Toscana, Via Calzajuoli; *Liina (PI. n); Pairia and Stella, in the Via Calzajuoli, with a few rooms to let; *Boiuiani , Via Panzani 21; "^^Anticlte Carrozze, Borgo SS. Apostoli, near the Ponte Vecchio, and ^Leon Bianco (see above), D. at 5 o'clock 2 fr. 20 c., both unpretending; * fr. ; Niccolini (PI. 101), Italian and French comedy, Via Ricasoli 8; Delle Logge , generally French comedv, Via dei Neri (Loggc del Grano); Nazionale (PI. 100), Via dei Cerchi; Alfieri (PI. 97), Via Pietra Plana; Rossini (PI. 98), formerly Borgognissanti , and several others. — Open-air Theatres: Goldoni (PI. 99); Politeama (PI. 105), Corso Vitt. Emanuele, near the Cascine, operas, ballet, farces, and sometimes a circus. Principe rmberto (PI. 106), Piazza Azeglio ; Arena Xazionale, Via Nazionale. Booksellers. Goodban, Via Tornabuoni 9, English, German, French, and Itiillan books, also photographs, and engravings ; Bocca, Via Cerretani ; Betliiti, Via Tornabuoni (both Italian and French books); Loescher, chietly for German literature, Via Tornabuoni ; Brecker, Via Maggio 15, with cir- culating library; Fiord- Findel, Lung" Arno Acciajoli 24. — Musical lending libraries: Brizzi d- Aicolai, Via Cerretani; Ifucci, Via Tornabuoni, Piazza Antinori. Pianos may be hired of both. Photographs. Goodban (see above); Brecker (see above), agent for Sommers photogr.«,phs; Alinari , Via Xazionale 8, and Via Tornabuoni; Philpot d- Co. , Borguguissanti 17 (the only firm which sells original photographs from the drawings in the Vflizij. Shops. Alab.xstek and 3Iauble : Bazzanti , Lung' Arno Corsini; Becucci, Via Tornabuoni ; Mannaioni. Lung' Arno Guicciardini. — Mosaics : Beta, Lung" Arno Nuovo; Fratelli Montelalici , Lung" Arno Corsini. — GiLDEKs (excellent) in the Via de' Fossi. — Stkaw Hats: Porcinai , Via Tornabuoni; Xannitcci , Via Porta Rossa. — Millineky : Emilia Bossi, Via Rondinelli : Fierli , Via Tornabuoni; Miss Baker, Via Cavour 26. — In shops which have not a system of fixed prices two-thirds or one-half of the price demanded is generally the real value of the article. A polite ofl'er by the purchaser of what he believes an adequate price is usually attended with the desired result. Studios. Paisteks, who sell copies of pictures in the Florentine gal- leries : Cur. Gordigiani, Via Xazionale 44; Prof. Manzuoli. Via Guicciar- dini 16; Coiiti, Via Romana 8; Sasso , Borgognissanti; Bensa , Borgo S. Jacopo. — SccLPTOKS: Prof. Fedi , Via de" Serragli 99; Prof. Dupri, Via della Sapienza; Prof. FantacchioUi, Via Panicale 39. Galvanoplastic repro- ductions of statues etc. : G. Pellas, Via de" Panzani 3. Goods-Agent. BoncineUi, near Or San Michele , and others. Porters (facc/iini pubblici). Single errand 20, if over 'j* hr. 40, whole hour 70 c. Bankers. Du Fresne, Via di Corso 2; Fenzi d- Co., Piazza della Signo- ria ; Haskard d- Son, Piazza S. Gaetano 3, Pal. Antinori; Mnquayd- Hooker, Via Tornabuoni 5; French (Engl. Consul), Via Tornabuoni 14; Eyre d Matteini (American Bankers), Via Maggio 7. Schools. Girls : Institution of the German Protestant sisters of Kaisers- werth. — Boys : Peres de Famille , Via dArdigli'me. — Academy of Art for ladies : 3111e. Fries , Villa Pcllegrina, Lungo il Jlugnone , within the Porta S. Gallo. — Teacher of drawing and water-colours: Roster, Via 314 lioute 5-2. FLORENCE. Diary. Caliinaruzza i. — Teachers of music: Car. Krauss, Via Cerretani 10; Del Bene, Via Maggio 3. — Teachers of Italian: Rosleri , Via Rorgognissanli 43; Mazzoni., may ])C enquired for at Janssen the chemisfs; Mile. Tolomei., address at Brecker\". English Church Service. Engli.OQi Dante Alliy/iieri, banished. King Robert of Naples then sent Count Walter dc Brieiuie^ Duke of Athens, to Florence as governor, and his authority for a time repressed the civic broils ; but in 1343 he was expelled by the people, and a turbulent and lawless period of 70 years ensued, during which the power of the wealthy commercial family of the Medici gradually developed itself. The real founder of their dynasty was Giovanni de' Medici (d. 1428). His son Cosmo was overthrown by the Albizzi in 1433, but returned after an exile of one year, and resumed the reins of government with almost princely magnificence. He employed his wealth liberally in the advancement of art and science, he was the patron of Brunellesco, Dona- tello, Michelozzo, Masaccio, and Lippi, and he founded the Platonic Aca- demy for the Medici Library. Towards the close of his life he was not undeservedly surnamed pater patriae by his subjects. He was succeeded by his son Pietro in 1464, and in 1469 by his grandson Lorenzo, surnamed Jl Mugnifico , who , as a statesman 5 poet , and patron of art and science, attained the highest celebrity. Florence now became the great centre of the Renaissance, the object of which was to revive the poetry, the elo- quence , and the art and science of antiquity. Contemporary with the artists Luca Signorelli , D. Ghirlandajo , and the young Michael Angelo, were the earliest philologists Landino , Ficino , L. Valla, Pico della Mirandola, and Poliziano, who adorned the brilliant court of the Medici. The conspiracy of the Pazzi (1478), to which his brother Giuliano fell a victim , did not avail to undermine the power of Lorenzo , but proved successful against his feeble son Pietro II., who was banished in 1494, with his brothers Giovanni (afterwards Pope Leo X.) and Giuliano. Their property was confiscated , and Florence was occupied by Char- les VIIL of France. Hieronymus Savonarola , the celebrated prior of S. Marco , soon afterwards founded his theocratic republic at Florence , but his career was terminated in 1498 by his death at the stake. The inter- mediate supremacy of the Gonfaloniere Pietro Soderini now followed, but in 1512 the partisans of the Medici compelled him to abdicate, and recal- led the brothers Giuliano and Giovanni. The former soon resigned his authority, the latter became pope, and they were succeeded by Lorenzo, ii natural son of Pietro II., and the first of the illegitimate line of the Medicis. The family was again banished in 1527, but Emp. Charles V., who had married his daughter to Alessandro de'' Medici, attacked the town and took it in 1530 after a siege of eleven months, during which Michael Angelo , as engineer on the side of the republic , and his brave partisan Ferruccio greatly distinguished themselves. The emperor then appointed Alessandro hereditary sovereign of Florence. The assassination of the latter, perpetrated by his own cousin Lorenzo, 7th Jan., 1537, did not conduce to the re-establishment of the republic. He was succeeded by Cosmo I. (1537 — 64) , who entirely suppressed all political liberty in the city, but to some extent revived the fame of the Medici by his liberal patronage of art of every kind. (He was the founder of the Accademia dellc Belle Arti.) His successor Francesco Maria assumed the title of 'Granduca' of Tuscany in 1567. In 1737 the Medici family became extinct by the death of Giovanni Gaston. The Emperor Charles VI. then pre- sented Tuscany to Duke Francis Stephen of Lorraine (Lorena) , husband of his daughter Maria Theresa, who himself became emperor in 1745 as Francis I. He was succeeded in Tuscany in 1766 by his second son Leo- pold , and the latter, becoming emperor in 1790, was followed by his second son Ferdinand III., who was expelled from his dominions by the storms of the Revolution at the l)eginning of the present century. Tuscany is indebted to these princes of the house of Lorraine for a num- ber of excellent institutions and reforms. On the termination of the Napo- leonic kingdom of Etruria in 1814 the Grand Duke Ferdinand III. returned, and was succeeded in 1824 by his son Leopold II., uncle of Victor Em- manuel, and last Duke of Tuscany. He was compelled by the Revolution of 1849 to take refuge in flight, and was finally banished in consequence History. FLORENCE. 52. Route. 317 of the events of 1859. In accordance with a popular resolution passed on 15th March, 1860, Tuscany was incorporated with the Kingdom of Italv then in process of organisation. Art and Science. The proud position occupied by Florence in the history of art and science was first established by Dante Allighieri , born here in 1265, author of the 'Divine Comedy", and the great founder of the modern Italian language. In 1302 he was banished with his party, and in 1321 died at Ravenna. Giovanni Boccaccio., the first expounder of the illustrious Dante, and celebrated for his 'Decamerone", which served as a model for the 'Canterbury Tales' of Chaucer, also lived at Florence. Macchiavelli, Giiicciardini, Galileo, and many other eminent men of letters and science were also natives oif this city. About the close of the 12th cent. Arnolfo del Camhio , builder of the cathedral , the tower of which was erected by Giotto in 1334, Andrea di done, surnamed Orcagna^ renowned for his Loggia dei Lanzi , and 40 years later Filippo lintnellexco , con- structor of the dome of the cathedrai , attained a high reputation here as architects. In the plastic art the great masters of Pisa Niccold, Giovanni., and Andrea Pisano . Lttca delta Robbia, and Lorenzo Ghiberti took preced- ence of those of Florence in the 13 — 15th centuries, but in the 16th they were all surpassed by the Florentine Michael Angela Buotutrroti. During the present century Pampaloni ., Bartolini ., and Dupr^ have distinguished themselves in this branch of art. Florence also lays claim to the highest rank in the art of painting, the founder of which in Italy, Giovanni Cimabue , was born here about the year 1240. A new era in the art was introduced by Giotto di Bondone, born in 1276 at Vespignano near Florence, who first ventured to deviate from traditional and stereotyped forms, devoted his energies to a faith- ful study of nature, and advocated unfettered scope of the imagination. His new maxims gave a new impulse to art throughout an entire century, whilst his contemporary and friend Dante awakened the slumbering powers of the language and poetical imagination of Italy. In Giotto's footsteps followed Taddeo Gaddi, Giotdno., Andrea di done., Spinello Arelino , Antonio Veneziano, and others, until in the 15th cent, a more pleasing imitation of nature was introduced by Masaccio and Fra Filippo Lippi. The pious Fra Giovanni Angelica da Fiesole (about 1450) strove to impart expression and sublimity to his compositions, whilst Domenico Ghirlandajo and Benozzo Gozzoli (d. 1485) adhered more closely to nature. The culminating point of art was attained by Leonardo da Vinci , who was born at Florence in 1452 (d. 1519), and his great rival Michael Angela Buonarroti (1474 — 1563), a pupil in his capacity as painter of Ghirlandajo, but whose principal works are not at Florence; then by Fra Bartolammeo (1469 — 1517) and Andrea Vannucchi. surnamed del Sarlo (1488 — 1530), painters who held themselves aloof from the influence of other schools. Distinguished artists of the 16th and 17th cent, were Ridolfo Ghirlandajo, Giorgio Vasari, author of the biography of preceding artists, Angela Branzino , Cristoforo Allari . Carlo Dolci ., etc., and the period of the highest development of art was coincident with that of the revival of science (comp. Introd.. p. XXXVII). In both respects Florence has long taken precedence of all the other towns in Italy and .justly claims to have maintained this proud distinction down to the present day. Florence is situated on both banks of the Arno , but by far the greater part of the city lies on the r. bank. On the latter, to the N. of the Ponte Vecchio, at some distance from the river, was situated the Roman town of Florentia, which however was extended at an early period in the middle ages to the opposite bank of the Amo. The walls of the city, which have recently been almost entirely removed, were constructed at the same time as the cathedral, between 1285 and 1388. The ancient Gates however have been spareil, of which the following are the most interesting : 318 Route 52. FLORENCE. Piazza Siynoria. Porta alia C'roce (PI. G, 5), erected in 1284, with frescoes by Ghirlaiulajo ; Porta S. Gallo (PI. F, 2), erected in 1330, once adorned with frescoes by Ghirlandajo; Porta Romano (PI. A. 6), erected in 1328 by Jacopo Orcagna ; Porta S. Frediano (P\. A, 3); and Porta S. Miniato (PI. D, 6). The New Quarters of the town are at the W. end, on the r. bank of the Arno, extending as far as the Cascine (p. 363), and containing the best hotels and the resi- dences of most of the English, American, and other visitors. A nnmber of broad new streets have also been bnilt on the site of the old fortifications, to the N. and E. of the Porta S. Gallo, extending as far as the Arno, and not yet entirely completed. Bridges. The oldest of the six bridges which connect the banks of the Arno is the Ponte alle Grazie, constructed in 1235, with a chapel of 1471, and restored in 1835, the scene of the union effected between the Guelphs and Ghibellines in 1283. [On the Lung' Arno Serristori, between the Ponte alle Grazie and the Porta S. Niccolo, rises the monument oi Prince Demidoff{^ . 363), a wealthy benefactor of Florence, by Bartolini.] The Ponte Vecchio, which is said to have existed as early as the Roman period, and was recon- structed , after its repeated demolition , by Taddeo Gaddi in 1362, consists of three arches, over which a gallery is carried to connect the Pitti Palace and the Ufflzi with the Palazzo Vecchio. The stalls with which it is flanketl have been chiefly occupied by goldsmiths since the year 1593. The Ponte S. Trinith , erected soon after 1567 in a substantial and handsome style by Bartolommeo Am- manati, is embellished with statues representing the four seasons. The Ponte alia Carraja, originally built in 1218, destroyed together with the Ponte Vecchio by an inundation in 1333, and restored in 1337, was again erected in 1559 by Ammanati by order of Cosmo I. The river is bordered on both sides by broad and handsome quays, termed the Lung' Arno^ of which the different parts arc the Lung' Arno Corsini^ the Lung' Arno Soderini, Lung' Arno Nuovo, etc. The busiest streets are the Via Tornabuoni (PI. C. 4) and the Via Calzajuoli (PI. D, 4). The city possesses 87 churches and a number of grand old houses and palaces which bear testimony to its ancient prestige. The following piazzas deserve mention : Piazza della Signoria, delV Annunziata , di S. Croce, del Duomo ^ di S. Maria Novella, delV Jndipendenza ( PI. D, E, 3), d'Azeglio (PI. F, 4), not entirely com- pleted, and Savonarola (PI. G, 2, 6), now in course of construction. The *Pia2za della Signoria (PI. D, 4, 5), once the forum of the republic, and the scene of its most momentous transactions, is still the principal centre of business. Savonarola and two other monks of his order, the Italian precursors of the Reformation, were burned at the stake here on 23rd May, 1498. Loggia dei Lanzi. FLORENCE. 52. Route. 319 In this piazza is situated the '^Palazzo Vecchio (PI.. 88), originally the seat of the republic, aud subsequently the residence of Cosmo I., erected in 1298 by Arnolfo di Cambio, and afterwards considerably altered and furnished with a lofty tower. On the upper floor are seen the armorial bearings of the Tuscan towns, and on the lower an inscription recording the plebiscite passed on 15th March, 1860. Michael Angela's celebrated David, which stood to the 1. of the entrance from 1504 to 1873, is now removed to the Academy (p. 342), and will be replaced by a copy in bronze ; on the r. is Hercules and Cacus by Michael Angelo's rival Baccio Bandinelli. Beyond these are two insignificant statues by Bandinelli and Rosni. The court is by Michelozzi ; the fountain-figure, a boy with a fish, by Verocchio. Intekior. The Great Hall on the first lloor, cunstructed under the directions of Savonarola in 1495, was to have been decorated with fres- coes from the celebrated cartoons of the -Cavalry Skirmish' by Leonardo and the 'Bathing Soldiers' by Michael Angelo (1.604). The walls are now adorned with frescoes by Vasari ^ Lvca Giordano , Li'jozzi ., Cigoli , and Passignano . and the stucco enrichments are by Doiiatello. The hall was for a time employed for the sittings of the Italian Chamber and was fitted up with benches , and a platform , and divided by partitions which have since been removed. The marble sculptures formerly here , with the exception of the statues of theMedicis bv Bandinelli, have been removed to the Bargello (p. 334). To the 1. of the stair is a room with a ceiling-painting by Michelozzo^ to the 1. of which is another, formerly a chapel, with a fresco of the Annunciation by Giotto (?). In a straight direction is the Sala de Gigli., with beautiful door-posts in marble by Benedetto da Majano , to whom the intarsias of Dante and Petrarch on the wings of the door are also ascribed. The frescoes are by Ridolfo Ghirlandajo. On the 2nd floor is the Sala d' Udienza with frescoes by Salviati. Then the Cappella S. Bernardo , with ceiling painted in imitation of mosaic by Rid. Ghirlandajo , and a crucifix over the altar attributed to Giov. da Bologna. The private apartments of the Medicis contain eight views of the piazzas of Florence, a chapel by Bronzino , and charming decorations by Poccetti. At the N. corner of the edifice is the brazen lion known as II Marzocco ; to the 1. is the * Great Fountain with Neptune and Tritons, erected by Bartolommeo Ammanati under Cosmo I., and adjoining it the equestrian statue of Cosmo by Giovanni da Bo- logna, 1594. The *Loggia dei Lanzi, or delV Orcagna (PI. 53), erected in 1376 from designs by Andrea di done (Orcagna), derives its name from the spearsmen , or 'lancers', who acted as guards here in the reign of Cosmo I. The lion on the r. of the steps is antique, the other by Flaminio Vacca. Beneath the arches to the r. is the *Rape of the Sabines, a group in marble executed by Giovanni da Bologna in 1583; 1. * Perseus with the head of the Medusa, in bronze, by Benvenuto Cellini, by whom the statuettes and basreliefs of the pedestal were also executed ; behind it the Rape of Polyxena, a large group in marble by Fedi, erected in 1866 ; to the 1. of the latter, Judith and Holofernes in bronze by Donatella. In the centre a * Warrior supporting a dead man, usually supposed to 320 Route ry2. FLORENCE. Portico degli VffizL represent Ajax witli the body of Patroclus or Acliilles, an ancient copy of a Grei^k work; to the r. of it, Hercules slaying the centaur Nessus, in marble, by Giov. da Bologna ; by the wall at the back are six large draped female statues, of which the third froni the 1. represents the so-called *Thusnelda, from Trajan's Forum at Home. To the 1. behind the equestrian statue is the *Palazzo IJguc- cioni (PL 87), erected in 1550, from designs variously attributed to Raphael , Michael Angelo , and Palladio. The new palazzo opposite th(! Pal. Vecchio occupies the site of an ancient edilice, which according to tradition was partly erected by Pisan captives in 1364. Be twecn the Pal. Vecchio and the Loggia de' Lanzi begins the Portico degli Uftizi (PL 86), erected 1560—74 by Giorgio Vasari, tlie niches of which were adorned with ^Marble Statues of celebrat- ed Tuscans in 1846 — 56. The names of the persons represented and of the respective sculptors are engraved on the bases. They are as follows, beginning on the 1. : Andrea Orcagna (d. 1368); behind it on the sides of the first door, Cosmo, 'pater patrije' (d. 1464), and Lorenzo 'il magniflco' (d. 1492); then Niccolo Pisano (d. about 1280), Giotto (d. 1337), Donatello (d. 1466), Leo Batt. Alberti(d. 1472), Leonardo da Vinci (d. 1519), Michael Angelo (d. 1564), Dante [d. 1321), Petrarch (d. 1374), Boccaccio (d. 1375), Macchiavelli (d. 1527), Guicciardini (historian, d. 1540), Amerigo Vespucci (who gave his name to America, d. 1514), Galileo (d. 1642), Pier Antonio Micheli (botanist, d. 1737), Franc. Redi (poet and physician, d. 1698), Paolo Mascagni f physiologist, d. 1815), Andrea Cesalpino (anatomist, d. 1604), S. Antonino (theologist, d. 1604), Accorso (jurist, d. 1260), Guido Aretino (musician, 11th cent.) aiid Benvenuto Cellini (d. 1571); in the external niches, towards the Arno, Francesco Ferrucci (d. 1530), Giovanni delle Bande Nere(d. 1526), Piero Capponi (d. 1496), and Fariuata degli Ubcrti (d. 1264). Opposite the lirst mentioned statues are the Post Office and the Mint (La Zecca, PI. 96), a building of 1361, containing a fine collection of the ancient and modern coins of Slciiia and Florence. Approaching from the Piazza della Siguoria we enter by the second door to the 1. under this portico, and ascend by a stair of 126 steps to the **Galleria degli TJffizi (open daily 9 — 3, Sundays and festivals 10 — 3 o'clock only; usually closed, however, one •Sunday in the month ; no fees). The gallery origiiiated with the Medici collections, to which numerous additions were made by the Lorraine family, and it is now one of the best in the '\\orld, both in extent and value. A few of the finest objects only in this vast collection are here enumerated. Those who have time for a brief visit only sho\ild first walk through the corridors, in order to become acquainted with their topography, and then return to the *Tribuna, the gem of the whole gallery. Permission to copy is Gal. degli Uffizi. FLORENCE. Route 52. 321 easily obtained by addressing a written application to the directors. The position of many of the best pictures is occasionally altered, but is sufficiently indicated by the number of copyists clustered round them. (Catalogues at the entrance, 3'/2 fr.) FiBST Vestibule: Busts of members of the Medici family. Bronze statues of Mars and Silenus, the latter with the infant Bacchus in his B^DEKEK. Italy I. 3rd Edit. 21 322 Route 52. FLORENCE. Gnl. degli Uffizi. arms, a copy of the original at Rome. Various Roman reliefs with re- presentations of processions and sacrifices (almost all the headsmodern). Second Vestibule : Two pillars with trophies in relief; busts of Cybele and Jupiter. A horse, *two dogs, and a *wild boar, all antiques. E. CoRRiuoR, 178 yds. in length, adorned with mythological ceiling- paintings by Bernardino Poccetti : on the upper part of the walls are 534 portraits of princes and great men , begun under Cosmo I. and con- stantly increased. On either side are arranged antique busts, statues, and sarcophagi , above which are pictures. Proceeding to the r. from the entrance, and beginning at the end, we o])serve the following objects : An'cient Sculptures in Marble: *35. Agrippina sitting; 39. Sarco- phagus with representations from the life of a Roman ; 38. Hercules slaying Nessus (almost entirely modern) ; 41, 47, *48. Busts of Csesar (with bronze head), Augustus, and Agrippa ; 5'2. Athlete; 71. Portrait of a child; 75. Beautiful statue of an athlete (the 4th of those so designated) , a copy of the celebrated Doryphorus of Polycletes; 79. Julia, daughter of Titus; 90. Vestal Virgin with portrait features; *119. Apollo (inaccurately re- stored; the arm ought to have been placed round the head). Also a col- lection of Roman sarcophagi: 45. Rape of Proserpine ; 56. Hippolytus; 68, 72. Labours of Hercules; 95—105. Hunt of Meleager; 80. Apollo" and the Muses; 118. Christian sarcophagus with the history of Jonah, etc. Pictures: 1. Andrea Rico (d. 1105), Madonna and Child; 2. Cima- bue (?), St. Cecilia; *6. Giotto, or Lorenzo Monaco, Christ on the Mt. of Olives; 9. Simone .di Martino and Lippo Memmi (of Siena), Annunciation with lateral pictures (10. S. Giulietta, 8. S. Ansano); 12. Pietro Laureati (of Siena), Hermit saints of the wilderness of Thebes ; 14. Agnolo Gaddi. Annunciation with predella; *17. Fra Angelico da Fiesole, Tabernacle with gold ground, on the exterior St. Mark and St. Peter, on the interior St. Mark , John the Baptist, and Madonna with the Child , surrounded by angels plaving on instruments ; 18. Lorenzo di Bicci , SS. Cosmas and Da- mianus (1129); *24. Lor. di Credi, Madonna, worshipping the Child; 25. Botticelli, Madonna with angels; 30. Antonio Pollajiiolo, Portrait; 32. Piero di i'osimo , Portrait; 36. Luca Siguorelli , Madonna and Child; 39. Botticelli, Birth of Venus ; 55. Jacopo da Empoli, Creation of Adam ; 62. Cigoli, Magdalene; 64. Francesco Boschi, Call of St. Andrew. S. Connecting Passage, with similar decorations and contents, of which the following antiques deserve notice : 125. Sleep; 129. Sarcophagus with the fall of Phaeton; *138. Thorn -extractor; 137. Round altar with bas-reliefs, representing the Sacrifice of Iphigenia, bearing the name of Cleomenes; 141. Pedestal of a candelabrum; 145. Venus stooping in the bath; 146. Nymph loosening her sandal, restored as a counterpart of No. 138, and termed the Venere della Spina. W. Corridor, of the same length as that on the E. , adorned with frescoes representing the rise of art, and with portraits of celebrated Flo- rentines. At the entrance, r. 155, 1. 156. Statues of Marsyas , the former very fine , the latter badly restored (head , arm , and shoulders) by Ver- rocchio; 187. Juno; 195. Leda, freely restored; 2()9. Statue of a physician. Also a number of busts of emperors. At the end are several Renaissance sculptures : *380. Drunken Bacchus , an early work of Michael Angelo ; in the centre, 236. antique altar from Rome, dedicated to the Lares ; 389. Sansovino , Bacchus; 388. Unfinished statue of Apollo, about to take an arrow from his quiver; 383. Benedetto da Majano , John the Baptist; 3fil. Dmatello, John the Baptist; 387. Donatello , David; 383. Baccio Bandinelli , Copy of the Laocoon group; 386. Colossal bust of Giovanni delle Bande Nere. Returning hence, and passing through (the second door to the 1. of the entrance, we next reach the octagonal ** Tribuna, containing a magnificent and almost unparalleled collection of master- pieces of ancient sculpture and modern painting. The hall was constructed alone cost 40,000 ducats (nearly 20,000i.). The following pictures are the Gal. degli Vffizi. FLORENCE. 52. Route. 323 by Bernardo Buonlalenti; the decorations are by Bernardino Poccetti. In the centre are placed five very celebrated marble sculptures : *Satyr playing on the cymbal, restored by Michael Angela-., group of the *Wrestler3 , found" with that of the Children of Xiobe ; *Medici Venus , found in the 16th cent, in the Villa of Hadrian near Tivoli, brought to Florence in 1680, under Cosmo III., with Greek inscription designating Cleomenes , son of Apollodorus , as the master; the *Grinder, supposed to be a Scythian from the group of Marsyas who is being flayed, found at Rome in the 16th cent.; the *Apollino, or young Apollo], of the school of Praxiteles. Paintings, beginning on the 1. : *1131. Rajyhael, Pope Julius II., a repe- tition of the original in the Pitti Palace (p. 354); 1132. Correcjgio (?J, Head of John the Baptist; 1133. A. Caracci, Bacchante; **ir29. Raphael, Madonna _\vith the goldfinch (del Cardinello) ; 1130. Fra Bartolommeo, Job; *n2l. Raphael, The youthful John; ir28. Van Dyck, Emp. Charle.s v.; *1125. Raphael (now attributed to Giuliano Bugiardini ^ d. 1554), Ma- donna at the well; 1126. Fra Bartolommeo, Isaiah; *1123. Raphael, The so-called Fomarina (now attributed by the best judges to Sebastiano del Piombo): *1124. Franc. Francia, Portrait of Vangelista Scappi. Over the door: 1122. Perugino, Madonna with SS. John and Sebastian (1493); *1120. Raphael, Female portrait; *U21. Afantegna , Elizabeth of Mantua (?) ; *1118. Correggio, Repose during the Flight to Egypt; 1119. Baroccio, Duke Francis 3Iaria II. of Urbino ; 1116. Titian , Archbishop of Ragusa ; *1117. Titian ^ Venus; 1114. Guercino, Sibyl of Samos; 1115. Van Dijck , Jean de Montfort; 1113. Guido Reni, Madonna; 1111. Mantegna , k\\s.v-\nQCQ , repre- senting the Adoration of the Magi, the Circumcision, and the Resurrection ; *lir2. A. del Sarto, Madonna with SS. John and Francis; 1110. Orazio Alfani, Holy Family; 1109. Domenichino, Cardinal Agucchia; 1107. Daniele da Volterra, Massacre of the Innocents; *1108. Titian, Venus; 1106. G. Lanfranchi, St. Peter; 1104. Spagnoletto, St. Jerome; 1105. Schidone, Holy Family. Over the door: 1145. Lod. Caracri , Rebecca and Eleazar; 1143. Lucas of Leyden , or H. ffemessen , Crucified Christ; 1144. Giulio Romano, JIadonna; *1141. A. Diirer, Adoration of the Magi; 1142. Cranach, Adam; *1139. Michael Angelo , Holy Family; 1140. Rubens, Venus and Minerva contending for a youth; 1137. Guercino, Endymion ; 1138. Cranach, Eve; 1134. Correggio, Madonna; 1135. Luini , Herodias with the head of the Baptist; *1136. Paolo Veronese, Holy Family. The door to the 1. (when approached from the corridor) leads from the Tribuna to the TnscAN School. 1st Saloon: 1146. Lor. di Credi , Annunciation; 1150. Lor. di Credi, Christ appearing to 3Iary Magdalene; 1152. Fra Bartolommeo , God the Father (a sketch) ; 11.57. Portrait, 1159. Head of the Medusa, both errone- ously attributed to Leon, da Vinci , the latter executed after the time of Vasaii; *1161. Fra Bartolommeo, Nativity and Circumcision of Christ (about 1600),; 1163. Lor. di Credi, Portrait of Verrocchio ; *1167. Fra Fi- lippo Lippi , Portrait of an old man; *1169. Andrea del Sarto, Portrait; *1176. A. del Sarto , Portrait of himself; 1184. Fra Angelica , Death of Mary; 1179. Filippino Lippi, St. Augustine; 1182. Sandro Botticelli, The slander, from the description by Lucian of a picture of Apelles; 1178. Fra Angelica, Sposalizio ; 1195. Zuccheri, The golden age; 1198. Pontormo, IS^'ativity of John , in a vase of the kind which it was usual to present to vromen after childbirth; 1213. Alessandro Allori , Christ on the Cross (from a drawing by 3Iichael Angelo); 1235. Fra Bartolommeo, Madonna and Child (unfinished); 1246. Piero di Cosimo , Perseus releasing Andro- meda. — 2nd Saloon : 1250. Piero di Cosimo, Conception ; *12.52. Leonardo da Vinci, Adoration of the Magi (unfinished); 12.54. Andrea del Sarto, St. James and two children in monks' cowls; 1257. Filippino Lippi, Adoration of the Magi, with portraits of the Medici (1496); *1259. Albert inelli , Visit of Mary to Elizabeth ; *1265. Fra Bartolommeo, Virgin with the tutelary saint of Florence (unfinished); 1267. Pontormo, Portrait of Cosmo de' Medici ('pater patriae'); *25. Botticelli, Madonna and Child with four 21* 324 Bonte 5'?. FLORENCE. Gal. degli Vffizi. angel8 ; 1268. Filippiuo Lippi., Madonna with saints (1485); 1271. Bromino, Christ in Hades (1552); 1275. llidolfo del Ghirlandajo , St. Zenobius, bishop of Florence, resuscitating a dead man, and 1277. Transference of the remains of St. Zenobius to the cathedral; 1280. Granacci , Madonna delta Cintola (with the girdle); 1284. Pontormo , Venus (from a design by Michael Angelo). Hall of the Ancient Master.s. Pictures tiv Alesi^andfo Botticelli (1286. Adoration of the Magi), Lo- renzo di Crcdi'{V2»7. Marv ad(»ring the Child), Fra Angelico (*1290. Coro- nation of the Virgin; 1294. Predella), Luca Signorelli (1291. Holy Fa- mily), Domenico del Ghirlaiidajo (*1297. Madonna enthroned), Benozzo Gozzoli^ and Fra Filippo Lippi (*1307. Madonna adoring the Child). We now return through the Tribuna and enter the Italian (Venetian and Lombard) School. On the r. 1403. Massari , Madonna; 1058. Trevisani ., Holy Family; 1060. Tintoretto., Portrait; 1064. Canaletto., Palace of the Doges at Venice (badly preserved); 1068. P. Veronese, Head as a study ; 1074. Francesco Soliniena, Diana and Calisto; 1077. Canaletto., The Grand Canal at Venice; 1078. Parttieggianino, Portrait; 1095. Marco Palmezzani of Forli, Crucifixion; 990. Albano, Venus with Cupids; *995. Dosso Dossi, Murder of the Innocents; 998. Guido Rem., Madonna with Jesus and John; 1008. Alessandro Turchi ., Allesorv from the baptism of Giovanni Cornaro of Verona; 1002. T/fmM (?), Madonna; 1003, "H 005. Salvator i?osa, Landscapes ; 1007. A. Caracci, Madonna; 1011. Cignani, Madonna; 1012. Salvator Rosa, Landscape; 1013. Liiini, Madonna; 1019. Palma Vecchio (?) , Madonna; 1021. Paolo Veronese, St. Agnes (a sketch); +1025. Afantegna, Madonna in a rocky landscape; 1029. Adoration of the Magi by an unknown master; 1031. ('araraggio , Head of the 3Iedusa; 1037. Palma Vecchio, Jesus at Emmaus (a sketch); 1038. Garo/alo, Annunciation. Dutch School. On the r. *922. Rembrandt , Interior of a house (a repetition in the Louvre); 928. Pieter Breughel, Landscape; 926. Gerard Dow, Apple-woman; 934. Schalken, Seamstress ; 935. />. ran Berghem , Landscape with cattle ; 941. F. Mieris, Woman asleep; 945. Mieris , Supper; 950. C._ Netscher, Portraits of the painter and his family; 952. Mieris, Wooing; 954. Mieris, The drinkers; 955. Brouwer, Tavern-scene; 958. Terburg, Lady drinking; 960. Paidun, Miser; 964. ('. Netscher, Cook; 965. Heemskerk, Card-players; *972. Metsu, Lady and hunter; *976. F. Mieris, Portrait of himself; 977. Jan Stecn, Violin-plaver ; *979. Rembrandt, or Philip Koninck, Landscape; *978. Ostade , Man w"ith lantern; 981. F. Mieris, Portrait of the painter and his family (1675); 854. Mieris, Quack; 871. Paul Brill, View of a chateau ; *882. Rui/sdael, Landscape with cloudy sky ; 885. Van der Neer, Landscape; 888. Slingeland , Children blowing soap-bubbles; 892. P. Breughel, Christ bearing the Cross; 895. Portrait of Emp. Ferdinand I. when a young man, master unknown; 897. Berkheyden, CAthedrOil of Haar- lem ; 918. G. Metsu, Lute-player. Flemish and German Schools. Ist Saloon : r. *812. Rubens, Venus and Adonis ; 845. Cranach, Electors John and Frederick of Saxony ; 847. Cranach , Luther and Melanchthon ; 848. Claude Lorrain , Landscape; 851. Diirer, Madonna; 764. B. Denner, Portrait; *765. Holbein, Junr. , Richard Southwell; *766. A. Diirer, Portrait of his father (1490); 768. Diirer, The apostle Philip; 769. Hugo van der Goes, Man praying ; 772. Adam Elzheimer, Landscape ; *774. Claude Lorrain, Sea-piece with the Villa Medici at Rome; 777. Diirer, St. James the Great; 778. //. van der Goes, St. Benedict; 783. Van Dyck, Madonna, 784. Holbein, Zwingli; ^786. G. Dote, Schoolmaster; *793. Elzheimer, Land- scape with a scene from the mvth of Cupid and Psyche; 795. Rogier van der Weyden (?), Entombment; 799. Holbein, Sir Thomas More ; 800. Schal- Uai. degli iffizi. FLORENCE. ^ 52. Route. 325 keii , Girl with a candle. — In the 2nd Saloon eight good picture.? from the lives of .SS. Peter and Paul , by Johann Schdvffelin of Nuremberg. R. 744. Xic. Fi-i/inenti (the master Korn?), Tabernacle with the Raising of Lazarus ; 749. H. van der Goes^ Double portrait : *751. L. Craiiach^ St. George; 7G1. Jan Bi'eughel ^ Landscape, forming the cover of a green drawing of the *Crucilixion relieved with white by A. Diirer (1505), with a copy in colours by J. Breughel ; 698. Van der Goex (?), Madonna ; 7(X). Teniers Junr., Love-scene; *703. Memling . Madonna; 705. Teniers junr., Physician; 706. Teniers Junr., St. Peter weeping; 710. Adr. Stalbent, Landscape; 738. Paul Brill, St.'«JPaul in the wilderness. FrenchSchool. This saloon contains numerous battle-pieces , by Bourguignon , Parro- cel , and Gagneraux , and a beautifully inlaid table. On the r. 679 and 689, Portraits of the poet Vittorio Al fieri and the Countess of Albany (b. 1763, d. at Florence 1824), by Fabre de Montpellier, with two autographs by Alfieri on the back; 680. Nic. Poussin, Theseus at Troezene (VJ ; 674. Largvilliere, Rousseau; 672. Grimoiix, Young pilgrim; *667. Clouet, Fran- cis L on horseback. Then to the 1. in the corridor is the Cabinet of the Gems (when closed, apply to one of the custodians), a saloon borne by four columns of oriental alabaster and four of verde antico, with six cabinets containing upwards of 400 gems and precious stones, once the property of the Medici. The 1st, 3rd, 4th, and 6th cabinet each contain two small columns of agate and rock crystal. In the 1st cabinet on tlie r. a vessel of lapis lazuli; two basreliefs in gold on a ground of jaspar, by Giovanni da Bologna. 2nd: Two vessels of onyx, with the name of Lorenzo de' Medici; *casket of rock-crystal with 24 scenes from the life of Christ, executed by Valeria Belli for Pope Clement VII. ; ^portrait of the grand- duke Cosmo III., in Florentine mosaic, of 1619; three bas-reliefs in gold on a ground of jaspar, by Giovanni da Bologna; two vases of rock-crystal, that on the 1. still in the rough. 3rd: Cover of a crystal vase, in en- amelled gold, executed for Diana of Poitiers, with her cipher and half- moons. The glass-cabinets by the window contain golden trinkets of ancient Etruscan workmanship. 4th: Vase of jaspar with lid bearing the statuette of a warrior in gold adorned with diamonds. Venus and Cupid in porphyry by Maria da Pescia. 5th: Uasrelief of gold and jewels, representing the Piazza della Signoria, by Gaxparo Mola. Fantastic vase with a *Herculc3 in massive gold upon it, by Gior. da Bologna. 6th: Vase of rock-crystal , by Benvenuto Cellini. In the centre of the room a table with a view of the old harbour of Leghorn in Florentine mosaic. *Two Saloons of the Venetian School. 1st Saloon: r. 571. Giorgione (? or Fr. Caroto) , Portrait; 576. Titian, Portrait of Sansovino ; 583. Giov. Bellini, Pieta (a sketch); 584. Cima da Conegliano, Madonna; *58o. Pordenone (V), Portrait; 589. Paolo Veronese, Martyrdom of St. Justina (sketch); 590. Tijian, Mad«)nna; 596. P. Vero- nese, Esther in presence of Ahasuerus; 595. Jacopo da Ponte, snrnamed Bassano, Portraits of the painter's family; *o99, (jOo. Titian, Portraits of the Duke and Duchess of Urbino; 607. Paris Bordone , Portrait. — 2nd Saloon : r. *609. Titian , Battle between Venetians and Imperial troops ; 612. Paolo Veronese, St. Paul ; 613. Paris Bordone, Portrait ; 614. Titian, Giovanni de' Medici (father of Cosmo I.); 615. Tintoretto, Portrait; 616. Pordenone, Conversion of S. Paul; *618. Titian, Madonna (a study); *622. Pietro della Vecchiai'i)^ Maltese knight ; **626. Titian, 'Flora'; 628. Boni- fazio. Last Supper; 633. Titian, Madonna; 636. /-•. Veronese, Crucifixion; 638. Tintoretto, Portrait of Sansovino ; 639. Moretto, Portrait; 645. Savoldo, Transfiguration; 648. Titian, Catharina Cornaro, Queen of Cyprus; *650. Palma Vecchio (?), Portrait of a mathematician. 326 Route 5-2. FLORENCE. Gal. degli Vffizi. Two COKKIUOKS WITH SCCLPTUKES OF THE TuSCAN SCHOOL. I. 347—351. Five bas-reliefs in marble representing the history of St. Giovanni Gualbcrto, from the monastery of S. Salvi outside the Porta Santa Croco, by Benedetto da Rovezzano; 352. Tomb-relief of the wife of Fr. Tornabuoni , by Vevrocchio:, without number, four portrait bustp. — II. **Ten bas-reliefs with singing and dancing boys and girls, by Luca delta Bobbia, originally destined to embellish the organ in the cathedral ; another, but inferior relief, 373. dancing genii, by Doiiatello , was executed for the same purpose; 364. Statue of the young John by Bos- selltno; 371. Bust of Macchiavelli (1495); 374. Virgin (unlinished) , bv Michael Ainjelo ; 362. Fides, by Malteo Ciritali ; 367. Ant. Bosselluio (1459), Madonna adoring the Child. Over the door, Mask of a satyr, an early work of Jfic/iaet Anijelo. iBeyond this is the Office of the Director ; also the Collection of Coins , shown by special permission only. Woodcdts, Engravings, Drawings (Passage to the Pitti Palace). (The visitor is recommended to pass over this part of the collection at present, and to visit it w-hen on his way to the Pitti Palace in connection with (he other collections.) A stair descends to the 1st Saloon, containing early Italian woodcuts (with and without colouring). — 2nd Saloon : Engravings down to Marc Antonio, a Mantegna opposite the door worthy of notice. — A stair descends hence to a long Corridor which leads over the Ponte Vecchio to the Palazzo Pitti, a walk of nearly 10 min. First, parallel with the Arno, 1. side : Engravings of Marc Antonio and his school, then Corneille Cort and his pupils ; r. side (going back) , Roman school of the 16(h and 17tli cent., Tuscan masters of the 16th — 18th cent., then N. Italian, German, and Dutch masters down to the present time (each plate bears the name of the painter end engraver). The passage turns to the 1. over the Ponte Vecchio; on the r. and 1. and in stands in the middle is an admirable collection of *Drawixgs , founded by Cardinal Leopold de' Medici and afterwards much extended, now comprising about 30.0iX). All those which are exhibited to view bear the names of the masters. A few of the most important only are here enumerated: Right wall: Sc/iool of Giotto ( Taddeo Gaddi), Fra Angelico ., Lvca delta Bobbia , Masaccio , *Fra Filippo Lippi {sketch oiihoincture 1^0. 1307 in the UlTizi), *I)om. Ghirlandajo., Pollajuolo , *3fante(jna (Madonna worshipping , Judith and Holofernes), *Perti(/ino, Garofalo., ^Leonardo da Vinci (24 drawings , admirable heads, lion fighting with a dragon), *Fra Bartolommeo, Lorenzo di Credi, *Baphael (37 drawings, Entombment, ske(ch of the picture No. 1127 in the Tribuna, the Plague, etc.), Francia .^ Ginlio Bomano , Sodoma, Giovanni Bellini, *Michael Anyelo (21 drawings, sketch for the monument of Julius II., sketch for the cartoon of the soldiers bathing, etc.), Sebastiano del Piombo, Andrea del Sarto. On the end-wall , Correggio and Giorgione. On the 1. wall (going back): Bandinelli , Titian {chiefly landscapes), P. Veronese, Tintoretto, the Caracci , etc., down to Salvator Rosa. Then Burgkmai/er, Swanevelt. Velasquez, Mitrillo, Poussin, Vati der Wei/den , *Albert Diirer. 1st Stand: *Francia, Van Diick, etc.; 2nd, Giitlio Boniano, *Innoc. da Imola, Bagnacavallo, etc. ; 3rd, ornaments of all kinds. — Then follow portraits of.the Medicis, allegorical pictures by pupils of Vasari, the Triumph of Galathea by Luca Giordano in the larger room, embroidered carpets from the Florentine manufactory, to the 1. above them a Descent from the Cross from a cartoon of Michael Angelo. We now ascend a short stair to a collection of sketches in grisaille and small pictures of animals and plants by Bart. Ligozzi (below lies the Boboli Garden). In order to reach the gallery in the Pitti Palace (p. 353) we ascend two more stairs. Two Saloons of the Painters. The walls are covered with portraits of the most celebrated painters of all nations from the 15(h cent, to the present time, painted by them- selves and with (heir names attached. The 1st Saloon contains the old masters; on the r. wall and half of the 1. are those of Central Italy, on 6a/. degli Uffizi. FLORENCE. 5-2. Route. 327 the other wall those of X. Italy . on the side by which the room is entered those of foreign countries. The most celebrated 'names here are *292. Leonardo da Vinci (not by himself), 288. Raphael, 2dO. Michael Angelo (not by himself). 287. Pietro Perugino, 280. Andrea del Sarto. 286. Masaccio (probably Filippino Lippi), 289. Oiulio Romano. On the wall to the 1. of the entrance Venetians, Bolognese etc.: 354. Giov. Bellini, *384. Titian. 38.0. Paolo Veronese, 378. Tintoretto, 348, 368, 397. The Caraca\ 396. Guercinn, 403. Guido Reni. On the entrance wall German and Dutch masters: 237. Quenlin Massi/s, 434. *Albert Diirer (1498. repetition of the better picture at Madrid). 232. Holbein, *228. Rubens, 223. Van Dyck, 451, 452. Rembrandt, 449. Gerard Dow. In the centre a large *3Iarble Vase of Greek workmanship, known as 'The Medici Vase', with sculpturing representing the Sacrilice of Iphigenia. In a niche opposite the entrance, the statue of Card. Leopold de' Medici , the founder of this collection of portraits. In the 2nd Saloon, modern masters: Angelica Kauffmann, Mad. le Brun , *Raphael Mengs], Reynolds, Vverbeck , Canova, Winterhalter, Ingres, etc. Cabinet of Inscriptions. The walls are covered with a number of ancient Greek and Latin in- scriptions, most of them from Rome, arranged in twelve classes according to their subjects (the gods and their priests, the consuls, dramas, military events, private alYairs, etc.). There are also some fine Statues: ♦268. Bacchus and Ampelus; *263. Mercury; 266. Venus Urania; *265. Venus Genetri.x; 264. Priestess (head new). To the 1. of the door of the next room an interesting relief representing earth , air , and water. On the r. a large relief: Departure for the chase. Also a number of cinerary urns and busts with (sometimes fictitious) inscriptions. Cabinet of the Hermaphrodite. *306. Hermaphrodite reclining on a panther's skin, the legs restored. At the sides of the door, 307 and 324, torsos of Bacchus , one of basalt, the other of Parian marble; 308. Ganymede with the eagle; 311. Pan and hermaphrodite, both restored by Benienuto Cellini; 310. The infant Hercules strangling the snakes; 312. Fine portrait head; *315. Torso of a Faun; 316. Antinous; *318. Head of the dying Alexander; 323. Cupid and Psyche ; 331. Victories offering bulls. A door in this cabinet leads to the Cabinet of the Cameos. Cases 1st — 4th contain the antique cameos', 5th and 6th the modern ; 7th — 10th the ancient cut stones (intaglias), 11th and 12th the modern- In the 1st Case, to the 1. of the entrance, the cameo No. 3 (red numbers), with the Sacrifice of Antoninus Pius, is remarkable for its size ; 7. Cupid riding on a lion, with the name of the artist (Protarchos) : 9. Cupid tormenting Pysche; 31. Nereid on a hippocampvis. 2nd Case: 36. Judgment of Paris; 51. Zeus of Dodona: 63. Hercules and Omphale. 3rd Case: 86. Youthful Augustus; 100, 101. Tiberius. 4th Case: 148. Wounded stag; 156. Fall of Phaeton: 162. Bacchus and Ariadne. 7th Case (opposite the door): 28. Apollo: *54. Hercules and Hebe, with the name of the artist Teucros; 73. Satvr and child. 8th Case: 101. Mourning Cupid; 145. Apollo. 9lh Case: 176. Bacchante; 185. Pluto; 190, 191. Leander (?). 10th Case: chiefly portrait-heads. 11th Case: 4158 (black numbers), Sphinx, the seal of Augustus. 12th Case (modern): *371. Head of Savonarola ; 373. Leo X., etc. — The four next cases contain the collection bequeathed by Sir William Currie to the Uflizi in 1863: 5. Hermaphrodite: 20. Dancing Satyr; 35, 50. Fine heads; 106. Ajax and Achilles, etc. — Also six works in niello (engraving on silver), e. g. Coronation of the Virgin by J/a.«o Finiguerra ; then ivory carving and miniatures. By the wall opposite the window: Cast of Dante's features taken after 'death, 1321, presented in 1865 by the Marchese Torriani. S.\LOON OF BaROOCIO. By the walls and in the centre four tables of Florentine mosaic. That in the centre, executed in 1613 — 18 by Jacopo Antelli, from Ligozzo's design, 328 Route 52. FLORENCE. Oal. degli Uffizi. moat interesting : r. 154, 159. Rronzino , Portraits of Panciatichi and his wife ; 157. Honthorst^ Infant .lesus adored by angels ; 158. Bromiuo^ Descent from the Cross; 162. G^^ido lieiii , Sibyl; 163. Siesteiinans , Galileo; *169. Baroccio, The Virgin interceding with the Saviour fJIadonna del Popolo, 1579); 171. A. Caracci , Man with an ape on his shoulder; 180. Rubens, Helena Forman, his second wife; 188. Andrea del Sarto(i')-, Portrait; 190. Honihorst, Adoration of the Shepherds; *191. Sassoferrato , Madonna dei Dolori ; 195. Caratmggio^ The tribute-money ; 196. Van Dyck, Margaret of Lorraine; 197. Rubens, Elisabeth Brand, his first wife; 203. Guido Rent, Bradamante and Fiordaspina (from Ariosto's Orlando Furioso) ; 204. Aurelio Luiui (father of the celebrated Luini), Sladonna; 210. Velasquez, Philip IV. of Spain on horseback (the genii by a different hand, the figure a larger repetition of that in the Pitti Palace); 211. Salaino , Copy of the Holy Family of Leonardo da Vinci (in the Louvre); 213. Bugtardini, iladonna; 216. Rubens (/), Bacchanalian; 220. Snijders, Boar-hunt. *Saloon of Niobe, constructed in 1775, and so named from the seventeen statues of the far- famed ancient group of Niobe with her seven sons and seven daughters who were slain by Apollo and Diana, which probably once adorned the pediment of a temple (perhaps of Apollo), the unhappy mother occupying the centre of the group, with her slain and expiring children and their pedagogue on either side. These statues , which appear to have been copied from a work by Scojms or Praxiteles, were found at Rome outside the Porta S. Paolo in 1583 and placed by Cardinal Ferdinand de' Medici in his villa on the Monte Pincio (now the property of the French Academy), whence they were subsequently transferred to Florence. Opinions differ regarding the proper arrangement of the group, especially as statues belonging to the group were found elsewhere and some of those found at Rome are in duplicate. Then 259, a repetition of the so-called Zeus of Otricoli. Among the paintings are: r. 139. Sustennaus, the Florentine Senate swearing allegiance to the young Grand-duke Ferdinand II.; 140. Rubens, Henri IV. at the battle of Ivrv; 144. Van Dyck, Rubens' Mother (?J; 147. Rubens, Entry of Henri IV. "into Paris; 148. Honthorst, Supper; 152. Honthorst, Fortune-teller. Two Cabinets of Ancient Bkonzes. In the 1st Cabinet (knock if the door is closed), by the walls, *bronze heads, found in the sea near Leghorn, among them, on the r., Sophocles and Homer; list of the town-council, on a bronze tablet of A. D. 223, from Canossa. In the centre : *426. Colossal horse's head ; a tripod. 2nd Cabinet: in the centre *424. Bronze statuette of a naked youth ('L' Idolino'), found at Pesaro, with handsome pedestal by JJesiderio da Settignano (15th cent.). The cases by the walls contain a number of small bronzes, some of them statuettes , others articles of domestic use , candelabra , lamps, metal mirrors, helmets, spurs, horse-bits, etc.; also Christian anticaglias (diptychon of the consul Basilius, case 18., to the 1. of the door). Galleria Feroni, bequeathed to the city by Sign. Feroni in 1850, and brought from the Palazzo Feroni (PI. 66) a few years ago. It contains few objects of great merit. On the wall to the r. of the entrance: D. Tenters, Interior of a butcher's shop and tavern; Carlo Dolci (V), Madonna del dito ; on the 1., *Carlo Dolci, Angel with the lily; Schidone , Madonna and Child. The tirst floor of the editlce contains tlie Biblioteca Nazionalb (open daily except on Sundays and festivals, in summer 9 — 5, in winter {)■ — 4 o'clock , entrance by the 8th door from the piazza ), which has been formed since 1860 by the union of the grand-ducal library, formerly in the Pitti Palace , and the still more extensive Or San Michele. FLORENCE. 52. Route. 329 Biblioteca Magliabecchiaiia. The latter, founded by Antonio Magliabecchi, a jeweller of Florence, has been dedicated to the use of the public since 1747. The present library contains about 200,000 vols and 8000 MSS., comprising the most important works from the literature of other nations. There are also several very rare impressions: the tirst printed Homer, Florence 1488; Cicero ad Familiares, Venice 1469; Dante, Florence 1481. Every facility is afforded for the use of the library; to the r. at tlie end of the great reading-saloon is the room containing the catalogues. — The staircase to the r. of the library leads to the *Cbntral Archives of Tuscany, arranged by Bonaini, one of the most imposing collections of this description. From the Piazza della Signoria the handsome Via dei Calzajuoli leads towards the N. to the Piazza del Duomo. To the 1. on the way thither is the church of *0r San Michele (PI. 31), the square form of wliich still indicatt-s its original desti- nation as a corn-hall (Horreum Sancti Michaelis), erected by Arnolfo {''?)inl284, and converted into a church at the expense of the guild of weavers by Taddeo Gaddi ( ?) in 1337 and Andrea Orcagna in 1355. The structure is in the Gothic style, richly adorned inter- nally and externally with sculptures. On the E. side, towards the Via Calzajuoli, (r.) St. Luke, by Giovanni da Bologna; * Christ and St. Thomas, by Andrea del Verrocchio; (I. J John the Baptist, by Ghiberti; beneath, eagles on bales of wool (1414). Then, farther to the I., on the S. side (r.) St. John, by Baccio da Mon- telupo. Beneath the adjacent canopy was formerly placed a Ma- donna by Mino da Fiesole (removed to the interior of the church, see below), now a *St. George by Donatello , which was originally destined for the vacant niche to the N. ; (1. ) St. James by Nanni d' Antonio di Banco; St. Mark, by Donatello. On the W. fagade, statues of (r.) St. Eligius, by Nanni di Banco, beneath it a relief v/ith farriers; *St. Stephen, by Lorenzo Ghiberti; (\.) St. Matthew, by the same master, the model for which was completed in 1422. On the N. side ( r.) an empty niche (see above). Four saints by Nanni di Banco, with relief representing a sculptor's studio. (I. J St. Philip, by the same. St. Peter, hy Donatello. The co- loured medallions in bas-relief below the niches are by Luca della Robbia. In the Interior, which consists of a double nave, divided by two pillars, to the r. the hne*High Aiiar (canopy), a celebrated work of Andrea Orcagna , in marble and precious stones, with numerous reliefs from sacred history, completed, according to the inscription, in 1359, and erected over the miracle working image of the Virgin. At the side-altar under the organ, a marble group of the Holy Family, by Francesco da Sangallo ; N. side. Madonna and Child, by Mino da Fiesole (see above). Opposite (r.) is the Oratorio of S. Carlo Borromeo (^Pl. tJ). 330 Route 52. FLORENCE. Battistero. The Via dei Calzajnoli, before its extension, contained the ancient towers of the Adimari, Medici, and Visdomini. We next reach the (r. ) entrance to the Bazaar (PI. 40), and pass a number of shops, etc. The streets to the 1. lead to the busy Mercato Nuovo, the market for meat, vegetables, fish, etc., extending as far as the Piazza Strozzi (PI. C, 4), where there is a good copy in bronze of the antique boar hy Pietro Tacca and arcades by Bernardo Tasso (1547). On the 1. at the extremity of the Via Calzajuoli is the elegant oratory Bigallo (PI. 45), an edifice erected by a follower of Orcagn a in 1248 for charitable purposes, now an orphan-asylum. Over the arcades (N.) are three small statues (Virgin and two saints), by Alberto di Arnoldo, and two almost obliterated frescoes from the legend of St. Peter the Martyr. The chapel, now containing the archives of the asylum, contains a Madonna by Alberto di Arnoldo, 1363. Opposite is the Church of St. John the Baptist, *I1 Battistero (PI. 6), one of the most ancient edifices in the city, originally erected in the 6th cent, on the site of a Roman temple (probably that of Mars), and subsequently altered at various periods, e. g. hy Arnolfo in 1293, when the remarkably chaste marble incrustation of the exterior was executed. The baptistery is octagonal, 94 ft. in diameter, and covered with a dome. It was used as a cathedral down to 1128, and in the 14th and 15th cent, was furnished with its three celebrated **Bronze Doors. The oldest of these is on the S. side, opposite the Bigallo, completed by Andrea Pisano in 1330 after 22 years of labour. The representations are from the life of St. John. The bronze decorations at the sides are by Lorenzo Gfiiberti and his son Vittorio (about 1446) ; above is the Beheading of John the Baptist by Vincemo Danti. The *Secoxd Door, towards the cathedral , executed by Lorenzo Ohi- berti (1435—52) is considered a marvel of art , representing ten different scenes from scripture history: (1.) 1. Creation and Expulsion from Para- dise; (r.)2. Cain slaying his' brother and Adam tilling the earth ; 3. Noah after the Flood, and his intoxication; 4. Abraham .and ^the angels, and Sacrifice of Isaac; 5. Esau and Jacob; 6. Joseph and his brethren;?. Promulgation of the Law on Mt. Sinai; 8. The Walls of Jericho ; 9. Battle against the Ammonites; 10. The Queen of Sheba. This is the door which Michael Angelo pronounced worthy of forming the entrance to Paradise. The bronze decorations at the sides are also by Ohiberti; over the door the *Baptism of Christ, by Andrea Snnsovino, the angels by Spinazxi. The two porphyry columns were presented by the Pisans (in 1200) in recog- nition of the assistance rendered them by the Florentines against Lucca in the expedition to Majorca in 1117. The chain of the harbour of Pisa, carried otl' by the Florentines in 1362, was formerly suspended here, but has been recently restored to the Pisans and is preserved in the Campo Santo (p. 297). The Third Door (N.) is also by Ghiberti (1403—27). It represents in 28 sections the history of Christ , tlie Apostles, and Fathers down to St. Augustine. Many rival artists are said to have competed for the honour of undertaking this work, of whom the principal were Ohiberti, Brunellesco (in the Bargello, p. 334), Jacopo della Fonte, Simone da CoUe, and probably also Donatella, but the preference was given to Ohibarti. Above the door Cathedral. FLORENCE. 52. Route. 331 the *Preaching of St. John by Fr. Rustici ^ 1511 (suppo.sed to have been designed by Leonardo da Vinci). In the Interior of the baptistery, below, are eight niches, each con- taining two column.'! of oriental granite with gilded Corinthian capitals. The choir is probably a part of the original building. The .statues and pictures are of subordinate importance. The dome andchoir-bavs are adorned with *mosaics by Fra Jacopo (after 1225), Andrea Tafi (d. l320), Apollonio Greco, and others, which however are not visible e.xcept on very bright days. On the pavement ancient mosaics with the zodiac and inscriptions ; elsewhere, niello with ornaments. The font is enriched with reliefs by an imitator of Orcagna. To the r. of the high altar the tomb of Pope John XXIII. (d. 1419), who was deposed by the Council of Constance, the recumbent bronze statue by Douatello, the figure of Faith by Michelozzo. On the festival of St. John an altar of massive silver (325 lbs. in weight) with a cross of the same metal (141 lbs.) are placed here, adorned with bas-reliefs from the life of the Baptist, by ilaso Finiguerra, Antonio da Pffllajuolo, Maestro Cione, Verrocchio ., and others (kept in the Opera del Duomo, p. 332). Opposite the ?s^. side of the church is a column of speckled marble (cipollino). erected in 1330 to commemorate the removal of the remains of St. Zenobius. The *Cathedral (PI. 8), 11 Duomo, or La Cattedrale di S. Maria del Fiore, so called from the lily which tigures in the arms of Florence, was erected in 1*294 — 1474 on the site of the earlier church of 8t. Reparata by Arnolfo del Cambio, Giotto, Taddeo Gaddi, Andrea Orcagna, and Lorenzo di Filippo. The dome added in 1421 — 36 by Filippo Brunellesco, a masterly structure, surpasses in height (300 ft., with the lantern 352 ft. ) the domes of St. Peter and the Pantheon at Rome (ascent, see p. 332). The church, a grand example of Italian Gothic, 1851 2 y^g, ijj length, 114 yds. (across the transepts") in breadth, is one of the most admired in Italy. The facade was begun by ^IrnoZ/b , but in 1332 his successor Giotto designed a new and more imposing plan (of which copies still exist , e. g. in the cloisters of S. Marco, 5th lunette from the entrance on the r.) and executed one half of it himself. In 1588 this work was demolished with a view to replacing it by a new fa^-ade designed by Buontalenti, Dosio, Cigoli, and others, but the project was not carried out. The cathedral (like S. Croce, S. Lorenzo, etc.) was thus left without a facade, and was then decorated with frescoes by way of supplying the defect, but these have long since disappeared. In April, 1860, Victor Emmanuel laid the foundation-stone of a new facade, but no farther progress has yet been made. The marble-clad walls are chaste in style and of excellent workmanship. The two side- entrances and the chapels are sparingly ornamented (lunette of the 2nd S. door, a Madonna with two angels, by Giovanni or Nino Pisano). The grand dimensions of the interior are most impressive, although the decorations are somewhat scanty (the gallery which detracts from the effect was probably a later addition). The choir, instead of being at the end of the church, is appropriately placed under the dome. Ikteeior. On the entrance-wall old frescoes by Paolo Uccello (four pro- phets), and the Coronation of the Virgin in mosaic, by Gaddo Gaddi; 332 Route 52. FLUKE NCK. (athedral. at the sides frescoes (angels) by Santi di Tito, restored in 1&12. — The design of the coloured mosaic pavement is attributed to Baccio d'Agnolo and Francesco da iSatiffallo. S. Aisle. Monument of Filippo Brunellesco with his portrait in marble, by his pupil Buggiano. Monument of Gianozzo Manetti, attri- buted to Douatello. (r.) Bust of Giotto by Benedetto da Majano; (1.) by the pillar a line receptacle for holy water by Arnolfo or G^iotto. (r.) Monument of Pietro Farnese by Jacopo Orcagna. Bust of the learned Marsilius Ficinus, by A. Ferrucci. Over the following door (r.) the Mau- soleum of Antonio Orso, Bishop of Florence, by Tina di Camaino of Siena, with the ligure of the deceased in a sitting posture. By the pillar of the dome, towards the nave, St. Matthew, a statiie by Vincenzo de' Jionsi, oppo- site to it St. James, by Giacopo da Sausovino. S. Transept: r. St. Philip, 1. St. James the Great, by Giovanni Ban- dini. Each of the four side-chapels is adorned with two saints, painted al fresco by Bicci di Lorenzo. The stained glass windows are said to have been executed at Liibeck in 1434 by the Florentine Domenico Livi da Qambassi, from designs by Gkiberti and Donatello. — Over the door of the sacristy a bas-relief (Ascension) by Luca della Rohbia. In the Navk,E. branch, statues of (r.) St. John, (1.) St. Peter by Bene- detto da Kovezzano. Beneath the altar of the Tribuna (or chapel) of St. Zenobius is the shrine containing the relics of the saint, in bronze, by Lorenzo Ghibtrii (1440). Last Supper on a golden ground, painted 'a tem- jiera' by Giovanni Balducci. On the r. St. Matthew by Donatello, on the 1. St. Mark by Niccolb Aretino. The octagonal Choik, constructed of marble from designs by Giuliano di Baccio d' Agnolo, is adorned with basreliefs by Batidinelli (with the initials B. B. and date 1555) and his pupil Giovanni delV Opera. Behind the high altar an unfinished group (Entombment) by Michael Angela. The paintings in the octagonal dome, begun in 1572 by Vasari, and continued by Federigo Zuccheri (prophets, etc.) are not easily distinguished. Bronze door of the N. Sackistt liy Luca della Robbia and Maso di Bartolouinieo. Above it a basrelief in terracotta (Resurrection) by the former. In this sacristy Lorenzo de' Medici sought refuge in 1478, on the outbreak of the conspiracy of the Pazzi, to which his brother Julian fell a victim. N. Tkansept. The Tribuna della S. Croce contains statues of St. Andrew and St. Thomas by Andrea Ferrucci. In the chapels frescoes by Lorenzo di Bicci. The ten stained glass windows are by Lor. Gkiberti. In the centre of the tribune is a round marble slab covered with wooden planks, placed here aljout the year 1450 by the celebrated mathematician Paolo Toscanelli of Florence for the purpose of making solar observations through a corresponding aperture in the lantern. In 1755 P. Leonardo Ximenes added a graduated dial in order to admit of more accurate observations , as an inscription on one of the pillars of the dome records. X. Aisr.E. By the side-door is a *portrait of Dante, with a view of Florence and scene from the Divine Comedy, painted on wood by Domenico di Michelino in 14G5 by command of the republic. Then Arnollo, with the design for the cathedral, a medallion in high relief by Bartolini (1483). Statue of Poggio Bracciolini, secretary of state, by Do- natello. Bust of the musician Antonio Squarcialupi by Benedetto da Majano. The Ascent of the Dome (p. 331) is very interesting, both for the sake of obtaining an idea of its construction , and for the *view (more extensive than from the Campanile, see below). Entrance by a door in the r. aisle (opened by the sacristan; attendant 1 fr.); easy ascent of 463 steps to the upper gallery, whence the adventurous visitor may clam- ber up a ladder of 57 steps UKjre to the cross on the summit. The Oi'eka uel Dio.mo in the Piazza del Duomo, opposite the choir, contains several sculptures and the silver altar mentioned at p. 331. Jl BargeUo. FLORENCE. 52. Route. 333 The *Campanile, or bell-tower, besiun by Giotto in 1334 and completed after his death (1336) by his successor Taddeo Oaddi, a square structure in the style of the cathedral. 292 ft. in height, recently restored, is regarded as one of the finest existing works of the kind. It consists of four storeys, the lowest of which is richly decorated with reliefs and statues. The windows, which increase in size with the different storeys, are enriched with beautiful tracery in the Italian Gothic style. On the W. side are statues of the four Evangelists by Donatella ( *St. Matthew, the finest) and Giovanni de Rossi ; on the S., four prophets by Andrea Pisano and Giottino ; on the E., four patriarchs by Donatello and Mccolb Aretino ; on the N. , four sibyls by Ltcca della Robbin and Nanni di Bartolo. Beneath these are bas-reliefs designed by Giotto, executed by Andrea Pisano and Luca della Robbia : the 7 cardinal virtues, 7 works of mercy, 7 beatitudes, and 7 sacraments ; in the lower series is represented the development of mankind from the Creation to the climax of Greek science. It is ascended by a good stair of 414 steps (fee for 1—2 pers. 1 fr.). Beau- tiful view from the top, embracing the valley in which the city lies, the neighbouring heights, studded with villas and richly cultivated, and the mountains to the N., 8., and E. At the summit are seen the pillars on which, according to Giotto's plan, a spire of 100 ft. (?~) was to have risen, but the project was abandoned by Gaddi. Opposite the 8. side of the Campanile is the Church of the Misericordia (PI. 27), founded in 1244. belonging to the long established order of brothers of charity, who are frequently seen in the streets garbed in their black robes, with cowls coverii\g the head and leaving apertures for the eyes only, while engaged in their missions of mercy. It contains a Madonna and St. Sebastian by Benedetto da Majnno, the Plague of 1348 by Lodovico da Cigoli, and other pictures. Opposite the campanile is the Canonry (Casa dei Canonici), erected in 1827 by Gnetano Baccani, with the statues of Arnolfo del Cambio, the architect of the cathedral, and Filippo Brunellesco, both by Luigi Pampaloni (1830). In the wall of one of the following houses (No. 29) is built the Sasso di Dante, a stone on which the great poet is said to have been wout to sit on summer evenings. Quitting the Piazza della Signoria (p. 318), we follow the Via de Gondi to the r. (at the end of which is the Pal. Gondi, erected by Giuliano da Sangallo, with a fine court), cross the Piazza S. Firenze to the 1., with the church of that name, and reach the Palazzo del Podesth, commonly known as *I1 BargeUo (PI. 39). erected about the year 1250 for the Podesta, or chief magistrate of Florence, and altered in 1373. This imposing structure, which had been used as a prison since the 16th cent. , and was totally 334 Route 52. FLORENCE. National Museum. disfigured in the interior, was judiciously restored on the occasion of the Dante Exhibition in 1865, and destined for the new ""National Museum, illustrative of the mediaeval and modern history of Italian culture and art. Part of the collection, which is still in course of formation, belongs to the state, and part to private individuals , and it is therefore by no means uniformly valu- able. It contains several admirable works, such as the Renaissance bronzes formerly in the Uftizi. The inspector Cav. Cavalcaselle is well known as tlie a\ithor of a new history of Italian painting. Entrance from the Via Ghibellina, daily 10 — 4, 1 fr. , on Sundays gratis. We first enter the picturesque Coukt, embellished with the armorial bearings of former Podesta"s. — The Ground Floor contains (to the r.) a valuable collection of weapons, comprising an interesting monster can- non in bronze of the 16th cent, with the arms of the Medici. — A hand- some stair ascends to the first floor. The Vestibule contains a bell cast by Bartolommeo Pisano in 12'28. I. Saloon. Sculptures in marble, most of them from the Palazzo Vecchio : 1st wall on the 1., Baccio Bandhielli, Grand-duke Cosmo I.; BandineUi^ Adam and Eve; Vincenzo de' Rossi (1st and 2nd wall), a series of sculptures representing the combats of Her- cules; 3rd wall, Giambologna^ Virtue triumphant; adjoining it, *Michael Angela's Dying Adonis, bust of Brutus (unfinished), and ' Victorii\ an old man fettered by a youth, also unfinished, perhaps destined for the monu- ment of .lulius II, lit Rome; 4th wall, Hercules and Nessus, Hercules and Hippolyta, by Vine, de' Rossi. — II. Saloon: ancient furniture and crystal (private property). — III. Saloon: fine collection of fayence, formerly in the Uffizi; the objects specially worthy of notice are in the glass-cabinets in the middle, many of them from paintings by Raphael , and once the property of the della Rovcre family. — IV. Saloon, originally a chapel, but for centuries a dingy prison, adorned with *frescoes by Giotto: on the window-wall Paradise , with a portrait of Dante as a j'outh (beneath it r. a Madonna and 1. St. Jerome by Rid. Ohirlandajo); on the entrance- wall, almost obliterated, the Infernal regions; at the side, the history of St. Maria iEgyptiaca and Mary Magdalene, much damaged. — V. Saloon: carving in ivory, statuettes, etc. ; in the centre, cabinets with fine crystal of the 16th cent.; r., a very artistic piece of modern wood-carving. (The door on the 1. in this saloon leads to the second floor, see below.) — VI. Saloon (and the 7th contain): bronzes from the Uffizi. In the centre: *Donatello, David ; by the walls, anatomical statuettes in wax and bronze by Lziigi Cigoli; a cabinet with *bronze statuettes from the antique and Renaissance works ; figures of animals, including a dog in relief by Benv. Cellini; Juno, by GianibolognaO). — VII. Saloon: In the centre: Dona- y Caccini shortly after 1600, is adorned with ♦Frescoes by Andrea del t'iarto and his pupils. On the r. the Assumption, by 7io.s.?o Fioreiitino; Visitation, by I'onlonno; Nuptials of Mary, by Francia- bigio ; *Nativity of Mary, by Andrea del Sarto ; *Arrival of the Magi, by the same master. Farther on, 1. of the entrance, Nativity, by Alessio Iialdovi»etti ; Investiture of S. Filii)po, by Cosiino Roselli ; *S. Filippo giving his garment to a sick man, l>y Andrea del Sarto; monument and bust of Andrea, by G. Caccini; *Gambler struck by lightning and S. Fi- S. Marco. FLORENCE. 5'J. Route. 339 lippo, by Andrea del Surto; *Cure of a man possessed of an evil spirit, *Death of S. Filippo and miracles wrought by his robes, both by Andrea del Sarto. The Intekiok, consisting of nave vi'ith transepts and two series of chapels, and covered with a dome, is adorned with a large ceiling-paint- ing of the Assumption by Ciro Ferri (1670). Chapels on the right : 1st, frescoes by Matteo Roselli; 4th, on the 1. the monument of the engraver Giovita Garavaglia (d. 1835), by Lorenzo Nencini. Over an altar to the 1. in the S. transept a Pieta by Baccio Bandinelli, who is buried beneath it with his wife. The great rotunda of the choir, designed by Leo Battista Alberti, adorned with frescoes by VoKerrano (1683) and Ulivelli., is pecu- liar. To the 1. at the entrance is the monument of Angelo Marzi-Medici by Francesco Sangullo (1546). In the 2nd chapel on the r. the Kuptials of St. Catharine by Biliverte. The 5th chapel contains a crucifix and six reliefs from the Passion by Giovanni da Bologna and his pupil Franca- villa., with the monument of the former; in the 6th chapel a Resurrection by Bronzino; in the 7th a ^Madonna with saints, by Pietro Perugino. In the 1st chapel of the nave , after the choir is quitted : Assumption , by Pietro Perugino (or Albertinelli?). In the 3rd chapel the Last Judgment, copied from Michael Angelo's picture at Rome by Alessandro Allori. Frescoes by the same. The Cappella della Vergine Annunziala in the nave to the 1. of the entrance, covered with a kind of canopy, erected in 1448 by Pagno di Capo Porligiani from Michelozzo^s design, and sumptuously decorated with silver and gold by sulisequent princes (reliefs in silver by Eigelti), contains a 'miraculous' and highly revered picture of the Virgin behind the altar, a fresco of the 13th century. Over the altar a bust of the Saviour by Andrea del Sarlo. A door in the N. transept leads to the Cloisters; over it is a *fresco by Andrea del -Sarto, the Madonna del Sacco (1525). Beneath it is the monument of the Falconieri, the founders of the chui-ch. On the same side is the entrance to the chapel of the guild of painters (Cappella di S. Luca), adorned with paintings by G. Vasari , Pontorniu , and others (keys at the academy, see p. 343). The Via della Sapienza leads hence to the Piazza di S. Marco (PI. E, 3), adorned with a bronze statue of general Fanti, by Fedi, erected in 1872. The church of S. Marco (PI. 19) situated here, a church without aisles, with a flat ceiling and a dome over the choir, was erected in 1290. Interioe. Over the central door Christ , painted 'a tempera' on a gold ground, by Giotto. Right wall. 1st altar: St. Thomas Aquinas be- fore the Crucified, by Santi di Tito. 2nd altar: JIadonna with saints, by Fra Bartolommeo. 3rd altar : Madonna and two saints, a mosaic of the Roman school. — In the vestibule of the sacristy a statue of the Risen Christ, by Antonio Novelli. In the sacristy (erected by Michelozzo) a recumbent statue of St. Antoninus in bronze, by Portigiani. Annuncia- tion by Fra Bartolommeo {"i). Adjoining the choir on the 1. is the chapel of Prince Stanislaus Poniatowsky (d. 1833), containing pictures by fSanti di Tito, etc. — Then the Chapel'of St. Antont (who was once a monk in this monastery) ; architecture and statue of the saint, by Giovanni da Bologna. Frescoes on either side of the entrance with the funeral obsequies of St. Antony, by Passignani. In the picture on the 1., members of the Medici family are represented as supporting the Canopy in the procession ; sta- tues of SS. Philip, John, Thomas Aquinas, Antonine the Abbot, Eberhard, and Dominicus, by Francavilla , the bas-reliefs by Portigiani; over the altar. Conversion of Matthew by Poppi (r.), and Healing of the leper by Naldini (1.). This church contains the tombs of the celebrated scholar Johannes Picus di Mirandola, who died in 1494 at the age of 31, and the equally distinguished Angehis Politianus (d. 1494) , who was a monk of this monastery (between the 2nd and 3rd altars of the 1. wall). 22* 340 Jioute 5-2. FLORENCE. 3. Marco. Adjacent to the cliurch is the entrance to the once far-famed ^Monastery of S. Marco, now suppressed and fitted up as the Museo Fiorentino di S. Marco (open daily, from 1st Oct. to 3lst March, 9 — 3, from 1st Apr. to 30th Sept. 10 — 4 o'clock; 8und. gratis, at other times 1 fr. ). Tlie building was originally occupied by 'Sil- vestrine' monks, but was transferred under Cosmo 'pater patriae' to the Dominicans, who were favoured by the Medicis. In 1436 — 43 it was restored in a handsome style from designs by MicheLozzo, and shortly afterwards decorated by Fra Giovanni Angelico da Fiesole (_b. 1387, d. 1455) with those charming frescoes which to this day are unrivalled in their pourtrayal of profound and de- voted piety. The painter Fra Bartolommeo delta Porta (1469 — 1517) and the powerful preacher Girolamo Savonarola (burned at the stake in 1498, see p. 316j were also once inmates of this monastery. The Cloisters, which are entered immediately from the street (for- merly from tlie sacristy of the church, p. 339) , are partially 'decorated with frescoes of the 18th cent., but these are far surpassed by the nume- rous and excellent works of the earlier masters, among which the following deserve special notice: opposite the entrance, *Christ on the Cross, with St. Dominic; 1., over the door to the sacristy, *St. Peter the Martyr, indicating the rule of silence peculiar to the order by placing his hand on his mouth; over the door to the chapter-house (see below) St. Dominic with the scourge ; over the door of the refectory a Pieta ; over the entrance to the 'foresteria', or apartments devoted to hospitality, Christ as a pilgrim welcomed by two Dominican monks ; over the door Christ with the wound-prints, all by Fra Angelico. Near the old approach to the upper lloor (in the first cloister): Christ on the way to Emmaus by Fra Bartolommeo. The second door in the wall opposite the entrance leads to the Chapter House, which contains a large ^Crucifixion, Christ between the thieves, surrounded by a group of twenty saints, all life-size, with busts of seventeen Dominicans below, by Fra Angelico. The door in the corner of the cloisters leads to the Great Refectory , one of the walls of which is adorned with the so-called *Providenza (the brothers seated at a table and fed l)y two angels) by Fra Bartolommeo and a Cru- cifixion. The door next to the chapter-house" leads to the second monastery- court, in the passage to which, on the r., is the stair to the upper lloor. On the 1., before the stair is reached, is the Small Refectory, containing a *Last Supper by Dom. del Ghirlandajo. — X.^rrER Floor. The corridor and the adjacent cells arc adorned with a succession of frescoes by Fra Angelico, and partly by his pupils. In the Corridor : *Annunciation, Christ on the Cross with St. Dominic , and an Enthroned JIadonna with saints. In the Cells : *Coronation of the Madonna by Christ and saints, * Adoration of the Magi, the two Maries at the Sepulchre, Christ opening the gates of Paradise, Entombment, etc. Opposite the staircase is a cell containing reminiscences of St. Antonine. The last cells on the 1. in the passage were once occupied by iiaronarola., and now ccmtain a modern bust, his portrait by Fra Bartolommeo , a copy of an old picture repre- senting his execution (original at the Pal. Corsini , p. 349), autographs, etc. ; also two Madonnas by Luca della Robbia. On the r. of the stair- case is the Library , the "arrangement of which is incomplete. Glass- cases in the middle contain a number of books of the Gospels with minia- tures, most of them by Fra Benedetto, the brother of Angelico. On the other side of this passage are two cells , adjoining those of St. Antonine, and containing three small *panel pictures by Fra Angelico which for- merly adorned reliquaries in S. Maria Nov»'lla , representing an allegory, the Presentation in the Temple, and Christ teaching. An adjacent room Academy. FLORENCE. 52. Route. 341 contains the flags and colours of all the tovyns and corporations which were represented at the Dante festival in 1865. The AccADEMiA DELLA Ckusca, founded in 1582 to maintain the purity of the Italian language , and established in part of this building , is now- publishing a large dictionary of the language, and occasionally holds public sittings. On the 1. as the Via Ricasoli is entererl from the Via della Sapienza, is (No. 54^ the entrance to the *Academy of the Fine Arts (PI. 37), open 9—3 o'clock daily, except Sundays. The Entrance Hall contains four bas-reliefs in terracotta., by Luca delta Rohhia , and busts of great painters , in plaster. Hence to the r. through a room with casts of modern sculptures to the *Hall of the Great Pictures. This collection, the third in Florence in point of value franking after those of the UtTizi and the Pitti), is very instructive owing to its chro- nolf»gical arrangement. It begins with: 1. Byzantine Magdalene; 2. Ma- donna, by Cimabiie: 3. St. Humilitas of Faenza, by Bt/Jfalmacco; 4—13. Ten scenes from the life of St. Francis, by Giotto (executed by Taddeo Gaddi); thus leading by progressive steps to the culminating point of the art. Of the 124 pictures exhibited here, the following should be particu- larly noticed: 15. Giotto^ Madonna with angels; IS — 29. Twelve small seciies from the life of Christ, by the same : 30. Don Lorenzo di Firenze, Annunciation, with SS. Catharine, Antony, Paul, and Francis. Al>ove : 31. Niccolb di Pietro Gerini^ Entombment; *32. Gentile da Fabriano, Adoration of the JIagi. the painters master-piece, 1423; *34. Fra An(/elico, Descent from the Cross ; 36. Alasaccio , Madonna with angels ; 39. Andrea del Castaffno, John the Baptist; *40. Filippo Lippi . Madonna with saints; 41. Coronation of Mary, with predella, by the same; 43. Andrea del Verroc- chio. Baptism of Christ, the first angel in which on the 1. was painted by Leonardo da Vinci, a pupil of this master: Alessondro Botticelli. 46. Madonna with several saints, and 47. Coronation of the Virgin; 50. Domenico G/iirlandaJo, Isativity ; *51. Lorenzo di Credit !S^ativity (his finest work); 52. Sondro Botticelli. Madonna and saints; 53. Pietro Perugino , Christ on the Mt. of Olives; *55. Assumption of the Virgin, with SS. Michael, Giovanni Gualberto, Dominicus, and Bernard, brought from Vallombrosa, painted in 1500; 56. Christ on the Cros.^ , both by Perugino; 57. Descent from the Cross, the upper half by Filippino Lippi., the lower by Pietro Perugino; 58. Perugino^ Pieta ; 59. Andrea del Sarto. Four saints; 62. Two angels, by the same; 63. History of four saints, by the same; 64. Fra Bartolommeo.1 Two Madonnas, al fresco; 65. /";■« .Sa/'/o/owmeo C.-'j, Madonna with Jesus, St. Catharine, and other saints; 66. Mary appearing to St. Bernard, by the same ; 67. Pitiffnelino del Garbo , Resurrection ; 69. Dead Christ, Madonna. Mary Magdalene, and other saints, designed by Fra Bartolommeo. and painted by his pupil Fro Paolino da Pistoja; 68. Fra Bartolommeo, St. Vincent (adjoining this picture is the entrance to the saloon with the works of the students); 71. Fra Paolino da Pistoja, Madonna presenting St. Thomas with her girdle; 72. Mariotto Albertinelli, Madonna with Je.«us and four saints; 73. Annunciation, by the same, 1510; 75. Francesco Granacci. Madonna and four saints ; 78. Fra Bartolommeo., Five heads of saints (that in the centre supposed to be Savonarola, next to him a Carthusian monk with his finger on his lips) ; 82. Fra Bartolomineo, Five saints; 86. Giovanni Antonio Sofiliani, Madonna enthroned; 88. Angelo Bronzino., Portrait of Cosmo de" Medici ; 89. Alessandro Allori . A lady of the Jledici family ; 90. Michele di Ridolfo del GMrlandajo , The thousand martyrs; 92. Angelo Bronzino . The two Maries with the body of Christ; 93. Alessandro Allori., Annunciation ; 97. Francesco Morandini^ Crucifixion ; 100. Santi di Tito, Pieta. The following rooms, which have a different entrance , are generally closed, but the custodians are bound to admit visitors .between 9 and 3 o'clock (fee optional). Through the library of the Academy another vestibule is reached (from the street, Xo. 50), and we first enter the 342 Route 52. FLORENCE. Academy. Hall of the Ancient Pictures, containing 60 works , most of tliem by unknown masters of the Tuscan school of the 14th and 15th cent., less interesting than the above to the ordinary visitor. Among them may be mentioned : 11. Francia (O, Madonna with saints; 19, 22. F>-(i Angelico , Two Madonnas; *17. Dom. 0/iirlaudaJo, Madonna and four saints. Adjacent is the Hall of the Small Pictdres, containing 71 works of the 14th — 17th cent., most of them excellent: 3. Ascension and Annunciation, attributed to Oiotto; 8. Fro Angelica^ Miracle wrought by SS. Cosmas and Damianus ; 11, 24. Life of Christ in 8 pic- tures and 35 sections, by the same; 12. Fra Filippo Lippi, Madonna adoring the Child; 13. Lorenzo di Credi, Nativity; 16. Fra Angelico, History of five martyrs; *18. Perugino (or Raphael Ot Two portraits of monks; 19. Fra Angelico^ Six representations from the legends of the saints; 20. Madonna with the Infant Jesus, above it the Trinity, by the same; 27. Carlo Dolci, Portrait of Fra Angelico; 28. Fra Bartoloimneo , Hieronymus Savonarola as S. Pietro Martire; Fra Angelico, 36. Coronation of the Virgin, 37. Crucifixion, 38. Passion, below it the Adoration of the Magi, 40. Entomb- ment, *41. Last Judgment, with numerous figures, 49. St. Thomas Aquinas with his pupils, 50. Albertus Magnus teaching theology. Sala DEI Cartoni. A number of the original designs of the most celebrated masters are preserved here: 1. Fra Bartolommeo^ St. Peter; 2. Madonna (della Gatta), copy from Raphael; 4. Fra Bartolotnmeo, St. Paul; 5. Madonna, after Raphael; 6. Correggio, Madonna; 9. Mary Magdalene, 10. St. Jerome, 11. St. Catharine of Siena, all by Fra Bartolommeo ; 17. Andrea del Sario, Madonna (in the Palazzo Panciatichi , p. 343); 21. Madonna (del velo), after Raphael; 18. Madonna, 22. St. Dominicus, by Fra Bartolommeo. Ascending the stair to the first floor we roach six rooms containing pictures 1 y modern Italian painters (Gallcria dii Quadri Moderni; catalogue 20 c. ; admission gratis), few of wliich are worthy of mention. Ante- chamber: 1. Benvenuti, Madonna; 9. St. Francis of Assisi (both of these al fresco). — 2nd R. : C. Vogel, 9. Scenes from the Divine comedy; 12. Scenes from Faust; 10. L\^si, Expulsicm of the Duke of Athens from Florence. — 3rd R. : Castagnola , Filippino Lippi and his mistress; 10. Bezzuoli, Entry of Charles VIII. into Florence; 16. Jfnssinij Cimodoce and Eudora. — 4th R. : 3 Jfarko, Harvest; 21. Jfarko , Return of Tobias. — 5th E. : 8. C. Vogel , Jesus and the little children; 16. Sanest., Game of Morra; 17. Bvzzi, Reading lesson. — 6th R. : 19. Marko., Landscape; 28. BezzHoU., Portrait of Marie Antoinette. In a straight direction from the entrance (No. 49) a court is reached, where several bas-reliefs by Luca della Robbia are preserved; cast of a colossal horse's head from the Monte Cavallo in Rome; original model of the Rape of the Sabine women, by Giovanni da Bologna; St. Matthew, just begun, by Michael Angela, etc. Then to the r. through a passage with reliefs in plaster, at the extremity of which is the Gallenj of Statues, a rich collection of casts of the most celebrated sculptures in Europe. In the court stands now the celebrated *David by Michael Angelo , for- merly in the Piazza della Signoria (p. 319) ; the statue is covered by a hut with scaffolding in the interior, so that the aggregate effect is lost, but a very interesting inspection of the details may be made. A small chapel with a *fresco by Giovanni da S. Giovanni, representing the Flight into Egypt, was transferred hither in 1788 from the garden of the Palazzo della Crocetta. — The Saloon of Architecture contains designs by the most celebrated architects. Finally several other apartments containing draw- ings, pictures, casts, etc. by modern artists. The same building (entrance in the Via Alfani) contains the celebrated manufactory of Florentine Mosaics (a branch of industry fo mded in the middle of the 16th cent.), containing a collection of the materials employed and of finished works, open daily except Sundays. Palazzo Kiccardi. FLORENCE. fr?. Route. 343 The custodian of the Acatlemy also keeps the keys of the Cloisters of the RecoUets , or barefooted monks f ChiosU-o della (ompagnia delLo Scalzo), Via Cavour 69, adorned with admirable *fresooes in grisaille from the history of John the Baptist, by Andrea del Sarto (tha 0th and 6th at the end of the wall on the r. were painted from del Sartors designs by Franciabigio ; the rich ornamentation is by both masters). — Adjacent is the Casino Medi- ceo (now Dogana, PL 51), remodelled in 1570 by Buontalenti, where Lorenzo il Magnilico, and after him Giuliano de' Medici, preserved a great number of the treasures of art which were subse- quently transferred by Cosmo I. to the gallery of the Uftizi. To the 1., at the beginning of the Via Cavour, is the *Palazzo Riccardi (PL 83), the ancient Palace of the Medici, which has been in possession of the government since l'J is embellished with *frescoes by Benozzo Gozzoli, representing the journey of the Magi, with numerous portraits of the Medici. In the Gallery ad- joining the library are frescoes (in honour of the Medici family) aTid good paintings on the mirrors by Luca Giordano, 1683. In this street are also the palares of the Panciatichi [Vl. 76) erected by Carlo Fontana about 1700, <-ontauiing one of the best existing copies of Rapliael's Madonna of Loreto, the original of 314 Route rrJ. FLOHENCK. ^\ Lorenzo. whicli is lost; Covoni (funmu-ly Capponi, l»y (t. Silvani, about 1660), Pesteltini (formerly Naldini; PI. 79), Pucci (formerly Lyhi, recently altered by Bonaiuti ; PI. 82), Poniatrmski (1740; PI. 81 ) and Bartoloimnei (formerly Cappoli e Medici, by Ghernrdo Silvani ; PI. 59), all stni(;tures of considerable pretensioTi. Also the Biblioteca Marucelliana (PI. 43), founded in 1703 by Francesco Mdrucelli (near S. Marco, open every week-day, 10 — 2). Opposite the palace of the Medici, in the Via delle Cantonelle, is situated the church of ^S". Giovannino deyii Scolopi (appertaining to the Padri delle Scuole Pie), erected in 1352, remodelled in 1580 by B. Ammandti, completed in 1661 by Alfonso Pnriyi. The scien- tili(; institutions of the city are established here, (comprising a lib- rary, observatory, etc. The church contains frescoes and pictures by Allori, Bronzino, Santi di Tito, etc. Immediately adjacent, in the Piazza S. Lorenzo (PI. D, 3), Avith the church of that name, is the Base di S. Lorenzo ., by Baccio Bandinelli, adorned with sculptures ((liovanni delle Bande Nere, father of the first Cosmo, triumphing over his enemies). In 1850 the monument was restored and furnished with a statue of Gio- vanni, as the inscription records. *S. Lorenzo (PI. 17), founded in 390, .-onsecrated by St. Am- brose in 393, is one of the most ancient churches in Italy. In i423 it was burned down, and in 1425 re-erected by the Medicis in the late Romanesque style, from the designs of Filippo Brunellesco. After his death it was completed by Michael Anyelo, with the exception of the fayade for v.hich he however also prepared a design in 1514 (still preserved in the Casa Buonarroti). He erected the inner wall of the facade, the new sacristy, and the Laurentian Library. The cloisters are attributed to Brunellesco. The church, which has recently been sumptuously restored, consists of nave and aisles with transept, surmounted by a dome; at the sides are cha- pels in the form of niches. The edifice rests in the interior upon 14 lofty Corinthian columns and 2 pillars. At the end of the S. Aisi.k the *monument of the painter Benveiiuti (d. 1844), l»y T/iorraldsen. *Ba.s-reliefs on the two [nilpits hy Donatello and his pupil Bertoldo. — S. Transept, side chapel r., on tlie r., Nati- vity, by Cosimo Roselli. Over the altar of the chapel a figure of the Virgin , erected in 1856 to commemorate the cessation of the cholera in 1855. From the N. side of the r. transept the New Sacristy is entered to the 1., the Chapel of the Princes to the r. In the church, at the foot of the high altar, is the simple tomb of Cosmo de' Medici, 'Pater Patriae ■" (d. 1464). In the 2nd chapel to the 1. of the choir the monument of a Countess Moltke Ferrari-Corbclli, by Bupre , 1864. — The Old Sackisty was erected liy Filippo Brunellesco ., with polygonal dttme , and bronze doors, V>as-reliefs, and statues of the four Evangelists (beneath the dome), all by Donatello:, fountain probably by Brunellesco-., Nativity, a picture l»y Rafaelino del Garbo ; to the 1. of the entrance the monument of Gio- vanni and Pietro de' Medici, by Andrea del Verrocchio. In the centre the marble monument of Giovanni Averardo de' Medici and Piccarda Bueri, the parents of Cosmo, by Donatello. In the 2nd chapel an Annurfciation, -S. Lorenzo. FLORENCE. 52. Route. 345 by Fra Filippo Lippi. — In the y. Aisle the Martyrdom of St. Lawrence, a large fresco hy Angela Bronzino. The adjoining door leads to the clois- ters and the librarv (see below). In the following chapel, the Martvrdom of St. Peter by Sogliani. The **New Sacristy (Sagrestia Nuova^ open 8 — 12 and 3 — 4'|'2 o'clock, Mondays 12 — 2 : entered from the S. Transept of the church , p. 344 ; or from the outside, in the Piazza della Consolata opposite the Via Faenza, whence the crypt of the chapel of the princes is also entered ; the stair ascends to the chapel of the princes to the r., see below, and to the sacristy to the 1. ; fee on leaving), a quadrangular chapel of admirable proportions, adorned with two series of Corinthian pilasters one above the other, con- structed by Michael Angelo in 1523 — 29, contains the celebrated **3Ionu- ments of the Medicis , executed by Micltael Angelo by order of Pope Cle- ment VII. (Giulio de' Medici , 1523 — 34) , the masters finest sculpttire. On the r. the Mausoleum of Giuliano de' Medici . Duke of Kemours, brother of Pope Leo X. and younger son of Lorenzo il Magnilico (d. 1516). Above is the figure of the duke in a sitting posture ; over his tomb are the *statues of Day and Night, master-pieces of Michael Angelo, the latter especially admired. A contemporary poet, Giovanni Battista Strozzi, wrote upon it the lines : La Kotte, die tu redi in si dolci atti Dormire, fit da nn Angelo scolpita In qttesto sasxo, e perche dorme ha vita ; Deftala, se no'l credi, e parleralti. Michael Angelo, in allusion to the suppression of liberty (by Alessan- dro de' Medici 1530, see p. 316) answered: Grata in' e 'I sonno e piii Vesser di tasso; Mentre die 7 danno e la vergogna dura Non veder, non sentir m e gran veiitura; Perb non mi destar ; deh ! par la ba.tso .' Opposite is the statue of Lorenzo de' Medici, Duke r)f irrliino, grandson of Lorenzo il Magnilico, d. 1518, represented in profound meditation (hence termed il pensiero); beneath it his tomb with *statues of Evening and Dawn (Crepi'sculo e Aurora), also by Midiael Angelo. Lorenzo was father of Catharine de' Medici, queen of Henry II., and mother of Charles IX. of France , and of the first duke of Florence Alexander de' Medici , who was assassinated on 7th Jan., 1.537, by his cousin Lorenzino. Opposite the altar in the centre , is an unfinished *Madonna, by Michael Angela.^ and the statue of .S7. Cosmo, by Fra Giovanni Angiolo da Montorsoli, a pupil of Michael Angelo. At the back of the altar the tomb of the grand- duke Ferdinand III. (d. 1824). The Chapel of the Princes (Cappella dei Principi) , the burial-chapel of the grand-dukes of the 3Iedici family , was constructed in 1604 by Malleo Nigetti , by order of the grand-duke Ferdinand I. (designed by Giovanni de'Medici). It is octagonal in form, covered by a dome, and gorgeously decorated with marble and valuable *mosaics in stone. The paintings in the dome (Creation, Fall, Death of Adam, Sacrifice of Noah, Nativity, Death and Resurrection. Last Judgment) are by Pietro Benve- nuti. In six niches below are the granite sarcophagi of the princes, some of them with gilded bronze statues, from Cosmo I. (see p. .316) to Cosmo III. (d. 1723, whose son Giov. Gaston was the last of the family, d. 1737). On the coping round the chapel are placed the armorial bearings of 16 Tuscan towns in stone-mosaic. — A sum of 22 million lire (about 900,000 I.) was expended by the Medici family from their private resources on the construction and decoration of this chapel. Ill the cloisters, immediately to the 1. of the <-hurnh , is the entrance to the celebrated Biblioteca Laurenziana (PI. 41), founded by Cosmo in 1444, extended by Lorenzo de" Medici, trans- ferred by Cosmo I. to this edifice which was erected in 1571, and subsequently augmented by the purchase of new works and the be- 346 Route .52. FLORENCE. .hn and other saints, a painting, *56. Battle of Hercules and the Centaurs, a relief, both by J/. Angela (the first doubtful). — II. Room: Portraits of the ancestors of M. Angelo by Pietro da Cortonn^ Domenico Pugliani^ etc. ; 70. Bust of the grandson of M. Angelo, the founder of this gallery. In the adjoining cabinet (scrittorio) , on the door of the press to the r., 71. Jac. Ponionno , Vittoria Colonna (?). — III. Room, the chapel, decorated with frescoes of saints, etc.; 80, 74. Marble busts of the last proprietor and his wife; 75. Descent from the Cross, plaster model of a bas-relief, and 76. Madonna and Child, a bas- relief in marble, both by .U. Arujelo ; *82. Bust of )I. Angelo in bronze, from a cast taken after death by Giamhologna. — IV. Room, the studio: in the cabinets *models by M. Angelo in wa.x and clay, of David, Her- cules slaying Cacus, the Crucified, torsos, etc. ; on the walls are portraits of celebrated Florentines and other Italians by Roselli and Cecco (be- ginning of 17th cent.). — The last Cabinet contains two vols, of auto- graphs, letters, and poems by M. Angelo. The Via Faenza leads from the centre of the city to the fortress of S. Giovanni Battista^ usually termed Fortezzn dn Basso, erected by Cosmo I. in 1534. The refectory of the siippressed monastery of S. Onofrio in this street (No. 5T) contains the Egyp- tian and Etruscan Museum fPl. 54), the former havinSw«r.(''';, Portrait; 222. aiorgiotie(?). Portrait of a lady; *219. Pietro Perugino , Mary and John adoring the Child; 218. Sal- vnlor Rosa, A warrior; 216. Paolo Veronese., Daniel Barbaro; 214. F. liaroccio., Copy of the Madonna del S. Girolanio, of Correggio; 213. Carlo Dold^ Mo.ses; 212. .SrOH«i»o, Cosmo I.; 208. Fra Bartolonuneo, Madonna del Trono; 207. Leonardo da VindO probably by Lorenzo di Credi)., Portrait of a goldsmith; 206. Bronzino., Francesco 1. de' Medici; *201. Titian^ Ippo- lito de' Medici; 200. ^iV/rtM, Philip II. of Spain; 198. Velasqtiez, VoriT&il:, 197. Guido Reni, Caritas; 196. Paolo Veronese y St. Benedict and other saints; 195. Giacomo Franda, Portrait; 191. A. del l^arlo^ Assumption of the Virgin (unfinished); 190. SvstermanSy Portrait of the son of Frederick III. of Denmark; 188. /SV/irof/or y?o.w, Portrait of himself; 186. Paolo Vero- nese, Baptism of Christ; **185. Oiorgione, Trio; 184. Andrea del Sarlo(?)y Portrait of himself. Saloon of Saturn, so named from the allegorical ceiling -painting by Pietro da Cortona. To the r. of the entrance-door: 182. Poniorvio, Martyrdom of 40 Saints ; 181. /^alvator Rosa, Portrait of a poet; 179. tSebastiano del Piombo, Martyrdom of St. Agatha, 1520; 178. Guido Reni, Cleopatra; 177. Leandro Bassano, Rustic scenes; 176. Domenichino , Mary Magdalene; 175. Albano , Holy Family; *174. Raphael, Vision of Ezekiel ; *172. A. del Sarto , DLsputa delta Trinita; *171. Raphaeli^i), Tommaso Fedra Inghirani ; 168. Guer- cino, St. Peter; 166. Ann. Caracd, Study of a head; 167. Gitdio Romano, Dance of Apollo and the Muses; **165. /frt_p/irt<;Z, Madonna del Baldachino (completed by a different hand after 1514, by which the bishop on the r. and the angels were probabJy added, and finally provided with the canopy by Cassano about 1700); 164. Pietro Perugino , Entombment, 1495; 163. A. del Sarto, Annunciation; 161. GiorgioneCi), Finding of Moses; *160. Van Dyck, Virgin; 159. Fra Bartolommeo , Risen Christ among the four Evangelists, 1516; *158. Raphael, Cardinal Bibbiena; *157. Lorenzo Lotto, Three periods of life; 156. Guerdno , Madonna with the swallow; 154. Carlo Dold, John the Baptist asleep; 152. Schiavone , Cain slaying his brother; **151. Raphael, Pope Julius II. (see p. 323); *150. Van Dyck, Charles I. of England and his queen Henrietta of France; 148. Dosso Dossi, Bambocciata; 147. Giorgionei"*), Nymph pursued by a satyr. Saloon of Jupitek. Ceiling-painting by Pietro da Cortona. In the centre Clio, writing on a shield wreathed with laurel the names of 31ontebello, Palestro, and S. Martino, a statue in marble bv V. Gonsani. To the r. of the entrance: *140. L. da VindVn, Portrait of a lady; *139. Rubens, Holy Family; 136. Paolo Veronese, The Saviour parting from his mother; 135. Salvator Rosa, The women at the Sepulchre; *133. Salvator Rosa, Battle (the figure on the 1. , below the shield , with the word Saro , is the painter's por- trait) ; 132. Crespi, Holy Family; 131. Tintoretto, Vincenzo Zeno; 130. Bassano, Portrait of a woman; 129. Mazzolini , The adulteress; 128, 127. Morone, Portraits; 125. Fra Bartolommeo, Si. 'iil&r'k; 124. Andrea del Sarto, Annunciation; *123. A. del Sarto, Madonna in glory with four saints; 122. Garofalo, Sibvl divulging to Augustus the mystery of the Incarnation ; ^118. A. del Sarto, Portraits of himself and his wife; *113. Michael An- gela (or perhaps from a drawing by him). The Fates; 112. Borgognone, Battle-piece; 111. Salvator Rosa, Conspiracy of Catiline; 110. Titian(?), Bacchanalian; 109. Paris Bordone, Female portrait; 108. Paolo Veronese, Portrait. 4th wall: 141. Rubens, Nymphs attacked by Satyrs. Saloon of Maks. Ceiling-painting bv Pietro da Cortona. To the r. of the entrance: 163. Guerdno, Bloses ; 102. Luini, Magdalene ; 99. Guerdno , St. Sebastian ; 97. And. del Sarto, Annunciation ; *96. C. Allori, Judith ; 95. Allori, Abra- Palazzo Pitti. FLORENCE. 52. Route. 355 ham's Sacrifice; *94. Raphael, Holy Family, termed Madomiii deir Im- pannata (not entirely tinished by Raphael); 93. Rubens^ St. Francis; 92. Titian, Portrait; QL.' Curio Dolci, Peter weeping; 90. Ci'joli, Ecce Homo; +89. Paris Bordone^), Repose during the Flight to Egypt; 87, 88. A. del Sarto, History of Joseph ; *86. Rubens, 3Iars going forth to war ; 85. Rubens, Rubens with his brother and (r.) the scholars Lipsius and Grotius; 84. Polma Vecchio. Holy Family ; 83. Titian, Luigi Cornaro ; *82. V^ar(o. Madonna; +61. Raphael, Angiolo Doni, friend of the master (Xos. 59 and 61 belonged to the family till 1758 , when they were transferred to Avignon, where thev were purchased for the Gallerv in 1826 for the sum of 5000 scudi) ; *60". Rembrandt, Portrait of himself"; *59. Raphael, Portrait of Maddalena Strozzi Doni; *C)S. A. del fiarto, Descent from the Cross; 57. Giulio Ro- mano, Copy of Raphael's Madonna della Lucertola ; 56. Jfurillo, Holy Fa- mily; *54. Titian. Pietro Aretino; *52. Pordenone, Holy Family; 51. Ci'joli, Descent from the Cross; 50. Guercino. Peter raising Tabitha; 49. Tibcrio Titi, Leopoldo de' Medici when a child, 1617; 47. Guido Reni, Bacchus; 42. P. Perugino, 3Iary Magdalene; 41. Cristoforo Allori, Hospitality of St. Julian; *40. Jfurillo , Madonna; 39. Angelo Bronzino, Hcdy Family; *38. Paltna Vecchio , Christ at Emmaus ; 37. Paolo Veronese , Portrait of his wife; 36. Girolamino da Carpi, Archt)ishop Rarlolini Salimbeni; 35. Bishop Girolamo Argentino, school of Morone. 4th wall : 71. Carlo Maratta, S. Filippo Neri. Saluox of Venls. Ceiling-painting by Pietro da Cortona. To the r. of the entrance: 24. (?Mido/?eH I, Portrait of an old man ; 21. Pietro da Cortona, Saint entranc- ed ; +20. A. Diirer, Adam (counterpart of No. 1, see l)elow); **18. Titian Portrait (La Bella di Tiziano). same head as the Venus in the Tribuna (No. 1117); *17. Titian, Betrothal of St. Catharine; 16. Rembrandt. Old man; 15. Saltator Rosa, Sea-piece; 14. Rubens, Landscape, with peasants returning from harvest; *9. Rubens, Landscape, Ulysses on the island of the Phseaci; 8. Guercino, Apollo and Marsyas; 6. Bartolommeo Manfredi; Gipsy; 5. Garofalo, St. James; 4. Salvator Rosa, Harbour at sunset, 3. Tintoretto, Cupid, Venus, and Vulcan; 2. Salvator Rosa, Falsehood with a mask ; *1. A. Diirer, Eve. We return hence to the Saloon of the Iliad, and thence enter the Saloox of the Education of Jupitek. Ceiling-paintings by Cntani. 241. Clovio, Descent from the Cross; *243. Velasquez, Philip IV. of Spain ; 244. Fr. Pourbus , Portrait ; *245. Portrait of a lady, master unknown, probably by Raphael: 246. Garofalo, Gipsy; *248. Tintoretto, Descent from the Cross; 252. Holbein (.'), Claude Lorrain, Due de Guise; 254. Palma Vecchio, Holy Family; 2.55. Van der Heist, Portrait; *256. Fra Bartolommeo, Holy Family; 2o7. Paris Bordone, Sibyl prophecying to Augustus: 259. Correggio , Christ (a copy); 262. Cloiiet. Henri 11. of France ; 264. Trw^ore^o , Resurrection ; 265. And. del Sarto. John the Baptist; **266. Raphael, 'Madonna del Granduca'; 267, 268. Paolo Veronese. Portraits of children ; 269. P. Fe/-o«ese, Presentation in the Temple; 270. Carlo Bold, Martyrdom of St. Andrew; 277. Bronzino, Don Garzia de' Medici. We now turn to the 1. into the 23* 356 Route 52. FLORENCE. Palazzo Pitti. Sai,a i>ella Stufa. The frescoes illustrating Ihe gulden, silver, hrazen, and iron ages are by Pietro da f'ortona, ceiling-paintings by .\faUeo Roselli , 162Q. This room contains four small antiqtie statues , in marble , and a column of green prophyry, bearing a small porcelain vase with a portrait of Napoleon I., and two statues in bronze (Cain and Abel), copied by Papi in 1849 from a marl)lc statue cxeciited by Diipre for the Duke of Leuchtenberg. Returning hence and traversing a passage, we observe on the 1. a small Rath-room, most tastefully fitted up, with pavement of modern Florentine mosaic , and four small statues of Venus by Giovavni Itisom and Salvatore Bonyiovanni, Saloon of Ulysses. Ceiling-painting by Gaspero Mart ell i ni , representing the return of Odysseus, an allusion to the restoration of the grand-duke Ferdinand III. after the revolution. No. '288. Carlo Dola\ Jesus on the Mount of Olives ; 289. Ligozzi, Madonna appearins: to St. Francis; 297. Paris Jiordone, Pope Paul III.; 304. Scfiidone, Holy>amily; 305. C. Allori , St. John in the wilderness; 306. finh'alor Rosa, Landscape; 307. A. del Sarto , Madonna and saints; 311. TitiaiK Duke Alplionso I. of Ferrara; 312. Salralor Rosa, Landscape on the coast; 313. Tintoretto, Madonna; 31G. f'arlo Dolci, Por- trait; *320. A. ('(irocri. Small landscape; *324. Ruhens, Duke of Buckingham ; 325. Carlo Dolci. Madonna and the Infant Jesus, two miniatures; 332. Oennari, Madonna and Child. Saloon of Puomf.theus, with paintings by Giuseppe Colignon. In the centre a magnificent^ round table of modern mosaic, executed for the London Exhibition of 1851, but not sent thither, valued at 30,0a)i. — No. 334. German School, Portrait; 336. Allegory, by a Venetian; 337. Scipio Gaelano, Ferdinand I. de' Medici; *338. Fra Filippo Lippi, Madonna with saints; 339. Tintoretto, Portrait of a doge; 340. Madonna with two saints, school of Perugino; 341. Pinturic- chio, Adorati(m of the 3Iagi; 345. Raldassare Pervzzi, Holy Family; 346. F. Zuccheri, Marv Magdalene, on marble; *347. Filippino Lippi ■, Holy Family; 348. Botticelli, Holy Family; 353. Botticelli, Portrait of the 'Beautiful Simonetfa, the mistress of Giuliano de' Medici, who died at an early age and whose praises were sung by the poets Pulci and Poliziano ; 354. L. di Credi , Holy Family; 355. Luca Signorelli, Holy Family; 358. , Dom. Ghirlandiijo , Adoration of the Magi; 362. Jacopo Boatteri, Holy Family; 363. Garofalo , Holy Family; 365. Albertinelli , Holy Family; *373. Fra Augelico da Fiesole , Madonna with saints, a winged picture over the door; 376. Lorenzo Costa, Portrait; 377. Fra liarlolommeo, Ecce Homo; 379. ./. da Poutornio, Adoration of the Magi; 384. A. Pullajuolo, St. Sebastian; 388. Filippino Lippi, Death of Lucretia. We next proceed to the Galleria Poccetti, which derives its name from the ceiling-paintings by Bernardino Poccetti . Two tables of oriental alabaster and one of malachite. *Bust of Napo- leon 1., by Canova. No. 483. Polidoro Veneziano. Adoration of the Child; 484. Marco Vecellio (nephew of Titian), Madonna delta Misericordia; 490. Guercino , St. Sebastian; 494, 495. Titian, Portraits. Also a number of miniature portraits, as well as in the following corridor. Returning to the Prometheus Saloon, we next enter a Corridok, on the walls of which are six marble mosaics, two of which represent the Pantheon and the tomb <)f Csecilia Metella at Rome, the other four the ditTerent arts; then a number of *miniature portraits, and four stands with valuable drinking cups, objects in ivory, etc. Saloon ok Justice. Ceiling-painting by Fedi. In the centre a handsome cabinet , pur- chased in Germany tiy Ferdinand II. No. 389. Tintoretto, A sculptor; 398. Artemisia Gentileschi , Judith; 399. Salviati , Patience, said to be copied from a composition by Michael Angelo; 400. M. Hondekoeter , Poultry; Boholi Garden. FLORENCE. 5'2. Route. 357 401. Sn.<:tennnnK . The canon Pandoll'o Ricasoli ; 403. 5ro«^j«o. Grand-duke Cosmo I.; 404. Carlo Dolci, Vittoria della Rovere; 405. Bonifazio Bembo, Christ in the Temple; 400. Carlo Dolci, St. Dominicus praying; 408. Peter Lelij, Oliver Cromwell (a genuine portrait, sent by the Protector to the grand-duke Ferdinand II.). Saloon of Flora. Ceiling-painting by Marini. In the centre *Venus by Canova. No. 415. Sustermans, Grand-duke Ferdinand II. de" Medici ; 416,421. Gaspard Pous- .Nfff, Landscapes; 423. Titian (?), Adoration of the Shepherds; 430. Ci(foli, 3[adonna; 436. Gaspard /'om.'csjw, Landscape; 437. Van Di/ck, Repose dur- ing the Flight into Egypt; 438. Kuthard , Stag attacked by tigers. Saloon of the Chilkken (Sola de Ptttti). Frescoes by Marini, decorations by Rabujati. 451. Rachel Rtiysch, Fruit; *453. Salvator Rosa, Landscape, with an allegorical figure of peace burn- ing weapons; 455. Rachel Rtiusc/i, Fruit and flowers; *465. Rut/sdael, Land- scape; *470. Salvator Rosa, Landscape, with Diogenes throwing away his drinking-cup ('la /oresta dei filosof^); 474. Domenichino , Landscape, with Diana surprised by Actseon; 476. Andrea del Sarto , Holy Family; 478. Van Douicen, Masquerade; 480. A. Caracci, Nymph and satyr, a repetition of the picture in the Tribuna (p. 323). The ffround-floor of the palace coiitaiiis several rooms with good Modern Works of Art, historical pictures by Bescuofi amX Sabatelli, statues hy Bartolini (Carita), Ricci (Innocence), etc. (apply for admission to the porter at the entrance), and the Treasury (to the 1. in the second court, open 10 — 3, fee 1/2 fi"-)) containing the royal plate, and interesting specimens of ancient and modern goldsmiths' work. In the cases to the 1. are several works by Ben- renuto Cellini. To tlie r. a crucifix in bronze by Giovunni da Bologmi, opposite to it "a crucifixion by Tacca.'' Cruet-stand of lapis-lazuli, etc. The *Boboli Garden (entrance through the Palazzo Pitti, in tlie 1. corner; open to the public on Sunday afternoons only; access on other days gratis by applying, before 3 p. m., to the Prefetto del Palazzo, in the court behind the principal gate of the palace, 1st door to the 1., from whom a permission available for several weeks or months may be obtained) surrounds the palace and extends in terraces up the hill. It was laid out by Tribolo in 1500, under Cosmo I., and extended by Buontalenti, and commands a succes- sion of charming *views of Florence with its palaces and churches, among which the Palazzo Yecchio, the dome and campanile of the cathedral, and the tower of the Badia are most conspicuous. The long walks, bordered with evergreens, and the terraces, adorned with vases and statues, attract crowds of pleasure-seekers on Sundays and holidays. On entering (see above, and comp. plan of Florence) we first observe, in a straight direction, a Grotto with four statues, modelled by Michael Angela for the monument of Pope .Julius II. ; in the centre the Rape of Helen, a new group by Vincenzo de Ruasi. At the entrance to the grotto, Apollo and Ceres, statues by Bandinelli. The principal path next leads to an open space lenned the Amphitheatre, formerly employed for festi- vities of the court; r. a handsome fountain, 1. "an Egyptian obelisk (brought hither from Rome) and an ancient basin of red marble. We then ascend to the Basin of Keptune, adorned with a statue of the god 358 52. Route. FLORENCE. Nat. Scicwes Mus. by Sloldo Loreiizi; then, higher up, the statvie of Abbonoanza, begun by Giovatiiii da Bologna^ and linished by Tdcca (fine view hence). To the r. in the vicinity a small casino (closed on public days; access on other days by applying to the gardener, 30 c), commanding a charming and uninterrupted *vie%v. Above the garden is the Fortezza di Belvedere^ constructed in 1590 by Bnontaleriti by command of Ferdinand I. Near it is the closed gate of S. Giorgio. From the Abbondanza a path towards the W. leads to an open grass- plot, also affording a fine view, whence the visitor about to leave the garden may descend direct. Towards the S. a beautiful avenue, adorned with numerous statues (copies of old works, as well as modern originals), descends to a charming Basin (la vasca delV isolotto), enlivened by swans and other water-f(jwl. In the centre, on an island planted with flowers, rises a fountain surmounted by a colossal statue of Oceanus, by Giovunui da Bologna. The surrounding walks are chiefly embellished with 'genre' works. A path leads from this basin in a straight direction to a grass-plot with two columns of granite, and thence to the Porta Romana, which liowever is usually closed; in the vicinity several ancient sarco- phagi. To the r. of the Oceanus basin a broad path, parallel with the palace, is reached, by which the principal entrance may be regained. Another issue, near a fountain with Bacchus on the lion, leads into the Via Romana. To the 1. is the Botanic Garden, permission to inspect which is obtained at the Museo Naturale. Near the Pitti Palace, Via Romana 19, is the *Museum of the Natural Sciences { Muneo di Fisica e di Storin Naturale ; PI. 55) (open Tuesd., Tliursd., Hat, 10 — 3; to strangers daily by permission of tlie secretary), founded by Leopold L, and greatly augmented at subsequent periods. The public museum is on the Skcond Floor; the mineralogical, geo- logical, and pakeontological collections occupy 9, the zoological 13 rooms. There is also an admirable anatomical collection in 12 rooms, consisting chiefly of preparations in wax, by Clemeiite ^iisini and his successors Ca- leiizitoli and Calaniai. On the First Floor is situated the *Tribuna of Galileo ., inaugurated in 1B40, on the occasion of the assembly at Florence of the principal scliolars of Italy, constructed by Giuseppe Marlelii, and adorned with paintings by Giuseppe Bezzuoli, Luigi 8a(>atelli, etc., illustrating the history of Galileo, Volta, and other naturalists ; also a statue of Galileo by Costoli, numerous Itusts of celebrated men, and mosaics in the pavement, designed by !^ ^X-^ of Florence. LA CERTOSA. .5 J. Route. 361 conducted the defence of the city during eleven months against the Imperial troops (p. 316). h. Poggio Imperiale. Immediately to the 1., outside the Porta Romana, through which the high road to Siena and Rome issues, begins the new Strada dei Colli, mentioned at p. 359. To the r. of it a fine *avenue of lofty cypresses, evergreen oaks, and larches, embellished with a few statues, leads in 20 min. to the Villa Poggio Imperiale. It was thus named and almost entirely litted up by Magdalene of Austria, wife of Cosmo II., and after- wards adorned with various works of art, which were removed in 1860. The handsome edifice is now an educational establishment, conducted by nuns, and is no longer accessible. At Poggio Imperiale the road divides : that to the right (and after V2 ^1- to the r. again) leads to Galuzzo and the Certosa (see below) ; that to the left (soon passing a group of houses, following the Via del Plan Giullari, and ascending the height, where at a bifurcation of the road, a bye-road in a straight direction is to be followed) leads to the Torre del Gallo, which owes its name to a family of that name (according to others, to its conspicuous weather-cock). From this tower Galileo is said to have made his most important astronomical observations. Fine panorama from the summit (fee 1/2 fr.). Returning hence to the carriage-road, we turn to the E. by a road affording picturesque views and leading to the height of S. Miniato. The road to the r. passes (' 4 hr.) several houses and villas, among which is the Villa of Galileo, marked by a bust and inscription, Avhere the great astronomer passed the last years of his life (1631 — 42), latterly deprived of sight and surrounded by a few faithful friends , and where he was visited by his illustrious contemporary Milton. — The road diverging to the r. a little beyond this villa leads direct to the (21/4 M.) Val d'Ema and the Certosa (see below). A short distance hence, near the church of S. Margherita a Montici, stands the villa where Francesco Guicciardini wrote his history of Italy. Here too, on r2th Aug., 1530, the Florentines who had been betrayed by their general Malatesta, signed the articles by which the city was surrendered to the imperial troops and thus became subject to the rule of the Medici. From that event the house derives its name Villa della Bugia. c. *La Certosa in the Val d'Ema is 3 M. distant by the high road from the Porta Romana ( carr. 6 fr. ; fare via Poggio Imperiale higher). To the r., as the height beyond the gate is ascended, rises the church of -S. Gaggio ; farther on is the village of Galluzzo, beyond which the brook Ema is soon reached (1. on the height a nunnery). On an eminence, clothed with cypresses and olive-trees, at the confluence of this brook with the Greve, rises the imposing 362 Route 53. BELLO SGUARDO. Environs Carthusian Monastery (Certosa) in appearance resembling a mediaeval fortress. After crossing the Ema we reach a gateway (generally closed) with a statue of S. Lorenzo, by Avhi(;h the garden is entered. The monastery, which is approaching dissolution and contains twelve inmates only, was erected in 1341 by the Florentine Niccolh Acciajoli, from a design by Orcagna. The porter (1 — 2 pers. 1 fr. 3 shows the church, or rather the series of chapels of which it consists. Church. Magnificent pavement, and fine carved stalls (of 1590) ; over the altar, Death of St. Bruno, a fresco by Poccetti. — *Right Side- Chapel, in the form of a Greek cross, erected by Orcagna: to the 1. St. Francis by Cigoli; SS. Peter the Martyr, George, Jerome, Francis, two Madonnas, and the *Trinity, of the School of Giotto. A stair to the 1. descends to a chapel with the tombs of the Acciajoli; monument of the founder ^^iccol^ V)y Orcagna (1366); three monumental slabs, that of a *young warrior by Donatello; tombstone of a cardinal of the family by the same, the ornamentation by Giuliano da San Gallo. — We then return through the church and enter the Cloisters, with stained glass by Gio- vanni da Udine^ and a fountain, perhaps by Brimellesco. — To the r. is the Chapter House: Mariollo Albertinelli , Crucifixion (fresco of 1505); monument of bishop Buonalide by Giuliano da San Gallo. — Some of the empty cells, which enclose the building like pinnacles, command pictu- resque views, especially through the valley of the Ema towards Prato and the Apennines. The rooms occupied for several months by Pius VI., when banished from Rome by the French, are also shown. — At the Spezeria of the monastery good Chartreuse and various perfumes may be purchased. d. Bello Sguardo, to the S. of Florence, easily recognised by its small pavilion with a red roof, is celebrated for the delightful prospect it commands, which the traveller should on no account fail to visit. The route cannot be mistaken. From Porta Komana the town-wall must be followed to the r. and the second road to the 1. taken. This first leads to an open space with the small church of S. Francesco di Paola, which contains the monument of Benozzo Federighi, bishop of Fiesole, by Luca della Robhia. The carriage-road (fiacre there and back, see p. 312) is then followed in a straight direction, and on the height, where it divides, the road to the 1. is taken (a few paces beyond this point the road to the Monte Oliveto diverges to the r., see below). At the next bifurcation a side-path to the 1. is followed, which in a few minutes leads to the **Bello Sguardo (visitors ring at the small gate on the r. near the corner, fee 2 — 3 soldi on leaving). The view embraces Florence, with the Pitti Palace, S. Croce, the Palazzo Vecchio, Or S. Michele, the cathedral, S. Lorenzo, S. Maria Novella, etc. ; r. on the height S. Miniato, opposite the spectator lies Fiesole, 1. the populous valley of the Arno, over which tower the distant Apennines. The view is seen to the best advantage towards sunset. — In the vicinity is the Villa degli Albizzi, with a bust of Galileo and an inscription to the memory of that illustrious astronomer, who frequently resided here and cultivated the garden with his own bands. of Florence. CASCINE. 53. Route. 363 The first road to the r. beyond the Bello Sguardo leads r. to Monte Oliveto. Those who wish to visit the Bello Sguardo from the Porta S. Frediano follow the city-wall to the 1. and take tlie first road to the r., leading to the ahove - mentioned rhurch of S. Francesco. €. Monte Oliveto. About i 3 M. beyond the Porta S. Frediano (PI. A, 3) the 'Via di Monte Oliveto' diverges to the 1. from the Leghorn road, and reaches the entrance jlto the garden of the monastery after 1/2 M. (_a gate marked No. 5 ; key to obtain access to the point of view, next door. No. 6, 2 — 3 soldi ). A slight eminence here planted with cypresses commands an admirable *prospect: N. W. the beautiful valley of Florence, with Prato and Pistoja, enclosed by mountains, over which rises one of the peaks of the marble-mountains of Carrara; N. E. lies Florence, then Fiesole with the numerous villas which deck its heights; E. the Fitrtezza di Belvedere and S. Miniato; in the background the bar- ren mountain-chain of the Casentino. Towards the S. the view is excluded by the intervening heights. The monastery-buildings are now employed as a military hospital. The Badia di S. Barto- lommeo di Monte Oliveto, erected in 1334, possesses frescoes by Poccetti; in the refectory an Annunciation by 7)om. Ghirlandajo. From the suburb of S. Frediano a suspension-bridge (5 c.) leads to the Cascine. f. The Cascine, or park of Florence, lies to the W., beginning near the Barriera Nuora (in the Piazza Vitt. Emanuele, PI. A, 2), and is about 2 M. in length, but of moderate breadth, being bounded by the Arno and the Mugnone. It affords delightful and refreshing Avalks to the traveller fatigued with sight-seeing. The name is derived from a farm to which it belongs. It is a fashionable rendezvous in the afternoon, — Outside the town, immediately to the 1., is a small cafe ; opposite which, to the r,, is a notice indi- cating the entrance to the Zoological Garden (adm. 50 c, Sund. forenoon 25 c, ), founded in 1860 on the occasion of the exhibition at Florence. About the middle of the Cascine is a large open space (where a military band plays several times a week ) , surrounded by several country-houses ( *Casino delle Cascine, a cafe' belonging toDoneys hotel, p. 311 ), a gay and favourite resort towards sunset. Beyond this spot the park is comparatively deserted, and it ter- minates about 1 M. farther. On the road to Pistoja, about 3 ^ M. from the Porta al Prato, is situated the Villa Demidoff, founded by the prince of that name (d, 1870j, with gardens and hot-houses (visitors not always ad- mitted). About IV2 M. from the Villa Demidoff, to the r. beyond Ponte a Rifredi ( railw^ay-station, see p, 310], and near the ancient church of S. Stefano in Pane, lies the Villa Careggi, the property 364 Route 53. FIK80LE. Environs of the graud-dukes down to 1780, then that of the Orsi family, erected by Michelozzo for the tirst Cosmo, who here terminated his brilliant (career in 1464. This was also once the seat of the Platonic Academy, of which Marsilius Ficiniis, Picus of Miran- dola, Angelas Politianus, Christo])horusLandinus, and many others of the greatest men of that period were members. Lorenxo il Magnifico, grandson of Cosmo, also died at Careggi (1492). Fine view of the environs. A few frescoes by Pontormo and Bronzino and a series of portraits are reminiscences of the history of this edifice. Farther W. is the Villa della Fetraia, with delightful gardens, erected by Buontalenti, and adorned with paintings by Andrea del Sarto and Daniele da Volterra. The villa, which is now titted up as a royal residence, is most conveniently reached from the railway-station Castello (p. 310). Near it is the Villa Quarto, v.ith beautiful gardens, formerly the property of the Medicis. From railway-stat. Sesto (p. 310) a visit may be paid to the great porcelain-manufactory della Doccia, the property of Marchese Ginori, who possesses a villa here. g. Fiesole, on the height to the N. of Florence, is 3 M. dis- tant (omnibus three times daily, 1 fr. ; carr. 7 — 8 fr., see p. 312). In the open space by the Porta 8. Gallo (PI. F, 2"), where a Triumphal Arch of no artistic merit, erected in 1738, com- memorates the entry of the grand-duke P'rancis II., we turn to the r. within the new 'Cinta Daziaria' (boundary of imposts") to the gate ( opened within the last few years). Beyond the gate we follow the Via Querela on the 1. bank of the Mugnone, an insigni- flcant stream, which however in rainy weather sometimes causes great devastation, to (1 M.") Villa Palmieri, the property of the ex- dncal family, the terrace of which crosses the road by a bridge. Boccaccio makes this the residence of the narrators in his Decamerone during the plague in 1348. The road then ascends rapidly between garden-walls, and reaches (1 M.) the church of S. Domenico di Fiesole, in the former monastery of which Fra Angelico. the celebrated painter of saints, lived before his removal to S. Marco at Florence; the choir of the church contains a Madonna with saints, painted by him. (Opposite the church the 'Via della Badia' diverges to the I., see p. 366.^ The road divides here: the old road to the I. leads past the Villa Mozzi, once a favourite residence of Lorenzo il Magnifico, reaching the height in 20 min. ; the new road to the r. winds gradually upwards, passing several pretty villas, finally skirting the S. side of the ancient Etruscan wall of Fiesole. This excellent road is principally indebted for its construction to the Golden Book of Fiesole. This venerable volume enjoys the privilege of ennobling those whose names are inscribed on its pages, and, when the Fiesolans were desirous of constructing the road, their 'golden book' distributed of Florence. FIESOLE. 53. Uoute. 365 its favours extensively among the Florentines and others, in return for a substantial equivalent. Fiesole ( Trattoria I' Aurora, fine view ; Locanda FirenzeJ, Lat. Faesulae, is an ancient Etruscan town, the Cyclopean walls of which are still partially preserved ( descend to the 1. at the back of the cathedral and follow the first side street to the r. to the best preserved fragment, situated among modern terrace wallsj. It was for a long period more powerful than its rival Florence, to the jealousy of which it at last fell a victim in 1010 (p. 315). The town, the seat of a bishop, but now of no importance, contains 11,500 inhab., who like most of the natives of this district are engaged in straw-plaiting (purchasers of their wares should as a rule give only half the price demanded ). On the height we enter the spacious Pi.\zza of Fiesole, and perceive immediately opposite us the Cathedral, one of the earliest and simplest examples of the Tuscan style, begun in 10*28 by Bishop Jai'opo Bavaro, shortly after the destruction of the ancient Faesulse by the Florentines, but not completed till much later. It is a basilica of poor exterior, ronsisting of nave and aisles with a transept, and a spacious cr\-pt beneath the lofty choir. Over the altar, statues by Andrea Ferrucci. The chapel to the r. of the choir f'ontains the *monument of Bishop Salutati (d. 1465), by Mine da Fiesole, opposite which is a *bas-relicf by the same master, representing the Madonna with St. Remigius and St. Leonhard, in the foreground the Infant Christ, and John the Baptist with a beggar. On the entrance-wall, over the door: *St. Romulus, with rich frame by Luca della Robbia. — Opposite the fathedral, on the W. side of the piazza are the Episcopal Palace and the Seminary. On the E. side of the piazza is the Palazzo Pretorio, of the 13th cent., bearing the arms of the magistrates (podestk). Adjacent to it is the venerable church of S. Maria Primerana, dating from the 10th cent., containing a tabernacle in terracotta of the school of L. della Robbia ; on the r. a portrait head of GiuUano da San Gallo by himself. — A farm at the back of the cathedral contains scanty remnants of an ancient Theatre. The site of the old Acropolis of Fiesulse is occupied by a Franciscan Monastery, to which the street ascending to the W. opposite the cathedral leads. On the r., a little below the monastery, rises the venerable church of S. Alessandro, with 12 antique columns of cipollino, probably occupying the site of a heathen temple. The plateau in front of it commands a beautiful and extensive *view of the valley of Florence, bounded on the S. by several ranges of hills, on the E. by the mountain-chain of the Casentino, on the W. by the heights of Monte Albano, beyond which the mountains of Carrara stand prominently forth. Those who have time should ascend the eminence a little to 366 Route 53. S. SALVT. Environs the E. of Fiesole, which is higher than the Franciscan mona-stery and commands an uninterriipted panorama. On the way back we may visit the Badia di Fiesole, 1/4 M. to the W. of S. Domenico (p. 364), a monastery founded in 1028, occuined first by Benedictine, afterwards by Augustinian monks. It was re-erected by Brunellesco in 1462, by order of Cosmo the Elder, and forms a remarkably attractive pile of buildings. The church, with a transept, but destitute of aisles, is covered with circular vaulting, and is of noble proportions throughout. That part of the facade which is decorated with black and white marble belongs to the older structure, and is coeval with S. Miniato (p. 360). In the interior are several tombstones of the celebrated families of the Salviati, Marucelli, Doni, etc. The Refectory is adorned with a quaint fresco by Giovanni da San Giovanni, re- presenting angels ministering to Christ in the wilderness. The monastery, which was highly favoured by the Medicis, was fre- quently the residence of members of the 'Platonic Academy' [p. 364). Picus of Mirandola here worked at his exposition of Genesis. After the suppression of the monastery (1778), the printing-office of the learned Francesco Inghirami, where a number of important works were published, was established here. — The road back to Florence descends, skirts the r. bank of the Mugnone, and leads the whole way to the city between lofty garden-walls. h. About ^/^ M. from the Porta alia Croce at Florence, on the 1. of the high road, beyond the railway to Arezzo, are situated the remains of the monastery of S. Salvi, of the order of Vallombrosa, and mentioned as early as 1084, where in 1312 Emp. Henry VII. established his head-quarters during the siege of Florence. A finely coloured *fresco here by Andrea del Sarto (1526 — 27), representing the Last Supper, is still well preserved (Christ is about to take a piece of bread to dip in the dish ; Judas already has the sop in his hand). The traveller may prolong his walk hence in the valley of the Arno as far as Compiobbi, a station on the line from Florence to Arezzo (see below), and return to Flo- rence by the last train. /. Vallombrosa. A visit to this celebrated monastery may be accomplished from Florence in one day ; it is advisable, however, to start on the previous evening and pass the night at S. Pelago (see below). If the traveller intends to include the Casentino Valley and the monasteries of Camaldoli and Alvernia in the excursion, three days will be required. The train from Florence to Arezzo should be taken as far as Pontassieve (in 55 min.). From the central station near S. Maria Novella the train performs the circuit of the city, and stops at the station near Porta alia Croce, which may be more conveniently situated for some travellers than the principal station. It then skirts the r. bank of the Arno. The valley soon contracts. Stat. of Florence. VALLOMBROSA. 53. Route. 367 Compiobbi, a small village, lies in a richly cultivated district, above which rise barren heights. Stat. Pontassieve (Italia ; Vapore, both very poor inns; carriages to Pelago 5—6 fr. ), a small village at the confluence of the Sieve and Arno, formerly derived some importance from its situation on the high road leading through the valley of the Sieve and over the Apennines to Forli. Quitting the railway-station, we follow the broad road to the r., which after a few hundred paces crosses the Sieve. At (3 M. ) the point where the road divides for the third time, we descend to the r.. and proceed to (2V 4 M-) the village of Pelago (Locanda al Buon Cuore, R., B., and D. 5 fr., but previous agreement neces- sary, mule to Vallombrosa 5 fr.). The road continues practicable for carriages as far as Pofcrno (^33 4 M. from Pelago, one-horse carr. 5 fr. ), formerly the monastery-farm, now a royal agricultural institution, or even as far as the village of Tosi, V'o M. farther. Those who make the excursion in one day need not go by Pelago, but may proceed direct from Pontassieve to Paterno and Tosi. The rugged and stony path ascends hence to the 1. by a chapel (car- riage-road projected), traverses meadows, underwood, and pine forest, and about half-way up the Pratomagno mountain reaches Vallombrosa (2980 ft. ), situated in a shaded and sequestered spot. The monastery was founded about 1050 by S. Giovanni (iualberto, the £cion of a wealthy and powerful family of Florence, who after a career of youthful profligacy resolved to devote the remainder of his life to the most austere acts of penance. His brother Hugo having fallen by the knife of an assassin, Gualberto was bound by the customs of the age to follow the bloody law of retaliation. Descending one Good Friday from the church of S. Miniato (p. 360) near Florence, accompanied by armed followers, he suddenly encountered the assassin at a narrow part of the road. The latter fell at his feet and implored for mercy. The knight, suddenly moved by a generous impulse, forgave his enemy, and resolved for ever to renounce the world and its passions. He accordingly retired to the cloister of S. Miniato; but flnding the discipline there too lax, he betook himself to this lonely spot and founded Vallombrosa. The monastery, which had acquired exten- sive landed property and considerable wealth in the course of ages, has been suppressed. The present extensive buildings, together with the church, erected in 1638, are now occupied by the Istituto Forestale, or royal school of forestry, opened in 1869, with 3—4 teachers and 30 — 40 pupils. Small osteria outside the walls. II Paradisino, or Le Cette, a smaller cloister situated on a rock, '4 hr. to the 1. above the monastery, and now uninhabited, com- mands an admirable survey of the latter, which lies 266 ft. below, and of the broad valley of the Arno as far as Florence, half of the dome of which is visible behind a hill. The horizon is bounded by the marble-hills of Carrara. 368 Route 53. PRATOMAGNO. Environs Another pretty point of view is situated 1 1/4 M. to the S. of the monastery. The path leads to the 1. of the inn, and imme- diately beyond it passes a spring (to the r. below the path), then traverses the wood, and reaches a projecting rock commanding an extensive view of the valley of the Arno. The summit of the "^Pratomagno commands an extensive pro- spect; the ascent from Vallombrosa (guide 2 fr.) occupies 1 hr. The path traverses denae pine-forest, then dwarfed beech-under- wood, and finally green pastures. The culminating point of the chain is crossed, and the sinuosities of the mountains followed by a winding path for some distance. The scenery of the Apen- nines is characterised by wild and bleak slopes and narrow ridges, intersected by profound gorges. Fine-grained grauwacke ( macigno), occasionally interspersed with grauwacke-slate or the more recent clayslate, is the fundamental rock in this group. The vegetation is scanty and monotonous, insects and birds are rare, and water is seldom visible. The view from the summit, which is 5323 ft. above the sea- level, is obstructed on the N. and S. by peaks of equal elevation. To theE. lies the green Casentino Valley, drained by an impetuous brook, the water of which is praised by Dante (Inf. 30, 64 ), and bounded on the N. E. by the lofty Monte Falterona (where the Arno rises), a buttress of the principal chain of the Apennines; W. the fertile and richly cultivated valley of the Arno strett^hes as far as the dome of the cathedral of Florence, beyond which the blue Mediter- ranean is visible in the extreme distance. Above the towers of Florence rise the indented peaks of the mountains of Carrara and other summits, among which the Monte Cimone (6907 ft. ), the loftiest of the N. Apennines, is most conspicuous. From the Pratomagno a steep path descends through woods and ravines (I'j^ hr.), skirting the brook Sokuw, traversing green meadows and stony slopes overgrown with thistles, then through underwood of beeches and chestnuts, past Cetiea and several other mountain-villages to the picturesque market-town of -S'. 37a-t)it), commanded by the ancient fort of that name, and situated at the continence of the Solano and Arno, where the fertile Casentino expands. The river is crossed by a wooden bridge, beyond which a good road leads to the r., passing the ancient church of Cainp(tldino^ where in a sanguinary contlict, on 11th June, 1289, Dante distinguished himself by his bravery as a horseman, and aided his Guelph countrymen to crush the might of Arezzo and the Tuscan Ghi- bellines. The next place of importance is Poppi (p. 369). k. Camaldoli and Alvernia. An attractive excursion may be undertaken from Vallombrosa to the Casentino, or upper valley of the Arno, a district which affords an insight into the scenery of the Apennines. The carriage-road from Pontassieve (p. 367) to the Casentino crosses the Consuma Pass, about 9 M. distant. The expedition is, however, most suitable for pedestrians. From Vallombrosa a bridle-path (guide necessary, 2 fr.) traverses the brow of the hills, affording a succession of tine views, and leading in 2 hrs. to the Osteria delta Consuma, the inn of a small of Florence. CAMALDOLI. 53. Route. 369 mountain- village. If a carriage can be procured here, the traveller should drive to Bibbiena (15 M.), or at least to Pratovecchio (10 M. ). The road traverses the lonely height of the Monte Consuma for 3 M., after which a view of the valley of the Arno is gradually disclosed. About 6 M. farther, near the extensive ruins of the castle of Romena, the road divides : that to the 1. leads to Pratovecchio^ a short distance farther, and beyond it to Stia. From Pratovecchio pedestrians may proceed by Moggiona (poor inn) to CamaldoU in 3 hrs. The road to the r. leads by Castel S. XiccoVo (p. 368) to Poppi , the capital of the valley, situated on a hill rising above the Arno, the old castle of which with its lofty tower . erected in 1274. has long been visible to the traveller. Passing Ponte a Poppi , a few houses at the foot of the hill. Bibbiena is next reached, 3 M. farther, birthplace (in 1470) of Bernardo Divizio, afterwards Cardinal Bibbiena. the patron of Raphael. From Bibbiena CamaldoU is reached by Soci and Partina in 3 hrs., Alvernia by the valley of the Corsalone in 2 hrs. The direct footpath between the monasteries may be traversed in 5 — 6 hrs. Pedestrians may therefore reach Camaldoli ii! one day from Vallombrosa by Consuma and Pratovecchio . and on the following day proceed thence by Alvernia to Bibbiena. The ancient abbey of Camaldoli lies in a grassy valley surrounded by forest. It waa founded about the year IClOO by St. Ronuiald, but fre- quently destroyed by lire and devastated by war, in consequence of which the church was re-erected in 1523, and again in 1772. It has recently been suppressed by the Italian government, like all the other monasteries in Italy. The environs are wild and beautiful. A zigzag path ascends rapidly (^{i hr.) to the Hacro Eremo, a second monastery with hermitages, founded by St. Romuald in iU46. The name of the place is said to be derived from Campus 3Ialdoli, in consequence of a certain pious Count 3Ialdolus, the last proprietor, having presented it to his friend St. Ro- muald. From this spot the reputation of the order for austere discipline, sanctity, and erudition extended throughout the whole of Italy, although the number of their cloisters was never great. Camaldoli lost its va- luable library and many treasures of art through the rapacity of the French in 1808. In 1814 the monastery was restored. The *\iews from the narrow uountain-ridge at the back of Camal- doli, especially from the summit which is not planted with trees, termed the Pralo al Soglio , are very extensive and beautiful. To the X.E. the houses of Forli may be distinguished, still farther olV the site of Ra- venna, and in the extreme distance the glittering Adriatic; W. the chain of the Pratomagno and the green dales of Vallombrosa, the lower valley of the Arno as far as the JIaremme of Pisa and Leghorn , and beyond them the Mediterranean. The spectator here stands on one of the sum- mits of the "back -bone of Italy", whence innumerable mountains and valleys, as well as the two different seas, are visible. The source of the Arno (4250 ft.) on the Falterona may be visited hence, and the excursion may be extended to the summit of the moun- tain by those whose energies are unimpaired. Dante , who in the 14th canto of the Purgatorio describes the course of the Arno, accompanying it from its source to Arezzo and Florence with bitter complaints of' the swine of the Casentino, the dogs of Ai-ezzo, the wolves of Florence, and the foxes of Pisa, perhaps visited the Monte Falterona in person. Tra- vellers generally proceed from Camaldoli to Alvernia (a rough walk of 5—6 hrs.). The S. height is ascended as far as the chapel of St. Romu- Bmdkkkh. Italy I. 3rd Edit. 24 370 Konte r>4. CORSICA. aid; then to the r. a descent to Morjgiona., beyond which the path turns to the 1., traversing a long and fatiguing succession of gorges and slopes; the path at the base of the mountains is therefore preferable. The market- town of Soci in the valley of the Arclihiuo is first reached, then the pro- found valley of the Corsalotie; beyond it rises a blunted cone, on which the path ascends in windings to a stony plain with marshy meadows. Above this rises the abrupt sandstone mass of the Vcrnia, to a height of 850 ft. On its S.W. slope, one-third of the way up, and 3906 ft. above the sea-level, is seen a wall with small windows, the oldest part of the monastery, built in 1218 by St. Francis of Assisi. The church is of 1264. In 1472 the monastery was entirely destroyed by fire. Beautiful forests are situated in the vicinity, from the openings in which imposing moun- tain-views are often enjoyed. t)ne of the grandest points is the *Penn« della Vernia, or ridge of the Vornia, also known simply as VApennino, 4790 ft. above the sea, 'the rugged rock between the sources of the Tiber and Arno', at it is called by Dante (Paradiso II, 106). To the E. are seen the lofty Sassi di Simone, the moiintains which bound the Tuscan Romagna in 'he direction of the republic of San Jlarino; 'S.E. the sources of the Tiber are situated behind the Fumajolo. Near the monastery are the Luoghi ,^(inti , a number of grottoes and rock-hewn chambers in which St. Francis once lived. The church con- tains no pictures worthy of mention, but several excellent reliefs in terra- cotta, especially an ^Annunciation by Liira della liobhia. To the S. , not far from the monastery, is situated the ruined castle of Chiiisi^ occupying the site of the ancient Clusium Novum^ where Ludo- vico Buonarroti, father of Michael Angelo, once held the office of Podesta. The great master himself was born on 6th March, 1475, at Caprese, in the valley of the Singerna in the vicinity, but in 1476 his parents removed to Settignaiio, in the vicinity of the quarries. The traveller is recommended to return from Hibbiena to Florence by Arezzo ( diligence daily in 3 hrs. ; one-horse carr. 10 fr.). The road follows the I. bank of the Arno, passing several small villages, qnits the river at Giovi, and entering the rich Val di Chiana leads to Arezzo ( Inyhilterra ; Vittoria), a station on the line Florence-Perugia-Konie (railway to Florence in ^i/.j — Si/ohrs. ; fares 7 fr. 70, 6 fr. 15, 5 fr. 55 c. ). Arezzo, and thence to Peru- gia, etc., see Baedeker's Central Italy. 54. Corsica. Ste.'vmboat.s t)ctvveen the mainland and Corsica: a. \'alery c;o. once weekly from Marseilles to Ajaccio, fares 30 and 20 fr., to Bastia and Calvi also once weekly; />. From Nice fortnightly to Ajaccio, also to Bastia; c. From Leghorn 3 times weekly to Bastia in 6 hrs., fares 16 and 13 fr. (incl. fee for embarcation). Also once weekly from Ajaccio to Porto Torres in Sardinia in 7 hrs. Embarcation 1 fr. ; breakfast and dinner 8 fr. in the first, 6 fr. in the second cabin. — Diligence -communication between Ajaccio and Bastia and all the principal places in the island. f'orsicd (French La Corse) ^ situated between 43 and 41° 21' N. lati- tude, 55 M. distant from Italy and 110 M. from France, and separated from Sardinia by the Strait of Bonifazio, 9 M. in width, possesses an area of 3365 sq. M. and a population of 259,861 souls. A broad mountain- chain, terminating towards the N. in the Capo Corso, consisting of grey granite and limestone formations, occupies almost the entire island. On the W. it rises abruptly from the sea, forming a number of bold pro- montories and deeply indented bays. On the E. side, towards Italy, the alluvial deposits have been more abundant, and have formed a level coast of some breadth. The vast height to which the mountains rise 1 . T»- CORSICA L: 1350000 fkiUxrhe Mrili-n Hi f rioiurV j«t> ItnqUak tru'lc'i''.e!'.tel'l //// JSilamiXret( illlOl - J'l ''"*St. Vf'^"^ ^**A ' °]Brarulo lastia >M«u. Su §^« GoUo diiyovc-- ' Por-tf dUbc/Uart^ J.cU 6arff P^Ro3»a.£ Golfo di Porto LaFusn*' Capo Bmt^Z' ^x^ -**^ jR>pft) d^Twne Go&h di Oiiom GoVb tli Peri) <' Porttf di StUf^tiii^. (mlfo di Sa.^oJia ,•„ faU&u >^^,;^'' J^S^- ^mi> '.Sac Vmiuf" Anxnz! dL^tftriaru 3» l.3?ra7o &S//' =v< MMoUAuSa LaP"^-uo iifj^> &div^~ icfi^e, ,,^"' -- ; jDiana r.TnvTjjfuuut ^"m^ 7 eoUhdiLaraT ^^aTMonKli •?;^ .^^^^ Golfo dKy^' Ituaiii^ v$ta^nr> d'i'r>imo -/■•■ Stoffno diPfda .diSfiVniarti .Sorm\ i^rflufnhrti ^flcC" r 1^"^ v.- '">^2S^- Oolio di Nalinto Campojfloro 'o ^''^'' If^dTmea SJmcui Pf? di Senttoaa Pbrto diTirt ..«.<« *"^^^ii i>«(> di R^''*''^ 7'atT«me^* J^' f" fnikdiPinareUo \ jSolfo di Porto Vecchio , ,' £^di On-hicaJbt eutiS^Oadia -UdJbro I P^^e.*^ Gif«» j.Cii»* iv -i'^ ^"A^^^^:^^ a 1 1113 ; a d! . Ed, Wa^iitT . 'LSABDBGNA' CORSICA. 54. Route. 371 within a comparatively small space (e. g. Monte d'Oro 8690 ft., Monte Rotondo 9053 ft.) imparts a wild and imposing character to the scenery. Nine-tenths of the area of the island are uncultivated, while the moun- tains for the most part are clothed with magnilicent forests. The Flora of the island is remarkable for its rare luxuriance and diversity, com- prising specimens of almo.st every species of plant found on the shores of the Mediterranean. The timber' of Corsica was highly esteemed by the ancients, and still supplies most of the French and Italian dockyards. Its mineral wealth, however, is far inferior to that of Sardinia. The character of the natives, notwithstanding the levelling and equal- ising effects of advancing civilisation, corresponds with the wild aspect of their country-, and, at least in the more remote districts, still retains manv of those' peculiar features described by ancient writers. Their in- satiable thirst for revenge (vendetta), formerly one of the chief causes of the depopulation of the island, has never been thoroughly eradicated, although the authorities have adopted the most rigorous measures to counteract the evil. The perpetrators of these dark deeds withdraw themselves from the arm of justice and retire as outlaws (banditi) to the mountains , where , hunted like wild beasts by a corps of gensdarmes constituted for this express purpose, they frequently protract their mi- serable existence for many years. At the same time this revengeful ferocity is to a certain extent compensated for by bravery, love of free- dom, simplicity of manners, and hospitality, virtues which usually characterise a vigorous and primitive race. Their ballads, too, and espe- cially their dirges (voceri), are replete with poetical pathos, while few countries of similar extent have produced more illustrious characters, or witnessed more thrilling achievements , than those recorded in the annals of Corsica. The situation and climate of the island are Italian, as was also its history down to the year 1768. Since the beginning of the present cen- tury its union with France has been still more closely cemented by its connection with the family of Napoleon. It now forms the 86th Depart- ment, the capital of which is Ajaccio, and is divided into 5 Arrondisse- ments: Ajaccio, Bastia, Calvi, Corte, and Sartona. Italian is still the language of the natives, but French is employed for all oflicial purposes, and is spoken by the educated classes. The great attractions of Corsica. are its beautiful scenery and its inter- esting historical associations, for it can boast of no antiquities or trea- sures of art. A visit to the island is now easily and expeditiously ac- complished. A week suflices for the ordinary traveller to become ac- quainted with Ajaccio, Corte (ascent of Monte Rotondo), and Bastia. Those, however, who desire a more thorough insight into the resources of the country and the character of the natives will encounter serious difficulties, which introductions to inhabitants of the island will best enable them to overcome. Corsica, like its sister-island Sardinia, which was peopled by the same race, never attained to a high degree of civilisation in ancient times. The whole island is depicted as having been a wild and impenetrable forest, of very evil reputation. Its possession was nevertheless keenly contested by the great naval powers of ancient times. The Phocffcans, banished from Asia by the Persians, founded the town of Alalia (afterwards Aleria) on the E. coast, at the mouth of the Tavignano, B. C. 556. After a great naval battle in 536, however, they were compelled by the allied Etrus- cans and Carthaginians to abandon their settlement and migrate to Mas- silia (Marseilles). The island then became subject to the Etruscans, and subsequently to the Carthaginians, from whom it was wrested by the Romans in 237. Under Marius and Sulla the colonies of Aleria and Ma- riana were established on the E. coast, but were both subsequently de- stroyed. The island was frequently employed as a place of banishment; thus the philosopher Seneca spent eight years here during the reign of the Emp. Claudius. His account of the country and its inhabitants is by no means flattering, and the Corsicans sometimes declare that 24* 372 Route 54. AJACCIO. Corsica. 'Seneca era un birbone'. The following linen written by him are to this day partially true: 'Prima est ulcisci lex, altera vivere raptu, Tertia menliri, quarta negare decs'. After the fall of the Western Empire Corsica frequently changed mas- ters; the Vandals, P>yzantines, Ostrogoths, Franks, and Saracens rapidly succeeded each other in its possession. In 1070 the Pisans, and in 1348 the Genoese obtained the supremacy, which the latter retained till the 18th cent. Their oppressive sway, however, gave rise to a long series of conspiracies and insurrections, in many of which a number of remark- able characters and bold adventurers distinguished themselves. Thus Arrigo della Rocca , Vincentello d'Istria, and Giampolo da Leca in the 14th and 15th cent., and Renuccio della Rocca and Sampiero di Bastelica (killed on 17th Jan., 1567) in the 16th. Finally, in 1729, the universal disatTection to Genoa began to assume a more serious aspect, notwith- standing the efforts made by the Republic to stifle it with the aid of German auxiliaries. The last of a long succession of adventurers was a Baron Theodore IS^euhof, son of a Westphalian noble, who landed on 12th March, 1736, at Aleria, near the mouth of the Tavignano, attended by a number of followers, and provided with w^arlike equipments. He w"as shortly afterwards proclaimed king of Corsica, under the title of Theodore I., but his success was short-lived, for the Genoese were assisted by the French. Theodore returned twice subsequently to Corsica, but was ultimately compelled to seek an asylum in London, where he died in obscurity in 1756. Meanwhile the Corsicans , under the command (from 1755) of the heroic Pasquale Paoli (born in 1724 at Stretta. a village among the mountains S.W. of Bastia; died in London in 1807), fought so successfully against the Genoese, that the latter lost the entire island with the exception of Bastia. By the Treaty of Compiegne in 1163 Genoa ceded Corsica to the French, who however were still stre- nuously opposed by Paoli and other leaders, and were unable thoroughly to assert their supremacy until 1774. After the French Revolution Paoli returned from England to Corsica , after an exile of 20 years, and be- came president of the island. Internal dissensions, however, again spring- ing up, the English were invited by Paoli to his aid, and in 1794, under Hood, conquered the island. In 1796 they were compelled to abandon their conquest, and since that period Corsica has belonged to France. Ajaccio. Hotels. *H6tel de France, in the Place Bonaparte, at the corner of the Rue du Marche', R. li(2, pension from 6'|2fr. ; Hotel Germania ; Hotel i>u NoRi> and Hotel de l'Eukope, both in the Cours Napole'on , pension 6 fr. ; Hotel de Loxdkes, near the Place Kapole'on, pension 5—6 fr. — Private Apurtmenls from 40 fr. per month (without attendance). Cafes. The best are in the Rue du Marche. Banker: M. Bozzo, Boulevart Roi Jerome. Carriage per hour 2, per day 15 — 20 fr. — Saddle-horse 3 fr. per half- dav. — Rowimj-hoat to carry 1—10 persons 3 fr. per hour. Excursions to the lies Sanguinaires 7 31., St. Antoine 5 M., Alata 7 M., and Cavro ll'j2 M. Steamboats (comp. 378) to Marseilles on Tuesdays at 10 a. m., to Nice every alternate Saturday. Diligence daily to Bastia (p. 378), Sartene, and Vico. Office in the Cours Napoleon. Post Office in the same street. Ajaccio (pronounced Ajasso in French), with 14,558 inhab., was founded by the Genoese in 1492 , and constituted the capital of the island in 1811 by Napoleon, at the request of his mother Letitla. It is most beautifully situated in an extensive bay, which stretches N. to the Punta della Parata, near the Isole Sanguinarie, and S. to the Capo di Muro, -whilst the background is formed by Corsica. AJACCIO. 54. Route. 373 imposing mountains, often covered with a snowy mantle until late in the summer. The town presents a somewhat deserted aspect, although great improvements have taken place of late years. The mildness of the climate attracts a number of invalids as winter- residents. The broad Place and Rue du Marche ^ one of the principal streets in the town, adorned with a fountain and a marble statue of Napoleon I., leads from the harbour to the Place d'Armes. To ther. in the Place du March^, at the point where the Boulevari Roi Jerome diverges, is situated the Hotel de Ville, with a library on the ground-floor. On the first floor is the *Reception Hall , adorned with busts and pictures illustrative of the history of the family of Napoleon. The Rue Fesch , the next street to the r., leads to the College Fesch, which contains a large collection of pictures, most of them copies, and casts (admission gratis on Sundays, 12 — 4 o'clock; at other times by payment of a fee), bequeathed to the town by Car- dinal Fesch, and augmented by gifts from the late Emperor. The court Contains a statue of the cardinal in bronze. Adjoining the college is the new and handsome Chapelle Fesch., to which the monuments of Letitia Ramolino, the mother of Napo- leon (d. 2nd Feb., 1836, in her palace at Rome), and of Cardinal Fesch (d. at Rome, 1839), her half-brother, have been recently transferred from the cathedral (p. 374). By the street to tlie 1. opposite the fountain , and then by the third transverse street to the r. , we reach the small Place Letizia , where the house in which Napoleon was born is situated (the concierge lives opposite, fee 1 fr.J. It is preserved in its original condition , but presents nothing remarkable beyond its historical association. A small room with two windows, a cupboard in the wall, and a marble chimney-piece, is pointed out as that in which Napoleon was born (15th Aug., 1769). The family of Buonaparte appears to have emigrated in the 16th cent. fromSarzana in Tuscany, perhaps with the powerful Malaspinas, to Corsica. Messire Francesco Buonaparte, the first member of the family who resided in Corsica, died at Ajaccio in 1567. Napoleon's father, Carlo Maria Buona- parte, born at Ajaccio, 29th March, 1746, was educated at a school founded byPaoli atCorte, and subsequently studied law at Pisa. He then became an advocate at Ajaccio, where he enjoyed considerable popularity, but was soon appointed by Paoli his secretary at Corte. After the disastrous battle of Ponte Nuovo, 9th May, 1769, in consequence of which Corsica lost its independence to France, Carlo fled with his young wife Letitia Ramolino to the Monte Rotondo. He shortly afterwards returned to Ajaccio, where the French General Marbeuf, the conqueror of Corsica, accorded him protection, and where, about two months later, Napoleon was born. In 17(7 Carlo was appointed deputy of the nobility for Corsica, and travelled via Florence to Paris. He died at 3Iontpe]lier in February, 1(85. Napoleon, then 16 years of age, having quitted the school at Brienne two years pre- viously, was studying at the Ecole Militaire at Paris. The letter of con- dolence which he wrote to his mother on the occasion is still extant. During his visits to Ajaccio his favourite retreat was Milelli, a small country-house in the neighbourhood. After the storming of the Bastille 374 Route 54. AJACCIO. Corsica. in 1789 and th© great subsequent crisis, Napoleon with bis elder brother Joseph warmly espoused the popular cause at Ajaccio. He then repaired to Marseilles to welcome Paoli on his return from exile, and the latter prophesied on this occasion that a great destiny was in store for the youth. In 1791 Napoleon obtained the command of "the newly constituted Cor- sican battalions, and in this capacity practically began his military career. In 1792, Paoli, dissatisfied with the proceedings of Napoleon, sent him to S. Bonifazio, to join the expedition against Sardinia. This, however, proved an utter failure, and on 22nd January, 1793, Napoleon narrowly escaped being slain by insurgents. Shortly afterwards he broke off his connection with Paoli and was compelled to quit Corsica with his family. During the zenith of his power the Emperor evinced little par- tiality for his native island, which he visited for the last time on 29th September, 1799, on his return from Egypt. During his exile in the island of St. Helena, however, his thoughts appear frequently to have reverted to Corsica. 'What reminiscences Corsica has left to me !' he was fre- quently heard to exclaim; 'I still think with pleasure of its mountains and its beautiful scenery; I still remember the fragrance which it exhales.' Autommarchi, Napoleon's physician in St. Helena, and the priest Vignale, who performed the last offices of religion, were Corsicans , and shared the fate of their illustrious compatriot. The Cathedral, dating from the Genoese period, where Napoleon was baptized on '22nd July. 1771, formerly contained the monu- ments already mentioned. The Place d'Armes is adorned with a bronze statue of the great Emperor, his looks turned towards the sea in the direction of France, surrounded by his four brothers Joseph , Lucien, Louis, and Jerome. The inscription records that the monument was erected by 'grateful Corsica' by voluntary subscription, and inaugurated in 1865. In the Cours Napole'on, whicli diverges opposite this Place, is situated the palace of the Fozzo di Borgo's, one of the most distin- guished Corsican families. Carlo And-rea Pozzo di Borgo, born on 8th March, 1768, an early friend of Napoleon, a democrat and adherent of Paoli, afterwards became the Emperor's bitterest enemy. He subsequently became a Russian counsellor of state, and in 1802 was created a count and appointed ambassador, in which capacity he indefatigably devoted his energies to opposing his ambitious countryman. He proved a great benefactor to Corsica, which he frequently visited. He died at Paris in 1842. His nephew, the heir to his extensive property, afterwards fell a victim to Corsican revenge. The Cours Napole'on terminates in the high road to Bastia. To the r., outside the gate, is the monument of General Abba- tucci, a Corsican who fell in 1796, whilst defending the town of Hiiningen. This road affords a pleasant and cheerful pro- menade. Adjoining it is the Botanic Garden which merits a visit. The road on the N. side of the bay, passing the new Hospice Eugenie, although destitute of shade, also affords a charming walk. The gardens here contain numerous family burial-places and chapels. Corsica. S. BONIFACIO. 5^. R' ate. 375 From Ajaccio to S. Bonifacio, and to Bastia by the £. Coast. Ttie carriage-road trrjiu Ajaccio to C'alvi (p. 379) is not yet entirely completed. Diligence a3 far as Vico. — From Ajaccio to Bonifacio by the road 85 31.; diligence daily to Sartona. 52 M. distant. The fortress of Bonifacio (3539 ft.) is picturesquely situated on a pro- minent and lofty rock. It possesses high and dilapidated houses, of the Pisan and Genoese periods, and narrow, unattractive streets. The principal street is termed Piazza Doria. The town was founded in 8S3 by the Tuscan JIarquis Bonifazio, after a naval victory over the Saracens. II Torrione, a large tower of that remote date, is still e.xtant. Bonifacio subsequently came into the possession of the Pisans, then into that of the Genoese, by whom it was treated with marked favour. In return for this partiality this town, as well as Calvi, remained inviolably faithful to Genoa, as was proved in 142U Jiy its memorable defence against King Alplionso I. of Arragoh. In 1541 tlie Emp. Charles V., on his return from the expedition against Algiers, paid a visit to Bonifacio. The house of Filippo Cataccioli, in which the Emperor lodged, is still pointed out. The town once boasted of 20 churches, of which the cathedral of »S'. Maria del Fico, the handsome Gothic church of S. Domenico , with numerous tomb- stones of knights Templar and Genoese nobles, and the small church of ,S. Francesco fwith a spring, the only one which the town possesses) now alone remain. A stone bench above the Jlarina of Bonifacio, by the old gate of the fortress, near the small chapel of S. Rocco , commands a charming view, especially by evening-light , of the strait which separates Corsica from Sardinia. On the opposite coast the tov.'n of Ltimja i^ardo., with its light- house, is visible; farther distant, a series of watch-towers on the shore may be distinguished; on the 1. lies the island of fi. Macldulena. On the coast below Bonifacio are situated three beautiful and imposing Grottoes^ which visitors explore by boat. The distance from Bonifacio to Bastia is 92'|2 M. The E. coast of Corsica is somewhat bleak and desolate. The road leads past the bay of "Italie in the Boulevart de Paoli. — Bes- taurant de la Poix\ in the Boulevart ; Cafe Univers Guitton; Cofi duKord; Brasserie., near the ^^apoleon monument. Diligences daily to Ajaccio, to Liiri and Rogliano on the Capo Corse, and to S. Fiorenzo and the Balagna. Steamboats. Two companies ply between Bastia and Italy: 1. Valery Freres (oftice near the harbour), every Monday evening at 10 to Leghorn, returning thence on Wednesday evenings; 2. Ruhatino (office on the boulevart) every Thursday morning at 6 to Leghorn in 8 hrs., and thence to Genoa (food inditierent). Fares to Leghorn 15 or 12 fr., to Genoa 35 or 25 fr. ; embarcation and landing 1 fr. each. Bastia, with 21,535 inhab., the busiest commercial place in the island, and its capital down to 1811, was founded in 1380 by the Genoese and defended by a strong castle (whence the name of the town, signifying 'bastion'). The cathedral of S. Giovanni Battista contains several ancient tombs. In S. Croce rich deco- rations in marble. The college which formerly belonged to the Jesuits contains a library of 30,000 vols, and natural history collections. The Place St. IVicholas on the Promenade on the coast is embellished with a marble statue of Napoleon. The inscription mentions Corsica, in consequence of its connection with Napoleon, as ^quasi gentium principatu donatam.' (!) The old town with the citadel rises above the more modern Corsica. CALVI. 54. Route. 379 quarter situated near the harbour. Beautiful walk along the coast towards the N., where a number of easily attained heights afford a variety of fine views of the sea and coast. From Bastia to Capo Corso. S. Fiorenzo, and Calvi. A very pleasant excursion may be made to the long and narrow pen- insula in which the Serra aWs. rise, culminating in the Monte Alticcione and Monte Stello (5000 ft.), and terminating in the Capo Corso (Promon- lorium Sacrum) on the N. Beautiful valleys descend from these moun- tains on the E. and W. A good road leads along the coast from Bastia, passing several ancient watch-towers of the Pisans and Genoese , and afi'ording a view of the picturesque islands of Elba, Capraia, and Monte Cristo. At Brando there is a Stalactite Cavern , surrounded by pleasant gardens. Luri possesses a charming valley, watered by several streams, and producing a lu.xuriant growth of grapes, oranges, and lemons. The Serra is then crossed to Pino on the \V. side, with villas and beautiful gardens. At the end of the promontory, to the N. beyond Rogliano and Ersa. rises a lighthouse. An ancient, half-ruined circular structure near it is popularly termed the •Tower of Seneca". A road leads from Bastia across the Serra to the (133|4 M.) small seaport of S. Fiorenzo, charmingly situated on the bay of that name on the W. side of the island, and commanded by a fort. In the neighbour- ing low ground formerly lay the mediseval town of JS'ebbio , the ruined cathedral of which {S. Maria Assitnta), of the 12th cent., stands on an eminence. Beyond this the road skirts the sea, crosses the small river Ostriconi.^ and reaches the small, but thriving seaport town of Isola Hossa , founded in 1758 by Pasquale Paoli , notwithstanding the war in which he was then engaged with Genoa. Its name is derived from three red clifts rising from the sea in front of the harbour. The environs are delightful; the view from the Monte S. Reparala , surmounted by a de- serted church, is finest by evening-light. The road then leads to Algajola , a deserted old town on the coast, with marble quarries in the vicinity. During the Genoese period it was fortified, and formed the central point of the fertile district of Balagna. The loftily situated village of Lumio^ farther on, with its orange-planta- tions and hedges of cactus, commands a beautiful view of the valley and (he town of Calvi (43 M. from S. Fiorenzo), an important and fortified place during the Genoese period , noted for its faithful adherence to the Republic, and in 1794 bravely defended against the English by the French commandant Casablanca. The natives of the place maintain that Colum- bus was born here, and that the name still exists. Traces of the English bombardment are still observable. The principal church contains the tombs of the Baglioni family, who bore the surname Liberta, from having distinguished themselves in the 15th and 16th cent. The environs of Calvi are marshy. Charming view of the bay, with the promontory of Rivellaia, and of the rocky mountains of Calemana, to the E. of the town. A diligence runs from Culvi^ traversing the beautiful and fertile valley of the Balagna (where the powerful Malaspina family dwelt for centuries), enclosed by lofty mountains, to Novella^ the last village, then through narrow rocky ravines to Ponte alia Leccia in the valley of the Golo, where the high road from Bastia to Ajaccio is reached. INDEX. Abano 190. Abbiategrasso 151. S. Abbondio 135. 141. Acqua Biija 284. Acqualagna 276. Acquanegra 162. Acqui 151. Adda, the 45. 51. etc. Adelsborg 62. Adige, the49.55. ISl.etc Adigetto, Naviglio 192. Adlilzgraben, the 6tX Adria 192. Adriatic, the 65. 235. etc Aemilia, Via 236. S. Agata 149. Agay 27. Agedincmn 2. S. Agnese 102. Agno, the 141. Agram 62. Agums 49. Aiguebelle 31. Aigues Mortes 18. Ain, the 6. 29. Ainay 8. Airan 18. Airolo 39. Aix 21. Aix-les-Bains 29. Ajaccio 372. Ala 58. Alais 18. Alassio 97. Alba HI. Albaredo, Monte 79. Albarine, the 29. Albenga 97. S. Alberto 269. Albesio 129. _ Albigaunum 97. Albissola 96. Albizzate 137. AleHa 375. Alessandria 151. Algaby Gallery, the 34. Algajola 379. Aloxe 4. AlpesMaritimes, the 105. 110. Alpienbach, the 34. Alpignano 32. Alpines, the 16. Alseno 237. Alserio, Lago 127. Altimim 232. Altopascio 306. Altorf 38. Alvernia 369. Amberieux 6. 29. Ambrogiana, Villa 287. S. Ambrogio (near Mo- den a) 239. — near Turin) 32. — (near Varese) 142. St. Amour 6. Ampola 160. Amsteg 38. Ancona 278. Andeer 44. Andermatt 39. Andes 180. Andora 97. St. Andr^, Grotto of 107. — , chateau 107. St. Andrea del Lido, is- land 235. Anemo 269. Anfo 160. — , Rocca d' 161. Angera 146. Anges, Bale des 105. Annone 84. — , Lago iV 129. S. Annunziata, monast 102. Antibes 28. Antipolis 28. Antivari 67. S. Antonino 32. S. Antonio 51. — , Cantoniera 39. Anzasca Valley 35. Aosta 80. Apennines, the 81. 83 151. 280. 370. Aposa, the 247. Aprica 169. — , Passo d^ 169. Apuane, Alpi 289. Aquae Allohrogum or — Oraiianae 30. — Patavinae 190. — Pisanorum 301. Aquae Sextiae 21. — Statielae 151. Aquileia 235. Araiisio 12. Arbedo 40. 47. Arbostora. Monte 140. Arc, the 31. S. Arcangelo 271. Archiano, the 370. Arco 57. Areola 290. Arcole 182. Arcs, Les 27. " Arda, the 236. Arelate 19. Arena-Po 81. Arenzano 95. Arezzo 370. Argegno 132. Ariminum 271. Arlberg, the 48. Aries 19. Armanfon, the 2. Armeno 149. Arno, the 317. etc. Arola 149. Arona 146. Arqua 192. Arqua del Monte 191. Arquata 152. Ascona 142. Asiago 56. Asigliano 112. Aspremont, the lOT. Assenza 158. Assina, ValF 127. Asso 127. Asti 84. Ateste 191. Athenaeum 8. Atzgersdorf 59. Atzwang 54. Aubagne 26. Auer 55. Augusta Praetoria Salas- sorum 80. — Taurinorum 69. Auxerre 2. Auximum 280. Avenio 13. Avenza 290. Averser Rhein, the 44. INDEX. 381 Avigliana 32. Avignon 13. Avio 58. Avisio, the 55. Axenberg, the 37. Axenstein 37. Azi, 3Iont d' 30. Bacchiglione , the 182. 185. Bacher Mt8., the 61. Badagnano 83. Badelwand, the 60. Baden 59. Bagnacavallo 259. Bagni 190. Bagni Caldi 305. — di S. Giuliano 301. — di Lucca 305. — di Xerone 305. Bagnolo 162. Bagneau 27. Balagna 379. Baldichieri 84. Baldo, Monte 160. Bale 5. Balerno 137. Balzola 112. Bandol 26. Bar 28. Baracca 289. Baradello, Castello 128. Barbentane 16. Barberino 284. Barcesine 160. Bard 32. 79. Bard, Fort 79. Bardolino 161. BardonSche 31. Barenburg, the 44. Barghe 161. Bargilio 305. Barni 127. Baro, Monte 136. Barrasso 137. S. Bartblo 70. — , Monte 275. S. Bartolommeo , Monte 159. Baselga 57. Bassano 56. Bastia 378. Batie, chat. 30. Battaglia 191. — , Canale di 190. Baveno 35. 145. Beaucaire 16. Beaulard 31. Beaulieu 108. Beaune 4. Beauregard, chat. 12. Becca di Kona, the 81. Beckenried 37. B^darrides 13. Bedesis 259. Bedretto, Val 39. Belbo, the 111. Belfort 5. Belgiojoso 161. Belgirate 146. Bella, Isola 145. Bellaggio 132. — , the Punta di 134. Bellano 135. Bellegarde 29. Bellinzago 150. Bellinzona 40. Belluno 233. Benacus, Lacus 158. S. Benedetto 270. Beni, Monte 284. Berceau, the 102. Bergamasco 111. Bergamo 156. Bergeggi, promont. 96. Berici, Monti 182. 18i. Beri.sal 34. Bernabo 305. St.;Bernard, the Great 81. S. Bernardino Pass, the 46. S. Bernardino 46. Bernina, the 52. Berre 21. Bertinoro 270. B^sanfon 5. Beseno, castle 57. Bevera, the 109. Beverin, Piz 43. 44. Bezzecca 160. Biacesa 160. S. Biagio , Isola di 159. Bianco Canal, the 192. Biandrone, Lago di 137. Bianze 112. Biasca 40. Bibbiena 369. Biella 112. Bientina, Lago di 287. Bietschhorn, the 33. Bignone, Monte 99. Binago 136. Binasco 153. Bironico 41. Bisbino, Monte 131. Bisenzio, the 310. Bissone 138. Biturrita 13. Blaisy-Bas 2. Blegno, Val 40. Blevio 129. Blumau 54. Boara 192. Bobbio 83. Bodio 40. Boesio, the 137. 144. Bogliaco 159. Bogognano 376. Bois-le-Roi 1. Boletto 149. Bolladore 51. Bologna 246. *Accademia delle Belle Arti 256. Archives 256. Archiginnasio 250. *S. Bartolommeo di Porta Ravegnana 253. Biblioteca comun. 250. Campo Santo 258. *S. Cecilia 255. ^Certosa 258. Collegio di Spagna251. *S. Domenico 250. S. Giachmo Maggiore 2o4. *S. Giovanni in Monte 253. Library 255. Loggia ie' Mcrcanti 252. Madonna di Galliera 252. *MadonnadiS.Luca258. S. Maria ai Servi 254. S.Martino3Iaggiore257. *S. MicheleinBosco257. La Montagnola 257. Museum of Antiquities 250. 255. Palazzo arcivescovile 252. *— Baciocchi 251. — Bentivoglio 257. — Bevilacqua Vin- cenzi 251. — Fava 252. — Malvezzi-Campeggi 255. ' Medici 2.54. *— dellaMercanzia252. *— Pepoli 252. — del Podesta 249. — Pubblicw 248. — Zambeccari di S. Pa()lo 251. ! *— Zampieri 254. i *S. Petronio 249. *Piazza Vittorio Ema- nuele 248. S. Pietro 252. Portico de' Banchi249. *S. Stefano 252. Torre Asinelli 252. Torre Garisenda 252. *University 255. 382 INDEX. Bologna: S. Vitale ed Agricola 254. Bolzaneto 152. Bolzano 113. Bolzano s. Bozen. Bona, Val 160. Bonaduz 42. Bondone 160. S. Bonifacio 182. — (Cors.) 375. Bononia 247. Borbone, the 84. Bordigbera 100. Borgbetto 289. Borgo 56. — (Corsica) 376. — a Bugiano 306. — S. Dalmazzo 110. — San Donnino 237. — - Lavezzaro 150. — S. Lorenzo 269. — S. Martino 112. — Panigale 283. — Sesia 150. — Ticino 150. — Vercelli 112. — Vico 137. Borgoforte 181. Borgomanero 113. Borgone 32. Borigli, tbe 102. Bormida, tbe 151. Bormio 51. Borromean Islands , tbe 145. Bosaro 192. Botscb, tbe 61. Bourg 29. Bourg St. Andeol 12. Bourget, Lac du 29. Bourgogne,tbeCanal de2 Bouzoise, tbe 4. Bozen 54. Bozzolo 181. Bra 111. Bracco 289. Braman 32. Brandizzo 112. Brando 379. Brauzoll 55. Braulio. tbe 50. Braus, Col di 109. Brazza 67. Bre 140. 160. — , Monte 140. Bregaglia, Val 45. Breglio 109. Brenner 53. Brennersee, tbe 53. Brenno, the 40. Breno 168. Brenta, the 56. 185. Brescia 162. Bressana 155. Bressanone 54. Bresse, tbe 29. Briancon 78. Brianza, tbe 127. Briccione 149. Brieg 33. Brienno 131. Briona 150. Brione, Monte 160. Brionian Islands, the 65 Brissago 143. Bri.xen 54. Brixener Klause, tbe 53 Broni 81. Broteaux, les 7. Brou, Church of 29. Brouis, Col di 109. Brozzi 288. Bruck 60. Briihl, tbe 59. Brunn 59. Brunnen 37. Brunnsee, chateau 61. Bruno 111. Brunoy 1. Buccione 149. Bucbe di Vela 57. Bulfalora, the 47. Buochs 37. — , Lake of 37. Buon-Consiglio, castle 55 Burano 232. Burgeis 49. Biirgenstock, tbe 37. Biirglen 38. Busalla 152. Bussana 97. Bussoleno 32. Busto Arsizio 147. Buttier, the 80. Buttrio 234. Cabbe 102. Cabbiolo 47. Cadempino 41. Cadenabbia 132. Cadenazzo 41. Caesar ea 259. Cafaggiolo 284. Caffaro, the 160. Cagne 28. Cairo 151. Calauiandrana 111. Calanca, Val 47. Calanda, tbe 42. Calcababbio 155. Calcaccia, tbe 40. Calceranica 56. Calci, Valle dei 301. Calde 144. Caldiero 182. Caldonazzo 56. Calenzana 379. Calenzano 310. Calliano 57. Calolzio 157. Caltignaga 113. Caluso 78. Calvaggione, Mte. 137. Calvi 379. Calvo, Monte 105. 107. Cama 47. Camaldoli 369. Camargue, the 21. Cambiano 84. Camerlata 128. Camignone 167. Caiunago 128. Camoghe, Monte 41. Camogli 288. Camonica, Val 168. Campaldino 368. Cam pi 160. Campitello 180. Campo (Lake of Como) 132. — Dolcino 45. — Formio 234. Campoloro 375. Camporciero, Val di 79. Camporosso 102. Canaria Valley, the 39. Candelo 112. Canelli 111. Cannero 144. Cannes 27. Cannet 28. Cannobbio 149. Canonica, La 375. Canossa 238. Canova 43. Cantalupo 111. St. Canzian 63. Canzo 127. Caorso 171. Capella Mts., the 66. Capo distria 65. — Nero 100. — Vecchio 376. — Verde 97. — Vico 129. Capo di Pontc (near Bel- luno) 233. — (Val Camonica) 168. Capolago 138. Capraja 287. Caprese 370. Caprino, Monte 141. Carate 131. Caravaggio 169. Care Hi, Monte 284. INDEX. 383 Carerna 79. Careno 131. Carignano 111. Carlotla, Villa 132. Carmagnola HI. Carmelo, Monte 96. Carnian Alps, the 6'2. Carona 140. Carpentovacte 13." Carpentras 13. Carpi 181. Carrara 290. Carsaniga 127. Carso, the 63. Casallmttano 169. Casale 112. Casalecchio 283. Casaletto 169. Casalmaggiore 171. 180. Capalpusterlcngo 162. 236. Casarsa 233. Casarza 289. Cascina 286. Case Bruciate 278. Casentino, Valley 368. Caslino 127. Casola 238. Cassano 129. 156. St. Cassien 28. Cassis 26. Cassone 161. Castagnole 111. Castagnovizza 234. Casteggio 81. Castel Arquato 236. — Bolognese 268. — S. Giovanni 82. — Guelfo 237. — Maggiore 196. — S. Niccolo 369. — S. Pietro 268. Castelfidardo 281. Castelfranco (Ro magna) 239. — (Venetia) 57. Castellaro 102. 155. Castellatsch 44. Castelletto 161.| Castello 161. 310. Castellone 169. Castellucchio 181. Castelnuovo 67. 111. 158. Castenedolo 181. Ca.stiglione (near Men tone) 102. — (near Mantua) 181. Catini, Monte 306. Cattajo, castle 191. Cattaro 67. Cattolica, La 273. Cava 155. Cava-Manara 155. Cava-Tigozzi 162. Cavalier Maggiore 111. Cavo Tassone, Canal 196. Cazzanore 129. Cebbia 46. Celle 96. 268. Cembra, Val 55. Cemenelium 107. Ceneda 233. Cenere, Monte 41. Cenis, Mont 32. — , Tunnel 31. Cenisio, the 32. Centa, the 97. Centallo 110. Cento 196. Centre, the Canal du 4. Ceppina 51. Ceraino 58. Ceresio, the Lago 138. Ceriale 96. Ceriana 99. Cerro 84. Certosa di Pavia 153. — di Pisa 300. — di Val d'Ema 361. — di Val Pe'sio 110. Ceruso, the 95. Cervia 263. Cervione 375. Cervo 97. Cesanne 31. Ceaena 270. Cesenatico 2()8. Cessano, the 277. Cesson 1. Cetica 368. Cette 18. — , Le 367. Cettinje 67. Cezy 2. Chablis 2. Chagnv 4. Challant, Val de 79. Chalon-sur-Saone 4. St. Chamas 21. Chambave 80. Chambery 30. Chambre, La 31. Chamousset 31. Champorcher, Val 79. Charenton 1. Charmettes, Les 30. Chasse 10. Chat, 3Iont du 30. Chateauneuf 12. Chateau Neuf (Nice) 107 Chatillon (nearAo3ta)80 — (Savoy) 29. Chatillon-sur-Seino 2. Chaumont 2. 32. Chauve, Mont 105. 107. Chegino 149. Chevalier, Mont 28. Chiana, Val di 370. Chiasso 137. — , Ponte 137. Chiavari 288. Chiavenna 45. — , the 171. Chiese, the 160. Chignin, chat. 30. Chignolo 162. Chioggia 232. Chiomonte 32. Chisone, the 78. Chiusi 370. Chivasso 78. 112. Chur 42. Churburg , the 49. Cicognolo 181. Cilli 61. Cimella or Cimies 107. Cimone, Monte 246. 368. Ciotat, La 26. Ciraun 44. Ciriaco, Monte 278. Cisano 157. 161. Cismone, the 56. Cittanova 65. Cittiglio 137. Civate 129. Civenna 127. Civiasco 150. Cividale 234. Cividate 168. Claro 40. Clastidium 81. f'lcmdia Celleiu 61. Clavenna 45. Clusium Novum 370. Coccaglio 157. Cocina 159. Cocquio 137. Codogno 162. 236. Codroipo 233. Cogoleto 95. Coire 42. Colico 45. 135. Colla, la 99. 100. Collegno 32. Collonges 29. Colma, Col di 149. S. Colombano, Monte 51. Colombier, the 29. Colorno 181. Comabbio , Lago di 137. Comacina, Isola 132. Combes-l.-'.-Ville 1. St. Come 4. Comerio 137. Como 128. 384 INDEX. Como, the Lake of 130. Compiobbi 367. Conca, the 278. Condove 32. Conegliano 233. Conero, Monte 280. Coni 110. Consuma Pass, the 368. Coppa, the 81. Corenno 135. Corgoloin 4. Cormons 234. Corniale 65. Corniche , Route de la 94. 102. Cornigliano 95. Cornio, Col di 110. Corno, the 234. Correggio 238. Corsalone, the 369. Corsica 370. Corsico 151. Corso, Capo 379. Corte 377. Cortenedolo 168. Corteno 168. Corteolona 161. Corticella 196. Cosciago 137. Costigliole 111. Cote dOr, the 4. Cote Rotie, La 11. Cottian Alps, the 69. Courmayeur 81. Courthe'zon 13. Covelo 56. Covigliajo 284. Cramosina, La 40. Crau, the plain of 21. Credo, Tunnel du 29. Crema 169. Cremeo 46. Cremia 135. Cremona 169. Cresciano 40. Creetola, Monte 291. Creuzot 4. Crevola 35. Cribiasca, the 40. Cristallo, Monte 50. Croce 142. — , Capo della 97. — , Santa- 233. Crocione, Monte 133. Croisette , Cap de la 28 Croisiere, La 12. Croix Rousse, La 7. Crostolo, the 181. 237. Crussol 11. Cucciago 128. Cularo 11. Culoz 29. Cuneo 110. Curone, the 81. — , Ponte 81. Curtatone 181. Curver, Piz 43. Curzola 67. Custozza 178. Cuvio, Val 137. Cuzzago 35. St. Cyr 26. Bail a 65. Dalmatia 67. S. Dalniazzo 110. — , Abbey 110. S. Damiano 84. Darfo 168. Dazio Grande 40. Dertona 81. Dcrvio 135. Desago 140. Desenzano 159. Desio 127. Devil's Bridge, the 38. Diana, lake of 375. Diano Castello 97. — Marina 97. Diavolo, Ponte del 51. Diecimo 305. Dijon 3. S. Dionigio,prouiont.l36. Disentis 42. Disgrazia,Monte della52. Divazza 63. Diveria, the 34. Docce Basse 305. Doccia, La, Villa 310. 364, Doire, the 78. 79. etc. Dolce Acqua IW. 102. Dolo 185. Domaso 135. Domegliara 58. Domleschg 42. Domo d'Ossbla 35. Donat 44. Dongo 135. Donnaz 79. S. Donnino 288. Donzeres 12. DoraBaltea,the78.80.etc — Riparia, the 31, 69 112. etc. Dorio 135. Dornegg 66. Dos Trento 56. Dossobuono 178. Doubs, the 5. Draguignan 27. Drappo 109. Drau, the 61. Drena, Castello di 57. Drd 57. Drome, the 11. Druentin 16. Duggia, Va! 150. Duino 235. Durance, the 16. 78. Durazzo 67. Ebi 46. Ecluse, Fort de V 29. Edolo 168. Eggenberg, castle 60. Egna 55. Ehrenhausen 61. Einshorn, the 44. Eisack, the 53. 54. 55. S. Elena, island 235. Ema, the 361. Empoli 287. Ems 42. Endoume 24. Enguiso 160. Enza, the 237. Epierre 31. Eporedia 78. Era, the 287. Erba 129. Ersa 379. Ermitage, the 11. Erstfelden 38. Escarene 109. Esino, the 278. Esseilon, Fort 32. LEstaque 21. Este 191. Esterel, Mont d' 27. Estressin 10. St. Etienne-du-Bois 6. LEtoile 12. Etsch, the 49. etc. Euganean Mts., the 190. Exilles 32. Eza 103. Faenza 269. Faesulae 365. Faido 40. Falconara 278. Falterona, Monte 368. Fano 277. Fantiscritti 291. Fara 150. Fardiin, castle 44. Fasana 65. Faventia 269. Felixdorf 59. Felizzano 84. Felsberg 42. Felsina 247. Fenestrelle 78. Fenis. castle 80. Feriolo 35. 145. Ferrara 192. INDEX. 385 Ferrera 32. — Valley, the 44. Feysin 10. Fidentia Julia 237. Fiesole 3G4. Figino 140. Filigare 284. Finale 96. Finstermiinz 49. Flora 37. S. Fiorenzo 379. Fiorenznola 23(i. Fiorio. Villa 153. Firenze 315. Fiumalbo 246. Finme 66. Fiume Latte 134. Flamboin 2. Florence 311. *Accademia delle Belle Arti ail. — della Crusca ^41 *SS. Annunziata 338. ^Archives 329. Badia 335. Bar^ello 333. ^Battistero 33(). Bazaar 33<.). *Bcllo Sguardo 362. BibliotecaLaurenziana 345. — Magliabecchiana329, — Jfarucelliana 344. — Xazionale 328. — Riccardiana 343. Bigallo 330. ■^Boboli Garden, the 357, Borgo Ognis.<»anti S48 Bridges 318. *Canipanile 3.33. Canonry 333. S. Carlo Borromeo 329. *Carmine, JIad.del 352. Cascine 363. Casino Mediceo 343. — dei Nol.ili 349. ^Cathedral 331. '"S. Croce 335. * Dante's Statue 3;ij. Uogana 343. Egyptian Museum 351. Fortozza da Basso 351. — di Belvedere 358. FoundlingHospital338. S. Francesco di Paola 362. Galleria Berte 338. — Buonarroti 350. — Corsini 348. **— Pitti 353. ^— Strozzi 349. — Torrigiani 358. B.EDEKEK. Italv I. Florence : **GallerIa deeli Uffizi 3-20. Gates 317. ^S. Giovanni Batti.sta 330. S. Giovannino degli Scolopi 344. House of Bianca Ca- pello 35(1. House of Dante a50. Galileo 350. ilacchiavelliajO. — — Michael Angelo 350. Amerigo Ves pucci 350. *Loggia dei Lanzi 319. *S. Lorenzo 344. Lung" Arno 318. * Madonna del Carmine a-)2. S. Marco 339. '-—. Monastery 340. * S. Maria Xovella 346 •S. Miniato 359. Mint, the 3'20. Misericordia 333. Monte Oliveto 363. Mosaics, manufact. of 342. ^Museo di Storia Natu rale 358. * — Xazionale 334. Ognissanti 34S. S. Onofrio 351. *0r S. Michele 329. Palazzo deir Antella 335. — Bartolommei 344. — Bertc 338. — Corsini 348. — Covoni 344. — Fontebuoni 349. — (iondi 333. _ — Giiadagni ^52. — Guicciai-dini 3;jO. — Lard e re 1 350. — Manelli 338. — Panciaticlvi 34:3. — Pcstcllini 344. ^— Pitti 353. — del Potesta 333. — Foniatowski 344. — Pucci 344. ^— Riccardi 343. — Rucellai 35(t. — Spini a49. "— Strozzi 349. — Torrigiani 358. i *— Uguccioni 320. I *— Vecchio 319. 3rd Edit. Florence : ^Piazza S. S. .Annunziata 338. *— S. Croce Sij. — del Duomo 329. * — S. Lorenzo 344. — S. Marco 339. — S. Maria Novella 346. *— della Signoria 318. — S. Trinita 349. Portico do-liUtTiziS-itl. Post Uftice 32t>. Railway Staticm 348. Kecollets, cloisters of the 342. S. Salvatore del Monte a59 S. Salvi 366. Sasso di Dante 333. Servi di Maria 338. *SpedaledogliInnocenti 338. *S. Spirito 3;j2. Theatres 313. Torre dol Gallo 361. *Trihuna del Galileo 358. S. Trinita 349. **rfnzi. Galleria detfli 3-2t). Villa of Galileo 361. — della Bugia 361. Zoolog. Garden 3U3. Zecca^ La 3'20. St. Florentin 2. Florentina. tower 47. Fliielen 37. Foglia, the 274. St. Fons 10. Fans Ajwiii 19U. Fontainebleau 1. Fontaines 4. Fontana 109. Fontana fredda 236. Fontebuona 284. Forli 269. Forlimpopoli 27l». Formigine 246. Fornasette 141. Forum Alieiii 192. — CorneUi 268. — Gallonrm 239. — Jitlii 27. 234. — Lkiui 129. — Livii 269. — Popilii 27(1. Fossano 111. Fossatti 277. F(js30iubrone 276. Fourueau 31. Fourvieres 7. 25 386 INDEX. Foux, La 18. Fraele, Val ot. Fraponstein, castle 48. Franzdorf 62. Franzcnsfe.itc 53. Franzensholie 50. Frati, Isola dei 159. Freienfeld 53. Fre'ius 27. — , "Cnl de 31. Frp,''.''innnp, the 34. Friaul 234. Frodolfo, the 51. Fr(tlich,''burg 49. Fnihnleiten 60. Fnischnitz, the 60. Frugarulo 151. Fnentp.<>, ca.<»tle 45. Fn ma join, the 370. Fiinchi, the 284. Furlo PaPs, the 276. F"urstenhur{r, castle 49. Futa, La 284. Gaggiano 151. Gallaratc 147. Galleno 168. Galliora 196. Gallinaria, I.^ola 97. Oallivaggio 43. Galiizzo 361. Gandria 138. Gantcrthal, the 34. Gard, Pont du 18. Garda 161. — , Lake of 158. Garde^ La 26. Gargnano l.")9. Garlatc, La go di 136. Garza, Val 161. Garzeno 135. Gaviratc 137. Gazza, Monte 57. Gazzada 137. Gemonio 137. Generopo, Monte 137. Geneva 6. 29. Genevre, Mont 78. Genoa 84. Accademia delle Belle Arti 90. *Acqua Sola 93. S. Ambrogio 89. *SS. Annunziata 91. Arsenal 87. *Campo Santo 94. ^Cathedral 88. bogana 87. Exchange 88. Fortifications 86. *Harhour 87. *S. Lorenzo 88. Genoa: *S. Maria di Carignano 87. S. Malteo 89. Mnnicipio 90. * Palazzo Palhi 92. *— Brignole 91. — Doria Tursi 90. — Ducalc 89. — FilippoDnrazzo 92 — Marcello Diirazzo 92. — Pallavicini 90. — dei Principi Doria 93. — Reale 92. — Rosso 91. — della Scala 92. — Spinola 90. Ponte Carignano 87. Statue of Columbus 92. S. Slefano 90. Teatro Carlo Felice 85. Town Hall 90. University 92. Via Nuova 90. Villa Negri 93. — Negro 93. *— Pallavicini 94. Gere, the 10. St Germain, chat. 29. 79. S. Germano 112. Germignaga 144. Gersau 37. Gessens, Phare dc 30. Gesso, the 110. Ghiffa 144. S. Giacitmo (Bernardino) 46. — (near Chiavenna) 45. Giaglione 32. Giandola 109. Giarole 112. Gien 2. Ginistrella, M(mte 149. Gionnero, Monies. Monte Generoso. S. Giorgio 83. 196. Giornico 40. S.Giovanni on the Adria- tic 23d. — (Lake of Garda) 161. — (near Nice) 108. — , Castel 82. — , Island (Lake of Como) 132. (Lago Maggiore) 145. S. Giovanni Manzano 234 Giovi 37C. — , Galleria dei 152. Gittana 134. Gindicaria 160. S. Giuletta 81. S. Giuliano 81. — , Monte 301. 8. Giuliano, Bagni di 301 S. Giulio, Isola 149. Glanum 16. Gloggnitz 59. Glurns 49. Gobetta, Cime di 51. Godo 259. Goito 158. 18L Golo, the 375. Gomagoi 49. Gombo. II 300. Gondo 34. Gonfolina, the 287. Gorbio 102. Gorizia 234. Gorlago 157. Gorz 234. Gorzone Canal, the 192. Giischenen 38. Gossensas 53. Giisting 60. Gotschakogel, the 60. St. Gotthard. the 39. Gozzano 113. Gradisca 235. Graian Alps, the 69. Graisivaudan, Vallev of 30. Gran Sasso d^Italia 280. Grande Croix, La 32. Grand Paradis , the 77. 78. Granier, Mont 30. Grasse 28. Grasstein 53. Gratianopolix 11. Gratz 60. Gravedona 135. Gravellona 35. Graveson 16. Gravone, the 376. Grenoble 11. 30. Greve, the 361. Gries 53. Grigna, Monte 135. Grignan, chateau 12. Grignano 63. Grigno 56. Grimaldi 100. Grodenerbach, the 54. Grono 47. Grosio 51. Grosotto 51. Grnmello 157. Gschnitzthal, the 53. Guardia, Monte 258. Guasco, Monte 278. INDEX. 387 Guastalla 181. Guelto, Castel 237. Guglielmo, Monte 167. Guidizz()lo 157. 181. Guilloticre, la 7. Guinzano 153. Gnmpoldskirchen 59. Haimingen 48. Haute-Combe, Abbey 30. Heidersee, the 49. Heinzenberg, the 42. Helvia Ricina 283. Hericourt 5. Hinterrhein 46. Hirli, the 43. Hi)ch-Fin.sterinunz 49. Hoch-Realt 43. Hohcnems, castle 42. Hi ihen-Rhatien, castle 43. St. Honorat 28.' Hopitaux. Les 29. Hospenthal 39. St. Hospice 108. Hrastnig 62. Hyeres 26. — . the Islands of 27. Idria 62. Idro 161. — , Lago d' 160. If, Chateau d' 25. 8. Ilario 237. Imola 268. LImperiale 275. Impero. the 97. Imst 48. Incino 129. Incisa HI. Indrio, the 234. Induno 142. Inn, the 47. 48. Innsbruck 47. Intelvi Valley, the 132. Intra 144. Intschi 38. Inverigo 127. Isaurus 274. Isel, hill 52. Iselle 34. Iseo 167. — , Lago d' 167. Isera 58. Iseran, Mont 110. Isere, the 11. 30. Isola 44. — Bella 145. — del Cantone 152. — dei Frati 159. — Gallinaria 97. — Madre 146. — Rossa 379. I Isola dei Pescatori or ■ — Superiore 146. ; Isoletto, rock 161. Isonzo, the 234. Ivano, chateau 56. Ivrea 78. I Ivry 1. I Jadera 67. ' St. Jean 108. ' St.. lean de Mauriennc31. Joigny 2. Jorio, Passo 135. St. Joseph, monastorv61. Jouan, Golfe 28. Joviniacum 2. Julian xVlps, the 62. 235. St. Julien 31. — du-Sault 2. Jumeaux, the 80. Jurdani 66. Juvalta, castle 43. Kainach, the 61. Kalsdorf 61. Kaltwasser Glacier, the 33. j Kapfenberg 60. ! Karst, the 63. Katzis 43. Kaunserthal, the 48. I Kerka, the 67. Kindt)erg 60. Klamm 60. Klausen 54. I Klein-Stiibing 60. I Klus, the 38. I Kollmann 54. I Kottingbrunn 59. ! Kranichsfeld 61. Kressnitz 62. Krieglach 60. Kronburg, ruins 48. Kiillenberg 66. Kurtatsch 55. Kiissnacht (Lake of Lu cerne) 37. Laase 62. Labeck, castle 61. Lacus Beudciis 158. — Latins 130. — Sebinus 167. — Verbanus 143. Ladis 48. Lagarina, Val 58. Laggersberg, the 48. Laglio 131. Lago Inferiore 178. — Maggiore 142. — Superiore 178. Laigueglia 97. Lagune, the 203. Laibach 62. Laibach. the 62. Laisse, the 30. Lambro, the 127. Lamone, the 259. 269. Lancenigo 233. Landeck 48. Landskron, castle 60. Lanslcbourg 32. Lanza, the 136. Laritis, Lacus 130. La Roche 2. Lasnigo 127. Lastra 288. Laudegg, castle 48. Laus Foiiijteia 236. Lavagna 288. Lavedo, promontory 132. Laveno 144. Lavenone 161. Lavino 239. Lav is 55. J Laxenburg 59. I S. Lazaro 236. ILazise 161. I Lecchio, Isola 159. i Leccia, Ponte alia 376. Lecco 136. , — , the lake of 135. Ledro, Lago di 160. — , Pieve di 160. Ledro Valley, the 160. Leggia 47. Leghorn 284. Legnano 147. Legnoncino , Monte 135. Lognone, Monte 135. Leibnitz 61. Leiiha Mts., the 59. Lenzumo 160. S. Leo, Castel di 273. Leobersdorf 59. St. Lc'onard 33. Lerici 290. Lerins, lies 28. 106. Lesa 146. Lesecce 63. Lesina 67. Leuk 33. Levanna, Monte 77. 78. Levant, He du 27. Levante, Riviera di 288. Leventina, the 40. Levico 56. Leyment 6. Lezzeno 132. Lichtenberg 49. Liciniforum 129. Liechtenstein, castle 59. Lierna 136. Lieusaint 1. 25* 388 INDEX. Lima, the 305. Liiuito 156. Limone (Lake of Garda) 159. — (Col di Tenda) 110. Limonta 13G. Lipizza 65. Liro, the 44. L'lsle-sur-le-Douhs 5. L'lsle-sur-Sorgiie 15. Lissa 67. Littai 62. Livenza, the 233. Livorno (Piedinunf) 112. — (Tuscany) 284. Livron 12. Lizzana 58. Loano 96. Locarno 143. Locate 152. Lodi 236. Lodrone 160. Loeche 33. Loing, the 1. Loitsch 62. Lomellina, the 155. Lonato 157. Lonigo 182. Lons-le-Saulnier 6. Loppio, Lake of 161. j S. Lorenzo 97. 273. | Loreto 281. | S. Loretto 167. Lorina, Val 16(1. | Loriol 12. Lostalhj 47. Loveno 134. j Lovere 167. Luc, Le 27. Lucca 301. — , the Baths of 305. Lucciago, Madonna d 149. Lucendro, Lake of 39. Lucerne 36. — , the Lake of 36. S. Lucia 58. 158. Lucino 136. i Lugano 138. — , the Lake of 138. | Lugdumnn 6. j Lugliano 305. | Lugo 259. I Luinate 137. ' Luino 144. Lumino 47. Lumio 379. Luna 290. Lunel 18. Lunga Sardo 375. Lunigiana, La 290. Lurate 136. Luri 379. Luserna, Torre 78. Lussin-Piccolo 66. Lvons 6. Lysbach, the 79. Maccagno 144. Maccaron, Jlont 107. Macerata 283. Macon 4. Iflacra, the HI. Madatschspitz, the 50. Maddalena, La 111. — , island 375. Madeleine, la 108. Maderno 159. Madesiino, the 44. Madonna degli Angeli 110. — del la Guardia 152. — di Lucciago 149. — di S. Martino 133. — di 3Iontallegro 288. — del Monte (near Varese") 142. (nearVicenzaU84. — d'Oropa 112. — Pilone 78. 111. — del Sasso (Lago Mag- giore) 143. (Lake of Orta) 149. — di Tirano 52. — , Val 151. Madre, Isola 146. Madrcra, Val 136. Magadino 143. Magenta 113. Magerbach 48. Maggia, the 143. Maggiore, Lago 142. — , Monte 65. Magliaso 141. Magnan. the 1(»5. 108. Magra, the 289. Magreglio 127. Maira, the 45. Majoria, castle 33. Malaniocco 203. Malain 3. Malcesine 161. Malero, the 52. Malghera, Fort 185. Malgrate 129. 136. Malgue, La 26. Malnate 136. Malon, the 112. Mais 49. St. Mannnes 2. Mandello 136. Manerba 159. ilanerbio 162. Mantua 178. S. Manza 375. Mapello 157. Marano 185. ; — , the 273. I Marburg 61. Marcaria 181. Marches, Les 30. Marchirolo 137. S. Marco (Simplon) 34. — (Tyrol) 58. Marecchia, river 271. Marengo 151. S. Margarita 288. S. Margherita a Montici 361. Margorabbia, the 144. Margreid 55. Ste. Marguerite 28. S. Maria, Monasterv(near Claro) 40. — (Stelvio) 50. — Assunta 196. — delle Grazie 181. — Maddalena 192. — della Salute 41. Mariana 375. Ste. Marie 21. Marienberg, Abbey 49. Marignano 236. S. Marino 273. Marne, the 1. Maroggia 138. Marone 167. Marotto 277. Marradi 269. Marseilles 21. Martigny 33. St. Martin, Pont 79. JIartino, Capo 102. S. Martino (Lake of Lu- gano) 138. —■(near Rimini) 268. 273. — (on the Ticino 113. — (near Verona) 182. — d'Albaro. promontory 87. — , Madonna di 133. — , il Sasso 133. Martinswand, the 48. Marzabotto 283. Maschere, le 284. Masein 43. Masnago 137. 142. Masone 35. Massa 291. Massaciuccoli. Lago di 305. Massilia 21. Masuccio, Piz 51. Matarello 57. Matrev 53. INDEX. 389 Mattcrjoch, the SO. 3Iathiglie 66. 3Iaure.=!. Mont, des 26. S. Maurizin 238. — , Monte 129. Manrizio, Porto 97. Mazzo 51. Meana 32. Mertels 46. Mede 155. Mediolanum 115. Meina 146. 3Ielano 138. Mele. Capo dclle 97. 3Ieleda 67. 3Ielegnano 236. Melide 138. Mella, the 162. Melun 1. Melzo 1.56. ]^Ienaggio 134. Mendrisio 137. Mentone lUl. )Iesf)cco 46. Mestre 185. 233. Metaurus Til. Meur.?aiilt 4. Mezz-Isola 167. Mezzo, Lago di 178. Mezzo Lago 160. — Lombardo 55. — Tedesco 55. Mfzzola, Lago di 45. Miasino 148. St. Michel 31. St. Michel, Piz 43. S. Michele 182. — della Chiu.sa 32. — Lombardo 55. 31igiandone 35. Milan 113. S. Ale.s.sandro 123. •S. Ambrogio 122. Archivio 118. Ai-civescovado 124. 'Arco della Pace 121. Arena 121. S. Babila 125. '^Biblioteca Ambrosiana 124. *Brera 118. S. Carlo Borromeo 125. Cassa di Ri.oparmio 118. Castle 119. **Cathedral 116. Cavour.s Statue 126. Cemetery 126. Conservat. of Music 125. S. Eustorgio 123. 8. Fedele 118. Milan; "^Galleria Vitt. Ema- nucle 118. — de Cristofori.s 125. ^Giardini Pubblici 125 ^ Leonai-do's Last Supper 121. *S. Lorenzo 122. S. Maria del Carmine 120. S. Maria di S. Celso 123. >S. Maria delle Grazie 121. S. JIariadellaPassione 125. S. Maurizio 122. *)Ionument of Leon, da Vinci 118. Mnnicipio 118. Musco Archeologico 120. Museo Civico 126. *Ospedaie Maggiore 125 Palazzo Ciani 125. — della Citta 117. — del Censo 118. — di Giustizia 124. — Litta 122. — Marino 118. — della Ragionc 117 — di Prefettura 125. — Roale 117. 124. — Saporiti 125. Piazza dArnii 120. Piazza del Duomo 118. — della Scala 118. S. Satiro 123. Teatro della Scala 114 118. Milna 67. Mils 48. 31incio, the 158. 161. S. 3Iiniato 359. — del Tedeschi 287. Miradolo 162. Miramar, chateau 65. 3Iirandola 268. Misano 283. Misox. castle 47. Mitterdorf 60. Jlittersee, the 49. Mittewald 53. Modane 32. Modena 243. Modling 59. Moesa, the 40. 46. Jloesola, Lago 46. Moggiona 369. Mogliano 233. Molaret 32. Moltrasio 131. Momo 113. Monaco 102. Monate, Lago di 137. Moncalieri 83. Mondatsch, the 50. Mondin, Piz 48. Mondragon 12. Moneglia 289. Monfalcone 235. Moniga 159. J/ow.s Pessulus IS. Monselice 191. Monsummano 3*36. Montagna 52. 161. — (Heinzenberg) 42. Montalban, Fort 106. Montalto, Castle 79. Montanaro 78. 180. Montario, castle 182. Montbard 2. Montbeliard 5. Jlontboron, prouiont.lOS. 3Iont Cenis 32. Monte S. Bartolo 275. — Carelli 284. — Carlo 102. — Carmelo 96. — Catini 306. — Maggiore 66. — 3Iurlo 309. — Oliveto 363. Montetjello (Piedmont) 81. — (near Vicenza) 182. Montecchio 275. Montechiaro 181. Monteferi-ato 310. Montegrotta 191. 3iontelimart 12. Montelupo 287. Montereau 2. Monterey 28. Montcrone, Monte s. Monte Motterone. 3Iontgeron 1. Monti Pisani 300. Monticelli HI. 171. i Montignoso 291. I Montjovet 79. |— , Defile of 79. j Montmajour 21. Montmelian 30. Montmorot, chat. 6. Montone, the 267. 269. Montorfano, the 129. — . monast. 157. Montpellier 18. Monza 126. Morbegno 52. Morcote 140. 142. Morello, Monte 315. Moret 1. 390 INDEX. Morgozzolo, Monte s. 3Ionte Motterone. Mori 58. 161. 3Iorignone 51. 3Iornas I'i. Morosaglia 376. Jlorschach 37. 3Iortara 150. Mortola 100. Motta, La 169. Motta S. Damiano 161. Mottegiano 181. Motterone, Monte 148. 3Iougins 28. Jlozzecane ITS. JIugello, Val di 284. Muggio 138. Mugnone, the 364. Miilliaiisen 5. JIuotta. the 37. 3Iur, the 60. 3Iurano 232. 3Iuriano 305. Murk), Monte 309. Muro. Capo di 372. Miirz, the 60. 3Iiirzzuschlag 60. Mushine 159. Musocco 147. Musso 135. 3Iussotto 111. Mutina 243. 3Iuy, Le 27. 3Iuzzano, Lake of 141. 3Iytheu, the 37. 3Iythen,stein, the 37. Nabresina 63. 235. Nago 160. Xapoule, Golfede la 27. Nasen, the 37. Xatisone, the 23 i. Xauders 49. Navacchio 286. Xaviglio Adigetto 192. ^ Grande 113. 115. — della 3Iarte.sana 115. — di Pavia 152. S. Nazzaro 171. Nehbio 379. Neive 111. Nemaiixus 16. Xemours 2. Xero, Capo 100. Nerone, Bagni di 305. Nervi 288. Nesso 131. Neu-Habsbnrg, ruins 37. Neumarkt 55. Neusiedler See. the 59. Neustadt 59. Nevers 2. Nice 103. St. Nicholas 32. S.Niccolo (near Piacenza) 82. — , Fort 161. — (Casentino) 368. Nievole, the 306. Niines 16. Nivolet, Dent de 30. Xizza 103. Xizza di 3Ionferrato 111. Noce, the 55. Noli 96. Nolla, the 43. Non, Val di 55. 168. Nonantola 181. Nonsberg, the 168. Notre-Dauie de La Garde 25. Novalesa 32. Novara 112. Uovella 379. Novenna 46. Novi (near Ales.<;andria) 151. — (near 3Iodena) 181. Niifenen 46. Nuit.s-sous-Raviere 2. Nure, the 83. 171. 236. Nure, Ponte 236. Nus 80. Obercilli 61. Oberlaibach 62. ()l)ladis 48. Oedenburg 59. <^etzthal/the 48. Uggebbio 144. <)glio,the 157. 162.167 etc. Olbia 23. Olcio 136. Oldese 159. Oleggio 150. Olgiate 136. Olgirate, Lago d' 136. Olimpino, 3Ionte 137. Olivone 42. Ollioule, the 26. Ollioules St. Nazairo 26. Olmeneta 162. 169. Olona, the 136. 161. Ombrone, the 287. 306. Omegna 149. Oneglia 97. Onno 136. Optschina 65. I Ora 55. Orange 12. Oreo, the 112. OrLando, Torre d' 237. Ornavasso 35. Oro, ilonte d' 376. I Orrido, the 144. Orsera 39. 65. Orta 148. — , Lago d^ 148. Ortenstein 43. Ortler, the 50. Osimo 280. Osogna 40. Ospedaletti 100. Uspedaletto 157. 162. Ossola, Val d' 35. Osteno 141. Ostriconi, the 379. Ouche, the 3. Oulx 31. Oviglio 111.- Ovolo, 3Ionte 283. Padernione 57. Padova or Padua 185. Paglione or Paillou. the 103. 105. Pajanello 238. Palazzolo J. 57. Pallanza 145. Palmaria 290. Palud, La 12. Pambio 140. Panaro. the 238. 243. S. Paolo, islet 167. Papia 154. Parabiago 147. Paradisino, il 367. Parata, Punta delia 372. Pare 136. Parenzo 65. Parma 239. — , river 239. Parona 58. Part in a 369. Pas-des-Lanciers 21. Pasbles 108. Pasian Schiavonesco 234. Paspels 43. Passeriano 234. Pa lav u III 185. Paterno 367. Patsch 53. Paullo 246. Pavia 154. Paviole 192. Paverbach 59. Pazzallo 140. Pecorile 238. Peggau 60. Pegli 95. Pelago 367. Pella 149. Pellino, the 149. Pendolasco 52. INDEX. 391 Pentapolis maritima 271. Penzano 129. St. Peray 11. Pergine 56. Peri 58. Pernegg 60. Perosa 78. Perrache 9. Pertengo 112. Pesa, the 287. Pesaro 274. _ Pescantina 58. Pescatori, Isola dei 146. Peschiera 157. 161. — d Iseo 16<. Pescia 306. Pesio, Val 110. , Certosa di 110. Pessione 84. St. Peter 63. 66. Petersberg. the 48. Petraja, La 364. Pfannberg, castle 60. Pllersch-Thal. the 53. Ptands 48. Pivn 33. Piacenza 82. Piadena 181. Pianazzo 44. Pianello 135. Piano. Lago del 142. Piano del Ke 99. Piano del Tivaiio 131. Pianoro 284. Pianzano 233. Piave 233. — , river 233. Piazza, Cima di 51. Ficenum 28<3. Pie di Castello 57. S. Pier d Arena 95. 152. S. Pierino 287. S. Piero 309. St. Pierre-d Alhianv 31. Pierrelatte 12. Pietas Julia 66. Pietole 180. Pietraligure 96. Pietra Murata 57. Pietramala 25>4. Pietrasanta 291. S. Pietro 168. — in Casale 196. Pieve 155. — di Cento 196. — a Nievole 306. — a Pelago 246. — di Sori 288. Pigna 97. Pignerol 78. Pilat, Mont 11. Pinerolo 78. Pineta, La 267. Pino 379. Piolenc 12. Piottino. Monte 40. Piovere 159. Pioverna, the 135. Pipet, Mont 10. Pirano 65. Pisa 292. Academy 298. Archives 300. ^Baptistery 294. Bagni di Neroite 300. Botan. Garden 299. *Campanile 295. **Cainpo Santo 295. S. Caterina 299. **Cathedral 293. S. Francesco 299. Leaning Tower 295. Lung' Arno 293. "^S. Maria della Spina 300. S. Michele in Borgo 297. Nat. Hist. Museum 299, S. Nicola 299. Palaces 300. *S. Paolo a Ripa d'Amo 300. : **Piazza del Duomo 293, I S. Pietro in Grado 30O. i Sapienza 298. ; S. Sisto 299. S. Stefano ai Cavalieri 298. Pisa, the Baths of oOl Fisaurum 274. Pisciatello. the 271. Pisosrne 167. Pistoja 306. Piteccio 284. Piumogua, the 40. Pizzighettone 162. Pizzigone. Monte 149. Pizzo, Monte 168. Pizzocolo, Mte. 159. Plaisance 82. Plan de TAiguille 10. Planca, Punta della 6'i Platteinkogl, the 48. Plessur. the 42. Pliniana. Villa 131. Po. the 69. 151. etc. Po' di Primaro 196. 269. Poggio 97. Poggio Imperiale , Villa 361. Poggio Renatico 196. Pogliasca 289. Poik, the 63. Pojana 185. Pol a 66. Polcevera, the 152. Polenta 270. Polesella 192. Polleggio 40. S. Polo 83. Piiltschach 61. Ponale, Fall of the 160. St. Pons, monastery 107. Ponsas, castle 11. Pont d'Ain 29. Pont St. Esprit 12. Pont St. Louis 100. Pont St. Martin 79. Pont-de-Veyle 29. Pont-sur-Youne 2. Pontassieve 367. Ponte di Brenta 185. — Chiasso 137. — Curone 81. — alia Leccia 376. — S. Marco 157. — Nure 236. — S. Pietro 157. — a Poppi 369. — a Rilredi 363. — a Serraglio 305. — Tresa 141. Pontedecimo 152. Pontedera 287. Pontelagoscuro 192. Pontenuovo 376. Pontevico 162. Pontigny 2. Pontlatzer Briicke. the 48. Ponzana 112. Poppi 369. Porcari 306. Pordenone 233. Porlezza 138. 142. Porquerolles 27. PorrettH 283. Porta 376. Porte ros 27. Porto 142. — Maurizio 97. — Valtrava^lia 144. — Vecchio 375. — Venere 289. Foriiis Liinae 289. Poschiavino, the 52. Possagno 57. P.Jssnitz 61. Postojna 62. Potenza, the 283. Putschach 59. Pozzolengo 157. I Pozzolo, Lago di 378. I Pozzuolo 8L Pra 95. I Pracchia '284. 392 INDEX. Prad 49. Pragcrliol' 61. Pranzo 160. Prato 310. Prato al Soplio 369. Prafolino 284. Pratomagno, the 368. Pratovecchio 369. Praz, la 31. Prcganziolo 233. Preraosello 35. Premstettcn 61. Prepe£;lie 161. I'rcJ.sura, Jlonte 50. Presfranek 63. Primaro, P.. di 196. 269. Primiero, Val 56. S. Primo, 3Ionte 128. Priniolano 56. Privas 12. Proiiioiiloriinn Hacniin 379. Prosecco 63, Provaglio 167. PnUz 48. Pugicu 29. Pusiano 129. — , Lago di 127. 129. Pyrimont 29. ftuaderna 268. (^uarnero Bay, the 66. Quar.sano 131. Ciuart, casllc 80. Quattroca.stella 238. Qiieceta 291. St. Quentin 18. Quinio 288. Rahen.'^tein, castJc 60. Racconigi 111. Raetionicutn 135. Rag.isa 67. Rakek 62. St. Ramhert 11. St. Rambert-de-.loux 29. Rapallo 288. St. Raphael 27. Raron 33. Ratonneau 21. Raut-Ohicier, the 34. Ravenna 259. Academy 261. St. Agat'a 262. *S. ApollinareinCla.sse 267. *S. Apullinare l^novo 265. *Baptistery 261. Biblioteca Comunale 261. Ravenna : Cathedral 260. Classe 261. Colonna dc' Franecsi 268. ^Dante's Tomb 262. S. Domenico 263. S. Francesco 262. S. Oiovanni Balti.sta 264. S. (Giovanni Evange- li.sta 265. Library 261. S. Lorenzo in Cesarea 267. *S. Maria in Cosmcdin 265. — in Porto 266. — in Porto Fuori 266. *— della Rolonda 266. S. Michele in AHVicisco 263. *S. Nazario e relso264. S. ^'iccolo 262. Palace (tf Theodoric 266. Palazzo Arcivescovile 261. — Lovatelii del Corno 262. ^iPiazza Maggiorc 260. Piazzetta dclP Aquila 260. Pineta, La 267. S. Romualdo 262. *Rotonda, the 266. S. Spirito 265. *S. Vitale 263. Raxalp, the 59. Realta 43. Rebbit. 136. Recanati 282. Recca, the 235. Recco 288. Recoaro 185. Reda<>co, Piz 51. Reggio 237. Reggiolo-Gonzaga 181. Regoledo 134. Reichenan 42. Reichenauer Thai 59. Reifenstein, castle 53. Reka 66. S. Remigio, promont. 145. S. Remo 98. ^ Remonlins 18. St. Remv 16. Reno, the 247. 283. Reno30, Monte 376. S. Reparata, Monte 379. Reschen 49. — Scheideck, the 49. I Resegone, Monte 128. RcPtonica, the 377. Reuss, the 38. 39. Reyzou.sse, the 29. Rezzano 83. Rezzato 157. Rczzonica, Villa 57. Rezzonico 135. Rhiizuns 42. Rheijiimi Lepidi 237. Rhein, the Averser 44. llinter- 42. 46. — Vorder- 42. Rheinwaldthal,the44.46. Rhine, the 42. 43. etc. Rho 113. 147. Rhone, the 7. 10 etc. — , la Perte du 29. — , the Petit 21. Riddes 33. Ried 48. Rietberg 43. Rifrcdi 310. Rigi, the 37. Riglio, the 171. Rigoli 301. Rimini 271. Riola 283. Ripafratto 301. Ritorto, the 129. Riva (Lake of Como) 45. — (Lake of Oarda) 159. — , Lago di 45. Rivaligure 97. Riva di Palanzo 129. Rivarolo 152. Rivellata, promont. 379. Riviera, the 40. — di Levante 288. — di Ponentc 94. Rivoli 58. Roanne 2. Robecco 162. Robillante 110. Roccabnina 102. Rocca S. Casciano 270. Roccarione 110. Rocclietta Pass , the 55. S. Rocco 167. Roche-dc-Glun 11. Roche taillee, the 11. Rochenielon. the 32. Roche-Michel, the 32. RolVna Gorge, the 44. Rr)gliano 379. Rognac 21. Rogoredo 152. 236. Roja, the 100. 109. Rolo 181. Romagna, the 247. Romagnano 150. IS. Romano 287. INDEX. 393 Romeno 369. Romerbad 61. S. Romolo 99. Roncaglia 171. Ronchi 235. Ronco 143. Ronco. the 267. 269. Rongellen 43. Roqviebrune 27. 102. Roque favour 21. Roqueinaiire 13. Rossillon 29. S. Ros.iore 300. Rosfa 32. Ro.otino 376. Rothenbrvinn 43. Rothentliih. the 37. Rntonrla, Villa l^i. Rotondo, Monte 377. Rotta, La 287. Rottotreno 82. Rotunda, the 127. Roverbella 178. Roveredol BernardinoU7. — (Tyrol) 57. Rovigno 65. Rovigo 192. Rovio 138. Rubbio 235. Rtthico 271. Rubicone, the 271. Rubiera 238. S. Runio284. Rus.si 259. Riitli. the 37. Sabbia, Val 161. Sabbio 161. Sabbionetta 180. iSabioncella 67. Sacile 233. Sacro Monte, the (near Orta) 149. — (near Varallo) 150. Sagor 62. Sagrado 235. Sagro, Monte 291. Sala 132. Salassin.", Pont des 79. Salbertrand 31. Sale Marazzino 167. Salloch 62. Salo 159. Salon 21. Salona 67. Salorino 138. Saluggia 112. Salurn 55. Salussola 112. Salute, la 144. Saluzzo HI. S. Salvatore, Monte 140. S. Salvi 366. Salvore 65. Samoggia 239. Sanguinarie, Isole 372. Sann, the 61. Sannazzaro lo5. Sanreino 98. Sansobbia, the 96. Santernu, the 268. Santhik 112. Santo, Monte 234. Sapianc 66. Saonc, the 4. Saorgio 109. !r Simplon 34. — Pass, the 34. Singerna, the 370. 394 INDEX. Sinigaglia 277. Sinmix 269. Sion 33. Sirolo 280. Siviano 167. Sizzano 150. Soave, castle 182. Soazza 47. Soci 369. Solagna 56. Solano, the 368. Solarolo 259. Solbiate 136. Sole, Val (li 168. Solero 84. Solferino 157. Solliera 181. Solman, the 6. Somma 147. Somma Campagna 158. Sommariva, Villa 8. V. Carlottjj. Soncino 171. Sondalo 51. Sondrio 52. Sonzino 171. Sopra Villa 129. Soresina 169. Sorgue, the 16. Sorgues 13. Sori 288. Sornico 136. Sospello 109. Sotto, Valle di 51. Spalato 67. Spezia, La 289. Spielfeld 61. Spinetta 81. Spital 60. Spluga 44. Spliigen 44. Spliigen Pass, the 44. Spondinig 49. Spotorno 96. Sprechenstein, castle 53. Spresiano 233. Sfafflach 53. Staffora, the 81. Stalvedro, Stretto di 39. Stams 48. Stanghella 192. Starkenbach 48. Staziona 169. S. Stefano 97. 236. S. Stefano Bell.o HI. Steinach 53. Steinbriick 62. Stello, Monte 379. Stelvio 49. Stelvio Pass, the 5(J. Sterzing 53. Stia 369. Stilfs 49. Stoechades 27. Storo 160. Stradella 81. Strambino 78. Strassburg 5. Strassengel, church of 60. Stresa 146. Stretta 376. Strona, the 35. Stura, the 110. 111. 112. etc. Sturla 288. Succursale di Torino 112. Sugana, Val 56. Sulden Glacier, the 50. Suldenthal, the 49. Sulzano 167. Sulzbach Alps, the 61. Sulzberg, the 168. Suna 142. Surettahorn, the 44. Susa 32. Susten 33. Suttorina, the 67. Suvers 44. Suzzara 181. Taggia 97. Tagliamento, the 233. Tagstein 43. Tain 11. Talfer, the 54. Tauibohorn, the 44. Tanaro, the 84. 111. 151. Tanlay 2. Tarascon 16. Taro, the 237. Tartsch 49. Tassone,Cavo, Canal 196. Tauroeis 26. Tavazzano 236. Tavernelle 182. Tavignano, the 375. 377. Tavollo, the 274. Tavordo 142. Teglio 52. Telfs 48. Teirs Platte 37. Tellina, Val 51. 169. Telvana, castle 56. Tenav 29. Tenda 110. — , Col di no. Tenno 160. Teplitz 61. Tergeste 63. Terlago 57. Termignon 32. Ternitz 59. Tersato, castle 66. Tesino, the 56. 161. Tesain s. Ticino. Tezze, le 56. Thalie, the 4. Theresienfeld 59. Thermae Paunonicae 59. Thermignon 32. Thomerv 1. Thusis 43. Tiarno 160. Ticino, the 39. 143. 147. etc. — , the Canton of 139. Ticinum 154. Tignale 159. Tiinavo, the 235. Timavus 235. Tirano 52. 161. — , Madonna di 52. Titan, lie dn 27. Tivano, Piano del 131. Toblino, castle 57. Toblino, Lake of 57. Toccia or Toce s. Tosa. Tomiliasca 42. Tonale, Monte 168. Tonnere 2. Torano, the 290. Torbole 161. Torcello 232. Torno 131. Torrazza diVerolan 112. Torre-Beretti 151. 155. — del Gallo 361. — di Lago 291. — Luserna 78. — d\)rlando 237. — di Vezio 134. ITorretta 107. '— , castle 107. iTorri 161. iTorri, Le 170. j Torrigia 131. 1 Tortona 81. I Tosa, the 34. 145. Toscolano 159. Tiisens 48. Tosi 367. Toulon 26. Tour, La 78. Tourbillon, castle 33. Tourette, la 107. Tournanche, Val a). Tournon 11. Tournus 4. Tourtemagne 33. Tovo 52. Trafoi 50. Tramin 55. Tratta, Monte 160. Trau 67. Trautson, chateau 53. INDEX. 395 Tre Croci 142. Trebia, the 82. Trecate 113. Treib 37. Tremelone, island 161. Tremezzina, the 132. Tremezzo 132. Trem51a, Val 39. Tremosine 159. Trent 55. Tresa, the 141. Tresenda 52. 1G9. Tresero, Piz 51. Treviglio l.o6. Treviso 233. Trezzo 136. Tridentum 55. Trieste 63. Triffail 62. Trigione, the 377. Trinita, La 109. Trinquetaille 19. Trivella, castle U)9. Trortarello 84. 112. Tronzano 112. Tropaea Angusti 1()2. Trostliurg, castle 54. Tschingel Glacier, the 33. Tschurgant. the 48. Tiifter. Markt 61. Tnrbia l(r2. Turin 68. Accademia delle Belle Arti 76. — delle Scienze 72. * Armoury 71. Arsenal 74. Botanic Garden 76. *Canipo Santo 77. CapuchinMonastery77. Cathedral 74. Cemetery 77. Consolata, La 75. Corpus Domini 75. Exchange 74. (Hardino Pubblico 76. Giardino Reale 71. — della Citadella 76. — dei Ripari 76. Gran Madre di Dio 77. Industrial Museum 74. S. Massimo 76. Monuments 71. 74. 75. 76. Museo Lapidario 76. Museum of Antiquities 72. — of Artillery 74. Xat. Hist. Museum 72. Palazzo deir Accade- mia delle Scienze 72. — Carignano 71'. Turin : Palazzo Madama 70. — Reale 70. Picture Gallery 72. Polytechn. School 77. Protestant Church 77. *Superga 78. Synagogue 76. University 76. Valentino, the 76. *Via di Po 70. Zoolog. Garden 71. Turr, La 44. Turtman 33. Udine 2;ii. Umago 65. Unterau 53. Urbino 275. Urgone, the 271. Uri, the Bay of 37. Urner Loch, the 38. Urseren 39. — , the Valley of 39. Uso, river 271. Usselle 80. Vado 96. Vaise 7. Val Madonna 151. — d'Ottavo ;-:05. — Rhein 44. 46. — Travaglia 144. Valais, the Canton of 33. Valcares, Etang the 21 Valdieri, Baths of 110. Valence 11. St. Valentin auf d. Heide 49. Valenza 151. Valeria, castle 33. Vallauris 28. Valle 151. Vallecrosia 100. St. Vallier 11. Vallombrosa 367. Valmara, the 143. Vals, chateau de 11. Valserine Viaduct . the 29. Valstagna 56. Val Tellina, the 51. 169. Valtravaglia 144. Vaprio 169. Var, the 28. 106. Vara, the 289. Varallo 150. Varallo-Pomhia 150. Varazze 96. Varenna 134. Varese 136. — , Lago di 137. Varignano 160. Varigotti 96. Varrone, the 135. 160. Vaucluse 16. Vedeggio. the 41. Velleia 83. Vence 28. Venda, Monte 190. Venice 196. **Accademia delle Belle Arti 212. SS. Apostoli 223. .\rcha;olog. Museum 210. Archives 225. Arco Bon 222. ^.\rsenal 212. 8. Bartolommeo 223. Botan. Garden 221. Bridge of Sighs 211. *Ca dT)ro 219. ^Campanile of St. Mark 207. Campo di Marte 231. **Canal Grande 215. Clock Tower 207. Corte del Remer 219. Digadi Malaniocco203. Dogana di Mare 215. S. Eustachio 219. Fabbriche Nuove and Vecchie 219. Fish Market 219. Fondaco de" Tedeschi 219. *— de" Turchi 220. S. Francesco della Vigna 229. **Frari 224. S. Geremia 220. Gesuiti 227. S. Giacometto di Rialto 223. Giardino Papadapoli 221. Giardini Pubblici 231. S. Giorgio Maggiore 230. — dei Greci 230. — degli Schiavoni 230. **SS. Giovanni e Paolo 228. — Elemosinario 223. — Crisostomo 223. Giudecca, the 230. S. Giuliano 222. *^Grand Canal 215. Lagune, the 203. S. Lazzaro 232. *Librarv 208. Lido 232. **S. Marco 205. S. Marcuola 220. 396 INDEX. Venice : S. Maria Formosa 222. **— rtei Frari 224. — dc' Miracoli 229. — deir Ort.) 227. *— dclla Salute 226. — Znbenigo 225. S. Maurizio 226. Merceria, fhc 222. S. Moi.oc 225. Jlurazzi 203. Mu.oeo Civico 22(). Palazzo Ralhi 217. — Barharigo 217. — Barbaro 216. — Battagia 219. *— Bemho 218. — Bernardo 217. — Bianca Capollo 221. — dc'Camerlin<;ln219. — Cavalli 216. 218. * — C'ontarini-Fasan 216. — Contarini dclle Fi pure 217. — Contarini depli Scrigni 217. — Corner delta Ca Grande 216. — Corner- Mocenigo 224. — C(trner dollaRegina 219. *— Corner-Spinclli 217. — Correr 220. — Da Mula 216. — Danflolo 218. — Dario-Angarani2l6. **— Ducale (of the Doges) 208. — Emo-Treves 216. — Erizzo 219. *— Farsetti 218. — Ferro 216. — Fini 216. — Fontana 219. * — Foscari 217. — Frangini 2'20. ' *— Giovanelli 227. ■r- Oiustiniani 215. 217. — Giu.stinian-Lolin 217. — Grassi 217. *— Grimani 218. 222. a S. Polo 217. — Griuiani della Vida 219. — Labia 220. *— Loredan 218. — Malipiero 217. 222. — Manfrin 220. Venice : Palazzo Mangilli-Val- marana 219. ^- Manin 218. — Manzoni-Angarani 216. — Michieli dalle Co lonne 219. — Mocenigo 217. — Moro-Lin 217. — Morosini 226. — Patriarcale 221. — Persico 217. *— Pesaro 219. — Pisani 226. | JK.retta 218. | * a S. Paolo 217. — Querini 222. | * — Rezzonico 217. — Sagredo 219. — Tiepobt-Stiirmer 218. — Tiepolo-Zucchelli 216. — Trevisani 221. — Tron 219. *— Vendramin-Calergi 219. — Venier 216. — Zichv-Esterhazv 216. ' S. Pantak'one 225. Pe.scheria 219. *Piazza of St. Mark 203. Piazzetta. the 203. S. Pietro di CastcUo 231. Piombi, the 211. ^Ponte di Rial to 218. Ponte de' Sospiri 211. Porta del Paradiso 222. Pozzi, the 212. Procurazie 204. Railway Station 196. 221. ^Redentore 230. Riva degli Schiavoni 212. S. Rocco 225. *S. Salvatore 222. Scala dei Giganti 209. ^Scalzi 220. ^Scuoladi S.Marco 229. ^- di S. Rocco 225. — delTAngeloCustode 228. ^S. Sebastiano 231. Seminario Patriarcale 216. S.SimeonePiccolo221. Spedale civile 228. ^Statue of Colleoni229. Venice : *S. Stefano 226. Theatres 199. Torre delT Orologio 207. S. Vitale 216. *S. Zaccaria 221. Zecca 208. Venere, Porto 289. Ventiinigli?i 100. Ventoux, Mont 12. Verbaniif:, Locus 143. Vercelli 112. Verde, Capo 97. Vergato 283. Vergiatc 147. Vernianagna, the 110. Vernia, the 370. Verola Xuova 162. Verona 171. ^Amphitheatre 172. *S. Anasta.tia 174. Arco de' Leoni 176. ^ Arena 172. S. Bernardino 175. Biblioteca Capifolare 174. Campo Santo 177. Cappella do' Pellegrini 175. Castello S. Pietro 177. — Vecchio 175. Cathedral 174. Dante\s Statue 173. S. Fermo Maggiore 176. Giardino Giusti 177. S. "Giorgio in Braida 174. S. Giovanni in Fonte 174. Loggia, la 173. S. 5Iaria Antica 173. Municipio 173. Museo Civico 168. — Lapidario 172. ^Palazzo del Consiglio 173. — de' Giureconsnlti 173. *— Poinpei 176. Piazza Bra 172. — delle Erbe 172. * — dei Signori 173. — Vittorio Einanuele 172. S. Pietro Martire 174. Ponte di Castello 175. — delle Navi 176. Porta de' Borsari 172. — Stuppa 175. Roman Theatre 178. INDEX. 397 Verona : Teatro Filarmonico 172. Tomb of Juliet 176. *Tomb9 of the Scaligers 173. Town Hall 173. *S. Zenone 175. Verona, La CJiiusa di 58. Verrex 79. Verruca, La 300. Verruca, the (Trent) 56. Vescovato 376. Vesonlio 5. Vespolate 150. Vestino, Val IGO. Vestone 161. ' Veyle, the 29. j Vezia 41. I Vezzano 57. 238. Via At^inilia 236. — Flainhiia 236. Via Mala, the 43. Viareggio 291. Vicen/.a 182. Vidauban 27. Viege 33. Vienne 10. Vieu.x-Mout-Ferrand 29. \'ige3e. M(>nte 283. Vigevano 131. S. Vigilio 161. Vignola 246. Vigo 283. Vigolo 57. Villa 305. Villa Amalia 129. — degli Albizzi 362. — Ambrogiana 287. — Aatongina 131. — Aria 283. — Balbianello 13-2. — Belmonte 1:33. — Besenna 132. — della Bugia 361. — Calderara 1:35. — Careggi 363. — Carlotta 132. — Clary 107. — Colobiano 131. — Demidoff 363. — Enderlin 14U. — dEste 131. — Faroni s. V. Taverna. — Gaggis. V. Antongina. — Galbiati 131. — del Galileo 361. — Giulia 134. Villa Lasquez 135. — Marchino 140. — Marlia 305. — Melzi 132. — Mozzi 364. — Mvliu.s l:il. — Napoli 131. — Udescalchi s. V. Rai mondi. — Pallavicini 94. — Palmieri 364. — Passalacqua 131. — Pasta 131. — Petraia 364. — Pizzo 131. — Pliniana 131. — Poggio Imperiale 361 — Poldi 132. — Pratolino 28i. — Prina 144. — (Quarto 364. — Raimondi 131. — Rezzonica 57. — Rotonda 184. — Serbelloni 133. — Smith 108. — Sommariva 132. — Taglioni 131. — Tanzina 139. — Taverna 131. — Trotti 132. — Vasalli 140. — Vigoni 134. — Vittoria 274. Villa Marti.^ 31. Villafranca (near Asti) 84. — (near Nice) 108. — (near Verona) 178. Villamaggiore 152. Villanuova (near Asti) SI. — (near Verona) 182. Villastellone 111. Villefranche (near Aosta) 80. — (near Nice) 108. Villeneuve St. Georges 1 — la-Guiard 2. — sur-Yonne 2. St. Vincent 80. Vintschgau, the 49. Viola, Val 51. Vira 143. Visgnola 136. Viso, Monte 77. 110. Visp or Vispach 33. Vitrolles 21. S. Vittore 47. 182. Vittoria HI. Vittuone 113. Vitznau 37. Vivario 376. Vivier.s 12. Vizzarona 376. Vobarno 161. Vogelberg, the 46. Voghera 81. 155. Voglans 30. Vogogna 35. Volciano 161. Volta 158. Vol terra 287. Voltri 95. Voragine 96. Voslau 59. Vouache, Mont 29. Voujacourt 5. Waggis 37. Waidbruck 54. Waldensian Vallev.9. the 78. Wartenstein. castle 59. Wasen 38. Wattingen 38. Weilburg, chat. 59. Weinzettelwaud. the 60. Wei.'iseneck , castle 61. Welfenstein, castle 53. Wildon, castle 61. Wiltau, Abbev, 52. Wippthal, the 53. Worms s. Bormio. Wytenstein, the 37. Yeres, the 1. Yonne, the 2. Zams 48. Zanelli, Canal 269. Zapporthorn. the 44. Zara 67. Zenna 143. S. Zeno 162. Zermatt 80. Zibio, Monte 246. Zillis 44. Zinasco 155. Zirknitzer See. the 62. Zirl 48. Zoagli 288. Zrnagora. the 67. Leipsic; Printed by Breitkopt and Hartel. 'ia-see |r*«« Jieichenh^i zbars" ' H'eifer Jotfinein^ \Werfe7, %. Sf JfUhaA Ltenx \^^" ^crHta7 '>Mn }(art I ^'~Hadmannsdor/\ (^^tme '^ ^^jyrtrinbiwif (ye,- y JPorxientmeW ^,^*^«v / \&. 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